Grateful Dead album by album thread

Live with Vince & Bruce ‘90-summer ‘91

from deaddisc.com;

Jam Out Of Terrapin - Richfield, OH, 9/8/90 - So Many Roads box set

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Dick's Picks, Volume Nine
Grateful Dead

Initial release : October 1997
Grateful Dead Records GDCD-4029

Three CD set from the September 16, 1990 show at Madison Square Garden.

Tracks
Disc 1
• Hell in a Bucket (Weir/Mydland/Barlow)
• Cold Rain and Snow (Grateful Dead)
• Little Red Rooster (Willie Dixon)
• Stagger Lee (Garcia/Hunter)
• Queen Jane Approximately (Bob Dylan)
• Tennessee Jed (Garcia/Hunter)
• Cassidy (Weir/Barlow)
• Deal (Garcia/Hunter)

Disc 2
• Samson And Delilah (Traditional arr. Weir)
• Iko Iko (J. Jones/S. Jones/M. Jones/J. Thomas/J. Johnson/B. Hawkins/R. Hawkins/J. Crawford)
• Looks Like Rain (Weir/Barlow)
• He's Gone (Garcia/Hunter)
• No MSG Jam (Grateful Dead)
• Drums (Kreutzmann/Hart)

Disc 3
• Space (Grateful Dead)
• Standing On The Moon (Garcia/Hunter)
• Lunatic Preserve (Grateful Dead)
• I Need A Miracle (Weir/Barlow)
• Morning Dew (Dobson/Rose)
• It's All Over Now Baby Blue (Bob Dylan)

Musicians
• Jerry Garcia - lead guitar, vocals
• Mickey Hart - drums
• Bruce Hornsby - keyboards, accordion, vocals
• Bill Kreutzmann - drums
• Phil Lesh - electric bass, vocals
• Bob Weir - rhythm guitar, vocals
• Vince Welnick - keyboards, vocals

Credits
• Recorded by - Dan Healy
• Tape Archivist - Dick Latvala
• CD Mastering - Jeffrey Norman
• Ferromagnetist - John Cutler
• Package design - Gecko Graphics
• Photography - Susana Millman
• Thanks to - Local One I.A.T.S.E., Madison Square Garden, John Scher
• Recorded Live: September 16, 1990 at Madison Square Garden, New York, NY

Notes
The rear cover of Dick's Picks 9 carries the following message.
Caveat Emptor :
Initial studies have concluded that repeated exposure to Grateful Dead music may be habit forming, and can result in a permanent change to the psyche of the listener. While no one has ever successfully reversed this condition, it can sometimes be controlled by repeated exposure to Grateful Dead music.
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See also; Jam Out Of Foolish Heart - MSG, NY, 9/18/90 So Many Roads box set
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Road Trips: Vol 2, Number 1: Madison Square Garden: September 1990
Grateful Dead

Initial release : 2008
Grateful Dead / Rhino

A two CD release of live music from the run of Grateful Dead shows at Madison Square Gardens in September 1990. A third bonus CD, with more music from the same run of shows, was included with early copies of this release. This is the fifth release in the Road Trips series.

Tracks
CD 1: 9/20/90 and 9/19/90;
• Truckin' >
• China Cat Sunflower >
• I Know You Rider
• Playing In The Band >
• Ship of Fools >
• Playing In The Band >
• Uncle John's Band >
• Let It Grow >
• Jam >

CD 2: 9/20/90 (plus one track 9/18/90);
• …Jam >
• Dark Star >
• Playing In The Band >
• Dark Star >
• Throwing Stones >
• Touch Of Grey
• Turn On Your Lovelight
• Knockin' On Heaven's Door (encore 9/18/90)

Bonus CD: 9/18/90 (included with early copies);
• Mississippi Half Step
• Picasso Moon
• To Lay Me Down
• Eyes of The World >
• Estimated Prophet >
• Foolish Heart >
• Jam

Musicians
• Jerry Garcia - lead guitar, vocals
• Mickey Hart - drums, percussion
• Bruce Hornsby – keyboards, vocals
• Bill Kreutzmann - drums, percussion
• Phil Lesh - bass, vocals
• Bob Weir - rhythm guitar, vocals
• Vince Welnick - keyboards, vocals

Credits
• Producer - Grateful Dead
• Compilation producer - David Lemieux, Blair Jackson
• Recordings - Dan Healy
• Editing, mastering - Jeffrey Norman
• Cover art - Scott McDougall
• Photos - Susana Millman
• Package design - Steve Vance
• Booklet essay - Dan Levy

Notes
The tracks on this release are from the following shows;
• Truckin' - MSG, September 20, 1990
• China Cat Sunflower - MSG, September 20, 1990
• I Know You Rider - MSG, September 20, 1990
• Playing In The Band - MSG, September 19, 1990
• Ship of Fools - MSG, September 19, 1990
• Playing In The Band - MSG, September 19, 1990
• Uncle John's Band - MSG, September 19, 1990
• Let It Grow - MSG, September 19, 1990
• Jam - MSG, September 19, 1990
• …Jam - MSG, September 20, 1990
• Dark Star - MSG, September 20, 1990
• Playing In The Band - MSG, September 20, 1990
• Dark Star - MSG, September 20, 1990
• Throwing Stones - MSG, September 20, 1990
• Touch Of Grey - MSG, September 20, 1990
• Turn On Your Lovelight - MSG, September 20, 1990
• Knockin' On Heaven's Door - MSG, September 18, 1990

The tracks on the bonus CD are from the following shows;
• Mississippi Half Step - MSG, September 18, 1990
• Picasso Moon - MSG, September 18, 1990
• To Lay Me Down - MSG, September 18, 1990
• Eyes of The World - MSG, September 18, 1990
• Estimated Prophet - MSG, September 18, 1990
• Foolish Heart - MSG, September 18, 1990
• Jam - MSG, September 18, 1990

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See also; Trio Jam with Garcia, Weir, Bruce Hornsby - live recording September 19, 1990, MSG, New York City from bonus disc Lesh Searching For The Sound.
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See also; rehearsal Terrapin>Playing in the Band>Terrapin Best Of The Grateful Dead Hour; A collection of previously unreleased live material from the Grateful Dead archive. Distributed exclusively to public and community radio stations, that broadcast the Grateful Dead Hour, to be used as a fund raiser.
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See also; bonus track DP17: March 31, 1991 Greensboro
• Samson And Delilah (Traditional)
• Eyes Of The World (Garcia/Hunter)
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View From The Vault II
Grateful Dead

Initial release : June 2001
Grateful Dead Records GDCD 4080

A 3 CD set of the June 14, 1991 show at RFK Stadium, Washington DC. Three songs from the July 12, 1990 show at RFK Stadium are added as filler on the 3rd CD. This set was also released on video and DVD.

Tracks
Disc 1
• Cold Rain and Snow (Traditional arr. Grateful Dead)
• Wang Dang Doodle (Dixon)
• Jack-A-Roe (Traditional arr. Grateful Dead)
• Big River (Cash)
• Maggie's Farm (Dylan)
• Row Jimmy (Garcia/Hunter)
• Black Throated Wind (Weir/Barlow)
• Tennessee Jed (Garcia/Hunter)
• The Music Never Stopped (Weir/Barlow)

Disc 2
• Help On The Way (Garcia/Hunter)
• Slipknot! (Garcia/K.Godchaux/Kreutzmann/Lesh/Weir)
• Franklin's Tower (Garcia/Kreutzmann/Hunter)
• Estimated Prophet (Weir/Barlow)
• Dark Star (Garcia/Kreutzmann/Lesh/McKernan/Weir/Hunter)
• Drums (Hart/Kreutzmann)
• Space (Garcia/Lesh/Weir)

Disc 3
• Stella Blue (Garcia/Hunter)
• Turn On Your Lovelight (Malone/Scott)
• It's All Over Now Baby Blue (Dylan)

RFK Stadium Washington, DC ~ 7/12/90
• Victim Or The Crime (Weir/Graham)
• Foolish Heart (Garcia/Hunter)
• Dark Star (Garcia/Kreutzmann/Lesh/McKernan/Weir/Hunter)

Musicians
• Jerry Garcia - lead guitar, vocals
• Mickey Hart - drums
• Bruce Hornsby - keyboards, vocals
• Bill Kreutzmann -drums
• Phil Lesh - electric bass, vocals
• Bob Weir - rhythm guitar, vocals
• Vince Welnick - keyboards, vocals

Credits
• Recording - Dan Healy
• Tape Archivists - Dick Latvala, David Lemieux
• CD Mastering - Jeffrey Norman
• Archival research - Eileen Law/Grateful Dead Archives
• Design - Robert Minkin
• Photography - Susana Millman
• Recorded live at RFK Stadium, Washington DC on June 14, 1991
• Except last three tracks which were recorded live at RFK Stadium, Washington DC on July 12, 1990

Related releases
View From The Vault II was also released on video and DVD;
• View From The Vault II (video/DVD), Grateful Dead, 2001
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Grateful Dead Download Series Volume 11 - 6/20/91
Grateful Dead

Initial release : 2006
Grateful Dead Records

The eleventh in a series of shows made available by downloading from the official Grateful Dead site. All of the June 20, 1991 show from the Pine Knob Music Theatre, Clarkston, MIattle, WA. Five additional tracks from the June 19, 1991 show at the same venue. The downloads are available in both 128 & 256 MP3 and high quality lossless FLAC formats.

Tracks
Disc 1;
• Touch Of Grey > (Garcia / Hunter)
• Greatest Story Ever Told (Weir / Hart / Hunter)
• Peggy-O (Traditional arr. Grateful Dead)
• Mexicali Blues > (Weir / Barlow)
• Maggie's Farm (Dylan)
• Bird Song (Garcia / Hunter)

Bonus Tracks from 6/19/91
• Scarlet Begonias > (Garcia / Hunter)
• Fire On The Mountain (Hart / Hunter)

Disc 2;
• Throwing Stones > (Weir / Barlow)
• Iko Iko (Crawford / B. Hawkins / R. Hawkins / Johnson)
• All Along The Watrchtower > (Dylan)
• Standing On The Moon > (Garcia / Hunter)
• He's Gone > (Garcia / Hunter)
• Rhythm Devils > (Hart / Kreutzmann)
• Space (Garcia / Lesh / Weir)

Disc 3;
• The Wheel > (Garcia / Hunter)
• I Need A Miracle > (Weir / Barlow)
• Wharf Rat > (Garcia / Hunter)
• Throwing Stones (reprise) > (Weir / Barlow)
• Not Fade Away (Petty / Hardin)
• Brokedown Palace (Garcia / Hunter)

Bonus Tracks from 6/19/91
• Stella Blue > (Garcia / Hunter)
• The Other One > (Weir / Kreutzmann)
• Johnny B. Goode (Berry)

Musicians
• Jerry Garcia - lead guitar, vocals
• Mickey Hart - drums
• Bruce Hornsby - piano, vocals
• Bill Kreutzmann - drums
• Phil Lesh - electric bass
• Bob Weir - rhythm guitar, vocals
• Vince Welnick - keyboards, vocals

Credits
• Mastering - Jeffrey Norman

 

Road Trips Vol. 2/No. 1 is fantastic, my favourite of the Welnick/Hornsby era releases by far. My favourite Let It Grow ever, very creepy Dark Star (think of the Dead playing Genesis' "The Waiting Room"), Truckin and Throwing Stones being as great as usual. Not a dull moment, if it wasn't for some of the bad edits which ruin the flow of the original shows this would be in my top 5 of Dead live releases.

 

Agreed - a great release for the most part. I only wish they would have included the Help>Slip>Franklin's Tower from 9/19 on the bonus disc.

 

Going back to JGB for a second. I noticed that you missed the two disk Shining Star set. This is one of my favorites with highlights being great later day Let It Rock, Positively Fourth Street, Breadbox, and Shining Star. The cover for the set is ridiculous though, I have no idea how the drawing of Jerry was chosen. I actually played the Shining Star from this at my wedding for the first dance. I threatened my fiance with the Hampton version, but decided I didn't want to dance that long.

I have always felt that the later day JGB had so much soul, and that Jerry picked out the songs to speak directly to the audience. Songs like Brothers & Sisters and Breadbox give a sense of hope, That What Love Will Make you Do, Second That Emotion, He Ain't Give you None give a sense of love, and I Shall Be Released and Simple Twist of Fate give a sense of longing. This version of JGB is till my go to and I rarely hear anything else that gives me the same sense of soul that this band did.

 

Yes, that's one of the best HSF's I've ever heard. Bruce Hornsby is at his best on Franklin's Tower. It should indeed have been on the bonus disc.

 

I'll have to give this a listen again as it didn't really grab me the first few times I played it. I agree about the cover art though, what a terrible drawing and likeness of Jerry. Design sucks too!

 

Thanks, good catch! I’m getting a bit flaky with the sheer volume. (I also had to fake the Shoreline entry as it didn’t appear on the deaddisc list for some reason.)
When we get to the end of GD as an entity, I’ll add a list of side projects or guest shots on other people’s albums (everything from the David Bromberg albums which was kindly PM’d to me, to Chastity “just call me Chas” Bono). As far as post-GD, I’m pondering at least ‘something’/prologue, but I’m overwhelmed just thinking about the complex interactions… We’ll see how/where it goes. (Don't want to beat a Dead horse.)
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From deaddisc;

Shining Star
Jerry Garcia Band

Initial release : March 2001
Grateful Dead Records 4079

A double CD collection of songs recorded live between 1989 and 1993

Tracks
Disc 1
• Shining Star (Graham/Richmond)
• He Ain't Give You None (Morrison)
• Second That Emotion (Robinson/Cleveland)
• Money Honey (Stone)
• Struggling Man (Cliff)
• Russian Lullaby (Berlin)
• Everybody Needs Somebody To Love (Berns/Burke/Wexler)

Disc 2
• Let's Spend The Night Together (Jagger/Richards)
• Mississippi Moon (Rown)
• Let It Rock (Berry)
• When The Hunter Gets Captured By The Game (Robinson)
• Ain't No Bread In The Breadbox (Buffalo)
• Positively 4th Street (Dylan)
• The Maker (Lanois)
• Midnight Moonlight (Rowan)

Musicians
• Jerry Garcia - guitar, vocals
• John Kahn - bass
• Melvin Seals - organ, keyboards
• David Kemper - drums
• Jackie LaBranch - background vocals
• Gloria Jones - background vocals

Credits
• Soundboard - John Cutler
• Executive producer - Deborah Koons Garcia
• Compilation producer - David Lemieux
• CD Mastering - Jeffrey Norman
• Painting, typography - Neil Osborn
• Photography - Susana Millman, Robert Minkin
• The music on this set was mastered from the stereo soundboard tapes

 

At one point I tried to collect all the guest shots on cd. I had to give up, I found the most of the cds to be really bad and the guests shots to be minimal. Thanks for putting up the album cover above. I forgot about the panther and the faces in the roses. I just remembered how bad the picture of Jerry was.

 

This has been a great thread. Thank you.

I purchased the "So Far" VHS when it came out and duped it to a cassette, which I listened to countless times. I especially like the sound and the footage of the band playing as a unit in a studio setting. Instead of facing an audience, they are arranged in a circle facing each other. On "Throwing Stones" Jerry smiles and even throws in a few hoots and hollers.

Unfortunately, to my knowledge this video has never been released on DVD. I think it is an underappreciated gem.

 

Mickey Hart; Music to Be Born By, At The Edge, Planet Drum

Rock Scully’s book mentioned that the Grateful Dead were one of the very few bands who’s drummers held press conferences. He wasn’t referring to Bill Kreutzmann, who to his eternal credit was the ‘backbone’ of the exceptional band but relished his privacy. Skully was meaning to ride/deride Mickey Hart, but the truth of the matter was Hart had thrown himself heart and soul over the years into the vast and deep historical and spiritual elements of all things drums and rhythm. His concert collaborations with masters like Babatunde Olatunje, Zakir Hussein, Kitaro, Hamza El Din, Airto Moreira and others, were many. There’d be high profile gigs like Oakland’s Nelson Mandela rally (with Bob and Jerry adding color behind the wall of drummers), or much publicized gigs like the American Booksellers Association in Las Vegas where the show literally spilled out the door and into the traffic outside (literally dancin’ in the streets with Mickey Hart!). Then he’d be in the news in suit and tie addressing Congress for funding for rest-home drum circles (pictured), and later as ethnomusicologist co-ordinating an alliance between Library Of Congress, Rykodisc (better known to some for the Hendrix and Zappa discs) and his own 360 Productions to preserve their vast stores of ”endangered” indigenous recordings and documentation, then perhaps stepping out into the Washington evening with elder statesman news reporter and pal Walter Cronkite (who’d been around the world a few times himself and had a real taste for authentic world music). Then he’d be hosting and recording the Gyuto Monks, then be recording the visiting Latvian Dzintar’s Women’s Choir….there are too many to mention, and I wouldn’t be doing any of them justice. Mickey didn’t invent “World Music” by a long shot, but he did become arguably the Western World’s highest profile proponent.


“Music To Be Born By” is a prime example of Mickey’s cradle-to-the-grave understanding of drums and rhythm (“cradle” being this album, “grave” being the rest-home drum-circles I mentioned…he’s undoubtedly also got something up his sleeve to aid conception and a send-off for the afterlife, too). This was originally a private affair; Hart recorded son Taro’s heartbeat in the womb in 1983 (not to be confused with John & Yoko’s “Baby’s Heartbeat”!), overdubbed a bass and percussion rhythm, and a bit of pleasant flute in slightly varying patterns. The purpose was not to rock out, but to create a subtle unobtrusive calming rhythm to aid mum’s breathing and concentration, and block out the hospital noises. The Hart’s found it worked a treat, with an added bonus that Taro continued to be calmed by the tape as an infant. Hart’s expectant friends requested dubs with similar results, which led to a commercial release. This isn’t the kind of album (more a 70min recording) a critic can review, as it’s literally “musical medicine” and repetitive. My wife would’ve killed me if I’d announced I was bringing “Grateful Dead” into the delivery room, but quite a few women would understand the music’s purpose, and reportedly even more babies dig it. (Interestingly, I recall somewhere that Garcia added some licks to someone else’s disc of “healing” music, sometime in the late-80’s/early 90’s, so the concepts are not Hart’s alone.)


The book “Drumming At The Edge Of Magic” (co-written with Jay Stevens, author of “Storming Heaven: LSD and the American Dream”) and the concurrently released cd “At The Edge” was a co-ordinated and complementary project reflecting Hart’s quest to explain the “primal drum”. He’d already been well aware of the concept of trance-states and drums, and encouraged by mythologist Joseph Campbell (who’d witnessed “a real Dionysian Festival” at a GD show, declaring it the”antidote for the atom bomb”), Hart delved deep to the human past, and beyond.

Hart’s book starts with The Big Bang of course, the reverberations that are still detected in the cosmos today. There were the rhythms of the stars, years and the seasons, the days, the tides, menstruation, heartbeats, cicadas. Drums came to accompany rituals, rites of passage and celebrations. Humans have body movement rhythms that could be mimicked or re-inforceded by banging stuff together, sometimes with the conscious slipping into background mode. This became a big part of the thrust of the book; the definition and role of the shaman throughout a huge percentage of human existence. Around the globe and through the eons the shaman appears to have exhibited healing powers and clairvoyance that could help his tribe. Hart investigated the purported abilities of the shaman to go to the “other side” or spirit realm and bring back the goodies. A shaman could achieve the trance state with the hypnotic rhythm, at which point his soul could “pass into” the other realm of “timelessness”. The shaman would then need an assistant to continue drumming, creating ripples in the timelessness, and calling out so that the soul of the shaman could find his way back to his body. Hart eventually reaches Western Culture, stopping the use of drums for trance states (on religious grounds), except for military purposes. Hart concludes that there is indeed a deep human need to drum.

The “At The Edge” cd wasn’t a straight soundtrack, but it did symbolically follow the same trajectory. The earliest piece representing pre-humanity uses many jungle or forest sounds (wind, rain, thunder, insects). Mickey was in cahoots with George Lucas, and they traded each other many sound effects for their libraries. Subsequent pieces introduce whistles and sticks, then gourd rattles and drums, gongs and bells, as human activity speeds up, culminating in the ‘swirl of human voices’ of the last track. Most folks were surprised how mellow much of the cd was as opposed to, say, the Apocalypse Now Sessions. Most were also in awe of the soundscape created (grab yer headphones!) and clarity of the instruments. The instruments were close-mic’ed for clarity and the soundscapes artificially created from sophisticated reverbs and aural effects. These had become part of Hart’s formidable arsenal, achieved from his thousands of hours in the studio. It’s also worth noting that early working versions included some dubs by Clarence Clemmons, Jerry Garcia, Pete Sears and David Frieberg, but they were all removed as these artists were creating melodic “songs”, ultimately not what Hart was after.


“Planet Drum” was also complimentary book and cd combination, which in turn complimented “At The Edge”. Hart referred to this as “the lumber” he’d collected in the earlier book, and in PD he achieved his long-term goal of an album of world class percussionists (which just happened to be friends he’d made over the years) doing a whole album of percussion music. This recording was a bit more “explosive” performance-wise and sonically, and remarkably topped Billboard’s charts for “World Music” category, AND brought in a 1991 Grammy for Best World Music Album (first year the category existed). Not bad for a solo Grateful Dead member album, eh?

Here’s one of Mickey Hart "Planet Drum" performances from the era on tape.
http://www.youtube.com/watch?v=SUZRC2LEUKE


Anyone wanna have a bash?
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from deaddisc.com;

Music to Be Born By
Mickey Hart

Initial release : 1989
Rykodisk

Music to be used during 'the birthing process'.

Tracks
• Music to Be Born By (Hart/Hart/Hart/Vega)
Musicians
• Mickey Hart - percussion
• Taro S. Hart - heartbeat
• Mary Holloway Hart
• Bobby Vega - bass, bass guitar
• Steve Douglas - flute

Credits
• Producer - Mickey Hart
• Engineer - Mickey Hart, Tom Flye, John Cutler
• Remixing - Tom Flye
• Liner Notes - Mickey Hart
• Remixing Assistant - Jeff Sterling
• Artwork - Steven Jurgensmeyer

Notes
From Rykodisc information;
"This music was composed specifically for the birth of Mickey's son Taro, and is intended to be used during the birthing process. Taro's fetal heartbeat was recorded on a Nagra portable field recorder, with a fetal pulse monitor attached to his mother's stomach. Back in the studio, the stereo tape was then transferred to a 16 - track recorder and overdubbed.

Mickey Hart described the purpose of this album as follows;
"The intent of this music is to facilitate and coordinate rhythmic breathing cycles, assisting the mother's concentration and focus before, during and after delivery.
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At The Edge
Mickey Hart

Initial release : September 1990
Rykodisc RCD 10124

Garcia plays on three tracks of this Mickey Hart album.

Tracks
• #4 For Gaia (Mickey Hart)
• Sky Water (Mickey Hart / Zakir Hussain)
• Slow Sailing (Mickey Hart / Zakir Hussain)
• Lonesome Hero (Mickey Hart)
• Fast Sailing (Mickey Hart / Zakir Hussain)
• Cougar Run (Mickey Hart)
• The Eliminators (Mickey Hart / Creek Hart / Taro S. Hart / Jerry Garcia
• Brainstorm (Mickey Hart / Babatunde Olatunji)
• Pigs in Space (Airto Moreira)

Musicians
The musicians featured on the CD are;
• Mickey Hart - whistles, rainstick, processed bell, rattles, forest zone (processed crickets), matrix-12, roland d-50, remo toms, raindrops, slit gongs (hollow log), engelhart cornet bells (metal percussion), kalimba (thumb piano), cowbells, dundun (talking drum), panpipes, trap set, agogo (double bell), balafon (pentatonic marimba), shekere (beaded gourd rattle), devil chasers (bamboo concussion sticks), bass drum, wood blocks, tar, spatial processing
• Sikiru Adepoju - dundun
• Jerry Garcia - guitar, forest zone, guitar synthesizer
• Creek Hart - linn 9000 drum samples
• Taro S Hart - kawasaki electronic drums
• Zakir Hussain - tar (frame drum), tabla, processed tabla, duggi tarang, shakers, dholak (double-headed cylinder drum)
• Jose Lorenzo - berimbau (musical bow)
• Airto Moreira - extended voice and beast
• Babatunde Olatunji - djembe (wooden hour glass drum), cowbell, shekere (beaded gourd rattle), engelhart hex bells

The CD notes provide track by track musician information.
#4 For Gaia;
• Mickey Hart - whistles, rainstick, rattles, forest zone (processed crickets), matrix-12, roland d-50
• Jerry Garcia - forest zone
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Planet Drum
Mickey Hart

Initial release : December 1991
Rykodisc 10206

An all percussion recording with Mickey Hart playing on all but three tracks.

Tracks
• Udu Chant (Adepoju/Hart/Hussain/Moreira)
• Island Groove (Adepoju/Hart/Hussain/Moreira/Olatunji)
• Light Over Shadow (Moreira/Olatunji/Purim)
• Dance Of The Hunter's Fire (Adepoju/Moreira/Olatunji/Purim/Vinayakram)
• Jewe "You Are the One" (Olatunji)
• The Hunt (Adepoju/Hart/Hussain/Moreira/Olatunji/Vinayakram)
• Temple Caves (Adepoju/Hart/Hussain/Moreira/Olatunji)
• The Dancing Sorcerer (Hussain/Moreira)
• Bones (Hart/Hussain/Olatunji/Purim)
• Lost River (Adepoju/Hart/Hussain/Moreira/Olatunji/Purim)
• Evening Samba (Adepoju/Hart/Hussain/Olatunji/Vinayakram)
• Iyanu "Surprises" (Olatunji)
• Mysterious Island (Hart/Moreira/Purim/Sterling)

Musicians
The musicians on the individual tracks of this album are as follows.

Udu Chant;
• Sikiru Adepoju - cowbell
• Mickey Hart - bass drum, snare drum, hoop drum, tambourine, triangle, beam, vocals
• Zakir Hussain - udu drum, balafon, tabla
• Airto Moreira - tamanco, bird calls, whistles, conch shell, claps, chimes, vocals

Island Groove;
• Sikiru Adepoju - duggi tarang, dundun
• Mickey Hart - bombo indio with split bamboo, drum set
• Zakir Hussain - madal, dholak
• Airto Moreira - caxixi, rattles, yelling, chinese cymbal throwing
• Babatunde Olatunji - djembe, congas, shekere, vocals

Light Over Shadow;
• Airto Moreira - snare drum, metal spring, toms, mexican donkey jaws, cowbell, cuica, flute, vocals
• Babatunde Olatunji - djembe, ashiko, ngoma
• Flora Purim - vocals

Dance Of The Hunter's Fire;
• Sikiru Adepoju - bell
• Frank Colon - shekere
• Giovanni Hidalgo - congas, shekere
• Airto Moreira - djembe, shaker
• Caryl Ohrbach - shaker
• Babatunde Olatunji - djembe
• Flora Purim - shaker
• T.H. "Vikku" Vinayakram - ghatam

Jewe "You Are the One"
• Mickey Hart - body percussion, vocals
• Bruce Langhorne - body percussion, vocals
• Babatunde Olatunji - body percussion, vocals
• Flora Purim - vocals
• Gordy Ryan - body percussion, vocals

The Hunt;
• Sikiru Adepoju - dundun
• Mickey Hart - drum set
• Zakir Hussain - naal, bells, tabla
• Airto Moreira - shakers
• Babatunde Olatunji - djembe, ashiko, ngoma
• T.H. "Vikku" Vinayakram - ghatam, jew's harp

Temple Caves;
• Sikiru Adepoju - gudugudu
• Mickey Hart - split bamboo, rain sticks, shakers, earth drum, clackers, duggi tarang, body percussion
• Zakir Hussain - tabla, taya
• Airto Moreira - slit gongs, conch shell, shakers, voice/breath
• Babatunde Olatunji - djembe, congas

The Dancing Sorcerer;
• Zakir Hussain - madal, tabla
• Airto Moreira - berimbau

Bones;
• Mickey Hart - bones, balafon
• Giovanni Hidalgo - bata
• Zakir Hussain - dundun, shaker, bell
• Babatunde Olatunji - vocals
• Flora Purim - vocals

Lost River;
• Sikiru Adepoju - djembe, dundun
• Mickey Hart - drum set
• Zakir Hussain - duggi tarang, conch shell
• Airto Moreira - cymbals, shakers, wood blocks, floor tom, metal percussion
• Babatunde Olatunji - vocals
• Flora Purim - vocals

Evening Samba;
• Sikiru Adepoju - bell
• Mickey Hart - bell
• Zakir Hussain - bell
• Airto Moreira - bass drum, snare drum, tom toms, tambourine, whistles, wood blocks, metal percussion, cymbals, bells
• Babatunde Olatunji - shaker, bells
• T.H. "Vikku" Vinayakram - ghatam

Iyanu "Surprises"
• Molonga Casquelord - vocals
• Mickey Hart - gourds, vocals
• Airto Moreira - vocals, bamboo with brushes
• Babatunde Olatunji - clapping, vocals
• Flora Purim - vocals

Mysterious Island;
• Mickey Hart - grand dumbec, body percussion
• Airto Moreira - bird whistles, nose flute, body percussion, tambourine
• Flora Purim - wind chimes, seagulls, vocals
• Jeff Sterling - udu drums

Credits
• Producer - Mickey Hart
• Co-producer - Sikiru Adepoju, Zakir Hussain, Airto Moreira, Babatunde Olatunji, Flora Purim, T.H. Vanayakram
• Recording, mix down engineers - Tom Flye, Jeff Sterling
• Production manager - Howard Cohen
• Equipment managers - Ram Rod, Rudson Shurtliff
• Technical support - Jack Crymes
• Editorial assistance -Caryl Ohrbach
• Catering - Rose Solomon
• Cover illustration - Nancy Nimoy
• Art direction - Howard Jacobsen
• Photography - Kenneth J. Becker, John Werner
• Design - Steven Jurgensmeyer
• Mastering - Paul Stubblebine
• Series consultant - Fredric Leiberman
• Liner notes - Mickey Hart
• Special thanks to Victor Arenburg, Jeff Bris/AIC, db Dave Dennison, Peter Engelhart, Creek Hart, Taro Hart, Anthony Hindson, Stephen Jarvis, Lauretta Lemon, Cheryl McEnaney, D. A. Sonneborn, Don Rose/Rykodisc, Travelques, Lori Zook
• Recorded and mixed at Studio X, Sonoma County, California
• The waves on Mysterious Island were recorded by Mickey Hart and Caryl Ohrbach at Palau I, Kona Village, Hawaii on January 4, 1991.

Notes
This release was the companion to Mickey Hart's book Planet Drum (Harpers, 1991).
Planet Drum won the first ever 'Best World Music Album' Grammy in 1991.

 

Garcia/Grisman

As you may recall from earlier installments, mandolinist David Grisman knew Garcia from the latter’s bluegrass sojourns in 1964. An early bluegrass gossip/news sheet noted that Grisman made a trip to see jug band-inspired Warlocks, and Grisman caught up with them again a few years later to play on American Beauty’s “Ripple” and “Friend Of The Devil”. Grisman became a household name (at least in DeadHeads’ minds) when he joined Peter Rowen, Garcia, Kahn and Vasser Clements in the relatively well selling “Old & In The Way” recorded Oct 1973 for GD’s own Round Records. Despite that album’s high profile, Grisman’s work had netted him only $1000 at the time due to Round’s often flaky business practices. Grisman moved on to various configurations of bands and music that came to be known as “Dawg music” (after the nickname that Jerry’d given him), a hybrid of bluegrass/country roots and jazz flavors, and even gained a 1990 Grammy nomination for an album with that title. Weir somehow ‘poached’ free agent bassist Rob Wasserman from one of Grisman’s bands, but surprisingly David had seen little or none of the increasingly famous and reclusive Jerry for years.

The Grateful Dead were massive money spinners by the early ‘90’s, grossing tens of millions of dollars a year, and after overheads GD managed to funnel commendable $’s (one report was over $600,000 per annum) to their charity arm the Rex Foundation. One didn’t apply for charity from Rex. Members of the board (including band members) would have pet recommendations or something they’d seen in the news, and anonymous cheques of $10,000 would be mailed out to the lucky or deserving recipients. There’d be playground or medical equipment, or funding for grassroots social programs. Phil’d often send $ to modern composers who might not otherwise see their orchestral work realized. A cheque went to David Grisman to help his fledgling Acoustic Discs label take wing.

Jerry finally caught up with Grisman at David’s home studio and initially suggested releasing more Old & In The Way recordings. Grisman had a better idea; make new music. This became Jerry’s new musical refuge. The Dead were playing arenas and stadiums. Hell, the JGB “side-band” were now playing those same large arenas. What could be more intimate than two old pals, possibly a guest or so, a spare afternoon, a spliff and a tape deck?

At least a couple biographers have noted that there was a bit of GD band “paranoia” about this new musical entity. A lot of this could’ve been due to fear of the unknown. Was Jerry gonna leave GD at some point? Was Jerry gonna deal with his habit in an environment where he didn’t have to deal with it? Anything that Jerry touched was making big bucks these days and Garcia/Grisman were amassing hours and hours of tape, literally for just the cost of the tape (in other words, they were ‘printing money’). Were the tapes going to compete hugely with GD product at some point? If you’ve heard any of these, you’ll know it’s informal and definitely “for the music”. Amusingly, some of it filters back towards the band at times. On the “So Many Roads” box there’s a GD rehearsal where Jerry cracks out the ancient folk tune “Whiskey In The Jar” (where the protagonist draws his pistol, rattles his saber, and says “Stand and deliver!”) with verses intact. Phil reacts with either disbelief or suspicion when Jerry says he “just remembered it”, and indeed it appears he’d been over at Grisman’s working on it. At another early 90’s GD gig (Cap Centre 91 or 93 perhaps??), coming out of “Space” is a lengthy interlude listed on many tapes as “Celtic Tune”, which is an instrumental “Handsome Cabin Boy”, …perhaps Jerry’s attention had wandered back to Grisman’s house mid-2nd set? (Co-incidentally, Frank Zappa also cracked out the tune one night; Gawd only knows where THAT came from.)

The first times the public was really aware of the new Garcia/Grisman collaboration was at Bay area gig’s in late ’90 and early ‘91 accompanied for at least parts of the sets by Joe craven on violin and percussion (!), and Jim Kerwin on upright bass. Jerry’d play acoustic guitar and do all the singing on tunes like “Man Of Constant Sorrow”, “Friend Of The Devil” and “Rocking Chair”. There were new instrumentals like “Arabia” (almost 20mins live) and the G/G collaboration “Grateful Dawg”. Many of the songs made their way to their self-titled first lp (also nominated for a Grammy), and filmed live and studio performances became the basis of the “Grateful Dawg” movie. In a year’s time, Bill Kreutzman’s son Justin, a budding cinematographer, would direct a “30’s era nightclub” music video of the group doing “The Thrill Is Gone”.

A “children’s songs” album came next (“Not For Kids Only” will follow in a subsequent “kiddies” chapter!).

Subsequent albums (with several guest players) were released posthumously, including “So What” a collection of Miles Davis tune jams, and “The Pizza Tapes” featuring one-off jams with guitarist Tony Rice which originally enjoyed a few years as a prized bootleg provided by an ‘enterprising’ pizza delivery boy. My favorite release “Shady Grove” has some beautiful renditions of folk-blues roots. I don’t think they match Mississippi John Hurt’s versions of his own tunes, but it’s real hard to fault these stunning old folk takes on “Jackaroe” and “Dreadful Wind And Rain”. Even more unexpected to me were the seafarer’s tunes “Handsome Cabin Boy”, and particularly “Off To Sea Once More” where one could almost feel the icy winds freezing the foolish young sailor who’d gambled away the money for his wet weather gear.

It’s charming to hear Jerry enjoying himself in such an intimate setting on these tapes. And, yes, in case you missed that 1973 chapter, they did get around to releasing those Old & In The Way tapes.

 

Garcia/Grisman;GratefulDawg,ShadyGrove,SoWhat,P izzaTapes,AllAroundThisWorld

from deaddisc.com;

Jerry Garcia and David Grisman
Jerry Garcia and David Grisman

Initial release : July 1991
Acoustic Disc ACD 2

The first of a series of Garcia/Grisman albums on David Grisman's Acoustic Disc label. This release includes covers of songs from a wide range of American music plus a version of Friend of the Devil and a new Garcia/Grisman composition.

Tracks
• Thrill Is Gone (Darnell / Hawkins)
• Grateful Dawg (Jerry Garcia / David Grisman)
• Two Soldiers (Traditional arr. Garcia / Grisman)
• Friend of the Devil (John Dawson / Jerry Garcia / Robert Hunter)
• Russian Lullaby (Irving Berlin)
• Dawg's Waltz (David Grisman)
• Walkin' Boss (Traditional arr. Garcia / Grisman)
• Rockin' Chair (Hoagy Carmichael)
• Arabia (David Grisman / Traditional)

Musicians
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Joe Craven - fiddle, percussion
• James Kerwin - bass

Credits
• Producers - Jerry Garcia and David Grisman
• Mixing - Jerry Garcia and David Grisman with Decibel Dave
• Engineer - David Dennison
• Assistant Producer - Craig Miller
• Mastering - Paul Stubblebine
• Cover Design - David Grisman, Django Bayless
• Photography - Gary Nichols
• Recorded at Dawg Studios, Spring 1991

Notes
A section of Arabia is based on the traditional Cuban folk song Hasta Siempre.

Grisman recalled in an interview how the Garcia and Grisman performances and recordings in the 1990s came about;
Jerry came over to my house one day, checked out my home studio, and asked me, 'How about putting out some more Old and In The Way tapes?' I said, 'Frankly Jerry, I'd rather see us put out something new, we can put out old tapes when we're in wheelchairs.

As well as being artistically successful the Garcia and Grisman partnership also gave Grisman the finances needed to continue his Acoustic Disc record label. As Grisman noted in another inteview, "Jerry kind of takes care of the profitable part."

The first Garcia / Grisman album was nominated for a Grammy and sold more than 100,000 copies.

The first live Garcia / Grisman performance was in December 1990.
Reissues
Reissued on Grateful Dead Records (GDCD-39032)
--------------------------------------------------------------------------
Grateful Dawg: The Original Motion Picture Soundtrack
Jerry Garcia / David Grisman / Various Artists

Initial release : 2001
Acoustic Disc 46

CD release of music from the soundtrack of the movie Grateful Dawg. The majority of the music is from a Garcia/Grisman show. Also includes a previously released Old & In The Way track and tracks by musicians who influenced Garcia and Grisman.

Tracks
• Intro
• Grateful Dawg (Garcia/Grisman)
• Wayfaring Stranger (Traditional)
• Sweet Sunny South (Traditional)
• Old and in the Way Intro
• Pig in a Pen (Traditional)
• Dawg's Waltz (Grisman)
• Sitting Here in Limbo (Bright/Chambers)
• Off to Sea Once More (Traditional)
• Off to Sea Once More (Traditional)
• Jenny Jenkins (Traditional)
• Arabia (Grisman)
• The Thrill is Gone (Darnell/Hawkins)
• Friend of the Devil (Dawson/Garcia/Hunter)
• Grateful Dawg (Studio) (Garcia/Grisman)

Musicians

All tracks except 3 and 9;
• Jerry Garcia - guitar, banjo, vocals
• David Grisman - mandolin, mandola, banjo, vocals

On tracks 2, 4, 8, 12 and 14, plus;
• Joe Craven - violin, percussion
• Jim Kerwin - bass

On track 5 and 6, plus;
• Peter Rowan - guitar, vocals, introduction
• Vassar Clements - fiddle
• John Kahn - bass

Two tracks that do involve Garcia and Grisman;
• Wayfaring Stranger - Bill Monroe and his Blue Grass Boys (featuring Peter Rowan and Richard Greene)
• Off to Sea Once More (first version) - Ewan McColl

Credits
• Producer - David Grisman for Dawg Productions
• Executive Producer - Craig Miller
• Recording engineer - John Cutler, David Dennison, Owsley Stanley
• Mixing - David Dennison
• Mastering - Paul Stubblebine
• Photography - Sheldan Collins, David Gahr, Nobuharu Komoriya, Susana Millman, Gary Nichols, Alice G Patterson, Pamela Rice, Jon Sievert
• Design and layout - D. Brent Hauseman
• Liner notes - Gillian Grisman
• Special thanks to Marcie Baeza, Josh Baron, Tom Bernard, Rob Bleetstein, John Brittingham, Diane Buck, Latty Cumings, Jack Crymes, Tom Efinger, Deborah Koons Garcia, Gillian Grisman, Pam Grisman, Harpo, Dexter Johnson, Susan Kerner, Justin Kreutzmann, Dylan Liner, Rob Lyons, Mike Moser, Nicole Page, Carmelo Pirrone, Artie & Harriet Rose, Alicia Sams, Mark Simon, Micaheal & Marcie at SPC and D'Addario Strings

Sources / Related releases

The Intro, Grateful Dawg (live), Sweet Sunny South, Sitting Here In Limbo, Arabia and Friend Of The Devil were recorded live at the Warfield Theater, San Francisco on December 7, 1991.

Dawg's Waltz and the Garcia/Grisman version of Off To Sea Once More were recorded live at Sweetwater, Mill Valley in December 1990.

Jenny Jenkins, The Thrill Is Gone and the studio version of Grateful Dawg were recorded at David Grisman's Dawg Studios.

Pig in a Pen was recorded at the Boarding House, San Francisco in October 1973. That and the Old & In The Way introduction were previously released on;
Breakdown: Original Live Recordings From 1973 - Vol. 2, Old and In The Way, 1997, Acoustic Disc ACD 28

The Bill Monroe track has previously been released by Smithsonian Folkways Records.

The Ewan McColl track has previously been released by Fantasy Records.

The Grateful Dawg film has been released on DVD and video.
--------------------------------------------------------------------------

Shady Grove
Jerry Garcia and David Grisman

Initial release : 1996
Acoustic Disc ACD 21

The third Garcia/Grisman album, this one concentrating on the traditional 'folk' song aspect of their repertoire.

Tracks
• Shady Grove (Traditional)
• Stealin' (Traditional)
• Off to Sea Once More (Traditional)
• The Sweet Sunny South (Traditional)
• Louis Collins (Traditional)
• Fair Ellender (Traditional)
• Jackaroo (Traditional)
• Casey Jones (Traditional)
• Dreadful Wind and Rain (Traditional)
• I Truly Understand (Traditional)
• The Handsome Cabin Boy (Traditional)
• Whiskey in the Jar (Traditional)
• Down in the Valley (Traditional)
• Hesitation Blues (Traditional) (Hidden track)

Musicians
• Jerry Garcia - guitar, 5-string banjo, vocals
• David Grisman - mandolins, guitar, 5-string banjo
• Joe Craven - percussion, fiddle
• Jim Kerwin - bass
• Matt Eakle - flute
• Bryan Bowers - autoharp
• Will Scarlett - harmonica

The CD booklet provides musician information for each track;

Shady Grove;
• Jerry Garcia - guitar, vocals
• David Grisman - mandola
• Joe Craven - percussion
• Jim Kerwin - bass

Stealin';
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin-banjo, vocals
• Joe Craven - fiddle
• Jim Kerwin - bass

Off to Sea Once More;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Joe Craven - fiddle
• Jim Kerwin - bass

The Sweet Sunny South;
• Jerry Garcia - 5-string banjo, vocals
• David Grisman - 5-string banjo

Louis Collins;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Joe Craven - percussion
• Jim Kerwin - bass

Fair Ellender;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Matt Eakle - flute

Jackaroo;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Joe Craven - percussion, fiddle
• Jim Kerwin - bass

Casey Jones;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin

Dreadful Wind and Rain;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Bryan Bowers - autoharp

I Truly Understand;
• Jerry Garcia - 5-string banjo, vocals
• David Grisman - guitar

The Handsome Cabin Boy;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin

Whiskey in the Jar;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin

Down in the Valley;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Will Scarlett - harmonica

Hesitation Blues - hidden track, musician information not provided, possibly;
• Jerry Garcia - guitar, vocals
• David Grisman - ?, vocals
• Joe Craven - fiddle
• Jim Kerwin - bass

Credits
• Producer - David Grisman and Jerry Garcia for Dawg productions
• Executive Producer - Craig Miller
• Masterering - Paul Stubblebine
• Recording - David Dennison at Dawg Studios
• Mixing - David Grisman, Larry Cumings
• Booklet introduction- David Grisman
• Booklet essay and notes - John Cohen
• Design, layout, cover photography - D. Brent Hauseman
• Photography - Jay Blakesberg, John Cohen, Robert Frank, David Gahr, Susana Millman, Gary Nichols, Jon Sievert, Bob Yellin
• Special thanks to - Mary Buffington, David Denny, Deborah Koons Garcia, Bob Gordon, Pam Grisman, David Hellman, Steve Jarvis, Dexter Johnson, Sara Katz, Don Lasala, Denis McNally, Richard Nevins, Steve Parish, Joan Pelosi, Artie and Harriet Rose, Charles Sawtelle, Matthew Stafford, Jody Stecher, Eric Thompson, D'Addario Strings

Notes
Grisman notes in his introductory note in the CD booklet that he and Garcia recorded songs at the Dawg Studios over a period of five years starting in August 1990, sometimes scheduled sessions sometimes spur of the moment. Shady Grove was the first album to be released from this collection of recordings. The tracks on Shady Grove were recorded on the following dates;
• Shady Grove - June 4, 1992
• Stealin' - June 3, 1992
• Off to Sea Once More - February 6, 1991
• The Sweet Sunny South - February 9, 1991
• Louis Collins - June 2, 1992
• Fair Ellender - September 5, 1990
• Jackaroo - November 24, 1992
• Casey Jones - February 9, 1991
• Dreadful Wind and Rain - August 27, 1990
• I Truly Understand - August 27, 1990
• The Handsome Cabin Boy - December 16, 1990
• Whiskey in the Jar - February 15, 1993
• Down in the Valley - June 3, 1993
• Hesitation Blues - date unknown
•
--------------------------------------------------------------------------
So What
Jerry Garcia / David Grisman

Initial release : August 1998
Acoustic Disc ACD 33

The fourth Garcia/Grisman album, this one concentrating on the jazz side of their repertoire.

Tracks
• So What (Miles Davis)
• Bag's Groove (Milt Jackson)
• Milestones (Miles Davis)
• 16/16 (David Grisman)
• So What (Miles Davis)
• Bag's Groove (Milt Jackson)
• Milestones (Miles Davis)
• So What (Miles Davis)

Musicians
• Jerry Garcia - guitar
• David Grisman - mandolin
• Joe Craven - percussion
• Matt Eakle - flute
• Jim Kerwin - bass

Credits
• Producer - David Grisman
• Executive Producer - Craig Miller
• Recording, Mixing - David Dennison
• Mastering - Paul Stubblebine
• Layout & design - D. Brent Hauseman
• Liner Notes - David Grisman
• Photography - Alice G Patterson
• Original Artwork - Jerry Garcia

Notes
Recording information;
1. So What - take 1, 3/8/91
2. Bag's groove - take 5, 11/24/92
3. Milestones - take 5, 6/2/95
4. 16/16 - take 3, 11/24/92
5. So What - take 1, 12/6/90
6. Bag's groove - take 1, 6/4/92
7. Milestones - take 3, 6/2/92
8. So What - take 1, 6/4/92
9.
--------------------------------------------------------------------------

The Pizza Tapes
Jerry Garcia, David Grisman, Tony Rice

Initial release : April 2000
Acoustic Disc 41

Music played during two evenings of jamming at Grisman's Studios.

Tracks
• Appetizer
• Man of Constant Sorrow (Traditional arr. Garcia/Grisman/Rice)
• Appetizer
• Louis Collins (Hurt)
• Shady Jam (Garcia/Grisman/Rice)
• Shady Grove (Traditional arr. Garcia/Grisman/Rice)
• Always Late (Frizzell)
• Guitar Space (Garcia/Rice)
Summertime (Gershwin)
• Appetizer
• Long Black Veil (Dill/Wilkin)
• Rosalee McFall (Traditional arr. Garcia/Grisman/Rice)
• Appetizer
• Drifting Too Far from the Shore (Moody)
• Amazing Grace (Traditional arr. Garcia/Grisman/Rice)
• Little Sadie (Traditional arr. Garcia/Grisman/Rice)
• Knockin' on Heaven's Door (Dylan)
• Space Jam (Garcia/Grisman/Rice)
• So What (Davis)
• Appetizer
• House of the Rising Sun (Traditional arr. Garcia/Grisman/Rice)
• Conversation - Hidden track

The appetizers are snippets of comment and conversation from the sessions.
The appetizer before Drifting Too Far From The Shore includes a brief rendition of The Addams Family theme tune.

Musicians
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Tony Rice - guitar

Credits
• Producer - David Grisman
• Executive producer - Craig Miller
• Recording, mixing - David Dennison
• Mastering - Paul Stubblebine
• Production assistant - Rob Bleetstein
• Photography - Pamela Rice, Dexter Johnson
• Design, layout - D. Brent Hauseman
• Liner notes - David Grisman, Tony Rice
• Special thanks - Jack Crymes, David Gans, Debra Koons Garcia, Pam Grisman, Steve Jarvis, Dexter Johnson, Dennis McNally, Mike Moser, Pamela Rice, Artie & Harriet Rose, Colleen Smith, Matthew Stafford, D'Addario Strings
• Recorded on February 4th and 5th, 1993 at Dawg Studios

Notes
The tracks on this album were recorded during two evening jam sessions at David Grisman's studios.

Garcia had a cassette copy made of some of the music from these sessions. This tape was supposedly stolen from his house by a pizza delivery worker and was subsequently distributed widely among tape traders. The tape became known as the Pizza Boy tape.

The CD though is produced from the Dawg Studio master tapes and adds wonderful sound quality to what many already knew was wonderful music.

As Grisman says in his accompanying notes;
"After several years of being pissed off, I decided to bury the hatchet with the pizza boy and make these tapes available to all in this 'official' version. The sound quality is magnificent and the performances glow with vitality and spontaneity."

Related releases
An alternate version of Louis Collins performed by Garcia, Grisman and Rice during the same sessions was released on;
• Acoustic Disc 100% Handmade Music, Vol. 1, Various Artists, 1993
Amazing Grace was included in the book/CD release;
• Jerry Garcia's Amazing Grace, 2002
• --------------------------------------------------------------------------

Been All Around This World
Jerry Garcia and David Grisman

Initial release : March 2004
Acoustic Disc 57

Announced as the final Garcia/Grisman release from Acoustic Disc.

Tracks
• Been All Around This World (Traditional)
• I'll Go Crazy (Brown)
• Take Me (Jones / Payne)
• Handsome Cabin Boy (Traditional)
• The Ballad of Frankie Lee and Judas Priest (Dylan)
• I'm Troubled (Traditional)
• Blue Yodel #9 (Rodgers)
• Nine Pound Hammer Travis)
• I Ain't Never (Pierce / Tillis)
• Sittin' Here in Limbo (Bright / Chambers)
• Dark as a Dungeon (Travis)
• Drink Up and Go Home (Hart)

Musicians
• Jerry Garcia - acoustic guitar, lead vocals
• David Grisman - mandolin, mandola (track 10), tenor vocals (tracks 6 and 9), baritone vocals (track 12)
• Joe Craven - percussion (tracks 1, 3, 5, 9, 10 and 11), fiddle (tracks 2 and 12), tenor vocals (track 12)
• James Kerwin - bass (tracks 1, 2, 3, 5, 9, 10, 11 and 12)
• John Kahn - acoustic bass (track 7)
• Sally Van Meter - dobro (track 7)
• George Marsh - drums (track 7)

Credits
• Producer - David Grisman for Dawg productions
• Executive producer - Craig Miller
• Recording, mixing - David Dennison at Dawg Studios
• Additional mixing - Larry Cumings, Dawg
• Mastering - Paul Stubblebine at Rocket Lab
• Liner notes - Dawg
• Illustrations - Tracy Bigelow
• Photography - Gary Nichols
• Art direction - Brenna Ramirez
• Special thanks - Jack Crymes, D'Addario Strings, Deborah Koons Garcia, Pam Grisman, Artie & Harriet Rose, Tracy Bigelow, Dexter Johnson at Carmel Music
•
Related releases
Blue Yodel #9 is an alternate take of the song. The released take was originally released on;
• The Songs Of Jimmie Rodgers - A Tribute, Various Artists, 1997, Egyptian/Columbia 485189 2 Buy from Acoustic Disc

--------------------------------------------------------------------------
See also; Live on Letterman: Music from the Late Show
Compilation of live music from The Late Show that includes one track, Friend Of The Devil, performed by Jerry Garcia and David Grisman on The Late Show on September 15, 1993.

Tracks
• Friend of the Devil (Dawson/Garcia/Hunter)

Garcia plays only on track 1, Friend Of The Devil, with the following musicians;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin
• Paul Shaffer - harmonium
• Sid McGinnis - guitar
• Felicia Collins - guitar
• Will Lee - bass
• Anton Fig - drums
• Bernie Worrel - melodica

 

again, far too much great music to comment on. Not For Kids Only and So What are my fave 2 release, and I LOVE the Grateful Dow film -- beautiful, touching stuff.

 

I particularly enjoy the Shenandoah jam that comes out of space at the 6/20/92 RFK show, which I think can be traced back to the Grisman collaborations. It is beautiful mellow jam, which is then disrupted by the drummers blowing a real train horn and then the first Casey Jones in sometime. The show is worth getting just for that segment alone.

 

All of the Garcia/Grisman releases are a joy to hear. I've played them constantly since they were put out. It's great to hear and see Jerry having fun playing. I love any Jerry on acoustic. He didn't seem to be having fun at many shows with the Dead IMO after '91. You could see him play with the GD in his last years and then see him play in JGB. IMO he hardly played at some GD shows but was playing and singing away at the JGB shows. Of course there are exceptions to this.

The Garcia/Grisman releases remind me of the Johnny Cash American releases in a way. Just a beautiful last gift for everybody to hear with head turning performances.

 

Thanks for posting that. 6/20/92 is most likely a show that I'd never check out had it not been for this post. The "Shenandoah" segment is indeed beautiful.

In fairness to the drummers, Jerry started playing the riff to Casey Jones before the train whistle, so they shouldn't be blamed for any disruption.

 

I rembered a picture from Golden Road with Billy playing the train horns with ear protectors on. I couldn't find it online though.

 

The Children’s Dead & The Rainforest Crusade

If the thought of major acts recording kid’s records sounds strikes you as a turn toward the insipid (Paul McCartney’s “Mary Had A Little Lamb” is a good case in point), keep in mind that GD’s boldly strange Infrared Roses and Grafolded are coming up next.

Just to get the gag out of the way, on April Fool’s Day 1993 at the Nassau Coliseum, the toddler’s friend Barney the TV purple dinosaur joined the GD for the 2nd set two-chord “Iko” opening jam. Pictured below and on an audience youtube clip (just in case you think I’m pulling your leg; http://www.youtube.com/watch?v=1IHAMiBdga0 ) Barney bopped and bassed (mimed) while Phil’s and others’ kids danced on the side of the stage. Archive.org has a fan recollection “…when Barney came out, the crowd just stood goggle-eyed. I swear I heard a guy say, "Dude, remember that purple dinosaur you said I just did not see at Hampton? It's back, man, it's back!" The costume went back to the studio, but NBC(?) was pretty upset that their children icon’s image could’ve been tarnished by the GD association and promises were made that it wouldn’t happen again.

There’d always been kids around the GD family scene; Bill’s son Justin is rumored to be one of the naked kids on the cover of Woodstock 2, Jerry had a few older ones, one runs across the stage in the Sunshine Daydream film as well as young ones dancing during ChinaCat on the Dead Movie bonus footage. There was a new batch around in the 90’s; Brent had that lullaby a few years earlier for his daughter, Mickey, Lesh and Hornsby had young ones, as did Jerry with then partner Manasha Matheson, as well as other GD ‘family’ members and friends. The multi-generational DeadHeads had a fair few kids in tow, so there was a portion of their audience they could specifically address and relate to. If you’ve got images in your head of Princess Fergie’s “Budgie The Helicopter” or The Wiggles (Formerly The Cockroaches), trust the Dead and read on…

 

Garcia/Grisman - Not For Kids Only

“Not For Kids Only” was the second of the Garcia/Grisman albums, and spawned two children’s book/cassettes; “Teddy Bears Picnic” & “What Will You Wear Jenny Jenkins?” illustrated by Bruce Whatley. Not For Kids Only is a bit of trojan horse as it’s not only meant to be interesting folk music exposure for kids (kid’s songs “with teeth”), but was partially a homage to the very influential New Lost City Ramblers (Tom Paley, John Cohen, and Mike Seeger later replaced by Tracy Schwartz) roots-folk revivalist group of the late 50’s-early 60’s. You may recall in Workingman’s that “Uncle” John Cohen’s band was referenced by Hunter in “UJB”, and a look at songs from their traditional repertoire reveals several GD/Garcia/Hunter influences; “Don’t Let Your Deal Go Down”, “Buck Dancer’s Choice”, “The Story That The Crow Told Me”, “Rosalee McFall”, “Shady Grove”, “Freight Train” (by Elizabeth Cotton who also wrote “Oh Babe, It Ain’t No Lie”, and made popular by Peter Paul & Mary), “Lady Of Carlisle” (performed by Hunter very much like NLCR on Jack O’ Roses, re-written as “Lady With A Fan”), and “Daniel In The Lion’s Den” (also re-written by Hunter on “Jack O Roses).

Some of the old traditional songs in the NLCR repertroire are quite humorous, like “Cat’s Got The Measles And The Dog’s Got The Whooping Cough”, which may have given Garcia the idea that kids may be amused by them. Case in point would be “Ain’t No Bugs On Me” (“..may be flies on some of you guys/may be lobsters on some of you mobsters”). Some other tracks from the NLCR catalog included here are “Hot Corn Cold Corn”, Hop Along Peter” and “Arkansas Traveler”.

They round it off with a few other trad tunes like “Horse Named Bill”, “What Will You Wear Jenny Jenkins” (“Oh what do you care if I just go bare”), and the beautiful (as mentioned in previous posts) “Shenandoah Lullaby” which combines both Americana and Brahms.


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from deaddisc.com;

Not for Kids Only
Jerry Garcia and David Grisman

Initial release : 1993
Acoustic Disc ACD 9

The second Garcia/Grisman album, this one concentrating on 'children's songs'
Tracks
• Jenny Jenkins (Traditional)
• Freight Train (Elizabeth Cotton)
• Horse Named Bill (Traditional)
• Three Men Went A-Hunting (Traditional)
• When First Unto This Country (Traditional)
• Arkansas Traveler (Traditional)
• Hop Along Peter (Traditional)
• Teddy Bears' Picnic (Traditional)
• There Ain't No Bugs on Me (Traditional)
• Miller's Will (Traditional)
• Hot Corn, Cold Corn (Traditional)
• Shenandoah Lullaby(Traditional)

Musicians
On all tracks;
• Jerry Garcia - guitar, vocals
• David Grisman - mandolin, mando-cello, tenor banjo, vocals

Additional musicians play on other tracks as follows.

Jenny Jenkins;
• Hal Blaine - tambourine
• Larry Hanks - jew's harp

Freight Train;
• Hal Blaine - percussion
• Joe Craven - percussion

Horse Named Bill;
• Hal Blaine - percussion
• Matt Eakle - piccolo

Three Men Went A-Hunting;
• Will Scarlett - harmonica
• Jody Stecher - vocals

When First Unto This Country;
• Hal Blaine - percussion

Arkansas Traveler;
• Joe Craven - happy feet, fiddle

Hop Along Peter;
• Joe Craven - fiddle

Teddy Bears' Picnic;
• Rick Montgomery - rhythm guitar
• Jim Kerwin - bass
• Peter Welker - trumpet
• Jim Rothermel - clarinet
• Kevin Porter - trombone

There Ain't No Bugs on Me;
• Jim Miller - slap

Miller's Will;
• Jody Stecher - fiddle
• Hal Blaine - jew's harp

Hot Corn, Cold Corn;
• Jody Stecher - harmony
• Hal Blaine - percussion
• Matt Eakle - penny whistle

Shenandoah Lullaby;
• John Rosenberg - piano
• Heather Katz - violin
• Dan Kobialka - violin
• Chun Ming Mo - violin
• Nancy Severance - viola
• Larry Granger - cello
• Pamela Lanford - english horn, oboe

Credits
• Producer - David Grisman
• Mixing - Dawg with Decibel Dave
• Engineer - David Dennison
• Assistant Producer - Craig Miller
• Liner Notes - Mayne Smith
• Mastering - Paul Stubblebine
• Photography - Susana Millman
• Art Direction - Mike Moser
• Artwork - Jerry Garcia
• Notes - Mayne Smith

• All compositions arranged and adapted by Grisman and Garcia
Notes
The majority of songs on Not For Kids Only were among those played by both Garcia and Grisman in the early stages of their careers in the early 1960s. They were also part of the repertoire of the New Lost City Ramblers whose playing and repertoire were an early influence on Garcia. This influence is acknowledged in the CD booklet;
Note : To remind them of some of the words, Jerry and David used a collection called "Old-Time String Band Songbook" (formerly the "New Lost City Ramblers Songbook" - Oak Publications 1976) edited by John Cohen and Mike Seeger. It contains a lot of other songs you might enjoy.
Two tracks from this CD are included on one of the Acostic Disc samplers (see below). In the notes in the sampler booklet David Grisman refers to Not For Kids Only;
Not For Kids Only is a project I've been wanting to do for years with my friend and fellow father Jerry Garcia; it's sort of our answer to "Barney."
Note on publishing;
All proceeds from the publishing of these songs will go to the Carousel Fund, a Petaluma, California organization dedicated to assisting families with children who suffer from catastrophic illnesses.
The CD booklet also contains brief notes on the songs and lyrics.
The violinist on Not For Kids Only, Heather Katz, is Garcia's daughter.
The core music for this CD was recorded by Garcia and Grisman. Grisman subsequently brought in the extra musicians to overdub additional parts.
In an interview Garcia commented on the choice of material for Not For Kids Only compared to the usual song selection on kids albums;
Kids like weird **** in there, they like crazy stuff lurking around, things with teeth, crazy people. They're realistic. They know the world is full of weird stuff and kids sort of prefer weird stuff, they rejoice in it. It's no big thing, but it's nice to be able to throw some music back in there that's originally from that world; bring some of the weirdness back, take a chance a little. I mean it's sort of trusting the kids that they can handle something more than terminal niceness."

Related releases
Hot Corn, Cold Corn and Teddy Bear's Picnic are included on the Acoustic Disk sampler;
• Acoustic Disc 100% Handmade Music, Vol. 2, Various Artists, 1995
There Ain't No Bugs On Me is included on the compilation CD;
• Children's Celebration of Folk Music, Various Artists, 1996
Shenandoah Lullaby is included on two compilations;
• A Child's Celebration of Lullaby , Various Artists, 1997
• Freedom: Songs From The Heart Of America, Various Artists, 2002
Freight Train is included on;
• Gather Round: Songs for Kids and Other Folks, Various Artists, 2004
Teddy Bears Picnic was used as the audio part of a children's book;;
• The Teddy Bears' Picnic, Jerry Garcia / David Grisman / Bruce Whatley, 1998
There Ain't No Bugs on Me was used as the audio part of a children's book;;
• There Ain't No Bugs on Me, Jerry Garcia / David Grisman / Bruce Whatley, 1999
Jenny Jenkins was used as the audio part of a children's book;;
• What Will You Wear, Jenny Jenkins, Jerry Garcia / David Grisman / Bruce Whatley, 2000

 

Bob & Wendy Weir - Panther Dream and Baru Bay music books

(Kids continued)


I’ve often wondered how much effort some artists actually put in to supporting a social, political or environmental cause. You see some artist do a gig on their night off, maybe do a press conference to emphasize the connection between their name and the cause, then it all just fades away. I was really amazed to learn just how much effort Bob and his sister Wendy Weir put into this “kid’s” project, especially in view of the fact that Bob didn’t have any offspring.

The inspiration was the GD’s involvement with the Rainforest Benefit in 1989 that had included Suzanne Vega, Mick Taylor, Hall & Oates and several others that don’t come to mind at the moment. After the initial hoopla, Weir found that despite this not being a strictly ‘political’ cause (after all, you either keep the forests and the world lives, or lose the forests and the world will be in very dire straights), his public interviews were still being censured on the subject by media as logging interests demanded ‘equal time’and it all got ‘too messy’. GD had decided that it would, where possible, be involved in ongoing environmental education projects. The mindset of the old was often set in old ways, and the Weirs felt that perhaps hope would lie with the kids of the future growing up with a new mindset.

Wendy had always wanted to illustrated a book and Bob “wanted to be a storyteller”, and Panther Dream was conceived. Unlike an average kid’s book, meticulous research was initiated. Wendy based artwork on slides provided Rainforest Action Network and contact Simon Muchuro in Nairobi who acted as a project advisor. Another team member Paul Giacomantonio also provided visual source material and his own rainforest experiences, played authentic African instruments. The (achieved) goal was to have the animal/plant visuals as anatomically and biologically accurate as was possible. Panther Dream went a step further by including an impressive appendix including visual glossary, maps, and activities.

Bob assembled a sound team for a surprisingly complicated soundtrack. The goal was a soundtrack exotic and impressive enough to draw any child in. Like Mickey Hart’s “At The Edge” project, sound effects were collected. Weir’s project wasn’t idealized; they recorded hundreds of real and authentic African mammals, birds, insects, rain, etc. Hart had mentioned being so immersed in his project that he’d dream the stuff, then wake up dictating sounds and call on his thousands of hours of studio experience to specify sound contours and millisecond delays. Weir took some of this further by mapping their sonic jungle canopy, i.e. distance bird/animal sound to ground, animal sound to canopy and back with allowance for muffling on return sound, etc.(It’s worth noting that some indigenous peoples can tell the time of day by what animal noises they hear). Some of the ideas were so groundbreaking that a Virtual Sound computer software package was proposed to help film-makers sound-map a setting. (Weir adapted some of this into his onstage guitar effects, making his guitar sound like big/little room, etc.) Musically, Weir drew on things like traditional Pygmy music and tunings. Originally, the story concept was that individual characters would speak, but ultimately it was Uncle Bob who narrated the story over the soundtrack.

“Baru Bay” was a somewhat similar but later project started in 1992 when the Weir’s visited the Gumatj community (staying with Mandawuy Yunupingu, the leader of the Aboriginal rock band Yothu Yindi…which explains their opening set at a GD show). Bob did some scuba diving (as did Garcia and Kreutzmann), and is on the Advisory Board of Coral Forest. This book similarly includes authentic local sounds and music (you may hear influences of this in Weir’s “Banyan Tree” on the live Other Ones disc several years later), and melds the Great Barrier Reef and coastal mangrove ecologies with the ancient Aboriginal Dreamtime stories and traditions, as seen through the eyes of a young visiting girl.

Disney/Hyperion Books for Children was happy to arrange special ‘deals’, such as the ecological re-planting a tree for each book sold, and matching Weir one-to-one to donate the books to schools. (I’ve Baru Bay in the Australian system.)


Though it’s hard for many people to change their ecological ways in these economically trying times, Bob says “Change is fun!”.

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from deaddisc.com;


Panther Dream: A Story Of The African Rainforest
Bob Weir / Wendy Weir

Initial release : 1991
Hyperion Books For Children

A children's book with audio cassette produced by Bob and Wendy Weir. The cassette soundtrack was produced, narrated and performed by Bob Weir.

The cassette includes Panther Dream, the narration of the book with background music, and Panther Dance, a piece of music performed by Bob Weir (guitar, synthesizer), Jules Beckman (bass, percussion), Paul Giacomantonio (harp, drums) and Rob Wasserman (bass).

A video version of the story was released in 1998.

Portions of the proceeds from the sale of the book and video were donated to Rainforest Action Network to support its conservation efforts.

" It was after the Grateful Dead's Rainforest Benefit Concert at Madison Square Garden in 1988 that we were inspired to create our first environmental children's book with narration and music, Panther Dream: A Story of the African Rainforest. Now, this award-winning book is on videocassette, along with our personal introduction and closing about the importance of the rainforest and the threats it is facing.

Join us on a journey with the young African boy, Lokuli, and the mysterious black panther. Experience the rainforest's beauty and excitement, and learn the wisdom it has to teach. The story, images, and sounds are all based upon reality and are woven together to encourage our imagination.

Portions of the proceeds from the sale of this video will be donated to Rainforest Action Network to support its conservation efforts, but there is still much that we can do. Please watch the video and learn how you, too, can help."
-Bobby Weir & Wendy Weir

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Baru Bay, Australia
Bob Weir / Wendy Weir

Initial release : 1995
Hyperion Books For Children

A children's book with audio cassette produced by Bob and Wendy Weir. The cassette soundtrack was produced, narrated and performed by Bob Weir.

 

Bill Kreutzmann – Ocean Spirit video

Bill Kreutzmann was seemingly content to play drums for the GD, and some side-bands with several GD members (Kokomo and Go Ahead, nicknamed Goathead, with Brent Mydland were a bit higher-profile for Kreutzmann). Bill apparently also had a fondness for family and privacy, …and loved diving. Diving provided some of this world’s most exotic visuals up to and including psychedelic trips. Bill, Jerry and Bob had the diving bug, Phil had at least tried it, Mickey and Vince were interested. This dovetailed nicely with the GD’s environmental stances when Kreutzmann arranged and was executive producer on a diving documentary film called “Ocean Spirit”, which had some TV exposure and became available through GDM in late ’94-early ’95.

Bill had done some home videos, but felt the urge to share the subject matter in a professionally filmed setting. Bill stated, “What’s really important is that people come to know, understand, and appreciate life beneath the sea. It’s the only way we’ll ever be able to protect it.” Bill, and a team of 5 filmmakers, 4 friends and 4 crew set off in a 110ft ketch to the Revilla Gigedo Islands, volcanic formations about 300miles south of Cabo San Lucas, and hoped to get a good record of communing with some of the larger sea animals. There was a tragic setback when one of the diver friends drowned while free-diving solo and underestimating the urge to surface that a novice couldn’t ignore.

Eventually back on track, Bill brought his talking drums and some Australian aboriginal dolphin callers, and found that the unique sounds from the bow of the boat interested the dolphins (it’s apparently illegal to pipe music through speakers underwater to whales for logical reasons). The big animals didn’t disappoint with dolphins, hammerhead sharks, sperm whales, big mantas, and seals making appearances. Bill and his pals “free dived”, meaning without tanks that might scare animals or create distracting packs of bubbles. Bill said he could ride the back of a big manta and feel it’s heartbeat against his chest. The whales were more majestic; the team could actually hear their heartbeats before they appeared out of the mist, allowing them to set up camera angles. Sea lions were filmed rocketing through the surf.

Back home, Kreutzmann assembled a film edit, then played against it in the studio to create a soundtrack, not unlike the system used for the Apocalypse Now sessions, with much input on instrument sounds and effects from Mickey Hart. Bill and his pal Jeffrey Haupt (sound recorder, photographer, and musician) from the trip created an active little soundtrack with additional help from Bob Bralove on keyboards, Marc Van Wageningen on bass, and jazzy horn overlay by Bobby Strickland.

Anyway, a moving picture’s worth a few thousand words, so here is a trailer for the film with music (you can really pick Bill’s drumming, and check out that giant manta at the end!) from youtube;

http://www.youtube.com/watch?v=c06G5nJ4NAE

I think the film may still be available via Jeffrey Haupt’s site; http://www.jeffreyhaupt.com/BK.html .

The illustration below is by Greg McCullough for the Bill/Ocean Spirit interview in Dupree’s Diamond News winter ’94.

 

Merl Saunders (w/Garcia) – Blues From The Rainforest

I haven’t been too quick to mention the hundred-odd contributions GD members have made on other artist’s albums for reasons of sheer overwhelming volume, but we’re on a roll here and I’m throwing this one in. Garcia and Merl Saunders hadn’t played together in a band for over a decade (Reconstruction), though Merl was a very key figure in Jerry’s coma rehabilitation and the Twilight Zone sessions in the mid ‘80’s.

Merl had been approached for a few years by a “new age” percussionist Muruga (who’s played with Weather Report and Dave Brubeck) to do some kind of ethereal “earth suite”. Co-incidentally, Merl ran into an associate of Sting’s (also an ecological proponent) who’d accompanied Sting on a fact gathering trip through the Amazon basin in Brazil, who showed Merl heaps of photos and data on the subject. Merl realized many conceptual similarities in the moods Muruga and himself were creating, and the Rainforest became the focus. Atmospheric sequences represent feelings of the displaced indigenous tribes, the water, and particulary how the rainforest itself felt about the destruction, hence ‘Blues FROM The Rainforest’. Saunders sent Garcia musical sketches of the work-in-progress, and Garcia plays on 4 of the 6 tracks, with very amusing and often soothing use of MIDI effects. Merl’s cousin Eddie Moore (who’s played on the road with Stanley Turrentine and Wes Montgomery) also added percussion for dual percussion landscape not unlike the Hart/Kreutzman/Airto shows.

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From deaddisc.com;

Blues From The Rainforest
Merl Saunders

Initial release : April 1990
Summertone FCD-7712

Jerry Garcia plays on four tracks of this Merl Saunders release.

Tracks
• Blues From The Rainforest (Merl Saunders)
• Sunrise Over Haleakala (Merl Saunders)
• Blue Hill Ocean Dance (Merl Saunders / Muruga)
• Afro Pearl Blue (Merl Saunders / Muruga)
• Dance Of The Fireflies (Merl Saunders)
• Sri Lanka (Merl Saunders / Eddie Moore)

Musicians
The musicians on the CD as a whole are;
• Merl Saunders - synthesizers
• Jerry Garcia - guitar, MIDI
• Muruga - percussion
• Eddie Moore - percussion
• Bill Thompson - percussion, drum programmer
• Shakti & Karen Baker - vocals

Garcia plays on the first four tracks with the following musicians;

Blues From The Rainforest;
• Merl Saunders - synthesizers
• Jerry Garcia - electric guitar
• Muruga - percussion

Sunrise Over Haleakala;
• Merl Saunders - synthesizers
• Jerry Garcia - acoustic guitar

Blue Hill Ocean Dance;
• Merl Saunders - synthesizers
• Jerry Garcia - MIDI guitar flute & other custom sounds
• Muruga - percussion
• Eddie Moore - percussion
• Bill Thompson - drum programmer, percussion

Afro Pearl Blue;
• Merl Saunders - synthesizers
• Jerry Garcia - MIDI guitar cries and horns
• Muruga - percussion
• Eddie Moore - balaphone
• Shakti & Karen Baker - vocals

Credits
• Producer - Merl Saunders
• Co-Producer - Marina Zachau
• Engineers - Bill Thompson, Greg Gordon
• MIDIcian - Bill Thompson
• Mixing - Merl Saunders, Bill Thompson, Greg Gordon
• Pre-Mastering - Bill Thompson, Roscoe Gallo, David Gray
• Mastering - Brian Gardner
• Cover Art - Gary Knack
• Cover Concept - Marina Zachau, Merl Saunders
• Photography - Linda Jacobson, Joanne Mohr
• Liner notes - Merl Saunders, Muruga
• Special sound effects from the rainforest and ocean courtesy of M.S. Productions and Melvin Seals.
• Recorded and mixed at Aunt Monk Studios, San Francisco

Notes
In his liner notes Merl Saunders comments on Garcia's involvement;
I wanted to get my long term cohort Jerry Garcia involved because I knew he also had concerns about the rainforest. I knew I could count on Jerry's ability to perceive what I wanted musically. Our previous collaborations have always been inspiring because of our ability to communicate without words. Some of my best work has come from these magical sessions together.
Garcia commented on the cause behind the album in an interview;
This project is another way of calling attention to the rainforest as a whole biological entity, everybody has their own process of discovery, but I believe that this record might help some people experience the ethos of the rainforest.
Sunrise Over Haleakala is from the same recording as the version on the Merl Saunders album With His Funky Friends : Live. Merl Saunders has said the following about the track;
Sunrise over Haleakala is one of my favorite songs. It is all the same track, long and short version. One was edited for radio play and the other is in the CD Blues From The Rainforest.

 

Infrared Roses cd & Infrared Sightings video

Despite public forays back to their folk roots and into ‘children’s books’, the WEIRD Grateful Dead was also very much alive and well, as these next few entries will attest.

Infrared Roses is an officially released bona-fide Grateful Dead live album (live GD music, guests Willy Green from the Neville Brothers and Branford Marsalis, cover art by Garcia, evocative song titles by Robert Hunter), conceived at the same time and culled from much of the same source material, and more, as Without A Net. (You would have noticed that Without A Net contained no ‘Drumz/Space’ segments.) Resident GD MIDI expert Bob Bralove was the producer. The mission statement for the album is quite specific, yet wide open; “Somewhere in the middle of the second set of every Grateful Dead show the band turns a corner. They enter a musical environment without walls or structure. The song form is abandoned, and the very elements of music may be called into question. The only mandate is to explore new territory. It is an environment where rhythm, tone color, melody, and harmony can be explored without rules or predetermination, a musical adventure where composition and performance are one. This album is about that adventure.” Some folks used to run to the restrooms and snack bars during “Drumz/Space”, and there was some debate on given nights as to whether GD was just ****ing around or composing, but the fact remains that these segments are a big part of what made them so uniquely the Grateful Dead; music out of the ether in the moment.

I think we mentioned just some of this a while back, but Bob Bralove’s background included both chamber music studies and computer tech. The latter got him into studio and live touring work with Stevie Wonder. At a keyboard symposium with Stevie and Herbie Hancock, Bralove met up with Merl Saunders who’d become musical director for the revived Twilight Zone TV series. Bob was invited onboard the sessions where the GD were doing their spacey GD thing for the soundtracks. They hit it off and Bralove joined the GD team in ’87 to integrate GD with ongoing sound MIDI (Musical Instrument Digital Interface) technologies; first keyboards, then drummers, and finally the three guitarists.

There was much work to be done. Bralove pointed out that the GD’s goal was very unlike other MIDI users like Pink Floyd or Madonna, who could sample and program sequences to be played back in those same sequences onstage, usually split-second synchronized with an equally pre-sequenced light/stage show. GD was aiming to use the stuff at their fingertips as the mood took them second-by-second in real-time. Brent had assimilated many new sounds with Bralove’s assistance, Bralove then started over with Vince with the added task of trying to lose the bulky Brent-era Hammond and Leslie gear. The drummers had also enjoyed tons of drum and percussion apparatus, but seemed happy to lose some of the bulk by sampling their drum menageries into the MIDI banks. The guitarists offered special challenges. Jerry’s left hand is in constant fretting and note-bending motion. The initial set-ups might’ve been able to bend pitch a couple steps up but Jerry’d bend up three, or the MIDI would want to grasp a single held note but Jerry’d be in motion. Phil’s bass posed different problems as the bass note vibration takes a moment for the computer to sample and recognize, so Phil’s basses had to have contacts wired straight into the frets (sometimes the middle 4 strings of six depending on the bass, and the lubricating almond oil he’d use on the strings would sometimes interfere with contacts). The most interesting aspect of GD’s adaptations of the technologies was that they didn’t then try to sound like Yes, or be subservient to the tech limitations like Neil Young’s Trans, but to continue to sound like the GD (and it’s individual member’s playing styles) while integrating many earthy tones like horns, flutes, strings, rattles, birds, insects, animal growls, train whistles, bones, clay pots.

Much of the experimentation with the new sounds took place during the “Drumz/Space” segments, and Bralove became a “sound designer”, feeding sounds while the band played. Often his feeds would be on separate channels to the straight band feeds going through Dan Healy’s PA board, so Healy would be at liberty to shape the combined sounds as he saw fit. “Infrared Roses” was originally conceived as a “Drumz” album for Mickey and Bill, but as Bralove listened to tapes going back to ’87 he was struck by the usual ‘frame’ of band and “Space”, so he pitched his expanded concept to the band with overwhelming approval. (Some folks feel “Drumz/Space” should be framed with songs, which is not an unpopular or unreasonable opinion.)The project took on a bit of added composure when Brent, who usually laid-back during “Space”, was traded some synthesizer development time by Bralove in exchange for more Brent involvement. Bralove took the additional approved liberty of editing and overlapping sounds or sequences from other GD performances (sometimes up to a dozen and a half performances on a track), creating a GD sound ‘collage’ at times (not unlike Grayfolded, coming up). Some of the tracks are rather straight-forward; “Crowd Sculpture” is literally a sound collage of the parking-lot crowd as Bralove strolled through it. The performance opener “Parallelogram” is a strong and un-synthesized Bill and Mickey move through the drum kits, followed by “Little Nemo In Nightland” which is Jerry, Bob and Phil doing “Space” on un-syntesized guitars (though Bralove has multi-tracked Phil). “Silver Apples Of The Moon” (co-incidentally a Morton Subotnick title) utilizes a tinkling Hornsby “Dark Star” theme overlaid with Welnick from a different part of the performance. “Sparrow Hawk Row” utilizes some of the Healy PA mixes of the show, which is quite different from the raw feed on the 24-track tape. The aptly titled “Post-Modern Highrise Table Top Stomp” is a manic vibrating syncopation with Willy Green. The nutzo full-light finale” Apollo At The Ritz” features some out-of-sequence chunks of the GD and Branford Marsalis “Dark Star” jam from the same evening as Without A Net’s “Eyes Of The World”.

An Infrared Roses video with computer graphics was commissioned with Xoas in SF (who did the MTV Liquid Television segments) for a track on the video Backstage Pass (following entry) and the concept was expanded to include a commercial video called Infrared Sightings. The idea Grateful Dead successfully integrating computer technology into their music and their graphics opened up floodgates of conjecture as to Grateful Dead Organization’s future and possible new social impacts. Weir lyricist John Barlow was already an outspoken founder of the Electronic Frontier Foundation (penning the anti-internet censorship Declaration of the Independence of Cyberspace) and a Fellow at the Harvard Law School's Berkman Center for Internet and Society. On a less political and more entertaining level, there was talk of virtual technology and virtual interactive GD concerts (“Jerry’s turning into a purple-orange bear.” “Hey, STOP THAT!”). The future possibilities seemed truly exciting and unlimited.

(add’l artwork by Donald Pasewark)
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from deaddisc.com;


Infrared Roses
Grateful Dead

Initial release : November 1991
Grateful Dead Records GDCD-40142

A CD of pieces taken from the drums/space sections of Grateful Dead shows in 1989 and 1990. The titles were devised by Robert Hunter.


Tracks
• Crowd Sculpture (Bob Bralove)
• Parallelogram (Mickey Hart / Bill Kreutzmann)
• Little Nemo In Nightland (Jerry Garcia / Phil Lesh / Bob Weir / Bob Bralove)
• Riverside Rhapsody (Jerry Garcia / Mickey Hart / Bill Kreutzmann / Phil Lesh / Brent Mydland / Bob Weir)
• Post-Modern Highrise Table Top Stomp (Jerry Garcia / Willie Green III / Mickey Hart / Bill Kreutzmann / Phil Lesh / Brent Mydland / Bob Weir)
• Infrared Roses (Jerry Garcia / Phil Lesh / Brent Mydland / Bob Weir / Bob Bralove)
• Silver Apples Of The Moon (Bruce Hornsby / Vince Welnick)
• Speaking In Swords (Mickey Hart / Bill Kreutzmann / Bob Bralove)
• Magnesium Night Light (Jerry Garcia / Phil Lesh / Brent Mydland / Bob Weir)
• Sparrow Hawk Row (Jerry Garcia / Mickey Hart / Dan Healy / Bill Kreutzmann / Phil Lesh / Brent Mydland / Bob Weir / Bob Bralove)
• River Of Nine Sorrows (Mickey Hart / Bill Kreutzmann / Bob Bralove)
• Apollo At The Ritz (Jerry Garcia / Mickey Hart / Bill Kreutzmann / Phil Lesh / Branford Marsalis / Brent Mydland / Bob Weir)

Musicians
• Jerry Garcia - guitar, electronic percussion, synthesizer
• Bruce Hornsby - piano, synthesizer
• Mickey Hart - trap drums, beast, beam, electronic percussion, talking drum
• Bill Kreutzmann - trap drums, tibales, electronic percussion, toms, synthesizer
• Phil Lesh - bass, synthesizer
• Brent Mydland - keyboards, midi keyboard, synthesizer
• Bob Weir - guitar, midi guitar, synthesizer
• Vince Welnick - synthesizer
• Bob Bralove - drum machine sequencing
• Willie Green III - kick snare hat
• Dan Healy - processing
• Branford Marsalis - tenor saxophone, soprano saxophone
• Deadheads

The performers on each track are as follows;

Crowd Sculpture;
• Deadheads
•
Parallelogram;
• Mickey Hart - traps, beast, beam
• Bill Kreutzmann - traps, timbales

Little Nemo In Nightland;
• Jerry Garcia - guitar
• Phil Lesh - bass
• Bob Weir - guitar

Riverside Rhapsody;
• Jerry Garcia - guitar
• Mickey Hart - drums, electronic percussion
• Bill Kreutzmann - drums
• Phil Lesh - bass
• Brent Mydland - keyboards
• Bob Weir - guitar

Post-Modern Highrise Table Top Stomp;
• Jerry Garcia - electronic percussion
• Willie Green III - kick, snare, hat
• Mickey Hart - talking drums
• Bill Kreutzmann - rolo toms
• Phil Lesh - bass
• Brent Mydland - midi keyboard
• Bob Weir - midi guitar

Infrared Roses;
• Jerry Garcia - guitar, synthesizer
• Phil Lesh - bass, synthesizer
• Brent Mydland - keyboard, synthesizer
• Bob Weir - guitar, synthesizer

Silver Apples Of The Moon;
• Bruce Hornsby - piano, synthesizer
• Vince Welnick - synthesizer

Speaking In Swords;
• Mickey Hart - beam, electronic percussion
• Bill Kreutzmann - electronic percussion

Magnesium Night Light;
• Jerry Garcia - guitar, synthesizer
• Phil Lesh - bass, synthesizer
• Brent Mydland - keyboard, synthesizer
• Bob Weir - guitar, synthesizer

Sparrow Hawk Row;
• Jerry Garcia - guitar
• Mickey Hart - drums
• Dan Healy - processing
• Bill Kreutzmann - drums
• Phil Lesh - bass
• Brent Mydland - keyboards
• Bob Weir - guitar

River Of Nine Sorrows;
• Mickey Hart - electronic percussion, synthesizer
• Bill Kreutzmann - drums, electronic percussion, synthesizer
• Bob Bralove - drum machine

Apollo At The Ritz;
• Jerry Garcia - guitar, synthesizer
• Mickey Hart - drums
• Bill Kreutzmann - drums
• Phil Lesh - bass, synthesizer
• Branford Marsalis - saxophones
• Brent Mydland - keyboard
• Bob Weir - guitar, synthesizer

Credits
• Producer - Bob Bralove
• Mixing engineer - Jeffrey Norman
• Multi-track recording engineer - John Cutler
• 2-track recording - Dan Healy, Bob Bralove
• Digital mastering - Joe Gastwirt
• Grateful Dead crew - Ram Rod, Bill Candelario, Steve Parish, Billy Grillo, John J. T. Thomas
• Synthesizer programming - Bob Bralove
• Tour management - Cameron Sears
• Concert sound - Dan Healy
• Monitor mix - Harry Popick
• Production manager - Robbie Taylor
• Lighting designer - Candace Brightman
• Legal Counsel - Hal Kant
• Tape archivist - Dick Latvala
• Trucking - Mike Fischer
• Sage - Bill Legate
• Publicity - Dennis McNally
• Grateful Dead Office - Danny Rifkin, Eileen Law, Janet Knudsen, Sue Stephens, Mary Jo Meinolf, Maruska Nelson, Basia Raizene, Diane Geoppo, Nancy Mallonee, Jeanni Rasmussen, Cassidy Law, Jan Simmons
• Cover Art - Jerry Garcia
• Titles of the Music - Robert Hunter
• Design - Bob Bralove
• Image processing - Lawrence and Lawrence Associates
• Art direction - Amy F.
• Liner notes - Bob Bralove
• Special thanks - Peter Miller, Ultra Sound, Mike Brady, Glen Carrier, Annette Flowers, Roy Lott, Jeff Sterling, S. Cooke

Notes
The CD provides some technical information about the recording of the music;
This CD is an ADD recording. Multi-track analog tape was mixed to a digital format and then digitally mastered for the CD. The original multi-track recordings were all done on a twenty four track analog machine using Dolby SR noise reduction. Two-track masters were used in Crowd Sculpture, Parallelogram, Speaking In Swords, Sparrow Hawk Row and River Of Nine Sorrows. These masters were transferred to the twenty four track machine where they were combined with the multi-track recordings, manipulated, and processed for the final results.Silver Apples Of The Moon was recorded as MIDI data into a computer during several performances and was edited and orchestrated from the computer before being recorded as sound information on the multi-track tape.

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Infrared Sightings (video)
Grateful Dead

A Mind Expanding Visual Journey
1992
Trigon Productions

20 minute computer animation and live action set to music from the Grateful Dead audio CD release, Infrared Roses.

Segments;
• FreeQuency Beach
• Underwatermelons
• Synchronations
• Yes I Kandinsky

Film credits;
• Producer - Len Dell'Amico, Larry Lachman
• Music producer - Bob Bralove

Musicians;
• Jerry Garcia
• Mickey Hart
• Bill Kreutzmann
• Phil Lesh
• Brent Mydland
• Bob Weir
• Bob Bralove
• Willie Green III

 

Backstage Pass & Grateful Dead Scrapbook (deluxe version bonus dvd)

As mentioned in Infrared Roses, this GDM video started as a promotional video for Infrared Roses which makes up the last of six segments. Bill son Justin already had some GD product chops under his belt with “Making Of ‘A Touch Of Grey’ Video” (when he was just 16 years old) and Garcia/Grisman’s “The Thrill Is Gone” video. Along with girlfriend Gillian (David Grisman’s daughter), what was billed as a “GD video scrapbook” (or “merchandising sampler video”, depending on who one quotes) was assembled. There’s old home movie footage in there, though not always chronologically arranged. There’s some crisp 1968 black & white footage of GD performing at Columbia University which is partially synced to a nice “Hard To Handle” audio. “Fearless Groove” is Kreutzmann and Hart doing their “Drumz” thing while footage like Europe ’74 and Egypt home movies fly by in “The Other One”. There’s an ’80 segment of Brent and GD doing “Easy To Love You”, then a jump to the ‘90’s with Jerry, Bob and Phil in chairs doing Dylan’s “She Belongs To Me”, before the “Infrared Roses” (note the film still looks much like Jerry’s Infrared Roses cover skulls).

Several video vault releases of full concerts have been released over the years, but it’s worth noting that 2009’s Grateful Dead Scrapbook deluxe edition featured a bonus dvd that is similar to Backstage Pass in concept. This one features the short 1968 “New Potatoe Caboose/Alligator” film by Robert Nelson, Pig Pen doing “Hurts Me Too” from Copenhagen ’72, as well as more modern live tracks and the amusing “Hell In A Bucket” promo video.

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from deaddisc.com;


Backstage Pass
Grateful Dead

1992
Anubis Films/Grateful Dead Merchandising

A six song, 35 min collage of Grateful Dead music from different periods.
The music included on the video is;
• Hard To Handle
• "Fearless Groove"
• The Other One
• Easy To Love You
• She Belongs To Me
• Infrared Roses Revisited

Credits for the film;
• Director - Justin Kreutzmann
• Producer - Gillian Grisman
• Music Producer - John Cutler
• Sound Designer - Bob Bralove
• Animation - Xaos
• Editors - Justin Kreutzmann, Bill Weber
• Package Design - Tim Harris
• Special Thanks - Annette Flowers

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Grateful Dead Scrapbook

The Long, Strange Trip in Stories, Photos, and Memorabilia
Standard and deluxe editions

Author: Ben Fong-Torres
Publication date: 2009

Chronicle Books

A 64 page chronicle of the Grateful Dead with text by Ben Fong-Torres and many removable reproductions and interactive features such as bumper stickers, fold-out posters, letters and backstage passes. Also includes a CD with a previously unheard Jerry Garcia interview. The book is bound in a slipcase.

A deluxe version of the scrapbook is available from Dead.net. In addition to the contents of the standard edition the deluxe edition includes a vintage concert ticket and a DVD. The deluxe edition is bound in a limited edition numbered and embossed slipcase.

The DVD in the deluxe edition has the following contents:
• Grateful Dead short 1968 film by Robert Nelson
• Hurts Me Too – Copenhagen, Denmark, April 17, 1972
• Estimated Prophet – Passaic, NJ, November 24, 1978
• China Cat Sunflower>I Know You Rider – New York City, NY, October 29, 1980
• Scarlet Begonias>Fire On The Mountain – San Francisco, CA, December 27, 1983)
• Hell In A Bucket – the official music video
• Shakedown Street>Jack Straw>West LA Fadeaway - E. Rutherford, NJ, July 9, 1989