Shakedown Street [Bonus Tracks] [Digipak]

Performer: Grateful Dead
Artist: Jordan Amarantha; Matthew Kelly; Steve Schuster; John Kahn; Lowell George
Engineer: Brett Cohen; Bob Matthews
Producer: Dan Healy; Lowell George; Lowell George; Dan Healy; David Lemieux (Reissue); James Austin (Reissue)
Distributor: WEA (Distributor)

Notes: The Grateful Dead: Donna Godchaux (vocals); Jerry Garcia, Bob Weir (vocals, guitar); Phil Lesh (vocals, bass); Keith Godchaux (piano); Mickey Hart (percussion); Bill Kreutzmann (drums, percussion). Engineer: Bob Matthews, Brett Cohen. Recorded at Club Le Front, San Rafael, California. Grateful Dead: Jerry Garcia, Bob Weir (vocals, guitar); Keith Godchaux (keyboards); Phil Lesh (bass guitar); Mickey Hart, Bill Kreutzmann (drums, percussion); Donna Jean Godchaux (background vocals). Personnel: Hamza el Din (vocals, oud, hand claps); Lowell George (vocals); Matthew Kelly (harp); Steven Schuster (horns); Jordan Amarantha (percussion). Additional personnel: The Nubian Youth Choir (tar, background vocals); Hamza el Din (tar); Jordan Amarantha, Lowell George, Matthew Kelly , Steven Schuster. Audio Mixer: Tom Flye. Liner Note Authors: Rip Rense; Reggie Collins. Photographers: Ron Rakow; Ed Perlstein; Bruce Polonsky; Robert Minkin. Arranger: Bob Weir. For hardcore hippies, SHAKEDOWN STREET was the Dead's nadir, as they moved from the arty jazz-rock epics of WAKE OF THE FLOOD and TERRAPIN STATION to a radio-friendly light-funk sound. While the band seemed to have momentarily abandoned their more experimental leanings, they had shored up their songcraft, and SHAKEDOWN STREET contains several of the Dead's finest tunes, presented with a minimum of fuss for maximum impact. The band even managed to score a semi-hit with their Latin-tinged arrangement of the Rascals' "Good Lovin'." Bob Weir's bluesy "I Need A Miracle" wound up becoming a staple of the Dead's live shows for years to come, as did the funky the-scene-is-dead plaint that is the title tune. Garcia's hits his stride, both vocally and melodically, on the beautiful devotional ballad "If I Had The World To Give," whose construction bears more than a hint of a Beatles influence. SHAKEDOWN STREET also marked the end of an era for the Dead, as it would be the last album to feature keyboardist Keith Godchaux and his vocalist wife Donna. Since the Grateful Dead were notorious for recording awkward studio albums, it always seemed that the answer to their problem was simply getting the right producer to coax magic out of the band -- and nobody would seem better suited for the position than Little Feat leader Lowell George, whose own band shared the Dead's tendency to wander and jam in a live setting, yet made almost nothing but good studio records. But 1978 was not a great year for either camp, as the Dead were drifting in their attempts to score a crossover hit for Clive Davis' Arista Records, while George was pushing Little Feat toward disbandment as he was inching closer to his premature death in 1979. Add to that the Dead's sudden, inexplicable fascination with disco, a desire to have Donna Jean Godchaux be an integral part of the record, plus no new songs ready to go at the beginning of the sessions, and it's little surprise that Shakedown Street wound up as a mess. It rambles and wanders all over the place, as the Dead cover the Rascals' "Good Lovin'" before they revive "New Minglewood Blues" (which they originally cut for their debut), as Jerry Garcia and Robert Hunter write their own "Stagger Lee" while Mickey Hart and Bill Kreutzmann get a percussion workout on the brief instrumental "Serengetti" and Bob Weir affects a bluesy growl on "I Need a Miracle." In George's hands, this is all given a smooth gloss not all that far removed from such latter-day Feat LPs as The Last Record Album, but since the Dead favor hazy, lazy grooves to Feat's laid-back but tight New Orleans funk -- and since George didn't produce so much as he created an appropriate atmosphere in the studio -- Shakedown Street meanders mercilessly, and its indulgences wind up overwhelming the album as a whole. And there isn't just one kind of indulgence here; there's a plethora of them, ranging from the disco pulse of the title track to the fuzziness of the two songs sung by Donna Jean. This can make Shakedown Street a bit of a difficult, dated listen, since even the good songs boast bad arrangements ("Shakedown Street" and "Fire on the Mountain" were later reworked and revitalized in concert), yet it falls short of flat-out disaster, partially because it's a fascinating listen due to the very things that make it a severely flawed record. The disco flirtations, subdued funk, misguided commercial concessions, and overarching Californian slickness do make Shakedown Street fascinating for at least one spin, even if they'll keep even hardcore Deadheads -- maybe especially hardcore Deadheads -- from coming back to the record more than once every decade or so. [In 2004, Rhino released a remastered, expanded edition of Shakedown Street as part of the exhaustive 12-disc box Beyond Description (1973-1989); in 2006, this expanded CD was released separately. The expanded disc contained five bonus tracks: a studio outtake of "Good Lovin'" featuring Lowell George on lead vocals that was better than the cut that made the LP, but still not great; three solid songs -- "Ollin Arageed," "Fire on the Mountain," and "Stagger Lee" -- from a September 1978 concert in Cairo, with the latter two eclipsing the versions on the studio LP, even if "Fire" stretches out a bit too long; finally, there's a version of "All New Minglewood Blues" taken from a November 1978 concert in Jersey.] ~ Stephen Thomas Erlewine

The Grateful Dead were right there at the birth of the 1960s West Coast psychedelic scene, but they handily incorporated simple folk, blues, and country sounds into their swirling, jam-oriented style. With an endless touring schedule and a huge following of devoted fans, the group fueled hippie visions well into the '90s and sparked the jam-band movement that would eventually fill the void left by the dearly departed Grateful Dead after the passing of guitarist Jerry Garcia. Since Garcia's passing, surviving members of the band have participated in various musical projects, including a reunion tour in 2003 under the shortened name of "the Dead."

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