In keeping with its title (and the striking cover graphic by the famed Kelley/Mouse artistic team), Robert Hunter’s second solo album resides squarely in the oeuvre of the Grateful Dead, to which he contributed so much. This double-disc milestone edition of Tiger Rose illustrates that this placement was a purposeful decision on the part of the erudite lyricist and his roster of kindred spirits.
In addition to Jerry Garcia’s participation as producer, arranger, and musician, longtime Dead audio experts Bob Matthews and Betty Cantor were present at Mickey Hart’s Rolling Thunder studio to engineer the recording of a compact corps of notable accompanists, including multi-instrumentalist David Frieberg.
This refugee from Quicksilver Messenger Service was a member of Jefferson Starship in its nascent form, just like keyboardist Pete Sears. Meanwhile, David Grisman, the bluegrass-minded compatriot of Garcia’s, plays on “Wild Bill,” and New Riders’ Dave Torbert contributes bass to “Dance A Hole.”
The aforementioned titular leader of the Grateful Dead also plays his familiar style of ever-so-precise guitar (as well as piano and synthesizer) on the title song. Together with Hunter’s vocal phrasing–a readily discernible combination of Jerry and Bob Weir’s style of singing–the jaunty gait of the song recalls early Seventies Dead staples like “Cumberland Blues.”
“Rose Of Sharon” is cut from similar cloth, yet Frieberg’s mandolin and Garcia’s pedal steel impart an authentically rootsy air to the performance. At this point, it’s hard to resist looking for the words to the all-original compositions here (notably written by Hunter alone, NOT in collaboration with his usual partner Jerry).
Unfortunately, an essay of insightful detail by author Jesse Jarnow takes up virtually all the space within the eight-page booklet. Notwithstanding the placement of a modified Round Records logo on the discs themselves–a savvy allusion to this title’s original label—Steve Vance and Rory Wilson’s graphic design for that insert and the slimline sleeve might’ve been reconfigured to allow both (along with the great photo of Hunter inside the double-fold package).
Perhaps not coincidentally, the revelation regarding Hunter’s verbiage arrives with the realization that much of this music sounds too similar. That said, “Cruel White Water” is thought-provoking as a narrative, and “One More Thing” is fascinating as the author’s cryptic philosophizing. And, to be fair, the performances with once-estranged drummer and percussionist Hart (as often as not credited as ‘B.D. Shot’), radiate a convivial spirit that elevates the ten cuts above the pedestrian.
However, that slightly disconcerting impression about the material is further ratified by including a second CD featuring all but one of the songs from the formal release. In a markedly reconfigured track sequence, running roughly the same thirty-nine minutes, inferior takes like the laggard “Rose of Sharon” reinforce by direct contrast the craftsmanship of their counterparts.
Compared to the melodramatic alternate version of “Yellow Moon,” then is its purposeful counterpart. Tangible drama arises from this selection, especially as the penultimate cut is combined as a couplet with the exalting, harmony-laden, acoustic closer “Ariel.” Even with the pair’s impact further accentuated by the clarity of sound as remastered by David Glasser, further resonance radiates from this performance as that great rarity of a performance by Garcia and Hunter alone.
Such cachet may be imperceptible at first, but it escalates inexorably with time, as is also the case with this 50th Anniversary Edition of Tiger Rose in its entirety.
