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- [00:00]
Rich Mahan
Announcing Dogfish Head Grateful Dead Juicy Pale Ale Collaborating for over a decade now, Dogfish Head and Grateful Dead have crafted a light bodied pale ale brewed with sustainable kerns of grains, granola and heaps of good karma for a refreshing brew that's music to your taste buds. Check out dogfish.com for more details and to find some Grateful Dead Juicy Pale Ale in your neck of the woods. Dogfish Headcraft Brewery is located in Milton, Delaware. Please drink responsibly the Good Old Grateful Dead Cast the Official Podcast of the Grateful Dead I'm Rich Mahan with Jesse Jarno exploring the music and legacy of the Grateful Dead for the committed and the curious. Ladies and gentlemen, fellow Deadheads, welcome to Season eight 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're well into our exploration of the Grateful Dead's 1973 studio album Wake of the Flood and we focus on a fan favorite this time. Here comes Sunshine. It's the 50th anniversary of the Grateful Dead's wake of the Flood and to celebrate, this rhino has a grand 50th anniversary release for you, which includes the original album remastered, some really cool early demos of songs from the album, and six songs from a live show at Maga Memorial hall at Northwestern University in Evanston, Illinois on November 1, 1973. There will be special vinyl including a really cool picture disc as well as standard black vinyl CDs and digital versions also available. More info and orders happening now@dead.net head on over to dead.net deadcast check out all of our past episodes including the complete seasons 1 through 7. You can link from there to the your favorite podcasting platform so you can listen how you like to listen. Hey, please help the Deadcast by subscribing Hit that like button. Leave us a review and share an episode on social media. Thank you very much. We have transcripts for many of your favorite Deadcast episodes available for your reading pleasure. Head over to dead.netdeadcast index and check them out. Thanks very much to everybody who's left their stories over@stories.dead.net we are listening to them. Keep them coming. We need stories about Wake of the Flood, the music on it. Good times you've had while listening to the album. No story too big or too small. Record yours@stories.dead.net and you just may hear yourself on a future episode of the Dead Cast. Well, with its simple yet Ultra catchy main riff. Here Comes Sunshine kicks off with a great groove and and doesn't let up for 4 minutes and 38 seconds. This light hearted Hunter Garcia romp is well represented on Wake of the Flood and Jerry Garcia had a new guitar he used on these sessions. I've got a sneaking suspicion we'll hear a little bit about that in this episode as well. So to tell us about Here Comes Sunshine, here comes Jesse Jarno when listeners flipped the original LP of Wake of the Flood, they immediately heard the Grateful Dead do something they'd never done before on record. They achieved title, that is Here Comes Sunshine mentions the title of the album in its very first line. Later Dead albums would come with title tracks, but Wake of the Flood is the only one with its name drawn from a lyric within the song. The and it was a catchy song. Grateful that archivist and legacy manager David Lemieux. Here comes Sunshine I think for me.
- [04:20]
Jesse Jarno
It'S possibly my favorite song on the.
- [04:22]
Rich Mahan
Album and this predates ever having heard it live. You might recognize Here Comes Sunshine as the theme music to the previous season of the good ol Grateful Dead cast when it lent its title to the recent box set of shows from the spring of 1973, a few months before the band recorded Wake of the Flood. This one is from Kezar Stadium in San Francisco, May 26th.
- [05:11]
Jesse Jarno
Boy oh boy, is that ever a great song again.
- [05:14]
Rich Mahan
And this is not to detract from.
- [05:16]
Jesse Jarno
Anything else on the album, but I.
- [05:18]
Rich Mahan
Do think it's quite possibly my favorite.
- [05:20]
Jesse Jarno
Song on the album.
- [05:22]
Rich Mahan
Up there with Eyes of the World and Weather Report Suite and Road. Jimmy, I see what you did there. That's like the whole album. It stuck out to teenage listener Bruce Hornsby.
- [05:31]
Jesse Jarno
It's so Beatles esque as a composition. It just sounds like something they could have written in a great way.
- [05:38]
Rich Mahan
It sounds like the Dead sort of.
- [05:40]
Jesse Jarno
Rhythm section concept and Garcia's sound and philosophy. Their sound playing a Beatles esque song that they had written.
- [06:16]
Rich Mahan
The studio version of this was such.
- [06:19]
Jesse Jarno
A beautiful song with a great jam.
- [06:22]
Rich Mahan
And wonderful vocals and guitar sounds I'd never heard before. The new feel of Here Comes Sunshine was evident from the very beginning. One of a bushel of songs that Jerry Garcia demoed at his home studio in January 1973. Now available on the 50th anniversary edition of Wake of the Flood.
- [06:47]
Jesse Jarno
Sunshine Sunshine.
- [07:03]
Rich Mahan
There's not a whole lot of what might be described as folk music on Wake of the Flood. It's certainly not a competition, but Here Comes Sunshine meets that description as well, as anything not folk music. And yet it was inspired by an event so folkloric that Woody Guthrie once wrote a song about it. In case you weren't sure, that wasn't Woody Guthrie singing, but the Seattle duo of Ben Hunter and Joe Seaman performing Vanport's Flood, Woody's song about the great flood of 1948. We've posted a link@dead.net deadcast there's no known recording of Guthrie singing it, existing only in manuscript form and in one of his mini songbooks. Though Guthrie wrote a cycle about the Columbia river earlier in the 1940s. He wrote this song in early June 1948, living in the house on Mermaid Avenue in Coney Island, Brooklyn, that Wilco and Billy Bragg later immortalized. A news junkie Woody Guthrie probably read about the Vanport flood in the newspaper. There wasn't television news just yet. Others may have learned about it like this.
- [08:25]
Jesse Jarno
The swollen Columbia river burst through a railway embankment to sweep out of existence the whole town of Vanport, Oregon. 18,000 are rendered homeless within the hour. Scores perish in the flood waters despite the efforts of quickly mobilized rescue workers.
- [08:39]
Rich Mahan
Though the first line of Here Comes Sunshine would refer to the Laughing Water of 49. The real Vanport flood happened on May 30, 1948. A public housing community that grew from World War II workers at the Kaiser Shipyards in Portland. Vanport's name was a mix of Portland and Vancouver, Washington, just over the river. After the war, the population shrunk some, but a new racially mixed population of veterans and their families arrived. One of our Dead Cast listeners, Bill Pollitz, left us a message about his own connection to Vanport.
- [09:10]
Jesse Jarno
My dad used to tell stories about men, twists and turns that led him from a Depression era ham radio kid to executive of Big Electronics Corporation. So that's why I love it. And what happened was my dad went to the Navy and he taught electronics there, was discharged in 46 and enrolled as a kid growing up in a North Portland suburb in Vanport College, I think might have been their first year.
- [09:39]
Rich Mahan
Because of the flood. There's been a remarkable amount of scholarship about Vanport and how racist housing policies resulted in some 20,000 people living in what was supposed to be temporary housing. It literally upended lives.
- [09:53]
Jesse Jarno
So brief was the warning that hundreds of families had only time to scramble to precarious safety on their own roofs. My father had a childhood friend named Jimmy Reagan, and they would go fishing all the time out and had some little rowboat they had parked out on the river that they used for all sorts of adventuring purposes. But during the Vanport flood, the story has it that my father and his buddy Jimmy Reagan rode out and rescued people and animals who were in need of floating help during the flood.
- [10:27]
Rich Mahan
R.O. jimmy Indeed, one of the people living in Vanport in May 1948 and may be up on a roof that day was six year old Robert Hunter, just three weeks before his seventh birthday. But the future Grateful Dead lyricist wasn't Robert Hunter yet. He was young Bobby Burns. His birth father had been in the Navy and moved from job to job after the war, moving the family town to town. Landing in Vanport. It's difficult to say everywhere they went, but the lyricist would later say that he attended a different school each year until he was around 14. He only mentioned his time in Vanport once, as far as I know, in a note that appeared in his lyrics collection, A Box of Rain. Below the lyrics to Here Comes Sunshine, he remembering the great Vanport, Washington flood of 1949. Living in other people's homes, a family abandoned by father second grade.
- [11:19]
Jesse Jarno
The Red Cross is immediately at work to register, clothe and feed the thousands of refugees who have lost all but count themselves lucky to have saved their lives.
- [11:38]
Rich Mahan
The Vanport flood was a major historical event, covered in papers seen in newsreels reported by Woody Guthrie. And Robert Hunter had a well established history of repurposing folk songs and motifs for his own usage in songs like Dupree's Diamond Blues and Candyman, to name just a couple. But Here Comes Sunshine isn't a disaster ballad, at least in the folk sense. The disaster Robert Hunter was memorializing was more psychic and emotional.
- [12:02]
Jesse Jarno
Yet 30,000 people are safely evacuated from the town to swell the total of the homeless in an area which includes British Columbia to over 100,000. Divers continue the search for the yet unnumbered victims of the worst flood in the history of America's Pacific Coast. Get out the pace don't you stand there dreaming get out your way get out the way.
- [12:51]
Rich Mahan
Considered against Robert Hunter's traumatic family experiences around the Vanport flood, the laughing water of Here Comes Sunshine doesn't seem like the ha ha kind of laughing. And we should linger on what comes before the laughing water because it provides the title of the Grateful Dead's new album for 1973. I hear the phrase Wake of the flood as the moment after the devastation, but before things have settled into a new normal. It's got biblical resonances, of course, if you swing that way and I actually hear a funny response the following June, when Bob Dylan put out a double live album of his 1974 comeback tour and called it before the Flood. Whenever and wherever it occurred, there was a different world on the other side. Good to know you got used to.
- [13:55]
Jesse Jarno
My flood why hold up for my blood.
- [14:01]
Rich Mahan
The Vanport flood upended every life connected to the town in any way. 15 people died. For a few people, probably not most, it was a positive turning point.
- [14:12]
Jesse Jarno
Like Bill Pollitt's father, after that flood, he had to change schools and he picked Oregon State University. So at OSU he met his electronics teacher. There was a guy named Cliff Moulton. They used to hang out together, my mom and dad and Cliff and his wife. Cliff was a brilliant guy, very forward thinking in many ways, and he had connections at Tektronics in Portland and hooked my dad up there and the rest is history.
- [14:38]
Rich Mahan
For Bobby Burns, the wake of the flood would last for the next half dozen years or so. His mother remarried the book editor Norman Hunter, and he took on the new last name, finding a few years of stability around the time he reached high school in Palo Alto, the town he would fatefully return to a few years later. The Beatles y melody fits well with the chorus's powerful optimism.
- [15:16]
Jesse Jarno
Sunshine.
- [15:20]
Rich Mahan
The expression Here comes sunshine shows up in plenty of contexts and text searches, all standing in for roughly the same thing. I'm gonna guess that Hunter and Garcia never heard the 1968 single of the same name by the higher Elevation, the appropriately named group out of Greeley, Colorado.
- [15:36]
Jesse Jarno
The light in your eyes the touching your lips Just the mention of your neck Baby here comes sunshine.
- [16:03]
Rich Mahan
Kind of cool though Closer to home, Robert Hunter may have used the phrase or heard it deployed during his few years cohabitating with Jerry Garcia, Mountain Girl and their brood, which included young Sunshine Keezy. Probably one of the reasons the song became known as Beatlesque are the words to the chorus, Here comes the sun do do do oh yeah In 2002, Guernseys auctioned the original handwritten lyrics for the song and reproduced the draft in their catalog. There were a few differences that I'll shout out. The first difference, which I have a slightly difficult time reconciling with the melody, is that the chorus was originally a little wordier, reading Here comes sunshine One more time, One more time for music. The second difference is what looks like a lost verse at the end, which you can sing to the same Wake of the flood Laugh in water in and out the door get out the boats don't stand there cheerin get out the way or maybe it Repeats don't stand there dreamin it's hard to tell like this, but different. And while we're at it, let's pause briefly on this really fascinating solo Garcia demo from January 1973. It's available on the new Wake of the Flood 50th Anniversary double CD set. It's from a longer demo tape that Garcia made while writing songs for what became Wake of the Flood. We discussed it more during our Ro Jimmy episode. The Here Comes Sunshine demo is long too, over seven and a half minutes, and you can really hear how Garcia sketched out parts for everybody else. This wasn't a song that he strummed a few times in rehearsal, and everybody fell in behind. I think one of those guitars has a Leslie rotating cabinet on it, giving it that shimmering sound. It might just be the difference in dynamics, but this section has a slightly different mood when Garcia plays it alone. The hand clap breakdown is awesome. An alternate universe with audience participation. And one of the highlights of the demo is the outro to Here Comes Sunshine, where multiple early 73 Garcias cut loose, including one playing the keyboards and some of us to jam even before hearing the demo version. Musicologist Sean o' Donnell's description of the song's composition matches what the demo expresses.
- [19:58]
Jesse Jarno
It's intricate in the way that a lot of their open jamming would be, but. Except it has to go this particular way. So it's not a language that they aren't doing elsewhere in improv moments, but it's saying we pick this particular set of C Mixolydian things to do in a particular way. So in that sense it's not quite memorization, but it's harder work. It's a harder lift to execute than when you're free, forming that just as your normal vocabulary. So it's not harmonically too bad. It's just that there are parts. So it's are you going to play parts or are you going to improvise over or around a progression? It's very contrapuntal. Again, it's that chamber music kind of thing that holds it together. So Bob and Phil have to work together a lot to create the texture that underlies it all.
- [21:03]
Rich Mahan
There's a lo fi rehearsal tape from January 1973 where Phil Lesh and Bob Weir are working on those textures. It's a quick and simple example of the Dead's group arrangement process in action. When this version starts, they're trying out a new part just before the chorus that doesn't quite work. It might sound familiar, though.
- [21:33]
Jesse Jarno
I don't get it. I mean, that's the way we do it in the verse, because the A minor from G, not from C. So why don't you guys do that lick in?
- [21:48]
Rich Mahan
Garcia suggests they change the part to the key of G, but instead they move it to after the chorus and presto. It's the familiar counterpoint that Lesh and Weir play together to set up the jam. Thanks to Sean for helping clarify that. Here it is between verses on the Wake of the Flood version. There's a version of the song from its first tour in the late winter of 1973 that demonstrates some other fascinating things about it. Though the band extended Here Comes Sunshine, it wasn't often a jam vehicle, but this one from February 17th in St. Paul did something it never did again.
- [22:47]
Jesse Jarno
Sun.
- [23:17]
Rich Mahan
I hear that move as a sort of sleight of hand that kind of reveals how similar Here Comes Sunshine and China Cat Sunflower are big, happy bounces, harmonically compatible. But to Sean, it's also indicative of Bob Weider's evolution as a guitarist between Oxamoxoa in 1969 and Wake of the Flood in 1973.
- [23:36]
Jesse Jarno
Bob's parts in this record really stand out in that same way that it's China Cat accompaniment sounds at the beginning there.
- [23:43]
Rich Mahan
That's the lead guitar here, one of the few parts that Jerry Garcia dictated to Bob Weir. You can hear it clearly on the Kezar show. Garcia plays the low end, then Weir comes in with the lead.
- [24:05]
Jesse Jarno
So that was like a written one for a particular situation. And then his language in improv is getting more and more like that across 72, and it's developing its sort of pizzicato type of background. And I feel like in Wake of the Flood, it's finally he hit his sort of goal to be the second violinist, where the parts don't make sense on their own. Like the China Cat one stands out as highly defined, but here he's doing inner parts, like in the Ro Jimmy chorus or in the background of the main riff in Here Comes Sunshine. They're just parts that only make sense in the whole. And then this, to me, is where he hits his mature vocabulary and it gets refined and changed the rest of the way. But this is sort of where all the ideas that were coming along are now like, oh, this is my language. And it's pretty amazing and unique. Sam.
- [25:26]
Rich Mahan
That'S from Des Moines, May 13, 1973, where you can really hear Weir's parts come into their own. David Lemieux.
- [25:33]
Jesse Jarno
It's some of my favorite stuff on.
- [25:34]
Rich Mahan
The Here Comes Sunshine box set. There's a very good reason we named this box set that. But those versions, each of them is a stand. I think there's four on here.
- [25:43]
Jesse Jarno
Each is a standout complete note.
- [25:46]
Rich Mahan
It was very much the theme song of our Dead Cast season devoted to that box set. As I mentioned in that season, even though the arrangement of the song is the same in each of the versions, it's a tune that I find really reflects the particular qualities of the recordings, from the way the drums spring to the way the vocals sound. This one is from Washington D.C. june 10, 1973. Also on the recent Here Comes Sunshine box set. Maybe my imagination, but I hear an almond's wink in Jerry's licks there.
- [26:18]
Jesse Jarno
Sa.
- [26:44]
Rich Mahan
Back to Here Comes Sunshine that I find to be symbolic of the dead sound in 73 is what I think of as gang vocals when Jerry Garcia, Bob Weir, Phil Lesh and Donna Jean God show are all singing at once. A giant forceful sound exemplified to my ears by the choruses to songs like Eyes of the World, the Ending of Mississippi Half Step and especially Here Comes Sunshine.
- [27:10]
Jesse Jarno
Sunshine, Sunshine.
- [27:25]
Rich Mahan
Scott Metzger of Joe Russo's Almost Dead.
- [27:28]
Jesse Jarno
It'S got a Beatles thing. It's also got to I feel like the R and B kind of feel to me again. I keep thinking of the band. I could see Levon Helm sitting down at the kit and like playing that beat under the verse for sure. For my money, like the grooviest tune on the record. Like whatever that means. Like 70s, put the top down, driving, just feel good 70s AM, FM radio kind of thing.
- [27:52]
Rich Mahan
The first single off Wake of the Flood would be Keith God Show's Let Me Sing youg Blues Away, but Here Comes Sunshine was on the flip. Neither side got much airplay, AM or FM, but it does seem like a few DJs and program directors focused their efforts on the Here Comes Sunshine side. In addition to everything we just spoke about, Hunter's lyrics, Garcia's groove, the band's arrangement, the song also showcased something else new heard throughout Wake of the a new guitar. We're sad that we weren't able to speak with the late Tom Anderson for these Dead casts. An in house engineer at the Record Plant who who work with the Dead on the Wake of the Flood sessions. But he wrote liner notes for the 2004 edition of Wake of the Flood that offer a few interesting tidbits. For starters, he was there when Jerry Garcia's new guitar arrived. It was delivered to the Record Plant before the sessions began. Anderson wrote I'm embarrassed to say that I had the audacity to take it out of its case and play it before he ever saw it. What was I thinking? If Anderson's memory is correct, that would make the first take of Mississippi Half Step on the first day of the sessions. Some of the first music Garcia was playing on his new guitar, known to dead freaks and guitar nerds as Wolf for reasons we'll get to this is from the recent edition of the Angel Share, courtesy of Jay and Ricky Blakesburg of the Retro photoarchive. We have access to a pretty remarkable body of interviews conducted by the writer, photographer and Dead fan John Sievert for Guitar Player magazine with Jerry Garcia, guitar maker Doug Irwin and others, which we're just delighted to tap into. Thanks immensely to the late John Sievert and the Retro photoarchive. We'll be using quotes from a number of interviews here from 1977 and 1978. We'll keep them dated when we post the transcripts@dead.net deadcast, but for now we might just keep them rolling. The first interview is from December 1977, just after Wolf returned to Jerry Garcia's hands from some intensive repairs.
- [30:20]
Jesse Jarno
This particular guitar that I'm playing this evening is a guitar that was made for me by Doug Irwin about. Well, I think I got it at.
- [30:26]
Rich Mahan
The end of 70.
- [30:27]
Jesse Jarno
I started playing it then, and it's been through some transformation since then.
- [30:33]
Rich Mahan
73 Jer Garcia went through three different periods playing Wolf from mid 1973 through mid 1975, from late 1977 to mid 1979, and then on and off again from 1989 through 1994. I'm one of those kind of guys.
- [30:49]
Jesse Jarno
That I pretty much play one kind of guitar and get used to its idiosyncrasies. The more elements that I can keep stable, the more you can concentrate on your playing and not be continually adapting.
- [30:58]
Rich Mahan
Your technique to your equipment. Wolf is not an Alembic guitar, though its maker. Doug Irwin first met Jerry Garcia while he was an Alembic employee. This is from John Sievert's August 1978 conversation with Doug Irwin.
- [31:12]
Jesse Jarno
I originally started out working for Alembic quite a number of years ago. I separated them from about five or six years ago, and I've been mostly into the function of the wooden unit itself rather than getting into the electronics. Most of the people that I've dealt with are like Jerry. The electronics works for them, but they can hear a difference, a real distinct difference, and they want a natural sound of an instrument. Now, Jerry had a real specific idea of what he was going for. And I just happened to to be lucky enough on the first time that I was trying to get it for him that I hit something for him that made him feel good. The first one that had my own name on it and the serial number on the guitar is 001. I was still working for Alemc at the time that I was building it, but as a result of building that guitar, I got fired.
- [32:07]
Rich Mahan
That first guitar, Irwin 001, was known as Eagle. We discussed Eagle a little bit in our episode about Des Moines, May 13, 1973. Now in the Here Comes Sunshine box, a show where photographs document Garcia playing three different guitars over the course of the afternoon. His usual Stratocaster with the alligator sticker, his Dan Erlewine Stratocaster with cool giant numbers on the fretboard, and Doug Irwin's new Eagle. From there, Garcia commissioned something more to his liking. This is how he described it in 1978.
- [33:05]
Jesse Jarno
That's my Doug Irwin guitar, which is my off and on favorite. You know, it's a custom made guitar. There isn't anything like it really. It's more or less patterned after a Stratocaster.
- [33:14]
Rich Mahan
In 1930, an original Stella Blue guitar would have cost $9, about $165. Now, thanks to the payrolls in the Grateful Dead archive, we know that Jerry Garcia's custom Irwin guitar involved a $500 deposit in June 1973, followed by an additional $1090 balance payment on August 28th. 1500 $90, translating to around $11,000 now, bit more than Stella Blue. There were a lot of things that made Wolf special. Though it was patterned after a Fender Stratocaster in some ways, there were plenty of differences. Borrowing ideas from Gibson guitars and beyond.
- [33:52]
Jesse Jarno
Sean o' DONNELL Fender comes out of like a car culture mentality where you're assembling it and you can replace parts. And it's the working man's kind of guitar where you can just change out parts on your own. The sort of Gibson thinking comes out of instrument builders. A luthier has to do the work and it's a different tradition. So Wolf kind of moves a bit in that direction where the neck goes all the way through the body. So if you look at a picture at the back, you see the neck right through the body. And that has very different impact on the sort of sustain and feel of the instrument.
- [34:29]
Rich Mahan
And of course, a lot of the sound comes in the pickups and modifications. And Wolff had three pickups. Like a Stratocaster.
- [34:35]
Jesse Jarno
The Wolf picked up from where the Strat mod left off. And then he continued to mod that across the decade.
- [34:43]
Rich Mahan
We'll find reasons to get into Garcia's future Wolf modifications on future deadcasts. In 1977, Garcia proudly showed off Wolf to John Sievert. He wanders a little bit away from the tape recorder, so some of it's a little hard to hear. Headphones help. We'll fill in all the details afterwards.
- [35:01]
Jesse Jarno
This is purple hard, this wood in here.
- [35:04]
Rich Mahan
These are actual laminations, these little thin skidding lines here.
- [35:07]
Jesse Jarno
They go all the way through the body as vertical planes.
- [35:10]
Rich Mahan
Yeah, the work is really incredible.
- [35:14]
Jesse Jarno
Five piece neck with a purple heart and curling maple cross grain laminations. So that's the way these are laminated together that way and that way the heart and the neck goes the whole way, which I think is a real sensible idea. The whole guitar is basically maple except for the core and some of the stripes in the neck. Essentially the whole body, except for the purple part of it, which is Purple Heart, is made out of western maple. It's much softer and generally a lot more figured than the eastern type. All that bubbled figure and everything like that, those large bubbles like that you're looking at in Jerry's guitar. There are almost non existent in eastern type maple and they're only existent in western type maple. And it's an unusual trip. You know, you only find it very rarely in certain pieces of wood.
- [36:09]
Rich Mahan
But the maple exterior hid what made the guitar special.
- [36:12]
Jesse Jarno
The main thing that makes, you know, for his guitar being what it is, is the scale that it is. And the core of the thing is made out of purple Heart. From appearance wise, it appears that the guitar is maple. But in performance, the main thing that you hear is the Purple Heart. You hear the density of the core. So he's got like a situation where he's got, you know, something that looks real pretty on the outside of it. But in terms of function, it's something on the inside that you can't see. The thickness of the guitar is 1 1/3/2. And the total inside dimension of the Purple Heart would be one and a half, I guess. So he's got a quarter inch of maple on each side of the quarter inch of Purple Heart on the inside. Sean o' Donnell the fretboard is ebony, which tends to not be quite as snappy as the maple that's on the Strat. So that warms up the tone a little bit.
- [37:11]
Rich Mahan
So what are the differences it would.
- [37:12]
Jesse Jarno
Be the kind of thing where you could go onto any forum on the web and go down a rabbit hole of the argument. But to my ear, when you back to back these kind of things, like take a body that's mahogany on the exact same guitar and then play an ash one, you do hear a difference, but it's the kind of difference you hear when you're doing it back to back and in isolation. I don't think it's the kind of thing you hear directly, especially in a big ensemble, especially with drums.
- [37:44]
Rich Mahan
While we can't do a strict comparison with the same songs, we do have some isolated guitar parts we can compare. This is how Jerry Garcia sounds soloing on the 1956 Sunburst Stratocaster he was playing in the summer of 1972. Different than his Alligator Stratocaster. Probably. This Strat had a few modifications as well, likely including alembic blasters, but wasn't as customized as either Alligator or Wolf. This is from the transition between China Cat, Sunflower and I know you rider from the August 27, 1972 Springfield Creamery benefit. And this is a little bit of how Garcia's brand new Wolf sounded during the Wake of the flood sessions in August 1973 from Eyes of the World.
- [39:09]
Jesse Jarno
Because this guitar is custom made for me, it's not like a production guitar. There's something to it, but I know that, for example, if anything goes wrong.
- [39:16]
Rich Mahan
With it, I can't replace it.
- [39:18]
Jesse Jarno
There's no other guitar that's comparable to.
- [39:19]
Rich Mahan
It or that's similar to it. That was Garcia speaking in 1977, a few years after something had gone wrong with Wolf and had required a fair bit of tender love and care to fix.
- [39:29]
Jesse Jarno
I really seek a kind of a universal guitar, something that will sound like anything I want it to at any moment, which is maybe impossible, you know, but that's kind of what I'm going for. I revise my ideas every year or so. Again, like everything else, I've been fortunate being a guitar builder and having Jerry for a customer. He's asked me for certain specific that he wanted on the instrument. Other than that, he let me go my route, which apparently for him turned out to be a fairly successful way to go about it. And it's definitely an unusual situation.
- [40:03]
Rich Mahan
Wolf wasn't the last guitar that Douglar Owen would build for Jerry Garcia. A storyline we'll return to down the road. Look forward to tapping into the Sievert tapes again soon. It was about 10 days into Wolfe's life with The Dead the band recorded Here Comes Sunshine for Wake of the flood, Thursday, Aug. 15, 1973, just after they wrapped work on Let Me Sing youg Blues Away. Productive day. As is obvious, perhaps too obvious, Keith Gadcho is playing some electric keyboard on the raw takes of Here Comes Sunshine, but I think it was removed entirely for the album version. On the track sheet for the Mix down recording, there are three keyboards listed, all of them noted as overdubs. One piano, one Hammond organ, one ARP synthesizer, but none match what Keith is playing on the basic takes.
- [41:15]
Jesse Jarno
Number two.
- [41:43]
Rich Mahan
I like listening to the raw takes with whatever keyboard Keith's playing to nod back to some of our conversations about Row Jimmy. It feels a little bit like a garage band playing reggae. They're still working out details in the studio.
- [42:29]
Jesse Jarno
Oh, arrangement wise, on that middle one.
- [42:32]
Rich Mahan
That one there is the middle one.
- [42:34]
Jesse Jarno
There's three verses, Right. I was thinking during that middle one.
- [42:39]
Rich Mahan
If Phil, if you and Weir played.
- [42:42]
Jesse Jarno
That figure that you play in the C at the end of the instrumental, right, While me and Keith play that.
- [42:48]
Rich Mahan
Other thing, It'll sound nice.
- [42:51]
Jesse Jarno
3. That's the same thing. I only want it on that. In that middle one. Okay. Yeah, yeah, yeah. I usually play something else in there. Right. Well, that's cool.
- [43:05]
Rich Mahan
Play what you usually play in the other two times that happens.
- [43:08]
Jesse Jarno
And that one middle one.
- [43:10]
Rich Mahan
Play it that way a few takes later. Weider's got some thoughts. Anyway, I was gonna suggest we do that.
- [43:20]
Jesse Jarno
That one on the first and the last verses instead of on the middle verse. No, it's good in the middle.
- [43:24]
Rich Mahan
I like it in the middle. Okay.
- [43:25]
Jesse Jarno
And then we're not going to do anything on the first verse, nothing on the last verse. Just play what you normally play, which is. So I'll normally play something else, I guess. Well, you know, you can play that same thing if you want. I was just trying to get it clear.
- [43:44]
Rich Mahan
As the band worked through the takes, they sang scratch vocals. There's a casual quality that I like.
- [44:08]
Jesse Jarno
Get out the pan don't you stand there dreaming get out the way get out the way.
- [44:23]
Rich Mahan
But not everybody sang all the time, which results in nice moments like this with only Donna Jean Gotcho singing with the band. A fun alternative perspective.
- [44:39]
Jesse Jarno
Sa.
- [44:55]
Rich Mahan
Or maybe you just get Jerry and Donna singing together.
- [45:05]
Jesse Jarno
Sunshine. Here comes sunshine.
- [45:18]
Rich Mahan
On the tape box. Tape 6 is labeled Bob's Freakout, but I think they actually mean Take five.
- [45:23]
Jesse Jarno
Could I suggest that we do the. There's a delay on Weir's vocal for some obscure reason. Anyway, I'd like to. Anyway, I like what. I like that we do that. That figure on the first and last. Would somebody mind telling me why we're getting a delay on Weir's voice? Anybody tell me.
- [45:58]
Rich Mahan
There was one suspect in view?
- [46:00]
Jesse Jarno
I see the bear fucking around down there.
- [46:05]
Rich Mahan
Phil jumps to Owsley's defense.
- [46:06]
Jesse Jarno
No, he's just threading his tape, you.
- [46:10]
Rich Mahan
Know, just a former LSD chemist making safety copies of the Dead studio sessions. Surely nothing to worry about.
- [46:20]
Jesse Jarno
There it is. I don't know if you've ever tried.
- [46:29]
Rich Mahan
To talk to this going on.
- [46:31]
Jesse Jarno
You get slower and slower and you finally stop. It can't be done.
- [46:44]
Rich Mahan
They did in fact, solve the problem.
- [46:46]
Jesse Jarno
What was it?
- [46:52]
Rich Mahan
For anybody who's ever spent any time in a recording studio, it's the kind of routine annoyance that burps up in the middle of sessions. All in all, though, it was a fairly productive evening. They only made it through the song in its entirety twice. Take 7 and 10. With take 10 snipped from the reel, overdubbed and turned into the album performance. Let's compare the intro from the raw take 7 with the overdubbed take 10. Here's take 7.
- [47:15]
Jesse Jarno
1, 2, 3, 4.
- [47:27]
Rich Mahan
And here's Wake of the Flood. That's an early ARP Synthesizer, probably the ARP 2600, one of the first fully electronic synths with a keyboard attachment played by Keith Godshow. It's mixed pretty ambiently, but it's all over. Here comes sunshine. A really lovely touch. The song is a keyboard delight. Listen to the chorus, which I think is the ARP and a Hammond B3 playing together under the spectacular gang vocals. And if you listen throughout the song, there's traditional grand piano mixed in. Later overdub as well. It's a rich texture, with all three keyboard parts sometimes doubling each other, sometimes adding colors by themselves. But there's not much of a jam. In fact, at four and a half minutes, it's the second shortest song on the album, after Let Me Sing youg Blues Away. Perhaps another reason it was picked to go onto the single. The Outro Fadeout does have a short bit of music that captures the Dead's full weave, ready to set off into a jam with more overdubbed ARP squigglies that remind me of the Outro to the Beatles. It's all too much. During the band's fall 1973 tour, the song got even longer, regularly climbing over 10 minutes, sometimes a little shy of 15. Grateful Dead archivist David Lemieux I think as the year went on, as 73 went on.
- [49:50]
Jesse Jarno
It was played less as it was.
- [49:53]
Rich Mahan
Kind of when it's got great vocals live for the most part, but instead of a vocal showpiece, it is definitely an instrumental showpiece. Some of those jams 11, 14, 11, 17, 12, 1973 Ah yes, December 19, 1973 I like that you can hear a cheer for the song as they start an underground hit, even if it didn't get much airplay. Many Deadheads probably know the date December 19, 1973 better as Dick's Picks Volume 1, released in 1993 with a mammoth version of Here Comes Sunshine kicking off the CD and the series. But Here Comes Sunshine didn't open the show in Tampa. It was, however, the reason the show was released after finishing Wake of the Flood. The Dead played powerful shows through the end of the year, a period of maturity that more than justified leading off the Dix Pick series with the Tampa performance and how Here Comes Sunshine became an invisible hit again in 1993 when the discs went on sale through the Dead's mail order label. David Ganz interviewed Dick on the Grateful Dead Hour about how of all the hundreds of Dead shows and nearly two decades of discussion, Here Comes Sunshine was what finally got the Dead's release program into full motion. Thanks, David, and thanks Dick.
- [51:12]
Jesse Jarno
I didn't realize that live tapes existed until around 1974, which was just around the time that the good equipment started, the Sony 152 portable decks and, and then people started having pretty good quality tapes, you know, so late 74 I discovered that actual tapes existed and I started writing people from Hawaii and, you know, collecting a few tapes and then writing someone else and getting to know a few more people and just trying to get to the real core, the hardcore tapers that existed at the time.
- [51:45]
Rich Mahan
It took another decade and change, but Dick Lotvalla became the Grateful Dead's archivist through a convoluted process that we detailed in our episode titled Inside the Vault, as well as in my book, A Biography of psychedelic America. In 1991, the Grateful Dead put out their first official archival release. One from the vault on the vocals.
- [52:05]
Jesse Jarno
Mrs. Donna Jean Gotcho. On Eguiton vocals, Mr. Jerry Garcia, will you welcome please the Grateful Dead.
- [52:22]
Rich Mahan
The original Vault series, helmed by Dan Healy and John Cutler, was intended to draw on the wealth of multi track live recordings in the band's archive. It followed with two from the vault in 1992, but then paused. The series that became Dick's Picks was designed to draw on the even more voluminous collection of raw two track Tapes, warts and all, as the phrase goes. Dick started working in the vault in the mid-1980s, but it wasn't until early 1993 that roady kid Candelario proposed to the band that Dick select some older recordings for release. He asked Dick for three recommendations.
- [52:54]
Jesse Jarno
I know hundreds of great shows, but when it came to really having to pick them for the band to listen to and judge, boy oh boy, did I become critical. Extra specially critical then. Then it knocked out a whole bunch of choices. So it was under. What I felt like was it was extreme pressure that I chose three shows and I did a lot of work listening and making sure they were okay.
- [53:18]
Rich Mahan
Dick felt like he was under extreme pressure because the band would be listening and making the final decision. The reason why only two complete shows had been released from the band's vault up until then is because they were intended to match the incredibly high standards the individual musicians had applied to their live albums up to that point, like Live Dead and Skull N Roses, in which they'd scrapped a whole set of shows they'd multitracked at the Capitol Theater. Check out Our Skull and Roses Season for more on that. If a show opened with a version of a song that didn't offer anything special, or the sound levels were still being adjusted off with its head, to use a technical tape splicing term, it.
- [53:53]
Jesse Jarno
Became apparent to me and others, me and John and Cutler and Jeffrey Norman who were working on this, that each CD should have a life of this isn't an attempt to recapture the total picture or the whole show. It's a picture of the show. These shows are going to always be edited. It's not going to ever be literal, just like it happened on the show itself. You can check Dead Bass or your audience tapes for those things.
- [54:25]
Rich Mahan
So what were the three shows you picked to audition with the band?
- [54:28]
Jesse Jarno
The ones I chose were 12, 1973 and 2, 1370 and 1011. 70. 77, I think it is. 1011 Norman, Oklahoma.
- [54:38]
Rich Mahan
February 13, 1970 became part of Dick's Picks 4.
- [54:42]
Jesse Jarno
Well, well, this is glorious Sunday morning the Grateful goddamn Dead Driving that train.
- [55:04]
Rich Mahan
Ace should grip watch your speed October 11, 1977 remains unreleased. While the February 1970 Fillmore east shows had long been known to tape collectors and fans, in part because they took place at the Fillmore east, the Tampa 73 shows had never been circulated among collectors. Dick's first pick was an instant classic.
- [55:25]
Jesse Jarno
It was just to see get some rough ideas of some good shows. And then as it became closer to a reality, we settled on 12, 1973, because it was right in the middle of the other two releases and it was a real creative era. The late 73 period for me, I'm discovering more and more had some just magnificent shows.
- [55:51]
Rich Mahan
We couldn't agree more. There are Deadheads who absolutely savor this period. In November and December 1973, after the wake of the Flood songs had been tightened, recorded, loosened again and their vocabularies assimilated. With the band's ears already on the hunt for the next thing, the new expanded release of Wake of the Flood has a disc's worth of the November 1, 1973 show in Evanston. Highly recommended.
- [56:42]
Jesse Jarno
Weird things would have come out of nowhere, you know, and they would get in. In the jams would take shape of themes sometimes, you know, like what is called, like the Spanish theme, of course, and, or, or the Mind Left Body Jam. I don't like the wording for that, but you know, that, that feeling that they used to do, it was real jazzy and experimental and boy, did they have some meltdowns, you know. You know, when they turn their back to the audience and go up to their rack and just do the. These sounds that would terrify you in the audience.
- [57:38]
Rich Mahan
That was a little more From Dick's picks 1. Check out our Stella Blue episode to see what happens next.
- [57:43]
Jesse Jarno
I could have easily, you know, say five other show right from that late 73 period that were great, but 1219 for me had this version of Here Comes Sunshine. See that? I just, just, just kills me. So I, you know, I was really swayed for that show just to have that in there, because when you folks hear it, I'm telling you, it'll raise the hair on your arms and, and then all throughout the show, I mean everybody, everything was really well played.
- [58:27]
Rich Mahan
It's a magical version, 14 minutes long with a jam that keeps giving and giving.
- [58:57]
Jesse Jarno
I think this is really an experiment, this first one to see how it does, because no one has a clue as to how much interest there is out there to get at this material. This is, this is the only mail order you see. You know, it's not going to be in record stores, so this will be like a little private club, so to speak, you know, that is willing to go that extra mile for the really good stuff.
- [59:21]
Rich Mahan
They would switch to the complete show model. A few releases later, a shift in a still ongoing conversation about how to best present Live Dead. There are a few more things to note about that Tampa 73 show, all of them inaudible on the tape in slightly different ways. Love what Keith Godso plays at the end here. The first is that Donna Jean Gotcha is not singing with the band.
- [60:04]
Jesse Jarno
The very last show that I did before Zion was born was in Phoenix, and I believe that was the end of November. It was a Phoenix show that we did. You guys would probably know what day it was.
- [60:18]
Rich Mahan
That would be November 25th at Diablo Stadium in Tempe.
- [60:21]
Jesse Jarno
Anyway, it was around the end of November and we were in Phoenix. Bill Graham was there as well, and I. I got on stage and I knew that it was the last show I could do before that baby just popped out. And Bill Graham, bless his heart, and this is something I will never forget about that man with all the things that people can say about him. He flew me back to the Bay Area in his private jet. Well, that was huge. A month later, I had Zion, who is now 49 happy almost 50th to.
- [60:58]
Rich Mahan
Zion godshow, who you might know as the musician behind Boombox. Another thing is even more inaudible than that. It was sometime in the last few weeks of December that Garcia's shiny new Doug Irwin guitar gained its first sticker. A hungry looking cartoon wolf just below the bridge. Thanks to Uli and Volke for contributing to this research. The origins of the sticker art came up when we spoke with road crew member Steve Parish last year for our Europe 72 episodes and asked about the origins of the alligator sticker on Garcia's Stratocaster, which first appears in photos of the Munich show in late May. 72.
- [61:47]
Jesse Jarno
We were in London and we were in this place that was like a cathedral sort of. And we were in there in the afternoon. Kid was playing around with this airplane that he had gotten in England that you could wind it up and it would shoot across the room and fly. We were paying attention to that. And Jerry was always there early with us when we set up. And he was now tinkering around with the guitar and in comes Sonny Hurd. And Heard had been out shopping in London and he found all these stickers, and we couldn't believe how cool they were, man. We go, wow, look at these. They were really beautiful. And so there was one of an alligator with a dinner bib on and a knife and fork in each hand, and he was just drooling and he's coming for dinner. And so we stuck that right on that guitar. And that guitar at that moment became the alligator.
- [62:42]
Rich Mahan
But the pack of stickers had some other great art.
- [62:45]
Jesse Jarno
Also Heard pulls out another sticker. And this is the typical what we knew in the United States as the Tex Avery Wolf. Perfect, I guess. There were no copyrights in England or whatever, so here it was. And that got stuck on what became the Wolf guitar right at the base of the guitar at the bottom where the bridge was, you know, and the saddles right below them.
- [63:10]
Rich Mahan
Incredibly cool to know that Alligator and Wolf came from the same pack of stickers, making them musical siblings. But it wasn't a Tex Avery Wolf, also known as slick Joe McWolf with a little mustache under the nose. The Wolf on the Doug Irwin guitar was a more generic design sold in packs to hot rod racers and apparently used as a patch for the U.S. air Force's 377th Bombardment Group in World War II, thanks to the various online threads at Reddit and Fishnet who went looking for that. A few years later when Wolf went in for repairs, Doug Irwin emblazoned the cartoon Wolf directly into the body of the guitar. Those co leads by Weir during the jam Peak are great. The other thing about the Tampa 73 Here Comes Sunshine is that it was the second to last version for nearly 20 years. What happened? The song occasionally turned up on scraps of paper where Garcia brainstormed potential songs to rehearse, and the band apparently got as far as sound checking it in the fall of 1983, just after they brought back St. Stephen. In 1986, as Jerry Garcia recovered from his diabetic coma, Steve Marcus of Grateful Dead Ticket Sales conducted a video interview with him and asked him about a number of songs that the band hadn't played in a while, including Here Comes Sunshine.
- [64:45]
Jesse Jarno
I can imagine a situation in which we would do that song. We never did perform it. I mean, if we performed it, we performed it maybe twice.
- [64:52]
Rich Mahan
Our buddy David Ganz was in the room and did what I sometimes do on this podcast and interjected, except he got to do it with Jerry Garcia in the room. He's off mic on this recording, but notes that it was considerably more than twice.
- [65:04]
Jesse Jarno
Really? How many times would you say, come on, David Ganz, you have to. Not very many, though. I mean, we never played it to the point where it became one of our songs.
- [65:14]
Rich Mahan
It was about two and a half dozen times. It's one of those songs.
- [65:17]
Jesse Jarno
It's like a formula song. It's an easy song to pull off. It might be a good song to do sometime.
- [65:22]
Rich Mahan
Grateful Dead archivist David Lemieux it's unfortunate it didn't work for him because it certainly worked for me. I wonder if maybe one reason it didn't stick around is because the lyrics had a few places where they were close enough that Garcia would confuse the verses, some of which have similar rhymes, which you might notice on occasion. But after nearly 19 years, the song returned to the Dead's repertoire in December 1992, with new keyboardist Vince Wellnick. It began acapella. This one is From Cal Expo, May 26, 1993. Now Road Trips, Volume 2 Number the next year, Vince Welnick told Dupree's Diamond News that the reason the band revived the song is because somebody sent in a letter and requested it, citing the last time it had been played. Wellnick Sinth's callback to the ARP on the studio version, probably intentionally on his part, if I had to guess.
- [66:51]
Jesse Jarno
Get out, get out the way, get out the way.
- [67:05]
Rich Mahan
The song stayed in the band's repertoire all the way through 1995. A late breaking favorite, it was not in the set lists when the Dead played two shows at Portland Meadows, situated in the swampy lowlands virtually on the site of Vanport and the Flood. It was played by Many of the post 1995 incarnations of dead members as well. Here Comes Sunshine isn't a song I think about getting covered too often, but it's surprisingly durable. The earliest cover that I can see on the very useful deaddisc.com was Fusion from Jazz is Dead on their 1999 wake of the Flood tribute Laughing Water. The Persuasions did a vocal version the next year under the guidance of David Ganz.
- [67:58]
Jesse Jarno
Here Comes Sunshine.
- [68:27]
Rich Mahan
It was part of Lee Johnson's Dead Symphony no. 6 with the Russian National Orchestra in 2007. The Yonder Mountain String Band had it in their live repertoire and on a few official live releases.
- [69:01]
Jesse Jarno
Sunshine.
- [69:24]
Rich Mahan
And the indie rock band Real Estate recorded it for the Day of the dead tribute in 2016. 16 Please welcome to the Deadcast the bassist from Real Estate as well as the super fun new band Taper's Choice, Alex Bleeker.
- [70:05]
Jesse Jarno
I've been sort of the known, outspoken kind of resident Deadhead in Real Estate. There is a sort of like spiritual relationship. Just that Real Estate is very tight in terms of like songwriting and structure. Most of the time we stretch out a little bit, but in terms of like, the way we like to structure songs and like featuring a melodic lead guitar line. I've always felt that there were certain tunes in the Dead's repertoire that sort of overlapped with the thing that we did and also that I thought would be really well suited to Martin's vocal because I think Martin sometimes really can tap into the sort of, like, lazy tenor, Jerry Garcia vocal delivery thing. Wake up the flood laughing water 49.
- [71:03]
Rich Mahan
Earlier in the episode, we focused on the break that happens after the song's chorus.
- [71:20]
Jesse Jarno
That is where Real Estate chose to jam in that. Which is like a descending line in G G kind of like Mixolydian. And I don't remember how we got there. Like, I sort of. I think we were working off the studio version and going back and listening to more live versions. I kind of. It's like a happy thing and a sad thing. It's a short jam, but it comes after the third verse, and we just sort of stick on that, the descending line. And we do it. I think we do it, like, kind of. I'm using air quotes here as written. And then it just sort of takes off into this groovy, spacey G Mixolydian hangout kind of jam thing. Which I'm actually glad it worked out that way because it's cool and they do it a little bit when they jam. They kind of return to it and then go back to the sea. But it's sort of a cool space for the. The song to live in for a little.
- [73:08]
Rich Mahan
In an unassuming indie rock kind of way. That's one way to reinvent the Dead, subtly put a jam where there didn't used to be one. A few seasons back, the Dead cast did two episodes called Playing Dead, about the evolution of bands that play Dead music from the 60s to the present. But another way to carry the Dead's legacy is to find a path that doesn't involve playing Dead songs at all. While Alex was the outspoken Deadhead of real estate, he encountered the outspoken Deadheads of two other drummer Chris Thompson of Vampire Weekend and guitarist Dave Harrington of Darkside. With keyboardist Zack Tenario Miller, they became Taper's Choice.
- [73:45]
Jesse Jarno
Every once in a while, we'll throw a cover in like any, you know, good jam band should. But we have not based ourselves, at least repertoire wise, on the music of the Grateful Dead. We have specific songs that you can probably hear in the catalog where we're like, this is a loving homage to, like, a Grateful Dead feeling. And that is, like, usually, let's do, like, a big Mixolydian jam as at least, like, a jumping off point.
- [74:39]
Rich Mahan
That's Hieronymus bong from Tapir's Choice's first proper album, the History of Tapir's Choice, Volume 1, Taper's Choice, which we've linked to@dead.net deadcast instead of honoring the Dead by starting a Dead cover band, Taper's Choice honored the Dead by designing a group that could fit into the tape trading network that the Dead inspired and whose history we've been tracking on this podcast. An accidental alternative to the traditional record industry on the Dead's part, but an intentional alternative on the part of Taper's Choice, whose music can't be found on major streaming services for now. For the first year and change, it was only possible to hear Taper's Choice on tape and either virtual live tapes or actual cassettes released by the band. And perhaps, obviously they now have a little taping scene of their own.
- [75:23]
Jesse Jarno
I'm like deeply heartwarmed and amazed by the amount of Tapers that have taken it upon themselves to come and record our shows. And obviously the name is in there. Like we baited them a little bit, but like just even being a tiny bit a part of that, like massive network and community, the sweet spot for me is like 72:73, which is why it's been fun to talk about Here Comes Sunshine. Just in terms of like the way the live tape sound, the way the band was playing. It's like it sounds like a super scrappy band that's just about to become a big stadium rock band. And it's such an awesome middle point for me, Sam.
- [77:00]
Rich Mahan
Just listen to those sunbeams like Alex. I can never get enough of that. Dix picks one version and that's a beautiful way to think about the Dead in 1973. Perpetually on the verge of something even newer and brighter just over the horizon. Thanks very much for tuning in to the good old Grateful Dead cast. We'd like to thank our guests in this episode. Donna Jean, Gaucho McKay, Bruce Hornsby, Steve Parish, David Lemieux, Alex Bleeker, Scott Metzger, Sean o' Donnell and Bill Pulitz. Extra special thanks to friend of the Dead cast David Ganz for contributing audio from his interview archive. Thanks very much for tuning in. Don't forget to like subscribe and share an episode on your social media and give us your Wake of the Flood related stories by recording yours@stories.dead.net executive producers for the good old Grateful Dead cast, Mark Pincus and Dorin Tyson. Produced for Rhino Entertainment by Rich Mahan Productions and Jesse Jarno. Special thanks to David Lemieux. All rights reserved.