GOOD OL' GRATEFUL DEADCAST

Episode: Europe ‘72: West Germany

Release Date: April 21, 2022

Hosts: Rich Mahan & Jesse Jarnow

Overview

This episode of "The Good Ol’ Grateful Deadcast" chronicles the Grateful Dead's 1972 tour through West Germany, bringing to life the shows in Bremen (Beat Club TV), Düsseldorf (Rheinhall), Frankfurt (Jahrhunderthalle), and Hamburg (Musikhalle). It combines band & crew memories, fan stories, historical context of German rock culture in the early '70s, and deep dives into musical highlights. Emphasizing both the logistics and magic of the tour, the episode is a time-traveling journey that illustrates the influence and impact of the Dead in Europe—especially in Germany, a nation marked by its own evolving music scene and post-war atmosphere.

Key Discussion Points & Insights

Crossing Into West Germany: First Impressions & Setting the Scene

Pigpen’s Letters Home (04:44): Listeners hear Ron "Pigpen" McKernan recount his observations: stampings at borders, quirky hotels, European food (“fresh venison from the Black Forest”), and adapting to local customs.
Fan Reaction (05:34): Alan Trist and Sully (family friend to Pigpen) reflect on the band's unexpectedly intense German fanbase and sold-out shows—echoing how Germany had embraced not only the Dead, but the broader West Coast sound, leading to a frenzied press schedule.

“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.” – Alan Trist (05:47)

The Beat Club Experience (Bremen, April 21)

Band Tapes for German TV (07:30): Pigpen describes Beat Club as “Germany’s American Bandstand, but done a lot more tastefully, except you can't dance in the studio.” The Dead set up their own recording rig, aiming to capture the whole performance.
German Deadhead Uli Toit (08:10): Remembers Beat Club’s cultural importance; recounts how Dead fans were a minority amid Germany’s Led Zeppelin/Deep Purple obsessed youth, and how Beat Club exposed him to the Grateful Dead.
Technical Culture Clashes (12:29, 13:59): Archivist David Lemieux and “Mountain Girl” (Carolyn Garcia) detail the Dead’s struggles with European studio standards (voltage, equipment incompatibility), and a piano out-of-tune with the organ due to a language mix-up.

“It was very frustrating. The band was supposed to follow very significant timings and stuff... There was differences of method, I would say... it was just a little hard.” – Mountain Girl (13:59)

Behind the Scenes: The session is remembered for its family vibe—lots of waiting, small cups of Coke, and downtime. The band’s creative solutions included running the organ off an amplifier to match the “441” piano (15:21).
Iconic Pranks & Performances (16:01, 17:11): Bob Weir pranks the studio engineer; Hunter and MG try to liven up the sterile set by dancing, only to be ushered off. The Dead deliver two intense versions of "Playing in the Band."
“One More Saturday Night” as Promoted Single (20:15): The show is broadcast a month later with the Dead allotted only one song (Their new single, an outtake from Bob Weir’s “Ace”).

“They needed a song to tour Europe with. You gotta have a single, right?... and it was Bob’s solo song!” – David Lemieux (20:38)

Chemical Hijinks & Aftermath (27:59): Bill Kreutzmann recounts the band tripping on acid and other substances, leading to a drunken incident in which he destroys an antique hotel mirror; the crew also allegedly launches a TV out a window, inciting the riot squad.

The Shows: Düsseldorf, Frankfurt, Hamburg

German Krautrock Influence & Dead Inspiration (36:45): The Dead’s visit overlaps with Germany’s thriving psychedelic scene (Kraftwerk, Can, Neu!). Can’s producer, René Tinner, recalls building an imitation Wall of Sound PA after seeing the Dead’s system.

“The band was so relieved with the introduction of this system, because there was never any monitor problems anymore...” – René Tinner (42:00)

Düsseldorf Show in the Rhine Planetarium (47:11): Hagen Glass recalls the audience as more reserved than in America—seated, not dancing, though a few get into the groove. Pigpen steps in to protect Jerry from an over-enthusiastic dancer (49:47).
Recording Anecdotes (52:39): Wiz Leonard describes the system of colored lights used to signal potential tape runs; Jerry garcia disregards the “yellow light”, insists on jamming.

“I light the yellow light... and I see [Jerry] look down, and he looks straight at the camera...smiles that impish, magical smile, and nods, no, fuck you. Nice.” – Wiz Leonard (52:39)

Dark Starology (54:34+): Graham Boone provides expert commentary on the “Dark Star” from Düsseldorf—its mournful pacing, intensity, and the subtle remix Easter Egg (“Searchlight casting, casting” at 56:15).
Frankfurt (Jahrhunderthalle) (74:20): Renowned for its acoustics (a “plastic” hall that sounds like wood—audience is mostly U.S Servicemen).
Audience Antics & Band Jokes (80:20+): Stage invasions (often nude), practical jokes (“Play White Rabbit!”), and audience members connecting over U.S. hometowns—mirroring Deadhead culture in the States.

The Band on the Road: Buses, Crew, and Cultural Clashes

Bozo and Bolo Buses (33:49–35:46): The band splits into two buses—marked by different drivers, language barriers, and substance preferences (“more pot blowing on the Bozo bus, more wine through wine country”).
Road Crew Survival and Knives (66:15): The crew buy switchblades in every country—both as souvenirs and to assert presence when challenged by union resistance or venue staff; practical difficulties with lighting, voltage, and tools abound (Candace Brightman’s struggle as a woman lighting director).
Equipment and Musical Evolution (26:08+): Fan Uli and his friend Volkmar track Dead guitar stickers and gear evolution across photos, e.g. Garcia’s Alembic Stratocaster and the “Pilhuhn” sticker acquired in Bremen.
Post-show Adventures (106:08): The crew and a few band members explore Heidelberg on their off-day—visit haunted locations with millennia of layered history.

Setlist & Musical Highlights

Beat Club Session: Two takes of “Playing in the Band” and “One More Saturday Night.”
Düsseldorf (Rhine Hall, 4/24): “Dark Star” → improvisational jams, “Tennessee Jed” praised by the recording team.
Frankfurt (Jahrhunderthalle, 4/26): Iconic versions of “Bertha,” “Jack Straw,” “Comes A Time,” a searing “Other One,” long jams with rapid transitions (“Not Fade Away” → “Goin’ Down the Road Feeling Bad” → “We Bid You Goodnight” → “One More Saturday Night”).
Hamburg (Musikhalle, 4/29): Noted for a three-star “Mr. Charlie,” more reserved but still deeply appreciated by fans.

Notable Quotes & Memorable Moments (with Timestamps)

On German Fan Reception
"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… very strongly." – Alan Trist [05:47]
On the Beat Club Recording
"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." – Pigpen (as read by Sully) [07:30]
On the Technical Challenges
"Everything in Europe at that point did not match up with American... Everything was a different kind of transistor or battery...the gear guys just tearing their hair out." – Mountain Girl [13:59]
On the Pressures of Touring
"[Garcia:] 'Alan, we gotta turn down this press thing. It's exhausting me.'" – Alan Trist [06:12]
On Pranks and Remedies for Boredom
"Bob Weir puts bunny ears behind the German studio engineer’s clapperboard just before Weir introduces the band." – Jesse Jarnow [16:01]
On Band Chemistry
“When Billy starts up getting into the rhythm and the beat of The Other One, they all start getting ready. It’s like…a presented unified front, where they all come forward at once.” – David Lemieux [18:35]
On the “Dark Star” Echo Easter Egg
"If you listen to 'Searchlight casting on the Dusseldorf Rockin’ the Rhine' version, you'll hear an echo of 'casting.'" – David Lemieux [56:15]
On Audience Culture Difference
“The German audience is…a little bit stiff. You can’t compare it with US audience…It was more like a cultural event...a bit strange to sit down during a Grateful Dead concert.” – Hagen Glass [47:47]
On Fan Taping
“I saw a guy with a tape recorder. Not a cassette, a tape recorder…he was taping it. I always wanted to find out who he is.” – Hagen Glass [47:47]
On the Power of Band Improvisation
“That’s the stuff that we dream about…you can never predict what’s going to happen.” – Phil Lesh [101:53]
On Touring in Post-war Germany
“In 1972 the German nation was still in shock…trying to scrub their patches of sidewalk free of blame…look up to see busloads of the dead with red rubber noses waving, laughing…only the children see.” – Robert Hunter, liner note read aloud [69:07]
On Pranks & Inside Jokes
“Play White Rabbit! God damn it, play White Rabbit!” – Band/crowd running joke, referenced in Denmark, Germany, and classic US shows [85:32–86:38]

Timestamps for Key Segments

Pigpen’s Letter Home & Germany Arrival: [04:44 – 07:30]
Beat Club Deep Dive: [07:30 – 21:28]
Düsseldorf & German Psychedelic Scene: [35:46 – 44:00]
Rhine Hall Show (Düsseldorf, audience perspective): [43:22 – 47:47]
Recording & “Dark Star” Musicology: [52:39 – 57:46]
Tour Life Buses, Crew & Gear: [33:49 – 37:00 & 65:05 – 69:07]
Frankfurt Audience & Naked Stage Invasion: [79:16 – 82:34]
Frankfurt “The Other One” & Hunter’s Liner Notes: [88:30 – 97:31]
Hamburg Show & Fan Bootlegging: [109:28 – 119:38]

Tone & Language

Throughout the episode, stories blend affection, irreverence, and warmth—typical of Dead community lore. There's frequent use of fan/crew slang ("bozo bus", "bolo bus", "stash"), matter-of-fact humor about wild antics and backstage mishaps, and a nostalgic, sometimes poignant, reverence for the Dead’s musical and cultural legacy. The episode is accessible for the "curious" but filled with deeper details for the truly "committed".

Conclusion

Europe '72: West Germany is a mosaic of wild travel tales, cultural collisions, technical ingenuity, and genre-bending music—conveying how the Dead both influenced and adapted to West Germany's unique vibe. The stories of the Beat Club babysit, the bozo-bolo bus rivalry, technical fiascos, and other classic Dead escapades (both musical and chemical) exemplify the spirit of the band at their peak. For those who missed the episode, this summary brings together key voices, defining jams, and the unforgettable moments that colored the West German leg of one of rock history’s defining tours.

GOOD OL' GRATEFUL DEADCAST

Episode: Europe ‘72: West Germany

Release Date: April 21, 2022

Hosts: Rich Mahan & Jesse Jarnow

Overview

Key Discussion Points & Insights

Crossing Into West Germany: First Impressions & Setting the Scene

Pigpen’s Letters Home (04:44): Listeners hear Ron "Pigpen" McKernan recount his observations: stampings at borders, quirky hotels, European food (“fresh venison from the Black Forest”), and adapting to local customs.
Fan Reaction (05:34): Alan Trist and Sully (family friend to Pigpen) reflect on the band's unexpectedly intense German fanbase and sold-out shows—echoing how Germany had embraced not only the Dead, but the broader West Coast sound, leading to a frenzied press schedule.

“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.” – Alan Trist (05:47)

The Beat Club Experience (Bremen, April 21)

Band Tapes for German TV (07:30): Pigpen describes Beat Club as “Germany’s American Bandstand, but done a lot more tastefully, except you can't dance in the studio.” The Dead set up their own recording rig, aiming to capture the whole performance.
German Deadhead Uli Toit (08:10): Remembers Beat Club’s cultural importance; recounts how Dead fans were a minority amid Germany’s Led Zeppelin/Deep Purple obsessed youth, and how Beat Club exposed him to the Grateful Dead.
Technical Culture Clashes (12:29, 13:59): Archivist David Lemieux and “Mountain Girl” (Carolyn Garcia) detail the Dead’s struggles with European studio standards (voltage, equipment incompatibility), and a piano out-of-tune with the organ due to a language mix-up.

“It was very frustrating. The band was supposed to follow very significant timings and stuff... There was differences of method, I would say... it was just a little hard.” – Mountain Girl (13:59)

Behind the Scenes: The session is remembered for its family vibe—lots of waiting, small cups of Coke, and downtime. The band’s creative solutions included running the organ off an amplifier to match the “441” piano (15:21).
Iconic Pranks & Performances (16:01, 17:11): Bob Weir pranks the studio engineer; Hunter and MG try to liven up the sterile set by dancing, only to be ushered off. The Dead deliver two intense versions of "Playing in the Band."
“One More Saturday Night” as Promoted Single (20:15): The show is broadcast a month later with the Dead allotted only one song (Their new single, an outtake from Bob Weir’s “Ace”).

“They needed a song to tour Europe with. You gotta have a single, right?... and it was Bob’s solo song!” – David Lemieux (20:38)

Chemical Hijinks & Aftermath (27:59): Bill Kreutzmann recounts the band tripping on acid and other substances, leading to a drunken incident in which he destroys an antique hotel mirror; the crew also allegedly launches a TV out a window, inciting the riot squad.

The Shows: Düsseldorf, Frankfurt, Hamburg

German Krautrock Influence & Dead Inspiration (36:45): The Dead’s visit overlaps with Germany’s thriving psychedelic scene (Kraftwerk, Can, Neu!). Can’s producer, René Tinner, recalls building an imitation Wall of Sound PA after seeing the Dead’s system.

“The band was so relieved with the introduction of this system, because there was never any monitor problems anymore...” – René Tinner (42:00)

Düsseldorf Show in the Rhine Planetarium (47:11): Hagen Glass recalls the audience as more reserved than in America—seated, not dancing, though a few get into the groove. Pigpen steps in to protect Jerry from an over-enthusiastic dancer (49:47).
Recording Anecdotes (52:39): Wiz Leonard describes the system of colored lights used to signal potential tape runs; Jerry garcia disregards the “yellow light”, insists on jamming.

“I light the yellow light... and I see [Jerry] look down, and he looks straight at the camera...smiles that impish, magical smile, and nods, no, fuck you. Nice.” – Wiz Leonard (52:39)

Dark Starology (54:34+): Graham Boone provides expert commentary on the “Dark Star” from Düsseldorf—its mournful pacing, intensity, and the subtle remix Easter Egg (“Searchlight casting, casting” at 56:15).
Frankfurt (Jahrhunderthalle) (74:20): Renowned for its acoustics (a “plastic” hall that sounds like wood—audience is mostly U.S Servicemen).
Audience Antics & Band Jokes (80:20+): Stage invasions (often nude), practical jokes (“Play White Rabbit!”), and audience members connecting over U.S. hometowns—mirroring Deadhead culture in the States.

The Band on the Road: Buses, Crew, and Cultural Clashes

Bozo and Bolo Buses (33:49–35:46): The band splits into two buses—marked by different drivers, language barriers, and substance preferences (“more pot blowing on the Bozo bus, more wine through wine country”).
Road Crew Survival and Knives (66:15): The crew buy switchblades in every country—both as souvenirs and to assert presence when challenged by union resistance or venue staff; practical difficulties with lighting, voltage, and tools abound (Candace Brightman’s struggle as a woman lighting director).
Equipment and Musical Evolution (26:08+): Fan Uli and his friend Volkmar track Dead guitar stickers and gear evolution across photos, e.g. Garcia’s Alembic Stratocaster and the “Pilhuhn” sticker acquired in Bremen.
Post-show Adventures (106:08): The crew and a few band members explore Heidelberg on their off-day—visit haunted locations with millennia of layered history.

Setlist & Musical Highlights

Beat Club Session: Two takes of “Playing in the Band” and “One More Saturday Night.”
Düsseldorf (Rhine Hall, 4/24): “Dark Star” → improvisational jams, “Tennessee Jed” praised by the recording team.
Frankfurt (Jahrhunderthalle, 4/26): Iconic versions of “Bertha,” “Jack Straw,” “Comes A Time,” a searing “Other One,” long jams with rapid transitions (“Not Fade Away” → “Goin’ Down the Road Feeling Bad” → “We Bid You Goodnight” → “One More Saturday Night”).
Hamburg (Musikhalle, 4/29): Noted for a three-star “Mr. Charlie,” more reserved but still deeply appreciated by fans.

Notable Quotes & Memorable Moments (with Timestamps)

On German Fan Reception
"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… very strongly." – Alan Trist [05:47]
On the Beat Club Recording
"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." – Pigpen (as read by Sully) [07:30]
On the Technical Challenges
"Everything in Europe at that point did not match up with American... Everything was a different kind of transistor or battery...the gear guys just tearing their hair out." – Mountain Girl [13:59]
On the Pressures of Touring
"[Garcia:] 'Alan, we gotta turn down this press thing. It's exhausting me.'" – Alan Trist [06:12]
On Pranks and Remedies for Boredom
"Bob Weir puts bunny ears behind the German studio engineer’s clapperboard just before Weir introduces the band." – Jesse Jarnow [16:01]
On Band Chemistry
“When Billy starts up getting into the rhythm and the beat of The Other One, they all start getting ready. It’s like…a presented unified front, where they all come forward at once.” – David Lemieux [18:35]
On the “Dark Star” Echo Easter Egg
"If you listen to 'Searchlight casting on the Dusseldorf Rockin’ the Rhine' version, you'll hear an echo of 'casting.'" – David Lemieux [56:15]
On Audience Culture Difference
“The German audience is…a little bit stiff. You can’t compare it with US audience…It was more like a cultural event...a bit strange to sit down during a Grateful Dead concert.” – Hagen Glass [47:47]
On Fan Taping
“I saw a guy with a tape recorder. Not a cassette, a tape recorder…he was taping it. I always wanted to find out who he is.” – Hagen Glass [47:47]
On the Power of Band Improvisation
“That’s the stuff that we dream about…you can never predict what’s going to happen.” – Phil Lesh [101:53]
On Touring in Post-war Germany
“In 1972 the German nation was still in shock…trying to scrub their patches of sidewalk free of blame…look up to see busloads of the dead with red rubber noses waving, laughing…only the children see.” – Robert Hunter, liner note read aloud [69:07]
On Pranks & Inside Jokes
“Play White Rabbit! God damn it, play White Rabbit!” – Band/crowd running joke, referenced in Denmark, Germany, and classic US shows [85:32–86:38]

Timestamps for Key Segments

Pigpen’s Letter Home & Germany Arrival: [04:44 – 07:30]
Beat Club Deep Dive: [07:30 – 21:28]
Düsseldorf & German Psychedelic Scene: [35:46 – 44:00]
Rhine Hall Show (Düsseldorf, audience perspective): [43:22 – 47:47]
Recording & “Dark Star” Musicology: [52:39 – 57:46]
Tour Life Buses, Crew & Gear: [33:49 – 37:00 & 65:05 – 69:07]
Frankfurt Audience & Naked Stage Invasion: [79:16 – 82:34]
Frankfurt “The Other One” & Hunter’s Liner Notes: [88:30 – 97:31]
Hamburg Show & Fan Bootlegging: [109:28 – 119:38]

wavePod

Europe ‘72: West Germany

Powered by Wave AI

Summary

GOOD OL' GRATEFUL DEADCAST

Episode: Europe ‘72: West Germany

Release Date: April 21, 2022

Hosts: Rich Mahan & Jesse Jarnow

Overview

Key Discussion Points & Insights

Crossing Into West Germany: First Impressions & Setting the Scene

The Beat Club Experience (Bremen, April 21)

The Shows: Düsseldorf, Frankfurt, Hamburg

The Band on the Road: Buses, Crew, and Cultural Clashes

Setlist & Musical Highlights

Notable Quotes & Memorable Moments (with Timestamps)

Timestamps for Key Segments

Tone & Language

Conclusion

Summary

GOOD OL' GRATEFUL DEADCAST

Episode: Europe ‘72: West Germany

Release Date: April 21, 2022

Hosts: Rich Mahan & Jesse Jarnow

Overview

Key Discussion Points & Insights

Crossing Into West Germany: First Impressions & Setting the Scene

The Beat Club Experience (Bremen, April 21)

The Shows: Düsseldorf, Frankfurt, Hamburg

The Band on the Road: Buses, Crew, and Cultural Clashes

Setlist & Musical Highlights

Notable Quotes & Memorable Moments (with Timestamps)

Timestamps for Key Segments

Tone & Language

Conclusion