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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.
- [00:31]
Grateful Dead Announcer
Yes, friends. America's hardest working rock band now presents Working Man's Dead, an album of country flavored tunes by the Grateful Dead. An album different from anything they've ever done before. Working Man's Den, the newest from Jerry, Phil, Bob, Bill, Mickey and Pigpen. Ready now on Warner Brothers albums and tapes. Steal it.
- [00:54]
Sam
Come hear Uncle John Ben by the riverside. Got some things to talk about here beside the rising time.
- [01:12]
Rich Mahan
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, this is the good old Grateful Dead cast. We are so excited to present this podcast to you. It's been in the works for what seems like forever, and here we are, Episode one Finally in your earbuds. Welcome. We're going to dive into Working Man's Dead, the classic Grateful Dead album Originally released on June 14, 1970. Now celebrating its 50th anniversary, Grateful Dead archivist and legacy manager David Lemieux, Working Man's Dead.
- [01:51]
David Lemieux
I can honestly say that I could listen to that hundreds and hundreds of times. It's one of the first albums that 35 years ago when I was collecting individual Grateful Dead records as I was also getting into tape trading, it was one of the albums. It was the first one or two I got. To me, it's a flawless album.
- [02:07]
Rich Mahan
SiriusXM Tales from the Golden Road host.
- [02:10]
Gary Lambert
Gary Lambert they played really well live in the studio. They may have overdubbed vocals or little guitar fills and things like that, but it really has an organic and live feel to it.
- [02:20]
Rich Mahan
Singer, songwriter and Robert Hunter co writer.
- [02:23]
Jim Lauderdale
Jim Lauderdale that album, Working Man's Dead, I look at that and American Beauty as almost like a double album. I heard those and then just got totally blown away with Working Man's Dead. I mean, this, this record is one of those perfect records to me.
- [02:47]
Rich Mahan
NBA champion Bill Walton.
- [02:50]
Bob Matthews
What could be better than the 50th anniversary of working Man's Dad? Start it up.
- [02:55]
Jim Lauderdale
Let's go. It's a high time we got to this.
- [03:03]
Rich Mahan
I'm sure many of you have discovered the bounty that is Angel Share by now. For those of you who haven't uncovered this buried treasure, Angel Share is over two and a half hours of unreleased Working Man's Dead session recordings. Consisting of outtakes from every song on the album, these recordings give a unique fly on the wall perspective that will shed all kinds of kaleidoscopic light on these recordings for you, and they are currently available via your favorite streaming platform. We're gonna dedicate a podcast episode to each of the eight songs on Working Man's Dead, taking them in order, which of course means kicking things off with the classic Uncle John's Band. And with that, I'm gonna hand it off to our resident Grateful Dead historian, author Jesse Jarno, for a deep dive. Track one on Working Man's Dead.
- [03:53]
Narrator / Host
Let's start with a word from Jerry Garcia from a 1988 interview conducted by Joe Smith, the beloved Warner Brothers executive who signed the Grateful Dead to the label. This interview is now part of the Library of Congress's collection.
- [04:06]
Jerry Garcia
We'd spent so much time and so much money working on our second two records and that it was we didn't want to go through that experience again, definitely. So I thought, hey, what I'm going to do is write some songs. They're so fucking simple, man, and so easy for everybody to understand that we'll do them in the studio in about a minute, you know, it'll take no time, it will cost us hardly anything and we may be able to get out of this endless thing of spending more than we make, you know, on records. It seems crazy to me. So that's kind of the idea behind Working Man's Dead, although really. And also the next record, Working Man's Dead, American paradise. That's kind of one record, really. And that worked out beautifully. It really did. It worked out great.
- [04:52]
Narrator / Host
Working Man's Dead is often called a return to the basics or some such, usually in comparison with the screaming psychedelic peaks and martian valleys of the Dead's two albums from the year before, Live Dead and Oxamoxoa Gary Lambert.
- [05:06]
Gary Lambert
They started introducing some of those country songs in early or mid 1969. Jerry Garcia trotted out a pedal steel guitar on stage with the Grateful Dead, and they were doing old country standards like the Green Green Grass of Home and Silver Threads and Golden Needles. Now, if you were used to the Grateful Dead being just the most anarchic, psychedelic, weird sounding band in the world, that could be a shock to the system even in 1969. One of my favorite stories comes from, I think, what was my third and fourth Grateful Dead shows at the Fillmore east on June 21st of 1969. And they opened the first show with Green Green Grass of Home with that beautiful whining pedal steel sound. And they played a few more country tunes in the course of those two shows in one night at Fillmore East. And late in the second show, I think it was, there was another country song they were playing and I saw a guy stalking toward the exit, obviously wildly psychedelicized. Maybe he had timed his dose to Darkstar or something like that. And they're playing yet another country and this guy's headed for the exit saying they're turning into a bunch of goddamn cowboys. But there was some pushback to that from the more psychedelic fans because there was kind of a divide in the country between the hippies and who the hippies would derisively call the rednecks. So I do remember some of my friends being a little dismayed by this. But then when it fully flowered, when the Dead came into their own as songwriters and guys who could sing really sweet harmonies and all that, I hope all was forgiven.
- [06:42]
Narrator / Host
But while it's true that all eight songs on Working Man's Dead have deep connections to the band's roots, and the album was mostly made by the musicians performing live in the same room, with an emphasis on acoustic guitars and what Garcia called wooden music, the songs themselves were also anything but unambitious. And as we'll see, it took a lot of weirdness to arrive back at the Grateful Dead's version of the Basics. In their own ways, each track on Working Man's Dead is still radical and surprising even 50 years later. To tell the story of Working Man's Dead, we have the album's co producer, Bob Matthews. But Bob Matthews didn't just help make Working Man's Dead happen, he helped make the Grateful Dead themselves happen. As a teenage banjo student of Jerry Garcia and close school buddies with Bob Weir, it was Matthews who introduced the two future Dead guitarists and would soon become a co founder of the original Mother McCree's Uptown Jug champions. That barely scratches the surface of Bob's CV with the Dead, though. By a half decade later, in 1969, he and his girlfriend Betty Kanter had become the Grateful Dead's in house audio engineers with production credits on both oxymoxoa, released that June, and Live Dead, released on Bob Matthews 22nd birthday in November 1969.
- [07:59]
Sam
Steven Cosberg, in his Time. Well, he made an amazing climb.
- [08:04]
Jerry Garcia
Did it matter?
- [08:05]
Sam
Does it now? Stephen would answer, if he only knew how.
- [08:22]
Bob Matthews
Let's go back to an album that everybody always wondered, where the heck did that name come from? Waxamoxoa. Waxamoxo was an album. It was the first album where we, that is to say the band members and myself as the equipment manager who wanted to become an engineer, worked in an independent studio for real cheap and recorded Owaksa Maxoa first time over a six month period utilizing 1 inch 8 track. And we learned a whole bunch of things. Mostly what we learned was what not to do. And this had to do with what not to do aesthetically as far as the music. You don't want to go in and beat the music like a dead horse. You want to perform, to present the music in its most artistic manifestation. So Oaxa Maxoa got made twice by the end of the 16 track version of it, us on the production end of it and performing end of it had no interest in, had lost all of its energy and excitement long ago. We removed all of its magic. We did it so much. And we tried different versions of oh, this might be neat. And we'd spend three days trying to get the ringing of a telephone down the hallway in the studio to sound just right. So upon starting the thought of working Manstead, my approach and suggestion to the band members was we're not going to go in and push record on the 16 track to record the album itself until we have understood and come up with an agreed arrangement, a plan of not only how the song itself was to be arranged and who had what parts, who sang, we created the concept of the album before we recorded it. What I suggested was that we go into Pacific High recording for two days and we set the band up and we recorded the tunes that Hunter and Jerry and Pig were proposing for this product. So we went through and we did an acceptable performance of each of these songs. Acceptable as far as we didn't make any musical blunders, but that we represented the concept and the feeling musically and artistically. So we ended up with two sides of an album recorded in stereo. We spent those two days actually, we spent the first day really, actually doing the recording of all of the tunes in stereo. And we came back in the next day and not all the band members were there. It was mainly myself, Betty, Jerry, Phil, I think. And what we did was we took all of the stereo tracks that were on quarter inch tape on two reels and we started from the beginning. We said, okay, what song do we want? What song makes the most sense to start? And that was Uncle John's Band.
- [12:01]
Narrator / Host
We'll hear a lot more from Bob later about those demos and many other topics. But first, let's take this moment to consider that very first song, Uncle John's Band. Drop the needle on side A of Working Man's Dead, and the first thing you hear is a simple acoustic guitar, timeless and beautiful. But what is simple, really? We all have our own definitions, and when Jerry Garcia called the songs on Working Man's Dead simple, his definition was a bit more complex than most. This is what the song that became Uncle John's band sounded like at first. That's from November 8, 1969, at the original Fillmore Auditorium in San Francisco, released on Dix Pick 16. Played inside a completely bananas dark star sequence. That's definitely worth checking out. Jerry Garcia had been listening to recordings of Eastern European folk songs. He later told Blair Jackson specifically, he'd been listening to music by the Bulgarian Women's Choir and LPs by the penny Whistlers, a vocal group that specialized in harmonies from around the world. Here's how Garcia put on one of those records. There was a song that featured this little turn of melody that was so lovely that I thought, gee, if I could get this into a song, it would be so great. So I stole it. Actually, I only took a little piece of the melody, so I can't say I plagiarized the whole thing. Of course, it became so transmogrified when Bob and Phil added their harmony parts to it that it really was no longer the part of the song that was special for me. That was the melodic kicker originally, though. But what I want to know is what was that song, though? Recently, along with my colleague Light Into Ashes, proprietor of a great blog called the Grateful Dead Guide, we tried to find out. We sifted through a handful of likely albums and candidates, and Light Into Ashes found this contender. That was Shto Mi Amilo from the Penny Whistler's 1966 Nonesuch album Folk Songs of Eastern Europe. If you head over to YouTube, you can see them perform it on Pete Seeger's television show Rainbow Quest in 1966. The song title translates from Bulgarian to I will be glad. Is that what Jerry Garcia was hearing when he wrote Uncle John's Band? It's certainly not the definitive answer, but if you've got an alternate proposal, we'd love to hear it. After locking into Garcia's new melody, the band recorded a tape of themselves for lyricist Robert Hunter playing the instrumental theme over and over again. I kept hearing the words, God damn, Uncle John's mad, robert Hunter said later. Until all of a sudden he didn't. The words for Uncle John's band, written in the late fall of 1969, were a powerful new mission statement for the Grateful Dead. Though the band's folk influences could be found just below the psychedelic surface of their earlier albums, Uncle John's Band made clear that this was a whole new Dead, filled with sweet melodies and panoramic lyrics packed with allusions to American music, both old and new, connecting the Dead to an American heritage, a bold present and weird future. So who was Uncle John?
- [16:04]
Gary Lambert
Gary Lambert One of the great things about the meanings of Hunter's songs is that he refused to impose meaning on them. People could take from them what they wanted, and of course, Hunter would be famously evasive. There's a hilarious place where someone asked him what Uncle John's Band meant, and he said it was about a guy who owned a flea circus. It was like. And he was completely spitballing and completely making it up on the fly, you know. And people have always talked about who was Uncle John, and there are several answers, and they're probably all valid.
- [17:09]
Narrator / Host
That was the late John Cohen there, playing the traditional fiddle tune Buck Dancer's Choice from the wonderful 1998 acoustic disc album Stories. The Crow told me. If you're looking for an actual person named John who might have been the inspiration for Uncle John, John Cohen might well be it. And you could do a lot worse for a folk hero sometimes known in music circles as Uncle John Cohen. Cohen was a co founder of the New Lost City Ramblers, one of the most pivotal bands of the folk revival of the late 50s and early 60s and a profound influence on a young Jerry Garcia and Robert Hunter, arguably the first group to revive old timey music without spiffing it up into folk pop. The Ramblers weren't only musicians, but scholars, tracking down forgotten performers and bringing them to new audiences. A not insignificant number of the songs in Jerry Garcia's various acoustic repertoires made their way there via the New Lost City Ramblers. And both Garcia and Robert Hunter crossed paths with the Ramblers themselves during their days traveling the folkways. In an exchange with David Dodd, author of the Complete Annotated Grateful Dead Lyrics, Robert Hunter said that the idea that Uncle John came from John Cullen was, quote, right on the money. But Uncle John wasn't any one person with many threads of culture woven into the song's fabric. When I was researching this episode, though, I came across another reference that seemed to resonate directly with Uncle John's band. This is from the memoir of Jelly Roll Morton, the pioneer jazz pianist from New Orleans, speaking in 1939 about one of the great mythical figures of early jazz history, Buddy Bolden. Buddy Bolden was the most powerful trumpet in history, morton said. I remember we'd be hanging around some corner, wouldn't know that there was going to be a dance out at Lincoln Park. Then we'd hear old Buddy's trumpet coming on, and we'd all start. Anytime it was a quiet night at Lincoln park, because maybe the affair hadn't been so well publicized, Buddy Bolden would publicize it. He'd turn his big trumpet around toward the city and blow his blues, calling his children home, as he used to say. Buddy Bolden wasn't the first to come take his children home. The phrase turns up in old spirituals stretching back into the mists. But he might have been the first to make it a musical act.
- [19:24]
Sam
Come here, Uncle John's band by the riverside Got some things to talk about here beside the rising tide Come here, Uncle John's band Playing to the tide Come on along he's come to take his children home.
- [19:52]
Narrator / Host
That was a very early version of Uncle John's Band, still carrying traces of its psychedelic birth, recorded at Thelma on LA's Sunset Strip on December 12, 1969, a week after the song's debut. You can hear that version on Dave's picks 10. Along with a mysterious melody, the song divides itself into its own weird time. There are a few bars played in 4, 4, followed by 1 in 3, 4, creating the effect of a skipped beat, which continues to make the song slightly trickier for campfire acoustic guitar players the world over. It also features an outro in 74, a juxtaposition that sometimes felt like an acceleration when the Dead played it, launching them into fierce outro jams. But it was, as Jerry Garcia said, also a simple song. And by February 1970, the dead had started playing at acoustic. All right, one simple song, taken care of. Back to album co producer Bob Matthews.
- [20:48]
Bob Matthews
So I put some head leader on it, a little tail leader on it, and we played it, and it was, okay, There's a feeling now. What follows after that? What feels right next? What we did was we went through and we came up with the next tune, and it fit together. And we spent that day sequencing all the tunes that we had into the beginning of side one. The second tune on side one, the third Tune on side one, all the way up through the last tune on side one. Okay. So that was then on one 10 inch reel and we went on to side two and we sequenced it starting with Cumberland Blues. Okay. And then we went on to New Speedway, I think it was. Oh, Black Peter. Oh, one of my favorites. Okay. Anyway, so we got the Casey Jones and it was a perfect finish. But we looked at each other and said, we've got an extra tune. And we all sort of, without really discussing it very much, said, well, we got an extra tune and left it at that. Which was to say it was not going on that album. So that's how we ended up with the tunes that were on it and how we ended up with the one tune that didn't make it on at the end of the second day, after we had created side one and side two as masters. That is to say, I had a ten and a half inch reel that was side one, then a ten and a half inch reel stereo that was side two, then copied those two reels to cassettes, and each cassette had side one and side two. At the end of the second day, we had made sufficient stereo cassette copies to hand to each band member with the instructions to go back to Point Reyes, where they were currently rehearsing. The instructions were, go rehearse these cassettes, starting with Uncle John's band and continuing all the way forward to the end of side two. So that after two weeks of recording that, in their minds, they already had the concept of how the album would evolve, where it would start with how it would finish, but basically how it would feel as you listened to it. When they came back into the studio, I think it was actually almost three weeks later to record the album. We started right away with Uncle John's Band. It took us maybe four or five days of sessions to put down really good basic tracks of all the songs. And we did it in the order that the album occurred.
- [23:35]
Narrator / Host
For those keeping score at home, that one extra song was Mason's Children, which we'll get into a few episodes down the line. Let's thread up the first take of Uncle John's Band, heard here through the massive stash of Working Man's Dead session tapes, now known as the Angel Share. We have nothing to lose but our lives.
- [24:09]
Sam
Sam.
- [24:55]
Narrator / Host
Thanks to the incredible detective work of engineer Brian Kehue and archivist Mike Johnson, we now have a new way to listen to Working Man's Dead. While the surviving tapes don't include much by way of lost jams, they provide an intimate view into how Working Man's Dead was constructed, with nearly each scrap of tape revealing something about a song's arrangement and recording what was tracked live and what was overdubbed later. Perhaps unsurprisingly, session reels for the album weren't always labeled with the utmost clarity. We'll go for a long dive with Brian and Mike in an upcoming episode where they explain the detective work they had to go through to identify and rescue the Angel's Cherry engineer Brian Kehue.
- [25:35]
Brian Kehue
If they did seven or eight or nine takes of something till they found they had a good version, they would take the good version, whether it be in the middle or at the end, and cut it out with a razor blade and move it to a different reel of tape. And then you'd end up with a reel of tape that has the finished version of each major song. So they didn't have to shuttle through a bunch of outtakes to try to find the right one and even maybe confuse themselves as to which was the right one. We chose this one. Cut it out. Now move it over there to what's called a master reel.
- [26:05]
Narrator / Host
Besides the version used on the final album, there's only one complete take of Uncle John's Band.
- [26:25]
Sam
Sam.
- [26:52]
Narrator / Host
What we hear on this version of Uncle John's Band, as on the final take, is Jerry Garcia leading off the song and setting the tempo with his guitar in the left channel, with the other musicians following immediately, in this case Bob Weir, Phil Lesh, and a single drummer playing a hi hat snare and kick. It's almost unquestionably Bill Kreutzman. What we don't hear on the basic tracks to Uncle John's Band is Jerry Garcia's lead guitar part, which came overdubbed later. There's no second percussionist on the basics either, though on one of the false starts, we do get Garcia's concept for the percussion arrangement to come clave's another.
- [27:30]
Sam
With maracas and another with a scratcher.
- [27:34]
Narrator / Host
Or something like that, you know, each doing a simple trip.
- [27:37]
Jerry Garcia
Here we go again.
- [27:41]
Narrator / Host
Also obvious is that the vocals weren't recorded live with this or most songs, which is a normal practice and hardly a surprise, but also a reminder that during all the instrumental takes, the musicians had to keep track of the song's different sections in their heads. Part of that, too, involved a cool rhythmic handoff from Kreuzmann back to Garcia for Garcia to count into the song's big outro.
- [28:36]
Sam
Sam.
- [29:26]
Narrator / Host
Now here's what that same stretch of Uncle John's Band sounds like on the final album, with extra percussion and angelic stacks of layered vocals.
- [29:46]
Sam
By the Riverside got some things to talk about here. Beside the rising tide.
- [29:59]
Narrator / Host
Uncle John's band became the Grateful Dead's first charting song on the Billboard top 100, rising with a bullet to number 69. Nice. But that wasn't simple, either. Lyricist Robert Hunter, in a rare fit of extroversion, announced to Warner Bros. That he wanted to do some publicity appearances for the album. It was the dawning age of bootlegs, and the label asked him politely not to leak any of the songs by playing them on the air. But as Hunter later recounted to David Ganz when he got to WBCN and Boston, longtime supporters of the Dead, he couldn't resist. As Hunter recalled, the first notes of Uncle John's Band began, and lightning struck the station. Acts of angry goddesses weren't the only thing getting in the way of Uncle John's Band. The powerful Metromedia group who owned radio stations in the nation's biggest cities, including New York's influential WNEW fm, banned the song because of the lyric God damn will I declare have you seen the like? It remains, as they say, an evergreen question. Without the band's permission, the label even released a version of the song with the offending word edited out.
- [31:23]
Sam
I declare have you seen the like?
- [31:27]
Narrator / Host
For the Dead and the Dead Heads, Uncle John's Band was an instant favorite, slipping easily into the acoustic performances the band played throughout 1970, and when they were done with those, it slipped right back out into the electric sets, even melting back into psychedelic jam suites with Plane and the Band. Even more significantly, though, as their first notable single and opening song from their first biggish album, Uncle John's Band was a doorway, inviting in new fans and becoming the Grateful Dead's entrance point into a world outside their own. It was a beautiful song, performed beautifully and recorded beautifully. Here's David Lemieux.
- [32:06]
David Lemieux
I remember working on a project with Jeffrey Norman, longtime producer with the Grateful Dead. He's the audio guy and, and he was telling me when the album came out and Rolling Stone did their very glowing review, they named this their album of the year for 1970. You know, Jeffrey knew who the Dead were and knew of them and knew their music. So when the review came out, he specifically remembered that the review said that Uncle John's band sounded like 64 vocal tracks, layered one on top of another. And I know the album. I knew the song. I knew the performance on the album Back of My Hand. But when he said that, I started specifically listening to that. And then I looked up, I found the review in the old 1970 Rolling Stone, and sure enough, that's exactly he remembered it perfectly.
- [32:52]
Narrator / Host
In the July 23, 1970 Rolling Stone, Andy Zwerling called Uncle John's band without question the best recorded track done by this band. Staunch Dead freaks will probably hate this song. It's done acoustically for a starter. No Garcia leads, no smasho drumming. In fact, it's got a mariachi calypso type feeling. Near the end of the song, there's an a cappella section by everyone. Sounds like 62 tracks, maybe 63. Just listen to it and try not to smile. That wasn't the Stones only praise for Working Man's Dead. In December, they printed a letter from their future national affairs editor, Hunter S. Thompson, who if the Grateful Dead came to town, I'd beat my way in with a fucking tire iron if necessary. I think working man's dead is the heaviest thing since Highway 61 and Mr. Tambourine Man. With the possible exception of the Stones last two albums, the song became a staple for pretty much the rest of the band's career, minus a few years in the late 70s. When it returned to the Dead's repertoire in 1979, the gentle acoustic strum was long gone, and the song 74 outro jam blossomed into an even bigger platform for Jerry Garcia, sometimes sounding not too different from how the song started a decade earlier.
- [34:10]
Sam
Sam.
- [34:39]
Rich Mahan
Gary Lambert While we talk about.
- [34:41]
Gary Lambert
The Dead having gotten away from the jam band thing to make these records, let us also interject that some of these songs would grow into great performance pieces, would open up into great jam songs, and Uncle John's certainly had that potential and did do that. Uncle John's was just this lovely revelation of a song. I first heard it, I think, in January of 70 at Fillmore east, and it just took your breath away. It was just such a beautifully crafted, coherent, melodic thing that nothing in their previous history could have prepared you for. So yeah, that was a great way of announcing the intent of this record.
- [35:17]
Narrator / Host
A final postscript when the original draft of the lyrics for Uncle John's band went up for auction in 2002, Eagle Eye Deadheads discovered that Robert Hunter wrote several additional verses that didn't make it into the final song. Why wait in the dark for dawn when the sun's still going down maybe I'll dust off your chair if you say you're coming around Keep your place in line all things come in time Whoa, oh All I need to know why do these coals glow Would you carry me uphill back the way I carried you? Take me further if you can, you'd know I do the same for you. Think this through with me, Let me know your mind Whoa, all I want to know is will you be kind well now I can hear the flutter of their wings Standin still or run like hell can you hear the sirens sing after that it reads Come here UJB playing to the tide with Robert Hunter already using the same abbreviation for the song UJB that so many Deadheads would use on their set list and tape labels to come. We'll leave you with the Stanford Marching Band from the super cool Dead tribute album Stolen Roses, produced by your pal and ours, David Ganz.
- [37:07]
Rich Mahan
Thanks so much for tuning in to this episode of the good old Grateful Dead cast. Make sure to subscribe so you know when the next episode drops. We'll be doing these weekly while we work through the eight songs on Working man, so plenty more to come. The 50th anniversary edition of Working Man's Dead is available as a 3 CD set. It contains the original album with newly remastered sound and a previously unreleased live show from February 21, 1971 at the Capitol Theater in Port Chester, New York mixed from the 16 track Master Analog Tapes by Jeffrey Norman at Bob Weir's Tri Studios. It's also available as A Working Man's Dead 50th Anniversary Vinyl Picture Disc, limited to 10,000 copies, which also uses that newly remastered audio. You can get your hands on the working man's dead 50th anniversary releases over@dead.net executive producers for the good old Grateful Dead cast, Mark Pincus and Doron Tyson produced for Rhino Entertainment by Rich Mahan Productions and Jesse Jarno. Special thanks to David Lemieux. All rights reserved.