From there, there’s a major pentatonic riff with a hammer-on to the IV chord, D, as a partial chord. The main riff slides into an A chord chromatically from G#.
There’s a quick key change to D major at “She’s got everything…” and later a permanent key change from A major to B major at “cuckoo’s crying.” And the lead work uses the major scale, around the framework of the major pentatonic. Most of the chords are diatonic, with a borrowed bVII chord mixed in. The main riff is based on an open A chord with a hammer-on IV chord, D, along with connecting notes from A major pentatonic. (It’s recommended that you listen to this on Spotify as their embed only has 200 songs.Tldr: Sugar Magnolia starts in A major and ends in B major. It’s so much fun that for a few minutes I take back everything bad I’ve ever even thought about hippies.Ī filterable, searchable & sortable database with links to every “Certain Song” post I’ve ever written. Hell, drummer Bill Kreutzmann gets so carried away he ends up double-timing his snare and actually ends the rave-up a measure too soon, but almost instantly catches himself and ends when everybody else does, a mistake they rightly left on the album.Īfter the audience starts cheering at the false ending, they leap back into “Sunshine Daydream” section, which is basically a repeat of the preceding jam, but now with Donna Godchaux singing “sunshine daydream” in imperfect harmony with Bob Weir. Jerry Garcia’s solos have always gotten the brunt of the praise (and blame) when people talk about their long improvisations, but while his solo is utterly tremendous on this version of “Sugar Magnolia”, the whole band - especially pianist Keith Godchaux - are utterly smoking. On American Beauty, “Sugar Magnolia” Bob Weir continues to chant “sunshine daydream,” as the song fades out, but on this live album, that section becomes almost an entirely new song, following an absolutely crackling full-band jam where every single member is firing on all cylinders. None of which has anything to do with this tremendous live version of “Sugar Magnolia” from the Europe ’72 triple-live album. The best thing about that show was that I got a totally cool Dylan shirt (with a picture of him that was on Biograph) that almost instantly shrunk on me, so I had to give it to my brother Joseph. The final time I saw them was at the Oakland County Coliseum in the summer of 1987 the dire “Dylan & The Dead” tour in 1987. In any event, both shows were totally enjoyable, even if I was immune to having my mind blown. Since I spent the entire US Festival subsiding on hot dogs & Coca-Cola, I kinda wish they had actually served breakfast during their set. The next time was a few months later, as Tim & I saw them open the final day of the US Festival with a set that was advertised as “Breakfast with The Grateful Dead”. Guessing that Larry, who spent more time than anybody probably should have playing Dead music for me, had something to do with that one. The first time was in February 1982 at Pauley Pavilion on the UCLA campus with Tim & Larry, though exactly why, I’m not sure, since most of my road trips around that time were to see folks that were higher in my personal pantheon, like The Who or The Kinks or Bruce Springsteen or Monty Python’s Flying Circus. I saw The Grateful Dead three times in the 1980s.
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