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



Part 1 26:30

Interview: Phil Lesh

St. Stephen 6/15/76 Beacon Theater, NYC

Interview: Phil Lesh

Playing in the Band 7/29/88 Laguna Seca

Part 2 26:24

Interview: Phil Lesh

Passenger - Terrapin Station

Interview: Phil Lesh

Africa - John Coltrane, The Africa Brass Sessions, Vol.
2

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



Side 1 25:15

Good Morning Little Schoolgirl

In the Midnight Hour - 8/22/87 Angels Camp CA (with Carlos Santana,
guitar)

Iko Iko->

All Along the Watchtower - 8/23/87 Angels Camp CA (with Carlos
Santana, guitar)



Side 2 27:06

Truckin' - Squalls, No Time
(Dog Gone Records DOG 0001, 1988)

Q: Who would you choose to play the other band members in the movie
of the life of the Grateful Dead? - Grateful Dead Talk to Themselves
(Arista ADP-9630, 1987)

Dear Mr. Fantasy->

Playing in the Band->

Morning Dew - 8/23/87 Angels Camp CA

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

Interesting reading of Truckin' by Squalls, from their recent
album No Time (Dog Gone Records, P.O. Box
1742, Athens GA 30603). Thanks to nethead Richard Baum for sending it
in. Grateful Dead Talk to Themselves is a
promotional disc put out to radio stations by Arista in Summer '87 to
coincide with the release of In the Dark) -
DG

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



Feel Like a Stranger - 3/2/87 HJKL

Fennario

It's All Over Now - 3/1/87

Diamond Joe - Jerry Garcia Acoustic Band, Almost
Acoustic

Mississippi Halfstep->

Promised Land

Quinn the Eskimo - 3/3/87

Hell in a Bucket - 3/1/87

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



Samson and Delilah

Dark Star->

The Other One->

Dark Star jam

Stagger Lee

Good Lovin'

Casey Jones -> Johnny B. Goode

Bill Graham band intros - 12/31/78 Winterland

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



Side 1 25:14

Walkin' Blues

Bird Song

Jack Straw 12/28/88 Oakland Coliseum

Side 2 28:18

Mason's Children - Henry Kaiser, Alternate
Versions (SST CD 237, 1989)

Uncle John's Band->

I Need a Miracle 12/28/88 Oakland Coliseum

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

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



Turn On Your Lovelight - 12/28/88 Oakland Coliseum

New Year's Wishes

Wang Dang Doodle w/ Clarence Clemons

West L.A. Fadeaway w/Clarence Clemons - 12/31/88 Oakland
Coliseum

When I Paint My Masterpiece

Cold Rain and Snow

Cassidy

Don't Ease Me In - 12/31/88 Oakland Coliseum

New Year's Wishes

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



New Year's Countdown->

Sugar Magnolia->

Touch of Grey (12/31/88) (w/ Clarence Clemons)

Interview with Steve Marcus of the GDTS office

Oh, the Wind and the Rain - Jerry Garcia Acoustic Band,
Almost Acoustic

The Wheel->

Gimme Some Lovin'->

All Along the Watchtower - 12/31/88

New Year's Eve Greetings

Got to Serve Somebody - Dylan and the Dead

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



Side 1 26:57

Morning Dew->

Sunshine Daydream - 12/31/88 Oakland Coliseum Arena

Uncle John's Band Workingman's Dead

Salt Lake City - Bob Weir, Heaven Help the
Fool

Side 2 28:17

Queen Jane, Approximately - 12/29/88 Oakland Coliseum
Arena

Wharf Rat->

*Goin' Down the Road Feelin' Bad->

*One More Saturday Night - 12/31/88 Oakland Coliseum Arena

* with Clarence Clemons, saxophone

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



Side 1 27:47

Alabama Getaway->

Promised Land

Tons of Steel

I Need a Miracle->

Cumberland Blues->

drums - 4/19/87 Irvine Meadows

Side 2 27:39

Mississippi Halfstep->

Franklin's Tower

Ramble On Rose

Box of Rain - 4/19/87 Irvine Meadows

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



This week's program features live Grateful Dead music recorded
February 23-24, 1971 at the Capitol Theatre in Portchester, New York
- including, by popular demand, four numbers featuring Ron "Pigpen"
McKernan on the lead vocals, organ and harmonica.

Pigpen was a blues freak who hooked up with Bob Weir and Jerry
Garcia in the early Sixties to form Mother McCree's Uptown Jug
Champions, and it was his idea to get a rhythm section and some
electric instruments and turn it into a blues band that they called
the Warlocks and later the Grateful Dead. His health forced him to
quit performing with the band in 1972. I learned a lot about him when
I interviewed the other band members for the book
Playing in the
Band. In a 1984 interview - which was long before I
had any idea I'd be working on this radio program, so the recording
conditions were a little less than first-class - Mickey Hart talked
about Pigpen as a musician and as a friend.

"Little Red Rooster" has been a double slide-guitar showcase
for the Dead all through the U80s. HereUs a recording of it by the
guy who wrote it: Willie Dixon.

Side 1 27:31

Mickey Hart talks about Pigpen 11/11/84 (1)

Big Boss Man

Bertha

Next Time You See Me

Sugar Magnolia

Casey Jones - 2/23/71 Capitol Theatre, Portchester NY

Side 2 26:46

Little Red Rooster - Willie Dixon, I Am the Blues

Mickey Hart talks about Pigpen 11/11/84 (2)

Hard to Handle

Me and Bobby McGee

King Bee - 2/24/71 Capitol Theatre, Portchester NY

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



Side 1 26:58

Cold Rain & Snow;

Hell in a Bucket

Beat It On Down the Line->

Promised Land - 2/12/89 Forum, Inglewood CA

Big River - 2/11/89 Forum, Inglewood CA

Side 2 26:42

Estimated Prophet->

MIDI jam - 2/11/89

Wharf Rat - 2/10/8

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

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

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



Side 1 26:27

Looks Like Rain 7/26/87 Anaheim Stadium

Bombs Away - Bob Weir, Heaven Help the Fool

"And now the polka, you worms - and play as you've never
played before in your life!"

Mexicali Blues - 5/26/73 Kezar Stadium, San Francisco

The Race is On - Reckoning

Louie, Louie 5/1/88 Frost Amphitheatre, Palo Alto
CA

Side 2 25:08

Truckin'->

Crazy Fingers->

Samson & Delilah 5/1/88 Frost Amphitheatre

The Kingsmen had a big hit with "Louie, Louie" (written by Richard
Berry) in 1963. Their incomprehensible vocal performance made the
record a legend among pubescent suburban boys of the time - although
no one could quote anything specific, we were sure they were singing
something deliciously dirty. Since then, just about everybody who has
ever plugged in a guitar has taken a crack at it. The song has been
recorded thousands of times; Rhino Records released a Best of Louie,
Louie compilation (including Richard Berry's original, the Kingsmen
single and versions by the Sandpipers, Black Flag, the Rice
University Marching Owl Band (!), and others) in 1983, and Bay Area
college radio station KFJC aired more than 300 versions of the song
during "Maximum Louie, Louie" in August of 1983. The Grateful Dead
introduced "Louie, Louie" in the second set at the Hartford Civic
Center April 5, 1988, with three- (or was it four-) part harmony on
the choruses and Brent Mydland singing the verses. I heard Richard
Berry sing "Louie, Louie" a couple of years ago at the Sweetwater in
Mill Valley with a band that included Ry Cooder on guitar. Berry's
version is slower, swingin'er, downright romantic; the version Brent
and the boys played was more like Richard Berry than the Kingsmen.


"Louie, Louie" only appeared a few more times in 1988 - the last
one was at Madison Square Garden on September 20 (thanks, Mal) -
possibly because the band started working on new songs of their own
right after that.

"Bombs Away" is the opening cut on Bob Weir's 1978 solo album,
Heaven Help the Fool, recorded on the heels of the Dead's Terrapin
Station with the same producer, Keith Olsen, in the same LA studio.


That's the late Keith Godchaux playing piano on "Mexicali Blues."
He played with the Grateful Dead from 1971 until February, 1979.
Brent joined in April of that year - hey, it's almost his Tenth
Aniversary!

"The Race Is On" is from Reckoning, a live album of acoustic
performances recorded in September and October, 1980 at San
Francisco's Warfield Theatre and Radio City Music Hall in New York.
-DG

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



Part 1 26:11

Weir: Could I have a follow spot, please?... This
gentleman presented me with this... pussy willow....and we're going
to respond in kind by doing our most requested number.

El Paso

The Rub

Dark Star-> - 4/28/71 Fillmore East, NYC

Part 2 24:45

Morning Dew - Bonnie Dobson at Folk City

St. Stephen->

Not Fade Away->

Goin' Down the Road Feelin' Bad->

Not Fade Away - 4/28/71 Fillmore East, NYC

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



Part 1 25:34

Ripple

Cumberland Blues

Morning Dew

Me & My Uncle - 4/28/71 Fillmore East, NYC

Part 2 24:44

Mama Tried - The Best of the Best of Merle
Haggard

Hey Pocky Way

China Cat Sunflower->

I Know You Rider->

One More Saturday Night - 4/30/88 Frost Amphitheatre, Palo Alto
CA

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

Merle Haggard first achieved heavy name recognition among the rock
generation with his jingo anthem "Okie from Muskogee" ("...'n we
don't take our trips on ell-ess-dee..."). The song drew at least two
responses from Bay Area musicians: Nick Gravenites's "I'll Fix Your
Flat Tire, Merle" and the Youngbloods' parody "Hippie from Olema." My
attitude toward Haggard changed when I became a fan of country music.
Asleep at the Wheel and Commander Cody and his Lost Planet Airmen
brought Nashville, Bakersfield, Bluegrass, Louis Jordan, Texas swing
and bebop to the party, and all of a sudden us hippies had some
culture in common with the author of "Okie" and "The Fightin' Side of
Me." Haggard's tributes to Bob Wills and His Texas Playboys are a
real treat.

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

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

Grateful Dead Hour no. 32
Week of April 10, 1989



Part 1

Let It Grow - 11/4/77 Hamilton NY

Interview with Jerry, Bob, Mickey, Huey Lewis, Bill Graham and the
organizer of the "In Concert Against AIDS" benefit in May, 1989.

Swing Low Sweet Chariot - Jerry Garcia Acoustic Band,
Almost Acoustic

Part 2

Turn On Your Lovelight - Bobby Blue Bland

Slow Train - Dylan and The Dead

Phil Lesh intro: the Jones Gang

Samson and Delilah->

Cold Rain and Snow - 11/4/77 Hamilton NY

Grateful Dead Hour no. 33
Week of April 17, 1989



Part 1

Estimated Prophet - 3/18/77

Dancin' in the Streets w/ horns - GD single

Easy to Slip - Bob Weir, Heaven Help the Fool

Tennessee Jed (2/26/77)

Part 2

Garcia interview on composing and writing 'Terrapin'

Hunter about the inspiration for 'Terrapin'

Terrapin ->

At a Siding->

drums- 3/18/77

Garcia interview

excerpt from Terrapin Station album

Deal - 2/26/77

Grateful Dead Hour no. 34
Week of April 24, 1989



Part 1 25:25

All New Minglewood Blues

Not Fade Away - 3/18/77 Winterland

Part 2 24:44

Burger: Your honor, we've heard the testimony of this witness that
the first part of this tape has been edited or tampered with.

Mason: All this working on the tape, this cutting and splicing, must
have been important.

Witness: I should think you'd be grateful.

Burger: Well, we're not grateful, mister. I should like this tape
entered in evidence and marked for the people exhibit D. Let's listen
to it again, shall we? Lieutenant, turn it up with the volume
high.

St Stephen->

Around and Around - GD 3/18/77 Winterland

Ivory Wheels/Rosewood Track->

Jack O'Roses->

Terrapin Station - Robert Hunter, Jack O'Roses

Grateful Dead Hour no. 35
Week of May 1, 1989



Part 1 23:54

Dupree's Diamond Blues

Jack Straw - 10/21/88 Reunion Arena, Dallas

Tons of Steel - In the Dark (Arista ARCD
8452, 1987)

Happy birthday, Brentski!->

Wang Dang Doodle - 10/21/88 Reunion Arena, Dallas

Part 2 26:45

It's All Over Now, Baby Blue - Bob Dylan,
Bringing It All Back Home

All Along the Watchtower->

Stella Blue->

Sugar Magnolia - GD 10/21/88 Reunion Arena, Dallas

Grateful Dead Hour no. 36
Week of May 8, 1989



Part 1 25:29

Crowd: WE WANT PHIL!!!

Weir: Phil says no prisoners.

Greatest Story Ever Told->

Devil with a Blue Dress/Good Golly Miss Molly - 9/9/87 Providence
RI

Channel n News

Late for Supper->

Spidergawd->

Eep Hour - Jerry Garcia, Garcia

Gomorrah - Jerry Garcia Band, Cats Under the
Stars

Part 2 26:23

China Cat Sunflower->

I Know You Rider

Playing in the Band->

China Doll - 9/9/87 Providence RI

Grateful Dead Hour no. 37
Week of May 15, 1989



The creators of the Grateful
Dead's 1987 video So Far talk to the press. And for you
tape collectors: one of the all-time great performances of "Sugaree,"
plus the first electric "Ripple" since 1971.

Part 1 22:08

Jerry Garcia, Len Dell'Amico and Bob Weir talk about
So Far and In the
Dark NYC 9/14/87

Queen Jane, Approximately - Dylan & the
Dead (Columbia 45056, 1988)

Part 2 25:58

Sugaree - 3/18/77 Winterland

Claire: I want to get married again.

Grant: You hear that?

Claire: Come on, is that so much to ask? To show me how much you love
me?

Grant: No, no, it's perfectly easy. We'll just go out and find a nice
dead minister... a dead band - maybe the Grateful Dead. Should be a
night to remember.

One More Saturday Night

Ripple - 9/3/88 Capitol Center, Landover MD

Grateful Dead Hour no. 38
Week of May 22, 1989



Part 1 23:11

The Music Never Stopped

jam->

The Other One - 9/12/88 Spectrum, Philadelphia

Part 2 26:28

Receptionist: I'm sorry, but I can't keep Dr. Garcia
waiting all afternoon.

Erica: Well, if you will just give us a little more time, I'm sure
that Mr. Hunter will be here any minute.

Receptionist: I'm afraid I can't keep juggling Dr. Garcia's schedule.


Man Smart, Woman Smarter->

Eyes of the World

Good Lovin' - 9/12/88

Grateful Dead Hour no. 39
Week of May 29, 1989



Part 1 28:08

Me & My Uncle->

Mexicali Blues - 5/7/89 Frost

Rain and Snow - Pentangle, Reflection

He's Gone->

snakey jam - 5/7/89 Frost

Spoonful - Howlin' Wolf

Part 2 24:48

The Other One->

Black Peter->

Lovelight - 5/7/89 Frost

Grateful Dead Hour no. 40
Week of June 5, 1989



Part 1 23:35

They Love Each Other

The Race Is On

West LA Fadeaway

Hey Pocky Way - 5/6/89 Frost

Part 2 26:38

Wharf Rat->

Around & Around->

Not Fade Away - 5/6/89 Frost

Ripple - Chris Hillman, Morning Sky

Grateful Dead Hour no. 41
Week of June 12, 1989



Featuring an interview with Famous Deadhead
David Crosby

Part 1 25:26

Almost Cut My Hair - David Crosby 12/31/86 HJK,
Oakland

The Wall Song - Crosby & Nash 11/11/71 (studio rough) with Jerry
Garcia, Phil Lesh and Bill Kreutzmann

Part 2 25:16

Bird Song - 2/11/89 Forum, Inglewood CA

Eight Miles High - Byrds, Fifth
Dimension

U.S. Blues - 12/31/86 Henry J. Kaiser, Oakland

Grateful Dead Hour no. 42
Week of June 19, 1989



Part 1 26:30

Brown-Eyed Women

Box of Rain

Don't Ease Me In

Beat It On Down the Line

Weir dedicates it to Bill Graham:

Sugar Magnolia 12/31/72 Winterland, San Francisco

Part 2 25:15«

Truckin' 12/31/72 Winterland, San Francisco

Grateful Dead Hour no. 43
Week of June 26, 1989



The Grateful Dead were out of circulation for the second half of
1986, while Jerry Garcia recovered from the diabetic coma that felled
him in July. The band re-emerged in December with three shows at the
Oakland Coliseum and a four-show New Year's Eve run at HJK. All of
these shows had a very affectionate, "So glad you made it" feel to
them, and stuff like the last verse of Candyman took on a little
extra meaning: Hand me my old git-tar/Pass the whiskey 'round/Won't
you tell everybody you meet/That the candyman's in town.

Part 1 25:03

Candyman;

Desolation Row

U S Blues - 12/31/86

Part 2 25:43

Tiger Rose - Robert Hunter, Tiger
Rose (Rykodisc RCD 10115, 1989. Original version
released 1975. Vocals recut 1988; digital remix by Tom Flye)

Terrapin

Gimme Some Lovin';

When Push Comes to Shove 12/31/86

Grateful Dead Hour no. 44
Week of July 3, 1989



Interview
with Phil Lesh

Part 1 25:51

Phil Lesh interview pt 1

MIDI jam - GD 5/6/89 Frost Amphitheatre, Stanford CA

Phil Lesh interview pt 2

Bird Song - GD 2/11/89 Forum, Inglewood CA

Part 2 26:38

Phil Lesh interview pt 3

Box of Rain->

Cold Rain & Snow - GD 9/12/88 Spectrum, Philadelphia

Eyes of the World - GD 2/23/74 Winterland, SF

Grateful Dead Hour no. 45
Week of July 10, 1989



Part 1 26:50

Introduction by Bill Graham;

Around & Around

Here Comes Sunshine

Ship of Fools - 2/23/74 Winterland

That's What Love Will Make You Do - Jerry Garcia,
Garcia

Part 2 25:33

Jack Straw

Deal

Promised Land->

Bertha->

Greatest Story Ever Told - 2/23/74

Saturday, February 23, 1974 at Winterland in San Francisco was the
second concert of three-day run during which the band played what
turned out to be their last public performance of Here Comes Sunshine
and introduced Ship of Fools, It Must Have Been the Roses, and the
finished version of U.S. Blues.

This concert was recorded on quarter-inch two-track tape (at 7.5
inches per second), which was the state of the art fifteen years ago.
The shortcomings of the tape are for the most part the fault of the
stage gear - an occasional rattle in the bass cabinets, for example.
Bill Graham introduces the band in his inimitable style, with a
dramatic pause parting the artist's name down the middle. The mix is
a little unstable in the first song, but it settles down after that.


These shows took place around the time Jerry Garcia was working on
his second solo album, Garcia (Round Records RX102, 1974, due out on
CD from Grateful Dead Merchandising later this year). That's the one
which is often referred to as 'Compliments of Garcia' because the
radio and review copies had the words 'Compliments of' stamped above
the title. And so what if his first two albums were both named
'Garcia' - by this time Chicago was already up to Roman numeral VII!

Grateful Dead Hour no. 46
Week of July 17, 1989



Part 1 25:04

Jack Straw

Fennario;

Walkin' Blues - 12/27/87 Oakland Coliseum Arena

My Brother Esau - B side of "Touch of Grey"

Silvio - Bob Dylan, Down in the Groove

Part 2 26:07

Ramble On Rose

Uncle John's Band->

Estimated Prophet - 12/27/87

Bob Dylan picked up a notebook of Robert Hunter's lyrics at the
Grateful Dead's studio. He set "Silvio" and "Ugliest Girl in the
World" to music and included them both on Down in the Groove, to
Hunter's surprise and delight. Jerry Garcia, Bob Weir and Brent
Mydland contributed background vocals to "Silvio."

Grateful Dead Hour no. 47
Week of July 24, 1989



Scarlet Begonias->

Fire on the Mountain - 3/18/77 Winterland

St. Stephen->

Mason's Children - 2/2/70 St Louis

Next Time You See Me - 12/12/69 Thelma Theater, LA

Comes a Time

One More Saturday Night

Casey Jones - 10/19/71 Minneapolis

Grateful Dead Hour no. 48
Week of July 31, 1989



Uncle John's Band->

He was a Friend of Mine

Alligator->

Drums->

We Bid You Goodnight->

Alligator->

Caution 12/12/69 Thelma Theater L.A.

Grateful Dead Hour no. 49
Week of August 7, 1989



Money Money

China Cat Sunflower ->

I Know You Rider - 5/17/74 P.N.E Coliseum, Vancouver BC

Prelude->

Weather Report (Part One)->

Let It Grow - 7/19/74 Selland Arena, Fresno CA

Grateful Dead Hour no. 50
Week of August 14, 1989



Feel Like a Stranger

He's Gone->

Little Star->

Jam->

It's All over Now, Baby Blue (encore) - 4/15/83 Rochester NY


The Wheel - Garcia (first solo
album)

Not Fade Away >

Going Down the Road Feeling Bad >

Around and Around >

Johnny B. Goode - 4/15/83

Grateful Dead Hour no. 51
Week of August 21, 1989



Maggie's Farm->

Cumberland Blues - 10/3/87 Shoreline

Dire Wolf - Workingman's Dead

I Know You Rider

Silver Threads and Golden Needles - 6/5/70 Fillmore West

Friend of the Devil

Me and My Uncle

Black Peter

Bird Song - 8/24/72 Berkeley Community Theater

Grateful Dead Hour no. 52
Week of August 28, 1989



Happy Birthday Bobby->

U.S. Blues 10/16/74 Winterland, SF

Jam - 7/27/73 Watkins Glen soundcheck

The Other One ->

Cryptical Envelopment->

New Potato Caboose->

jam on 13 beats - 10/12/68 Avalon Ballroom, SF

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


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

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

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


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

Part 2 31:26
Playing in the Band

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


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

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

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


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

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

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


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

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

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


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

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

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


Part 1 19:52
"Victim or the Crime" part 1 - Phil Lesh, Jerry Garcia and Bob Weir
interviewed by Bonnie Simmons
Victim or the Crime - Built to Last (Arista ARCD-8575, 1989)
"Victim or the Crime" part 2 - Lesh, Garcia, Weir
Built to Last - Built to Last

Part 2 34:01
Playing in the Band->
percussion->
jam - 2/5/89 Henry J. Kaiser, Oakland
I Will Take You Home - Built to Last


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

Lesh: Gotten off on it?

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

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

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

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

Simmons: A polarization tool -

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


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

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

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

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

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

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

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

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

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


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

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

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

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


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

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

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


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

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

Grateful Dead Hour no. 63
Week of December 4, 1989


Grateful Dead with HORNS!

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

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

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


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

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

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


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

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

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

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

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


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

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