Here is the latest news from David Gans, producer and host of the Grateful Dead Hour.
DG returns to Buffalo August 19

Originality
There’s a big story in the New Yorker this week, “We Are Alive: Bruce Springsteen at Sixty-Two.” Well worth the read, even if you don’t care for his music. One particular statement by his bandmate Steven Van Zandt caught my eye:
For Van Zandt, [Springsteen’s] intensity was a lure. He recognized in Springsteen a drive to create original work. In those days, he said, you were judged by how well you could copy songs off the radio and play them, chord for chord, note for note: “Bruce was never good at it. He had a weird ear. He would hear different chords, but he could never hear the right chords. When you have that ability or inability, you immediately become more original. Well, in the long run, guess what: in the long run, original wins.”
I started out imitating my favorites, as just about everybody does, but I quickly got more interested in making my own music (and in fact, I became a songwriter at almost exactly the moment I took up guitar: my brother set a couple of my tortured teenage poems to music and taught me the chords, which set me on the path). I do try to make songs that don’t sound like things I’ve heard before. It’s impossible to be completely original all the time, of course; everything happens in the context of all that has happened before.
“Originality,” to me, means more than just writing your own songs. It’s about having a voice of your own. I write songs, I sing other people’s songs, and I improvise. I’m not content to write songs that sound like other people’s songs, and I’m not satisfied to sing other people’s songs in ways that are imitative of the originals. I had that impulse from the very beginning: to put my own twists on, and take various liberties with, the songs I adopted from others. I’ve spent my career developing my voice along with my skills.
After several decades of writing and performing, I feel very much that I am someone in particular, with something unique to say. I have a few covers in my set these days that aren’t particularly inventive, but most of what I do in performance is pretty distinctive. That doesn’t mean it’s going to be massively popular – I’m no Springsteen! – but it’s interesting enough to enough people that I am able to get plenty of work doing it.
Jim LeBrecht profiled in SF Chronicle
Today’s San Francisco Chronicle has an article about Jim LeBrecht, sound designer at Berkeley Sound Artists. Jim is a good friend and one of the most amazing people I know.
The author is Edward Guthmann, also a friend. I was so proud to find them together in the paper today.
I knew Jim’s name from his years at the Berkeley Repertory Theatre, where I have been a subscriber off and on (mostly on) for more than 30 years. We met in 2003 when I was working on the boxed set All Good Things: Jerry Garcia Studio Sessions at Fantasy Studios in Berkeley. Jim’s studio is in the same building. I invited him to stop by for a visit and we hit it off immediately. Among the many interests we share, he’s a big ol’ Deadhead.
Jim and I have been working on a project together for several years, with no particular goal in mind other than the joy of collaboration. One of these days we’ll get it out into the world, but there’s a bit more work yet to do. We put our calendars together from time to time, and when we can match up a few clear days we’ll get together and do some creative work. He’s got a spectacular production system, an immense sound library, a warm and luminous personality, a gift for making things happen in the audio domain, and as big a heart as I have ever encountered. He’s a joy to be with, and the results are always great.
Grateful Dead Hour no. 1245
Week of July 30, 2012
Part 1 32:58
Grateful Dead 6/19/76 Capitol Theatre, Passaic NJ
LET IT GROW->
DANCIN’ IN THE STREETS->
COSMIC CHARLIE
Part 2 23:00
Weir-Robinson-Greene Trio 6/4/12 Chautauqua Auditorium, Boulder CO
WEST LA FADEAWAY
DAYS BETWEEN
The Weir-Robinson-Greene Trio show is available (along with several others from the tour) from gnomesandhobbits.com.
Support for the Grateful Dead Hour comes this week from:
Live Nation, presenting the Peach Music Festival August 10 through 12 at Montage Mountain in Scranton, Pennsylvania. Two nights of the Allman Brothers Band, Warren Haynes Band, Tedeschi Trucks Band, O.A.R., Zac Brown Band, Railroad Earth, Dark Star Orchestra, Robert Randolph and The Family Band, The Wailers, Toubab Krewe, and many more. Single Day Tickets are now available as well as 3-day passes.
GratefulDeadGame.com, The Epic Tour, an online game that creates new ways to experience the Grateful Dead. Deadheads are encouraged to create their own customized Dancing Bear and take a virtual trip through Grateful Dead time and space in a digital world inspired by the band’s legacy.
Grateful Dead Hour no. 1244
Week of July 23, 2012
Part 1 28:37
Grateful Dead 6/19/76 Capitol Theater, Passaic NJ
TENNESSEE JED
PLAYING IN THE BAND
Part 2 27:31
Grateful Dead 6/19/76 Capitol Theater, Passaic NJ
MIGHT AS WELL
SAMSON AND DELILAH
HIGH TIME
Jim Kweskin Jug Band, Garden of Joy
MINGLEWOOD
Support for the Grateful Dead Hour is provided this week by Rounder Records, presenting Rooster Rag, Little Feat‘s first studio album of new material in nine years. Rooster Rag features foud songs co-written with Robert Hunter and is available now at Amazon.com and iTunes.