In 1987, Bob Dylan embarked on a tour alongside the Grateful Dead. It made perfect sense, albeit in a peculiar manner. The Dead and Jerry Garcia were not only among his favorite bands but also close friends. Both acts seemed to capture the essence of American freedom. Their artistry is deeply rooted in the pursuit of a Dream, whether expressing sorrow over its absence or tirelessly working to preserve it. Their work carries a profound sense of purpose.
This turned Dylan into a devoted fan of the band. “He was truly exceptional, far beyond being just a talented musician, possessing an extraordinary sense of hearing and skill,” Dylan expressed in his tribute to Garcia in Rolling Stone. He embodies the essence of the Muddy River country and resonates with the heavens above. And he was truly unmatched.
And Bob Dylan truly emphasized his belief that there is no comparison in every aspect. In the past, Dylan may have regarded The Rolling Stones as the ultimate rock band, but that’s simply because he doesn’t view the Grateful Dead in the same league. The folk troubadour emphasized this point in his latest book, The Philosophy of Modern Song, stating: “The Grateful Dead is far from your typical rock and roll band. They’re a dance band.”
Interestingly enough, the predecessor to the Dead, Mother McCree’s Uptown Jug Champions, had a unique distinction as a dance band. The musical style they presented harkened back to the days of traveling shows in the South, where barn dances were the highlight of the evening, embodying a spirit of open-stage performance. The band remained focused on this as they stepped into a classic rock ‘n’ roll environment. Thanks to Owsley Stanley’s wall of sound, they were able to bring the jug celebration to stadiums worldwide. This fostered a strong sense of community among their followers that surpassed any other band.
For Dylan, this is deeply intertwined with the core of his music. He adds, “Their musical style is reminiscent of Artie Shaw and Bebop rather than The Byrds or The Stones.” Whirling dervish dancers complement their music beautifully. There’s a noticeable contrast in the women you encounter while on stage with The Stones versus the Dead.
Describing: “With The Stones, it feels as though you’re attending a gathering that’s quite risqué.” When it comes to the Dead, it’s reminiscent of the women you encounter by the river in the film O Brother, Where Art Thou?
This enchanting creation perfectly captures Garcia’s vision: a whimsical realm of 1960s idealism, deeply rooted in the American dream of freedom. Although The Stones delivers a thrilling experience, their music leans more towards a rigid rock ‘n’ roll style, lacking the fluid and ever-changing flow of The Grateful Dead. Keith Richards, known for his straightforwardness, referred to his counterparts as “boring shit”. In contrast, Dylan was unable to perform live with The Stones. During their performance in France, the singer abruptly left the stage and expressed his frustration towards Richards by making a gesture. This happened because Richards declined to improvise when Dylan took longer to deliver his lines.
That goes against the spirit of the Dead’s carefree performances and, as Bob Dylan puts it, the women who are part of them. “They move with a sense of freedom, gracefully gliding and twisting, as if in a whimsical daydream,” Dylan describes them. There were so many of them. When it comes to most bands, the audience typically engages as if they were part of a spectator sport. They simply observe without taking any action. They maintain a certain level of distance. The audience becomes an integral part of the band, almost as if they are performing on the stage themselves.
It’s no wonder the great man considers them to be one of the most legendary live bands in history. Having had the privilege of performing on stage with them numerous times is a testament to their talent. Being fortunate enough to share the spotlight with other legendary artists adds to the remarkable experience.
