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DEAD TO THE WORLD

Not for Deadheads only!
Wednesdays 8-10pm
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Grateful Dead Hour no. 1
Week of September 5, 1988



Interview with Jerry Garcia by Mary
Eisenhart

Cats Under the Stars

Gomorrah

Terrapin - 10/18/78

Dark Star single

Scarlet Begonias - 5/19/74 Portland OR

Viola Lee Blues->

Feedback->

I Bid You Goodnight - 5/2/70

Grateful Dead Hour no. 2
Week of September 12, 1988



Bertha*

Loser*

Greatest Story Ever Told*->

Johnny B. Goode*

Playing in the Band* - 2-18-71 Capitol Theatre, Port Chester,
N.Y.

Dark Star->

Wharf Rat*->

Dark Star->

Me and My Uncle - 2-18-71

Grateful Dead Hour no. 3
Week of September 19, 1988



Henry Kaiser

Part 1 25:36

Interview with Henry Kaiser

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

Dark Star (excerpt)

Happiness Is Drumming - Diga Rhythm Band, Diga


Part 2 26:32

New Potato Caboose - 2/68?

Mason's Children->

Black Peter - 1/10/70 Community Concourse, San Diego CA

Grateful Dead Hour no. 4
Week of September 26, 1988



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

Part 1 25:27

Feel Like a Stranger

Playing in the Band - 12/28/83 San Francisco Civic Auditorium


Part 2 27:18

ALF: I've decided to reveal myself to the world. This way I
can meet new people, travel, see a Grateful Dead concert...

Willie: I don't think the authorities would even let you out in
public, much less become a Deadhead. You'd become government
property.

ALF: That's fine. As long as I've got my freedom.

Dire Wolf

The Wheel->

Playing in the Band tease->

The Other One->

Around and Around->

Johnny B. Goode - 12/28/83

Grateful Dead Hour no. 5
Week of October 3, 1988



Part 1 26:37

Jack Straw

Lazy Lightnin'->

Supplication->

Deal - 12/28/82 HJK, Oakland CA

When I Paint My Masterpiece The Band,
Cahoots

Part 2 26:32

Rose of Sharon - Robert Hunter, Tiger
Rose

Shakedown Street->

Samson & Delilah - 12/28/82

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

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

Grateful Dead Hour no. 6
Week of October 10, 1988



Part 1 25:12

She's On the Road Again->

Touch of Grey

Hard to Handle - Bear's Choice

Part 2 25:46

Throwing Stones->

Not Fade Away->

Morning Dew - 12/28/82

Grateful Dead Hour no. 7
Week of October 17, 1988



Part 1 28:59

To Lay Me Down - 5/22/81 Warfield Theatre (w/ John
Kahn)

Mason's Children - Living Earth (Relix RRCD 2033, 1988)

Fire on the Mountain - Mickey Hart (unreleased)

Cold Rain & Snow - 1/10/70 Community Concourse, San Diego


Part 2 26:04

Turn On Your Love Light - 1/10/70



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

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

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

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

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

Grateful Dead Hour no. 8
Week of October 24, 1988



The tape was a low-gen soundboard, but it had distortion problems
and there was an equipment buzz through most of the first set

Wave That Flag

Looks Like Rain

'We don't play St. Stephen any more because you like it too
much'

Beat It On Down The Line

They Love Each Other

Big River

Brown-Eyed Women

Playing in the Band

Grateful Dead Hour no. 9
Week of October 31, 1988



Slipknot!->

Franklin's Tower->

One More Saturday Night

U.S. Blues - 10/9/76 Oakland Stadium

Tons of Steel - In the Dark

Dark Star - 7/13/84 Greek Theater

Grateful Dead Hour no. 10
Week of November7, 1988



We heard excerpts from the Rainforest Benefit Press Conference
held at the United Nations in NYC on September 14, 1988.

Press Conference

Morning Dew - 2/23/71 Capitol Theater, Portchester, NY

Press Conference

Box of Rain - 7/7/78 Red Rocks

Press Conference

Dire Wolf - 7/7/78

Press Conference

Throwing Stones - 6/15/85

Phil, Bill, and Brent add their views on the rainforest
crisis.

Grateful Dead Hour no. 11
Week of November 14, 1988



Uncle John's Band->

Truckin' ->

Bob Weir jamming with the drummers - 4/16/83 Brendan Byrne Arena


Black Queen (w/ Stephen Stills)->

Iko Iko (w/ Stephen Stills)->

Bob Star->

The Other One - 4/16/83

The Dead played Stephen Stills' 'Black Queen' and he remained on
stage to play 'Iko Iko'. After that, 'The Other One' began, and Bob
Weir sang his 'Little Star' (or 'Bob Star') and the jam led into 'The
Other One' proper. 'Little Star' is a nice song, sung over the music
intro to 'The Other One'. It was only sung three times: the first
time the night before; and the last time was later that summer. The
words (as sung):

Long as we got to be,

Long as we are,

I just want to be,

One of them little stars.

Yea!

One of them little stars.

And it would be just fine.

All you got to do

is hang up there and shine.

Hang up there and shine,

Hang up there and shine,

Hang up there and shine,

Hang up there and shine,

Hang up there and shine.

[Notes by ??? @ gdead.berkeley.edu: I seemed to notice the
difference in the band's playing between 'Black Queen' and 'The Other
One'. Black Queen seemed to drag - maybe because it was the first
time being played - and Stills didn't seem to pickup on the switch to
Iko-Iko until Jerry started singing. Once Stills went off the stage,
The Other One started up, almost with a sigh of relief and a with a
certain lightness, and quickly went into the depths of the intro and
Little Star.]

Grateful Dead Hour no. 12
Week of November 21, 1988



Part 1 27:59

Razooli - Diga Rhythm Band,
Diga

Fire on the Mountain - 10/22/78 Winterland

Part 2 22:49

Good Night Irene - Leadbelly, from The
Original Vision

Good Night Irene - 12/31/83 w/ Rick Danko and Maria Muldaur

Hobo's Lullaby - Emmylou Harris, A Vision Shared/Woody
Guthrie, The Original Vision

Goin' Down This Road Feelin' Bad - Woody
Guthrie Sings Folk Songs, Vol. 2

Grateful Dead Hour no. 13
Week of November 28, 1988



Part 1 24:47

Tum Balalaika - Golden Gate Gypsy
Orchestra

Nugumi - Music of Upper and Lower Egypt

Weir: "My stuff all works, but Jerry's stuff doesn't all
work..." Alabama Getaway->

Greatest Story Ever Told - 10/9/82 Frost Amphitheatre, Stanford


Part 2 27:30

Jackaroe - 4/17/82 Hartford Civic Center

King Solomon's Marbles - 8/13/75 Great American Music Hall, SF


"Greatest Story Ever Told" was written by Mickey Hart, Bob Weir
and Robert Hunter, based on the rhythm of a pump on Mickey's ranch in
Marin County. It appeared on his 1972 solo album, Rolling Thunder, as
"The Pump Song," and then Weir evolved it into Greatest Story Ever
Told and included it on his 1972 solo debut, Ace.

The instrumental "King Solomon's Marbles" was recorded August 13,
1975 at the Great American Music Hall in San Francisco, one of only
four shows the band played that year.

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



Part 1 26:33

Don't Ease Me In

Lost Sailor->

Saint of Circumstance - 9/1/79 Holleder Memorial Stadium, Rochester
NY

Mercy Mercy Mercy - Brian Melvin's
Nightfood, (Global Pacific ZK 40733, 1988)

Run for the Roses - Jerry Garcia, Run for the
Roses

Part 2 23:26

Wharf Rat->

I Need a Miracle->

Bertha->

Good Lovin' 9/1/79 Holleder Memorial Stadium, Rochester NY

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

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

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

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



Brown-Eyed Women

Bird Song

The Music Never Stopped - 3/18/88 HJK

"There is nothing like a Grateful Dead concert" cheer


Drums/Space

When Push Comes to Shove

Man Smart, Woman Smarter

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



Grateful Dead live from the Bermuda Triangle, playing in front of
ahumongous sound system at Miami Jai-Alai. Each instrument had its
own amplification system and a couple dozen speakers, and it sure did
sound fine! During the energy crisis of the early '70s it got too
expensive to drive all that hardware around, and not long after this
show the band took a 19-month vacation from touring. When they came
back in 1976 their whole setup was a more reasonable size. Jai-Alai
is a team sport played in a huge racquetball court with one side wall
replaced by a net so the spectators can see the game without being
hit by stray jai-alai balls. I saw the Dead play there in '78, but I
don't remember whether they left the net up or not. The Dark Star-US
Blues jam is slightly abridged; the master tape had a break in it,
plus I had to lose another couple of minutes to make it fit into the
Hour. - D.G.

Part 1 27:07

Let It Rock

Black Peter

Around & Around

To Lay Me Down - 6/23/74 Miami Jai-Alai

Part 2 25:29

Dark Star->

Spanish jam->

US Blues - 6/23/74 Miami Jai-Alai

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



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

Part 1 26:28

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

Shakedown Street 7/26/87 Anaheim Stadium

Notes from the Rosetta Stone (first section) - Peter Apfelbaum and
the Hieroglyphics Ensemble with Don Cherry 10/14/88 Palace of Fine
Arts Theatre, SF

China Doll - Grateful Dead from the Mars Hotel


Part 2 25:59

Terrapin->

percussion 7/26/87 Anaheim Stadium

Throwing Stones 7/26/87

Not Fade Away - The Rolling Stones



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

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

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