Go to Heaven
| Go to Heaven | ||||
|---|---|---|---|---|
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| Studio album by Grateful Dead | ||||
| Released | April 28, 1980 | |||
| Recorded | July 1979-January 1980 | |||
| Studio | Club Front, San Rafael, CA | |||
| Genre | Rock | |||
| Length | 38:19 | |||
| Label | Arista | |||
| Producer | Gary Lyons | |||
| Grateful Dead chronology | ||||
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| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic |   |
| Robert Christgau | C |
| Rolling Stone | Negative |
Go to Heaven is a studio album by rock band the Grateful Dead, released April 28, 1980 on Arista Records. It is the band's first album with keyboardist Brent Mydland. Go to Heaven was both the third Grateful Dead studio album in a row and the last for over seven years. It was also the third in a row, and the last, to use an outside producer (Gary Lyons).
Keyboardist Keith Godchaux and vocalist Donna Godchaux left the Grateful Dead in February 1979, replaced in both positions by Brent Mydland. While in Silver, Mydland had performed on the hit pop song "Wham Bam Shang-a-Lang", also playing and writing tracks for that band's 1976 country rock album. Following that, he toured with rhythm guitarist Bob Weir's solo band, leading to a keyboard position in the Grateful Dead.
The Grateful Dead were contractually obligated to record another studio album before they could release live material. As with the previous two albums, they used an outside producer, per an agreement with Clive Davis, and in the hope of a more mainstream production with greater commercial potential (and perhaps a hit single). Davis sent British producer Gary Lyons, who was known for his success with Foreigner's debut album. With track construction stretching past a couple months, Lyons simultaneously began working with Aerosmith, taking over the production of Night in the Ruts. He commuted between California and New York, trading off with assistant producer Peter Thea.
The album was recorded at the band's own studio; however, as happened while finishing Terrapin Station, overdubs were made in New York City (at Media Sound) while the Dead toured the region. Instead of compiling different takes of a solo, as with other productions, Lyons learned to keep the sequences whole. According to recording engineer Betty Cantor-Jackson "Jerry's sitting there and Gary says, 'Well, what do you think?' And Jerry says, 'I wouldn't play it that way.' It was true, because his style had a certain logic to it and there were certain ways he put together notes, the sequence of notes, which had to do with the way he thought about music. So to cut that up it no longer sounded the way Jerry thought."
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