“Comes A Time” for a real different version

Every now a then a version of a song is played so differently and uniquely that it stands in stark contrast to the existing body of work. Sometimes when this happens its because the band’s creative juices were extra hot and sometimes it is because it was quite simply an off night and the band flubbed it.  The subject of this blog entry is the “Comes A Time” from 5/16/78 and I pose the question to you, my dear readers, was this version extraordinary or was it an off-night flub?

Side note. Astute readers may have noticed from my last post about 7/17/76 to this one, I have skipped over a couple amazing versions. Specifically, the versions from May of 1977 are awe inspiring and some of the best ever.  If you are a fan, you already know about May ’77 and therefore I’m not putting my effort into an in-depth review.   If May ’77 is not already embedded into you DNA, I suggest you check out 5/4/77 & 5/9/77. The latter being the Buffalo show that inspired me and ultimately brought forth this “listening to every version” project.  Seriously, go listen to that Buffalo version. It is truly sublime.

Here is a handy link to 5/16/78 so you can listen while you read through my notes.

Phil is prominent in the intro of this version. His thumping base notes complement the guitar work nicely. Jerry’s voice immediately jumps out as hoarse. Putting this version in context of GD history, it’s easy to piece together that Jerry is fighting a bout of laryngitis that impacted his voice for quite a while. I think his croaky voice actually enhances the melancholy feeling of ”Comes A Time”.

The first chorus and verse are pretty standard. The somber words and gravelly lyric delivery set the mood.  Bob is dropping his trademark harmonics at every turn. At 2:18, I hear the first “something different” when Jerry spontaneously adds “no” after he sings,  “to cause so much pain, no-oo”. It’s a subtle addition but I don’t recall him including it into other versions.  Pretty heartfelt, I thought. Everything continues as normal until it hits the middle solo section.

The solo begins at 3:20. The first line is typical, but the 2^nd is not. Jerry plays with the melody and changes it somewhat, a slight turn of phrase that you can hear at 3:25. It a clever rearrangement and it sounds great.  As the solo progresses it follows its normal flow but moves to finish kind of oddly, as if a bit flubbed, but it wraps up around 4:20 as normal. However, it actually doesn’t finish. Instead they go around again for a middle solo part two. I think this may be the only version where he takes a second pass. This time through, Jerry’s guitar tone changes to a distinctly more reverby and fuzzy sound. You can hear the first full on reverb line at 4:25 when he repeats the same phrase a few times and lets it ring out.  As he goes through the second round, it is definitely more dramatic than the first. I’m left wondering if he was unhappy with his first attempt and wanted a redo or if he was just feeling it and kept going.

On to the post-solo chorus and verse section, he delivers them as tenderly as ever. His raspy voice exudes pain and despair. At 7:50 the ending solo begins. The reverb is back. Several riffs are played that remind me of a person in mourning. There are some rapid multi-note segments from 8:45-9:10 that are uncharacteristic of his phrasing and style in this song. Then it seems like he noticed he was a bit too trigger happy and does a complete 360 reversal and holds and plays around with, for the most part, the same 2 notes from 9:20 for the next 45 seconds and then finishes up.

This version is markedly different from every other version of the song and it makes me wonder what was actually happening. I’m not sure this goes down as a great version or a weak version.

I asked a fellow deadhead and good friend, Marcus Merrimanus, what he made of this version. His words, “Dude, I love you like a brother but you’ve gone too far with this project. Let me know when you are back on planet Earth.” Well, I’ll leave it to you, dear readers. Was this version brilliant or was it a near train wreck narrowly avoiding a derailment? Either way, I think this version is one worth listening to!

 

Grandeur at the Orpheum

Alas, it is time to discuss one of the greatest versions of “Comes A Time” ever played.  The auspicious performance was on 7/17/76 in San Francisco at the Orpheum Theater. It was the fifth night of a six night run.  From what I’m seeing on the Archive/Relisten, the final night on 7/18/76 is the most lauded of the run. Some reviewers are claiming the 18^th to be the best show of the year. You might want to check it out.

However, the 17^th brings us an awe inspiring and masterful version of our dear, “Comes A Time”. Not only does this version bring together all the elements that make it a top version, but it also contains a finishing jam that stretches out its playing time to an all time record of 15 minutes. That’s almost twice the duration of a typical version. Because of that, I’m calling this one the “Grandest” version ever played.

Here’s a handy link so you can queue it up while you read through my notes.

This version is preceded by an energetic Samson and Delilah. There is a clean finish and the song begins with a stretched out intro. There’s quite a bit of noodling. You can hear Jerry and Phil kind of playing notes around the melody for a good minute. I hear a hint at Spanish Jam at 0:58 but then at 1:05 you can hear the first telltale signal that they’re going into “Comes a Time”.

As Jerry begins his opening lines, it’s quite ordinary. His voice sounds good but it’s not particularly special. You can hear Phil loud in the mix. He’s accenting the melody and Jerry’s vocals nicely. You can also hear Keith Godchaux’s keys loud and they’re a substantial component to this orchestration. Bob is popping his newly discovered and now trademark harmonics. You can hear a couple good examples of this at 2:37 & 3:07. He lets them ring out for a couple seconds which adds a nice texture.  Donna’s voice is missing (from the 2nd set altogether).

The first hint that this is going to be is a standout version is when Jerry begins his solo at 4:35. There is an usually high energy build up prior to this solo.  The first couple phrases seem to pick up on this energy and instead of being brought down to despair as it does in some versions its coming from a high place.  I get the a feeling of brightness and hope.  The rest of the band members are all doing their part and it feels incredibly well layered. On the ending phrase of the solo there is an well timed keyboard triplet at 5:37 that finishes the section superbly.

Moving into the post-solo middle section, Jerry’s vocals are more purposeful and selfless.  He’s giving advice up there on that stage.”Don’t give it up!….You’ve got an empty cup… Only love can fill”. It is wisdom not to fall on deaf ears.  To make sure of that, he enunciates “Oooonly”(…love can fill) at 7:40 and its powerful and thought provoking.

Going into the ending section at 7:50 we are bestowed with an unusual treat. Typical for this section is a Jerry solo that is not much different from the middle section solo. However, in this version we have a small solo of about 40 seconds and then we are ushered immediately into a spacey jam. The jam has a dreamy quality. To me if feels like the soundtrack to a daydream.

At 9:00 something altogether different happens. There is a tempo change idea and the rest of the band immediately jumps onboard. At 9:08 it is reinforced by Phil’s bass line. Then for the next several minutes we are taken on a journey through space and time. We are riding on a cosmic steamship, sailing over a moonlit chop, soon speeding up and creating a wake awash in imaginative sparks. After a couple minutes we realize we are floating over the world… in fact, it’s The Eyes of the World. The jam has morphed into the EOTW jam and it’s blissful.  Then falling back through the ether, the finish winds down into a very brief Drums before picking back up with a powerhouse “The Other One” as a predecessor to what was previously foreshadowed;  A beautiful Eyes of the Word.

This version is really a standout because of the extended jam at the end. There are only a few versions where the band used “Comes A Time” as a catalyst for extended improvisation. On the rare occasion that it did happen, and when the jam is so interesting and transformative, it elevates the band, show attendees, and listeners to a new place and a new feeling.  And that, my friends, is what it is all about!

I hope you enjoyed this blog entry. Please subscribe if you dug it. Leave a message to share your thoughts.

Footnote: Searching for a photo to use in the header I discovered this show is actually Dave’s Pick Volume 18.

A Welcome Return

In the 12 months following the first time played, the Dead performed “Comes A Time” 21 times. It was quite frequent in the Fall of ’71 and Spring-Summer of ’72.  Then there was a ~160 show gap spanning 3 years and 8 months until the next time played. During that period the Dead took a hiatus from touring and then returned to the road, recorded albums, and band members participated in various solo and new musical projects.

They brought back “Comes A Time” in Boston on the 4th night of a 4 show run on 6/12/76 (also not Billy’s Birthday despite what you hear in the recording). It was a blissful sound for anxious ears! This show was broadcast on the radio and has some interesting between-song banter that makes the recording fun to listen to.

Also notable at this show was one of only 5 ever Grateful Dead performances of “Mission In The Rain” (but played a ton by JGB). I really love this song.  It is another example of a powerful Jerry ballad. There is one particularly interesting detail about this tune that I learned while reading the Jerry on Jerry book. Jerry said he felt very sentimental about this song and as a result he didn’t like to perform it with the GD. He played it often with JGB though. If I recall correctly, he said the song has something to do with union members and workers rights. He had a soft spot for unions since his childhood days hanging out at the bar his mother owned which was a union member watering hole.  I could be remembering this wrong. The song is on my short list for some deeper analysis.  If you think it’s worthy of a deep dive let me know. It might be the topic of my next blog series.

After actively listening to the previous 20 versions of “Comes A Time” in chronological order over the course of about a week and taking detailed notes, this version hit me like a brick wall. Seriously, it was like that moment in The Wizard of Oz when it goes from black and white to color. There is so much different about this  version, and so much richness that it was a real special listening moment for me. When I first listened to it I had no idea of its context. I was too wrapped up in listening for small musical nuances to realize the band had matured and evolved since the previous performance.

There are many new elements in the song that debuted at this show. Might I suggest you get it queued up while you read my notes? Click here, play track 19. (Don’t forget to go back and listen to “Mission in the Rain” too, track 7)

The first thing I noticed is that the song is placed late in the 2^nd set. So it’s now found its happy place in the context of a Dead setlist. The intro is no longer Jerry strumming chords as it was in previous versions. Instead we have more of a grander note by note introduction by Jerry that is complimented by the drums (two drummers now), bass, and keys.

Then at the 0:37 mark you hear Bob drop a very well timed harmonic. These harmonics become Bob’s trademark role in the song. It is almost as if he realized that he too can contribute to the poignant and thoughtful nature of the song by way of harmonics. To my ears they sound percussive, like he’s playing the xylophone or some kind of bells.  He’s all over the harmonics in this version (and later versions). You can’t miss it.

Next at the 0:54 mark, a vocal harmony is heard for the first time in the history of the song. Who is uttering these angelic sounds from the heavens? It’s Donna Jean, that’s who!  And boy does she bestow bliss upon the song. She adds a layer of warmth, a sense of companionship, and tonal richness that helps elevate the tune to the next level. With Donna’s contributions we are reaching the stage where the song is actually sublime. Listen to her harmonies at 2:30-3:00 & 5:00-6:00. She is the Yin to Jerry’s Yang and when they’re put together in this manner we are brought to nirvana.

Let me be absolutely clear about one thing. To all the Donna haters out there, literally get the fuck out of here. There is no way you can listen to this song and tell me she’s detracting from it.  I actually don’t understand how anyone who is a member of this righteous community can put energy into bashing a band member who contributed as beautifully as she did. To all the Donna Haters out there, do us all a favor and crawl back into the cesspool of internet troll anonymity that you came from and shut your traps about her for once and all.

Phew… had to get that off my chest. Next it would be a crime to not mention that Keith has really stepped up his game. His delicate fills add a depth to the song that was missing in the first year. His timing is good and his phrasing is thoughtful, at times the keys sound like they’re weeping. He’s really dialed in to the emotional feeling of the song. Phil is providing less of a melodic role now that Keith is on duty. However, Phil is definitely not out of the game. He provides a solid grounding at every turn and you can literally feel his bass in your heart as Jerry tugs on its strings.

Lastly and importantly, Jerry’s two solos. In the middle solo section his tone is crisp. His phrasing is sentimental.  He dances around the melody. He drops a few a few quick multi-note licks (3:38) that are an emotional plea which was absent from early versions.  In the ending solo the tempo speeds up and for the first time I’m feeling that I’m taken on a journey from despair to optimism. This feeling is also absent from early versions. The ending is rather hopeful for such a somber and melancholy tune.

With this version we are ushered into a new era of Grateful Dead brilliance. It is one that delivers virtuosity and sublimity for the next couple years. In this period we find the ultimate versions of “Comes A Time”. I look forward to sharing these tunes with you in the next few entries.

Lastly, I want to leave you with an image of my first page of notes from the project.  Take a look and maybe you’ll see something that piques your interest. They’re all on Relisten and the Internet Archive so you can enjoy to any version you want.

The next post will be about 7/17/76 which I believe to be the best version out of the first 25 times played. Take a listen soon and you’ll be able to compare my notes to what you felt.

The Best Early Period “Comes A Time”

I define the early period for “Comes A Time” as the short chapter in which Jerry includes the falsetto “Empty Cup” in his lyric delivery. There are about dozen of these versions and they span from the first time played on 10/19/71 through the next 2 ½ months up to 12/1/71. There are a few features of this era besides the falsetto. Specifically, Phil is very pronounced in the mix, the intro features Jerry strumming chords instead of the delicate keys in the song’s in later versions. Also, in this period the song is frequently placed in the first set.

The single version that I consider the quintessential version of this period is from 11/7/71 at the Harding Theater in San Francisco. This show is gem (aren’t they all though?) and its worth listening to in its entirety.  I do suggest you click this link and listen to it while you read my notes.(Track 12)

Listen closely and you’ll hear some interesting things. First off, in the intro, you’ll hear Jerry begin to strum the chords in a very clean fashion. There is no distortion, reverb or filters that he used in many of the later versions. He sets a very slow tempo and it holds through the entire tune. After a few bars of just Jerry you can hear Phil trickle in and then accents on the drums by Billy. It’s a delicate and tender introduction.

Jerry’s vocal delivery is so pure. He sounds young, vibrant, and deeply invested in setting a mood.  Keith was at this show but for some reason I cannot hear him. Instead I am hearing a lot of Phil. He’s super loud in the mix and he accents the melody perfectly.  There are many points where Phil drops a bomb or a phrase and it just feels so right!

Moving into the middle solo section, it’s a treat. At this stage in the song’s development I think Jerry is discovering how poignant this tune can be.  He’s patient in his phrasing. He plays what seems like only full notes or longer. Not a half or quarter notes and no quick licks or riffs. It’s deliberate, tight and meaningful and that’s what I like about it. Again Phil’s accents are well timed, warm and welcome.

In the verse and chorus after the middle solo section Jerry continues what he started. Conscientious and thoughtful vocals lead the way to the single falsetto moment of zen when he delivers, “empty cup” with zeal and authority at 6:35. This makes way for the finishing solo. The tempo speeds up a bit as the energy builds but Jerry resists and keeps his phrasing well calculated. It reaches a crescendo point and then wraps up pretty quickly.

When compared to the other dozen or so very early versions, I believe this is the best of them. It’s thought provoking, emotional, disciplined and a joy to listen to.  It’s late enough in the song’s development that you can really feel the emotional tug, but it’s also early enough that it’s raw and a good framework for it matures into.

I hope you enjoyed the review. Let me know what you heard and if you think this is a great version of the song by dropping a note in the comments!

What’s in an Empty Cup?

As promised, this entry will discuss the lyrics of “Comes A Time”. There are a few good discussions about these lyrics already online.  They are at the Annotated Grateful Dead site and the Greatest Story Ever Told section of Dead.net.  If you dig the song, they’re certainly worth checking out.  I’m not going to post the full lyrics but you can take a quick gander at them here.

As I mentioned in my previous post, Jerry says, “When a blind man takes your arm.” the first 3 times played  Well, thanks to a reader from Reddit, EvilLinux, a new early version from 10/21/71 corrects that assertion. This new (to me) version was actually the 2^nd time played live. This throws a fork in my theory because in this version Jerry says “…takes your hand” and its the 2^nd version played.  So the actual history is that Jerry says “Takes your arm” in versions 1 (10/19/71), version 3 (10/22/71) and lastly for the third and final time in version 4 on 10/23/71. All other versions Jerry delivers the vocals, “When a blind man takes your hand”.

You are probably thinking why is he going on about the hand vs. arm so much? Well, I think there is something here worth examining. I also think its central to understanding the meaning of the song altogether. What do you think these lyrics of the first verse are alluding to?:

Comes a time when the blind man takes your arm (/hand)
Says “don’t you see?”

Thinking about this, when does a blind man take your arm? I picture this happening when you are actually leading a blind person while you are walking together. A blind person will hold your arm, up by the elbow, and rely on you to guide them down a path so they will not fall or trip. However, would an actual blind person take your arm and then say “don’t you see?”, as if coming from a place of sight himself? Then engage in a discussion and wax poetic about dreams, dark and light, love, emotions and pain? No, this doesn’t seem right and I think Jerry thought about this and changed it to “takes your hand” for a reason.

The reason is because this specific blind man is not your every day blind guy. Instead, this man is a visionary mystic or “wise man”. (This book discusses the kind of person I’m talking about.)  Another term used for this archetype is Seer (see-er, as in one who sees truth, knows wisdom, and the path to enlightenment) Sorry for the “seer” confusion in the context of a blind man but it helps to understand what our “Blind Man” actually is.  In fact, “Blind Seer” is a historical archetype that goes back in mythology quite a ways, hence that I was able to find a relevant image online that is posted at the top of this entry. Now, if we substitute “wise man” for “blind man”, we get a wise man asking, “don’t you see?” and discussing a whole lot more that is actually quite profound.

I hope you are nodding in agreement and will take the next step with me. What kind of wise man takes your hand? How about a palm reading mystic?! This is the kind of person who holds your hand, feels your energy, and instantly knows your pain and struggles. He helps guide you on your path. He says, “Don’t you see?, “You’ve got an empty cup”, (you are a vessel) and I can feel it! BUT, stay on the path, “Don’t give up”, “On your dreams”, be righteous, give love, receive love, “Only love”.

So that’s the gist of my interpretation. I think Jerry had a specific allusion he wanted to create.  The blind man was just vague enough to get there, but when he took your arm, it is understood too literally and lost. He changed it to, “take your hand” to reinforce his mystic allusion. We all need a wise man or wise woman to help us see clearly. Lucky for us, we have one, just dial up “Comes A Time” on the Archive* and Jerry can be your personal sage.  Sounds pretty great, right?  I think from this perspective the rest of the song kind of falls into place and makes quite a bit of sense!

I also promised in my last post that I would discuss the original lyric that appears only in a few early versions and then was dropped. I’m going to save that for a future blog post. Sorry about that, you’ll have to stay tuned.

I’m interested to know what you think of my blind man who takes your “arm” vs “hand” theory. Leave a comment so I know I’m not blabbering on to the ether.

*This version is Minneapolis, 10/19/71. It is the first time played. Open your ears and you’ll hear Jerry say, “When a blind man takes your arm”  4 times (at 0:28, at 1:47, at 3:10 & finally at 5:20). This is the most pronounced version where he says “arm”. The following 3 other early versions are a bit more subtle, but its there. Sometimes he flip flops from verse to verse too.  You’ll also hear him hit the falsetto “Empty Cup” (at 2:05 and at 5:37)  Good times!

 

“Comes A Time” for the 1st Time

As I learned, 10/19/71, was the first time the Dead played “Comes A Time”. This was in Minneapolis and it was no ordinary show. In fact, the Dead played 6 songs for the first time at this show. They are: “Tennessee Jed”, “Jack Straw”, “Mexicali Blues”, “Comes A Time”, “Saturday Night” and “Ramble On Rose”. Imagine being a fan and attending a show where every fifth song was brand new. Must have been fun! If you are a fan of any of those “new” tunes you aught to give this show a listen for purely historical purposes.

Also notable, this was Keith Godchaux’s first show with the Dead. He played both Piano and Organ. Pigpen was struggling with his health and therefore the need for Kieth to fill in. Commentary online about this show details the use of pyrotechnics, notable was actual fireballs exploding above and behind the drum kit! Speaking of drums, in this period the Dead performed with only one drummer. Billy K. was solo as Mickey Hart was on hiatus as a result of the fallout from his Father’s mismanagement of the band’s business matters.

NRPS opened for the Dead at this show. Over 2 sets the Dead played 25 songs. I don’t know how the opening NRPS set went but I can only imagine this show went on for hours and hours. Many shows from this era were in a similar format. It must have been a real good time for fans!

Now that you have some context, let’s discuss the what remains, the audio. Listening to the recording, the band feels pretty tight. I assume they had been practicing quite a bit. Phil is loud in the mix which is fun to hear. Both Bob and Jerry’s vocals are vibrant and energetic. Phil is on point with the high harmony too.

During the course of my listening to every version of “Comes A Time” I frequently skipped to the goods and passed over the rest of the show to get to “C-A-T” or at least I would start at the song before “C-A-T” and listen through to the song after. However, being this was the first time played, and the first time played for 5 other songs, it was worth listening to the entire show. I really enjoyed hearing those early versions. Its interesting to see how songs evolve over time. Their original compositions are remarkably different from what they evolved into. One example that you’ll surely not overlook is the tempo of “Tennessee Jed”. They play it at what feels like twice the speed that it is normally played at and as a result it is really “diving” and seems to be on a mission. If you find other nuances and unusual elements, leave a note in the comments!

Now, onto my observations of the first time played of “Comes A Time”. In my notes I wrote down a few details. Firstly, Jerry says, “When a blind man take your arm” vs. what he normally says “… takes your hand“. In fact, he uses the “arm” lyric only in the first 3 versions. All other versions he says, “…takes your hand“.  I have thought about this arm vs. hand detail quite a bit. I probably dug into it a bit too far but I have some interesting ideas about it that I’ll discuss in the next  blog entry. Stay tuned…

Another idiosyncrasy that you’ll surely not miss is Jerry’s lyric delivery of “Got an empty cup”, where he goes into falsetto. According to my notes, he does the falsetto only in the first 10 versions. After that he stops doing it. I find the falsetto to really add to the song, I wish he had kept it in. (Side note, I can’t think of any other song where Jerry goes falsetto. If you know of one, leave a note in the comments because I’d like to hear it!)  Jerry is a really master of seeding emotion into his performances, both as a vocalist and as a guitarist. This moment of falsetto is really something, it bleeds emotion.

Lastly are the two solos that Jerry delivers in “C-A-T”. One in the middle of the song and one to finish the song. I was interested to see how he crafted these solos in this First Time Played version. These solos are what drew me to the song in the first place.  In this version I found them to be pretty basic. Not particularly inspired or eloquent. Being this is the first live performance of the song, it feels like the band is taking their cues from Jerry’s vocals and just sort of hanging on for the ride. The solos didn’t really take me anywhere. It almost seems as if the band is solely focused on not messing up. Certainly makes sense given its the first performance.

It is not long before “Comes A Time” morphs into the sublime masterpiece that it evolved into. Here in its origin one can get a sense of its framework and original intent. A couple final notes. First, in this show “C-A-T” is played mid first set. That’s unusual placement as it normally appears towards the end of the 2nd set. From that I infer either Jerry was excited to play it or he had not realized “C-A-T”‘s potential as a somber and poignant ballad that is well placed towards the end of the show. Second, a note about the lyrics. There is an extra line in the verse of this version. That extra line is included only in the first few early versions and was eventually dropped. In my next post when I discuss the Blind Man who takes your arm vs. hand, I’ll be sure to detail the extra verse as well.

Drop a note in the comments if you have something to share about this show or anything I discussed above.

 

An Introduction to the Project

It all started with 5/9/77. More specifically, my fascination with Jerry Garcia & Robert Hunter’s “Comes A Time” began when I rediscovered the song while listening to this show from Buffalo, NY. This period of Spring ’77 was a chapter in the Grateful Dead’s history when they were most inspired. Some say their best performances were in this era. Notably, the Cornell show from 5/8/77 was the night before. Cornell is among their most well renowned and distributed shows and if you are reading this blog, you probably need no introduction to it. However, I offer Buffalo 5/9/77 for your consideration as every bit as masterful and deserving of praise.

One afternoon as I tackled my weekly long drive down Southern California’s highway 15, I had about 100 miles to cover. I decided to listen to the 2nd Set of the Buffalo show. As I zoned out to the music and the winding road, the Dead segued into “Comes A Time” and played its verses, chorus and instrumental sections. It was a profound moment for me.  It was as if the song and Jerry touched me on an unusually emotional level.  Not an uncommon feeling, but certainly not frequent either. I was taken aback and began to contemplate the song and Jerry’s performance.

“Comes A Time” is a song that contains a myriad of emotions, beginning melancholy and passionate, moving to thoughtfulness and poignancy, it turns hopeful and optimistic in its conclusion. Altogether encompassing a spectrum of human emotion, it is truly a song beyond compare, and in my opinion on of Jerry’s finest compositions.

Over the next few weeks I listened to that particular version of “Comes A Time” a dozen times or more. Each time I listened closely and actively, hanging on the words and notes that Jerry offered. A few weeks later, all the in the interim Jerry’s haunting vocals and solos echoed in my subconscious, I had a eureka moment. I shall listen to every version of “Comes A Time”. 

How many versions could there be? I knew it was not nearly as common as some of their standards. There are nearly 300 versions of “Eyes of the World”. There are more than 200 versions of “Terrapin Station”. I thought surely less than 50… it turned out, as far as I was able to research, there are 65 versions and with the magic of Relisten (the App) and the crowd sourced and combined effort of countless fans, nearly every version is archived and available for immediate listening.

So the journey began. Starting in Minneapolis on 10/19/71, traveling through time and space to Landover on 10/9/94, I actually listened to every version of “Comes A Time”. It was an uncommon journey. I learned a lot more than I expected and while I don’t think I found the ultimate version, what I did find along the way will be the subject of this blog. I hope you’ll find it interesting and will stay tuned as I document my observations and reflections.

 

 

First blog post