Or maybe the tapers just got their speeds wrong. I don't exactly know, but several of the versions seem to have tunings of 1/2 note down so that the song was played in the key of Ab rather than A. It had become just guitars and a floating beat held together by the drummers, Weir's chugging, and Garcia's biting low note carry-through. Helping it along were the dual drummers and the nuance of no organ and no piano. Suddenly the song had come into its own, even becoming a lead off song for many of the shows. It was getting torque that he could use to launch the beat into a lazy meandering of very precise timing juxtaposed against Bobby's much improved rhythm, which had taken on a chugging precision. On Weir's E chord he started to bend further his low G note rather than adding a passing note, and was able to slur the beat with this really cool edginess. Jerry, around March and April began to morph the low note riff. In 1970, the year started and the song was still exhibiting some of the rudiments of the organ playing and the somewhat fast standard low note riff from Garcia, offered as counterpoint to Weir's embellishment on the D and E chords. (I've listened to about 25 versions for the years 19 from what can be found on .)Įven the Dead knew the gem had begun to sparkle as is evidenced by its inclusion in setlists in and around that time: I've just spent a lot of free time this past July 4th weekend studying it and the change, it going from just another song in their repetoire to one of their best sorrowful laments, occured in 1970. I've always believed that Cold Rain and Snow had its best year in the early 70's.
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