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- [00:02]
Rich Mahan
Step into the sunshine with the latest collab from Dogfish Head and the Grateful Dead. Citrus Daydream Lager this refreshing American lager is brewed with sustainable fonio grain and kissed with citrus and floral notes. It's easy drinking, refreshing and brewed for good vibes only. It joins their fan favorite Juicy Pale Ale for a duo that hits all the right notes. Find these brews near you@dogfish.com 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, fellow Deadheads, welcome to season 13 of the Good Old Grateful Dead Cast. I'm your co host Rich Mahan. Thank you very much for tuning in in this episode of the Good Old Grateful Dead Cast. We are starting a three episode run on the Grateful Dead's 1976 live release Steal youl Face. There are some new Grateful Dead releases you need to know about. First and foremost, check out the recently announced Fillmore auditorium show from July 3, 19, 1966. Yes, you heard that right. 1966 making this one of the earliest live recordings of the Grateful Dead and it's now available as a 3Lp set and a 2 CD set. This show was recorded by none other than Owsley Bear Stanley and has been mastered by Jeffrey Norman with speed correction and tape restoration by Planjit Processes. So you know it sounds great. This 3LP set is limited to 6,600 copies and ships this July 3rd, 60 years to the day after it happened. Pre order now@dead.net Also new on the release front is the 50th anniversary edition of Steal youl Face, the Dead's 1976 live album. It's been remastered and is available for pre order now@dead.net as a 2Lp set with beautiful red, blue and black splatter vinyl that you have to see to believe. Go to Deadnet and check it out. This anniversary edition was newly remastered by Grammy Award winning engineer David Glasser at Air Show Mastering. Sourced from the plangent processes, restored and speed corrected tapes. Lacquers were cut by Chris Bellman at Burning Grundmann Mastering. The steal youl Face 50th Anniversary Edition is available for pre order now at dead.net and hits the streets on on June 5th. Head on over to dead.netDeadcast Check out all of our past episodes. They're all there including the complete seasons 1 through 12 and you can link from there to your favorite podcasting platform so you can listen how, where and when you like to listen. Please help this podcast by subscribing, sharing us with your grandma, your friends on social media, hitting that like button and if the spirit moves you, leave us a review. Very kind of you. Thank you very much. We have transcripts for many of your favorite Dead cast episodes available for your reading pleasure. They are located at dead.netdeadcast-index that's where you can check them out. Get your reading on people Steal your face right off Your Head the 1976 live album by the Grateful Dead got a bad rap in the past, some say for its dubious audio quality, some say for lack of a proper jam vehicle. What's the story behind this record? Why did it sound the way it did, and what did the band think about it? Well, we've got answers. Here's Jesse Jarno.
- [04:21]
Jesse Jarno
For the next few episodes of the Dead Cast, we turn our attention to Steal youl face, the Grateful Dead's 1976 live album drawn from the so called retirement shows at Winterland in October 1974, the same five shows that became the Grateful Dead movie just before the band took an indefinite road hiatus, and at least contractually, it's the soundtrack to the Grateful Dead movie, though there's almost no musical overlap.
- [04:53]
Narrator/Singer
You'd be better off Dead Switch Man, Sleeping Train on an attune track, and
- [05:04]
Jesse Jarno
hell you for these reasons and more. It's an album with a somewhat checkered reputation, to put it mildly, even among the people who made it. I'll say up front that the vibes are gonna get a little iffy. We really make an effort not to bring the bad vibrations on the Dead cast, and I imagine the same was true for the Dead themselves. But there's no avoiding the fact that Steal youl Face became the receptacle for a lot of unfolding weirdness in the Dead universe, and it's gonna be impossible to avoid some unpleasantries. Ultimately, it made the sunshine brighter and the roses sweeter, though that's gonna take a few episodes in our timeline, but it's a story as dramatic as any in the band's history, circumstances that set up both the creative decisions they made and, in many ways, the next 19 years of the Grateful Dead. These episodes are going to include karmic and financial debts coming due, failed sonic experiments, betrayal and a house call from the Hell's Angels, as well as the Dead's triumphant return to the road. However you feel about the Music on it, though. Steal youl Face is definitely a misunderstood Dead album if ever there was one.
- [06:11]
Narrator/Singer
Way back, way back. So much laughter coming on my own mind.
- [06:32]
Jesse Jarno
But it's also a Dead album and underrated by any definition. And we do love the Dead. Grateful Dead archivist and legacy manager David Lemieux.
- [06:41]
David Lemieux
I listen to studio and live Dead albums quite a bit more than maybe people think, I'd say at least three or four times a week I'm putting a Dead record on. You know, whether it's just I have 40 minutes I'm going to put on Terrapin Station, or I have a couple of hours I'm going to put on Steal youl Face. So it's an album that I still put on and I still love hearing it.
- [07:12]
Narrator/Singer
Gonna let you.
- [07:17]
David Lemieux
I love it. And it was an album that took me a while to get. I had read Blair Jackson's book the Music never stopped around 1983, 84. So at the end of it, there's a discography and he lists all of the Dead's albums, a little paragraph on each. And when he got the Steal your Face, he said, oh, this is widely considered the, you know, Deadhead's least favorite. And this and that.
- [07:36]
Jesse Jarno
The album received a rating of 1 out of 5 pyramids in the book's critical discography. This album has received so much negative criticism that I almost hesitate to drag it through the mud one more time. Blair's review noted.
- [07:49]
David Lemieux
So I didn't know what to expect. And I had heard probably by that point, 10, 18 and 10, 1974. So I was like, I don't understand.
- [07:57]
Jesse Jarno
We got extensively into the Grateful Dead's October 1974 retirement shows at Winterland and their own wild circumstances during our Ship of Fools episode.
- [08:06]
David Lemieux
Those are great shows. So then I finally got the album, great track list, and the sound was a little different than what I'd come used to.
- [08:30]
Narrator/Singer
Me to a dream. A broken angel sing from
- [08:49]
David Lemieux
to me the big glaring thing is I become so used to the Dead's live albums having at least one big jam. So you have Dark Star plus the eleven and Lovely, but you got Live Dead is one big jam across the four sides. And then Skull and Roses has a whole side of the other one, plus that Great War frat. And the Not Fake. Even Dead set a few years later had space into Fire on the Mountain. It was short, but still was a bit of a spacey thing. I had to get past this mental block of Grateful Dead live albums, had to have some major jam sequence, and it didn't have that. The song selection is really cool on it. I knew that the philosophy on it was songs that had not yet been released live and that was a big focus. So obviously they weren't going to put Bertha on there and Warfrat and Brown Eyed Women and Jack Straw. That was the first thing. But on a song for song basis, I like the choices. I think they're all good songs. Good song choices and well played versions of them. I mean, they had five nights to choose from too. It's never sounded better. Glaser did a wonderful job with Plangent. I know the point of these reissues is to make sure that they've never sounded better. And I think audio technology is such that it does keep improving.
- [11:02]
Jesse Jarno
It also included the Dead's first recorded version of It Must have Been the Roses, a song credited to Robert Hunter alone, which we discussed at length in our Tales of the Great Rum Runners episode.
- [11:15]
Narrator/Singer
I don't know, maybe it was. All I know I could not leave.
- [11:29]
Jerry Garcia
Again,
- [11:32]
Jesse Jarno
here's Robert Hunter speaking on WLIR in 1978. This is not our most popular album.
- [11:38]
Jerry Garcia
I don't think I have anything original on it either. Oh, this is the one. That must have been the Roses by the Dead. Not a good version. They have done that so beautifully.
- [11:48]
Jesse Jarno
Oh, come on, Bob. It's a lovely version. Everybody's a critic.
- [11:51]
Jerry Garcia
What was it that Lester Bangs and
- [11:55]
Jesse Jarno
Cream magazine wrote about Steal youl Face?
- [11:57]
Jerry Garcia
Ha.
- [11:57]
Jesse Jarno
Steal youl Money is more like wasn't Lester Bangs. But we'll get to that story later this season. But that joke is more right than intended, as we'll find out. It's hard to make a case for Steal youl Face as a neglected classic in the Dead's catalog, if only because it was supplanted by the 2005 Grateful Dead movie box set. Though we'll hear from some people who loved it, its story is very much that of the grateful dead in 1976. It was a season of, as they say, finding out.
- [12:26]
Narrator/Singer
Like I told you what I said, steal your face right off your head.
- [12:39]
Jesse Jarno
That was he's gone from Europe 72. A song not on Steal youl Face, despite providing its title. And these episodes are also about what that lyric meant to the band. On the surface, Steal youl Face didn't break any new ground for the Dead. But there's more to the story than you might guess. For example, the fact that it was co produced by Owsley Stanley. And who better to transfer the wall of sound to vinyl? Plus, Owsley had A big new audio concept he was ready to try. First, we have to backtrack just slightly.
- [13:33]
Narrator/Singer
Thunder
- [13:36]
Jesse Jarno
Keeping tight in our Crazy Fingers episode and elsewhere, we detailed how in mid-1975, as the Grateful Dead were writing and recording Blues for Allah, Ron Rakow and the Grateful Dead were in a bad way financially.
- [13:51]
Ron Rakow
The breaking point was we didn't have any money.
- [13:53]
Jesse Jarno
They either had to sell their record companies or go back on tour. They chose to sell their record companies and Rakow, president of Grateful Dead and Round Records, went to work.
- [14:03]
Ron Rakow
I started with United Artists was not desirable, but they had plenty of money behind them and they needed us the most. It would have been nice for Warner or Columbia or Capital or anybody to get us. We had a little reputation. It wasn't little, it was a big reputation. We didn't sell very much, though. But United Artists could build a company on us. And so I went at them looking for seven figures in advance and all kinds of stuff and got everything I wanted.
- [14:34]
Jesse Jarno
Over lunch at the Trident, overlooking the harbor in Sausalito, Rakow worked out a deal with Al Teller, the president of United Artists.
- [14:42]
Ron Rakow
We did it on their napkins. It was not a one napkin deal. It might have been a three napkin deal.
- [14:47]
Jesse Jarno
Al Teller was suitably excited.
- [14:49]
Al Teller
I took it with me back to LA and I went, I'll never forget this. I went into the law office of our business affairs head and I dropped the napkin on his desk. I said, make a contract out of that.
- [15:02]
Jesse Jarno
In addition to the back catalogs of Grateful Dead and Round Records, the deal included a number of other projects. Most pressing was the July 10 deadline for the forthcoming Dead album, Blues for Allah, which they only missed by a few weeks.
- [15:16]
Narrator/Singer
Paradise waits
- [15:20]
Jerry Garcia
on the crest of a
- [15:21]
Narrator/Singer
wave where angels inflamed.
- [15:26]
Jesse Jarno
United Artists signed on for solo albums by Jerry Garcia and Bob Weir, too, to be released through Round. First up, in February 1976, was Garcia's third solo record.
- [15:37]
Jerry Garcia Band Announcer
From the leader of the first family of rock and roll comes Reflections, the new solo album by Jerry Garcia, backed by Bob Weir, Bill Lesh, Keith and Donna Gotjaw, Bill Kretzman and Mickey Hart.
- [15:52]
Narrator/Singer
Mama Said Don't Obey that river.
- [15:58]
Jesse Jarno
With the immediately looming deadline of a new UA contract, Garcia started recording the album in the summer of 1975, before Blues for Allah was even in stores. The original plan for Reflections was to feature the Dead as Garcia's backing band. And so sessions at Aces just continued onward into August and September. Here's Garcia speaking with Mary Travers that summer.
- [16:20]
Jerry Garcia
This permutation of my solo albums is me using the Grateful Dead as my band. It's different from the Grateful Dead. The Grateful Dead makes all its musical decisions on a group level. In that sense, there's no leader or anything like this in this one. I'm gonna pretend that I'm the leader and sort of tell everybody what to do.
- [16:40]
Jesse Jarno
But the plan changed, as plans do several times, actually. And by September, Garcia moved from aces in Mill Valley to his master's wheels in downtown San Francisco, known before that as Alembic and before that as Pacific High. Where the Dead had recorded Working Man's Dead, Garcia had a new group too.
- [17:00]
Jerry Garcia Band Announcer
Reflections. Introducing the Jerry Garcia Band. Bassist John Kahn, drummer Ron Tutt and keyboard master Nick Nicky Hopkins. Jerry Garcia. Reflections Looking good. On Round Records and tapes distributed by United Artist Records.
- [17:32]
Jesse Jarno
The album included the powerful new Garcia Hunter song, Mission in the Rain. Here's Garcia speaking to Bonnie Simmons on ksan in late January 1976, just before the album's release.
- [17:58]
Jerry Garcia
It's loosely autobiographical in a way, even though I didn't write it.
- [18:04]
Jesse Jarno
You were autobiography or.
- [18:06]
Jerry Garcia
Well, you know, you could say that, yeah, sort of, you know. Okay. It speaks for itself, more or less.
- [18:13]
Narrator/Singer
Some folks would be happy just to have one dream come true, but everything you gather is.
- [18:34]
Jesse Jarno
But Nicky Hopkins. Time in the Grateful Dead was short. A brilliant piano player, but in no condition to tour.
- [18:40]
Jerry Garcia
My band is in a state of flux right now. John Kahn and Ron Tutt and I are the main. The nucleus of it as it is. We're hoping to have a four piece band that. That we all like sometime. And so far the combination that we've tried have been interesting, but not exactly what. Where we're trying to go musically. And so that's. We're waiting. We're more or less auditioning keyboard players.
- [19:08]
Jesse Jarno
He wasn't kidding. There are tapes that month of the Garcia band playing with a number of different piano players, including a few gigs with the legendary James Booker, most famously described by Dr. John as the best black, gay, one eyed piano junkie genius New Orleans has ever produced.
- [19:39]
Narrator/Singer
Jerry Garcia and brothers and others.
- [19:48]
Jesse Jarno
Though you might guess it was a live show. That's from a tape of the band rehearsing together at Front Street. It didn't quite work. A few days after this interview, Garcia would find his new piano player, same as his old piano player Keith Godshow, who occupied the piano chair in the Jerry Garcia Band through the group's temporary dissolution in late 1978. Naturally, Donna Jean joined the band too. This is from Garcia Live, Volume 21, recorded in February 1976 a few weeks after the God shows joined at the Garcia Band's home venue of Keystone, Berkeley.
- [20:36]
Narrator/Singer
And the Rain,
- [20:40]
Jesse Jarno
which means that Garcia and the Gachas were now playing together again on a regular basis. We'd be remiss not to include the best part of this particular radio appearance. Garcia reading the musicians Wanted personals, Dear listeners, personals.
- [20:54]
Jerry Garcia
I'm a heavy rock and roll drummer. I have a commitment and a place to practice, which is about all you need. Call Chris in Valeo 6421508, 642158 between
- [21:06]
Jesse Jarno
6 and 8pm Sometimes the ads just answered themselves.
- [21:09]
Jerry Garcia
Here's one for that guy in Vallejo. This is this one says Wanted competent drummer for working band consisting of piano, two guitars, bass and vocals. Must be able to play odd time signatures. Also own equipment and transportation. We play rock, jazz, some blues. We're into Beck, Tubes, Korea, Ainsley Dunbar and John Bonham. Call Larry or Jackie at 668-4335.
- [21:31]
Jesse Jarno
Out in March 1976 was the debut album by Bob Weir and Kingfish.
- [21:35]
Bob Weir
Way back when I was a little kid, I remember Marty Robbins singing the
- [21:38]
Jesse Jarno
Ranger one fine day. Heartless folk.
- [21:43]
Narrator/Singer
The folks around him didn't have too much to say.
- [21:47]
Bob Weir
I'm Bob Weir and now I'm singing and playing with Kingfish.
- [21:50]
Jesse Jarno
Here's Weir speaking with WMMR in Philadelphia later that year.
- [21:54]
Bob Weir
Kingfish's thrust is quite different from the Grateful Dead musically. There's a lot more RB influence and it's more rock and roll oriented, whereas the Grateful Dead was sort of drifting towards, I guess, jazz, you know, or what we'll nominally call jazz. Not that I didn't like that, but I like to do both.
- [22:31]
Narrator/Singer
I keep on trying, but I I can't get through.
- [22:36]
Jesse Jarno
Lazy Lightning and its partner piece, Supplication, would jump into the Dead's repertoire when the band returned to the road later that year. We discussed Weir's fondness for other time signatures in our Bobby Weir tribute episodes, and especially his love for 74 time money. Money was his first, but Lazy Lightning Supplication would last much longer in Dead sets through the mid-80s, with the supplication jam surfacing occasionally all the way through 1995, but it was Kingfish's lightning first. Both Garcia and Weir spent the first parts of 1976 on tour, promoting their new albums. Kingfish worked it hard, playing almost four dozen gigs in the first five months of the year on both coasts, even opening for some bigger acts like their new UA labelmates Electric Light Orchestra Ron
- [23:37]
Ron Rakow
Rakow Kingfish put out an album and it got to be most played on FM radio album in the United States. Five out of six weeks. That was a feat.
- [23:47]
Narrator/Singer
And all that lightning will be my lightning.
- [23:59]
Ron Rakow
And when I went to the NORM convention at the Diplomat Hotel, every major executive that was worth a soul knew it and came over and congratulated me on pulling off Kingfish. The first one was Jerry Moss. We met at the pool. He said, terrific job on Kingfish. I'm really impressed.
- [24:16]
Jesse Jarno
The annual convention for the national association of Recording Merchandisers was surely a to do. Though apparently Bob Marley and the Whalers played to a very confused crowd at the Cafe Cristal, one of their all time bombs. Three years after their dalliance with the Dead, which we discussed in our Scarlet Begonis episode, the Whalers were still pushing to break through their new album, Rastaman. Vibration, out in April 1976, cracked the top 100.
- [25:01]
David Lemieux
Vibration.
- [25:03]
Narrator/Singer
Positive. That's what we got to give I
- [25:07]
Ron Rakow
and I vibration, yeah, positive.
- [25:11]
Jesse Jarno
In April 1976, the month the Whalers bombed in Florida, and the same month Kingfish came out. While Steal youl Face was in the thick of production, Johnny Taylor's Disco lady was at the toppermost of the popper most.
- [25:24]
Narrator/Singer
Shake it up, shake it down, Move it in, do it.
- [25:33]
Jesse Jarno
The top 10 albums that month were a little closer to the Dead's field. Entering April, the number one album in the country was pretty new, released in February 1976, and would spend some 500 weeks on the chart in some estimation. And Billboard would basically have to invent the pop catalog chart to keep albums like this out of the top 10. I'm speaking, of course, of the Eagles greatest hits.
- [25:55]
Narrator/Singer
Take it easy Take it easy, easy don't let the sound of your own wheels drive you crazy.
- [26:09]
Jesse Jarno
At number two was a double live album recorded partly on the Dead's home turf at Winterland. A reminder, perhaps the reminder, that live albums could still be big business in 76. Frampton comes alive. And while Kingfish might have been doing okay, things were getting a bit chaotic as far as the Dead's deal with United Artists. The contract had also called for a second dead album to be delivered to UA. By January 31, 1976, that had not happened. But the wheels were in motion, even if they weren't moving quickly or smoothly, or necessarily still attached to the original vehicle. When United Artists signed the Dead, they not only had Blues for Allah in progress, but another major project in the works. When he wasn't touring or recording with the Jerry Garcia Band. Garcia was hard at work on the Grateful Dead movie. Here he is speaking with Mary Travers in August 1975.
- [27:20]
Jerry Garcia
The film started out as being part of an idea. How can we give our audience us without having to send our bodies around? So the idea was if we could capture one really good performance, maybe we would have something like that. Since then, the movie has transmuted the idea of what it is, is transmuted.
- [27:36]
Jesse Jarno
United Artists label president Al Teller.
- [27:38]
Al Teller
I was excited about a movie concept because I thought we could work that movie very aggressively and it would add another dimension to their legend, so to speak, and actually expand their audience because it would allow people to really get a strong. If the movie was done correctly, as I assumed it would be, it would allow people who were not previously exposed to the Dead an opportunity to see what these guys were all about and become attracted to their music and to their characters and to the band as an overall concept.
- [28:19]
Jesse Jarno
When the Dead signed their contract with United Artists, it was announced their second release for the label would be a double LP soundtrack for their brand new movie, which is in fact the album we're talking about in these episodes. Steal youl Face. How's that movie going, Garcia?
- [28:34]
Jerry Garcia
When will it be ready? Oh, God, I don't know. I might be working on it for the rest of my life. I hope somewhere early this next year. I hope spring, maybe early spring, sometime in spring this next year. I think it should be pretty done.
- [28:47]
Jesse Jarno
But by January 1976, about a week before that soundtrack album was legally due to United Artists, when Garcia was speaking with Bonnie Simmons on ksan, he revised his date for the movie slightly.
- [28:59]
Jerry Garcia
Well, the movie is sort of at bra cut stage. Getting there. The music is mostly sort of cut and the form of it is coming together. And hopefully we have a March deadline for what we're doing the editing of it and so forth. Then it goes to the lab sometime in there and gets hung up in that process for I don't know how long. And the sound mixing has to happen and everything. And hopefully the record will be. I mean, the record, the movie will be out and maybe July ish, if we get lucky.
- [29:35]
Jesse Jarno
They did not get lucky, but they still had to get the record into the pipeline. Al Teller.
- [29:40]
Al Teller
The notion of the film and the soundtrack and the reversal of order of all that stuff, yeah, that's something that would have bugged me. I just don't hold artists to absolute firm, you know, do or die deadlines. They are what they are.
- [29:55]
Jesse Jarno
Not that United Artists had much control over when they finished the movie, a deadline or lack thereof, that belonged to round reels. And in fact, Ron Rakow tried to get UA to buy distribution rights for the movie in early 1976, too, a deal that probably would have realigned the two projects had it gone through. So the soundtrack to an unfinished movie is what United Artists was getting. And not that Al Taylor had much interest by then, anyway. He resigned from UA in early April 1976, while Steal youl Face was still in production.
- [30:26]
Al Teller
Why I left UA was very simple. The Transamerica folks and I never saw eye to eye, and I was very blunt about my feelings about that. They had a Transamerica individual sitting at the record company almost, you know, as a spy for the corporation. It was nonsense, not a good combination. And so ultimately, we just simply had a parting in the ways things got
- [30:49]
Jesse Jarno
too corporate at the corporate record label. Teller's replacement is the answer to a very obscure Grateful Dead trivia question. Who is the Grateful Dead's major label boss for the least amount of time? The answer after this, The Grateful Dead's major label boss for the least amount of time, was, of course, Artie Mogul. And for Artie Mogul, that meant the soundtrack for the Grateful Dead movie would come out nearly a full year before the movie itself. And it wasn't called the Soundtrack and didn't feature any of the same performances that were in the movie. And the director of the film disavowed that it was a soundtrack. But that at least answers the question of why the Dead put out a double live album of 1974 performances in the summer of 1976.
- [31:35]
Narrator/Singer
All you've got to live for is what you left behind get yourself a powder shot Seal that silver vine Lost my boots and transit Faith out of smoking lemon I laid a ring trap
- [32:02]
Jesse Jarno
the problems with Steal youl Face began with the master tapes, though. Before the band could even discover those problems in early 1975, a year before any of the buv happened, the Dead first had to solve another problem. They didn't actually have the master tapes. It wasn't the Dead's usual sound crew that made them. Betty Cantor Jackson was on maternity leave. I'm not sure why it didn't fall to Dan Healy or Bob Matthews or Owsley Stanley, but the job was assigned to a newer addition to their sound crew. What unfolded is a little bit awkward, and everybody remembers him as a nice guy. So every time name comes up, we're gonna do that. You can figure out his name from the liner notes. If you must. It's too bad. He played on the final album by the one of my favorite bands before coming into the Dead sphere and becoming an in house engineer for Round Records through his work with the Ron Rakow.
- [33:00]
Ron Rakow
Now that is an interesting, interesting, interesting story. He was competent and lovely and very, very disturbed. He was a nice guy, a very competent guy. I used him to be the engineer
- [33:19]
Jesse Jarno
for the album recorded just after the Winterland shows. That's where the problem seemingly began for the Dead. As the project stretched past its deadline,
- [33:29]
Ron Rakow
they got into a big dispute and he took all the masters and went to his house and put. And wouldn't give him back.
- [33:37]
Jesse Jarno
Unsurprisingly, what happened next is a little fuzzy. There's some documentation in the Grateful Dead archive that indicates there were a number of master tapes in question, including the past few Dead and Garcia albums, plus seven reels worth of recordings made for the Grateful Dead movie. Rakow's version involves the late Grateful Dead roadie Rex Jackson.
- [33:57]
Ron Rakow
So I called him on the phone and the second I got him on the phone, I pointed a finger at Rex. I told Rex I was going to do that. And I pointed to the phone and I put my thumbs up and Rex nodded, got into his car and rode at top speed to house in California. And while I was on the phone, my timer said 52 minutes into keeping on the phone for 52 minutes, Rex Jackson walked into his house, took the phone out of hand and said, I'm here, Rack. Don't worry about anything. It's covered. And they hung up the phone and he went to where the tapes were, took them all and brought them to me. The only tapes that Rex Jackson got from his house, the day I'm describing to you was the tapes.
- [34:45]
Jesse Jarno
The Grateful Dead archive contains two letters along with an inventory list indicating that a pair of different Grateful Dead crew members visited the audio engineer in question on separate visits in January 1975. However it happened, along with some pieces of recording equipment, the tapes were retrieved. It turned out that was only the first bump in the road for Steal youl Face. But now we pivot to a logical follow up inquiry. Why did they put out the live album? They did. David Ganz put it on almost exactly those terms to Bob Weir in 1977, an interview in the great book Conversations with the Dead, which we've linked to@dead.net deadcast David pointed out that the version of Eyes of the World featured in the movie was fantastic.
- [35:42]
Bob Weir
Yeah, that was a good Eyes of the World.
- [35:44]
Jesse Jarno
So what happened?
- [35:45]
Bob Weir
I can't really honestly answer you how it was that record happened the way it did because I wasn't around.
- [35:52]
Jesse Jarno
And while that might sound a bit like passing the buck, it's mostly true.
- [35:56]
Bob Weir
I was out on the road with Kingfish. Garcia was out on the road with his band and stretched between that and in putting the movie together, and that had Keith and Donna pretty much occupied.
- [36:10]
Jesse Jarno
Adam Block interviewed Jerry Garcia for BAM in the summer of 1977, and Garcia didn't have many nice things to say about the album either. We've posted links to the late Adam Bloch's work@dead.net deadcast as well as to the work of his late archivist Fred Nemo. Thanks to David Ganz for unearthing this tape from the attic. Thanks to all of them for allowing us to include Jerry's voice in this conversation. Caustic as it might sound, I didn't
- [36:35]
Jerry Garcia
think it was very good either.
- [36:37]
Jesse Jarno
At this point, we just have to play it for comedy. It's rare to find so many members of the Grateful Dead unified in the same opinion about anything.
- [36:45]
Jerry Garcia
A lot of people were really dissatisfied with the Steal youl Face album, just with the sound quality and things. Yeah, I thought it was horrible.
- [36:50]
Ron Rakow
Ron Rakow it's the kind of thing that Garcia always took care of, but he was busy. He was editing the movie.
- [36:58]
Jesse Jarno
Billy Kordzman wasn't exactly the album editing type. And in addition to not playing on the original shows except briefly and only just being back in the Grateful Dead anyway, Mickey Hart was facing his own looming deadline on the Diga Rhythm Band
- [37:11]
Bob Weir
album, which left Phil and Owsley did that record.
- [37:16]
Jerry Garcia
Phil and Owsley took the tapes and went to LA and came back and that was it.
- [37:20]
Jesse Jarno
The audio team of Phil Lesh and Owsley Stanley is on one level, fairly awe inspiring a wrecking crew of perhaps the two single strongest personalities in the Grateful Dead family. Not that they necessarily butted heads with each other. In most cases, a movie soundtrack would be music from the movie. But Lesh and Bear took a different tack, focusing specifically on Dead songs that didn't feature on previous Live Dead albums. But that was only the start of it.
- [37:47]
Jerry Garcia
Phil wanted to go through the days. He wanted to pick out what he liked, and so he picked out what he liked for his own reasons. So that's like a thing. If anybody wants to have some concept of what Phil likes, their choice of stuff. And everything was like, not my choice of stuff.
- [38:02]
Jesse Jarno
I still don't get why Eyes of the World didn't make the final cut. I Think the album's reputation would be totally different with a single jam side, but song selection was only the start of it.
- [38:13]
Bob Weir
Bobby Weir Phil was heavy into finding out what Owsley was up to, so he just pretty much gave the reins over to Owsley. I think this is how it happened. I wasn't there for it all, so I'm not entirely sure, but this is as much as I've been able to glean.
- [38:31]
Jesse Jarno
The mixing took place at Burbank Studios in la, a facility usually used for film production.
- [38:37]
Jerry Garcia
Phil's attitude was a little bit like he was down there to mix it, but in reality, what happened was he deferred to Owsley as it went along.
- [38:44]
Jesse Jarno
You might be surprised to learn that there are several different accounts of what happened and the problems our fare Wrecking crew encountered during their journey. I'd like to think of it as a bear and Phil buddy comedy, but it was probably pretty stressful.
- [38:56]
Jerry Garcia
The way it is with me and with a project like that is when somebody wants to do it. If Phil and Owlsley want to do it, it's okay with me.
- [39:06]
Bob Weir
And God knows what Owlsley's considerations were, but I just don't know. I just don't know why he used what material he did and why he processed it the way he did. Though he gave me lengthy explanations of why he processed the way he did. Still, it just doesn't seem like that was what I would have done with it.
- [39:28]
Jerry Garcia
So none of us liked it. I'm sure even Phil and Owsley didn't like it that much.
- [39:32]
Jesse Jarno
But there it was inside the Dead's family. Nobody seems to have fond memories of Steal youl Face. It was the Dead's fifth live album up to that point.
- [39:41]
Ron Rakow
Ron Rakow Steal your Face was the movie soundtrack. Jerry was responsible for the way all the live albums were made. They. They just didn't know what they were doing. Garcia wasn't in the control room. Owsley and Phil were. They are so meticulous that they took the soul out of it and they made it a complete and utter piece of shit. That's what killed us. Steal your face killed us.
- [40:07]
Jesse Jarno
Actually. There were numerous causes, aside from the obvious schism between.
- [40:12]
Ron Rakow
I think Owsley had a lot to do with that.
- [40:15]
Bob Weir
And also to be to be said in his defense, the original recording of all those Nights was very, very poorly done. It was overlooked. One of the engineers we had working for us at the time was, unbeknownst to us, was losing his mind. You know, your classic textbook psychosis was coming over him you could see him, the madness was coming over him. But it wasn't till right after then that we saw that. And he was doing all sorts of crazy things with the. In the recording for those gigs. And we had that to work with to begin with. So it was uphill all the way.
- [41:00]
Jesse Jarno
Also engineered some Seastone sessions for Ned Lagin, who played at the original winterland shows in October 1974. They were wild gigs in a wild era.
- [41:10]
Al Teller
There were too many people behaving and consuming like the band behaved and consumed.
- [41:14]
Jesse Jarno
It wasn't exactly the work environment that might yield clean tapes.
- [41:18]
Al Teller
I remember he was a nice guy. He was just way over his head. He was way over his head in terms of what had to be done physically. Wiring, managing, monitoring, recording.
- [41:33]
Jesse Jarno
To give full credit went on to an incredibly illustrious and Grammy winning engineering career with many a. But the wall of sound, in addition to being an artificial mondo intelligence, was a collection of six different speaker systems with no centralized sound console. Under the best conditions, recording it would be a challenge. This is from Phil Lesh's audiobook for searching for the sound, available from Simon and Schuster, wherever you get your audiobooks.
- [41:59]
Phil Lesh
The quality of the actual tracks was wildly variable, the worst being almost unusable because of noise resulting from improper recording technique. It didn't help that the chief recording engineer for the filmed concerts had a nervous breakdown during the actual filming, or that the backup vocal tracks had been recorded on a second machine and had since disappeared into the fabric of the universe.
- [42:20]
Jesse Jarno
Grateful that archivist David Lemieux and I
- [42:22]
David Lemieux
do think Phil and Bear were under a bit of a time crunch to mix the album pretty darn quickly, they needed to get that album out.
- [42:32]
Jesse Jarno
Loesch told Bam that the bass drum was reading over 3 in the red on the VU meter and everything else was reading -20 down into tape noise. Again from searching for the sound, Bear
- [42:44]
Phil Lesh
and I went to reck out telling him that the recordings were unusable. He brushed our objections aside, saying, they'll buy it anyway. We need this record. It's a wonder the record was ever finished.
- [42:56]
Ron Rakow
They blamed it on me that I ripped it out of their hands. But that's not what happened. What happened was they didn't know how to do it and they. They did it wrong. It satisfied our requirement to deliver a product to United Artists.
- [43:08]
David Lemieux
Well, when Jeffrey put those tapes up, I remember we didn't think they sounded as bad as we thought they were going to sound. And again, the album didn't even sound that bad.
- [43:18]
Jesse Jarno
For that matter, the tapes had served for the Grateful Dead movie too.
- [43:22]
David Lemieux
In 2004. We spent virtually the entire year working on this project on the Grateful Dead movie and the soundtrack, and it was definitely different. There was nothing egregious like there was not like there was a guitar track out of sync that you had to nudge over. There was nothing really weird like that. It just was recorded differently and again through the wall of sound. I don't know how you'd record that thing.
- [43:46]
Jesse Jarno
For most of the run, the tracking assignments were like this, with the drums on tracks one through three and running maybe a little hot. Notice there's a lot of audience bleed too. Let's listen to some of Casey Jones, recorded October 16th. Phil Lesh's bass is on tracks four and five, and maybe not at its roundest and punchiest. Note that it too has a lot of audience bleed recording for mic'd up amps as opposed to a cleaner direct line. Keith Godshow's piano is on track six, Jerry Garcia's guitar is on track seven, And Bob Weir's guitar is on track eight. But then there's also bass on track nine, And I think there was probably bass on track 12 too, which is to say these multitracks attempted to capture Phil's quad bass in a live setting in practice. On this album, it seems like Owsley and Lesh saved two of the bass tracks and used the other two for overdubs. Which is also to say there are vocal overdubs on Steal youl Face. Not all of them, but some on each song. Garcia's vocals on the album might be entirely live. They're on track 10.
- [46:24]
Narrator/Singer
Trouble with you is the trouble with me got two good eyes but we still don't see come round the band you know it's the end, the fire monk screams and the engine just gleams.
- [46:46]
Jesse Jarno
But here's what Bob Weir sounded like in the chaos of Winterland on his 28th birthday, originally recorded on track 11. So he got to overdub a new Vocal onto track 12. Happy Birthday Weir Trouble ahead, Trouble behind. Pretty much all of Weir's vocals were wiped and replaced. I'm pretty sure all of the Overdub sessions took place between the end of a kingfish tour on February 22 and the start of a Jerry Garcia band tour on March 3, probably during one or several day trips to Burbank. While the tapes don't sound that bad, one part of Owsley's memory seems to be correct. Phil Lesh and Donna Jean Godscha's backing vocals aren't on the master tapes, Donna's vocals on the album are all overdubbed. Relatedly, another fascinating bit is that the grateful that's harmony stack changed between October 1974 and February 1976, when the overdubs were recorded. See if you can tell.
- [47:50]
Narrator/Singer
Across the Rio Grande O
- [47:58]
Ron Rakow
Across
- [48:01]
Narrator/Singer
the
- [48:01]
Jesse Jarno
lazy River Phil Lesh had stopped singing live and in places where his vocal track was absent, Keith Godshow replaced him in the harmony blend.
- [48:12]
Narrator/Singer
Across the Rio Grandio across the Lazy
- [48:24]
Jesse Jarno
River In Ron Rackow's estimation, the overdubbed vocals were one part of the album's major problems.
- [48:32]
Ron Rakow
They jumped all the vocals instead of mixing it, so the music covered the vocals that were out of tune. Jerry knew how to do that. They took the spontaneity out.
- [48:42]
Jesse Jarno
But the source tapes and overdubs were only part of the oddness. Again, Bob weir, from David Ganza's 1977 interview.
- [48:50]
Bob Weir
Owlsley was trying a bunch of experiments, noble as they were. Some of them worked, some of them didn't. He was trying experiments with. With various kinds of delays to try to create an ambience that would create a three dimensional image, musical image. He is still working on it and he's got some good ideas and it was almost there. It worked, but it didn't quite make. Didn't really, really happen. But he's still working on that and it's a good idea.
- [49:20]
Jesse Jarno
So what you're saying is that Owsley Stanley had a far out idea about sound, though it didn't work exactly. Steal youl Face could maybe be heard as his follow up to the Wall of Sound. Owsley and Phil worked with a team of film engineers led by John Neill, later known for his work on Star the Motion Picture and Close Encounters of the Third Kind, applying a theory of Helmuth known as the Precedence Effect.
- [49:43]
Phil Lesh
It didn't help that Bear and I, who were mixing, decided to master the whole thing in quad, an early four channel surround format, and then fold the four channels into two for the stereo version. The result was a glutinous mud bath of sound through which any music was scarcely discernible.
- [49:59]
Jesse Jarno
Phil Lesh's quad bass was recorded in quad and the album was mixed in quad. But since they overdubbed over two of the bass tracks to fix the missing vocals, the quad bass didn't make it into the quad mix.
- [50:12]
Ron Rakow
Jerry heard what they were doing and he said, they just don't know what they're doing and it's a lost cause. I'm not going to aggravate myself about it.
- [50:20]
Jerry Garcia
One of the things about that record that almost probably nobody really knows is that it's really a QS encoded disc. Although it doesn't call attention to itself anywhere, it sounds a little bit better on a QS system that's quadrophonic. Yeah, it's that San Sui QS trip. So it's quadraphonically encoded onto the disc, and that always represents a certain amount of phase weirdness when you play it back.
- [50:42]
Jesse Jarno
Stereo There were two competing Quad Qs and SQ easily confused, and I think Garcia maybe confused them, or it's possible I'm confusing them now. The year before, in 1975, Ned Legion had painstakingly mixed his Seastones album in the SQ quad format, which played on quad systems as well as stereo systems, though with a slightly blurred image. The competing QS system required a special decoder to be added to the signal chain, though SQ turned out to be something of the Betamax of Quad. Cicada Cicada. But I think you can still hear some residue of that original Quad intended mix on Steal youl Face. If you listen to the vocals during the quiet parts, the stereo field seems just slightly unstable.
- [51:41]
Narrator/Singer
They melted to a dream.
- [52:01]
Jesse Jarno
The Dead remain fascinated by Quad and versions of surround sound One reason Dan Healy probably wasn't called in for Steal youl Face duty is because at the time he was helping to Devise a Proto 5.1 sound system that could travel with the Grateful Dead movie. We discussed it a bit in our Dan Healy 80 episode last year, and it occurs to me that though nobody seems to have cited it as an issue, perhaps some of the Winterland master tapes, like the October 18th eyes of the World used in the movie, were simply unavailable to fill and bear.
- [52:32]
Phil Lesh
The fact that it was released against my better judgment shows how desperate we were for product to take up the slack from lack of touring income.
- [52:40]
Jesse Jarno
In accordance with Lesh's decision to only feature songs not included on previous live albums, Steal youl Face featured the first officially released versions of a number of Bob Weir's staple cover songs, including Johnny Cash's Big River, Marty Robbins, El Paso, and a pair by Chuck Berry. Around and around and the Promised Land. For starters, I think Mickey Hart is actually playing uncredited on the Promised Land. It was recorded during the final set on October 20, when Hart sat in for some of the songs. And this is one that definitely didn't usually have a cowbell part. Wait for. As with every previous album we've covered on the Deadcast studio and live, we've explored the songs that hadn't previously appeared somewhere in the Deads family catalog. We're gonna do that again during these episodes as well, starting by pairing together Weir's two Chuck Berry songs on the album's first side
- [53:49]
Narrator/Singer
I left my home in Norfolk, Virginia, California All I straddled that Greyhound and rode him into Raleigh and on across Carolina.
- [54:00]
Jesse Jarno
If we're being precise, the name of the song isn't just Promised Land, but the Promised Land. And the Promised Land was released at the tail end of Chuck Berry's hit making period in 1964 after his stint in jail for violating the Mann act, and was a relatively minor hit, making it to number 41 on the Billboard chart, but a hit nonetheless. It's a folk song of sorts, in that it adapts the melody of an earlier Ruid folk song, index number 4228, known as the Great Rock Island Root, which is a different song than the Rock Island Line and rather is the basis for my old childhood favorite, the Wabash Cannonball. Here's Doc Watson doing it on Never the Same Way Once, recorded by owsley Stanley on May 2, 1974, which we've linked to at dead.net depcast from the
- [54:49]
Narrator/Singer
great Atlantic Ocean to that wide Pacific shore From the green o' erflowing mountains to the south down along shore she's mighty tall and handsome she's known quite well by all the regular combination on
- [55:03]
Jesse Jarno
that wall Bass cannot fall Hear the
- [55:07]
Narrator/Singer
connection we stopped in Charlotte to bypass Rock Hill we never was a minute late we was 90 miles out of Atlanta by sundown Rolling out of Georgia State.
- [55:18]
Jesse Jarno
The original, recorded February 20, 1964 at Chess Studio in Chicago, two weeks after the Beatles Ed Sullivan appearance, does not feature Johnny Johnson, who would play piano in Bobby Weir's Rat Dog. In the 90s, it's probably Lafayette Leak, but it does include another musician to feature in our tribute to Weir last episode, his co writer on Eternity on bass, the great Willie Dixon. It's an old songwriting trick to rattle off the names of a bunch of cities and regions, especially if one hopes to sell records in those cities and regions. And the Promised Land is a tour of the American Southeast, departing from the Greyhound Station at 701 Monticello Ave. In Norfolk, Virginia, heading south across North Carolina to Charlotte and then southwest towards Atlanta and further west to Birmingham, where the bus breaks down from Sun Ra's earthly hometown of Birmingham, it's south by train to New Orleans, and I'll note that the song doesn't mention how the singer gets to Houston, but then finally, it's onto a plane for the last leg when the song achieves title.
- [56:35]
Narrator/Singer
And I woke up high over Albuquerque on a jet to the promised land.
- [56:51]
Jesse Jarno
It was still a plenty new number when the Warlocks started playing it in 1965, though it became Bobby Weir's perennial show opener. Jerry Garcia sings it on this recording that survives from 1966, released on rare cuts and Oddities.
- [57:23]
Narrator/Singer
And Cool your Wings and Let Me make it to the Telephone.
- [57:26]
Jesse Jarno
But then the song doesn't appear in the Dead tape record again until 1971, when, when Weir takes it up. For Most of the 70s it was a set opener, but the version on Steal your Face comes from the middle of the third set of the Final Night before the hiatus, October 20, 1974. Always loved Garcia's harmony in the last line and especially when we are woos after that, which he doesn't do here. In the 80s, Weir frequently paired the Promised Land with one of Garcia's big rockers, often Alabama Getaway, like this version from alpine valley in 1980, now on the 30 trips box, And by the 90s it migrated again and was generally used as a first set closer, the definition of durable, which is how it served at the Grateful Dead's final show on July 9, 1995, one of the few songs to survive from the Warlocks to the end. Similarly, Weir's other Chuck Berry cover on Steal youl Face, around and around also survived from the Warlocks to the summer of 95. The original made it to the charts, released on the fourth of Barry's top ten singles from 1957 to 1958. Future Rat Dog member Johnny Johnson did play on this session, recorded February 28, 1958 at Chess Studios in Chicago.
- [59:35]
Narrator/Singer
They say the joint was rocky Going round and round yeah, reeling and rocking what a crazy sound Will it never stop rocking till the moon went down?
- [59:52]
Jesse Jarno
But around and around was actually the B side to his single, and as with plenty of bands, the A side also served in the repertoire, likewise surviving from the Warlocks until the end, who
- [60:03]
Narrator/Singer
never ever learned to read or write so well but he could play a guitar just like a ringing a bell Go go go Johnny go go Go Johnny go go Go Johnny go go Go Johnny go go Johnny be good
- [60:23]
Jesse Jarno
the earliest tapes of the Dead Plane around and around come from November 1970. Weir was singing it by then, and he may have in the earlier days too, at least on tapes. Around and around was a set closer right away, which is how they used it on October 20, the same night as the Promised Land,
- [60:59]
Jerry Garcia
Till the
- [61:02]
Jesse Jarno
around and around stayed in the Dead's rotation during the few live shows they played during their year off the road in 1975, but had a slight upgrade starting in June 1976 that lasted a few years. A double Time rave up during the song's back half. Here's how they charged into it at William and Mary in September 1976. Now Dave's picks four. But starting in the spring of 1980, Weir used that spot in the song as a launch point into another song, often Johnny B. Goode or Good Lovin', and the double time jam disappeared. Here it is closing that Same Alpine Valley 1980 show that opened with Alabama Getaway and the Promised Land. Garcia seems to think it's going to be Johnny B. Goode for a moment, but shifts pretty smoothly into Good Lovin'. Work on Steal youl Face continued through the early part of 1976. In a memo with the record company dated April 28, the album is still referred to simply as Soundtrack. The naming of the album is a part of the story that we'll talk about next time, but very much related to that. I wish I could say that the vibes cratered with the assembly of Steal youl Face itself, but the finding out is going to unfortunately continue next episode as well, so let's at least land with some good news. That was the sound of the Grateful Dead stretching their limbs in April 1976, about two weeks into the rehearsals for their comeback tour. The received labeling on the tapes is that they're from Mickey Hart's Barnes Studio in Nevada, and that seems like as good a candidate as any for their location. With the second drummer back in the band, it was harder to fold into aces, and the Front street warehouse wasn't quite ready for full musical occupation. Plus rent was free at Mickey's. They'd made the decision to return to the road very early in the year, possibly as early as a January 4th band meeting at Weir's house before Steal youl Face was in production, but they needed to play the shows before they could get their cash flowing again. They flew in promoter John Scherr from the East Coast. We spoke with him a few years back.
- [64:23]
John Scher
Band called said, we'd like you to come out. We'd like to have a meeting with you now. They weren't playing at that point. I said okay, sure. Got on a plane. Meeting was at at Bobby Weir's house. Fabulous house. We sat down and basically they said we'd like to play live again. But the last tour where we played some bigger places we lost the intimacy with the audience. I'm not sure whether they admitted it, but it was clear as could be that the wall of sound was a disaster, an unmitigated disaster. You know, great engineering idea.
- [65:05]
Jesse Jarno
John Scher might be in the minority in thinking that the wall didn't work in practice.
- [65:09]
John Scher
They couldn't really turn it up as high as it should be to get to the outer reaches of the venues. You know, it just, it didn't really work for the audience. Not that the audience understood that it didn't work for them. So that was the, you know, that was the last tour before the break.
- [65:28]
Jesse Jarno
We refer you to our from the Mars Hotel season and Brian Anderson's book Loud and Clear for some differing opinions. But in the interim, Cher and Jerry Garcia's manager, Richard Loren, also known as Zippy, had started booking tours in a far more stripped down way, and Garcia was ready to try it with the Dead.
- [65:46]
John Scher
So we all sat in Weir's house and said, any idea, John? I said, well, if you don't want to play arenas, which at that point they hadn't played arenas, they just played bigger outdoor places. I said, let's do multiple days in 15 theaters.
- [66:05]
Jesse Jarno
They sent out a brief update to the mailing list early in the year. Vacationing is too exhausting to continue, it read, in part meaning the Grateful Dead has decided to get back into touring. It continued intensive rehearsals begin this week to get the performing edge back on the band and to outfit it with new material. Rehearsals and then recording and then back on the road. The date is not yet agreed upon nor the place, but it will be somewhere around the middle of 76. Shockingly, that timeline shifted further and they didn't start playing together until April. This is about as far as they got into Bourne cross eyed before it collapsed.
- [66:45]
Narrator/Singer
Sam.
- [67:13]
Jesse Jarno
So when the Jerry Garcia Band and Kingfish concluded their respective east coast tours in early April, they got back to Marin and got to practicing from the first round of rehearsals. We only know about this April 20th tape so far. They try out a little bit of Weir's new song that will become Bombs Away on Heaven Help the Fool. Rumors flew fast and furious in the spring of 1976, and a 17 date tour was teased in late April, which is where we're going to leave things today. After spending most of this episode hanging inside a cloud of factual dread, a thing the Grateful Dead were designed to counterbalance. We'll do our best to at least leave off. In the state of uncluttered elation, Dead heads must have also experienced While things were getting real, the Grateful Dead were returning. The spring issue of Relics had a back page edition in all capital letters special Stop the presses section with 17 exclamation points. They as we go to press, we have learned the Grateful Dead are definitely touring this July. It wasn't fully accurate, but the exclamation points certainly were.
- [68:54]
Rich Mahan
Thanks very much for tuning in to the good old Grateful Dead cast, friends. We'd like to thank our special guests in this episode, Ron Rakow, Al Tiller, John Scher, Ned Lagin and David Lemieux. Extra special thanks to friend of the Dead cast David Ganz for his ongoing contributions of audio from his extensive interview archive. Thank you David. Executive producer for the good old Grateful Dead cast, Mark Pincus, produced for Rhino Entertainment by Rich Mayhem Producer Promotions and Jesse Jarno. Special thanks to David Lemieux, Brian Dodd and Doran Tyson. All rights reserved.