Luckily, their extended versions during concert performances were infinitely more tolerable. What was once a garage rock and psychedelic reading has evolved into a 4/4-time, brass-influenced disco arrangement. Gary Davis gospel-blues "Samson and Delilah" and a resurrection of the Martha & the Vandellas hit "Dancin' in the Streets." The latter tune was originally performed by the Dead in their mid-'60s repertoire. While the most prominent example is the album's extended title suite, there are a few others such as the cover of the Rev. Musically, Terrapin Station offers a few choice glimpses of the band doing what it does best. They chose Keith Olsen - a former member of the '60s garage rock band Music Machine - whose production roster also included other Bay Area notables including the Sons of Champlin and Santana.
And the first time in a decade that they would relinquish their production reigns. This was only the second time in which the Dead did not seize complete control. More significant however is the use of an outside (read: non-Grateful Dead) producer. Terrapin Station marks several milestones for the Grateful Dead: it was the band's first studio album in two years, as well as their return to a major label - in this case Arista Records. The theory is that the band's momentum is best experienced during the ebb and flow of a live performance rather than the somewhat clinical tedium of a recording studio. It is generally agreed that the Grateful Dead's late-'70s studio releases left even the most enthusiastic Deadheads longing for something more.
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