Jerry Garcia’s 50 Greatest Songs

Like everyone in the Dead organization in 1970, Garcia was shocked when their manager, Lenny Hart — who also happened to be Mickey’s father — absconded with more than $150,000 of the band’s earnings. Hart was found and arrested the following year. But Garcia had the last word: Right before the Dead’s 1972 tour of Europe, he and Hunter wrote this elegiac song about the incident. Over the course of hundreds of performances, it came to serve as a response to the deaths of people close to the band, including (when played by post-Dead offshoot bands like Furthur) Garcia himself.

The disastrously violent Altamont Speedway Free Festival of December 1969 deeply affected the Dead, who helped organize the event but ended up not taking the stage after the chaos turned decidedly ugly. Debuted just two weeks later, “New Speedway Boogie” was Hunter’s indictment of journalist Ralph Gleason’s take on the festival. Garcia called the crackling finished track “one of those miracle songs. It’s one of those ‘once-through’ ones. The words were just so right that it was immediately apparent, just bam! It came out right. Simple and straight-ahead.”

On which Garcia reinvents the past: When he was in the pre-Dead jug band Mother McCree’s Uptown Jug Champions, Garcia played the Memphis Jug Band’s 1928 “Lindberg Hop (Overseas Stomp),” whose central chord progression he mutated into this woozy tribute to the ragtime sound (with free-associative lyrics by Hunter). It’s a sterling instance of the way Garcia could merge different eras into a coherent whole. But like a few other songs on Aoxomoxoa, he may have felt it was a bit overbaked; the band dropped it from its live repertoire not long after the album was released.

This jaunty Garcia solo track immortalizes the Dead’s time on the Festival Express tour, the legendary rail trek through Canada during which they shared stages, alcohol and train cars with Janis Joplin, the Band, Delaney and Bonnie, and others. “It was everything that Sixties or Seventies rock promised, delivered to us on that trip, with a giant bottle of whiskey!” says Hunter, who wrote the lyrics. “I wrote that on the train, to the rhythm of the train as it was moving.” That utopian glow had dimmed by the mid-Seventies, when it was recorded, but Garcia brought the energy back to life.

Lesh considered this proudly old-fashioned ballad “among the finest products of Garcia’s collaborations with Hunter,” and it’s hard to disagree. (The Dead must have thought so too, since the song was a frequent encore.) Garcia paired Hunter’s lyrics about letting go with a dollop of Southern gospel, heightened by the Dead’s woodsy harmonies, and on the studio recording Garcia played some of his most subtle, coolly flowing guitar — using an approach that heightens the tune’s lyrics about wanting to “listen to the river sing sweet songs to rock my soul.”

The best, most affecting song from what proved to be the Dead’s final studio album, this gentle ballad features perhaps Garcia’s finest latter-day vocal. In his memoir, Lesh noted, “Jerry … had started using again” during the Built to Last sessions, which he called “a brier patch of egotistical contention.” But Garcia, working from a sensitive Hunter lyric about a homesick space traveler, transcended — or utilized — those troubles to sing with heartbreaking poignancy. In concert, he’d repeat the line “be with you” with sacred fervor, summoning a strength that was in sadly short supply elsewhere in his life.

This sunny, pedal-down tune is the closest the Dead ever came to AM-radio garage-band pop. One of two original compositions on the band’s self-titled debut, it was basically a dance-party song about a barefoot hippie chick. “She’s a neon-light diamond/She can live on the street,” Garcia sings, before ripping out an uncharacteristically curt guitar solo. “‘The Golden Road’ was our effort at nailing down some of the [early Haight] scene,” Garcia recalled. “We kept it simple. But what could you say…‘We took a bunch of acid and had a lot of fun’?”

The densely orchestrated, seven-part, 16-minute suite captures the symbiotic working relationship between Garcia and Hunter. In 1976, Hunter began typing lyrics; the same day, Garcia was, in Hunter’s words, “struck by a singular inspiration” for a melody — which perfectly matched his words. Inspired by the English ballad “Lady of Carlisle” and Garcia’s love for child folk ballads, this prog epic includes one of Garcia’s prettiest melodies (during the “Lady With a Fan” section) and a baroque climax of massed choral vocals and strings. As Garcia boasted: “People won’t believe it’s us.”

By the end of the Seventies, it was easy to forget that the often less-than-propulsive Dead had started out as a dance band more than a decade earlier. Garcia (who had recently seen Saturday Night Fever with Hart) decided to remind people of that history and update it as well with this disco-boogie anthem. Some Deadheads were appalled, but Garcia had the last laugh: Shakedown Street became the name for the vendors’ markets outside Dead shows, and the song itself has become one of the most enduring in their catalog.

The title of the Dead’s 1973 album Wake of the Flood came from the beautifully spacey track that opened its second side. From Garcia’s quivering guitar intro to the slow-motion splendor of its chorus, “Here Comes Sunshine” could be interpreted as an approximation of an acid trip. Hunter said the origins of the song were more prosaic: “Remembering the great Vanport, Washington, flood of 1949, living in other people’s homes, a family abandoned by father; second grade,” he later wrote. It was such a tricky song to recreate that the Dead stopped playing it onstage between 1974 and 1992.

“It’s Hunter writing from my point of view, you know what I mean?” Garcia said of “So Many Roads” in a 1992 interview with Dave DiMartino, shortly after the Dead had debuted the song. “Only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up that kind of result.” One of their final songwriting collaborations, it was based on a chord progression Hunter had recorded Garcia playing (on the piano!) a decade earlier, and its lyrics quote a couple of Garcia’s favorite songs, the jug band tune “K.C. Moan” and Jelly Roll Morton’s “Winin’ Boy Blues.”

A vivid sightseeing tour through the history of American pop, “Ramble on Rose” is neither Perry Como’s 1948 hit “Rambling Rose,” nor Nat “King” Cole’s 1962 hit “Ramblin’ Rose,” nor the “Ramblin’ Rose” that Jerry Lee Lewis and MC5 both recorded. Debuted at keyboardist Keith Godchaux’s first show with the Dead, it’s a dizzying chain of verbal and musical allusions to scenes and songs of the past, from barrelhouse jazz to “Alexander’s Ragtime Band” to “I Walk the Line.” The Dead played it at a relaxed, deliberate pace, with Garcia enunciating every word of its sly lyric.

Late in life, Garcia loved nothing better than an epic melancholy ballad that spoke to his difficult journey. Few of those songs fit the bill better than In the Dark’s exquisite closer, which had the feel of a timeless folk song. “It’s a bit of whistling in the dark,” said Hunter, who penned its lyrics. “It’s about the perspective of age and…the necessity of living in spite of a rough time and the ravage of anything else that’s going to come at you.” It would also be one of the last songs Garcia sang onstage with the Dead — in Chicago, exactly a month before his death.

On this honeyed track from Garcia’s third solo album, all the usual suspects are seen and heard: The song is another Hunter and Garcia original, and the Dead accompany Garcia. But from its gentle, love-bird lyric to Garcia’s lithe delivery, “They Love Each Other” revealed another, sweeter side of Garcia’s music. “I love the pop songs of the Grateful Dead,” says John Mayer, who has played the song onstage with Dead & Co. “It’s one of the few that really fit my voice. It doesn’t feel like a stretch as much as some of the other ones do. I can lean back and have fun with it.”

One of Garcia’s favorites, this darkly magical story-song was no easy creation. The song, Garcia said, “took about three years to write … maybe longer than that. I kept writing and writing versions of it. … Hunter would rewrite the lyrics. … I’d write a new melody. ‘No, that isn’t it.’ … It just went on forever.” But the work clearly paid off. The tale of a love triangle set in New Orleans, inspired by the film Black Orpheus, is brought to life by Garcia’s electric guitar, which was transformed via envelope filter to sound like a baroque horn. Lyrics about a mandolin melody as a lover’s voice may be the best metaphor ever for Garcia’s art.

Another Hunter lyric with roots in some mythological Old West and a ramblin’, gamblin’ man who only wants “10 gold dollars,” “Loser” was first played onstage with the Dead before Garcia cut it himself for his first solo album. Unlike the jaunty melodies that often accompanied such lyrics, “Loser” is shot through with desperation and gloom, and Garcia’s version — on which he played all the instruments, accompanied only by Dead drummer Bill Kreutzmann — digs deep vocally and musically.

By the early Eighties, Garcia was grappling with his escalating and ultimately life-threatening drug addiction, as well as malaise within the Dead itself. Perhaps some of his feelings spilled out on the title track (and high point) of his 1982 solo album. It was one of those moments when Hunter’s lyrics perfectly reflected Garcia’s situation: “Reach for the sun, catch hold of the moon/They’re both too heavy, but what can you do?” he sang. But the track itself — recorded at the Dead’s own Club Front studio and featuring Ron Tutt, drummer for Elvis and the Garcia Band — has a beatific glow: the sound of Garcia fighting off the blues, one song at a time.

Garcia had one reservation about this gently rocking track, co-written with Hunter for the band’s first self-released album. “He took objection to the word ‘Styrofoam,’ ” Hunter recalls. “He said, ‘This is so uncharacteristic of your work, to put something as time-dated as the word “Styrofoam” into it.’ ” That minor qualm didn’t discourage Garcia musically, though. Trading jaunty licks with fiddle player Vassar Clements, he delivered a wry, buoyant performance that achieves the timelessness he was looking for.

These two linked pieces, from one of the Dead’s most adventurous studio albums, are testaments to Garcia’s melodic ingenuity. Originally an instrumental, “Help on the Way” melded jazz-rooted chords with funky leads and lyrics that hinted at Garcia’s tumultuous personal life (“I was blind all the time I was learning to see”). Credited to the whole band, “Slipknot!” featured Garcia’s atonal licks. No wonder that the avant-leaning Lesh called the songs “one of our finest exploratory vehicles.”

Garcia and the Dead were always extremely critical of their recorded output; they always felt more comfortable onstage, where songs truly blossomed, than in a studio. In that regard, Garcia was never more unhappy with a studio performance than he was with this country-blues breakup song. “The song that I think failed on that record was ‘High Time,’” Garcia told Rolling Stone in a 1972 interview. “It’s a beautiful song, but I was just not able to sing it worth a shit.” Others would disagree. It’s a classic example of the band bending traditional music to fit its own ideals. The elliptical way Garcia ends Hunter’s verses with “Well, I know” is arrestingly pretty, and, living up to the title of the song, Garcia’s delicious pedal steel work was way spacier than anything Merle Haggard or Buck Owens — his California country heroes — would have condoned. The song also has a special, strange place in Dead history: It was part of their five-song set at Woodstock, a year before “High Time” was recorded. Garcia always put down that performance, too.

One of the last and most poignant songs Garcia and Hunter wrote together was this steadfastly contemplative ballad, which gradually built in tension over its 11 minutes. As Hunter told Rolling Stone in 2015, “Both of us were very interested in where we could go with that kind of strange and irregular construction. I almost feel in certain respects we were just getting started. We were past one whole phase of writing, and ‘Days Between’ signaled the next.” Lines like “The singing man is at his song/The holy on their knees/The reckless are out wrecking/The timid plea their pleas” hinted at the Dead’s own story, which Hunter confirmed: “That is the story of what went down as far as I can see. More so than any other single song. It seemed to get my feeling about those times and our place in it.” The Dead played it live in the Nineties but never finished a proper studio recording of it. 

Black Pete is a traditional Dutch bogeyman, but Hunter turned him into an ailing, sympathetic figure — and Garcia merrily took on the role. Over a languid, lazy-afternoon rhythm, Garcia delivered world-weary lines like, “See here how everything/Lead up to this day/And it’s just like any other day.” According to Hunter, the song began as a “jumpy little tune” before Garcia “made a monster of it.” That was emblematic of Garcia’s approach — he said that during their Americana phase, the Dead wanted to be a “good old band,” but as “Black Peter” shows, they could never settle for clichés.

One of Garcia’s loveliest recorded vocals came, ironically enough, on this veiled assessment of the tortured state of the Dead in the mid-Seventies. Since “Ship of Fools” was written at the height of Watergate, it was also possible to hear its allusion to a hapless ship’s captain (“strangest I could find”) and a foundering vessel as a metaphor for America itself at the time. The song, debuted onstage shortly before it was recorded, was also early proof of Garcia’s love of slow, mournful melodies, which were enhanced in the studio by the abstract honky-tonk piano of new member Keith Godchaux.

Like so many of the songs on the Dead’s third album, Aoxomoxoa, this delicate Fairport Convention-style ballad is a studio confection rather than one for the road. (Although they played it in their bizarre 1969 TV appearance with Hugh Hefner on Playboy After Dark.) “Mountains of the Moon” is more English than American in its folk roots, with a medieval-themed lyric and Tom Constanten’s lilting harpsichord. “That song turned out nicely,” Garcia recalled. “I don’t know what made me think I could do a song like that, but something at the time made me think I could do it.”

Garcia was less than thrilled when Hunter burst into the kitchen of the house they were sharing with two new songs, “Deal” and “Loser.” “He was reading the paper…and wasn’t at all pleased to be confronted with work, emitting a trademark ‘aaargh’ of displeasure,” Hunter recalled. But soon enough, Garcia had written a melody to accompany Hunter’s narrative of a boastful card player. The song started as a shuffle when the Dead began playing it live in early 1971, but Garcia toughened it up for his first solo album, with a slide-guitar riff and a rarely heard growl in his vocal.

“I had a cat sitting on my belly and was in a rather hypersensitive state,” Hunter said, describing the inspiration for this whimsical song. “This cat took me in all these cat places.” Recording it for Aoxomoxoa, the Dead indulged in the possibilities of new 16-track tape machines. “We put too much on everything,” recalled Garcia. “A lot of the music was lost in the mix.” Still, the relaxed groove, twinkling guitar lines and skipping melody were a perfect counterpart to Hunter’s free-associating lyrics. Often paired with “I Know You Rider,” it became one of their most-frequently performed songs.

Hunter penned lyrics for this seminal Grateful Dead song in Barcelona, Spain: “Topped up on vino tinto, I composed it aloud to the sound of a jew’s-harp twanged between echoing building faces by someone strolling half a block ahead of me in the late-summer twilight.” Starting with the ambling-along-the-road twang of Garcia’s guitar, the Dead took Hunter’s tale — a loser bumpkin who’s a little slow to realize it’s time to give up and head back to his home state — and brought it back to American roots music. Garcia felt the song tapped into the tough-edged Bakersfield sound embodied by country acts like Buck Owens and Merle Haggard: “It’s a cop from that world, although not consciously, and it’s not from any specific tune. Just the feel.” Debuted at a Minneapolis show in 1971 and released on the live album Europe ’72, “Tennessee Jed” showcased the sparkling interplay between Garcia and pianist Keith Godchaux, as well as Garcia’s falsetto, which is on display during the chorus. Though never recorded in a studio, it was performed live more than 400 times.

Hunter originally titled this ballad “The Suicide Song” following a friend’s attempt at taking his own life. But even after it was renamed “China Doll,” Garcia still felt haunted. Accompanied by a harpsichord, Garcia’s guitar creeps in just behind the beat, and he sings as if he’s sighing from another realm. The result is one of his most gripping vocal performances. As Hunter said, “The song is eerie and very, very beautiful the way Jerry handles it.” A later, live acoustic version on Reckoning showed how Garcia could enhance the dark power of “China Doll” by stripping it down even further.

Hunter wrote this country death ballad (a fine showcase for Garcia’s pedal-lsteel playing) after watching the Sherlock Holmes movie The Hound of the Baskervilles on TV. For Garcia, the lyrics — especially the “please don’t murder me” refrain — took on a contemporary meaning. “The Zodiac killer was out murdering in San Francisco,” Garcia said. “Every night I was coming home from the studio and I’d stop at an intersection, and if a car pulled up, I was like, ‘This is it, I’m gonna die now.’” When Garcia received a death threat at one of the Dead’s last shows, they pointedly played “Dire Wolf.”

“I always thought it’s a pretty good musical picture of what cocaine is like,” Garcia once said of one of the band’s most beloved songs. “A little bit evil and hard-edged and also that sing-songy thing.” First worked up in 1969, “Casey Jones” attracted immediate attention for Hunter’s lyrics — a druggy twist on the true story of train conductor John “Cayce” Luther Jones, who died in a crash after he missed a signal. For extra effect, the song starts with the sound of someone snorting up, although Hunter worried about the “lightly romanticized context” of the lyrics.

By the beginning of the Eighties, Garcia and Hunter weren’t writing together as much as they once had, but when they did collaborate, they could still summon up the old magic. The slow, lovely “Althea” stands out on 1980’s lackluster Go to Heaven; a shuffle that proudly noodles along, the song was, in Garcia’s words, about a “helpful lady, [a] big sister, kind of.” Some wondered if lines like “nobody messin’ with you but you/Your friends are getting most concerned” were about Garcia and his drug troubles. Hunter denied that rumor, but adds, “That does kind of sound like a message to him.”

A solo track Garcia rarely played with the Dead, this lovely, bobbing ballad, set in the Mission District, is the quintessential San Francisco musician’s most explicit hometown song. Hunter, who lived in the Mission when he was starting out with the Dead, penned the testimonial of a wharf-rat-style down-and-outer whose dreams once rode tall. “Tonight I would be thankful, Lord, for any dream at all,” croons Garcia before the character is baptized — first by the weather, then by a silvery downpour of guitar notes that illuminates the sorrow, loss and, yes, hope between the lines.

In the middle of the extended experimental section of his first solo album, Garcia began jamming on piano, joined by drummer Kreutzmann. Out tumbled this rollicking melody that, luckily, was captured on tape. “It wasn’t written,” Garcia said. “I didn’t have anything in mind; I hadn’t sketched it out.” Bolstered by Hunter’s cycle-of-life lyrics (written on the spot while listening to the track’s studio playback), Garcia’s overdubbed harmonies and a flowing arrangement of acoustic and pedal-steel guitars, it was so hooky that Warner Bros. released it as a single.

The core of this sprawling multipart composition is sung by Weir. But the breathtaking guitar runs that define it are pure Sixties Garcia. He sings the dark opening section (subtitled “Cryptical Envelopment”), which he wrote himself and described as “an extension of my own personal symbology for ‘Man of Constant Sorrow,’ the old folk song.” The grim verses are delivered with gentle empathy, until they ramp into the crashing instrumental section, played in breakneck 12/8 time.