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Grateful Dead Hour no. 634
By David Gans
Week of November 13, 2000
Jerry Garcia and David Grisman
ARABIA
Interview: David Lemieux and Jeffrey Norman
Ladies and Gentlemen... The Grateful Dead
MINGLEWOOD
RIPPLE
DARK STAR
CASEY JONES
After opening with the extended instrumental from the first Garcia-Grisman CD, this show moves on to the conclusion of our interview with archivist David Lemieux and engineer Jeffrey Norman regarding their work on the April 1971 multitrack compilation Ladies and Gentlemen... The Grateful Dead.Former keyboardist Tom Constanten dropped back in for a jam on April 28, and his participation adds some nice swirling magic to one of my all-time favorite Dark Stars. The St. Stephen/Not Fade Away sandwich that follows (although not on this broadcast) is also one for the books. This show circulated on much-loved tape for years; getting to hear it mixed and mastered in pristine state-of-the-art HDCD was and is a thrill. Ladies and Gents... also includes the great Alligator->GDTRFB->Cold Rain and Snow from 4/29/71 (last show at the Fillmore East, last Alligator) and many other gems.
Your requests are requested and your wishes are wished for! Browse and/or search the Grateful Dead Hour program logs on the GD Hour web site. Let me know if there's a particular program you'd like to hear, and feel free to post requests and comments here or by email to gdhour (at) dead.net
Thanks for listening! David Gans
gdhour [at] dead.net
Just love that Garcia/Grisman music. Listening to it
right now.... sooo sweet....
cheers
Woody
www.myspace.com/woodyinthebasement
so listening to this "hourish" close to going home time at work almost got me fired... it would have been worth it!!!!
love the Ladies and Gentleman... always nice to hear ripple!
I agree, that's kinda how I always thought about it too.
And it's a sad thing, really, cause they still had tons more good music in them ... if they had let Brian Wilson do his thing. Instead Mike Love turned them into a nostalgia act waaaayy before their time. They were outdated even by 1968.
I've always thought it obvious that the Beach Boys perceived their popularity (and correctly so) to be past it's peak by April of '71.
And were attempting to use this opportunity afforded them by the Dead (very generously it has always seemed to me) to try to reconnect with an audience (any audience), as evidenced by some of their stage banter.
Their story about one time being on a bus with The Buffalo Springfield (itself an outdated anecdote even for the time) seems to my ears a blatant attempt at patronizing hippies. They were lost in the seventies and trying to ... connect with a generation no longer obsessed with surfing. Or whatever the whole BB thing was about.
Or it's just all been in my head this way all these years.
I always wondered 2 things about this set ---
A) why wasn't there a "Playing In The Band" on this set
and
2) why didn't they use anything from 4/26 ???
In the interview they said they used 5 shows -- but in actuality they only used material from 4 shows. Even in the credits of the booklet it says Recorded At The Fillmore East 4/25, 26, 27, 28, 29 1971.
Was it a last minute thing not to include anything from 4/26 -- or due to Duane Allman guesting on a few songs??
Anyways, FWIW, this was an excellent interview. I enjoyed it very much and it sparked my re-interest in these classic shows/and CD set.
Thanks David And Co. for letting us stream it!
I always loved the weird juxtaposition on that Beach Boys show, even evident in the stage banter ...
Mike Love: "THANK YOU, GRATEFUL DEAD!!!"
Bobby: "thank you beach boys."
Thanks DG, I really haven't given that one much love. But now I've pulled it out and I'm midway through the second disc and it's a mofo!
Yeah, Stuman, the GD Hour is less than an hour. These days it usually clocks in somewhere between 55 and a half and 57 and a half minutes. That's still a little too long for the commercial stations, but they are used to it by now.
My mistake! I'll have that corrected.
Locations
The 17th century philosopher Immanuel Kant forwarded a Theory of the Sublime, in Critique of Pure Reason, which (basically) encapsulated the proposition that true beauty is sublime, beyond discription, awesome, can only be reveled in at the time of experience. Transcendental even. While listening to 'Arabia' on this recording, Kant's Theory of the Sublime unfolded and was explained to me through, and in, experience. Perhaps the only way it can be truly understood.
If anybody else out there has anything to say about Kant's Theory of the Sublime I'd be only too happy to hear what you think. (I have an exam looming)