GOOD OL' GRATEFUL DEADCAST – “Listen To The River: Fox Theatre, December 1971”

Episode Date: September 30, 2021
Hosts: Rich Mahan & Jesse Jarnow
Main Theme: Deep dive into the Grateful Dead’s December 1971 Fox Theatre shows in St. Louis, as featured in the “Listen to the River” box set, exploring why St. Louis was such a special city for the band, the scene around the Fox Theatre, and legendary behind-the-scenes stories.

EPISODE OVERVIEW

This episode kicks off a three-part arc centered on the Dead’s connection to St. Louis, focusing this time on their December 1971 shows at the Fox Theatre. Drawing from the new box set Listen to the River: St. Louis '71 '72 '73, Rich and Jesse, with a record number of guest storytellers, uncover why St. Louis was such an important city for the band and its fans during a key transitional period—from the “Pigpen/Keith” era to the introduction of Donna Godchaux and beyond.

KEY DISCUSSION POINTS & INSIGHTS

1. Rationale for the Box Set – “Music First”

David Lemieux (Archivist, Box Set Curator) [04:58]:
“The selection process is always very complex… I’ve always been of the mind to start with the music first and foremost.”
St. Louis is not just about quantity but the consistent quality of performances—1971-73 reflects the band’s transition from Pigpen to Keith and Donna Godchaux, through several distinct musical eras ([06:00]).

2. Why St. Louis? The Band’s “Second Home”

St. Louis developed a robust, unique counterculture scene in the late ‘60s and early ‘70s, echoing the coasts but with its own flavor ([14:29]).
Local Dead “family” members and Deadheads describe St. Louis as an easy, creative scene for the band to connect with ([15:09] Tony Dwyer).
The Fox Theatre—a preserved movie palace—provided a beautiful, sacred, and acoustically rich space ([47:21] Bob Simmons: “When you walk into the Fox Theatre, it’s special… it almost felt sacred. And when the Dead performed there, I think they sensed the same thing.”).

3. Tour Management & Logistics

Sam Cutler (Tour Manager) [10:48]:
“The routing was horrible… So we decided to do it in house. I wanted the control of the family of the band and myself, thinking that we could do a lot better job.”
The band’s “hub and spoke” touring strategy, with St. Louis as a key Midwestern base—proximity to other major markets made sense logistically ([12:15]).

4. Early St. Louis Concerts & the Fox Theatre’s Magnetism

The Dead’s local debut: The Armory, May ‘68; Free outdoor shows at Washington University ([18:42]).
The Fox’s first big experiment with live rock: a failed Wayne Cochran show, but sparked a desire among students (like Tony Dwyer) to see the Dead fill the “fucking place” ([20:46]).
The Fox wasn’t a regular rock venue until the Dead made it their home ([27:43]), despite the more “official” opera house and auditorium venues in town.

5. Community, Broadcasts, and the “People’s Band” Ethos

Free shows and Dead’s habit of building a fan base before moving to ticketed venues ([18:42]).
The significance of live radio broadcasts: the December 10 Fox Theatre show was aired citywide, bringing Dead music to thousands who couldn’t be there ([38:06]).
Phil Lesh [35:34]:
“We’re sort of beginning a new cycle, a new leveling off at a new plateau or starting to climb again… Everything’s coming together on every level. You can’t separate the music from what goes on, both in our heads and in the world.”
The December ‘71 Fox shows showcased the dual keyboard lineup (Pigpen & Keith), with setlists balancing new material with Skull & Roses-era classics ([55:15]).

6. St. Louis Counterculture: Head Shops, Radio, and Social Crossroads

Local institutions like Spectrum (St. Louis’s main head shop) and legendary record stores anchored the scene ([39:37]).
FM stations like KADI and KC95 played a critical role, not only broadcasting the Dead but promoting local counterculture events ([41:07]).

7. Fox Theatre Audience Experience – The “Carnival Tent”

Fans recall the intensity of general admission runs, the sensory memory of patchouli, incense, and weed, and the Dead’s casual, intimate stage presence ([50:48] Tom Wood: “This is the Grateful Dead carnival tent…”).
The theatre’s aura, its “temple-like” grandeur, and the Dead’s conscious request for fans to “take care” of the venue ([13:46] Phil Lesh, [70:54]).

8. The 1971 Shows Themselves

Setlists heavy on Skull & Roses material but with the injection of fresh Dead classics: “Jack Straw,” “Sugaree,” “Brown-Eyed Women,” “Comes a Time,” and more—all making live debuts or in their earliest forms ([61:20]).
Legendary versions of “Good Lovin’” and “Playing in the Band,” with an evolving jam structure ([59:11]; [57:14]).
The revival and then quick retirement of deep cuts such as “Comes a Time” and rare seasonal numbers like “Run, Rudolph, Run” ([65:08]).
Missing the so-called “triple Berry” Chuck Berry covers—apt, given the band’s continued homage to St. Louis’ Chuck Berry ([66:10]).

9. Recording the Shows – The Rex Tapes

The December ‘71 Fox recordings were made by crew member Rex Jackson, with likely technical input from Betty Cantor ([73:51]).
These tapes, due to their length (10" reels), avoided the mid-song cuts of 7" reels, resulting in high-quality archival recordings ([73:51] David Lemieux).
The KADI broadcast sparked bootleg LPs and personal tape collections in the early days of Dead trading ([75:25]).

10. St. Louis Myths & Urban Legends

The persistent, but false, rumor that the Dead were going to buy the Fox Theatre; confirmed myth by management and news clippings ([71:48], [73:04]).
The actual urban legend: The Dead (minus Garcia, plus members of New Riders) crashed a local Bar Mitzvah at the Airport Hilton, played with the local kid band “Spring Rain,” and jammed on blues standards—confirmed by multiple firsthand accounts ([80:57]–[94:46]).

11. Scotty’s Music – Pedal Steel Headquarters

Jerry Garcia’s ongoing relationship with pedal steel mecca Scotty's Music (and DeWitt "Scotty" Scott), and how this made St. Louis an attractive stop for musical (and gear) reasons ([42:07]).

MEMORABLE QUOTES & MOMENTS

[09:38] Sam Cutler:
“What was happening in America was, you poor Americans are a bit slow sometimes. You didn’t realize how good those rooms were... the Fox Theater in St. Louis. Fantastic, beautiful. The fucking cinema, but what a room. Perfect.”
[13:46] Phil Lesh, on fan etiquette at the Fox:
“Don’t stand on the seats or kick in the walls or rip out the ornaments, seeing as how this is the only place we like to play around here… if we can’t come back here to this theater, we won’t come back to this town, which means you’ll have to go to Keele Auditorium and listen to Grand Funk Railroad.”
[47:21] Bob Simmons:
“When you walk into the Fox Theatre, it’s special… it almost felt sacred. And when the Dead performed there, I think they sensed the same thing. This place was meant for art.”
[55:15] Jesse Jarnow:
“The shows in early December 1971 mark the beginning of one of my favorite Grateful Dead lineups, with Pigpen and Keith Godshaux playing side by side, pig on B3, Keith on piano… It reminds me of the band with Garth Hudson on organ and Richard Manuel on piano…”
[66:51] Bob Simmons (on the Dead’s down-to-earth vibe):
“There was no pretension about them… another aspect of the Dead… if someone breaks a string… Bobby will come on and say, ‘Hey, we’re trying to get the perfect sound here,’ you know, whatever. It was all a joke. It was so casual and informal… just really peaceful and enjoyable, but the energy was so high.”
[94:46] Dead crash a Bar Mitzvah (Mark Slosberg describing Bob Weir):
“He was taller, lean, very, very long brown hair, you know, down past his shoulders. I thought that he had on glasses with kind of a tan shade to them… That does match the description of Bobbert Weir, but really, that’s crazy.”
[92:22] Mark Slosberg (reflecting on Weir’s advice):
“He was telling us to, like, behave, not take drugs. Talk about Janis Joplin, saying, ‘Look, junk is bad.’ It was like a PSA man.”

TIMESTAMPS & SEGMENT HIGHLIGHTS

[04:58] – David Lemieux explains the process behind box set curation (“music first, not just venue”).
[09:38] – Sam Cutler on discovering America’s “music palaces” and the Fox Theatre’s lasting urban impact.
[13:46] – Phil Lesh’s onstage plea to preserve the Fox Theatre.
[20:46] – Tony Dwyer’s story of booking the Dead for St. Louis U’s Greek Week at the Fox, band’s arrival antics.
[38:06] – The live KADI broadcast, big-time FM radio, the Spectrum head shop as cultural promoter.
[41:07 & 42:07] – St. Louis Outlaw reports on drug prices, and the allure of Scotty’s Music to Garcia and the Dead.
[47:21] – Bob Simmons’ description of the Fox Theatre’s “temple”-like aura.
[50:48] – Fans recall lining up, the sensory experience, and the “Dead carnival tent.”
[55:15 & following] – Musical deep dive: Pigpen/Keith lineup, legendary jams, new songs in the repertoire.
[61:20] – Debuts of “Brown Eyed Women,” “Jack Straw,” “Sugaree,” and others.
[65:08] – The Dead play Chuck Berry’s “Run, Rudolph, Run” as “local tribute.”
[70:54] – Onstage Dead express their appreciation for the Fox.
[71:48] – The myth of the Dead buying the Fox Theatre debunked.
[73:51] – Box set recording logistics: 10" vs. 7" reels, the Rex tapes.
[80:57] – The urban legend confirmed: The Grateful Dead at Richie Gerber’s Bar Mitzvah.
[94:46] – The lasting impact and the legendary bar mitzvah photos that (might) survive.

TONE & ATMOSPHERE

The mood is casual, affectionate, and deeply nostalgic—full of oral history, fan memory, and archival “you-are-there” recreations. The episode celebrates the magic of St. Louis as a Dead stronghold, the beauty and weirdness of the Fox, and the band’s generosity in connecting with their fans, even in legendary unplanned settings.

FINAL TAKEAWAY

St. Louis in 1971 encapsulated a pivotal moment in the Grateful Dead’s evolution: a city with the right energy, the right people, incredible venues, and a homegrown counterculture. The Fox Theatre’s December 1971 recordings capture not only a rare musical era, but the vibe of a community and a band at the intersection of place, history, and spontaneity—a feeling summed up by the urban legend, true after all, of the Dead jamming at a random kid’s bar mitzvah.

GOOD OL' GRATEFUL DEADCAST – “Listen To The River: Fox Theatre, December 1971”

EPISODE OVERVIEW

KEY DISCUSSION POINTS & INSIGHTS

1. Rationale for the Box Set – “Music First”

David Lemieux (Archivist, Box Set Curator) [04:58]:
“The selection process is always very complex… I’ve always been of the mind to start with the music first and foremost.”
St. Louis is not just about quantity but the consistent quality of performances—1971-73 reflects the band’s transition from Pigpen to Keith and Donna Godchaux, through several distinct musical eras ([06:00]).

2. Why St. Louis? The Band’s “Second Home”

St. Louis developed a robust, unique counterculture scene in the late ‘60s and early ‘70s, echoing the coasts but with its own flavor ([14:29]).
Local Dead “family” members and Deadheads describe St. Louis as an easy, creative scene for the band to connect with ([15:09] Tony Dwyer).
The Fox Theatre—a preserved movie palace—provided a beautiful, sacred, and acoustically rich space ([47:21] Bob Simmons: “When you walk into the Fox Theatre, it’s special… it almost felt sacred. And when the Dead performed there, I think they sensed the same thing.”).

3. Tour Management & Logistics

Sam Cutler (Tour Manager) [10:48]:
“The routing was horrible… So we decided to do it in house. I wanted the control of the family of the band and myself, thinking that we could do a lot better job.”
The band’s “hub and spoke” touring strategy, with St. Louis as a key Midwestern base—proximity to other major markets made sense logistically ([12:15]).

4. Early St. Louis Concerts & the Fox Theatre’s Magnetism

The Dead’s local debut: The Armory, May ‘68; Free outdoor shows at Washington University ([18:42]).
The Fox’s first big experiment with live rock: a failed Wayne Cochran show, but sparked a desire among students (like Tony Dwyer) to see the Dead fill the “fucking place” ([20:46]).
The Fox wasn’t a regular rock venue until the Dead made it their home ([27:43]), despite the more “official” opera house and auditorium venues in town.

5. Community, Broadcasts, and the “People’s Band” Ethos

Free shows and Dead’s habit of building a fan base before moving to ticketed venues ([18:42]).
The significance of live radio broadcasts: the December 10 Fox Theatre show was aired citywide, bringing Dead music to thousands who couldn’t be there ([38:06]).
Phil Lesh [35:34]:
“We’re sort of beginning a new cycle, a new leveling off at a new plateau or starting to climb again… Everything’s coming together on every level. You can’t separate the music from what goes on, both in our heads and in the world.”
The December ‘71 Fox shows showcased the dual keyboard lineup (Pigpen & Keith), with setlists balancing new material with Skull & Roses-era classics ([55:15]).

6. St. Louis Counterculture: Head Shops, Radio, and Social Crossroads

Local institutions like Spectrum (St. Louis’s main head shop) and legendary record stores anchored the scene ([39:37]).
FM stations like KADI and KC95 played a critical role, not only broadcasting the Dead but promoting local counterculture events ([41:07]).

7. Fox Theatre Audience Experience – The “Carnival Tent”

Fans recall the intensity of general admission runs, the sensory memory of patchouli, incense, and weed, and the Dead’s casual, intimate stage presence ([50:48] Tom Wood: “This is the Grateful Dead carnival tent…”).
The theatre’s aura, its “temple-like” grandeur, and the Dead’s conscious request for fans to “take care” of the venue ([13:46] Phil Lesh, [70:54]).

8. The 1971 Shows Themselves

Setlists heavy on Skull & Roses material but with the injection of fresh Dead classics: “Jack Straw,” “Sugaree,” “Brown-Eyed Women,” “Comes a Time,” and more—all making live debuts or in their earliest forms ([61:20]).
Legendary versions of “Good Lovin’” and “Playing in the Band,” with an evolving jam structure ([59:11]; [57:14]).
The revival and then quick retirement of deep cuts such as “Comes a Time” and rare seasonal numbers like “Run, Rudolph, Run” ([65:08]).
Missing the so-called “triple Berry” Chuck Berry covers—apt, given the band’s continued homage to St. Louis’ Chuck Berry ([66:10]).

9. Recording the Shows – The Rex Tapes

The December ‘71 Fox recordings were made by crew member Rex Jackson, with likely technical input from Betty Cantor ([73:51]).
These tapes, due to their length (10" reels), avoided the mid-song cuts of 7" reels, resulting in high-quality archival recordings ([73:51] David Lemieux).
The KADI broadcast sparked bootleg LPs and personal tape collections in the early days of Dead trading ([75:25]).

10. St. Louis Myths & Urban Legends

The persistent, but false, rumor that the Dead were going to buy the Fox Theatre; confirmed myth by management and news clippings ([71:48], [73:04]).
The actual urban legend: The Dead (minus Garcia, plus members of New Riders) crashed a local Bar Mitzvah at the Airport Hilton, played with the local kid band “Spring Rain,” and jammed on blues standards—confirmed by multiple firsthand accounts ([80:57]–[94:46]).

11. Scotty’s Music – Pedal Steel Headquarters

Jerry Garcia’s ongoing relationship with pedal steel mecca Scotty's Music (and DeWitt "Scotty" Scott), and how this made St. Louis an attractive stop for musical (and gear) reasons ([42:07]).

MEMORABLE QUOTES & MOMENTS

[09:38] Sam Cutler:
“What was happening in America was, you poor Americans are a bit slow sometimes. You didn’t realize how good those rooms were... the Fox Theater in St. Louis. Fantastic, beautiful. The fucking cinema, but what a room. Perfect.”
[13:46] Phil Lesh, on fan etiquette at the Fox:
“Don’t stand on the seats or kick in the walls or rip out the ornaments, seeing as how this is the only place we like to play around here… if we can’t come back here to this theater, we won’t come back to this town, which means you’ll have to go to Keele Auditorium and listen to Grand Funk Railroad.”
[47:21] Bob Simmons:
“When you walk into the Fox Theatre, it’s special… it almost felt sacred. And when the Dead performed there, I think they sensed the same thing. This place was meant for art.”
[55:15] Jesse Jarnow:
“The shows in early December 1971 mark the beginning of one of my favorite Grateful Dead lineups, with Pigpen and Keith Godshaux playing side by side, pig on B3, Keith on piano… It reminds me of the band with Garth Hudson on organ and Richard Manuel on piano…”
[66:51] Bob Simmons (on the Dead’s down-to-earth vibe):
“There was no pretension about them… another aspect of the Dead… if someone breaks a string… Bobby will come on and say, ‘Hey, we’re trying to get the perfect sound here,’ you know, whatever. It was all a joke. It was so casual and informal… just really peaceful and enjoyable, but the energy was so high.”
[94:46] Dead crash a Bar Mitzvah (Mark Slosberg describing Bob Weir):
“He was taller, lean, very, very long brown hair, you know, down past his shoulders. I thought that he had on glasses with kind of a tan shade to them… That does match the description of Bobbert Weir, but really, that’s crazy.”
[92:22] Mark Slosberg (reflecting on Weir’s advice):
“He was telling us to, like, behave, not take drugs. Talk about Janis Joplin, saying, ‘Look, junk is bad.’ It was like a PSA man.”

TIMESTAMPS & SEGMENT HIGHLIGHTS

[04:58] – David Lemieux explains the process behind box set curation (“music first, not just venue”).
[09:38] – Sam Cutler on discovering America’s “music palaces” and the Fox Theatre’s lasting urban impact.
[13:46] – Phil Lesh’s onstage plea to preserve the Fox Theatre.
[20:46] – Tony Dwyer’s story of booking the Dead for St. Louis U’s Greek Week at the Fox, band’s arrival antics.
[38:06] – The live KADI broadcast, big-time FM radio, the Spectrum head shop as cultural promoter.
[41:07 & 42:07] – St. Louis Outlaw reports on drug prices, and the allure of Scotty’s Music to Garcia and the Dead.
[47:21] – Bob Simmons’ description of the Fox Theatre’s “temple”-like aura.
[50:48] – Fans recall lining up, the sensory experience, and the “Dead carnival tent.”
[55:15 & following] – Musical deep dive: Pigpen/Keith lineup, legendary jams, new songs in the repertoire.
[61:20] – Debuts of “Brown Eyed Women,” “Jack Straw,” “Sugaree,” and others.
[65:08] – The Dead play Chuck Berry’s “Run, Rudolph, Run” as “local tribute.”
[70:54] – Onstage Dead express their appreciation for the Fox.
[71:48] – The myth of the Dead buying the Fox Theatre debunked.
[73:51] – Box set recording logistics: 10" vs. 7" reels, the Rex tapes.
[80:57] – The urban legend confirmed: The Grateful Dead at Richie Gerber’s Bar Mitzvah.
[94:46] – The lasting impact and the legendary bar mitzvah photos that (might) survive.

Listen To The River: Fox Theatre, December 1971

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Summary

GOOD OL' GRATEFUL DEADCAST – “Listen To The River: Fox Theatre, December 1971”

EPISODE OVERVIEW

KEY DISCUSSION POINTS & INSIGHTS

1. Rationale for the Box Set – “Music First”

2. Why St. Louis? The Band’s “Second Home”

3. Tour Management & Logistics

4. Early St. Louis Concerts & the Fox Theatre’s Magnetism

5. Community, Broadcasts, and the “People’s Band” Ethos

6. St. Louis Counterculture: Head Shops, Radio, and Social Crossroads

7. Fox Theatre Audience Experience – The “Carnival Tent”

8. The 1971 Shows Themselves

9. Recording the Shows – The Rex Tapes

10. St. Louis Myths & Urban Legends

11. Scotty’s Music – Pedal Steel Headquarters

MEMORABLE QUOTES & MOMENTS

TIMESTAMPS & SEGMENT HIGHLIGHTS

TONE & ATMOSPHERE

FINAL TAKEAWAY

FURTHER READING & EXTRAS

Summary

GOOD OL' GRATEFUL DEADCAST – “Listen To The River: Fox Theatre, December 1971”

EPISODE OVERVIEW

KEY DISCUSSION POINTS & INSIGHTS

1. Rationale for the Box Set – “Music First”

2. Why St. Louis? The Band’s “Second Home”

3. Tour Management & Logistics

4. Early St. Louis Concerts & the Fox Theatre’s Magnetism

5. Community, Broadcasts, and the “People’s Band” Ethos

6. St. Louis Counterculture: Head Shops, Radio, and Social Crossroads

7. Fox Theatre Audience Experience – The “Carnival Tent”

8. The 1971 Shows Themselves

9. Recording the Shows – The Rex Tapes

10. St. Louis Myths & Urban Legends

11. Scotty’s Music – Pedal Steel Headquarters

MEMORABLE QUOTES & MOMENTS

TIMESTAMPS & SEGMENT HIGHLIGHTS

TONE & ATMOSPHERE

FINAL TAKEAWAY

FURTHER READING & EXTRAS