tag:blogger.com,1999:blog-51955905836414269432024-03-17T20:02:49.909-07:00Grateful Dead SourcesAN APPENDIX TO THE GRATEFUL DEAD GUIDE.Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.comBlogger555125tag:blogger.com,1999:blog-5195590583641426943.post-43487625438786858542024-02-12T23:15:00.000-08:002024-02-13T03:15:51.682-08:001966: The Dead in the Daily Californian<div style="text-align: left;">2/4/66</div><div style="text-align: left;">THE TRIPS FESTIVAL </div><div style="text-align: left;"><a href="http://deadsources.blogspot.com/2013/02/january-1966-san-francisco-acid-tests.html" target="_blank">http://deadsources.blogspot.com/2013/02/january-1966-san-francisco-acid-tests.html</a> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">2/10/66</div><div style="text-align: left;">CAN YOU PASS THE ACID TEST? </div><div style="text-align: left;"><a href="http://deadsources.blogspot.com/2013/02/january-1966-san-francisco-acid-tests.html" target="_blank">http://deadsources.blogspot.com/2013/02/january-1966-san-francisco-acid-tests.html</a> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">*</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>2/24/66 </div><div>BOB DYLAN'S T.B. AND ACID-ROCK <i>(excerpt)</i> </div><div><br /></div><div>"The Family Dog presents a Tribute to Dr. Strange" was the title of the very first of the large rock and roll dance-concerts, with local rock and roll groups performing. It was conceived by a chick named Luria and some friends of hers. In this fast moving world of pop culture and pop thinking, it seems like a long time ago, but it was only last fall. Now everyone is in the act. </div><div>The Family Dog, seeing all the new groups around, felt this was a good way to present them, give them the opportunity to perform, and make money. They presented the Jefferson Airplane, The Charlatans, and The Loving Spoonfulls, when they were in town. Last week they presented a "Tribal Stomp" featuring the Airplane plus Big Brother and the Holding Company. Meantime various groups such as the Mime Troupe presented huge rock benefits featuring many groups, including such others as "The Great Society" and "The Mystery Trend." These latter groups are not among the best. </div><div>The Airplane is due to have an album released very soon, having achieved a $25,000 advance from RCA Victor. A Berkeley group, The Answer, is under contract to White Whale Records in LA (producers of The Turtles) and although they have had one or two releases, none have yet been successful. There are local groups which have made it, the Vejtables and the Beau Brummels among them. </div><div>The group which, if it ever makes it, will make it the biggest, is the Grateful Dead. They have been playing for The Acid Test most of the time, and appearing weekends at The Matrix in San Francisco. The Dead, originally known as The Warlocks, do incredible rhythm and blues, with an indescribably haunting organ sound. The lead guitar of Jerry Garcia (Captain Trips) will make your head its own reverb unit. They do a lot of original material as well as making total experiences of old numbers like "Midnight Hour." Among their best material is "The Only Time Is Now," "Down the Line," and "You Gotta Live for Yourself." </div><div>[ . . . ] </div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, February 24, 1966)</i></div><div><br /></div><div>*</div><div><br /></div><div><div>3/10/66 </div><div>ROCK AROUND THE CLOCK <i>(excerpt - no Dead content)</i> </div><div><br /></div><div>The Jefferson Airplane is the best local rock and roll group. Their sound is very tight and very beautiful. With the possible exception of Signe Anderson (who is too pregnant to put out too well), their talent is top-notch and they mix in person like on a record. "It's No Secret" takes a bit to get used to, as most everything else, but then it is a joy to hear. </div><div>KEWB gives it airplay (here I want to plug their midnight-to-six disc jockey), but KYA, perhaps scared of dance competition, hasn't so far. The last time I heard the Airplane do "Midnight Hour" I was very disappointed, but it pointed out their drawback. Their arrangements are so tight that they become restrictive. The lead guitar isn't allowed room to ad-lib and the group has difficulty sustaining happenstance ecstasy for more than a moment. </div><div>The Quicksilver Messenger Service has a fairly ordinary loud sound. They are very close as a group, perhaps explaining their rather limited performing repertoire. The sound is nice, but the Airplane really captured it first and best, and all other groups in this area better start moving on. </div><div>Big Brother and the Holding Company has potential in their lead guitar player, but the group's sound is too specialized and narrow, and consequently too boring for them to amount to much at this time. Their singing is poor. With one exception, maybe two, all their numbers lack inner coherence. Their songs could be stopped at any point before the end and it would still seem like the end. The exploration of the electronic possibilities of their equipment (and this is their uniqueness) is not terribly pleasant or even interesting. </div><div>[ . . . ] [<i>also reviews the Family Tree, Sopwith Camel & a high school covers band</i>]</div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, March 10, 1966)</i></div></div><div><br /></div><div>*</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div>3/31/66</div><div>THE PRANKSTERS' LAST PRANK</div><div><br /></div><div>The last Acid Test was presented two weeks ago. It will never be held again. The Merry Pranksters have split; some to New York, some to Mexico, others to Arizona and so on. About a dozen of them are still in Los Angeles. </div><div>There are many reasons why they broke up. When Kesey split for Mexico, the dynamic force of the Pranksters left too. The rest of the people involved were too hung up on too many ways to keep the scene going. Ken Babs, who inherited Kesey's mantle as leader, was too dictatorial and alienated many of the Pranksters. More and more it became his trip, and room for self-expression was diminished. </div><div>The inner tension in the Pranksters developed to the breaking point with Kesey's departure. There were too many hangers-on, and no one was quite sure who was an official Prankster and who wasn't. In Los Angeles they had to run a show for the people, rather than the people running a show for them as in the Bay Area. There was unfavorable publicity and many problems with the rock and roll band, The Grateful Dead. They lost their flexibility, and now they are no more. </div><div>The Grateful Dead are playing every weekend in Los Angeles. So where is Kesey? Everyone seems to think he's still in Mexico. However the most probable theory I have heard to his whereabouts is this: Somehow Kesey has connected himself, if not running the entire scene, with the flying saucers appearing in Michigan. </div><div>[ . . . ] [<i>review of Sopwith Camel at the Matrix</i>] </div><div>Paul Butterfield's Blues Band was in town last weekend, playing three nights at the Fillmore Auditorium. Friday night there was only a light crowd; Saturday night it was jam-packed, and Sunday it was nearly empty. At the end of his final set on Sunday Butterfield said, "I've played at all sorts of clubs, but this place is certainly the most bizarre." </div><div>Butterfield's band was fantastic. The two guitar players have frizzy hair like Bob Dylan. To watch the two of them work out on the guitars was an incredible listening experience. </div><div>If you ever have an opportunity, drop everything you might have planned and go see this group - they are fantastic blues, and indescribably rock and roll. Short of that, buy their record (Elektra 294). On the back of the record jacket it says "We suggest that you play this record at the highest possible volume in order to fully appreciate the sound of the Paul Butterfield Blues Band." </div><div>Ralph Gleason says "This is a real 'take-charge' band. They come on like they know what they are up to and play as if there was no question about their success. This is a great stance and it helps a good deal. The solo guitarist, Mike Bloomfield is really an extraordinary player. He produces long, exciting, soaring solos that leap out over the sound of the band and come alive, whirring and snapping through the hall." They return April 15 to the Fillmore Auditorium and April 16th to Harmon Gym with the Jefferson Airplane. </div><div>These weekend dances at the Fillmore Auditorium are being promoted by a little man named Bill Graham. When these things were originated by The Family Dog, they were meant to present local rock groups and generally provide everyone with a good time, as little hassle as possible, and just be a gas for the performers, participants, and spectators. Graham has turned these dances into money making schemes first and foremost. Whatever fun one has is strictly incidental to, almost in spite of, Bill Graham.</div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, March 31, 1966)</i></div><div><br /></div><div>*</div><div><br /></div><div><div>4/14/66</div><div>BUTTERFIELD BLOWS INTO TOWN <i>(no Dead content)</i></div><div><br /></div><div>During the past few weeks I've been madly running about trying to keep up with local folkies and the nearly 3000 acid bands in San Francisco. Here are a few observations therefrom. </div><div>The single finest rock/acid/beat/blues band to hit this town in months, the Paul Butterfield Blues Band from Chicago, appeared at one of the musical rites of psychedelia at the Fillmore Auditorium. </div><div>Promoter Bill Graham has endeavored to titillate all the senses of those parting with their two buckses via blasting music, exploding galaxies of lights, silent films, and rather ghoulish ornaments on the walls. Unlike the usual teen-age concert riots, Graham's customers keep cool, dig the fine sounds, and generally cause no problems. </div><div>I think one reason for this extraordinary behavior on the part of 2000 hip kids is that they appreciate the nice surroundings, continual entertainment, and chance to dance without blowing ten dollars for an evening. (That's a rough estimate of the tab for a night of bar-hopping downtown.)</div><div>At any rate, the atmosphere of hot, swaying bodies, luscious young chicks, and totally non-violent dancers tripping around the floor in their own passive worlds was a gas. </div><div><br /></div><div>The Quicksilver Messenger Service opened the spectacle with some wild, deafening songs. They have some difficulties keeping their menagerie of guitars running on the same track, but they do try harder and a couple of numbers exhibited some definite polish. What they lack in repertoire they make up in raw enthusiasm, but I had trouble hearing many of the words in their songs. </div><div>After a short pause the Butterfield aggregation trooped onto the stage, plugged in and screamed off into another universe. Where other bands hammer away, occasionally finding some nice phrases and momentary agreement, the Butterfield group has total, consummate control at all times. Each instrument hauls a share of pure power, but the band's arrangements provide the real proof of ingenuity and taste. </div><div>Butterfield handles the majority of the singing and his direct, shouted style shows the influences of numerous Chicago bluesmen. His harp work is devastating - always covering the spaces apportioned him by guitarists Mike Bloomfield and Elvin Bishop. </div><div>Alternating between pulsating riffs, rich bass chords, and shrieking upper register notes, Butterfield places his harp between, under, and solidly with the movement of each number, inciting his band to evermore magnificent, inspired music. Bloomfield plays an astounding lead guitar with more notes per second than I thought possible. When Butterfield or organist Mark Naftalain take lead, he chords in the precise mix that supports the harmonic balance of the entire group. Given a chance he can carry the whole stage away in one climactic run. </div><div>To top off the evening, Bloomfield pulled out the stops and with Butterfield sweeping in and out on the harp, he delivered a guitar solo that can only be described as Shankaresque concluding with an honest-to-god fire-eating exhibition. The place promptly sailed into shock waves of ecstatic approval. You better not miss this group!</div><div><br /></div><div>I heard the "Great Society" and thought them quite over-rated. Their female lead singer is fair, but the band fails to carry the songs along with her. </div><div>At the Matrix I caught the Wildflower, who suffer from undistinguished arrangements and a dearth of musical invention. Mostly they thrashed about with weak singing and uninteresting guitar work. Perhaps with some more practice and attention to coordination of instruments they'll discover some better sounds.</div><div>[ . . . ]</div><div><br /></div><div><i>(by Michael Chechik, from the Daily Californian, April 14, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>4/21/66</div><div>ROCK 'N' ROLL PARAPHENALIA (<i>excerpt - no Dead content</i>)</div><div><br /></div><div>Probably the best rock and roll concerts so far in the Bay Area were presented last weekend: The Jefferson Airplane and the Paul Butterfield Blues Band. It was the first time I really had an opportunity to listen to Signe Anderson; she is stunning and sings powerfully. There were fantastic speaker systems mounted on large box-like structures. By standing up against the box, closing your eyes, you could simultaneously hear the sound and feel it pulsing and pounding through your body. Airplane drummer Skip Spence was particularly good in this regard. The Airplane is an excellent group, certainly better than most American top-40 groups, including the Byrds. </div><div>Butterfield's group was again incredible. In the areas of blues harmonica, lead and rhythm guitar work, they have the finest talent available in the United States today. They put a group like the Rolling Stones to shame. Mike Bloomfield, who did the lead guitar work on Dylan's last album, is a master, and as much a star as Butterfield. Both of them know it. Butterfield will blow on his harp and Bloomfield will reply on the guitar creating soaring electronic sorties against fast moving heavy rhythm, all of which is beyond comment by me. On stage they seem as if, with all their talent, they might well explode. Each number they do seems as if it is being performed for the first and last times; it has that kind of spontaneity, instant creation, polish, and beauty. </div><div>Bill Graham presented the three shows, climaxed Sunday afternoon by an hour-long jam including the Airplane, Butterfield's band, and Muddy Waters. Graham says: "I'm trying to present the best sound, the best lights, and the best groups available. If I was in it just for the money I'd never have presented the Airplane and Butterfield on the same bill. Ultimately I hope to turn the Fillmore Auditorium into a total theatre where I can present anyone with something valid to say. A promoter has to like what he puts on stage, but it must be marketable. I will never be connected with what is called a concert and should be a dance. It's a crime you can't look at and dance to the Beatles or the Stones anymore; your only connection is through a record. I'm proud of the Fillmore. I'm proud that we move, we swing, and that we wail." </div><div>Toward this end, Graham is driven by what he describes as a "maniacal frenzy." In attempting to secure a permanent rock and roll scene at the Fillmore, his drive and passion have not won him any new friends. I think he believes he owns the whole scene, and this is wrong. He recently told the Family Dog they couldn't put on any more concerts at his auditorium. It was the Family Dog which began the concert-hall scene, originated the light shows, and has always been out front in the lead. They were the first people to bring Butterfield out here. They recently brought Love and the Sons of Adam up from L.A.</div><div>This weekend the Family Dog presents The Blues Project from New York with the Great Society. They will play at the Avalon Ballroom, Sutter and Van Ness in the city, a gassy Victorian style place with carpeted lobbies, drapes, gilt decor, mirrors, and some crazy sort of spring suspension dance floor. Also on April 22 & 23, Bill Graham presents the Grass Roots from L.A., the Quicksilver Messenger Service, and The Family Tree at the Fillmore.</div><div>Meanwhile, the Outline is presenting a "Trips 66" festival at the Longshoreman's Hall. Rock groups include The Grateful Dead, finally returning from L.A., The Loading Zone, and The Answer. The theme is supposed to be a Renaissance trip with appropriate decor and costumes, but the predictions by old hands from the original Trips Festival are not very good. Go at your own risk. [ . . . ]</div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, April 21, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>4/21/66</div><div>CAMPUS ENTERTAINMENT SCENE TEMPO RISES <i>(excerpt - no Dead content)</i></div><div><br /></div><div>[ . . . ] Saturday night's dance at the Harmon was a beautiful scene, by far the best of the recent "Trips" dances. The music was great, with Jefferson Airplane and Paul Butterfield providing the sounds. The sound system, though turned up too high, was the best I've heard at any of these affairs. Having only two groups eliminated delays between sets and confusion with all that electronic gadgetry which collects when several groups must share the stage. </div><div>To the usual wild lighting effects, Bill Graham added a strobe light. Rapidly flickering on and off, the strobe gave dancers in its beam a weird, old movie appearance which resembled a series of still photographs. [ . . . ] </div><div><br /></div><div><i>(by Martin Marks, from the Daily Californian, April 21, 1966)</i></div><div><br /></div><div>BLUES FESTIVAL SPARKLES <i>(excerpt - no Dead content)</i> </div><div><br /></div><div>[ . . . ] On Saturday night, Bill Graham presented the Paul Butterfield band and the Jefferson Airplane in Harmon accompanied by Tony Martin's mind-bending light display. The Airplane's amps were excessively loud, so much so that it was difficult to discern harmonic paths and runs. Signe Anderson's version of "Me and My Chauffeur" (Memphis Minnie) was phrased like a popular jazz number, distinctly an idiomatique anomaly. After three sets the group sounded tired and somewhat trite, but their material is partly to blame, being mostly folkish and repetitive in chordal structure. </div><div>The Butterfield band demonstrated tremendous ingenuity in a potporri of blues and rock arrangements. Butterfield is definitely leading the group to some fascinating eclecticism, mixing jazz and oriental flavors with the inherent power and drive of the amplified instruments. Look for this band to move into some shadings of modern improvisation heavy on foreign melodies and themes.</div><div>This weekend the Blues Project from New York will be appearing with the Great Society at Avalon Ballroom on Friday and Saturday nights. I hope they dream up more interesting music than their lp exhibits. The record was rather unsuccessful, a combination of awkward, weak blues imitation and some cute rock. [ . . . ]</div><div><br /></div><div><i>(by Michael Chechik, from the Daily Californian, April 21, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>4/28/66</div><div>HERE THEY COME AGAIN <i>(excerpt - no Dead content)</i> </div><div><br /></div><div>Friday night Bill Graham's Fillmore dance was raided by the police, ostensibly to enforce a statute requiring kids under 18 to be accompanied by an adult. This incident should be fair warning to other San Francisco promoters that the local authorities are heading towards another tangent - against "bohemian" promoters. </div><div>In Graham's case there may have been some ill feeling from a Chronicle cartoon and editorial chastising the police and civic administrators for trying to close the Fillmore. (April 21st issue; see Ralph Gleason's column in the April 25th edition also.) </div><div>These periodic fits of morality are always saddening, the power structure clumsily stomping on another threat to teenagers' morals. Apparently someone up high fears brawls and drinking, these activities being the substantive reasons for our elders to have attended such functions. Times have changed slightly, these kids behave in a more orderly manner than a gang of legionnaires running wild at a downtown convention, and they certainly pose less of a threat than the out-of-control grownups. So what else is new? </div><div><br /></div><div>The Family Dog presented the Blues Project from New York along with the Great Society at the Avalon Ballroom last weekend. I can only compare the Project's talent and polish to that of the Butterfield band. Sounding like a huge calliope, the group performed some tightly balanced, melodically complete numbers ranging from blues to love songs with a couple of gospel numbers for a change of mood. </div><div>A good measure of the band's fine show must be attributed to the two giant speakers adjoining the stage which all the instruments are piped through. The entire range of acoustic brilliance found in electric instruments is transmitted through this system, each note and phrase comes out clearly without fuzzing or distortion.</div><div>[ . . . ] </div><div>The Family Dog offered a strange and energetic light show centered on the half-moon backdrop of curtains behind the stage. In renting the Avalon Ballroom, the Dog has moved slightly into the lead in the environmental settings department. Full of musty remembrances of the roaring twenties, carpeted with plush fireproof rugs, surrounded by graceful carved columns, and topped with some swooping light fixtures, the Avalon provides an eerie setting to dig the crass sounds of the sixties. </div><div>[ . . . ] </div><div><br /></div><div>(<i>by Michael Chechik, from the Daily Californian, April 28, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>4/29/66 </div><div>DICK ALPERT FOR PRESIDENT <i>(excerpt)</i></div><div> </div><div>[ . . . ] If you like to listen to music, Bill Graham presents the Jefferson Airplane, Lightning Hopkins, and the Jaywalkers tonight at the Fillmore Auditorium. Tomorrow night the same bill except the Quicksilver Messenger Service substitutes for the Airplane. I heard the Messenger Service last weekend and they have gotten much better. All their songs show that this group is looking for perfection and finding it. They had a particularly good "Mojo" number. </div><div>One of the first 'cops vs. rock and roll' battles is being fought over Bill Graham, who was busted last weekend. In Berkeley last Saturday, the cops stopped a Scheer Benefit dance for lack of a permit. The cops had long discussions with the Scheer committee during the week, but told them about needing a permit less than an hour before the dance. Rock and Roll is something the police don't understand, and they're scared. It would be nice to see a good crowd at the Fillmore Auditorium this week, as a gesture of support for Bill Graham and/or rock and roll. </div><div>Along the line of unfortunate events, the so-called "Trips 196?" show at the Longshoreman's Hall last weekend was an unelaborate hoax and a complete fraud. What happened there was completely unrelated to the previous trips festival, nothing in the least "trippy" happened, and the rock and roll was a major disappointment. There wasn't even a light show worth speaking of. In the crowd were aspiring hippies (people who have to be told where it's at, and then don't know they're being told a lie), aspiring teeners (who missed the usual Action USA scene), and aspiring Hell's Angels (the Gypsy Jokers). </div><div>The Grateful Dead were there, back from L.A. with about $20,000 worth of new electronic equipment, including not a single piece of conventional Fender-like amplifiers. They have much new material, but I didn't stay to hear much of it. Jerry Garcia is still the best lead guitarist in the Bay Area rock scene, and Bill Croitsman is the best local drummer. They plan to remain in the Bay Area - they're getting a house in Marin county - until August. </div><div>"The Acid Test," the recording that Kesey and the Pranksters made at Sound City a few months ago, is boring and uninteresting. I've listened only to the free promotional EP which supposedly has excerpts of the best parts on it. What a drag. First of all, the Acid Test doesn't seem to be the type of thing that can be recorded, and secondly, Kesey seemed to think that their session that day at Sound City was a bad trip anyway. </div><div>The Airplane will have a new 45 release in two weeks. The two sides will be "Blues from an Airplane," and "Let Me In." Their previous release was a success in the Bay Area, but didn't make it elsewhere. Their album, already recorded and finished, won't be released until at least late May. The Dead released a single in L.A., but it didn't go anywhere and was ultimately recalled. </div><div>[ . . . ]</div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, April 29, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>5/12/66</div><div>THE RETURN OF NOWHERE MAN <i>(excerpt)</i></div><div><br /></div><div>A rather disappointing rock and roll weekend, this last one, despite a dozen dances and concerts. At the Fillmore: The Airplane is always the Airplane, but after an initial showing of strength, The Jaywalkers are rather disappointing having only a good singer to their credit. At the Winterland Ice Arena (capacity 2500) The Mojo Men, The Vejtables, and The Hedds, drew less than 25 people each night. The Beaux Arts Ball in Berkeley was highly praised for its conception and atmosphere. The Quicksilver Messenger Service did their thing, but no one liked the Bethlehem Exit who tried to compensate for musical ability by the length of material. They are from Walnut Creek. </div><div>At the Avalon Ballroom, the Daily Flash was an utter disappointment. They are competent vocalists, but that's it. No originality, no rhythm, no interest. They try, oh so hard, to be psychedelic... The three of them wear wigs. The Rising Sons, however, were very good and kept up a strong rhythm. The lead singer (named Taj Mahal) (really) has a nice fast voice, reminiscent of Jagger, and he maintained a happy and competent stage presence. They have good original material (signed with Columbia) and a strong on-stage rapport among themselves and with the audience. I'd like to hear them again.</div><div>For me, the highlight of the weekend was at Harmon Gym when the Grateful Dead performed "Midnight Hour." It is one of their best numbers, and the best version of that song I've heard any group do. They are supposed to be playing next Saturday night at the Veterans' Memorial Hall in Berkeley with the Final Solution, a group just breaking into the scene which has, barring possible setbacks, a very bright future. However, the Veterans, scared by these dances, are backing out of the rental agreement. </div><div>Also next weekend: The New Generation from LA, The Charlatans, and the Jaywalkers at the Fillmore; The Sons of Adam and the Blues Project at the Avalon Ballroom (Sutter & Van Ness, SF). Tonight the Blues Project plays at Pauley Ballroom on the campus. </div><div>Promoters are more and more often going out of town to get groups for their weekend dances. It's nice to see what's going on in other cities and be presented with the variety. Some of the non-local groups have been superb (Butterfield's Band), others mediocre (Love), and others embarrassingly bad (The Daily Flash). But on the whole, San Francisco groups are the best available anywhere, certainly better than Los Angeles, and most of the time more distinguished than current national stars. Here groups have developed their own distinct styles, doing their own material interestingly and in an original manner. San Francisco will be known as the Liverpool of the United States.</div><div><br /></div><div><i>(by Mr. Jones, from the "Something's Happening" column, Daily Californian, May 12, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>10/5/66 </div><div>BREAD AND CIRCUSES <i>(excerpt)</i> </div><div><br /></div><div><i>"Whatever It Is" portion here:</i> </div><div><a href="http://deadsources.blogspot.com/2024/02/september-30-october-2-1966-whatever-it.html" target="_blank">http://deadsources.blogspot.com/2024/02/september-30-october-2-1966-whatever-it.html</a></div><div><br /></div><div>. . . The best thing in town was Bill Graham's show of Muddy Waters, Butterfield's Band, and the Airplane. In spite of commercial success Graham presents a show in excellent taste. That's positively un-American. Although the cops shut down the show early, Muddy's band and Butterfield's constantly outdid themselves. On their first night, the weekend before, ne plus ultra was ne plus ultra'ed all evening. </div><div>This weekend it goes on again at the Fillmore, minus Muddy, but with the Dead added to Butterfield and the Airplane. More on all of them when it happens. This Saturday on Mt. Tamalpais, a peace benefit with the Dead and others. And at the Avalon the Family Dog has the non-electric Kweskin Jug Band.</div><div>Tomorrow a "Love-Pageant-Rally" will be held at 2 p.m. at Masonic and Oak, San Francisco. That's the day the LSD law comes into effect, and this is about that. We shall see... </div><div><br /></div><div><i>(by Jann Wenner, from the "Doin' the Thing" column, Daily Californian, October 5, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>10/7/66</div><div>'WHATEVER IT IS' - IT WASN'T A HAPPENING <i>(excerpt)</i></div><div><br /></div><div><i>"Whatever It Is" portion here:</i> </div><div><a href="http://deadsources.blogspot.com/2024/02/september-30-october-2-1966-whatever-it.html" target="_blank">http://deadsources.blogspot.com/2024/02/september-30-october-2-1966-whatever-it.html</a> </div><div><br /></div><div>. . . Let us hope the SF State organizers will spend a few weekends at the Fillmore or Avalon where they can see a "happening" that really happens. </div><div>Bill Graham is currently presenting the finest electric band in the country, Paul Butterfield's band from Chicago. For the past two weekends they have appeared with the Muddy Waters blues band (remember them?) and the Jefferson Airplane. Though fighting inherently bad acoustics in the cavernous auditorium (best referred to as the "Winter Palace"), Butterfield and company presented two sets of blues interspersed with jazz improvisation (Nat Adderley's "Work Song" for example) and a few rock numbers.</div><div>In the months since their last Fillmore appearance they have drifted much closer to jazz phrasing and arrangements, perhaps best heard in the improvised solos of lead guitarist Mike Bloomfield and organist Mark Naftalin. Butterfield's harp solos stretch the capabilities of the instrument to the extreme. Often sounding like a raucous sax, Butterfield pumps out punctuating rhythmic riffs or full wailing upper register screams that burn into your ears and rattle your brain. </div><div>I missed the Sept. 30-Oct. 1st program which had been moved back to the Fillmore Auditorium after the "racially-oriented" disturbances scared some of us away. Hopefully the bill will remain there as the acoustics are vastly superior and the cozy brown alcoves somehow suit the music and audience better than empty, Lawrence Welkish Winterland.</div><div>The Waters band came on as stiffly show business, an image that can never really fit Muddy, the bluesman with his slashing slide guitar and down-home singing. He followed his regular format of roughly half contemporary rhythm and blues and half his now legendary sides for Aristocrat and Chess from the early 1950's. "Little" George Smith has replaced Jimmy Cotton on harmonica and Sammy Lawhorn has returned as lead guitar. </div><div>I felt the Airplane was shucking like mad on both evenings - not playing to capacity, that is. Signe Anderson's torchy vocals sounded strained and superficial, Marty "Tell it to the people" Balin's singing came out a bit melodramatic during instrumental breaks, and Jorm Kaukonen's guitar work never achieved any momentum. I think the group has been over-exposed locally and might benefit from a change of audience and atmosphere.</div><div><br /></div><div><i>(by Michael Chechik, from the Daily Californian, October 7, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>10/12/66</div><div>TURN ON GRANDMA</div><div><br /></div><div>A year ago this weekend the first dance-concert of the current style was presented by the original Family Dog: the Great Society, the Jefferson Airplane, the Charlatans, and the Marbles. It was m.c.'d by Ross The Moose Syracuse. The next weekend the Lovin' Spoonful was presented at a "Tribute to Sparkle Plenty." (You remember old Sparkle Plenty, don't ya...?)</div><div>Ken Kesey is back, and promises climax on Halloween. He says he'll be there, palm fronds courtesy of the Merry Pranksters, protection courtesy of the Hells Angels, and revelry care of the Grateful Dead. This final Acid Test is going to be a "put up or shut up" to J. Edgar and the Narcotics Squad. (Good name for a group.) </div><div>So they've been circulating mug shots of Kesey all around the Bay, 'cause if they don't get him now, they'll never get anyone. [ . . . . ] </div><div>Another name in the news is Augustus Owsley Stanley. He hasn't dropped out of sight but is very much in town. The "growing army of acid heads" didn't applaud him this weekend, if they ever did. That part of the Chronicle expose was probably an anonymous tip from Owsley himself. But he sure made great acid... </div><div><br /></div><div>San Francisco's two top bands were on display last weekend. The Airplane, distinguished by professional perfomers and top quality original material by Marty Balin, has increased its kilowatts with a new drummer. Next week Signe Anderson will be replaced by Grace Slick, ex of the Great Society. Grace is a competent organist and that instrument would make a nice addition.</div><div>The Grateful Dead took two encores Saturday night. They put a group like the Blues Project to shame. (If Danny Kalb wouldn't sing and that group re-formed as "Al Kooper's Band," then it would be of comparable quality.) The Dead are currently negotiating a very liberal recording contract with Warner Brothers. They figure on signing this week with assurances of creative freedom, money, and an excellent publicity program. They'll be Warner Brothers' only rock group. </div><div>Big Brother and the Holding Company were at the Avalon. They're just not interesting, in any way. The Jim Kweskin Jug Band was cute, as far as jug bands go. Back at the Fillmore, Paul Butterfield's traveling zoo wailed as if tomorrow wasn't coming. Every time they get on stage you know you're going to hear something new. Even their old structured numbers ("Born in Chicago," "Mystery Train") are different and original each time, in fact they're practically new songs. This band violates the Federal Incredibility Statute. </div><div><br /></div><div>Saving the best for last, the Mama's and the Papa's were at the Civic Auditorium. It was presented in a teenage concert format by KFRC with The Association the preceding act. Despite "Cherish," The Association is a high school band. The Mama's and the Papa's were excellent: Denny with a Lennonesque German accent ridiculing the security guards at the stage; John with a story of Americans in Europe never leaving their hotels. </div><div>Momma Cass was SUPER-SUPERB. Her beautiful voice comes from the depths. She dances in her boots when she sings and when she wasn't singing she was giving the teenagers lectures on middle class morality. They did their famous numbers, and closed the set with a rocking, swinging "Dancing in the Streets." You wanted to be at the Fillmore and by rights this show should have been. They are the top new group of 1966. They gotta come back.</div><div><br /></div><div><i>(by Jann Wenner, "Doin' the Thing" column, Daily Californian, October 12, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>10/26/66 - <i>excerpt from Wenner's column:</i> </div><div>"What's happening are Pigpen tee-shirts, which come in three assorted, various, sublime, colorful colors. If you don't have a friend in the group who could have given you one free, they're available for $2.50 from the Grateful Dead Fan Club, P.O. Box 31201 San Francisco... </div><div>Ken K. Kesey, who wrote two excellent books, is somewhere around. That's his bag and although I would rather listen to the Grateful Dead, I'm supposed to know what Kesey is up to. . . . Who cares? People who want to be hip."</div></div><div><br /></div><div><div>11/2/66 - <i>Wenner column tidbit:</i> </div><div>"Jerry Garcia of the Grateful Dead is AIRing the Jefferson Airplane's new album this week in Los Angeles."</div><div><br /></div><div><i>(On the same page, an editorial asks readers to "Vote for Brown" instead of Reagan in this week's election for governor of California. "To say that 'the lesser of two evils is still evil' may be a fine moral position to take, but it fails to take cognizance of the fact that the greater of two evils is in this case very evil indeed.")</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>11/16/66</div><div>QUEEN HAROLD'S TROUSERS <i>(excerpt - no Dead content)</i></div><div><br /></div><div>The Jefferson Airplane is around and about with new female vocalist Grace Slick. She has brought in some new material and her voice, while not as mellowly pleasing as Signe's, is more dramatic. She seems to enjoy working with Marty Balin. The best of their new numbers is a cute, lonesome-sounding song, "My Best Friend." It will be released as a single with several others before another album. Their new LP has already been recorded, reportedly with somewhat of a Mama's and Papa's style. Although the Airplane is one of my favorite groups, their style and material have not really changed or developed substantially since they first began. </div><div>Moby Grape, a six-weeks old unit from Sausalito among other places, is a lot of fun. Skip Spence, the Airplane's old drummer, and Peter Lewis, Loretta Young's son, write most of their material. They are good entertainers, but have not made the best use so far of their full five-voice potential. Their manager is also an ex of the Airplane, Matthew Katz. He says, "Tell 'em that Moby Grape loves you more." </div><div>The Thirteenth Floor Elevator, from Texas, are a group without much musical merit, except they are great to hear and dance to. Melodies and lyrics are without flair, but they have a real hard-rock smash sound. I could do without the screaming of singer Rocky Ericson, but I suppose it's part of his own exuberant stance, and that is really what makes this group fun.</div><div>[ . . . ] </div><div>Notes for acid-eaters: Ken Kesey and the boys and the girls have split for Santa Cruz where they take up residence in retreat. Little Acid Annie and Wonder-Dog Cap have stayed behind and it looks like she's left Ken forever... [ . . . ] </div><div>In the rock and roll future, Bill Graham is throwing a 9 p.m. to 9 a.m. dance, concert, breakfast, orgy, around-the-clock spectacular with the Airplane, the Dead, and Quicksilver on New Year's Eve. That's if you're the type who doesn't drink.</div><div><br /></div><div><i>(by Jann Wenner, from the "Doin' the Thing" column, Daily Californian, November 16, 1966)</i></div></div><div><br /></div><div>*</div><div><br /></div><div>11/30/66</div><div>THE GREATEST SO FAR </div><div><a href="http://deadsources.blogspot.com/2024/01/november-23-1966-thanksgiving-party.html" target="_blank">http://deadsources.blogspot.com/2024/01/november-23-1966-thanksgiving-party.html</a> </div><div><br /></div><div>*</div><div><br /></div><div><div>12/9/66 </div><div>S.F. ACID-ROCK: WHERE TO GO FROM HERE? <i>(excerpt - no Dead content)</i></div><div><i><br /></i></div><div>After a year's development, San Francisco's acid-rock dances are settling in. What was once an amateur project for a few friends has become big business. The question is, "Where do we go from here?" Are these dances to become another function of the city's tourist trade, like North Beach, or will they remain essentially underground with primarily hippy audiences? </div><div>The answer to this question will come from the men who determine the city's range of musical experiences - the promoters. </div><div>Bill Graham (Fillmore Auditorium) and Chet Helms (Avalon Ballroom) appear to be heading in different directions as reflected in their recent bookings. </div><div>Both halls have greatly broadened the range of entertainment in the area, and nearly every national news media has featured stories on the Bay Area rock scene. </div><div>Graham has presented a wide range of performers: saxophonist Charles Lloyd, a truly electric band - the Yardbirds, and flamenco guitarist Manitas de Platas. In comparison, Helms has restricted his bills to rock bands, most of them from San Francisco or Los Angeles.</div><div>Graham has been criticized for deviating from the hippie concept of a dance: As hippies originated the first dances a year ago, they've come to think of the Fillmore and Avalon as their special domain. Now big-time show business types are filtering in - record company reps, fan magazines, and pushy agents. </div><div><br /></div><div>The infiltration of the glittering shills was quite apparent a few weeks back when I attended a late night jam at the Gay 90's in North Beach. Three local bands and some hundred dance-goers (camp followers?) filled the posh club. Everyone was trying to look right at home. </div><div>Like plastic caricatures of slap-em-on-the-back Sunset Strip night clubbers, young hippies scurried from table to table whispering the latest show business gossip. </div><div>One chickie in a smartly tailored pants-suit next to me said, "They've been offered a contract with MGM but they're holding out for Columbia." And a wispy young man talking in hushed, staccato phrases said, "There's supposed to be a friend of Phil Spector's up here scouting for new groups." </div><div>Suddenly, underground fun has turned into super-serious business. New groups spend more time manicuring their images and planning trips to England than they do arranging songs. </div><div>Now everyone knows Bob Dylan's bass player. The chick next door put up Mick Jagger's third cousin and your roommate turned on a girlfiend of the Mothers' ex-drummer. </div><div>Absurdity breeds further madness: twenty-year-old hippies whose musical experience began with the Stones' second album are making learned musical criticism. </div><div>So and so plays better guitar than Mike Bloomfield and Howlin' Wolf learned to sing from a Captain Beefheart record. Sure, baby. . . . </div><div>Bay Area rock and roll can claim one worthy service: Kids who normally would listen to the Beau Brummels are now digging Ravi Shankar, or are they? </div><div>If one hears Indian music (or Bach or Coltrane or Butterfield) he doesn't necessarily understand the music's structure. . . . </div><div>After a few guitar players discovered some "Eastern-sounding" runs, every hippy in town started dropping knowledgeable terms: raga, tabla, sarod. When local groups trotted out their blues repertory, hippies mentioned Muddy Waters and Howlin' Wolf. </div><div><br /></div><div>If the rock scene has turned a few people onto fine music, it has produced precious little outstanding music itself - certainly not as much as most of Haight-Ashbury would have you believe. </div><div>There are admittedly some pretty imaginative musicians around: Jerry Garcia of the Grateful Dead, bassist Jack Cassidy of the Airplane, and Barry Melton of Country Joe and the Fish are prime examples. </div><div>But acid-rock cannot claim much more than a fast start for itself. Ninety percent of the musicians working in the acid-rock groups are still in their musical infancy. It takes time to have five or six musicians meld their styles and start to work as a unit, and this scene is only a year old. </div><div>In the same vein, I wonder about the sanity of hippies who feel only electric rock is the road to true musical innovation. Musical styles do not exist in a vacuum. Muddy Waters follows a line of delta blues singers, jazzmen have their antecedents in the swing music of the '40s and dixieland of the twenties. And to take this analogy to its obvious end: Ali Akbar Khan did not spontaneously master the Indian culture's complex music, he listened to the sages of his country who, in turn, had learned from their predecessors. </div><div>Every musical style and fad had its roots in related fields, and it's ridiculous to think of electric rock as a means of expression free of influence from earlier eras.</div><div>[ . . . ] <i>(digression on why rock groups don't use horns like R&B bands do)</i> </div><div>A few local groups think their music is pretty important, and in terms of their personal development I can't disagree. But in an overall survey of all pop musicians, they rank rather near the bottom. In jazz or pop music, few artists attain prominence without many years work shuffling from one orchestra or band to another. . . . Placing acid-rock in the spectrum of all music, its innovations are comparatively minor. </div><div><br /></div><div>Why has such a furor been made over San Francisco rock and roll? First, the performers onstage have droves of friends and these friends love being part of the glamor and attention of public performances. Where there isn't something happening, the hippies are creating an artificial sense of activity - more in their own heads than anywhere else. </div><div>Second, in a very real sense, the Fillmore and Avalon are the coffeehouses of hippiedom. Many of the musician-freaks playing the two halls are refugees from defunct coffee houses. What was called "folk music" in the early '60s was an expression of a generation's attitudes towards adult society. . . . </div><div>The standards of the coffee house boom have carried over to the present dances. Performers were rarely criticized for a lack of innovation then and they aren't now. Coffee houses grew, in part, out of a desire on the part of folkies to protest the inanities of the middle class. As such, no one wanted to bring down their friends by saying their singing was off-key. It was a time of fun and escape from the middle class, and this feeling was a basic component of the first rock bashes. </div><div>Third, every record label is desperately ensnaring local groups with contracts - few of which offer young groups anything but their name on a record label. In the past, if a musician was offered a recording contract, it signaled his ascension into the big-time. Now it means the companies don't want to be caught short of a ready supply of new faces if demand merits some new releases. Rock and roll is a profitable business, you know. </div><div>Fourth, no other city has found itself with two such unusual dance halls complete with light shows and poster art. Both the establishment and the hippies recognize the uniqueness of this phenomenon and they're damn well going to crow about it. </div><div><br /></div><div>No matter what the musical low points to the dances, they will continue to prosper for the moment, but a few changes could be made which would help the scene retain its vitality. </div><div>Besides horns and organs, someone should follow the lead of the Beach Boys and begin experimenting with such instruments as the theramin. </div><div>So far the audiences at both dance halls have been predominantly white. Graham helped overcome this with Martha and the Vandellas, and Otis Redding will appear soon. </div><div>But all the experimentation and integration in the world won't hold the scene together without an increase in the quality of the sounds. Right now such an increase does not seem very likely.</div><div><br /></div><div><i>(by Michael Chechik, from the Daily Californian, December 9, 1966)</i></div></div><div><i><br /></i></div><div><br /></div><div><i>Thanks to <a href="http://www.gratefulseconds.com/" target="_blank">Dave Davis</a>.</i> </div><div><br /></div><div><i>The Daily Cal</i> - </div><div><a href="https://digicoll.lib.berkeley.edu/" target="_blank">https://digicoll.lib.berkeley.edu/</a> </div><div><br /></div><div><i>Background on Jann Wenner at UC Berkeley</i> - </div><div><a href="https://alumni.berkeley.edu/california-magazine/winter-2017-power/roots-music-beginnings-rolling-stone/" target="_blank">https://alumni.berkeley.edu/california-magazine/winter-2017-power/roots-music-beginnings-rolling-stone/</a> </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com7tag:blogger.com,1999:blog-5195590583641426943.post-27580387752590117322024-02-11T07:40:00.000-08:002024-02-11T07:40:37.907-08:00September 30-October 2, 1966: Whatever It Is, San Francisco State College<div style="text-align: left;"><div>9/26/66 </div><div>'WHATEVER IT IS' MIGHT EVEN HAPPEN</div><div><br /></div><div>"Whatever It Is," a 48-hour happening scheduled by the AS for Friday is apparently taking shape, with its organizers - whoever they are - hard at work to ensure its successful production, wherever it is. </div><div>Activities coordinator Bob Flynn described the event as "an attempt to transcend all of the factions on campus in order to involve the entire campus in a mutual experience." </div><div>AS president Jim Nixon, a member of the "Whatever It Is" steering committee, said that plans are firming up, with "final decisions being made as to the location of the various events." </div><div>The event's purpose, according to Nixon, will be to "expose the students to the variety of experiences available to them at SF State, as well as to expose the community at large to what's happening with today's student." </div><div>The happening begins with a "Sunshine Grass Dance" at 3 p.m. Friday on the Women's Polo Field. </div><div>The emphasis, according to Flynn, will be on individual participation in the events rather than on "a classic audience-performer relationship." </div><div>Activities reportedly will include a 48-hour dance in the women's gym, a light show, a sculpture yard, and experimental films. </div><div>It was also reported that individual performers and groups are scheduled, including Mimi Farina, The Grateful Dead, and The Only Alternative and His Other Possibilities. </div><div>The event will apparently be staged over a major portion of the campus, although exact locations for the event are still being negotiated with the Administration. </div><div>Admission will be $1 for SF State students and $2 for non-students with city-wide publicity being planned.</div><div><br /></div><div><i>(by Larry Maatz, from the <a href="https://archives.calstate.edu/downloads/b5644r56z" target="_blank">Daily Gater, September 26, 1966</a>)</i></div><div><br /></div><div>*</div><div><br /></div><div><div>9/29/66 </div><div>A PSYCHEDELIC FAIR</div><div><br /></div><div>He was dressed in a white jump suit, black hat, and had three eyes. </div><div>His mission on campus yesterday was to promote a "Whatever It Is" at San Francisco State College tomorrow, Saturday and Sunday. </div><div>The "Whatever It Is" is a three day activity beginning tomorrow at San Francisco State, sponsored jointly by the Associated Students and SF State's Experimental College. </div><div>Entertainment will include Mimi Farina and the Only Alternative, the Wildflower, the Anonymous Artists of America, and the Grateful Dead - all rock and roll groups. </div><div>Other attractions will be Bernie Gunther of the Essalen Institute who does "Sensory awareness things," light shows by Bob Beck and Bill Ham, movies and other entertainments. </div><div>Eight musical sculptures (you play on them and they make noises) by Ron Boise will also be available to play with. The sculptures are the last works of the late Boise, who achieved local prominence through his "Kama Sutra" sculptures. </div><div>"Whatever It Is" will also offer an event called "multifood," probably in the coffee shop. There will also be a flea market. Visitors are invited to bring things to sell. </div><div>No exact time plan of events is being made, but it is expected that the peak hours will be from 9 p.m. to midnight Friday and Saturday nights. </div><div>The purpose of the "opening" (as opposed to "happening") "has as its entire purpose, learning - an investigation of what happens when all the energies and facilities of a college - students, buildings, time, technical capabilities, space, college faculty expertise - are brought together," according to SF State Student Body President Jim Nixon. </div><div>Admission for the weekend is $2 per person at the door.</div><div><br /></div><div><i>(from the <a href="https://digicoll.lib.berkeley.edu/record/55664" target="_blank">Daily Californian, September 29, 1966</a>)</i></div></div><div><br /></div><div>*</div><div><br /></div><div>9/30/66 </div><div>WHATEVER IT IS, IT'S HERE</div><div>NON-PROGRAM FOR 48 HOURS </div><div><br /></div><div>"Whatever It Is," the much planned, unplanned happening sponsored by the Experimental College and the Associated Students, will officially begin to happen at 3 p.m. today. </div><div>Spectator-participants will enter through a large archway on the Commons, pay their $2 ($1 for SF State students), have "Enter" stamped on their foreheads - and Happen. </div><div>They will then be free to construct their own program (or non-program) for happening over the next 48 hours from the many activities scattered over the campus. </div><div>Among the available choices will be the Grateful Dead, the Only Alternative and His Other Possibilities with Mimi Farina, the Final Solution, the San Andreas Fault Finders, and a Rock Workshop led by Jack Fronk. </div><div>Sensory Awareness Exercises are planned under the direction of Bernard Gunther, coordinated with dancer Chloe Scott. </div><div>A high point of the event will reportedly be a light show, directed by Bill Ham, and projected on art instructor Jim Baldwin's Tensed Membrane in the women's gym. </div><div>Participating groups include The San Francisco Mime Troupe, the Congress of Wonders, the Committee, the Ann Halprin Dancer's Workshop Annex, and the Straight Theatre. </div><div>Games in the sculpture garden will be conducted by Assistant Professor Mel Henderson, and Sound Sculpture will be presented by Ron Boise. </div><div>Light shows in the swimming pool and a Flea Market are also planned. </div><div>General schedule for the happening is for Friday's activities to be a rehearsal with Saturday [<i>line missing</i>] Farther" </div><div>Sunday will be devoted to "Farther, Clearer - Bringing It In - Cleanup," according to the organizers. </div><div>For those participants suffering an overdose of WII, a non-habit forming reality producing drug will be dispensed at various points on the campus.</div><div><br /></div><div><i>(by Larry Maatz, from the <a href="https://archives.calstate.edu/downloads/cv43nw81s" target="_blank">Daily Gater, September 30, 1966</a>)</i></div><div><br /></div><div><i>(The issue also has an accompanying article, "Guiding Lights Explain Aims," with vague comments from organizers Jim Nixon & Stewart Brand that don't explain much. </i></div><div><i>Jim Nixon: "It would be a mistake to assume that an event like this will be of interest to a majority of the student body. But you must remember that interesting things are always put on by an interested minority." </i></div><div><i>Stewart Brand: "We are providing a collection of creative materials that are very rare in an atmosphere very unlike most atmospheres."</i></div><div><i>A page 2 editorial, "'Whatever it is' will be, will be..." fears that the event could be a financial disaster: little planning, not enough off-campus publicity, too big a budget, and a threat to future campus events. </i></div><div><i>"The planning, which snatched up $7800 of the $21,000 Activities budget for the year, has been, at best, questionable... Publicity spending - $250 for a professional PR firm - has resulted in no more newspaper space or broadcast time than the college's own public information department could have procured.</i></div><div><i>"A press release announces expected attendance of up to 8000. With tickets at $1 for SF State students and $2 for others, a profit may be expected only if many participants are from off campus. </i></div><div><i>"There has been no explanation of how a 48-hour dance was allowed through the administration, which last year spent untold hours wagging cautioning fingers at groups wanting to sponsor 4-hour open dances... </i></div><div><i>"A group spending nearly $8000 - more than all the income from five traditional Activities events last year - on a three-day festival, is taking quite a risk.")</i></div><div><br /></div><div>*</div><div><br /></div><div>10/3/66 </div><div>GRASS DANCERS GET WET </div><div><br /></div><div>There was a lot of sunshine and a lot of grass but very little dancing as the Sunshine Grass Dance began Whatever It Is, SF State's weekend happening, on the Women's Polo Field Thursday. </div><div>The Wildflower and the Demon Five, two rock bands, provided the music along with a strolling bagpipe player complete in Scottish regalia. </div><div>Most of the audience, which numbered as high as 300, just lay on the grass and were accosted by the hot sun. However, about 20 quick-thinking grassdancers cavorted around the sprinkling system at the far end of the field. </div><div>As the music rocked on, many male members of the gathering peeled off their shirts while girls soaked by the sprinklers danced around the audience with or without partners. </div><div>To provide the traditional psychedelic atmosphere, three whatever-they-were sculptures were placed on the grass and a light show was provided by a naked light bulb glowing behind the impromptu stage. </div><div>The program was delayed about a half hour due to difficulties with an elaborate sound system. During the wait the microphones were shrouded in off-white sweat socks and entertainment was provided solely by the sprinkler system. </div><div>As the difficulty was corrected the leader of the Wildflower, adorned in a hat covered with gigantic paper flowers, welcomed the audience to "distortion land." </div><div>As the distortion began, students supplied the crowd with a large number of balloons branded "Whatever It Is - SF State College," some of which were carried faithfully into classrooms by the grassdancers. </div><div>Although "Whatever It Is" didn't officially begin until Friday night, a band called the Universal Parking Lot unloaded sounds in the Sculpture Yard at 3 p.m. Friday. </div><div><br /></div><div><i>(by Dave Richmond, from the <a href="https://archives.calstate.edu/downloads/df65v785p" target="_blank">Daily Gater, October 3, 1966</a>)</i></div><div><br /></div><div>*</div><div><br /></div><div>10/4/66 </div><div>'WHATEVER IT IS' TRIUMPHS</div><div><br /></div><div>The college may never see the likes of it again - but the chances are better that it will. </div><div>"Whatever It Is," the weekend-long happening put on by the Experimental College and the Activities Office, littered the campus with archways, "sound sculptures," scaffolding, and fugitive author Ken Kesey's florescent bus. </div><div>In addition, the events organizers had opened its dances, art shows, light shows, and "sensory-awareness" exercise sessions to the general public, and security officers shook in the motorcycle saddles. </div><div>But things turned out all right, according to committee member Jim Nixon, AS President, who labeled "Whatever" as the "most impressive" AS event ever as well as the "best entertainment bargain" ever offered students. </div><div>For the admission price of $1 ($2 for general admission), participants were rubber-stamped and allowed to wander all over campus, where "happenings" took place in the Main Gym, the Women's Gym, International Room, Gallery Lounge, Speaker's Platform, and Sculpture Yard.</div><div>At last count Nixon said "between six and 8,000" persons attended, pushing income close to the subsidized $7,800 from the Activities Budget. </div><div>The $8,099.41 taken in, with addition revenue due from vendors' commissions, made "Whatever It Is" the first AS Activities event that came close to even, according to Nixon. </div><div>At a finance committee meeting Monday afternoon the loss was estimated at $1,056.67, compared to $4,000 deficits that have been tagged to other activities. </div><div>Security for what turned out to be 30 hours was no problem, Nixon said, with four walkie-talkies linking a total of 150 volunteer watchdogs. </div><div>Other than a stolen ladder and two microphones and a rubber stamp, "Whatever It Is" suffered little. </div><div>The advertised marathon began at 3 p.m. Friday, with action beginning in the Commons at 8 p.m. The dance there lasted until 3:30 a.m. Saturday morning and resumed at noon. It then continued through 6 a.m. Sunday, when "Whatever" finally began packing and cleaning up, with the help of 30 hardcore happeners.</div><div><br /></div><div><i>(from the <a href="https://archives.calstate.edu/downloads/hm50tr751" target="_blank">Daily Gater, October 4, 1966</a>)</i></div><div><br /></div><div>*</div><div><br /></div><div>10/5/66</div><div>WHATEVER IT WAS...IT WAS</div><div><br /></div><div>The "Whatever It Is" dance and light show held last weekend here transcended its chaotic planning and utter disorganization to become probably the most successful event ever staged by the Associated Students. </div><div>As a commercial venture, it garnered a $8,000 return for a $9,500 outlay, easily qualifying it as by far the most profitable undertaking ever connected with the AS here. </div><div>But it was more than just an attempt to capitalize on the hippie subculture thriving at SF State. </div><div>By commercializing what the "Whatever" promoters described as a "spontaneous happening," the AS offered to the entire campus an opportunity to observe and participate in an example of the style that is approaching the very ramparts of mass America. </div><div>And, of course, it was more than just a dance and light show, with its hyperactive musicians tossing their manes and abusing electrified instruments while bathed in pulsating, multicolored, swirling palettes of light, the rhythm so pronounced that the spectator's body and teeth vibrate as if he were operating a jackhammer. </div><div>There was more. </div><div>In the main gym a seminar was being offered in Sensory Awakening; kids huddling together in the center of the room with their eyes closed while a caller gave such instructions as: </div><div>"Hold your partner's hand and try to discover what he's really like," or </div><div>"Mold your partner's face with your fingers and then see if his face has changed."</div><div>In the Gallery Lounge, more musicians plied their trade amid an electric exhibit from the New York Museum of Modern Art. </div><div><br /></div><div>Despite the final success of the happening, it appeared for awhile that "Whatever It Is" trembled on the brink of calamity. </div><div>It was a risky operation all around, not only fiscally, but in terms of the many possible disasters tempted by an event that encouraged "spontaneity." </div><div>Instead, there was not one incident of violence or disorder, except for a few drunken fraternity men misbehaving themselves unimaginatively. </div><div>Even the presence of the fabled Hell's Angels Saturday night didn't stir a hair on the heads of the "Whatever" staff because, according to planner Dick Rosenblatt, "the word was out in the underground" to leave SF State alone. </div><div>The Hell's Angels, casual dressers anyway, said they felt at ease among the throng of hippies that crowded the campus over the weekend. </div><div>Pete Page, who identified himself at the president of the Daly City chapter of the Angels, said he liked the SF State students he saw Saturday night because "they looked like they were on trips all the time." </div><div><br /></div><div>Another well-known visitor to SF State Saturday night was Ken Kesey, author of the best seller describing life in a mental institution, "One Flew Over the Cuckoo Nest." </div><div>Incognito as hell, Kesey reportedly did a tape for FM station KPFA while on campus. </div><div>Kesey is being sought by police on charges of possession of marijuana after he jumped bail and escaped to Mexico. </div><div>One rumor being bruited about by very coy student inside dopesters was that the Hell's Angels were on campus to protect fugitive Kesey from arrest. </div><div>Not only was Kesey present, but his psychedelically painted bus was parked in front of the Commons, inside of which members of the Greatful Dead endangered their flowing locks, and hence their musical careers, by huddling around a burning taper. </div><div>Next to Kesey's bus a huge searchlight, such as the ones used in supermarket openings, contributed to the carny spirit by beaming a shaft of light into the foggy night. </div><div>It was moot whether this example of the moth theory of crowd attracting had effect, but it did manage to captivate a gaggle of reclining students whose bloodstreams were undoubtedly charged with all sorts of spectacular chemicals. </div><div><br /></div><div>Back on the dance floor in the Commons, more of the hippie elite were arriving. Jefferson Poland, head of the Sexual Freedom League, for instance, came in a very chic silk mini-skirt. </div><div>The only people at the happening who seemed like they were miserable were the promoters. </div><div>Although the Whatever budget provided for an elaborate walkie-talkie communications system, the AS officials using it at times were harried and distraught. </div><div>The top Whatever officials were distinguished from rank and file happeners by gold cords worn either around the arm or head. </div><div>Looking elfin in his gold headband and walkie-talkie antenna, "Whatever" Security Chief Mike Vozick ranged the campus reporting on possible spots to his boss, AS president Jim Nixon, in Communications Central. </div><div>There were also about 400 "AIDS," the lower echelon Whatever staffers, who wore badges of identity permitting them to happen any place on campus without fee.</div><div><br /></div><div>The startling thing about Whatever It Was is that over 5000 volatile students plunged into a weekend of somewhat nightmarish activity without serious damage to themselves or the campus. </div><div>After all, this is the college at which dances last semester had to be banned because of fighting and vandalism. </div><div>Happening and tasting, apparently, are now more in vogue among a good segment of SF State students than fighting and drinking.</div><div><br /></div><div><i>(by Phil Garlington, from the <a href="https://archives.calstate.edu/downloads/c247ds10z" target="_blank">Daily Gater, October 5, 1966</a>)</i></div><div><br /></div><div><i>(The issue also includes two pages of photos: "5000 'entered' for three days of 'whatever'")</i> </div><div><br /></div><div>*</div><div><br /></div><div>UPON RE-ENTRY FROM WHATEVER... </div><div><br /></div><div>Aftermathematics (or reflections on whatever it was): No matter what else may be said about them, the planners of the 3-day soiree couldn't have timed it better. With the "disturbed conditions," as the downtown papers chose to tag 'em, around Fillmore, weekend tripsters stayed away from the usual concert halls in droves... Even with Muddy Waters, the Airplane, and the Butterfield Blues Band, forinstance, the Fillmore Aud. Fri. night drew an awe-time low - 400... Meanwhile, among the concrete Nabisco boxes at 19th & Holloway, things (and people) were happening. </div><div><br /></div><div>Like any good newspaper, variety show, or brothel, "Whatever It Is" had something for everybody. Some of the people at the Friday dance in the Commons looked like they were dragged over from the 2nd floor of the Library - out of the microfilm room. Others seemed fully satisfied locked among the machines in the Redroom Rm. Those known as "hippies" had a field day-night-day-night-morning, some dancing, some listening, (acid rock, jazz, poetry, and walkie-talkies were the main attractions), and some going goggle-eyed at Bill Hamm's light show in the Women's Gym under a not-so-tense membrane. Rumors - compounded by his neon-like, 5-bunk bus parked in front of the Commons - had it that Ken Kesey was alive and happening. And then there was that single coed, among the stretched out bodies facing the light show screens, who checked out the action - in her wheelchair. </div><div>Try as we may, we can't forget the SF Stater back in the Commons-turned-psychedelicatessen who danced up a storm (of protest and stares), although her antics make journalistic justice a task. Looking much like the stereotype of a plain-Jane (such as you see in "Gidget"), with short kinky blonde hair, thick glasses, pale complexion, frail body - she was either crazy or on a too-good trip. When the Greatful Dead's song was slow, she resembled a burglar prancing on tiptoes around a house, a belly dancer with an upset stomach, and a limbo dancer whose pole was everything around her. Even a coed tight in the clinches of her partner broke away to stare, once she saw Jane... </div><div>Then the music accelerated and the anonymous coed went crazy. Now she resembled just one thing: a trackster warming up for a broad jump, taking the first steps, then coming to a halt just before leaping. Lord knows what would've happened if she decided to go for distance... </div><div>Outside, schoolkids wandered around and inside "sound sculptures"; an audience surrounded the Platform to hear an impromptu quartet of congas and bongos (who performed 15 hours), and the steering committee was hard at work, with fancy walkie-talkies, barking important commands to ensure keeping of the peace - even when nothing was going on. Chaplinesque chief of Experimental Policing was Mike Vozick who, forehead secured by a symbolic gold band, kept abreast of things from action central, Hut C. Checking with all points for "crises," he finally heard of one in the Gallery Lounge. "Vozick to John, Vozick to John," he cried. "Yes?" "There's a crisis in the Lounge." "Oh? What is it?" Vozick: "I don't know, but whatever it is - take care of it"... </div><div>And Saturday, despite the Commitee, Mime Troupe, an innovative San Andreas Fault Finders performance, and swimming (more prude than nude), things were quiet. It was too early for light-showing or dancing, so the 100 in the Commons watched four tots frugging 3 feet from the speakers. A Woody Allen-type read poetry in the Lounge, and a security officer outside the Commons grumbled to a colleague, "Okay, but I'll have to call my wife first, probably." Action returned that night, with Bernie Gunther's "sensory awareness" tricks keeping the Gym packed. I strode by in time to catch the preliminaries, which had the masses tapping their own heads, reminding of one of our sessions in Broadcast Communications last yr. Only difference was we didn't have "Whatever It Is" balloons tied to our fingers and bounding up and down with the tempo... </div><div><br /></div><div>Outside, a man stood on an island waiting for a trolley car - with a Confederate flag at his side. And, too, there was the rugged-looking blonde at 19th & Holloway drunkedly decrying the "punks in school." And yet, it seems that they were symbolic of the turmoil in the outside world, while "the punks" showed how sober and how tolerant, as well as happy, they could be.</div><div>Alexander Pope said it all, in 1733, when he wrote: "All discord, harmony not understood / All partial evil, universal good / And spite of pride, in erring reasons spite / One truth is clear - whatever is, is right."</div><div><br /></div><div><i>(by Ben Fong-Torres, from the Daily Gater, October 5, 1966)</i> </div><div><br /></div><div>*</div><div><br /></div><div>WHAT MATTERED ABOUT 'WHATEVER' (<i>editorial</i>) </div><div><br /></div><div>It doesn't matter that a microphone, along with other less expensive things, were stolen. </div><div>It doesn't concern us that many of the 6000 persons at "Whatever It Is" were straights and never really fitted into the climate of "sensory awareness," "environmental gadgetry," and "energy focuses" set up for the almost-three-day event. </div><div>And it doesn't annoy us, on reflection, that many of the most involved people planning and participating in "Whatever" were overreaching, searching for an emotion or atmosphere they will never be comfortable with. </div><div>For the basic product of the unique project was total success, for which its organizers deserve congratulations. </div><div><br /></div><div>The final tallies are in: Security problems were negligible; all contracted performers - and then some - performed; and, most important in terms of future activities on campus, cash registers rang often enough to mark this event as the first one sanctioned by the Activities Office that didn't saddle it, in the end, with huge losses. </div><div>In an editorial Friday, we questioned the planning of this venturous marathon, striking a sour note of pessimism while wishing its instigators good luck. </div><div>Their response - with 4/4 beats of free-wheeling optimism and grass-roots pluck to front whatever luck was available - was gratifyingly satisfactory. </div><div>We only wish that more than 6000 showed up and that publicity, before and after, could have been fuller. The world at large deserves - and some of it needs - to realize what's going on here. </div><div><br /></div><div><i>(from the Daily Gater, October 5, 1966)</i></div><div><br /></div><div>*</div><div><br /></div><div><div>10/5/66 </div><div>BREAD AND CIRCUSES <i>(excerpt)</i></div><div><br /></div><div>Quite a weekend, weekend-wise. October, the month of Libras and Scorpios, is ushered in by kids doing their thing in Hunter's Point, et cetera. An amazing number of fires started last week in San Francisco. The full moon, and You Know Who is (supposed to be and probably is) back in town. </div><div>You Know Who gave a two-hour "acid test" at San Francisco State from 4 to 6 a.m. Sunday. The cops showed but he didn't show for them. The bus has a new paint job. But that's all. The Merry Pranksters are back, too, seems they have nothing else to do. "Whatever It Is" at State was excellent, although hardly a "trip." There should continue to be things like this, a whole campus where people can swim, dance, freak on the lawns, and listen to rock and roll. Light shows, planning, and execution of this one were excellent. </div><div>These things shouldn't be 'coming with a date' affairs. Creates too much hassle about meeting at the car. Come single and find someone. Dick Alpert says Kesey's Acid Test and so-called 'trips festivals' are "the most trivial aspects of LSD." D'accord. Further, why does it have to have any connection at all with LSD?</div><div>The dancing is nice; the music certainly is a gas. The Grateful Dead were marvelous. Jerry Garcia pulls some excellent runs out of his guitar when he stops playing around. The San Andreas Fault Finders don't seem to be anything special. The Wildflower hasn't changed much, which is too bad. A new and stronger drummer, but little else. Their "original material" is imitative and undistinguished, and their talent is insufficient to make other material either new, interesting, or well done. </div><div>These weekend festivals always have their highpoints. Unfortunately there is never enough to completely fill them up, and they must turn to the mediocre. This weekend the worst of the mediocre was Mimi Farina with "The Only Possibility and His Other Alternatives." You can spot a bad rock band by their reliance on pleasing but out of place Spanish rhythms. This group has nothing and Mimi Farina. You want to say something nice about her, after all....but she is bad, and worse when compared with Nancy Sinatra. </div><div>[ . . . ]</div><div><br /></div><div><i>(by Jann Wenner, from the "Doin' the Thing" column, <a href="https://digicoll.lib.berkeley.edu/record/55660" target="_blank">Daily Californian, October 5, 1966</a>)</i></div></div><div><br /></div><div>*</div><div><br /></div><div><div>10/7/66</div><div>'WHATEVER IT IS' - IT WASN'T A HAPPENING <i>(excerpt)</i></div><div><br /></div><div>San Francisco State's "Whatever It Is," presented at that campus last weekend, seems best represented by the officious little men, the self-selected organizers, seen scurrying here and there in the dank halls. Through some gross oversight they were equipped with crackling walkie-talkies which they found copious opportunity to use for no discernible purpose. It seemed they were trying to contact their similarly equipped fellows, but like the "happening" and its potential recipients, they were never able to communicate. </div><div>Visitors often searched in vain for directions to exhibits - and when they finally came upon a cluster of people it would turn out to be a queue for a bathroom. </div><div>A main attraction would seem to have been the Grateful Dead, the Only Alternative (with Mimi Farina), and a three-side light show, all crammed into one perspiring room. A stage had been erected in the approximate center with some rectangular screens set at various angles around the stage for the light display. Unfortunately this division of the stage area also interrupted the flow of sound from the band's amps as well as effectively blocking some musicians from the audience's view. The sound system was one step removed from a wind-up victrola. </div><div>Jerry Garcia, the Dead's lead guitarist, took the group through some rambunctious rock numbers, and his solos often rivaled the masterful Mike Bloomfield of the Paul Butterfield band. Mimi Farina's petite voice also fell victim to the hopeless sound system, but the audience enjoyed their "soft-sell" folk rock. </div><div>About 30 depressing hallways away the Wildflower held forth with their traditionally banal lyrics, trite arrangements, and amateurish vocals. Luckily the group generates a certain amount of inter-person excitement during a set, but the onlookers weren't overly moved by the whole presentation. </div><div>Let us hope the SF State organizers will spend a few weekends at the Fillmore or Avalon where they can see a "happening" that really happens.</div></div><div>[ . . . ]</div><div><br /></div><div><i>(by Michael Chechik, from the <a href="https://digicoll.lib.berkeley.edu/record/55658" target="_blank">Daily Californian, October 7, 1966</a>)</i></div><div><br /></div><div>*</div><div><br /></div><div>10/7/66</div><div>HUNTED 'PSYCHEDELIC' NOVELIST PERFORMS 'ACID TEST' HERE</div><div><br /></div><div>When fugitive author Ken Kesey was on campus last weekend for "Whatever It Is," he didn't relegate himself to hiding from narcotics agents, various sources have revealed.</div><div>Besides decorating the campus by parking his psychedelicately-painted bus in front of the Commons, as reported Wednesday in the Gater, he performed his Acid Test in the studios of campus station KRTG, according to program director Steve Newman. </div><div>With the Greatful Dead backing him, the well-known and well-hunted (for possession of marijuana) author read his previously-recorded poetry for more than an hour from Studio B in the CA building. </div><div>His lyrical performance was aired to listeners in the Commons, the Redwood Room, outdoor speakers, and KRTG's regular audience in the dormitories. </div><div>Kesey, who fled the US to Mexico last January, also reportedly spoke briefly to a crowd before returning to safer grounds, behind a cordon of Hell's Angels who bodyguarded his visit to SF State. </div><div>And if the planners of "Whatever It Is" think their three-day happening was big, Kesey has a surprise in store (providing the police don't surprise him first). </div><div>He's planning, he said, a "graduation ceremony" for users of psychedelic drugs late this month, with 7500 tripsters expected to celebrate - and, incidentally, to help hide Kesey.</div><div><br /></div><div><i>(from the <a href="https://archives.calstate.edu/downloads/bz60cw32f" target="_blank">Daily Gater, October 7, 1966</a>)</i></div><div><br /></div><div><a href="https://archive.org/details/gd1966-10-02.sbd.bershaw.5413.shnf" target="_blank">https://archive.org/details/gd1966-10-02.sbd.bershaw.5413.shnf</a> </div><div><br /></div><div><br /></div><div><i>See also:</i> </div><div><a href="http://lostlivedead.blogspot.com/2014/11/whatever-it-is.html" target="_blank">http://lostlivedead.blogspot.com/2014/11/whatever-it-is.html</a> </div><div><a href="https://web.archive.org/web/20230206201217/http://www.postertrip.com/public/5587.cfm" target="_blank">https://web.archive.org/web/20230206201217/http://www.postertrip.com/public/5587.cfm</a> </div><div><a href="https://diva.sfsu.edu/collections/sfbatv/bundles/209388" target="_blank">https://diva.sfsu.edu/collections/sfbatv/bundles/209388</a> <i>(news video from 9/30 afternoon grass dance with the band Daemon Lover)</i></div><div><i>The Deadhead's Taping Compendium, pp.101-110: 10/2/66 (by Nick Meriwether)</i></div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com2tag:blogger.com,1999:blog-5195590583641426943.post-52936471172919795242024-01-31T23:22:00.000-08:002024-01-31T23:37:26.274-08:00November 23, 1966: Thanksgiving Party, Fillmore Auditorium<div style="text-align: left;">THE GREATEST SO FAR</div><div style="text-align: left;"><br /></div><div style="text-align: left;">It's every few months you read here about the "best rock and roll concert ever," pardon my enthusiasm. Either I'm without critical discrimination, or else the shows keep getting better. We'll all hope it's the latter. </div><div style="text-align: left;">The latest greatest was a Thanksgiving Eve "Thank You" thrown at the Fillmore Auditorium by Bill Graham for the bands, the managers, the writers, the freaks, the friends and lovers of the rock and roll scene in San Francisco. It is fair in judgment to include everything I've ever seen, from the Rolling Stones and Mamas and Papas concerts to fraternity dances and including all the other shows at the Fillmore. Jerry Garcia put it simply: "This is the bossest." </div><div style="text-align: left;">Everyone was stoned out of their minds. No drugs were around, and I couldn't see anyone who was chemically altered, but it was one of the most turned-on evenings ever. Buddha from Muir Beach, a sort of cosmic fund-raiser, got everyone holding hands and dancing daisy chains around the hall. The Wildflower played, and they have gotten good all of a sudden; no more birds, but real rock and roll. Whatever that is.</div><div style="text-align: left;">Bill Graham got his secret ambition in life: he's one of the best cowbell players on the West Coast. For about 20 minutes, he introduced all the people who work at the Fillmore, from Peaches and Helen (the ladies who check the coats) to Bonnie, his girl friend. I've seen promoters from the "hip" to the sharpies involved in a constant arm motion, patting themselves on their backs, one even from his own stage, but I've never seen Bill do that. From the moment he saw and dug a rock band's concert a year ago, he threw his life and being, both spiritual and financial, into putting on good shows. If anyone should have been thanked, it should have been Bill. Yet there he was providing a free evening of bands, good people, banquet tables of food, Coke, and wine. </div><div style="text-align: left;">Pigpen and somebody were fencing over the food table with green onions. Quicksilver played, swinging two beautiful Dino Valenti songs: "Stand by Me" and the really groovy "I Don't Ever Want to Spoil Your Party." All the uninvited guests from the teenyboppers to the lonesome stragglers were taken in with pleasure. They danced and ate and stared at the fluorescent mandala painted on the floor.</div><div style="text-align: left;">Pal John was there with Golden Nancy. She loved it. Bridget kept grabbing radishes and giving them to Jeanie and Ralph, Angelica and Angelica's John. Country Joe and Ed Denson brought that band along; Moby Grape came too. Even the undercover narcotics agent standing next to my little sister was clapping his hands. </div><div style="text-align: left;">The Grateful Dead played one of their best sets ever. Bob Weir, the rhythm guitarist, rocked out "Down the Line," and did anyone ever mention "Midnight Hour" to you? In Presley's "Jailhouse Rock" there's a line about "The whole rhythm section was the Purple Gang"; that's Bill Sommers. </div><div style="text-align: left;">The evening ended with some wild, superscreaming jamming with Skip Spence, Jerry, Bob, and Barry Bastian, lead guitarist of a new group, Lee Michaels. It was a cosmic affair "presented in San Francisco by Bill Graham." Someone said as the evening neared its 3 a.m. end that the only people missing were the Beatles. </div><div style="text-align: left;">I didn't see them myself, but I'm sure they were there.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">An LSD Rescue Service (for your bummers) has been started in San Francisco. The number to call is 626-5770. The cat who runs it was on a radio show and he sounds pretty understanding. . . . The Daily Flash and Buffalo Springfield are at the Avalon this weekend, a very friendly place to be. . . . Love, Moby Grape, and Lee Michaels are at the Fillmore. Otis Redding will be at the Fillmore in the middle of the month. . . . Lou Rawls at the Masonic Auditorium Friday night. . . . The Grateful Dead during the week at the Matrix. . . . The Jabberwock has reinstated their folk music policy. . . . The Grateful Dead and Country Joe in Pauley Ballroom Friday night. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(by Jann Wenner, from the Daily Cal (UC Berkeley), November 30, 1966) </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>See also Ralph Gleason's account:</i> </div><div style="text-align: left;"><a href="http://deadsources.blogspot.com/2012/02/november-27-1966-thanksgiving-at.html" target="_blank">http://deadsources.blogspot.com/2012/02/november-27-1966-thanksgiving-at.html</a> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeRwPGBKzRcobkw2lIVsiZ-Ly_RXeML-Ao4V4GS9vuX5oapbH8pf8C5boxoLSDmegskPiqT2vPyfPSyh8KHiPt2tSkDdgJPfWStjvNAaJwXFictNKEOTmPR4zgl8t8UGs8Vtul8ZA_3MbrBIhot4bN9C_xvXXbxfCgOBXU-Ots5XqJfqPCZ3Ju-v74pPib/s560/66-11-23%20ticket.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="560" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeRwPGBKzRcobkw2lIVsiZ-Ly_RXeML-Ao4V4GS9vuX5oapbH8pf8C5boxoLSDmegskPiqT2vPyfPSyh8KHiPt2tSkDdgJPfWStjvNAaJwXFictNKEOTmPR4zgl8t8UGs8Vtul8ZA_3MbrBIhot4bN9C_xvXXbxfCgOBXU-Ots5XqJfqPCZ3Ju-v74pPib/w400-h213/66-11-23%20ticket.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLZ-rwxt01jVhqliFoNdUs04i7yl3kVPBUfGUafJkoZ2g40gzgN-DwxMPNLD18ecMsZO1dCToXIkOkuNlFufhs3fMYjxYFY2MRTe_HZZ8OJou-QlZHZcUhGKFBBBNL1IZUOm3jDUTIjcLQtTExeYgZ6-v3jAcHSYvNh6XrQXpIeRozLR2mK3V_3W9ZCOz0/s560/66-11-23%20Fillmore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="560" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLZ-rwxt01jVhqliFoNdUs04i7yl3kVPBUfGUafJkoZ2g40gzgN-DwxMPNLD18ecMsZO1dCToXIkOkuNlFufhs3fMYjxYFY2MRTe_HZZ8OJou-QlZHZcUhGKFBBBNL1IZUOm3jDUTIjcLQtTExeYgZ6-v3jAcHSYvNh6XrQXpIeRozLR2mK3V_3W9ZCOz0/w400-h286/66-11-23%20Fillmore.jpg" width="400" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJvT4Rmc4ZJGxHHGrKJ3zbTA7bgaVVR0LC1MZNFgczTexxbDriEhLaZWSmdEsdjxyyKLL8v2oqNw_xB-kZaOQVhpV0jl_rl-XfwZ-vdShd_STsap5TXn9vBg4l0FPF7N3OQv-1u4bO1s3YCYlJYP5uW-ZhMFjFCt0GrWRCVAlbrQ_3qmkk-z7KWv3-IC2/s560/66-11-23%20Dead%20fullsize.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="373" data-original-width="560" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJvT4Rmc4ZJGxHHGrKJ3zbTA7bgaVVR0LC1MZNFgczTexxbDriEhLaZWSmdEsdjxyyKLL8v2oqNw_xB-kZaOQVhpV0jl_rl-XfwZ-vdShd_STsap5TXn9vBg4l0FPF7N3OQv-1u4bO1s3YCYlJYP5uW-ZhMFjFCt0GrWRCVAlbrQ_3qmkk-z7KWv3-IC2/w400-h266/66-11-23%20Dead%20fullsize.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">https://concertposterauction.com/Listing/Details/982343/1966-Fillmore-Thanksgiving-Eve-Grateful-Dead-Quicksilver-Bill-Graham-Ticket</td></tr></tbody></table><i><div><i><br /></i></div>Thanks to <a href="http://www.gratefulseconds.com/" target="_blank">Dave Davis</a></i>.Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-43542772973482800152024-01-30T23:09:00.000-08:002024-01-31T00:16:39.647-08:00August 28, 1966: IDES Hall, Pescadero CA<div style="text-align: left;">BIKE RACE TO ROOKIE (excerpt) </div><div style="text-align: left;"><br /></div><div style="text-align: left;">PESCADERO - Mike Pickens chased the rabbit for 112 miles faster than anyone else in the Tour Del Mar bicycle race here Sunday, but didn't get his bunny. </div><div style="text-align: left;">Although winning the grueling race over the coastal hills around this small town, Pickens did not receive his winning trophy from a Playboy Club Bunny as advanced publicity billings had promised. </div><div style="text-align: left;">After showing up for Saturday's 25-mile criterium races, the Bunny did not appear Sunday for the Belmont Bicycle Club-sponsored affair, witnessed by a disappointing crowd of 350 spectators. </div><div style="text-align: left;">On hand, however, were folk-rock groups, the Grateful Dead and Quicksilver Messenger Service, who played long and loud in the post-race celebrations, organized by Belmont's Tom Preuss. </div><div style="text-align: left;">[ . . . ]</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(by Paul Savola, from the Redwood City Tribune, August 29, 1966)</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>See also: </i></div><div style="text-align: left;"><a href="https://web.archive.org/web/20201104104236/https://pelotonmagazine.com/features/the-kool-aid-acid-test-tour-del-mar-66/" target="_blank">https://web.archive.org/web/20201104104236/https://pelotonmagazine.com/features/the-kool-aid-acid-test-tour-del-mar-66/</a> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDkOa_WflvvDiE_QUmrESUzfBbRtXse4K0LR2RYiElDKBM-g9yaUpczLPCgPDjJfUqAl90Lsp9IVZxL2RRgSfX5i0trl2xf8ttxC0ubuwY40xeD-8GtC3DbZJ7tlxSgdRPKihnCZIl_AV-RvNC-sdaxciblXSu8G_yBFr83tcZ8F3E60XAAuJJr7srcCB/s1080/66-8-27%20Redwood%20City%20Tribune%20pic.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="981" data-original-width="1080" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSDkOa_WflvvDiE_QUmrESUzfBbRtXse4K0LR2RYiElDKBM-g9yaUpczLPCgPDjJfUqAl90Lsp9IVZxL2RRgSfX5i0trl2xf8ttxC0ubuwY40xeD-8GtC3DbZJ7tlxSgdRPKihnCZIl_AV-RvNC-sdaxciblXSu8G_yBFr83tcZ8F3E60XAAuJJr7srcCB/w400-h364/66-8-27%20Redwood%20City%20Tribune%20pic.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://gdsets.com/66posters/1966_08_26.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="518" height="640" src="https://gdsets.com/66posters/1966_08_26.jpg" width="414" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fmWUvnj77RI2wPzD2JhqKgBED0eMV_OP3pAUvxLgWvX_xEMP3t8cCtwOqaSi6OZIupzXZKiBVsHlS98Ai-tr0LcOmet1ClUYLKtyFb2g2w9ZC1a1znrTg9Tw_JgYqfsXzCvMM1mO74J79jm6NZc44fhOCMO-U4VRQRXPY9K9krV47pE9vL1Ih0A_3JDM/s960/BikeRacePescProgPgJanAuc23.webp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="740" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fmWUvnj77RI2wPzD2JhqKgBED0eMV_OP3pAUvxLgWvX_xEMP3t8cCtwOqaSi6OZIupzXZKiBVsHlS98Ai-tr0LcOmet1ClUYLKtyFb2g2w9ZC1a1znrTg9Tw_JgYqfsXzCvMM1mO74J79jm6NZc44fhOCMO-U4VRQRXPY9K9krV47pE9vL1Ih0A_3JDM/w494-h640/BikeRacePescProgPgJanAuc23.webp" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">https://rockposters.com/products/auction-aor-2-186-grateful-dead-1966-program-pescadero-bicycle-race-excellent?variant=44282737459479<br /><br /></td></tr></tbody></table><br />Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-73552540827882425882024-01-29T10:11:00.000-08:002024-01-29T10:11:43.992-08:00May 1966: Introducing the Grateful Dead<div style="text-align: left;">THE GRATEFUL DEAD...THEY'RE ALIVE AND REALLY JUMPING</div><div style="text-align: left;"><br /></div><div style="text-align: left;">(A Special Peninsula Teen Review) </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Did you ever wonder exactly what goes into the making of a modern day rock band? True, there are virtually tons of electronic equipment; guitars, amplifiers, microphones, speakers, tape recorders, and various other complicated and expensive gadgets. But the men behind all this electricity are what makes a good band what it is. </div><div style="text-align: left;">The Grateful Dead is one example of a mixture of electronic technique and men with enough musical ability to stand behind that technique and really wail. </div><div style="text-align: left;">The personnel of the Grateful Dead (Jerry Garcia, lead guitar; Bob Weir, rhythm guitar; Phil Lesh, bass guitar; Bill Sommers, drums; and Ron "Pigpen" McKernan, organ and harmonica) have diverse musical backgrounds which show in their sound. </div><div style="text-align: left;">Jerry Garcia is "one of the best bluegrass banjo pickers around;" Bob Weir's specialty was city blues and folk music. Ron "Pigpen" McKernan has been involved in country blues and was a member of several rhythm and blues bands. </div><div style="text-align: left;">Garcia, Weir, and McKernan made their debut as band members of a jug band called Mother McCree's Uptown Jug Champions, which played locally for quite some time. </div><div style="text-align: left;">Bill Sommers, the drummer, has had ten years of training at the drums, most of which had been in the jazz vein; and Phil, who is the newest addition to the Grateful Dead, had majored in music theory in college and has written a symphony for a full orchestra all by himself! </div><div style="text-align: left;">This band is one of the most interesting ones to watch - if you can stand still enough to watch them while their sound surrounds you. Both Jerry and Ron sport shoulder length curly hair; Phil Lesh, tall and strongly built, sports blond hair almost shoulder length; Bob Weir could be the Greek god of the group, with his well-chiseled features and free-swinging clean hair. Bill Sommers would be the favorite man with people who admire individualism - he is the only man with relatively short hair. </div><div style="text-align: left;">This group, not counting one personnel change, first played in a fairly obscure pizza parlor on the Peninsula. </div><div style="text-align: left;">At that time they were known as the Warlocks - the name change to the Grateful Dead came when they found out that an East Coast group had chosen the name Warlocks first. </div><div style="text-align: left;">At first they played just so that they could build up the stage presence that they now have. It wasn't long before kids became interested in the group - it seemed that they recognized and really dug the new out of sight sound. </div><div style="text-align: left;">The Grateful Dead began, as most groups do, with songs gleaned from the albums of the really well-known groups such as the Animals, Rolling Stones, and Them. Kids used to pack that pizza parlor to hear the Dead's versions of Gloria, Not Fade Away, Satisfaction, and even some Dylan such as She Belongs to Me, and It's All Over Now, Baby Blue - just to name a few. </div><div style="text-align: left;">At present, their songwriting possibilities have become apparent, and they have worked out some songs of their own.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(from the Redwood City Tribune, May 2, 1966)</i></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com4tag:blogger.com,1999:blog-5195590583641426943.post-76585684689729782382024-01-09T11:21:00.000-08:002024-01-09T11:21:26.919-08:00November 15, 1968: Gill Coliseum, OSU, Corvallis OR<div style="text-align: left;"><div><i>Most articles from the Oregon State Daily Barometer</i>.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAUjTkoYJ3tqQjApv6tM9dEyAKu5rksZL50jtZpFk_JGssHE0tHYl2MBb6wvLA-lqvG3Ciku4SafNpDjYKU7XPhtNXuQJJHBJpGl-pL0ofK2HTKAEXcpNbFWAeblLiwUp8ipMigERQQI6sPiwXikE_NzNu7otAySQ7RdtG3Riq_5Y7t292EXDcHFynS21G/s598/68-11-15%20Corvallis%20ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="598" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAUjTkoYJ3tqQjApv6tM9dEyAKu5rksZL50jtZpFk_JGssHE0tHYl2MBb6wvLA-lqvG3Ciku4SafNpDjYKU7XPhtNXuQJJHBJpGl-pL0ofK2HTKAEXcpNbFWAeblLiwUp8ipMigERQQI6sPiwXikE_NzNu7otAySQ7RdtG3Riq_5Y7t292EXDcHFynS21G/w400-h199/68-11-15%20Corvallis%20ad.png" width="400" /></a></div><br /><div><br /></div><div>11/1/68</div><div>ROCK GROUP WILL PERFORM AT COLISEUM</div><div><br /></div><div>Tickets for the Nov 15 concert featuring The Grateful Dead will go on sale today at 9 a.m. at the Student Activity Center ticket booth. </div><div>The Grateful Dead, one of the leading rock groups of the nation, are being brought to the OSU campus for a Gill Coliseum appearance by the Oregon State University Students For A Democratic Society. </div><div>Two top-selling albums have been released by The Grateful Dead - "Anthem of the Sun" and "The Grateful Dean." [sic] The best selling selections have been "Alligator" and "Morning Dew." </div><div>Tickets for the evening concert are priced at $2.50 and $3. Tickets will be available daily from 9 a.m. until 5 p.m. in the ticket booth. </div><div>Two other groups will appear with The Grateful Dead. They are Mint Tattoo and Big City Blue. The Mint Tattoo is a trio from the San Francisco Bay area. </div><div>Dress for the concert is entirely optional, although SDS hopes to have many of the students wear costumes.</div><div><br /></div><div>*</div><div><br /></div><div>11/5/68 </div><div><i>excerpt from The Little Man's Views column</i> </div><div><br /></div><div>"I guess the Grateful Dead really are coming on November 15. This is a treat for those that just aren't thrilled to death by musical fare such as the Marine Band, or the Philharmonic. How about the Moby Grape next term?"</div><div><br /></div><div>*</div><div><br /></div><div>11/8/68 </div><div>GRATEFUL DEAD DANCE (Campus Scene column)</div><div><br /></div><div>SDS will be giving away a poster today to everyone who buys two tickets to the Grateful Dead, Mint Tattoo and Big City Blue dance. All will be appearing at Gill Coliseum, Friday, Nov. 15. Tickets are $2.50 each and are available in the MU ticket booth from 9 a.m. to 4 p.m. The posters will be given away with tickets only today. Students are reminded that this is not a concert but a sock-hop dance.</div><div><br /></div><div>[<i>also: Dionne Warwick performing tonight in Gill Coliseum as part of the 1968 Homecoming celebration.</i>]</div><div><br /></div><div>*</div><div><br /></div><div>11/12/68</div><div><i>excerpt from The Little Man's Views column</i> </div><div><br /></div><div>"The Grateful Dead are coming this Friday, and with them The Mint Tattoo, and The Big City Blues. Exponents of the San Francisco sound, these bands are well worth the two and a half bucks that it costs to get in. Besides, if we get this concert to work and make money, maybe we can get the Moby Grape next term, and I like them."</div><div><br /></div><div>*</div><div><br /></div><div>11/13/68 </div><div>GRATEFUL DEAD CONCERT</div><div><br /></div><div>The Grateful Dead will appear in Gill Coliseum Friday, Nov. 15, from 8 to 12 p.m. Also appearing will be the Mint Tattoo and the Big City Blue. </div><div>Tickets to the sock-hop dance are $2.50 and are available in the MU ticket booth and the Coachman downtown. Admission is $3 at the door. </div><div>The light show for all three groups will be done by Gretz and Co. Dress for the dance is costume or grubby. </div><div>The dance is sponsored by Students for a Democratic Society (SDS) and the newly formed Black Student Union. </div><div><br /></div><div>*</div><div><br /></div><div>11/15/68</div><div>BANDS SET PERFORMANCE IN GILL COLISEUM TONIGHT </div><div><br /></div><div>Mint Tattoo, a trio from Los Angeles, will be one of the three bands appearing in Gill Coliseum tonight from 8 to midnight. Headlining the four-hour soc-hop will be the Grateful Dead from San Francisco and the Big City Blue. Gretz and Co. will produce a light show for all three groups which will envelop the entire coliseum. </div><div>This panorama of psychedelic sounds is co-sponsored by Students for a Democratic Society and Black Student Union. Admission is $3 at the door; dress is costume or grubby.</div><div><br /></div><div>*</div><div><br /></div><div>11/19/68 </div><div><i>excerpt from The Little Man's Views column</i> </div><div><br /></div><div>"Was OSU ready for The Grateful Dead? I'm not sure, but at any rate, they came, saw, conquered, and ambled on down to Eugene for a Saturday concert. It was a pretty orderly evening; not exactly quiet, but orderly. No fights, no riots or great destruction. Hopefully it can be done again next term, only bigger and better. How about Country Joe and the Fish, or Moby Grape, Chambers Brothers or Big Brother?"</div><div><br /></div><div>*</div><div><br /></div><div>"GRATEFUL DEAD" COME ALIVE</div><div><br /></div><div>On Friday, Nov. 15 there was a happening in Corvallis. The Grateful Dead, a rock group from San Francisco, were at Gill Coliseum. The concert-dance, co-sponsored by Students for a Democratic Society and Black Student Union, attracted seemingly every "hippie" that Corvallis and out-lying areas have to offer. </div><div>The audience, most of whom were seated on the floor, gave the impression of boredom and could be seen occasionally watching the light show which were on the walls of the coliseum and above the stage. </div><div>Before we got a look at the Grateful Dead, we were confronted with two other bands and a speaker. A representative of SDS gave a speech about the state of affairs in the English department. Then they came on. </div><div>Out walked the six members of the Grateful Dead, along with several others who helped them get their equipment in playing order. </div><div>The member who seemed generally the first one to be noticed is a guitarist named "Pig-Pen." He had a head full of bushy, black hair and a beard which can only be described as full. The others had their outstanding characteristics, too. </div><div>The organist resembled Wild Bill Hickock. Of the two drummers, one had on a magenta shirt and a leather band around his forehead. One of the guitarists had his long, blond locks pulled back in a queue. The other guitarist simply fit in with the rest of the group. </div><div>For approximately two hours the Grateful Dead were on stage. They opened with their rendition of "Turn On Your Love Light" which was followed by "Morning Dew" and several others. </div><div>When you got tired of watching them, there were a number of other things you could do. You could be adorned in fluorescent oranges, pinks and greens by wandering artists and then stand under a black light and watch yourself glow, you could buy various kinds of buttons, walk around the halls or talk. You could also dance if you didn't mind being run into by a long-haired dancer (male) who looked like he had ants in his pants. </div><div>At midnight the house lights came on which told us the dance was over. All in all, it was an interesting way to spend a Friday night.</div><div><br /></div><div><i>(by Kathy Faes, from the High-O-Scope, Corvallis High School, 22 November 1968)</i></div><div><i><br /></i></div><div><i><br /></i></div><div><i>Alas, no tape! </i></div><div><i><br /></i></div><div><i>Thanks to <a href="http://www.gratefulseconds.com/" target="_blank">Dave Davis</a></i>.</div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com4tag:blogger.com,1999:blog-5195590583641426943.post-21939737704492338942024-01-05T12:54:00.000-08:002024-01-05T12:54:48.422-08:00November 13 & 16, 1968: EMU Ballroom, University of Oregon, Eugene<div style="text-align: left;"><div><i>All articles from the Oregon Daily Emerald</i>. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkEDXklrNbBz4I6-p_2WXrXqljTWFYgfWeR10U5V6MNHrcg25ykR8vy8HtyKsPR04nkKpUzq3bc4AXS8QBmT_epyR0CB3rtne2g2RDH-JZgXzfetBYgUQ_5NjeO6prVQvnqbteToHAl2mWwgWq6VC6F4JZtxRDO925IiF4A5LHMlR_QfHh489jF828F-D/s623/68-11-13%20Eugene%20ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="623" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkkEDXklrNbBz4I6-p_2WXrXqljTWFYgfWeR10U5V6MNHrcg25ykR8vy8HtyKsPR04nkKpUzq3bc4AXS8QBmT_epyR0CB3rtne2g2RDH-JZgXzfetBYgUQ_5NjeO6prVQvnqbteToHAl2mWwgWq6VC6F4JZtxRDO925IiF4A5LHMlR_QfHh489jF828F-D/s320/68-11-13%20Eugene%20ad.png" width="320" /></a></div><br /><div><br /></div><div>11/8/68</div><div>STUDENT OPPOSITION RISES OVER 'NO DANCING' DECISION (<i>by Jaqi Thompson</i>)</div><div><br /></div><div>Efforts to change the Grateful Dead concert Wednesday to a dance-concert will culminate in a University staff meeting today, but will probably be futile, as far as McArthur Court is concerned. </div><div>A new policy this year prohibits all dances in Mac Court fall and winter terms. </div><div>Speaking for Students for a Democratic Society, which is co-sponsoring the Grateful Dead's appearance, David Gwyther complained that the policy is too "inflexible."</div><div>Gwyther said damage to the court's floor was no longer a problem. SDS, he said, would buy $50 worth of special tape which would hold the canvas protecting mats together and in place. He said SDS would also pay labor costs. </div><div>Gwyther said he saw the only remaining problem was the "inflexible policy." He said SDS members plan to seek a waiver of the policy. [...] </div><div>According to Norv Ritchey, assistant to the athletic director, the mats are totally unsuitable for dancing on. "They slip and slide." </div><div>Ritchey said the University's only mats were actually 20-year-old canvas conveyor belts, hand-me-downs from a paper mill. </div><div>Multi-purpose mats which are easy to dance on and which can also withstand the 'exuberance' of dancers cost $20,000, he said. </div><div>Ritchey said the University could not afford these mats or new canvas replacements because of budget limitations. </div><div>The no-dance policy was set up jointly by the athletic department and the EMU officials, Ritchey said, to keep the floor in good condition for basketball games. </div><div>After basketball is over, dances [are] allowed on the floor since it is always refinished every fall term anyway. [...] </div><div>Ritchey said when dances were allowed fall and winter terms, the top seal and sometimes the paint was worn off, creating slick spots and an inferior basketball floor. </div><div>When the paint wears off, the wood is exposed and starts to go, Ritchey said. He said the canvas mats sufficiently protect the floor from foot traffic and chairs. </div><div>"But based on previous experience, at dances I've chaperoned myself, it's impossible to protect the floor," Ritchey said. </div><div>Gwyther said SDS would insure that all dancers not wear shoes, but Ritchey said it would be impossible to enforce that control. [...] </div><div><br /></div><div>*</div><div><br /></div><div>11/11/68 </div><div>FILMS, TALKS, CONCERT SET FOR SDS 'MEMORIAL WEEK' </div><div><br /></div><div>"Feeling Caught Up in the System" is the theme of United States Memorial Week, sponsored by the campus Students for a Democratic Society, and beginning today. </div><div>A number of activities including a radical film festival, resistance seminars, and anti-draft demonstrations are planned here for the week. </div><div>Purpose of the activities, according to SDS spokesmen, is to promote direct action by members of the Eugene community against the "establishment." </div><div>"The elections have not solved this country's problems," said a society flyer. "We must start solving them ourselves." </div><div>Five documentary films, among them a 50 minute work titled "The Columbia Revolt," will highlight the film festival. [...] </div><div>"Columbia Revolt" deals with recent disturbances at Columbia University in New York City. According to SDS, special emphasis is placed upon the role of Black students in the protest against university administration. </div><div>Other films to be shown are "No Game," an essay on the October 1967 Pentagon demonstration; "The Boston Draft Resistance Group;" "Black Panther," an interview in jail with Panther leader Huey Newton; and "Garbage Demonstration," a humorous look at the recent garbage strike. </div><div>The films will be shown Tuesday and Thursday in the EMU Ballroom. [...] </div><div>The Free University will be held in the EMU Ballroom Tuesday... Students, non-students, and faculty members will participate in seminars on a variety of topics, including imperialism, colonialism, revolution, and function of the University, non-violence and violence, high school organizing, as well as draft and military resistance. </div><div>Wednesday activities will be climaxed by a concert featuring "The Grateful Dead" and "The Sir Douglas Quintet" at McArthur Court. </div><div>Tickets, at $2 per person, are on sale at the EMU main desk and at the door. Curtain time is 7 p.m. </div><div>Thursday has been designated National Resistance Day by the national SDS. Anti-draft demonstrations are planned at a number of colleges in Oregon. [...] </div><div>Activities at the University will probably include draft card burning and a demonstration against the Selective Service System.</div><div><br /></div><div>*</div><div><br /></div><div>11/13/68 </div><div><br /></div><div>The Grateful Dead concert tonight has been moved from Mac Court to the EMU Ballroom and dancing will be allowed, Dave Gwyther, spokesman for SDS, said Tuesday night. </div><div>The move came after a meeting with Acting President Charles Johnson re-affirmed the policy of not allowing dances in Mac Court due to the possibility of damage to the basketball court. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1JTuFVVtopQdw96lmxynbiq07rPumGTKKO1dnolKFMfFAuDz4ONo626Muf7zTpgaqLWGfd9ZUbRTrGvdqbY2oknQxNdSF7XmcawMHHtCfi_SuEl-kA8-5Ca4eSG93pw13s-QN4WePK9tdIMWxRitJvDveU6qNUk6GSGGZ08SiWO-8KgI1uIk4nWSAwnV8/s833/68-11-13%20new%20Eugene%20ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="818" data-original-width="833" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1JTuFVVtopQdw96lmxynbiq07rPumGTKKO1dnolKFMfFAuDz4ONo626Muf7zTpgaqLWGfd9ZUbRTrGvdqbY2oknQxNdSF7XmcawMHHtCfi_SuEl-kA8-5Ca4eSG93pw13s-QN4WePK9tdIMWxRitJvDveU6qNUk6GSGGZ08SiWO-8KgI1uIk4nWSAwnV8/s320/68-11-13%20new%20Eugene%20ad.png" width="320" /></a></div><div><br /></div><div>*</div><div><br /></div><div>11/14/68 </div><div><br /></div><div>The Palace Meatmarket shared the spotlight with the Grateful Dead at Wednesday's dance-concert in the EMU Ballroom. The dance-concert was part of Wednesday's U.S. Memorial Week activities sponsored by the Students for a Democratic Society.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTMc6ulmLxeyOQXz5t1z7BAPtc24O601WgDz_UEVsPfrELVwasdcsoIg1Ty4PwFzsG9EUhTj7phBxz611LKsuYBM2CbGdA3FOwAJy1hvqKkfMh0vqCAgI9UyeReFAkj6Nq04EetsOq4q7zqW3OrJhntXmGkliS-rdxk9l-qTQGQ_s7dUZhZIBsDiisJVN/s732/68-11-13%20Eugene%20picture%20caption.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="732" data-original-width="401" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzTMc6ulmLxeyOQXz5t1z7BAPtc24O601WgDz_UEVsPfrELVwasdcsoIg1Ty4PwFzsG9EUhTj7phBxz611LKsuYBM2CbGdA3FOwAJy1hvqKkfMh0vqCAgI9UyeReFAkj6Nq04EetsOq4q7zqW3OrJhntXmGkliS-rdxk9l-qTQGQ_s7dUZhZIBsDiisJVN/s320/68-11-13%20Eugene%20picture%20caption.png" width="175" /></a></div><div><br /></div><div>*</div><div><br /></div><div>11/15/68 </div><div>MAC COURT POLICY TOO INFLEXIBLE (<i>editorial -- excerpt</i>)</div><div><br /></div><div>The athletic department, it seems, doesn't trust students. </div><div>Not at least when students want to use the McArthur Court floor for a dance. A new athletic department policy prohibits all dances at Mac Court fall and winter terms so that the floor won't be messed up before our basketball teams play on it.</div><div>As a result of this policy, the Grateful Dead were moved from the court to the EMU Ballroom, which is too small to comfortably handle all the students who wanted to see the group. We wonder how many people they would have stuffed into the Ballroom if the Dead had not been first billed as a concert in Mac Court, if Oregon State hadn't advertised in the Emerald their Grateful Dead concert as a dance, and if the sponsors, SDS, hadn't waited until the last minute to switch the show to the Ballroom. </div><div>According to Norv Ritchey, assistant to the athletic director, it would be impossible to protect the court's floor during a dance even if canvas mats were laid over it. Dancers, he says, exert much more pressure on the floor than people in chairs. </div><div>He assumes, however, the dancers would be wearing shoes. The sponsors of the dance said they would make sure that all dancers would take their shoes off before going onto the floor. </div><div>Ritchey says that would be impossible to enforce. Bull. It would be very easy to collect shoes in the Mac Court lobby, before the people go through the doors to the court. [...] </div><div>When the next nationally known rock group agrees to perform for a dance here, we hope the athletic department will cooperate with the rest of the University community, and allow the use of the only existing facility which can adequately hold everyone who wants to attend.</div><div><br /></div><div>*</div><div><br /></div><div><i>But the Dead would soon be back</i>... </div><div><br /></div><div>11/15/68</div><div>SENATORS APPROVE FREE 'DEAD' CONCERT' (<i>by Mike O'Brien -- excerpt</i>)</div><div><br /></div><div>Grapes and the Grateful Dead constituted the main business of the ASUO Senate last night. </div><div>One bill requested that the Grateful Dead, a popular music group, be allowed to give a free concert Saturday night and that the social director make the arrangements for that concert. </div><div>After a guarantee from Bill Kerlee that the SDS would cover expenses involved, the bill passed. [...] </div><div><br /></div><div>*</div><div><br /></div><div>11/18/68 </div><div> </div><div>The Grateful Dead played up a storm during Saturday night's free concert, as an estimated 2,000 persons showed up for the four-hour rock session. The program ended on a dramatic note, with a "bomb scare" clearing the EMU Ballroom in a matter of moments. Whether the scare was legitimate, or merely a hoax, is being investigated by the Eugene Police Dept.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdXMbSyw4_t3DWTTFZjmrvQB4UhJkDvZPqz0t25qs3HqPIYlczvzmDBMnEDAou19Kk7PtrQFEk9wOny1gaEmwYM5649IwWAcPJZx3jp_M0l-8uTl4prPWWBKk4vroJclNzRx0kRrd5z5D7HtkWwCFXj6hNZ9OQxQ4gBlscf3KPfPFC6mtv7VMrm3kT5by/s606/68-11-16%20Eugene%20pic.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="403" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTdXMbSyw4_t3DWTTFZjmrvQB4UhJkDvZPqz0t25qs3HqPIYlczvzmDBMnEDAou19Kk7PtrQFEk9wOny1gaEmwYM5649IwWAcPJZx3jp_M0l-8uTl4prPWWBKk4vroJclNzRx0kRrd5z5D7HtkWwCFXj6hNZ9OQxQ4gBlscf3KPfPFC6mtv7VMrm3kT5by/s320/68-11-16%20Eugene%20pic.png" width="213" /></a></div><div><br /></div><div>*</div><div><br /></div><div>11/19/68 </div><div>EMU BOMB SCARE DEEMED A 'HOAX'</div><div><br /></div><div>A 'bomb scare' that emptied the EMU Ballroom Saturday night has turned out to be a hoax. </div><div>"There was no bomb," according to Sergeant Carely of the Eugene Police Department. However, detectives have been assigned to 'follow-up' the incident for more information. </div><div>A mock or model wooden bomb was found on the stage during a dance and concert given by the band, the Grateful Dead. Approximately 2,000 persons were in the ballroom at the time. The Eugene Police Department was called and the ballroom cleared. </div><div>Nothing more has been discovered about the incident. </div><div><br /></div><div>*</div><div><br /></div><div><i>And from the Eugene daily paper, the Register-Guard</i>... </div><div><br /></div><div>11/18/68</div><div><div>FAKE BOMB ENDS UO ROCK DANCE</div><div><br /></div><div>A fake bomb planted near some amplifiers brought an early end Saturday night to a University of Oregon concert and dance by a rock group known as the Grateful Dead.</div><div>Eugene police said someone attending the dance noticed the "bomb" - consisting of seven wooden sticks, painted red to resemble dynamite, an alarm clock, battery, and wires - and reported it to Anthony Evans, night manager at the Erb Memorial Union, where the concert and dance were being held.</div><div>Even though one of the band member[s] held up the "bomb" and indicated it was a fake, Evans decided to clear the Erb ballroom at about 11:40 p.m., police said. Police were called, took possession of the "bomb," and were still investigating Monday.</div><div><br /></div></div><div><br /></div><div><i>See also</i>: </div><div><a href="https://deadessays.blogspot.com/2017/11/lost-shows-come-to-light.html" target="_blank">https://deadessays.blogspot.com/2017/11/lost-shows-come-to-light.html</a> </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com3tag:blogger.com,1999:blog-5195590583641426943.post-29607344214375301882023-12-28T08:18:00.000-08:002023-12-28T11:44:22.219-08:00November 1, 1973: McGaw Hall, Northwestern University, Evanston IL<div style="text-align: left;"><div><i>All articles from the Daily Northwestern. </i></div><div><i><br /></i></div><div><i>Student groups at Northwestern had tried to book the Grateful Dead a few times before they finally played there in 1973. Rumors started swirling in April 1970 that the Dead would be one of the bands playing at a free festival at the end of May.</i> "The Grateful Dead...are reportedly reserving a spot here... If all goes as planned...the Fugs and the Dead will perform in free outdoor concerts." <i>("Fugs, Kesey, Zappa Coming, Rumor Says," 4/10/70) </i></div><div><i>The festival plans were outlined in a 4/13/70 article, "May Rock Festival Okayed" -</i> </div><div>"The festival, which will feature the Fugs, the Grateful Dead, Allen Ginsberg and others, is expected to cost about $26,000." <i>(The festival was to run from May 23-30; Ken Kesey and the Pranksters were expected to visit; Allen Ginsberg & Paul Krassner were to speak; movies would be shown, and the Fugs and the Dead would play.)</i></div><div>"Saturday [May 30]: The Grateful Dead and Sun will conclude the week's festivities on the lakefill with a free performance."</div><div><br /></div><div><i>Funds for the festival were to be gathered over the next month, particularly from a Mothers of Invention show at the Auditorium Theater in Chicago on May 7. But a 5/21/70 article delivered the bad news:</i></div><div>"The 'Rights of Spring' celebration scheduled for next week has been cancelled by financial woes. Further Productions, sponsor of the festival...had planned to bring to campus Allen Ginsberg, The Fugs, The Grateful Dead, Frank Zappa, and other 'new wave artists'... But the May 7 Mothers of Invention concert designed to finance the festival instead left Further Productions $3,500 in debt." <i>("Groucho's Coming May 29," 5/21/70)</i></div><div><i><br /></i></div><div><i>Northwestern students tried again the following year to book the Dead for their Homecoming concert on November 6, 1971. But a 10/12/71 article announced a change in plan:</i> </div><div>"Mountain is the group that will play at the Homecoming concert Nov. 6... </div><div>The cochairmen had originally contracted with another group to play the concert, but they canceled out. </div><div>'They just kept holding' the contract,' Miss Masek said. She identified the group as the Grateful Dead."</div><div><i>("Mountain Coming To NU," 10/12/71)</i></div><div><i><br /></i></div><div><i>Northwestern students could still get to see the Dead play in neighboring Chicago on October 21-22, 1971 (or even listen to the radio broadcast), but Daily Northwestern reporters found the shows to be "disappointments." Nonetheless, hopes of bringing the Dead to campus remained alive in '73, with an April 4, 1973 show at McGaw Hall supposedly in the works, although it fell through. </i></div><div><i><br /></i></div><div><i>But as the Daily Northwestern lamented, McGaw concerts were all but dead, with only two shows booked in the hall that year and the university administration holding doubts whether it should be used for concerts at all. (McGaw was normally used as a basketball arena.)</i></div><div><i><br /></i></div><div><i>"McGaw Concerts That Almost Were" (Dave Favrot, 2/28/73) -</i></div><div>"Student planning for McGaw Hall concerts this year has been a sad tale of missed opportunities and stifled projects. Since September, student groups have tried and failed to bring the following bands to McGaw: Dave Mason, Steve Stills, Uriah Heep, Spooky Tooth, the Byrds, Quicksilver, Fleetwood Mac, Joe Walsh, the Allman Brothers, and the Grateful Dead. </div><div>So far, Sha Na Na's Homecoming appearance Oct. 26 has been the only McGaw concert this year... [There are tentative plans to bring Rod Stewart to McGaw in April.] This year has been a drought year for concerts. The reasons for failure have been many: conflicts between promoters, contract disagreements, possible interference with previously-scheduled events, and administration inaction."</div><div><i>The cancellations included:</i> </div><div>Steve Stills - "The Dean of University Events said Stills would reduce the drawing power of Sha Na Na's Homecoming concert the following weekend... Stills ended up playing Oct. 21 at North Central College in Naperville, a small college about 30 miles west of Chicago. After his cancellation at McGaw, a coordinator said consolingly, 'After all, it's not as if you had Eric Clapton and John Lennon jamming in the Union.'" </div><div>Dave Mason - "The Amazingrace family considered Dave Mason... However, the collective decided McGaw's foul acoustics and the problems of staging a concert on a weeknight ruled out the Mason date. 'We feel that to present serious musicians in an 'airplane hangar' is one of the factors contributing to the present horrible condition of the music scene,' Amazingrace said." </div><div>The Byrds - "The [Activities & Organizations] Board Concert Co-Chairman said he felt the Byrds didn't deserve the price they were asking, since they hadn't done any worthwhile albums since their concert here two years ago. That concert lost $1,900."</div><div>Uriah Heep - "Another Chicago promoting agency had a prior commitment on Uriah Heep for an April concert in the International Ampitheater and didn't want a March local appearance by Heep to reduce the attractiveness of their downtown concert."</div><div>Fleetwood Mac - "By Jan. 30, the A&O Board had announced the signing was imminent...[but] the university legal department had reservations about the contract, which they have since refused to specify... Discussions on concert policy continued over the following week with a varying cast of administrators... Meanwhile, Fleetwood Mac had dropped out for good."</div><div>Allman Brothers - "Amazingrace hoped to bring the Allman Brothers to campus through Jam Productions, the Chicago agency... In mid-February, Jam sent the Brothers a telegram guaranteeing them their fee ($25,000 or 60 per cent of the gate, whichever was higher). However, the band rejected the offer."</div><div>Grateful Dead - "Andy Frances of Amazingrace Thursday said he was contacted by Chicago promoter Jan Winn in December about bringing the Grateful Dead to McGaw April 4. In the two weeks following his discussions with the collective, Winn sent photographers to McGaw, ostensibly to satisfy the Dead's curiosity about the hall. </div><div>Then in January, Jan Winn disappeared. Promoters were reportedly unable to contact him, and his ticket arrangements with Ticketron were held up. </div><div>When Winn reappeared in public at the end of January, he was no longer in the concert business... [He] told Andy Frances the Grateful Dead concert was cancelled. Winn was unavailable for comment."</div><div><br /></div><div><i>More problems were discussed in a followup article, "NU Talks, Concerts Stymied" (Dave Favrot, 3/1/73).</i></div><div><i>(Administrators feared violence and non-students at campus concerts - only about 15% of the attendees of last year's Spring Thing were students, and fighting at past events had occurred among non-students.)</i> </div><div>"Last week Jim G. Carleton, vice-president for student affairs, said his main concern with McGaw concerts was the predominance of non-students... </div><div>'Are we running an event for the students, faculty and staff of Northwestern University, or are we running an event for the general public?' ... </div><div>"However, it's doubtful that Northwestern students could support a concert by a well-known band themselves. </div><div>'The population base of the institution is not large enough to support major national entertainment,' Carleton said. 'Of course, the participation of outsiders permits big-name entertainment.'"</div><div><i>(The university considering subsidizing student-only concerts, but these were expected to be money-losers.)</i></div><div>"Northwestern has 6,255 undergraduates. Of these, 15 to 25 per cent can be expected to attend a well-advertised McGaw concert... That means that, at best, future McGaw concerts could count on an audience of about 1,500. </div><div>Major rock bands generally cost $15,000 and up. It costs $2-3000 to set up McGaw for the concert, pay sound men and security, buy ads, and print tickets, so concerts generally cost about $17,000 or more. </div><div>That means (1) to break even, the sponsoring organization would have to charge $11-12 a ticket. At those prices, the 1,500 base figure would shrink. Or, (2) the university will have to pay thousands of dollars every time there's a McGaw concert. </div><div>That, in turn, probably means McGaw concerts would be few and far between. It also means all students - including those who care nothing for rock music - would be subsidizing concerts."</div><div><i>(There were suggestions for staging concerts in the smaller Cahn Auditorium, which held 1200 people. But student concert organizers suspected the administrators were afraid of concerts. "They have an image of the Kinetic [Playground] getting ripped up." A Sly & the Family Stone concert at McGaw in May '71 had brought violence & vandalism, to the administrators' dismay. There were discussions on hiring extra concert security from professional forces and promoters. Folding chairs were to be locked up in rows for "easier crowd handling." But students trying to arrange concerts were unsure how much money they could offer bands. "The only problem is with the administration.")</i></div><div>"A spokesman for Jam Productions, the Chicago-based rock promoters who tried but failed to bring the Allman Brothers to McGaw for Amazingrace, said their current plans to bring groups on campus are stymied by the uncertainty of university concert policy. The A&O Board's plans to bring Quicksilver & Joe Walsh to McGaw March 4 were cancelled last week because A&O and the promoter delayed signing a contract while the university attorney's office held up the contract for study. </div><div>As long as university policy is uncertain, many students say their groups' concert plans will remain in limbo."</div><div><br /></div><div><i>Rod Stewart came to McGaw in April '73, but ticket sales were mostly to non-students. An A&O Board chairman warned, "Unless ticket sales to students increase, we will not be able to justify us having concerts."</i></div><div><i><br /></i></div><div><i>The financial aftermath was covered in "Security Costs Reduce Concert Profit to $3,000" (Arlene Banoul, 4/30/70)</i> -</div><div>"...Although there was no major trouble in handling the 9,500 sellout crowd, the amount of money spent on security and the cost of the groups dwindled the $45,000 intake to about a $3,000 profit for the Activities and Organizations Board treasury. </div><div>Of the 9,500 in attendance, 1,402 had student tickets. </div><div>"There's two ways of looking at the student attendance figures," Norris University Center Director John F. Duffek said.</div><div>"On the one hand, you can say, why did we go through all the trouble for only 1,400 students. </div><div>"But, on the other hand, maybe numbers alone aren't the only way to judge whether a concert is successful," Duffek said. "Maybe we have to sell 8,000 tickets to outsiders to let 1,400 students have a concert." </div><div>Yet, in order "to let 1,400 students have a concert," $42,000 had to be spent, and 113 official security people used.... </div><div>The entire security force included 30 Andy Frain ushers, four Andy Frain guards, 22 Public Safety officers, 20 student ushers, 19 Triangle Productions stage security, and 18 Evanston policemen. </div><div>Vice-President for Student Affairs Jim G. Carleton said he would have to review the concert figures before finally deciding whether there would be future concerts at McGaw. </div><div>Carleton said that he must decide whether the function of a McGaw concert is a money-making activity, public service to the community, or a student activity. </div><div>He added that he "tended to have doubts" about any more concerts at McGaw."</div><div><br /></div><div><i>The 4/30/73 issue also had a full-page article on how violent & overbearing the security force was, beating up peaceful audience members, harassing women, etc. In short, the preparations had been disastrous. </i></div><div><i><br /></i></div><div><i>Students arriving in the fall of '73 were informed not to expect many big concerts on campus: </i>"For rock and folk performances, NU students must rely largely upon the weekly shows at the Amazingrace coffeehouse... McGaw's basketball-court acoustics have lent to much of the problem."<i> (9/21/73)</i></div><div><i><br /></i></div><div><i>But plans were still underway to bring the Dead to McGaw... And here our story begins.</i></div><div><br /></div><div>*</div><div><br /></div><div>9/25/73</div><div>'DEAD' CONCERT AILING</div><div><br /></div><div>University and Evanston rules are hindering attempts to get "The Grateful Dead" rock group for Northwestern's Homecoming concert at McGaw Hall November 3, Activities & Organization Board Chairman Fred Koplin said Monday. </div><div>Director of Public Safety Wayne Littrell has two main concerns, said Koplin: the safety of the audience and Evanston building regulations. </div><div>In previous concerts at McGaw, destruction and rowdiness have been a problem, particularly with non-university students, Koplin said. </div><div>Evanston also has building regulations which require a certain amount of space per person, the presence of fire marshalls, and that all fire exits be open. </div><div>Koplin and Littrell have been attempting to work out the concert details. According to Koplin, Littrell has no immediate objections to the concert or the group but needs to check on security measures. </div><div>Koplin has made several suggestions which he said Littrell agreed would minimize danger to the audience and the rock group and help comply with Evanston safety regulations. </div><div>The suggestions include colored instead of white lights, a Northwestern student-only section at the front of the stage, a student-only entrance, and reducing the audience size from 9,500 to 6,000 persons. </div><div>Reducing the number of persons would necessitate raising prices, Koplin said. Chelsey Millikan, an agent for the Dead, has rejected the A&O offer of $15,000, but agreed to do a concert for $25,000, Koplin said.</div><div>One last problem is an alumni luncheon scheduled for McGaw the same day as the concert, which would also hinder setting up. </div><div>"We are still trying to break through to some mutual agreement," Koplin said. "No one is saying no, they're just saying little things we can't do."</div><div><br /></div><div>*</div><div><br /></div><div>9/26/73</div><div>AMAZINGRACE TO TRY FOR 'DEAD' CONCERT </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>Amazingrace has joined forces with the Activities and Organizations Board in the attempt to book "The Grateful Dead" for the Homecoming concert at McGaw Hall. </div><div>A talk with "The Grateful Dead" manager Sam Outler [sic], a date change from Nov. 3 to Nov. 1, and the assumption of financial responsibilities by Jam Productions of Chicago have led to further negotiations with university officials. </div><div>Traditionally, the Homecoming concert is held on the Saturday evening of Homecoming weekend, but the day has been changed to Thursday due to two factors. </div><div>First, an alumni luncheon is scheduled for McGaw Hall on Saturday, which would hinder setting up for the concert, and also the Thursday evening is better for the "Dead's" tour, said Andy Frances of Amazingrace. </div><div>Fred Koplin, A&O Board chairman, said the immediate problems are with the Buildings and Grounds Department and the Public Safety Department. </div><div>The Dead will not play to an audience of less than 9,000, Koplin said, which would necessitate B&G's setting up extra stands in McGaw. </div><div>Another area for which B&G is responsible is moving the basketball court, or making arrangements for seating on it. </div><div>"What has to happen is public safety has to approve the concert, and a definite commitment in good faith must be gotten from B&G," Koplin said. </div><div>"We can't go anywhere until someone says yes and stops saying maybe," Koplin said.</div><div><br /></div><div>*</div><div><br /></div><div>9/28/73 </div><div>GRATEFUL FOR 'DEAD' (<i>editorial</i>) </div><div><br /></div><div>Though the mind is still boggling, we applaud efforts by Amazingrace and the Activities and Organizations Board to secure the Grateful Dead for the Homecoming concert. </div><div>The prospective concert promises to be the most popular and enthusiastic in recent Northwestern history. </div><div>We are particularly gratified by the presence of Amazingrace, who we feel can greatly increase the concert's esthetic pleasure. </div><div>Moreover, the Dead promise to alleviate such security problems as those at the ShaNaNa and Rod Stewart concerts. If anyone wants a report on the Grateful Dead audiences, we recommend the police chief of Watkins Glen, N.Y. </div><div>We urge all speed in resolving any administrative details left before concert plans can be set. </div><div>And we anxiously await the Dead.</div><div><br /></div><div>* </div><div><br /></div><div>10/1/73</div><div>'DEAD' GET GO-AHEAD - ALMOST </div><div>(<i>by Pat Broughton</i>) </div><div><br /></div><div>The "go ahead" for a Grateful Dead Homecoming concert in McGaw Hall Nov. 1 has been given by Public Safety Director Wayne C. Littrell, and all that remains to be resolved now are three problems. </div><div>"The biggest technical problem is squeezing in 9,000 seats in a good way," said Fred Koplin, chairman of the Activities and Organizations Board. </div><div>To seat 9,000 persons in McGaw, extra stands will have to be set up and chairs put on the basketball courts. </div><div>This presents two problems. To put chairs on the basketball courts, basketball coach Tex Winter must approve the padding placed on the courts. </div><div>Also, an alumni luncheon is scheduled in McGaw for Nov. 3 and Alumni Relations Director Raymond Willemain has said any stands must be removed by then. </div><div>"We expect no problems" in removing the set-ups, said Dave Conant of Amazingrace which is sponsoring the concert with A&O. </div><div>The third problem is getting approval from Dean of University Events Joe W. Miller to have the concert on Thursday instead of Saturday. Koplin said a Thursday concert may conflict with final preparations for floats scheduled for the Nov. 2 parade. </div><div>Financial problems have been solved with an arrangement with Jam Productions of Chicago. </div><div>Littrell said "if we thought it was worth the risk, and if we could get everything together, to go ahead," said Conant. </div><div>"Littrell was pleased that we were picking someone like the Grateful Dead instead of Humble Pie or Uriah Heep," Koplin said. The Dead received a better security rating than ShaNaNa, the group at last year's Homecoming, Koplin said. </div><div>Conant said the Dead have said "yes, they want the date," and with Littrell's OK, "if we get those three questions answered, there are no other obstacles to the concerts."</div><div><br /></div><div>*</div><div><br /></div><div>10/2/73</div><div>DEAN MILLER NEGATIVE ON THURSDAY CONCERT </div><div>(<i>by Pat Broughton)</i></div><div><br /></div><div>Activities and Organizations Board Chairman Fred Koplin said Dean of University Events Joe W. Miller "opposes anything" other than a Nov. 3 Homecoming concert. </div><div>Miller refused to comment on this directly, but in a written statement said, "I believe a Thursday concert would interfere with Homecoming preparations and activities." </div><div>"I would like to see a concert on Saturday evening with an attraction that would be willing to appear with a 5,000 seating capacity," Miller said. </div><div>A&O and Amazingrace are planning to sponsor The Grateful Dead in McGaw Hall on Nov. 1. Jam Productions of Chicago is handling the financial arrangements. </div><div>The Dead are not willing to perform for an audience of less than 9,000 persons, Koplin said. Amazingrace member Andy Frances said the Dead could not play NU Nov. 3 because they have a concert scheduled for that day. </div><div>To fit 9,000 seats into McGaw, extra stands will have to be erected and padding placed on the basketball court. </div><div>According to Grace member Dave Conant, Assoc. Athletic Director Waldo Fisher said the padding was no problem. </div><div>Charles Olson, superintendent of Buildings and Grounds, said "Normally it takes a couple of weeks to put the stands up." He did not know what it could cost. </div><div>Frances said, "If Joe Miller wants to, he can stop the concert. But I'm certainly hoping he won't."</div><div><br /></div><div>*</div><div><br /></div><div>10/3/73 <i>photo caption:</i> </div><div>PROTEST</div><div>Asbury House residents apparently disagree with the reported opposition of Joe W. Miller, dean of university events, to current plans for a Grateful Dead concert in McGaw Hall. </div><div><br /></div><div>*</div><div><br /></div><div>10/4/73</div><div>THE DEAD - THURSDAY DATE OFF... </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>A statement opposing a Nov. 1 Homecoming concert was issued Wednesday by Homecoming co-chairmen Cheryl Wexler and Reed Tanner and advisor, Dean of University Events Joe W. Miller. </div><div>The Activities and Organizations Board and Amazingrace had lined up a Grateful Dead concert in McGaw Hall, pending Miller's approval to have the concert on Thursday rather than Saturday of Homecoming weekend. </div><div>"We feel a concert on Thursday evening would seriously jeopardize the success of all Homecoming activities - particularly those on Friday," the statement said. </div><div>Wexler added, "I have the students' best interests at heart. I'm confident we can get a big-name group for Saturday night." </div><div>The committee suggested that the agreement with the Dead be renegotiated for Nov. 3 or later in the year. The Dead have a concert scheduled for Nov. 3.</div><div>Vice-president for Student Affairs Jim G. Carleton said he would be "hard-pressed to overrule the decision made by the Homecoming Committee." </div><div>According to Northwestern's concert policy, a concert cannot interfere with an all-university event. </div><div>Carleton said "I would respect the committee's wishes" if it decided a Thursday concert would interfere with other Homecoming events.</div><div><br /></div><div>...FORUM DISAGREES </div><div>(<i>by Steve Sonsky</i>) </div><div><br /></div><div>Student Forum jumped right into the Homecoming concert controversy Wednesday night by unanimously passing a resolution supporting a Nov. [1] Grateful Dead concert. </div><div>Homecoming Committee co-chairmen Reed Tanner and Cheryl Wexler, along with Dean of University Events Joe W. Miller, Wednesday released a statement opposing the concert date, saying it would interfere with activities scheduled later in Homecoming weekend.</div><div>Student government leaders and Amazingrace have called for a mass meeting this afternoon at 3:45 in front of University Hall in support for the Dead concert. </div><div>The rally will coincide with a scheduled meeting of Miller, Wexler, and Tanner. </div><div>"All those who want to see the Grateful Dead on this campus had goddamn better be there," a student government official said. "The Dead concert dies if you don't show." </div><div>The Forum resolution also calls for "a positive and immediate commitment" to the concert by the university. It also calls for a Saturday concert or dance to be held in addition to the Thursday Dead concert. </div><div>Activities and Organizations Board Chairman Fred Koplin said that Jam Productions, which would promote the Dead concert, possibly could sign the rock groups Poco or Tower of Power for the Saturday concert if the Thursday one is successful. </div><div>Amazingrace member Andy Frances said "a positive and immediate commitment to the concert by the university" is necessary because "the Dead must know this week" if the NU date is open. </div><div>Koplin said, "If we want the Grateful Dead," it's the Nov. [1] date "or nothing." </div><div>"The rest of their schedule is full," Koplin said. "And I think the Grateful Dead is the big-name group the students want to see on campus." </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38hxDUcRm0FrfmnKCnmTQ4wrhxPYdlZznc-9r2hsu0wGt8trOQTckBIYOYFdWWIZisDTxFp4upAP4tissgdLQc3VV5PZECGxlDKhbRWe6IA5J8jo-tdha0wnGDNJfqx8WU2kmNd1xxuMvuLPQ9g5hyphenhyphenx2G7m1EMiA7WbJXml7riGeeY7k6x4q2ZzjSbYZB/s2500/11-1-73%20big%20name%20groups.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1876" data-original-width="2500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38hxDUcRm0FrfmnKCnmTQ4wrhxPYdlZznc-9r2hsu0wGt8trOQTckBIYOYFdWWIZisDTxFp4upAP4tissgdLQc3VV5PZECGxlDKhbRWe6IA5J8jo-tdha0wnGDNJfqx8WU2kmNd1xxuMvuLPQ9g5hyphenhyphenx2G7m1EMiA7WbJXml7riGeeY7k6x4q2ZzjSbYZB/s320/11-1-73%20big%20name%20groups.jpg" width="320" /></a></div><div><br /></div><div>*</div><div><br /></div><div>10/5/73</div><div>'DEAD' CONCERT APPROVED </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>Cheers and whistles greeted Associated Student Government President Mike Sander's words Thursday at Rebecca Crown Center: "It's gonna go on. They gave us the ok for the concert." </div><div>A committee headed by President Robert H. Strotz gave the final "go-ahead" for a Grateful Dead Homecoming concert at McGaw Hall on Nov. 1.</div><div>The decision comes after 10 days of opposition to the concert and the Nov. 1 date. </div><div>Director of Public Safety, Wayne O. Littrell gave his ok to the concert Monday. All that remained was a go-ahead on the Thursday date from Joe W. Miller, Homecoming adviser and dean of university events, and some final arrangements to fit 9,000 seats into McGaw. </div><div>Miller and Homecoming co-chairmen Cheryl Wexler and Reed Tanner issued a statement Wednesday opposing a Thursday concert. </div><div>They said they were afraid the Thursday concert would interfere with later weekend events, such as the parade and football game. </div><div>A support rally for the Thursday concert was organized Wednesday night at Student Forum. The rally was scheduled to coincide with a meeting at Scott Hall between Wexler, Tanner, and Miller. </div><div>More than 300 students rallied at Harris Hall in support of the concert. They moved to Rebecca Crown Center when word was received that the meeting had been moved. </div><div>It was at this time that the meeting was expanded to include Strotz, administrators and student leaders. </div><div>The concert is being sponsored by the Activities and Organizations Board and Amazingrace. Financial arrangements are being handled by Jam Productions of Chicago. </div><div>"The only thing that's gonna hang us up now are the technicalities," Sanders said. He said the problem of setting up extra stands in McGaw to fit 9,000 seats had not been resolved.</div><div><br /></div><div>*</div><div><br /></div><div>10/8/73</div><div>ADMINISTRATION GIVES FINAL OKAY FOR 'DEAD'</div><div><br /></div><div>Final approval for the Nov. 1 Grateful Dead Homecoming concert in McGaw Hall has been given all university personnel, and all that remains is the signing of the contract., </div><div>"All we're waiting on are the Dead," said Fred Koplin, chairman of the Activities and Organizations Board. "The Dead have not said yes to playing at McGaw." </div><div>The only problem might be if the Dead don't like McGaw, or if they feel the stage is too small, Koplin said. </div><div>Koplin said he had gotten the final OK Friday from the Athletic Department, the Buildings and Grounds Department, and from Alumni Relations. </div><div>The Athletic Department and B&G had to approve the fitting of 9,000 seats into McGaw. Chairs will be set up on top of the basketball court, and extra stands will be erected. </div><div>Arrangements with Alumni Relations for the alumni luncheon on Nov. 3 were finalized. </div><div>Tickets for the concert could be on sale as early as Oct. 17, Koplin said. Tentative prices are $4 for students, and $5 or $5.50 for non-students. Each student will be allowed to purchase two tickets. </div><div>There will also be a student entrance, which will allow students into McGaw before the general public. </div><div>Koplin said he sent pictures of McGaw and pictures of Thursday's support rally to the Dead; and at this point "the university is waiting."</div><div><br /></div><div>*</div><div><br /></div><div>10/16/73</div><div>'DEAD' PLAYING TIME FINAL CONCERT HITCH </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>The question of closing time is the last remaining obstacle to Northwestern's signing of a contract with Jam Productions for the Nov. 1 Homecoming concert with The Grateful Dead. </div><div>The Dead want the option to play from 7 p.m. to 2 a.m. and Vice-President for Student Affairs Jim G. Carleton is hesitant about signing with this option in the contract. </div><div>There are two problems with this open-ended policy, said Peter Petto, publicity chairman for the Activities and Organizations Board, one of the sponsoring groups. </div><div>There is an Evanston curfew of 11 p.m. for 18-year-olds, and the back-up Evanston police crew changes shifts at midnight. </div><div>Petto, Amazingrace member Dave Conant, and representatives from Jam will talk to Public Safety Director Wayne O. Littrell this morning. Security details will be worked out and a contract signed immediately afterwards, Conant said. </div><div>Four thousand student tickets for the concert will go on sale at Norris immediately after the contract is signed, Petto said. Tickets are $4.50 for students and $5.50 for non-students. Another 3,000 will be given to Ticketron for sale to the public. Students will be limited to the purchase of two tickets. </div><div>Jam is handling the financial arrangements for the concert. The Dead have been guaranteed $17,500 in the contract, or 50 percent of gross ticket sales, whichever is more.</div><div><br /></div><div>*</div><div><br /></div><div>10/17/73</div><div>LITTRELL APPROVES 'DEAD' SECURITY</div><div><br /></div><div>Public Safety Director Wayne O. Littrell has given his OK to final security arrangements, and according to Fred Koplin, Activities and Organizations Board chairman, "everything appears to be worked out" for the Nov. 1 Homecoming concert in McGaw Hall. </div><div>Signing of the contract with the Grateful Dead on Tuesday was postponed because of the illness of Vice-president for Student Affairs Jim G. Carleton, Koplin said. </div><div>Koplin was not certain when the contract would be signed, but an $8,750 deposit must be given to the Dead by Friday. </div><div>Koplin said Littrell wanted the concert to end at 11 p.m., and Amazingrace, the co-sponsor, and Jam Productions wanted it to end at 2 a.m. Koplin suggested a compromise of midnight. </div><div>Security costs after midnight would have been double, Koplin said, because of a "physical manpower shortage" of Evanston police and public safety officers.</div><div>One remaining problem, Koplin said, was finding chairs for the floor which would fit Evanston regulations. Koplin said the chairs must be fastened together with something other than tape. </div><div>Tickets for the concert will go on sale as soon as the final contract with the university is signed. Amazingrace member Andy Frances said sales would begin late Wednesday and early Thursday, Four thousand student tickets at $4.50 each will be available, two to each student with an i.d. at the Norris University Center information desk.</div><div><br /></div><div>(<i>This issue also features a Grateful Dead poster contest for the show. Posters to be displayed a week before the concert. First prize, a free pair of tickets.</i>)</div><div><br /></div><div>10/17/73</div><div>'DEAD' POSTER CONTEST BEGINS (<i>excerpts</i>)</div><div><br /></div><div>Beginning today, entries for the Grateful Dead poster contest can be turned in... </div><div>The winner of the contest will receive two free tickets to the concert... </div><div>All posters, which can be any size, shape, or color, are due in by Oct. 25... </div><div>"If someone turns one in really soon that is fantastic, we'll use it for the official poster," said Peter Petto, publicity chairman for A&O... </div><div>No decision has been made as to what will happen to the posters after the concert, Petto said. Possibilities include giving them to the Dead, selling them, returning them to the contestants, or donating them to the special collections section of the University Library.</div><div><br /></div><div>*</div><div><br /></div><div>10/18/73</div><div>FORUM ELECTS KOEGEL, BACKS 'DEAD' CONCERT (<i>excerpt</i>) </div><div>(<i>by Steve Sonsky</i>) </div><div><br /></div><div>...[The Student] Forum voted unanimously for an emergency resolution calling for the university to sign a contract with Jam Productions for a Nov. 1 Grateful Dead concert by no later than 9:30 this morning. </div><div>Jerry Michaelson of Jam Productions told Forum that because of the unusually short period of time between the concert date and the time tickets would actually go on sale, that use of Ticketron was essential in this case to insure a sell-out concert. </div><div>"With no Ticketron there is no concert," Michaelson said. "The Dead do not want to play in front of 3,000 people. There is not enough time to sell out via mail order only." </div><div>Michaelson also explained, "We must sell out to alleviate the security problem of 5,000 kids showing up for only a thousand left-over tickets." </div><div>Jim G. Carleton, vice-president for student affairs, has not yet signed the contract for the concert. Michaelson said, "Carleton opposes Ticketron on general principle." </div><div>Peter Petto, Activities and Organizations Board publicity chairman, said that if the contract is not signed by this morning there will be no concert. Tickets would go on sale for students immediately after the signing of the contract, he said... </div><div><br /></div><div>10/18/73</div><div>CARLETON TO GIVE 'YES' OR 'NO' TODAY ON 'DEAD' CONCERT </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>Vice-President for Student Affairs Jim G. Carleton said Wednesday he would make a decision this morning on whether Jam Productions could sell tickets for the Nov. 1 Grateful Dead Homecoming concert through Ticketron. </div><div>Carleton said he was opposed "on general principles" to the use of Ticketron for the sale of tickets to student events. </div><div>Amazingrace and the Activities and Organizations Board, sponsors of the concert, and Jam Productions of Chicago, the promoters, said if Ticketron cannot be used, there will be no concert.</div><div>Jerry Michelson, co-owner of Jam Productions, said Ticketron was essential to the concert for two main reasons. </div><div>The biggest concern was security, he said. Jam wants to be able to advertise the concert as sold out, in order to avoid massive crowds at the door on the night of the concert without tickets, he said. </div><div>Michelson also said he felt it was too late to sell tickets by mail order because the concert is two weeks away. Ticketron is the only way to assure a maximum sale of tickets, he said. </div><div>Dave Conant, Amazingrace member, and Peter Petto, A&O publicity chairman, said the reason Ticketron must be used is because the administration has delayed so long in making a final decision. </div><div>They said they were willing to use mail order, but it was impossible with two weeks left. </div><div><br /></div><div><br /></div><div>10/18/73</div><div>MUSIC SEMINAR AT GRACE</div><div><br /></div><div>A seminar on the music business, focusing on the Nov. 1 Grateful Dead concert at McGaw Hall, will be held at the Amazingrace Coffeehouse today at 4 p.m. </div><div>The purpose of the seminar, Amazingrace member Andy Frances said, is to let the university and Evanston community know how concerts are arranged and how bands are contacted and hired. </div><div>The seminar will focus on arrangements for the Dead concert, Frances said. It will examine the reasons why the concert took so long to be arranged and the story behind the signing of the final contracts. </div><div>Frances said the contracts would be at the meeting, along with the blueprints sent to the Dead. Questions concerning the concert will be answered, he said.</div><div><br /></div><div><i>This meeting was advertised as:</i> </div><div><br /></div><div>HOW THE GRATEFUL DEAD CAME ALIVE!!!</div><div>- Learn the music business angle </div><div>- View the contracts </div><div>- Find out how the administration dealt with the concert </div><div>- Discuss the concert set-up </div><div>- Learn why the Dead eat steak </div><div>Come to An Open Forum about the Dead</div><div>Today 4 PM at Amazingrace</div><div><br /></div><div>*</div><div><br /></div><div>10/19/73</div><div>TODAY IS IT FOR 'DEAD' </div><div>(<i>by Steve Sonsky</i>)</div><div><br /></div><div>The status of the Nov. 1 Grateful Dead Homecoming Concert is still in doubt. </div><div>President Robert H. Strotz met Thursday night at his home with Associated Student Government President Mike Sanders, ASG Executive Vice-president Alan Blaustein, Activities and Organizations Board Chairman Fred Koplin, and Lindsay Davis of Amazingrace to discuss problems that still confront the concert. </div><div>After the meeting Sanders said, "There are still a lot of unanswered questions. We discussed a lot of things and everybody's going to sleep on it. As of now, no contract has been signed with the university. </div><div>"Strotz said that a decision will be made today," he added. </div><div>Neither Sanders nor Strotz would elaborate on the problems that have prevented the university from signing the contract with Jam Productions, the promoter of the concert. </div><div>It is estimated that Jam has assured the Dead $17,500 in the contract between them, which has already been signed. Thus, Jam is obligated to pay the Dead under any circumstances. </div><div>Jerry Michaelson of Jam Productions said at Wednesday's Student Forum meeting that Jam needed the use of Ticketron to insure a sell-out concert at this late date. </div><div>"With no Ticketron, there is no concert," Michaelson said. "The Dead do not want to play in front of 3000 people. There is not enough time to sell out via mail order only." </div><div>Michaelson also explained, "We must sell out to alleviate the security problem of 5000 kids showing up for only a thousand left-over tickets." </div><div>Michaelson said Wednesday that Jim G. Carleton, vice-president for student affairs, had not yet signed the contract because he opposed on "general principle" the use of Ticketron. Jam had insisted upon use of the ticket outlet.</div><div><br /></div><div>(<i>The 10/19/73 issue also carried the first ad for the show, "An evening with The Grateful Dead, Thursday, November 1st at 7pm" - $4.50 tickets available at the Norris Desk.</i>)</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9goObmdvvRyrqBp7rZa_bCiKM4EmIv5t_q9MvtU2pM_huCfXyU04Y5vGtGrRlXsjAkH9d5xwYgngXncme93IltZY1TnCt2zvywQ-ueCWa2JgUql47kyDtJfiKaGBvThhRJMg4g4-mSbNAUzISCJSe6W5qSBc9lgTaIsGLk3u428JiIeQIel_UWrkrQVTI/s1192/11-1-73%20ad.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1192" data-original-width="754" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9goObmdvvRyrqBp7rZa_bCiKM4EmIv5t_q9MvtU2pM_huCfXyU04Y5vGtGrRlXsjAkH9d5xwYgngXncme93IltZY1TnCt2zvywQ-ueCWa2JgUql47kyDtJfiKaGBvThhRJMg4g4-mSbNAUzISCJSe6W5qSBc9lgTaIsGLk3u428JiIeQIel_UWrkrQVTI/s320/11-1-73%20ad.jpg" width="202" /></a></div><div><br /></div><div>*</div><div><br /></div><div>10/22/73</div><div>'DEAD' AHEAD: TICKETS SELLING AT RAPID PACE </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>Tickets are now on sale for the Grateful Dead Homecoming concert Nov. 1 in McGaw Hall at the Norris University Center and Ticketron outlets. </div><div>A student with an ID may purchase two $4.50 tickets at Norris, and $5.50 non-student tickets are available.... </div><div>By 1 p.m. Sunday, Norris had sold 1,092 student tickets and 622 non-student tickets. </div><div>The contract between the university and Jam Productions, the promoters, was signed Friday afternoon [10/19] by Vice-president for Student Affairs Jim G. Carleton, thus ending a 25-day battle to bring the Dead to NU. </div><div>The decision to sign was handed down by President Robert H. Strotz after he met with Northwestern lawyers and other administrators Thursday night. </div><div>The last obstacle to the signing of the contract was a dispute over the use of Ticketron. </div><div>The concert sponsors, the Activities and Organizations Board, Amazingrace, and Jam Productions felt it was necessary to use Ticketron.</div><div>They said they felt to sell 9,000 tickets in the two weeks left before the concert, Ticketron was essential. </div><div>The legal department had reservations on the use of Ticketron, and the decision was handed to Strotz.... </div><div><br /></div><div>*</div><div><br /></div><div>10/23/73</div><div>GOING FAST - GET 'DEAD' TICKETS NOW</div><div><br /></div><div>"Student tickets are selling at an incredible rate, and students should get their tickets immediately," said Dave Conant of Amazingrace Monday about the Grateful Dead Nov. 1 Homecoming concert.</div><div>At 4 p.m. Monday, Norris University Center had sold over 1,700 student tickets at $4.50 each and over 800 non-student tickets at $5.50 each. Norris has a total of 4,000 student tickets and 2,000 non-student tickets to sell, Conant said. </div><div>Ticketron outlets in Evanston and Chicago had sold over 2,500 tickets by noon on Monday, out of the 4,000 they had to sell, Conant said. </div><div>Ten thousand tickets have been distributed to Norris and Ticketron to sell, but only 9,000 will be sold. </div><div>This means that 1,000 tickets "must be pulled either from student tickets at Norris, or from non-student tickets," Conant said. </div><div>He said Norris will hold student tickets "as long as we justifiably can," but urged students to get their tickets quickly.... </div><div><br /></div><div>*</div><div><br /></div><div>10/26/73 - "Five posters have been submitted to the Grateful Dead poster contest. The posters will be displayed in the Norris University Center next week, and the winner will be announced by Saturday noon. The winner will receive two tickets..."</div><div><br /></div><div>10/29/73 - "Journalism Senior Greg LeRoy has won the Grateful Dead poster contest. LeRoy will receive two free tickets to the concert... LeRoy's winning poster is a photograph of a skull which he dug up this summer [on an archeology project]... The posters will be on display in the Norris Browsing Library through Thursday."</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGFvXXGynO2OPt72mCzVwia2XJ4ymFF2EQesSrk-4l27uKT1ksIf9BXYV1cagrt24vAwBhWXb98SRVHESCyqsMEgdQvcYHDcoYofYb5Ii2M4erH_4kLd3gh0teJMHmTeqiBAQtzIv1fj3OvVd8mHTl348tNCG8QT2sxh1fCX61eKhmBSVV8fPV1efwGNn/s1490/11-1-73%20fan%20poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1490" data-original-width="1274" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGFvXXGynO2OPt72mCzVwia2XJ4ymFF2EQesSrk-4l27uKT1ksIf9BXYV1cagrt24vAwBhWXb98SRVHESCyqsMEgdQvcYHDcoYofYb5Ii2M4erH_4kLd3gh0teJMHmTeqiBAQtzIv1fj3OvVd8mHTl348tNCG8QT2sxh1fCX61eKhmBSVV8fPV1efwGNn/s320/11-1-73%20fan%20poster.jpg" width="274" /></a></div><br /><div><br /></div><div>(<i>A Homecoming schedule listed on Oct 29 did not mention any other bands playing that week, but there was to be a six-hour dance marathon to "fast oldies" in the Norris Center on Oct 31. The Homecoming parade was on Nov 2 and a football game on Nov 3.</i>)</div><div><br /></div><div>10/29/73 - "The Amazingrace Coffeehouse will not serve noon lunches this week because its members will be setting up for the Grateful Dead concert Thursday. Lunches will resume next week at their usual time...." </div><div><br /></div><div>10/29/73</div><div>SECURITY SET UP FOR CONCERT</div><div>Approximately 42 students have volunteered to be marshalls at Thursday's Grateful Dead concert. Working in pairs, they will patrol the corridors and aisles of McGaw Hall with walkie-talkies to assist Northwestern Public Safety and Jam Productions personnel in maintaining order at the concert. </div><div>"We're primarily concerned with crowd control. We'll try and handle all the problems in the aisles and seats. But if anything gets out of hand, we'll turn it over to Jam," said Bill Stiers, head of the marshall group.</div><div><br /></div><div>*</div><div><br /></div><div>10/30/73</div><div>EXTRA 'DEAD' TICKETS AVAILABLE AT NORRIS </div><div>(<i>by Pat Broughton</i>) </div><div><br /></div><div>The original 9,000 tickets for the Grateful Dead Homecoming concert have been sold out, but the sale of 150 more tickets to Northwestern students, faculty and staff has been approved by Vice-President for Student Affairs Jim G. Carleton. </div><div>The tickets are on sale at the Norris University Center Information Desk. Students may purchase two $4.50 tickets with an ID, and faculty or staff may purchase tickets at $5.50 each. </div><div>Both Norris and Ticketron sold out their portions of the 9,000 original tickets. Norris sold 3,859 student and 1,141 non-student tickets. Ticketron sold out its 4,000 non-student tickets. </div><div>Fred Koplin, Activities and Organizations Board chairman, estimated the total gross from the concert will be $45,500. The contract entitles the Dead to half of this, $22,250, the university to four percent - about $2,000 - and Jam Productions, the promoters, to the rest, over $20,000. </div><div>A&O Board, one of the concert's co-sponsors, will receive the university's $2,000, while Amazingrace, the other co-sponsor, will receive no money. </div><div>Koplin said Amazingrace would receive no money because of "legal technicalities." He said the contract between Northwestern and Jam Productions stated that four per cent would go to the university, and as A&O was an "official student organization," they would receive the money. </div><div>Koplin said Amazingrace's status with the university at this point was unclear, so that this method of distribution would be "a little less hassle." </div><div>But Koplin said he expects that Grace will "receive some renumeration from Jam." </div><div>With its $20,000, Jam must pay all concert expenses, including security, promotion, and setting up and tearing down the stage and other equipment at McGaw Hall. </div><div>Koplin estimated expenses to be between $12,000 and $14,000, the same as for the Rod Stewart concert last spring. He said Jam will make "quite a bit" on the concert. </div><div>Koplin mentioned some of the more unusual expenses involved in the concert: steaks, Heineken's beer and bottled water for the Dead's production crew; the rental of a 24-foot fork lift; and the cost of a cherry picker to put parachutes on the ceiling for acoustical purposes.</div><div><br /></div><div>*</div><div><br /></div><div>10/31/73</div><div>TURBULENCE AND DRUGS MARK DEAD'S LIFE</div><div><i>Records tell story</i></div><div><i>(by Steven Reddicliffe)</i></div><div><br /></div><div>The Grateful Dead is this country's most popular rock band, the paragon of popular youth culture, near-mythical mentor of the now more mellow rock and roll music, the truckin' tour de force that has taken us from tripping to boogying, a trek far tougher than the transformation from bobby sox to stockings. </div><div>That the Dead is coming to Northwestern for tomorrow night's Homecoming Concert is cause for retrospection on just what the group has accomplished. </div><div>For while the Grateful Dead is seemingly the premier American band (concert crowds, album sales, and the like), they are not necessarily the best. </div><div>Their last Chicago shows have been disappointments to all but the most diehard Dead fans, and how the band will adjust to the lamentable acoustics of McGaw is anyone's guess. Being primarily a concert group, Grateful Dead recordings have fallen far short of expectations. Only Workingman's Dead and American Beauty have been sound efforts, able to stand lyrically and musically as solid studio albums.</div><div>But what must be realized is that the Grateful Dead has been with us from puberty to the present. To wax nostalgic, they were our first real psychedelic or acid-rock band. Now both those terms have become anachronisms, and the Dead (after five years of electrically overpowering audiences at concert halls throughout America) have mellowed. Their popularity has increased, while so many other groups have fallen by the wayside. </div><div><br /></div><div>Jerry Garcia, lead guitarist, most prolific composer, and Dead spokesman, may have explained why in an interview last year. </div><div>"The Grateful Dead is still a good trip through all of it," he said. "Through all of it it's been a good trip and I've dug every minute of it, man, it's just like I really love it, it's really a good trip, and that's the payoff, ultimately, you know, and that's the reason why we're all doing it, really, that's the one thing that still makes it. And you know, actually for us everything is making it, everything is...it's just going real good, it's going good enough where we can actually decide what we want to do, which is--aw fuck, what's that?" </div><div>Garcia's ramblings are perhaps the most apt delineation of the Dead we may ever witness. Because the Dead defy all pat classifications--they were America's most prominent proponent of the cultural revolution, the major vehicle by which the mores and lifestyles of Haight-Ashbury were exposed to the entire country. </div><div>Frenetically gallivanting with Ken Kesey and his Merry Pranksters during the first acid test days on the pages of Tom Wolfe's "The Electric Kool-Aid Acid Test," the Dead were described as a band that had garnered attention by playing and carousing more frantically than anyone else. </div><div>Those were the early days of Bill Graham's Fillmore West, when the Dead, the Jefferson Airplane, and Big Brother and the Holding Company scintillated San Francisco with their drug band music. </div><div>The Dead--Garcia, guitarist Bob "Ace" Weir, bassist Phil Lesh, drummer Bill Kreutzmann, organist Ron "Pigpen" McKernan (whose drugs and alcohol finally caught up with him and killed him a few months back), and pianist Tom Constanten--were the most notorious of all the West Coast acts. </div><div><br /></div><div>The Dead recorded their first album, "The Grateful Dead," for Warner Brothers while high on grass and Dexamyl, a sort of dieters speed. (The group was later the object of major drug busts in San Francisco and New Orleans. Garcia, who was known as "Captain Trips" in Haight's halcyon days, first smoked pot when he was 15, very much ahead of the crowd in 1957). </div><div>The first album was an unmitigated disaster, repetitive and very unimaginative. The following two, "Anthem of the Sun" and "Aoxomoxoa," were not much of an improvement. But "Live Dead," particularly with "Dark Star," held promises of better things to come. </div><div>Better things came when in 1970 the old Dead died and the band's reincarnation came in the form of an album titled "Workingman's Dead." </div><div>Tom Constanten left the band (Keith Godchaux now handles keyboard), and the Dead began producing themselves. Jerry Garcia reportedly never really liked the early albums, and in "Workingman's Dead" the influence of his personal favorites--The Band and Crosby, Stills, Nash, and Young--is very apparent. </div><div>Four of the album's eight cuts have become Dead standards. Garcia and lyricist Bob Hunter wrote the songs, with Lesh sharing musical credit on "Cumberland Blues."</div><div>"Uncle John's Band" is Crosby, Stills, Nash, and Young all over again--Garcia's lead guitar is superb and the group's harmonies flow subtly and evenly. "Casey Jones" is the Dead's speed and cocaine grafted to a Robbie Robertson-like melody, and the "Cumberland Blues" is a good country rocker in the tradition of good country rockers. "High Time" is the Band incarnate, and it moves well. </div><div><br /></div><div>The Grateful Dead's subsequent effort, "American Beauty," is an extension of the paths travelled in "Workingman's Dead." Poco and the Eagles can be found in the music of "Friend of the Devil" and "Sugar Magnolia," both of which blend and bend (and never break) into each other pleasantly, pushed by the guitar runs of Garcia and Weir. The Dead's finest tune, the musical reminiscence "Truckin'," is contained in "American Beauty," though the studio version is markedly inferior to the live track on "Europe '72." "Truckin'" is the Dead at perfection, adequately country, blissfully bluesy, and sufficiently soulful. </div><div>"Grateful Dead," two live records, followed "American Beauty." The album was somewhat of a comedown. No new inroads were made, and the warmed-over "Me and Bobby McGee" and "Johnny B. Goode" appeared to have been thrown in as space-fillers, and Kreutzmann and Weir's eighteen-minute "The Other One" is mere humdrum, sounding as if the garage band down the street had twenty minutes to jam before going home to dinner.</div><div>After the live "Grateful Dead," both Garcia and Weir came out with solo albums and the next total group recording was the three-album "Europe '72," live tracks culled from the Dead's European tour. The album is classic Dead. </div><div>Next came "History of the Grateful Dead, Volume One," basically a throwaway containing live tracks from a 1970 Fillmore East concert. </div><div>Their latest album, "Wake of the Flood," may well signify a return to the quality of "Workingman's Dead" and "American Beauty." Though uneven, the album includes some excellent material, especially "Weather Report Suite," that allows Garcia's guitar to be used to full effect. </div><div>Consistency has never been a virtue of the Grateful Dead, and what they may do tomorrow night for five hours may be either delight or disaster. </div><div>Yet with everything said, the Grateful Dead are an American institution, and tomorrow evening Northwestern has an opportunity to see the rock and roll band that sounded the start of the American cultural revolution. It will certainly be a memorable occasion.</div><div><br /></div><div>*</div><div><br /></div><div>10/31/73</div><div>'DEAD': TICKETS GONE, SHUTTLE SERVICE SET UP</div><div>The Thursday Grateful Dead concert is sold out. The last ticket was sold out at 11 a.m. Tuesday, bringing the total number of tickets to 9,150. </div><div>The university administration agreed Tuesday to supply $200 for a shuttle-bus service to and from McGaw Hall and campus. </div><div>The buses will run continuously from 4:30 p.m. to 7 p.m.... </div><div><br /></div><div><br /></div><div>10/31/73</div><div>GRACE SETS STAGE FOR FREAKS' GALA</div><div><br /></div><div>A splash of orange and black, a lot of hard work, and a touch of Halloween magic will transform the barren innards of cavernous McGaw Hall into a festive worship center for Dead freaks at Thursday night's Grateful Dead Homecoming concert. </div><div>This will be a "gala event," said Amazingrace's Andy Frances. Since the concert is on the day after Halloween, and Grace did not hold its annual Freak's Ball, Frances urges everyone to come in costume. "If people come in costume it'll be a trip," he said. </div><div>Frances and his crew have been working hard all week to transform McGaw into a "thing of beauty." Huge orange and white parachutes have draped from the ceiling's steel rafters, and eight-foot weather balloons will float between grinning jack o'lanterns on the hall's sides. </div><div>Even the stage itself will be a part of the total effect, measuring 40 feet by 80 feet and bounded on both sides by 30-foot light and sound towers. A huge black drape will be hung behind it. </div><div>In addition to all this, Frances said, there are a few surprises planned. But these will have to wait until the first drum rolls and a growing cloud of purple haze signal the beginning of another Grateful Dead concert Thursday at 7 p.m. in McGaw Hall.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC-1XckBQk_NFEb2CjCVZGLYlOPz81dqv9dkhEtsY0wFIiYz6rsMk8nujjVMm8RnMid5QOSsBryQBvBtmDlP8dqw6OrUXDCHyZ-NpZf6xGcpu5VnnyAJY0bbhTg9AxViSCXb2ejwEeFZUIC0crhbtjGWLg5Ff40-n1MpxM0ct7_mKLgkqLwPuH_eM_78rJ/s562/11-1-73%20McGaw.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="562" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC-1XckBQk_NFEb2CjCVZGLYlOPz81dqv9dkhEtsY0wFIiYz6rsMk8nujjVMm8RnMid5QOSsBryQBvBtmDlP8dqw6OrUXDCHyZ-NpZf6xGcpu5VnnyAJY0bbhTg9AxViSCXb2ejwEeFZUIC0crhbtjGWLg5Ff40-n1MpxM0ct7_mKLgkqLwPuH_eM_78rJ/s320/11-1-73%20McGaw.png" width="320" /></a></div><br /><div>*</div><div><br /></div><div>10/31/73</div><div>'DEAD', CROWD TO HAVE 100 BODYGUARDS </div><div>(<i>by John Noble</i>) </div><div><br /></div><div>More than 100 persons at Thursday's Grateful Dead concert will be there to insure the safety and good conduct of those attending the concert. </div><div>Jam Productions, the concert's promoters, will send 25 to 30 of their security personnel to McGaw Hall. Jerry Michaelson of Jam described these men as "mostly black-belt Karate experts." </div><div>"They are not there to show it off, though," Michaelson added. </div><div>The primary responsibility of the Jam security force will be to protect the Grateful Dead on-stage and off. They will also look for persons carrying alcohol, cameras, or recording equipment. </div><div>Michaelson said his men will avoid frisking people and will simply be on the look-out for prohibited items. However, Amazingrace member Dave Conant said each and every individual will be frisked entering McGaw. </div><div>The 12 members of Amazingrace will be at the concert to do "whatever needs to be done," Conant said. This will include keeping the aisles clear and directing persons to rest facilities. </div><div>About 40 student marshalls will assist in keeping aisles clear. Peter Petto, small concerts chairman of the Activities and Organizations Board, said the marshalls will be able to recognize and deal with drug overdoses. </div><div>The Department of Public Safety will handle a large part of the concert security. Asst. Director Ken Krakowski said he expects no trouble but that the department will be prepared for anything that might happen. </div><div>Juillerat will be at the concert to make sure that fire exits are clear and that the sound and lighting systems are properly installed and wired. </div><div>Ten Public Safety officers will be in McGaw and 10 off-duty Evanston policemen will be stationed outside. </div><div>Public Safety also has hired eight to 10 Andy Frain ushers to man the doors, Krakowski said. </div><div>Public Safety Director Wayne O. Littrell said the department hired "older, professional" Frains to avoid repetition of problems at last spring's Rod Stewart concert. At that concert, Frains were accused of being armed and of being overly aggressive. </div><div>Littrell said no one but the Evanston policemen would be armed and therefore would only be outside the building. </div><div>The policemen will be responsible for stopping any would-be gate crashers, Littrell said. They will patrol the grounds before the concert, checking that people have tickets. No tickets will be sold at the door. </div><div>Public Safety, under Littrell's direction, will coordinate all concert security. "An outside agency is not going to come in and take over," he said.</div><div><br /></div><div><br /></div><div><i>(The 10/31/73 issue mentions that the Allman Brothers & Marshall Tucker Band will also be playing at Chicago Stadium on Nov 1.)</i></div><div><i><br /></i></div><div><i>(The 11/2/73 issue regretfully notes that "the Wednesday dance marathon had to be cancelled because too few people showed up.")</i></div><div><br /></div><div>*</div><div><br /></div><div>11/1/73</div><div>TODAY IS 'DEAD' DAY</div><div><br /></div><div>Those with purple student tickets for tonight's Grateful Dead Homecoming concert may enter McGaw Hall 15 to 30 minutes before the general public, said Activities and Organizations Board chairman Fred Koplin. </div><div>The student gate is located on the west side of McGaw near the hockey rink and will open at about 5:30 p.m., Koplin said. </div><div>Koplin asked that students arrive early for the concert so that there will not be too big a crowd outside the hall. "We are prepared to open the doors as early as 5:15 p.m.," he said. The concert begins at 7 p.m. and will end at midnight. </div><div>The general public will be admitted at the south gates between 5:45 p.m. and 6 p.m., Koplin said. </div><div>Shuttle buses between McGaw Hall and campus will run continuously from 4:30 p.m. to 7 p.m. today, and will also take concert-goers home after the performance.... </div><div>Ogden Foods will operate the concession stands for the athletic department and will sell hot dogs, cokes, popcorn and other food during the concert.</div><div><br /></div><div>*</div><div><br /></div><div>11/2/73</div><div>WAITING FOR 'DEAD' IN COLD</div><div><i>Rigor Mortis Sets In</i></div><div><br /></div><div>Everyone is cold. Everyone is in the process of getting drunk or high. Everyone is waiting to hear The Grateful Dead. </div><div>The gates won't be open until 5:30, but by 2 p.m. nearly two hundred people, mostly students, are waiting in front of the barricades by McGaw Hall. Some of them had greeted the student marshalls who came on duty at 9 a.m. </div><div>"Are the Dead really worth the wait?" Again and again, shivering figures insist that they are. </div><div>In the center of the crowd, a poker game is going on. Participants range from a girl in the hooded Hare Krishna outfit to a guy with streaks of war paint covering his face. One girl admits that you have to be pretty bored to play cards. "But we've been here for hours and we've only just begun the game." </div><div>A number of people in the crowd sport Halloween masks or fantastic make-up jobs. One girl had painted her face entirely green. "I'm dead," she explains. Around her neck hangs a sign proclaiming that she is also "grateful". </div><div>A rumor persists in the crowd that a guy had driven in from New York hoping to find a ticket; a clear case of misplaced optimism. However, when someone actually arrives with a ticket to be sold, the nameless New Yorker can not be found.</div><div>"There's a feeling of brotherhood among the people waiting," says a female voice from under a parka hood. "We're all dedicated to The Dead." </div><div>There did seem to be a sense of togetherness in the crowd that jammed the McGaw gates Thursday afternoon. Newcomers were absorbed into the crowd's midst and were offered either a drink of wine, a few potato chips, or a Hostess Twinkie. </div><div>Seeing the crowd, a puzzled athletic coach wandered into the midst to find out what was going on. From a hundred mouths came the answer: The Dead.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJz7poxW8HpuUKAh84SYR2oRKvHS-i8OaFjqgTSf98RRM39RYCnQnwuZAWHdPB_AwbKtNxe1hRgfaX9yjKA8dPgH7_1GHK2RiB3j4oZiWFN5e4OxbS1k3cvULBhVbf24CLDfsR2_cxMQOBqD9Cit-ULXcWxnhyphenhyphenMn3QDlwkVgOmzWYjDnXIPRlWmjhFn9yP/s515/11-1-73%20hall.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="515" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJz7poxW8HpuUKAh84SYR2oRKvHS-i8OaFjqgTSf98RRM39RYCnQnwuZAWHdPB_AwbKtNxe1hRgfaX9yjKA8dPgH7_1GHK2RiB3j4oZiWFN5e4OxbS1k3cvULBhVbf24CLDfsR2_cxMQOBqD9Cit-ULXcWxnhyphenhyphenMn3QDlwkVgOmzWYjDnXIPRlWmjhFn9yP/s320/11-1-73%20hall.png" width="320" /></a></div><br /><div><i>(Picture captions: "Students endured cold and rain yesterday as many waited in line for six hours to hear the Grateful Dead. See story on page three about these hardy "Dead Freaks."</i></div><div><i>"As the crowd gathered outside in the bleak weather, preparations were underway in McGaw Hall for what will probably be recorded as the most ya-ya relieving experience of Homecoming 1973.")</i> </div><div><br /></div><div>*</div><div><br /></div><div>11/5/73</div><div>'DEAD' ROCKS MCGAW FOR FOUR HOURS </div><div>(<i>by Pat Broughton</i>)</div><div><br /></div><div>Thursday night's long-awaited Homecoming concert with the Grateful Dead in McGaw Hall was an enjoyable and successful [event], and a tame one, said Fred Koplin, chairman of the Activities and Organizations Board, concert co-sponsor. </div><div>An estimated 9,500 people listened to a four-hour Dead concert which took five months and over $35,000 to organize. </div><div>Koplin reported there were "no hassles at all with security" and Public Safety Director Wayne O. Littrell said he was "impressed with our student body and the way they handled themselves." </div><div>Littrell said he enjoyed the concert and thought it was a "good show in general." </div><div>Chances for future concerts are "real good," Koplin said. "I expect to have at least one more McGaw concert this year." </div><div>The Metro-Help drug rescue team which manned the first aid station reported a very quiet night. They treated five faints and two persons on barbiturates and "directed hundreds of people to the bathrooms." </div><div>Andy Frances of Amazingrace, the other concert co-sponsor, said the concert was "tremendous" and that he thought the Grateful Dead enjoyed it. </div><div>"It was too bad the group didn't do an encore," Frances added. </div><div>One of the Dead production crew said that the Dead did not do an encore because guitarist Bobby Weir was not feeling well. </div><div>An estimated 50 to 100 people bought student tickets for $2 and $3 from local youngsters at the concert.</div><div>Apparently the Jam crew member who was taking tickets at the student door on the west side of McGaw discarded the whole, untorn tickets under the west side bleachers. </div><div>The youngsters picked up the tickets and resold them outside.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0u5-I-GppLn0TXaP_HccO6VgjvtuP-LLuiaQSpN4Qu90JOavj2Tm29dx9mEaimGV5IESLo2PodlzogCEROLJ5Czmg5UL2D5FieDwS7JhoAJvavk_BOGZT8O30DD-0B2JHgdBuDU9Q2ceMVifOOUzX3vqRq7ekEpqRS9t8WevFWLgNQUUrwoV4QdCZmXRC/s1171/11-1-73%20Garcia%20page.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1171" data-original-width="610" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0u5-I-GppLn0TXaP_HccO6VgjvtuP-LLuiaQSpN4Qu90JOavj2Tm29dx9mEaimGV5IESLo2PodlzogCEROLJ5Czmg5UL2D5FieDwS7JhoAJvavk_BOGZT8O30DD-0B2JHgdBuDU9Q2ceMVifOOUzX3vqRq7ekEpqRS9t8WevFWLgNQUUrwoV4QdCZmXRC/s320/11-1-73%20Garcia%20page.jpg" width="167" /></a></div><br /><div>*</div><div><br /></div><div>11/7/73</div><div>DEAD & GONE; A POST MORTEM </div><div>(<i>by Steven Reddicliffe</i>) </div><div><br /></div><div>For Northwestern University students who like the Grateful Dead, the Homecoming concert was all it could have been - a meticulously mellow evening of the Dead at perfection. </div><div>For those who were not predisposed to the Dead, however, the concert was, musically speaking, nothing less than a four-hour bore. </div><div>All the Dead songs anyone would want to hear - "One More Saturday Night," "Uncle John's Band," "Truckin'," "I Know You Rider," "China Cat Sunflower" - were performed flawlessly and Jerry Garcia's lead guitar work often stood out as absolutely brilliant. </div><div>But the Grateful Dead are not showmen and the people who showed up at McGaw to be entertained were sorely disappointed. The Dead said nothing to the audience and fostered the impression that they couldn't care less if there was an attentive audience beyond the brilliant lights. </div><div>Their acute lack of stage presence and apparent disdain for the audience may have bothered few, but their attitude came across as arrogance and tended to reduce the concert to a lifeless and perfunctory performance of tunes that became somewhat indistinguishable as the evening progressed. </div><div>The Dead did their songs as well as they ever have, but it all seemed as if they were merely going through the motions. Their uninspired, insipid version of Kris Kristofferson's "Me and Bobby McGee" typified their seeming bored with doing the show (one of the Dead crewmembers admitted that the band was "kind of down" on Thursday night). </div><div>But despite the band's antipathy towards the audience, their music was as good (or bad, depending on your perspective) as it has always been. After isolating themselves from the sold-out crowd, they played their music just like a recording. For Dead fans, that ability was greatly appreciated. For others, it meant they should have saved $4.50 and heard a few albums in the library listening rooms. </div><div>"One More Saturday Night" rocked just like it did on "Europe '72." So did "I Know You Rider." And so on. </div><div><br /></div><div>Individually, the Dead ranged from sterling to abominable. </div><div>Garcia's guitar soared on "China Cat Sunflower," even with the undisguised borrowing of a major chord progression from Stephen Stills' "Suite: Judy Blue Eyes," but thudded on the vapid "Sugaree." </div><div>Both Garcia and the bassist Phil Lesh handled vocals, most of which were flat and surprisingly audible in the acoustical nightmare of McGaw. </div><div>Keith Godchauz' piano was an excellent complement to the guitar work of Garcia and Bob Weir, especially on the fast rockers, though wife Donna's shrieking vocals could easily have been done without. Bill Kreutzmann's drumming was simply adequate. </div><div><br /></div><div>In spite of the musical variances of Thursday night's concert, the whole scene seemed an apt example of the rock concert as a major cultural event. </div><div>Every faction of the contemporary youth culture was represented - the sorry, starry-eyed groupies; the wealthy pubescent boppers from the North Shore suburbs; the Northwestern students who so dutifully and typically smoked their dope and ingested a variety of pills to enjoy the concert (an occurrence which begs comparison with the High School jocks who got drunk to have a great time at the sock hop); and an amalgam of uncategorizable though common concert-goers. </div><div>When viewed in the context of a cultural phenomenon, the showmanship and music are but one component of the total atmosphere of the concert - a certain kind of euphoria that Northwestern students were at least fortunate to experience.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3o-FuOk6EQwVpF6qllnJKXCHW_4sNzZm4PntFhAHJ0DLvJS9AsnsRD7Vcggyznx3vDWGANBuFnM1yzlNIMiwLPL5QrMTYRPcWelPcZTzbeIy_wAthT1qSjSHhRzyenxE8YogQwl0_YBMNv7cydpJVE5AHbsRLC65sVgjdgmNLTGyECVB_pP2uWYmZtnnA/s1820/11-1-73%20photos.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1450" data-original-width="1820" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3o-FuOk6EQwVpF6qllnJKXCHW_4sNzZm4PntFhAHJ0DLvJS9AsnsRD7Vcggyznx3vDWGANBuFnM1yzlNIMiwLPL5QrMTYRPcWelPcZTzbeIy_wAthT1qSjSHhRzyenxE8YogQwl0_YBMNv7cydpJVE5AHbsRLC65sVgjdgmNLTGyECVB_pP2uWYmZtnnA/s320/11-1-73%20photos.jpg" width="320" /></a></div><div><br /></div><div>*</div><div><br /></div><div>11/7/73</div><div>LOST & FOUND - </div><div>$40 cash reward for information leading to repossession of Bell & Howell cassette tape player, black attache case, personal notes and letters which was stolen at the Grateful Dead concert Nov. 1. Leave message at 328-8929 (Joan).</div><div><br /></div><div>*</div><div><br /></div><div><i>For article images, see:</i></div><div><a href="https://twitter.com/ericrennerbrown/status/1719758403206041664" target="_blank">https://twitter.com/ericrennerbrown/status/1719758403206041664</a></div><div><i>For more photos see:</i> </div><div><a href="https://heads.social/@bourgwick/111338357926573649" target="_blank">https://heads.social/@bourgwick/111338357926573649</a></div><div><br /></div><div><a href="https://archive.org/details/gd1973-11-01.136696.set2.sbd.sirmick.flac16" target="_blank">https://archive.org/details/gd1973-11-01.136696.set2.sbd.sirmick.flac16</a> (<i>a selection was also released on the Wake of the Flood 50th-anniversary edition</i>) </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com4tag:blogger.com,1999:blog-5195590583641426943.post-43974311589932933652023-12-25T04:49:00.000-08:002023-12-25T04:49:27.838-08:001970: Grateful Dead vs. Velvet Underground<div style="text-align: left;"><div>GRATEFUL DEAD: JOURNEY ACROSS ABYSS </div><div><br /></div><div>Of course there has always been the Great Abyss. On this side, concrete, printed circuits, pollution, and human excrement of all sorts. On this side, more is less. The other side of the Abyss is pure energy. No designations, no regimentations; but rather some kind of absolute disorder. "Beware of structure freaks!" says Abbie Hoffman. On the other side of the Abyss even happiness is eclipsed by freedom.</div><div>So we're standing here at the edge of the Abyss. A situation with a lot of potential. (This side is always potential; the other side is kinetic.) But there is this immense guard rail, or wall actually, that reaches nearly to the clouds and outwards to the horizon. And the only way through it appears to be through this barely noticeable pin-hole. </div><div>Which obviously brings us to the subject of rock 'n roll music. 'Cause as any school child knows, rock music conceptualizes and contextualizes everything. And it was rock music that re-discovered the Great Abyss, or at least put it back in the international spotlight where it belongs. (Although Time magazine has somehow neglected to put the Abyss on any of their covers.) </div><div><br /></div><div>Abyss pioneers are few, indeed, due mostly to the dangers of exploring unknown dimensions. The two most successful are the Grateful Dead and the Velvet Underground. </div><div>No doubt, the Grateful Dead are a magic band. Their music transcends planetary identification. It's not (merely) galactic; but truly cosmic. They conjure up enchanting and enticing spells. Their music floats. The Grateful Dead are lighter than air! </div><div>Their new album, "Live-Dead," is a sort of log of their journeys across the Abyss and back again. </div><div><br /></div><div>The Velvet Underground's Abyss expeditions date back two years before other rock explorers. The Velvet Underground definitely do not float. Much too weighty for that. They pound and vibrate, writhing loose and bursting free of any holds. </div><div>No doubt a certain A. Warhol (who produced their first record) helped point them in the right direction. But it was the very weighty psychical consciousness of both guitarist and leader Lou Reed and former bassist John Cale that provided the means. </div><div>Said LeRoi Jones of John Cale's bass playing: "So deep, so satisfying: especially the way it goes thud, thud." </div><div>Unlike the Dead's journal, VU has given us a recording of their actual trip across the Abyss in "Sister Ray," a 17-minute work on their second album, "White Light-White Heat." </div><div><br /></div><div>The Dead and VU use entirely different methods. Where the Dead's music as in the incredibly beautiful "Dark Star" caresses and carries you away, "Sister Ray" by VU lacerates your flesh and rips out your intestines. Where the Dead makes love to you, VU rapes you up and back down again! </div><div>The reason for the differing methods is easy to identify. The Grateful Dead are from San Francisco; the Velvet Underground are from New York. A cultural (coastal) clash - West versus East. Or more precise, Acid versus Heroin. </div><div><br /></div><div>Jerry Garcia, guitarist for the Dead, employs a Magic Surge that cuts through you like a hot knife through butter. On the other hand, Lou Reed's guitar playing smashes you in the face and then gets under your skin as his nervous system explodes and overloads. </div><div>The journey across the Abyss caused a most sterling change in VU as is evidenced by their third and most recent album. Their thunder was replaced by a kind of understatement. This album is exquisite in a simple and subtle way. The Velvet Underground appeared at the Quiet Knight Cafe on West Belmont in January. To hear their new unrecorded compositions such as "New Age" is to know the lessons they learned on the other side of the Abyss. Obviously, the way the VU used to travel was just too demanding. Or maybe on the other side they learned less is more.</div><div><br /></div><div>The Grateful Dead keep going further and further. They have endured longer because their music is primarily emotional, where VU's is more physical. Compositions on "Live-Dead," like "Dark Star" and "The Eleven," continue to carry more and more people across the Abyss. And with every trip, the Dead get stronger and stronger. </div><div>The Abyss, as always, awaits.</div><div><br /></div><div><i>(by Hank Neuberger, from the Daily Northwestern, 20 February 1970)</i> </div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-86353828468954039752023-12-13T11:01:00.000-08:002024-01-31T22:20:56.928-08:00I Know You Rider Lyric Variations <div style="text-align: left;"><div>This page serves as an appendix to my post on <a href="https://deadessays.blogspot.com/2023/12/the-origins-of-i-know-you-rider-1930.html" target="_blank">the origins of 'I Know You Rider.'</a> A few more '60s versions of the song have come to light, and here I've collected all the different lyrics that I could find from that decade. This makes it possible to see how often various verses were used through the records of the '60s (though it's important to remember that many more people played it than recorded it). Folk-singers were free to choose their preferred verses in this song, which led to a wide variety of lyric versions. Sometimes it's possible to see a particular tradition diverging from the rest (like the 'I Love My Baby'>'Circle Round the Sun' lineage). But keep in mind that usually it's not as simple as one performer copying another - the song was so widespread in folk circles by the early '60s, all of these people were aware of multiple versions being sung, and could pick and choose verses from various other singers, the original Lomax text, or even different blues songs.</div><div><br /></div><div>The purpose here is just to easily compare the different versions, so I've shortened the presentation a bit. To avoid too much repetition in these blues verses, I've used "x2" instead of writing all the lines in full (though sometimes there can be minor wording differences between lines). I've also omitted repeated verses: the "I know you rider" verse usually opens & closes each performance, but I just list it once.</div><div><br /></div><div>Compiled with the help of <a href="https://whitegum.com/~acsa/introjs.htm?/~acsa/songfile/I1KNOWYO.HTM" target="_blank">Alex Allan</a> & Eric Levy.</div><div> </div><div>We'll start with the text all later versions were based on: </div><div><br /></div><div><b>'WOMAN BLUE' (JOHN & ALAN LOMAX, 1934)</b></div><div>AMERICAN BALLADS & FOLK SONGS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1ug19z1cuX03cmiYEhHYhSTy-RtnEOybi3B9XAriwpdcMqHgLM9wbEbLs3b3RrmBuIxcUpsYaJ1TlSfWYGQ2-fp9RM2gsJoOtWYwiBi6Ndg7lohZwS8Pqhawtd8dB0Vgn3QoIIFY0DiVEMT7qsmxG_4465mHz1bREy3DiEYm1jEbPsFOP26oVFxBYEo9/s1000/lomax%20-%20american%20ballads.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="680" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1ug19z1cuX03cmiYEhHYhSTy-RtnEOybi3B9XAriwpdcMqHgLM9wbEbLs3b3RrmBuIxcUpsYaJ1TlSfWYGQ2-fp9RM2gsJoOtWYwiBi6Ndg7lohZwS8Pqhawtd8dB0Vgn3QoIIFY0DiVEMT7qsmxG_4465mHz1bREy3DiEYm1jEbPsFOP26oVFxBYEo9/s320/lomax%20-%20american%20ballads.jpg" width="218" /></a></div><div><br /></div><div>I know you, rider, gonna miss me when I'm gone x2</div><div>Gonna miss yo' li'l mama, baby, f'um rollin' in yo' arms</div><div><br /></div><div>I's goin' down de road where I get better care x2</div><div>I b'lieve I'll go, baby, I don' feel welcome here</div><div><br /></div><div>An' I laid right down and tried to take my res' x2</div><div>But my min' kep' ramblin' like the wil' geese in de Wes'</div><div><br /></div><div>Did you ever wake up and fin' yo' rider gone? x2</div><div>Put you on a wonder, wish you never had been bo'n</div><div><br /></div><div>I knows my baby, he's boun' to love me some x2</div><div>He throws his arms aroun' me like a circle 'roun' de sun</div><div><br /></div><div>Jes' as sure as de birds fly in de sky above x2</div><div>Life ain' worth livin', honey, ain' wid de man you love</div><div><br /></div><div>I'm goin' to de river, set down on a log x2</div><div>Ef I can' be yo' woman, sho gonna be yo' dog</div><div><br /></div><div>Take me back, take me back, baby x2</div><div>I won' do nothin' you don' lak, baby</div><div><br /></div><div>I'll cut yo' wood, I'll make yo' fire x2</div><div>I'll tote yo' water f'um de Fresno bar</div><div><br /></div><div>De sun gwine shine in my back do' some day x2</div><div>De win' gwine rise, baby, an' blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>BOB COLTMAN - 'I KNOW YOU RIDER' (c.1957)</b></div><div><i>Not recorded.</i></div><div><i><br /></i></div><div><i>"I got the song in the mid-1950s from the Lomaxes' 1934 American Ballads and Folk Songs... Apparently I was the first to pick it up and sing it, though it had lain around unnoticed in that well-known collection for twenty years... So I resurrected and debuted the song. I followed the tune given in Lomax, roughly but not exactly, changed the song from a woman's to a man's viewpoint, dropped two verses, and was its first arranger, voice and guitar in a heavy drag downbeat, sort of an early folk-rock sound. I sang it a lot in folk circles around Philadelphia, in concerts, around Boston...and around New York State and New England circa 1957-60. I also sang it in the west, in Wyoming...and on the West Coast, especially in San Francisco and Los Angeles, late summer-early fall '59... Tossi Aaron learned the song from me in Philadelphia around 1959. She sang it on her Prestige LP. The song traveled around for years among a few East and West Coast folksingers..."</i></div><div><br /></div><div>I know you rider, gonna miss me when I'm gone x2</div><div>Gonna miss your man, baby, from rollin' in your arms</div><div><br /></div><div>I laid down last night, babe, tried to take my rest x2</div><div>But my mind kept ramblin' like wild geese in the west</div><div><br /></div><div>I know my woman bound to love me some x2</div><div>'Cause she throws her arms round me like a circle round the sun</div><div><br /></div><div>I'm goin' down to the river, set down on a log x2</div><div>If I can't be your man, honey, sure won't be your dog</div><div><br /></div><div>I cut your wood, baby, and I made your fire x2</div><div>I tote' your liquor babe, from the Fresno Bar</div><div><br /></div><div>Just as sure as the birds fly high in the sky above x2</div><div>Life ain't worth livin' if you ain't with the one you love</div><div><br /></div><div>I'm goin' down the road, get some better care x2</div><div>I'm goin' back to my used-to-be rider, for I don't feel welcome here</div><div><br /></div><div>Sun gonna shine in my back door some day x2</div><div>Wind gonna rise up, blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>HARRY TUFT - 'I KNOW YOU RIDER' (c. 1958)</b> </div><div><i>Not recorded.</i></div><div><br /></div><div><i>"I learned it from Bob Coltman from a tape made at a party at my home outside Philadelphia in the summer of 1958. Bob and I were classmates at Dartmouth and met through the folksong club there. I sang it around Philadelphia, taught it to Tossi Aaron, and when journeying to New York I met Karen Dalton [and] taught it to her. Then I taught it to John Phillips at the time when the Journeymen were forming... In Colorado I taught it to Judy Roderick, who adapted it and combined it with another blues song with similar lyrics."</i></div><div><br /></div><div>I know you rider, gonna miss me when I'm gone x2</div><div>Gonna miss your man, baby, from rollin' in your arms</div><div><br /></div><div>I laid down last night, babe, tried to take my rest x2</div><div>But my mind kept ramblin' like wild geese in the west</div><div><br /></div><div>Loving you baby is just as easy as rolling off a log x2</div><div>If I can't be your man, I'm sure gonna be your dog</div><div><br /></div><div>I'll cut your wood, baby, I'll tend your fire x2</div><div>I tote your water, babe, from the Fresno Bar</div><div><br /></div><div>I'm going down to the river, set in my rocking chair x2</div><div>If the blues don't get me, gonna rock all away from here</div><div><br /></div><div>The sun's gonna shine in my back door some day x2</div><div>The wind's gonna rise up, blow all my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>JOAN BAEZ - <a href="https://www.youtube.com/watch?v=lbVtL_SNLa4" target="_blank">'I KNOW YOU RIDER' (1960)</a></b> </div><div><i>Unreleased.</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcoNgTQHbpIPDFZwp-od4RPAfl_7h-3N6f-7MWK3rAZ7_KVadb81_ZY2JMNIoYiAdPco7jaxEGeS1EXl1Zg2hvkb2alDOHEkt2gta1-ozQcSA2BMIfn7PMAt9-3oF-8B3dBc3NJKWfiST3DcP6PxWhvXLdtFN8vW63w93LJOh4kzYanJPoqT8zmsxmoU46/s240/joan%20baez.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcoNgTQHbpIPDFZwp-od4RPAfl_7h-3N6f-7MWK3rAZ7_KVadb81_ZY2JMNIoYiAdPco7jaxEGeS1EXl1Zg2hvkb2alDOHEkt2gta1-ozQcSA2BMIfn7PMAt9-3oF-8B3dBc3NJKWfiST3DcP6PxWhvXLdtFN8vW63w93LJOh4kzYanJPoqT8zmsxmoU46/s1600/joan%20baez.png" width="240" /></a></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your pretty mama from rollin' in your arms</div><div><br /></div><div>I love you rider and I know you must love me some x2</div><div>You put your arms around me like a circle 'round the sun</div><div><br /></div><div>I lay down last night and I tried to take my rest x2</div><div>My heart was ramblin' like wild geese in the west</div><div><br /></div><div>I'm goin' to the river, I'm gonna sit down on the log x2</div><div>If I can't be your honey, well I'll sure gonna be your dog</div><div><br /></div><div>Sun's gonna shine in my back yard someday x2</div><div>The west wind's gonna rise up and blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>TOSSI AARON - <a href="https://www.youtube.com/watch?v=vBiiH2fqE24" target="_blank">'I KNOW YOU RIDER' (1961)</a></b> </div><div>TOSSI SINGS FOLK SONGS AND BALLADS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2tMuDMXiGImKwE435Wqc90TCaAZYfxOIc1s9OQlNXmc6SrWpmNuwKj1VezkIMlYAG2fwdwCto_2LBCvyXyjMbHUUCpBu-UmRxWwfDzJ1zchGQl8atkwIeiGXOOamMkdNZmEeXqenVh0y-QBXN7esAP-94j3k5POuQ0WgTOYLHtKKeWQDDBzX1lM3Gg4rW/s910/tossi%20aaron%20-%20folk%20songs%20and%20ballads.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="910" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2tMuDMXiGImKwE435Wqc90TCaAZYfxOIc1s9OQlNXmc6SrWpmNuwKj1VezkIMlYAG2fwdwCto_2LBCvyXyjMbHUUCpBu-UmRxWwfDzJ1zchGQl8atkwIeiGXOOamMkdNZmEeXqenVh0y-QBXN7esAP-94j3k5POuQ0WgTOYLHtKKeWQDDBzX1lM3Gg4rW/s320/tossi%20aaron%20-%20folk%20songs%20and%20ballads.jpg" width="316" /></a></div><div><br /></div><div>Well I know you rider, you're gonna miss me when I'm gone x2</div><div>Gonna miss your ever-loving mama from rolling in your arms</div><div><br /></div><div>Well I'm going down the road where I can get more decent care x2</div><div>Going back to my used-to-be rider 'cause I don't feel welcome here</div><div><br /></div><div>Just as sure as the birds fly, fly in in the sky above x2</div><div>Life ain't worth living when you ain't with the one you love</div><div><br /></div><div>But the sun's gonna shine in my back yard someday x2</div><div>And the wind's gonna rise up, and blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>ESTHER HALPERN - <a href="https://drive.google.com/file/d/1WzJ6jKIAvSKtUbH6YihhcjzOXWiMPKGf/view?usp=sharing" target="_blank">'I KNOW YOU RIDER' (1962)</a></b> </div><div>ESTHER HALPERN SINGS FROM THE GILDED CAGE</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp6h7xBXHroMsgT7o7S7Bt6q4uNW3kmlPKIGJ7mKFPJzUCyYU8onsw-_gPaV4jtXf3fAqA-bCmhIIAC2AKduCUY1rOlJtc6-CHYHBTnne4Hjp9PkR9JcqLp01-VDlX3elkvnWBd3TaQzDfcRn1RpSP7PWdhBGYjcs6w4TdZ3A_9qvcJhm4C_i5sudpvaCx/s240/esthern%20halpern%20-%20gilded%20cage.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="238" data-original-width="240" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp6h7xBXHroMsgT7o7S7Bt6q4uNW3kmlPKIGJ7mKFPJzUCyYU8onsw-_gPaV4jtXf3fAqA-bCmhIIAC2AKduCUY1rOlJtc6-CHYHBTnne4Hjp9PkR9JcqLp01-VDlX3elkvnWBd3TaQzDfcRn1RpSP7PWdhBGYjcs6w4TdZ3A_9qvcJhm4C_i5sudpvaCx/s1600/esthern%20halpern%20-%20gilded%20cage.png" width="240" /></a><span style="text-align: left;"> </span></div><div><br /></div><div><div><i>Esther Halpern & Tossi Aaron were both founder members of the Philadelphia Folksong Society, but Esther's version of the song was different from Tossi's. Alex Allan writes: "The lyrics aren't copied from Tossi Aaron - in fact they seem to take bits of previous versions. So presumably she learnt it from someone else or put it together from different versions she heard. She opened the Gilded Cage, a coffee house/music venue, in 1956 and started the Philadelphia Folksong Society in 1957, so lots of people may have played it there. The brief note on the CD ascribes it to Alan Lomax, and all the verses she sings are in the Lomax version, but with some variations."</i></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>You're gonna miss your ever-loving' mama from rolling in your arms</div><div><br /></div><div>I'm going to the river, gonna sit down on a log x2</div><div>If I can't be your woman, at least I can be your dog</div><div><br /></div><div>I'll cut your wood and baby I'll make your fire x2</div><div>And I will tote your whiskey clear from the Fresno Bar</div><div><br /></div><div>The sun's gonna shine in my back yard some day x2</div><div>And the wind's gonna rise and blow my blues away</div></div><div><br /></div><div>*</div><div><br /></div><div><b>DAVID GUDE - <a href="https://drive.google.com/file/d/1nirrGJcCVGNn094pRCQJXfTXwHStFMGi/view?usp=sharing" target="_blank">'I LOVE MY BABY' (1962)</a></b> </div><div>NEW FOLKS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfYNTamPYoPTrzxSc2wYKNemSu4DKwGX9ZP6LZ9nvM26Nd2UR7XC-iWltT5lRtVqZNBVUigM2oM7NbTF0J8uUct62iToUZIXA0HLGdPVoa3dq8TaHkQgBCdeK2SoFpDBnTeqo19NngD6L4sojVhURucp0rbcQB3oyeuJTrky7JLmSeVe5OyFe4afY9fHiJ/s600/dave%20gude%20-%20new%20folks.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfYNTamPYoPTrzxSc2wYKNemSu4DKwGX9ZP6LZ9nvM26Nd2UR7XC-iWltT5lRtVqZNBVUigM2oM7NbTF0J8uUct62iToUZIXA0HLGdPVoa3dq8TaHkQgBCdeK2SoFpDBnTeqo19NngD6L4sojVhURucp0rbcQB3oyeuJTrky7JLmSeVe5OyFe4afY9fHiJ/s320/dave%20gude%20-%20new%20folks.jpg" width="320" /></a></div><div> </div><div><i>Eric Levy writes: "It's strikingly similar to Joan Baez's rendition. The liner notes to NEW FOLKS explain that Gude and Baez were friends and even collaborators at the time, so it's a safe bet he learned the song from her even though hers wasn't released at the time."</i></div><div><br /></div><div>I love my baby, and she's bound to love me some x2 </div><div>She throws her arms around me like a circle round the sun</div><div><br /></div><div>I lay down last night, trying to take my rest x2 </div><div>But my heart was meandering like wild geese in the west</div><div><br /></div><div>I know that sun's gonna rise in my back yard someday x2</div><div>And the wind's gonna rise up and blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>MARTHA GERENBECK - <a href="https://drive.google.com/file/d/1apu0NVQLvS-x8L-qUzmCBwE3EdDgC3W2/view?usp=sharing" target="_blank">'I KNOW YOU RIDER' (1963)</a></b> </div><div>GREEN TREES AND BLUE WATER</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aRFXs1jL1XJUFyQ4bAjoGPYF2EYr0I8HgMtyKtIrRgBEVy2T6VTrRG5IjbUITHFaCWkJO7VunigQ0UPTj4HWtf-l2mxuu8JkLM-eyzv2fTkCCsOwNq10ftBJiNTPQ3uStQG-9fyQD7hkTuMWUoXHwdULLc9tvtb3F63czrlzDBst4ZNt67enxLNnS0gj/s600/martha%20gerenbeck%20-%20green%20trees.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aRFXs1jL1XJUFyQ4bAjoGPYF2EYr0I8HgMtyKtIrRgBEVy2T6VTrRG5IjbUITHFaCWkJO7VunigQ0UPTj4HWtf-l2mxuu8JkLM-eyzv2fTkCCsOwNq10ftBJiNTPQ3uStQG-9fyQD7hkTuMWUoXHwdULLc9tvtb3F63czrlzDBst4ZNt67enxLNnS0gj/s320/martha%20gerenbeck%20-%20green%20trees.jpg" width="320" /></a></div><div> </div><div><i>Martha: "I learned the major portion of I KNOW YOU RIDER from Davy Gude's version on a record called 'New Folks'. The next to last verse I heard done by Judy Collins on a radio program and madly took down the words because it appeals to me more than the others. I heard Bonnie Dobson sing the last verse on my first visit to the Second Fret last summer."</i></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your pretty mama from rollin' in your arms</div><div><br /></div><div>I love my baby and he's bound to love me some x2</div><div>He throws his arms around me like a circle around the sun</div><div><br /></div><div>I know that sun gonna shine in my back yard someday x2 </div><div>And the wind's gonna rise up and blow all my blues away </div><div><br /></div><div>I'm going down to the river and sit down on a log x2 </div><div>If I can't be your woman, at least I can be your dog</div><div><br /></div><div>I love my rider, God almighty knows x2</div><div>I'm gonna follow my rider wherever he goes</div><div><br /></div><div>*</div><div><br /></div><div><b>JUDY HENSKE - <a href="https://www.youtube.com/watch?v=ngfuZ7Lyid0" target="_blank">'I KNOW YOU RIDER' (1963)</a></b></div><div>JUDY HENSKE</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKo2X-pxxqbWrdBBT_fFkvP2yjt_6iY_bj0c6YaBOiBSttMyHNZu4-ADbTtf9hLZP4NE64-euuSGJAQSx_mss8ffB2B_Q5BOrtDDfMf_3CB_1D1ZWPOV8qAwru-FcDNMUZX4J44a9GnTZb84yIqW0TQbtlXiDBZwyxavhatd7osMMwlGy_f4s7eSrCi9Y/s242/judy%20henske.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="242" data-original-width="240" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKo2X-pxxqbWrdBBT_fFkvP2yjt_6iY_bj0c6YaBOiBSttMyHNZu4-ADbTtf9hLZP4NE64-euuSGJAQSx_mss8ffB2B_Q5BOrtDDfMf_3CB_1D1ZWPOV8qAwru-FcDNMUZX4J44a9GnTZb84yIqW0TQbtlXiDBZwyxavhatd7osMMwlGy_f4s7eSrCi9Y/s1600/judy%20henske.png" width="240" /></a></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your sweet-lovin' woman rollin' in your arms</div><div><br /></div><div>Well the sun gonna shine 'round my back door some day x2</div><div>And the wind from the river's gonna blow my blues away</div><div><br /></div><div>It takes a red-headed man make a long-time woman feel bad x2</div><div>Oh it makes me remember 'bout that long slow rollin' I had</div><div><br /></div><div>*</div><div><br /></div><div><b>THE KINGSTON TRIO - <a href="https://www.youtube.com/watch?v=XoM69rZEaIk" target="_blank">'RIDER' (1963)</a></b></div><div>SUNNY SIDE!</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEI5d_1POUXuvNUYZvLxft5lRc-ot96ZbFHKFXXfov5vkask9gmWfg1NU5icT8ILDlIn3H9SNa59mHMitts_lsVFc0e5k-ghis8zJIwZQpge_ni8gZ4_-UR3VX0sDuMnjjY2PozGnxBkDhYUX4mVU5Xn4dxwg-Y9zuItDE4D2Siaee_WC6dD8x3RsqKrlo/s241/kingston%20trio%20-%20sunny%20side.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="241" data-original-width="240" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEI5d_1POUXuvNUYZvLxft5lRc-ot96ZbFHKFXXfov5vkask9gmWfg1NU5icT8ILDlIn3H9SNa59mHMitts_lsVFc0e5k-ghis8zJIwZQpge_ni8gZ4_-UR3VX0sDuMnjjY2PozGnxBkDhYUX4mVU5Xn4dxwg-Y9zuItDE4D2Siaee_WC6dD8x3RsqKrlo/s1600/kingston%20trio%20-%20sunny%20side.png" width="240" /></a></div><div><br /></div><div>Well I know you rider gonna miss me when I'm gone x2</div><div>You're gonna miss your daddy rollin' in your arms</div><div><br /></div><div>Well, the sun's gonna shine on my back door some day x2</div><div>Then the wind from the river gonna blow all my troubles away</div><div><br /></div><div>Well, I ain't got a nickel, no, I ain't got a lousy dime x2</div><div>But I got a long way to go 'fore the end of my time</div><div><br /></div><div>It takes a hard hearted woman make a long time man feel bad x2</div><div>'Cause it makes him remember the long hard road that he's had</div><div><br /></div><div>*</div><div><br /></div><div><b>THE BIG 3 - <a href="https://www.youtube.com/watch?v=Ith4vkf-5EY" target="_blank">'RIDER' (1963)</a></b></div><div>3</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFpn5jjAInDJog6p5n0yUluAuQsP6thdh93aK1IVYvsXWfB5ad9MfNTgjO5W6azAkze7hVIEY0480JrIndqucoyzcxB9iBNbU_pjQ1Sc4k5_do50IZIc6-uPfGr4Wv_etvoyBWSTrFJvGdi8AkR-cS73MNEZRUQ5fsWwJWK0fdejBnQ1X7IitL10p5i5Bt/s600/big%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="600" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFpn5jjAInDJog6p5n0yUluAuQsP6thdh93aK1IVYvsXWfB5ad9MfNTgjO5W6azAkze7hVIEY0480JrIndqucoyzcxB9iBNbU_pjQ1Sc4k5_do50IZIc6-uPfGr4Wv_etvoyBWSTrFJvGdi8AkR-cS73MNEZRUQ5fsWwJWK0fdejBnQ1X7IitL10p5i5Bt/s320/big%203.jpg" width="320" /></a></div><div><br /></div><div><br /></div><div>I know my rider gonna miss me when I'm gone x2</div><div>I know she's gonna miss me from rolling in her arms</div><div><br /></div><div>Well did you ever wake up and find your rider gone? x2</div><div>Well put you on a wonder and wish you'd never been born</div><div><br /></div><div>Sun's gonna shine in my back door some day x2</div><div>Wind's gonna rise and blow my blues away</div><div><br /></div><div>I'll build your fire, you know I'll cut your logs x2</div><div>I'll be a loving baby but I ain't gonna be your dog</div><div><br /></div><div>Well dawn's coming early, night's gonna fade away x2</div><div>Ever see your rider coming, baby, 'bout the break of day</div><div><br /></div><div>*</div><div><br /></div><div><b>THE OUTSIDERS</b> (Joel Cory & George McKelvey) - <b><a href="https://drive.google.com/file/d/1Pv5H-cbJp02Pq21ADEL3tVLoeCXlklbL/view?usp=sharing" target="_blank">'GONNA MISS YOUR LOVIN' PAPA' (1963)</a></b> </div><div>CHEER ME UP LADS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDIMXqAU79lwZVDKTfoeulrZL8ivvpBfRGy9cIcq2nEOTlsYPc10pPW0Z3KrQ1Yz8ILC-Q9duqtHroqa0xJxeoL3zuaFOeAAM5mRVqBjuOP5pCTneYNu3iVjFXpsj9bmBiZlfc5yNmydx7izZGKp-9PUbQs4hTAjL6BflBAXjRlItq_1NEmD16oMtNJ_K/s300/outsiders%20-%20cheer%20me%20up%20lads.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDIMXqAU79lwZVDKTfoeulrZL8ivvpBfRGy9cIcq2nEOTlsYPc10pPW0Z3KrQ1Yz8ILC-Q9duqtHroqa0xJxeoL3zuaFOeAAM5mRVqBjuOP5pCTneYNu3iVjFXpsj9bmBiZlfc5yNmydx7izZGKp-9PUbQs4hTAjL6BflBAXjRlItq_1NEmD16oMtNJ_K/s1600/outsiders%20-%20cheer%20me%20up%20lads.jpg" width="300" /></a></div><div><br /></div><div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your lovin' papa from rolling in your arms</div><div><br /></div><div>I laid right down and I tried to take my rest x2</div><div>But my mind kept a-rambling like the wild geese in the west</div><div><br /></div><div>I know my baby and she's bound to love me some x2</div><div>She put her lovin' arms around me like a circle round the sun</div><div><br /></div><div>The sun's gonna shine in my back door someday x2</div><div>The wind's gonna rise and blow my blues away</div></div><div><br /></div><div>*</div><div><br /></div><div><b>SERENDIPITY SINGERS - <a href="https://youtu.be/cEsX8krviM4?t=1481" target="_blank">'RIDER' (1964)</a></b> </div><div>TAKE YOUR SHOES OFF</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqlnMqqm7cBdlPROKQcmxa-d6G7RrzcRL-tgllz8S3e28KlQlFl_aAmBBiC3eQGgpzd5miYU6iqHub8xknR99E0-ZHTARu7XXCa2u-ldHIruBDch6zk8u3LCehaBjhAT95bYq7HuQoECVZLsJflxLgOQ05XB4tG1LHB59OyXac-_ubvB5D_ob19G1i8ZL/s225/serendipity%20singers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqlnMqqm7cBdlPROKQcmxa-d6G7RrzcRL-tgllz8S3e28KlQlFl_aAmBBiC3eQGgpzd5miYU6iqHub8xknR99E0-ZHTARu7XXCa2u-ldHIruBDch6zk8u3LCehaBjhAT95bYq7HuQoECVZLsJflxLgOQ05XB4tG1LHB59OyXac-_ubvB5D_ob19G1i8ZL/s1600/serendipity%20singers.jpg" width="225" /></a></div><div><br /></div><div>I know my rider gonna miss me when I'm gone x2</div><div>I know he's gonna miss me from rolling in his arms</div><div><br /></div><div>Did you ever wake up and find your rider gone x2</div><div>Well it puts you on a wonder and you wish you'd never been born</div><div><br /></div><div>Well you ain't got a nickel and you ain't got a lousy dime x2</div><div>But when you see your rider coming, baby, then that sun will shine</div><div><br /></div><div>Yeah the sun's gonna shine in my back door someday x2</div><div>Wind's gonna rise and blow my blues away</div><div><br /></div><div>Well the dawn's coming early, night will fade away x2</div><div>When you see your rider comin' baby, 'bout the break of day</div><div><br /></div><div>*</div><div><br /></div><div><b>VINCE MARTIN & FRED NEIL - <a href="https://www.youtube.com/watch?v=hUOwVmf65o8" target="_blank">'I KNOW YOU RIDER' (1964)</a></b></div><div>TEAR DOWN THE WALLS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZwraJaBeLg1-3NYybF2Q7PrzR0IHNbhpAd_lOWM2g8k0iw6_qwGJxyPuYXfoHOQWRcHjmN5hhyphenhyphenazWcCRGZSGJirQWnXNr7jWkG0txEnxn_gH1QEy7erPni7P20EqMEYdBvAbcNzMEyTzbNiPCZ1nCuPJ0ip_pIcuFv5QELfY-nmOE7vREJZwQ0OjazsLa/s300/martin-neil%20-%20tear%20down%20the%20walls.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="290" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZwraJaBeLg1-3NYybF2Q7PrzR0IHNbhpAd_lOWM2g8k0iw6_qwGJxyPuYXfoHOQWRcHjmN5hhyphenhyphenazWcCRGZSGJirQWnXNr7jWkG0txEnxn_gH1QEy7erPni7P20EqMEYdBvAbcNzMEyTzbNiPCZ1nCuPJ0ip_pIcuFv5QELfY-nmOE7vREJZwQ0OjazsLa/s1600/martin-neil%20-%20tear%20down%20the%20walls.jpg" width="290" /></a></div><div><br /></div><div>I say I know you rider miss me when I'm gone x2</div><div>Won't have nobody now mama, roll 'round in your sweet lovin' arms</div><div><br /></div><div>Lovin' you baby, easy as fallin' off a log x2</div><div>I can't make love to you, mama, ain't gonna hang around and be your dirty dog</div><div><br /></div><div>Early one mornin' rider and it won't be long x2</div><div>You're gonna call my name now baby, sweet lovin' daddy gonna be long gone</div><div><br /></div><div>*</div><div><br /></div><div><b>GALE GARNETT - <a href="https://www.youtube.com/watch?v=G5etHTC-3jo" target="_blank">'I KNOW YOU RIDER' (1964)</a></b></div><div>MY KIND OF FOLK SONGS</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVYZApDqQs1qhcaxwq-imOM676znLlaLvpTP5eW_GNFpzQ97eHOun0yHYXhIdZBJfKc6AuGBX0mZUEBQi0vIHjpmhaTzgV4ij7W555anzxqXjxGI9A5V3VFGUun54GWc0XJAOnpT7o-sJswDo3FOIHUjbQYZQTQ79UCO7atYg5-LKCwwpXyuuMNb9r5fVT/s240/gale%20garnett%20-%20my%20kind%20of%20folk%20songs.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="240" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVYZApDqQs1qhcaxwq-imOM676znLlaLvpTP5eW_GNFpzQ97eHOun0yHYXhIdZBJfKc6AuGBX0mZUEBQi0vIHjpmhaTzgV4ij7W555anzxqXjxGI9A5V3VFGUun54GWc0XJAOnpT7o-sJswDo3FOIHUjbQYZQTQ79UCO7atYg5-LKCwwpXyuuMNb9r5fVT/s1600/gale%20garnett%20-%20my%20kind%20of%20folk%20songs.png" width="240" /></a></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your lovin' mama rolling in your arms</div><div><br /></div><div>One of these mornings, rider it won't be long x2</div><div>You're gonna call my name but I will be long gone</div><div><br /></div><div>Go to the river, take 'long my rocking chair x2</div><div>If the blues don't overtake me, gonna rock away from here</div><div><br /></div><div><i>(Gale Garnett also recorded <a href="https://www.youtube.com/watch?v=wZLihwnorSU" target="_blank">a version in French, "Mon plus beau rêve,"</a> released on a single & EP in France in 1965!)</i></div><div><br /></div><div>*</div><div><br /></div><div><b>CAROL HEDIN - <a href="https://drive.google.com/file/d/1xjMNMle5nGcDhlnDgV9ZK4NFsVnabg-L/view?usp=sharing" target="_blank">'I KNOW YOU RIDER' (1964)</a></b> </div><div>DEVIL TAKE ME WITH YOU</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZz2gVuztNOudX94TDRenuUuUUu83Yv1rt5tjX1YdKotcoVr80wMCdYhkvkHptb4KFMBEb5PbXk76FldJ5oI-QzWP-yUtHyDFTAZt4MFD3nmY5U8KsSZVDYd84_AQEaTuPRcpyHxJpjdD6fxkA67v2Yi8gVxCqumThki1A-mBxmUf4VaYF7fwsosr0naF/s240/carol%20hedin%20-%20devil%20take%20me%20with%20you.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZz2gVuztNOudX94TDRenuUuUUu83Yv1rt5tjX1YdKotcoVr80wMCdYhkvkHptb4KFMBEb5PbXk76FldJ5oI-QzWP-yUtHyDFTAZt4MFD3nmY5U8KsSZVDYd84_AQEaTuPRcpyHxJpjdD6fxkA67v2Yi8gVxCqumThki1A-mBxmUf4VaYF7fwsosr0naF/s1600/carol%20hedin%20-%20devil%20take%20me%20with%20you.png" width="240" /></a></div><div><br /></div><div><i>Mostly patterned from Tossi Aaron's version, but with a unique last verse</i>.</div><div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your ever-lovin' mama from rolling in your arms</div><div><br /></div><div>I'm going down the road where I can get more decent care x2</div><div>Going back to my used-to-be rider 'cause I don't feel welcome here</div><div><br /></div><div>Just as sure as the birds they fly in the sky above x2</div><div>Life ain't worth living when you're not with the one you love</div><div><br /></div><div>Well it's been good times baby but there's better down the road x2</div><div>You taught my heart more blues Lord than it ever known</div><div><br /></div><div>I know, I know you rider...</div></div><div><br /></div><div>*</div><div><br /></div><div><b>ALICE STUART - <a href="https://www.youtube.com/watch?v=nYlY4BFIkfI" target="_blank">'WOMAN BLUE' (1964)</a></b></div><div>ALL THE GOOD TIMES</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgySYce6gSHuT0opRxfK9nSm8Ky0cTVfgq1RHeg-pEFrGCDEehTD3yB2Z4hIJgoptYNpBbHE3ZiYyrHK0e_E_kriVYEnZm_besQnhjaW1Fy_MV-9_cVmyf0xv9Ax_juF1EQQ4u6hwvtBIwM9k-5cdl-6oQLNSagfOeoUrIXKCzvkEPUGvh1LSQMvQb67STi/s1200/alice%20stuart%20-%20all%20the%20good%20times.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgySYce6gSHuT0opRxfK9nSm8Ky0cTVfgq1RHeg-pEFrGCDEehTD3yB2Z4hIJgoptYNpBbHE3ZiYyrHK0e_E_kriVYEnZm_besQnhjaW1Fy_MV-9_cVmyf0xv9Ax_juF1EQQ4u6hwvtBIwM9k-5cdl-6oQLNSagfOeoUrIXKCzvkEPUGvh1LSQMvQb67STi/s320/alice%20stuart%20-%20all%20the%20good%20times.jpg" width="320" /></a></div><div><br /></div><div>You know you rider miss me when I'm gone x2</div><div>You're gonna miss your loving woman rolling in your sweet baby's arms</div><div><br /></div><div>I'm going down the river, I'm floating on a log x2</div><div>Singing if I can't be your woman, I'm gonna be your dog</div><div><br /></div><div>But I'll wash your clothes and baby I'll tend your farm x2</div><div>I'll even haul your whiskey down, down from the Fresno barn</div><div><br /></div><div>If you're ever gonna love me, daddy now's the time to start x2</div><div>You ain't done nothing yet baby but just break a sweet woman's heart</div><div><br /></div><div>Now I've got good loving baby, you take it if you think you can x2</div><div>I tell you I've got the best baby if you'll just be my man</div><div><br /></div><div>I love you baby, I'm not too good with words </div><div>I love you baby, words don't come too good to me </div><div>Just by the way I'm asking, oh rider can you see</div><div><br /></div><div>Well the sun gonna shine in my back yard someday x2 </div><div>Chilly wind gonna blow baby, blow all my blues away</div><div><br /></div><div>And I say rider, you miss me when I'm gone</div><div>Oh please tell me rider gonna miss me when I'm gone</div><div><br /></div><div>*</div><div><br /></div><div><b>JUDY RODERICK - <a href="https://www.youtube.com/watch?v=sR6PDn2bTVU" target="_blank">'WOMAN BLUE' (1965)</a></b></div><div>WOMAN BLUE</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3XJQnYyGPnLekgNurTza2gj4gngrZUn-nBLsCyYoLgTe8LtvaV6cCzWgDOhT5CjzjJqJI2-jsYNDB8zV5w6q4mJtj_WQcGKzrLFtD5KvUTB0bRVLuoajDFeYWQ6zfNd5ULjnaKkoOzYnwNi_lYXbW4W9zp9TKJRs_ByawB7s6XWA8WX1gMsTEElHJfPNi/s600/judy%20roderick%20-%20woman%20blue.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3XJQnYyGPnLekgNurTza2gj4gngrZUn-nBLsCyYoLgTe8LtvaV6cCzWgDOhT5CjzjJqJI2-jsYNDB8zV5w6q4mJtj_WQcGKzrLFtD5KvUTB0bRVLuoajDFeYWQ6zfNd5ULjnaKkoOzYnwNi_lYXbW4W9zp9TKJRs_ByawB7s6XWA8WX1gMsTEElHJfPNi/w317-h320/judy%20roderick%20-%20woman%20blue.jpg" width="317" /></a></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Miss your loving woman from rolling in your arms</div><div><br /></div><div>Loving you baby is as easy as falling off a log x2</div><div>[If] I can't be your woman, baby I'll be your dog</div><div><br /></div><div>I'd cut your wood and baby I'd tend your fire x2</div><div>I'd even haul your whiskey up from Fresno bar</div><div><br /></div><div>I lay down and I tried to take my rest x2</div><div>My mind it keeps rambling like wild geese in the west</div><div><br /></div><div>Sun's gonna shine on my back door someday x2</div><div>Wind is gonna rise, gonna blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>JIM & JEAN - <a href="https://www.youtube.com/watch?v=Rg-XE-3vkj0" target="_blank">'RIDER' (1965)</a></b> </div><div>JIM & JEAN</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgttiT4xsDKJ_f6xYijZ6w0ttF2Tte7EtPDq6-epGMa21YZAfrmMGlNl8zI7u8gu9qdFYNbht4z9rYMc6MU5_b4ttDOJu4sZZ2g-TfVPwdkppCuvHoYY8SrFld1IBDWRpfTQho4n9NKlJqPRJSQtxtLvpXYJvXUiZRuZLjpFzLfIwXGCPPp9vaYhlH1fQ9J/s240/jim%20and%20jean.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgttiT4xsDKJ_f6xYijZ6w0ttF2Tte7EtPDq6-epGMa21YZAfrmMGlNl8zI7u8gu9qdFYNbht4z9rYMc6MU5_b4ttDOJu4sZZ2g-TfVPwdkppCuvHoYY8SrFld1IBDWRpfTQho4n9NKlJqPRJSQtxtLvpXYJvXUiZRuZLjpFzLfIwXGCPPp9vaYhlH1fQ9J/s1600/jim%20and%20jean.png" width="240" /></a></div><div> </div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your sweet lovin' baby rolling in your arms</div><div><br /></div><div>It takes a brown-headed woman to make a long-time man feel bad x2</div><div>And to make him remember all the long slow rollin' that he had</div><div><br /></div><div>Loving you baby, easy as falling off a log x2</div><div>If I can't be your woman, let me be your dog</div><div><br /></div><div>The sun's gonna shine round my back door someday x2</div><div>The wind on the river's gonna blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>GRATEFUL DEAD - <a href="https://archive.org/details/gd1966-09-16.sbd.davenport.95970.flac16/gd66-09-16t01.flac" target="_blank">'I KNOW YOU RIDER' (1966)</a></b> </div><div><i>Live & unreleased until 1970</i>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn1oo6xspwiMFq6_XHLcKcaFdkqLbkbxuZyVswF0SgaNGQkaCXwG-XOcg50DCa6JTeSweFkPnjMj3PGDEOXgGh-ezmV3TNqhRf8BpYMH82BUPuGiqsCysVl-WEBYK847nFU7oVm_YFF-4AtSYX9SV5sEzA_-HUu_mk9_Xy-XpVlqIn9v75lOl_r1zfKSv/s301/Grateful_Dead_-_Vintage_Dead.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="301" data-original-width="300" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyn1oo6xspwiMFq6_XHLcKcaFdkqLbkbxuZyVswF0SgaNGQkaCXwG-XOcg50DCa6JTeSweFkPnjMj3PGDEOXgGh-ezmV3TNqhRf8BpYMH82BUPuGiqsCysVl-WEBYK847nFU7oVm_YFF-4AtSYX9SV5sEzA_-HUu_mk9_Xy-XpVlqIn9v75lOl_r1zfKSv/s1600/Grateful_Dead_-_Vintage_Dead.jpg" width="300" /></a></div><div><br /></div><div>I know you rider gonna miss me when I'm gone x2</div><div>Gonna miss your baby from rolling in your arms</div><div><br /></div><div>Lay down last night, lord I could not take my rest x2</div><div>My mind was wandering like the wild geese in the west</div><div><br /></div><div>I wish I was a headlight on a northbound train x2</div><div>I'd shine my light through the cool Colorado rain</div><div><br /></div><div>I'd drink muddy water, sleep in a hollow log x2</div><div>Than stay here in Frisco, be treated like a dog</div><div><br /></div><div>The sun will shine in my back door someday x2</div><div>March winds will blow all my troubles away</div><div><br /></div><div>*</div><div><br /></div><div><b>THE BYRDS - <a href="https://www.youtube.com/watch?v=XQFNLFnErFE" target="_blank">'I KNOW MY RIDER' (1966)</a></b></div><div><i>Unreleased</i>.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1m9QcN-AfqsCJEd8w14h4tTqu0sXl9FWXfmxh7nZRZoqIcub0xLR2NUl6olj2HRNRiJEAWYESlPAt8T3x9ktgTvuzthZ90fvMjheKaQQt0azoiPhVASyqUXvAYqA6_mWY6oPm2QGYj7YfOaSo7F3YIHhWE1ofXH7phH-YUVA4_JS2VohPZeDX9xRrYg8z/s240/byrds%20-%20fifth%20dimension.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1m9QcN-AfqsCJEd8w14h4tTqu0sXl9FWXfmxh7nZRZoqIcub0xLR2NUl6olj2HRNRiJEAWYESlPAt8T3x9ktgTvuzthZ90fvMjheKaQQt0azoiPhVASyqUXvAYqA6_mWY6oPm2QGYj7YfOaSo7F3YIHhWE1ofXH7phH-YUVA4_JS2VohPZeDX9xRrYg8z/s1600/byrds%20-%20fifth%20dimension.png" width="240" /></a></div><div> </div><div>Well I know my rider's gonna miss me when I'm gone x2</div><div>She's gonna miss her loving daddy from rollin' in her arms</div><div><br /></div><div>When you see me coming, better hoist your window high x2</div><div>When you see, you see me leaving, you better hang down your head and cry</div><div><br /></div><div>Well I know my rider she's bound to love me some x2</div><div>She used to throw her arms around me like some circle around the sun</div><div><br /></div><div>*</div><div><br /></div><div><b>JANIS JOPLIN & BIG BROTHER - <a href="https://www.youtube.com/watch?v=ZUZrvG2X--M" target="_blank">'I KNOW YOU RIDER' (1966)</a></b></div><div><i>Live & unreleased</i>.</div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfOlw8JGdezaZquwU9JkBm1s2BkqRyt02re0_XjuWk7Rj8fhq6Ukd98cN7Nr_WzwqA6B-TOdo71PQ7BstrIUpUvZ0BB7SYY9XuKPo5XSwcO913xIMBq2KvDklYMKNKV9-RgU9JiJ05i8bo-Os7m1i3hUvfVC7UdUNDHrENhCcQ2N6Kk0BvBZwT4UYqNss/s240/big%20brother%20-%20cheaper%20thrills.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfOlw8JGdezaZquwU9JkBm1s2BkqRyt02re0_XjuWk7Rj8fhq6Ukd98cN7Nr_WzwqA6B-TOdo71PQ7BstrIUpUvZ0BB7SYY9XuKPo5XSwcO913xIMBq2KvDklYMKNKV9-RgU9JiJ05i8bo-Os7m1i3hUvfVC7UdUNDHrENhCcQ2N6Kk0BvBZwT4UYqNss/s1600/big%20brother%20-%20cheaper%20thrills.png" width="240" /></a></div></div><div><br /></div><div>I know you rider, you're gonna miss me when I'm gone x2</div><div>You're gonna miss your loving baby from rolling in your arms</div><div><br /></div><div>Don't the moon look lonesome when it's shining down through the trees x2</div><div>Don't my man look fine when he's running, running after me</div><div><br /></div><div>I know my baby he's bound to love me some x2</div><div>He's gonna throw his arms around me like a circle, like a circle round the sun</div><div><br /></div><div><br /></div><div>*</div><div><br /></div><div><b>THE EVERPRESENT FULLNESS - <a href="https://www.youtube.com/watch?v=RQ46UK6WxEA" target="_blank">'RIDER' (1966)</a></b> </div><div><i>(Released in 1970.)</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtsza49B6njhWFIe9rDN0hDEVwCoIjzgfp8LsKpo8f0xPlJ7YT8pCZjYrGCn3tz7AdUADrzzk2vXa6gS8ueNdyIbjnz8yZcQCd2ZXUlsw5FpqjqJg3umjYvIcsFg-SoY-vTjyH2gmXNUSFNyPk94EcmvvUh7zsjF9vZ45dRFfa0NdyTQPoYp9K1Ndk1zSx/s600/everpresent%20fullness.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtsza49B6njhWFIe9rDN0hDEVwCoIjzgfp8LsKpo8f0xPlJ7YT8pCZjYrGCn3tz7AdUADrzzk2vXa6gS8ueNdyIbjnz8yZcQCd2ZXUlsw5FpqjqJg3umjYvIcsFg-SoY-vTjyH2gmXNUSFNyPk94EcmvvUh7zsjF9vZ45dRFfa0NdyTQPoYp9K1Ndk1zSx/s320/everpresent%20fullness.jpg" width="320" /></a></div><div><br /></div><div>I am a rider, gonna miss me when I'm gone x2</div><div>You're gonna miss your daddy rolling in your arms</div><div><br /></div><div>Sun's gonna shine in your back door someday x2</div><div>And the wind from the river gonna blow your blues away </div><div><br /></div><div>*</div><div><br /></div><div><b>THE ASTRONAUTS - <a href="https://www.youtube.com/watch?v=TrJVjEL_E1U" target="_blank">'I KNOW YOU RIDER' (1967)</a></b> </div><div>TRAVELIN' MEN</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5DIaMdlHIzdmmO2lMfm6a-7_tmJUdnQaGRLj2QldSBpQG3bJvfla1LmSqnVSgO2oQQ66IH1a9Ds58EWNjfOo-tikh8mj38uIGSIjcX13XsMWFNgpobb-6vW6blwF4fXfOZuz1DxL2Zw4l-GA-S0Rz3Z-_Gi_EuNsYwcjO4BGLy5CtKlhvdhBcv1u4uuY/s242/astronauts%20-%20travelin%20men.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="242" data-original-width="240" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5DIaMdlHIzdmmO2lMfm6a-7_tmJUdnQaGRLj2QldSBpQG3bJvfla1LmSqnVSgO2oQQ66IH1a9Ds58EWNjfOo-tikh8mj38uIGSIjcX13XsMWFNgpobb-6vW6blwF4fXfOZuz1DxL2Zw4l-GA-S0Rz3Z-_Gi_EuNsYwcjO4BGLy5CtKlhvdhBcv1u4uuY/s1600/astronauts%20-%20travelin%20men.png" width="240" /></a></div><div> </div><div>I know you rider gonna miss me when I'm gone x2</div><div>Miss your ever-lovin' man rolling in your arms</div><div><br /></div><div>The sun gonna shine on my back door one day x2</div><div>The breeze on the river blow my blues away</div><div><br /></div><div>Takes a red-headed woman make a long-time man feel bad x2</div><div>Hey, you're gonna miss the best lovin' man you have ever had</div><div><br /></div><div>*</div><div><br /></div><div><b>THE INDEFINITE FOUR - 'I KNOW YOU RIDER' (1967)</b> </div><div>DO AS THEY SAY</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiJOaTP3q-FZKtHbe0kQg2gUauz1ZXQE7-doYb8k-6vjzzPXekrikTA7DPCAK0l8Bxs63QX45NCmFBulvp4ocj0VdDquiBGtoSAs2M_F7CCy4iKRQ0wAg6GtOXIzLsdW85RpUBBKfR_akAycLyR8nd2pdSPsEvO3gAcjQV88y1o8znarzZYXu73jadnchz/s240/indefinite%20four%20-%20do%20as%20they%20say.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="240" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiJOaTP3q-FZKtHbe0kQg2gUauz1ZXQE7-doYb8k-6vjzzPXekrikTA7DPCAK0l8Bxs63QX45NCmFBulvp4ocj0VdDquiBGtoSAs2M_F7CCy4iKRQ0wAg6GtOXIzLsdW85RpUBBKfR_akAycLyR8nd2pdSPsEvO3gAcjQV88y1o8znarzZYXu73jadnchz/s1600/indefinite%20four%20-%20do%20as%20they%20say.png" width="240" /></a></div><div><br /></div><div><i>Haven't heard</i>.</div><div><br /></div><div>*</div><div><br /></div><div><b>THE ROSE GARDEN - <a href="https://www.youtube.com/watch?v=dRZD24NNQO8" target="_blank">'RIDER' (1968)</a></b></div><div>THE ROSE GARDEN</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGM5IIMmEy7Wv2rVqFFZ8EkglbWj4sLkoBwHE8FNI3Rq05lXw2rY-gI0nx-8HlmgRzzF88CsisGZMl8HCJbD88r8zgdSyMYeQtcM9bms3kmL-JS6geCgkP-rHPdV9aWwiWNAR3Y6Qdoq9MU3qKzhYfUXM27kypDRzXdxwl18lcnbHeDqpg_Ykfz9favSw/s300/rose%20garden.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGM5IIMmEy7Wv2rVqFFZ8EkglbWj4sLkoBwHE8FNI3Rq05lXw2rY-gI0nx-8HlmgRzzF88CsisGZMl8HCJbD88r8zgdSyMYeQtcM9bms3kmL-JS6geCgkP-rHPdV9aWwiWNAR3Y6Qdoq9MU3qKzhYfUXM27kypDRzXdxwl18lcnbHeDqpg_Ykfz9favSw/s1600/rose%20garden.jpg" width="300" /></a></div><div> </div><div><i>(Derived from the Byrds' version.)</i></div><div><br /></div><div>I know my rider gonna miss me when I'm gone x2</div><div>Gonna miss her loving daddy rolling in her arms</div><div><br /></div><div>When you see me coming, better wish you had no eyes x2</div><div>When you see, you see me coming, hang down your head and cry</div><div><br /></div><div>I know my rider, she's bound to love me some x2</div><div>She used to throw her arms around me like a circle around the sun</div><div><br /></div><div>*</div><div><br /></div><div><b>JOHN RENBOURN - <a href="https://www.youtube.com/watch?v=DIOiSWd8p6Q" target="_blank">'I KNOW MY BABE' (1966)</a></b></div><div>ANOTHER MONDAY</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS0pVwcDssU9DGhAFS3kOWMdnRKES5wjMkD0P6i_ZQSQ_xoXo365BzCxrjQnSoXrhfoNg66npJ9ZAkpd6VGl0EU4nB0WgHkVxcf2dZ8FEvN6A6Q1zFiawGR4nS1W7gI_mzqRoRwZ76Lzk2oU6x2lLy2RNCujVRfblmD4Ftr6or4eqmbGlzdbxzEpTSNuD/s240/john%20renbourn%20-%20another%20monday.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS0pVwcDssU9DGhAFS3kOWMdnRKES5wjMkD0P6i_ZQSQ_xoXo365BzCxrjQnSoXrhfoNg66npJ9ZAkpd6VGl0EU4nB0WgHkVxcf2dZ8FEvN6A6Q1zFiawGR4nS1W7gI_mzqRoRwZ76Lzk2oU6x2lLy2RNCujVRfblmD4Ftr6or4eqmbGlzdbxzEpTSNuD/s1600/john%20renbourn%20-%20another%20monday.png" width="240" /></a></div><div> </div><div><i>(Possibly derived from Dave Gude's version.)</i></div><div><i>(<a href="https://www.youtube.com/watch?v=belc2ZrCfWc" target="_blank">John Renbourn live 1966</a>.)</i></div><div><br /></div><div>I know my baby bound to love me some x2</div><div>Why she throws her arms around me like a circle round the sun </div><div><br /></div><div>Lay down last night just to try to take my rest x2</div><div>But my mind got to wandering like wild geese in the west</div><div><br /></div><div>Sun's gonna shine on my back door someday x2</div><div>Well the wind's gonna blow, gonna blow my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>JAMES TAYLOR - <a href="https://www.youtube.com/watch?v=4qTTo0yYExo" target="_blank">'CIRCLE 'ROUND THE SUN' (1968)</a></b></div><div>JAMES TAYLOR</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpWTFQjXRIS5NJIWvr2t7MUlWPkN5SM5S-Xa-cpZHrOUhB4CfczK5gPs_B3HQgzbioee2M7bbsQxUhqyA8PeUS1EXv8xpcE5eUPXCVQ84znHh5QO6cpf_f78NSxasH8LEUeTwJ5jL6OMzM-MmljBnrsD7014IQIxfvyXPpDo5D5N2jC00xUZP3ArnJ9Dl/s300/James_Taylor,_James_Taylor_(1968).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvpWTFQjXRIS5NJIWvr2t7MUlWPkN5SM5S-Xa-cpZHrOUhB4CfczK5gPs_B3HQgzbioee2M7bbsQxUhqyA8PeUS1EXv8xpcE5eUPXCVQ84znHh5QO6cpf_f78NSxasH8LEUeTwJ5jL6OMzM-MmljBnrsD7014IQIxfvyXPpDo5D5N2jC00xUZP3ArnJ9Dl/s1600/James_Taylor,_James_Taylor_(1968).png" width="300" /></a></div><div> </div><div><i>(Another descendant of Dave Gude's version.)</i></div><div><i>(I prefer <a href="https://www.youtube.com/watch?v=JRg5lH4FehA" target="_blank">Taylor's live take</a> to the album version. But the album was popular and 'Circle Round the Sun' spawned several covers of its own.)</i></div><div><br /></div><div>Now I love my baby, and she's bound to love me some x2</div><div>Now she throws her arms around me just like a circle around the sun</div><div><br /></div><div>I lay down last night lord, just to try to take my rest x2</div><div>But my thoughts they just kept wandering like them wild geese in the west</div><div><br /></div><div>Now I know that sunrise, sunrise, it's gonna shine in my back yard someday x2</div><div>And that wind's just bound to rise up, gonna blow, blow all my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>HOT TUNA - <a href="https://www.youtube.com/watch?v=-_GJs5gK-7M" target="_blank">'KNOW YOU RIDER' (1970)</a></b></div><div>HOT TUNA</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlxszb5EPHCIi6n7F0qKrkz7mUYC8d_dBZPvQj0Pz24Ms-iS7jSCbCm9cI9j5z5XB9hWobR7-lKNSp6tbn9y_uADcKeo9Puy6EK8UY1JfhTLFk8ChoLUejpupSwKati3vIU5s86gemZ909bHCJZeK9mxf7EQstwl0G0VRB8rQqGQ-NR_y2iEMCSKJANgJx/s640/hot%20tuna%20live.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlxszb5EPHCIi6n7F0qKrkz7mUYC8d_dBZPvQj0Pz24Ms-iS7jSCbCm9cI9j5z5XB9hWobR7-lKNSp6tbn9y_uADcKeo9Puy6EK8UY1JfhTLFk8ChoLUejpupSwKati3vIU5s86gemZ909bHCJZeK9mxf7EQstwl0G0VRB8rQqGQ-NR_y2iEMCSKJANgJx/s320/hot%20tuna%20live.jpg" width="320" /></a></div><div> </div><div><i>Jorma: "I learned I Know You Rider either at Antioch or NYC sometime in 1960."</i></div><div><br /></div><div>Well I know you rider gonna miss me when I'm gone x2</div><div>You're gonna miss your daddy from rollin' in your arms</div><div><br /></div><div>Lovin' you baby is easier than rollin' off a log x2</div><div>I'll be your man now, sure won't be your dog</div><div><br /></div><div>Well the sun gonna shine in my back door someday x2</div><div>March wind gonna blow all my blues away</div><div><br /></div><div>*</div><div><br /></div><div><b>MOUNTAIN BUS - <a href="https://www.youtube.com/watch?v=EGQRzMCIWCc" target="_blank">'I KNOW YOU RIDER' (1971)</a></b></div><div>SUNDANCE</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnPuVzW4K2GI7K2sTjMB_1BpG_NW0_aYzSM3slIjpsBVHE1orO5KfVEHpKRpSwFZwA4vYyRQzNs_lvEYYwz13uljQnUofplAHJp2Q5MfTl0faA6nIEeI8_OSuzUcMc0Vlx_oCfdNOI6t3lCbIx39f0fGrGNlQ6RAv4NsS0NM1GaBhu7OJDPe45UOZGAnG/s910/MountainBusSundance.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="910" data-original-width="910" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnPuVzW4K2GI7K2sTjMB_1BpG_NW0_aYzSM3slIjpsBVHE1orO5KfVEHpKRpSwFZwA4vYyRQzNs_lvEYYwz13uljQnUofplAHJp2Q5MfTl0faA6nIEeI8_OSuzUcMc0Vlx_oCfdNOI6t3lCbIx39f0fGrGNlQ6RAv4NsS0NM1GaBhu7OJDPe45UOZGAnG/s320/MountainBusSundance.jpg" width="320" /></a></div><div> </div><div><i>(I'll close with this take, which is mainly derived from the Grateful Dead's live version. Some words eluded me.)</i></div><div> </div><div>I know you rider, well you gonna miss me when I'm gone x2 </div><div>Gonna miss your daddy from rolling in your arms </div><div><br /></div><div>Love you baby, rollin' off a log x2</div><div>I wanna be your lover man, don't wanna be your dog</div><div><br /></div><div>Cryin' pity, low-down dirty shame x2 </div><div>Since I've been [??], ever since I've been your man </div><div><br /></div><div>Wish I was a headlight on a northbound train x2 </div><div>I'd shine my light on [???] rain</div><div><br /></div><div>Sun's gonna shine in my back door someday x2</div><div>March wind's gonna come and blow all my troubles away </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com3tag:blogger.com,1999:blog-5195590583641426943.post-55970179762271661072023-08-09T02:00:00.000-07:002023-08-09T02:00:36.736-07:00January 22, 1971: Jerry Garcia Interview<div style="text-align: left;"><div>GARCIA AND THE GRATEFUL DEAD</div><div><br /></div><div>With the Grateful Dead in town to do their gig at Lane a couple weeks ago, I took the opportunity to pay a visit to Jerry Garcia, the man always seemingly in the forefront of the legendary San Francisco band.</div><div>Dropping by his motel room the afternoon before the show, I found him as always: warm, affable and unaffected by the universal acceptance his group always finds. During the course of the short interview, Babs, a cohort from the Acid Tests and a resident of Ken Kesey’s Springfield farm, dropped by with best wishes.</div><div>The questions came easy and Garcia’s answers even easier. And so, a bit of enlightenment hopefully, into what the Dead are doing now, and what we can look forward to in the future:</div><div><br /></div><div><i>With your last two albums, “American Beauty” and “Workingman’s Dead,” you seem to have shifted somewhat in your music. Do you notice a change?</i></div><div>Yeah sure, of course. But the change is more in our record-making than in what we do. The thing is, early last year we started getting more into singing. And with it, we got into songs. I was into writing songs for the thing about – it was the revelation of suddenly, “Oh, singing. We can sing together!” It was like a whole new thing for us.</div><div>Those two should really be considered one record. In that they’re kind of like the same body of stuff. It represents a year’s worth of a certain direction. Our next record will be a live one, and then I think the next time we do a studio record it will be a different shape.</div><div><br /></div><div><i>Those records are not necessarily the first two steps in a continuing progression then?</i></div><div>No, not necessarily.</div><div><br /></div><div><i>I think a lot of people are under the impression that the Dead have found their groove, and those two records are beginning of what you're going to be doing.</i> </div><div>No, it’s just another facet of what we do. I think of everything we do as being developmental, but on a very large cycle. That is to say, our cycle is about a year long. We’ll be on a certain trip for about a year, and the first part of the year we’ll be getting to it, and the last part of the year we’ll be sort of getting away from it. It’s just the way we do.</div><div><br /></div><div><i>Do you have any idea what cycle you’ll be going into next?</i></div><div>The live album will be a wrap-up of our live shows for the past year or so. It’ll be a lot of the things that we’ve been doing for a long time, but have never recorded.</div><div>We’ll try to make it good. I can’t really say what it’ll be, because we haven’t got the tapes yet, and we won’t be able to tell until after we put it together.</div><div><br /></div><div><i>For “Workingman’s Dead” and “American Beauty,” what made you decide to go into the studio and sing?</i></div><div>We didn’t decide to go into the studio and sing, we just decided that singing was a good trip. Because, early last year, Crosby, Stills & Nash were hanging around a lot in our scene. It’s just groovy, you know, singing is just a good thing. We started getting into hanging out with just acoustic guitars and singing. Me and Bobby (Weir) and Phil (Lesh), just working out stuff. It was fun to do. </div><div>Also, those last two records, we pretty much had them together in the sense that the music was together when we went into the studio. We went in knowing what we were going to do and we were after doing it easy. We were trying to minimize the hassles for ourselves in the studio by doing it as simply and as quickly as possible. And it worked out well, both records we did in really a short time for us. But it’s only one facet.</div><div><br /></div><div><i>Have Crosby and those people been hanging out in your scene much lately?</i></div><div>Phil and I and Bill (Kreutzmann) just played on about 90 per cent of Crosby’s new album, which will be out shortly. It’s really nice, and we’ve worked with David a lot. Steven has played with us time and again. There’s a loose sort of association, and I played on some tracks from Graham Nash’s album, which will probably be out soon.</div><div><br /></div><div><i>I notice you played on the Paul Kantner album. Was that the result of the same kind of a scene?</i></div><div>Well, we’re all friends. I mean it’s like, the social circle in which we have revolved, like the Grateful Dead as a family. The Jefferson Airplane have been our friends for years.</div><div>They’re like old, old friends of ours, from before they were the Airplane, just as people in their various scenes and our various scenes; we just overlapped a lot.</div><div>It was just a natural outgrowth. Kantner was working on this album and I would happen to be at Wally Heider’s (recording studio) and he’d say, 'Listen, I have some stuff, would you listen to it, and if there’s anything you like, would you play on it.'</div><div>I said sure, and I liked it. I went for the idea. You know Kantner’s an amazing cat, and he’s like one of those guys that – he’s just got a lot of energy and he pulls really amazing performances out of people. He’s good.</div><div><br /></div><div><i>Have you been exploring any types of music that is, say out of the ordinary for you?</i></div><div>As a matter of fact, there will be a record of some of that music coming out. I did a thing with a friend of mine who is an amazing organist, named Howard Whales. I really don’t know how to describe the music except that it’s very far out. It’s unusual for me.</div><div>It’s just some of the strongest, most high-energy, aggressive sort of music that I’ve ever had any part in. I guess that album will be out probably in February sometime. It’s experimental for all intents and purposes.</div><div><br /></div><div><i>Have you been experimenting at all with any instruments that you’re not that familiar with?</i></div><div>Well, the steel. The steel is the thing. I’ve been fiddling around with the piano a little bit. I’ve fiddled around with almost any instrument that’s available to me. I’ll goof around on them a little. I try to make some attempt to understand or at least to play a minimal amount on it. That’s just my normal interest in music.</div><div>Right now, the instruments I can play more or less competently are the guitar, five-string banjo, and I’m getting so I can at least get through stuff on the steel. I don’t like to have to get into something unless I think I can really devote a proper amount of time and energy to it to learn it right.</div><div><br /></div><div><i>It’s been going around that the change that was evident in your last two albums was because the Grateful Dead have completely given up drugs and gone into some different trips.</i></div><div>Well, we’ve never been entirely into drugs. There’s always been people in the band who take drugs, and people who don’t. We don’t try to affect each other’s thinking in terms of what you should or should not take. If somebody’s on a trip of taking a certain drug, you’re free to do that.</div><div>We play together as a group and we’re living the same reality. After all this time together it’s gotten so we’re really comfortable amongst ourselves, since there’s been so much weird shit we’ve been through that nobody else knows about really. They’re shared experiences of such an exotic nature that there are levels of communication that we can get to amongst ourselves, which because of the situation we’re in is just not available to us with almost everybody else. That’s also why our other friends are musicians, in the same world.</div><div>I mean, when you’re in high-energy situations 80 per cent of the time, you have a different reality to face than a person who lives a normal day to day life.</div><div><br /></div><div><i>There seems to be a problem all across the country of increased gate-crashing and violence at rock concerts. Do you endorse this, or do you have negative feelings about it?</i></div><div>It’s been happening at our gigs more and more often the past year. If it gets any worse, we’ll just quit touring. We don’t play background music for riots.</div><div><br /></div><div><i>Do you get a chance to play with the groups that you’ve played with for so many years: Quicksilver, the Airplane, etc.?</i></div><div>We get our chances once in awhile, not all the time. But see, we all live in the same area. We all see each other a lot. Like Freiberg, from Quicksilver, lives three houses up the road from me.</div><div>In fact, our next joint project is me, David Freiberg, Crosby, Grace (Slick), Paul (Kantner), and Phil. We’re doing a thing together, making an album. Putting the material together and rehearsing and stuff. </div><div><br /></div><div><i>Any idea what the group of people will be called?</i></div><div>No.</div><div><br /></div><div><i>It doesn’t really matter?</i></div><div>No.</div><div><br /></div><div><i>Do you know what label it will be on?</i></div><div>There are several possibilities. It may be on Atlantic, might be on Warner Bros. With Kantner’s Starship album, it went to RCA because it was Kantner’s album. This one, I think we’ll do the album for us probably, and then decide who’s going to have it.</div><div><br /></div><div><i>What has happened to Quicksilver; are they together now, or have they broken up?</i></div><div>Old Quicksilver no longer exists, and the band that’s being called Quicksilver now, are interested in changing the name. What it is now, it’s Dino Valente, Gary Duncan, Greg Elmore, and David Freiberg.</div><div><br /></div><div><i>Then those four were originally with Quicksilver in the beginning anyway.</i></div><div>Right. Cippolina is no longer with them, and Nicky Hopkins isn’t with them now.</div><div><br /></div><div><i>What is the music scene like in San Francisco now?</i></div><div>Everybody who was in those scenes in ’64-’67, around there, all those people are older and better. They’re good at what they do, and everybody’s pretty settled into a working groove. The music scene is very close. Everything’s just been slowly getting closer all along. We all know each other, and we hang out together. It’s good. It’s a beautiful working situation. I wouldn’t be anyplace else.</div><div><br /></div><div><i>Do you ever find yourself getting behind time, being on the road and all?</i></div><div>Oh, time becomes a totally utter continuum. There isn’t any chronometer of time. It starts to be TV time, check-in time, plane time, and gig time. It’s just described in a whole other way, that’s all. It’s not minutes and hours and that.</div><div><br /></div><div><i>How much are you on the road now?</i></div><div>Well, last year we were on the road a lot, but this year we’re going a lot lighter. We’re not doing as much work, just taking it easier.</div><div><br /></div><div><i>Do you ever get tired of being on the road?</i></div><div>We don’t do it like that. We don’t make it inhuman on ourselves. I mean, there are some people who go out for six weeks, eight weeks, three months, and stuff like that. It’s like a long tour for us if we’re out for as long as two weeks.</div><div><br /></div><div><i>Have the Grateful Dead always been a group where everybody pretty much has an equal part?</i></div><div>Oh yeah. We wouldn’t have it any other way. See, nobody wants to go through the trip of being a leader, or any of that.</div><div><br /></div><div><i>How big is the audience’s role in a Grateful Dead show?</i></div><div>If it’s a good show, the audience’s role is at least half of what is going on.</div><div><br /></div><div><i>When you go out onstage, do you ever have a concept of the audience, as far as expecting certain things from them?</i></div><div>No, I try not to do that. I try not to fall on any kind of performing devices, if I can avoid it. I mean, we’re hip to them all; there are tricks, but we try to avoid them. I try to do it as much on an intuitive, emotional level as much as is there.</div><div><br /></div><div><i>Have you found any disadvantages to becoming a nationally known group with the following you have?</i></div><div>We don’t go on any trips, so there aren’t any disadvantages. We don’t put ourselves in that position.</div><div><br /></div><div><i>The ego things?</i></div><div>Yeah. We’re just not on that trip. It doesn’t really affect – I mean, I don’t have any sense of being a national group. I only have the sense that I’m trying to become a good musician, and that’s what I’ve been trying to do for a long time. That’s what I’m still trying to do, and that’s really where it’s at with me.</div><div>As for the rest of it – it’s fun to read about yourself in the paper, but it doesn’t have any real bearing on your real existence. It’s bullshit is what it is.</div><div><br /></div><div><br /></div><div><i>(by Steven Smith, from the Oregon Daily Emerald, February 12, 1971) </i></div><div><i><br /></i></div><div><i>Thanks to <a href="http://www.gratefulseconds.com" target="_blank">Dave Davis</a></i>. </div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-160536656997043112023-07-07T22:34:00.001-07:002023-07-07T22:42:09.823-07:00May 15-16, 1970: Fillmore East, NYC & Temple Stadium, Philadelphia<div style="text-align: left;"><div>ON TOUR WITH THE DEAD</div><div><br /></div><div>Walking into American Airlines out at LaGuardia to meet the Dead on a May afternoon. People gathered around a taxi run up on a traffic island. NBC's filming the scene. A body lies in a pool of blood, partly covered with a yellow raincoat. </div><div><i>"Yeah, he shot his girl friend and the cab driver. When he saw the cops coming, he blew his brains out."</i> </div><div><br /></div><div>Sitting with Jon McIntire, their manager, waiting for the plane. A hand descends on his shoulder. </div><div><br /></div><div>Weir: Hey man, how you doing? </div><div>McIntire: How'd you get here? </div><div>Weir: We came in down there. The rest of the guys are waiting for their guitars. You can't miss them. </div><div>McIntire: Yeah, I guess they do look kind of weird.</div><div><br /></div><div>You don't interview Jerry Garcia; someone gets him started on a subject and the discussion goes on until it's time for him to leave. A radical film maker is in the hotel room, trying to convince him that he should help people channel their energies into the revolution. Garcia explains over and over that energy is an individual thing that finds its own natural outlet; if you try to channel it, you pervert it. The phone rings and Garcia has to leave for the Fillmore. It turns out the guy really wants Garcia to get a film of his shown between sets. </div><div><br /></div><div>The Dead are invariably victims of the 60-or-90-minute time limit imposed by the standard concert format. They just aren't into performing a set of precisely arranged, timeable songs that build to a prearranged climax and neatly end in a practiced encore. Their songs serve as a framework within which they make something happen each time. They're a take-off point for incredible jams. When the Dead do manage to get off in a one-hour set, it's just too painful to break it off. Mostly they just don't get off. Their last sets are legendary, going on into the night until band and audience are completely drained.</div><div><br /></div><div>Three straight hours with the Dead. It begins with a gentle acoustic set - mostly stuff from the new album, then shifts into C&W with the New Riders, and peaks in the final electric set. </div><div><br /></div><div>The first time around it just didn't go. Hassles: plane two hours late, no dinner, no sound test, amplifier doesn't work, typical first show Fillmore audience. </div><div><br /></div><div>Idiot: Go back to electric! </div><div>Garcia (gently): Relax, man. It's gonna be all right. </div><div><br /></div><div>For the Dead it was. Gently building to its own soft climax. Substituting in New Riders at various points for mandolin and guitar, Garcia going briefly electric. Weir so up by the end of the set that he wanders around backstage with his guitar, playing the last song over and over again. Finally coming to rest under the light on the balcony of the stairs to the dressing rooms. Nobody can hear him over the between-set records on the sound system, but a crowd of backstage people gathers anyway just for the picture.</div><div><br /></div><div>The audience merely tolerated the set. </div><div><i>"All right, Riders, let's ride."</i> </div><div><br /></div><div>So Garcia and Hart lead them out. Marmaduke, songwriter, lead singer, rhythm guitar; Dave Nelson, lead guitar; Dave Torbert, bass. Nervous, introverted - their first tour, their first New York appearance. Three guys kicking around Marin County playing folk music who got to know Jerry Garcia. When Garcia's pedal steel interest got to be too much for a few C&W numbers in the middle of a set, he got together the New Riders.</div><div><br /></div><div>A solid C&W set. The audience is getting interested. The New Riders finish off with an incredible "Honky Tonk Woman" that goes on and on. The audience finally gets off. The New Riders come off the stage elated, but soon withdraw again waiting for the second set.</div><div><br /></div><div>Groupie: Gee, Jerry, you've shaved. </div><div>Garcia: Yep, I've shaved. </div><div><br /></div><div>Actually out in the audience for the first time waiting for the Dead to go on. Incomprehensible red fists reach up on the drums.</div><div><br /></div><div>Zygote: When did you first add the fists? </div><div>Hart: We added the fists at MIT. </div><div>Zygote: Was this after Kent State? </div><div>Hart: No, it was before that. The Cambodia thing had just started and they were starting a student strike. </div><div>Zygote: Does this mean you're getting more political? </div><div>Hart: It's not that we're political, at this point it's survival. We've been part of the revolution a long time, you know, it's just that we're not political. </div><div><br /></div><div>Garcia: All that stuff is a waste of fucking time, man. When you get into the whole political trip, you find yourself going to the politicians and you realize that it's all super sensational and that those fuckers don't know what they're talking about. I should think that all that stuff is going to like die away. </div><div>Zygote: What's going to happen? </div><div>Garcia: I don't know. I don't think it's going to be safe to play a scene like this. You know, I don't think it's even going to be safe to have long hair. There's an emphasis [on] change and it's because of all the political shit that has to happen. But like the thing that I do is play music. The rest - you know - I just try to avoid the rest of it.</div><div><br /></div><div>The set starts building with "Casey Jones" and peaks with "St. Stephen." They calm down into "That's It for the Other One." Hart and Kreutzmann get off. Delicate, together, four arms - two extensions of the same being. They conclude with "Cosmic Charlie." It fits the audience. </div><div><br /></div><div><i>Cosmic Charlie, how do you do, </i></div><div><i>Shuckin' on down the avenue? </i></div><div><i>Dum de dum, de doodleley do, </i></div><div><i>Come on home, your mama's callin' you.</i></div><div><br /></div><div>Everybody's up cheering. They come back and wrap it up with "New, New Minglewood Blues." </div><div><br /></div><div>Zygote: Last night it seemed that everything was set up to build. You started off acoustic, then went to the Riders, and finished off electric. Last time you were here, you sort of went the other way: you started off very big, then went acoustic, then back to the electric. </div><div>Garcia: Right. </div><div>Zygote: Does this format change from thing to thing... </div><div>Garcia: Sometimes it does and sometimes it doesn't, but mainly we're working with that format of starting with the acoustic stuff and building it up from there. You know, with the New Riders it provides a convenient bridge because we can get a huge range. </div><div>Zygote: Last night, the audience at the first set seemed to have a really hard time getting off on the acoustic... </div><div>Garcia: Yeah, it requires a little concentration. </div><div>Zygote: Was the second show better? </div><div>Garcia: Oh yeah, the first show wasn't a bad show, though the audience was kind of a drag. </div><div><br /></div><div>Saturday afternoon, Temple Stadium. Philadelphia. Backstage is one end of the stadium marked off by a wooden snow fence. Somehow, three kids have bluffed their way back there and are talking to Jerry Garcia. </div><div><br /></div><div>First Kid: Where's Ken Kesey? Is he with you? </div><div>Garcia: No, he's out in Southern California right now. </div><div>Second Kid: How about Owsley, is he here? </div><div>Garcia: No, Owsley can't leave the Bay Area. </div><div>Second Kid: Can't he? </div><div>Garcia: No, he just got out of jail. </div><div>Second Kid: Did he? </div><div>First Kid: The new album, what will it be like? </div><div>Garcia: I like it better than any album we've done. </div><div>First Kid: That's all we do is sit around and get smashed and listen to that album... </div><div>Garcia: We get smashed and make them... </div><div>Second Kid: You want to come over and see the place when you get done? </div><div>Garcia: No, no. We're flying out right afterwards. </div><div>Third Kid: We went all the way up to New York to see you last time. </div><div>Garcia: You should have been there last night, man. That was one of the best gigs we've played. </div><div>Third Kid: Yeah? </div><div>Garcia: Yeah. </div><div>Second Kid: It must be a bummer here. </div><div>Garcia: We'll try not to make it a bummer. We'll try to make it at least fair. </div><div>First Kid: Is Ron going to sing today? </div><div>Garcia: Pigpen? </div><div>First Kid: Yeah. </div><div>Garcia: Yeah, oh sure. He always sings a couple of tunes. Sure wish there was some sunshine. This grey shit stinks. </div><div>Third Kid: It stinks, man. There's never sunshine here. </div><div>Garcia: Really? What do you think of Philadelphia? </div><div>Third Kid: It sucks. </div><div>Garcia: I don't know, man. I've never been here long enough to tell what it's like. We've had a few great times here. </div><div><br /></div><div>There's a label on Garcia's big red Gibson: "Blackjack Garcia, the baddest fuckin' guitarist in the world." He checks the guitar carefully before each performance, wiping the strings, debating whether he should replace them or not.</div><div><br /></div><div>Cactus so loud you can only make out occasional words. Lesh and Garcia worried about threatening sky - rain clause in their contract after Woodstock where Garcia was getting bad shocks from his guitar. Garcia and Lesh into a song about rain. The words are unintelligible but everybody laughs. </div><div><br /></div><div>Mickey Hart is off by himself drumming along with Cactus on the top of an amplifier, looking a bit like a little kid with a baseball hat perched up on top of his head. The mood is good. The Dead are just rapping with anybody who walks up. </div><div><br /></div><div>Sam Cutler, the road manager, hassling back and forth from the promoter to the Dead. Scheduled to go on at 6:00 and catch 9:30 plane. Already 6:30 and Steve Miller is just setting up. Miller agrees to change with the Dead so they can make the plane. The promoter's mad. Equipment has to be changed. More delays. The rain comes. A big black plastic sheet envelops the stage, covering everything but the side toward the audience. Too low - depressing. Like playing under a rock ledge. </div><div><br /></div><div>More Hassles. The people with backstage passes have been sitting in the area between the snow fence and the stage all day. The management sends in three heavies and clears the area. Things are going sour. </div><div><br /></div><div>The guards leave - the Dead come on - the fence goes up in the air - the front of the stage is packed with dancing people. Dead jamming away. Dragon's fire flares up behind the amplifiers - the smoke rolls out from under the plastic. </div><div><br /></div><div>People in the back calling for the dancers to sit down. More rain. </div><div><br /></div><div>Lesh: Sit down, stand up. Sit down, stand up. Why don't you all take off your clothes and get wet. </div><div><br /></div><div>In the middle of "Speedway Boogie" - song about Altamont. More heavies clearing the front of the stage again. End of song - Cutler half-heartedly apologizing, something about a clause the management put in the contract that the area has to be cleared. Band yelling "Bullshit," Lesh muttering, "One small match, that's all you need." </div><div><br /></div><div>Lesh: I thought they were going to rip the thing down. I was going to yell "Tear down the walls." </div><div>Zygote: They were too hung up. </div><div>Lesh: Yeah, well that's what walls are for, to hang up people. </div><div><br /></div><div>"New, New Minglewood Blues" - half-hearted, keeps the set going. Pigpen out in front for "Lovelight." The Dead are off again. Jamming on and on. Cherry bomb goes off on last beat. More smoke. It's over.</div><div><br /></div><div>The management is more pissed. The set ran 20 minutes over.</div><div><br /></div><div>Rushing to get equipment loaded for the plane. Short one vehicle. The management refuses to help. "They didn't cooperate with us, why should we cooperate with them." Promoter hassling equipment men. "Hurry up and get your shit out of here." Standing in their way. The equipment guy mutters something and the promoter attacks him. Both are swinging. Our photographer begins shooting. We're scared - the promoter's heavies are moving in.</div><div><br /></div><div>The fight stops in time. Nervously standing around a pile of instruments making arrangements, in front of a row of glaring ex-pugilists. We end up driving the equipment to the airport, thankful to get the hell out of here. </div><div><br /></div><div><i>"I don't think it's going to be safe to play a scene like this. You know, I don't think it's even going to be safe to have long hair. There's an emphasis [on] change and it's because of all the political shit that has to happen. But like the thing that I do is play music. The rest - you know - I just try to avoid the rest of it."</i></div><div><i><br /></i></div><div><i>"It's not that we're political; at this point it's survival."</i></div><div><br /></div><div><br /></div><div><i>(by Harry Jackson, from Zygote vol. 1 no.4, July 22, 1970)</i></div><div><i><br /></i></div><div><i>(Zygote had earlier run two reviews of the Dead's 3/21/70 Port Chester shows - <a href="http://deadsources.blogspot.com/2014/02/march-21-1970-capitol-theater-port.html" target="_blank">here</a> and <a href="http://deadsources.blogspot.com/2014/03/march-21-1970-capitol-theater-port.html" target="_blank">here</a>.)</i></div><div><i><br /></i></div><div><i><br /></i></div><div><a href="https://archive.org/details/gd_nrps70-05-15.sbd.reynolds-kaplan.29473.shnf" target="_blank">https://archive.org/details/gd_nrps70-05-15.sbd.reynolds-kaplan.29473.shnf</a> </div><div><a href="https://archive.org/details/gd70-05-16.aud.cotsman.17027.sbeok.shnf" target="_blank">https://archive.org/details/gd70-05-16.aud.cotsman.17027.sbeok.shnf</a> </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com4tag:blogger.com,1999:blog-5195590583641426943.post-17633186565328851822022-10-01T01:45:00.000-07:002022-10-01T01:45:24.368-07:00June 13, 1972: KSAN Jerry Garcia Interview<div style="text-align: left;">JERRY GARCIA<br />ON KSAN RADIO, SAN FRANCISCO.<br /><br />Ever since we mentioned that we were planning a special issue on the Grateful Dead, quite a few people have written in to try and help us and generally take an interest. Well as fate would have it, for two main reasons the Dead issue is becoming harder to foresee as time goes by. Firstly, I've now got enough information and material to fill a fair-sized book, and secondly we haven't got the bread to enable us to get the thing printed in a decent, 'professional' way, So for now, rather than let the articles gather dust, we are going to print some of the best material we have collected so far. <br />The interview below was sent to us by a remarkable girl named Kathy who must take credit for recording it (she went over to San Francisco about the same time that the Dead left for home after their European tour), transcribing it, and providing the explanatory notes, She's a true Dead-head in every sense of the word. She sleeps, eats, thinks, and talks Grateful Dead, and if you are one of the lucky people who feel the same way about them, you will know exactly what it's like, and you won't need people like Nick Kent to tell you how boring and depressing he thinks "EUROPE 72" is. So much for rock critics! Well anyway here it is.....a talk with Jerry Garcia and a few insights into the structure and format of American FM Radio.<br /><br /><u>NOTES</u>.<br /><br />This interview was conducted by Radio KSAN in San Francisco. KSAN is a station which tries to combine its function as a music station with a role it takes upon itself as a community voice and information service. It is geared to a young, liberal, thinking audience.<br />One or two general comments - points to bear in mind when reading through the interview. First, remember that it was in fact a spoken interview interspersed with music and interrupted by commercials, telephone calls and people in and out of the studio, hence the digressions from a particular question and the basic lack of flow within a question or an answer which would not occur in a written question and answer interview. Second, perhaps more important, remember that the staff at KSAN, and probably a large proportion of the listening audience, are very familiar with the Dead, their approach and their music. They are really the Bay Area band. They have almost a Cinderella position as the band which made good without sacrificing its integrity, and San Francisco is very proud and fond of them. They are easily the most played band over the local stations.<br />The notes below, indicated by the numbers in the margin, refer to either specific events happening around at the time, or people or places which may not be familiar to anyone not deeply involved with West Coast personalities or area.<br /><br />1. Fillmore - "Bill Graham, his friends and his enemies". I know the album "Fillmore, the Last Days" has been released here but I think the film has not. It is what it says it is: a semi-documentary about the creation and organization of the last week of the Fillmore West, The "friends and enemies" quotation is from a trailer for the movie played constantly over KSAN and other stations because the film was premiered that very week, in fact, Thursday 15 June. The trailer ran together comments on the Fillmore, snatches of music and lists of the artists appearing.<br />2. Listeners' Personals. This is one of the services KSAN provides. Listeners can phone or write in any message they want to pass over the air, and this spot occurs several times each day. Usually it comprises people with something to sell or those searching to buy something, people wanting a ride to this or that place, and car owners seeking riders - it can be almost anything that is a valid piece of information or request. /p.9/<br />3. Autumn Records was owned by Tom Donahue, who will be known to most of you. He is manager of KSAN. <br />4. Broadway is the street in San Francisco for night clubs, strip joints etc., complete with barkers outside each entrance advertising their product. It is almost a tourist attraction. Not far away is North Beach, which is the Italian area mostly, very Bohemian in every sense. Tom Wolfe rather aptly described it "slums with a view".<br /><br /><u>INTERVIEW</u><br />Tuesday, 13 June 1972.<br /><br />KSAN: I was gonna call you earlier in the week and see if you could bring up a bunch of records or some little odd things. I'm sure you've got a lot of stuff in your collection that maybe nobody's ever heard of.<br />JERRY: I've got a few weird moments. But I didn't think of it though -<br />KSAN: And I forgot about it.<br />JERRY: Otherwise I would.<br /><i>("The Wheel")</i>.<br />KSAN: The album "GARCIA" did nicely, I thought.<br />JERRY: Well, we don't -<br />KSAN: Well, 300,000 is alright, I mean, hey.<br />JERRY: It didn't really do that many all - I mean you know, I don't really know. It's like around there including tapes and all, stuff like that. It's just sort of - but I didn't really wanna - I wasn't really into having it be super-successful or anything like that. Not that you can do anything about it one way or another, you know what I mean? It was just - it was supposed to be modest. <br />KSAN: Do you find yourself - do you get into a thing - when you're playing with the band do you play one way, and when you play by yourself - did you have - was this an urge, something you wanted to do on your own so that you could play it your way rather than as a collective?<br />JERRY: No - it wasn't really the trip of playing the music a certain way, it was really I wanted to approach it technically from the studio viewpoint a different way. And it was like - it wasn't that, you know, the music is super far-out or different or anything like that, it was just the way I wanted to go about it was really - well, was a trip for me to do it in the studio is to approach it a certain way and that sort of thing.<br />KSAN: What were the differences between how you did it as a solo album and how the Dead might record ordinarily?<br />JERRY: Well, normally with the Dead when we - when we're doing like a studio thing we'll put down a basic track for example, which usually it will never have less than four instruments almost. Bass, drums, maybe two guitars, or maybe guitar and some other instrument or something like that, maybe a vocal. And the way I did this was I worked with just one other guy really on the tracks, which was Bill Kreutzmann, and we just did like a simple acoustic guitar and drums thing, or I played piano and he played drums, and I used those as foundations and then built things on to 'em. The trip for me was being able to play the different instruments and approach it from a viewpoint other than like a guitarist, if you know what I mean. Sort of - I was thinking more in terms of the overall space and what was going on around and there isn't any emphasis particularly on guitar parts or things like that, you know what I mean? It's just that I'm limited insofar as that's what I play more than anything else, right? But I tried to play organ and bass and all this other stuff which was like - it was a good trip, and all the electronic stuff was - was like I wanted to approach it in weird ways which I didn't wanna have to take the time to explain, you know, to - to put another musician through the trip basically, which was essentially, you know, just an ego trip really in terms of what I wanted to accomplish.<br />KSAN: Are some of the biggest ego problems with musicians in the mix-down?<br />JERRY: We used to have a lot of those kind of problems but our band's pretty - we've gotten to be pretty - it's pretty much whoever's tune it is like more or less responsible for the overall sound of it, so - and we've got, you know, I mean it just works out pretty well. /p.10/ But that's largely because we like to work together. I guess that is probably where the problems come up because it's like - as a guitar player I know I'm super-conscious of my part, you know. It's like if I don't like it you know, I think the track is a drag or something like that, if I don't like my part.<br />KSAN: Does that happen?<br />JERRY: It used to, but since I made that record it's made me think a lot more moderately about, you know, like how important my own part is - you know? It's like it's easier for me to think in terms of the whole thing.<br />KSAN: Were you at the Fillmore the last night when they made <a href="https://www.youtube.com/watch?v=CNQCCKJdidk" target="_blank">the movie Fillmore</a>?<br />JERRY: Yeah. Yeah, we were. We struggled to avoid getting into the movie because it was like really a notably bad night for us and the tapes were a drag, and everybody was out of tune and everything, and we were - it was that thing of not having played for a couple of weeks, you know, three or four weeks we'd been in the studio.<br />KSAN: Couldn't you fake it and synch it in later?<br />JERRY: Well yeah, but we didn't really wanna do that either. But finally Graham just hassled us and hassled us and we finally went for it. We doctored 'em up a bit.<br />KSAN: He's persistent.<br />JERRY: Oh God, I'll say.<br />KSAN: The reason - I'm trying to get subtly into - <br />JERRY: Bill Graham, his friends and his enemies.<br />KSAN: That's right. Tell us about Bill Kreutzmann.<br />JERRY: Kreutzmann? Kreutzmann's a great drummer, I can't really tell you about Kreutzmann. What could I say? He's a great drummer.<br />KSAN: How about - what's your birthday?<br />JERRY: August lst. Leo.<br /><i>("Deal", commercials and "Ripple")</i>.<br />KSAN: I had a call from a listener. The question referred to something I think you referred to in an interview in the Rolling Stone newspaper - about remixes of "Anthem" - <br />JERRY: That's right.<br />KSAN: And also - how do you pronounce -<br />JERRY: "A-oxomoxoa". That's the way we pronounce it. Or, however you like.<br />KSAN: That reminds me of an experience I had on an hallucinogenic drug in the Hilton Hotel or something in New York City - <br />JERRY: Rick Griffin too.<br />KSAN: That's right, and Rick Griffin.<br />JERRY: Right right. Well I'll tell you what happened with that. We - Phil remixed "Anthem" and I remixed "Aoxomoxoa".<br />KSAN: That's right.<br />JERRY: But you know, our relationship with Warner Bros, has been very weird through the years and it was - we, we brought up this whole trip because it's like a pet project of ours. It's like cleaning up the past, which is sort of the way we saw it, and we wanted them to - they were, it - you remember that Grateful Dead month trip they were - Warner Bros, were doing? They were going to re-activate our whole back issue scene you know, so they could sell our old records, and we thought, wow, if they're gonna put out our old records why don't we re-mix those things? So we did and we gave 'em to 'em, but that was it. We also had the covers revised a little bit, you know, so they'd be a little spiffier but - God I haven't - oh, I got a test pressing once from Warner Bros. with the remix on it, so I know that somewhere - <br />KSAN: They actually did master it then?<br />JERRY: Somewhere they did, yeah.<br />KSAN: But they never issued it?<br />JERRY: No. That's the last we heard of it.<br />KSAN: Somewhere in the deep recesses of Burbank, California...</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMPaZ-5ZQdlxZUZWVyGCrhRO6tsgk8Hnd5DL0fC9iKmmkjEB9Ny37UM_YafUPNHLIFN3fFBu2R4pbFU8ALw6DXX9qf9BQ_pEfmTWApBa5EEhKi4effP6f2PXFUGiUuqC2CPduiLiSHh8hM5sLUAKpm9V1xt9IZTzjoHO8prd2GsAiuaEuvsTRKtm6eeA/s595/anthem%20white%20cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="595" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMPaZ-5ZQdlxZUZWVyGCrhRO6tsgk8Hnd5DL0fC9iKmmkjEB9Ny37UM_YafUPNHLIFN3fFBu2R4pbFU8ALw6DXX9qf9BQ_pEfmTWApBa5EEhKi4effP6f2PXFUGiUuqC2CPduiLiSHh8hM5sLUAKpm9V1xt9IZTzjoHO8prd2GsAiuaEuvsTRKtm6eeA/s320/anthem%20white%20cover.jpg" width="320" /></a></div><div style="text-align: left;">JERRY: Maybe a write-in campaign or something like that will bring 'em out. But if anybody is really serious about wanting to have those, it could possibly be arranged with a little - with a certain amount of hassling, a tape or something like that, through the Grateful Dead office.<br />KSAN: You may have just unleashed - /p.11/<br />JERRY: Well I didn't mean to do that. But you have to be serious.<br />KSAN: You have to be a student and at least working on your Ph.D. on the Grateful Dead. There's something that happened - you don't mind me bringing up Altamont? I won't mention any messy details, But this was early on - in fact, I had a gas at Altamont.<br />JERRY: Some people did.<br />KSAN: People just were leaning over - I didn't see any of the - it was just, "hey somebody got killed or something" - but my experience was all fine. I didn't see anybody get hassled.<br />JERRY: It depended on where you were.<br />KSAN: Except, well I was backstage for about two minutes standing somewhere in the backstage area, and I just got tired of being pushed to one side or the other because trucks were moving up and it just wasn't a good place to be, you know.<br />JERRY: Right.<br />KSAN: And so I moved around front and everything seemed cool out there. But I have one flash, and there are just certain little things that stick in my mind that I know I'll remember 40 years from now or something. And there was somebody's V. W. bus, camper or something, up parked way up on a ridge, and there was a Chinese girl who may have been a part of the Grateful Dead auxiliary contingent anyway, and she was standing up there, "Come on, good old Grateful Dead! Are you Grateful or are you Dead?" And a cheer, and everybody - things were - was that an official cheer?<br />JERRY: No. That's the first I've heard of it. Right now is the first I've heard of it.<br />KSAN: But it sounded well rehearsed, like she'd been running through it for - I could see she had everything but the pompoms.<br />JERRY: Right. Right. Good old Grateful Dead freaks.<br />KSAN: Perhaps we could talk about the history of steel guitars?<br />JERRY: Sure.<br />KSAN: This is something - the genesis of that I don't know.<br />JERRY: Well, I don't know - I don't know exactly either, but I know something about - I know sort of a general thing. The steel guitar is like - it's a descendant of the whole Hawaiian guitar thing, and it also ties into the whole - the thing of making a guitar a louder instrument. In the old days, in the early days of jazz and stuff like that, they used to use banjos because they were nice and loud and percussive, and later on they started using the - like slop style rhythm, rhythm guitar and stuff like that, and there was an effort to make a guitar a louder instrument. This was before electric stuff. So some guys here in America decided to - started making instruments with metal resonators in 'em that sort of mechanically amplified the guitar, and they were sort of a cross between a guitar and a banjo in a way, very loud and biting. And somebody took that idea, that instrument, and raised the nut on it and started playing slide guitar in like an Hawaiian style. And that was like in the days of just a six string simple thing, Then that, you know, was absorbed into country music really as a technique and it sort of became the dobro, that thing and, you know, eventually the Hawaiian guitar players started using electric instruments - you know, somewhere back in - probably the late 30s, early 40s, something like that. They started using double neck instruments so they could have more tunings, and at the same time - well I guess Hank Williams, the guy Don Helms that played with him is one of the guys that really - that you really started associating the sound of a slide guitar with country music. That was early 50s, late 40s. And then somewhere along in there guys started wanting to have fewer necks on their instruments, so they tried to figure out ways to make it so they could change the tuning on a guitar real fast. Somebody came up with the idea of the pedals. What the pedals do is actually stretch certain strings, you know, so the idea being you'd stretch the strings and then you'd have a new tuning. So then somebody started, you know, using the pedal as a playing technique. It probably was Buddy [Emmons] because he's the guy that's most responsible for the way the steel is now. Actually it's you know like maybe 20 years old as an instrument, very new instrument.<br />KSAN: How much work do you do with the steel guitar?<br />JERRY: Not a lot anymore. I guess I did my most continuous playing with the New Riders. Really I'm a novice at it. I'm not good at the instrument, but you know what I mean, it's - /p.12/<br />KSAN: But you're fond of it.<br />JERRY: Yeah I love it. That was my whole reason for getting into it you know, I just loved the sound of it and everything. But it's amazingly difficult.<br />KSAN: Even being competent, or outta sight or whatever, on a conventional guitar doesn't necessarily lend the same mastery - <br />JERRY: Not really.<br />KSAN: Is it a new science?<br />JERRY: It is yeah. It's completely new for me. It involves techniques which are just nothing like what you have on a guitar.<br />KSAN: There's a magazine coming out. There's a Gemini somewhere in San Francisco keeps sending me this magazine with little notes affixed to it, and it's called "Guitar Player". Ever heard of it?<br />JERRY: Oh yeah, right. <a href="http://deadsources.blogspot.com/2014/03/early-1971-jerry-garcia-interview.html" target="_blank">I even did an interview for them once</a>.<br />KSAN: How do you like the magazine?<br />JERRY: It's a great magazine. It's like the guitar player's magazine.<br />KSAN: It's coming out here I take it. Right?<br />JERRY: It might be some place like Bakersfield or some place like that.<br />KSAN: Bakersfield?<br />JERRY: It could be. Somewhere in California though.<br />KSAN: Bakersfield still exists?<br />JERRY: Sure.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrOXAs7CIyVZa4r9b87MgiyW9rful26gl8f6wLqo2il-d8nbTLWKx-ZG8kVWTWgZUWtt9nQy_kFeeXHAVe5n_I92CXvsHjtII1ACfIcZ55wuE-c1E0fucYkyfMxdzb3D8F86ERwpkEG4z326m9Jphw1HJHph5Ivq3YqeTypai6hB8ERXumOd_29AZzw/s500/guitar%20player%20april%201971.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="390" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrOXAs7CIyVZa4r9b87MgiyW9rful26gl8f6wLqo2il-d8nbTLWKx-ZG8kVWTWgZUWtt9nQy_kFeeXHAVe5n_I92CXvsHjtII1ACfIcZ55wuE-c1E0fucYkyfMxdzb3D8F86ERwpkEG4z326m9Jphw1HJHph5Ivq3YqeTypai6hB8ERXumOd_29AZzw/s320/guitar%20player%20april%201971.jpg" width="250" /></a></div><div style="text-align: left;">KSAN: "WORKINGMAN'S DEAD" is not one of the albums slated for remixing?<br />JERRY: No, that's pretty much gonna stay the way it - the way it ended up. <br />KSAN: Is "New Speedway Boogie" for Speedway Meadows?<br />JERRY: Yeah.<br />KSAN: Can we listen to it?<br />JERRY: Sure.<br /><i>["New Speedway Boogie"]</i><br />KSAN: We've just had a couple of calls while that was playing. One person called and said do you have any plans to play the Harding Theatre, or some place small like that he said, somewhere that somebody could just go and get into the music.<br />JERRY: Yeah, I think we'll probably do the Harding Theatre again. I mean, we don't really have any plans, particularly, except to just keep on doing what we're doing. And there's no reason not to, you know. We'll do whatever's groovy.<br />KSAN: Someone else called and said generally do you have any concerts planned, sort of the same question I guess, and do you have any studio produced albums coming out? And he also wanted to know, the third part of this three part question, is there any way to get a life time pass to all Grateful Dead concerts?<br />JERRY: There must be some way. I'm certain there's some way. That's -<br />KSAN: You could hold some kind of contest or something.<br />JERRY: I think if your vibes are good enough - I don't mean it like, you know, in a judgement sense - but I've never seen anybody right? - anybody who has like good, outgoing, straight-ahead vibes, they could always seem to get in. I don't know whether that's, you know, what that means, but that's as close to it -<br />KSAN: That's the best story.<br />JERRY: Yeah right, it's the best story. It's that kind of stuff I think that works.<br />KSAN: I have a question too. How does one go about getting - there's a very rare teeshirt around, in fact I saw it the other day for the first time, it has a sort of skull with a lightning bolt going through it and on the back it says "Grateful Dead San Francisco".<br />JERRY: Right. That's our official teeshirt.<br />KSAN: I saw one on an unofficial person.<br />JERRY: I don't know who's got 'em. I think you should maybe - <br />KSAN: I think a good scam would be to reproduce it myself, and bootleg it.<br />JERRY: Well that's what everybody else does.<br />KSAN: Yeah but that one teeshirt has not been bootlegged.<br />JERRY: Really?<br />KSAN: No. I understand that that teeshirt has been a great success in various parts of Mexico where the skull is really highly thought of. /p.13/<br />JERRY: Right.<br />KSAN: And people like, you know, step aside as you're walking down the street wearing that teeshirt.<br />JERRY: Step aside, step aside.<br />KSAN: As we said, we're talking to Jerry Garcia - <br />JERRY: Ask me about the record again.<br />KSAN: Which record?<br />JERRY: The one that we're working on.<br />KSAN: The - oh, oh I'm sorry. Jerry, you're working on anything that you intend to have coming out?<br />JERRY: Yeah well, right. So what? Yeah, we're working on - we just did a long tour in Europe, in fact the longest tour we've ever done anywhere.<br />KSAN: How were you received, if I may sidetrack from the record?<br />JERRY: Amazingly well, considering that we'd never been there and all - before, and the only thing that anybody had to go on was like the myth that preceded us, the media myth you know.<br />KSAN: Do you find that you're a legend in your own time?<br />JERRY: Well, yeah something like that but it's - well, a lot of our trip was characterised by like trying to correct misconceptions you know, with European journalists. It was amazing! We were travelling with a huge amount of people, we had like forty people, our whole - almost our whole scene, so we had sort of our own ambience travelling with us and it was, it made it, it made it pretty groovy actually, it was the only way we could have stayed out that long. But the thing is that we - <br />KSAN: You didn't make any money with forty people travelling-<br />JERRY: Not at all. We didn't, but that wasn't what we were trying to do. We were just trying to go and have a good time. <br />KSAN: We have a double-barrelled question. He says first get back to the record, and second who are the Old Riders of the Purple Sage?<br />JERRY: I almost know the answer to the Old Riders of the Purple Sage one. But they're the ones that recorded "Drifting Along with the Tumbling Tumbleweeds" I think. They're like contemporary with the Sons of the Pioneers and that, you know, that's <a href="https://www.youtube.com/watch?v=-ZqAcjn87yU" target="_blank">the Riders of the Purple Sage</a>. And then Riders of the Purple Sage is also a book by Zane Gray. That I think is the original, really the original.<br />KSAN: We'll go back to the tour, which will someway lead us up to whether or not we're gonna have some concerts in San Francisco and where the new album is. Did you get behind the Iron Curtain or where did you play? <br />JERRY: No we didn't. We only played in the places that are - that are most light, in the sense of - we played in the places where rock and roll isn't a potential political opportunity. You know what I mean? Like in Italy, for example, if you have a rock and roll show it's like an excuse for police to beat up students, the same with places like Greece and Spain and stuff like that. So like a lot of those places, which would have been interesting to get to, we didn't because of that - that thing. We went to England of course, and Denmark, Holland, France, Germany.<br />KSAN: Amsterdam?<br />JERRY: Yeah, Amsterdam.<br />KSAN: Did you find Amsterdam is - everybody who comes back says, "oh, Amsterdam, that's where......." you know.<br />JERRY: Oh it's beautiful. It's delightful.<br />KSAN: Did you go to that club where - toke-up?<br />JERRY: No, we didn't go - we didn't really hit the town that much 'cos we were staying somewhere out of town, near Leiden actually. We played in a lovely hall there though, <a href="https://en.wikipedia.org/wiki/Concertgebouw" target="_blank">the Konzertgebau</a> which is like really tasty, old time, 18th century, gilt place you know.<br />KSAN: Did you come out in white tie and tails?<br />JERRY: It was just us, you know. But we sounded great in that place, nice and - you know, well articulated sound.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfuHQov0XYvRmnuniy_IoWrNHxg49qvIqmIuWv6zLKisUKKnJTLBFQ6yFtrYeHifAT0yE2dINHQ2tH7kUOyzC7kXquEddka9x4tiuhfg9V5mVmFbG248i9kwCsy_7ScOD-eW0S6RxGhoOgs8ZERzet592N9rxVUP31lekr72_e4zL_Lv075YeqYHtzfg/s766/Concertgebouw-Dead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="766" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfuHQov0XYvRmnuniy_IoWrNHxg49qvIqmIuWv6zLKisUKKnJTLBFQ6yFtrYeHifAT0yE2dINHQ2tH7kUOyzC7kXquEddka9x4tiuhfg9V5mVmFbG248i9kwCsy_7ScOD-eW0S6RxGhoOgs8ZERzet592N9rxVUP31lekr72_e4zL_Lv075YeqYHtzfg/s320/Concertgebouw-Dead.jpg" width="320" /></a></div><div style="text-align: left;">KSAN: So it was England, Denmark, Amsterdam and?<br />JERRY: France, and Germany, Spent a lot of time in Germany.<br />KSAN: But Yugoslavia is pretty loose, I thought you might make it over there.<br />JERRY: We didn't do anything that would have been - there were so many of us travelling, and we were actually there - /p.14/ because of that whole work permit thing it's difficult to move around from place to place. We were travelling overland. We had buses rather than flying from place to place, and we - and so all of it was new to us you know, and so the thing - we were - our big hang up was, you know, how long are we gonna stay out, you know that sort of stuff, not where could we go.<br />KSAN: The Stones on this tour that they're doing are doing an incredible number of concerts over a very short period of time actually, and it looks - it's something to exhaust somebody. They're gonna need months to recuperate from it, it seems.<br />JERRY: Right.<br />KSAN: And even in San Francisco the difference between <a href="http://hooterollin.blogspot.com/2013/08/jerry-garcia-concert-attendance-1961-90.html?showComment=1653782651760#c3194069750337309121" target="_blank">Tuesday night's concert</a> and Thursday's concert was very great, and sort of instead of getting better and more together they got a little more exhausted and worn out, and I think it showed too. Jagger in particular who's really up there jumping around looked a little bit -<br />JERRY: It's hard work.<br />KSAN: It sure is hard work. You do a good 12 hours in an hour and a half standing up there, and to do it twice a day is 24 hours a day worth of work, and you're gonna need something to keep you going. But did you work that kind of schedule?<br />JERRY: No, we worked fairly loose. We worked really a pretty open schedule. You know, we did maybe 20 gigs in the amount of time we were there so we had - our whole trip, the way we do our show is like - we weren't playing with anybody else, generally speaking we were doing it all by ourselves, so we were doing like four maybe five hours a night, and we wanted to be, you know, in reasonable shape to do it and to improve rather than -<br />KSAN: You were doing four and five hours?<br />JERRY: Yeah, we were doing long shows there. Because there was only us on the bill and because, you know, most of the halls were really far out to play in.<br />KSAN: But they weren't dance halls.<br />JERRY: No. It was - <br />KSAN: So you were doing four and five hour concerts?<br />JERRY: It was concerts yeah. It doesn't seem that long though you know, I mean because for us it's like playing and getting it on, you know, and we had 'em spaced out in such a way so that each time we were really, you know, itching to play. We had like maybe two days in between each gig.<br />KSAN: I know you're noted for doing long shows in the city but five hours? Four hours? Have you ever done concerts that long in the States?<br />JERRY: Yeah. When we played only - you know, just by ourselves. Normally we're restricted by stuff like the fire marshall, the union, you know, all those kind of just regular straightahead restrictions about time, that kind of stuff, so a lot of times we don't get to do that, but when we're on our own and the pace is right - that's really the key thing - when the pace is right it's like, it makes us wanna do it really. We weren't consciously thinking, "okay now we're gonna do a four hour show or a five hour show". We'd go out and play and it'd be like two and a half hours were gone before we knew it, you know. We'd take a break for maybe a half hour and then come back and play some more.<br />KSAN: I had a lot of phone calls and Jerry was talking about the guy who did the jacket for his album "GARCIA". When are you gonna have an album called "MESSAGE FROM GARCIA"?<br />JERRY: Never, man. It's been done. Have you ever read that - ah well never mind.<br />KSAN: The novel?<br />JERRY: Yeah it's awful.<br />KSAN: It is?<br />JERRY: It's a nasty little morality play of some sort, yeah. It's grim.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcAe6bvu2jBJMc27jA_469fqhZOF3QoIo3314XFDLJj0HifP0C6FS7E1xRWBdV6e-i8Oba2tvVFVNJL6W96iKrS9C5QlXqpiRdKvCsjznQu2GKnhAb7FNCSawVAc3WzuMYaFqDm7Ft3I-UL7AMILXv-B2iLqzJy_uEnJU_581aB6_LwkPVaFK84e0YjA/s857/message%20to%20garcia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="857" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcAe6bvu2jBJMc27jA_469fqhZOF3QoIo3314XFDLJj0HifP0C6FS7E1xRWBdV6e-i8Oba2tvVFVNJL6W96iKrS9C5QlXqpiRdKvCsjznQu2GKnhAb7FNCSawVAc3WzuMYaFqDm7Ft3I-UL7AMILXv-B2iLqzJy_uEnJU_581aB6_LwkPVaFK84e0YjA/s320/message%20to%20garcia.jpg" width="224" /></a></div><div style="text-align: left;">KSAN: What's your background? What's your nationality?<br />JERRY: I'm Spanish Irish.<br />KSAN: How's your Spanish, or your Gaelic?<br />JERRY: Poor. They're both bad, in fact non-existent.<br />KSAN: They keep getting mixed up and nobody can understand it. Somebody called and one, I can't really phrase it the way they did without getting everybody in trouble, /p.15/ but they wanted to know about your condition during the recording of "WORKINGMAN'S DEAD" and - what sort of stimulants if any?<br />JERRY: "WORKINGMAN'S DEAD" - no, actually we were not into any kind of particular - actually the space we were into when we were doing "WORKINGMAN'S DEAD" was one of extreme paranoia because we'd just been busted in New Orleans. It was right in that period. And we were going through changes about "wow are we gonna have to go to jail behind this" because it was still hanging up and that was like - that was going down - and then like we had extremely heavy scenes with the guy who was like our manager at the time and it was like very intense, you know, personal energy, that kind of stuff rather than a specific drug. Actually when we work in the studio we all try and stay, you know, comparatively straight. On our earlier records that's not so.<br />KSAN: But more recently. Some of the other calls - when the Grateful Dead were known as the Warlocks, which was when I first met you back in 1964, 1965 -<br />JERRY: Way back.<br />KSAN: That's a long time ago - a young lady apparently wrote some sort of poem. I'm not familiar with this but one of our colleagues was - <a href="http://deadsources.blogspot.com/2012/02/july-15-1966-fan-poem.html" target="_blank">Ralph Gleason printed it in an article</a> - <br />JERRY: Oh that's right. That was - <br />KSAN: And he wanted to know whether he could get a copy of that or whatever.<br />JERRY: Yeah, I even know the girl that wrote that, she's like a good friend of ours. Whether or not - no, I don't know whether or not that could be arranged. I guess the person to call would be Ralph Gleason or maybe even the Chronicle.<br />KSAN: Or go down to the San Francisco public library if you know about when it was reprinted.<br />JERRY: Right.<br />KSAN: Somebody else wants to know what Pigpen's LP is going to be like and is it finished and when's it gonna be out?<br />JERRY: It's not finished, in fact it isn't even started yet, but he's - you know, working on it. He's been writing a lot of tunes lately, and playing a lot more lately, so I imagine - you know, Pigpen works in his own - at his own rate, so you know, whenever it's ready is when it'll happen. I hate to make promises, you know.<br />KSAN: Especially after the remixes on - <br />JERRY: Right.<br />KSAN: The same person asked do you have any plans, or actually he seemed to think that you did have plans, he just wanted to know when are you going to play Palo Alto?<br />JERRY: We don't have any plans. I'll tell everybody right now that we don't have any plans. We have maybe one or two gigs coming up in the next two months and they're mostly, you know, what they are is out of town generally speaking, and we're probably gonna work around here but we don't know where and we don't know when. But we will, you know.<br />KSAN: And one other person wanted to know - it just flashed me - somebody wanted to know when are you gonna record "El Paso"?<br />JERRY: I think "El Paso"'s gonna come out on our new record.<br />KSAN: You've done it live but - <br />JERRY: That's right. Well, our new record is another live album folks, it's not a - it's not - a studio album it's - the way we plan it is this, and I don't know what's gonna happen. What we're doing is we're going back through the tapes from Europe and our main - our whole main trip with recording has been to develop a good way to record live so that it sounds like us on record, and so once again there's another live thing coming out. It might be three records.<br />KSAN: You said you wanted it to sound like, you know, you wanna sound like you sound on record and vice versa. The Dead have gone through some - I think a very strange evolution if you can call it that. Normally, sometimes anyway, you can look at a band and see that they've gone on from here to here to here. With "WORKINGMAN'S DEAD" and "AMERICAN BEAUTY" you've done an awful lot, the band itself and the vocals and things, you've gotten into harmonies and stuff that you really didn't experiment with before. This has happened around the time that Crosby, Stills, Nash & Young have really you know, made a big splash with their harmony work and things. /p.16/<br />JERRY: Right.<br />KSAN: Were they influencing you or - <br />JERRY: Ah for sure. Yeah, for sure.<br />KSAN: Do you wanna go into it or - <br />JERRY: Well I - you know - it's just the thing of - <br />KSAN: I didn't mean to tack it down just to there but - <br />JERRY: No but that's really where it's at.<br />KSAN: I'm not talking just about the harmony though, but the whole evolution of the Dead seems really to be zigzagging all over the place rather than going from here to there.<br />JERRY: That's true - because actually we've had like a lot of things going on at once all along, but it's been like how to approach any little facet like - say we wanted to do a country music thing, and like "WORKINGMAN'S DEAD" was like a country music approach to a record, although the record isn't really a country record, you know what I mean? That kind of stuff. It's like everything is still going on that we've ever done really in terms of trends, and it's like one year we'll work on harmonies, another year we'll work on rhythm you know, and another year we'll work on weird time signatures, and you know, it's - it's just whatever's going on at that particular time. I think. We have a girl singer now, well which you can hear on Bobby's record.<br />KSAN: Where can we hear that?<br />JERRY: Cassidy, Play the track called Cassidy. It's a good tune.<br />KSAN: Can you explain this for us, or do you want to? Is there an explanation -<br />JERRY: This particular tune? One of the - one of the girls that was staying out at Bob's place, when he was living out in the County on a little ranch was - had a kid at home there, Bobby helped deliver - deliver the baby; the baby's name is Cassidy, and that's what this tune is about. He wrote it.<br /><i>("Cassidy")</i><br />KSAN: We're back talking to Jerry Garcia.<br />JERRY: Hi gang.<br />KSAN: Okay, we got a bunch more calls. This is a strange way to do an interview but - you say you have phonophobia? That's strange, that's a really opposite trait of mine. When the phone rings I find that - <br />JERRY: Must answer it. Must pick it up.<br />KSAN: I have admiration for people who can just sit there and reject it.<br />JERRY: I can't really reject it, it's more active paranoia.<br />KSAN: Some of the questions that we had - a young lady called and said that some of her friends had invited her down to a Grateful Dead concert Saturday night in Los Angeles. Are you having a concert, and where is it and what's the story?<br />JERRY: Yes we are. It's at the Hollywood Bowl. The Hollywood Bowl. Us and the New Riders.<br />KSAN: And the New Riders.<br />JERRY: Yeah.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FYKvLUmRgVxqIOnIKlEsloW-12eCZN-oONnICt097q2gDJwDxNwMu-EN6jzR88slblWsRh5S-wqSMQYOdYXfzw0fFBZt33J7kFKDk6WtS9_FFRaIc4hkiOb-EdP6VuP8efKPmapC7NUjZLlBj_6IPhZuw_McZeVZc6B4mb3SNvvxNK1aX74ABsrb-g/s3579/6-17-72%20poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3579" data-original-width="2829" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FYKvLUmRgVxqIOnIKlEsloW-12eCZN-oONnICt097q2gDJwDxNwMu-EN6jzR88slblWsRh5S-wqSMQYOdYXfzw0fFBZt33J7kFKDk6WtS9_FFRaIc4hkiOb-EdP6VuP8efKPmapC7NUjZLlBj_6IPhZuw_McZeVZc6B4mb3SNvvxNK1aX74ABsrb-g/s320/6-17-72%20poster.jpg" width="253" /></a></div><div style="text-align: left;">KSAN: What's the - may I ask, this is my own question, how - what was your involvement with the New Riders' album and - <br />JERRY: Well, the first one I played pedal steel on, the second one I played just a couple of banjo cuts, piano on one tune.<br />KSAN: Are you still actively involved with them?<br />JERRY: No, they have - they've got their own total trip.<br />KSAN: But for a while there you were with them.<br />JERRY: That's true, but I couldn't really pull off doing two things sort of full time, you know what I mean? It was just - to continue doing it that way would've been to hang them up really. They've got a player now who's like much more together really as a steel player than I was, and he's also like their guy, you know what I mean. They've got a band now.<br />KSAN: He's part of the New Riders.<br />JERRY: Right, right.<br />KSAN: Somebody called but I don't - I just advised them about your management problem but that's ancient history by this time, so I think it was very well covered in the Rolling Stone interview and if anybody wants any information on that, 'cos it's complicated and it would take hours. /p.17/<br />JERRY: And not really interesting.<br />KSAN: It's not involved with the music. Somebody wants to know if you have any plans for working with Mickey Hart in the studio or what are your plans with Mickey Hart if any?<br />JERRY: Mickey's got - his record, which he's been working on for a long old time, is just at the point where it's starting to be mixed, and Phil and I are gonna help him out mixing it. We've done tracks on it also, so <a href="https://deadessays.blogspot.com/2021/01/whos-who-on-rolling-thunder-cover.html" target="_blank">that'll be coming out soon</a>.<br />KSAN: Is he gonna be doing anything with the Dead?<br />JERRY: I don't think so. <br />KSAN: Somebody wanted to know - this is sort of a philosophical question - in this person's mind he associates you a lot, the band, with the Jefferson Airplane, and he wanted to know just what's happening with the Jefferson Airplane, if anything, and I don't know if you're the person to ask that question to.<br />JERRY: I'm not really sure what's happening. I haven't seen 'em since I've been back. I know Hot Tuna's playing a lot. I guess the Airplane will probably go out and do, you know, like one or two tours a year when they feel like it, and when it's right for 'em. The reason for that relationship is because of that classic press release that says "acid rock bands like the Grateful Dead and the Jefferson Airplane" or "the Jefferson Airplane and the Grateful Dead". It's part of that.<br />KSAN: Somebody wanted to know is "St. Stephen" about Steve Gaskin? And if that's so how you got involved with - <br />JERRY: No, it's not, not - it's not specifically about Steve Gaskin, although if anybody likes that way of looking at it that's groovy with me, and I'm sure it's groovy with him. <br />KSAN: We had a couple more calls. One gentleman called and said he's a <a href="https://www.youtube.com/watch?v=v7KQc3firpA" target="_blank">Pete Williams</a> fan, the Johnny Otis Orchestra guitar player, he wanted to know if you'd been influenced by him because I guess he feels there's a fraternal affinity there.<br />JERRY: No, he was never one of the guys that I copped a lot of licks from, but a lot of that - the feeling of the Johnny Otis - the Johnny Otis rhythm section feeling and the way - the whole way that that guitarist constructs his ideas is kinda like, similar to me yeah. The guy that I stole most of my licks from back when I was learning how to pick was Freddie King.<br />KSAN: Somebody else wanted to know how about Merl Saunders and the album "TURBULENCE"<br />JERRY: <a href="http://deaddisc.com/disc/Heavy_Turbulence.htm" target="_blank">"HEAVY TURBULENCE"</a>. How about it man?<br />KSAN: Got any comment on it?<br />JERRY: Well Merl - those guys, I play with 'em here in town all the time. Merl, well he's just a fine organist.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdG4njiB_89bdqveueEBh7hSUeYC7BlrxTC55T19VXsE66IwsNHJ_ropoBXD-Ab-DHDuCyfTG6c21cI2Qia9PIIV8viPczbkY8_-dEPJJFFx6MstaKSBoezt8kKzff_-EZTlG3b48_AHo2MSJSFXJi3n26Mjge5_BUMFgZMYyjoQAQFVaFqbc2vaF3Q/s600/heavy%20turbulence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdG4njiB_89bdqveueEBh7hSUeYC7BlrxTC55T19VXsE66IwsNHJ_ropoBXD-Ab-DHDuCyfTG6c21cI2Qia9PIIV8viPczbkY8_-dEPJJFFx6MstaKSBoezt8kKzff_-EZTlG3b48_AHo2MSJSFXJi3n26Mjge5_BUMFgZMYyjoQAQFVaFqbc2vaF3Q/s320/heavy%20turbulence.jpg" width="320" /></a></div><div style="text-align: left;">KSAN: Was Django Reinhardt an influence on you?<br />JERRY: Yeah, as far as his touch and tone, but I've never like tried to, you know, break down his stuff or play it.<br />KSAN: It would be difficult for a contemporary guitar player not to have been influenced by Django Reinhardt today.<br />JERRY: Really. <br />KSAN: Somebody wanted to know - any plans, you'll have to try and interpret what this guy means - any plans to try to get back to the vibes or energy as envisioned in your second album? And what was the meaning of "Born Cross-Eyed"?<br />JERRY: You'd have to ask Weir because he wrote it. That's his - he was born cross-eyed, Weir was, and that's it. That's the title at any rate.<br />KSAN: It's that simple. And someone else called, and I don't like to get into these things 'cos whatever these alleged big rock festivals - but somebody said that the Rainbow Tribe is having some kind of a rock festival somewhere - do you know anything about that?<br />JERRY: No I don't.<br />KSAN: Forget it then. That's - <br />JERRY: It's all news to me. Generally speaking we've been sort of avoiding that sort of thing.<br />KSAN: But you are opening - this is your first new world date in the Hollywood Bowl next Saturday night?<br />JERRY: Yeah, right.<br />KSAN: That's the coming home fest?<br />JERRY: Yeah well, I guess.<br />KSAN: Can you see the forest for the trees of knowing the Grateful Dead and where they are at? /p.18/ At any one given time - where you're going musically or - <br />JERRY: No. We're a band.<br />KSAN: Do you listen to your own records at home?<br />JERRY: Not too often. Sometimes. More often I listen to tapes.<br />KSAN: Does it become more of a critical exercise?<br />JERRY: I always compare it with how - how I wish it had been and that sort of thing.<br />KSAN: It's not possible then to listen to one of your own records and just get it on as someone who would go out and buy it and take it home?<br />JERRY: Well, if a record is really good I think so. I think, you know like if I can stand to listen to one of our records for a lot of times then I figure, well, if it's good enough for me then enjoy listening to it.<br />KSAN: The Dead, and you in particular, get actively involved in mixing a lot of times don't you?<br />JERRY: Right.<br />KSAN: That's something that I - I've never, well I did it once or twice for singles and things down at Autumn Records and stuff, but it's something that I don't have the patience for and I find that after I've listened to a record or a track over and over and I've heard it built from beginning to end somehow the magic is lost, and I can't hear it anymore, I can't hear anything you know? Do you ever get that feeling?<br />JERRY: Well, I try to work in such a way as - so as not to bore myself, you know. When I'm doing a mix I try and do it as clearly and quickly as possible. I think that really those things are - that's part of the whole technique of working in the studio, which is like - I think the best mixes are when - when it's played right, you don't have to mess with it, you don't have to be remixing it really, you just have to let it play through so that the music that was played in the recording session comes through. That's like my approach to it. I like to do the mixing before.<br />KSAN: Do you ever spend a whole night working on one track?<br />JERRY: No. I just - I can't make myself do that.<br />KSAN: You go from this to that?<br />JERRY: Sure. If I get tired of something then I'll say I have to hear something else.<br />KSAN: Because frequently many people do that as an accepted practice in the music industry, and many people are maybe not aware of it, but sometimes you sit in the recording studio from seven or eight at night until six or seven the next morning and you listen to that one track maybe a hundred times, over and over.<br />JERRY: Right, well that's the thing about doing it. Like if you're playing, if you're doing studio work as a musician, well then there's a normal phenomenon that occurs, it's like you have really a good - get a good take the first time or the second time, then you say, "oh well, let's go for a better one" and they don't really start getting better until like the 50th or 60th. So it's a matter of really being able to balance the various elements.<br />KSAN: This is in a recording?<br />JERRY: Yeah.<br />KSAN: That's another thing too. I would think, and I'm not a musician so I really can't say, but it seems to me that if I were, it would get awfully tedious and kind of - like wow, the 60th time in just a few hours and we're doing the same song!<br />JERRY: Right. That's the old way to do it. I don't think anybody likes to work that way anymore, I mean most of the people, for example when I go into the studios with people who - who've had a lot of experience and know that they don't wanna approach it on that treadmill basis or the - you know, the nine to five thing whatever, the career trip, they mostly wanna - for the music to have some life and to communicate properly and stuff like that. It really has to do with what everybody feels and that's probably more important than all the technical aspects, it's just, you know, the thing you're talking about is like the famous dichotomy in making a record, you know, going out and - <br />KSAN: There is no way then - /p.19/ <br />JERRY: Going after one that's loose and -<br />KSAN: There is no other way than doing it over and over again. And I think that most people are just not aware of the amount of work and the importance of the mixing after it's cut, and very frequently it takes a lot longer to mix it, and is even more expensive to mix it, than it was to record it. And even though you've recorded something it could come out any way of an infinite number of ways - <br />JERRY: That's right.<br />KSAN: Do you have a waterbed?<br />JERRY: No.<br />KSAN: You're not one to - <br />JERRY: I'm not a hedonist,<br />KSAN: You're not one to be drawn into the stampede of the madding crowd.<br />JERRY: Rabid consumerism.<br />KSAN: We had a lot of phone calls during that last commercial spot trip. Somebody on the line wanted to know something about the Les Paul guitar or something that you used early on and what happened to it or something?<br />JERRY: I just got tired of Gibsons. I sort of played Gibsons for a long time and I switched over to Fenders.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKb9vrw5EfDlpNoTJSDEQUB0vSwCWI-vBYc0D8vuao0n7qLdvqo-nt2RNNacy5wGwfzMPFIFT2zliFsXO1VXLB8EKVlxJtGw5_eaMLkmzVBgW7_POAFV3xiTW35pSI0MSKm1Ie8UxCwhRV086Jxt3wclN3_70oYSVl9h3MawiEHtG1sIsjKW63IA11hQ/s400/bigbrown_v2.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="388" data-original-width="400" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKb9vrw5EfDlpNoTJSDEQUB0vSwCWI-vBYc0D8vuao0n7qLdvqo-nt2RNNacy5wGwfzMPFIFT2zliFsXO1VXLB8EKVlxJtGw5_eaMLkmzVBgW7_POAFV3xiTW35pSI0MSKm1Ie8UxCwhRV086Jxt3wclN3_70oYSVl9h3MawiEHtG1sIsjKW63IA11hQ/s320/bigbrown_v2.1.jpg" width="320" /></a></div><div style="text-align: left;">KSAN: We have a related question. Somebody wanted to know about instruments that you and Phil had made at Alembic.<br />JERRY: Right, well Phil Lesh - Phil's bass is really a modern technological achievement. It's really remarkable. I couldn't begin to explain it except that it's quadraphonic and has a separate pick-up for each string.<br />KSAN: Is it radio or cord?<br />JERRY: No it's cord, but it has a huge coaxial cable and it's got its own amplifier inside it and variable filters - <br />KSAN: Inside the guitar itself?<br />JERRY: Yeah. It's quite incredible. Anybody who's serious about guitars and far out instruments oughta get hold of Alembic.<br />KSAN: Did you have a guitar made there?<br />JERRY: They're making one for me now, yeah. I have all my guitars worked on there.<br />KSAN: Can you describe it?<br />JERRY: No. I can't really describe it, it's just - my particular trip with a guitar is the simpler it is the better, whereas Phil's is amazingly complex, but it depends on what you want.<br />KSAN: Especially for a bass.<br />JERRY: They also built <a href="https://bassmagazine.com/lessons/partners-jack-casady-alembic" target="_blank">Jack Casady's bass</a> which is legendary.<br />KSAN: It's a legendary bass?<br />JERRY: Yeah.<br />KSAN: Are they constantly improving? Is the state of the art increasing?<br />JERRY: Yeah. These are the only guys too who are doing - who are actually developing the state of the art of electric instruments.<br />KSAN: We had a call from a guy and I think we just got a little business for your publishing company. I hope anyway. He is - he is working on a doorbell that when you press the button it plays the opening notes from "Morning Dew".<br />JERRY: (amid great mirth). Far out! Tremendous!<br />KSAN: Yeah well I told him to get in touch and, you know - for every doorbell sold you might make a buck or something, and I'm sure every Grateful Dead freak will wanna have one. You've never gotten into - the Dead are noted for or is noted? are noted?<br />JERRY: Am noted.<br />KSAN: Am noted. The Dead am noted for really not getting involved in rabid consumerism in addition to not getting involved in rabid hedonism. Though I would say you drive - I was in Stinson Beach one day and I saw you driving by in a rather hedonistic looking automobile. I've never even been in one but I'd like to.<br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DRlsbyNSl154ojSyz_ut1FvUF7PDqaeUqOtk_DS-8hhU_2gxTU3fCOMtfUsWMIRuRexyekaU9BqpkJNqWsD_zLAfRCasWHiz_WhCQmti-5tJs1AjjkUCRsRUZmv8OH7X-vuv0OxZDJfdB26K9v2q1RmqUYRARTVqtFrFagOAshWdiuKowGfRgc-wtQ/s311/Jerry%20Bentley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="222" data-original-width="311" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DRlsbyNSl154ojSyz_ut1FvUF7PDqaeUqOtk_DS-8hhU_2gxTU3fCOMtfUsWMIRuRexyekaU9BqpkJNqWsD_zLAfRCasWHiz_WhCQmti-5tJs1AjjkUCRsRUZmv8OH7X-vuv0OxZDJfdB26K9v2q1RmqUYRARTVqtFrFagOAshWdiuKowGfRgc-wtQ/s1600/Jerry%20Bentley.jpg" width="311" /></a></div><div style="text-align: left;">JERRY: You talking about my old Bentley? <br /></div><div style="text-align: left;">KSAN: I'm talking about - well, it didn't look too old, I mean it's been well taken care of.<br />JERRY: Yeah it's a 48 Bentley. Right. It's not in good shape any more. I mean actually the only reason I was able to get it was because they were selling it cheap. I saw - I spotted it on a used car lot up in Santa Rosa and it was just sitting there amongst the - /p.20/ <br />KSAN: You wouldn't mind if I said you looked a little self-conscious driving it, would you?<br />JERRY: Oh I never - well now it's up on blocks, it doesn't run any more. It was just like barely running when I got it, but it looked so neat you know, it's like a piece of metal sculpture.<br />KSAN: I mean it was a Bentley alright. People don't notice - I mean not the average person, they don't see Bentleys parked outside their houses every day and so you can't tell whether it's a 48 or a 72 or what. It's a Bentley. Course the difference between a Bentley and a Rolls is just the radiator I'm told. Is that right?<br />JERRY: Well, I - in the old days they were completely different. Like mine is - it's just a - it's a Bentley, it's got a Bentley engine in it. It's a Bentley, the whole thing. I think Bentley did, used to do, the coach work for Rolls. I don't really know though, it's all very obscure. But there's - when I got that Bentley I started getting all kinds of weird things along with it like - a Bentley Club book that has these chatty little raps you know from English Bentley owners: "and we took our 38 Bentley out, you know, in the Sahara Desert for 3 days and had a marvellous time", you know what I mean? This incredible thing. It's like, kind of like gardening or something like that, having these - <br />KSAN: Well, if you have a Bentley you become a member of sort of a larger fraternity.<br />JERRY: Something like that. But I'm not really into the trip.<br />KSAN: You're not just a car driver anymore.<br />JERRY: Well unfortunately I'm - you know, I don't go for any of it, you know. In fact I'm looking to unload the thing now.<br />KSAN: You wanna put an ad on Listeners' Personals?<br />JERRY: No, no. I don't wanna sell it, I think it'd be a burn. I'm giving it away to a friend.<br />KSAN: Oh well, that's good. We could give it away to the one millionth person to buy a copy of the "LIVE/DEAD" or something. What did you think - I don't want to get into areas of controversy but - what did you think of the "LIVE DEAD"? A couple of albums that were done for MGM - one I think and maybe another in the works or something?<br />JERRY: There's <a href="http://deadsources.blogspot.com/2012/07/1971-sunflower-records-story.html" target="_blank">the Historic and the Vintage</a>.<br />KSAN: Bob [Cohen] asked for your permission I recall.<br />JERRY: Yeah well, see the thing was it was originally gonna be a whole different thing. It was originally gonna be - this was back in the days when there was a sort of a - an attempt to sort of community-ise the Family Dog. It was after the - in the wake of that whole light show strike and all that stuff that was going on, and originally that record was gonna be made - the proceeds were gonna go toward keeping the Family Dog running at the time, and it was originally a whole different record company. But that - the record company that was originally doing it was bought up by MGM, there was some weird swindle went down and actually, as far as the music goes, well it's what we were doing in 66, and if anybody cares to listen to it you know, that's - they just ought to know that it's 66 and we weren't as good then of course as we are now, and - you know, but it is what it is.<br />KSAN: You weren't doing live albums in 66.<br />JERRY: Not really. We weren't even doing studio albums in 66, it was before we made our first studio album.<br />KSAN: Did you ever record anything as the Warlocks?<br />JERRY: We recorded a demo.<br />KSAN: For Autumn?<br />JERRY: For Autumn Records yeah, indeed.<br />KSAN: Is it still around?<br />JERRY: I'm sure that Tom's got a copy of it somewhere.<br />KSAN: What about "Fire In The City"?<br />JERRY: Oh right, John Hendricks! Right -<br />KSAN: We've got that here.<br />JERRY: Ah incredible, I forgot about - I forgot all about that. Oh and "Your Sons And Daughters" was the other side of that. That was for a movie.<br />KSAN: I'm looking up here - Les Paul and Mary Ford - /p.21/ <br />JERRY: Wow really? Too much!<br />KSAN: Grateful Dead "Don't Ease Me In", "Your Sons And Daughters" - <br />JERRY: "Don't Ease Me In", that's another oldie. That's on Scorpio.<br />KSAN: How far back does that go?<br />JERRY: That must be, you know, late 65 I guess. That's real old. That's our first single.<br />KSAN: "Don't Ease Me In" was the first single?<br />JERRY: Yeah, that was our first single.<br />KSAN: We're gonna listen to the recording "Don't Ease Me In". Who were Scorpio Records?<br />JERRY: Owned by Gene [Estribou] who's a very nice cat, good player and sort of a - he inherited a lot of money so he decided to make records with it.<br />KSAN: Does he still do it?<br />JERRY: No. You know, he just lives now.<br /><i>("Don't Ease Me In")</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFs6dYNtrMbfXa1eyB_cSgcaTHEDWuGIqg59ZlFPqgrtJFdKBgpSHzjam57Jc2Jm9bwpS3KyuplSR6qPM4y3iQp3qTgszDdNAuJselQLUzZSgwxuPpK8_QATfVuxwunhTe9LAB9P7YTHU3IjyKjQr-0-FgfEg3S-v_XpsFEPMWX4nL-8K99cm8kEZnww/s621/dont%20ease%20me%20in.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="621" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFs6dYNtrMbfXa1eyB_cSgcaTHEDWuGIqg59ZlFPqgrtJFdKBgpSHzjam57Jc2Jm9bwpS3KyuplSR6qPM4y3iQp3qTgszDdNAuJselQLUzZSgwxuPpK8_QATfVuxwunhTe9LAB9P7YTHU3IjyKjQr-0-FgfEg3S-v_XpsFEPMWX4nL-8K99cm8kEZnww/s320/dont%20ease%20me%20in.jpg" width="309" /></a></div><div style="text-align: left;">KSAN: That's the Dead alright.<br />JERRY: Yep. It's us.<br />KSAN: Primitive Dead.<br />JERRY: Oh yeah. We were fresh out of the bar then.<br />KSAN: Were you still wearing suits and ties?<br />JERRY: No. We never wore suits and ties.<br />KSAN: I remember, it seems to me - <br />JERRY: Suits and ties? I used to wear a vest.<br />KSAN: Maybe it was a turtle neck sweater.<br />JERRY: Could be, could be. Yeah, we were still playing the bars when we did that.<br />KSAN: What bars?<br />JERRY: Oh, we played the Fireside, we played the Whisky A Gogo, we played all those joints. We even played Pierre's on Broadway. Topless.<br />KSAN: Did you ever play Mothers?<br />JERRY: No, we never did. We couldn't make an audition there. We went up there and auditioned but they didn't like us. The Great Society auditioned the same day but they got the job. Then they had Grace.<br />KSAN: That's right, and that record came out - I think it was the first and last record on the North Beach label and only 500 copies were pressed, and I've still got a box of 25 somewhere.<br />JERRY: Far out!<br />KSAN: Of <a href="https://www.youtube.com/watch?v=QiSE0rOQn6c" target="_blank">"Somebody To Love"</a>.<br />JERRY: Discographers would kill for that record.<br />KSAN: That's probably - it's true. I gave a couple away one time as a prize for something. "Don't Ease Me In", that's definitely early Dead. It was recorded in 63? 64?<br />JERRY: I would say around 64, maybe 65. I don't know. I know that it was a long long time ago.<br />KSAN: I remember the band, various members of the band, coming up to Dorman Avenue out by Army Street.<br />JERRY: That's right.<br />KSAN: The old Autumn Record offices. I'd like to ask you about <a href="https://www.youtube.com/watch?v=16VLBmF8kXc" target="_blank">"Fire In The City"</a>. How did that come about?<br />JERRY: I don't really quite remember how it came about. I think we were working at Trident Studios or something like that and somebody there turned us on to it because John Hendricks also worked there. That's where we recorded it anyway, at Trident Studios.<br />KSAN: Well how did <a href="http://deadsources.blogspot.com/2012/02/november-20-1966-jon-hendricks-dead.html" target="_blank">John Hendricks and you</a> get together?<br />JERRY: <a href="http://deadsources.blogspot.com/2012/02/september-11-1966-jazzrock-show.html" target="_blank">We played a benefit together</a> I think is what happened.<br />KSAN: You were both in the studio at the same time? Or - <br />JERRY: No, he - yeah, we were in the studio. We worked on it all at once, did the vocals and everything all at once.<br />KSAN: All in one take.<br />JERRY: Right. Yeah, it was quite a trip too because he was such a pro, and we were all - you know. He got us to sing little parts and all that stuff, it was really fun.<br />KSAN: Are they still ever used, the Trident Studios?<br />JERRY: I really don't know. I don't even know who runs it anymore.<br />KSAN: Nice homey little place. You used to do all your mixing - /p.22/ <br />JERRY: Yeah, we mixed there for a few years.<br />KSAN: And they had Mad magazines on the sixth floor.<br />JERRY: Plenty of 'em.<br />KSAN: When did you get back?<br />JERRY: Oh about a week ago. A week and a half - maybe two weeks ago now.<br />KSAN: And you're sort of recuperating, is that it?<br />JERRY: We're listening back to the tapes from the tour.<br />KSAN: You're in the process now - you're selecting and in the mixing process?<br />JERRY: That's right.<br />KSAN: We're gonna listen to something from the first LP on Warner Bros. Was that when they had that party down at the Italian American Hall?<br />JERRY: That's it, right. Right you are, down at the Fugasi Hall.<br />KSAN: <a href="http://deadsources.blogspot.com/2013/04/march-20-1967-album-release-party.html" target="_blank">That was an incredible party</a>. It was probably the strangest odd mixture of people - <br />JERRY: Definitely.<br />KSAN: I mean it was almost like the stag line, you know - the freaks on one side and so on.<br />JERRY: Right, that was in the days when there were a lot of straight people in the music business.<br />KSAN: Yeah and they were all coming up from Los Angeles, and there was a definite line drawn there.<br />JERRY: Oh yeah.<br /><i>("Cold Rain And Snow")</i><br />KSAN: The Dead have always been noted for playing free concerts, and they're associated with really the beginning of the trend. Whether or not that's true they're associated, and they certainly have done more of them than their share. In addition to that they've played a lot of benefits and things for other causes, although are not probably well known for expounding causes. Do you have any views on the war?<br />JERRY: Well, I hate it. You know, I think that's probably - I hate to think it's still going on, it's such a waste.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjx95KzjOwxgYzrO-qdmL-4iW00rWNorDMocrlOgCkzGQDsHA4bMMQAYv3xsaN6zXBHG-K5Hf2X4ViSr-O1dk424GtrYceSZ4ESrGHLDJzDY-TFicQXR1Zn3T2ziiBT3oYdwtXH_hiTj0UkJ_T84NFm1PIJkv_1XHquLfoCrneZpr1jdwCOc0d9sd9A/s1222/b-52%20vietnam%20wiki.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="916" data-original-width="1222" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOjx95KzjOwxgYzrO-qdmL-4iW00rWNorDMocrlOgCkzGQDsHA4bMMQAYv3xsaN6zXBHG-K5Hf2X4ViSr-O1dk424GtrYceSZ4ESrGHLDJzDY-TFicQXR1Zn3T2ziiBT3oYdwtXH_hiTj0UkJ_T84NFm1PIJkv_1XHquLfoCrneZpr1jdwCOc0d9sd9A/s320/b-52%20vietnam%20wiki.jpg" width="320" /></a></div><div style="text-align: left;">KSAN: The war's over in the Dead. <i>[sic]</i><br />JERRY: Yeah right, I know - and that, it's a waste. It's an incredible waste. I never have put too much energy into the war, either against it or for it, because I think that any energy in that direction is ultimately war, itself. We were just in Europe where - and while we were there, the whole increased bombing scene was happening, so there was a lot of attention on American guilt about the war. And a lot of accusation about "you're an American", you know - you get very conscious about being an American, you know, when you're travelling, just because [of] who you are.<br />KSAN: Did you run into any hostility because of it?<br />JERRY: Not - well not really because we were in a more or less positive space during our whole tour and, you know - so - people pretty much took it for granted that we were against the war, although it never came up much except, you know, just amongst ourselves really. And, you know, I don't have any solution to it. I don't know what'll make it stop. I think - think that the public is powerless, and I don't - in that sense I don't think that the average person should spend too much of their time being guilty about the war or - you know - pumping too much energy into war thought. I think that ultimately a state of non-war is for people to resolve their own trips and to be in a peaceful place in their heads. I think that that's like the realest thing you can do. I think that anything else has the possibility of being - of turning weird on you. You know what I mean?<br />KSAN: Can you cause war to stop or - <br />JERRY: Well that's what the whole demonstration thing turned into - anti-war demonstration turned into war itself, you know - so I think that's an obvious trap there somewhere. But I don't - I'm not really an expert, it's difficult for me to talk about it. That's as much as I can say. I mean, if you don't like war don't be it.<br />KSAN: You can't - it's difficult to be violently non-violent.<br />JERRY: Right, because it just means that - it's just a vote for war. You're - it's just a continuation, /p.23/ and the only way I can relate to any of that kind of stuff is like where does it affect me individually as a person? And I feel that, you know the war energy thing is like definitely taking energy away from forward going trips that could be happening - more consciousness. I think just everybody keep pouring out more consciousness and maybe ultimately it'll affect that whole state of war. But I don't think that people should be guilty about it. Individually. Except those that are responsible, you know.<br />KSAN: The Dead collectively have played a lot of benefits for a lot of causes, and including anti-war movements, and a lot of musicians have written songs that are directly related to the war or the turmoil in this country. Most of your music is good time music or philosophic music and music about people in close relationships and things like that. Has much of your music been influenced by large issues?<br />JERRY: No. No, because for us that's - that would be like taking an - some kind of editorial viewpoint, as though we were like the hypothetical spokesman of some - you know, some - it would be an invention in short, it wouldn't really be truly together, you know. All of us are basically cynics in terms of the whole range of - the energy that people have to put into places like war and politics and all that kind of stuff. I think we generally agree that that's not where it's at, in terms of living one's own life, which is where all those problems ultimately come to. It's like if you focus on politics, stuff that's going on outside yourself is like - I see it as moving away from your own self, and I think everybody's got some percentage of themselves that's at war, you know what I mean? Take care of that, take care of what's at home, take care of what's around you.<br />KSAN: Are you - from knowing you personally I know you are into some aspects of pop culture. Mad magazine or whatever.<br />JERRY: Yeah.<br />KSAN: Are you in that sense an American, a product of the environment?<br />JERRY: Definitely. Definitely. I watch T.V. I do all that stuff. You know what I mean? It's just - that's who I am. I'm not trying to avoid being an American, I dig it in fact, it's just that, you know, like everybody else who is brought up in America the ideal, the vision is much bosser than the reality is, and the whole thing is to try and make it so that the reality is, you know, meets up with the good old America.<br />KSAN: Are you into horror movies by any chance?<br />JERRY: Yeah, I'm into all that stuff. I mean you know, I'm a kid. I'm into all those things, I love 'em.<br /><i>(Break for trailer for forthcoming horror movie triple feature).</i><br />KSAN: The second album was very different from the first. It was more ambitious - maybe influenced by "RUBBER SOUL" and those albums that marked the beginning of the concept that finally developed into the rock opera.<br />JERRY: Right.<br />KSAN: I don't know how I can cue up "Born Cross-Eyed". Actually maybe I could play "Alligator".<br />JERRY: That's complicated.<br />KSAN: "Alligator"'s the shorter right?<br />JERRY: "Alligator"'s real long. Well, there's a first part and a second part but you can fade out.<br />KSAN: Somebody here says Pentangle do <a href="https://www.youtube.com/watch?v=Cago4N2t8bU" target="_blank">"Cold Rain And Snow"</a>. Pentangle? Did you ever hear of that?<br />JERRY: I'd like to hear that. Pentangle's a nice group. It's not our song, it's a traditional tune. But I never heard anybody do it but us.<br />KSAN: Okay. And the difference between authorship on the second album, somebody says here.<br />JERRY: Well, the first album had a lot of stuff that wasn't ours on it. The second one we just flipped coins and did that kind of stuff. It's really difficult you know - <br />KSAN: But there is a marked different concept in the second album than the first.<br />JERRY: Oh yeah. The first one was our - you know, our record company record. You know, that's the one they took us down there and made us do. You know, three days, done, finished, wrap it up, you know, and the second one we decided we wanted to make it ourselves. /p.24/ <br />KSAN: Do you find that a record gets five times better if you spend five times more time on it?<br />JERRY: No.<br />KSAN: I know this is a bit of a trial for you, listening to the older stuff -<br />JERRY: It's fun though. <br />KSAN: Maybe you can understand this question. What does it say -<br />JERRY (reading): play with Bill Champlin drummer - I play with Bill [Vitt] now and again who was playing drums for Yogi Flegm, sort of the Sons of Champlin, and I played with Bill - me and Phil played with Bill Champlin <a href="http://lostlivedead.blogspot.com/2010/05/march-5-1972-winterland-san-francisco.html" target="_blank">when they did a gig with us</a>. <br />KSAN: Familiar with a guy named <a href="https://www.youtube.com/watch?v=WJVC8huyLLU" target="_blank">David Bromberg</a>?<br />JERRY: Sure.<br />KSAN: He's gonna be in town.<br />JERRY: Yeah, he's a nice cat, good player.<br />KSAN: Are you gonna check him out?<br />JERRY: I hope so.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiItRwYS5fxfPmJ7gNoAN81LUxNYLErJfkZUUMIoSa5ix3D82qolA144HD1EtKSRRSxVkJpZcc8htzJfWatNP6yakrYAmIv7WlvVXoikfuyQPpbxKs4m_VMRuuPtSg1ryupFWmGFvQnLuvKsuiMmCDdJMd99ZoCL1g-Jai7dmU460LYJz3-9Mb3bvBUNQ/s520/grateful_dead_aoxomoxoa_1969_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="520" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiItRwYS5fxfPmJ7gNoAN81LUxNYLErJfkZUUMIoSa5ix3D82qolA144HD1EtKSRRSxVkJpZcc8htzJfWatNP6yakrYAmIv7WlvVXoikfuyQPpbxKs4m_VMRuuPtSg1ryupFWmGFvQnLuvKsuiMmCDdJMd99ZoCL1g-Jai7dmU460LYJz3-9Mb3bvBUNQ/s320/grateful_dead_aoxomoxoa_1969_.jpg" width="320" /></a></div><div style="text-align: left;">KSAN: The third album was "AOXOMOXOA". Does the word mean anything at all?<br />JERRY: I don't know.<br />KSAN: I know it's Rick Griffin art, but why the symbolism of the skull on all the - <br />JERRY: Again you'd have to talk to Rick Griffin about that.<br />KSAN: Well, but then it's the Grateful Dead isn't it?<br />JERRY: That's true, but it's his version.<br />KSAN: His version of the Grateful Dead?<br />JERRY: Right, right. That's the way we work with artists. They see us the way they see us through their eyes, and we don't lay any trips on 'em.<br />KSAN: That's right. If you choose the artist you must be in some agreement, if only from enjoying their art.<br />JERRY: Definitely.<br />KSAN: The name the Grateful Dead comes from the Egyptian Book of the Dead? The Kingdom of the Sun or something - <br />JERRY: Well that's what Chet Helms discovered yeah, but that was actually after we had the name. We got it originally from a dictionary, Oxford dictionary. <a href="https://www.dead.net/features/blog/literary-underground-grateful-dead-dictionary-dead" target="_blank">Oxford New World dictionary</a>.<br />KSAN: Were you just looking for names and "here it is. Oh" - <br />JERRY: Sorta like that, yeah. Just opened it up and that was the thing. There it was.<br />KSAN: Spelt that way?<br />JERRY: Yeah.<br />KSAN: What was the definition?<br />JERRY: It has to do with ethnomusicology. It's a kind of ballad.<br />KSAN: It is a type?<br />JERRY: Right. Grateful Dead ballads. You've heard of murdered girl ballads, unquiet grave ballads.<br />KSAN: There were a lot of death songs in the 50s and 60s too in teenage pop music, you know.<br />JERRY: Right, <a href="https://www.youtube.com/watch?v=aORD1aRz_qI" target="_blank">"Endless Sleep"</a>.<br />KSAN: When will there be a good movie about the Dead?<br />JERRY: There's a nice little movie by Robert Nelson.<br />KSAN: Called <a href="https://www.youtube.com/watch?v=q0iULSnZUkg" target="_blank">the Grateful Dead</a>.<br />JERRY: Yeah he's a great film maker. There are <a href="https://www.dead.net/features/all-family/all-family-sam-field" target="_blank">some guys who wanna do a movie on us</a>. They've been sort of setting it up for a long time. What they wanna do is make a movie that would be just a movie of one of our live gigs, you know, just three hours long or four hours, just a record of that thing sort of.<br />KSAN: Why don't you play the House of Good, somebody wants to know.<br />JERRY: Well they have to come over and ask us.<br />KSAN: Would you be interested in doing a movie satire on "Me And My Uncle", somebody wants to know. He's gonna call your office and propose such a thing.<br />JERRY: Might conceivably.<br />KSAN: And the other thing is what do you think of the Pink Floyd?<br />JERRY: I like some of what they do, yeah.<br />KSAN: They definitely - it's definitely a different bag. <br />JERRY: Right, but I do like some of what they do. /p.25/ <br />KSAN: They're into huge quadraphonic speakers and big live performances.<br />JERRY: Right. I love their set up, it's amazing.<br /><i>(Love theme) [from Zabriskie Point]</i><br />KSAN: You actually did that in a motion picture sound studio? Where you actually watch the film and play the score as you're watching.<br />JERRY: Right.<br />KSAN: That always fascinates me. I'd like to see it done with a big orchestra.<br />JERRY: Yeah, it's a science at that level.<br />KSAN: Where are the Dead headed for? How do you feel about yourselves musically - are you tighter than ever?<br />JERRY: Oh yeah, yeah. We're - in fact for us it feels like we're just about ready to start getting it on.<br />KSAN: It's just beginning.<br />JERRY: Yeah. We've got our - by now musically at any rate we've got the right components and everything happening the way we always hoped it would, and it's just - it looks like, it looks really good.<br />KSAN: You've been together an awful long time. Ten years now I guess almost - <br />JERRY: Pretty nearly.<br />KSAN: Is there any reason why some bands break up and feel they can't develop musically - like the Buffalo Springfield and the Byrds seem to have split apart and reorganised into endless bands and they're still evolving, and the guys who play in those bands - if they wanna develop in some way they feel they have to go away and play with somebody else or - and yet the Dead, and maybe the Rolling Stones are the only other example, are the only band that really seem to enjoy working together.<br />JERRY: Right. I think that's it, enjoying working together I think must be it. I guess everybody is different in terms of the way they see themselves and everything, you know what I mean? With us it's just - it's just right on.<br />KSAN: Have you ever come close or talked about splitting up?<br />JERRY: We've gone through scenes kinda like that, but you know - <br />KSAN: You've found one way of doing it is each member of the band has gotten involved in their own thing, as well as maintaining the involvement with the band - if the temptation is there to do something different you go and do it and then come back or -<br />JERRY: Right. Our whole trip is if you're not getting off, you know, doing it, then we have to change the trip so that it leaves space enough for you to do that. And that's like our whole approach. <br />KSAN: We were talking earlier about being into something one year and some other facet the next. What are you into now?<br />JERRY: Oh, I can't really - I can't put my finger on it. We're just - we're into just playing more and everybody's writing more. We're just into doing more of everything. We're into all those things, and well, nothing specific.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxTg3J8J9BeyQstd4MLwaGlZ0RjiRS61vX3qb45QTbnrRWimXdEoVqHe-NRyHeeq5vgDpOyghrcsa89H8PsLqQKE1w82EU2qiBOXanvAuT1b96kr-gTMXkNF9gxAN-2yKXQfn36y1Ahlgyq5PIjL_-7xdMUaqqZpHp_jCaWXw4iEtlDqDdoc3pVBngtw/s750/king%20of%20lsd%20gaoled.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxTg3J8J9BeyQstd4MLwaGlZ0RjiRS61vX3qb45QTbnrRWimXdEoVqHe-NRyHeeq5vgDpOyghrcsa89H8PsLqQKE1w82EU2qiBOXanvAuT1b96kr-gTMXkNF9gxAN-2yKXQfn36y1Ahlgyq5PIjL_-7xdMUaqqZpHp_jCaWXw4iEtlDqDdoc3pVBngtw/s320/king%20of%20lsd%20gaoled.png" width="201" /></a></div><div style="text-align: left;">KSAN: And what's happening with a man who's missed in the San Francisco area - Mr. Owsley who's now doing time. I think the band got down to see him one day?<br />JERRY: Well right, and we're gonna go down again pretty soon I think. Right now he's like at a minimum security prison. At any rate he'll be out some time soon, this year we hope, September or maybe before that if everything goes good.<br />KSAN: Coincidentally somebody called me and told me that Owsley had got a band together.<br />JERRY: Wow, that's news to me. Far out.<br />KSAN: In the pen?<br />JERRY: That's entirely possible. There are some friends of his who are good musicians in there with him. Well I mean, you know how it is - <br />KSAN: Does he have a studio set up?<br />JERRY: I doubt it, because they don't let you have that much stuff, but he gets to hear music and stuff like that. I know that.<br />KSAN: Well how was your head when you saw him?<br />JERRY: Fantastic, man. The guy is a very far out guy. He knows how to keep himself together. /p.26/ <br />KSAN: Does he still have his recording gear stashed away?<br />JERRY: Yeah. He's got a pretty good scene going, because of - like a co-producer's credit on <a href="https://en.wikipedia.org/wiki/In_Concert_(Janis_Joplin_album)" target="_blank">the Janis Joplin album</a>. It was made from some tapes that he recorded when he was working at -<br />KSAN: The live album?<br />JERRY: Yeah.<br />KSAN: The live tapes? oh far out. So he'll have a little change put away?<br />JERRY: Right, so - yeah. It'll be cool - I mean, it should be okay for him when he gets out. <br />KSAN: Nice to be in touch with the outside.<br />JERRY: Right.<br />KSAN: But it's too bad he's in there.<br />JERRY: Terrible.<br />KSAN: You beat your thing in New Orleans right, is that right?<br />JERRY: It's sort of dropped into some kind of legal limbo but it - you know, it - it's there.<br />KSAN: I just wanna play one more record. We got a nice interview. I wish it could have been longer.<br />JERRY: Well I gotta get going anyway. Thanks a lot for listening to us folks.<br />KSAN: Did you know it was gonna be this long?<br />JERRY: No, I never know anything. It's been fun.<br />KSAN: We're gonna play "Uncle John's Band". Do you have any feeling about - <br />JERRY: We like it. <br /><br />*</div><div style="text-align: left;"><br />ROCK BOOKS<br />If you're a Grateful Dead freak and you're not already weary of reading Jerry Garcia interviews, 'GARCIA: A SIGNPOST TO NEW SPACE' (Straight Arrow Books $3.50, €1.75) is required reading. Chances are you've probably read most of it because about half of the text appeared in 'Rolling Stone' as the only really detailed investigation into the Dead's early history. The remaining portion of the book titled 'A Stoned Sunday Rap' involves the interviewer Charles Reich and Garcia becoming increasingly incoherent as the dreaded dope takes hold, and while it may be amusing to read once it's not nearly as engrossing as the rest of the book despite Garcia's irrepressible wit and Reich's hilarious unintentional portrayal of the hip University professor who's never smoked before in his life. I'd recommend you to sit back in a large cosy arm-chair and read this book with "AMERICAN BEAUTY" coming through on the old headphones.<br /><br /><i>(from Fat Angel no.9, 1973, p.8-26)<br /><br />Thanks to runonguinness</i>. <br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-15660937159580402992022-09-24T01:48:00.001-07:002022-09-24T02:29:25.901-07:00November 1972: Bob Weir Interview<div style="text-align: left;"><div>AN INTERVIEW WITH BOB WEIR</div><div><br /></div><div>"You're doing the Wier interview," I was told as I walked through the office door. "Oh really," that was news. I set out trying to collect enough intelligent questions in thirty minutes as I could. I came up with almost enough. Bob Weir is from one of those bands who spend the whole time telling you that they're just musicians in the most mystical way possible. Seated in the bar, Bob Weir, the philosophical stardust cowboy spun these words. After it was all over, I wondered what had I talked to: fact or fiction?</div><div><br /></div><div>TRUCKER: Now that you have some success under your belt, do you feel that you have more freedom? </div><div>BOB: We've always been pretty free to do the things we want. We've always had 100% artistic control. We've insisted upon that. There's not much they can tell us not to do. In the field of [marketing] there's always [limitations], always. </div><div><br /></div><div>TRUCKER: Now that you're coming out with solo albums, I've been told that that you're striving for better vinyl. </div><div>BOB: That's still a long ways away, I think. And the solo albums just happened. When somebody gets more material, then you can put on a Grateful Dead album.</div><div><br /></div><div>TRUCKER: But it's still a Grateful Dead [album]. I noticed your [album still had all] the same people on it. </div><div>BOB: Well, that's on account of [that] no one [plays] with me as well as [the people who are] well versed in what I want to do.</div><div><br /></div><div>TRUCKER: On touring are you on a more relaxed pace, doing things like two night stands instead of strings of [one] nighters? </div><div>BOB: Well, we still do our strings of one nighters. We have a huge organization, a huge business organization behind us; of mostly old friends that we find to employ in one capacity or another. Anyway, in order to feed everyone that's under our employment, etc, and I guess in all we're responsible for a little over a hundred people. It takes a lot of work to do that. </div><div><br /></div><div>TRUCKER: [......] of audience, or [...]? </div><div>BOB: All different kinds of audiences. [...] audiences were louder and more [...] than New York audiences, which [......] loud rowdy audiences. Most of them were appreciative and some of them were variously enthusiastic. </div><div><br /></div><div>TRUCKER: When you're on the road are you pretty isolated? Like I heard some people on the third floor who were yelling out some things like what are we doing in this town, and I was just curious, was this a part of being on the road? </div><div>BOB: Oh, yeah, that's true. </div><div><br /></div><div>TRUCKER: Oh yeah, well I didn't take it personally. (Laughter) I just figured it was a part of travelling. </div><div>BOB: This is nothing. You should hear the abuse towns like New York and Detroit receive. </div><div><br /></div><div>TRUCKER: I was thinking in terms of Europe... While you were traveling in Europe were you able to see some things? </div><div>BOB: Oh yeah, it was like a vacation for us. </div><div><br /></div><div>TRUCKER: When you're touring, how many people do you travel with? </div><div>BOB: Well, our standard road group is about twenty people. </div><div><br /></div><div>TRUCKER: Does that include lights, sounds, everything? </div><div>BOB: Yeah, it does, and in Europe, we toured with forty-seven people. </div><div><br /></div><div>TRUCKER: Do you feel that you've escaped from the San Francisco trip that everybody puts on you? </div><div>BOB: Rather than escape it, I think we've more or less outgrown it, to the point that nobody ever pulls that on us anymore, unless it's a sort of "Do you remember" deal. There's not much of that happening anymore, San Francisco is just another town. There are a lot of music concerns in the town, but as far as a San Francisco sound, there isn't any. </div><div><br /></div><div>TRUCKER: When you come out with an album, I noticed that your last two Grateful Dead albums, Live in Europe, and Grateful Dead, are live. Do you prefer to record in a live context what you play on stage, or do you still find time for the studio? </div><div>BOB: Well, in the last little while, it's been difficult for us to find time for the studio. 'Cause we've had to be out on the road touring, either that or rehearsing. If we take a month off to make an album, which is a reasonable time expectation for that, we haven't had the time. If we were to record an album, we more or less recorded live, and thereby be assured we had a record. And that way come up with a record without having to break our stride. </div><div><br /></div><div>TRUCKER: The thing of playing for four hours. How did you develop this? </div><div>BOB: It simply developed over time as we needed more and more time to develop different aspects. To develop a whole show. It takes like an hour at least to warm up. We start out with our more highly structured type of material, then loosen up, and then we're playing fairly loose and we'll go on for three or four hours. Actually we nearly always go for four hours. But we may cut back a little bit, because if we play for four hours every night we'll begin to drain ourselves. We take all kinds of vitamins on tour. We may cut back to three hours, but even so you start to, you're just not playing as well as you could, so we may cut that back a little bit.</div><div><br /></div><div>TRUCKER: Then this all developed in an urge to give a better show? </div><div>BOB: Yeah, it takes four hours. I don't see how we're going to cut it back. It takes four hours to get into all the things we want to get into. </div><div><br /></div><div>TRUCKER: But your jams, which were really well received by the audience, would seem to be your pay off as a musician. Or do you feel that way, is the structured material more your choice? </div><div>BOB: Not necessarily either one. If we play a structured song and it comes off really well, then that's a joy too. </div><div><br /></div><div>TRUCKER: I was curious, you mentioned the nostalgia thing. Do you find people who are still into that? </div><div>BOB: Well, as a rule everyone's looking forward, as ourselves. </div><div><br /></div><div>TRUCKER: By looking forward, what are you people looking forward to doing, as a band, as a group of people even? </div><div>BOB: I think we've more or less established a direction for ourselves, and I guess you could just expect to hear more of what we're doing, more definitively done. </div><div><br /></div><div>TRUCKER: Are you going to try to get into things like El Paso? Would you consider that the direction that you're heading? </div><div>BOB: The way that stuff happens is spontaneously, more or less compulsively. A song suggests itself, whether it's a new uptown boog-a-loo, or god knows what. A child's rhyme or whatever. If it just presents itself to somebody's head, or whatever, chances are we'll end up doing it. Just like the first two albums, that was the kind of music we did. </div><div><br /></div><div>TRUCKER: How did you get into the Country and Western style, because the great change that came with Workingman's Dead, nobody was really prepared for. </div><div>BOB: Well, we've been doing it all along but we'd never recorded any of it. As for myself, and I think Garcia too, country music is really my first love. It was the first kind of band music that really turned me on. </div><div><br /></div><div>TRUCKER: Who did you listen to? </div><div>BOB: Oh, Bill Monroe, Flatt and Scruggs, and Reno and Smiley. </div><div><br /></div><div>TRUCKER: But you moved on into the direction of rock and roll. </div><div>BOB: Well, when I was listening to that I was playing in a Jug band, because my musical proficiencies were below that of a bluegrass musician. I had no more business playing that music than flying, but I certainly enjoyed listening to it. But anyway we evolved from a jug band and started playing, and we played country music on the side just to entertain ourselves, and finally some of it got around to being recorded and released. </div><div><br /></div><div>TRUCKER: Were you surprised by the success of the whole thing? You always had a steady group of followers, but all of a sudden it swelled into a mess of people who had never listened to the Dead before Workingman's Dead. </div><div>BOB: Well, I knew at the time it came out that it was [... most] commercial thing we'd come out with [...] was really quite [obvious] to me. I had little or no doubt that it was going to do better than anything else we'd come up with. </div><div><br /></div><div>TRUCKER: It really surprised me when I listened to it, because I wasn't prepared for that kind of album. When you started a different approach to an album, how did you go about it? </div><div>BOB: That was the first time we ever tailored our sound for that kind of album. That was our first real success at tailoring our sound for what we wanted to do and drawing a big line between our stage performance and what we were recording. Though it may not sound like it, Workingman's Dead was just one logical step after Aoxomoxoa, which was more or less...well, you know, on many counts a failure. But it was a lesson well learned certainly. Aoxomoxoa was certainly our most expensive album. It cost us a hundred and thirty thousand to make. </div><div><br /></div><div>TRUCKER: It must have made your recording company very happy when you started becoming a commercial success. </div><div>BOB: Right. </div><div><br /></div><div>TRUCKER: Did it change your stage approach when you started recording country and western style? Or was it essentially the same? </div><div>BOB: It was all the same. It was a logical extension of whatever direction we were heading in. </div><div><br /></div><div>TRUCKER: Last night, as you said, you [started] with the more structured things, and [...] on into the big jams. Just out of [curiosity], how would you describe jamming? </div><div>BOB: Well, if you're well versed enough, you have any number of given directions you can move, and variations you can go on your [instrument]. The more practiced you are at it, the better you can associate one particular idea with what's going on. And you use that to build on whatever the rest of the band is working on. And they're building on what you're throwing on the fire. It's just a matter of being practiced so that it's more or less second nature. You get to a prevocal level on your instrument so that you don't have to consciously figure out what you're going to do. You just know where you're going and go there. Sometimes, it gets downright telepathic, and that's, of course, always electrifying to hear, Also, a lot of good music isn't so much telepathic as just steady controlled excitement, and you can use that to play yourself. And you can take that excitement and play yourself with it. And, in turn, yourself plays the instrument. You more or less culture that excitement, that feeling you're looking for. </div><div><br /></div><div>TRUCKER: Are you people going to try to get into the video taping thing? I know there's been a lot of talk about televised concerts. Would you guys like to try that? </div><div>BOB: If it could be done, and done well, it'd surely be interesting.</div><div><br /></div><div>TRUCKER: I remember seeing you on Hugh Hefner's trip. </div><div>BOB: That Hugh Hefner's program was a lot of fucking fun. We had more fun than anybody else there. It was just so strange, it was really surreal. There were all these cool-type model chics, that were trying to make it and they'd be real casual and cool, then somebody'd say action and then they'd snap into the party and all that. And we were playing off that and we had a lot of fun. That was back into our acid revolutionary days, and I think somebody got to the coffee pot. Anyway, I know the film crew was seen to. It took us like four takes to get the last song. We'd be playing and someone would yell "Cut, cut, cut," we forgot to afterburn the etcetera. </div><div><br /></div><div>TRUCKER: You were talking about your acid revolutionary days, do you people see that as a part of you anymore? The drug thing, do you see that as a part of your band? </div><div>BOB: Well, certainly not for myself, I haven't taken dope for about six years. It was certainly a long time ago for me. On that issue I really can't speak for all the members of the band. Like I say for myself, I'm simply a musician. </div><div><br /></div><div>TRUCKER: Do you think that people now accepted that you people aren't on any kind of mythical trip, that you're just musicians? </div><div>BOB: In some cases yes, in some cases no. </div><div><br /></div><div>TRUCKER: I think that the very structure of your family, gives [rise] to that kind of talk. </div><div>BOB: Rather than any philosophical trip that all just seems back again, second nature, to take care of your [own]. You all do it, everyone does. </div><div><br /></div><div>TRUCKER: Why did it strike a lot of people so strange, so impressive, so important, that whole thing? </div><div>BOB: Well, I'm not sure, for instance if you work for General Motors you get all kinds of fringe benefits, and stuff like that, and in a way General Motors looks after its own. And of course in a huge and impersonal way and in [......] we're a great deal [smaller] than that and a great deal more personal in all of our relationships, our way of [...] each other is a great deal [......] and intimate and all that. [......] the human being is, I guess, [...] of a travel animal. And with a few exceptions people who don't adhere to any [...] whatsoever. Those exceptions [are very] few. Here you'll find nations within nations, within nations sub-nations, [within] sub-nations you'll find tribes, and [within] tribes you'll find groups and cliques and stuff like that. And people just naturally band together. And it seems obvious that because everybody tries to support everybody else, and everybody benefits by it. We do that, and if people find that unusual or interesting, I don't see where it's coming from. I mean I don't see where it makes us any different from anybody else. We may employ somewhat [different] methods of looking after each other, like we may take all of our old friends and employ them, for instance, for one reason or another, but it's all for everybody's gain once again. I mean, they make a working salary out of it and we're expanding our business horizons. </div><div><br /></div><div>TRUCKER: Do you find the business angle of things a hassle, as a musician, you know, having to suddenly come down and deal with all this stuff? </div><div>BOB: Not really, cause over the years we, the band members have carefully found ways to remove ourselves from the business angle, until we got so far divorced from it, that one of our managers took us for 200 grand at one point, over a year. We were broke at the beginning of the year, broke at the end of the year, and broke all through the year. We didn't make payroll a lot of times, and he was pocketing the money, and we were starving. In the end we found that he had made 200 thousand dollars and we'd made nothing. At that point we figured we couldn't afford to be that divorced from the business proceedings, and we came back, and in order to make business so that somebody like us can understand it, and sit through it, you have to make it interesting for yourself, so you come up with interesting ideas - and see if you can implement them. </div><div><br /></div><div>TRUCKER: It must be strange, though, to wake up one morning and find that you do lose 200 thousand dollars. </div><div>BOB: Well, it is not really that strange, cause we were broke. We knew we were broke, but we didn't know why we were broke, but we knew we were broke. And we knew that we'd been working hard. I couldn't see where all the money'd gone, but that guy had some pretty good answers as to where it had all gone. And so, we figured well, you know, we fired him at the time that we were making Workingman's Dead. And only after we got rid of him did we find out he'd taken this considerable sum. </div><div><br /></div><div>TRUCKER: Even then, that was partially the family type trip wasn't it. Wasn't that your drummer's father, that ripped off so much money? </div><div>BOB: Yes. </div><div><br /></div><div>TRUCKER: I noticed a long time ago, when you and the Airplane bought the Carousel Ballroom... </div><div>BOB: We didn't buy it, we rented it. </div><div><br /></div><div>TRUCKER: Still in the back of your mind there was business. </div><div>BOB: If there's got to be business, it might as well be interesting. That's the only set rule that I can think of. If business is a drag, [then] that makes doing it for the money a lot dirtier than doing it for the trips and money. If there's money involved, it might as well be fun money. God knows, it wouldn't be that much worth going after. Being a good musician is a much better flash than being rich, I can tell you. </div><div><br /></div><div>TRUCKER: Then money would be like a sideline to your own musical needs. If somebody likes the record fine, and if somebody buys it, great. </div><div>BOB: Yeah, that and I'm a musician, but there are other things I enjoy. Like I enjoy horses and for a while I was raising horses, and keeping myself broke that way. And in as much as you can have hobbies, investing money into one trip or another, to see what happens, what comes of it. We've started a film...see if we can get some product out of that. Applying bread into one thing or another is kind of a fun hobby. I don't know, if I played music and did nothing else, I don't think anyone has ever done that. I don't think it's a very good idea, cause then I'd probably start taking it too seriously. </div><div><br /></div><div>TRUCKER: Someone particularly wanted me to ask you about Pigpen. </div><div>BOB: Well, the word is, he is getting better. Word is that he'll be back around with us at the turn of the year. How true it is I don't know. We'd like to have him back as soon as he's well, but we made the mistake of taking him on the road, last winter, before he was well, and the result was disastrous. We won't be doing that again until he is well. </div><div><br /></div><div>TRUCKER: Has your new pianist helped a lot? </div><div>BOB: He fills in a lot of space. </div><div><br /></div><div>TRUCKER: He seems to have some kind of classical influence, in his background. </div><div>BOB: I'm not sure, in fact, I flat out don't know. I know before he joined us he was playing in piano bars. </div><div><br /></div><div>TRUCKER: A lot of people noticed the addition of the female vocalist... </div><div>BOB: That's his wife. </div><div><br /></div><div>TRUCKER: Oh, really. When did you start that, is this a brand new thing? </div><div>BOB: We've been working on that since late spring of this year. Actually since I started working her in on my record. </div><div><br /></div><div>TRUCKER: Do you think that adds a lot more vocal impact to you people? </div><div>BOB: Yeah, it's a new texture. It's another parameter now. It stretched our texture to new horizons, etc. </div><div><br /></div><div>TRUCKER: Have you ever thought of adding horns or strings? </div><div>BOB: It might be fun to take a brass section on the road with us. I don't think a string section could be successfully done, on record it might. On the road you're talking about taking an entire orchestra with you. </div><div><br /></div><div>TRUCKER: Have you played with any orchestras? </div><div>BOB: Yeah, the Buffalo Symphony Orchestra. </div><div><br /></div><div>TRUCKER: Did that work out pretty well? </div><div>BOB: Yeah, it worked out fine. We had one or two days of rehearsal, I forget the guy we worked with, the conductor, I forget his name...(puzzled look which gives way to smile)...what the hell. </div><div><br /></div><div>TRUCKER: Have you ever tried working in a more jazz oriented context? I noticed a lot of the stuff you do is jazz oriented. </div><div>BOB: Of course, we all listen to a lot of jazz people, and it's obviously a legitimate direction to look in. And we cop a lot of ideas from them. </div><div><br /></div><div>TRUCKER: The lack of personnel problems must be an asset, to the band as a whole. </div><div>BOB: None of us were superstars before we joined the group. We didn't have to worry about egos and things like that. </div><div><br /></div><div>TRUCKER: Do you think the ego is an enemy to any kind of organized... </div><div>BOB: Well, I have a huge ego, and I don't know if I can survive without it. Most of the other members do, we just pad each other's ego, that's all. It's a major motivational thing in any art, unless it's a religious art and I can't say that my music is a purely religious thing. </div><div><br /></div><div>TRUCKER: But you think it has a spiritual aspect. </div><div>BOB: Any artistic endeavor is. </div><div><br /></div><div>TRUCKER: With Ace, were you able to work out a lot of things that you personally wanted to do? </div><div>BOB: Uh-huh. </div><div><br /></div><div>TRUCKER: Would you say that was the main reason behind it? </div><div>BOB: It was also a wonderful opportunity to do some things that I wouldn't necessarily want to try with the Dead. </div><div><br /></div><div>TRUCKER: Would you like to try that again? </div><div>BOB: I probably will. </div><div><br /></div><div>TRUCKER: Have any of the other members besides you and Garcia thought about trying? </div><div>BOB: Pigpen. He was pretty much at work on his own record when he took sick the second time. And he'll probably come up with his own solo effort pretty quick. </div><div><br /></div><div>TRUCKER: Do you see the solo efforts as pretty much your own ideas? </div><div>BOB: Well, no, cause once you've already had the flash, it's water under the bridge. I'll probably end up trying out everything I've come up with on my own, with the band. That's the matter of what I'm doing right now. It'll all end up with the band, it's just a matter of what I'm doing at any particular time. On the band's record, or my record, which ever has priority at the time. I'll use every new twist I can come up with. And in the end it goes to the band. The band plays it. Actually in the beginning it goes to the band, then it goes on any record we're doing. I don't draw a line between my own efforts and the band's. </div><div><br /></div><div>TRUCKER: That would seem pretty hard to do, you people seem to have the incredible unity that you know what you're going to do and do it. </div><div>BOB: We're still a fairly close knit musical organization. And as I say, it's the kind of musical unity that can only come after years of being together. </div><div><br /></div><div>TRUCKER: You must have a lot of strange experiences with a group of people you know that well. Tell me a weird story. </div><div>BOB: I wouldn't even begin to know where to start, because every day, I mean, like every day something goes on. And there's no cappers really. I've been on some incredible trips with this group, starting with the acid test. And a few years later was a train ride we took across Canada. And then there was a trip that came up, some rich French guy wanted us for a party and flew us to Paris for the weekend. Right outside Paris, there's just been some incredible things that we've done. </div><div><br /></div><div>TRUCKER: Do you carry a photographer? and make tapes? </div><div>BOB: Well we make tapes of our concerts each night for reference. On the Europe trip we carried a photographer with us. But generally there just aren't any real photographers. </div><div><br /></div><div>TRUCKER: Do you ever designate any specific person to run around and shoot things, say with a super eight? </div><div>BOB: A lot of people are interested in doing that, but no one's really realized it yet. Everyone wants to get their cameras and start taking reels and reels, or footage or whatever, but no one's ever gotten around to it. </div><div><br /></div><div>TRUCKER: Do you find that having a large family has any detracting elements? </div><div>BOB: Well, there's a lot of confusion inherent, having that many minds working on the same project. Too many cooks can make the soup pretty hairy at times. And that happens, certainly, as is to be expected. </div><div><br /></div><div><i>(by Uncle Bubbles, from the Westport Trucker, Kansas City, unknown date, p.12-15)</i></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-75264381965394984082022-09-15T15:57:00.001-07:002022-09-15T17:24:34.854-07:00December 1972: Bob Weir Interview<div style="text-align: left;">GHOST STORIES FROM THE DEAD –<br />Semi-Startling Conversations With Bob Weir<br /><br />It is late afternoon. Looking out onto the city from the picture window in the Long Beach Motel Coffee Shop, one can easily spot the expansive arena where ticket holders are already collecting outside the doors in hopes of snaring a good seat for the evening’s Grateful Dead show. It has been sold-out for two weeks.<br />Back at the coffee shop, Bob Weir sits reflectively staring out through the pane at the lights blinking across the city. “It used to be we couldn’t sell any records or sell-out any concerts anywhere,” he comments; the Dead’s relatively newly-acquired mass-acceptance is still much on his mind. “I remember when we once played Ohio in this huge arena to two-hundred people. It was a real flash, looking out into this big, cavernous place and seeing a couple hundred people. We played well that night if I remember correctly....”<br />Bob Weir was only seventeen back in 1965 when his guitar and vocal talents joined those of lead-guitarist Jerry Garcia, organist Ron “Pigpen” McKernan and bassist Phil Lesh to form a Palo Alto band by the name of The Warlocks. Now twenty-five, Weir is the youngest of the original Dead Line-up, and through the group’s eight years of existence he has slowly evolved from the inconspicuously efficient guitar behind fan focal-point Garcia, into a central, perhaps even the central, Grateful Dead performer both on stage and on record.<br />“What was happening a while back,” explains Weir, “was that Garcia had been the rock guru and the leader of the Grateful Dead, as far as everybody was concerned, for years....and he was just flat tired of it. It seemed that if I could accept a little of the responsibility, it might take a load off his shoulders and he could relax and devote himself to other things. I didn’t mind, ’cause I didn’t have anything else to do really.”<br />And while Weir found himself inheriting a front-seat role with the Dead, the band began to skyrocket with the success of their first single, and their commercially accessible American Beauty lp. At this point the Grateful Dead began to garner their now massive following.<br />“I figure it’s the musician’s responsibility to reach people. If he feels he’s got something worthy of presenting to people, it’s his responsibility, to a certain extent at least, to make himself musically accessible to the people,” says Weir, gaining intensity as he speaks on the subject of commerciality in music. “That means, at least as far as I’m concerned, that would throw people like Coltrane, and really fantastic musicians....even Miles (Davis) to a degree.... A lot of great jazz musicians, a lot of great blues musicians for that matter. It would seem to indicate to me that they’ve been failing at least on that one level. Certainly they’ve developed their music, but if it’s to a point where only other musicians can understand or appreciate it, you’re losing not only your audience, but (also) the excitement a larger audience can create. If you’re looking to expand the horizons of music, you want all the help you can get....and a big audience giving positive feedback is certainly an asset....”</div><div style="text-align: left;"><br />“We’re not doing the football game,” interrupts Grateful Dead manager Rock Scully, while emerging from nowhere. “Phil’s gonna be out of town and he doesn’t want to come back that soon.”<br />Scully, not unlike Weir, has been with the band from the very beginning. Vaguely reminiscent of George Harrison, Scully first became involved with the Dead when they were all part of the Diggers, a group of thirty people or so gathered together by Emmett Grogan and Peter Cohen, for the purpose of playing street theatre to the institutions of San Francisco. The issue at hand presently, however, involves plans for the Dead to play during half-time a nationally televised December 23rd San Francisco Forty-Niners football game.<br />"Awwww," Weir groans. “We had ‘Stars and Stripes Forever’ rehearsed and everything. It transcribes pretty well to a rock ‘n roll band, y’ know.”<br />“I heard you were just gonna do 'Sugar Magnolia',” the writer comments.<br />“Well,” says Rock, “that would have been the only part that would have been on TV.”<br />“Wait a minute,” says Weir, completely miffed by now. “I thought we were just asked to play the kind of stuff other half-time bands play.”<br />Scully calmly pauses a moment to sort things out mentally. “Well, they were all supposed to have one of those bands too. And Andy Williams will be singing “I Left My Heart in San Francisco’. We would have set up to do twenty minutes pre-game to warm the crowd up, then they’d have had us back to do ‘Sugar Magnolia’ during the television half-time break.”<br />“I think we’ve got twenty minutes worth of crowd rousers,” estimates Weir.<br />“You could have started with 'Not Fade Away/Goin’ Down the Road Feeling Bad',” suggests Scully.<br />“Yeah,” retorts Weir, “but none of that stuff really makes all that much sense taken out of the context of a three hour performance.”<br />“But remember when we did the Danish television thing,” Scully recalls. “We had to do the same thing....and it worked. We only had an hour to play, and we were performing for cameras.”<br /> </div><div style="text-align: left;">After a while the exchange between Scully and Weir diminishes with the realization that it is all wasted talk. The Dead won’t be playing the ballgame, so what’s the use in shuffling the “if” deck. The conversation turns to Europe ’72, the band’s newest three-album set, which consists of live material recorded during their European tour.<br />“For what it is, I’m kinda pleased with it,” assesses Weir. “I was, at the beginning, against doing another live album after Grateful Dead. I was really hot to get into the studio and do an album there, so I went and did my own album. That’s what finally became of that urge. So we went ahead and did another live album. I think it came off a lot better than I expected it to.”<br />“Whose decision was it to put out another live album?”<br />“Group decision. Actually it was a group decision forced upon us by circumstances. That album, more or less, financed our European vacation last year. Europe ’72 was the answer to a whole lot of questions, like how the hell are we gonna be able to afford to take the entire staff and crew and all of us on a European vacation.” So somebody said, ‘let’s make an album over there and that’ll pay for it.’ And through a great deal of hassling and haggling and that kind of stuff, it actually came to pass that we went to Europe, recorded an album over there, came back, and lo and behold, the album has paid for our European tour....which was a real nice way to do it I thought.”<br /> </div><div style="text-align: left;">After realizing that as a member of the Grateful Dead, it would be some time before he got back into the studio to record, Weir decided the time was right to go ahead and record his own album, Ace. The first step towards the making of album was for Weir, who is admittedly something less than a prolific composer, a retirement in the obscure Wyoming cabin of a close friend, John Barlow. “Nobody was around,” insists Weir, “except some ghosts and I didn’t care.”<br />“Did you get any songs from him?” asks wide-eyed Warner/Reprise press representative Garry George.<br />“Not from the ghost, no, but from Barlow, yeah. No, the ghost and I worked something out,” says Bob quite seriously. “I don’t know if you need to print this, but anyway, I learned a real simple, temporary exorcism ceremony....which I had to perform twice a day in order to keep him out for twenty-four hours. Once around sunrise, and once around sunset.<br />“He’d been scaring my dog, and dogs don’t like ghosts, so the dog had shit all over the place. The ghost tried to get into my head once around the time I was waking up, that was a real touchy scene. I don’t know if you’ve ever had an experience with a ghost, but it’s awful, ’cause ghosts aren’t the best things to deal with. They try to get into people, and it’s not very hard to get them to leave a man alone, but they scare the shit out of animals. Particularly dogs, and so my dog got the shit scared out of him....literally. I was up in the middle of the night cleaning that up, with the dog completely out of his mind berserk. The first time the ghost did that, I tried to reason with him saying, ‘Now listen, you don’t go weirding out my dog and I won’t do anything, but if you do it again, I’ll have to take steps.’ Well, he did it another night and got me weird another night to boot. So, I started throwing him at night by using that exorcism ceremony. That worked.<br />“Then I felt that he might be able to see his way towards being a little more civil, so I started letting him stay in during the day. He lived in the water heater and used to make all kinds of noises....he would hoot and screech and all that kind of stuff. He had learned to operate the water heater over the years so that he could make it sound any way he wished. I would sit in the living room playing my songs, and as long as I was playing my songs he’d be quiet, but when I stopped, he’d start working the heater again. It was really strange.”<br /> </div><div style="text-align: left;">After returning from Barlow’s cabin with a fistful of new songs, Bob “Ace” Weir was ready to hit the studio. The album was originally planned as a strictly solo effort with as little outside musicianship as possible. As things turned out, however, Ace became more of a Grateful Dead Album than a Bob Weir solo effort. “I think it was Rock (Scully),” clarifies Weir, “who took me aside and told me ‘Man, that album of yours has got to be the new Grateful Dead studio album, ’cause the Grateful Dead aren’t gonna be putting one out for a while....so that’s gotta be it.’ You have to understand that this all went down after the decision was made that the follow-up album to Grateful Dead was going to be another live album.<br />“When I originally told everybody that I had booked time and had plans for album of my own, they said ‘Great, have fun.’ But sure enough, when I got into the studios, the other members of the Grateful Dead began showing up at my sessions. It was kinda like Tom Sawyer white-washing the fence, an analogy I’ve used before. I just got crazy at one point and wanted to see if I could get them in, because nobody was interested in going into the studio for some reason, when I first began the sessions. One by one, they started coming around saying ‘Need any help? I’ve got nothing better to do.’ Everybody in the band kind of invited themselves into the session. I had intended to use Keith (Godchaux, the newest member of the band) on keyboards, because we hadn’t used him on record yet, but pretty soon after that Garcia, Lesh, and the others started drifting back again. After that, I just completely lost sight of doing anything solo....what I had originally intended to do.”<br />“Were you satisfied with Ace?”<br />“I was when it first came out, then I wasn’t sure. I haven’t listened to it for a while, so I don’t really know, though I suspect that if I listened to it now, I would be dissatisfied with it.”<br />“When will you be doing your next album as a solo artist?”<br />“Oh,” Weir sighs revealingly, “I don’t know.” It is obvious that Bob Weir considers himself more a member of the Grateful Dead than as a solo artist entrapped in a band. “In the next year or two perhaps, if I once again have the bug to do a studio album and nobody else seems altogether interested. Also if I find myself with too much material to use purely on Grateful Dead albums without having to squeeze other people’s material out. Then I’ll probably end up doing another album.”<br /> </div><div style="text-align: left;">Perhaps to clear up a certain item that has been puzzling more than a few individuals keeping halfway close tabs on the Dead and their recorded material over the past year or so, the question was put to the guitarist as to why his composition, “Playin’ In The Band”, has appeared so frequently. The tune made its first appearance on the grooves of Grateful Dead, a two-record live set released the summer of ’71. Eight months later the song again came to light on Ace as a studio track. Never to say die, “Playin' In The Band” was back again within four months as a cut from ex- Dead drummer Mickey Hart’s solo endeavor, Rolling Thunder. Doubtless, we were all relieved to see it absent from Europe ’72. How was it that the song appeared on three albums?<br />“I don’t know," Weir laughs. “It’s completely different, you must admit, on all three albums. And I sang it on all three albums, didn’t I? Truthfully, at the time I recorded the song with Mickey (Hart), I never really expected the album to materialize. I did that song a long time ago, and things were looking pretty scattered out there for him. I really didn’t think that Mickey was gonna get his record off the ground. Then the record came out, which really surprised me....but what surprised me even more was that the song was on it. Mickey had told me he was going to have me back in the studio to re-work the rhythm track.... Actually I think the song has seen just about all the recording it needs to (laughter).”<br />There has been much talk between Garcia and Weir about supplementing the Dead’s live act with a brass section, possibly even a string section.<br />“Well,” Weir responds, “It was just me and Garcia talking a while back about it being nice if we could get an ensemble together, maybe a string section and a brass section, and rehearse them to do a tour. A big production tour....or maybe just rent a relatively good-sized theatre and maybe run that whole show for two or three weeks. I think it would be a pretty nice show if we had a huge string ensemble, or maybe not huge, but essentially a twenty-five piece orchestra. It’d be fun.<br />“I personally would like to hear something in the direction of Philharmonic rock ‘n roll....that being lots of different kinds of sounds, lots of arrangement, which there is space to do on a studio album. It seems that finally, categories like country-rock, jazz-rock, blues-rock....all those divisions are disappearing, with the term ‘pop music’ replacing all of them. I feel that’s a good sign. People are also starting to think beyond the textures of an average rock 'n' roll ensemble....a couple guitars, maybe a piano or an organ, perhaps a brass section, electric bass and drums....towards strings and more orchestral arrangements.”<br />As for the next Grateful Dead album, it will at last be recorded in the studio. “It’ll probably have eight or nine cuts on it,” Bob reveals. “It’ll have some driving rock ‘n roll and even some sensitive ballads if we can pull them off. It’ll have a pretty good cross-section of what we do. It’ll all be new material, original material. It’ll even have a little Pigpen on it. By the time we get around to being in the studio again, Pigpen’ll probably be out and around. It’ll have one or two extended tracks on it, too.”<br />The Grateful Dead have been and most probably always will be thought of as primarily a live act. Still, the band couldn’t be more comfortable in the studio. “A lot of people complain about it as being a sterile environment, but it’s not really at all. It's just a different environment. Usually by the time we record we’ve got an audience there anyway.”<br />“So it’s just a matter of playing for a smaller crowd....”<br />“It’s a large crowd. It's the biggest audience you can get. It’s all your record-buying public that you’re playing for.” </div><div style="text-align: left;">Rock joins us once again and subtly informs Weir that the showtime is rapidly advancing. Within several minutes the entire twenty-plus Grateful Dead entourage are on their way to the arena.<br /> </div><div style="text-align: left;">The Dead play well that night. Hitting the stage at 8:30, they play until curfew time, a regular practice of theirs. At midnight the Dead finish their last encore....three minutes before the time when live music is unlawful in Long Beach. At least ten members of the vice squad stand next to the stage, looking at their watches and commenting about how it came right down to the wire. One of them tells Jerry Garcia he enjoyed the “Johnny B. Goode” encore. Garcia laughs and thanks them for appreciating it.<br />“We have certain numbers that we use for certain pivot points, of course,” Weir was to later comment on the construction of the Dead’s concert set. “We have the crowd pleasers for the end. A little bit into the second set, you can expect us to do a number that we’re gonna stretch out on....for like, forty-five minutes or an hour. And you can expect us to pull out of that with some fairly forceful rock ‘n roll just to shake out the cobwebs of the people that are....well, we space out on the space-out numbers, and if we may be losing some of our audience at that point, we bring them back with a little rock ‘n roll. We try to take the numbers that we stretch out on and develop them very gradually from level to level to level so that we’re not all of a sudden introducing them to a whole new weird realm of music. I guess essentially, if it makes sense to them then they can keep up with us; if it doesn’t then they don’t. You have to have that positive feedback from an audience to keep you going.”<br /></div><div style="text-align: left;"></div><div style="text-align: left;"><br /> </div><div style="text-align: left;"><i>(by Cameron Crowe, from Rock magazine, March 13, 1973) </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Also reprinted at</i> <a href="https://www.theuncool.com/journalism/bob-weir-rock-magazine/" target="_blank">https://www.theuncool.com/journalism/bob-weir-rock-magazine/</a> </div><div style="text-align: left;"><br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com3tag:blogger.com,1999:blog-5195590583641426943.post-20177521024452233072022-08-30T20:44:00.001-07:002022-08-30T22:21:01.122-07:00August 27, 1972: West of Elmira, Oregon <div style="text-align: left;">OREGON HIGHWAY JAMMED AFTER ROCK FESTIVAL<br /><br />ELMIRA, Ore. (UPI) - A large-scale rock concert here Sunday gave this town the most colossal traffic jam in its history as thousands of fans drove through near 100 degree heat to what was billed as a potluck picnic with The Grateful Dead. <br />At first the entire concept seemed like a rock fan's fantasy - a very inexpensive concert (only $3 a head) featuring one of America's top rock groups, The Grateful Dead, in a quiet country atmosphere with the whole affair sponsored by a dairy that gave away free yogurt and food. <br />But the concept isn't so ludicrous when you remember the Springfield Creamery is owned by the family of Oregon novelist Ken Kesey, author of "One Flew Over the Cuckoo's Nest" and "Sometimes a Great Notion." <br />Kesey's concert-throwing antics with his entourage, "The Merry Pranksters," and assorted friends such as the Hell's Angels and The Grateful Dead back in the 60s became the subject of Tom Wolfe's bestseller, "The Electric Kool-Aid Acid Test." <br />Sunday's affair was hot, hectic and loud - but peaceful. <br />By early morning all 10,000 printed tickets were sold out. But clutching their money, rock fans kept arriving until police and sheriff's deputies estimated their number at between 25,000 and 50,000 by afternoon. <br />The concert maintained a peacefulness that was reminiscent of 1969's Woodstock Festival. The fans sprawled on the grass, shed clothes, quietly listened to music, and attempted to battle the heat. <br />A few fans showed up at the first aid tent suffering "bad trips." But the record hot spell took its toll as volunteers dabbed sunburned brows with ice water and passed out salt tablets. <br />This isn't to say drugs weren't very much in evidence. They were. But the crowd seemed to confine itself to nothing more than marijuana smoking. <br />One group did open a large cannister of what they said was laughing gas. Some LSD was being sold but largely "acid" seems to have lost its fascination for the youth. More coke was being drunk than sniffed. <br />After two hours of music from the "New Riders of the Purple Sage," the Grateful Dead moved onstage at 4 p.m. and fought their way through the heat until after 7 p.m. <br />Finally the magic ended, the clothes went back on, and cars started merging into a line of traffic that by nightfall stretched halfway from Florence to Eugene.<br /><br /><i>(from the Capitol Journal, August 28, 1972)</i><br /><br />* * * <br /><br />ROCK CONCERT TRAFFIC JAMS HIGHWAY 126 <br /><br />A combination of warm weather, a big name band, free yogurt and food given away by the Springfield Creamery, courtesy of the Kesey family, resulted in a monumental traffic jam Sunday as thousands of fans drove to a rock concert held west of Elmira. <br />Lane County sheriff's deputies and some state police had their hands full of motorists headed to what was billed as a potluck picnic with The Grateful Dead. <br />The event cost $3 a head, with part of the proceeds going to its sponsor, the Springfield Creamery, owned by Chuck Kesey, brother of Pleasant Hill author Ken Kesey. <br />The free yogurt and food couldn't have lasted very long. Authorities said concert organizers had predicted about 5,000 persons would attend. It was more like four or five times that many Sunday. <br />Estimates from sheriff's deputies ranged from 20,000 to 30,000, based on the thousands of cars they waved into the three dusty parking lots near the site of the concert - which also is the scene twice a year of the counter-culture's Renaissance Faire. <br />Deputies said the crowded condition on roads leading to the rock concert made it difficult for emergency vehicles to reach injured persons. One unidentified youth suffered an extreme reaction to a bee sting and it took an ambulance about 45 minutes to get in and out of the site, authorities reported. <br />Many concert-goers were enjoying the music and sunshine half or completely nude and drugs of various kinds were being offered for sale. And there was plenty of beer and wine, but little water to moisten parched throats. <br />Chuck Kesey said Sunday he had no idea how much money was raised in the benefit concert. And he wouldn't even offer a guess as to how many people turned out. <br />The Grateful Dead played for about three hours, from 4 p.m. to 7 p.m., preceded by two hours of music from the "New Riders of the Purple Sage." <br />When nightfall descended and the music stopped, cars streaming out of the concert site backed traffic up so far that, by some reports, there was a line halfway from Florence to Eugene. <br />Other than traffic and complaints from area residents, authorities said there were surprisingly few problems resulting from the event. However, they did have to have several dozen cars towed away for illegal parking on both sides of Highway 126 in the Veneta-Elmira area.<br /><br /><i>(by Don Mack, from the Eugene Register-Guard, August 28, 1972)<br /><br />[Photo caption of the crowd's backs: "The bare look was in evidence at Sunday rock concert."]</i><br /><br />* * * <br /><br />DAIRY BRINGS 'DEAD' FOR MEMORABLE DAY<br /><br />Bass player Phil Lesh thanked the Springfield Creamery "for setting it up so we could play out here. <br />"This is where we get off the best." <br />Then came a "Johnny B. Goode"-like guitar introduction, and the Grateful Dead concert began. Some 25,000 people were there to experience it Sunday afternoon. It was a concert to remember. <br />People everywhere roaming around on the huge, rectangular grass field west of Elmira. Wine, beer, dope, Coca-Cola, ice cream sandwiches and free food. A 10-foot high stage. A water truck full of drinking water which ran out. Few, if any, clothes on. Good times. <br />And it was hot. <br />The 98-degree weather nearly dehydrated many of the people there, including the Dead themselves, who took two half-hour long breaks to refresh during their four-hour concert. Many took to the shade at the edges of the field to escape the sun rays. And others set up home-made tents and lean-to's to stay cool. <br />But mostly, it was to no avail. <br />The heat kept on, like it would never stop. The water truck helped for a while before it ran out of water. The soda-pop and sno-cone vendors were there, but with high prices and horrendously slow lines. There were bags of ice which didn't last long. <br />As a result, many people stumbled around in bloated grogginess. <br />Things got better from about 6 p.m. on, when the sun began to go down. The atmosphere loosened up and breathing was easier. <br />The Dead's excellent concert followed the same pattern. What rough spots their music had came during the first parts of the concert, and as the sun slowly went down, the music became freer and more flowing. <br />They opened the concert with some recent Jerry Garcia tunes, "Deal" and "Sugaree." Later, they added a rolling version of "Me and My Uncle," followed by an extended "Playin' in the Band," which signified the direction of music for the rest of the night. <br />The Dead were rolling along, playing with smooth togetherness in word and song. Then, as the sun was setting, the extended versions of familiar songs pulled the audience into a softly bouncing, vibrant mood, anxious to hear more and more. <br />"Dark Star" weaved and intermingled throughout its relaxed entirety, and the fullness of life beamed through "Sing Me Back Home." <br />A long, amazing version of "Sugar Magnolia" instilled an overpowering energy in the hand-clapping, good-timing audience, and a flowing enthusiasm erupted. Then came "Casey Jones," with accompanying cheers from the audience all the way through. <br />"One More Saturday Night" had the audience on its feet, jumping, overflowing, bursting, living. Energy throbbing. <br />But that was it. <br />After "One More Saturday Night," Bob Weir waved goodbye to the crowd and the Dead left the stage. The audience cheered for more but that was it. The Dead could have gone on to complete their concert with "Truckin'," "Uncle John's Band" and "Johnny B. Goode," but they didn't. <br />The abrupt end to the concert was unexpected and disappointing, but can't really be considered a shortcoming, because the Dead had just played one of the more alive-with-good-feelings concerts in or around Eugene in recent years. <br />In short, the concert was excellent. A more vibrant exchange of energy in the form of a concert will be hard to come by around here for quite a while. <br />The Dead had two additions when they played Sunday. They had a piano player, Keith, who added to the rolling pulse of the concert, laying out rounded, yet clear, notes as musical background for the band. And they had a new singer, Keith's wife, who sang during some songs and gyrated around the stage during others. Her voice didn't come through the sound system clearly most of the time, and it did little except to add to the Dead's already full vocals. Occasionally she would let out an "Ohheayeahahhh," which, unfortunately, didn't fit the music. <br />The only flaw in the day was the announcer, who sounded and acted like the extreme stereotype of sock-it-to-ya top-40 disc jockey. It was hard to imagine where he came from. He certainly didn't fit with the concert's mood and he was totally asinine from the beginning of the concert to the end. <br />The announcer didn't detract that much, though. The full, rich music filled the afternoon and evening, overshadowing any minor flaws marring the day. <br />Anyone who was there experiencing the Dead's "Sugar Magnolia" will tell you the same. <br /><br /><i>(by Clay Eals, from the Oregon Daily Emerald, August 30, 1972 - pp.1,8)</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><a href="https://archive.org/details/gd72-08-27.sbd.orf.3328.sbeok.shnf" target="_blank">https://archive.org/details/gd72-08-27.sbd.orf.3328.sbeok.shnf</a></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>See also:</i> </div><div style="text-align: left;"><a href="https://www.dead.net/deadcast/sunshine-daydream-veneta-82772-part-1" target="_blank">https://www.dead.net/deadcast/sunshine-daydream-veneta-82772-part-1</a> </div><div style="text-align: left;"><a href="https://www.dead.net/deadcast/sunshine-daydream-veneta-82772-part-2" target="_blank">https://www.dead.net/deadcast/sunshine-daydream-veneta-82772-part-2</a> </div><div style="text-align: left;"><br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com2tag:blogger.com,1999:blog-5195590583641426943.post-17291998252476963482022-08-20T04:02:00.000-07:002022-08-20T04:02:53.752-07:00Europe '72 Notebook - Photo Outtakes<div style="text-align: left;">This is simply a collection of some extra venue photos I gathered for the <a href="http://deadessays.blogspot.com/2022/08/europe-72-notebook-guest-post.html" target="_blank">Europe '72 Notebook</a> that wouldn't fit in that post.... </div><div style="text-align: left;"> <br /></div><div style="text-align: left;"> </div><div style="text-align: left;"><b>April 7-8 </b></div><div style="text-align: left;"><b>Empire Pool, Wembley</b> <br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx-t2Wn1kvpauvvCYe9DnuGyuizSv3TrfMyppmGL11CuTiIdjHiWw3ekJs03kSR5Ag0Jn_ANMN-VAVwr2f_wEQa5BrCUt5xcryFiZdbeD7hzrAG9cxTTnV1fcORCQCLSjSY2m_bVOAM1urppf8ZdofgmGjB55iGu8wIsGpiHTt4v4QRYOGRCPZhW4HQ/s600/4-7%20Empire%20Pool%20construction.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx-t2Wn1kvpauvvCYe9DnuGyuizSv3TrfMyppmGL11CuTiIdjHiWw3ekJs03kSR5Ag0Jn_ANMN-VAVwr2f_wEQa5BrCUt5xcryFiZdbeD7hzrAG9cxTTnV1fcORCQCLSjSY2m_bVOAM1urppf8ZdofgmGjB55iGu8wIsGpiHTt4v4QRYOGRCPZhW4HQ/w400-h300/4-7%20Empire%20Pool%20construction.jpeg" width="400" /></a></div><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><i>(Under construction, 1930s)</i><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiadib4xaM5Mh2rHFnVs6nskK4I7izqpGV-v9Hem_zNj8EIWp7dSVwfu4YIaObBp8g3MPLx6pVjCKa5zBbfv-ZZs9Wjt4OFVTquFtAG6aW8bM46JS59hwfbS7ZYqaLEeWNARZdmAoizS-H7THJTlgAfhAuSU_j0IHybGX1zBgYI-FTC5GbTWsQB_eEczw/s2048/empire%20pool%20stones%2073%20getty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1394" data-original-width="2048" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiadib4xaM5Mh2rHFnVs6nskK4I7izqpGV-v9Hem_zNj8EIWp7dSVwfu4YIaObBp8g3MPLx6pVjCKa5zBbfv-ZZs9Wjt4OFVTquFtAG6aW8bM46JS59hwfbS7ZYqaLEeWNARZdmAoizS-H7THJTlgAfhAuSU_j0IHybGX1zBgYI-FTC5GbTWsQB_eEczw/w400-h272/empire%20pool%20stones%2073%20getty.jpg" width="400" /></a></div><div style="text-align: left;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><i>(Not the Dead....)</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>April 11 </b></div><div style="text-align: left;"><b>City Hall, Newcastle</b></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8tzTaNsFYEhI9p69fXqIGxdPCpfJFLAmdziYroxtY1fSA_OEr3L3wa6Jws1w9sEy0FpDSodjlgDunyjeIfDWC9OywjJ5w9-o2b23AR4X3R2QHIhCS2txKXgfzO7tlHRNSITbHv77DYVI6QrPRRIgaJMUSyB623xNuWbTOT5_vgvcVcWOwbxLYI38ACw/s640/4-11%20Newcastle%20City%20Hall%20panorama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="226" data-original-width="640" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8tzTaNsFYEhI9p69fXqIGxdPCpfJFLAmdziYroxtY1fSA_OEr3L3wa6Jws1w9sEy0FpDSodjlgDunyjeIfDWC9OywjJ5w9-o2b23AR4X3R2QHIhCS2txKXgfzO7tlHRNSITbHv77DYVI6QrPRRIgaJMUSyB623xNuWbTOT5_vgvcVcWOwbxLYI38ACw/w400-h141/4-11%20Newcastle%20City%20Hall%20panorama.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgseSordcNu4Gce_6DNUn0zShgB9L3xAkTz6RYF6TXS2X76NAYbptPdd2icbmj-ZBXCbfY6cYSRHM5xV5h81KwjpvoLDhSZdcLEYFTC73-W_pqImkHw_Vn36bBnaxNel1tJg2N8ZUfsTqw_mh-I6U7in56FnlFrndEfExc7SUVYtLTYGC8mnWp83Xt7zA/s3072/4-11%20Newcastle.City.Hall.original.27673.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="3072" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgseSordcNu4Gce_6DNUn0zShgB9L3xAkTz6RYF6TXS2X76NAYbptPdd2icbmj-ZBXCbfY6cYSRHM5xV5h81KwjpvoLDhSZdcLEYFTC73-W_pqImkHw_Vn36bBnaxNel1tJg2N8ZUfsTqw_mh-I6U7in56FnlFrndEfExc7SUVYtLTYGC8mnWp83Xt7zA/w400-h266/4-11%20Newcastle.City.Hall.original.27673.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHJ4wKWjASwOluD-4EsMoaRW4YJME_c5MO7i0EMD8HUadoUdCPUm4KyjLG25bhPafbWt7VdAWuxI68UjeDKFN2yYYf_xolVUBIcNZm_ZJK2T11F9S6AhR_HMm3tps_wuQR-G11NVKlm2wpT9cf6aIrgAMncP6UZSGYOIrBrJ9XpiKHi5fUGLKKr4f-g/s500/4-11%20Newcastle%20City%20Hall%201966%20concert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="393" data-original-width="500" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHJ4wKWjASwOluD-4EsMoaRW4YJME_c5MO7i0EMD8HUadoUdCPUm4KyjLG25bhPafbWt7VdAWuxI68UjeDKFN2yYYf_xolVUBIcNZm_ZJK2T11F9S6AhR_HMm3tps_wuQR-G11NVKlm2wpT9cf6aIrgAMncP6UZSGYOIrBrJ9XpiKHi5fUGLKKr4f-g/w400-h315/4-11%20Newcastle%20City%20Hall%201966%20concert.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>April 14 & 17 <br /></b></div><div style="text-align: left;"><b>Tivolis Konsertsal, Copenhagen</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2igpnCd9Xpmgilx3nAvYcZO8hUYmhlPzg60HyRfqfX0g3bi0SD8oeknBTY-Pl9azv7sO3m1_6iyxX365nrA4PL1NWzESvG2lIPf5sqlsdjT7aeFF1T0OIPl5p34uDsnDHXWDqs653oX_134hXGTMDGRQTvKz1ni5PCs0Eyo3iBaMIWfqIGaUvFQEuGw/s570/4-14%20Tivoloi%20Concert%20Hall%20postcard%2060s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="570" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2igpnCd9Xpmgilx3nAvYcZO8hUYmhlPzg60HyRfqfX0g3bi0SD8oeknBTY-Pl9azv7sO3m1_6iyxX365nrA4PL1NWzESvG2lIPf5sqlsdjT7aeFF1T0OIPl5p34uDsnDHXWDqs653oX_134hXGTMDGRQTvKz1ni5PCs0Eyo3iBaMIWfqIGaUvFQEuGw/w400-h266/4-14%20Tivoloi%20Concert%20Hall%20postcard%2060s.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzFdr5o-3EA4neB8SbHV9HYpRWeAz1gj5ouELOn2J2f99Sp3CNQX17VPyMubnjKu5VZuE5PZNZsJbl99PbH8KcDHJygCAiB80uilKphAJ0OrtWJtFdgQxaTN4JnIEwfY8kTGEYk7h2KDmBr6b7XqP_JJZ8NdPc3yesQQiDKWeKG3gFUHlucM_8aLawig/s600/4-14%20tivoli-koncert-int.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="600" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzFdr5o-3EA4neB8SbHV9HYpRWeAz1gj5ouELOn2J2f99Sp3CNQX17VPyMubnjKu5VZuE5PZNZsJbl99PbH8KcDHJygCAiB80uilKphAJ0OrtWJtFdgQxaTN4JnIEwfY8kTGEYk7h2KDmBr6b7XqP_JJZ8NdPc3yesQQiDKWeKG3gFUHlucM_8aLawig/w400-h313/4-14%20tivoli-koncert-int.jpg" width="400" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>April 16 </b></div><div style="text-align: left;"><b>Stakladen, Aarhus University</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9jKP29_J8Fo87Onat832z1YOp6Eu7WgnSO-IWcfFgNJANtVdcdwsb1bUHEoSG4jS_0QF-nwjYiVhlhJUYQJ6lG5RHYQWSBBNw5Ss1j0c-RfYDCXLMR8QMzV--qMony7HL5SruluJnOak4FAWrxJIrOyEu5rJpFljduu1O53IkUBHt84xMYXGzrKaSQ/s579/4-16%20Stakladen%20ext.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="579" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9jKP29_J8Fo87Onat832z1YOp6Eu7WgnSO-IWcfFgNJANtVdcdwsb1bUHEoSG4jS_0QF-nwjYiVhlhJUYQJ6lG5RHYQWSBBNw5Ss1j0c-RfYDCXLMR8QMzV--qMony7HL5SruluJnOak4FAWrxJIrOyEu5rJpFljduu1O53IkUBHt84xMYXGzrKaSQ/w400-h320/4-16%20Stakladen%20ext.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgM0uN1Vep63zO-mvd7Na2P9L3KoUyr-E6koqBQfXBD90oLAriIQoYYukDXZN_TjusraTAA6TITEP09TgOH2z8BVjQF6CdKAUUnFimqKNla3chpSUTSh_vXAbey0JzzjkZqmHmwe_tck5U8egSctlhQqMaguH_nOFHmSsdE-1A82AVA2z6-qQZoj5RA/s700/4-16%20Stakladen%201970%20empty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="700" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgM0uN1Vep63zO-mvd7Na2P9L3KoUyr-E6koqBQfXBD90oLAriIQoYYukDXZN_TjusraTAA6TITEP09TgOH2z8BVjQF6CdKAUUnFimqKNla3chpSUTSh_vXAbey0JzzjkZqmHmwe_tck5U8egSctlhQqMaguH_nOFHmSsdE-1A82AVA2z6-qQZoj5RA/w400-h271/4-16%20Stakladen%201970%20empty.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8-fkqwBoeKszQxBYMCHvXQq-5Va8e6rYrl2NeLZDa6haxW-VUOpCDOMqGrdtUfW_0gI_6e2qXAhWXpOE1S0fPZ8PuNt9XkXVZGPY3uFlcHjs7dNDfpTdit3ZM_3f3fFk5PIc3_o7kNqqffinzNJU-Q8nKQ3g4B_MmgVvmL-eW03Bu4vevMfrt4f5Ew/s1920/4-16%20Stakladen%201965%20jazz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1261" data-original-width="1920" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8-fkqwBoeKszQxBYMCHvXQq-5Va8e6rYrl2NeLZDa6haxW-VUOpCDOMqGrdtUfW_0gI_6e2qXAhWXpOE1S0fPZ8PuNt9XkXVZGPY3uFlcHjs7dNDfpTdit3ZM_3f3fFk5PIc3_o7kNqqffinzNJU-Q8nKQ3g4B_MmgVvmL-eW03Bu4vevMfrt4f5Ew/w400-h263/4-16%20Stakladen%201965%20jazz.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_tAdShFKvAgEvXfvirQmD94xoF3Wz-X8tHvEpVz_vG1FAxgdPcY9Zma8UoxsrWQM1-63RE0vyzHU3BE13jJ0PxT2e7TmAyXJ7bwAvWA920Ep0dfsh8ntrdkzgMrWz-i9UXPUyRQ0eWGQKxOsmKB848FjTN-pPTJmC0Dg5hn7QM2RJ5p2O4BvAuC8sFw/s525/4-16%20stakladens_fdselsdag_1983_7.10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_tAdShFKvAgEvXfvirQmD94xoF3Wz-X8tHvEpVz_vG1FAxgdPcY9Zma8UoxsrWQM1-63RE0vyzHU3BE13jJ0PxT2e7TmAyXJ7bwAvWA920Ep0dfsh8ntrdkzgMrWz-i9UXPUyRQ0eWGQKxOsmKB848FjTN-pPTJmC0Dg5hn7QM2RJ5p2O4BvAuC8sFw/w305-h400/4-16%20stakladens_fdselsdag_1983_7.10.jpg" width="305" /></a></div><p></p><div style="text-align: left;"><b>April 21 </b></div><div style="text-align: left;"><b>Beat Club, Bremen</b> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(I couldn't find any outside pictures of the studio building, but here are some production shots from an earlier era when the stage setup was different....)</i> </div><div style="text-align: left;"> </div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvj58xnAnfZEj2pi5NUJpju4o-W0v0MQe2OdPLoV79s7u2p8WmL3kGCTCeEP0ht8k4ms97LnCAAf9CCBUyEcpTZCP9rbpfJ30fj-RSh9N0jSmQhjSg_RsggAmhqMbt_Vg1kzqp7aBqc0q75JvMh4onAWcjm9wbZz9F4OeT80csW96wGMyMC9kevIPf7A/s1024/4-21%20radio_bremen-beat-club%20stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="1024" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvj58xnAnfZEj2pi5NUJpju4o-W0v0MQe2OdPLoV79s7u2p8WmL3kGCTCeEP0ht8k4ms97LnCAAf9CCBUyEcpTZCP9rbpfJ30fj-RSh9N0jSmQhjSg_RsggAmhqMbt_Vg1kzqp7aBqc0q75JvMh4onAWcjm9wbZz9F4OeT80csW96wGMyMC9kevIPf7A/w400-h161/4-21%20radio_bremen-beat-club%20stage.jpg" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvYVTU5UsdloPwX_1pURAFDFnWUhGTV7EqHZ3L5R9W3c01QJcgMqQ24tNdwMmAv2T7zft00hJrOrS7M4xgDp60ECij2hOi07g4P19t3K8lgEFulY61UhGNW6RMTdfWj7OpIl1RcCJkwuICjIwPVHNuk47YABEu7fwXiYJr8Kvc55FXKIS6L1k1ks1og/s1850/4-21%20beat-club%20cream%2067.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1040" data-original-width="1850" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvYVTU5UsdloPwX_1pURAFDFnWUhGTV7EqHZ3L5R9W3c01QJcgMqQ24tNdwMmAv2T7zft00hJrOrS7M4xgDp60ECij2hOi07g4P19t3K8lgEFulY61UhGNW6RMTdfWj7OpIl1RcCJkwuICjIwPVHNuk47YABEu7fwXiYJr8Kvc55FXKIS6L1k1ks1og/w400-h225/4-21%20beat-club%20cream%2067.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sg5j1b3frgRd83sRSnnMhcq2vZ43yRmmduBpAplkBq4kM_URVcnSJQELFKhG06sspmXG5lKBV9sTvDOTM7Dn3UPKHC0-FEUVbuDldYsmyQEF0fSsy3ok9utbYWF-5ltjZAeuwkHfFdshJqQK4299WcjlCuFAsGvhqrn72BXrEPirVo86f7XwCCFdpQ/s960/4-21%20Radio_Bremen-Beat-Club%201967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="681" data-original-width="960" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_sg5j1b3frgRd83sRSnnMhcq2vZ43yRmmduBpAplkBq4kM_URVcnSJQELFKhG06sspmXG5lKBV9sTvDOTM7Dn3UPKHC0-FEUVbuDldYsmyQEF0fSsy3ok9utbYWF-5ltjZAeuwkHfFdshJqQK4299WcjlCuFAsGvhqrn72BXrEPirVo86f7XwCCFdpQ/w400-h284/4-21%20Radio_Bremen-Beat-Club%201967.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><b>April 24 </b></div><div style="text-align: left;"><b>Rheinhalle, <span>Düsseldorf</span></b></div><div style="text-align: left;"><span> </span></div><div style="text-align: left;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAm6rOR3uyFDHrNcCINVNinDbhOkBIaPSadOrGBTk-eoreqJrUYJu4pMycl0zojsdeGDPfJqd1aWv-BRL6aJB-8g-0WGpM8F_6d9IQhfuD1FfvIuzhnYolEDOygGxbu1P6xAlfJjsFePs0-Dc0v4Pln046wT5Xy7YJDosVJsXyzUbGWTwNqBjrCGblw/s1920/4-24%20rheinhalle%20setting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAm6rOR3uyFDHrNcCINVNinDbhOkBIaPSadOrGBTk-eoreqJrUYJu4pMycl0zojsdeGDPfJqd1aWv-BRL6aJB-8g-0WGpM8F_6d9IQhfuD1FfvIuzhnYolEDOygGxbu1P6xAlfJjsFePs0-Dc0v4Pln046wT5Xy7YJDosVJsXyzUbGWTwNqBjrCGblw/w400-h225/4-24%20rheinhalle%20setting.jpg" width="400" /></a></div></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Cku_ZB5I86iN950NLrSLqWdyVqAsCHjg_ufD0w1M9AkUhMcPQwLprO6uCvO261NRjAbmZofLBizo-PQ9Y-wPVh9R8E5uG1C4-COV2Wb7QeFRjp1KNj2bAfFQU971nw0qF6Pcv_f-js0ot0MmlcRURBK1PWIEX5l4rYwjjdcItklid6K56QIyNvmW5g/s1483/4-24%20rheinhalle%20old%20ext.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="824" data-original-width="1483" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Cku_ZB5I86iN950NLrSLqWdyVqAsCHjg_ufD0w1M9AkUhMcPQwLprO6uCvO261NRjAbmZofLBizo-PQ9Y-wPVh9R8E5uG1C4-COV2Wb7QeFRjp1KNj2bAfFQU971nw0qF6Pcv_f-js0ot0MmlcRURBK1PWIEX5l4rYwjjdcItklid6K56QIyNvmW5g/w400-h223/4-24%20rheinhalle%20old%20ext.jpg" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUuH_-V-z6b-mW_Nth4PBtFveVOz51wZ0JIKKvq3_9wib0X6U5B0cNlLD7tBQoJLXu_WMAIVZmqNEkcaQVpspwMmHGjPfKz7qxh_ZDCTkaB4a7IqvahtPq1sGAo73u-FRT9ZeQMncnNencyf1uyTQpFVWyaThvu5q5j1B94TLUzBu1aHIPiBP4GkQy1g/s1024/4-24%20D%C3%BCsseldorf_Tonhalle_Saal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUuH_-V-z6b-mW_Nth4PBtFveVOz51wZ0JIKKvq3_9wib0X6U5B0cNlLD7tBQoJLXu_WMAIVZmqNEkcaQVpspwMmHGjPfKz7qxh_ZDCTkaB4a7IqvahtPq1sGAo73u-FRT9ZeQMncnNencyf1uyTQpFVWyaThvu5q5j1B94TLUzBu1aHIPiBP4GkQy1g/w400-h300/4-24%20D%C3%BCsseldorf_Tonhalle_Saal.jpg" width="400" /></a></div><div style="text-align: left;"><i><span>(I couldn't find any picture of what the interior looked like at the time; it's been remodeled but this gives an idea of the size.)</span></i></div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><b><span>April 26 </span></b></div><div style="text-align: left;"><span><b>Jahrhunderthalle, Frankfurt</b> </span></div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzHRwt8mFxBPBG_WXVpkP3ZfOt9HEKEHnwlXxXARXgizKf9eOiQXmw3Pyo4iENFcXUoqITTexP14PEk-B28bhJQmbstPYh9jGeujz9veqEzKxEFEwjTv-1x0eKbtIAD-fgxh6k4TmhdMCvvTwB8OO_Vxa_4oPOBknt7JrWaSwkVitkCAjN2T8iC8JCA/s1280/4-26%20Jahrhunderthalle%20ext.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzHRwt8mFxBPBG_WXVpkP3ZfOt9HEKEHnwlXxXARXgizKf9eOiQXmw3Pyo4iENFcXUoqITTexP14PEk-B28bhJQmbstPYh9jGeujz9veqEzKxEFEwjTv-1x0eKbtIAD-fgxh6k4TmhdMCvvTwB8OO_Vxa_4oPOBknt7JrWaSwkVitkCAjN2T8iC8JCA/w400-h225/4-26%20Jahrhunderthalle%20ext.jpg" width="400" /></a></div><span></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheYi3daK00hxAHm50KS90F5n8DF6SWeUsvK9xnCB41x0Yf43c9K41iyQcqIcKrTx5-xPGFlfWBMeGga01LZCNzwYr2b5y1NGkmWXoWoSSP1ewv4_dBFj3ZfEpHM5P_iVcJcoHPvvC9CjLFD1V05jm5ARn_84JjKjHxBFIUsGQPTeUd_ilEC1p63qSvWA/s800/4-26%20Jahrhunderthalle%20Frankfurt%20lake.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheYi3daK00hxAHm50KS90F5n8DF6SWeUsvK9xnCB41x0Yf43c9K41iyQcqIcKrTx5-xPGFlfWBMeGga01LZCNzwYr2b5y1NGkmWXoWoSSP1ewv4_dBFj3ZfEpHM5P_iVcJcoHPvvC9CjLFD1V05jm5ARn_84JjKjHxBFIUsGQPTeUd_ilEC1p63qSvWA/w400-h300/4-26%20Jahrhunderthalle%20Frankfurt%20lake.jpg" width="400" /></a></div><span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQdL6NqAcTw7pFbSaXhkMcNJwZKwrzXPP1mKwhotUTbNDHQ2k1NQbifmovnRiQ-XQo_Sb9TN_Ixy-sHfe25igHYDcma-NKYCz5ewJ7c5uP5k-Mp3W1MPa2u-jvUChyw_4w_KXo_uIB-AQUudYijzBUXqg_ojOC2f2N9fG19hJnnsRBY58v-L7ftVk53Q/s800/4-26%20Jahrhunderthalle%20from%20stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQdL6NqAcTw7pFbSaXhkMcNJwZKwrzXPP1mKwhotUTbNDHQ2k1NQbifmovnRiQ-XQo_Sb9TN_Ixy-sHfe25igHYDcma-NKYCz5ewJ7c5uP5k-Mp3W1MPa2u-jvUChyw_4w_KXo_uIB-AQUudYijzBUXqg_ojOC2f2N9fG19hJnnsRBY58v-L7ftVk53Q/w400-h300/4-26%20Jahrhunderthalle%20from%20stage.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><b>April 29 </b></div><div style="text-align: left;"><b>Musikhalle, Hamburg</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxEmcknnQ7jxaXJfBlbZlRnLgtxfjGXMdhvJFIsYyNOr0N2DoBFA8jFTb3K_Ogslk-7yCMXoBMeIqKLWvzcgzVoPIQiEfG1pSAFff4QtqjEKUWCIPjQZnN-3cb9_Yb2Oc1M4FKUYntbQOLzv6wkGrleVxjHo62gG9cjC_SJA9I6fdRMzXi9WMJOB2AOQ/s550/4-29%20musikhalle-hamburg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="550" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxEmcknnQ7jxaXJfBlbZlRnLgtxfjGXMdhvJFIsYyNOr0N2DoBFA8jFTb3K_Ogslk-7yCMXoBMeIqKLWvzcgzVoPIQiEfG1pSAFff4QtqjEKUWCIPjQZnN-3cb9_Yb2Oc1M4FKUYntbQOLzv6wkGrleVxjHo62gG9cjC_SJA9I6fdRMzXi9WMJOB2AOQ/w400-h233/4-29%20musikhalle-hamburg.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYEyJDtUkztau3eqo01irJfsbg64as1bBub_UeTV57g5woi8m8kzRYRueYWv13QbzH7iJL9YSxI_QjoGy5V_P-WxkZ0hDKevnY6zN3PwHe17M56Q4taeBQk_eruaDanUVmt2eAjTn3Uq2zoCUV4exjG07sY5Feo-Sq1NBHOiI00jKwr1QchMf7RNI0A/s950/4-29%20Musikhalle_innen01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="950" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYEyJDtUkztau3eqo01irJfsbg64as1bBub_UeTV57g5woi8m8kzRYRueYWv13QbzH7iJL9YSxI_QjoGy5V_P-WxkZ0hDKevnY6zN3PwHe17M56Q4taeBQk_eruaDanUVmt2eAjTn3Uq2zoCUV4exjG07sY5Feo-Sq1NBHOiI00jKwr1QchMf7RNI0A/w400-h190/4-29%20Musikhalle_innen01.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQrc-lx6SxyQy1qsoPu1jqnteOMMD4dNUEEB6WzlwM4qdnuxcUdUoWbuz2yGdvQu8v-Pm0b_UodUFRhlKjG-maYTuFAk8DIYRSn1noa_XO7UowX1BxrgIWwZhO19k_soymsv5ifjVmrE6W855RVpjlV_mQITaymZCDxWtvt1hVqSuljC8bAqOaFaQ2LQ/s1200/4-29%20laeiszhalle%20interior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQrc-lx6SxyQy1qsoPu1jqnteOMMD4dNUEEB6WzlwM4qdnuxcUdUoWbuz2yGdvQu8v-Pm0b_UodUFRhlKjG-maYTuFAk8DIYRSn1noa_XO7UowX1BxrgIWwZhO19k_soymsv5ifjVmrE6W855RVpjlV_mQITaymZCDxWtvt1hVqSuljC8bAqOaFaQ2LQ/w400-h200/4-29%20laeiszhalle%20interior.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8LPFIRuS9-N7Fbt4MK7iYwM7XX4uVpxfhGZ2wpTXwvkHFrckuOI2HBHTLJA-8eqLbKzYG25B0cwhqtZq9VZjhpKiYIUKxa194lfgj0DAct89RIj-aIPgZH-xuoi6L0QVPHarTLkCyz1ouY4Rv8-XoVpBm33sfIUBRXB7MnzW1k1fIAvdhdhfobUydg/s1024/4-29%20laeiszhalle%20seats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8LPFIRuS9-N7Fbt4MK7iYwM7XX4uVpxfhGZ2wpTXwvkHFrckuOI2HBHTLJA-8eqLbKzYG25B0cwhqtZq9VZjhpKiYIUKxa194lfgj0DAct89RIj-aIPgZH-xuoi6L0QVPHarTLkCyz1ouY4Rv8-XoVpBm33sfIUBRXB7MnzW1k1fIAvdhdhfobUydg/w400-h266/4-29%20laeiszhalle%20seats.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYIrKy11fEBlaeVMfFD_JgEBqUAVmQgu2_kHEEi8mlU2hgOeVmqMpDk_P-L7MINngb6VHc9g05Amn8pL_j1CwZrT1m-IHp8QrWN1E8NISNGdefv9btc9aFQ6wyXQoutntennnW8w8dtT_fwLpBlZRcVuhXj3pN8U-BTIorTYMfS1QZOQyWrRtqKga8Ew/s700/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="689" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYIrKy11fEBlaeVMfFD_JgEBqUAVmQgu2_kHEEi8mlU2hgOeVmqMpDk_P-L7MINngb6VHc9g05Amn8pL_j1CwZrT1m-IHp8QrWN1E8NISNGdefv9btc9aFQ6wyXQoutntennnW8w8dtT_fwLpBlZRcVuhXj3pN8U-BTIorTYMfS1QZOQyWrRtqKga8Ew/w394-h400/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-11.jpg" width="394" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHr7VHvt2dth-CGaRBVV1sBlGZpieGkVc63YztZZhBHh0XyP8uakj_dR01-L0NFQtsHslv0siXMwLMGD2leGJ1pSslnvIt6r-ixjo8DHM-URiUbXZncYI3vzt0e_j04-PV54w6vx4XifVRELZ6iHFRol8Is24frZlDqCgcI0F30DEEjSDPnQnIaLVhg/s700/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="689" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHr7VHvt2dth-CGaRBVV1sBlGZpieGkVc63YztZZhBHh0XyP8uakj_dR01-L0NFQtsHslv0siXMwLMGD2leGJ1pSslnvIt6r-ixjo8DHM-URiUbXZncYI3vzt0e_j04-PV54w6vx4XifVRELZ6iHFRol8Is24frZlDqCgcI0F30DEEjSDPnQnIaLVhg/w394-h400/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-12.jpg" width="394" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJdJ2s-I0lJurHul8Utu76SFw9qNa1LocBeOFnonxyHHif0MTfAST0sWasTttgcSvNTRJylJzUTSDy8-uvMVzXWSw7A5uq2GQu8zMQTWpl3uawGM8Vdr9e73T6SP1d1VnORi5XBcoN2R-EDUBpF3CFjEMtuEsyc9puy5spRYep8mZqKRqV2SqKErFhQ/s700/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="688" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJdJ2s-I0lJurHul8Utu76SFw9qNa1LocBeOFnonxyHHif0MTfAST0sWasTttgcSvNTRJylJzUTSDy8-uvMVzXWSw7A5uq2GQu8zMQTWpl3uawGM8Vdr9e73T6SP1d1VnORi5XBcoN2R-EDUBpF3CFjEMtuEsyc9puy5spRYep8mZqKRqV2SqKErFhQ/w394-h400/4-29%20Musikhalle%20Pink-Floyd-Atom-Heart-Mother-Germany-14.jpg" width="394" /></a></div><div style="text-align: left;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><i>(Not the Dead....)</i> </div><div style="text-align: left;"> </div><div style="text-align: left;"><b>May 3-4 </b></div><div style="text-align: left;"><b>Olympia Theater, Paris</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxrpv-4XyuIvIWcgYup21rkOtgzGDwuxeWF6fhan2qzUKIewYWTQFMuuV4XMAmA3yQ_CZHhCzVcoXTOHALGyYOMqGedyu5JbkT3oIgvcnjqbUAUjCvBa_gWbGFPNo9neW8zA5oG9ki_9FqrouTFvZ0W_zFFI4mWF1yEvobW3ng93FeC--4FbvjnMMhTg/s612/5-3%20olympia%20brel%20b-w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="612" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxrpv-4XyuIvIWcgYup21rkOtgzGDwuxeWF6fhan2qzUKIewYWTQFMuuV4XMAmA3yQ_CZHhCzVcoXTOHALGyYOMqGedyu5JbkT3oIgvcnjqbUAUjCvBa_gWbGFPNo9neW8zA5oG9ki_9FqrouTFvZ0W_zFFI4mWF1yEvobW3ng93FeC--4FbvjnMMhTg/w400-h400/5-3%20olympia%20brel%20b-w.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kgsTTvC5Kg1ayNX5GF6j9mBYWRbY3LwYgXOnvQuSdPUayJe6QVCCGbfmTfa0AngkR4YZmt9-tvSrBucOTKxrAwXmCUUKBjqH9P_CG0-MnrIhKmy33wRtHcslbqALBXRxHnhdN5_2HLiZmxt0fSeM9jPSMazUZrvHdqZS8hWcu5s3scJ-PiPeCx36MA/s800/5-3%20piaf_lolympia_theater_med.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kgsTTvC5Kg1ayNX5GF6j9mBYWRbY3LwYgXOnvQuSdPUayJe6QVCCGbfmTfa0AngkR4YZmt9-tvSrBucOTKxrAwXmCUUKBjqH9P_CG0-MnrIhKmy33wRtHcslbqALBXRxHnhdN5_2HLiZmxt0fSeM9jPSMazUZrvHdqZS8hWcu5s3scJ-PiPeCx36MA/w400-h300/5-3%20piaf_lolympia_theater_med.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO9LGKM1wy4i9uqSpUX5REIAXgzgvAzkH_CpWFWnmRldGCJY_QSBO-vxXeLMoymyV1BUjmMasBKq_-kFydzVZOaSq454ua4mD0lW0uAdnYKTtdg1oz32QM_9EmP40sfH9LYoiQ5hj5O-P-_n7aiGBILlUo6VdOwHQUonu4D9fkA_RhfaXnI7Lry3GcIA/s612/olympia%20stones%2066%20getty-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="612" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO9LGKM1wy4i9uqSpUX5REIAXgzgvAzkH_CpWFWnmRldGCJY_QSBO-vxXeLMoymyV1BUjmMasBKq_-kFydzVZOaSq454ua4mD0lW0uAdnYKTtdg1oz32QM_9EmP40sfH9LYoiQ5hj5O-P-_n7aiGBILlUo6VdOwHQUonu4D9fkA_RhfaXnI7Lry3GcIA/w400-h261/olympia%20stones%2066%20getty-2.jpg" width="400" /></a></div><div style="text-align: left;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><i>(Not the Dead....)</i> </div><div style="text-align: left;"> </div><div style="text-align: left;"><b>May 7 </b></div><div style="text-align: left;"><b>Bickershaw Festival, Wigan</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjpYwRBztSUsotkkEMwFEVwpoQAExLsoWlfK3rUg5fFIiUHxycA-dUPC6li-VysCy9OUCv9nRZygdvw0nK-zE3lrrI4OK_U-Llqb50-g0MMUaKeVsldqCzg8de2G8R-hA_5x9LMhaiBG5ZqQsM97ROZhusLfsWKbn4W6vzlRGgmjMVnKkVz6eDsmM_g/s1500/5-7%20bick-72-crowd-mchugo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1500" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjpYwRBztSUsotkkEMwFEVwpoQAExLsoWlfK3rUg5fFIiUHxycA-dUPC6li-VysCy9OUCv9nRZygdvw0nK-zE3lrrI4OK_U-Llqb50-g0MMUaKeVsldqCzg8de2G8R-hA_5x9LMhaiBG5ZqQsM97ROZhusLfsWKbn4W6vzlRGgmjMVnKkVz6eDsmM_g/w400-h254/5-7%20bick-72-crowd-mchugo.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtLYMqmcghD-v4RQ34q5eciaMqbRusL5fRo9GapoZXpiGn7eAxXwhEIIJl4UGZJUu-XOLTta70t3rnWdlOXzERq98q7eJnDxSqKXp56Pu__D581t_BAuaXdeGewKEaojQhS-x-Zxf1L_WopRk2eMnHJyrDm_oAMUtdC1vOo_ev5K6BgiWjBNJoewHZQQ/s480/5-7%20bickershaw%20crowd%20b-w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="480" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtLYMqmcghD-v4RQ34q5eciaMqbRusL5fRo9GapoZXpiGn7eAxXwhEIIJl4UGZJUu-XOLTta70t3rnWdlOXzERq98q7eJnDxSqKXp56Pu__D581t_BAuaXdeGewKEaojQhS-x-Zxf1L_WopRk2eMnHJyrDm_oAMUtdC1vOo_ev5K6BgiWjBNJoewHZQQ/w400-h299/5-7%20bickershaw%20crowd%20b-w.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5dqJz1VdzcrSDChvCGNNHPRTqTuex2nciVe0rJIz1WcqHO4Jnxyu_zXskkaPrxVm3bFCV2VPtRGYWCJ48roRcS-k0tj4advIisMwQUhPOGxKMqAKi_z9ItyOfcLSZOw4rM2bV2ZF3w0PKkbIbHf97RzQX6PWbI6uQLU9d1SRvsX7Yuq5VmT_c8xNAA/s1000/5-7%20bickershaw%20b-w%20crowd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="746" data-original-width="1000" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5dqJz1VdzcrSDChvCGNNHPRTqTuex2nciVe0rJIz1WcqHO4Jnxyu_zXskkaPrxVm3bFCV2VPtRGYWCJ48roRcS-k0tj4advIisMwQUhPOGxKMqAKi_z9ItyOfcLSZOw4rM2bV2ZF3w0PKkbIbHf97RzQX6PWbI6uQLU9d1SRvsX7Yuq5VmT_c8xNAA/w400-h299/5-7%20bickershaw%20b-w%20crowd.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hHpCxkpNUaLl7xID6HP8DsPp92JW-XIA0yB6u-QuUAZ1yTRREtgX5dtH_OTfbDs7U-pWiGEf1z0qWQP9YHO1kRVF-bdvOXHiSdWBzUi_QO_SmnX1XoNvGGrVcLqNr-7Bn31bf_I8SY1oBReyvGuh2TvdSMzzqBIO3qfwHDMzQS6KijpQJwMu30D8FA/s1000/5-7%20deadbook29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1000" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hHpCxkpNUaLl7xID6HP8DsPp92JW-XIA0yB6u-QuUAZ1yTRREtgX5dtH_OTfbDs7U-pWiGEf1z0qWQP9YHO1kRVF-bdvOXHiSdWBzUi_QO_SmnX1XoNvGGrVcLqNr-7Bn31bf_I8SY1oBReyvGuh2TvdSMzzqBIO3qfwHDMzQS6KijpQJwMu30D8FA/w400-h290/5-7%20deadbook29.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxKZ5td67grjrTTymoeMsXd4fTXAoaepE0nHoMj-NdZcmzU3-TWz6YqnzMJRaduk799SOMU-mtNxFP4qgQrzRgL2_r288SIscKdmM-0kpbfxYbHxBNaV8lx27j8QcEqo9Vm_Ss6fp5n-57fgRvzZSKRUMlzmvCW93VF89wsBflMI1C98PtZYMPbjxWcw/s1233/5-7%20bickershaw%20dead%20rear%20alt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="879" data-original-width="1233" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxKZ5td67grjrTTymoeMsXd4fTXAoaepE0nHoMj-NdZcmzU3-TWz6YqnzMJRaduk799SOMU-mtNxFP4qgQrzRgL2_r288SIscKdmM-0kpbfxYbHxBNaV8lx27j8QcEqo9Vm_Ss6fp5n-57fgRvzZSKRUMlzmvCW93VF89wsBflMI1C98PtZYMPbjxWcw/w400-h285/5-7%20bickershaw%20dead%20rear%20alt.jpg" width="400" /></a></div><p></p><div style="text-align: left;"> </div><div style="text-align: left;"><b>May 10 </b></div><div style="text-align: left;"><b>Concertgebouw, Amsterdam</b> </div><div style="text-align: left;"> </div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-XDlw2RkzvpkOtWZE-6JF8N2z-Eb54la4jgg5bRsgySaj6zfjUrNu2Kq1R1HjPnIrGdebhhGiDpgYbzRcPmuLVMZYw--BuncOjrQJkHM041GnMCbkaHwLlvbbHb7t5GP4QGejXenPxASY1GGhGEDocBbTe2Ff0Qm7dHVdJhD_RxhnAFio_aARxFpbw/s4303/5-10%20Concertgebouw_Amsterdam_Bestanddeelnr_905-2171.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3304" data-original-width="4303" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-XDlw2RkzvpkOtWZE-6JF8N2z-Eb54la4jgg5bRsgySaj6zfjUrNu2Kq1R1HjPnIrGdebhhGiDpgYbzRcPmuLVMZYw--BuncOjrQJkHM041GnMCbkaHwLlvbbHb7t5GP4QGejXenPxASY1GGhGEDocBbTe2Ff0Qm7dHVdJhD_RxhnAFio_aARxFpbw/w400-h308/5-10%20Concertgebouw_Amsterdam_Bestanddeelnr_905-2171.jpg" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35LKcAwmnWGw5BLCkD37ps70qsi3bmkWZH3H-jb38lkixn78yuvvc7iwFjNjA6Dt16ZeUPk_cpZifizqx9n6dh6ySOVmFqFzMIHUdW8W63gjJxWs7kqgQOqZsWmt1Y6vHj107FFghBxgZZW8xXJB-LU3MWgsijBkU_Lqw4IekbDHwoXVEa-G1P6Jy5w/s2048/5-10%20concertgebouw%20from%20behind%20stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1258" data-original-width="2048" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35LKcAwmnWGw5BLCkD37ps70qsi3bmkWZH3H-jb38lkixn78yuvvc7iwFjNjA6Dt16ZeUPk_cpZifizqx9n6dh6ySOVmFqFzMIHUdW8W63gjJxWs7kqgQOqZsWmt1Y6vHj107FFghBxgZZW8xXJB-LU3MWgsijBkU_Lqw4IekbDHwoXVEa-G1P6Jy5w/w400-h246/5-10%20concertgebouw%20from%20behind%20stage.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34JvzISrEMNqWJiHx91BBwQtRdMPiqaOzKScYprargM8q8V_VIM0JPLGBKcDCviJNdQY4A5V525ypA-xE5lFTUW-XBd5Rkte6bttgjLeacSuCOV-3oPAufkShY7u1jtTQyoCR_jHaXOfeBskDg74fqTpGZhj6gpTyy8UHDXnSvv_kVwXUWUTygYTISw/s1600/5-10%20Concertgebouw%20int.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg34JvzISrEMNqWJiHx91BBwQtRdMPiqaOzKScYprargM8q8V_VIM0JPLGBKcDCviJNdQY4A5V525ypA-xE5lFTUW-XBd5Rkte6bttgjLeacSuCOV-3oPAufkShY7u1jtTQyoCR_jHaXOfeBskDg74fqTpGZhj6gpTyy8UHDXnSvv_kVwXUWUTygYTISw/w400-h225/5-10%20Concertgebouw%20int.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgne4MVgdGkxz8rlPxDEA83jAJtqL3zkCWdsv-7kthrgMKpX3Np4D0H-tfbYuz8W-azxTk9wUZjYiSDlyxF5vvctioQhsw-nfrZ8Ex_XraZp07zET483BSHCf84D3iiEAgz4Pc-iKrBdTcW65n0NNOlwuioirxnjMsQNnf3I_asq8ZQ4z-Ld2Qrd8Me7g/s1815/5-10%20Slotavond_Holland_Festival_in_Concertgebouw_Amsterdam%201970.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1815" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgne4MVgdGkxz8rlPxDEA83jAJtqL3zkCWdsv-7kthrgMKpX3Np4D0H-tfbYuz8W-azxTk9wUZjYiSDlyxF5vvctioQhsw-nfrZ8Ex_XraZp07zET483BSHCf84D3iiEAgz4Pc-iKrBdTcW65n0NNOlwuioirxnjMsQNnf3I_asq8ZQ4z-Ld2Qrd8Me7g/w265-h400/5-10%20Slotavond_Holland_Festival_in_Concertgebouw_Amsterdam%201970.jpg" width="265" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>May 11 </b></div><div style="text-align: left;"><b>De Doelen, Rotterdam</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQBJqvBXor98_cwRTH2VLxh7GX7J2GIte6kdcpTQXxpHIYfhUbQyQAqvOezMDkLnTdrbKDtzEZi-aR4QukEeN6pEedGb57hKzYYOj0fiQLH-tjbnlK3a34LTVzhVU0UePKzpj0JGeNHQXelzPn1u-HM61stl-F5iHmkEBxbxa0tldO58cJR0mE9VWuqA/s1200/5-11%20kraaijvanger-dedoelen-schouwburgplein.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1177" data-original-width="1200" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQBJqvBXor98_cwRTH2VLxh7GX7J2GIte6kdcpTQXxpHIYfhUbQyQAqvOezMDkLnTdrbKDtzEZi-aR4QukEeN6pEedGb57hKzYYOj0fiQLH-tjbnlK3a34LTVzhVU0UePKzpj0JGeNHQXelzPn1u-HM61stl-F5iHmkEBxbxa0tldO58cJR0mE9VWuqA/w400-h393/5-11%20kraaijvanger-dedoelen-schouwburgplein.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL0QBvy4kYyBnvlbYtTmp6vCF3qR1_zg3ww5rvApceZMlEa_S8qq4bdiCBBOLK2J5CjRqrpJjhIlj-bBqsVLFUtJf7jzD4C-T8oly3s62cRfgOvuOquJxsPit2jkS_K8-sZgNFOwrU7EFCPf-5heL8tZejC56Ip-n_Ffx2oEnD0mNlpetG_eJ7KP835A/s1023/5-11%20de%20doelen%20postcard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="1023" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL0QBvy4kYyBnvlbYtTmp6vCF3qR1_zg3ww5rvApceZMlEa_S8qq4bdiCBBOLK2J5CjRqrpJjhIlj-bBqsVLFUtJf7jzD4C-T8oly3s62cRfgOvuOquJxsPit2jkS_K8-sZgNFOwrU7EFCPf-5heL8tZejC56Ip-n_Ffx2oEnD0mNlpetG_eJ7KP835A/w400-h288/5-11%20de%20doelen%20postcard.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaVckR0Jh27oa2jcFPJJwPs3v3a1XIE4Y2QDGlbPmhVtCsgNF2rCCbLVe0ia5dRhbNeHL-5JeJ8_FZPSIL1K6JOMpCJZ7hWKwfzb_kZ6ayjSFQNjg4FzKak8Tr7TGZ65x_2eVovj6WqnsW3GOhe8UwLJfcDFemx8lxTgVJv8McM_IdiEfOq4pEUB4JQ/s1024/5-11%20Rotterdamse%20Doelen%20haar%20de-doelen-interior-color.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSaVckR0Jh27oa2jcFPJJwPs3v3a1XIE4Y2QDGlbPmhVtCsgNF2rCCbLVe0ia5dRhbNeHL-5JeJ8_FZPSIL1K6JOMpCJZ7hWKwfzb_kZ6ayjSFQNjg4FzKak8Tr7TGZ65x_2eVovj6WqnsW3GOhe8UwLJfcDFemx8lxTgVJv8McM_IdiEfOq4pEUB4JQ/w400-h266/5-11%20Rotterdamse%20Doelen%20haar%20de-doelen-interior-color.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqr9bpobCK4pBDoDJqNhZZCtduM6jMiePUME2sgu_IkuMtAsLq4pHEbZyC68S3bi6-4CZPhed29Gai2S6EexI9ezUof3-qle-kv6bOnq8L2KKK1LuvpNVMWXXAyynt6gJpWmoIed5JOUcThVRPAdcbcqa3_3I1ERWdXYwwUXGDpwvL9gOsFqNA9LZrg/s1600/5-11%20kraaijvanger-dedoelen-concertzaal1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqr9bpobCK4pBDoDJqNhZZCtduM6jMiePUME2sgu_IkuMtAsLq4pHEbZyC68S3bi6-4CZPhed29Gai2S6EexI9ezUof3-qle-kv6bOnq8L2KKK1LuvpNVMWXXAyynt6gJpWmoIed5JOUcThVRPAdcbcqa3_3I1ERWdXYwwUXGDpwvL9gOsFqNA9LZrg/w400-h300/5-11%20kraaijvanger-dedoelen-concertzaal1.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>May 13 </b></div><div style="text-align: left;"><b>Esplanade, Lille</b> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>The Dead played in the Esplanade du Champ de Mars, on the edge of what is now a parking lot (but is also used as a fairground), with the Canal de la Deule behind them.</i> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb-esqut7fGoGyIa6hCuByhvUIij8aVBgCt0AQKWx9juQ71qKZ64N0W7il7-qx-1MLQMdCIvogxq6MKnp2wdBz0aZ6r7Zx9FJk-kB6YaBeLxzZeIOXNj_FOjua3ZHwRjsuriI2pGbv9Ph28j0hFEvzJGR-vOgBBzUSma4auQoN36Hg6z7_BdkX4DaPAA/s560/5-13%20-lille-esplanade.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="560" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb-esqut7fGoGyIa6hCuByhvUIij8aVBgCt0AQKWx9juQ71qKZ64N0W7il7-qx-1MLQMdCIvogxq6MKnp2wdBz0aZ6r7Zx9FJk-kB6YaBeLxzZeIOXNj_FOjua3ZHwRjsuriI2pGbv9Ph28j0hFEvzJGR-vOgBBzUSma4auQoN36Hg6z7_BdkX4DaPAA/w400-h300/5-13%20-lille-esplanade.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00DGEGDzqmYNY-DD9fuPcDeHMGf-L6Jf9tbvhR6G6LAhlxKDvjETYB85_ZaYhnKDmcACgsunhmacGhuwCOAuml8IVbJCyHbHCrL7_6-44sPR0-if-JOTG7kVV8hWDsrv4-qZnjpvdMLTc42k8Iy9bK2m9dvQkmRIpIR9J1G7r4wA4z_MMOLZW3JVA4w/s1350/5-13%20lille%20parking%20view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="759" data-original-width="1350" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00DGEGDzqmYNY-DD9fuPcDeHMGf-L6Jf9tbvhR6G6LAhlxKDvjETYB85_ZaYhnKDmcACgsunhmacGhuwCOAuml8IVbJCyHbHCrL7_6-44sPR0-if-JOTG7kVV8hWDsrv4-qZnjpvdMLTc42k8Iy9bK2m9dvQkmRIpIR9J1G7r4wA4z_MMOLZW3JVA4w/w400-h225/5-13%20lille%20parking%20view.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVMxINM8k45Q7Zf204TbV0eIduadRAZneMhNXKGXn7PggD6GTM1ld4nZbLiqnEVDalySCKGm82Ylk4pLG3BB6SMDj9aNz3FmoAetzR0RMKVV1jZ1SOH5oHvGNBQV5FGuZLfLUCjtKfwlhdJUNL6Dzk59pp-kmRtaLUMJCAfTHy3BZAckG1_eHlLE-yA/s750/5-13%20perspective-canal-deule-esplanade-lille.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="750" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVMxINM8k45Q7Zf204TbV0eIduadRAZneMhNXKGXn7PggD6GTM1ld4nZbLiqnEVDalySCKGm82Ylk4pLG3BB6SMDj9aNz3FmoAetzR0RMKVV1jZ1SOH5oHvGNBQV5FGuZLfLUCjtKfwlhdJUNL6Dzk59pp-kmRtaLUMJCAfTHy3BZAckG1_eHlLE-yA/w400-h186/5-13%20perspective-canal-deule-esplanade-lille.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGwa55VRdAShJv9hNLKoPYeeqmR4dKxADROtCVB5DfRMnH3P5NKuqVFSsFip1oWsUztMtz6eVSYAnw6xNG-SU7IWtDTphl5UDKsmfVpRF1mRm_0oOxdlIwouXdrs18vM-tU97hUHaTln2FtAXp0KHt3QS-bXYHWWb1d5N2R0PE027P-DCN5nVHY-bsw/s2560/5-13%20Canal_de_la_De%C3%BBle_sur_L'Esplanade_de_Lille.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGwa55VRdAShJv9hNLKoPYeeqmR4dKxADROtCVB5DfRMnH3P5NKuqVFSsFip1oWsUztMtz6eVSYAnw6xNG-SU7IWtDTphl5UDKsmfVpRF1mRm_0oOxdlIwouXdrs18vM-tU97hUHaTln2FtAXp0KHt3QS-bXYHWWb1d5N2R0PE027P-DCN5nVHY-bsw/w400-h300/5-13%20Canal_de_la_De%C3%BBle_sur_L'Esplanade_de_Lille.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpWmxaetuC4UM5Mzw1OQtAF3AqUJAScaDQM1GYIlCwzV7Xif-QJUrOlndQrmCw993a2uTXaiYgf7804WZRLx-g0ig9QmdPbTR68gA_QW3oyxypAl-JSotyAhaXX75ui33jKRjeO5ogoMgGmeXi0ANs-jXCEcuFQ171ESD99kKKp4oE1tocHHSJNZFLw/s1000/5-13%20Lille.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1000" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpWmxaetuC4UM5Mzw1OQtAF3AqUJAScaDQM1GYIlCwzV7Xif-QJUrOlndQrmCw993a2uTXaiYgf7804WZRLx-g0ig9QmdPbTR68gA_QW3oyxypAl-JSotyAhaXX75ui33jKRjeO5ogoMgGmeXi0ANs-jXCEcuFQ171ESD99kKKp4oE1tocHHSJNZFLw/w400-h290/5-13%20Lille.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>May 16 </b></div><div style="text-align: left;"><b>Villa Louvigny, Luxembourg</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCIpeSy3bWvwkHb2i5h1fUcQf16CI2sqWz-uArsJt6mNhcj5zvGCoSaWgVNndOzuPY0dMah_DUw-V84l21dnQ5skZW6JtefyUUtcEW1p_jWxdy4cVQfNfQbwYLkqjoPxJq0vKt50_gl8ZB9iWS-RG8Xay8aLcSBh7ADvBADFmDSoj2i4SDGUHH2r1r0g/s1200/5-16%20villa-louvigny-luxembourg%20ext.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="1200" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCIpeSy3bWvwkHb2i5h1fUcQf16CI2sqWz-uArsJt6mNhcj5zvGCoSaWgVNndOzuPY0dMah_DUw-V84l21dnQ5skZW6JtefyUUtcEW1p_jWxdy4cVQfNfQbwYLkqjoPxJq0vKt50_gl8ZB9iWS-RG8Xay8aLcSBh7ADvBADFmDSoj2i4SDGUHH2r1r0g/w400-h143/5-16%20villa-louvigny-luxembourg%20ext.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibI8wrifsk8FgqzwhoOFnXEaRw0lb7m10psH55WXtT__ZIaV53XzVG7anUBt505WvFmC3Ns0SHd1S-CU4DlzAklXjpJGzXDZlKDsn5CfkA4W9pqGCU3epldT26f3svmiugHnwKYeWIpBaX4EKP03EToQ_IOvb-uf5PHzyuil3p5u4G_GarUcO2HJuQ-w/s640/5-16%20louvigny_principale2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibI8wrifsk8FgqzwhoOFnXEaRw0lb7m10psH55WXtT__ZIaV53XzVG7anUBt505WvFmC3Ns0SHd1S-CU4DlzAklXjpJGzXDZlKDsn5CfkA4W9pqGCU3epldT26f3svmiugHnwKYeWIpBaX4EKP03EToQ_IOvb-uf5PHzyuil3p5u4G_GarUcO2HJuQ-w/w400-h268/5-16%20louvigny_principale2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4t8Qt_yUgDTCzfwGPYGhYbWKtLxhOQcPBRr_KWxlXtllbPkPkRCZGx17BZIk92Bqpg1J7FRMhcOXCKajHmJdKFqvSk0ARkGUIjwSVCWcmKDBx1ZgPru3cUDdQCt-ni-L3IfAWE3SU9SEKm72dv5Hptdi6V0qNeRRXUfuyTeXOVvRzQC0EzzmIL4YpA/s633/5-16%20Villa-Pensis-Orch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="624" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4t8Qt_yUgDTCzfwGPYGhYbWKtLxhOQcPBRr_KWxlXtllbPkPkRCZGx17BZIk92Bqpg1J7FRMhcOXCKajHmJdKFqvSk0ARkGUIjwSVCWcmKDBx1ZgPru3cUDdQCt-ni-L3IfAWE3SU9SEKm72dv5Hptdi6V0qNeRRXUfuyTeXOVvRzQC0EzzmIL4YpA/w394-h400/5-16%20Villa-Pensis-Orch.jpg" width="394" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>May 18 </b></div><div style="text-align: left;"><b>Kongress-Saal, Deutsches Museum, Munich</b></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaaloUb2Tv86gqIn5eU52l1Rmg3FpGj0PSLMlop8t6uVGIMmU7NVJlZjmSxIrFyJXolDQO6g7IOx3GcXKL7__JFRFLdPvlhPShj8VUReWfOwKDZJJdgSMjjjUiTqjl6ohCZULyT1suvP7DkamSKkt7Qlz3eXsIu1D_aayy7yJOneCaAT9RXyB6CgdJdg/s415/5-18%20deutsches%20museum%20above.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="415" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaaloUb2Tv86gqIn5eU52l1Rmg3FpGj0PSLMlop8t6uVGIMmU7NVJlZjmSxIrFyJXolDQO6g7IOx3GcXKL7__JFRFLdPvlhPShj8VUReWfOwKDZJJdgSMjjjUiTqjl6ohCZULyT1suvP7DkamSKkt7Qlz3eXsIu1D_aayy7yJOneCaAT9RXyB6CgdJdg/w400-h289/5-18%20deutsches%20museum%20above.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVS2I6SCr3l9jPQQIA7FtvKqeY3mNSmYGLDsi55jT3tH5G82sH3TEJoRDjKIaHpjARcHWWpqMf9scGO_xy1NK46FykpLm7uV2WJaG91ihsjIsp5eqHfrpuh6w7pLX7djxb0x7gzrvy8ZdyrKC72UTN_r-xWizgHfPIa6BogcJTQYQ21OCqbMMuajgJA/s1024/5-18%20alter-kongresssaal.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="1024" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVS2I6SCr3l9jPQQIA7FtvKqeY3mNSmYGLDsi55jT3tH5G82sH3TEJoRDjKIaHpjARcHWWpqMf9scGO_xy1NK46FykpLm7uV2WJaG91ihsjIsp5eqHfrpuh6w7pLX7djxb0x7gzrvy8ZdyrKC72UTN_r-xWizgHfPIa6BogcJTQYQ21OCqbMMuajgJA/w400-h209/5-18%20alter-kongresssaal.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEiFvrOJ7Dn8cq1n0RiPLW9Qu7zm4R4F0wLke21wWWXEKzIXQTV9swUalHCnx2jbOKq9Zk3Tw61U5rZMcQwyunKewKB4jDTFlEWv2lBAYbfV_9TdghwkmCnjzyin3Lc2iK1oXKUp9taS1ZmMlcOYLYrXkpY35wMEMivUiSli4yy6662hMvX0oujh-OuQ/s2400/5-18%20kongresssaal%20old%20b-w%20int.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="2400" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEiFvrOJ7Dn8cq1n0RiPLW9Qu7zm4R4F0wLke21wWWXEKzIXQTV9swUalHCnx2jbOKq9Zk3Tw61U5rZMcQwyunKewKB4jDTFlEWv2lBAYbfV_9TdghwkmCnjzyin3Lc2iK1oXKUp9taS1ZmMlcOYLYrXkpY35wMEMivUiSli4yy6662hMvX0oujh-OuQ/w400-h225/5-18%20kongresssaal%20old%20b-w%20int.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibj1aCR924kTbfGRxIvM4EoQYOQTQ2_9LUKt9f6MV2Dwki24LdKK5iqQF8_EEwwrSH4R6TITxxc2tkCtMoSg8ofJgNUoWBYl_JX4_iDc5FBnrqqN9sXUMxsP7PRqPX17St4l7brbBHe3QqgHfoI-hjJlHrV-094N0mjHsiImdl-RGdPY0giyrWYR2IiQ/s1024/5-18%20kongresssaal%20meeting%2079.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="1024" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibj1aCR924kTbfGRxIvM4EoQYOQTQ2_9LUKt9f6MV2Dwki24LdKK5iqQF8_EEwwrSH4R6TITxxc2tkCtMoSg8ofJgNUoWBYl_JX4_iDc5FBnrqqN9sXUMxsP7PRqPX17St4l7brbBHe3QqgHfoI-hjJlHrV-094N0mjHsiImdl-RGdPY0giyrWYR2IiQ/w400-h295/5-18%20kongresssaal%20meeting%2079.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuoLgbUCeipbYxGq1CJnKpnchGp7m0oo_3E1nSh7Jkj_xbfsSqbw6JL3Zb3koXJOr-25X_sECxciwtjm8PxRiwwYetnlQ1a_K6FmRqz3oCu2Tx4HwOMD9ikmITzk8SmUm_0ul5MoMhSHx2VjBsXpCUh3mPIH1pWbKpPxmCJws2Dz0IVuWBRdTZQ6n3w/s1024/5-18%20kongresssaal%20meeting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1007" data-original-width="1024" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuoLgbUCeipbYxGq1CJnKpnchGp7m0oo_3E1nSh7Jkj_xbfsSqbw6JL3Zb3koXJOr-25X_sECxciwtjm8PxRiwwYetnlQ1a_K6FmRqz3oCu2Tx4HwOMD9ikmITzk8SmUm_0ul5MoMhSHx2VjBsXpCUh3mPIH1pWbKpPxmCJws2Dz0IVuWBRdTZQ6n3w/w400-h394/5-18%20kongresssaal%20meeting.jpg" width="400" /></a></div><p></p><div style="text-align: left;"><br /></div><div style="text-align: left;"><b>May 23-26 </b></div><div style="text-align: left;"><b>Lyceum Ballroom, London</b> </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2YW2W1akV3CDLGXYw_RAf2mJaA1UBP_agUAVoYyeHoK2aCBubnDsaa4KV8SwH9IiZ0dR9bmvVEJc702i9rJWAz_yoXNX7fCByqbXcZ_hgbFnuKOCuhkYFmPwi7M5dqS50RpYFh4Vy_VR3zVtMOcKqCh_uIFaAL9Rw4of4p0iXrTyb7u5Urq7Sb4PfQ/s252/5-23%20lyceum%20front%2080s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="252" data-original-width="200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2YW2W1akV3CDLGXYw_RAf2mJaA1UBP_agUAVoYyeHoK2aCBubnDsaa4KV8SwH9IiZ0dR9bmvVEJc702i9rJWAz_yoXNX7fCByqbXcZ_hgbFnuKOCuhkYFmPwi7M5dqS50RpYFh4Vy_VR3zVtMOcKqCh_uIFaAL9Rw4of4p0iXrTyb7u5Urq7Sb4PfQ/w317-h400/5-23%20lyceum%20front%2080s.jpg" width="317" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJg-Z2DjEw7egWLQjWQFT8zNfwYNJQQ8AzZ0L2TXRuixiS6dtiMjw512NPCurS_mKyapnZdPxmi43JCLd1uKsWcZdeFpqu-awNVaqZZo4R8o9Ojxt9yGhzrzNMcQGD5Czqlb2-M6HUMg6Bn2nvuzEB0X-L8wlStagGzEMPDvW-h2kPFQ8eQCnsCWatw/s612/5-23%20lyceum%20ladies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="612" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJg-Z2DjEw7egWLQjWQFT8zNfwYNJQQ8AzZ0L2TXRuixiS6dtiMjw512NPCurS_mKyapnZdPxmi43JCLd1uKsWcZdeFpqu-awNVaqZZo4R8o9Ojxt9yGhzrzNMcQGD5Czqlb2-M6HUMg6Bn2nvuzEB0X-L8wlStagGzEMPDvW-h2kPFQ8eQCnsCWatw/w400-h265/5-23%20lyceum%20ladies.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpgwaGEyf_mKN_r_LA99ERVynKsbbvK3VjX_oeyCmS6u0dglL1gLnjlH-YeTmySTWYtSwpNGz4oXi1Cu682wSfkdpNdmu5Mkj565s-KJ9XoLOgOTK-pVv7MeBGKQIF22Vgc6Njb9peu3MFFmBvtGPmQTVaLWGcU10myHAcb-ttu896-QVI2WhBKfA1Q/s612/5-23%20lyceum%20balloons%20stones.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="612" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpgwaGEyf_mKN_r_LA99ERVynKsbbvK3VjX_oeyCmS6u0dglL1gLnjlH-YeTmySTWYtSwpNGz4oXi1Cu682wSfkdpNdmu5Mkj565s-KJ9XoLOgOTK-pVv7MeBGKQIF22Vgc6Njb9peu3MFFmBvtGPmQTVaLWGcU10myHAcb-ttu896-QVI2WhBKfA1Q/w400-h265/5-23%20lyceum%20balloons%20stones.jpg" width="400" /></a></div><br />Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com0tag:blogger.com,1999:blog-5195590583641426943.post-15135224349156425982022-06-29T22:22:00.002-07:002022-06-29T22:42:33.315-07:00May 1972: Jerry Garcia Interview, Paris<div style="text-align: left;"> May 3 & 4<br /><br />GRATEFUL DEAD: <br />JERRY AND HIS FRIENDS<br /><br />It’s always nice to see friends again who have long disappeared in a mythical faraway place. Three years without seeing the Dead. They must’ve changed a lot, and me too, no doubt. What would the listener-musician relationship be? Today we’re used to a certain image of the Grateful Dead, a <i>freaks’</i> orchestra, playing for free in parks for their own sake (even though, since Altamont it’s become forbidden in the United States). So, people could be surprised to see them play at the Olympia and not...and not where exactly? Do you know a lot of parks over here that would let a group set up their amps on their lawn? Play for free in a room, then? On whose dime? It costs a small fortune to bring such a troop, and by looking at them, you can’t say that they’re raking it in. So, the Olympia it was, so much the better. Next time maybe there could be other ways to organize things so a maximum number of people could partake without having to open up the purse strings too much. Or else, you'll have to forget the Grateful Dead, think that we might have excellent musicians at home (Gong, Magma, Dick Rivers, or maybe you yourself, I’m just saying), an entire network of small rooms and other spots where it’s still possible to put on shows, even free ones, in short maybe we’re searching 10,000 kilometers away for what is already on our doorstep. Plus, if you spend your life staring at the neighbors you’ll go cross-eyed, and will become blind to the fact that we’re capable of doing just as well, better maybe, in any case suited to who we are and where we’re from. Which will be expressed simply and in different terms. Nonetheless, we were rather pleased to see the Grateful Dead land from their native and faraway California.<br /><br />It was a very rock concert. To tell the truth, we’ve recently only been seeing honest pop musicals, tight, sure, but always a little stiff, cerebral music, intellectual and all that. Narcissistic. The energy of rock was often absent. With the Dead, we were invited to a real rediscovery of it. At the same time that they retraced their steps which, after long tunnels from the era of psychedelic sounds, came back towards the repossession of their bodies, the physical celebration. It’s one of the Dead’s big functions to be plugged into their audience that way, to be, not the guide, or the guru, or the director of consciousness as those who yearn for a leader would have you believe, but rather a mirror, a “room full of mirrors” where everyone reflects one another and progresses that way. Rock was coming back, and the Dead were coming back to rock. <br /><br />So, those who expected the great flights, in the high Dead tradition of yore, were disappointed. The entire first part of the concert was built from a series of short numbers, taken at a lively tempo, tight, brimming with energy, to unlock the head muscles still sore from the bad vibes of the cops crawling outside the venue. People were screaming “Garcia, Garcia.” But no, they didn’t get it, the Dead are “unique,” and Garcia doesn’t count more than another. And that was clear all during those choruses by Bob Weir, a rock singer with a powerful and well-placed voice, a guitarist whose rhythm jives perfectly with the harmonies woven by Garcia himself. The classics of the genre follow one another quickly, alternating with original compositions by the Dead that no longer seem to differ much in their form and spirit from the masterpieces of Chuck Berry, Bo Diddley etc. These guys seem to savor an extreme pleasure in playing the songs that delighted their youth, ten or fifteen years ago, and bringing to them all the musical experience they acquired since. Oh what a wonderful result to find youthful dreams that don’t seem to have aged by an hour and on the contrary come out from the adventure even prettier than on the first day. <br /><br />From these dives into their memories, the Grateful Dead only brought back what was immediately communicable to us, that is to say, establishing the foundation of a common language: rock and roll. Accompanied by big blues, served with Pig Pen sauce, the only one in the genre who speaks to our “lower instincts” and makes us truly love them. That night, even the country and western music remained spiced by a sufficient throb, still very close to rock - of which by the way it is an ancestor. It seems that the Dead wanted, while showcasing a little of all the different facets, all the aspects of their musical production, in retracing the steps of the “<i>Dead story</i>”, to show that it was actually all one and the same, culminating from a great number of experiences, traditions, writing styles, which all melt together today in a unique and universal language, rock. The most powerful supra-international vehicle to express a common lifestyle, common aspirations, a liberation desired together. <br /><br />Those who kept the image of a psychedelic, experimental, <i>far out</i> Grateful Dead were satisfied when, during a very long medley, the band pulled out themes from the “haute epoque” albums, “<i>Anthem of the Sun</i>” and “<i>Aoxomoxoa</i>.” Same sounds curiously entangled, dozens of melodic lines juxtaposed, very quick phrasing from Garcia, very close to jazz techniques, a movement climbing in a light crescendo, almost imperceptible, to really hook in the listener and not lose him along the way. The search for a more intimate contact with the audience. But, from that point on, the crowd was available, open. The “simple” rock from the start had already “unlocked” it. The introductions were made, all that was left to do was to be a good host and take part in the reception... Unless it was, in a certain way, an invitation to make love with the music, to arrive at this ultimate degree of communication that can be an orgasm obtained at the same moment. It’s certainly not the first time that we have spoken of the Grateful Dead this way. No doubt their music is the closest to love, in all its forms. What does Jerry Garcia think? <br /><br />EVOLUTIONARIES <br /><br />R & F: You come with your music, and poetry in the texts. People here really like the music, but don’t understand the lyrics. Do you think there’s any way to get them across?<br /><br />JERRY GARCIA: We’ll see. I don’t know. I don’t know myself if it’s very important or not. It’s important, of course, to understand what’s going on. But that has nothing to do with the feeling. It's like, for me, I listen to Edith Piaf records... I don’t understand the language. Or African musicians and singers, I really like that kind of stuff. But whether I understand it or not, that’s another question. I’m a musician. So I’m more interested in the way it sounds rather than what they’re saying. <br /><br />R & F: French people are very literary. And for you, it’s the first time that you have to deal with people who are not part of Anglo-Saxon culture. The kind of thing that happened in the San Francisco area four or five years ago is starting to be born here. But it will take completely different shapes.<br /><br />JG: Of course.<br /><br />R & F: Do you think that people like the Grateful Dead could bring something to this kind of development? <br /><br />JG: We’re not really sure yet. At the end of this tour, maybe we could establish some generalities on whether our music is communicative enough in all western civilization. We haven’t gone to the Orient yet... But all the countries we’ve played in, and particularly English-speaking ones, “took off” with our music. If it happens one day that our songs lose too much of their meaning before audiences that don’t speak English, we’ll do them in other languages.<br /><br />R & F: In French?<br /><br />JG: I’d really like that. <br /><br />R & F: The problem is that it’s not very rhythmic. <br /><br />JG: Yes, but in another way it’s much prettier. The way it sounds is much more beautiful.<br /><br />R & F: Leonard Cohen told me the same thing<br /><br />JG: Yes, it’s very very pretty.<br /><br />R & F: Do you know anything about the music scene in this country? <br /><br />JG: Not very well. Some French musicians...<br /><br />R & F: There are people who are trying to develop something in the style where the Grateful Dead started, five years ago. A type of communal life, they also try to put on cheap shows, to live close to their audience. They think of the Grateful Dead as a revolutionary group. Do you think it’s that way?<br /><br />JG: No. Not revolutionary in the political sense. I think we’re more “evolutionaries” than “revolutionaries.” We were never about taking a position in terms of “revolutionary” or not. What we believe, is that the new revolution, the new age, must be different. Because... I’ll tell you why: in the United States or in France, there are revolutionary groups, like the Black Panthers, the Chicanos. Those are revolutionaries of all times. But the rifles, all that, that doesn’t exist in the USA anymore. And the reason is that, when it comes to the people against the government, the government gets the last word. Because it has cannons. And the only possibility we have, as human beings in our lives and our individual energies, is to do a maximum of positive things. And I think that the revolution in the street, the fighting in the street, can be negative things. That turns to death, and to war, and destruction. What we’re trying to communicate can be done simply, through models rather than words. <br /><br />R & F: Those models you speak of, we can see one here, no? For example, your whole crew is here, working to install the equipment and lighting, and it includes a lot of girls. For you, of course, that’s completely normal. You don’t ask yourself about it. But for French people, that can be very revolutionary. With us, the girls themselves probably wouldn’t even want to participate. Or wouldn’t be allowed to do it. <br /><br />JG: That’s true. That’s true in a lot of places. The way I see it explains why the government is so wobbly. There is no balance between the opinion of women, who represent at least half of human opinion, and that of men. That’s why the government is so screwed up. There is no balance. There is no overall view. Only a very “emasculated,” very narrow viewpoint... <br /><br />R & F: Oh, even among the <i>freaks</i>... The government seems to be something very foreign... We have no relationship with it. But we realize that our own brothers keep doing the same bullshit again. <br /><br />JG: Exactly. Yet people like the Black Panthers in the United States focus their energies on actions like free breakfast (for kids who go to school), free food and public services, the basic idea being: to bring together energies in constructive activities within the community you live in. Do something for yourselves, do it no matter what it costs to accomplish it. Forget about selling an idea with... Make sure that everyone has what they need, that everyone eats... That’s what those people are doing. It’s just starting, and has nothing to do with the government. The way I see things, it’s a whole new world that will develop beneath and around the government. Out of its reach. <br /><br />R & F: A lot of similar things are happening in this country with migrant workers. There are also people working on programs for food, housing, education... They remain very political. <br /><br />JG: That’s their choice. The whole political thing needs to be crossed individually or as a group. People in African countries never had the chance to mess it all up. They need to be helped, to blow everything up, in the sense that mistakes pay: I think that’s how we learn. If communication is good enough, we don’t need to always make the same mistakes. That’s what the past represents, the same lack of communication, the same mistakes. <br /><br />KESEY YOGURTS<br /><br />R & F: Do you think it’s a relationship problem with the media? To be always in a balancing position, not being absorbed by them while trying to control them... <br /><br />JG: It’s a clever game. All of that began about eight years ago and today we can observe some well-defined progress. But it took a while; that’s not the kind of thing we can solve as soon as we get into it. It’s rather slow, you know. And now, what we want: what we can control, is that we’re inside. We’re plugged in. It goes to the point where, in the American electoral system, a lot of people have placed <i>freaks</i> at the head of their community. Some have only that in their municipal councils. Like Bolinas, in Marin County (California). It’s slow, it takes a while, but it’s definitely possible. <br /><br />R & F: In the United States, you can get your hands on the radio, the magazines, TV... <br /><br />JG: No more than anywhere else. The only point is that you have to cheat, lie, and say a whole lot of bullshit to do it. Everybody’s got to do that for a while. But, because everyone is ready to do it, once we get rid of all the things we talk about, only this fact remains: positive energies, in positive places. Whatever it costs to get there. It’s obviously difficult for me to generalize and include France. <br /><br />R & F: The point, with western culture, is that the United States controls it, and everything comes from there. <br /><br />JG: They may only be 400 individuals. <br /><br />R & F: And 300 of them in the United States. We’re getting to the point where now, in rock music, everything comes from California, and it doesn’t leave much chance for local musicians to succeed in really doing anything. <br /><br />JG: One of the reasons why we must act now is to get rid of that kind of bullshit, so that people don’t think that someone else is holding the good end. When it comes to California, what I feel is that it started there, but it isn’t more advanced today than the rest of the world. There is no real difference. It's just a game. Each place must have its process, its way of communicating most effectively. <br /><br />R & F: I wish you would stay longer, to meet people, French musicians. <br /><br />JG: I’d like to. But I don’t think this is the only time we’ll be in Europe. This is just the start here... <br /><br />R & F: The seed is planted. <br /><br />JG: What I want to do is to come here and see people, what they're doing, what's happening. I’m really interested. It might take me the next five years to find out, by coming twice a year. <br /><br />R & F: To establish yourself here? <br /><br />JG: I’m open to all eventualities. What’s important is to start communicating, to spread, to open up. We could imagine a network, groups in each country, communicating between themselves. Now we’re going to try to produce our own records ourselves, without the help of big companies. We’ll have direct relationships with people interested in what we’re doing. We know who likes our music. We know how to reproduce it, technically. Better no doubt than Warner Bros. On material that will last longer and cost less. And that’s an important thing. We’ll sell it cheaper, and while making less profit on it, we’ll sell more. The right people will buy it. Others will steal it. In any case, it will be an opportunity for us to take another step in a <i>freaks’</i> economy. There is amazing stuff like that on the West coast: health food. It’s a <i>freaks’</i> industry. A multi-million dollar industry. It began when they started growing their own products. And now even big chain stores like Safeway (supermarkets) have distribution stands of natural products, provided by <i>freaks</i>.<br /><br />R & F: There’s nothing spiritual in that?<br /><br />JG: Oh yes, at every level. Like those ashrams that produce honey, or that guy who makes bread. Kesey makes yogurt on his farm in Oregon. <br /><br />R & F: For Kesey it’s alright, but there are a lot of others who are trying to peddle other things on top of the food. <br /><br />JG: Oh no, there’s nothing more than the food itself. <br /><br />R & F: ...who sell religion at the same time.<br /><br />JG: It really all depends on the way people take the forms. Whether they're high or not, that depends on whether the people who take them are high themselves. <br /><br /><i>- Interview by ALAIN DISTER<br /><br />(from Rock & Folk magazine, May 1972, p.72-75) </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Thanks to Uli Teute. </i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Translation by <a href="http://www.gauthiergiacomoni.com/" target="_blank">Gauthier Giacomoni</a>.</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(Words in italics were in English in the original.)</i> <br /></div><div style="text-align: left;"> </div><div style="text-align: left;"> </div><div style="text-align: left;">* * * * * </div><div style="text-align: left;"> </div><div style="text-align: left;"> </div><div style="text-align: left;"><i>Here is the original French text:</i> </div><div style="text-align: left;"> </div><div style="text-align: left;">3&4/5<br />Grateful Dead:<br />Jerry et ses amis<br /><br />Cela fait toujours plaisir de revoir des amis depuis longtemps disparus dans un lointain mythique. Trois ans sans voir le Dead. Ils avaient dû bien changer, et moi aussi, sans doute. Qu'allait-il en être des rapports auditeur-musicien? On est habitué, aujourd'hui, à une certaine image du Grateful Dead, orchestre des freaks, jouant gratis pour eux dans les parcs (pourtant, depuis Altamont, la chose est interdite aux États-Unis). Aussi, on peut être surpris, surpris de le voir se produire à l'Olympia et pas...et pas où, au fait? Vous connaissez beaucoup de parcs, chez nous, qui laisseraient un groupe installer ses amplis sur ses pelouses? Jouer à l'oeil dans une salle, alors. Aux frais de qui? Faire venir une troupe pareille, cela coûte une petite fortune, et l'on ne peut pas dire, à les voir, qu'ils s'en foutent plein les poches. Ce fut donc l'Olympia, tant mieux. La prochaine fois, il y aura peut-être d'autres moyens de s'arranger pour qu'un maximum de gens en profitent sans trop bourse délier. Oualors, il faudra oublier le Grateful Dead, songer que l'on a peut-être chez nous d'excellents musiciens (Gong, Magma, Dick Rivers, ou vous-même, je dis ça comme ça), tout un réseau de petites salles et d'endroits où il est encore possible de réaliser des concerts, même gratuits, bref que l'on va peut-être chercher à 10,000 kilomètres ce qui se trouve à notre porte. Et puis, à force de lorgner chez les autres, on devient bigleux, et l'on ne sait plus voir que l'on est capable de faire aussi bien, mieux peut-être, en tous cas adapté à ce que nous sommes et d'où nous venons. Qui s'exprimera simplement en termes différents. Tout de même, on était bien content de voir débarquer le Grateful Dead, de sa Californie natale et lointaine.<br />Ce fut un concert très rock. A vrai dire, on n'avait guère vu, ces temps derniers, que d'honnêtes choses pop-musicales, bien ficelées certes mais toujours un peu glacées, des musiques de tête, intellectuelles et tout ça. Narcissiques. L'énergie du rock en était souvent absente. Avec le Dead, nous étions conviés à une véritable redécouverte d'icelle. En même temps qu'eux-mêmes refaisaient le parcours qui, après les longs tunnels de l'ère des sons psychédéliques, revenaient vers la reprise de possession de leur corps, la fête physique. C'est une des grandes fonctions du Dead que de rester branché ainsi sur son auditoire, en étant, non pas le guide ou le guru ou le directeur de conscience comme voudraient le laisser croire ceux qui sont en peine de leader, mais un miroir, une "pièce pleine de miroirs", où chacun se reflète en chacun et progresse ainsi. Le rock revenait, et le Dead revenait au rock.<br />Or donc furent bien marris ceux qui attendaient les grandes envolées, dans la haute tradition des Dead d'antan. Toute la première partie du concert fut constituée d'une suite de morceaux courts, enlevés sur un tempo vif, serré, bourrés d'énergie, histoire de débloquer un peu muscles et têtes encore ankylosés des mauvaises vibrettes de l'extérieur fliqué. Des gens criaient "Garcia, Garcia". Mais non, vous n'y étiez pas du tout, le Dead est "unique", et Garcia ne compte pas plus que tel ou tel autre. On le vit bien, d'ailleurs, tout au long de ces chorus de Bob Weir, chanteur de rock à la voix puissante et bien placée, guitariste dont la rythmique colle parfaitement aux harmonies tissées derrière par Garcia lui-même. Les classiques du genre s'enchaînent rapidement, en alternance avec des compositions originales du Dead, qui ne semblent plus guère différer, dans leur esprit et dans leur forme, des chefs-d'oeuvre de Chuck Berry, Bo Diddley, etc. Ces gars-là ont l'air de savourer un plaisir extrême à rejouer les chansons qui firent les délices de leur jeunesse, il y a dix ou quinze ans, en leur apportant toute l'expérience musicale acquise depuis. Oh le beau résultat, que de retrouver des rêves de jeunesse qui ne semblent pas avoir vieilli d'une heure et ressortent au contraire de l'aventure plus beaux qu'au premier jour. <br />De ces plongées dans ses souvenirs, le Grateful Dead n'a rapporté que ce qui pour nous était immédiatement communicable, c'est-à-dire constituait le fond d'un langage commun: le rock and roll. Assorti de gros blues, servi à la sauce Pig Pen, le seul qui, dans le genre, s'adresse à nos "bas instincts" et nous les fait vraiment aimer. Même la musique de country and western restera ce soir-là pimentée d'une pulsation suffisante, encore très proche du rock - dont elle est d'ailleurs une des ancêtres. Il semble ainsi que le Dead ait voulu, tout en présentant un peu toutes les facettes, tous les aspects de sa production musicale, en refaisant te parcours de la "Dead story", montrer qu'elle n'était en fait qu'une seule et méme entité, aboutissement d'un grand nombre d'expériences, de traditions, de modes d'écriture, qui tous se fondent aujour-d'hui en un langage unique et universel, le rock. Le plus puissant véhicule supra international pour exprimer un mode de vie commun, des aspirations communes, une libération voulue ensemble.<br />Ceux qui ont gardé l'image d'un Grateful Dead psychédélique, expérimental, far out, eurent satisfaction, lorsque dans un très long pot-pourri il reprit les thèmes des albums "haute époque", "Anthem of the sun" et "Aoxomoxoa". Mêmes sonorités curieusement emmêlées, dizaines de lignes mélodiques juxtaposées, phrasé très rapide de Garcia, assez proche des techniques du jazz, mouvement grimpant en crescendo léger, à peine perceptible, de manière à bien accrocher l'auditeur et ne pas le perdre en route. La recherche d'un contact plus intime avec le public. Mais, dès ce moment, celui-ci était disponible, ouvert. Le rock "simple" du début l'avait déjà bien "débloqué". Les présentations étaient faites, il ne restait plus qu'à se montrer hôte aimable et participer à la petite réception... A moins qu'il ne s'agisse, d'une certaine façon, d'une invite à faire l'amour, avec la musique, arriver à cet ultime degré de communication que peut être un orgasme obtenu dans le même moment. Ce n'est certes pas la première fois que l'on parle comme cela à propos du Grateful Dead. Sans doute sa musique est-elle ce qui se rapproche le plus de l'amour, sous toutes ses formes. Qu'en pense Jerry Garcia?<br /><br />Évolutionnaires<br /><br />R & F: Tu viens avec ta musique, et une poésie dans les textes. Les gens, ici, aiment vraiment la musique, mais ne comprennent pas les paroles. Tu crois qu'il existe un moyen quelconque de les faire passer?<br />JERRY GARCIA: On verra. Je ne sais pas. Je ne sais pas moi-même si cela est très important ou non. C'est important, bien sûr, de comprendre ce qui se passe. Mais cela n'a rien à voir avec le feeling. C'est comme, pour moi, écouter des disques d'Edith Piaf... Je n'en comprends pas la langue. Ou les musiciens, et les chanteurs africains, j'aime vraiment beaucoup ces choses-là. Mais que je les comprenne ou non, c'est une autre question. Je suis musicien. Je suis donc plus intéressé par la manière dont ils sonnent plutôt que par ce qu'ils disent.<br />R & F: Les Français sont plutôt littéraires. Et, pour vous, c'est la première fois que vous avez affaire à des gens qui ne font pas partie de la culture anglo-saxonne. Ce qui a pu se passer dans la région de San Francisco, il y a quatre ou cinq ans, est en train de naître ici. Mais cela va prendre des allures vraiment différentes.<br />J.G: Bien sûr.<br />R & F: Tu penses que des gens comme le Grateful Dead pourraient apporter quelque chose dans cette sorte de développement?<br />J.G.: On ne sait pas encore très bien. A la fin de cette tournée, on pourra peut-être établir quelques généralités sur le fait que notre musique est ou non suffisamment communicative dans toute la civilisation occidentale. Nous ne sommes pas encore allés en Orient... Mais tous les pays où nous avons joué, et particulièrement ceux de langue anglaise, ont "décollé" avec notre musique. S'il arrive un jour que nos chansons perdent trop leur sens, devant des publics ne parlant pas anglais, nous en ferons dans d'autres langues.<br />R & F: En français?<br />J.G.: J'aimerais beaucoup.<br />R & F: Le problème, c'est que ce n'est pas très rythmique.<br />J.G.: Oui, mais d'une autre façon, c'est beaucoup plus beau. La sonorité est beaucoup plus belle. <br />R & F: Leonard Cohen m'a dit la même chose.<br />J.G.: Oui, c'est très, très joli.<br />R & F: Tu connais quelque chose a propos de la scène musicale dans ce pays?<br />J.G.: Pas très bien. Quelques musiciens français...<br />R & F: Il y a des gens qui essaient de développer quelque chose dans le style où le Dead débuta, il y a cinq ans. Une sorte de vie communautaire, ils essaient aussi de donner des concerts bon marché, de vivre prés de leur public. Ils imaginent Grateful Dead comme un groupe révolutionnaire. Penses-tu qu'il en soit ainsi?<br />J.G.: Non. Pas révolutionnaire dans le sens politique. Je pense que nous sommes plutôt "évolutionnaires" que "révolutionnaires". Cela n'a jamais été notre propos de prendre une position, en termes de "révolutionnaire" ou non. Ce que nous croyons, c'est que la nouvelle révolution, le nouvel âge, doivent être différents. Parce que... Je vais te dire pourquoi: aux États-Unis, ou en France, il y a des groupes révolutionnaires, comme les Black Panthers, les Chicanos. Ceux-là sont des révolutionnaires de tous les temps. Mais les fusils, tout ça, cela n'existe plus maintenant aux USA. Et la raison en est que, lorsqu'on en arrive au peuple contre le gouvernement, le gouvernement a le mot de la fin. Parce qu'il a les canons. Et la seule possibilité gue nous ayons, en tant qu'êtres humains dans nos vies et nos énergies individuelles, c'est de faire un maximum de choses positives. Et je pense que la révolution dans la rue, le combat dans la rue, peuvent être des choses négatives. Cela tourne à la mort, et à la guerre, et à la destruction.<br />Ce que nous cherchons à communiquer pout l'étre simplement, par l'intermédiaire de modèles plutôt que par des mots.<br />R & F: Ces modèles dont tu parles, on peut en voit un ici, non? Par exemple, toute votre équipe est là, qui travaille à installer le matériel et les éclairages, et elle comporte pas mal de filles. Pour vous, bien sûr, cette chose-là est absolument naturelle. Vous ne vous posez pas de questions là-dessus. Mais pour des Français, ce peut être trés révolutionnaire. Chez nous, les filles elles-mêmes ne voudraient sans doute pas participer. Ou ne seraient pas admises à le faire.<br />J.G.: C'est vrai. Cest vrai dans beaucoup d'endroits. La façon dont je vois cela explique pourquoi le gouvernement est tellement bancal. II n'y a aucun équilibre entre l'opinion des femmes, qui représente au moins la moitié de l'opinion humaine, et celle des hommes. C'est pourquoi le gouvernement est si mal foutu. Il n'y a pas d'équilibre. Il n'a pas une vue d'ensemble. Seulement très "émasculée", un point de vue trés étroit...<br />R & F: Oh, même parmi les freaks... Le gouvernement semble étre quelque chose de très étranger... On n'a pas de rapports avec lui. Mais on se rend compte que nos frères eux-mêmes refont les mêmes conneries.<br />J.G.: Exactement. Pourtant, lés gens comme les Black Panthers, aux États-Unis, concentrent leur énergie sur des actions comme le petit déjeuner gratuit (pour les enfants qui partent à l'école), la nourriture et les services publics gratuits, l'idée de base étant: rassemblez les énergies dans des activités constructives à l'intérieur de la communauté où vous vivez. Faites quelque chose pour vous-mêmes, faites-le quoiqu'il en coûte pour le réaliser. Oubliez de vendre une idée avec... Soyez sûr que tout le monde a ce dont il a besoin, que tout le monde mange... C'est ce que font ces gens-là. Cela ne fait que commencer, et n'a rien à voir avec le gouvernement. La façon dont je vois les choses, c'est tout un monde nouveau qui va se développer en-dessous et autour du gouvernement. Hors de sa portée.<br />R & F: Il se passe quelque chose de similaire dans ce pays, avec les travailleurs immigrés. Il y a des gens qui s'occupent aussi de développer des programmes de nourriture, de logement, d'éducation...<br />Ils restent très politiques.<br />J.G.: C'est leur option. Toute la chose politique est à traverser, individuellement ou en groupe. Les gens, dans les pays d'Afrique, n'ont jamais eu une chance de tout foutre en l'air. Ils ont besoin d'étre aidés, pour faire tout péter, au sens où l'erreur paie: je crois que c'est ainsi qu'on apprend. Si la communication est suffisamment bonne, on n'a plus besoin de recommencer sans cesse les mêmes fautes. C'est cela que le passé représente, le même manque de communication, les mêmes erreurs.<br /><br />Yogourts Kesey</div><div style="text-align: left;"><br />R & F: Tu crois que c'est un problème de rapports avec les media? Être constamment en position de balance, ne pas être absorbé par eux tout en essayant de les contrôler...<br />J.G.: Ciest un jeu astucieux. Tout cela a commencé il y a une huitaine d'annees, et aujourd'hui on peut observer des progrès bien définis. Mais ça a pris un moment; ce n'est pas le genre de choses que l'on résout dès que l'on entre dedans. C'est plutôt lent, tu sais. Et maintenant, ce que nous voulons: ce qui pour nous est controlable, c'est que nous sommes dedans. Nous sommes branchés. Cela va jusqu'au point où, dans le système électoral américain, beaucoup de gens ont placé des freaks à la téte de leur commune. Certains n'ont que cela dans leurs conseils municipaux. Comme Bolinas, dans le Marin County (Californie).<br />C'est lent, cela prend un moment, mais c'est définitivement possible.<br />R & F: Aux États-Unis, vous pouvez mettre la main sur la radio, les<br />magazines, la télé...<br />J.G.: Pas plus que n'importe ou ailleurs. Le seul point, c'est que tu dois tricher, mentir et dire des tas de conneries pour le faire. Tout le monde doit faire cela pendant un bout de temps. Mais, parce que chacun est prêt à le faire, une fois éliminées toutes les choses qu'on raconte, il ne reste que ce fait: des énergies positives, dans des endroits positifs. Quoi qu'il ait pu en coûter pour y arriver. C'est évidemment difficile pour moi d'en faire une genéralité, et d'y inclure la France.<br />R & F: Le point, avec culture occidentale, c'est que les États-Unis la contrôlent, et que tout vient de là-bas.<br />J.G.: Ce ne sont peut-être que quatre cents individus.<br />R & F: Dont trois cents aux États-Unis. On en arrive au point où, maintenant, en rock music, tout vient de Californie, et cela ne laisse guére de chances aux musiciens locaux d'arriver à vraiment faire quelque chose.<br />J.G.: Une des raisons pour lesquelles nous devons agir maintenant, c'est de faire sauter ce genre de connerie, de façon que les gens ne s'imaginent pas que quelqu'un d'autre tient le bon bout. Quant à la Californie, ce que je ressens, c'est qu'elle commencé mais n'est pas plus avancée aujourd'hui que le reste du monde. Il n'y a pas de réelle différence. Il y a simplement un jeu. Chaque endroit doit avoir son processus, sa façon de communiquer le plus effectivement.<br />R & F: Je souhaiterais que tu restes plus longtemps, pour rencontrer des gens, des musiciens français.<br />J.G.: J'aimerais bien. Mais ne crois pas que c'est la seule fois que nous passerons en Europe. C'est juste le début, ici...<br />R & F: La graine y est.<br />J.G.: Ce que je veux faire, c'est venir ici et voir ce que sont les gens, ce qu'ils font, ce qui se passe. Je suis vraiment intéressé. Cela me prendra peut-être les cinq prochaines années pour trouver tout ça; en venant deux fois par an.<br />R & F: T'établir ici?<br />J.G.: Je suis ouvert toutes les éventualités. L'important, c'est de commencer à communiquer, à répandre, à s'ouvrir.<br />On pourrait envisager un réseau, des groupes dans chaque pays, communiquant entre eux. On va maintenant essayer de réaliser nos propres disques nous-mêmes, sans l'aide des grandes compagnies. Nous aurons directement des rapports avec les gens intéressés par ce que nous faisons. Nous savons qui aime notre musique. Nous savons comment la reproduir, techniquement. Mieux sans doute que Warner Bros. Sur un matériau qui durera plus longtemps et coûtera moins cher. Et c'est une chose importante. Nous les vendrons moins cher, et, tout en réalisant moins de profit dessus, nous en vendrons davantage. Les gens à qui cela conviendra les achèteront. Les autres les voleront. De toutes façons, ce sera pour nous l'occasion de faire un nouveau pas dans une économie de freaks.<br />Il existe quelque chose de fantastique dans ce genre, sur toute la côte Ouest: les aliments de santé. C'est une industrie des freaks. Une industrie de millions de dollars. Cela a commencé quand ils ont fait pousser leurs propres produits. Et maintenant, les grandes chaines de magasins style Safeway (grandes surfaces) ont des stands de distribution de produits naturels, approvisionnés par des freaks.<br />R & F: Il n'y a rien de spirituel, là-dedans?<br />J.G.: Oh si, à chaque niveau... Comme ces ashrams qui produisent du miel, ou ce type qui fabrique du pain. Kesey, il fait des yogourts, dans sa ferme de l'Oregon.<br />R & F: Pour Kesey, ça va, mais il y en a pas mal d'autres qui cherchent à fourguer quelque chose en méme temps que les aliments...<br />J.G.: Oh non, il n'y a rien de plus que l'aliment lui-même.<br />R & F: ...qui vendent de la religion en même temps.<br />J.G.: Tout dépend en fait de la façon dont les gens prennent les formes. Qu'elles soient planantes ou non, cela dépend si les gens qui les prennent sont eux-mêmes planants.<br /><br />- Propos recueillis par ALAIN DISTER.<br /><br />(Rock & Folk, May 1972) <br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com2tag:blogger.com,1999:blog-5195590583641426943.post-59934003538483892022-06-17T01:09:00.002-07:002022-06-17T01:12:48.515-07:00May 3-4, 1972: L'Olympia, Paris<div style="text-align: left;"> THE DEAD IN CONCERT<br /><br />You want to talk? All my rock records, hard or soft, against a decaliter of sterilized pop music that by the end of the year, the Grateful Dead will be the most famous and popular American band in Europe — at home, it's practically already done. They will take over, with probably even more magnitude, the success of C.S.N.& Y., very dead although not buried, of the Doors who have lost their voice, and of the Jefferson Airplane which, it must be admitted, no longer flies as high as it once did. In London as in Paris, the interest aroused by the Dead has long been mainly due to a certain historical curiosity, except of course for a minority of fans. <br />But, over the past one or two years, without even realizing it, things have changed. A growing audience became interested in the band through their records, which finally became familiar enough, and not just through their legend. And this European tour was the last element necessary for the passage of this legend to a vibrant reality to be definitive, as proved by the enthusiasm of the spectators both English and French who saw the Dead in concert.<br /><br />NOT LIKE THE OTHERS<br /><br />In London, the group originally planned to play at the Rainbow, finally had to play in the huge Empire Pool at Wembley, the scene of T. Rex's puberty exploits a few weeks earlier. Needless to say, this monstrous concrete cube, about as intimate as the Gare du Nord, and endowed with comparable acoustics, was far from being the ideal setting for the Dead to give its full potential. In Paris, the Olympia had at least the advantage of being a familiar setting... But, as usual, the menacing deployment of law enforcement did little to create the friendly, relaxed vibe that the Dead's music presupposes. The Olympian henchmen, who at the entrance slapped the cops on the stomach, and exchanged very subtle jokes with them about the hair of the guys and the bottoms of the girls who entered, turned out to be more stupid and mean than they had ever been. <br />In the hall itself, however, the atmosphere relaxed, and overall the concert in Paris was a little more satisfying, the smaller dimensions of the hall making contact much easier, despite the stifling heat. Musically, on the other hand, the course of the two concerts was practically identical. The fact remains that in both cases I still have a certain feeling of frustration, due solely to these unfavorable conditions. The atmosphere indeed has a very important role in the music of the Dead, especially since the group does not really seek direct contact with the public, but creates an atmosphere in which the spectator gradually becomes integrated. It's not great music, in the manner of a Hendrix, for example, it hardly achieves that kind of quasi-spiritual elevation, but has a more directly physical impact. Music of joyful release, music to dance to, music to enjoy, simply. If that doesn't free you from your inhibitions, nothing will. Nothing pejorative in what I've just said; on the contrary, all of this makes the Dead one of the very rare groups to escape the impasses in which pop (rock) agonizes. And a Dead show is not a show like any others. <br />Not like others in its duration, first of all. No other band is on the bill, the Dead themselves play two sets totaling three or four hours. Not like others because of the very special atmosphere it creates. In London, if you arrived a little after the start, the vision of the Dead playing in this room plunged into semi-darkness, imbued with a contemplation that excluded all tension, while the silhouettes of the musicians stood out against the light-show with the moving colors of Joe's Lights, and familiar scents sometimes crossed the air, it irresistibly made you think of what San Francisco must have been like in the years '66-67... From the magic of that time, which they greatly contributed to creating, the Dead have retained an extraordinary ability to create a very particular atmosphere of calm and relaxation, which makes the concert a kind of collective high during which the whole audience is a little part of the Grateful Dead.<br />This relaxation begins of course at the stage level. The Dead play for a long time, certainly, but they take their time! Between each piece, they talk, they joke, they laugh... Cool, man, don't panic! Besides, you never feel like you're waiting, it's all a natural part of the normal course of operations. At the level of the public, we quickly become as relaxed as Garcia, whose broad smile we can guess behind his beard. A Dead concert is also a concert unlike any other in the attitude which those who attend it quickly adopt. The relaxation is such, in fact, that instead of prostrating themselves in avid attention, many do not hesitate to come and go to get something to drink, for example. Here the music is no longer a rationed interlude... <br />And if a Grateful Dead concert is not a concert like any others, it may simply be that the group is not a group like any others. Hasn't it been said over and over again that the Dead is a marginal band? Didn't Sam Cutler, their road-manager, insist on this point when he came to Europe to prepare the tour? Be careful, though: this is a pleasant idea, true to a certain extent, certainly, but it should not be exaggerated. Of course, the members of the group, and all the "family" that surrounds them, represent a more social institution than a purely musical one. Of course, they are totally sincere and all they want is to be able to live while getting off and to make as many people get off as possible; they don't give a damn about material profit and even limit it. Of course, they are the only ones who have constantly been able to reject the myth of the rock-star, seeking to escape as much as possible from the wheels of show-biz by organizing themselves, doing free concerts, even talking about founding their own record label. But doesn't this above all have the consequence of creating another myth? The alleged independence of the Dead vis-à-vis show-biz, it is above all the group itself that it concerns and which benefits from it. There is no miracle, at the productive level, they are just as dependent on the whole system as any others, because without show-biz there would be no Grateful Dead. Of course it's not their fault, on the scale of the whole, they don't represent enough to be able to really escape the machine. <br />Well Jerry Garcia is a hell of a guy, a real sage, an endangered species these days. But all the same, isn't he showing a certain naivety, or at least a somewhat too naive idealism, in believing that the serenity that he and the Dead have thus found is proof of the absolute correctness of some apolitical solution? Not to mention a somewhat lighthearted attitude about L.S.D. and rock festivals, it's still a bit big to say: "What is this joke about '<i>people's music</i>', what does it mean? There was no one next to me while I was learning to play the guitar. If people think like that, shit, they should just make their own music." (Interview with "Zig-Zag" in 1970) It's nice to get high, but still! We can salute in the Dead a human success at the individual level of the group, but beyond that we must recognize that they serve above all as a good conscience for show-biz. It is also quite revealing to note that this very success is based on an entourage comprised of old "tough guys" in the business, like Sam Cutler, precisely the former road-manager of the Stones. When I told you that there is no miracle! It's useless to delude yourself, after all, it's already beautiful that the Dead manages to be at the same time one of the best bands, one of the most popular and one of the most sincere in such a notably rotten environment! <br />But I think it's time I got back to their... <br /><br />MUSIC! <br /><br />It is in fact quite useless to want to describe it, because it's then necessary to make an enumeration of genres which risks being a source of confusion. A Dead show is indeed an astonishing musical escalation, covering a much wider variety of styles than any other band I know. It starts with a little soft rock, but that's also part of the normal process. It's a sort of warm-up for everyone, musicians and spectators. We know we have plenty of time, so the Dead first warms up by playing what is almost background music, intended to allow everyone to settle in, relax, get used to it... And then, gradually, the music imposes itself, hardens: good old rock n' roll and solid blues dominate at first, then folk and especially country appear more markedly, and you evolve towards increasingly complex and sophisticated rock, instrumentally and vocally. But the summit is reached only when the group finally ventures into long very "free" instrumental improvisations, within the framework of the piece aptly titled "<i>The other side</i>". However, it must be understood that this is not a series of demonstrations in different genres, but a single piece of music, the unity of which is expressed in particular by a practically imperceptible progression. It is in spurts that we enter the complex instrumental improvisations I've just mentioned. They are sometimes somewhat reminiscent of Floyd, but are above all strangely related, by their very unstructured rhythmic aspect, to free-jazz. And it is absolutely without having seen anything coming that we suddenly realize that we have suddenly returned to simple four-beat measures, and from there, we are propelled again into a great smash of fast blues and rock that swings like the devil! This ability of the Dead to incorporate folk, blues, country, rock n' roll, etc., into their music with as much spontaneity as if it were their natural idiom, made me think irresistibly of the Band — a comparison that would hardly have occurred to me before. But what these two groups have in common is to be, just like Woody Guthrie once was, the pure and spontaneous expression of America through its popular music at its current point: the Dead, with less brilliance and perfection, of course, but on a musical register that is perhaps even broader (the Band hardly ventures into free music, except sometimes Garth Hudson). They are the only bands I know of that have achieved this, with, to a lesser degree, the Byrds and the late Fish of Country Joe; on the other hand, it is what the Jefferson Airplane lacks, despite a certain analogy in form. <br />Under these conditions, the fundamental character of the Grateful Dead is of course its homogeneity, its personality as a group. That said, the individualities deserve attention. Jerry Garcia is the guitarist we know: to tell the truth, I still don't find his style particularly extraordinary, his genius lies rather in the variety and flexibility of his playing, and in a perfect sense of timing. He never plays a single superfluous note: he's always fully integrated in the musical context. The wealth of his experience (his first influence was Chuck Berry, for two years, but then he devoted himself exclusively to folk and country for three years, playing the banjo) is obviously one of his great assets, and I think needless to say he is one of the best pedal steel guitar specialists.<br />Bob Weir was for me the man of the day — We too often underestimate his importance. His role is first of all that of an excellent rhythm guitarist, which has unfortunately practically disappeared from bands today in a blind cult of the solo, but is an important element in the Dead. He's also a powerful vocalist (particularly a solid rocker), and the main lead on vocals, alone or with Garcia. <br />Ron McKernan, known as "Pigpen" (pigpen!), on the other hand, has a very incidental role, and often even insignificant on the organ, although he is a legendary figure in the Dead. However, on vocals and harmonica, he turns out to be a very good bluesman. The rhythm section is absolutely flawless. The discreet Phil Lesh, applied to his bass, terribly effective. Bill Kreutzmann, the survivor of the era when the Dead had two drummers, very often gives the impression of actually counting double, and struggles with as much ease in the most square rock as in the time breaks that are similar to free-jazz. These are the older Dead, but the superb pianist Keith Godchaux, a more recent recruit, is also a very rich element in the musical color obtained. The brief vocal intervention of his wife, Donna, on the other hand, hardly convinced me.<br />There you go, they're called the Grateful Dead, they've had a triumph in Paris as well as in London... And I recommend them to you if you really and very simply want to get off. <br /><br /><i>(by Hervé Muller, from Best magazine, issue 47, June 1972, p.70-73)</i></div><div style="text-align: left;"><i> </i></div><div style="text-align: left;"><i>Thanks to Uli Teute. <br /></i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">* * * </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Here is the original article:</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">LE DEAD EN CONCERT<br /><br />Vous voulez parler? Tous mes disques de rock, dur ou mou, contre un décalitre de musique pop stérilisée que d'ici à la fin de l'année, le Grateful Dead est le groupe américain le plus réputé et le plus populaire en Europe — chez eux, c'est pratiquement déjà fait. Il reprendra à son compte, avec probablement encore plus d'ampleur, le succès de C.S.N.& Y., bien mort quoique pas enterré, des Doors qui ont perdu leur voix, et du Jefferson Airplane qui, il faut bien se rendre à l'évidence, ne vole plus aussi haut qu'autrefois. A Londres comme à Paris, l'intèrét suscité par le Dead a longtemps relevé surtoutd'une certaine curiosité historique, sauf bien sûr pour une minorite de fans.<br />Mais, depuis un ou deux ans, sans méme qu'on s'en rende trop compte, les choses ont changé. Un public de plus en plus large s'est intéressé au groupe à travers ses disques, qui sont devenus enfin assez familiers, et non plus seulement à travers sa légende. Et cette tournée européenne était la dernier élément nécessaire pour que le passage de cette légende à une réalité vibrante soit définitif, comme l'a prouvé l'enthousiasme des spectateurs aussi bien anglais que français, qui ont vu le Dead en concert.<br /><br />PAS COMME LES AUTRES<br />A Londres, le groupe initialement prévu au Rainbow, dut finalement jouer dans l'énorme Empire Pool de Wembley, théâtre des exploits pubertaires de T. Rex quelques semaines auparavent. Inutile de dire que ce monstrueux cube da béton, à peu près aussi intime que la Gare du Nord, et doté d'une acoustique comparable, fut loin d'être le cadre idéal pour que le Dead puisse donner toute sa mesure. A Paris, l'Olympia avait du moins l'avantage d'être un décor familier... Mais, comme d'habitude, le menaçant déploiement des forces de l'ordre ne contribua quère à créer l'ambiance amicale et détendue que suppose la musique du Dead. Les sbires olympiens, qui, a l'entrée se tapaient sur le ventre avec les flics, et échangeaient avec eux des blagues très subtiles sur la chevelure des types et sur l'arrière-train des filles qui entraient, se révélèrent plus bétes et méchants qu'ils ne l'avaient jamais été.<br />Dans la salle proprement dite, l'ambiance se détendit, cependant, et dans l'ensemble, le concert de Paris fut un peu plus satisfaisant, les dimensions plus restreintes de la salle rendant le contact bien plus aisé, maigré une chaleur étouffante. Musicalement, le déroulement des deux concerts fut, par contre, pratiquement identique. Il reste que dans les deux cas je garde une certaine impression de frustration, due uniquement à ces conditions défavorables. L'ambiance a en effet un rôle très important dans la musique du Dead, d'autant plus que le groupe ne cherche pas vraiment le contact direct avec le public, mais crée une atmosphére à laquelle le spectateur s'integre progressivement. Ce n'est pas une musique geniale, à la manière d'un Hendrix, par exemple, elle n'atteint guère ce genre d'élévation quasi spirituelle, mais a un impact plus directement physique. Musiquede défoulements joyeux, musique à danser, musique à jouir, simplement. Si celle-là ne vous libère pas de vos inhibitions, aucune autre ne le fera. Rien de péjoratif dans ce que je viens de dire, au contraire, tout cela fait du Dead un des très rares groupes qui échappe aux impasses dans lesquelles agonise la pop (rock). Et un concert du Dead, ce n'est pas un concert comme les autres. <br />Pas comme les autres par sa durée, tout d'abord. Aucun autre groupe a l'affiche, le Dead lui-même joue deux parties totalisant trois ou quatre heures. Pas comme les autres par l'atmosphère très particulière qu'il crée. A Londres, si l'on arrivait un peu après le début, la vision du Dead jouant dans cette salle plongée dans une demi-obscurité, imprégnée d'un recueillement qui excluait toute tension, tandis que les silhouettes des musiciens se profilaient sur le light-show aux couleurs mouvantes de Joe's Lights, et que des effluves familières traversaient parfois l'air, faisait irrésistiblement songer à ce qu'avait dû être San Francisco dans les années 66-67... De la magie de cette époque, qu'il avait largement contribué à faire naître, le Dead a gardé une habileté extraordinaire à créer une ambiance très particulière de calme et de détente, qui fait du concert une sorte de défonce collective durant laquelle tout le public fait un peu partie du Grateful Dead.<br />Cette détente commence bien sûr au niveau de la scène. Le Dead joue longtemps, certes, mais il prend son temps! Entre chaque morceau, on discute, on plaisante, on rigole... Cool, man, pas de panique! D'ailleurs, on n'a jamais l'impression d'attendre, tout ça fait naturellement partie du déroulement normal des opérations. Au niveau du public on devient rapidement aussi relax que Garcia, dont on devine le large sourire derriere sa barbe. Un concert du Dead, c'est aussi un concert pas comme les autres par l'attitude qu'en viennent rapidement à adopter ceux qui y assistent. La décontraction est telle, en effet, qu'au lieu de se prostrer dans une attention avide, beaucoup n'hésitent pas à aller et venir pour se procurer de quoi boire, par exemple. Ici la musique n'èst plus un intermède rationné...<br />Et si un concert du Grateful Dead n'est pas un concert comme les autres, c'est peutêtre tout simplement que le groupe n'est pas un groupe comme les autres. N'a-t-on pas dit et répété que le Dead est un groupe marginal? Sam Cutler, leur road-manager, n'a-t-il pas insisté sur ce point lors-qu'il est venu en Europe préparer la tournée?Attention, quand même : c'est là une idée plaisante, vraie dans une certaine mesure, certes, mais il ne faut pas exagérer. Bien sûr, les membres du groupe, et toute la "famille" qui les entoure, représentent une institution plus sociale gue purement musicale. Bien sûr, ils sont totalement sincères et tout ce qu'ils veulent c'est pouvoir vivre en prenant leur pied et en faisant prendre leur pied au plus grand nombre de gens possible; ils se foutent du profit matériel et le limitent même. Bien sûr, ils sont les seuls à avoir su constamment rejeter le mythe de la rock-star, cherchant à échapper le plus possible aux rouages du show-biz en s'organisant euxmêmes, faisant des concerts gratuits, parlant méme de fonder leur propre maison de disques. Mais cela n'a-t-il pas surtout pour conséquence de créer un autre mythe? La prétendue indépendance du Dead vis-à-vis du show-biz, c'est surtout le groupe lui-même qu'elle concerne et qui en bénéficie. Il n'y a pas de miracle, au niveau productif, il est tout aussi dépendant de tout le système que n'importe quel autre, parce que sans show-biz il n'y aurait pas de Grateful Dead. Bien sûr ce n'est pas de leur faute, à l'échelle de l'ensemble, ils ne représentent pas assez pour pouvoir vraiment échapper à la machine. Bien Jerry Garcia est un sacré bonhomme, un vrai sage, espèce en vole de disparition de nos jours. Mais ne fait-il quand même pas preuve d'une certaine naïveté, ou tout au moins d'un idéalisme un peu trop naïf, en croyant que ta sérénité que luiet le Dead ont trouvée ainsi est la preuve de la justesse absolue d'une certaine solution apolitique? Sans parler d'une attitude un peu légère a propos du L.S.D. et de festivals de rock, c'est quand même un peu gros de dire: "Qu'est-ce que c'est que cette blague à propos de musique populaire (people's music), qu'est-ce que ça veut dire? Il n'y avait personne à côté de moi pendant que j'apprenais à jouer de la guitare. Si les gens pensent comme ça, merde, ils n'ont qu'à faire leur propre musique." (Interview dans "Zig-Zag" en 1970). C'est beau de planer, mais quand même! On peut saluer chez le Dead une réussite humaine au niveau individuel du groupe, mais au-delà de ça il faut bien reconnaître qu'il sert surtout de bonne conscience au show-biz. Il est d'ailleurs assez révélateur de constater que cette réussite méme repose sur un entourage comprenant des vieux "durs" du métier, comme Sam Cutler, justement ancien road-manager des Stones. Ouand je vous disais qu'il n'y a pas de miracle! Il ne sert à rien de s'illusionner, après tout, c'est déjà beau que le Dead réussisse à étre tout à la fois un des meilleurs groupes, un des plus populaires et un des plus sincères dans un milieu aussi notablement pourri! <br />Mais je crois qu'il est temps que j'en revienne à leur...<br /><br />MUSIQUE!<br />Il est en fait assez vain de vouloir la décrire, car il faut alors faire une énumération de genres qui risque plutôt d'être une source de confusion. Un show du Dead est en effet une étonnante escalade musicale, couvrant une variété de styles bien plus large qu'aucun autre groupe de ma connaissance. Ça démarre sur un rock un peu mou, mais cela aussi fait partie du processus normal. C'est une sorte de mise en train pour tout le monde, musiciens et spectateurs. On sait qu'on a tout le temps, alors le Dead s'échauffe d'abord en jouant ce qui est presque une musique de fond, destiné à permettre à chacun de s'installer, se détendre, s'habituer... Et puis, progressivement, la musique s'impose, se durcit: bon vieux rock n' roll et solide blues dominent d'abord, puis le folk et surtout le country apparaissent de façon plus marquée, et t'on évolue vers un rock de plus en plus complexe et sophistiqué, instrumentalement et vocalement. Mais le sommet n'est atteint que lorsque finalement le groupe s'aventure dans de longues improvisations instrumentales très "free", dans le cadre du morceau justement intitulé "The other side". Cependant, il faut bien comprendre qu'il ne s'agit pas là d'une suite de démonstrations dans des genres différents, mais bien d'une seule musique, dont l'unité se traduit en particulier par une progression pratiquement insensible. C'est par à-coups que l'on entre dans les complexes improvisations instrumentales dont je viens de parler. Elles ne sont pas sans rappeler parfois un peu le Floyd, mais s'apparentent surtout étrangement, par leur aspect rythmique très déstructuré, au free-jazz. Et c'est absolument sans avoir rien vu venir que l'on réalise soudain que l'on est revenu soudain à de simples mesures à quatre temps, et que de là, on se propulse à nouveau dans une grande défonce de blues rapides et de rocks qui swinguent comme le diable! Cette aptitude qu'a le Dead intègrer folk, blues, country, rock n' roll, etc., à sa musique avec autant de spontanéité que si c'était son idiome naturel, m'a irrésistiblement fait songer au Band — une comparaison qui ne me serait guère venue à l'esprit auparavant. Mais ce que ces deux groupes ont en commun, c'est d'être, au même titre que Woodie Guthrie autre-fois, l'expression pure et spontanée de l'Amérique à travers sa musique populaire à son point actuel: le Dead, avec moins de brillance et de perfection, certes, mais sur un registre musical peut-être encore plus vaste (le Band ne s'aventure guère dans le free, sauf parfois Garth Hudson). Ce sont à ma connaissance les seuls groupes qui aient réalisé cela, avec, à un degré moindre, les Byrds et le défunt Fish de Country Joe; c'est par contre ce qui manque au Jefferson Airplane, malgré une certaine analogie dans la forme. Dans ces conditions, le caractère fondamental du Grateful Dead, c'est bien sur son homogénéité, sa personnalitè en tant que groupe. Ceci dit les individualites meritent qu'on s'y attache. Jerry Garcia est le guitariste qu'on sait: à vrai dire, je ne trouve toujours pas son style particulièrement extraordinaire, son génie réside plutôt dans la variété et la flexibilité de son jeu, et dans un sens parfait de l'à-propos. Jamais il ne joue une seule note superflue: il s'intègre toujours totalement au contexte musical. La richesse de son expérience (sa première influence fut Chuck Berry, durant deux ans, mais ensuite, il se consacra uniquement au folk et au country pendant trois ans, jouant du banjo) est de toute évidence un de ses grands atouts, et je pense inutile de rappeler qu'il est un des meilleurs spécialistes de la pedal steel guitar.<br />Bob Weir fut pour moi l'homme du jour — On sous-estime trop souvent son importance. Son rôle est tout d'abord celui d'un excellent guitariste rythmique, ce qui a hélas pratiquement disparu des groupes aujourd'hui dans un culte aveugle de la solo, mais est un élément important chez le Dead. C'est aussi un chanteur puissant (en particulier un solide rocker), et le principal responsable des vocaux, seul ou avec Garcia.<br />Ron McKernan, dit "Pigpen" (porcherie!), a par contre un rôle très accessoire, et même souvent insignifiant à l'orgue, bien qu'il soit une figure légendaire du Dead. Cependant, au chant et à l'harmonica, il se révèle un très bon bluesman. La section rythmique est absolument sans faille. Le discret Phil Lesh, appliqué sur sa basse, terriblement efficace. Bill Kreutzmann, le survivant de l'époque où le Dead avait deux batteurs, donne bien souvent l'impression de compter effectivement double, et se démène avec autant d'aisance dans les rocks les plus carrés que dans les ruptures de temps qui s'apparentent au free-jazz. Ceux-la sont les anciens du Dead, mais le superbe pianiste Keith Godchaux, recrue plus récente, egt également un élément très riche dans la couleur musicale obtenue. La brève intervention vocale de sa femme, Donna, par contre, ne m'a guère convaincu.<br />Voilà, ils s'appellent le Grateful Dead, ils ont fait un triomphe à Paris comme à Londres... Et je vous les recommande si vous voulez vraiment et très simplement prendre votre pièd.</div><div style="text-align: left;"><br />Hervé Muller. <br /><br />(Best 47, June 1972, p.70-73) </div><div style="text-align: left;"><br /></div><div style="text-align: left;">* * * </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>The same issue of Best magazine ran a long history of the Dead for its readers. I have not translated it since it appears to be taken mostly from Rolling Stone articles, but here it is for the curious:</i> </div><div style="text-align: left;"> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">ENFIN <br />GRATEFUL DEAD!<br />JERRY GARCIA<br />SA FAMILLE<br />SON GROUPE<br /><br />Grateful Dead. Plus que tous les autres noms bizarres et merveilleux que les groupes de la grande époque californienne se donnèrent, celui du Grateful Dead attira l'attention, imprima les mémoires. Mais, contrairement, par exemple, au Jefferson Airplane, le public européen ne retint bien longtemps que ce nom particulier, sans accéder à la musique qu'il engendrait. Ce fait, sans doute regrettable, n'en reste pas moins symbolique; le Dead, son aventure, son histoire, dépassent d'assez loin le cadre strict d'une "carrière musicale". On a pu dire que, pour les U.S.A., le Grateful Dead était une institution. A l'heure où cette institution vient à nous, projeter plus de lumière sur son passé s'avérera certainement utile.<br /><br />Le Grateful Dead fut baptisé tel, un soir de 1965, lorsque Jerry Garcia ouvrit brusquement un gros dictionnaire pour que ce fascinant couple de mots lui jaillisse au regard. Grateful Dead, Mort Reconnaissant, terme issu d'un article ethnologique concernant certaines ballades traditionnelles irlandaises, s'imposait lumineusement. Certes, le groupe de Jerry Garcia existait déjà, et il avait même un nom: The Warlocks: mais, The Grateful Dead reflétait parfaitement l'ambiance sécrétée désormais par la formation.<br /><br />AVANT LE DEAD<br />Tout commence, beaucoup plus tôt, à la date exacte du 1er août 1957; ce jour-là, à San Francisco, le jeune Garcia Jerry fêtait ses quinze ans; sa maman, croyant bien faire, lui avait pour l'occasion acheté...un splendide accordéon. Las! Le jeune Garcia n'en fut pas outre mesure ravi et protesta véhémentement que vraiment on ne roulait déjà pas sur l'or et que foutre une telle somme dans un tel engin, cela relevait de la provocation alors que, depuis des années, il n'était obsédé que par la guitare électrique dont il rêvait jour et nuit et pour laquelle il bavait devant les vitrines des magasins et que non, quoi, c'était trop dur à avaler, etc... Happy birthday. Bref, revente immédiate dudit accordéon et achat corrélatif d'une petite guitare et d'un ampfi. Le jeune Garcia avait du caractère: à quinze ans toujours, il avait fait la découverte de la marijuana et ne se privait pas d'user du joint. Drogue et musique seraient donc deux éléments désormais inséparables de sa vie. La musique de cette époque, c'est le rock n' roll de Chuck Berry. L'orientation prend tournure. Cependant, rock n' roll, marijuana, guitare, ne sont, à la dose pratiquée par Garcia, en aucune façon facteurs de réussite scolaire. Bien vite, la situation se dégrade et à 17 ans, Garcia ne trouve d'autres ressources que de s'engager dans l'armée... II serait curieux de dresser une liste de tous les musiciens de rock qui, un jour ou l'autre, connurent cette mésaventure. (L'un des moindres n'étant pas Jimi Hendrix). Comme tous, Garcia est un déphasé qui trouve là, pour un temps, une illusion da vie. Pour un temps bref d'ailleurs, puisque neuf mois plus tard, on le remercie, arguant qu'il n'est décidément pas fait pour ça. A Palo Alto, il fait la connaissance d'un autre transfuge de l'armée, Bob Hunter. Toux deux vont habiter dans de vieilles voitures immobiles et abandonnées, dont le loyer est seul à la portée de leurs ressources. Hunter joue lui aussi de la guitare; les deux hommes vont donc se mettre à jouer et chanter ensemble pour tenter de subsister. Contre quelques deniers ils font entendre du folk-song dans les écoles et dans les bars, Garcia se complaît dans le pur secteur musical, mais Hunter, lui, souhaiterait tenter sa chancé dans la poésie écrite. Ils se séparent donc. On retrouvera Hunter, bien plus tard, comme auteur attitré du Grateful Dead.<br />Jerry Garcia se produit ensuite, plus régulierement dans le circuit naissant des cafés de la région de Palo-Alto. Certains soirs, il y a de véritables affiches avec plusieurs passages. Celui de Garcia y côtoie ceux de Jorma Kaukonen, Janis Joplin, Nick Gravenites, David Freiberg, Paul Kantner... Du folk-song, il a évolué vers la musique "bluegrass", typiquement blanche et typiquement américaine; maigré tout, les affaires ne marchent guère et le guitariste solitaire se voit contraint de travailler, ce qui est triste, dans un magasin de musique, ce qui l'est un peu moins. C'est à cette époque qu'il va faire d'intéressantes rencontres. Bob Weir tout d'abord. C'est un autre déraciné, issu pour sa part, d'une bourgeoisie aisée, mais mal à l'aise dans sa peau et définitivement allergique aux études, il apprend comme un fou la guitare. Ron "Pigpen" McKernan ensuite. Fils d'un disc-jockey de rythm n' blues, passionné par le bluesman Lightnin' Hopkins, il excelle déjà à jouer le blues à l'harmonica ou, parfois, au piano. Nous sommes alors en 1964: deux apprentis guitaristes et un fan de blues doué, cela va donner un orchestre. II s'appellera "Mother MacCree's Uptown Jug Champions"; pour plus de commodités, en effet, la formule choisie avait été celle du jug-band, formation de type traditionnel jouant le plus souvent une musique simplette et bàterde, a l'aide d'instruments parfois hétéroclites. Bien évidemment, la solution de facilité laissa vite apparaitre son défaut: à musique facile, concurrence nombreuse, originalité faible et engagements plus que rares. Ron "Pigpen" McKernan comprit le premier le danger et insista pour que le jug-band change d'orientation, pour devenir un groupe de blues électrique. Blues électrique joué par des blancs cela se traduit chez les gens cultivés par l'expression groupe de rock n' roll. La section rythmique du groupe sera constituée par le batteur, Bill Kreutzmann, qui travaillait dans le même magasin que Garcia, et par le propriétaire du magasin lui-même à la basse. Tels furent les Warlocks. L'un des premiers spectateurs des Warlocks se nomme Phil Lesh; c'est une vieille connaissance de Garcia, un musicien complet qui a, entre autres, pratiqué la violon, la trompette, et donné dans la recherche musicale. Il n'a jamais caressé une basse de sa vie, moyennant quoi, il est engagé comme bassiste du groupe.<br />A partir de juillet 1965, es Warlocks se mettent à jouer régulièrement dans les clubs. Leur répertoire est celui de tout groupe débutant: les grands standards du rythm n' blues, Chuck Berry, un peu de Dylan. Les Rolling Stones les marqueront assez, musicalement, tandis que les Beatles seront leur grande révélation quant à l'esprit. L'influence des Beatles fut écrasante chez les groupes américains, elle fut perçue par les Warlocks surtout à travers les films "Hard day's night" et "Help" en tant que nouvelle ambiance, en tant que musique pour faire passer un bon moment, en tant que jeu collectif. Seconde grande rencontre pour les Warlocks: l'"acide". Il se trouve que l'origine de cette adoption par Garcia et ses compères vient d'une initiative gouvernementale. En effet, à Palo Alto, Jerry avait retrouvé Bob Hunter et partageait sa résidence avec lui. Or, Hunter se trouva être du nombre des cobayes employés par l'université voisine de Stanford pour des expériences de drogues, suggérées par le gouvernement. On lui fit ainsi tester la mescaline ou le L.S.D.; au sortir de ces séances, les participants ne songeaient plus qu'à s'en procurer à nouveau et à en faire bénéficier leur entourage... Les Warlocks firent très vite une consommation plus qu'abondante de ces produits; sous leur effet, leur rock devint plus fort, tandis que la durée moyenne des morceaux joués s'allongeait. Ce ne fut évidemment pas du goût du public des boîtes qui fut vite assourdi et perdu. Risquant de perdre leur clientèle, les patrons de ces établissements, les uns après les autres, remercièrent le groupe. Commença la période des "Acid-tests". Les Warlocks, en quête d'occasion de jouer, se joignirent à un autre ex-cobaye de Stanford, Ken Kesey, qui, à La Honda, s'adonnait à force défonces au sein des Pranksters, sorte de communauté acide. L'idée vint rapidement d'organiser de vastes séances de défonce ou musiciens et auditeurs, participeraient tous sous acide à un voyage collectif. Les "Acid-tests" se succédèrent dans tous les coins de la Californie, et les Warlocks étaient de toutes ces fêtes improvisées qui attiraient de plus en plus de monde.<br />Garcia et ses compagnons y gagnèrent une solide accoutumance aux concerts interminables et déstructurés. L'acid-rock avait démarré. Il était grand temps de trouver un nom plus adéquat. Ce fut donc The Grateful Dead.<br /><br />LE DEAD-FAMILLE<br />Jerry Garcia (guitare, vocaux), Bob Weir (guitare, vocaux), Ron "Pigpen" McKernan (claviers, vocaux), Phil Lesh (basse, vocaux), Bill Kreutzmann (batterie).<br />Le Grateful Dead se trouva fort dépourvu quand le L.S.D. et autres furent strictement interdits, et que les "Acid-tests" touchèrent à leur fin. Au printemps 1966, ils se rendirent à Los Angeles et passèrent trois mois sans trop changer d'ambiance puisqu'en compagnie d'Augustus Owsley Stanley III, le "roi de l'acide"... Ce dernier trouva néanmoins laborieusement le moyen de leur mettre au point un énorme et tonitruant matériel d'amplification qui renforça la personnalité déjà sauvage du Dead. Ensuite, à l'été 66, avec femmes, enfants, armes et bagages, ils partirent pour San Francisco; ils s'installèrent au 710 Ashbury, au coeur même de ce secteur de Haight Ashbury qui allait se faire connaitre du monde entier. Ce fut le début de la réalisation de l'utopie, un rêve éveillé flamboyant de courte durée qui fut en intensité, au sommet de son époque. Ajoutons également, qu'à l'image de ces "voyages" à l'acide, ce ne fut socialement parlant qu'une vaste illusion. Le Grateful Dead, bien plus qu'un simple groupe de rock n' roll, constitua la première communauté du genre à San Francisco. Une sorte de tribu au nombre élastique se forma autour des musiciens, partageant les tâches et les ressources tout comme les expériences. Le Dead fut le prototype d'une économie fondée sur le commerce marginal et sur l'art. Il ouvrit la première boutique "psychédélique" où l'on pouvait se procurer posters, bijoux, vêtements, journaux, tous élaborés artisanalement et partie prenante du nouveau mouvement culturel. L'argent ainsi récolté, était investi par les "diggers" qui s'employaient alors a approvisionner la communauté. Cela permettait le "décrochage" de nombre de jeunes en rupture avec la "normele" de la société américaine. Ce système se multiplia bien vite dans tout Haight Ashbury, puis dans tout San Francisco. La scène musicale explosa elle aussi. On assista à la multiplication des "free concerts", concerts "free" à la fois dans le sens de gratuité et dans-le sens de liberté d'improvisation. Une nuée de groupes de rock se créèrent sous l'impulsion des leaders. Big Brother and the Holding Company, Jefferson Airplane, Grateful Dead. De grands événements de masse tels que les "be-in" du Golden Gate Park concrétisèrent cette révolution locale. Egalement, il ne faut pas oublier non plus l'industrie (non gratuite) du spectacle se renouvelait avec le développement de vastes salles de concerts entièrement consecrées au rock et au rythm n' blues, d'ou les sièges avaient disparu et où les light-shows de plus en plus complexes accompagnaient la musique. Les deux principales salles furent l'Avalon Ballroom de la Compagnie Family Dog et le Fillmore Auditorium de Bill Graham. Si la plupert des grands s'occupaient malgré tout de leur carrière et s'employaient à la rentabiliser par le disque et les concerts, le Dead, lui, restait principalement dans le premier circuit gratuit et planent. Il existait bien, théoriquement, deux managers, Rock Scully et Danny Rifkin, mais ceux-ci étaient surtout affairés au "trip" collectif et touchaient très rarement terre. On ne peut créer d'ilot libéré au sein d'un système toujours en place; les communautés comme celle du Dead affaient l'apprendre, sinon le comprendre. La société, la grande, vint se manifester au sein de l'utopie, tout d'abord par ses "mass-media". Les grands magazines américains, puis mondiaux, la télévision, la radio, s'intéressèrent au phénomène californien dont l'ampleur ne cessait de croitre et en retransmirent abondamment l'image. Dès lors, tout était cuit. Les marchands plus sérieux et plus organisés envahirent le temple hippie. Ce nom même de hippie, tout comme le flower power à peine né. à peine prononcé, se trouvait déjà vide de sens par sa projection et son emploi abusif et effréné. L'artisanat psychédélique battait en retraite devant la grosse industrie "hippie". Parallèlement, un nombre croissant d'individus plus ou moins déracinés, plus ou moins déguisés aussi, affluaient, parfois seulement pour un week-end, à San Francisco. Les "diggers" ne pouvaient plus boucler leur budget. Le Grateful Dead n'y échappa pas. De plus, l'expérience du groupe dans le secteur du show-business organisé n'arrangeait guère les choses, bien au contraire. Le groupe avait signé chez Warner Bros. En 1966, le premier album fut enregistré presque à la va-vite, sans grande expérience de la chose. Trois jours de studio sous acide, un jour de mixage donnèrent un album assez simple, frustre même, n'en contenant pas moins d'excellentes interprétations comme le célèbre "Morning dew". Le succès du disque ne fut pas très grand, en comparaison de l'Airplane, par exemple. Sur le plan concerts, ce fut aussi l'échec financier. En 1967, encouragé par une grande tournée aux côtés de Ouicksilver Messenger Service, le Dead, aidé par l'Airplane lança à San Francisco une nouvelle salle, le Carousel Ballroom. Pendant un temps se recréa une ambiance spontanée qui put faire croire au retour du grand mouvement. Hélas! La gestion ne fut pas plus saine et le Carousel Ballroom dut fermer. Les dettes du Gratefut Dead s'en trouvaient augmentées. En 1968, le Dead, enrichi de deux nouvelles recrues, Tom Constanten (claviers) et Mickey Hart (batterie, percussions), s'attaqua à l'enregistrement d'un nouvel album. Cette fois, Garcia et compagnie voulurent soigner les choses; ils s'adjoignirent les services du producteur Dave Hassinger, qui avait travaillé avec les Rolling Stones, et ne lésinèrent pas sur les enregistrements live ou en studio. La "mise en boite" d'"Anthem of the sun" se fit donc sur une durée de huit mois. II présenta une musique déjà bien plus torturée et complexe sous l'influence grandissante de Tom Constanten. Cependant, les frais d'enregistrement furent tels que leur paiement, pris sur les royalties, endetta un peu plus le Dead vis-à-vis de Warner Bros. A cette date, les membres du Grateful Dead quittent San Francisco, et vont vivre séparément dans la région de Marin County.<br /><br />LE DEAD-GROUPE<br />En 1969 et 1970, le Grateful Dead va devenir un peu plus exclusivement un groupe de rock, plutôt qu'une microsociété. C'est l'époque des concerts-fleuves à travers les Etats-Unis. Le Dead produit un résumé permanent de sa démarcha musicale, partant d'un rock simple, hérité de la tradition, pour s'embarquer dans un délire torturé que font naitre les guitares ou les instruments trafiqués de Tom Constanten. Deux disques témoignent de cette période: "Aoxomoxoa" en studio, et le double "Live Dead". Pourtant, le Dead ne peut décidément se comporter comme un groupe comme les autres. Ses concerts ne veulent pas prendre l'aspect "spectacle", mais garder cette tradition d'éclatement collectif ("Getting high together"). Les finances non plus, ne se décident pas à suivra la normale des grands groupes. A la Nouvelle-Orléans, le groupe connait une nouvelle faillite financière aggravée cette fois par de graves désaccords avec leur manager, Lenny Hart. Le fils de ce dernier, Mickey Hart, quitte le groupe, de méme que Tom Constanten. Le Dead se retrouve à l'état des anciens Warlocks. Au milieu d'une tourmente d'histoires financières, de rivalités, de combines, bref, de show-business, le Grateful Dead va trouver refuge dans la musique. Le résultat sera "Workingman's Dead", un superbe album qui marque un retour salutaire à la simplicité, assez synonyme de country. "Workingman's Dead", c'est aussi la fin de la prédominance des instruments pour une mise en avant des parties chantées; c'est un peu, aussi, l'avènement définitif de Bob Hunter qui écrit les textes. Après avoir frôlé la dissolution, le Dead repart avec un moral neuf. Il participe avec Janis Joplin et Big Brother, Ian & Sylvia, The Band, Delaney & Bonnie et Robert Charlebois, à une mémorable randonnée en chemin de fer, d'Est en Ouest du Canada. Ce fut, parait-il, fort loin d'être mélancolique; le Canada, pays froid, on le sait, nécessitant l'absorption d'une grande quantité d'alcool pour se réchauffer... En 1970, toujours, c'est une grande tournée nationale avec les protégés et amis des "New Riders of the Purple Sage" dont la réussite artistique connaît enfin un parallèle de réussite financière. Le Grateful Dead s'est doté d'une organisation sérieuse, il se trouve à présent dans les normes du système, intelligemment certes, mais sans aucune équivoque.<br /><br />LE DEAD AUJOURD'HUI<br />Il convient, à ce propos, de faire un bilan qui justement prévienne de toute équivoque, de toute falsification plus ou moins mythologique. L'expérience du Grateful Dead, comme celle de tout le mouvement californien, est, sur le plan social, un échec. Rien n'a été fondamentalement remis en cause par les tentatives marginales communautaires, rien n'a bouleversé la sordide logique du show business. Reste la chaleur de la tentative son ambiance, son esprit que nous retransmet le généreux rock du Grateful Dead. Reste qu'on ne trouve qu'en cherchant. Artistiquement, le Dead s'est trouvé. "American Beauty" et le second "Live Dead", ont poursuivi le renouveau avec, pour décor non négligeable, une popularité croissante. Le rayonnement musical de Jerry Garcia s'est régulièrement affirmé et on l'a vu multiplier les "sessions" avec entre autres, Brewer & Shipley, Howard Wales, Merl Saunders, etc. Il s'est même permis d'enregistrer un superbe album en solitaire, dans lequel il assure tous les roles, mis à part la batterie (Kreutzmann) et les textes (Hunter). Bob Weir, lui aussi, a préparé son album qui devrait sortir en juin. Un nouveau membres est venu se joindre au groupe, il s'agit du pianiste Keith Godchaux, qui était venu, à la fin de l'année dernière, remplacer Pigpen, très gravement malade, et qui est resté au retour de ce dernier. C'est ce Mort Reconnaissant, le cercueil chargé à ras bord de souvenirs, d'expériences, que l'Europe a enfin connu en avril et mai. Si les phrases ne peuvent restituer pleinement la réalité, si l'on n'a pu assister soi-même à un des concerts, il suffit de peu de choses pour comprendre: mettre "Box of rain", par exemple, sur la platine et regarder une photo de Jerry Garcia. Regard, sourire des yeux et des guitares, chaleur du chant. Grateful Dead.<br /><br />Christian Lebrun.<br /><br />BEST 47, JUNE 1972 (p. 63-69)<br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com2tag:blogger.com,1999:blog-5195590583641426943.post-86021839990084743022022-06-04T00:45:00.000-07:002022-06-04T00:45:37.960-07:00May 1972: Bob Weir Interview (Audio Version)<div style="text-align: left;"><div><i>In May 1972, Steve Bradshaw interviewed Bob Weir in London. The interview was printed in Melody Maker that July:</i> </div><div><a href="http://deadsources.blogspot.com/2022/05/may-1972-bob-weir-interview.html" target="_blank">http://deadsources.blogspot.com/2022/05/may-1972-bob-weir-interview.html</a> </div><div><i>But in June or July, the tape was also broadcast on BBC Radio London. Here is the transcript:</i></div><div><br /></div><div><br /></div><div>[<i>Jack Straw, audience tape from Bickershaw</i>] </div><div>SB: Right now, our main guest on the show, Bob Weir of the Grateful Dead. I talked to Bob Weir between the two sessions of concerts they did in London [at the Wembley Pool & the Lyceum]... First of all we'll play just a very quick snatch, all we have time for, of what as far as I know is just about Bob Weir's first composition music-wise...</div><div>[<i>Sugar Magnolia, from American Beauty</i>]</div><div>SB: As it said on Time Out, Bob Weir was talking about his solo album. I'll run the interview in two parts, the following part will be next week when Bob Weir will be introducing his own solo album, which will be out in the shops at an unspecified date, sometime probably in about a month. Meanwhile we have Bob Weir talking between the Wembley & Lyceum concerts about six weeks ago about his music, about the Grateful Dead. First of all I asked him about the 3 Wembley Pool concerts, each of which was very very different. </div><div>BW: Well, the first night we were real nervous, and we weren't exactly sure how we were gonna be received and so we were on our best behavior, more or less, and were taking a long time between numbers to tune up and stuff like that - [...] tune the bridge on my guitar instead of Garcia so we cut down our tuning time. The second night we were more or less - it was a lazy night - we had a good time but we were being lazy and just playing when we got around to it. I enjoyed the audience, I enjoyed the response - the response was appreciative - though not cool but reserved at first, and so we played more or less reserved music for them, and we built slowly and they built slowly and it all happened very nicely. </div><div>Q: How do you decide what kind of concert you're going to do - do you go out with a kind of strategy beforehand? </div><div>BW: Absolutely not. We play by the seat of our pants from moment to moment. </div><div>Q: But it looks, watching you, as if there's only one guy thinking out there, cause you all do the same thing - you all obviously want to go in the same direction. </div><div>BW: Well we're used to working with each other over a long period of time now, and so we more or less are able to intuit exactly what everybody else is gonna feel like doing at a given point. </div><div>Q: Do you have a set run of songs? </div><div>BW: Not really, no. We have a sort of general category of songs that we'll start out with, and then we'll move into another general category of songs as soon as we're loosened up, warmed up, and then we'll move into another category of songs which is generally our space music after our break, and then we'll go back into, I guess your hard-driving rock & roll. </div><div>Q: There's nobody really leading the band on stage? </div><div>BW: Not really. We have it worked out so that we take turns singing songs - if Garcia starts on an evening, he sings the first song, I sing the second, Pigpen sings the third, then we go back around in that sequence again & again; or maybe I'll start out and Garcia will be second and Pigpen will be third, and then we just go around & around & around like that. </div><div>Q: [...] the way you move from improvisation or something straight into another song, like at Wembley, straight into El Paso - how does something click like that, have you got it worked out beforehand that you're going to do that next song? </div><div>BW: Well no, not really, but if we get into a sort of rhythmic & harmonic mode that'll suggest a song to us within our plunges through the innermost & outermost regions or space or whatever, if we get to a region that has a rhythmic & tonal mode that suggests a particular song, one of us will start playing the comp to it, the vamp to it, and everybody'll fall in behind that and we'll be off into that song. </div><div>Q: So generally you know what's going to happen next before the audience because somebody has got off on that particular tune. </div><div>BW: Well, we know what's gonna happen next just about instantaneously with the audience really. Except for, we are better-practiced at intuiting where we're gonna go than people who haven't heard us... </div><div>Q: At Bickershaw, you did this history of the Dead from the start, didn't you? </div><div>BW: Well, that's what it was billed as, I guess - I never heard of that, that never reached my ears. Within the context of any show on any night, we'll do a lot of songs from different eras - we'll do a lot of songs that we've been doing ever since we started, and we'll do a lot of songs that we just recently came up with, and a lot of songs from in between, and so inasmuch as we do that, we don't start out in chronological order or anything like that, but we do a great range of our new & old material. </div><div>Q: To be fair, that was a [...] asking you which way your music's developing [...] what strikes most people is that each member of the band is going more off onto a solo kick, some of the members are doing now: a Garcia solo album, and your own solo album that's just come out. Are you tending to pull more in different directions? </div><div>BW: Well, that's always been the case really, whenever one of us would get down and write a song, he'll go off into one direction as far as he can possibly take that particular song, to make it something of its own, and inasmuch as Garcia went & did his own album with a lot of his songs on it, and I've gone & made my own album with a lot of my songs on it, they're certainly divergent directions but they've always been happening, they've never however been lumped together as such before. But as it turned out just recently, Garcia had more material than he could use for a Grateful Dead album, and likewise with myself, I had more songs than I could put on a Grateful Dead record without crowding other people off, so I just went ahead and made my own record. </div><div>Q: Any more members of the band got solo albums on the way? I was told Pigpen had one... </div><div>BW: Pigpen is thinking it over, and of course every last one of us would like to see him do that, and so we'll be helping him - as I was receiving help from the Grateful Dead, as was Garcia, as everybody - we'll be helping him put out his record - he'll be doing it himself obviously, it'll be his material, his songs - and he, among all of us, he's the one that writes the lyrics & the music to all of his songs, just about, and so I guess you can expect to hear a record from him in the next six months or a year maybe. </div><div>[<i>Other One, from live album</i>]</div><div>INT: ...an example of the kind of musical improvisation they've become famous for. One thing I've talked to Bob about was - in fact, after we'd done the interview, we started talking about the actual musical structure of the band's improvisations, so I stopped the tape and [obliterated] part of the rest of the interview and took up the conversation there, which is where I had to stop the tape temporarily. What Bob had to say loosely was about his own case in the group as a rhythm guitar, and the way in which the band intuit from each other, the way in which they're going to improvise, if you can follow that. Bob Weir explains it a bit more succinctly. </div><div>BW: Well when we're playing free and we're drifting from key to key and from feeling to feeling, mode to mode, and we're not looking back or anything like that, and we're just building incessantly off what we have, Garcia & Phil are generally playing single lines, and any combination of two notes suggests a chord. My role, and our piano player's role, is to intuit what that chord is gonna be, the next note they're gonna play, the combination of those two, and be there with that chord, and maybe an augmentation of that chord which will either suggest staying there & building that or suggest going to a new passage, a new mode or a new key or whatever. And...it's quite a choice sometimes, it takes a lot of concentration, sometimes it just rolls out just really easily, and sometimes you get a combination of people just guessing that comes up with some inspirational new idea which is worth living for. </div><div>Q: To backtrack a bit, to take it up to the present day in the ten minutes or so we have left, I wanted to talk about Workingman's Dead, and the sudden shift of direction that most people would recognize in that album. At the risk of repeating what you've said many times before in interviews, what was going on in the group's collective mind at the time of that album? </div><div>BW: Well, it was a certain change for the record-buying public but it was a gradual change for us because over the period of months before that, inasmuch as we'd been hanging out with David Crosby & Stephen Stills particularly and listened to them sing together and just blown out by the fact that they really can sing together, we began to realize that we had been neglecting our own vocal presentation for instrumental presentation, and so we started working on our vocal arrangements and choral arrangements, and as it turned out the next record we did had a lot of that on it, and it represented a marked change from the way we'd sounded in the past, though none of us had really given it any thought, we were just going straight ahead and doing what we'd been doing - it was a lot of fun to make that record, it happened very quickly, and there was a spontaneity about that record that was just beautiful. </div><div>Q: Jumping on the last one, the live album, was there any deliberate policy in that [...] </div><div>BW: It seemed the quickest & most expedient way to put out a record! And y'know, live recording has something to say for itself, there's a spark of spontaneity there that can't be reconstructed in a studio. </div><div>Q: [...] Any plans for further albums? </div><div>BW: Well, we're recording these four dates at the Lyceum and we've been recording throughout Europe, and we'll try to put together another live album of the finest takes of this entire European tour, which comes to quite a few dates so there should be some good material, we've been playing fairly well; and so we should have another good live album coming out shortly. </div><div>Q: Any ideas as to the future of the band generally? Very vague question, but...</div><div>BW: We're going to go on doing what we're doing. We hope to at one point or another make enough money to have our own studios, and we're researching better & more efficient ways of marketing records for less, and essentially better & more efficient ways of getting better music to more people. </div><div>Q: The Dead from the start were very much of a, as Steve Miller said, a sociological phenomenon, along with one or two other bands like the Airplane, whereas someone like Steve Miller wasn't; and now that there really isn't a kind of 1967 context in which to fit a rock band like that, do you miss that kind of dynamic, that kind of milieu, or are you rather glad that all that... </div><div>BW: Well back when we were being a sociological phenomenon, we were living on top of each other by necessity in one house because that's all we could afford, our economic situation didn't leave us much leeway, and so we did what was necessary; and it was a lot of fun, and a lot of the time it was fairly uncomfortable. As it is we moved out first chance we got because nobody likes living on top of anybody else, and we stopped being a sociological phenomenon, nonetheless we do have a lot of people whose company we enjoy, and many of them work for us in whatever capacity they can find; we support a lot of people, and in turn they help support us, so we have a huge family, sort of tribal business scene going that seems to work fairly well. </div><div>Q: I'm quite interested by that, does it have any formal contractual structure to it, or are you just...a kind of loose...</div><div>BW: Total anarchy. As is our music, it's almost utter & total anarchy. A lot gets done for one miraculous reason or another. </div><div>Q: Why has it taken you so long to get a European tour together? </div><div>BW: Well, inasmuch as we wanted to take everybody that works with us, or y'know, everybody in our big family along with us, it was obvious it was going to be very expensive to do, and heretofore we haven't been able to afford it - I'm not sure that we can afford it now but we went ahead and did it anyway.</div><div>Q: You making money [...] financial success? </div><div>BW: I think we'll break even when everything is tolled up and we get home, I think we'll come out just about even. </div><div>Q: Last question, what are your general impressions of the European tour, how have you found the audiences? </div><div>BW: The audiences have been fabulous, you know. Inasmuch as they don't speak our language in many cases, and we really have to relate to them on a purely musical level because they can't understand the repartee that goes on between songs or anything like that, we've been concentrating on just laying the music on them and they've been most appreciative. </div><div>Q: One more - your wife was saying before you arrived that on the two different nights in London so far, there seemed to be two different audiences; one was happy just to bop and it didn't really matter if they missed a note, the other one was a much more kind of Dead-freak or Dead-culture audience, who really wanted to hear absolutely every note, and she seemed to think the first one was more preferable. </div><div>BW: Of course a combination of the two would probably be best. I like looking out into the audience when I'm playing, [...] people are really intent on what we're playing and really feeling that they're being spiritually elevated by it, that really makes me feel like King Kong on stage. But on the other hand, when I look out and I see people dancing around and just purely enjoying themselves, I like seeing that too. So it doesn't matter to me, any old way they want to enjoy it is fine with me, just so long as they enjoy it.</div><div><br /></div><div>SB: That's an exclusive interview for [??] done by me with Bob Weir and it was done between their two recent London concerts. We're splitting the interview up into two parts, the shorter one comes next week when Bob Weir will be introducing his own new solo album... </div><div><br /></div><div>PART II </div><div><br /></div><div>SB: ...a couple tracks off that, including the Bob Weir version of 'Playing in the Band,' which I should say also does have the Grateful Dead ensemble in the background. And we also have the answer to the question of how long Bob had been stockpiling material for the album, the music of which was entirely written by himself.</div><div>BW: Well, there's one on that record that I've been doing now for a year, I actually put it on our last live record, Playing in the Band, but it's been developed & extended from where it was, so it's not really recognizable as the same song, and so I figured well this is what I really wanted in the first place when we recorded it back then when it was immature, and now it's matured; it's a different song, it holds together, and so I really wanted to record it again. </div><div>[<i>Playing in the Band, from Ace</i>] </div><div>BW: In most cases a friend of mine named John Barlow wrote the lyrics, and on a couple songs Robert Hunter wrote the lyrics, and on 'One More Saturday Night' I wrote the lyrics. I have little faith in my poetic abilities, so I just leave it to the experts. It's getting easier for me to just roll with the flow, as it were; as I get older, as I get more experienced and better-versed at performing for audiences in public, I find it easier to just let the music roll out of me and [<i>phone rings</i>] answer the telephone. </div><div>[<i>One More Saturday Night, from Ace</i>]</div><div>SB: Bob Weir, Ace, that's right in the shops now... </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-1185443384881920522022-05-30T03:53:00.000-07:002022-05-30T03:53:51.276-07:00April 1972: Band Interview & Empire Pool<div style="text-align: left;"><div>DARK STAR RISING </div><div>THE DEAD INTERVIEW</div><div><br /></div><div>Maybe one day some writer will get down and write a piece which will capture exactly what the Grateful Dead are all about. God only knows what the results would be - possibly a weird blending of the 'I Ching' and a Zane Grey novelette. It would have to be someone who was both observer and participator in what is in effect a 24-hour-a-day movie; someone who could invest jive terms like 'spiritual outlaws' and 'positive flow' with some real meaning, while at the same time pointing out that this here is one no-bullshit, straight-down-the-line-joyful-noise rock n' roll band and don't you ever forget it. Mark Twain I'm sure could have done it. I've always thought of the Dead as in some ways the musical equivalent of the freewheeling all-American spirit of Twain's finest writing. Hunter's lyrics seem to be obsessed with gamblers ('Doin that Rag'/'Deal'), outlaws ('Sugaree'/'Friend of the Devil'), losers and misfits ('Loser' 'Wharfrat' and 'St. Stephen' who reminds me of an acid-head Huckleberry Finn) - all steeped in American myths and legends. The Grateful Dead's stance has always been firmly constructed in the roots of American mythology and the realisation that the mythology itself is built on the rootlessness of its culture. The Dead were always the pioneers, whether it was back in '66 on the bus with Kesey and Cassidy, opening the doors of perception, or riding that train, high on cocaine, or playing those long wild sets which spiral up and out in the cosmos, or writing numbers like 'Box of Rain' and 'Uncle John's Band' which are simply two of the most beautiful songs ever written. 'You may find direction around some corner where it's been waiting to meet you' they advise in 'Box of Rain' but the Dead have always been sure of this direction; they just keep on keeping on because when it all comes down to basics, there isn't really anywhere else to go. Like when, in the middle of a particularly heady piece of cerebral improvisation based around a Coltrane-like riff, they suddenly flow into a Marty Robbins cowboy tune. Not only did it work, it seemed the most natural thing to do at the time. With the Dead working out, the difference between the cosmic doodlings of, say, 'Dark Star' and their version of the Merle Haggard Seeds-and-stems pastoral 'Sing me back home' are negligible. After all, it's all music and if nothing else, the Dead are a music band, right there at the source point where it all flows free and easy. When the band play their own unique style of country music, they avoid the cracker-barrel philosophizing of, say, Kris Kristofferson and even rise above the hard-arsed stoicism of the Band, and when they get into free-form improvisation, they work on levels which most other bands don't know exist. The Dead have never got caught up in self-indulgent eclecticism - whatever they tackled has worked its way into the pattern a lot of different rhythms and textures but one sure pulse. </div><div><br /></div><div>'At the moment, I can't really foretell what's going to happen when we actually play here. It's very strange y'know, I feel like a man from Mars or something.' </div><div>Jerry Garcia gave a self-conscious grin. The Dead had finally made it to England for a spread-out period of time. After one hit-and-run visit to the Hollywood Festival ('a bad gig' Garcia feels now), the band were back and casually holding court at the Kensington Palace Hotel, a thoroughly English establishment comfortably bridging the distance between modest good taste and luxuriousness. 'Casual' seems to be the word to describe the Dead's image now. Remember the first photo of the band to appear on our shores, depicting them as the 1967 epitome of the acid and downers-degenerate rock-a-boogie combo - all matted hair and sweat-stained denims. Well, things have changed. Only the roadies retain any of that image - a jovial bunch of roughhousers led by Ramrod who all look like ex-Hells Angels now into rodeo-riding. Phil Lesh looks almost dapper in suede jerkin and loafers; now with short hair he looks like the spitting image of the actor Donald Sutherland. Bob Weir, fresh-faced and earnest-looking, resembles an all-American boy until you notice that long, long pony-tail of hair running down his back. Keith Godcheaux, small and slightly bewildered by it all, talks with his wife Donna who is now singing with the band, and Pigpen sits by himself, brooding. His face has thinned out to such an extent that he has two enormous hollows in his cheeks. </div><div>Most of the Grateful Dead entourage are lurking around somewhere in the suite. All those names that appear on the back of Dead albums - like Bob Matthews and his old lady, Betty, the band's recording engineers, and Dan Healy, he's somewhere around, and manager John McCintre who looks like he's walked straight off the set of 'Song of Norway'. His feminine features and constant enthusiasm for everything going on around him make him a perfect Yin counterpart for Rock Scully's earth-bound (or as close to the earth as any member of [the] Dead family can get) wild-eyed hustler Yang characteristics. Scully is a pretty amazing cat, having stuck with the band through all the busts and bummers making sure that the whole show reached some measure of togetherness. And, lo and behold, who should be doing all the co-ordinating but Sam Cutler the voice of Altamont. He seems pretty cool about it all and everyone likes him, so God bless him. </div><div>Garcia is stretched out on the sofa eating and rapping to anyone around. The first thing you ought to know about Jerry is that he is an A-1 nice guy. All that 'Garcia the Garce' stuff is nonsense to him. Did he get bothered by people constantly expecting him to produce the answers to the problems of the Universe? 'That only comes from people like Charlie Reich' he grins. 'The thing is that I talk a lot, too much in fact. I just tend to answer questions, that doesn't mean I know what I'm talking about.' But Garcia does know what he's talking about usually. He'll rap about rock n' roll, science fiction, Woodstock and Altamont, Janis, the Manson-Lyman cult thing, in fact almost any topic you'd care to mention. And if his statements on anything tend to appear glib when seen in print, it shouldn't be like that. Jerry Garcia may not be a wise old sage, but when talking to him, one gets the distinct impression that he knows something that you don't. It's all to do with the positivity of the music the Dead play. </div><div>'I believe in taking a positive approach to any situation and that the only way to handle the bummers is to learn from them and leave it at that. We had to go through an Altamont in order to get the importance of something like Woodstock into perspective - it was like two sides of a coin, y'know. I think we learnt far more from Altamont about the new culture, or whatever you want to call it. The Dead work as a unit, as a collective ego. We reached the realisation a long time ago that 'The Grateful Dead' was far greater than the sum of parts - the egos. The band has never really been into playing ego games. I think if you realise that you've got to gain a kind of balance and work with that, then you'll get through.' </div><div>What was the scene like in San Francisco nowadays? </div><div>'There is no 'scene' as such in San Francisco. It's just a case that what was always there - the real creative elements, if you like - has matured. There are a lot of fine movie-makers and cartoonists and musicians.' </div><div>Garcia is still as eager to play with as many different musicians as possible. He feels equally at home involving himself in Kantner's musical sci-fi fantasies or adding pedal steel licks to one of Crosby and Nash's precious little ditties or working the Bay Area bars with his friend Merle Saunders playing to maybe 60 people. The whole co-operative is based on mutual respect amongst musicians. </div><div>About the Grateful Dead as they are now, he had this to say: </div><div>'We've all had a rest and we're just waiting to get up and do it, y'know. Pigpen's well again and with Keith playing with us, we're really tight. We added Donna who originally introduced us to her old man, because she's a fine singer. She used to work down at Muscle Shoals. We're not going to consciously play a set designed for an English audience. We're just going to play what we feel capable of - what our collective mood and the environment dictates.' </div><div>Would it be good old rock 'n roll? </div><div>'Well sure, there'll be some rock 'n roll, but I've never thought of the Dead as just a rock 'n roll band. I think we're something more. Wait and see.' </div><div>The band don't like playing dates in huge auditoriums. Their policy in the States is to find a hall which holds 2-3,00 capacity and book it for 4 or 5 days. The Empire Pool booking was in fact a last resort. 'A bad gig is a bad economic proposition' stated Bob Weir. (Weir used to be called 'the Kid', but now he's 'Bobby Ace' from the off-shoot band he formed back in 1970 called Bobby Ace and the Cards from the Bottom.) If anyone has the wild card up his sleeve in the band at the moment, it's him. It's Weir, not Garcia who is now fronting the Grateful Dead, singing most of the songs and writing most of the material. 'I'm just doing the same old stuff, only I'm more in control now and I can do it better' he shrugs. His solo album 'Ace' should be out soon and promises to be a real hot biscuit. 'One more Saturday Night' the new Grateful Dead single comes from the record as does 'The Greatest Story Ever Told' which has taken over from 'Bertha' as the opening number at a Dead concert. There are four or five Hunter-Weir numbers, a few written with an old friend of Weir's, John Barlow, and even some classical music. </div><div>'I listen to an awful lot of classical music. Phil has been mostly responsible for my picking up on the stuff in the first place, and on the album there are some attempts at my interpretation of what I've heard. I borrowed some changes from Johann Sebastian Bach though it turned out sounding nothing like the original source, or even like Procol Harum which is rock 'n roll classical music. At the moment, I'm interested in different music forms. I wrote the music of 'Playing in the Band' which is an exercise in 10/4 time. You can hear 10/4 time in Greek music and some East Indian music, but otherwise you just don't hear it in Western music. Sometimes the band picks up on a weird time signature just to see if they can make music out of it, like Phil's number 'The Eleven'. It's purely an academic experiment, I guess.' </div><div>Weir wrote most of the words and music for the 'Anthem of the Sun' suite. The words, though often awkward, are interesting in that they tell the real story behind the Acid Tests ('the bus pulled up and I got on/that's when it all began'). Garcia stated that Wolfe's account of the Trips Festival etc. was inaccurate and unbalanced. </div><div>'Tom Wolfe was just an observer writing about something he didn't understand. He never participated in what was going on - he never dropped acid. Also being a writer, he was more interested in concentrating on Kesey who was a novelist, whereas Cassidy was the real dynamo behind the whole thing.' </div><div>Bob Weir, who was a close friend of Neil Cassidy, took up the story. </div><div>'I wrote the lyrics to 'The Other One' in Portland, Oregon, on the night that Cassidy was dying somewhere in Mexico. He was a great friend of ours - it just all happened on the same night. The words are all about him, y'know; it really destroyed me when I found out. Cassidy was like the crazy big brother of the Grateful Dead. He had an infinite capacity for living and taught the band by example a great deal about life-styles and the way to handle a situation. How to come through it all and at the same time have a good time. </div><div>'Cassidy died from over exposure. I don't know exactly how it was - I've heard so many stories about how it was murder, how it was suicide. I think it was a mistake, a mistake he knew that he was going to make. When he left for Mexico, he left the house of some friends of mine, and his last words were 'Don't worry about it'. I guess you could say he burned himself out for the next ninety years, because he was capable of living in that way. He's surely one of the most interesting people who ever lived. He could make you laugh until you were sick and he had these weird, unbelievable powers. He was the unqualified master of telepathy.' </div><div>Cassidy's telepathic powers rubbed off on the Dead - 'After 7 years together, we know exactly how to inflect, exactly what nuances to use when playing, and the result is sometimes inspirational and then sometimes it just doesn't happen which is...y'know a bummer. We've found that we tend to communicate and therefore play better when our heads are closer together in physical proximity.' </div><div>The best recorded example of the Dead's work, Weir reckons, is 'The Other One'. </div><div>'There were some points on 'Dark Star', but that take of 'Dark Star' which ended up on the album was not as good as the one recorded the night before at the Avalon Ballroom. The recorder wasn't set up right or something so the good one got away. With a number like that, there's a beginning, a check-point - a middle, and an end. A stock motif and then a little sequence - the rest of it is built around a combination of circumstances - the environment, our collective mood. There is no basic rhythm; we usually dissolve it in sheets of sound and from there, we explore the possibilities. There have never been two identical performances of 'Dark Star'.' </div><div>Bob Weir and Pigpen present another Yin and Yang paradox, but as we sat together and rapped, it turned out they had a lot in common. </div><div>'Bobby and I don't mess with dope or booze anymore' muttered Pigpen. All the band seem to have moved away from their 'heavy drug' image. Kreutzmann and Lesh drink a lot and Garcia smokes a lot of pot, but the cocaine thing is past. </div><div>'What most people don't understand' said Garcia 'is that 'Casey Jones' is an anti-coke song. It's saying 'listen, watch your speed - that stuff is dangerous.' Then, almost as an after thought, he smiled and said: </div><div>'But y'know, I'm only human - I'll take anything.' </div><div>Not so with Pigpen, though. He's on the wagon. Perhaps the most amusing incident during the time I spent with the band was when booze orders were being taken and Pigpen muttered in complete seriousness 'Hey Frankie, couldya get me a soda?' Only it ain't so funny. Pig was very, very ill - a terrible liver complaint coupled with a crippling bout of hepatitis. He now looks skinny, his skin tight as a drum around his cheek-bones. </div><div>'I used to be very heavily into drinking. I never liked dope too much, whisky only got me off - but I quit. It was getting out of hand and I had to go into hospital. They didn't give me booze in hospital, so... Now my only vices are smokin' cigarettes and pesterin' the wenches.' </div><div>Pigpen's a bluesman, Robert Johnson, Blind Willie Johnson, Big Joe Williams, Muddy Waters, John Lee Hooker (Pigpen has worked with John Lee a few times), all those cats. Don't give him no jive about 'can a white man sing the blues'. </div><div>'If I like a song, I'll sing it - and I like the blues. I was brought up on the stuff - rock 'n roll, rhythm 'n blues.' His father was the first San Francisco D.J. to play rhythm 'n blues music in that area and was given the dubious title 'Ole Creepy' for his troubles. Pigpen digs a lot of soul music and his choice of Dead numbers usually comes down to a good soul classic, James Brown's epic 'It's a Man's, Man's, Man's, Man's World' (now dropped owing to a backlash from Women's Lib.), Otis Redding's 'Hard to Handle', and the Olympics/Young Rascals classic 'Good Lovin'. About those juiced raps he pulls out when the spirits are willing - 'It's real easy for me to make up that kind of stuff as I go along. A little story, a little anecdote - I got to get a little crazy to do that stuff.' </div><div>The Pig used to hang around bars and night-clubs way back when, working in various soul and boogie combos. Then one day he worked in a band which contained one Jerry Garcia on bass guitar and the occasional appearance of Bill Kreutzmann on drums. From those humble beginnings were born the Warlocks who changed their name to the Grateful Dead. And they're still all together - Garcia, Weir, Lesh, Pigpen, Kreutzmann. Sure, Mickey Hart's doing his own stuff now, living out his crazy, funky existence on some ranch, while Tom Constanten - 'JC' to the boys [sic] - is still heavily into Scientology. </div><div><br /></div><div>But otherwise, there they all were backstage at the Empire Pool, Wembley, not quite knowing what to expect but not really getting worried. 'We'll just up and do our stuff and see how it all works out' muttered Pigpen, while Garcia, sharp as a hot Ferrari in black silk shirt and the trousers of his Nudie suit (emblazoned with magnificent skull design (what else?) on the bell-bottom) flashed these gold, cosmic grins from under that hairy tangle of beard and rapped with anyone who wanted to talk to him. Kreutzmann and Lesh boozed away happily and gregariously while the 7,000 people seated themselves. This audience, whether they'd picked up on the Dead through 'Anthem of the Sun' and 'Live Dead' or 'American Beauty' and the new live double-album, were all united in the knowledge that this was their band. Here was a living legend if ever there was - Kerouac and Cassidy were dead, Kesey was, god knows where Kesey was, Owsley was in jail, but the Dead were still high and rising. The magic band had survived it all and were flowing on this plain above all the rest. </div><div>Having seen them at rehearsal doing their new material (everything from a mournful Garcia version of Hank William's 'You Win Again' to an unbelievable workout on 'Bo Diddley' which is even better than 'Not Fade Away'), I had some vague idea of what to expect, but a live Dead concert in front of a massive audience would be something else again. At 7.30 the band casually appeared on stage, plugged in and kicked off. No fuss, no superstar bullshit or prima donna scenes; they just went straight into 'The Greatest Story Ever Told', tight and confident with Bobby Weir and Donna Godcheaux wailing out front while the band worked their way through the jerky, almost clumsy rhythm. From there they went into a couple of numbers from Garcia's solo album - 'Loser' and 'Sugaree' (the latter dragging just a fraction), picking up with two raucous Pigpen rockers. Pig never got out front for any length of time and there were no long inspired raps either. He's still getting back into his stride, though a super-moody 'Big Boss Man' proved that he's still got the goods. The audience remained appreciative and receptive, but there was the distinct feeling that something was missing. A ridiculously fine stomping version of 'Beat it on Down the Line' came near to what we were looking for, but the essential ingredient - the fabled magic of the Grateful Dead - had yet to make its presence felt. The levels of the performance wavered frustratedly until the band introduced 'Playin' in the Band'. From the first notes it seemed right - the near ecstatic pure electric guitar sound the Byrds could pull off in the mid-60s when the planets were all fixed in the correct proportions flowing straight into the churning 'Proud Mary' rhythm with Donna wailing, biting out a third harmony - 'Playing - Playing-in-the-band - Da-aay-break, Day break 'cross the land'. And then the band just floated off onto some weird beautiful plain, Garcia picking notes like bubbles bursting while Lesh was in total control on his side of the cosmos constantly there by the side of his comrades and building platforms for them to transcend. This indeed was space travel - Godcheax exploring every nuance of the music left untouched by his fellow-travellers while Kreutzmann lay back providing the fuel for the space-ship which was now airbourne. Just like magic. Before you could breathe out again, the band powerhoused into 'Casey Jones'. The star-ship had now become a locomotive, a fabulous electric monster pouring out, consuming anything around with substance riding the lines expressway to your senses. The words to the chorus were flashed on the back-drop just in case we'd forgotten them. But by now it was all too late to watch your speed. The Grateful Dead had begun. </div><div>After 'Casey Jones', there was a short break - just time enough to pick yourself off the floor. By now the energy level was unbelievably high, but more amazing was the fact that when the Dead came back on, they not only started at exactly that same intensity, they went straight ahead and got higher and higher. From 'Truckin'' they spun right into 'The Other One'. By this time, all the scribes had discarded their note-books and just stood back, bathing in all the rhythms and textures. It was all literally too much. I seem to recall the band doing 'Sugar Magnolia', 'Wharf-rat', a killer new Garcia-Hunter composition with outrageously fine lyrics (any song which mentions Wolfman Jack, Crazy Otto, Billy the Kid and Jesse James in almost the same breath must have something going for it) which I later found out was called 'Ramblin' Rose'. The band ended the set with the inevitable 'Not Fade Away/Goin' down the road feelin' Bad' medley, doing one encore of 'One More Saturday Night'. </div><div>I really don't want to make some glib statement about what happened being a spiritual experience. But that's all I can really think of. Everyone at the concert had been introduced to the New Music - the Dead had taken people into a new consciousness - all the doors had been opened. </div><div>After the gig, there was the usual party where everyone came to show off their Underground chic. Amid the velvet and satin, members of the Dead sat quietly bewildered and rather out of it all. Pigpen, still brooding, muttered that it had been a pretty mediocre gig, while Garcia was still giving out his raps to those around who had already been mind-blitzed. Outside the building, the last remains of the audience staggered around, hopelessly spaced, wondering where the hell they could go after witnessing all that. If they'd looked up into the sky earlier in the evening they would have noticed a giant rainbow hanging right over the Empire Pool. It was that sort of evening.</div><div><br /></div><div><i>(by Nick Kent, from Frendz, May 12, 1972)</i></div><div><i><br /></i></div><div><i>Thanks to Simon Phillips. </i></div><div><i><br /></i></div><div><i>More Nick Kent on the Dead:</i> </div><div><a href="http://deadsources.blogspot.com/2014/09/may-5-7-1972-bickershaw-festival.html" target="_blank">http://deadsources.blogspot.com/2014/09/may-5-7-1972-bickershaw-festival.html</a> </div><div><br /></div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com4tag:blogger.com,1999:blog-5195590583641426943.post-47448214669247136472022-05-29T04:17:00.001-07:002022-05-29T04:17:09.496-07:00April 1972: Jerry Garcia Interview<div style="text-align: left;"><div>JERRY GARCIA IN THE TALK-IN</div><div><br /></div><div><i>It's been a long time but at last you're over here. Why has it taken so long to get together? Every year you get rumours...</i></div><div><br /></div><div>Well, that’s true. I think from our side of it it’s been a matter of holding off until I think we were basically unified about going somewhere. In the past it’s been a question of timing – for example we had a European tour kind of sketched out this time last year, but the timing was poor.</div><div>What happened was we’d been out on the road for two months and our plan was to then go to Europe, but we were so exhausted and we were on sort of a downhill...the way things work with our music is that we can only play certain material for so long and then we get bored with what we’re doing.</div><div>It’s important to us to be able to take a break for maybe a month or so, come back to it fresh, rehearse, get new material together – then the music has some vitality. But if we try and play the same material too continually it just starts getting lame, you know, and we start getting bored with it and so forth.</div><div>That’s like an up and down curve, and the last time we were just on the down end of the curve when it came time for a final decision – "are we going to go, are we not going to go? Oh, let’s not go because we just don’t feel right." It comes down to that we weren’t ready to, I don’t think we were ready to come – not in our own heads.</div><div>That may or may not be a good criterion, but that’s the way it works in our scene. If everybody feels like it, it happens, if not it doesn’t, and this year we’re just really ready...totally ready.</div><div><br /></div><div><i>And “everybody” with the Dead is quite a lot of people.</i></div><div><br /></div><div>Right, right, and all of them are ready too. Because everybody plays an important part, actually, on one level or another, and if any of those levels aren’t quite right for one reason or another, then we can’t really move forward.</div><div>It represents energy lost if we try to, you know what I mean, because we’ll have to go back and fix that thing eventually. So we always wait until it’s really time to do it. That’s what this is about.</div><div><br /></div><div><i>Have you got a lot of new material that you’ll be doing then?</i></div><div><br /></div><div>Well, we have material that’ll be new here, yeah – it’s not new to us, we’ve been playing it for a while, but our material starts to get life after we’ve been playing it for a while, but if we play it too long it loses life.</div><div>There’s a sort of a peak optimum, and right now we’re at one of those peaks. We’ve got a lot of brand new material, we have material that’ll be new to...that we’ve never recorded, in fact that’s why we’re recording these tours.</div><div><br /></div><div><i>At Bickershaw you’ll be having a whole day, right? I heard you’d be doing a kind of history of the Dead.</i></div><div><br /></div><div>Well, actually our show is kind of that, in a way, insofar as we try to start on a kind of easy-to-hear level – it works for several reasons that way.</div><div>For one thing it works that we remember how to play, each time, by starting with simple things, moving into more complex things, and then finally after having built a kind of platform, then we sort of jump off it.</div><div>But if we were to start the show jumping off it, most of the audience I don’t think would really be able to follow it, unless they were really Grateful Dead freaks.</div><div>So now we have this sort of continuum, which is good for us and it’s good for the audience because we have a kind of continuity – from off the street to outer space, so to speak.</div><div><br /></div><div><i>And then back again?</i></div><div><br /></div><div>Sometimes, but then sometimes we just hang out there. It’s not so organised. When we go on stage we don’t have a set worked out, we don’t know what we’re going to do, so it’s a combination of us being sensitive to the situation and to the audience, and what material might be appropriate to a given moment. We leave ourselves that kind of flexibility.</div><div><br /></div><div><i>And obviously having a whole day to do it is an advantage...</i></div><div><br /></div><div>Right, that’s why we insist on those long concerts as well, to provide ourselves with enough time to do what we know we can do good.</div><div><br /></div><div><i>How does it work within three or four hours?</i></div><div><br /></div><div>Four hours is good, four or five hours is usually really good. After that it depends.</div><div>Outdoors is a different thing, outdoors there’s just a tremendous amount more energy available, it seems; we’ve sometimes played outdoors for six or seven hours – really ridiculously long times, but there’s a different thing happening there, it’s easier for some reason.</div><div><br /></div><div><i>How would you say the Dead have changed since the early days in San Francisco?</i></div><div><br /></div><div>We’ve had a couple of major changes. I think our first major change from the early days was when we added a second drummer, and that kinda like represents the middle period so to speak.</div><div>You can hear pretty well what the result of that was on "Live Dead", in terms of performance, what that meant to our performance. Then, two drummers got to be a musical refinement for the sake of itself, which didn’t really contribute to the music, ultimately.</div><div>It was a good trip, but finally it didn’t really provide enough for two drummers to be doing full time, and be satisfied, so then Mickey went back to doing his Mickey stuff – he’s got a recording studio and things like that – and we went back to a five-man format.</div><div>But, we felt that we needed more music, just more music in the band, so in this last year we picked up Keith, who’s our piano player, and his wife Donna is an excellent singer so she’s been singing some with us too. So those are two changes that are brand new, and that’s made our music change again.</div><div>But I couldn’t really describe, objectively, what’s different about it because to me it seems like we’re playing the same music that we ever were, we’re just playing it better than we ever were.</div><div><br /></div><div><i>Your attitudes, your approach, is the same.</i></div><div><br /></div><div>Yeah, that’s right, it’s basically the same. We’ve gone through different directions in terms of material – the kinds of material that we write – but those just have to do with the kind of life that we experience, it’s just the regular changes that one goes through in the course of a lifetime.</div><div>I don’t see those as fundamental differences in our approach to music. It’s been pretty steady.</div><div><br /></div><div><i>But would you say you’ve kept the same approach as you had maybe in the very early days?</i></div><div><br /></div><div>I would say that we’re considerably more sophisticated and adventurous than we were then, although what we were doing then was far out for those times. I think what we do now is much farther out, and has much more potential.</div><div>Now, it’s a lot like we finally have an instrument that really works well, and now it’s just a matter of us seeing what it’ll do, see how it works.</div><div>Everybody is really on top of it musically – Bob has been writing a lot of good material, Pigpen’s been writing a lot of good songs, and the energy of the piano player and his wife has just been fantastic for us, made it feel really complete.</div><div><br /></div><div><i>But you tend to get the impression from reading articles about San Francisco at that time – you know those articles that all had Grateful Dead-Jefferson Airplane in the same breath all the time...</i></div><div><br /></div><div>Right...</div><div><br /></div><div>.<i>..that there was a very special kind of community thing about the place and the music.</i></div><div><br /></div><div>Right, but that community thing is much more together now than it ever was in those days. In those days I think it was a matter of like...I think what made it weird for us was that so much attention was focused in the media on the scene, and it was before that scene really was together. It was while the scene was sort of forming, but so much attention got focused on it at that formative stage that it exploded.</div><div>You know, like all kinds of people came to the Haight-Ashbury, and there was a tremendous reaction to that, and the whole thing closed down, and then the political thing came into being, and all these various changes came in, and I think that it was unfortunately misleading that early.</div><div><br /></div><div><i>Misleading for who – for you?</i></div><div><br /></div><div>For everybody. For you, and for me, yeah, and it just put too much energy into too fragile a situation so that the energy was more than the capacity to absorb it, and it just made it just very strange for everybody, but now with five years of maturity on everybody, five years, six years of experience, the thing is much more fruitful and real than it was back then – in my mind.</div><div>It’s less spectacular, and it doesn’t have that fresh – "ah, something new!" – it doesn’t have that early excitement, but it does have something that’s much more...together, that’s the only thing I can think of to describe it.</div><div><br /></div><div><i>It’s like all that bit about “Swinging London”.</i></div><div><br /></div><div>Yeah, there you go – same stuff. Who needs it? But that’s the double edged sword of Media – it can be like tremendously helpful and tremendously destructive, all completely unconsciously and unwilfully.</div><div><br /></div><div><i>Do you think that it was that that was destructive to the San Francisco scene?</i></div><div><br /></div><div>I think it was, just because it created more traffic than the scene could possibly cover. See, what we were doing at the time all had to do with having controllable numbers of people, in the sense of you could feed large numbers of people, but you could only feed so many.</div><div>You could feed 1,000, but you couldn’t feed 20,000, so as soon as there got to be more than traffic could bear, then it was like an ecological upset. So I think that had a lot to do with it certainly – just the fact that so much attention was focused on it before the thing was really ready to cope. And also because we were unable to convince the officials in San Francisco, for example, of what was going to happen, we were unable to make them believe that..."hey, listen – have you looked at Time magazine?", you know? You remember that summer, that famous summer of love? That spring we were saying that in the summer there would be more people in the city than the city could possibly hold, there’s going to be more freaks, and what we need is these facilities – we need free clinics, we need doctors here, we need food over here, and stuff like that.</div><div>But they weren’t hearing it, they weren’t able to see it coming, so we just had to stand there and watch this incredible, this fantastic over-flow occur.</div><div>And with more people came that certain percentage of violent types, and all that scene, and pretty soon Haight Street was like an armed camp – at weekends there would be thousands and thousands of people out on the street, and then there would be police at every corner, and finally the riot squad and the National Guard, and all this stuff, just moving in – just because it was mishandled.</div><div><br /></div><div><i>By the city?</i></div><div><br /></div><div>Yeah, and also by us. I mean had we been more perceptive at that time, when we were too young and foolish to be, we would have just not said anything to the Time magazine. [We should] have said, "oh, nothing’s happening here", and cooled it for a while. But that’s youthful folly, I suppose.</div><div>But now, a certain amount of what was really, like I said, what was exciting about the freshness and so forth, that part of it is pretty much over, the age of innocence is over, but now it’s gone past it, and it’s gone past the successive chaos and so forth, and now it’s settled into a really good working community of artists and people. It seems pretty satisfying for those of us who are involved in it.</div><div>What was good about the Haight-Ashbury scene was that new consciousness was being investigated, and information was being made known, and I think that’s still going on, but I think it’s generally more now than it was, there’s more substance there, less fantasy.</div><div><br /></div><div><i>What was the effect of all that on you – did it make you withdraw?</i></div><div><br /></div><div>It made us very clannish, and we had just a pure survival struggle for several years – economical and so forth, trying to keep going, which has been basically what we’ve been geared to doing.</div><div>It’s only been in this last year that all of a sudden there’s been more coming to us than we need. So we’ve been able to move energy around a little bit, we’ve been able to solve our own problems. But that was good, because that was what we needed, you know.</div><div><br /></div><div><i>Because it made everything grow up, mature a lot faster.</i></div><div><br /></div><div>Exactly.</div><div><br /></div><div><i>What decided you to do a solo album?</i></div><div><br /></div><div>Well, basically it was an economic thing because in Marin County, see – I’ve got an old lady, and kids and all that scene at home – and in Marin County there’s not too many houses, and I’ve gone through about three years of renting a beautiful place, and then somebody buys it and kicks me out, so I’ve been moving like every six months pretty regularly.</div><div>Finally, my old lady when she was out looking for places to rent found this really lovely house – on the West Coast in Marin, overlooking the ocean, fantastic place. So at that point we decided, let’s buy a house, rather than rent, and buying a house means coming up with a down payment, and then you pay like rent, but you’re eventually owning the place.</div><div>So we decided to do that, and the way to do it, for me, was to borrow 10,000 dollars from Warner Bros. Records.</div><div>And because it was my house, I thought it should be my record – I wouldn’t have felt right about if it had been a Grateful Dead record to pay for my house. It was sort of an extra-curricular activity. And also Ramrod, who’s our main equipment guy, and Kreutzman worked with me on the record, so I gave them each a percentage of it so they had the ability to buy their own place, buy some land or something.</div><div>It’s a matter of being able to move in and get solid, that’s what the record was about for me, really, to be respectable and so forth, which is laughable but...that’s why it ends with wheel and starts with deal – it’s wheeling and dealing to get a house. Basically that’s the truth of it.</div><div>But also there were things that I wanted to do in the recording studio, that I wanted to try, that I didn’t necessarily want to take up space on a Grateful Dead record to do.</div><div>It’s a matter of having something in your head and wanting to be able to manifest it, and recording costs are so prohibitive – 90 dollars an hour it's just ridiculous – that you can’t amuse yourself unless you’re really rich.</div><div>So again it’s the thing that Warner Brothers would be willing to pay to let me do that. So I was able to accomplish several things by doing that record, but basically I don’t think of it as being "Important" – you know what I mean? I think that it’s idiosyncratic – here’s this one thing – I don’t intend to follow it with a career as a solo performer or anything like that. I might do another one if I feel a need to say something or to experiment in some direction or another.</div><div><br /></div><div><i>Can I talk a bit about the organisation of the Grateful Dead, because it seems quite unique among most rock bands. You’ve got what, about 40 people with you on this trip?</i></div><div><br /></div><div>Well, we don’t always. This is almost our whole scene, that is to say almost the whole Grateful Dead family, Grateful Dead as a social institution, rather than Grateful Dead as a musical institution. In that world, the band represents the driving motor, so to speak, but the reason that we’re able to play is because everybody does what they can to make it right.</div><div>What we’ve been trying to do is liberate the music industry, or at least our little part of it, by gradually withdrawing from booking agents, gradually withdrawing from record companies, gradually withdrawing from that whole scene until finally we have control over the whole range of the things we’re doing.</div><div>We have control over our gigs, we have control over our records – all those things. And the way our organisation works is the way I described before – we don’t do anything if somebody doesn’t feel right about it, everybody has to feel right about it, and if somebody doesn’t then we work on another plan.</div><div><br /></div><div><i>Are you going to set up your own label?</i></div><div><br /></div><div>Well, we’re going to try to set up our own record company, but it’s not going to be a record company in the standard sense in that it’s not going to be designed for profit, it’s going to be designed to sell our records in a way compatible with the way we run our scene.</div><div>It would be like families here and there, who would be like distributing our records, selling them.</div><div>The records would be considerably cheaper than regular records in regular record stores – they might not ever be sold in record stores, they might be sold in health food stores and head shops.</div><div>We’re looking to totally break away from that thing, we’re not interested in competing with the rest of the record world, we’re not interested in playing that game at all.</div><div>What we want to do is put out records, control the quality of them so that they’re really good, on good vinyl and so forth, and so that they’re cheap. So our profit margin can be shortened.</div><div>All these things here are dreams, they’re not real yet, we’re just talking about them and putting together information, and trying to find out how possible it is and what we’re going to need to do to try it. But it’s a gamble – hopefully the way we would do it would be the way the underground newspapers are in America, and the way the health food industry now is in the United States.</div><div>That is entirely a head scene – the farmers are heads, the distributors are heads, the whole thing is incredibly healthy for the whole head economy, which is really a sub-economy in the United States, it doesn’t depend on the rest of the straight, American capitalist system. </div><div>We're interested in lending our support to that, because that is the world we live in, rather than be funnelled through record companies or...people who don't understand what we're doing, that's it, that represents an incredible drag on us. </div><div><br /></div><div><i>So the future for the Dead is to be as completely self contained as possible?</i> </div><div><br /></div><div>Right, that's it exactly. Whether we'll get there or not is anybody's guess, but we're trying. And our feedback, you know, when we throw these ideas out to people - it looks like it's possible, it looks like it would be possible to make all that work, but it just has to do with whether the energy is there, whether people will do it. </div><div>It doesn't have to do with profit and all that stuff, traditional business motives, it has to do with something else entirely, and we haven't defined it - it's not that kind of stuff. </div><div><br /></div><div><i>(by Steve Peacock, from Sounds, April 15, 1972)</i></div><div><i><br /></i></div><div><i>Thanks to Simon Phillips</i>. </div></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com3tag:blogger.com,1999:blog-5195590583641426943.post-78397165283750815832022-05-28T03:26:00.000-07:002022-05-28T03:26:45.038-07:00May 1972: Bob Weir Interview<div style="text-align: left;">DEAD LINES </div><div style="text-align: left;"><i>Grateful Dead's BOB WEIR talks to Steve Bradshaw</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Garcia's solo album was very like a lot of recent Dead material - do you think your album's as closely related to the band's output as a whole?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">I'm told that mine sounds less like the Grateful Dead than his does, though I can't see how that could have happened. Garcia plays all the instruments himself on that album except the drums. Whereas on mine I just play the guitar and use the Grateful Dead ensemble, in some cases augmented by brass and strings to fill the sound out. There are only one or two cuts I don't use the band on. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Have you been saving material up for some time?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well the oldest is probably "Playing in the Band," which I've been doing for about a year now. It was on our last live record. But it's been developed and extended so it's not easily recognisable as the same song. </div><div style="text-align: left;">I realised that the point it's got to now is really what I wanted in the first place. When we recorded it live it was immature, and now it's matured into a different song which I think really holds together much better. </div><div style="text-align: left;">Pigpen is the only member of the band whose material is almost entirely his own, words and music. I have little faith in my poetic abilities, so I just leave it to the experts. </div><div style="text-align: left;">In most cases they were written by a friend of mine called John Barlow, but Robert Hunter, Garcia's lyricist, wrote the words for a couple of songs. I wrote the lyrics for "One More Saturday Night." </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>The band seem to be going their own separate ways a lot more now. </i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">That's always been the case in that when any of us wrote a song we'd try and make it something of our own, and go off in one particular direction as far as possible. There have certainly been divergent directions in the band before, but they've never been brought to the surface by a solo album before. </div><div style="text-align: left;">What's happened is simply that nowadays Garcia and I have more material than we can put on a Grateful Dead record without crowding each other and everyone else out. Now Pigpen's thinking about it too - and if he gets that together, which we all want to see him do very much - we'll be helping with that. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Are there any plans for the next Dead album?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">We've been recording the tour throughout Europe and we'll try to put together another live album of the finest takes. We've played some fairly good shows on the tour so there should be some good material. </div><div style="text-align: left;">The last album worked well enough, though at the time it was simply the quickest and most expedient way to put out a record. But live recording just has that spark of spontaneity you can't recapture in the studio no matter how you try. </div><div style="text-align: left;">What happens in most of our live performances is that we start out with one general category of songs and then move into another, and at the same time we'll swing round, taking it in turns to sing. </div><div style="text-align: left;">Then if, during an improvisation, we get to some region within our plunges through inner and outermost space, which has a rhythmic and tonal mode that suggests a particular song, one of us will start playing the comp to it and everyone will fall in behind. </div><div style="text-align: left;">We've been playing together so long it just happens naturally, we're really just playing from the seat of our pants. The audience may be surprised by how quickly we shift in one particular direction, but really they get to find out what's happening at practically the same time as us. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>What about the actual mechanics of improvisation, how can you tell what each of you are going to be doing next?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Well when we're playing free and we're drifting from key to key, feeling to feeling, and mode to mode, Garcia and Phil on bass are generally playing simple lines, and any combination of two notes suggests a chord. </div><div style="text-align: left;">My role and the piano player's role is to intuit what that combination is going to be, and to be there with that chord, or maybe an augmentation of it. And that might suggest staying there and building on what's happening, or going on to a new passage... A new key or a new mode or whatever. It's quite a choice sometimes! </div><div style="text-align: left;">It usually takes a lot of concentration, though sometimes it just trots out easily. And sometimes that combination of people guessing leads to some inspirational new idea which is really worth living for. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>To recap briefly, the turning point in the Dead's career was Workingman's Dead. What was going on in the band at that time?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">It was a sudden change in direction for the public when that album came out, but a change that had been happening for some time as far as we were concerned. We'd been hanging out with Crosby and Stephen and listening to them sing together, and we began to realise we were neglecting our own vocal presentation for instrumental presentation. </div><div style="text-align: left;">So we started work on vocal and choral arrangements and naturally that was the way the next record - Workingman's Dead - came out. </div><div style="text-align: left;">None of us had given it a lot of thought, but it was certainly a marked change from the way we sounded in the past. It was a lot of fun to make. It happened very quickly and there was a spontaneity about that record which is just beautiful. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>The other change is that you're not working in some social context as specifically as you were before, for example when Ralph Gleason wrote about the commune you lived in as a new direction in experimental living. What's going to replace that?</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;">When we were living in that one house in 1967, it was really out of necessity. It was all we could afford. Our economic situation didn't leave us much leeway, so what we did was what we had to do. It was a lot of fun, and it was fairly uncomfortable too. We moved out first chance we got, because no one really likes living right on top of anyone else like that. </div><div style="text-align: left;">Nonetheless, there are still a lot of people around us we enjoy and many of them work for us in whatever capacity they can find. We support a lot of people, and in turn they support us. </div><div style="text-align: left;">So in fact we now have a huge family, a tribal business scene going. And it seems to work fairly well. It's total and utter anarchy, like our music: but for one miraculous reason or another, everything always gets done. </div><div style="text-align: left;">It's because of that structure that we haven't been able to tour Europe before - we wanted to take everyone with us, and up to this year, we haven't been able to afford it. But I think we've just about broken even. </div><div style="text-align: left;">The next step is to make enough money to buy our own studios. And we want to look at the way records are marketed. </div><div style="text-align: left;">Essentially what the band and the family want to do now is to find more efficient ways of letting more people hear better music. </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>(by Steve Bradshaw, from Melody Maker, July 22, 1972)</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><i>Thanks to Simon Phillips</i>. </div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com3tag:blogger.com,1999:blog-5195590583641426943.post-86978497112325068382022-05-27T08:25:00.000-07:002022-05-27T08:25:20.852-07:00May 25, 1972: Lyceum Theatre, London<div>CAUGHT IN THE ACT: GRATEFUL DEAD</div><div><br /></div>There's a lot of enjoyable bands around at the moment and there's a few exceptional bands around too. But there's only a handful of the exceptionally enjoyable - the enjoyably exceptional - in this world today and one of them played four nights at the London Lyceum last week. <div>The Grateful Dead, on an extended European tour, jamming exhaustively at Bickershaw and broadcasting from Luxembourg, started with an enthusiastic Tuesday crowd, built through an exciting Wednesday show, an ecstatic Thursday gig (the night I caught), and on to Friday's grand finale. </div><div>They attracted a larger proportion of Americans to the Lyceum than usual and the whole atmosphere must have been similar to that in the West coast ballrooms of the sixties with the uninhibited shouts and whoops of appreciation and encouragement. </div><div>There's no showmanship to the Dead. It's just a case of walking on stage - to great applause - and getting on with the job in hand, which is boogie, as in "Big Boss Man," a good, hard blues opener. </div><div>It's a very interesting stage, musically, that the Dead have reached. A well developed blend of their early rhythm and blues-rock roots with their Workingman/American Beauty country influences producing one of the most complete synthesis of white American music in an individual style. </div><div>Mighty guru Garcia stands smilingly at the back picking out the most relaxed and pointed lines while Bob Weir, to the front, stands with head on one side singing high and true. It's really only in live concert that the full qualities of Lesh and Kreutzmann as a rhythm section become wholly apparent. Added to Weir's rhythm guitar chord patterns, which play closer to Garcia's lead than to the actual rhythm team, Phil and Bill give the Dead's music that loose, rolling and purposefully fragmented feel. </div><div>It's a sensation that often teeters on the brink of anarchy. You suddenly think "This song is coming apart at the seams" and suddenly the whole band is together again tightasthis. </div><div>The insidious infectiousness of the Dead's music is clear. On Thursday there was never any need for the "c'mon everybody clap yo' hands" stuff, but, all the same, the whole Lyceum is suddenly clapping hands. </div><div>Pigpen's almost invisible, hidden at the back and to one side of the stage. But he comes out front for "Good Lovin'," perhaps a little weak to those who remember the Young Rascals' frantic rendition, but there's some nice organ from Keith Godchaux who takes over the keyboards from McKernan. Keith's wife Donna comes on stage for a fantastic "Playing In The Band," a title which reflects what the Dead are all about. Anyone who's ever picked guitar or smote the snare in anger would love to play in such a band. </div><div>A simple string of song titles tends to reduce the stature of the Dead's performance, but some of the notables were "Casey Jones" (which closed the first set), "Big Railroad Blues," "Uncle John's Band," and the smoky, moody "Wharf Rat." </div><div>The highlight, however, is still the epic "Dark Star." It's a marathon stellar piece launched by Lesh and Kreutzmann, fuelled by the consistently interesting interplay between Garcia and Weir with the leader pinging out high precise notes and the whole band building a series of stunningly powerful climaxes. </div><div>So how do you follow such a musical journey? Well, you relax and play what you want to. In this case what they wanted to play was a series of oldies and goldies going right back to an "El Paso" that Marty Robbins just wouldn't have believed. </div><div>All of this tended to eclipse the set played by the New Riders of the Purple Sage earlier in the evening. I enjoyed their first album but found "Powerglide," their second, disappointing. The NRPS set, notwithstanding an enthusiastic reception from U.S. expatriates, was similarly good/bad. "Last Lonely Eagle" (first album track) was fine with good steel guitar; "I Don't Need No Doctor" (second album and latest single) rocked well; "Louisiana Lady," "The Weight" plus "Willie And The Hand Jive" proved highspots in the set. </div><div>But the night was the Dead's, whose extraordinary musical stamina has given us four excellent nights at the Lyceum. Let's hope that other bands of equal stature follow their example. (Is four nights at the same or a similar venue too much to hope for from the Stones?). </div><div><br /></div><div><i>(by Geoff Brown, from Melody Maker, June 3, 1972)</i></div><div><br /></div><div>* * * </div><div><br /></div><div>DEAD: ONE OF THE BEST</div><div><br /></div><div>The Grateful Dead are an exasperating band. Carve away all the semi-mystical claptrap that surrounds them and they still have an indeniably high presence. </div><div>On-stage at the Lyceum last week they played so quietly, so completely laid-back that, you would imagine, an audience brought up on ear-battering rock and roll would become restive and bored. But as the music floated over in waves from the front of the stage and percolated into the crowded, labyrinthine maze of corridors and iron balustrades, they sat there gripped with wonderment that a band should fill the whole of the hall, not just with its music, but with its very presence. </div><div>The Dead seemed to be at home in the intimate warmth of the old-time Lyceum with its dim, smokey lights and tuned in perfectly to the people, who captured, magnified, and returned to the band that relaxed, magical good-time feeling. But the Dead are still exasperating. </div><div>On the Thursday of their four-day stint last week, their first set was beautiful, and as they ended with a red-hot Casey Jones, the second promised to take off sky-high - but didn't. It turned into a meandering, shambolic feedback jam illuminated with the occasional flash of dazzling, almost telepathic brilliance. </div><div>I picked them up at "Big Boss Man", which they play with great assurance, rolling bass from Phil Lesh and wailing harp, and stayed through until the end of the second set. Song-titles have never struck me as of great interest in the Dead's music: even the song-albums like "American Beauty" just flow through like a continuous set. The continuity is even more overpowering in performance, and breaks seem to come, not so much when the song reaches its conclusion, but when the band decide that they have explored to the full that particular feeling for that particular evening. </div><div>During the first set, what struck me most forcibly was not the role of Garcia as leader and controller, but Bob Weir, the best vocalist and the linkman. While Garcia takes off on his guitar excursions, it is Weir who pins the sound together, lifting the pace with his immaculate timing and full chords, then suddenly taking a stride forwards to the mike to pick up a chorus as Jerry Garcia's towering solos suddenly drop back into the main theme of the song. </div><div>The Dead's improvisation technique is actually quite simple: they take a song out to the end of an instrumental break; then, where others would reach a peak of intensity and fall back into the song, they take it on out from there, building beyond. </div><div>The intensity is not governed by volume, either: there are whole areas of space which are implied rather than hammered out (for which credit to Lesh's bass, whose silences are almost as eloquent as the fastest jumping runs), allowing the top layer of instrumentation (the interplay between Garcia's and Weir's guitars and Keith Godchaux's piano) to develop with almost telepathic understanding. The crowd understand it, too.</div><div>Some of the more complex transitions were incredibly achieved, drawing roars of admiration, but it was when they got to "Dark Star" in the second set that the cohesion seemed to be falling apart. Maybe I lost them somewhere down the line, but when drummer Kreutzmann peters out into tricky cymbal work and Lesh's bass loses the raunchy, jumping feel that underlies all the Dead's R and B-based music and leaves a throbbing pulse with no apparent timing implied, I feel that they start to degenerate into self-indulgent rambling. </div><div>Too harsh, maybe; but it is a sign of the Dead's assured status that they can carry it with an audience. From a playing point of view, the Dead have surely confirmed that they are amongst the best around bar none. For total impact there still remains a certain ambiguity - but it was a great evening. </div><div>The New Riders of the Purple Sage earlier proved themselves to be a stronger, raunchier band than their light, delicate country music album would suggest. Spencer Dryden is a powerhouse at the drums and by the end of their set they had the audience up on their feet and clapping. </div><div><br /></div><div><i>(by Martin Hayman, from Sounds, June 3, 1972)</i></div><div><br /></div><div><br /></div><div><i>Thanks to Simon Phillips</i>. </div><div><br /></div><div><a href="https://archive.org/details/gd1972-05-25.sbd.miller.87682.sbeok.flac16" target="_blank">https://archive.org/details/gd1972-05-25.sbd.miller.87682.sbeok.flac16</a> </div><div><br /></div><div><i>See also other Lyceum reviews:</i> </div><div><a href="http://deadsources.blogspot.com/2014/09/may-23-1972-lyceum-london.html" target="_blank">http://deadsources.blogspot.com/2014/09/may-23-1972-lyceum-london.html</a> </div><div><a href="http://deadsources.blogspot.com/2022/05/may-23-1972-lyceum-theatre-london.html" target="_blank">http://deadsources.blogspot.com/2022/05/may-23-1972-lyceum-theatre-london.html</a> </div><div><br /></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1tag:blogger.com,1999:blog-5195590583641426943.post-32248655283093677442022-05-26T09:05:00.000-07:002022-05-26T09:05:55.526-07:00May 16, 1972: Radio Luxembourg<div style="text-align: left;">THE DEAD IN LUXEMBOURG</div><div style="text-align: left;">A sign of hope</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the past few weeks one has seen Radio Luxembourg progress an aeon in one bound from its tenacious image of the Ovaltiners and Horace Batchelor. </div><div style="text-align: left;">By encouraging first the Beach Boys and then, a week later, the Grateful Dead to broadcast live throughout Europe, Lux has both conclusively shown that the enterprising future of rock radio lies with the little duchy and drawn the milk-teeth from the flabby gums of BBC's Radio One. </div><div style="text-align: left;">In fairness to the BBC, it's true to say that under the rules of the Musicians' Union here, American musicians are forbidden to play (though they can sing) directly on British radio. A fact of broadcasting life that dates back to the wholesale Merseyside invasion of the American music markets, when it was felt that some protection was required on both sides of the Atlantic. </div><div style="text-align: left;">To let it go at that, however, is to condone the meek acquiescence of the mighty media monopoly. It should not be allowed to take credit away from a commercial station which at least appears committed to what it is doing. </div><div style="text-align: left;">Bear in mind that Luxembourg's broadcastings of whole programmes devoted to Tamla Motown, the Beatles, and Presley have all subsequently, and in a miserably belated fashion, been scavenged by Radio One. </div><div style="text-align: left;">Thank God for people in the music business with gumption and guts to match. To present a band performing live for three hours, as was the case with the Dead last Tuesday, involves obvious technical difficulties of ensuring no unscheduled breaks in playing time. </div><div style="text-align: left;">This is difficult enough in the context of festival and concert performances, but to be willing to cope with the unexpected in such circumstances on radio deserves a pat on the back in my opinion. </div><div style="text-align: left;">Just think, there are people who do believe radio should be exciting, and that its spontaneity is not confined to a telephone call to provincial housewives about their zodiac signs or culinary habits. </div><div style="text-align: left;">Radio Luxembourg has been bold in more than a technical sense, however. Like all commercial stations, it exists on sponsorship, but the decision on these live shows was to feature no advertising. </div><div style="text-align: left;">Certainly, in this instance loss of revenue equals increase in prestige with the public, but why not accept their explanation that it was done because "we knew the kids would dig it"? </div><div style="text-align: left;">The important point to remember is that the success of these two shows creates a foundation for future ventures. </div><div style="text-align: left;">It's already been suggested that what has begun as a casual experiment may lead to permanent broadcasting of all major American artists who arrive on the shores of Europe and wish to play free for what amounts to virtual publicity before a 40 million-strong audience. </div><div style="text-align: left;">And not just Americans. There's no reason why The Stones, say, or any British group couldn't play to an audience here that is fed up to the gills with Night Ride. </div><div style="text-align: left;">It's not that easy, of course. Lux's officials at the British end have yet to overcome entirely the entrenched petit bourgeoisie mentality of a tiny European state, which looks on at the recent parade of long-haired visitors to its radio station in the old castle with a mixture of perplexity and hesitation. </div><div style="text-align: left;">A neutral country, prominent, like Switzerland, for its banking interests, it doesn't need the hassles that occasionally become associated with rock artists and their followers. </div><div style="text-align: left;">Regretfully, the programme with the Dead had this unfortunate aspect to an extent. Because of a rather silly announcement on the French service of Luxembourg, several hundred Deadheads travelled from France thinking they would see a free concert with admission to all. </div><div style="text-align: left;">They found that the station's small theatre, where the recording took place, held only 350. Some were left outside. There were scuffles with the two security men (really, just jobsworths). One guy in the crowd tried to climb in, fell ten foot into the waterless moat, and suffered spinal injuries. </div><div style="text-align: left;">There was fifty quid's worth of damage to a door. Doubtless, seen through the eyes of many Luxembourg citizens, for whom the major spectacle in their lives has been the signing of the EEC papers there, it appeared like some riot. </div><div style="text-align: left;">How can they know it was merely a lack of French foresight and a blatant inadequacy of security? How can they be made aware that reaction to the Beach Boys show came in from as far away as San Francisco and L.A.? </div><div style="text-align: left;">It's a pity these bankers, restaurant owners, and shopkeepers could not have been inside that recording theatre last Tuesday. To see Jerry Garcia smile and smile and smile is something on its own. </div><div style="text-align: left;">Still, if you were tuned in, you must have got the picture. There's almost a visual element about live radio. You dig? <br /></div><div style="text-align: left;"> </div><div style="text-align: left;"><i>(by Michael Watts, from Melody Maker, May 27, 1972)</i> </div><div style="text-align: left;"> </div><div style="text-align: left;">* * * </div><div style="text-align: left;"> </div><div style="text-align: left;">In concert with Radio Luxembourg: </div><div style="text-align: left;">THE GRATEFUL DEAD</div><div style="text-align: left;"> Riots at the entrance of the Villa Louvigny </div><div style="text-align: left;"> </div><div style="text-align: left;">The "Grateful Dead" concert last Tuesday (midnight to 2am) will be remembered by many as the worst possible organization in the Villa Louvigny auditorium. Something that cannot be said of the concert with the Beach Boys that took place a week ago. How did this mess come about? A few questions arise. <br />Why was the entrance moved? Why weren't the umpteen people who stayed in front of the wrong entrance until midnight (the start of the concert) and longer, and who all had an invitation card, not informed about this? Why, and this seems to us to be the most important thing, was Radio-Luxembourg's Hangwellen transmitter used for a "concert gratuit", as it was called, and why weren't the listeners made aware that an invitation was required? Why were about 100 French people admitted before those who had been invited were seated in the Villa Louvigny? <br />Of course, you can't blame a Frenchman who came from Paris in response to the tempting offer of a "Free Concert" - that he really wanted to see the Grateful Dead after he'd already come here. The gentlemen from Radio-Luxembourg would have saved themselves smashed windows if they had kindly informed the French not to force their way in, since they were willing to let them in once everyone who had an invitation had been seated. <br />The "L W." critic was fortunate to enter through a back door at around 1:15 a.m. and still be able to see the "Dead". Under these circumstances one can hardly expect a detailed assessment of the concert from him. <br />On a colorful stage and in front of a surprisingly not even fully occupied hall (?), about two dozen community members of the Grateful Dead sat down next to the musicians and their instruments and amplifiers. <br />The "electric cowboys" from San Francisco, as they are often called in the trade press, had built their entire repertoire very much on the guitars of Jerry Garcia and Bob Weir. Garcia often let a very delicate lead guitar be heard, but the sometimes too loud volume of the whole group shouldn't be able to excite us beyond measure. The approximately 60 million listeners (according to the organizer) on the radio were given a far better sound quality than those present in the hall. <br />If you continue to plan such concerts, which would be very gratifying, you should take into account the mishaps of last Tuesday. <br /></div><div style="text-align: left;"> </div><div style="text-align: left;"><i>(by Rene Thill, from the Luxemburger Wort, May 19, 1972)</i> </div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Original text here:</i> <a href="https://viewer.eluxemburgensia.lu/ark:70795/6w2fks3hq/pages/29/articles/DIVL2375" target="_blank">https://viewer.eluxemburgensia.lu/ark:70795/6w2fks3hq/pages/29/articles/DIVL2375</a> <br /></div><div style="text-align: left;"> <br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://archive.org/details/gd72-05-16.sbd.unknown.10353.sbeok.shnf" target="_blank">https://archive.org/details/gd72-05-16.sbd.unknown.10353.sbeok.shnf</a></div>Light Into Asheshttp://www.blogger.com/profile/06943335142002007213noreply@blogger.com1