"Exploring the Sweetness of 'Candyman': A Grateful Dead Classic"

Larry Mishkin reflects on a Grateful Dead show from 44 years ago on April 1st, 1980, where the band played a prank on April Fool's Day, starting with a Chuck Berry tune and then transitioning to their usual instruments to perform the song again. Larry also talks about the significance of the song "Candyman" and its role in the Grateful Dead's repertoire, as well as Billy Joel's milestone 100th residency concert at Madison Square Garden. Larry also talks about "Friend of the Devil" and its origins, penned by lyricist Robert Hunter in collaboration with Jerry Garcia and John Dawson.  

Grateful Dead

April 1, 1980 (44 years ago)

Capitol Theater

Passaic, NJ

Grateful Dead Live at Capitol Theater on 1980-04-01 : Free Download, Borrow, and Streaming : Internet Archive

April Fool’s Day

Opener that’s keeping with the theme

INTRO:                 The Promised Land

                                Track # 2

                                1:14 – 3:18

Chuck Berry tune with the Boys having a bit of fun to celebrate April Fool’s Day:

Jerry and Brent on Drums

Bobby on keyboard

Billy on bass and background vocals

Mickey on rhythm guitar and singing lead vocals

Phil on lead guitar

Kind of plodded through the song, but the fans loved the idea and the effort

They then went back to normal instruments, played the tune again and killed it!

A fun opener with a good reality check for the dosed fans in the crowd.

SHOW No. 1:                    Candyman

                                                Track #4

                                                4:56 – 6:30

Garcia/Hunter masterpiece

The song Candyman is part of the album American Beauty, which found its way into the world in November 1970. American Beauty is an album that is cherished by many, as it brings stories and emotions that feel both personal and universal. Candyman, with its blend of sweetness and shadow, invites listeners to delve into a world that is rich, complex, and thoughtfully spun. The album, with its varied tales and emotions, continues to be a friend to listeners, offering stories that explore the many sides and shades of life’s journey.

The thought-provoking words of Candyman were penned by Robert Hunter, and the compelling music was created by Jerry Garcia. These two artists worked together to create many of the Grateful Dead’s memorable songs. Their collaboration in Candyman offers a rich story that allows listeners to explore and imagine a world that is sweet, slightly shadowed, and full of interesting adventures. The images and tales spun by the words and music invite people to think, feel, and maybe even find bits of their own stories within the tale of the Candyman.

Played a total of 273 times.  Almost always a Jerry first set tune alternated with Loser, West LA, and a few others

First played on April 3, 1970 (10 years earlier than today’s show) at Armory Fieldhouse in Cincinnati, OH

Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh.

SHOW No. 3:          Friend of the Devil

                                    Track #8

                                    3:36 – 5:20

• Grateful Dead lyricist Robert Hunter told Relix that "Friend of the Devil" was the closest that the Grateful Dead ever came to creating "what may be called a classic song." Many Deadheads may disagree, but it's an interesting perspective from the man who penned the words for the majority of the Dead's most iconic pieces.
  
  Whether or not "Friend of the Devil" is the sole "classic" Dead tune, it's hard to argue that the band tapped into the outlaw's zeitgeist to find a timeless song with this one. Dead chronicler extraordinaire David Dodd, for one, agrees. "No other Dead tune gets played quite so often," Dodd writes in Greatest Stories Ever Told.
• Jerry Garcia and John Dawson of New Riders of the Purple Sage (NRPS) wrote the music for "Friend of the Devil." Hunter wrote the lyrics, but Dawson played a critical part in that area, as well.
  
  In his online journal, Robert Hunter recounted writing the lyrics for "Friend of the Devil" in a single afternoon in Madrone Canyon. He actually created the song with the intent of playing it with NRPS, after the band had asked him to be their bassist. This is why he first unveiled the song to David Nelson and John Dawson in their home in Kentfield. At that point, Hunter explains, "The 'Sweet Anne Marie' verse which was later to become a bridge was only one of the verses, not yet a bridge."
  
  Where things get really interesting in this story is where Hunter tells us that the chorus originally went:
  
  I set out running but I take my time
  It looks like water but it tastes like wine
  If I get home before daylight
  I just might get some sleep tonight
  
  Notice how the line "A friend of the devil is a friend of mine" doesn't play into that chorus? This is where Dawson comes in.
  
  After showing the guys the song, Hunter explains, the band went down to the kitchen for espresso. "We got to talking about the tune and John said the verses were nifty except for 'it looks like water but it tastes like wine,' which I had to admit fell flat. Suddenly Dawson's eyes lit up and he crowed "How about 'a friend of the devil is a friend of mine.' Bingo, not only the right line but a memorable title as well!
  
  We ran back upstairs to Nelson's room and recorded the tune. I took the tape home and left it on the kitchen table. Next morning I heard earlybird Garcia (who hadn't been at the rehearsal - had a gig, you know) wanging away something familiar sounding on the peddle [sic] steel. Danged if it wasn't 'Friend of the Devil.' With a dandy bridge on the 'sweet Anne Marie' verse. He was not in the least apologetic about it. He'd played the tape, liked it, and faster than you can say dog my cats it was in the Grateful Dead repertoire."
  
  It's interesting to wonder whether or not the song would still have become a staple if Dawson hadn't popped those lyrics. The line, "a friend of the devil is a friend of mine" isn't the only great thing about the song, but it's definitely a critical part.

Hunter dipped out of NRPS almost as fast he dipped in, and so the song became a Dead tune.

Certainly a popular tune with the band and the Deadheads.  Played 310X, almost always a first set tune.

First – March 20, 1970 at the Capitol Theatre in Port Chester

Last – June 2, 1995 at RFK Stadium in D.C.

SHOW No. 4:               I Used To Love Her But It’s All Over Now

                                         Track # 9

                                         3:15 – 5:00

"It's All Over Now" is a song written by Bobby Womack and his sister-in-law Shirley Womack.[1] It was first released by The Valentinos, featuring Bobby Womack, in 1964. The Rolling Stones heard it on its release and quickly recorded a cover version, which became their first number-one hit in the United Kingdom, in July 1964.

The Valentinos recorded the song at United Recording in Hollywood on March 24, 1964,[2] and released it two months later.[3] It entered the Billboard Hot 100 on June 27, 1964, and stayed on the chart for two weeks, peaking at number 94.

The Rolling Stones landed in New York on June 1, 1964, for their first North American tour, around the time the Valentinos' recording was released. New York radio DJMurray the K played the song to the Rolling Stones. He also played the Stones' "King Bee" (their Slim Harpo cover) the same night and remarked on their ability to achieve an authentic blues sound. After hearing "It's All Over Now" on that WINS show, the band recorded their version nine days later at Chess Studios in Chicago. Years later, Bobby Womack said in an interview that he had told Sam Cooke he did not want the Rolling Stones to record their version of the song, and that he had told Mick Jagger to get his own song. Cooke convinced him to let the Rolling Stones record the song. Six months later on, after receiving the royalty check for the song, Womack told Cooke that Mick Jagger could have any song he wanted.

The Rolling Stones' version of "It's All Over Now" is the most famous version of the song. It was first released as a single in the UK, where it peaked at number 1 on the UK Singles Chart, giving the Rolling Stones their first number one hit.[5] It was the band's third single released in America, and stayed in the Billboard Hot 100 for ten weeks, peaking at number 26. Months later it appeared on their second American album 12 X 5. The song was a big hit in Europe and was part of the band's live set in the 1960s. Cash Box described it as a "contagious cover of the Valentinos' click" and "an infectious thumper that should head right for chartsville."

Dead played it 160 times, always a first set Bobby tune.

First on Sept. 6, 1969 at Family Dog At The Great Highway in S.F.

Last on July 2, 1995 at Deer Creek in Indy/

This version is great with the Brent solo leading into the Jerry solo.  Check out the entire clip.

SHOW No. 4:               Shakedown Street

                                      Track #19

                                      4:30 – 5:57

When people think of the Grateful Dead, they often think of free-flowing improvisational music. However, the band was known for many things, including their ability to construct incredibly catchy songs with deep meanings. This is exemplified in one of their most iconic songs, “Shakedown Street.”

Shakedown Street, the title track of the Grateful Dead’s tenth studio album, released in 1978, has been interpreted in countless ways over the years. 

According to Hunter in an interview with Rolling Stone magazine, “Shakedown Street” was a place where the underbelly of society came out and did its trading. “It was a place for freaks, weirdos, and people who didn’t fit in anywhere else. It was one of the only places where they could socialize and be themselves without fear of persecution.”

The lyrics of “Shakedown Street” talk about this place where everybody is welcome, regardless of who they are or where they come from. As the song says, “Don’t tell me this town ain’t got no heart. Just gotta poke around.”

The song is a reflection of the band’s values and the alternative society that they represented. It highlights the idea that people should be treated equally, without judgment, and that everyone should be able to express themselves.

Played 164X

Popular show opener, second set opener and occasionally, as here, an encore.  Great way to end a show rocking out hard for 10+ minutes and then going home.

First:  August 31, 1978 Red Rocks

Last:  July 9, 1995 Soldier Field – played it right up until the end!

.Produced by PodConx  

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast