by Thomas Mullen, 1999
Intro
All of us can pinpoint monumental moments when our lives
changed irrevocably for weal or for woe: weddings, births, arguments, movies,
parties, trips, our first emails or rec.music.gdead posts. My life was never
the same after January 8, 1979 at Madison
Square Garden,
the first time I saw ‘Scarlet Begonias>Fire on the Mountain’ performed. The
visible joy, the reggaeish energy, the booming reverberations, have echoed in
my mind ever since; indeed, this combination of songs has become my benchmark
for Dead shows.
Alas, in comments published in one of the last issues of The
Golden Road, neither Garcia nor Hunter recalled anything special about the
genesis of this song, and we can only dimly, falteringly imagine the
inspiration, early growth, and development of one of the most singable,
danceable, memorable, and affirming Dead songs. But the performances we have
trace a record of inspiration second to none. Separately they are beautiful; in
synergy they transcend mere beauty to become uplifting and edifying. They
complement each other in an enigmatic synergy; the former is very lyric-driven;
the latter very beat-driven. One is an understandable encounter; the second is
much more elliptical. One was jammed primarily towards its conclusion; the
other constantly erupts into bright glories. One sings of 'I' but is
extroverted; the other sings of 'you' yet is introverted to the core. The
former promises, the latter delivers, the former completes.
Brief History
After confidently debuting it on March 23 in the great year
of 1974 (and just two days before they started recording Mars Hotel), the Dead performed it throughout that year (28 times
in 40 concerts) and 1976 (18 times in 41 concerts). Now, inevitably looking
back through the pyrolithic lens of Fire on the Mountain, we often forget how
strongly, dynamically, and aggressively this song was explored and jammed
during this period. But as my comments below indicate, many pre-Fire versions
are exquisitely played and jammed. As for its lyrics, when we juxtapose them as
performed by Hunter and by the Dead, we see Jerry's consistent erosion of
specificity, for example Hunter's Bristol girls (to rhyme with curls) is gone,
and the lyrics as the Dead perform them tell of a casual encounter, a narrator
who wavers on taking a chance, and its uncertain results. With the exception of
solecisms and missed words, these lyrics will remain constant throughout the
life of the song, or should I say, its singer. About three years later, Scarlet
Begonias was publicly paired with Fire on the Mountain for the first time on
the enchanted Winterland evening of March 18, 1977. Thereafter, with occasional
separate performances and infrequent trios (a handful of Scarlet>Touch of
Grey>Fires and Scarlet>Victim or the Crime>Fires, the two songs were
inseparable.
The known history of Fire on the Mountain dates back to a
1971 studio session (an aborted Hart LP) with Mickey singing a surprisingly rap
style of lyrics rather different from what we hear now. As might be expected
from an early studio version, the lead vocals, Jerry’s brief solo, and the
backup vocals all seem to soar in isolation, without the layered synergistic
interplay which later comes to characterize Fire. Also, this early delivery is
closer to Hunter’s originals than the dreamy, Row Jimmyish verses we have all
grown to love and dance to. In Box of Rain, Hunter himself tells the lyrics’
origin: composed at Mickey's ranch as local fires seared the hills and neared
their studio. But as usual they are re-written in a characteristically more
evocative, open direction sometime between 1971 and 1977. After this studio
session, Fire smolders in obscurity until March 18, 1977, when it is first
performed, hesitantly, unexpectedly, out of Scarlet.
Unlike Scarlet's lyrics, which recount a chance encounter
whose passions are reflected in a game of cards, Fire is deeply, powerfully,
positively problematic. Addressed to the long-distance runner who can't leave
the barroom floor, who is almost aflame but cannot sense the heat, compelled to
stay, the singer questions his motivation:
You say it's a living we all gotta eat,
But you're here alone, there's no one to compete
and
You gave all you got, why you wanta give more?
The more that you give, why, the more it will take
Fire tells of obsession and compulsion, of inability to look
away from the flame, of aesthetic rapture which blinds to danger and continues
even when passion has passed, carried on by its own internal momentum. Hunter's
original lyrics emphasize the images of the encounter, and in fact go far
afield. In particular, the third stanza chronicles the recording process, and
the fourth describes a pig-roast. Interesting though they are, in concert they
would have had two effects. On the one hand, the task of delivering five long
stanzas would have vastly cramped the improvisational impulse, in much the same
way that the lyrics of Terrapin Station, so beautiful, nonetheless are so
imperative that there has never been a significant jam within the song, only at
its end. On the other hand, the rich space of Fire would have grown cluttered
with details. As usual, Garcia re-crafted these away from specificity in the
direction of evocative ambiguity, much as he did with lyrics such as those of
‘Morning Dew’. As they stand now, it’s all too easy to read the band and
ourselves into these ellipses, but the power of Fire does not lie in any
mirror. Rather, the delight is in juxtaposing a song whose lyrics counsel
moderation and caution with a song whose music provided the improvisational
opportunities for such awe-inspiring creativity. We long ago crossed the thin
line beyond which you really cannot fake. Below I would like to examine the key
points to look for in any performance of Scarlet or Scarlet>Fire, and then
present many examples.
Scarlet's Great
Points
I encourage everyone to get the tapes below for superb
versions of standalone Scarlets. In them, the great improvisational spaces lie
mainly after the third verse (ending ‘to let her pass by, let her pass by’) and
the final stanza (ending ‘the heart of gold band’). In all cases below, the
real fireworks start after the lyrics have passed. In later years, these
incendiaries became foreplay for the Everest-like ascents of Fire, and were
all-too-often abbreviated.
05-25-74: Great
1974 version in an outstanding mix for an audience tape. Minor lyrical
variations, good underlining by Donna, excellent keyboards. Jerry’s solo after ‘to
let her pass by’ is isolated and short, but pretty. After the final verse,
though, the entire band kicks loose for a couple of minutes with a delightful
jam.
06-30-74: An
audience tape more distant from the stage. Longer, meandering, less intense
instrumental with Jerry and Phil leading and Keith providing the background
structure. Donna is oddly absent from this quietly pleasing jam.
07-19-74: This
version beats a fast pace all the way through the song, and barely pauses after
‘the heart of gold band’ before plunging into a high-energy jam which recoups
the Scarlet motif for thirty seconds or so with the whole band in high gear
(and great vocals from Donna!) before Jerry ignites into a searing solo. Phil
weaves in and around him, and Keith brilliantly improvises. This goes on for
several ecstatic minutes. A must!
07-29-74: The
drummers and Keith lay a firm, soaring backbeat as Jerry spirals into several
orbits. Regrettably, Donna is absent from this beautiful performance.
07-31-74:
Delightful extended jam, Donna absent, Jerry and Phil leading. And this opens
the show!
08-04-74: Played
hard and fast, with a great jam at the end featuring on-target Donna vocals
which open the gates to almost three minutes of inventive fury from Jerry, in
which he throws off extended riffs from the basic Scarlet theme while the band
sustains a fast, hard iteration of the song’s beat.
08-06-74: One of
the most unusual appearances of a tight ‘Scarlet’, right in the middle of a
spacey Playin’ in the Band! The abrupt transition into and out of Scarlet
reward attention. It’s surely the last thing anyone expected.
09-11-74: The
entire band rocks through this performance, and the extended jamming after the
final stanza is raucously perfect. The backbeat is gruff and beat-driven,
Donna's vocals are superb, and Jerry's jamming builds and elaborates on and
against this background. Rocking glory!
10-14-76:
Frenzied, inventive, long, and glorious. Jerry and Phil seem to compete to
outdo each other in the post-last stanza instrumental, with the drums providing
structure until Keith emerges from the chaos to guide the song home. I’ve
listened to this exceptionally beautiful version and thrilled to it for years,
even on my decidedly B audience tape; so will you.
As noted, Scarlet was performed on 46 occasions during 1974
and 1976, in about half the shows of this period, and the band had honed its
performance down to a fine delight. Nonetheless, its bright, upbeat melody
prevented it from achieving the gravitas accorded to Wharf Rat, Stella Blue, or
Row Jimmy, and one might have wondered if it would eventually become a
lightweight tune along the lines of Touch of Grey. This makes it all the more
surprising when we hear these searing performances. And in later years when it
almost inevitably led into Fire it often seemed foreplay, yet as the above
dates suggest, Scarlet Begonias contains impressive potential and inspiration
for improvisation. In fact, if the improvisational power and pleasures of these
distant early performances had been paired with the rocking, driving dynamism
of later years’ Fires, we would all have long since stopped listening to Live Dead.
Scarlet>Fire: What
to Look For
Be that as it may, outstanding performances have abounded
since 1977. Since my first experience of this on 01-08-79 I have collected and
listened to every performance of Scarlet>Fire save two (02-07-79 and
09-26-80), and have come to the conclusion that only Dark Star and Eyes of the
World are as varied and inventive. And whereas Dark Star flourished only for
six years or so, the Dead explored, developed, and moved us with
Scarlet>Fire for almost twenty. And, really, which one is better for
dancing?
Whereas Dark Star has definite periods, and it'd be easy to
listen to one and date it to within two or three months, Scarlet>Fire
displays less evident evolution; the changing styles of a gifted series of
pianists and keyboardists are the clearest index of change. And everywhere,
from 1977-1995, we can find sterling examples of its grand improvisational promise
amply fulfilled, which can hardly be said about even titans such as Dark Star.
More to the point, its greatest performances are not be defined by mere time
and space; instead, this is a piece of music which makes and follows its own
laws of development and aesthetic destiny, and if we are to understand its
power, it behooves us to understand its internal structure, and architecture of
creativity. Hence, below I’d like to suggest the key moments to watch in any
performance of Scarlet>Fire. After that I'll list and comment on some of the
greatest, most mind-bending, most inexhaustible performances, in some of the
unlikeliest places.
1. Scarlet: The post-second stanza moments are traditional
for jamming; often this is where the band kicks loose, especially in the
1974-1976 period. Sometimes Jerry leads or jams exclusively; other times the
entire band, especially Phil and Keith, feels the muse. But even in the
post-1977 period, Scarlet still could shine in and of itself, as in 02-03-79
and 04-24-78. And see my comments on Scarlet for great examples of great
potential greatly fulfilled.
2. Transition: There are two broad trends to note. First is
Dick Latvala's favorite, the extended spacey, jazzy transition, as in 10-14-83.
Other outstanding examples of this include 03-10-81, 05-26-95, and 11-05-79.
You can listen to these and forget where you are on the tape, the music seems
to flow inexhaustibly, from inexhaustible springs, like the Nile
on acid. Second is the tighter, more rhythmic transition, such as 01-08-79,
05-08-79, 12-03-79, 10-14-94, and 05-21-77. In these cases (which, by the way,
are easier to memorize and replay mentally ad infinitum), the ideal is an
aggressively jammed lead out of Scarlet, exploration of its theme, and a
slightly wandering jam which ends with a hotly anticipated completion into a
great Fire intro. The best example of this I can think of is 10-14-94. In this
second group, sometimes Jerry will cycle through a single musical theme
multiple times, exploring and varying it. Other times, he crafts a single long,
complex development, ideally with or (often) without the supporting embroidery
of the band.
3. Entry to Fire: Sometimes this is slow, as in 05-21-77; other
times it is hot and fast, or with contrapuntal wrestling, as in 12-03-79 and
09-13-91. Sometimes the entire band seems to instantly shift from a swirling
flock of seagulls to a focused constellation of eagles, as in the awesome
05-08-79. For me, this play of anticipation and fulfillment is a pivotal moment
of any show. Normally Jerry leads, but there are times, as on 11-30-80, when
Phil and Bobby pull the show along until Jerry succumbs. And in fact, the
intricate play of talents frequently foregrounds Phil and Bobby; certainly the
entrance to Fire would merely simmer without Weir’s powerful rhythm playing.
4. Post-First Stanza
Jam, which starts after the lines ‘Fire, fire on the mountain’. In terms of
improvisational genius and intensity, this is the peak of almost any
performance. Usually Jerry leads, sometimes in isolation with the rest of the
band just repeating the Fire motif, as on 05-21-77, and on other occasions the
entire band is exploring, staying close to him all the way. Ideally, this
section features cyclic exploration of themes, and sustained development.
10-14-94 is the epic example of this, but so are 02-03-79, 12-05-79, 05-21-77,
09-04-91, and 09-13-91. Often the most intense moments of the night’s show are
fiercely embedded here.
5. Pre-final stanza
instrumental: main jamming. Two
superb examples of this date from surprisingly recent times: 09-04-91, and
10-14-94. In each case, after the final ‘Fire, Fire on the Mountain’
iterations, the band fires up the theme again, and Jerry starts jamming almost
in a frenzy. Some good examples of this would be 05-25-77 and 03-31-88. Unlike
what goes before and after, this is often very free-form, with different
elements of the band moving in and out of focus. But Mickey and Billy
consistently craft a strong beat.
6. Peaks before final
entry to Scarlet: 05-25-77:
beautiful soaring peak, too delayed: only a hint of what might have been:
infuriating. On the other hand, in 09-04-91, there is a similar rocket-like
soaring just before a quick, elegant reprise of the Scarlet theme, but in this
case it concludes a near-half-hour of passion and power nearly without parallel
this side of the Big Bang. In most cases by this time we expect to re-enter the
earth’s atmosphere, and only on one occasion (10-14-94) did I start to wonder
if we were going to take off again. So this is usually predictable, but
powerful and poignant.
Why have this brief reprise at all? In a few cases, such as
03-10-81, it is absent, and the sky didn’t fall. The beauty of the reprise is
its framing effect. As the narrator in Scarlet stumbles down the street, ‘the sky
was yellow and the sun was blue’, and he seems as totally disoriented as the
music is affirming. Against this backdrop, Fire explores obsession and the
strongest passions beyond volitional control. As the chant ‘Fire, Fire on the
Mountain’ rises in intensity, it can almost seem too much, and the song itself
offers no resolution, and can appear as chaotic and lost in its own inner logic
as a dream. However, the sudden reprise frames these flames in human
experience, and anchors Fire's dark meditations in Scarlet's promise that life
goes on, and everyone’s playing in the Heart of Gold Band. That’s why these few
seconds exert such influence.
With this map in mind, let's review some awesome
performances of Scarlet>Fire over eighteen incendiary years. As we do, it
will be amazing to see how strongly these songs were performed even at the end
of the line, when many people were starting to drift away from the scene, and
when Jerry seemed to be in occasional decline. In fact, at least one of the
greatest performances ever, 03-23-95, dates from the last six months!
03-18-77: This
first version is notable for the uncertain, hasty transition into Fire and some
lyrical imprecision; clearly they were relieved to find their way. But on the
circulating boards, it’s very pretty nonetheless.
05-08-77:
Rightfully one performance against which all are measured, this features
extended, exceedingly rich jams from Jerry, outstanding Phil, and great work by
Keith. As Jeff Tiedrich never tires of telling us, everyone must get this tape.
05-17-77: As
fully mature and moving as 05-08-77, but without the former’s progressive,
ascending quality. But tighter and more energetic. Long, lovely, and a
must-listen.
05-21-77: This
glorious show features superlative lyrical jamming from Jerry. Though on first
listening this show seems simpler (and indeed slower) than others, its sheer
beauty is incomparable, and encouraged me during the darkest days of my first
mortgage.
05-25-77: An
immensely frustrating performance where the jams are competent until the last
ten seconds when they catch fire. Then Jerry dives back into Scarlet and
abruptly chokes it off. Talk about coitus interruptus!
01-31-78: A long,
jazzy, dreamy transition into Fire, a perfect, percussion-driven foreshadowing
of many great performances this year.
02-05-78: One of
the highest-energy, flowing, dynamic transitions ever emerges from a great
Scarlet, and Phil seems to guide the transition to Fire. The jams following the
first stanza of Fire are dreamy yet intense, yearning yet spacey. A classic!
04-24-78: Scarlet
is played with 1974ish excitement and a long instrumental interlude that turns
into its own strong jam. The mellifluous, riff-laden transition takes on a rich
life of its own. Bobby and Jerry play brilliantly off each other during the
intro as Phil and Keith provide the guiding beat. Outstanding jams everywhere
seem to explore every improvisational opportunity; this is why we go to shows!
09-02-78: One of
Dick’s personal faves, for its great Scarlet, extended, tricky transition, rockin’
from Bobby, and deceptively easy-going pace. The post-first-stanza jam is
note-drenched honey from the entire band, not simply backup for Jerry.
01-08-79: The
first one I ever saw, immemoriably memorable for its reggaeish joy, the long
jazzy transition, cool Bobby rhythms, perfect singing from Donna, and the
driving beat through Fire. The happiest night at Madison Square until the hierophany of
10-14-94.
02-03-79: For
years one rec.music.gdeader has campaigned for this show. A great solo early in
Scarlet shows the thrill is not gone; later Jerry plays contrapuntally
throughout the intro to Fire. Good jamming throughout, and a sudden,
out-of-the-blue jump into the Scarlet reprise.
05-08-79: Like
riding a rocket! Fast, aggressive, yet intricate jams throughout. The entry to
Fire in particular is lovely, as are the improvisations throughout Fire. One of
the best!
09-05-79: Long,
complex, pretty solos after the first stanza of Fire, strong integration with the
whole band, and revisitings of earlier jams in this performance make this a
densely structured delight. Jerry shines in several jams.
11-05-79: Famous
for its length and extended jazzy transitions; truly one of the classics of
this strain.
12-05-79: Rhythm
and percussion present strong momentum as Jerry throws off string after string
of riffs, keeping us in suspense for Fire to start. Worth the wait! Jerry’s
contrapuntal playing to the rest of the band during the entry, and then his
dovetailing into the flow of the song, is perfect. The post-first-stanza jam is
sustained, sophisticated, and beautiful, even using feedback for lyrical
effect.
08-17-80:
Spectacular use of feedback and echoes during transition jams (not to mention
Mickey’s cowbell), and an outstanding post-first-stanza solo and jam. And all
of this follows an absolutely rocking Scarlet! One of the best!
11-30-80: Long
jam out of Scarlet which intensively explores and builds variations on the song’s
melody. As this is cranking up, the band starts a tentative move in the
direction of Fire; Jerry veers away, not done jamming from Scarlet, and does
not rejoin until Phil and Bobby have led everyone else into Fire. The jam after
the first stanza is searching, poignant, and powerful, continually refreshed by
the band’s cycling of the Fire motif. After the second stanza, another soaring
round begins, with Jerry repeating and varying elements from the Fire melody
until the band reasserts the basic Fire theme, against which Jerry plays for
several seconds. An outstanding version.
03-10-81: Vigorous
instrumental during Scarlet, a careful, structured exploration of the Fire
theme after the first stanza, and long, leisurely jams thereafter. If you like
10-14-83, you’ll love this. No Scarlet reprise!
09-12-81: Fire
features three solos from Jerry, in the usual locations, after the first and
second stanzas, and the final ‘Fire, Fire on the Mountain’ reprise. Each is
strong, tight, soaring, and exceptionally closely supported by Phil and Bobby.
Brent’s keyboards percolate throughout.
04-03-82: Very strong
Scarlet jam, reminding us of its inexhaustible depths. Also, the transitional
jam has two distinct phases, one adhering fairly closely to the Scarlet theme,
and the other jazzier. The entry to Fire is reggaeish and joyful. Beautiful
instrumentals proliferate throughout, and this one ends too soon.
07-25-82: Notable
for its jazzy improvisational interludes, prominent percussion, great rhythm,
and its return to jamming when several times it seems to be winding down. This
is the way it should be!
10-14-83: Dick’s
pick for the extended, intricate, jazzy transition; more than once Phil (and
later Brent) starts the opening moments of Fire but Jerry’s not ready to go.
The anticipation is agonizing, and when it finally comes, the entry into Fire
is a multi-layered delight, and the post-first-stanza jam ascends and just
seems to get better and better. In fact, it never ends; the rest of the band
rises to overtake it.
06-16-85:
Well-known for some intricate jamming and strong support from Brent. Like many
1985 performances, very jazzy, roaming transitions.
09-15-85: Brent
and Bobby springboard Jerry to some impressive heights in the transition and
post-first-stanza spaces.
03-31-88:
Strongly played all the way through, with Garcia nonetheless ratcheting up the
energy towards the end; alas that this did not happen fifteen minutes sooner!
03-22-90:
Forceful, innovative transitional jam, foregrounded keyboards and MIDI, which unusually expands and builds on Scarlet's
melody. Great, heartfelt jamming after the first Fire stanza, and energetic
jamming after each stanza. Very beautiful!
09-14-90:
Excellent intro to Fire with lovely contrapuntal jamming from Jerry. The
post-first-stanza jam is superb, with great, lyric soloing from Jerry, and
full-throttle playing from the entire band, and exceptional keyboards. This
dense, full involvement foreshadows 10-14-94. Truly this composition never got
old.
08-16-91: In this
unusual Scarlet>Victim>Fire, the former is average, whereas the latter
receives a long, lovely, elaborate workout not just once but twice, in jams
following the first two stanzas.
09-04-91: Fast,
inventive, and joyful, with outstanding contributions from Hornsby. Great
instrumental inside Scarlet, full of piercing, longing solos, especially after
the first and last stanzas of Fire, bolts of feedback just prior to the Scarlet
reprise. Spirit-lifting, skull-cracking, and superbly danceable.
09-13-91: Seldom
has Scarlet been played with such emotion, energy, and inventiveness since
1977. The jam which eventually culminates in Fire’s fulminations is broad and
band-based; Jerry leads but Bruce and Phil weave around him on Bobby's rhythmic
support. The long, deeply passionate solo after the first stanza is one of the
best. And then the same thing happens again after the second stanza! Indeed,
there are longer Scarlet > Fires, but few better ones.
10-14-94: See my
review of this show, the alpha and the omega of this composition, unparalleled
for sustained intensity, improvisational inventiveness, perfections of solos, and
band synergy, especially Vince’s aggressive support. Nothing ever superseded
this.
03-23-95: One of
the greats, following an Unbroken Chain and preceding a killer Corinna. Awesome
jamming throughout from Jerry, superb keyboards, densely-layered all-band jams,
with nary a dull moment. It doesn’t get better than this powerhouse on fire!
And this is 1995!
05-26-95: Another
long performance with inventive transitions and great jamming. This is widely
regarded as one of the best late Scarlet>Fires.
Take a look again at the first and last dates on this and
odds are you’ll be shocked. Full-throttle, evocative, lyric performances of
this composition crowd an eighteen-year span, with scarcely a year passed over
and some of the greatest and most intense shows occurring towards the end! How
different from Dark Star, which flourished for a mere six years (1968-1974). In
fact, over thirty years, only a very few songs, such as Eyes, China>Rider
and Truckin', continued to catalyze the band’s improvisational genius for so
long; other greats (and personal favorites), such as Help>Slipknot>
Franklin and Terrapin Station, are often brilliant, but did not display the
vast scope of improvisational resourcefulness seen in Scarlet>Fire. From the
beginning to the end, the band continued to mine gold from the deep, rich veins
of these songs. And even the few versions listed above show how differently the
band could play the same 30- or 40-second segments of these songs over the
years. Many songs have been played brilliantly; few so consistently inspired.
And so it is that Hunter's innocent narrative of a chance
encounter and his elliptical portrait of obsessive vision have weaved around
each other for years, like DNA, like white-hot binary stars locked in bright
eternity, informing, interrogating, and finally fulfilling each other and
everyone who heard them then and who hears them now. Their infinitely and
endlessly varied performances promise that each time we hear one, we hear the
others, for each iteration evokes, refracts, illuminates, and enlarges others
in the mind’s ear. When we listen to 03-18-77, we hear the seeds which grew
into 10-14-94 and watch them grow. When we hear the jazzy transition of
10-14-83, we feel it depart from and accentuate the tight, powerful structure
of 05-08-79. Even a lesser version is often redeemed by its recall of others as
we listen, compare, and evoke. On a personal note, my favorites over the years
have been 05-08-77, 05-21-77, 01-08-79, 05-08-79, 09-04-91, 09-13-91, 10-14-94;
nothing else the Dead have played has given me such joy. The glorious synergy
of their improbable, intricate, saturating power has never failed to stir the
senses and kindle the heart, which is why so many of us keep the beautiful
melody and words of these songs unto infinity and beyond and then some.
This essay is dedicated to my brother Sean, who got me a
ticket to 01-08-79, as well as my first tape, a copy of this sublime and savage
show. Special thanks to Michael Goetz and John Coulter for awesome generosity
in the sharing of tapes.
