GOOD OL' GRATEFUL DEADCAST
BONUS: Inside the Vault
Date: December 16, 2021

Overview

This special bonus episode, "Inside the Vault," offers an in-depth exploration of the origins, evolution, and caretakers of the Grateful Dead's legendary tape archive—often simply called “the Vault.” Hosts Rich Mahan and Jesse Jarnow, joined by key figures such as archivist David Lemieux, Carol Lotvalla, Roni Stanley, Starfinder Stanley, David Gans, and Mike Johnson, trace how the band’s live recordings became an unparalleled musical legacy, highlighting the engineers and fans who preserved this vast, unique treasure trove. Through colorful anecdotes and firsthand accounts, the episode traces both the technical and personal histories that shaped the Vault, from the earliest tapers to the current stewards at Rhino.

Key Themes & Discussion Points

1. The Genesis of Grateful Dead Recordings (03:54–10:08)

• First Recordings:

  • In 1965, the Warlocks (early Dead) made their first demo as the Emergency Crew for Autumn Records.
  • The first circulating live tape was made by the Merry Pranksters at the Fillmore Acid Test (Jan 1966).

• Owsley "Bear" Stanley's Sonic Journals:

  • Owsley, a legendary LSD chemist and budding sound engineer, started systematically recording the band in 1966, creating what became known as his “sonic journals.”
  • Starfinder Stanley:
    • "When he started doing the recordings of the band, his sonic journals. It was his own project." (05:15)
    • Tape was expensive, sometimes forcing Bear to decide between buying tape or food.

• Tapes as Ritual Tools:

  • Ronnie Stanley:
    • Bear’s LSD manufacture was ritualized, with the Dead’s music providing an alchemical soundtrack believed to "infuse the LSD with more meaning" (09:10).
    • Other bands, like Blue Cheer, were played in the lab to mask equipment noise (10:08).

2. Building the Archive: The Early Vault and Key Engineers (10:41–26:08)

• Gaps and Growth:

  • David Lemieux:
    • Not much Dead was recorded in 1967; early recordings are mostly Owsley’s, followed by Dan Healy, Bob Matthews, and Betty Cantor (11:47).

• Recording Perspectives:

  • Owsley’s early recordings (mid-60s) had strong left/right separation (“vocals on one side, instruments on the other”) and a unique, keyboard-heavy mix.
    • “He didn’t like that stuff being messed with…very distinct with making sure that it was that way for a reason.” (07:19)

• The Alembic Era:

  • Tapes were centralized at the Alembic tech workshop, solidifying the first “tape vault.”
    • Starfinder Stanley:
      • “That became the first Grateful Dead vault, where anybody who had tapes…would bring them in so there’d be one central repository.” (18:07)

• Bear’s Philosophy:

  • Owsley Stanley (15:49):
    • “After every show, we gather in the hotel and play back the Night Skates. That’s why I was recording all the time…They taught me, I taught them, they taught themselves…It was a learning matrix.”

3. Evolution of Live Recordists (27:08–37:08)

• Multiple Engineers & Styles:

  • As Bear transitioned to other projects and was later imprisoned, others picked up recording: Bob Matthews & Betty Cantor, with Rex Jackson on two-tracks starting in 1971.
  • David Lemieux:
    • “They’re very clean recordings…Betty’s recordings…have a fair amount of reverb…Rex’s to be a little drier…” (23:13)
    • Betty’s live mixes were “specifically for listening back purposes." (24:11)

• Consistent Sound Quality:

  • Bear’s returns saw distinctive, consistent sound:
    • “He had a consistency going of how they sounded…you don’t think, oh, well, that’s an outdoor show…and this is a small theater…They all sound the same in a very good way.” (24:52)

• Band Members as Tape Enthusiasts:

  • David Lemieux:
    • Describes the band’s excitement about certain recordings: “Billy started talking about Kid’s recordings from Europe 74, and he raved about them.” (27:08)

4. The Taper Community and Home Archive Culture (43:07–51:13)

• Dick Latvala’s Journey:

  • Carol Lotvalla:
    • Dick began systematically recording show experiences and later added tapes to his “diary” in 1972, becoming a fixture in the taping community (41:14).
    • In 1975, he was hosting “All Night Dead Ends,” gathering friends to listen to Dead tapes while tripping.
      • Dick Latvala:
        • “That’s when you get your loving family together and you take acid and you put your attention on something together. That’s just how I use these tapes...” (44:15)
    • Dick became a central figure in tape-trading, even bartering with Hawaiian cannabis (46:56).

• Tape Notebooks and Organization:

  • Dick’s meticulous notes, color-system, and cassette curation were legendary.
    • David Lemieux:
      • “Dick had very distinct handwriting….he had very specific purposes for each of his colors.” (49:16)
    • Carol Lotvalla:
      • “Someone got me a four colored pen because he was using four different pens before…to quantify things.” (50:14)

• Preserving Tapes in Hawaii:

  • Dick used heat bars to prevent mold and humidity from damaging tapes (50:42).

5. The Institutional Vault: Front Street to Bell Marin Keys to Rhino (52:38–76:01)

• From Enthusiast to Official Archivist:

  • Carol Lotvalla:
    • Dick leveraged his relationships and championed the significance of the tapes to band members, earning his role as tape archivist in 1985 (52:38).
    • “Phil decided maybe there was a reason to actively preserve and take care of these tapes.” (51:29)

• “Dick’s Picks” Era:

  • The first official Vault release, Dick’s Picks Vol. 1, came in 1993, after years of the band’s reluctance and extensive curation (56:45).
    • Dick Latvala (1999):
      • “I want to throw it up on the dartboard for my co-teammates to evaluate.” (58:29)
      • “It’s a group effort…all the way down to anybody in the world that likes me or posts on DeadNet Central…” (59:01)

• David Lemieux Steps Up:

  • After Dick’s death in 1999, Lemieux takes over and preserves Dick’s organizational legacy, describing the beautifully maintained Vault and Dick’s “remarkable” system.
    • “I didn’t turn that computer on once. It was unnecessary because the vault was organized so well…” (64:52)

• The Modern Vault:

  • In 2006, the tapes move to the Rhino/Warner vault in Southern California (“the cage”), where archivist Mike Johnson and others continue hands-on curation (72:18).
    • “We segregated a section of the tape vault…fenced off with a chain link fence, hence the term the cage.” (73:24)
    • Dick’s photograph still hangs in a place of honor in the vault. (73:27)

6. Philosophy, Ethics, and the Power of Tapes (68:41–80:07)

• Tapes as Community Glue:

  • Carol Lotvalla:
    • “He was always generous…and it wasn’t really—there was no exchange rate…he would rip [the shirt] off and insist that you wear it home.” (68:50)
  • David Gans:
    • “He was impossible not to love…just utterly, completely devoted to the Grateful Dead.” (69:14)

• Sharing vs. Stewardship:

  • Although Dick sometimes allowed Vault contents to circulate, his intentions were always generous, though band members later raised concerns.
    • David Gans:
      • “He essentially gave away the contents of the vault. And he did it with the kindest of intentions…now I’m telling it to you because it’s history.” (69:51)

• Archival Listening & Release Selection:

  • David Lemieux:
    • Describes his “setting in stone” process for picking which shows to release, usually confirmed during a significant walk or natural moment.
      • “…I go for a three hour walk or a hike with headphones…and before I know it, I’ve got…15 or 20 things that got me really excited…and then I get home and email everybody on the team…” (77:53)

Memorable Quotes

• Starfinder Stanley on Owsley’s priorities:

  • “Sometimes he had to choose between do I spend the money buying tape or do I spend the money buying food. Sometimes he bought tape.” (05:15)

• Roni Stanley on tapes as ritual:

  • “Making LSD was a sacrament, and what music you played while you were doing the procedure was important.” (09:10)

• Owsley Stanley on feedback and learning:

  • “…It was a learning matrix in which everything was constant flow of ideas and so forth. And there was no isolation. Everybody was involved.” (15:49)

• Dick Latvala on Dead records:

  • “The highest thing in life to do is take acid and listen to Grateful Dead.” (43:56)

• David Lemieux on Dick’s process:

  • “He was really big…he never…thought that his opinion mattered more than anyone else’s.” (61:05)

• David Gans on Dick’s legacy:

  • “He was impossible to not love…utterly, completely devoted to the Grateful Dead.” (69:14)

Notable & Fun Moments

• The Cat Story:

  • The Bell Marin Keys facility featured two feral cats, “Comes” and “Goes,” fed daily by Dick, who managed to get them to the vet when needed (63:05).

• Vault Organization:

  • Dick’s color-coded tape cases, carefully labeled with pens of four colors for maximum cataloging—still referenced by modern archivists (49:16).

• The “Cage”:

  • The current vault at Rhino/Warner is so large that employees travel by bicycle and tricycle to retrieve tapes (72:18).

Timeline of the Vault’s Evolution

• 1965–1966: First Dead recordings and tapes begun by Owsley Stanley
• 1968–70s: Recordings by Dan Healy, Bob Matthews, Betty Cantor, Rex Jackson, and others; tapes centralized at Alembic, then Club Front
• 1970s–80s: Betty Boards and PA tapes proliferate; Dick Latvala becomes legendary as a trader and community organizer
• 1985: Dick becomes official Vault archivist
• 1991: First official Vault releases begin
• 1999: Dick Latvala dies, David Lemieux takes over
• 2006: Vault moves to Rhino/Warner in Southern California, Mike Johnson becomes tape archivist

Conclusion

“Inside the Vault” is a lively, affectionate, and thorough oral history of how the Grateful Dead’s sprawling live catalog went from ad hoc taping to being one of the most carefully preserved and curated archives in rock history. It captures the technical innovations, personalities, community spirit, and sometimes-chaotic love that have kept the band’s music alive for generations—even as it transforms formats, homes, and caretakers. The episode is a love letter not just to the Dead’s music, but to the unsung archivists—official, unofficial, and in-between—who guard its legacy.

Quick Reference: Key Segments & Timestamps

• First Recordings and Sonic Journals: 03:54–10:08
• Establishment of Alembic & the Vault: 17:45–18:52
• Recording Duties Hand-off: Matthews, Kantor, Healy, Rex: 21:06–27:08
• Dick Latvala’s Taper Story: 43:07–51:13
• Becoming Official Archivist / Vault to Warner: 52:38–73:27
• Modern Archive Reflections & Philosophy: 74:09–79:42

"Thanks to all the tapers out there who made becoming a voracious Deadhead possible. Prior to the digital age, we all had a favorite cassette we couldn’t get enough of, had to share with our friends, and mourned when it got eaten in our car cassette decks." (80:07)

Don’t forget to thank your local taper.