GOOD OL’ GRATEFUL DEADCAST
Episode: Europe '72: Lyceum Ballroom (May 26, 2022)
Overview
This episode of the Good Ol’ Grateful Deadcast is an in-depth, story-filled exploration of the Grateful Dead’s historic four-night run at London’s Lyceum Ballroom in May 1972—the emotional and musical culmination of their Europe ‘72 tour. Hosts Rich Mahan and Jesse Jarnow guide listeners through the unique atmosphere of these shows, the social and musical context in London, the setlist highlights (including the genesis of iconic performances immortalized on Europe ’72), and the lasting impact of these concerts on fans, the band, and the counterculture at large.
Main Discussion Points & Insights
1. Setting the Scene: Returning to London
- Time Travel to 1972: The hosts frame these shows as the Dead’s return to London after seven weeks touring Europe, culminating in a legendary four-night stand at the Lyceum.
- The Importance of Settling In: The band loved playing multiple nights at the same venue. Lyceum’s grandeur and energy lent itself to inspired performances.
- “It was a beautiful venue…they liked to settle into a venue for several days and get comfortable, you know, and that really did happen at the Lyceum.” — Alan Trist (04:19)
2. Lyceum Ballroom: The Room, the Neighborhood, and the Scene
- Historic Venue: Opened in 1834, the Lyceum had been everything from a ballroom to an opera house. Notably, the venue featured a retractable roof, sometimes opened during shows.
- “The roof slid open when they... When it was good weather....The Dead live inside a venue, but with the sky out there.” — Ben Haller (28:37)
- Neighborhood Vibes: The Lyceum’s location in Covent Garden put it at the heart of London’s arts and theater district.
- Social Mixing: These shows became a true family affair, with fans, European “Dead freaks”, Warner Bros. and Columbia reps, and friends made throughout Europe joining in.
3. Fan and Crew Memories: Atmosphere and Culture
- Fan Experience: The ballroom’s layout encouraged both dancing and chilling; the vibe was warm and communal.
- “There were two essential attractions. One was the music and one was the culture... In a sense, it was the last flowering of the counterculture...” — Chris Jones (25:57)
- Band Accessibility: Encounters with band members before shows and the lack of a clear barrier between stage and audience emphasized the Dead’s unique rapport with their audience.
- Countercultural Moment: The UK’s underground scene coalesced around these concerts. For many, this was the “last gathering of the tribes” (25:57), before the counterculture faded into mainstream.
4. Europe '72 Material and Live Album Sessions
- Recording History: Over half of Europe ’72 winds up being sourced from the Lyceum concerts, cementing their legendary status.
- Song Debuts and Endings: The run features notable live debuts (e.g. “Rockin’ Pneumonia and the Boogie Woogie Flu”) and emotional final performances—especially for Pigpen, absent from future albums due to declining health.
- “Mr. Charlie would be his final original contribution to a Grateful Dead album.” (40:51)
- Improvisational Peaks: The extended jams (e.g. “Dark Star” → “Morning Dew”) showcase the band at their exploratory best, blending structured improvisation with freeform magic.
- “We start up again. Jerry on high A. And we've returned to the chord A, the home chord, Jerry, with this classic triplet solo style...” — Graham Boone (53:49)
5. Band, Crew, and Fan Interactions
- Adventures of the New Riders: Colourful stories abound—hash-fueled trips to the Van Gogh museum, getting “saved” by evangelists in the parking lot, and late-night jam sessions.
- “We ate that hash and being up all night, we go to the [Van Gogh] museum…and then we slept on the ferry.” — Alan Arkish (14:54)
- Baseball in England: The Dead and their crew (the “Dead Ringers”) organized impromptu softball games, bringing American pastimes to the English countryside.
- “It was a big beautiful place... looked like where Robin Hood would have hung out...” — David Nelson (65:43)
6. The Music: Setlists, Performances, and Iconic Moments
- Setlist Diversity: Each night’s setlist was distinct, showing off new material, blues covers, and dynamic improvisation. Fans were amazed at the lack of repetition and unpredictability.
- Legendary Jams: The “Dark Star” sandwiches, especially with “Morning Dew,” represented high points of group telepathy and emotional depth. Extended analysis (e.g., “Sputnik” theme in Dark Star) provided for the music theory-minded.
- “It's wide open, deep space. Bill's dropped out. Keith has dropped out. Fill in those two note chords...and I always thought he [Phil] was particularly important....” — Andy Childs (92:54)
- Audience Participation: On the final night, the audience initiated the Bo Diddley beat, prompting the band to break into “Not Fade Away”—a legendary example of band-audience feedback.
- “The audience starts clapping the Bo Diddley beat…they picked up on the rhythm. And you get a shot from [Bill] Kreuzmann. And they go into Not Fade Away…” — Bill Giles (108:32)
7. Pigpen’s Last Stand
- Pigpen takes center stage at these shows, giving his final performances of “Mr. Charlie,” “Chinatown Shuffle,” and “The Stranger,” among others. The bittersweet edge is ever-present, with his health failing.
8. Recording the Magic
- The Alembic Recorders: Technical insights from Dennis “Wizard” Leonard and Janet Furman provide a glimpse into recording logistics and last-night high jinks.
- “We were all really, really, really high for the last show of the tour…The tape box for the set reads ‘We're all really stone now.’” — Jesse Jarnow (123:03, 123:58)
- Unique Overdubs and Mishaps: Fun facts like an unfixable beep in “Ramble On Rose,” (154:17), and Jerry overdubbing vocals on “Morning Dew,” highlight the human and technological quirks behind the classic album.
9. End of an Era: Emotional and Musical Closure
- Closing Night Vibes: The last show is described by fans and crew as life-changing, with multiple emotional peaks (“Morning Dew” brings tears to both Jerry Garcia and the audience; see Jesse Jarnow and Jeremy Poynton, 135:58, 138:13).
- Final Songbook Entries: The final performances of “Ramble On Rose,” “One More Saturday Night,” and others—later carefully selected and overdubbed in California—cap the run with a celebratory yet reflective mood.
- Legacy Reflections: The Lyceum run is framed as both the high-water mark of live Dead in the early ‘70s and a pivotal moment for the counterculture’s last hurrah.
Memorable Quotes & Moments
On Venue and Atmosphere:
- “It was a beautiful venue... and of course, it had... two stacks of balconies. It was a beautiful venue.” — Alan Trist (04:19)
- “The Lyceum was a theater that was run by... Henry Irving... his business manager was Bram Stoker.” — Ken Hunt (151:28)
On Band-Fan Interactions:
- “There were two essential attractions. One was the music and one was the culture... It became everything that I'd hoped it... was.” — Chris Jones (25:57)
- “The specific memory from that was that end of the first set... the audience starts clapping the Bo Diddley beat... and they know what they have to do, which is play Not Fade Away…” — Bill Giles (108:32)
On Pigpen:
- “Mr. Charlie would be his final original contribution to a Grateful Dead album.” — Rich Mahan (40:51)
On Improvisation:
- “Once Kreutzman started starting the song on drums, the jam structure began to shuffle with motifs showing up everywhere.” — Jesse Jarnow (56:52)
On the Emotional Impact:
- “During Jerry's solo... there were tears streaming at his face. Oh, man. And honestly, every time I think about it, I go back there. It's a moment in time that I'll never forget.” — Jesse Jarnow (135:58)
- “The last night was an absolute and utter gem... I can tell you I was weeping my heart out. I still weep my heart out.” — Jeremy Poynton (138:13)
On Recording Frenzy:
- “She had a little two track set up at the end of the truck... I said, betty, not only are we in record, but we're in playback! And that time sucked with her head.” — Dennis “Wizard” Leonard (124:14)
On Lyric Whimsy:
- “Ramble on Rose is the closest to complete whimsy I've come up with.” — Robert Hunter (141:04)
- “The 72 songs... they refer to ragtime and they refer to a lot of things that seem to come out of the twenties... It doesn't make... It's like weird time travel music... That ability to summon another time in relatively simple chords.” — Elvis Costello (156:21)
Key Timestamps
- Venue & Tour Introduction: 03:53–05:47
- Lyceum Fan Memories: 18:57–20:57, 23:20–25:57
- The Music: Setlist & Performance Highlights: 25:57–27:52, 38:13–40:51, 49:43–56:01, 91:40–99:16
- Audience & Band Energy: 108:32–110:08 (Clapping Not Fade Away)
- Dark Star into Morning Dew Analysis: 53:49–60:38, 91:40–97:29
- Pigpen’s Final Performances: 40:51–45:35, 107:12–108:20
- Behind-the-Scenes Recording: 122:32–125:30, 154:17
- Heartfelt Last Night: 135:58–138:13, 146:28 (Ramble On Rose context), 159:02–159:18 (“One More Saturday Night”)
Conclusion
The Lyceum run, as chronicled in this episode, stands as a milestone in Grateful Dead history—rich with exceptional improvisation, legendary setlists, and a deeply communal, countercultural spirit. Through colorful recollections, musical analysis, and archival insights, Europe ’72: Lyceum Ballroom captures both the magic of the moment and the bittersweet sense of an era’s end, offering fans a transportive journey to those all-night London jams under the open sky.