

Grateful Dead Hour
Week of September 5, 1988
Program No. 1

Featuring an interview with Jerry Garcia by Mary Eisenhart

Part 1 27:21

Garcia:  Cats under the Stars is my favorite record of all time, apart
from In the Dark. In the Dark, I think, is my all-time Grateful Dead
favorite. Cats under the Stars  is one of those records I worked really
hard on. Considering the limited situation that we were working in at
the time, I was real proud of the way it came out, and the production
values. The sound of it is so nice and fat. Ronnie Tutt's drums are
wonderful on it - and the feel of the tunes, rhythmically. It was
really fun to produce.

We spent like six or eight weeks, but during the last couple of weeks
I was at the board for ... This was when I was really a crazy person,
but I spent like 50 hours mixing. I got up to go to the bathroom and
eat once in a while, but I didn't sleep for days. Finally at the end
of it, when I was mixing the last tunes and we were on a deadline, I
couldn't mix for the hallucinations. The board was just swimming. When
I finally finished I lay down and went to sleep for three or four days,
and when I got up and listened to it I was amazed - it all actually
worked.

Cats under the Stars (Hunter-Garcia)
Jerry Garcia Band, Cats Under the Stars
(Arista ARCD-8535, originally released 1978)

Garcia: It's got the best stereo imaging of almost anything I've ever
done. I really put a lot of time into lots of funny little things in
it. It's got lots of phase panning and a lot of things that are
psychoacoustic in nature, where things are outside the mix. The Meyer
speaker guys have used some of the mixes on it to illustrate the stereo
imaging possibilities of their speakers. The people who I care about
appreciated it (laughs). That's really all I wanted. I still enjoy it.
I can still listen to it, and I'm not at all embarrassed - which is
really rare for me. It's very hard for me to listen to most of our
records.

I found Gomorrah in a stack of stuff that I got from Hunter, it must
be sometime like 1969-70. And I found this old yellowed piece of paper
with that lyric of Gomorrah on it. And I read it, and it was so dry,
and so sparse. It's just dry as a bone! It has no fancy stuff. There's
not a lick in it. It's just dry, and hard like a diamond. And I read it,
and it cracked me up too, it's funny. It's like, (laughs) This is
something special! and I sat down and started playing with it. It
never caught my eye before, it's just one of those things. It fell
accidentally out of some stuff as I was moving. I said, look at this,
this is ... And it cracked me up, just the whole character of it, and
that ironic ... there was something about it that - it tickled me. It's
hard to say exactly what it is. But it's just a real dry, hard, simple,
cautionary song.

Gomorrah (Hunter-Garcia)
Cats Under the Stars

Garcia: For me that album was kind of - that's its theme. Its theme is
don't look back. Don't look back, don't turn around, don't check what's
behind you, keep moving... (laughs) 

I always like it when Hunter reaches into that - the dim forests of
legend, you know? I'm a real sucker for that. So when that comes out
at me ... And it really was one of those things that was a lucky
marriage of inspirations. It happened just at a time when I was composing
the Terrapin melody, and I had no lyric for it or anything, Hunter came
to me - he called me the very next day, actually; it was that close in
space and time - and he says, "I have this thing I've been working on."
And I went over to his house, and he had like seven pages of stuff, that
included the Lady with a Fan ... none of them were perfected, but parts of
them all were there. The reason I never finished it was that I just broke
down - I didn't have any more ideas. I had one other song that I was not
that happy with that I had set, that was part of his original set of
lyrics.  But he went on to set almost all of it.

Terrapin (Hunter-Garcia)
10/18/78 Winterland, SF

Garcia: People ask us, why don't you do St. Stephen any more? The truth
is that we did it to death when we did do it - when we did it, we did it.
In fact we had two periods of time when we did it. We rearranged it later
for three voices, with Donna. People who missed it, that's too bad, you
know? We may never do it again. It's one of those things that doesn't
perform that well - we were able to make it work then because we had the
power of conviction.

Q: What about things like Dark Star and The Eleven?

Garcia: Dark Star we could bring back, but ... really, Dark Star is a
little of everything we do, all the time. So what happened to Dark Star
was, it went into everything. Everything's got a little Dark Star in it.
I've never missed it, because what we were doing with it is everywhere.
I mean, our whole second half is Dark Star, you could say. But I have
nothing against Dark Star, except that like I say, really, it's a minimal
tune. There's really no tune. There's just a couple of lines and that's it.
So it's hard for me to relate to what is it about Dark Star that people
like, apart from the [fact] that we get weird in it. Because that's what
we did with it was we got weird in it! We didn't dwell on the lyrical
content, certainly.

Dark Star (Studio version) (Hunter-Garcia) 
What a Long Strange Trip It's Been 
(Warner Bros. 2W 3091, 1976)

Garcia: Dark Star is an envelope, for me, not really a song. But we may
bring it back some time. In fact, I won't say that we won't bring back
St. Stephen - or Cosmic Charlie, for that matter. But it's much more
interesting to me now to think in terms of, well, let's write new songs.
I mean, if I have a choice between resurrecting old tunes and writing new
songs, it's going to be new songs. There's only so much you can rub up
against your own past and keep loving it. It's fragile; finally it breaks
down. It'd be great if we could come up with a whole lot of new tunes.
Every time we do come up with a few new tunes it enlivens everything else.
So that's the next priority in terms of what it is that I'm doing in the
Grateful Dead.

Q: What about the fact that you're probably doing more cover tunes now
than since your very very early days when you were a bar band?

Garcia: We're doing more of everything now than we did. That usually is a
sign of boredom on the road - Hey, you guys, why don't we (laughs) - let's
do something, whatever we can remember. That's usually where that comes
from, and any song is fun to do. If there's anything about it that you ever
liked, you can bring something out of it in a performance. And we do songs
that we liked. 


Part 2 25:29 

Scarlet Begonias (Hunter-Garcia)
5/19/74 Portland Coliseum

Garcia: Let me see, what other ones don't we do? Oh, like Viola Lee Blues.
We did it. We did it to death. And when we stopped doing it, we stopped
doing it because, hey, we're done with it. 

Viola Lee Blues (Noah Lewis)->
Feedback->
I Bid You Goodnight (Traditional)
5/2/70 Binghamton, NY



Grateful Dead Hour
Week of September 12, 1988
Program No. 2

Six new songs entered the Grateful Dead repertoire in Portchester, New
York, February 18, 1971 - five originals and Chuck Berry's classic,
Johnny B. Goode - all of which the band still performs in concert to
this day.

Part 1 27:50
*Bertha (Hunter-Garcia)
2/18/71 Capitol Theatre, Portchester NY
Weir: You're witnessing probably the only ritual older than music, that 
being tuning up.
*Loser (Hunter-Garcia)
2/18/71 Capitol Theatre, Portchester NY
Weir: We're gonna beg your indulgence and try another new song out on
you.... Okay, Mickey wants to call this one The Pump Man, for reasons
of his own.
Hart: Pump!
*Pump Song-> (Hart-Weir-Hunter)
*Johnny B. Goode (Chuck Berry)
2/18/71 Capitol Theatre, Portchester NY
Weir: We're gonna unload a new one on you. Another new one -- yet another.
*Playing in the Band (Weir-Hart-Hunter)
2/18/71 Capitol Theatre, Portchester NY
Deal (Hunter-Garcia)
Jerry Garcia, Garcia  (GDCD 4003, originally released 1972)


Part 2 25:46
Dark Star-> (Grateful Dead)
*Wharf Rat-> (Hunter-Garcia)
Dark Star-> 
Me & My Uncle (John Phillips)

* First public performance

There is a beautiful, unique jam about 15 minutes into the suite, halfway
between the end of Wharf Rat and the resumption of Dark Star.

The Pump Song evolved into Greatest Story Ever Told, which first
appeared on Bob Weir's 1972 solo debut, Ace.   A 1980 live performance
appears (slightly edited) on Dead Set.

Deal was introduced at Portchester the night after these tapes were recorded.

Please forgive the occasional crackling sound. The tapes came that way. 
-- D.G.



Grateful Dead Hour
Week of September 19, 1988
Program No. 3

Featured:   California guitarist Henry Kaiser (who is the grandson of
the man for whom the Henry J. Kaiser Convention Center was named, in
case you were wondering) talks about his new recording of "Dark Star,"
the classic vehicle of Grateful Dead improvisation. The program
includes two short segments of the 30-minute version from the CD (the
LP /cassette version is somewhat shorter).
	Henry selected the rest of the music in this program, including
"Mason's Children"; "Happiness Is Drumming," a 1976 Diga Rhythm Band
track which became "Fire on the Mountain"; and "New Potato Caboose,"
from the Grateful Dead's second album, Anthem of the Sun.

Part 1 25:36
	Kaiser: Well, David, I grew up here in the San Francisco area
during that summer of love time. I listened to the Grateful Dead and a
lot of bands, and the Grateful Dead specifically really got me
interested in improvisation in music, and expression with an electric
guitar and to make it do really exciting things.
	I listened to it all my musically active life, but I never
played that kind of music much before. And I suddenly realized I can.
It's okay to do that.
	Q: What do you mean "It's okay to do that"? Was there some musical
reason for you not to get involved with Grateful Dead music before?
	Kaiser:  I'm sorry to say that most of the people who normally
buy my records think of themselves as these kind of intellectual,
ay-vant-garde types, and they kind of frown on the Grateful Dead...
They more tend to like Talking Heads, Brian Eno, and things like that,
and my taste is much towards the Grateful Dead... Not many people I
play with are interested in the Grateful Dead.
	So I took Glenn Phillips, an amazing guitar player from Atlanta
Georgia, who was in a group called the Hampton Grease Band and has made
many fine records of his own; one of my few musical friends who loves
the Dead... We got together and looked for what would make the perfect
rhythm section for us to do Dark Star, which is the biggest challenge,
which is the most exciting thing to do, which is our favorite Dead
song. We picked the rhythm section of another guitarist friend of mine,
Bill Frisell: Joey Baron, drums; Kermit Driscoll, bass; and Hank
Roberts, cello. They weren't that into the Dead, but we rehearsed a
little bit and coerced the spirit into them and had a good time in the
studio. It was the longest night - the vernal equinox of 1987,
December, in New York City.

Dark Star (excerpt) (Hunter-Garcia-Weir-Lesh)
Henry Kaiser, Those Who Know History Are Doomed to Repeat It  
	(SST CD 198, 1988)

	Q:  So the bass and the drums and the cello were all musicians
who were not into the Grateful Dead before?
	Kaiser: That's right, David. They were all jazz musicians from
New York who weren't into the Grateful Dead at all. I had to first
convince them that this was a worthwhile undertaking, and second, get
them to play that kind of music and get the spirit of Dark Star to play
through them. And for a couple of months I'd been taking a very close
look at Weir and Garcia's guitar stylings myself, trying to decide some
way to relate to it and still be myself.
	Q:  So what did you tell these musicians by way of explaining
how Grateful Dead music works?  
	Kaiser:  I gave them tapes of about four different Dark Stars
that were radically different ... and said, "Here's this song, the
Dead's primary vehicle for improvisation in rock - for space
improvisation in rock. Look at it - they play great!" And the guys
said, "Yeah, you're right. It's a lot better than I thought ... These
guys do sound pretty good."
	I said, "We're going to let that same spirit play through us,
but we're going to play like ourselves. You guys are all improvisers -
95% of the music you play is improvisation, so that's no problem. This
is just a special style  of improvisation, a particular style. It's
different from jazz improvisation, pure jazz or jazz fusion, or
avant-garde jazz, atonal jazz - and in a way it includes all those
things. And I think you guys are really gonna dig this, because you're
really going to get to express yourselves."
	We rehearsed for two days in a recording studio in New York,
and the first day the rhythm section was very skeptical compared to 
Glenn Phillips' and my attitude towards the music.
	The second day they were pretty darn skeptical, too, but the
third day, when we got to the recording studio everybody seemed to see
the light, and the music just flowed really naturally and played itself
right through us.
	And I feel like I really got away with something, 'cause it was
a hard thing to do. It's hard to play that kind of music unless you've
played together for a long time, and we hadn't played together for a
long time.
	I wasn't trying to do a Grateful Dead clone kind of thing, or
an imitation Grateful Dead, but I was trying to do both kind of a
little tribute and a thank-you to the Dead, who I owe so much to for
turning my musical attention to improvisation and a lot of good
qualities that the Dead's music always has shown. And also I wanted to
let that spirit of Dark Star - which the Grateful Dead have been, I
think sady, neglecting for quite a while, for a few years now - I
wanted to give that spirit a chance to play through some folks who
could play and say whatever it wanted to say. Because that's how I
think of it, as kind of a shamanistic thing. Dark Star's something that
plays you - plays through you.

Dark Star (excerpt)

	Kaiser:  When I finished the recording I was very pleased with
it, and I remembered how on the original Dark Star single there was a
very brief little bit of poetry, that never showed up in Dark Star
again, that Hunter recites. So I sent a tape of the finished Dark Star
to Hunter and said, "Would you want to put the extra lyrics on the end
of this for me? I'd be real grateful," and he just sent me a tape of it
to put on there.

Happiness Is Drumming (Diga Rhythm Band)
Diga Rhythm Band, Diga   (Round Records RX-110, 1976)


Part 2 26:32 
	Kaiser:  New Potato Caboose is a song from Anthem of the Sun. It's
in the middle of the first side, and the Dead haven't played it for
twenty years. it's a song that I miss a lot. It's one of my favorite
ten or so Dead songs. The lyrics are by the late Bobby Petersen.

New Potato Caboose (Lesh-Petersen)
2/68?

	Kaiser:  Mason's Children is a song the Dead performed only a few
times, probably less than 10 times back in late '69, early 1970 before
they discarded it from their performing repertoire without ever releasing
a recording of it. I think it's a very interesting and good song, which
you were kind enough to bring to my attention. We got together with
some friends of ours here in the Bay Area and played Dark Star quite a
few times, and you showed me Mason's Children.
	I said, "Boy, that would be really cool to record that tune!" and
I said, "David, do you want to do that?" So you're on the record, too!

Mason's Children-> (Hunter-Garcia-Weir-Lesh)
Black Peter (Hunter-Garcia)
1/10/70  Community Concourse, San Diego CA


Program notes

"Happiness Is Drumming" is from the 1976 album by the Diga Rhythm Band,
with a guest performance by Jerry Garcia on guitar. Robert Hunter wrote
some words for it and it turned into the Grateful Dead's "Fire on the
Mountain," which appears on the album Shakedown Street.


Selected Henry Kaiser discography
% Henry Kaiser: Those Who know History Are Doomed to Repeat It. SST CD-198
  (This is the one with "Dark Star" and "Mason's Children") 
  SST Records, Box 1, Lawndale CA 90260
% French/Frith/Kaiser/Thompson: Live, Love, Larf & Loaf. Rhino RNCD-70831
% Henry Kaiser: Devil in the Drain. SST 118
% Henry Kaiser, Charles K. Noyes, Sang-Won Park: Invite the Spirit.
  OAO Celluloid CELL 5008/5009
% Crazy Backwards Alphabet: Crazy Backwards Alphabet. SST 110
% Fred Frith & Henry Kaiser: With Enemies Like These, Who Needs Friends?
  SST CD-147
% Henry Kaiser: Remarrying for Money.  (soon come, on SST)

	I helped Kaiser prepare for his New York "Dark Star" session both by 
playing some Grateful Dead tapes for him and by jamming with him (and a
sympathetic bassist and drummer) in his studio. We had so much fun
playing old Grateful Dead songs that after Kaiser returned from New
York with his "Dark Star" recordings we decided to continue as a band,
which we call Crazy Fingers. Henry also invited me to play and sing on
"Mason's Children," which we recorded at San Francisco's Mobius Music.
I was delighted to participate, since I regard "Mason's Children" as a
neglected Grateful Dead treasure. (Coincidentally, "Mason's Children"
appears on a new album by Living Earth; you'll hear that version on an
upcoming Grateful Dead Hour.) Anyone who suspects me of promoting Henry
Kaiser's record merely because of my own participation in it need only
listen to "Dark Star" and the spectacular version of "Ode to Billy Joe"
on the album.  -- D.G.


Rainforest Action Network

On September 24 the Grateful Dead concluded their nine-show run at
Madison Square Garden with a benefit concert to fight the destruction
of the rainforests, a vital part of our planet's life support system.
Bruce Hornsby and the Range and Suzanne Vega were also on the bill,
with the proceeds going to Greenpeace, Cultural Survival and the
Rainforest Action Network.  The following is a transcript of an
interview with  Randy Hayes, director of the Rainforest Action
Network.
	Randy Hayes:  Rainforest Action Network is an organization
based in San Francisco working internationally with tribal peoples in
the Amazon and in Malaysia, environmental groups in third world
countries, in Indonesia and Africa and Brazil, as well as environmental
groups in the industrial centers of the north: Japan and Europe and the
United States.
	Tropical rainforests are the oldest and most complex ecosystems
on the earth.  They once occupied 14% of the land mass, and, largely
since World War II, that's been cut in half - 7%. They're being
destroyed at the rate of about 100 acres a minute.
	The destruction of the rainforest is complicated, but it can be
figured out, and it can be solved. In some respects this is probably
one of the more solveable of the complex global environmental issues.
And that's because it takes money to cut the rainforest down, to
finance these destructive projects.  And that money comes from the
industrial north, from Japan and Europe and the US. There's probably
more to be done in the United States to save the Amazon than down in
Brazil.
	A lot of the multinational corporations based in the United
States, the engineering firms that build massive projects like the
Alaska oil pipeline, are also building hydroelectric dams and roads in
the Amazon and in African rainforest and in Southeast Asian rainforest.
So in many respects our foreign aid dollars are not really going to
benefit the poor people of the third world; they go to hire the
construction companies that destroy rainforest.
The strategy to save the rainforest - there's going to have to
be a multifaceted strategy of people here in the United States, Europe,
and Japan, stopping their consumption of products that destroy
rainforest.  Tropical hardwoods, teaks and mahoganies, hamburgers that
are raised in rainforest. Until recently Burger King was a major
contributor to the destruction of tropical rainforest. They'd bought
$35 million worth of beef from the country of Costa Rica, and in Costa
Rica the major cause of the destruction of rainforest was conversion of
forest into cattle pasture.
	So we can do a lot here in the United States to turn that
around. The Grateful Dead have offered to do this benefit for the
rainforest. Garcia, Mickey Hart, Bobby Weir and the other band members
are really concerned about his issue. They understand that a rainforest
is non-renewable.
	What we're talking about here is that the life support systems
of the planet are being threatened by the cutting of the rainforest.
	For more information you can write to the Rainforest Action
Network at 300 Broadway, Suite 28, San Francisco, California 94133. If
you're interested in setting up a local rainforest action group, write
to us and ask for the RAG manual. We need you to contribute and
participate in monthly letter-writing campaigns, so that the eyes of
the world are upon the different governments, countries, and
legislators about this issue.
For 15 bucks you can join the Rainforest Action Network, and
then you will get monthly updates.  One of the things you can do right
off the bat to get involved in the rainforest issue is to go down to
your corner video store and rent "The Emerald Forest," invite a few
friends over for beer and pizza, show the film and have a
letter-writing party. Just call the Rainforest Action Network and we
can give you information about where letters are needed to be written.
	You can call the Rainforest Action Network at 415-398-4404.


Grateful Dead Hour
Week of September 26, 1988
Program No. 4

Featured:  live Grateful Dead music recorded December 28, 1983 at the
San Francisco Civic Auditorium. Feel Like a Stranger opened the
concert. Dire Wolf is out of sequence in the program because of timing.
After The Wheel, the band played at Playing in the Band for a short
while and then veered off into The Other One; they never did reprise
Playing in the Band that night. The second set closed with a Chuck
Berry double-header - Around & Around and Johnny B Goode - with Brent
Mydland singing along with his organ solo in Johnny B. Goode.
  -- D.G.

Part 1 25:27
Feel Like a Stranger  (Weir-Barlow)
12/28/83 San Francisco Civic Auditorium
Playing in the Band  (Hart-Weir-Hunter)
12/28/83

Part 2 27:18
ALF: I've decided to reveal myself to the world. This way I can meet new
people, travel, see a Grateful Dead concert...
Willie: I don't think the authorities would even let you out in public, 
much less become a Deadhead. You'd become government property.
ALF: That's fine. As long as I've got my freedom.

Dire Wolf  (Hunter-Garcia)
12/28/83
The Wheel (Hunter-Garcia) -> 
Playing in the Band tease -> 
The Other One (Weir/Grateful Dead)
12/28/83
Around & Around (Berry)->
Johnny B. Goode (Berry)
12/28/83

Grateful Dead Hour
Week of October 3, 1988
Program No. 5


Part 1 26:37
Jack Straw (Weir-Hunter)
12/28/82 Henry J. Kaiser Convention Center, Oakland CA
Lazy Lightnin'-> (Weir-Barlow)
Supplication (9:04)-> (Weir-Barlow)
Deal (Hunter-Garcia) 
12/28/82 Henry J. Kaiser Convention Center, Oakland CA
When I Paint My Masterpiece (Dylan)
The Band, Cahoots  (Capitol SMAS 651)


Part 2 26:32
Rose of Sharon (Hunter)
Robert Hunter, Tiger Rose (Round Records RX-105, 1975)
Shakedown Street-> (Hunter-Garcia)
Samson & Delilah (Trad/Rev. Gary Davis)
12/28/82 Henry J. Kaiser Convention Center, Oakland CA


Jack Straw was the first set opener, and Lazy Lightning/Supplication-> Deal
closed the first set. Shakedown Street-> Samson and Delilah was the second set
opener.

The Grateful Dead started performing "When I Paint My Masterpiece" in June of
1987 with Bob Weir doing the lead vocal, but which has also been part of the the
Garcia Band's repertoire since 1983.




Grateful Dead Hour
Week of October 10, 1988
Program No. 6

Part 1 25:12
On the Road Again (3:41)-> (Trad.)
Touch of Grey (Hunter-Garcia)
12/28/82 Henry J. Kaiser Convention Center, Oakland CA
Good Time Blues (Brent Mydland)
12/28/82 Henry J. Kaiser Convention Center, Oakland CA
Hard to Handle (Redding-Isbell-Jones)
History of the Grateful Dead, vol. 1 (Bear's Choice)
(Warner Bros. 2721, 1973)

Part 2 25:46
Throwing Stones-> (Weir-Barlow)
Not Fade Away->  (Hardin-Petty)
Morning Dew  (Dobson-Rose) 
12/28/82 Henry J. Kaiser Convention Center, Oakland CA

Grateful Dead Hour
Week of October 17, 1988
Program No. 7

Part 1 28:59
To Lay Me Down (Hunter-Garcia)
5/22/81 Warfield Theatre  (Acoustic, w/ John Kahn on bass)

Mason's Children (Hunter-Garcia-Lesh-Weir)
Living Earth, Living Earth  (Relix RRCD 2033, 1988)

Fire on the Mountain (Hart-Hunter)
Mickey Hart et al.  (from an unreleased Hart album)

Cold Rain & Snow (Trad., arr. Grateful Dead)
1/10/70 Community Concourse, San Diego

Part 2 26:04
Turn On Your Love Light (Scott-Malone)
1/10/70 Community Concourse, San Diego CA

Program notes
Mickey Hart sings!  This is the GD percussionist's unreleased studio
version of "Fire on the Mountain," a rap record before the term was
coined. These are the original lyrics by Robert Hunter, who Mickey has
referred to as his "vocal guru."

"To Lay Me Down" originally appeared on Jerry Garcia's 1972 solo album,
Garcia, and recently re-entered the band's live repertoire. The May 22,
1981 tape is an acoustic performance in a Nuclear Disarmament benefit
at the Warfield Theatre in San Francisco, with John Kahn of Garcia Band
fame playing stand-up bass in place of Phil Lesh.

I saw the Grateful Dead at Madison Square Garden in 1983 and again at
the end of the recent 9-show run, and I have to say it is a very
different experience from the California shows I'm used to. So between
sets on September 24 I asked Deadheads what they thought about the
difference between East Coast and West Coast Grateful Dead shows. Asked
whether they'd send a first-timer to the East Coast or the West Coast,
west was favored by two out of three Deadheads.

The GD introduced "Mason's Children" in the fall of 1969, then
abandoned it in the spring of 1970 after only about a dozen
performances.  They never put it on an album, although it was recorded
around the time of theWorkingman's Dead sessions. This is a new
recording from the self-titled debut album by a Pennsylvania band,
Living Earth.

Editorial comment:   Election day is almost here, and a lot of people I
know feel that their votes don't count for much these days. But I think
that if everybody who feels that way went to the polls it could make a
difference, in local elections and maybe even in the presidential race.
The phrase "consent of the governed" loses its power if the electorate
remain ignorant and apathetic and don't even bother to vote. So let's
give it a try - pass the word: this year the Deadheads are going to
drop in an vote. Thanks for listening .   -- David Gans

Next week:  Live Grateful Dead music from Utica, New York, March 21
1973, including the "original" versions of U S Blues and They Love Each
Other, plus at least one flippant remark from the stage.



Grateful Dead Hour
Week of October 24, 1988
Program No. 8

Part 1 24:13
Wave That Flag (U S Blues) (Garcia-Hunter)
  3/21/73 Memorial Auditorium, Utica NY
Looks Like Rain (Weir-Barlow)
  3/21/73
Lesh: Hey, for all you St. Stephen fans, WE DON'T DO THAT SONG ANY
  MORE....The bitter truth.
Weir: Yeah, we had to quit doin' it 'cause you liked it too much.
Beat It On Down the Line (Jesse Fuller) 
  3/21/73
They Love Each Other (Hunter-Garcia)
  3/21/73

Part 2  27:01 
Lesh's "Step back" rap 
Big River (Johnny Cash)
  3/21/73
Brown-Eyed Women (Hunter-Garcia)
  3/21/73
Playing in the Band (Hart-Weir-Hunter)
  3/21/73

The band played this upbeat arrangement of They Love Each Other all year
in 1973, and then retired the song until Jerry Garcia's "Reflections"
album came out in 1975; since then the band has given the song a much
slower tempo.


Grateful Dead Hour
Week of October 31, 1988
Program No. 9


Featuring the only Dark Star of 1984 - the encore from July 13, 1984 at the
Greek Theatre in Berkeley, plus a segment of the second-set jam from Oakland
Stadium October 9, 1976, the first of two outdoor concerts with the Who also
on the bill. Personnel: Jerry Garcia and Bob Weir, guitars; Phil Lesh, bass;
Bill Kreutzmann and Mickey Hart, drums; Keith Godchaux, piano; Donna Jean
Godchaux, vocals. 

Part 1 26:27
Slipknot!-> 
Franklin's Tower-> (Hunter-Garcia)
One More Saturday Night (Weir) 
10/9/76 Oakland Stadium
U.S. Blues (Hunter-Garcia)
10/9/76
Hart: Hi, this is Mickey Hart. And you're listening to the Grateful Dead
Hour. No, you're not listening to the Grateful Dead Hour P you're listening
to the Deadhead Hour.
Gans: No, it's called the Grateful Dead Hour now - we changed the name, yeah.
Hart: Oh. This is Mickey Hart, and you're listening to the Grateful Dead Hour.


Part 2 22:45
Tons of Steel (Mydland)
Grateful Dead, In the Dark (Arista ARCD 8452, 1987)
Wally: It only took us an hour to install the radio in Eddie's car. Then 
we went for a ride to try it out - over bumps and everything. Eddie was
listening to Mozart and Brahms and all those guys.
Ward: This radio of Eddie's sounds like something quite expensive P
Wally: Gee, no, Dad. It's real cheap P only seven dollars a month.
Ward: For how many months?
Wally: Gee, Eddie didn't tell me that.
Ward: Y'know, Wally, I think it's wonderful that Eddie is interested in
classical music, but you'd better tell him to keep up those payments. The
finance company just might come along and repossess his whole cultural
background.
Dark Star (Grateful Dead)
7/13/84 Greek Theatre, Berkeley



Grateful Dead Hour
Week of November 7, 1988
Program No. 10

Featured: Highlights from the Grateful Dead's September 14, 1988 press
conference at the United Nations. Jerry Garcia, Bob Weir and Mickey
Hart talk about the issues behind the benefit concert the band played
at Madison Square Garden September 24. The band met the press at the
United Nations building in New York City, joined by the leaders of the
three direct-action environmental groups for whom the money was
raised.

Part 1 24:43

Dennis McNally, GD publicist [introduces Bahouth, Clay, Hayes, Garcia,
Weir, Hart] ... our host, our sponsor - it's very special to be a
rock'n'roll band and come to the United Nations, and we thank him - Dr.
Noel Brown, the head of the United Nations Environment Program.

Brown: The tropical forests are being lost at the rate of eleven
million hectares a year, or 50 acres a minute. A problem that not only
threatens genetic diversity, but human survival in these rainforests.
Moreover, the problem is likely to be compounded by the fact that by
the year 2000 there will be a fuel wood deficit of some 900 million
cubic meters. As a result of that, people are likely to put greater
pressure on the forests. Then there is the growing recognition of the
problem of global warming. The fact that the forests are natural sinks,
and if we destroy them then we will lose one of the principal
laboratories for the transformation of CO2 into oxygen. There is a
tropical forest action plan which involves government and
non-governmental organizations, but we need to rally and mobilize
public support. We need all sectors of society to become involved. And
that is why this initiative of the Grateful Dead - to place their art
in the service of the environment, in the service of the rainforest,
and ultimately in the service of life - is so important to us at the
United Nations. We welcome them, and we look forward to working with
them in the future. Congratulations, gentlemen, and thank you very
much.

Garcia:  The thing that makes it newsworthy from our point of view is
that we've never really called on our fans, the Deadheads, to align
themselves one way or another as far as any particular cause is
concerned, because of a basic paranoia about leading someone. We don't
want to be the leaders, and we don't want to serve unconscious fascism.
Power is a scary thing. When you feel that you are close to it, you
want to make sure that it isn't used for misleading. So all this time
we've avoided making any statements about politics, about alignments of
any sort. This is even true of the notion of giving, and things like
that - mercy. But this is, we feel, an issue that is strong enough and
life-threatening enough that inside of the world of human games, where
people regularly torture each other and overthrow countries, and
there's a lot of murder and hate, there's the larger querstion of
global survival and everything else. We want to see the world survive
to play those games, even if they're atrocious. So the sense of this
is, "Let's take a break in the stuff that we normally do and address
the world's survival," and hopefully we'll include our own in there.
The reason that we've gotten involved with Greenpeace and Randy and
Jason is because these are direct-action groups. They work the way we
do: they work directly into the problem, with as few levels of
bureaucratic stuff between them and the thing they're trying to
accomplish. We hope that we can empower our own audience with a sense
of being able to do something directly and actually having an effect
that's visible in some way. We hope to continue this as an ongoing
process and to be able to report regularly what is happening, what
we've done, and whether or not any of this stuff has been efficacious.
That's essentially what it's about. Guys?

Weir:  I'll follow that by saying that we're here to announce our
awareness of the problem and to address it as best we can. We're just
learning at this point.  We're learning from our colleagues over here
and from various other sources. But this much we know: it's not really
an esthetic issue - it's more an issue of survival that we're facing
here. It's a problem we can and must address if we're to have a planet
that's capable of supporting life. We have to address the economic
issues that cause the destruction of rainforests, or they're going to
go away, and other things are going to go away as well - including,
probably, life on this planet. So in order to give ourselves a chance
to work out the other problems, we have to have a future in which to
work things out.

Hart:  I'd just like to reiterate what Bob said. This is a whole earth
problem.  This is not just our problem - this is the world's problem,
and the world should take care of itself. Half of the indigenous
species on this planet are located in the rainforests. It would be a
foolish chance to take, and especially for the children. We can just do
so much in our lifetime, but what about the kids?  That's what this is
all about, and that's one of the reasons we think we could do something
that would matter. And with our music - and with your help - we can
move a little air.
  I had a very interesting conversation with my son, who'll be six, a
couple of weeks ago. He likes Wendy's hamburgers, and we know that
the rainforests are being cleared to grow beef. He's a reasonable sort,
and I told him that all these animals are in this forest, and they're
going to be destroyed, and what do you think about that? Would you give
up a Wendy's hamburger for that? I was really moved. He said, "No, Dad,
I would give up that burger. I wouldn't want that burger. I would
rather see all those little creatures roaming around. I'm really
concerned about that." He was concerned about that. So I think we can
reach the little guys, too. I don't think it's just our concern as a
group. If the little guys can get it - it's their world, it's their
future, and they should have a chance to make it or break it as well.

Morning Dew (Dobson-Rose)  2/23/71 Capitol Theatre, Portchester NY

	Paradise waits
	On the crest of a wave
	Her angels in flame

Peter Bahouth, chairman of Greenpeace: I want to stress how happy I am
and how thankful I am for the fact that the Grateful Dead have been
involved in this project. I really want to say to everyone how
important their approach to this whole project has been. But I want to
stress that the band has been very conscientious about their approach
to this project and to this problem, in the sense that they have not
tried to simplify the problem; they have not tried to Madison-Avenue
it; they've not tried to speak on the issues when they felt that they
weren't competent enough scientifically or with their background to
speak to the issue. They've tried to bring in three different groups,
and I personally appreciate that because the three of us have gotten so
much work done just up to this point in this project.  So my thanks to
the Grateful Dead. We really appreciate it. The money is going to be
put to a good cause, and we hope this event continues for years and
years until we resolve the problem.

	I need a miracle every day

Jason Clay, director of Cultural Survival: Tribal people are the
traditional inhabitants of the world's most fragile land areas:
tropical rainforests.  They've lived in these areas for hundreds, if
not thousands, of years. They know how to use the rainforests and yet
sustain them. They've been called the once and future resource
managers. Today, forest-dwelling tribal people are disappearing even
faster than the forests themselves.  One group per year in Brazil since
1900 has been lost entirely. But we're not talking about history today
- we're talking about the present, too. In the last six months in
Brazil, fifty thousand gold miners have rushed into one area where ten
thousand tribal people live. As a result of the violence that has taken
place, more than one Indian per day has died from direct shootings,
killings of some sort, and probably four or five times that many have
died from diseases each day. Tribal people know more about rainforests
than all western scientists put together. We must work together with
them to sustain the rainforests and to determine how we might use them
without letting them be destroyed. Our own future probably lies in the
rainforest - not just their survival, but learning how to use what they
have to offer us. Tribal people are the key.

	Let it grow
	Let it grow
	Wild and free...

Randy Hayes, director of Rainforest Action Network:  At the Rainforest
Action Network we've been working for about two years to organize a
grassroots activist network to sound the alarm on this rainforest
crisis. We do that through education, demonstrations, banner hangings,
civil disobedience... We're prepared to get arrested and we're prepared
to put our life on the line if that's what it takes to get the job
done. We work with  a worldwide network of activists. In the industrial
north we're working with people in Japan, Europe and here in the United
States; in the tropics we're working with people in the Amazon, in
Africa, in Southeast Asia. The destruction starts here at home with our
overconsumption of tropical hardwoods - teaks and mahoganies;
rainforest beef for our fast-food hamburgers. Our tax dollars, through
foreign aid, through USAID and the World Bank, have financed some of
the most destructive highways and massive dams and resettlement
projects.
  The problem starts here at home, and the philosophy of the Rainforest
Action Network is "Physician, heal thyself." We've got a lot of work to
do here in the United States to save the rainforest.  When I was in
Malaysia, they asked for help in fighting the timber industry from
destroying their forest and destroying their lives. When I was in
Brazil, the Amazonian leaders asked for help in stopping US tax dollars
from financing projects that destroy the forest and destroy their
lives. We're here today to appeal to people who share our concern, who
share our outrage, and who share our desire to reverse these patterns
of destruction. The overconsumption, the industrial system of the
planet, is challenging this planet's life support systems. And it's not
just the rainforests' life - but it's our lives. The truth is that our
foreign aid investment is a form of false generosity that's coming back
to haunt us through the greenhouse effect and the destruction of
rainforest diversity. I believe that if we're silent, then we're guilty
of crimes against the Earth. I also believe that if we act now we're
going to be able to save the rainforest.  We're really the last
generation that's going to have a chance to save the rainforest.
Projections are that by the year 2050 they'll be gone.  That's less
than one person's life span. I'm really thankful to the Grateful Dead
for helping us bring this message out to millions of more people who
haven't yet heard it.


Part 2 26:10

	Help on the way...
	'Cause I love what I love
	And I want it that way

Hayes:  The proceeds of the concert will be divided into four parts,
with each of the three groups getting one of the parts. The fourth part
will be for the band, to finance future events. For the Rainforest
Action Network, we will use the money to launch a US tropical timber
campaign, and also to build a grassroots network here in the United
States of rainforest action groups.

Clay:  With Cultural Survival, which will receive 25% of the net funds
raised at the concert, we'll spend about half of that sum on resource
projects with indigenous peoples: projects that they design and they
run themselves; projects that help these groups who live in rainforests
around the world sustain those rainforests, yet earn the kinds of cash
that they need in the modern world. The rest of the funds will be spent
on research on crisis and chronic problems in rainforests as they
affect tribal people, and on public information campaigns and allowing
indigenous groups to travel back and forth and see what some of the
success stories are that other groups are experimenting with.

Bahouth:  Specifically, Greenpeace is working on the export of
pesticides to third world countries, and the export of other toxics. We
also have a multilateral developmental bank project which is looking at
some of the most heinous projects being funded by the unilateral banks,
and trying to force scoping sessions or informational sessions to try
to be able to get people involved in the process of deciding which
projects get funded, or which projects - more importantly - should not
get funded.

Garcia:  We've chosen these groups because we like that direct-action
thing.  That's like what we do at home. We have a foundation of our own
that does things at home, but they're aimed at the street. We don't
like a lot of stuff between us and the work.

	If you plant ice, you're gonna harvest wind

Q:  Have you visited any rainforests?

Weir:  Yeah, but -

Garcia:  Only the easy ones.

Weir:  Not a lot of people who are going to be affected by the rainforest are
ever going to have a chance to visit it. Nonetheless, you are affected by it.

Garcia:  It's the appalling statistics that get to you, finally. Fifty years,
they're gone. That's it. 

Hart:  Just to think that the rainforest is far away is not what you should be
thinking. The rainforest is right at your door - I mean, the effect of it. 

Weir:  The weather is here.

Garcia:  Yeah, we're living in that already. This stuff is already happening.

Hart:  It's a hard thing to address when it's three thousand, five thousand
miles away.

Garcia:  Somebody has to do something. In fact, it seems pathetic that
it has to be us. (applause)

Weir:  We're not paid to do this, you know.

Garcia:  This is not our regular work.  

Weir:  It's not my field.

Garcia:  It's not my field, yeah.

Hart:  It is now.

Box of Rain (Lesh-Hunter)  7/17/88 Greek Theatre, Berkeley

	William Tell has stretched his bow
	Til it won't stretch no further more
	And/or
	It may require a change that hasn't come before...

Hayes:  We know so little about the tropical rainforest. We probably
know more about the moon than we know about tropical rainforest. Most
of the scientific research in the rainforest has been done at the
forest floor level, and yet most of the ecological activity happens up
in the canopy. Only until recently, using mountain climbing techniques
and ropes and equipment, have they been able to string themselves up
into the canopy and begin to study it. We know very little about the
rainforest. There's a lot to be discovered.

Brown:  The data we have is that about 3% of all the species in the
forest have been documented. It would take 25,000 professional
lifetimes ... to give us a picture of what we're destroying.

Hayes:  You need to understand that a tropical rainforest is a
non-renewable resource. It's like mining gold out of the earth. You
can't regrow another crop.  You can never replant, with the original
genetic diversity, the kinds of medicines that occur out there, and
other products that are valuable to the people who live there and to
the rest of the planet. Right now 25% of our medicines in the local
pharmacy were developed from plants that only occur in tropical
rainforests. This is critical to the future of humanity.

Bahouth:  As a matter of fact, Randy, probably the cure for AIDS will
come from the rainforest if we don't destroy it.

Hayes:  There are plants that they are now looking at in the Australian
rainforest regions that seem to show promise.

Garcia:  The point is that nobody knows. Things like the weather are so
subtle, and what effect the rainforest has on any of that stuff -
oxygen, all the things that you hear about, the big scares - it's not
known. But as long as it's not known, it's not a good idea to rip them
up and tear them down, you know what I mean?

Hart:  You can't take the chance... There's an economic climate for
destruction down there in Brazil, and we have to reverse this; there's
a need to reverse this. We have to find alternative ways of developing
these forests that doesn't destroy them - that conserves them.

Dire Wolf (Hunter-Garcia)  7/8/78 Red Rocks Amphitheatre, Morrison CO

	Hist'ry's page will be neatly carved in stone
	The future's here, we are it, we are on our own

Q:  What about the lyrics of your songs? Throwing Stones...

Garcia:  (to Weir) See, you never should have written that song. Our one
political song!

Weir:  It's not political! It's apolitical!

Garcia:  Jeez! He's got one now that's much more offensive. [laughter]

Q:  There's a song called Throwing Stones. Does that have anything to do with
your environmental consciousness?

Garcia:  Maybe.

Weir:  Not really. That's just barely articulated rage at the way things are
going in general.

Garcia:  (laughing) This is just the beginning of our series of gripes, y'know.

Weir:  We've written nothing new to address this specific issue. That's not
really the way we'd want to do it. We're actually addressing this issue in
specific concrete terms rather than throwing poetry at it.

Garcia:  What we do for a living is provide a way out of all this
stuff. What we do for a living is provide an alternative, another
reality that doesn't have these kind of problems in it, necessarily.
But as people, as inhabitants of Earth, this is something. This is what
we're doing, as inhabitants of Earth - not necessarily as members of
the Grateful Dead.

Throwing Stones (Weir-Barlow)  6/15/85 Greek Theatre, Berkeley


(These three band members were not on the panel at the rainforest press
conference. Their taped messages were shown on the video screens at
Madison Square Garden between sets, along with a short excerpt from the
UN press conference.)

Lesh:  My major concern, then, is the irreparable loss of the diversity
of species that exists in the rainforest, as well as the loss of the
knowledge that occurs when the local tribes are either removed from
their habitat or destroyed completely. It's been said that when an
Amazon medicine man dies, it's like burning down a library. Please help
us to stop that.

Kreutzmann:  I get this opportunity to talk about something that's
really bothering me. It's about the loss of trees in our world. And
particularly, we might think about trees where you live. I know the
Deadheads get to live everyplace, and I think that's wonderful and I
admire you for that. But all those trees that you're going to go see,
or visit or drive by, might not be there some day. Matter of fact, where
I live, in northern California, in Mendocino, they're doing their
darndest to denude the land, the forest. We're losing trees that have
been growing for two thousand years. I'm not sure I agree that just
because those people own the property they have the right to take the
trees, and to take the oxygen source from our lungs, basically. We're
talking about saving each other, and one thing I'd like would be some
real support, some interest from the fans, from you folks, from
Deadheads - and help us with this cause. 'Cause you know the Grateful
Dead is not a band to get into causes. We've never... pushed any
political candidate. But now we're talking about Mother Earth.

Mydland:  I think it's very important that we talk about the fact that
this is for our kids. It's not necessarily for us, it's for future
generations. We're talking about maybe losing cures for cancer; air,
water; we're talking about losing life on earth, really, the way we
know it.


Contacts:
Here's where to write for information
(and/or to send contributions):

Rainforest Action Network  (415) 398-4404
300 Broadway
Suite 29
San Francisco CA 94133

Greenpeace USA  (202) 462-1177
1436 U Street NW
Washington DC 20009

Cultural Survival  (617) 495-2562
11 Divinity Avenue
Cambridge MA 02138
"Beautiful posters, greeting cards, t-shirts and snapazoos 
for sale, with all proceeds going to Cultural Survival."



Grateful Dead Hour  #11
Week of November 14, 1988

Grateful Dead at the Brendan Byrne Arena, East Rutherford NJ, April 16, 1983.
This is most of the second set, including a couple of numbers with special guest
Stephen Stills on guitar and vocals.

Part 1 26:11
Uncle John's Band->
Truckin'-> 
jam (Weir & drums)-> 
drums 
4/16/83 Brendan Byrne Arena, E. Rutherford NJ
 

Part 2 23:12
Black Queen->
Iko Iko->
"Little Star"->
The Other One
4/16/83 Brendan Byrne Arena, E. Rutherford NJ

DeadBase calls that little bit of music "Bob Star" or "Little Star." Bob Weir
sang it only three times, according to DeadBase, "the "Complete Guide to
Grateful Dead Song Lists." On April 15, 1983 it fell between He's Gone and the
drums, but the other two times Weir tried it it appeared as a prelude to "The
Other One."


Grateful Dead Hour
Program 12
Weeks of November 21 and 28, 1988

Part one of two programs exploring the catholic and cosmopolitan
consciousness of Grateful Dead percussionist and world music maven
Mickey Hart, whose recent extracurricular activities include a series
of compact discs with the ambitious title "The World," a high-tech
sonic scrubbing of the priceless Folkways music archive, and
presentation of the Gyuto Monks Tibetan Tantric Choir.

The first six titles of the CD series _The World: Recordings of Music
from Around the Globe_ have been remastered and released by Rykodisc:
Diga Rhythm Band, Diga; Drums of Passion: the Invocation, by Babatunde
Olatunji; Eclipse, Sudanese folk music by Hamza el-Din (who performs
with the Grateful Dead in concert from time to time); Sarangi, music of
India; The Music of Upper and Lower Egypt; and the Golden Gate Gypsy
Orchestra's Traveling Jewish Wedding.  Ryko has also put together a 3"
sampler CD with introductions by Mickey (sampled herein).


Program #12
Week of November 21, 1988
Part 1 27:59
Razooli - Diga Rhythm Band, Diga 
Fire on the Mountain - 10/22/78 Winterland

Part 2 22:49
Good Night Irene - Leadbelly, from The Original Vision 
Good Night Irene - 12/31/83 w/ Rick Danko and Maria Muldaur 
Hobo's Lullaby - Emmylou Harris, A Vision Shared/Woody
 Guthrie, The Original Vision
Goin' Down This Road Feelin' Bad - Woody Guthrie Sings Folk Songs, Vol. 2




Grateful Dead Hour
Program 13
Weeks of November 21 and 28, 1988

Part two of two programs exploring the catholic and cosmopolitan
consciousness of Grateful Dead percussionist and world music maven
Mickey Hart, whose recent extracurricular activities include a series
of compact discs with the ambitious title "The World," a high-tech
sonic scrubbing of the priceless Folkways music archive, and
presentation of the Gyuto Monks Tibetan Tantric Choir.

The first six titles of the CD series _The World: Recordings of Music
from Around the Globe_ have been remastered and released by Rykodisc:
Diga Rhythm Band, Diga; Drums of Passion: the Invocation, by Babatunde
Olatunji; Eclipse, Sudanese folk music by Hamza el-Din (who performs
with the Grateful Dead in concert from time to time); Sarangi, music of
India; The Music of Upper and Lower Egypt; and the Golden Gate Gypsy
Orchestra's Traveling Jewish Wedding.  Ryko has also put together a 3"
sampler CD with introductions by Mickey (sampled herein).

Program #13
Week of November 28, 1988

Part 1 24:47
Tum Balalaika - Golden Gate Gypsy Orchestra
Nugumi - Music of Upper and Lower Egypt
Weir: "My stuff all works, but Jerry's stuff doesn't all work..." 
Alabama Getaway->
Greatest Story Ever Told - 10/9/82 Frost Amphitheatre, Stanford

Part 2 27:30
Jackaroe - 4/17/82 Hartford Civic Center
King Solomon's Marbles - 8/13/75 Great American Music Hall, SF

  "Greatest Story Ever Told" was written by Mickey Hart, Bob Weir and 
Robert Hunter, based on the rhythm of a pump on Mickey's ranch in Marin
County. It appeared on his 1972 solo album, Rolling Thunder, as "The
Pump Song," and then Weir evolved it into Greatest Story Ever Told and
included it on his 1972 solo debut, Ace.
  The instrumental "King Solomon's Marbles" was recorded August 13,
1975 at the Great American Music Hall in San Francisco, one of only
four shows the band played that year.


DIGA: THE JEWEL IN THE CROWN

Hart:  The Diga record is the jewel in the crown.  It's one of my
favorite of all.  We were all students at the Ali Akbar College of
Music.  Zakir [Hussein] was there, teaching tabla. I had known Zakir
from the old days when Alla Rakha, his father, Ravi Shankar's drummer,
he introduced me to Zakir, and we became friends, buddies, and then
co-composers.  And he had a band called the Talvadim Rhythm Band. When
I joined in '75 we renamed it Diga and made a record in '76, as the
Diga Rhythm Band.
  We had to baffle everything with transparent baffles, because we had
to see our hands moving. But remember, tablas being in the room with
drum sets and congas and marimbas and duggies - these are tiny,
delicate instruments in there amongst the bigger boys of the forest,
you know, the drums.

Q:  How did you pull it off?

Hart:  Transparent  baffles, and also everybody had to learn how to
play on earphones.  Most of them were kids, you know. It was a
percussion orchestra made up of members of the Ali Akbar College of
Music.  And so they really weren't proficient at the use of earphones.
As a matter of fact, all of Diga is actually a live performance.  You
know - no splices and stuff like that.  We performed it from beginning
to end, and having these fourteen or fifteen people doing unison at
those speeds and in those time signatures was impossible.  We practiced
it for three months, and then opened up the microphones and recorded in
three days.
  We never really did have a chance to mix this record.  It was the end
of Round Records...  I remember going in there trying mix this record
at Wally Heider's...  We had six days to mix the record, and of course
it was the most complicated record I had ever done in my life.  Each
day it took us six hours to set up, and by the time we set up the
session was ending, and they broke us down every day.

Q:  Why did it take so long to set up? 
Hart:  Because it was so complicated.  We had gates on every channel,
and we had to equalize everything [adjust the tone quality].  It was
recorded at the barn under weird, funny conditions, and there was a lot
of processing that had to go in it just to make it sound crystal
clear.  We'd do a lot of cleaning.
  We were really struggling with it, and they broke us down for three
days. And on the fourth day I walked in and I said, "This studio is
ours in the name of the people," and we took the studio.  Me and Sweet
William, a Hell's Angel friend of mine, we took Wally's for three
days.  And Wally was standing down there on the steps on the first
floor, negotiating with us.  I said "Sorry, Wally, the studio is ours."
  Trying to mix under those conditions - my engineer was going crazy, I
was trying to keep the owners away, keep them at bay, there are Hell's
Angels everywhere and you know, tension filled the air, and it was no
way to really mix.
  So now, with Tom Flye, who has an extraordinary ear, we went back and
delicately remixed the Diga record. So it's a completely new mix - it's
sterling, it just shines - it's as good as it gets, now. [Editor's note:
He ain't lying!  The remix of Diga is spectacular!]

Q:  Twelve years' better technology  . . .
Hart:  Well, there wasn't even digital delay then.  There was no
digital reverb.  We were making reverb in cans and in tubes, in echo
chambers and... you know, in the old way.

Q:  Can you describe the progression [from "Happiness Is Drumming" to
"Fire on the Mountain"] - which came first - 
Hart:  Gee, I don't remember, actually.  I think "Happiness Is
Drumming" came first, and then "Fire" came out of that... I can't
remember; it's all a blur, to be honest with you.

Q:  Describe the process of getting your vocal on...
Hart:  Well, [lyricist Robert] Hunter being my vocal guru and
everything, it's sort of in the Hunter style, which is sort of my
style, of singing.  It's more like barking, you know, and rapping -
half rapping, barking, and just being real intense and sort of really
eating the words up a little bit, getting into it, and doing it at
twice the speed as the Grateful Dead.

THE GYUTO MONKS
[The sound of the Gyuto Monks is a wonder of the musical, scientific
and religious worlds.  It's the sound of prayer, a celebration of the
spirit manifested in their phenomenal stretching of the limits of the
human voice.  There's a recording of this choir on Windham Hill
Records, The Gyuto Monks:  Tibetan Tantric Choir (Windham Hill 2001 P
LP, cassette, compact disc).]

Hart:  Huston Smith went over to India to study them in '65 - but to
study religion. He was a professor of religion at MIT.  He went over
there, and as he told it to me, he went there, and he arrived in the
afternoon, and then they had dinner, and he went to sleep.  And in
morning at about four o'clock he heard this incredible sound coming
from the courtyard.  He peered over the balcony and there were 140
monks, doing [makes rumbling sound].  And he just sat there and looked,
and his mouth fell open.  And then every one of them stopped, except
one - they all stopped but one monk! - and in that voice he heard the
chord ... and just said, Now I know why I'm here.  So he forgot all
about the religious aspect of it and studied the multiphonic chanting.
Took it back to MIT, put it on a computer, analyzed it, and found out
where they were vibrating, and how they were - at least physically,
what it looked like.
  Oh boy, this is the rarest of the rare, David.  When you talk about
the extended voice - in Western vocal music each person in a choir
holds one note.  One person stops, that note goes away.  Two people
stop out of three, two notes go away. And the chord's gone.
  Not so in the Monks. Each person, or each monk, each lama, holds
three notes simultaneously - a chord, you see - and that's the special
thing about these monks.  They are celibate monks that go to the Gyuto
college - who are the Gyuto College Tantric choir, and it's a
monastery, it's in India.  And they specialize in higher forms of
meditation.
  This is the Dalai Lama's choir.  And that's what they do all day:
they pray.  And they pray at 70 cycles - their prayer is through
chant.  They recite the Sanskrit text, but their low note is 70
cycles.  So they're all holding three notes, they're vibrating at 70
cycles, and then half of them split down to 68, the other half split to
72, and then they'll come back and forth, in and out of unity.  And I'm
talking about subtle things here.  I'm talking about nuance.  And if
you participate in this kind of music, it's transformational in
nature.

Q:  What's the purpose of this tour?
Hart:  Well, to spread the dharma, I think, you know, the teachings.
If Buddhism is going to exist and is going to flourish, it's time to
get out.  And I think the Dalai Lama let them come out, because they've
only been out two or three times in four hundred years.  This is not
exactly a touring group.  Letting  them out, letting people see a
little bit about who they are, and the humanness of what theyUre about
to do, and the compassion, is what Buddhism is all about.

Q:  Do new people join this order?
Hart:  Well, not too much any more.  I mean it's one of those things,
they're getting less and less monks to be able to do it.  There's not
that many to pull on.  Because this is a very rigorous - these are
athletes.  There's about 110 of them left.  There used to be four or
five hundred of them, and it's a tradition that has basically been
unchanged in 450 years.  They're trying to empty their bodies and their
mind of all evil or bad or daily thoughts and replenish their vessel
with new thoughts.  Through their prayers they hope to make a better
world.  They conjure the deity, they bring him down, the Mahakala, the
Yamantaka...  They entertain him, they send him away to do their
bidding.  This is very serious business, but I might add that they're
very joyful, very happy, fun-loving - they're very light.  They're what
we call enlightened people.  They have lightened up.  They are light!
I mean, they go through New York City like it wasnUt even there!


"A DATE WITH MICKEY HART" 
Hart:  I recorded the music of upper and lower Egypt in 1978 in Aswan.
This is music of the Nile river, always flowing, and it's music of the
desert, soft, dry, relentless, timeless.  Together, the river and the
desert are the essence of Egypt.  The Aswan boatmen sail up and down
the Nile, playing and singing these songs.  It helps them in their
work, and it adds music and joy to their lives.
  "Nugumi" is a song of communal celebration.  Forced out by the
floodwaters rising behind the Aswan High Dam, the body of En-nugumi, an
Egyptian folk hero, was moved from its tomb in Toshuka to a new one at
Aswan. (narration from "World" sampler CD)


Hart:  Upper and Lower Egypt  was recorded on our trip to Egypt in '78,
to the great pyramids, where we played three nights.  Afterwards I went
on a little hike down the - up the Nile, or however you like; down is
up and up is down, of course - for a month, where I traveled into the
Sudan with Hamza el-Din.  Hamza's village is Kom Ombo, which is about
600 kilometers southwest of Aswan.  I recorded from Alexandria, which
is the Mediterranean coast, down to the Sudan.  So on this record is
music of the Bedouins, the tribespeople - the music of the desert - and
there's music of the water, the Aswan boatmen.there's the Nile, and
there's the desert, and this is a representation of both.

Q:  Now that there are portable DAT machines, you're just going to have
to go back around the world and collect all the music again.  
Hart: Yeah, but unfortunately it's not that simple, David.  It takes me
weeks sometimes to find this music.  You just don't open up shop and go
out to the country and open your microphones.  It took a lot of effort,
and that was more than ten years ago.  I could hardly find the music
then, so we've got cultural grayout - you know, we have a lot of music
being lost.  We're left with the remnants of what the old music was...

Q:  Are you thinking about doing more expeditions like this?
Hart:  Oh, absolutely. I love going out in the field and recording.  To
me that's high adventure, that's a date with Mickey Hart, you know?  I
mean, going out in the field is my - that's my vacation.
  You have do do whatever you have to do to get the recordings, because
you're at the mercy of nature.  There's the wind, there's the cars,
there's the dogs, there's even - one time a cricket destroyed my
recording...  I was going to record the Koran.  This was when I was in
Cairo, on my way out. So we did a test run, and we found the best
chanter, and we went... Underneath the mosques there are these long
places where they clean their feet.  They're like latrines.  And
they're really long, under the whole mosque, and they usually are made
of some kind of resonant material, like tile.  We put him downstairs,
because upstairs it was too noisy, the street and everything would come
in.  He started to sing, and there was one cricket in there, and it was
the loudest thing in the world.  It went "Chirp chirp. Chirp chirp."
This guy would sing, and every time he'd stop - "Chirp chirp."
  In the field you're at the mercy of the elements, and it's a lot of
fun. It's nothing like the studio.  It's an adventure a minute, you
know, and then when you come back with it in hand, it's really a great
thrill.  I usually take my kids, or Billy's kid, or Ram Rod's kid, or
one of the Grateful Dead equipment guys' children, on these runs,
because they love it, it's an adventure.  When we did the Arctic, my
crew was all under 11 years old.  I had three of them, and the oldest
was 11 - Creek, my stepson, was 11.  See, Billy's boy was 10, and Ram
Rod's boy was nine.  Each one of them has their own job, and they bring
back the goods.  It's a good family adventure for me.

  Musics that you hear on [Rykodisc] are, hopefully, the finest recordings 
that you can possibly get of it at the time.  Remember, when I recorded
15 years ago or 10 years ago, there was no digital technology.  But
it's the best analog you can find, and that music isn't available any
more.  If I were to go back there, I would have to go find those same
Bedouin tribesmen.  They're never in the same place for more than two
or three weeks.  I mean, this is the desert, David.  It's just not that
simple.  You have to go there, you have to make friends, you have to
hang out, you have to know what you're doing. I know all the beats, or
the grooves, or the customs of the people when I go there, I study it
before I go there.  And then we usually have a big party - I'll get
lamb or something, or a cow, we'll slaughter it, we'll have a party and
we'll play and I'll record.  It's not a real recording session as much
as - this music isn't like that.  This music is music of celebration
and trance, and of transformation, and that's what all of this music
has in common.  It has transformational aspects to it.


THE BEAST AND BIG HAIR
Hart:  The Beast is just the drums.  The center drum is "home plate."
Those are the eyes of the beast, those three big drums.  It's a
three-eyed beast, you have to understand.
  The Big Noise comes from Big Hair.

Q:  And it's called Big Hair because -
Hart:  - it makes your Big Hair stand up.  Because it is Big Hair.
That's why it's called Big Hair.
  The heart of it is a Dynacord [one for each drummer].  It's a
computer; that's where I store the samples.  The samples come from the
locker of all the percussion instruments Billy and I have collected
over the years.  We put the sounds in there and we manipulate them
through processing and MIDI, in real time.  I can call it up
instantaneously, and they don't get broken, and - I mean, to carry my
collection around it takes a whole semi just by itself.
  I have a [mixing] board behind me that all this comes through.  Bob
Bralove brings it up through the board, and I have pedals where my pads
are on the drum riser that introduce into the signal what I want.  And
then, of course, I have my MIDI selector up there; it is preprogrammed
to change all of the devices.  That's what MIDI is all about.  So when
I go to 22, I get quattro delays. When I go to 24, I get infinite
reverb and panned delays. I've already programmed what I want, so I
have many of those settings, so I can choose any setting any night that
I want.

Q:  So when people see you turn to the side there, and you're hitting
that rack of pads...  
Hart:  Each pad is a sound, and I have [64] sounds on each pad because
of the computer, because I can swtch between banks.  I have eight banks
[of eight sounds each].

Q:  What happens then when you're playing on the Beam or some of the
things on the Beast and stuff - 
Hart:  The Beam is real-time.

Q:  It doesn't get signal processed?
Hart:  Oh, yes, it does.  The Beam definitely gets signal processing.
It gets signal processing, but the Beast doesn't, except the octave
divider.  Like Healy will dump home plate sometimes down an octave.

Q:  That's where that big roaring bass note comes from...
Hart:  That's right, that's an octave divider.  That takes what I have
as my low octave and takes it down another octave.

Q:  So there's a lot of interactive stuff going on here.  You're
controlling your stuff, and Bralove's working - are you giving him
instructions?  
Hart:  No, when it goes on, instructions are pretty well inaudible.

Q:  Bralove's jammin' too?
Hart:  HeUs jammin'.

Q:  How much do you and Billy plan ahead on these things?
Hart:  Well, what we do is, usually, before the second set we'll go up
there and determine what we want to do - approximately.  We'll say it's
"Marching to hell" or something, "Rhythm Devils at 60,000 feet," or
"Peace in the Middle East" - we'll have some kind of a theme that we'll
say.  And then we'll try to think of what sound would be appropriate,
like "Drums over India" or something.  Any thought that comes into our
mind, you know.  And then we try to get some disk that in some way has
a relationship to it, or at least we might think it does, you know?  It
doesn't have to really relate to it in any way except there's sort of a
unifying thought, even if it doesn't sound anything like it....  We
prearrange it, and then usually we donUt follow that [laughs].  It's
just a starting point, you know, and the thing is that it's carved in
stone and we can change it at any moment.

Q:  Best of both worlds.
Hart:  It's Grateful Dead.


DYNAMICS
Hart: We blew out half of the PA in Laguna Seca, a 300-amp circuit, at
66 thousand watts!  We took one half of the PA down at Laguna Seca.
[Grateful Dead sound man Dan] Healy says that's a world record.  That's
the most current ever drawn for one percussive note.

Q:  What did you hit to do it?
Hart:  Well, I laid into the Beast at the same time as he dumped the
octave, and so we took the whole mains out.  We took the whole right
side of the PA out - it went out for about a minute until it regained
its composure.

Q:  Could you hear it from where you were?
Hart:  No. I was told about it afterwards.  'Cause we'd never taken
down a main like that.  The PA's never gone off like that.  Especially
for one note. He presented me with a plaque with a golden - he took the
circuit breaker and gold plated it.  And I have a little plaque that
says "To Mickey Hart, for the most current ever drawn on one percussive
note," and the date, and the amps and the watts.


WHAT GRATEFUL DEAD RECORD?
Q:  What's going on with the Grateful Dead record?
Hart:  Grateful Dead record? What do you mean, Grateful Dead record?

Q:  Well, there are rumors afoot. . .
Hart:  Rumors? 

Q:  Various stories abound. . .
Hart:  Stor

Q:  Is it being worked on?
Hart:  Of course it's being worked on.  We work on it in mysterious
ways.  Are we in the studio right now working on it every minute, you
know, and knocking out tracks?  No.
  It will happen.  It will see the light of day.


Grateful Dead Hour No. 14
Week of December 5, 1988

Part 1 26:33
Don't Ease Me In
Lost Sailor-> 
Saint of Circumstance 
 9/1/79 Holleder Memorial Stadium, Rochester NY
Mercy Mercy Mercy - Brian Melvin's Nightfood, Nightfood 
 (Global Pacific ZK 40733, 1988)
Run for the Roses - Jerry Garcia, Run for the Roses

Part 2 23:26
Wharf Rat-> 
I Need a Miracle-> 
Bertha-> 
Good Lovin' 
 9/1/79 Holleder Memorial Stadium, Rochester NY

There wasn't time to play the whole "Wharf Rat" and still get the end
of the set in, but Garcia's last solo was so stunning I had to include
it.

According to DeadBase, the complete book of Grateful Dead Song Lists,
9/1/79 was Brent Mydland's 20th concert since breaking in with the band
on April 22 of that year. Brand new to the repertoire were the Bob
Weir-John Barlow composition "Lost Sailor," introduced in Oakland on
August 4, and its companion piece, "Saint of Circumstance," which Weir
sang in public for the first time in Glens Falls, New York, the night
before this Rochester performance.

"Mercy Mercy Mercy" is from a new Global Pacific album by Brian
Melvin's Nightfood, with the late Jaco Pastorius on bass and Bob Weir
on guitar and lead vocal. The song made the pop charts twice in 1967 -
as an instrumental by Cannonball Adderley and in a vocal version by the
Buckinghams. It was written by Josef Zawinul, who played keyboards with
the Adderley Quintet and later founded Weather Report, where Pastorius
became famous for his innovations on the electric bass. Weir also
appears on "Fever," sharing lead vocals with Jan Fanucci.  - DG



Grateful Dead Hour No. 15
Week of December 12, 1988

Part 1 23:53
Professor: You're going to have to stay away from this transistor radio,
Gilligan. The signals you're emitting are loud enough to cause interference.
Brown-Eyed Women  3/18/88 Henry J. Kaiser Conv. Ctr., Oakland CA
Bird Song->
The Music Never Stopped  3/18/88

Part 2 26:41
Skipper: Look, Mr. Howell, let's concentrate on the radio, huh?
Howell: Well, Gilligan broke it - let him fix it!
Professor: Gilligan is hardly an electronic wizard.
Howell: Oh, is that so! Can you  turn yourself into a radio?
percussion->
jam  3/18/88 Henry J. Kaiser Convention Center, Oakland CA
When Push Comes to Shove->
Man Smart, Woman Smarter  3/18/88

Grateful Dead Hour No. 16
Week of December 19, 1988

Grateful Dead live from the Bermuda Triangle, playing in front of a
humongous sound system at Miami Jai-Alai.  Each instrument had its own
amplification system and a couple dozen speakers, and it sure did sound
fine!  During the energy crisis of the early '70s it got too expensive
to drive all that hardware around, and not long after this show the
band took a 19-month vacation from touring.  When they came back in
1976 their whole setup was a more reasonable size.

Jai-Alai is a team sport played in a huge racquetball court with one
side wall replaced by a net so the spectators can see the game without
being hit by stray jai-alai balls.  I saw the Dead play there in '78,
but I don't remember whether they left the net up or not.

The Dark Star-US Blues jam is slightly abridged; the master tape had a
break in it, plus I had to lose another couple of minutes to make it
fit into the Hour.  - D.G.


Part 1 27:07
Let It Rock  6/23/74 Miami Jai-Alai
Black Peter  6/23/74
Around & Around  6/23/74
To Lay Me Down  6/23/74

Part 2 25:29
Dark Star->
Bolero->
U S Blues  6/23/74 Miami Jai-Alai


Grateful Dead Hour No. 17
Week of December 26, 1988

Featuring excerpts from the Grateful Dead's second set July 26, 1987
at the Big A (Anaheim Stadium), not far from Disneyland and Leo
Fender's house.  The Dead played a set with Bob Dylan that night, and
there's a live album from that tour due out very early in 1989.

Part 1 26:28
If I had the world to give...One pane of glass...Blue suede shoes...A
ruffled dress, a necklace made of gold...all the French perfume you'd
care to smell...Ribbons, ribbons, ribbons...Bucket hanging clear to
Hell...A broken angel...Just a box of rain...I'll take a melody...Just
a plaintive little tune...Ten gold dollars...Money money, money money
money...A thousand dollars, please...A dime for a cup of coffee...
Little Ben clock...An electric guitar...Something like a bird...
Burgundy wine...Couple shots of whiskey...Couple more shots of
whiskey...Couple more shots of whiskey...Just a cup of cold coffee...
Pile of smokin' leather...A leaf of all colors...And very few rules to
guide...A land that's free for you and me...You know the one thing we
need is a left-hand monkeywrench...You know I'm ready to give
everything for anything I take...There is nothing like a Grateful Dead
concert! <applause> 

Shakedown Street  7/26/87 Anaheim Stadium 
Notes from the Rosetta Stone (first section)  Peter Apfelbaum and the
  Hieroglyphics Ensemble with Don Cherry, 10/14/88 Palace of Fine Arts 
  Theatre, SF
China Doll  Grateful Dead from the Mars Hotel
  (Mobile Fidelity MFCD 830 (orig. released 1974))

Part 2 25:59
Terrapin->
percussion  7/26/87 Anaheim Stadium
Throwing Stones  7/26/87
Not Fade Away  Rolling Stones, The Rolling Stones  (1964)

Peter Apfelbaum and Hieroglyphics Ensemble was Phil Lesh's choice to
open the show on New Year's Eve this year.  It's a 15-piece band from
Berkeley, using some "World Beat" dance rhythms for composition and
improvisation in a big-band context. I think this band should appeal
equally to the dancers and the serious listeners in the Grateful Dead
audience.
  The following is an excerpt from an interview with Apfelbaum on the
December 1988 instalment of Rex Radio, hosted by Phil Lesh.

 Lesh: [Recalling a newspaper article in which] you were extolling the
virtues of Reggae and African rhythms as opposed to swing rhythms...
You were saying that most jazz composers only rely on swing rhythms,
and that Reggae and African are a whole new untapped resource, in a
way. And to my ears you've taken those rhythms and developed them
considerably - especially overlaying more than one at one time.

  Apfelbaum:  That is a product of our continuing investigation of the
roots of what we call jazz. In the process of investigating that root
we realized that the basis of swing and the basis of the rhythms that
make up what we call jazz come from Africa - specifically, from West
Africa. There've been numerous attempts in this century to combine
African rhythms with American jazz. Dizzy Gillespie was somebody who
did that by way of Afro-Cuban music; Ellington did it, and more
recently the Art Ensemble of Chicago, Sun Ra... There was an outgrowth
of awareness in the sixties that contributed to the overall awareness
of African music, and it became an element that is more and more used
in composition. What we're doing is taking modern dance forms and using
them as a basis for composition and improvisation, much in the way that
Ellington did, and people of his time that were orchestrating for a
large ensemble.




Grateful Dead Hour No. 18
Week of January 2, 1989

An interview with Grateful Dead bassist Phil Lesh
originally broadcast live on KFOG (San Francisco) August 25, 1986 

Side 1 27:08
St. Stephen 6/15/76 Beacon Theatre, NY
Playing in the Band 7/29/88 Laguna Seca

Side 2 27:45
Passenger - Grateful Dead,Terrapin Station
(Arista ARCD 8065, orig. released 1977)
Africa - John Coltrane,The Africa Brass Sessions, Vol. 2  
(Impulse! MCA-42232, 1974 (reissue); recorded June  7, 1961)

Caller: Phil, I've pondered this concept of how the energy runs back
and forth between the band and the audience at a show, and I was just
wondering, what's it like from your point of view on the stage?

Phil: Well, it's always great, man, 'cause you guys really make it
happen. No, but seriously...Seriously... What is it like for me? It's
wonderful: You guys scream, we play...

Caller: Do you like the small theatres better? Is the energy different
from the large arenas?

Phil: No, actually, it's not any more, man. It used to be that there
would be a kind of a signal on a carrier, but the energy is kind of
like general these days. It's very hard to get anything definite out of
it except to keep on playin' ...

Gans: You mean you used to get that thing where people would vibe you
to play Black Peter and stuff?  [laughter]

Phil:  No, nothing that specific.  [laughter]  They'd say, "Play F
natural, man.  F natural.
  But no, it's never specific. The energy allows us to keep goin'.

Caller: The energy is a very real thing. I've felt it out there, and I
was just wondering how powerful it gets for you guys.

Phil: Very powerful. We couldn't do anything without it. Otherwise we'd
be talking to ourselves.

Caller:  I was curious about why the Dead doesn't play St. Stephen any more.

Phil: I think we forgot it. No, seriously, it's really complicated, and
sometimes we play it, and we get to this one part and somebody forgets
something important.

Caller:  I thought you said earlier that playing in a big place or
playing in a smaller place didn't make that much difference, sorta
playing to the crowd. For the crowd, it definitely makes a big
difference.  So I wondered if playing Box of Rain, do you feel the
crowd?

Phil:  Oh sure. Especially when they go "AAAAAAAAAOOOOOOOWW PHIL!!!!" I
feel that, yes I do. Honestly.

Caller: I was wondering if you could talk a little bit aobut how early
on the Dead began to think of themselves as developing a repertoire of
standards that could evolve and mutate as the band evolved and
mutated.

Phil: Right away, actually - that is to say, as soon as we started writing 
our own material.

Caller: You knew that these were going to be songs that you were going
to play that were going to change over the course of a long period of
time?

Phil: Well, no; we knew that that's the way we wanted to approach the
music, is that every time we played the song, we didn't want it to
always be the same.  Actually, how it really worked was that we
COULDN'T play it exactly the same every time, and so that led us to
believe that there was some value in doing it differently.

Caller: You talk about the influences of Miles Davis and Coltrane, and,
like, Miles was doing some stuff around the time of Bitches Brew that
was even different, that was kind of similar. Do you think that that
you were still being influenced by that? Would you say that the
Grateful Dead and Miles were being influenced by some of the same
things at that time?

Phil: Well, I think that Miles, in a sense, was far ahead of us in that
Bitches Brew era, because we had to follow him one time at the Fillmore
West, with that band, playing that music.  He only played for 45
minutes and it seemed like a year. We had to follow that, and it was
pretty difficult, I can tell you. So the answer to your question is
yeah, we were both influenced by the same things, but it came out in
different ways.

Caller: Yeah, but even like over time it seemed like a couple of years
later you were doing some more of that same kind of abstract stuff...

Phil: Yeah, well, we got so we could play a little better by that time, you
might say, yeah. 

Caller: Have you guys ever considered playing with a tenor saxophone
soloist?  I've seen you do things with saxophone and trumpet, kind of
ensemble thing, but where a guy would just come out and blow like a...

Phil: Jeez, you know, we've never even considered that. I don't know
why.  JIf there was a player who could speak in our context on that
level, yeah. I don't know... It would have to be someone who sang and
played tenor at the same time - or, not at the same time...

Gans: Not in the band per se, but who would you like to have sit in?
What sax player would you like to see sit in with the GD?

Phil: Sonny Rollins.

Caller: Sonny Rollins!


Caller: It's been fun checking out your influences, blues and jazz and
Western type music, and lately I've been checking out musics of other
cultures, and I notice that you guys seem to be real influenced by
music from all over the world. I was curious what kind of stuff
particularly interests you from elsewhere.

Phil: From elsewhere? You mean, other than white people's music and
that sort of thing? Well, sure.  African drums, that sort of thing, and
Indian music. And Flamenco, for me personally,  Flamenco music from
Spain.

Caller:  ...You mentioned something earlier about jazz music and
interpretation.  A couple years ago in a very good article in Musician
magazine you related as to a composition called Unbroken Chain you did,
and and how it was so much different by the time it got recorded. Could
you explain what that meant to you at the time, and how it came out
through the band?

Phil: Well, I don't know what this has to do with interpretation as to
what I was saying earlier. It wasn't so much that what came out was so
different from what I'd imagined - it just wasn't executed the way I
wanted it to be executed.

Caller: So the song didn't actually mean anything different?

Phil: Nothing different, no.

^^^^^

Phil: Grateful Dead music, like any kind of popular music that arose
around that time, was equally influenced by the blues, and by jazz, and
by just about every kind of music that was available to us on record
and on the radio, through tapes and through people playing and
traveling around.  But jazz music was kind of a late comer to the mix
in the Grateful Dead, as it were. I guess I'm as responsible as anybody
for bringing it on in. The thing that I wanted to show the guys in our
band was how these people would interpret in different ways the same
changes to a tune - they do it in sequence, and what we do is we sort of
do all the same things that jazz players do, play different solos, but
we do it at the same time.

Gans: Let's clarify that.  In jazz music there's the head of the song,
the changes, the basic melody and stuff -

Phil: Which they all play togetherI

Gans: And they take turns soloing while the rest of the guys vamp, right?

Phil: Right, essentially. But there's a lot of interplay between the
soloist and the rhythm section, and occasionally you'll even hear other
horn players coming in and playing riffs behindI

Gans: And this is spontaneous?

Phil: This is usually spontaneous.

Gans: And the similarity to the Grateful Dead is a lot of spontaneous
stuff arising out of structures?

Phil:  Arising on top of structures that you're familiar with. The
thing that the Dead does is... everybody's playing their improvisations
at the same time, whereas in jazz music everybody takes their turn. And
it's  a little clearer, perhaps, to hear what any individual is trying
to say.

^^^^^

(Phil brought a couple of his favorite jazz albums with him for this
broadcast.  Here's how he introduced a record that made a great
impression on him and on other members of the Grateful Dead.)

Phil: This next one that we have in mind here is a long tune called
Africa, which was recorded by Coltrane in about 1960 [sic] with a whole
bunch of musicians including Eric Dolphy on flute, and some brass
arrangements which were done by Dolphy. His normal rhythm section, two
bass players. This is Elvin Jones on drums, and this is a thing that
influenced [Grateful Dead drummer Bill] Kreutzmann a whole lot when I
first played it for him in, I guess, whatever it was - '66 or '67. He
was totally blown away by Elvin Jones's drum solo in this; it showed up
in his playing after that, and I'm really  glad that I turned him on to
it.

Grateful Dead Hour No. 19
Week of January 9, 1989

Side 1 25:15
Good Morning Little Schoolgirl
In the Midnight Hour
 8/22/87 Angels Camp CA (with Carlos Santana, guitar) 
Iko Iko->
All Along the Watchtower
 8/23/87 Angels Camp CA (with Carlos Santana, guitar) 
ID by Mickey Hart

Side 2 27:06
Truckin' - Squalls, No Time (Dog Gone Records DOG 0001, 1988)
Q: Who would you choose to play the other band members in the movie of 
 the life of the Grateful Dead? - Grateful Dead Talk to Themselves 
 (Arista ADP-9630, 1987)
Dear Mr. Fantasy->
Playing in the Band->
Morning Dew
 8/23/87 Angels Camp CA


Santana was on the bill both days (along with David Lindley and El Rayo-X) 
at the Calaveras County Fairgrounds in Angels Camp, California, August 22 
and 23, 1987, and Carlos Santana sat in on guitar for the last couple of 
songs in the first sets of both shows.

Interesting reading of Truckin' by Squalls, from their recent album _No 
Time_ (Dog Gone Records, P.O. Box 1742, Athens GA 30603). Thanks to nethead
Richard Baum for sending it in. _Grateful Dead Talk to Themselves_ is a
promotional disc put out to radio stations by Arista in Summer '87 to 
coincide with the release of In the Dark) - DG



Grateful Dead Hour No. 20
Week of January 16, 1989

Side 1 27:36
Feel like a Stranger  3/2/87 Henry J Kaiser Conv. Ctr., Oakland CA
Fennario 3/1/87 HJK
It's All Over Now 3/1/87 HJK
Diamond Joe - Jerry Garcia Acoustic Band, Almost Acoustic
(Grateful Dead Merchandising GDCD4005, 1988)

Side 2 25:42
Mississippi Halfstep->
Promised Land 3/3/87 HJK
Quinn the Eskimo 3/1/87 HJK
Hell in a Bucket 3/1/87 HJK




Grateful Dead Hour No. 21
Week of January 23, 1989

Grateful Dead at Winterland December 31, 1978, a monumental show to bid
farewell to the venerable skating arena.  According to DeadBase the GD
performed there a total of 62 times. Despite some legendary acoustical
shortcomings ("That place eats bass," as one band member put it),
Winterland was home to the Dead and Deadheads for more than ten years.

Side 1 26:25
Samson & Delilah 12/31/78 Winterland, San Francisco
Dark Star->
The Other One->
Dark Star 12/31/78

Side 2 28:20
Weir:  We're going to play a selection from our latest chartbuster.
Stagger Lee  12/31/78 Winterland, San Francisco
Good Lovin' 12/31/78
Casey Jones->
Johnny B. Goode 12/31/78
Weir: Thank you. This old place is closing up, and so let's give this
old place a big round of applause, because it's done us all a really
good-- 
Lesh: Stick around for breakfast and happy fuckin' new year. Ha, ha.
Bill Graham: Mickey Hart on drums, Bill Kreutzmann on drums, Phil
Lesh on bass, Donna Godchaux vocals, Keith Godchaux keyboards, Jerry
Garcia on guitar, Bob Weir on guitar: the Grateful Dead, please!
They're the greatest rock'n'roll band that ever was: the Grateful
Dead!




Grateful Dead Hour No. 22
Week of January 30, 1989

Side 1 25:14
Walkin' Blues 12/28/88 Oakland Coliseum
Bird Song 12/28/88
Jack Straw 12/28/88 Oakland Coliseum

Side 2 28:18
Mason's Children - Henry Kaiser, Alternate Versions
(SST CD 237, 1989)
Uncle John's Band->
I Need a Miracle 12/28/88 Oakland Coliseum

Mason's Children is a late-'60s-vintage song which the Grateful Dead performed
live a few times but never put out on record. This one is from a 3-inch compact
disc by Henry Kaiser, "Alternate Versions" (SST Records). It's a remix of the
version that appeared on last year's lp Those Who Know History Are Doomed to
Repeat It,  featuring keyboard overdubs by former Grateful Dead keyboardist Tom
Constanten and lead vocal and a guitar solo by yours truly.   - DG


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Grateful Dead Hour No. 23
Week of February 6, 1989

Highlights from the first set of the Grateful Dead's 1988 New Year's
Eve concert, including a guest appearance by Clarence Clemons of the E
Street Band on saxophone, plus one more song from the opening show of
the run, December 28.

Side 1 26:30
Turn On Your Love Light 12/28/88
Oakland Coliseum Arena
Wang Dang Doodle
West LA Fadeaway 12/31/88
Oakland Coliseum Arena
w/ Clarence Clemons, saxophone
Weir: Say Thank you, Clarence!
Garcia: We're gonna bring him back later.

Side 2 26:52
When I Paint My Masterpiece
Cold Rain & Snow
Cassidy->
Don't Ease Me In 12/31/88



Grateful Dead Hour No. 24
Week of February 13, 1989

Featured: Part 2 of the Grateful Dead's New Year's Eve 1988 performance
at the Oakland Coliseum, beginning with the countdown to 1989.  As
midnight approached, Father Time flew across the arena on a gigantic
mirror ball, landing on the stage amid fireworks and thousands of
balloons as the band played Sugar Magnolia, followed by Touch of Grey,
with Clarence Clemons (the "Big Man" of Bruce Springsteen's E Street
Band) on saxophone.

Also included is an interview recorded December 29, 1988 with one of
the dedicated Deadheads who handle the band's mail-order ticket
operation.  Steve Marcus has been with Grateful Dead Ticket Sales since
it started in 1983 with four employees. Now Steve, Frankie Accardi,
JoAnne Wishnoff, Calico, Carol Latvala and a couple dozen other workers
occupy a two-story house, sending out half a million tickets a year and
taking very good care of their customers.

Side 1 26:46
Countdown to midnight->
Sugar Magnolia->
Touch of Grey  12/31/88 Oakland Coliseum Arena
with Clarence Clemons, saxophone
Steve Marcus interview
Oh, the Wind and Rain - Jerry Garcia Acoustic Band, Almost Acoustic 
(GD Merchandising GDCD4005, 1988)


Side 2 27:00
The Wheel->
Gimme Some Lovin'->
All Along the Watchtower  12/31/88 Oakland Coliseum Arena
Mr. Microphone
Gotta Serve Somebody - Bob Dylan/Grateful Dead, Dylan & the Dead
(Columbia 45056, 1989)


Q:  Some peanut butter and jelly sandwiches for a ticket?
A ticket? No way.
Q:  That's a lot of peanut butter and jelly sandwiches!
Nuh-uh, no way. <laughter>
Q:  Wonder bread, Skippy peanut butter -
Cellulite sandwiches for a ticket? No way.
That sugar mixed with that peanut butter, that's protein mixed with
sugar, and it makes cellulite.  So you should sell wheat bread with
peanut butter and honey, 'cause honey isn't sugar.... Then people might
trade you. But I doubt it.

Lesh:  Happy new year.
Q:  Do you have a wish for 1989?
Marcus:  That it's at least half as good as 1988 for me.
Q:  Great. Thanks.
Marcus:  And that Bush stay healthy.

The highlight of 1988 - first set last night. It was the one I
remembered best.  <laughs> Well, I guess the highlight of the year as a
whole was 3/16/88, second set.  I do have some  memory left.  Happy new
year to the whole world. To everybody.

Message to everybody, including Bob Hunter: The Wharf Rats is under yellow
balloons and not  an orange umbrella!
Q:  What is the Wharf Rats?
The Wharf Rats is a group of Deadheads who go to shows and can no
longer use the substances that were dangerous to them... We're here to
support other people who are like us and not to tell other people not
to do what they're doing.  It's a group of people who live their lives
by the twelve steps an traditions as set down by AA, and to have good
safe clean shows.  My wish for '89: one day at a time, just to make it
one show at a time.  Happy sober new year!

Highlight of '88? Wubbidy-wubbidy-wubbidy.
Q: What do you wish for '89?
Dark Star would be nice.
Q: What is your wish for 1989?
To go further and give away as many free peanut butter and jelly sandwiches as
entirely possible in this world.
Q: What was the highlight of 1988?
<laughter>
There weren't any. Lowlights - there were only lowlights.
Q:  Your wish for '89?
Highlights!
Oh, yeah, sure: That every person in the whole United States will plant one
tree, and the whole place will be a forest.

How to order Almost Acoustic:
$15.00 postpaid (money order only), from 
Grateful Dead Merchandising
P.O. Box 12979-C
San Rafael CA 94913

Merchandise Hotline:  (415) 456-2883
To learn more about the Wharf Rats:

Wharf Rats
P.O. Box 1381
Soquel CA 95073



Grateful Dead Hour No. 25
Week of  February 20, 1989

Side 1 26:57
Morning Dew->
Sunshine Daydream 12/31/88 Oakland Coliseum Arena
Uncle John's Band  Workingman's Dead
(Warner Bros. 1869, 1970)
Salt Lake City - Bob Weir, Heaven Help the Fool
(Arista ARCD 8165, orig. released 1978)

Side 2 28:17
Queen Jane Approximately 12/29/88 Oakland Coliseum Arena
Wharf Rat->
*Goin' Down the Road Feelin' Bad->
*One More Saturday Night 12/31/88 Oakland Coliseum Arena

* with Clarence Clemons, saxophone



Grateful Dead Hour No. 26
Week of  February 27, 1989

Side 1 27:47
Alabama Getaway->
Promised Land
Weir:  RWe'll be back in a moment or two.S
Tons of Steel
I Need a Miracle->
Cumberland Blues->
drums  4/19/87 Irvine Meadows

Side 2 27:39
Mississippi Halfstep->
Franklin's Tower
Ramble On Rose
Box of Rain  4/19/87 Irvine Meadows



Grateful Dead Hour No. 27
Week of  March 6, 1989

  This week's program features live Grateful Dead music recorded February 23-24,
1971 at the Capitol Theatre in Portchester, New York - including, by popular
demand, four numbers featuring Ron "Pigpen" McKernan on the lead vocals, organ
and harmonica.
  Pigpen was a blues freak who hooked up with Bob Weir and Jerry Garcia in the
early Sixties to form Mother McCree's Uptown Jug Champions, and it was his idea
to get a rhythm section and some electric instruments and turn it into a blues
band that they called the Warlocks and later the Grateful Dead.
  His health forced him to quit performing with the band in 1972.  I learned a
lot about him when I interviewed the other band members for the book Playing in
the Band.  In a 1984 interview  - which was long before I had any idea I'd be
working on this radio program, so the recording conditions were a little less
than first-class - Mickey Hart talked about Pigpen as a musician and as a
friend.
  "Little Red Rooster" has been a double slide-guitar showcase for the Dead all
through the U80s.  HereUs a recording of it by the guy who wrote it: Willie
Dixon.
 
Side 1 27:31
Mickey Hart talks about Pigpen 11/11/84 (1)
Big Boss Man
Bertha
Next Time You See Me
Sugar Magnolia
Casey Jones  2/23/71 Capitol Theatre, Portchester NY

Side 2 26:46
Little Red Rooster - Willie Dixon, I Am the Blues
 (Mobile Fidelity MFCD 872, originally released 1970)
Mickey Hart talks about Pigpen 11/11/84 (2)
Hard to Handle
Me  & Bobby McGee
King Bee  2/24/71 Capitol Theatre, Portchester NY



Grateful Dead Hour No. 28
Week of  March 13, 1989

Side 1 26:58
Cold Rain & Snow;
Hell in a Bucket
Beat It On Down the Line->
Promised Land 2/12/89 Forum, Inglewood CA
Big River 2/11/89 Forum

Side 2 26:42
Estimated Prophet->
MIDI jam 2/11/89
Wharf Rat 2/10/89 Forum

The band turned their second set inside out at the Forum on February 11.
Following Estimated Prophet, which usually leads to Eyes of the World and
then into less structured realms, the drummers took a break and left guitarists
Jerry Garcia and Bob Weir, bassist Phil Lesh and keyboardist Brent Mydland to do
some exploring together with their respective computer music interfaces.  The
quartet continued through Brent's new ballad, Little Girl Lost (which is
likely be part of the new album which the band is working on), and then they
left the stage to Billy Kreutzmann and Mickey Hart, who were joined by the
Moreira family (Airto, Flora Purim and their daughter, Diana) for some wild
vocals and percussion - and then the band went into Eyes of the World.

Another interesting statistic: This Big River was played without another
cowboy song attached for the first time in about ten years...   - DG



Grateful Dead Hour No. 29
Week of March 20, 1989

Side 1  26:27
Looks Like Rain  7/26/87 Anaheim Stadium
Bombs Away - Bob Weir, Heaven Help the Fool
 (Arista ARCD 8165 (AB 4155, 1978))
"And now the polka, you worms - and play as you've never played before 
 in your life!"
Mexicali Blues  5/26/73 Kezar Stadium, San Francisco
The Race is On - Reckoning
 (Arista A2L 8604,1981)
Louie, Louie  5/1/88 Frost Amphitheatre, Palo Alto CA

Side 2  25:08
Truckin'->
Crazy Fingers->
Samson & Delilah  5/1/88 Frost Amphitheatre

  The Kingsmen had a big hit with "Louie, Louie" (written by Richard Berry) in
1963.  Their incomprehensible vocal performance made the record a legend among
pubescent suburban boys of the time - although no one could quote anything
specific, we were sure they were singing something deliciously dirty.
Since then, just about everybody who has ever plugged in a guitar has taken a
crack at it. The song has been recorded thousands of times; Rhino
Records released a Best of Louie, Louie compilation (including Richard
Berry's original, the Kingsmen single and versions by the Sandpipers,
Black Flag, the Rice University Marching Owl Band (!), and others) in
1983, and Bay Area college radio station KFJC aired more than 300
versions of the song during "Maximum Louie, Louie" in August of 1983.
  The Grateful Dead introduced "Louie, Louie" in the second set at the
Hartford Civic Center April 5, 1988, with three- (or was it four-) part
harmony on the choruses and Brent Mydland singing the verses.  I heard
Richard Berry sing "Louie, Louie" a couple of years ago at the
Sweetwater in Mill Valley with a band that included Ry Cooder on
guitar.  Berry's version is slower, swingin'er, downright romantic; the
version Brent and the boys played was more like Richard Berry than the
Kingsmen.
  "Louie, Louie" only appeared a few more times in 1988 - the last one was
at Madison Square Garden on September 20 (thanks, Mal) - possibly because
the band started working on new songs of their own right after that.
  "Bombs Away" is the opening cut on Bob Weir's 1978 solo album, Heaven
Help the Fool, recorded on the heels of the Dead's Terrapin Station
with the same producer, Keith Olsen, in the same LA studio.
  That's the late Keith Godchaux playing piano on "Mexicali Blues."  He
played with the Grateful Dead from 1971 until February, 1979.  Brent
joined in April of that year - hey, it's almost his Tenth Aniversary!
  "The Race Is On" is from Reckoning, a live album of acoustic
performances recorded in September and October, 1980 at San Francisco's
Warfield Theatre and Radio City Music Hall in New York.   -DG



Grateful Dead Hour No. 30
Week of March 27, 1989



Part 1  26:11
Weir:  Could I have a follow spot, please?... This gentleman presented me with
this... pussy willow....and we're going to respond in kind by doing our most
requested number.
El Paso
The Rub
Dark Star  4/28/71 Fillmore East, NYC

Part 2  24:45
Morning Dew - Bonnie Dobson at Folk City
(Prestige/International 13057)
St. Stephen->
Not Fade Away->
Goin' Down the Road Feelin' Bad->
Not Fade Away  4/28/71 Fillmore East, NYC



Grateful Dead Hour No. 31
Week of April 3, 1989

Part 1  25:34
Ripple
Cumberland Blues
Morning Dew
Me & My Uncle 4/28/71 Fillmore East, NYC

Part 2  24:44
Mama Tried - Merle Haggard
  The Best of the Best of Merle Haggard (Capitol ST-11082, 1972)
Hey Pocky Way
China Cat Sunflower->
I Know You Rider->
One More Saturday Night  4/30/88 Frost Amphitheatre, Palo Alto CA

The guitars are slightly out of tune as the band begins "Ripple," but by the
time Jerry Garcia starts singing both he and Bob Weir have adjusted their
instruments, and although their tuning remains a little tentative throughout the
song the performance is a warm one.  The definitive recording of this song can
be found on the GD's 1971 studio album American Beauty.

Merle Haggard first achieved heavy name recognition among the rock generation
with his jingo anthem "Okie from Muskogee" ("...'n we don't take our trips on
ell-ess-dee...").  The song drew at least two responses from Bay Area musicians:
Nick Gravenites's "I'll Fix Your Flat Tire, Merle" and the Youngbloods' parody
"Hippie from Olema."

My attitude toward Haggard changed when I became a fan of country music. Asleep
at the Wheel and Commander Cody and his Lost Planet Airmen brought Nashville,
Bakersfield, Bluegrass, Louis Jordan, Texas swing and bebop to the party, and
all of a sudden us hippies had some culture in common with the author of "Okie"
and "The Fightin' Side of Me."  Haggard's tributes to Bob Wills and His Texas
Playboys are a real treat.

According to DeadBase, the Bob Weir started performing "Mama Tried" in June of
1969 at a San Francisco gig billed as "Bobby Ace and the Cards from the Bottom."
Other Weir choices from that period include Buck Owens' "Tiger by the Tail," a
couple of Everly Brothers numbers, and the Beatles' "I've Just Seen a Face."
The book doesn't mention whether Garcia played six-string or pedal steel.
Acoustic sets became pretty frequent for the next couple of years, and the
country/cowboy material has remained in the band's repertoire ever since.

"Hey Pocky Way" is a Neville Brothers tune, with Brent Mydland singing lead.
"China Cat Sunflower->I Know You Rider->One More Saturday Night" was the encore,
believe it or not, of the Dead's performance at the Frost Amphitheatre on April
30, 1988.  I think Weir had to change guitars in the last song of the second
set, so the show may have seemed incomplete to the band. Anyway, they came back
with this extraordinary capper and made sure everybody got off before they left
the stage.  - DG



 Grateful Dead Hour No. 32
 Week of April 10, 1989
 
 Part 1  27:16
 Let It Grow - 11/4/77 Colgate University, Hamilton NY
 "In Concert Against AIDS" press conference
   3/22/89 at the Fillmore Auditorium: Jerry Garcia,
   Mickey Hart, Huey Lewis, Bob Weir,  Bill Graham and
   organizer Tim McQuaid.
 Swing Low, Sweet Chariot - Jerry Garcia Acoustic Band, Almost Acoustic 
   (Concensus Reality GDCD4005, 1988)
 
 
 Part 2  25:51
 Turn On Your Love Light - Bobby Bland, The Best of Bobby Bland
   (MCA Records MCAD-31219)
 Slow Train - Bob Dylan/Grateful Dead, Dylan & the Dead
   (Columbia 45056, 1989)
 "Jones Gang" intros by Phil Lesh;
 Samson & Delilah;
 Cold Rain & Snow - 11/4/77 Colgate University
 Cream Puff War - The Grateful Dead (Warner Bros. 1689, 1966)
 
   "Turn on Your Love Light" has been a showstopper for the Grateful Dead since
 the '60s, first with Pigpen singing and later with Bob Weir.  The version on
 Live Dead is a classic.  Bobby "Blue" Bland had the big hit with this record.
 
 "In Concert Against AIDS" press conference March 22, 1989
 
 Jerry Garcia, Mickey Hart, Bob Weir, Huey Lewis, Bill Graham and organizer Tim
 McQuaid spoke at a press conference at the Fillmore Auditorium in San Francisco
 on March 22nd to announce "In Concert Against AIDS," a week-long series of
 concerts winding up May 27 at the Oakland Stadium with the Grateful Dead, Huey
 Lewis and the News [later removed from the bill], Tracy Chapman, Los Lobos, Joe
 Satriani and Tower of Power. 
 
   McQuaid:   I guess I'll start.  I'm Tim McQuaid, and I have organized this
 week of activities from the beginning.  The communities of San Francisco have
 been international leaders in the fight against AIDS, and Concert Against AIDS
 is an effort to unite all communities in this battle.  In Concert Against AIDS
 is a series of ten entertainment events geared towards different audiences.
 These events are planned to happen in the course of one week, beginning May
 21st.  The centerpiece of these shows is a stadium show at the Oakland
 starring the Grateful Dead, Huey Lewis and the News, Tracy Chapman, Los Lobos,
 Joe Satriani, and Tower of Power.  The intent of these events is to raise
awareness and promote AIDS education throughout the Bay Area, as well as raise
 money for those efforts and ongoing support and care for those already
 with AIDS.  The Grateful Dead and Huey Lewis were the first artists we
 approached, and this was well over a year ago, and even though we were still in
 the basic planning stages for this, they committed their time and energies to
 this effort....
   I guess we'll pass it to the artists now...to say a few words....Jerry
 Mickey Hart, Huey Lewis, and Bob Weir...
 
   Garcia:  Well, our involvement in this is pretty much an ongoing thing.  We
 hope this kind of community-pulling-together sort of stuff keeps happening here
 as far as this  concerns.... I've lost some friends to AIDS and for me this is
 an emotional issue really.  It's something that you feel frustrated about,
 like to do something.  We are really not making any sacrifice here.  We're
 what we always do, which is playing music for people.  And so, in that sense,
 this is not anything out of the ordinary for us.  We hope we can get more
 information and raise money to actually do things about something hard about
 this, and hopefully people that are,  can make a serious contribution here,
 their attention will be called to this in terms of the seriousness that it
 deserves.  It's still being treated, you know, like some kind of, uh, I don't
 know, political, some issue, rather than what it is:  a health issue.  And so,
 we'd like to thank you all for coming and helping us out with this and this is
 something we all have to do.
   Hart:  We all have families. You know, we should have done this a long time
 ago.  It's just really out-of-hand.  If we want to live here, and this is our
 home, and it's a local issue, it's a global issue.  It's something that we have
 to address, and it's the least we can do, as musicians.  It's like Jerry says,
 it's what we do.  This is a great focus for this.  I mean, Huey, Grateful Dead,
 Bill, here in San Francisco.  We can move some air with this and I really
 appreciate everybody turning out for this.
 
   Lewis:  I'd just personally like to say that this is a cause that has been
 close to mine and our hearts as a band.  We started the HLN Center for
 physicians training in relation to AIDS a couple years ago, and we are
 especially  excited that the whole community has jumped in.  I think, as Jerry
 pointed out, that this is not really a big sacrifice on our part 'cause we love
 to play.  And I think it's fitting that we meet here at the Fillmore, which was
 of course the centerpiece of a music scene that changed the face of popular
 music.  and I think we're beginning to realize that we do have this power.  The
 money will stay here, in the Bay Area, and will directly relate to the problem
 at hand.  This is, and I do hasten to add that it is more than a consciousness
 issue,  it'll be nice that it will obviously have impact consciously, but I
 think there's also, it takes a lot of money to fight this disease, and now,
 all these people helping out.  And also Tracy Chapman and Los Lobos, who don't
 live in the community, who are coming in.  We have an opportunity to raise some
real money and I would encourage everybody out there to come to the concert,
 even if you can't come to the concert, to donate to this worthy cause.
 
   Weir:  I guess it's apparent to me and to most of us at this point that AIDS
 is an issue that, if it doesn't affect us today, each of us individually, it
 will tomorrow or the next day, or soon enough.  And so we're here doing our
 part.  We hope that the spirit of this is infectious and it catches on. 
 everybody is going to have to do something until this goes away, until we do
 something about it and address it squarely and deal with it.
 
   Q:  Is it possible that this could become a road show a la the Amnesty
 concerts? [laughter]  Well, I mean, you go to Chicago, you go to New York, you
 go to the South, you do the same thing there...
 
   McQuaid:  I'll let Bill handle that one. [laughter]
 
   Garcia:  I don't think he wants to do it....
 
   Graham:  YOU go to Chicago... [laughter]
 
   Garcia:  What would be ideal would be for the local people  in Chicago, you
 know what I mean?  There's musicians everywhere.  This kind of stuff, and these
 kind of organizations, radio stations, you know what I mean?  This is something
 that every community can do, no problem.  I mean, that's really the way.... I
 mean, if called upon, we would probably go on such a trip, you know, if there
 was one.
 
   McQuaid:  What we would like to do is have this serve as a model to other
 communities, in what needs to happen, and I'm hoping that this will catch on
 it will grow outside of this area.
 
   Weir:  Go back, tell them what you've seen and what you've read.
 
   Graham:  The problem with becoming popular in pop is that these guys won't
 it, so I will say it on their behalf, the way they are besieged, we are.  When
 you have the power to sell tickets, and to have a lot of people come to a
 and put down money for that ticket, you are then besieged.  It's happened, it
 started fifteen, twenty years ago, and it's just grown and grown.  If it's the
 handicapped, the blind, or saving a recreation center, or raising money for the
 refugees of Central America.  If it's an earthquake in Nicaragua, or in Russia,
 the instant thought, by all of these people who mean very well, is:  let's go
 the rock community, or let's go to the comics.  You can't go and ask a football
 player, or hockey player, or baseball player.  They can make an appearance at a
 show.  But with rock and roll, with the Grateful Dead, or Bob Dylan, or Bruce
 Springsteen, or Huey Lewis, these people leave their homes, and they are faced
 everyday with people who approach them and say  "Just this one, get involved in
 this one."  And this one is hundreds of them.
   When something becomes as focused as is the AIDS issue, then they come
 forward.  They don't wait to be hit.  This was a topic of conversation at a Rex
 board meeting about a year ago.  And the timing was such that when Tim made his
 efforts known, there was Huey, and there were the Dead, and there were the rest
 of the guys.  But try to have some appreciation for what it is like to be hit
 every single day.  I know for a fact that these people are hit on, every single
 day.  And it gets down to somebody calling their office or calling our office
 and saying, as once happened....It's a classic that I remember.  Many, many
 years ago,  a guy lived in Sausalito and called the office and said, "I want to
 talk to Bill."  And what was the purpose?  "I want to schedule a benefit."  And
 it turned out that he had a party on his houseboat and it got carried away, and
 there was an accident.  The thing went under the water, and wanted to schedule
 benefit, so he could have his houseboat lifted up.  He just assumed that that's
 what we do for a living.
 
   McQuaid:  AIDS is not a gay issue.  It's not an IV drug issue.  It's a human
 issue.  Humans are losing lives over this disease.  And that's why we're here
 and that's the purpose of this whole thing.
 
   Lewis:  Anybody who lives, not only in this community, but any sort of urban
 community in America or the world, knows that this is really a human issue. 
 I think everybody realizes that now. 
   Garcia:  We've all had friends that have died from AIDS, you know what I
 So as a personal, this is personal stuff.  As much as anything, from my point
 view.  I think of it that way.  I hope to be able to prevent, to do something
 make it so that my kids, and you know, their friends and their lives aren't
 unnecessarily blighted by illness, you know what I mean?  By disease.  It seems
 wasteful to me.
 
 
 FOR MORE INFORMATION, write to:
 
 California AIDS Education and Support Foundation
 1049 Market Street, Third Floor
 San Francisco CA 94103
 
 
 TO ORDER Almost Acoustic:
 $15.00 postpaid (money order only)
 
 Grateful Dead Merchandising
 P.O. Box 12979-C
 San Rafael CA 94913
 
 Merchandise Hot line (415) 456-2883 



 Grateful Dead Hour No. 33
 Week of April 17, 1989
 
 Part 1 24:26
 Estimated Prophet - 3/18/77 Winterland, San Francisco
 Dancin' in the Streets with/horns
   7" single (Arista AS 0276, 1977)
 Easy to Slip - Bob Weir, Heaven Help the Fool
   (Arista ARCD 8165/AB 4155, 1978)
 Tennessee Jed - 2/26/77 Swing Auditorium, San Bernardino CA
 
 Part 2 25:11
 Jerry Garcia and Robert Hunter talk about Terrapin
 Terrapin - 3/18/77
 Garcia re Terrapin
 Terrapin/Terrapin Transit
 Weir re Terrapin
 Deal - 2/26/77
 
   The Grateful Dead added a powerful piece of music to their repertoire in the
 winter of 1977.  This week's live Grateful Dead music is from concerts the Dead
 played while they were recording Terrapin Station with producer Keith Olsen in
 February and March of 1977.
  They played two shows in southern California at the end of February, and my
 friend Ed Perlstein came back really excited about a couple of new songs he'd
 heard.  Then in March the band played at Winterland in San Francisco, and I got
 to hear for myself.  The Friday, March 18 concert is one of the best Dead
 performances I ever experienced; it seems to me that when the band is working
 new material even the tried-and-true numbers get a new shine on 'em.  I've
 noticed that at the shows I've seen so far this year, too.  
 
   Also:  The studio recording of "Dancin' in the Streets" from Terrapin
 with horn overdubs, released as a single with "Terrapin Station" on the back.
   "Easy to Slip" from Bob Weir's solo album Heaven Help the Fool, produced by
 Keith Olsen, the same guy who did Terrapin Station.
 
 
 "Terrapin" is one of the Grateful Dead's greatest compositional achievements.
 The tape is from Winterland March 18, 1977, the only live performance of the
 sections that are called "Terrapin Transit" and "At a Siding" on the album.  In
 a 1981 interview Jerry Garcia talks about about how some songs take a long time
 to create and some songs pop out of your head fully developed and ready to
 play...
 
 Garcia:  What'll happen is that those four or five songs that I'm working on,
 working-on working on, will pop up the weekend after we go back on the road,
 they'll all tumble out in one afternoon. That's the way it is with songs.  Some
 of them are real slow-growing; some of them are moments of inspiration...  I
 can't make 'em happen.
   Every once in a while one drops out, kinda bam!, all of a sudden it's there.
 
 Q:  Can you give me an example?
 
 Garcia:  Yeah, I can name several of them.  There's a whole big part of
 "Terrapin" which was instantaneous.  "Wharf Rat" was almost a completely
 instantaneous musical thing - it all came to me, you know?  They both fell on
 incredible coincidences insofar as Hunter just happened to have things going
 that were in the direction of both of those ideas - just about the time I had
 those musical ideas worked out and showed them to Hunter, he happened to have
 lyrics that with a little alteration, a little fooling around, fit perfectly.
 
 Hunter:  Well, there's the "Terrapin" business, where there's a good deal more
 where that came from.... That happened to meet very fortunately, Jerry had
 written some changes and I had just written "Terrapin," and we met, and his
 changes and my lyrics went hand in glove. I think we were both approaching
 Terrapin Station from different directions and met in the center and there it
 was.  There was something more than uncanny about the way that thing just
 happened. That song is very meaningful to me.
   I wrote it in front of a picture window overlooking the storm-lashed Bay.
 There was lightning in the sky.  It was one of those moments when I just knew
 something was going to happen. I was sitting there in front of my typewriter,
 just very, very open to this, there was no furniture in the room, it was a bare
 room. And I just wrote "Terrapin Station" at the top of the page and said,
 hmm, what's this  about? And I said, "Let my inspiration flow," and so actually
 the beginning lines describe the invocation.... A name occurred to me, and then
 the beginning is an invocation to the muse to deliver further information on
 this and make it something, give it sense and color. A magical moment, and the
 Dead carry it right on into what they do, and the performance of it. But for
 record, I don't know. I'm amongst those who's not a fan of the record, but the
 live performance of it - mmmmmm!
 
 
 Garcia:  "Lady with a Fan" and the song behind it are both songs that I sat
 at Hunter's house with the lyrics that he had and constructed... doing a lot of
 editing of his structures.
   I did a lot of editing.  Then the whole "Terrapin" (sings) - that whole
 and all the voicings and everything, what all the instruments are playing
 individually - that whole thing came as a completely orchestrated idea.  It
 out that way.
   I got that idea driving my car.  I drove home real fast and sat down with the
 guitar and worked it all out real quick so I wouldn't forget it,cause it was
 there.  I had it completely envisioned, the whole way it would work. 
 The next day, I showed it to the band.  I showed everybody their part, more
 less, and then left them to construct more elaborations if they wanted, or more
 variations, or whatever - all the things they do which are their own additions
 to it.  But that is really an orchestral idea.
 
 
 Q:  What is that scraping noise?
 
 Weir:  I was not there that night.  Mickey put a whole bunch of stuff in a box,
 and they miked it in stereo... Essentially, what that scraping noise is is a
 dragon on roller skates, as far as I'm concerned.


 Grateful Dead Hour No. 34
 Week of April 24, 1989
 
 Part 1  25:25
 All New Minglewood Blues - 3/18/77 Winterland, San Francisco
 Not Fade Away - 3/18/77
 
 Part 2  24:44
 Burger:  Your honor, we've heard the testimony of this witness that the first
   part of this tape has been edited or tampered with.
 Mason:  All this working on the tape, this cutting and splicing, must have
   been important.
 Witness:  I should think you'd be grateful.
 Burger:  Well, we're not grateful, mister.  I should like this tape entered in
   evidence and marked for the people exhibit D.  Let's listen to it Xª+Z___   -í,+_+we?  Lieutenant, turn it up with the volume high.
 St Stephen->
 Around and Around - 3/18/77
 Ivory Wheels/Rosewood Track->
 Jack O'Roses->
 Terrapin Station - Robert Hunter, Jack O'Roses
   (Dark Star DSLP 8001, 1980)
 
 In the winter of 1977, the Dead were working up new songs for the
 album Terrapin Station.  This is the Grateful Dead before Brent Mydland
 joined, with Keith Godchaux playing piano and Donna Godchaux on vocals,
 along with Mickey Hart and Bill Kreutzmann on drums, Phil Lesh on bass
 and Jerry Garcia and Bob Weir on guitars. 



 Grateful Dead Hour No. 35
 Week of May 1, 1989
 
 Part 1  23:54
 Dupree's Diamond Blues
 Jack Straw - 10/21/88 Reunion Arena, Dallas
 Tons of Steel - In the Dark (Arista ARCD 8452, 1987)
 Happy birthday, Brentski!->
 Wang Dang Doodle - 10/21/88 Reunion Arena, Dallas
 
 
 Part 2  26:45
 It's All Over Now, Baby Blue - Bob Dylan, Bringing It All Back Home
   (Columbia CK 9128, orig. released 1965)
 All Along the Watchtower->
 Stella Blue->
 Sugar Magnolia - 10/21/88 Reunion Arena, Dallas



 Grateful Dead Hour No.  36
 Week of May 8, 1989
 
 Part 1  25:29
 Crowd:  WE WANT PHIL!!!
 Weir: Phil says no prisoners.
 Greatest Story Ever Told->
 Devil with a Blue Dress/Good Golly Miss Molly - 9/9/87
   Civic Center, Providence RI
 Channel n News
 Late for Supper->
 Spidergawd->
 Eep Hour - Jerry Garcia, Garcia
 Gomorrah - Jerry Garcia Band, Cats Under the Stars
 
 Part 2  26:23
 China Cat Sunflower->
 I Know You Rider;
 Playing in the Band->
 China Doll - 9/9/87 Civic Center, Providence RI



 Grateful Dead Hour No. 37
 Week of May 15, 1989
 
 The creators of the Grateful Dead's 1987 video So Far talk to the press.
 And for you tape collectors: one of the all-time great performances of
 "Sugaree," plus the first electric "Ripple" since 1971.
 
 Part 1  22:08
 Jerry Garcia, Len Dell'Amico and Bob Weir talk about So Far and In the Dark
   NYC 9/14/87 
 Queen Jane, Approximately - Dylan & the Dead (Columbia 45056, 1988)
 
 Part 2  25:58
 Sugaree - 3/18/77 Winterland
 Claire: I want to get married again.
 Grant: You hear that?
 Claire: Come on, is that so much to ask? To show me how much you love me?
 Grant: No, no, it's perfectly easy.  We'll just go out and find a nice dead
    minister... a dead band - maybe the Grateful Dead. Should be a night to
    remember. 
 One More Saturday Night
 Ripple - 9/3/88 Capitol Center, Landover MD
 
 In 1987 the Grateful Dead released their most successful album ever, In the
 Dark, and made news with two best-selling home videotapes: The Making of the
 "Touch of Grey" Video [directed by Justin Kreutzmann] and So Far.
   So Far, directed by Jerry Garcia and Len Dell'Amico, is 55 minutes of nonstop
 Grateful Dead, bouncing back and forth between a studio session and the 1985 Ne
w
 Year's Eve show at the Oakland Coliseum. The performance includes Uncle John's
 Band, Playing in the Band, Lady with a Fan, Space, Rhythm Devils, Throwing
 Stones and Not Fade Away.  Jerry and Len spent more than a year building a
 visual feast to match the soundtrack, using different images and techniques for
 different passages.  They covered a lot of technological ground, from optical t
o
 electronic to computer animation, using newsreel film, tarot cards, microscopic
 and telescopic photography, religious images, human faces - all kinds of stuff,
 interleaved with shots of the musicians playing music.  It's not only a
 fabulously entertaining piece of video, it's also pretty good music to watch
 with your eyes closed.
 
 The following is from a press conference held in New York City September 14,
 1987.
 
   Dell'Amico:  We did a live show at Oakland Coliseum, and the live pieces were
 taken from that show.  Then we shot four days at Marin Vets - which is where the
 album basics were recorded - without an audience, and then intercut them.
   Garcia: The gamble was, could we go into a place with no audience and, just
 relating to ourselves, could we... find some energy there.  And we had hits and
 misses.  Some of it worked out pretty good, some of it was interesting - but
 it's definitely a different kind of energy.  A lot of this stuff is... mad luck.
 There's a cut in there that goes from "Playing in the Band" - studio version,
 say - to "Playing in the Band" live - that just happened to be just about
 identical tempo. That kind of stuff is luck - you can't really rehearse it.
 There's no way for us to have... We didn't plan continuity from one situation to
 another, but every once in a while something like that works.
 
   *  *  *
 
   Garcia:  The way this developed was not a result of planning, so much....We
 started off with all kinds of plans. We had real specific things we were going
 to do - something scripted, something very tight and formal.  That sort of
 dissolved.  After we did the shoot at Marin Vets the whole contour of it started
 to look different, so we started to look for a different methodology to be able
 to do what it seemed to call for.
   Q: What's Marin Vets?
   Garcia:  It's a nice, tasty concert hall in Marin County, about five minutes
 from where we all live... An 1800-2000 seater, small but very nicely articulated
 so it really sounds beautiful.  It really has a good, crisp recording sound.
   Q:  Is it a theater in the round?  I noticed you were all facing each other.
   Garcia:  No.  We just set up that way... 'cause we were addressing ourselves
 rather than addressing an audience.
   Q: Why isn't "Touch of Grey" on [So Far]?
   Garcia: We didn't have a workable arrangement of it, really.  We tried it...
   Q: With the exception of "Touch of Grey," which has a fade ending, all the
 songs [on In the Dark] are set up the same way they would be live. Was that a
 conscious effort to get the songs out on an album the way they are live?
   Garcia:  Not intentionally. Sometimes we let 'em run out. We didn't really
 plan the ends. [giggle]
   Weir:  We never do.
   Garcia:  Y'know, it's us, man! [laughter] ... Some of them sort of trail off,
 some of them build.  They tended to be as idiosyncratic as they are at live
 shows. The performances were quite different from each other.
 
   *  *  *
 
   Dell'Amico:  You have to find the most talented people, and the place where
 the machines are, and then set 'em loose.  The main thing is the "setting 'em
 loose" part: telling them that you want them to help you rather than just do
 what you tell them to do.  If you give them time to play, they can come up with
 great stuff.
   Q:  Considering most of the concerts go three, four hours, why only 55
 minutes?  Why not an hour and a half? ...two hours?  ...three hours?
   Garcia: It really has to do with what we get.  If you record five shows and
 get maybe an hour's worth of good stuff, say...in this case it's something like
 that, although the ratio is probably steeper.  It just really is the stuff that
 works.
   For me, it's a process of recognition. You put stuff together: "These two
 tunes sorta go together, but it needs something here to make this passage
 work..."  You assemble it, and it starts to look like something... We
 constructed the shape, kind of the way they do animated films: we constructed
 the shape that was the soundtrack, and then used that as the basic template for
 everything else: all the visuals, the live action stuff, the cutaways, and the
 rest...
   The interesting thing about it, methodology-wise, was that we approached a
 video editing facility as though it were a multitrack audio facility, so we had
 many levels of images to choose from at any given moment, which is kind of an
 unusual way to work in video.  There were never decisions up until the last edit
 about what image actually goes where at what moment.  That stuff came together
 toward the end; really, we were assembling layers of possibilities, all on
 individual machines.
   Dell'Amico:  Like if you had a track with a kick drum and a track with a snare
 drum and a track with a guitar, you could have tracks which have different types
 of visuals and decide later how to mix them.
   Garcia:  There is no multitrack video; video does not exist in that realm, so
 it was a matter of kluging a version of that that would deliver that notion.
   Dell'Amico:  - using a lot of machines.
 
   *  *  *
 
   Q:  Where did you get the vintage film clips? I think we saw Adolf Hitler in
 there, the KKK...
   Garcia:  Trotsky... Lenin...
   Dell'Amico: We started by coming up with image lists of what we wanted to
 stick in there. Then we'd come up with places to get it.  Associate producer Ann
 Uzdavinis went out and found all this stuff, and editor Veronica Loza put it
 together.  It comes from the National Archives... all kinds of archival places.
 You buy it and use it.
   A great deal of work went into editing all the cutaway images.  First we shot
 it, and then it took a year, year and a half to substitute visuals: get 'em, try
 'em, throw them away, get new ones, work out the special effects.
 Q:  Was it a conscious effect to get trails on a video?
   Garcia:  Yeah.  Sure.
   Dell'Amico:  What do you mean by trails?  [laughter]
   Garcia:  You know, man - trails.
   Dell'Amico:  Oh, that !  That's an easy effect.  Just so you know, that's
 called "image strobe decay" in video.  You just push a button and you got it.
   Garcia: What we're doing is sort of painting along with the music. You see
 what you'll see in it, y'know.
   Q:  Has this wave of success taken you by surprise... the album going platinum
 so quick?
   Weir:  Not me. [laughter]
   Garcia:  Fifteen years ago it would have taken us by surprise, but we sort of
 crept up on it, really.
   Weir:  We've been building up to it.  We knew we had good songs to record for
 the last few years, and we finally got around to recording them...
   Q:  Has success spoiled the Dead?
   Garcia & Weir: Yeah. [laughter]
   Q:  How so?
   Weir:  He looks pretty rotten to me.  Doesn't he to you?
   Q:  So how has it changed you?
   Weir:  I was noticing the other night, for instance, that when I'm going
 through pistachios, the hard-to-open ones - I don't bother with them any more.
 [laughter] Who's got time?
   *  *  *
 
   Q:  What was it like doing the mega-gigs with Dylan? 
   Garcia:  It was fun.  Yeah.
   Q:  Think he enjoyed it?
   Garcia:  Yeah, he did enjoy it.  It's tough to get it out of him, but he did
 enjoy it.  
   Q:  Why didn't he join in on "Touch of Grey"?
   Weir:  Sometimes he did.  Depended on how it was going.
   Q:  Did it take more rehearsal than usual?
   Garcia:  [laughs]
   Weir:  We rehearsed a lot of stuff...
   Garcia:  And when we went on the road we didn't have the slightest idea what
 we were going to do.
 
 
 TO ORDER "SO FAR"
 Price is $29.00 plus $3.00 postage
 (add 6% sales tax if you live in California).  
 Catalog number 5005; specify VHS or Beta. Send money order
 (no cash or personal checks) to:
 
 Grateful Dead Merchandising, Inc.
 PO Box 12979
 San Rafael CA 94913
 
 GD Merchandise Hotline
 415: 456-2883

[A]gain  <C>ont  [Q]uit: Cont


 Grateful Dead Hour No. 38
 Week of May 22, 1989
 
 Part 1  23:11
 The Music Never Stopped 9/12/88 Spectrum, Philadelphia
 jam->
 The Other One  9/12/88
 
 Part 2  26:28
 Receptionist:  I'm sorry, but I can't keep Dr. Garcia waiting all afternoon.
 Erica:  Well, if you will just give us a little more time, I'm sure that Mr.
 Hunter will be here any minute.
 Receptionist:  I'm afraid I can't keep juggling Dr. Garcia's schedule.
 Man Smart, Woman Smarter->
 Eyes of the World  9/12/88
 Good Lovin'  9/12/88



 Grateful Dead Hour No. 39
 Week of May 29, 1989
 
 Music from the Frost Amphitheatre Sunday, May 7, 1989
 
 Part 1  28:08
 Me & My Uncle->
 Mexicali Blues 5/7/89 Frost Amphitheatre, Stanford CA
 Rain and Snow - Pentangle, Reflection
 He's Gone->
 snakey jam 5/7/89
 Spoonful - Howlin' Wolf
 
 Part 2  24:48
 The Other One->
 Black Peter->
 Love Light 5/7/89
 
 The Frost tapes were made available for your listening pleasure by KZSU,
 the Stanford radio station, which has broadcast the Frost shows for the 
 past four years.



Grateful Dead Hour No. 53
Week of September 18, 1989

Part 1  33:45
China Cat Sunflower-> 
I Know You Rider 
Playing in the Band-> 
Uncle John's Band-> 
Playing in the Band jam  8/19/89 Greek Theatre, U.C. Berkeley

Part 2  19:39
Black-Throated Wind - Steal Your Face
(Grateful Dead Merchandising GDCD4006, originally released 1976)
Interview: Phil Lesh
The Other One  8/19/89



Grateful Dead Hour No. 54
Week of September 25, 1989

Part 1  25:43
Scarlet Begonias 
Me and Bobby McGee 
It Must Have Been the Roses 
Big River 10/16/74 Winterland, San Francisco

Part 2  31:26
Playing in the Band 



Grateful Dead Hour No. 55
Week of October 2, 1989

Part 1  30:40
Doin' That Rag 
Hard to Handle 
...That's It for the Other One - 6/5/69 Carousel Ballroom, SF

Part 2  21:12
/China Cat Sunflower-> 
Sittin' on Top of the World-> 
Dark Star... - 6/5/69
The Wheel - Jerry Garcia, Garcia
(GDCD4003, originally released 1972)



Grateful Dead Hour No. 56
Week of October 9, 1989

Part 1  15:22
Estimated Prophet - 5/8/77 Cornell University, Ithaca NY
King Solomon's Marbles - Blues for Allah (GDCD4001, orig rel 1975)

Part 2  37:47
St. Stephen-> 
Not Fade Away-> 
St. Stephen-> 
Morning Dew - 5/8/77 Cornell University, Ithaca NY



Grateful Dead Hour No. 57
Week of October 16, 1989

Part 1  18:28
Iko Iko - 8/18/89 Greek Theatre, Berkeley CA
Where in the Greek Are You?
Looks Like Rain - 8/18/89 Greek Theatre, Berkeley CA

Part 2  36:10
Terrapin-> 
percussion 
jam-> 
Crazy Fingers 
Lovelight 
I Bid You Good Night - 8/18/89 Greek Theatre, Berkeley CA
Post-show interview with Phil Lesh 



Grateful Dead Hour No. 58
Week of October 23, 1989

Part 1  19:36
Rex Radio excerpt: Phil Lesh, Gary Lambert, Jerry Garcia P
  1989 Ralph J. Gleason Memorial Award
Libya Blues (excerpt) Peter Apfelbaum and the Hieroglyphics
  Ensemble with Don Cherry
Attics of My Life - American Beauty (Warner Bros. 1893, 1970)

Part 2  32:50
Disaster message
Scarlet Begonias-> 
Touch of Grey-> 
Fire on the Mountain - 7/13/84 Greek Theatre, Berkeley



Grateful Dead Hour No. 59
Week of November 6, 1989

Part 1  19:52
"Victim or the Crime" part 1 - Phil Lesh, Jerry Garcia and Bob Weir
	interviewed by Bonnie Simmons
Victim or the Crime - Built to Last (Arista ARCD-8575, 1989)
"Victim or the Crime"  part 2 - Lesh, Garcia, Weir
Built to Last - Built to Last
		
Part 2  34:01
Playing in the Band-> 
percussion-> 
jam - 2/5/89 Henry J. Kaiser, Oakland
I Will Take You Home - Built to Last


Bonnie Simmons:  For one reason or another we seem to have gotten off on
"Victim or the Crime" -

Lesh:  Gotten off on it?

Simmons:  Can you tell me your version of how "Victim or the Crime" came
about?

Garcia:  Well, I think the first time Weir showed it to me was when we
played with Joan Baez at an AIDS thing in the city, and he - I listened
in amazement and said, "God, that's got pretty angular changes, doesn't
it?"
  It's fascinating because it defies, almost, any effort to play freely
through it.  You can't do it. You have to know it, it's that simple. It
has changes in it, and they're very strict, and they have lots of real
dissonant moments.  So the angularity of it was fascinating to me, the
tonality was, because it's one of those things where you really have to
stretch to figure out something appropriate to play to add to the tonal
mood of the tune. 
  The text of it - I don't believe I've ever actually listened to all
the words to it.  Ever.  I have the gist of it; by now I probably could
recite it if I really had to, but the text of it is more of the same in
a way: it doesn't have a whole lot of light in it.  It's very dense, and
it's angst-ridden to boot. 

Weir: "Victim or the Crime" I wrote with Gerrit Graham.  The chorus came
to me one night, and I sat on it for a couple weeks, looking at it, and
I was down visiting Gerrit - he lives in LA - and I showed it to him and
he said,  "Hey, listen, can I run off with this for a night?  I'll be
right back with it."  He came back the next day, and he had two verses
and a bridge fleshed out from that chorus, and we did a little bit of
hammering on it - hardly any - and then I put music to it, and that
happened, though the music was really pretty damn complicated, it
happened real fast.  It happened inside of two hours, I think.
  Then we started trying to soften up some of the stuff that we knew we
were going to encounter resistance with, like the J-word.  We tried to
come up with stuff like "Patience runs out on the monkey," or then we
tried to take it all the way that direction - "Patience runs out on the
bunny."  But none of that worked.  Then the whole rest of the song just
wouldn't stand up, because it has an integrity about it that's - you
know, you can't dick with it. 

Garcia:  It seemed to me when we were starting to record it, in order to
save it from an effort to make it more attractive, I thought that what
would work with the song would be to just go with it, to go with the
angularity and the sort of asymmetrical way it's structured, and play to
expose that.  An early possibility that occurred to me was that this
would be an interesting song to do something really strange with.
  And this is where Mickey, of course, comes into the picture, 'cause
he's one of the guys that holds down the strangeness corner, and he's
always a willing accomplice in these ideas.  So I thought the Beam,
which is an instrument that people feel about about the way they feel
about "Victim or the Crime," the tune - I thought, let's take two of the
things that really have a huge potential for really upsetting people -

Simmons:  A polarization tool -

Garcia:  Absolutely! - and let's combine them in a happy marriage.
Something that will be a real horror show.  And it's turned out to be
strangely beautiful.  I really enjoy it, now.


Garcia:  When me and Mickey started working on the ending, I was sitting
there listening and I said, "You know, I may be going crazy, but I'm
starting to like this..."

Simmons:  I am too. (laughs)  Initially I thought it was one of the
oddest things I could ever imagine.

Garcia:  Well, it certainly is strange.  It's one of Weir's stunningly
odd compositions, but it's also very adventurous.  It's uncompromising;
it's what it is, and the challenge of coming up with stuff to play that
sounds intelligent in the context has been incredible, but also
appropriately gnarly. I think we've done a nice job on the record with
it.  It works.  Whatever it is, it works!  I'm real happy with it
because it was one of those things that was like "What are we going to
do with this?"  It's like having a monster brother that you lock in the
attic. It's like a relative that you - "God, I hope nobody comes over
when he's eating"...

Simmons:  I think you put it in a perfect place.

Garcia:  It's something like that... That's one of the things that makes
the Grateful Dead fun.

Phil Lesh:  I didn't particularly care for the song for the attitude of
the song when I first heard it, and I was kind of wishing that Bob had
written something new, frankly, for the album.  But I have to admit it's
grown on me. It's grown on me, and I've found things to play in it,
whereas first it was a just question of going boom-boom-boom-boom.  I'm
beginning to hear the music in it now.  So I don't really dislike the
song.  I don't quite understand why Bob feels he has to sing this song -
but I'll defend to the death his right to sing it.
  And to have us play it, too.
  If he can make it stick.

Bob Weir:  There is a ponderosity about it that a lot of people consider
pompous, and perhaps it is pompous.  There's that part of all of us.
The questions posed in this song are not unique to this boy.  If being
pompous is what it takes to actually express this sort of thing - and
you know, it's something I feel and it's something that I kind of want
to take a peek at.  It's, as far as I can see, human nature, and I don't
think I'm doing anything intensely meaningful here, but I'm at least
trying to get to something that's maybe a little knottier than Sugar
Magnolia.

Garcia:  We've got a handle on it, I think, now, and there's also places
for us to take it.  So I think it may open up into something truly
monstrous.  It may turn into something truly monstrous in the future,
and certainly the recorded version works.



Grateful Dead Hour No. 60
Week of November 13, 1989

Featuring an interview with Tom Constanten, keyboardist with
the Grateful Dead from 1968 to early 1970.

Part 1  21:48
Tom Constanten part 1
Cold Rain and Snow - Tom Constanten, Fresh Tracks in Real Time
Dark Star (excerpt) 4/28/71 Fillmore East
Tom Constanten part 2

Part 2  30:19
Turn On Your Lovelight 12/12/69 Thelma Theatre, Los Angeles CA



Grateful Dead Hour No. 61
Week of November 20, 1989


Part 1  33:36
Funiculi Funicula 
Help on the Way-> 
Slipknot!-> 
Franklin's Tower - 6/9/77 Winterland, San Francisco

Part 2  18:37
How Built to Last Was Made pt. 1
Standing on the Moon - Built to Last (Arista 8575, 1989)
How Built to Last Was Made pt. 2
Blow Away - Built to Last



Grateful Dead Hour No. 62
Week of November 27, 1989

Part 1  25:27
Truckin' 
I Second That Emotion 
Sugar Magnolia - 4/29/71 Fillmore East
Loser - Jerry Garcia, Garcia (GDCD4003, orig. rel. 1972)

Part 2  29:15
Alligator-> 
Goin' Down the Road Feelin' Bad-> 
Cold Rain and Snow - 4/29/71



Grateful Dead Hour #63
Week of December 4, 1989

Grateful Dead with HORNS!

Part 1  34:55
Let Me Sing Your Blues Away 
Prelude;
Weather Report Suite Part 1;
Let It Grow->
Stella Blue - 9/14/73 Civic Center, Providence RI

Part 2  20:34
Eyes of the World - Grateful Dead, Wake of the Flood
Sugar Magnolia
One More Saturday Night - 9/14/73 



Grateful Dead Hour No. 64
Week of December 11, 1989

Part 1  27:20
Jack Straw 
Row Jimmy 
When I Paint My Masterpiece 
DupreeUs Diamond Blues - 11/7/87
  Henry J Kaiser Convention Center, Oakland CA

Part 2  25:46
Interview: John Barlow and Brent Mydland
We Can Run - Built to Last "We want Phil!" 
Box of Rain 
Cassidy; 
Might as Well - 11/7/87



Grateful Dead Hour No. 65
Week of December 18, 1989

Part 1  32:18
Shakedown Street-> 
Uncle John's Band - 12/26/79 Oakland Auditorium
Oh Mommy - Brewer and Shipley, Tarkio Road
  Jerry Garcia, pedal steel guitar
Transverse City - Warren Zevon, Transverse City
  Jerry Garcia, electric guitar
Last Lonely Eagle - New Riders of the Purple Sage
  Jerry Garcia, pedal steel; Mickey Hart, drums
Danger Man - David Bromberg,Wanted Dead or Alive
  Jerry Garcia, electric guitar; Phil Lesh, bass;
  Bill Kreutzmann, drums; Keith Godchaux, piano

Part 2  22:35
You Win Again 
Bottle Let Me Down 
Why Don't You Love Me? 
*Riot in Cell Block #9 
**Goin' Down - Elvis Costello and Friends 4/24/89 Sweetwater, Mill Valley

 *  Commander Cody, lead vocal
  ** Sammy Hagar, lead vocal

The second half of this program is from a mono soundboard feed from the
PA at the Sweetwater in Mill Valley.  It was an anniversary party for
Village Music, and Elvis and friends were the scheduled performers.
The band included James Burton, the legendary lead guitarist who backed
the first Elvis and Ricky Nelson (and was a member of Emmylou
Harris's first Hot Band); Burton's classmate Jerry Scheff on bass;
and Bay Areans Austin De Lone (keyboards) and Scott Mathews (drums).
Other guest musicians included Nick Lowe, Charles Brown, Kim Wilson,
Mitch Woods, Jeff Burton (James's son), Annie Sampson, Commander Cody,
Sammy Hagar, Pete Sears, Jerry Garcia and Bob Weir.



Grateful Dead Hour No. 66
Week of December 25, 1989

Part 1  28:22
Tennessee Jed
Jack Straw
Truckin' - 10/19/71 Minneapolis
Mississippi Halfstep Uptown Toodeloo - Steal Your Face

Part 2  26:37
That's It for the Other One - 10/19/71



Grateful Dead Hour No. 67
Week of January 1, 1990

Part 1  16:52
Bird Song->
The Music Never Stopped - 12/31/87 Oakland Coliseum Arena

Part 2  33:59
The Other One->
Wharf Rat->
Throwing Stones->
Not Fade Away - 12/31/87



Grateful Dead Hour No. 68
Week of January 8, 1990

Part 1  26:47
Terrapin->
drums - 12/27/87 Oakland Coliseum Arena
Interview: Jerry Garcia on Built to Last cover art
Built to Last - Built to Last (Arista ARCD-8675, 1989)

Part 2  24:57
Day Job - 12/26/82 Oakland Auditorium
Interview: Jerry Garcia on Life in general
Yellow Moon - Robert Hunter, Tiger Rose
   (Rykodisc RCD10115, 1989.  Orig. rel. on Round Records in 1974)
Loser - Grateful Dead 8/19/89 Greek Theatre
They Love Each Other - 2/22/74 Winterland, San Francisco


***

Bonnie Simmons: What about the cover art for the record?  Who thought it up?

Garcia:  I thought it up; it's the first time I've ever had any record cover
thoughts, ever...

Bonnie Simmons:  Did you sit up in bed and go "Oh my God, I'm having
record cover thoughts!  What does this mean?" 

Garcia:  Well, sorta like that. I didn't really think it was a record
cover thought, I thought it was more of a joke, really.  It's the idea
of "built to last" - kind of pretentious.  I wanted to kind of let some
of the air out of that idea.  So the house of cards, that's the joke.

The setup is pretty much exactly the way I imagined it; I just talked
it down to the photographer, Ken Friedman, who's a very nice guy and
very patient. He set up all of the lighting and so forth, and as it
developed I gave him more input. 

I think looking at it now I would have done it slightly differently,
but next time I'll know better. I really wanted the house to loom a
little larger and the band to be a little smaller, but because he's a
portrait photographer, I had to fight with him on that. He wanted a
portrait of the band, I didn't want a portrait of the band. I wanted
the band to be insubstantial, shadowy figures in the background, and I
wanted the house of cards to be the star of the picture.

Annabelle [Garcia, Jerry's daughter] and her friends made the house of
cards, did a great job. And Kelley did the lettering, and basically it
just kind of  fell together at the last minute like it usually does.
I'm not totally happy with it, but it came out pretty good.

***

Garcia:  Well, the world out there, it looks as lame as it ever has,
and my own personal world is looking pretty good.

Bonnie Simmons:  ...scuba diving?

Garcia:  Yeah, I like to do that.  It's fun for me.  The music things
that I've been doing have been interesting, and ... I wish I had more
time to do everything.  That would make me real happy, if somehow I
could extend - so I could dive in the morning, and record in the
afternoon, and go out and play at night.  Something like that would be
perfect.  And I kind of didn't have anything to do in the meantime and
didn't have to sleep. And then I could work on my paintings and my
graphic art work stuff, and also write that book I've been thinking
about, too. Not to mention taking on things like movie soundtracks
which I'd like to do, and I'd also like to direct a movie, too.  I've
got a screenplay - I mean, where you want to go?  
My life is mostly stuff that I wish I could do and I'm not going to get
around to or I'm not going to get time to or I'm not going to get an
opportunity to, and that's mostly what it's like, really. And the rest
of it is fight to get stuff done, and then on to the next thing, is
kind of what it kind of boils down to. And I love it that way, I hope
it never changes.  But I also hope that I get time, eventually, to
concentrate the way I want to on each project. The way I like to work
is, I like to exclude everything else when I'm doing something.  I
don't like to be really working on two things at once. I like to do
something, and I do that, and I don't deal with anything else, just
that. And I like to do that on every level of my life <giggle>. It
works.

Bonnie Simmons:  So does this mean that you have excluded other
projects while you've been working on the record?

Garcia:  I'm doing that constantly. You have to exclude stuff because
you only have so many life-hours. That's it. I say yes to a lot of
things and then don't get a chance to get around to them. There's a lot
of things - I'd like to produce more records. I'd like to produce
records for other people, that'd be fun for me.  There's lots of things
that I can do and that I'm good at, relatively, good enough to get
myself off, you know what I mean?  And things have been working out
pretty well.  I certainly don't have any complaints.



Grateful Dead Hour No. 69
Week of January 15, 1990

Part 1  18:09
Stickup;
Samson & Delilah - 5/19/77 Fox Theatre, Atlanta
(I Want to) Fly Away - Bobby and the Midnites (Arista ARCD-8558, 1981)
Satisfaction - 2/17/82 Warfield Theatre, San Francisco

Part 2  36:07
Dark Star (with "Heaven" jam)->
Stella Blue - 10/30/73 Kiel Auditorium, St. Louis MO



Grateful Dead Hour No. 70
Week of January 22, 1990

Part 1  26:27
Sugar Magnolia->
Touch of Grey->
Man Smart, Woman Smarter - 12/31/89 Oakland Coliseum Arena
Big Boss Man - 12/31/89 Oakland Coliseum Arena
  with Bonnie Raitt, slide guitar
 
Part 2  30:11
Interview: Mickey Hart, Tom Vennum, and Joe Gastwirt
  talk about the Smithsonian/Folkways Archive project
  Featuring Latvian Choir, Voices in the Forest, and Midnight
  Special by Leadbelly
Shakedown Street - 12/31/89 Oakland Coliseum Arena



Grateful Dead Hour No. 71
Week of January 29, 1990

Part 1  31:50
Wharf Rat->
Mississippi Halfstep->
Playing in the Band->
space - 12/2/73 Boston Music Hall

Part 2  23:14
feedback->
"Heaven" jam->
He's Gone - 12/2/73 Boston Music Hall



Grateful Dead Hour No. 72
Week of February 5, 1990

		Part 1  35:07
	  :40   Opening
	 9:42   Music: Grateful Dead 2/18/71 Capitol Theatre, Portchester NY
		Dark Star->
		Me and My Uncle
	24:28   Music: Grateful Dead 12/31/89 Oakland Coliseum Arena
		...Hey Jude->
		Goin' Down the Road Feelin' Bad->
		Throwing Stones
		Not Fade Away
	  :17   ID

		Part 2  19:05
	  :24   Introduction
	 4:36   Music: Grateful Dead, Built to Last
		Just a Little Light
	 8:32   Music: Grateful Dead 12/31/89 Oakland Coliseum Arena
		Brokedown Palace->
		Sunshine Daydream
	 5:01   Music: Grateful Dead 12/31/89 Oakland Coliseum Arena
		  Midnight Hour
	  :32   Outro



Grateful Dead Hour No. 73
Week of February 12, 1990

		Part 1  16:19
	  :33   Opening
	 3:09   Music: Grateful Dead, History of the Grateful Dead, 
		   Vol. 1 (Bear's Choice) (Warner Bros. 2721, 1973)
		Dark Hollow
	  :19   Talk
	 3:22   Interview: Alan Mande part 1
	 8:40   Music: Grateful Dead 2/14/70 Fillmore East
		Intro by Zacherle
		Casey Jones
		Mama Tried
	  :16   ID

		Part 2  37:12
	  :07   Introduction
	 3:30   Interview: Alan Mande part 2
	32:14   Music: Grateful Dead 2/14/70 Fillmore East
		Not Fade Away->
		Mason's Children->
		Caution (Do Not Stop on Tracks)
       1:21   Outro



Grateful Dead Hour No. 74
Week of February 19, 1990

		Part 1  28:39
	 1:02   Opening
	16:39   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Sugaree
	 3:29   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Mexicali Blues
	 3:23   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Passenger
	 3:33   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Sunrise
	  :33   ID

		Part 2  25:57
	  :53   Introduction
	 8:32   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		It's All Over Now
	 6:49   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Jackaroe
	 8:56   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Lazy Lightning->
		Supplication
	  :47   Outro



Grateful Dead Hour No. 75
Week of February 26, 1990

		Part 1  24:55
	  :36   Opening
	13:08   Music: Grateful Dead 7/17/88 Greek Theatre, Berkeley CA
		Let It Grow
	11:08   Music: Grateful Dead 7/17/88 Greek Theatre, Berkeley CA
		Box of Rain;
		Victim or the Crime
	  :03   ID by Brent Mydland

		Part 2  30:04
	  :36   Introduction
	20:46   Music: Grateful Dead 7/17/88 Greek Theatre, Berkeley CA
		jam->
		Goin' Down the Road Feelin' Bad->
		All along the Watchtower->
		Believe It or Not
	 7:39   Music: Grateful Dead 7/17/88 Greek Theatre, Berkeley CA
		Blackbird->
		Brokedown Palace
	 1:03   Outro


Grateful Dead Hour No. 76
Week of March 5, 1990

		Part 1  27:53
	  :24   Opening: What do you think of the Grateful Dead?
	 4:12   Music: Grateful Dead 7/12/87 Giants Stadium, E. Rutherford NJ
		Greatest Story Ever Told
	 4:57   Music: Grateful Dead 7/12/87 Giants Stadium, E. Rutherford NJ
		Tons of Steel
	 7:15   Music: Grateful Dead 7/12/87 Giants Stadium, E. Rutherford NJ
		"Step Back" rap;
		Ramble On Rose
	10:48   Music: Grateful Dead 7/12/87 Giants Stadium, E. Rutherford NJ
		Promised Land->
		Bertha
	  :17   ID


		Part 2  24:38
	  :55   Introduction
	23:16   Music: Grateful Dead 7/12/87 Giants Stadium, E. Rutherford NJ
		Morning Dew;
		Playing in the Band->
		percussion
	  :27   Outro



Grateful Dead Hour No. 77
Week of March 12, 1990

		Part 1  15:22
	1:10    Opening
	5:43    Music: Grateful Dead 10/20/89 Spectrum, Philadelphia
		California Earthquake
	4:30    Music: Grateful Dead, Reckoning (Arista A2CD-8523, 1981)
		Cassidy
	3:26    Music: Danny Carnahan and Robin Petrie, No Regrets
		(DNA 70101, 1990)
		Loser
	:33     ID


		Part 2  36:17
	:37     Introduction
	35:06   Music: Grateful Dead 6/8/77 Winterland, San Francisco
		Eyes of the World->
		drums->
		The Other One
	:34     Outro

For more information on Carnahan & Petrie, write to 

DNA Records
725 Pomona Avenue
Albany CA 94706
(415) 525-4773



Grateful Dead Hour No. 78
Week of March 19, 1990

		Part 1  20:02
	  :55   Opening
	10:37   Music: Obsequious Cheezlog with Bob Weir, guitar and vocal
		If Six Was Nine
	 3:20   Music: Grateful Dead, American Beauty
		Friend of the Devil
	 4:50   Music: Robert Hunter, Tales of the Great Rum Runners
		That Train
	  :20   ID

		Part 2  34:23
	  :15   Introduction
	25:35   Music: Grateful Dead 6/8/77 Winterland, SF
		Not Fade Away->
		Goin' Down the Road Feelin' Bad->
		Johnny B. Goode
	 7:40   Music: Grateful Dead 6/8/77 Winterland, SF
		Brokedown Palace
	  :53   Outro



Grateful Dead Hour No. 79
Week of March 26, 1990

		Part 1  17:14
	  :25   Opening
	  :51   Phil Lesh: Message to Deadheads
	 3:38   Music: Bobby and the Midnites, Where the Beat Meets the Street
		Ain't That Peculiar
	 5:05   Music: Grateful Dead 12/27/81 Oakland Auditorium
		Passenger
	  :05   ID by Bob Weir
	 6:52   Music: Grateful Dead 12/27/81 Oakland Auditorium
		Samson & Delilah
	  :18   ID

		Part 2  36:23
	  :36   Introduction
	25:18   Music: Grateful Dead 12/27/81 Oakland Auditorium
		To Lay Me Down;
		Playing in the Band
	 9:51   Music: Grateful Dead 12/27/81 Oakland Auditorium
		The Wheel->
		Playing in the Band
	 :38   Outro



Grateful Dead Hour No. 80
Week of April 2, 1990

		Part 1  17:33
	 1:00   Opening
	 6:43   Music: Grateful Dead 5/19/74 Coliseum, Portland OR
		Black Throated Wind
	 4:41   Music: Grateful Dead 5/19/74
		Scarlet Begonias
	 4:47   Music: Grateful Dead 5/19/74
		Loose Lucy
	  :22   ID

		Part 2  35:35
	  :31   Introduction
	 2:31   Music: Johnny Cash, The Sun Years
		(Sun/Rhino R2 70950, 1990.  Originally released 12/57)
		Big River
	31:57   Music: Grateful Dead 10/16/77 LSU Assembly Center, Baton Rouge 
		Scarlet Begonias->
		Fire on the Mountain->
		Scarlet Begonias;
		Estimated Prophet
	:36   Outro



Grateful Dead Hour
Program no. 81
Week of April 9, 1990


		Part 1  26:28
	 1:00   Opening
	 7:56   Music: Grateful Dead 10/9/82
		Frost Amphitheatre, Palo Alto CA
		SheUs On the Road Again->
		Beat It On Down the Line
	 7:54   Music: Grateful Dead 10/9/82
		West LA Fadeaway
	 9:25   Music: Grateful Dead 10/9/82
		Me and My Uncle->
		Big River
	  :13   ID

		Part 2  29:30
	  :41   Introduction
	14:31   Music: Grateful Dead 10/9/82
		Frost Amphitheatre, Palo Alto CA
		The Music Never Stopped->
		Deal
	13:41   Music: Grateful Dead 10/9/82 
		Throwing Stones->
		Touch of Grey
	  :37   Outro



Grateful Dead Hour
Program no. 82
Week of April 16, 1990

		Part 1  14:03
	  :57   Opening
	 6:18   Music: Grateful Dead 9/29/89
		Shoreline Amphitheatre, Mtn View CA
		Wang Dang Doodle
	 6:32   Music: Grateful Dead, Built to Last
		(Arista ARCD-8575, 1989)
		Picasso Moon
	  :16   ID

		Part 2  40:38
	  :40   Introduction
	 4:02   Music: Grateful Dead 10/10/76
		Oakland Stadium
		Promised Land
	 8:10   Music: Grateful Dead 10/10/76
		Friend of the Devil
	27:08   Music: Grateful Dead 10/10/76
		Dancin' in the Streets->
		Wharf Rat->
		Dancin' in the Streets
	  :38   Outro

		Note: The tape has an edit in the last verse of "Wharf 
		Rat" (at 21:37) due to a reel change on the master.



Grateful Dead Hour
Program no. 83
Week of April 23, 1990


		Part 1  23:30
	  :48   Opening
	16:25   Music: Grateful Dead 9/29/89
		Shoreline Amphitheatre, Mountain View CA
		Feel Like a Stranger->
		Franklin's Tower
	 6:08   Music: Grateful Dead 9/29/89
		We Can Run
	  :09   ID

		Part 2  29:28
	  :30   Introduction
	28:15   Music: Grateful Dead 9/29/89
		Shoreline Amphitheatre, Mountain View CA
		jam->
		I Need a Miracle->
		Death Don't Have No Mercy->
		Sugar Magnolia
	:43   Outro

The Dead's first performance of "Death Don't Have No Mercy" since 1970!



Grateful Dead Hour No. 84
Week of April 30, 1990

		Part 1  15:21
	  :48   Opening
	 6:32   Music: Grateful Dead 3/19/73 Nassau Coliseum, Uniondale NY
		Loose Lucy
	 2:56   Music: Grateful Dead 3/19/73
		Me and My Uncle
	 4:54   Music: Grateful Dead 3/19/73
		Brown-Eyed Women
	  :11   ID

		Part 2  36:10
	  :27   Introduction
	 2:10   Music: Merle Haggard, More of the Best of Merle Haggard
		(Rhino R2 70917, 1990; originally released 7/68)
		Mama Tried
	32:55   Music: Grateful Dead 12/31/89 Oakland Coliseum Arena
		Victim or the Crime->
		Dark Star->
		percussion
	  :38   Outro


Grateful Dead Hour
Program no. 85
Week of May 7, 1990

		Part 1  25:56
	  :32   Opening
	25:13   Grateful Dead 2/23/74
		Winterland, San Francisco
		He's Gone->
		Truckin'->
		drums
	  :11   ID

		Part 2  28:34
	  :32   Introduction
	 4:28   Grateful Dead 3/23/74
		Cow Palace, San Francisco
		El Paso
	 4:56   Grateful Dead 3/23/74
		Deal
	 3:46   Grateful Dead 3/23/74
		Cassidy
	14:06   Grateful Dead 3/23/74 
	       China Cat Sunflower->
		I Know You Rider
	  :46   Outro

Personnel:  Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann, drums; Keith Godchaux, piano; Donna Godchaux, vocals.

Notes:  The second half of this week's program comes from a concert dubbed "The
Sound Test," where the Dead introduced the "Wall of Sound" PA system with which
they toured throughout 1974.  In a column titled "Quiet! The Dead is playing,"
San Francisco Chronicle critic John L. Wasserman described it as "clear without
being loud, loud without being distorted and as clean as a wax job everywhere
in the huge arena.  Every note played by each instrument was detectable and
definable." 

Bassist Lesh hit a note in the instrumental bridge of "China Cat Sunflower"
that rattled the entire Cow Palace.  I felt it all the way across the room,
where my friends and I stood awestruck by the Dead's phenomenally clear and
articulate new sound system.

At the start of "Deal" Bob Weir says, "You can sure tell the ones who won their
tickets over the radio," in response to a fan climbing on stage to shake Jerry
Garcia's hand.
This "Cassidy" was the first live performance of the song and the only one
using the arrangement from Bob Weir's 1972 solo album Ace.  After this show the
song wasn't heard again until the band returned from hiatus in 1976; they
played it in the first set of their first "comeback" show (Portland 6/3/76) and
it's been a mainstay of the live repertoire ever since.

"China Cat Sunflower" and the jam into "I Know You Rider," always a powerful
pairing for the Dead, took on some extra juice in '74 with the addition of a
chord progression some listeners thought reminiscent of "Uncle John's Band."
This performance is a fine example of this wonderful set piece.  - D.G.



Grateful Dead Hour No. 86
Week of May 14, 1990

		Part 1  28:58
	   :53  Opening
	  9:13  Interview: Dan Healy
	  5:55  Grateful Dead 3/19/90 Hartford Civic Center
		Hell in a Bucket
	  5:37  Grateful Dead 3/19/90
		Brown-Eyed Women
	  7:08  Grateful Dead 3/19/90
		Picasso Moon
	   :12  ID

		Part 2  25:02
	  5:03  Grateful Dead, Workingman's Dead
		(Warner Bros. 1869-2, originally released 1970)
		Easy Wind
	 15:44  Grateful Dead 3/19/90 Hartford Civic Center
		It's All Over Now;
		Deal
	  3:04  Interview: Bob Weir
	   :12  Outro

Personnel:  Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Brent Mydland,
keyboards and vocals.

Interviews by afternoon drive personality Lich. Interviews and music courtesy
of WHCN Hartford. Special thanks to Bob Smith.



Grateful Dead Hour
Program no. 87
Week of May 21, 1990

	Part 1  25:21
  :59   Opening
16:37   Grateful Dead 3/19/90 Hartford Civic Center
	Box of Rain;
	Foolish Heart
 7:39   Interview: Mickey Hart
  :06   ID

	Part 2 27:20
  :30   Introduction
24:22   Grateful Dead 3/19/90 Hartford Civic Center
	jam->
	China Doll->
	Gimme Some Lovin'->
	Goin' Down the Road Feelin' Bad->
	Around and Around
 1:50   WHCN broadcast credits
  :38   Outro

Personnel: Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Brent Mydland,
keyboards and vocals.

Interviews and music courtesy of WHCN Hartford. Special thanks to Bob Smith.
Interviews by afternoon drive personality Lich.



Grateful Dead Hour
Program no. 88
Week of May 28, 1990

	Part 1  29:33
 1:02   Opening
16:17   Grateful Dead 2/17/88 Henry J. Kaiser Convention Center, Oakland CA
	Hey Pocky Way;
	Desolation Row
11:55   Grateful Dead 2/14/88 Henry J. Kaiser Convention Center, Oakland CA
	Terrapin
  :19   ID

	Part 2  23:25
  :50   Introduction
22:00   Grateful Dead 2/14/88 Henry J. Kaiser Convention Center, Oakland CA
	Stella Blue->
	Throwing Stones->
	Lovelight
  :35   Outro

Personnel: Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Brent Mydland,
keyboards and vocals.



Grateful Dead Hour
Program no. 89
Week of June 4, 1990

			Part 1  28:08
	:00     1:16    Opening
	1:16    17:04   Grateful Dead 6/5/69 Fillmore West
			Doin' That Rag->
			He Was a Friend of Mine
	18:20   2:48    Kingfish, Kingfish
			(Grateful Dead GDCD40102; orig. rel. on Round in 1976)
			Supplication
	21:08   3:27    Kingfish, Kingfish
			Asia Minor
	24:35   2:59    Jerry Garcia, Compliments 
			(Grateful Dead GDCD40092; orig. rel. on Round in 1974)
			Russian Lullaby
	27:34   :34     ID
	28:08           END of part 1

			Part 2  24:45
	29:04   :20     Introduction
	29:24   4:18    Grateful Dead 6/6/69 Fillmore West
			The Green, Green Grass of Home
	33:42   2:27    Grateful Dead 6/7/69 Fillmore West
			Dire Wolf
	36:09   4:04    Grateful Dead 6/7/69
			Dupree's Diamond Blues
	40:13   5:23    Grateful Dead 6/7/69
			Mountains of the Moon
	45:36   6:43    Jerry Garcia, Reflections
			(Grateful Dead GDCD40082; orig. rel. on Round in 1976)
			Catfish John
	52:19   1:30    Outro
	53:49           END


Personnel:  Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Pigpen, vocals
and keyboards; Tom Constanten, keyboards.

Ordering information for Grateful Dead Records: call 1-800-CAL-DEAD

[

Grateful Dead Hour no. 90
Week of June 11, 1990


			Part 1  10:37
	:00     :56     Opening
	:56     4:30    Grateful Dead 12/29/77
			Winterland, San Francisco
			Johnny B. Goode
	5:26    4:57    Jerry Garcia, Reflections
			(Grateful Dead GDCD40082, originally released 1976)
			Mission in the Rain
	10:23   :14     ID


			Part 2  40:00
	11:42   :37     Introduction
	12:19   38:43   Grateful Dead 12/29/77
			Winterland, San Francisco
			China Cat Sunflower->
			I Know You Rider->
			China Doll->
			percussion->
			Not Fade Away->
			Playing in the Band
	51:02   :40     Outro
	51:42           END


Personnel:  Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Keith Godchaux,
piano; Donna Godchaux, vocals.



Grateful Dead Hour no. 91
Week of June 18, 1990

		Part 1  29:06
  :00     :39   Opening
  :39    8:09   Grateful Dead 12/6/89 Oakland Coliseum Arena
		Victim or the Crime
 8:48    1:52   Interview: Pete Sears part 1
10:40    3:12   Pete Sears, Watchfire (Redwood RRCD 8806, 1988)
		Nothing Personal
13:52    1:52   Interview: Pete Sears part 2
15:44    3:13   Robert Hunter, Tiger Rose
		(Rykodisc RCD 10115; originally released on Round Records 1974)
		Wild Bill
18:57    1:16   Interview: Pete Sears part 3
20:13    6:32   Pete Sears, Watchfire
		Let the Dove Fly Free
26:45    2:18   Interview: Pete Sears part 4
29:03     :03   ID

		Part 2  25:31
30:13     :53   Introduction
31:06     :28   Interview: Pete Sears part 5
31:34   23:09   Grateful Dead 10/2/88 Shoreline Amphitheater, Mountain View CA
		jam->
		Estimated Prophet->
		Eyes of the World
54:43    1:01   Outro



Grateful Dead Hour no. 92
Week of June 25, 1990

		Part 1  26:12
  :00     :37   Opening
  :37   12:20   Grateful Dead 6/10/90 Cal Expo, Sacramento CA
		Bertha
		Jack Straw
12:57     :53   Grateful Dead 6/10/90
		Announcements (Phil Lesh is NOT leaving the band!)
13:50    3:28   Grateful Dead 6/10/90
		Dire Wolf
17:18    3:24   Interview: Phil Lesh
20:42    5:06   Grateful Dead 6/10/90
		Box of Rain
25:48     :24   ID

		Part 2  31:54
27:12     :37   Introduction
27:49   30:40   Grateful Dead 9/17/82
		Cumberland County Civic Center, Portland ME
		The Other One->
		Goin' Down the Road Feelin' Bad->
		Morning Dew->
		Sugar Magnolia
58:29     :32   Outro

Personnel:  Jerry Garcia and Bob Weir, guitar and vocals; Phil Lesh, bass and
vocals; Bill Kreutzmann and Mickey Hart, drums and percussion; Brent Mydland,
keyboards and vocals.



Grateful Dead Hour no. 93
Week of July 2, 1990

			Part 1  9:24
	  :00     :59   Opening
	  :59    5:00   Grateful Dead 9/17/82
			Cumberland County Civic Center, Portland, Maine
			US Blues
	 5:59    3:01   Bob Weir, Ace
			(GDCD 4004, originally released 1972)
			Walk in the Sunshine
	 9:00     :24   ID

			Part 2  44:55
	10:28     :42   Introduction
	11:10   43:44   Grateful Dead 6/8/90 Cal Expo, Sacramento
			Uncle John's Band->
			China Cat Sunflower->
			I Know You Rider
			Estimated Prophet->
			Foolish Heart
	54:54     :29   Outro
	55:23


Grateful Dead Hour no. 94
Week of July 9, 1990


			Part 1  26:41
	  :00     :37   Opening
	  :37   15:05   Grateful Dead 2/27/70 Family Dog, San Francisco
			Dancin' in the Streets
	15:42   10:48   Interview: Alan Trist
	26:30     :11   ID

			Part 2  26:56
	27:46     :32   Introduction
	28:18    2:24   Simon and Garfunkel, Wednesday Morning, 3 AM
			Columbia CK 9049, 1964
			Peggy-O
	30:42    1:27   Interview: Alan Trist
	32:09    3:12   Grateful Dead, Workingman's Dead
			Warner Bros. 1869-2, 1970
			Dire Wolf
	35:21    2:12   Interview: Alan Trist
	37:33    4:26   Grateful Dead 12/28/88 Oakland Coliseum Arena
			Jackaroe
	41:59    3:57   Interview: Alan Trist
	45:56    8:01   Grateful Dead 6/9/90 Cal Expo, Sacramento
			Feel like a Stranger
	53:57     :45   Outro


	(KPFA listeners will hear the 12/29/77 jam 
	that was pre-empted by the Trist interview)


Grateful Dead Hour no. 95
Week of July 16, 1990


			Part 1  27:23
	  :00     :40   Opening
	  :40   10:20   Grateful Dead 3/3/87 w/ Dirty Dozen Brass Band
			Henry J. Kaiser Convention Center, Oakland CA
			Iko Iko
	11:00    4:52   Dirty Dozen Brass Band, Voodoo (Columbia FC 45042, 1989)
			It's All Over Now
	15:52    6:53   Grateful Dead 3/3/87
			Henry J. Kaiser Convention Center, Oakland CA
			Saint of Circumstance
	22:45    4:02   Grateful Dead, In the Dark (Arista ARCD 8452, 1987)
			When Push Comes to Shove
	26:47     :36   ID
	27:23

			Part 2  27:11
	28:28     :22   Introduction
	28:50   12:10   Grateful Dead 3/3/87
			Henry J. Kaiser Convention Center, Oakland CA
			Terrapin
	41:00   14:10   Grateful Dead 3/3/87
			Throwing Stones->
			Touch of Grey
	55:10     :29   Outro
	55:39



Grateful Dead Hour no. 96
Week of July 23, 1990

			Part 1  28:35
	  :00     :40   Opening
	  :40   27:38   Grateful Dead 4/30/88 Frost Amphitheatre, Stanford CA
			Shakedown Street
			Man Smart, Woman Smarter
			Ship of Fools
	28:18     :17   ID
	28:35

			Part 2  23:37
	29:46     :53   Introduction
	30:39    3:21   Jerry Garcia Acoustic Band, Almost Acoustic
			GDCD 4005, 1988
			Swing Low, Sweet Chariot
	34:00    3:49   Bob Weir, Heaven Help the Fool
			Arista ARCD 8165, orig. released 1978
			Salt Lake City
	37:49     :06   "The missing tape?"
	37:55   14:51   Grateful Dead 4/30/88 Frost Amphitheatre
			China Cat Sunflower->
			I Know You Rider->
			One More Saturday Night
	52:46     :37   Outro



Grateful Dead Hour no. 97
Week of July 30, 1990

			Part 1  30:14
	  :00     :36   Opening
	  :36    4:39   Interview: Merl Saunders
	 5:15   13:22   Garcia-Saunders 10/31/74
			Memorial Gym, University of San Francisco
			He Ain't Give You None
	18:37    5:58   Interview: Merl Saunders
	24:35    5:17   Merl Saunders, Blues from the Rainforest
			Sumertone S2CD-01, 1990
			Blues from the Rainforest
	29:52     :22   ID

			Part 2  21:34
	31:15     :24   Introduction
	31:39    3:21   Interview: Merl Saunders
	35:00    4:44   Merl Saunders, Blues from the Rainforest
			Sunrise over Haleakala
	39:44    5:05   Interview: Merl Saunders
	44:49    7:14   Merl Saunders (clavinet); Jerry Garcia (guitar, 
			vocal); Vassar Clements (fiddle); David Grisman 
			(mandolin); John Kahn (bass); Bill Kreutzmann 
			(drums) - studio jam circa 1972
			Mystery Train
	52:03     :46   Outro



Grateful Dead Hour no. 98
Week of August 6, 1990

			Part 1  14:00
	  :00     :55   Opening
	  :55    3:00   Devo, Smooth Noodle Maps
			Enigma 7-73526-2, 1990
			Morning Dew
	 3:55    6:38   Grateful Dead from the Mars Hotel
			GDCD 4007, originally released 1974 
			Unbroken Chain
	10:33    3:03   Grateful Dead, American Beauty
			Warner Bros. 1893, 1970
			Till the Morning Comes
	13:36     :24   ID

			Part 2  39:26
	15:06     :24   Introduction
	15:30   38:28   Grateful Dead 5/23/69 Big Rock Pow Wow, Miami FL
			Morning Dew
			Me and My Uncle
			Dark Star->
			St. Stephen
	53:58     :34   Outro



Grateful Dead Hour no. 99
Week of August 13, 1990


	Part 1  27:00
	Opening
	Grateful Dead 10/3/87 Shoreline Amphitheatre, Mountain View CA
	Stella Blue
	Grateful Dead 6/8/90 Cal Expo, Sacramento
	Easy to Love You
	Interview: John Barlow
	Grateful Dead 6/26/88 Civic Arena, Pittsburgh PA
	Gentlemen, Start Your Engines
	ID

	Part 2  28:13
	Introduction
	Interview: Brent Mydland/Jerry Garcia (Deadhead Hour 4/8/85)
	Grateful Dead 4/22/79 Spartan Stadium, San Jose
	Jack Straw
	Interview: Dan Healy
	Phone calls from listeners
	Silver, Silver (Arista 4076, 1976)
	Musician (It's Not an Easy Life)
	Phone calls
	Grateful Dead 3/18/90 Hartford Civic Center
	Just a Little Light
	Outro

 

