"Shakedown Street" is the tenth studio album by the Grateful Dead, released on November 8, 1978, by Arista Records. The album marked a transition in the band's sound, reflecting a combination of rock, funk, and disco influences, a departure from their earlier, more experimental approach. It was the final album for keyboardist Keith Godchaux and his wife, vocalist Donna Jean Godchaux, who left the band shortly after its release. The album was produced by Lowell George of Little Feat and John Kahn.
The recording process for Shakedown Street was unusual. The band initially rented a warehouse in San Rafael, California, which they used for rehearsals and storage. During the 1977 rehearsals for Jerry Garcia's Cats Under the Stars, the band decided to install recording equipment in the space, capturing the sound of their rehearsals and creating an ideal environment for working on the new album. Unlike previous albums, the Grateful Dead worked with an external producer, choosing Lowell George, who was known for his work with Little Feat. The decision to bring in George came after the band decided to move away from working with producer Keith Olsen, with whom they had previously worked on Terrapin Station.
A significant shift occurred during the recording of Shakedown Street, with drummer Mickey Hart playing a more prominent role. He contributed three co-writing credits and assisted in arranging several songs, including the disco-influenced title track, "Shakedown Street," which reflected his interest in the Bee Gees and disco music. Hart also contributed the song "Fire on the Mountain," which was based on a track from his Diga Rhythm Band, and co-wrote "France" with his wife Donna and rhythm guitarist Bob Weir. "France" was sung by Donna and Weir, while the song "From the Heart of Me" was Donna's second and final songwriting contribution to a Grateful Dead studio album.
Other tracks on the album included "Stagger Lee," a reinterpretation of the classic folk song, and "If I Had the World to Give," a romantic ballad that was a departure from the band's typical fare. "I Need a Miracle," a rock song written by Weir and lyricist John Perry Barlow, became a staple of the band's live shows, as did "Good Lovin'," a reworked version of the classic song that had originally been performed by Ron "Pigpen" McKernan.
The cover art for Shakedown Street was created by underground comix artist Gilbert Shelton, best known for his work on The Fabulous Furry Freak Brothers. The front cover featured an illustration of the San Rafael warehouse where the band had recorded the album. The back cover featured the "Invisible Pimp," a character Shelton created, which became one of the iconic symbols associated with the Grateful Dead.
When Shakedown Street was released, it received mixed reviews. Critics were divided on the band's move toward a more commercially-oriented sound, which incorporated disco, funk, and soft rock influences. At the time, disco was at its peak, and some fans viewed the album as an attempt by the Grateful Dead to capitalize on the mainstream success of the genre. Despite this, the album included a number of standout tracks that were immediately embraced by fans. The title track, "Shakedown Street," became a signature song for the band, and "I Need a Miracle" quickly became a live favorite.
While Shakedown Street was not as commercially successful as some of the band's earlier albums, it has since been recognized as a key moment in the Grateful Dead's evolution, reflecting their willingness to experiment with new musical styles. The album's influence can still be seen in the band's later work, as well as in the broader rock and jam-band genres. The album was certified gold by the RIAA in 1987.
Two singles were released from Shakedown Street. The first was "Good Lovin'," a reworked version of the band's classic, which was paired with "Stagger Lee" on the B-side. The second single was the title track, "Shakedown Street," which was released with "France" as the B-side.
The songs from Shakedown Street were well-received in live performances. "Shakedown Street," "I Need a Miracle," "Stagger Lee," and "Fire on the Mountain" all became mainstays in the band's live sets, and they continued to perform these songs throughout their career. However, some of the more experimental tracks, such as "If I Had the World to Give," were dropped from the setlist relatively quickly.
By the late 1980s, the term "Shakedown Street" was adopted by Deadheads to refer to the informal marketplace that would spring up in the parking lots before Grateful Dead concerts. Fans would set up stalls selling everything from food and merchandise to art and handmade crafts. The term became synonymous with the countercultural, free-spirited nature of the Grateful Dead's fan community.
Though Shakedown Street faced some criticism upon its release for its shift in musical direction, it has since become a beloved and influential album in the Grateful Dead's catalog. Its mix of rock, disco, funk, and soft rock laid the groundwork for future experimentation in their music, and many of its tracks remain iconic parts of their live shows. Despite the controversies surrounding its production, Shakedown Street helped solidify the Grateful Dead's reputation as one of the most adventurous and enduring bands in rock history.
