Loading summary
Transcript280 lines
- [00:00]
A
Announcing Dogfish Head Grateful Dead Juicy Pale Ale Collaborating for over a decade now, Dogfish Head and Grateful Dead have crafted a light bodied pale ale brewed with sustainable kerns of grains, granola and heaps of good karma for a refreshing brew that's music to your taste buds. Check out dogfish.com for more details and to find some Grateful Dead Juicy Pale Ale in your neck of the woods. Dogfish Headcraft Brewery is located in Milton, Delaware. Please drink responsibly the Good Old Grateful Dead Cast the Official Podcast of the Grateful Dead I'm Rich Mahan with Jesse Jarno exploring the music and legacy of the Grateful Dead for the committed and the curious. Ladies and gentlemen Autobahn enthusiasts, welcome back to season five of the Good Old Grateful Dead Cast. I'm your co host Rich Mahan. Thanks for coming along on this journey as we time travel across the pond to 50 years ago and travel with the Grateful Dead on their historic Europe 72 tour. We are bringing new episodes of the Dead Cast to you weekly this season. Each episode will cover the shows that took place on the Europe 72 tour 50 years to the week after they happened. Visit us at our website dead.netdeadcast and explore the extra materials we have for you to devour for not only this episode, but all of our episodes. In fact, during season five we have a daily dose of Europe 72 ephemera for you. So make sure to check the Dead social media as well as dead.net and check out the photos that we've married with audio clips from the folks that were there. Great little insights in between episodes. Also@dead.net deadcast are all of our past episodes including the complete seasons one through four and you can link from there to your favorite podcasting platform and listen where you like to listen. Did you attend any of the shows on the Europe 72 tour or know somebody who did? Get over to stories.dead.net and record your tales about Europe 72. We're especially interested in hearing from anyone that was at the Netherlands or Munich shows people. We need your stories. If you know somebody that went get ahold of them. Have them get ahold of us. Thank you and how about some Europe 72 music for your collection? July 29th will bring Lyceum 1972 the Complete Recordings Limited Edition. It's a 24 LP box set with four complete shows from the tail end of the Europe 72 tour, exclusively available@dead.net and of course there'll be a newly remastered version of the original Europe 72 album. It'll be available on CD, LP and digitally also on July 29th, with a very limited edition 3LP rainbow vinyl version arriving on June 3rd. Only@dead.net this rainbow version is one of the coolest ones I've seen yet. Pop on over to the website and check it out. It's going to sell out for sure. And this week we get to use some of that German we learned in college. Wo ist der Bus? Bist du ein Bose oder ein Bolo? We've got a jam packed itinerary this week. Four shows in West Germany April 21 on the Beat Club TV show in Bremen, April 24 at the Reinhalla in Dusseldorf, April 26 at the Yar Hunderthala in Frankfurt and the Musicale in Hamburg on April 29th. Grab your clown mask and let's all follow Jesse Jarno South From Denmark into early 70s West Germany.
- [04:11]
B
On 20 April 1972, the Grateful Dead departed Copenhagen and crossed into West Germany for the first time. Now, two weeks into their Europe 72 tour with their full family and full set of recording gear, we'll let Pigpen start us off today. Our friend Sully, a family friend to the McKernans, has preserved and generously shared the letters Pigpen wrote home to his parents during the Tour. Letter number three is dated April 20, 1972, 8:15pm 2015 hours. German. Here's Sully to read some of it.
- [04:44]
C
Hi y'. All In Hamburg, no trouble at all. They stamped our passports upon leaving Denmark, entering Germany. Didn't even look at the bus rooms. Okay, same old European hotel room. Little beds that are pushable together. No tv, stupid radio. I disconnected mine. But good food, fresh venison from the Black Forest, stroganoff, all sorts of goodies. I had asparagus and ham, but tasted other stuff that was good. Some plain white gin saying root from Garcia ought to be enough to last. Some red root from Alan, which is giving back.
- [05:25]
B
We'll get back to Pig's letter momentarily. Alan Trist of Einstein Publishing was the Dead's cosmic ambassador in Europe and had done advance work setting up the press.
- [05:35]
D
Germany was particularly interesting because there were a lot of people who knew the dad's music. When we got there, there was a.
- [05:44]
C
Tremendous fan outpouring to the Grateful Dead.
- [05:47]
D
Those shows were massively sold out. You really got the sense that Germany was one of the parts of Europe that had taken up the call of the Dead and of the west coast music in general very strongly. I think it's probably true to this day I mean, it was true before. I mean, with the Beatles, where they learned to be the Beatles in Germany, after all.
- [06:12]
C
And so the association of west coast.
- [06:17]
D
Music, of the music of the 60s with Germany very strong. And that was reflected when we were there. A lot of interesting people in the press world, you know, I don't remember the names of the magazines that they came out in. And there was so much press, in fact, in Germany, that Garcia got very tired of it. You know, he said, alan, we gotta turn down this press thing. It's exhausting me.
- [06:47]
C
Well, they would give certainly an afternoon's.
- [06:50]
D
Worth in just about every city.
- [06:53]
C
I mean, they did a lot. They weren't used to doing quite that much. They did a lot of press.
- [06:58]
B
One of their very first stops in Germany was the local record company office in Hamburg. You may have seen some photos from this visit with the band and members of their family standing on the street, pigpens holding a pool cue, as if interrupted mid game. The Homburg image ran the photo with a caption. Loosely translated, Rock Commune came on European tour with all their baggage alongside a photo that included most of the band, plus Frankie Weir, Susa La Kreutzman, Alan Trist, Rock Scully, crew chief Ramrod Shirtliff and his baby Rudso, also on the tour.
- [07:30]
C
We drive to Bremen tomorrow to tape a TV show called Beat Club, which is shown all over. It's sort of a Germany's American Bandstand, but done a lot more tastefully, except that there's some law says you can't dance in the studio. But we'll get around it. We have almost all the time we want, all afternoon and evening, so we can probably edit the tape and get the best performance for airplay.
- [07:53]
B
If you've been involved with Grateful Dead tape or information training for any length of time, you might know the name Uli Toit. Uli didn't get to see the Dead in person on the Europe 72 tour. That would have to wait. As well as being a budding Deadhead, he was also a devoted viewer of the Beat Club in those years.
- [08:11]
C
I live in southwest Germany, in a town called Freiburg, near the Black Forest, very close to Switzerland, very close to France. So for me it's like a two and a half hour trip by car to Frankfurt, it's two hours to Stuttgart, it's three and a half hours to Munich. Because for me, to Munich, there's a Black Forest in the way and there's no highway.
- [08:34]
B
If that's not a metaphor for European deadheaddom, I'm not sure what is.
- [08:38]
C
In school it was like five or six guys who went out every day. And we had a radio station which was pretty good in the afternoon. Sometimes they played whole albums. And we could go into a nearby town and look for records. And I don't remember who it was out of the five, but one of them came home with Kalfak and it was like we were completely blown. And the next guy went into town and, you know, he came back with vintage Dead. So the first two records I got introduced into the Grateful Dead was like listening to 18 minutes of Midnight Hour from 66 and Skull Fuck. So I knew about the Grateful Dead, I knew about Jefferson Airplane. And we really got into this kind of music. But this is not very typical for Germany at all. I think we were kind of a special breed because all our colleagues in school, they were into Led Zeppelin, Deep Purple, Uriah Heap, you know, all those British hard rock combos which kind of established themselves in the beginning of the 70s. And we were kind of a dope smoking community which hang out with like, oh, listen to the Jefferson Airplanes. That sounds like psychedelic music. That was what we were after. Thus we knew a lot. And I bought Lillian Roxton's rock Lexico Rock Anticlovid, which is a book which was established in 69. And I bought that in 71. It was in English, but it didn't matter. It mentioned all the bands I've never heard about. So I was pretty much kind of introduced into this scene by reading books and by reading magazines. Also they were in German because I still had no access to American or English magazines at that time. And of course we had to Beat Club.
- [10:37]
B
That was A Touch of Velvet by Mood Mosaic, the theme music for the Beat Club through most of its history.
- [10:43]
C
Beat Club was a big thing in Germany that started out pretty early in 65 and was really beat music in the beginning. And it was of course all black and white. But then when the hair screw with the bands and the colors came up on tv, the music started to change. And they had really what you call progressive music. I mean, they had before the dance, they had Kraspberk, they had Cannes, they had all really extreme strange. My mom came in while I was watching Beat Club and they had this crazy technique with his projectors behind the band. You can see the. They did this with all the bands. They had this amazing effect. My mother comes in. The music is something she doesn't understand. And she looks at the screen and says, well, no wonder you must go crazy with Music and visuals like this. And I know that was exactly what we felt. It was one hour music for us and nobody or our parents wouldn't understand. It was too far out. Especially in 70, 71, 72. It was like the thing we discussed on Monday morning in school because everybody has watched Beat Club on Saturday afternoon. And there was always names we didn't knew before and got a new idea of what to see or what to buy or what records to look out.
- [12:01]
B
In 2014, the Grateful Dad's Meet up at the Movies event featured the band's full 80 minute session from the Beat Club. It wasn't unheard of for a band to do an extended session, even knowing only a small part would be used for the final show. And you can see the extended cuts for many acts on the official Beat club channel on YouTube. But of course, the Dead still did it their way, setting up their own 16 track recording rig to capture it all. Great Fled archivist and legacy manager David Lemieux.
- [12:29]
E
We actually cut quite a bit out of it between songs because there was a lot of technical stuff going on. Setting up cameras, setting up lights. So oftentimes there'd be five or seven minutes between songs of them doing nothing, like not even tuning. But they did film it. When the camera would pan around during these long 5, 7, 10 minute between song technical setups, the camera would pan around the studio and you'd see everyone. You'd see there's Alan Trist sitting on a road case and there's Sue Swanson sitting on a road case. So you get to see the tall. Yeah, the Grateful ed family of 60 people. And they'd all be just kind of sitting around waiting for it. And then once the music started, they get up and I don't know if they dance, but they were there as a family, they were there as a team. It's a big soundstage similar to going back to get back. Similar to the first soundstage where they recorded in that big Wickenham Sound studio. It's a very similar soundstage to that, but with a blue screen and big TV lights. You can see MG there and you can see Francis. They're all there. And everybody that you see in the credits for Europe 72, they're all kind of hanging out there and it's pretty cool. And I remember you can see Wiz walking by with tape reels labeling these big 14 inch tape boxes. It's really neat because it's this German crew which I don't think speaks English very well. And then which the crew's probably small. 10 people, maybe. And then the dead, which is 50 people.
- [13:56]
B
Mountain girl remembers the beat club. Welcome back, MG.
- [14:00]
C
I remember how uptight the engineers that they had brought in to do this in the whole blue screen, and they were. It was very frustrating. As I recall. The band was supposed to follow very significant timings and stuff, you know, like. So there was. There was differences of method, I would say. And I remember the band feeling really squeezed by these. The. By the German engineers. They're really getting squeezed because everybody. Everything was incompatible, right? Everything in. In Europe at that point did not match up with American either. Our electrical system, they're on a different system. Everything was a different kind of transistor or battery or, you know, like, it was just a little hard. And I remember our. Our gear guys just. Just tearing their hair out and going, oh, my God, what do we do now? So anyway, but in the end, they would figure out compromises and it would work. But it was tricky if you have.
- [15:06]
B
Perfect pitch and the Beat Club sounds a little off to you. Here's why. This is Dennis Wiz Leonard from Blair Jackson's 2011 interview. Thanks, Blair. And check out Blair's book with David Ganz. This is All a Dream we dreamed, which we've linked to@dead.net deadcast.
- [15:22]
C
At one point in the tour, I believe it was Beat Club in Bremen. Unbeknownst to anyone, the piano tuner, language barrier, of course, had tuned the piano to 441. And in order to get the organ to be in tune, we actually came up with the same scenario. Ran the organ off of an amplifier with a variable frequency oscillator, and Healy tuned the organ. It took a long time to get it started, but we actually did it. And so the Beat Club in Bremen was at 4:41.
- [16:01]
B
You can't see it because, you know, podcast. But one of my favorite moments is when Bob Weir puts Bunny Ears behind the German studio engineer's clapperboard just before Weir introduces the band. Ladies and gentlemen, the Grateful Dead.
- [16:25]
C
I had a hard running by the.
- [16:32]
B
Window and they were off. Later, Robert Hunter would remember of the Beat Club. I realized what they needed was people dancing, but there was only me. So I piled onto the studio floor and danced my proverbial ass off. The music picked right up.
- [16:47]
C
He and I, he and I both did that, but they didn't want us in the studio. That was. The thing is we, you know, the vibes were just like kind of, you know, get those people out of here. I think Bob may have Stuck it out longer than I did. But we were trying to bring a little bit of life in there. It was pretty sterile.
- [17:07]
B
You can't see Hunter and MG dancing, but it's still extremely fun to watch.
- [17:11]
E
So we've got all this footage of what they would do in these long breaks. They'd sit down, they'd drink a Coke. But I remember watching them call Donna Jean up to sing on playing in the band. Donna, you want to sing on this one? It's a 10.
- [17:27]
B
Standing on the tower well, it's my command.
- [17:32]
C
You just keep turning While I lay in the mountain.
- [17:56]
B
And not just playing in the band, but two full versions of playing in the band with jams. The Beat Club session has some of the best close up footage of the 1972 Grateful Dead improvising.
- [18:35]
E
When they're doing the drum solo after Truckin and they're about to go into the other one during the drum solo, the band really lays back, like physically. They kind of stand behind Billy. They let him have his space. He does his three or four minute drum solo. And they're watching, they're listening and watching. And yet they're still, you know, having a sip of their coke or whatever they're doing, having a cigarette for Jerry, but they're listening and watching. And then when Billy starts up with getting into the rhythm and the beat of the other one, they all start getting ready and they're all kind of tuned up and ready to go. And it's like, I hate to use the analogy to say it's like going to battle. But they all. It's a presented unified front where they all come forward at once, filled with the rumbling intro. Bobby attacks his guitar like. And hits the chord. And Jerry. It's really amazing to see.
- [19:50]
B
For the actual broadcast a month later, the band were only allotted one song, with the band's album covers flashing behind them, courtesy of the Blue Screen Chroma Key.
- [20:08]
C
One More Saturday night.
- [20:15]
F
Come out of.
- [20:16]
C
Sun Written by a cross of heaven Laid in black and white get prepared there's gonna be a party tonight hey.
- [20:24]
B
Saturday Night One More Saturday Night was recorded during the sessions for Bob Weir's solo album Ace, that February, but released as a standalone Grateful Dead single in the European countries where the tour traveled. And for once, the Dead promoted their new single.
- [20:39]
E
They needed a song to tour Europe with. You gotta have a single, right? And the only thing they had in the can happen to be typical Grateful Dead. Not even a Grateful Dead song. It was a solo song. I mean, we all know that Ace was A Dead album. But it was Bob's solo record. And I think that's fascinating that the Dead, The Grateful Dead, they're touring behind a Bob Weir solo song. So it's pretty typical. That's what I love about the Dead. It's always a little different, and yet it always works exactly well for them.
- [21:06]
B
The episode on which the Dead appeared was overstuffed. And the Dead were right in the middle of a stacked bill, as it were. Before them, Pacific Gas and Electric and the Kinks each got one song, then three by Chuck Berry. After the Dead, there was one by the Post Jim Morrison Doors and two by the Rolling Stones, getting ready to launch their own 1972 tour. Just as the episode aired a month.
- [21:28]
C
Later, it was broadcast by the time the tour was over. So on the 27th of May, though, the grateful Dead were gone. And the Grateful Dead semps didn't impress me a lot. They followed Chuck Berry on this TV program, which was pretty odd. First you have Chuck Berry and he plays Let It Rock, which I, at that point, didn't know. I didn't know. I mean, I knew the song by Chuck Barry, but I didn't know it was covered by Jerry. I had no clue about that. But there you have Chuck Berry in his best rock and roll colorful outfit doing the Duck Walk. And after the Grateful Dead come. I expected something like at least Casey Jones and they do a fucking rock and roll number. I mean, this is no follow up to Chuck Berry. I mean, he could do that much better. And it was just. It was one more Saturday night and I was really bored. I didn't like it at all. It watered down in 72. And I mean, the last one was in December, and it was only the Osmonds. And I mean, that was a far cry from seeing Ken or Kraftwerk. I mean, I remember saying, what, the Osmonds and the whole show, Only the Osmonds. No, I'm gonna switch off. I don't want this. I remember they had Johnny Cash at one point for a whole show, which wasn't to my interest.
- [22:42]
B
But despite not being too into one more Saturday night, Uli was committed to the Dead.
- [22:47]
C
I started trading tapes in 77 after a very strange incident. The Jefferson Starship came over to Germany and they were supposed to play at the Lorelei Open Air, but that never happened because Gray Slick turned into Gray Sick. And a riot followed. And they burned down the stage. You might have heard about that. If not, there are enough web pages to read about this disaster. But before the stage was burned, down there was this guy, a hawker, and he hawked a magazine I've never heard about and it had some gray slick picture on the front. So I bought it and was called Relics. Then I completely flipped when I came to the last page and saw the classifieds. And it took me a while to understand what these guys are asking for. Half, 200 hours. Need more. What the fuck you're talking about. By that time I already had taped myself. My claim to fame is the Neil young show from 76 in Heidelberg, which is my master, which circulates. So I had some things and I had some bootlegs and I tried to connect with some of these American guys which advertised in Relics and on the same time, Rock Palast is from the German television. And the first Rock Palasts were also broadcast by the radio so we could make really nice tapes. And that gave me a start into a trading circle. One guy here in Germany, he was like five years older than me and he had the most outrageous grateful debt collection I've ever seen. He had all the shitty tapes nobody had all the shitty audience tapes from 68 and 69 and 70 first copies of Flushing Meadow 711 and 712 69. He was in Dusseldorf 72, and he took me under his wings and he told me about the Koletsko brothers.
- [24:38]
B
The Koletsko brothers, Volker and Hartmut, legendary German Deadheads. I first learned of them through Carol Lotville, former partner of the late Grateful Dead archivist Dick Lotville. Volker and Hartman visited Dick and Carol in Hawaii in the 70s. According to lore, they did the whole Europe 72 tour. Uli's friend told him about them.
- [24:57]
C
He told me way back in like 79, 80, when I first went up to see him in Marburg, about these two brothers. But he had lost contact by then. But he said that there was a rumor that they had even gone as far as working for the Grateful Dead as roadies or something, which. But I can't prove that.
- [25:16]
B
Hardmutt, Volker or anybody who knows anything about them, please get in touch with us via stories.dead.net Uli and his friend Volkmar have provided endless help to the Dead Cast over the past few years with a private collection they maintain, of Grateful lead photographs.
- [25:31]
C
We got into this idea, hey, we could just collect as many pictures as we find and then we find dates for it. And the more pictures we have, the easier it becomes to date them. And thus we went like crazy through all sources in the Internet, also through books we had at home.
- [25:50]
B
Focusing on the years 1965 to 1975. They can date photos by guitars, clothing and of course the ever popular facial hair forensics.
- [25:59]
C
The bear comes and goes. If you could run it through like a pocket thumb movie, it would be amazing.
- [26:08]
B
One aspect that they track is the band's equipment, especially Jerry Garcia's guitars. On the Europe 72 tour, Garcia was exclusively playing an Alembic modified Stratocaster given to him by Graham Nash. Garcia had made it his main guitar in late 1971 and in early 1972 began to affix stickers to the pick guard and body.
- [26:29]
C
There was a truck in one with this Robert Crump truckin figure. If you're in front of the guitar on the left side and on the right side was the New York department police.
- [26:38]
B
The R. Crumb sticker had appeared on the guitar at the March shows at the Academy of Music in New York, as had one other.
- [26:45]
C
I gave him the Harley Davidson sticker.
- [26:47]
B
Thanks Sam Cutler. And perfectly for Uli and Volkmar's project. A new sticker appears on Garcia's guitar at the Beat Club.
- [26:55]
C
Then in Bremen in the Beat Club he suddenly pops up with his pilhoon. Pilhon was a German cartoon figure which showed up in a magazine where you. In times when people had to watch tv, they bought magazines where they find the TV programs, right in one of those German TV magazines. This guy with the character of Tilhun had a comic, I don't know why. And the music magazine Music Express in April 72 put up a sticker in their magazine. They always put up a sticker in the middle of the magazine. So when you go to the centerfold there was always a sticker. And I do vividly remember oh, the pilhoon. And then a month later I watched the Beat Club and I can't believe it. I look at Cherry Scott guitar and I see the pilhoon and I know, oh, I know where I got this one from. And I'm sure they. When they came to the Beat Club they were kind in a dressing room and they were giving like music magazines or something to spend some time. That's how I'm pretty sure that's how he got it.
- [28:00]
B
Pilhun, which translates literally to pill chicken, depicts a chicken emerging out of a pill. The sticker lasted on Garcia's guitar throughout 1972 until it gradually rubbed off over the course of the summer and fall tours. We've posted a link to more info about pilhughn@dead.net deadcast we'll get back to the conversation about stickers in a few episodes. There's a pretty loud postscript to the Beat Club as recounted by Bill Kreutzman in his memoir Deal. We decided to play a full set for the cameras, and we also decided to take acid for it, he wrote. We took something else, too. I don't recall the specifics. All I know is that it got us unbelievably high. Our hotel that night was in an old classic building, and I'm guessing that maybe they had to rebuild or repair some of it after the bombings. After the show, we were in one of those collective moods where we were all just fucking around for some reason. For me, that translated into punching a mirror in the elevator on the way to my room. Well, that wasn't a very good thing to do. The mirror was an old antique. It survived the bombings, but not Bill Croyt's been bombed on acid. Over to tour manager Sam Cutler.
- [29:09]
C
Billy Kreitzman walked into the. In the Hotel Berlin in Hamburg. The only thing that in the whole.
- [29:16]
D
Hotel that had survived the bombing of Hamburg, which was ferocious in the Second World War, was this little oak mirror, a pretty little mirror that was in the elevator.
- [29:26]
C
And a very stoned and probably quite.
- [29:28]
D
Drunk Kreuzmann walked into the elevator, saw his reflection in this mirror, and punched it.
- [29:35]
C
So there went the mirror with this delicate oak frame, right? Yeah.
- [29:39]
D
The last remaining artifact from the original Hotel Berlin. So they called me up, the manager, right? And I had to go down to the manager's office.
- [29:49]
C
As a woman.
- [29:51]
D
Your people, you're barbarians. Oh, really? What's going on? And then she told me all about. Billy had destroyed this, you know, this mirror.
- [30:02]
C
And I think it was Healy.
- [30:03]
D
But somebody on the 18th floor, while I was talking to the manager and trying to keep her cool, decided to.
- [30:11]
C
Lob their television out the window.
- [30:14]
D
And as I was talking to the manager outside her window, a television smashed, you know, with, like, the ferocity of a bomb, right? So that was it.
- [30:33]
G
You have to go, you know, I'm.
- [30:36]
D
Calling the riot squad, which she did. And the Hamburg riot squad came, and we were all escorted out of the hotel.
- [30:46]
C
And I had to, you know, find.
- [30:48]
D
Another hotel for fucking 50 people, like, pronto.
- [30:51]
C
Which wasn't easy, given that we've just been thrown out of the Hotel Berlin.
- [30:56]
B
In other memories, it was only a telephone thrown out the room. And the retribution was a stolen acoustic guitar, not an outright relocation. During their stay in Hamburg, the band visited the Music hall, the venue where they were to Perform the following week. And Phil Lesh had a most peculiar experience. This is from Phil Lesh's memoir, Searching for the Sound, published by Little, Brown and Company. The venue is the home of the NDR Symphony Orchestra and the Hamburg Philharmonic. One of those bands is rehearsing excerpts from Carmen in the Hall. I decide to cruise outside the auditorium. I'm in the foyer reading a plaque about favorite son Johannes Brahms returning in triumph to his hometown. An MG comes rushing down the balcony stairs. Phil, come here. You've got to see this. What? What? I follow her up to the balcony, where Jerry Bob and a couple of roadies are standing open mouthed and pointing toward the stage. At first all I see is the forest, not the trees. An orchestra playing. But then. Jer, says the cellist. I look down at the solo cellist, and he is me. Same face, same hair, only shorter. Same build. When they break and he stands up, the same gait, the same posture. I'm flabbergasted. I had read, of course, that everyone has a double somewhere, but I always thought of that as a folk legend until I saw mine. I decide that I must come face to face with him somehow. So I run downstairs to the backstage area. Having left my bell bottoms and paisley period behind, I'm now dressed like an American cowboy. Boots, jeans, checked shirt, Levi's jacket. Everything but the hat. You can imagine the thoughts running through the minds of the man's colleagues, their heads snapping around in double takes as I pass through them. Backstage, another entire orchestra is rehearsing in a huge room. The other musicians are dispersing. I never found this guy, but oh, how I wanted to shake his hand and find out his name. Could it have been Lesh Loesch? Perhaps an enterprising Grateful Dead scholar can find the names of the cellists for the NDR Symphony Orchestra and the Hamburg Philharmonic. The band had 10 days in Germany, counting the Beat Club. They had four engagements in four different cities. It was a lot of time on the bozo and bolo buses. Donna Jean, Gotchaud, McKay.
- [33:05]
C
I had never been to Europe, and.
- [33:09]
F
It was quite fascinating on every level. Number one, I'm in this band and trying to get my bearings around that.
- [33:19]
C
And then in Europe to boot. It was a heavy scene for me, but it was wonderful.
- [33:26]
F
I loved every minute of it. And being on that bus was one.
- [33:30]
C
Of the funnest things in the world.
- [33:33]
F
Somebody would yell out, castle on the left, Castle on the right. Castle, you know, on the autobahn, you.
- [33:42]
C
Know, just traveling through Europe in castles.
- [33:45]
F
You know, not like mansions, castles, everywhere.
- [33:50]
B
Mountain Girl.
- [33:51]
C
One bus was the bolos and our bus was the bozos. And there was some competition. I don't know quite what kind anymore. It was just part of the fun.
- [34:01]
B
Dennis Wiz Leonard was a bolo.
- [34:03]
C
We had Sven as our driver. Didn't speak a word of English. And somehow, you know, Mick, the bozo bus driver, and Sven would have breakfast in the morning, seemingly have conversations. I don't know what the fuck they were talking about.
- [34:20]
B
Steve Parish.
- [34:21]
D
Most of the time I was on the bozo bus, but that was me. And Jerry and Kid Hunter would go back and forth sometimes, but it became pretty much people stay with the bus that they felt comfortable in. You see, the one bus, that was the bozo bus, we had a British driver, Mick was his name, and the bolo bus had. Was from Denmark, and it was a Danish driver, and his name was Sven. And so as soon as people on that one learned that hota was the Danish word for faster, that's all he yelled at old Sven all day long was hota, hota, hota. And so I thought I found that tiring, actually. Right on their bus. And I like to stay. I went on it a couple of times, but there was a bozo. We had a lot more pot blowing on that bus. And we were drinking wine as we went through the wine country, you know.
- [35:19]
B
This is from David Ganz and Marty Martinez's great interview with Bob Weir and Phil Lesh from 1995. Thanks, guys.
- [35:26]
F
You get on one bus and you go all day long on this one bus. And everybody runs out of their stash because we're going across borders and stuff like that. And so we had to keep it kind of down. And then these rumors would pop up that, hey, they got stache on the other bus. And so, yeah, there were raids.
- [35:47]
C
I must have been asleep.
- [35:48]
B
And then southwest from Hamburg to Dusseldorf. Archivist David Lemieux Dsseldorf was the first.
- [35:53]
E
Complete show Release from Europe 72. Rockin the Rhine. It's a start to finish a magnificent show. We were gonna do a complete Europe 72 show. We knew it was going to be a dark star show. That was our criteria because you're 100 year hall, as the previous one had. The other one, we wanted it to be a dark star, so that limited down to half the shows. And then from there it became, I won't certainly say an easy choice. But Dusseldorf was the one that kept coming up to the top of the heap as a really magnificent. The Dead Men business. To me, the. I Mean, the tour peaked several times. It peaked in Wembley. It peaked at the Lyceum beginning and end and throughout. It peaked several times as well. But I do think that little German run, particularly Dusseldorf and Frankfurt, is one peak.
- [36:45]
B
That's a lot of peaks, dude. Of all of the band stops on the European continent, Western Germany probably had the largest homegrown musical scene of its own, pushing psychedelia into new phases. Cosmische music, cosmic music, sometimes referred to as Krautrock, but that was always pretty impolite. From right there in Dusseldorf, there was Kraftwerk. That was kling Kong from 1972's Kraftwerk 2 and Kraftwerk Begat Noi. This is Halo Gallo from their 1972 debut, which came out only a month before the Dead pulled into town. In nearby Cologne, there was Can. Here they are in 1975 from their recent Live and Stuttgart release, Jamming on a familiar four note descending theme. All three bands were influenced by the rock music coming out of America's west coast, and members of the German scene were well represented. When the Dead showed up in Dusseldorf, Karl Bartos, who would soon join Kraftwerk, was there. And can keyboardist Ermine Schmidt told music writer and Dead freak Peter Orlov that that the can gang had attended as well. There were a lot of similarities between the Dead and Can. Especially one was a love of psychedelics, and it's hard not to imagine them tripping at the Reinhall. But the Dead's appearances in Germany had an unusual effect on Can. Please welcome Cannes longtime sound engineer and producer Renee Tinner.
- [39:28]
C
As a kid, I bought me an album called Anthem of the sun. And I smoke, drinks heavily and listen to that record over and over again. It helps me a lot.
- [39:41]
B
Rene didn't attend the Dusseldorf show and didn't start working for Cannes until 1973, but helped manifest the dead's influence when the band asked him to build them their very own sound system.
- [39:52]
C
I got the inspiration from a picture in the paper of their equipment setup on one of those concerts they had in Kenu. It inspired my colleague and me to take up that spirit of having a wall of sound behind the band.
- [40:16]
B
Based on the descriptions, it's very possible the photo in question was from the band's 1974 appearance in Munich. But it might not. The engineers in Cannes had no contact with the Dead and didn't know much about the alembic system itself, but they did their best to replicate it.
- [40:30]
C
We just practically screwed any loudspeaker we could find in the studio and mounted it on a wood Construction kind of. There were not boxes with. There was nothing on the back. Just all these speakers behind the bank. No boxes really, you know, with just loudspeakers mounted one to each other. Most of the speakers were pretty shitty speakers, apart From a few JBLs and the rest was some crap. I cannot even say what it was. I doubt it was in the same quality as of today. I cannot say because I didn't hear. But the inspiration came of having many speakers behind the band.
- [41:27]
B
In doing so they accidentally discovered the principle that was driving the development of the alembic pa.
- [41:33]
C
He had a normal kind of PA on top of it. So this arrangement on the stage was more or less just for the band and of course the audience, which was close to the stage as above.
- [41:49]
B
So below was the alchemical principle behind the system that became known as the wall of sound. It should sound exactly the same to the band and audience. Which is exactly what happened when can stacked up their speakers, you know.
- [42:00]
C
The band was so relieved with the introduction of this system because there was never any monitor problems anymore. Because the system functioned like all the the speakers on the stage. They reproduce everything, meaning drums, bass, guitar, keyboards and vocals.
- [42:25]
B
Bayer would be proud. Well, maybe it was the band system for the rest of their live career. And you can see Can's almost cargo cult like Imitation of the Dead sound system illustrated on the front of their great recent archival releases.
- [42:38]
C
They used it on pages stopped playing live until I guess 77, 78.
- [42:46]
B
But that's all a bit in the future still. How else to explain Cannes song One more night on Ege Bam Yasa released in fall of 1972, not long after the Dead passed through with their One More Saturday Night single. Rock and roll had well permeated West Germany by 1972. But the dead were different. Please welcome German Deadhead Hagen Glass.
- [43:23]
G
Around the end of 1970 or the beginning of 1971, Radio Luxembourg played I guess it must be from the Life that they played something. And they told a bit of the band. That's a special band. It's not only the music. It's more community, more family like. And this really pleased me and the music they were playing. I said oh wow, wow. So I got this album Life Dead. And so I got hooked by this album. It's also the time when I got in contact with lsd. I had a friend who had some. It was sugar dropped on sugar. When we listened at the home of my father outside. They had a flat outside and in the wood and we could put the speakers outside. And we dropped some acid and we liked that plate. After that, what do here next? And there was the album Tommy of the who. We put it on and it didn't work that way. So again we. We repeated the live set album. So when they came 72 to Dusselhauch, I lived in Cologne then and studied at the university. Then a friend of mine with his girlfriend and my girlfriend we drove in separate cars to Dusseldorf to the show. You know this Grateful Dead rocking the Rhine with the Grateful Dead. There's a picture of the Rhine Halle and there are some cars standing there. And it might be, but I can't verify it this. The cars that were standing there. I had one this small French car in red. And my friend had a French car which is the side. Maybe these cars are in the photo, but I can read the license plate. So it just might be a fantasy, but it gives an impression what cars we drove at that time. This small, that tour 72 they had I guess, the focus to play in special locations like in Amsterdam and Concert Gabo, where they expected good acoustics.
- [47:12]
B
In the case of the Rheinhal, not just acoustics, but just a far out setting. The Rhine hall was built in 1926 not for music, but as a planetarium. By the 1950s there was jazz there and by the 1960s rock. There have been plenty of Grateful Dead laser light shows. And I once saw Mickey Hart play the Beam in the Hayden Planetarium in New York, which was totally awesome. But I think the 24 April 1972 show was the only time the Dead played in an actual planetarium. I'm a little sad that there don't seem to be any photos of the band performing under the full splendor of the Reinhalleis dome.
- [47:47]
G
Before we went, we smoked some ash and we rolled a joint with some ash within and really stoned. They had seats, they put chairs. And they only do it when there are not so many people expected. I guess so till the room is full filled. When you put in chairs and everybody sits down, the German audience is, what would you say? A little bit stiff. It's not. You can't compare it with us audience. It's not the party kind of people coming there and party and dance and then something like that. No, it was more like a cultural event. This is a bit strange to sit down during a Grateful Dead concert. That's but a few people after a while got into the groove and kept on dancing. I saw a guy with a tape recorder. Not a cassette tape, a tape recorder and he held a mic and he was taping it. I always wanted to find out who he is. One guy from the audience stepped up and he danced on the stage. It was an improvisational part, and he danced onto Garcia. And it was Pegpen who stepped in between the dancer and Jerry and pushed him away so that he didn't disturb Jerry during his guitar playing. It was obvious to see it, and it was strange to see because Pigpen at that time was already pretty small. He was not anymore the guy he used to be in the older days. He was not that big as the dancer, but he did it. Not a roadie or something like that. No, Pigpen did it. He took responsibility. And this picture still sticks in my mind.
- [50:29]
B
It was truly a different age when you could go wander onto the stage at a Grateful Dead show and not get tossed, as long as you weren't getting in the way.
- [50:36]
G
If he hadn't approached Garcia, it wouldn't have been a problem.
- [50:41]
B
On the tape box, Tennessee Jed earned a star rating from the heads in the Alembic recording truck. As archivist David Lemieux points out, if.
- [50:48]
E
You look at Rock and the rhine underneath the CD trays underneath each of the CDs, we reprinted the tape box. And so you can see them under there from the Dusseldorf show. And from Dusseldorf, the Tennessee Jed. The second song of the night got one star, which means it's exceptional. And then you've got don't expect no help at all crossed out Chinatown Shuffle.
- [51:15]
C
I run into Charlie park back my eye and it kicked my dog, my dog let's head back to Tennessee jail.
- [51:43]
E
Casey Jones has a little train beside it Then down low you got dark star. So he drew a dark star. Nice skull up there on the right.
- [51:52]
B
One of my favorite parts of the show is the totally wild Good Lovin Jam where the band goes all noisy and strange under pig pen.
- [52:11]
C
Prevention. What make you say?
- [52:29]
B
By the time the tour got to Germany, the jams were getting longer. In the recording truck, Alembic thought they had a way to make sure they didn't miss anything. This is Wiz talking to Blair Jackson in 2011.
- [52:40]
C
I came up this thing, and it was like, you know, a discussion I had with Garcia mainly, and the other guys subscribed. And it was like below Garcia's wedge was a little wood board with three porcelain light sockets on it. A green, a yellow and a red. And, you know, with light green. Once we were rolling it in and the idea was that I would light the yellow light when we were, you know, like, worried that we were going to run out of tape. And it was like, can you guys wind it down? Never fucking did, you know? Garcia said, yeah, man, sure, we could. We could. We could try that out. And the very first time, I lit the yellow light in a little 13 inch TV in the truck, and I liked the yellow light. And I'm looking at the TV to see, you know, if I can see the light and see a reaction from Jerry. And I see him look down, and he looks straight at the camera, which was off stage, right? Smiles that impish, magical smile and nods, no, fuck you. Nice. That was the last time we used the light.
- [53:54]
B
But of course, if you're the Grateful Dead and you're playing in a planetarium, there's really only one song to play, and it came in the second set. Please welcome back Dark starologist Graham Boone.
- [54:35]
H
Jerry right away is very heartfelt, almost mournful. The pace just gets slower as they dig into the music.
- [54:49]
B
The jam takes a pretty marvelous turn.
- [54:51]
H
For the weird Jerry going right through Phil started to get loud and growly. Jerry bending. Bob bending notes, really loud, really dramatic, getting really scattered. Kind of a funky thing from Keith. Interesting boogie flourishes. Listen to Bob playing high notes way above Jerry. Total chromaticism, and it starts to melt. That beautiful tremolo from Keith. And this total strangeness, distorted riff from Jerry totally blown out. Normally, that would end the jam, but here we're in the middle of it.
- [56:11]
B
There aren't many Easter eggs on Grateful Dead live releases, but this Darkstar has.
- [56:15]
E
One on Darkstar from Dusseldorf on the original album, not on the remix for the box set. Jeffrey, he sent it to me and I listened to it that night to give him my notes the next day. This is Dusseldorf. I'm talking 2004. He actually sent me home with a CD because we were working in the same building and on Searchlight Casting. If you listen to Searchlight Casting on the Dusseldorf rock and the Ryan version, you'll hear an echo of casting and it'll go. Searchlight casting, casting Searchlight casting.
- [56:55]
C
For faults in the clouds of delusion.
- [57:03]
E
And it'll be this little echo. And Jeffrey put that in. It was not. There were no special effects, you know, they weren't messing with the sound. And Jeffrey just thought in his mixing that that would be cool. And then I busted him on it the next day, and I said, dude, I've never heard you do that. He goes, what do you think? So you should get rid of it. I said, no, you should keep it. It's very subtle. You really got to know what you're listening for. So oftentimes I'll be randomly listening to a dark star. And even when I'm listening on a walk or in my studio and I hear search like casting, I whisper to myself, casting. And I put this echo to it. And then I'll text Jeffrey, search like casting in the parentheses, casting.
- [57:40]
B
Graham is a fan of the vocal delivery on this version as well, sometimes overlooked amid all the jamming.
- [57:47]
C
Shall we go, you and I, while we can?
- [57:57]
H
Slow, intense, mournful chorus from Jerry and the band. You can feel the heaviness of feeling in the tag leading us back to right away. That interesting mixture of an A and an E minor chord fill right in on the strong bass. And Jerry immediately hitting a high arpeggio. Keith, beautiful flourishes complimenting Jerry's playing. Now we get into that wah pedal.
- [58:59]
G
I must confess, there was a part of the show I. And I don't know which part it was, but it definitely was improvisational part. Maybe it was during the Dark Star part that I really. What do you say? Passed out or something? So closed my eyes and drifted away. And when they came back, I came back.
- [59:23]
H
Now we're getting into a super intense jam where Jerry is playing these super fast chromatic notes and little fragments pushing the music. And you can hear Keith joining in. Phil all over the place. Phil all over the place. Jerry's wawa gets louder and louder and more growly, increasingly feral, almost a bit violent. Music hissing and snarling. The whip of that wawa pedal just making a mash out of your mind. No notes, pure snarling. But you know Keith so often the pianist, you know, you can hear him playing clear notes. Listen to this scattered craziness. Bob rubbing the strings, Jerry going at it. Nice wash chromatic sounds from Keith. And then suddenly Phil, out of nowhere, a ninth chord on A changes it up. And Keith is looking like he wants to play warframe. But they're not out of it yet.
- [61:22]
B
Are they ever?
- [61:26]
H
Jerry in the middle of a super intense jam, still going, still searching. Music is totally not in a key. Chromatics all over the place from Bob, from Keith. But Bob is developing this riff. Where is this gonna go?
- [62:00]
C
Cherry style?
- [62:01]
H
Still into the chromatic wailing, but. And we just hop into Me and My uncle. And Jerry slips from that chromatic intensity into sort of a jazzy country blues riffing with the same pace and energy and speed.
- [62:33]
B
But even after an hour long Dark Star into Me and My uncle, back into Dark Star, into Warfrat, into Sugar Magnolia. The Dead were far from done.
- [62:41]
G
It were three sets and somewhere you can read. Only about two sets, but it was three sets.
- [62:53]
H
Folks, we're going to take another short break. I'll come back and play a little longer for you in a few minutes.
- [62:58]
C
So we gotta rest up. We'll be right back.
- [63:13]
G
After the second set. Some people left and I thought, well, they're going. I thought maybe they didn't like the music or something like that. Later I found out it was a time when the last public transportation from there in the city.
- [63:31]
B
Granted the third set was only another 40 minutes, but hey, third set. But Germany was a weird place as Mountain Girl remembers.
- [64:07]
C
Well then we were on our way to Germany. See. Oh dear. Not as much fun. Not as much fun. It wasn't the vibe in the street, it was the vibe at the venue. You know, the, the people who looked who were in charge of the venue. Uh huh. Vasistas. You know, they'd hear them, you hear them up in the corners talking to each other like, oh God, I want to retire. There was a few issues there with the engineering crews at the venues. Just didn't all see eye to eye about how things should be. And it was very frustrating for the crew. They had a tough time and there was a language barrier and, and a lot of other things like the voltage was weird and it was weird and you know, they're on a different system and so it made things tricky.
- [65:05]
D
Steve Parish we got into a couple of scraps in Germany a lot with the crews there. They just didn't take us seriously and they weren't used to seeing rock and roll gear like ours, you know, so heavy and so much of it. Why you need all this stuff, you know, everything else was just a couple of amps.
- [65:25]
B
Sometimes Europe fought back. Lighting director Candace Brightman.
- [65:29]
C
The union crew in Europe didn't hated the idea of working for a woman. They all pursued and speak English. They make it very clear that they could understand. They stole all of my tools which were labeled canvas. And then for years afterwards people would say they would run into my tools, you know, doing union gigs in Europe. They were really terrible.
- [65:51]
B
The lighting system was pretty small in those days, as Wiz remembers.
- [65:55]
C
The courting truck was also the lighting truck. We, you know, like pack everything up and put the protection covers on a few hampers and these three light trees that Candace had. Three trees with about eight or 12 park cans on each statin follow spot.
- [66:16]
B
Meanwhile, the band's crew had started collecting knives. Sounds promising.
- [66:20]
D
We bought them everywhere we could because they were illegal in America, man. And so every country, starting from England and France, you could buy them switchblades. Springer knives in Germany, they got better and better. But anyway, so we already had some and we would do the same. Like, if somebody was fucking with somebody, you'd hear blades and everybody would flick their switchblades and fucking just that shut everybody up. They stopped immediately what they were doing. And so we were doing that a lot that day because the union was fighting with Candace a lot.
- [66:51]
B
Ben Holler of the lighting crew, they.
- [66:53]
D
All bought switchblades in Germany. We go down the lobby and like every roadie sitting there going, you know, there's switchblades.
- [67:01]
C
Bought a great knife in Cologne. It's made in Germany with Solingen steel. Carry it in a sheath. The blade's about 4 and a half to 5 inches long, but then it'll also fold out of the handle, which is Staghorn, and lock at about 10 to 11 inches. Not a switchblade legal on the streets. Everyone, well, not really carries knives of one sort or another.
- [67:26]
B
Van Haller was working for Candace Brightman on the lighting, but as a veteran of the Fillmore east, he moved around the crew as needed.
- [67:33]
D
I helped to work out the Transformers situation. I was really good at that. I got along very well with Dan Healy.
- [67:40]
B
Dan Healy had rejoined the band's crew to handle the Transformer needs in Europe. One reason Ben and Dan may have gotten along so famously is what went down during one of the nights in Germany.
- [67:51]
D
When you're in Germany, you need to go up in Siegabel Stopper, down in. Down in Zigabels Stopper, bring in Siegabel Stopper Gobble. Stopper Gobble is fork. Stopper is the man who runs it. If you're doing a tour in Germany, all you got to bring in Zigopper stuff, bring the forklift, lift the thing up, take the thing down, you know, so everybody's walking sort of on eggshells. So because you're. You're not quite sure who this person is and what they're going to say and what they're going to deny you or not deny you or let you have or tell you what works, they would pretend, as I say, to not be able to speak English. We were in Germany somewhere, and I understand a few languages a little bit. And so I heard them say, well, it's midnight. We're going to turn the power off. And, you know, the owner of the building and everything, we're going to turn the power off, Right? But in Germany, for whatever reason the big electric panels have a latch on them with a hole for. And I had a padlock so I put my own padlock on it so they couldn't turn off the power. At which point you goddamn you God cock sucking son of a bitch. You know they spoke perfect English.
- [69:07]
B
Another night, another classic dad show in west Germany in 1995. 26 April show in Frankfurt became the first music released from the Europe 72 tour since the Europe 72 album itself. Robert Hunter himself wrote liner notes. Here's what he wrote in that Run from Hamburg to Munich in two buses Castles along the Rhine Black Forest at night where werewolves roam Bombed out ruins of old Heidelberg University U.S. brit post war retaliatory blitz of Gumitlich, Germany Ancient before ever those snot nosed killers transformed high romance to schmaltz and wrecked language for poets for generations to come. Too many lies had been told in it Concepts of the heart and the very words to say them Expropriated for the purposes of rape. We had lies of our own to tell but not hateful ones Told them with music had come to save the world but starting in Germany began to realize Worlds cannot be saved all are tentative so we learn to dance on graves and be glad none recover they are just replaced in 1972 the German nation was still in shock Only halfway between then and now we had Vietnam. All were crazy, none were sane Haas frown at dawn trying to scrub their patches of sidewalk free of blame look up to see busloads of the dead with red rubber noses waving laughing register nothing continue scrubbing Seisty totin only the children see Alembic crew member Janet Fuhrman got a particular view of the Dead's fame.
- [70:38]
E
There was a bus that took us mid morning Took the crew over, not the band members. They got to go later in a limo.
- [70:47]
C
But we would go over in a.
- [70:49]
E
Bus and spend the day setting up equipment and doing sound checks and getting everything ready. I would mainly be in a recording.
- [71:00]
C
Truck getting ready to record.
- [71:02]
E
There was one time when we were in Germany. I forget exactly which city it was. It might have been the one that.
- [71:08]
C
Had the Hundred Year hall, but I.
- [71:11]
E
Overslept in the hotel and I missed the crew bus that left kind of mid morning. I knew the venue was all the way across town and of course I didn't know my way around, didn't speak German, was in a panic about how am I going to get there, I've got work to do and I didn't want to screw up so I was frantically running through the halls of the hotel trying to find somebody who might be in the same predicament and maybe.
- [71:47]
C
We could get there together.
- [71:48]
E
So I ran into Jerry Garcia and he said, oh, don't worry, you can go with me. So we had a leisurely breakfast and. And then a stretched limousine pulled up. Jerry and I got in, drove to.
- [72:07]
C
The venue, and when we got there.
- [72:10]
E
There was a line of people all the way around the city block waiting to get in. This is like 11 in the morning, and the show was, you know, in the evening. These people were going to be out there all day. They were very anxious to get in and they were very eager to see who was in the stretch limo. And so we pulled up backstage. It was a mob scene. It was like, you remember those scenes in A Hard Day's Night of the Beatles trying to get in and out of their venues. Well, it was like that. And, you know, of course all the attention was focused on Jerry, but I was there when the phalanx of cops cleared away through the crowd for us to go in.
- [72:53]
C
It was Jerry and me.
- [72:54]
E
I felt like I was a rock star too. So that was a moment that I'll never forget.
- [73:00]
B
Thanks to the magic of David Ganz, we have the voice of the Dead's Late manager, John McIntyre. This is from an interview conducted for the book this Is All a Dream we dreamed, available from perfectible.net, we've posted a link@dead.net deadcast.
- [73:14]
C
They were playing in some rooms that had. Well, for instance, I think it's called the Ja Hunderhalle in Frankfurt, which was a modern concert hall with a concert organ built in, etc. A beautiful hall with absolutely magnificent acoustics. I mean, of course, it's meant for symphony orchestras. So I believe, for instance, in that hall there was a recognition of the nuances that stepped up, you know, that was pumped up. I do believe that the spectacular acoustics of that hall and the wisdom with which it was built did affect them because I believe they were able to hear themselves better than they normally could. But I remember Phil's enthusiasm about that hall. I remember Phil talking about the Hunderhall. He was totally stoked on it because he knew exactly what was happening there. It was right down his alley. Built by some big company on their hundredth birthday.
- [74:09]
B
Opened in 1963, Charhendar hall commemorated the centennial of the German chemical company Hoechst. Here's Bob Weir and Phil Lesh remembering it to David Ganz and Marty Martinez in 1995.
- [74:20]
D
Hundred Year hall, or Jar Hundert Halle.
- [74:24]
F
Is an interesting place.
- [74:26]
C
It looks like a regular concert hall, but absolutely nothing.
- [74:30]
F
It's entirely, entirely made out of plastic. It looks like it's made out of.
- [74:33]
C
Wood and velvet and stuff like that. It's entirely made out of plastic.
- [74:38]
F
I guess they intended to prove a point of some sort when they were building it.
- [74:43]
C
It's a great sounding little hall too. Yeah, it was amazing. I think about 3500 is. Not that the audience actually was mostly servicemen from the Wiesbaden air bases, which are right around Frankfurt.
- [74:55]
B
The weird bassist is right. There were many servicemen in the audience. Here's how Pigpen described it to his parents in a letter home written two days after the show.
- [75:04]
C
The reception was pretty good, excellent from the servicemen. The town's loaded with them. There's an armed forces radio TV set up here. One channel each. Haven't seen the TV, but the radio plays all rock, country, western, soul, 24 hours. And the commercial messages don't exist like in the States. It's all announcements, mostly military, and advice on how not to get fleeced by the local hooker, crook, mugger, con and et cetera. But it's good to hear music again, even for just a couple of days.
- [75:39]
B
We spoke with Eric Alden, one of the servicemen in the audience.
- [75:42]
F
I was a drafty and I was in the army, and. And I got over there maybe 10 days before this thing. I got over there in April, and I got stationed at this base in Darmstadt, Germany. And I remember when I first got there, some of the guys were talking about going to the Dead show, and they had tickets and, you know, it was pretty cool. But, you know, I didn't know these guys real well. They were Deadheads. Some of them were more casual fans, some of them were into other bands, and some of them were very, very much Deadheads. People there in the army listened to lots of music. I mean, that's what enlisted men in the army then spent their. All their money on big stereos and music and substances. We pretty much owned a lot of vinyl. The barracks rooms that I was in were all like eight guys or something in a room. People would like pool their stereos together and power up real big time and their album collections. And so you would have a heck of a lot of good current music available at all times. So we would simply sit around listening to music constantly in the evenings. And then it was either the day of the show or the day before. One of them, this guy, Mike Baxter, and I owe him like big Time in my life comes up to me and he says, hey, one of the people canceled out and we got this group of tickets and do you want this ticket? And I said, well, shit, yeah, sure I do. So we piled in a car and drove off to Frankfurt, which was about a 45 minute, as I recall, drive, and pulled into this little place. It was the only show I ever saw in a yarhunderhalle.
- [77:33]
B
The counterculture initially found its home in neighborhoods of different cities like San Francisco's Haight Ashbury and New York's East Village. But its population was global and its population included those in the military, both conscripted and volunteer. There had been servicemen in the audience in Denmark and again in Germany. And it was a cultural force that worked around the Whole of the Dead's Europe 72 tour, which we'll revisit in a few episodes. If you can't wait, check out Michael Kramer's wonderful book, the Republic of Rock.
- [78:01]
F
I remember being outside waiting for it to open up and people passing around bottles of wine and pipes full of hash. And I remember that I don't think it sat more than maybe 2,000 people. It didn't feel that way. And these guys had two blocks of tickets and I got the worst ticket of the bunch. I was in the seventh row and they had like the fifth row and the seventh row and we sat down and, you know, waited and the band came out.
- [78:33]
C
It was.
- [78:34]
F
There wasn't any like warm up act or anything. It went right to the Dead.
- [78:54]
C
I had a hard rug Running from.
- [79:01]
B
Your window can't beat a Bertha opener. The first song on the newest album, Skull and Roses. It opened eight shows on the Europe tour, more than any other. This Frankfurt show is one of my all time favorites. A go to if I'm in a deaddy mood, but not sure what dead to listen to.
- [79:16]
F
The audience was primarily American, at least the area where I was. There were some Air Force guys behind us. There was us. I don't remember a lot of German speaking there. There were other concerts I went to that there were a lot of people speaking German in, you know, and that was the primary language in the group. But it didn't seem that way at that concert. It was a very American crowd.
- [79:43]
B
Early in the first set, you can hear soldiers talking to each other, shouting out their hometowns. Using the free airspace of a Dead concert to connect Shout out to the gentleman from Brooklyn. As Steve Parish remembers, Not everybody in the Frankfurt audience were servicemen though, because.
- [80:21]
D
Everybody in the audience was high in America, you know, and so they would be people that would get so high and they. Till we figured out a couple of security measures putting up, what do you call it, ways to stop them from jumping on stage with barricades and things like that, that we had to grab a lot of people that were very high from trying to run around on stage, take their clothes off. You see them stripping down in the audience and running toward the stage, you know, doing the strip tease. And you knew they were coming up there and they would usually try to hug Jerry or grab Big Ben or something, so we had to hold him back. And people, even little girls, were strong with adrenaline and be careful, we never hurt anybody. But they were powerful and we were strong too. This one night were playing in Frankfurt and it was mostly an audience of American soldiers, I thought, as it'd been in a couple other places in Germany at that time, you either, you know, a lot of guys were still were either being. You got sent to Southeast Asia or to Germany. And so it was. A lot of American servicemen would come to the show. But in this Yaounda hall, in the Hundred Year hall, this all concrete place, and everybody was sitting at attention out there and the show is blasting away, but they're not standing or dancing or crowding the aisles like they do in America or a lot of other shows in England. And so all of a sudden I see this guy, I can't believe my eyes, a long haired guy, man. And he's come running down the middle aisle, totally naked, man. I go, oh, no, no, here he comes, man. And he jumps up on stage and so me and kid grab him and we each had him by a wrist and an ankle. And this guy was sweating. He was dripping wet with sweat and just hard. He was like holding a greased pig, man. And he was definitely a German. He was not speaking in a word of English. He had himself an experience, I guess. And he's fighting with us every which way, you know, and we just carry him out to the back door, which was right behind this curtain, behind the stage. And we opened the door and just let him go in the night. And he ran out there naked. I wonder where he went that night.
- [82:34]
B
Unless you think Parrish is making up stories for our benefit. If you point your computer to a 1996 Usenet thread titled Favorite Naked Guy at show, you'll find A memory of Frankfurt 72 posted by a user named Mark, who a very hairy man also streaked the stage at one point while the boys were tuning. He looked like a character from an R Crumb Comic strip, as I recall, using Mark's coordinates, that the incident happened during a tuning break. I think the moment is on tape. Just after Big Railroad Blues, you can hear some uneasy rumbling in the crowd. And just off mic, Bob Weir notes, be gentle with him. Deadheads truly are the same everywhere. A few days later, Garcia observed to a Rolling Stone reporter, everywhere we've been, the audiences have been Grateful Dead audiences. We've had the German equivalent of the guy who gets up on the stage and takes his clothes off. We've had the English freak out, the Danish freak out. Naked Frankfurt dude. If you're out there, hit us up@stories.dead.net, we'd love to hear about your experience in the first set. Jack Straw received a three star rating in the recording truck.
- [84:17]
E
We can share the women, we can share the wine.
- [84:25]
F
Keith Godshaw was essentially new to the band. Donna wasn't even really a full member of the band. She came out during playing in the band and picked up a microphone, you know, so you're sitting there watching the show and all of a sudden this lady comes walking out over by the piano and walks around and picks up money from. And she was really, really hot that night. I mean, she was wailing. She was terrific. You know, it frankly was the best I ever saw her, I thought, you know, and I. I'm not saying that I saw her where she was ever bad, but she was really exceptional that night.
- [85:29]
B
Ben Haller of the lighting crew found a particularly excellent way to prank the.
- [85:32]
D
Band at the Fillmore. There were drunks that would yell out Alvin, you know, for Alvin Lee or Boogie or Play All Night or Dark Star, whatever. Quite often they got their stuff wrong and everything. So I'm figuring I'll do my own prank. So I call out, oh, what's a great Jefferson Airplane song? White Rabbit. I yell white Rabbit. And so I do it a couple of times during and I wait for calm and I'm pretty loud.
- [86:05]
B
Unbeknownst to Ben, but knownst to us, Ben's prank was building on a long standing band joke. Here's one example from May 15, 1970 at the Fillmore East.
- [86:18]
C
What?
- [86:20]
B
Thank you, Weir. That's very helpful. Here's a succinct explanation. Recorded August 15, 1971 at the Berkeley Community Theater.
- [86:29]
C
That's right.
- [86:29]
E
There was a guy that was in New Orleans.
- [86:31]
C
Yeah.
- [86:32]
D
Play White Rabbit. God damn it, play White Rabbit.
- [86:38]
F
He was drunk on beer and he.
- [86:40]
C
Was hollering that all afternoon oughta been hog tied.
- [86:46]
B
So every now and then, if you're listening to tapes from the era, and the crowd starts making requests. You can often hear a band member just off mic proclaiming, play White Rabbit, God damn it.
- [86:55]
D
I realized in Denmark I would talk to some of the Danish crew, try to, you know, bite the rabbit, you know, I started yelling for it in Denmark, and then I'd yell for it in Germany and, you know, France and stuff. And I actually got Phil to start the bass, you know, for White Rabbit a couple of times. And I was told later that the band was actually nervously having meetings going. They don't understand us in Europe.
- [87:29]
B
With that in mind, consider how Ben's prank unfolded before the second set in Frankfurt.
- [87:38]
H
Whoever you are, Mr. White Rabbit will identify you yet.
- [87:46]
C
This guy's been following us around for five years.
- [87:51]
E
The Alligator Man.
- [87:54]
C
The White Rabbit Man. The White Rabbit Man.
- [87:57]
B
No, no, the Alligator man is someone different. Ever thus to Prankster Slash.
- [88:02]
F
And it was like a super show. I was just, like, blown away, you know, There were songs I was familiar with, there were songs I wasn't. There were songs that I was familiar with from places other than the Dead, you know, like, from other people playing them. It was terrific. And I was just like, completely, completely blown away. And I became like a Deadhead instantly and spent the rest of my time in Germany, you know, like, listening.
- [88:31]
B
The second set in Frankfurt was and is some serious business of izness. In his liner notes for Hundred Year hall, lyricist Robert Hunter narrated the heart of it. We'll let him do so here, though. I'll be standing in for him. Thanks as always, Bob Truckin'. Still new enough in 72 that Bobby hasn't got all his entrances. Down by Heart is full of Thunder Juice, GD's signature tune of the time. The audience is familiar enough with it to think about getting involved after engaging the band in a standoff first set. Or maybe it's not their choice. The monster is out of the box now, per usual, and is perfectly capable of sweeping things along without a by your leave. The tune Broke breaks up into sprung clockwork, but Billy the K hangs in there, not letting things end. Oh. Drum solo settling into an unmistakable beat, Phil thrums his first cue line for the other one, and the room begins to rock back and forth. Suddenly, the band decides to go back and inspect that busted clock for a minute. Tension release, tension release Drop back now and again or you got nowhere to go Bands that don't learn that might sell more records, but drop by the wayside now occurs. What makes this recording worth adding to your collection? Moments of gentle sweetness, repose. Jerry conversing idly with Phil, wondering if it was worthwhile to wake up today. Inventing reasons it might have been, believing them provisionally. Suddenly a street scene in windblown San Francisco, clouds gathering. It was this version of the other one that won over Phil Lesh when an edited version of this show was released in 1995 as Hundred Year Hall. This is from the great interview with David Ganz and Marty Martinez.
- [92:31]
C
This other one, the jamming out of the other one on the second disc is a thing that.
- [92:39]
G
I didn't even.
- [92:40]
C
Believe it when I heard it. I. I still have trouble believing that we actually played. To me, it's just the spirit of the whole thing. The way. The way it just turns on a dime. It goes to so many different places.
- [93:23]
G
That was one of the things that.
- [93:24]
C
We used to like to do the most, was to go as many different places in a jam as we could. Just throw everything in. And this is a prime example of that kind of thinking.
- [93:39]
B
Back to Robert Hunter. Weir tells a story in words of his own sketch about a Spanish lady in a rose. Jerry tries a scale inimicable with the key and Phil follows him into the forest as percussion. All but suspends until Billy decides to practice a little rudimental drumming on his own. Off to the side while Phil and Jerry consider the alchemy of scales sa. After a while, only an uninsistent but understood sense of tempo indicates this is to be a piece of music in any sense this audience might comprehend. Jerry is considering East 52nd street in the 50s. While Phil has meandered down to Basin Street. Bobby is pasting decal ducks on the blue tiled wall of a shower. Keith awakens once in a while, but mostly dreams. Silent on the keys.
- [94:51]
C
Sam.
- [95:21]
B
Now just Phil and Jerry make sound. A meditation on the face of Germany, Our witness to this place and time. Then somebody discovers the knobs of his amplifier, twiddles them up and down, letting the guitar play itself as a Bauhaus era Paul Klee drawing constructs itself on the stage. Weimar has entered the hall. The Treaty of Versailles. Very tough to live with. Anger and economic disruption, Expressionist dismay. The rise of the right wing. Speed over the rest. Run the clock very fast. Tumble into the present with momentum. The band agrees not to prevent. Fly over Berlin, over the Wall, then circle west and follow the Rhine. Whiz of the bus wheels down the Autobahn. Reintroduction of the theme of the song. Rhythm following suit. A few bars on as a nonchalant other One strolls out of the piece, steps lengthening till he, she or it is covering eight feet at a stride. The bus came by and I got on. A hushed moment. Energy of the piece fully discharged, discovers applause from these newly convinced Deadheads. But this is not a time for clapping. Comes A Time emerges gently with the admonition Gotta make it somehow on the dreams you still believe.
- [97:31]
C
Comes a time when the blind man takes your hand says don't you see Gotta make it.
- [97:46]
B
Somehow on the dreams you still believe. Written in late 1971, comes a time was debuted in the same period as the rest of the new originals that became part of the Europe 72 album, and the band's tapes show that the song was very much in consideration. This version of Comes a Time was included on the band's post tour mixes and then prepared for overdubbing, though the track sheets show no sign of that happening. It's a great version though. And now more from Robert Hunter what the people of this land need to consider more and everybody damn well knows it, at least for the moment. The ballad ends with again little space for acknowledgement from the audience, stepping on its own tail and striding into a glittering sugar magnolia. American summer music Sunshine daydream of ass kicking rock and roll with love and promises.
- [98:58]
E
Sunshine daydream Walk you in the palm trees.
- [99:20]
B
Thanks, Hunter. But the set is hardly over. After wrapping up a sequence of music that lasted over an hour, Lesh slashes into one of the Dead's most beloved rave ups. The crowd is psyched. Turn on your love light begets a wild sequence of jamming. Pigpen's not in the mood to go all out, so it turns into a gnarly jam that channels the primal dead. With some cool co leads by Weird.
- [100:09]
C
It.
- [100:39]
B
Garcia lands the band into a quiet epilogue, and we end up in this passage with the band playing both Not Fade Away and going down the road feeling bad at the same time. From the 1995 interview with David Ganz and Marty Martin Martinez that's the that's the stuff that.
- [101:54]
C
That we dream about. That's the stuff that we aim for. That's the stuff that's the most fun to do and it's. It's the most magical and it's the stuff that nobody you can never predict what's going to happen, although there are some factors that are involved. For instance, with only one drummer we could turn on faster, we could shift gears rhythmically differently than we do do with two. There's it's like you're heavier and Going faster with two drummers. And it's hard to change direction. It's like. It's like a car or an airplane. The heavier and, you know, bigger it is, bigger engine goes faster, but it doesn't turn on a dime. Yeah. And so that was a particular thing we could do with tempo. And we had. The thing about it was, it was. It wasn't always. It was never always in one direction. We could go faster or slower, sometimes both at the same time. And it was just. Those moments are true goosebumpers for me.
- [102:55]
B
And this in turn leads to another moment in this jam that's perhaps just as perfect, but might not be as obvious. Because after pulling it off in Frankfurt, the band did it roughly another few dozen times over the next decade and change. Jerry Garcia had been using an instrumental version of we bid you goodnight to cue song transition since 1968. And they tried a rough draft of the sequence. But in Frankfurt it bonded and became the perfect no fuss path into one more Saturday night, just one more Wednesday night in Frankfurt. It certainly made Eric Alden a Deadhead.
- [104:08]
F
I saw the Dead quite a number of times, maybe 25 or 30 times, and started to wonder, was that really that good a show? Or was it just because it was my first show and I was so blown away by the Dead. And I had this kind of creeping question in the back of my mind because I'm saying, man, it still to my day seems like it was a really good show. And then like one day I'm driving along and I'm listening to the radio and the guy goes, and he's playing. I can't remember what Dead song it was, but I knew it was a different version I wasn't familiar with. And then he goes, that's from the new Hundred Year hall release. And I went, well, fuck, you know, Hundred Year hall has to be Yar Hunder Hall.
- [104:52]
E
It was a time when they were specifically requested by the record company to do two CDs. This was right after Jerry died. And I think they were also hypercritical. Same reason that Dick's Picks Volume 2 was only one CD. Why? I asked Dick, why didn't you use the first set? Why didn't you include the first set? He said it wasn't as good. He said it didn't match up to how good the second set was. So with Hundred Year hall, the thing we found in mixing the whole show is that everything was that good quality of what ended up on the album. Like, there's some of my favorite versions of a lot of songs.
- [105:27]
B
Europe 72 man, pig pen checked in with his parents the next morning from the Park Hotel, Frankfurt.
- [105:32]
C
Howdy folks, Here we are in Frankfurt, still alive and kicking with no trouble at all. We played last night at John under Fall Take. It's a day off today. No travel, sound check gig, nothing. So I'm catching up on letters. Some of the guys went to Heidelberg to visit a mountain, but I'm still sitting this one out. Off days usually turn into journeys anyhow, and I've had enough unnecessary buses for today, thank you.
- [106:01]
B
Rosie McGee remembers this off day in her wonderful photo memoir Dancing with the Dead, also available from Rosiemcgee.com as an audiobook.
- [106:09]
F
After a walking tour of the lovely university town of Heidelberg, Germany, a small group of us drove across the river to a well known overlook where we could see Heidelberg in all all its glory. As I recall, the group included Phil, Alan Trist, Robert Hunter, a local host, and me. We then drove further up the hill to the Heilingenberg, a deeply forested park where we got out and went for a walk. While it was beautiful, it was also kind of creepy and I was reminded of the story of Hansel and Gretel. We encountered the moss covered ruins of St. Michael's Monastery, built in the 9th century and abandoned just after 1500. While the others walked ahead, Hunter and I stayed a few extra minutes, but the vibes in that place were weird and we hurried on to catch up with the others. What we didn't know was that the monastery was finally abandoned when the last three remaining monks died in their beds when part of the steeple collapsed on top of them. At the top of the hill, we got to the main attraction that our host was eager for us to see. The Thingstadt is a huge amphitheater built by the Nazis in 1935 using forced labor. While it was a classic setting with unbelievable acoustics, it was too easy to imagine its cold and unadorned stage filled with a perfectly regimented SS cadre participating in the rallies that were regularly held there. Add to that image the weeds that covered the entire hillside and we didn't stay there long either. I found out later that the stage had been built on top of an important celebration site for the Celts who lived there around 300 BC. There was certainly a lot of history on that one hill.
- [108:03]
B
One bit of resonance with St. Michael's Monastery was St. Michael's Alley, the coffee shop in Palo Alto where Jerry Garcia and Robert Hunter met 11 years earlier. Another bit of history on the hill is St. Stephen's Monastery from the 11th century. Check out the daily dose on the dead social media on April 27 for a photo from the band's trip to the tower built from the ruins of St. Stephen's Monastery.
- [108:26]
C
Drive back to Hamburg tomorrow, 10 to 12 hours. Play the 29th. Leave Hamburg for Paris the 30th. That's one day early, two day drive with overnight stop and Konigswinter one day free in Paris instead of Amber. Nervous energy running a bit high among all and a lot of tension, headaches, sore necks, backs, et cetera. Once in a while, if lucky, I can calm one of the secretaries or old ladies into a back rub. Most of all the hotels have mineral bath stuff with vitamins and things good to soak in. What with all the jingle jangle of the road, my efforts to stop smoking seem to be failing miserably. Gotta be in a more relaxed environment. I guess by the time we hit Paris we'll be past the halfway mark. I've written one complete song and have words and arrangements for another. Play my new guitar all the time and I'm learning little goodies. Nothing you'd notice right off, but subtle and helpful.
- [109:29]
B
In Hamburg, the band performed at the music hall where Phil Lesh had encountered his doppelganger earlier in the week. Uli Dorman was there.
- [109:37]
C
Hamburg is a little. It's a harbor town like San Francisco, so very open for everything in the world. So it's a good atmosphere here. Hamburg has a ferry to England and a lot of contact between England and. And Hamburg is. We have a lot of clubs in Hamburg, especially on our red Light District, St. Pauli and a few music halls and a lot of English groups come. And so we have a lot of music press here.
- [110:15]
B
The music scene had continued after the Beatles 1960-1962 heyday.
- [110:19]
C
We love groups like Spooky 2. They play a long time here in the Star Club in Hamburg. Strengthen.
- [110:55]
B
That was Sunshine Help Me by Spooky Tooth. The second biggest city in Germany after Berlin. The dad's Hamburg debut was another classic. Archivist David Lemieux.
- [111:05]
E
Hamburg is great. I mean we're talking apples and apples. When we did Dusseldorf, Rock and the Rhine, Hamburg was given consideration. It's another dark star show. It's right in that peak between Dusseldorf and Paris, which is basically a 10 day peak. It wasn't Dusseldorf and it opens with playing in the band. You think, okay, this is something. Playing in the band is a good first set. Closer. It's something when you've had an hour and a half of warming up to open a show. It didn't have the same depth as some of the other versions on the tour. And I noticed that immediately. I wanted to love that playing in the band so much, but I didn't. I do love it, but not. And they played it every night and twice in Bremen. It didn't hold up to some of the better playing in the bands on the tour as a show. And the rest of the show kind of felt that same way to me. The Dark Star is magnificent. It's not as good as Dusseldorf.
- [112:30]
C
There are around 2,000 people in the audience. It's a very old hall with balconies and it's nice to see and hear from the balconies too. Behind the stage. There is a very old organ on that room and makes a good atmosphere too. I sit in the middle so I have a good view. 18 or 20. Not on the front, more on the back. The atmosphere is not typical for a concert in the United States where Deadheads can dance or things like that. And smoke. It is. You can't smoke in that music hall because of the old furniture. And it's not okay to smoke dope or things like that.
- [113:18]
B
Of course, it's still the 72 dead. Nothing for the Night made the final cut for Europe 72. But when the Dead made their mixes at the end of the tour, a few performances got in the running, including a three star Mr. Charlie.
- [113:35]
C
Yeah. You take a silver dollar Take a silver dime Mix it up together in Somebody Had a Gleam and I couldn't hear the drums moved you all night long I missed the Charlie telling me I can't do nothing wrong I waited for Pig Pension songs because he has not the best voice. But he has a voice that matched very good to the music. A blues voice. But he looks a little bit ill and he has lost a lot of weight. And Jerry has a wonderful personality and the way he smiled and the way he sings. I think he's a little bit melancholic person and. But very friendly. Like a real hippie.
- [114:33]
B
And China Cat Sunflower I Know youw Rider. The last take before the album versioned earned a hearty three and a half stars. And to every other dead show in Europe 72, a dark star. Graham Boone popping us into the first Dark Star jam.
- [115:47]
H
So in a free jam, you can hear Bill laying down a really nice beat. But the measure is free, it's floating. And then all of a sudden feeling groovy. 1, 2, 3, 4.
- [116:17]
C
1, 2, 3, four.
- [116:24]
H
So sweet after that Free jam.
- [116:30]
B
The post verse jam in this Dark Star has a beautiful example of the Dead starting from nothing and to quote Sun Ra, turning nothing inside out.
- [116:40]
H
Totally open music, lots of space.
- [116:48]
C
All.
- [116:48]
H
Kinds of jabs and pops and sparks. Jerry on that Wawa pedal jungle of sound, an electric outer space jungle. Jerry starts playing sort of like banjo picking. Arpeggio in the higher range, keening and intense, really active from Bill. But then Phil's coming in with this bass riff. We heard this on in Wembley on the 8th of April, same thing, D minor jam with this funky riff in the bass. Some people call this a caution style jam, but it's really distinct. Here comes Jerry with some really bluesy riffs. Really fast, complete bluesy funk riffing. On D Monday.
- [118:40]
B
We talked to Chris Jones about seeing the Dead at Empire Pool. He was ready for more.
- [118:45]
A
We were desperate to get releases back.
- [118:47]
D
Then from the Grateful Dead and get some of their live stuff.
- [118:51]
C
I mean, we'd had Skull Fuck, which was a really great album, but it.
- [118:55]
A
Wasn'T as good as Live Dead when that came out. And Live Dead really was, really blew me away. But before then, I bought my first.
- [119:04]
C
Bootleg and this was one which. Well, I call it Mr. Natural. It just said the Grateful Dead live. And it was from Hamburg, which of course I hadn't been to. And the. And it was a fairly muddy thing and they sort of got all the.
- [119:21]
A
Wrong names for things like Weir's song and Manolito.
- [119:27]
C
Or Manolito as he's gone.
- [119:28]
A
The Jumper.
- [119:29]
C
Have you ever heard the Grateful Dead do the Jumper?
- [119:31]
E
You have.
- [119:32]
A
It's Jack Straw.
- [119:33]
C
And so.
- [119:36]
A
Where they get the Jumper.
- [119:37]
C
From, God only knows.
- [119:39]
B
These days the tapes are much better. See you in Paris.
- [120:10]
C
Thank you very much. Good night.
- [120:12]
A
Thanks very much for tuning in to the good old Grateful Dead cast. And huge thanks to our guests from this episode, including Sam Cutler, Steve Parish, Donna Jean, Gotcha McKay, Mountain Girl, Rosie McGee, Alan Trist, Candace Brightman, Ben Holler, Janet Furman, Renee Tenor, Jim Sullivan, Uli Tutti, Hagen Glass, Eric Alden, Uli Dorman, David Lemieux, Graham Boone and Chris Jones. Also special thanks to David Gans, as always, for providing that essential archival interview audio. Did you travel over to Europe to catch any of the shows in 1972? Well, don't forget to go to stories.dead.net where you can record yourself telling a tour story. We definitely want to hear from you, remember, especially if you were at any of the shows in the Netherlands or in Munich. We really need to hear from you, tell your friends Please don't forget to like and subscribe and leave us a review if you're so inclined. Thank you very much. Now on to France. See you next week. Executive producers for the good old Grateful Dead cast, Mark Pincus and Doron Tyson. Produced for Rhino Entertainment by Rich Mahan Productions and Jesse Jarno. Special thanks to David Lemieux. All rights reserved.