Loren, Richard, with Stephen Abney. 2014. High Notes: A Rock Memoir. Demariscotta,
ME: East Pond Publishing.
ME: East Pond Publishing.
When I read a book that I will need to be able to cite chapter and verse, this is how I arrange the chapters and verses. I just pull out quotes and other observations, I effectively tag them, and I sort them into the relevant files. So these aren’t really reading notes, just cullings.
That said, I think Richard Loren’s book High Notes is nice, well-written, informative, warm but also suitably dispassionate and detached. I learned a lot. Some of the many things of interest to me are David Grisman, Rowan Brothers, Stinson Beach, OAITW, drugs, banjo, Hells Angels, official releases, John Scher, John Lennon, Europe, The Movie, Nicky Hopkins, James Booker, Sirens of Titan.
Notes below the fold.
#OAITW Spring 1970 RL and Dawg bumped into each other in
Greenwich Village (Loren 2014, 101). Friends since 1967 Earth Opera with Peter
Rowan. #David_Grisman
Greenwich Village (Loren 2014, 101). Friends since 1967 Earth Opera with Peter
Rowan. #David_Grisman
#Rowan_Brothers that very spring 1970 day RL and DG formed
Hieronymous Music, to “get the Rowan Brothers a record deal, make a hit
single, and get rich” (Loren 2014, 102). #Rowan_Brothers
Hieronymous Music, to “get the Rowan Brothers a record deal, make a hit
single, and get rich” (Loren 2014, 102). #Rowan_Brothers
“We were a fun-loving, high-spirited, optimistic bunch,
working hard on our goals and hoping to break into the big time” (Loren
2014, 103). #Rowan_Brothers
working hard on our goals and hoping to break into the big time” (Loren
2014, 103). #Rowan_Brothers
“David’s connection to Jerry went back to the early
sixties, when the two then-unknown musicians met in a parking lot after a
bluegrass festival. Jerry had heard David playing his mandolin in the back of a
pickup truck and joined him on his banjo. Again, one of those fortuitous events
that shape life” (Loren 2014, 103). #David_Grisman
sixties, when the two then-unknown musicians met in a parking lot after a
bluegrass festival. Jerry had heard David playing his mandolin in the back of a
pickup truck and joined him on his banjo. Again, one of those fortuitous events
that shape life” (Loren 2014, 103). #David_Grisman
FE 1970 GD staying at Chelsea Hotel. Story pp. 104-105
implies that these are the July 1970 shows, since he said Dawg would lay down
tracks a few months after this meeting in NY.
p 105 Garcia suggested they all move out to the west coast. They started
moving out late summer, also consistent with 7/70 meeting.
implies that these are the July 1970 shows, since he said Dawg would lay down
tracks a few months after this meeting in NY.
p 105 Garcia suggested they all move out to the west coast. They started
moving out late summer, also consistent with 7/70 meeting.
“Shortly after I arrived, [Marty Balin] invited me to
several recording sessions for Paul Kantner’s Blows Against the Empire album … The experience went hand in hand
with another first, Merck pharmaceutical cocaine, the
session’s buffet drug. The fluffy white tincture was situated on the
recording console in a brown bottle with a skull and crossbones label. That
label signaled its toxic potential to the dentists who used it as a topical
anesthesia- and its lethal appeal to recreational users. Merck’s coke was not an
organic compound but a synthetically manufactured drug that packed an insidious
punch. Musicians, engineers, and guests freely and openly indulged, assuring me
that I had definitely landed in California, not Kansas.” (Loren 2014, 110).
NB BATE cocaine PRIVATE Jerry and the Jeffersons. #drugs
several recording sessions for Paul Kantner’s Blows Against the Empire album … The experience went hand in hand
with another first, Merck pharmaceutical cocaine, the
session’s buffet drug. The fluffy white tincture was situated on the
recording console in a brown bottle with a skull and crossbones label. That
label signaled its toxic potential to the dentists who used it as a topical
anesthesia- and its lethal appeal to recreational users. Merck’s coke was not an
organic compound but a synthetically manufactured drug that packed an insidious
punch. Musicians, engineers, and guests freely and openly indulged, assuring me
that I had definitely landed in California, not Kansas.” (Loren 2014, 110).
NB BATE cocaine PRIVATE Jerry and the Jeffersons. #drugs
“credit card hippies” (Loren 2014, 111) #Rowan_Brothers
“We were living an idyllic lifestyle. We continued our
healthy food regime, played music for entertainment, practiced yoga, used the
beach for exercise, grew our own pot, and maxed out our credit cards. Everyone
was following his dreams, but no one had a paying job. We were living on both
the geographical edge of the Western world and the financial edge of our
resources. Every paradise has a [112] snake–ours was the bill collector-but we
were happy, high, healthy and hopeful. As it
turned out, not everyone m Stinson loved having a commune of long-haired,
dope-smoking, guitar-playing, good-for-nothing hippies in the neighborhood. One
morning the phone rang, and to our surprise an unknown caller said,
“Hello, this is a mission of mercy. Colonel White knows about your pot
growing and has notified the sheriff.” Colonel White was the ex-military
fire chief who patrolled the beach in his Jeep, on the watch for fire hazards,
burglars, Cold War spies, and any threats to the American Way of Life. We
figured that a local electrician who’d been on the property to do repairs had
tipped him off about our four-flowerpot marijuana operation. When the sheriff
and the colonel arrived, the Great Stinson Beach Dope Raid failed to turn up
any evidence of degenerate, criminal activity thanks to the anonymous tip. We
were extremely grateful to our anonymous caller.” (Loren 2014, 112).
#drugs #Rowan_Brothers
healthy food regime, played music for entertainment, practiced yoga, used the
beach for exercise, grew our own pot, and maxed out our credit cards. Everyone
was following his dreams, but no one had a paying job. We were living on both
the geographical edge of the Western world and the financial edge of our
resources. Every paradise has a [112] snake–ours was the bill collector-but we
were happy, high, healthy and hopeful. As it
turned out, not everyone m Stinson loved having a commune of long-haired,
dope-smoking, guitar-playing, good-for-nothing hippies in the neighborhood. One
morning the phone rang, and to our surprise an unknown caller said,
“Hello, this is a mission of mercy. Colonel White knows about your pot
growing and has notified the sheriff.” Colonel White was the ex-military
fire chief who patrolled the beach in his Jeep, on the watch for fire hazards,
burglars, Cold War spies, and any threats to the American Way of Life. We
figured that a local electrician who’d been on the property to do repairs had
tipped him off about our four-flowerpot marijuana operation. When the sheriff
and the colonel arrived, the Great Stinson Beach Dope Raid failed to turn up
any evidence of degenerate, criminal activity thanks to the anonymous tip. We
were extremely grateful to our anonymous caller.” (Loren 2014, 112).
#drugs #Rowan_Brothers
Go to hang out with Jerry and MG, “Jerry would
carefully select premium cannabis buds from his extensive pot pantry”
(Loren 2014, 113). #drugs
carefully select premium cannabis buds from his extensive pot pantry”
(Loren 2014, 113). #drugs
JG music: Swan Silvertones, Homer and Jethro, which inspired
him to want to pick up the banjo again (Loren 2014, 113). #banjo
him to want to pick up the banjo again (Loren 2014, 113). #banjo
Rowan Brothers deal: “Clive offered us a two-year,
three-record contract rather than the usual deal of one year with four one-year
options, plus a fifty thousand dollar signing bonus. And he agreed to let
Grisman produce the album rather than insisting on a renowned producer.”
(Loren 2014, 114). #Rowan_Brothers
three-record contract rather than the usual deal of one year with four one-year
options, plus a fifty thousand dollar signing bonus. And he agreed to let
Grisman produce the album rather than insisting on a renowned producer.”
(Loren 2014, 114). #Rowan_Brothers
Rowans did a bunch of LA shows to generate attention (Loren
2014, 114) – when? Also opened for GD (ibid) – when? #Rowan_Brothers
2014, 114) – when? Also opened for GD (ibid) – when? #Rowan_Brothers
“dissolution of the enterprise” (?Hieronymous
Music?) in mid-1972 (Loren 2014, 115).
Music?) in mid-1972 (Loren 2014, 115).
Why Garcia needs a manager: “Hey man, I gotta lot goin’
on in my life besides the Dead. Wanna help me out? You know, coordinate stuff,
set up gigs, organize session work …?” … “My friend Jerry had a lot
of stuff going on that needed organizing”. (Loren 2014, 117).
on in my life besides the Dead. Wanna help me out? You know, coordinate stuff,
set up gigs, organize session work …?” … “My friend Jerry had a lot
of stuff going on that needed organizing”. (Loren 2014, 117).
“music was a source of wonder
and fascination to Jerry. His life was music, and the more varied and
challenging it was, the more engaged he became. Practicing and
performing took all his time and energy, and he did need a manager to look
after the practical details and the business end of his affairs” (Loren
2014, 118).
and fascination to Jerry. His life was music, and the more varied and
challenging it was, the more engaged he became. Practicing and
performing took all his time and energy, and he did need a manager to look
after the practical details and the business end of his affairs” (Loren
2014, 118).
Parish: “He was about six foot five and at least two
hundred twenty-five pounds, had bulging biceps protruding from his leather
vest, and was giving me the stank eye. I felt like I had just stepped between a
pit bull and his bone” (Loren 2014, 119).
hundred twenty-five pounds, had bulging biceps protruding from his leather
vest, and was giving me the stank eye. I felt like I had just stepped between a
pit bull and his bone” (Loren 2014, 119).
“At the Keystone for the first time, I had found my way
to the dressing room, where the musicians and the crews hung out and smoked
weed before the show. Big Steve and another roadie, Kidd Candelario, were
blowing a joint and Jerry was practicing when a congenial-looking, dark-haired
guy walked in.” (Loren 2014, 119). Freddie Herrera.
to the dressing room, where the musicians and the crews hung out and smoked
weed before the show. Big Steve and another roadie, Kidd Candelario, were
blowing a joint and Jerry was practicing when a congenial-looking, dark-haired
guy walked in.” (Loren 2014, 119). Freddie Herrera.
Freddie: “I sell beer by the pitcher and popcorn by the
bag”, was the Keystone’s MO (Loren 2014, 120).
bag”, was the Keystone’s MO (Loren 2014, 120).
Ca. 1973, Jerry always insisted all the musicians get the
same amount of money (Loren 2014, 121).
same amount of money (Loren 2014, 121).
“I think the club’s legal max capacity was two hundred
fifty, but the place was packed. I’d heard that on Garcia-Saunders weekends,
Freddie packed in as many as five hundred, and it must have been one of those
nights.” (Loren 2014, 121).
fifty, but the place was packed. I’d heard that on Garcia-Saunders weekends,
Freddie packed in as many as five hundred, and it must have been one of those
nights.” (Loren 2014, 121).
“It was an exciting and
productive period of varied musical activity in Jerry’s life, and it was my
pleasure to be around him and hear him perform in so many genres. He was
relaxed and free of his rock star identity when he played outside
the big rock venues for his adoring fans. When Jerry later played in Old and in
the Way with Vassar Clements, Peter Rowan, John Kahn, and David Grisman, the
bluegrass aficionados had no idea who the bearded banjo player was. Jerry loved just being another musician and not a recognized celebrity. At one point, he
summed up his feelings in Melody Maker,
‘The most rewarding experience for me these days is to play in bars and not be
Jerry Garcia of the Grateful Dead. I enjoy playing to fifty people. The bigger
the audience gets, the harder it is to be light and spontaneous’” (Loren
2014, 121; quote is from Lake 1974, 21, and continues “and that’s my
biggest single dissatisfaction”).
productive period of varied musical activity in Jerry’s life, and it was my
pleasure to be around him and hear him perform in so many genres. He was
relaxed and free of his rock star identity when he played outside
the big rock venues for his adoring fans. When Jerry later played in Old and in
the Way with Vassar Clements, Peter Rowan, John Kahn, and David Grisman, the
bluegrass aficionados had no idea who the bearded banjo player was. Jerry loved just being another musician and not a recognized celebrity. At one point, he
summed up his feelings in Melody Maker,
‘The most rewarding experience for me these days is to play in bars and not be
Jerry Garcia of the Grateful Dead. I enjoy playing to fifty people. The bigger
the audience gets, the harder it is to be light and spontaneous’” (Loren
2014, 121; quote is from Lake 1974, 21, and continues “and that’s my
biggest single dissatisfaction”).
Loren: “Although these projects were great for Jerry,
they didn’t sit well with some of the other Grateful Dead members. The band was
not yet making the big money that would come later. There were rumblings in the Dead community that Jerry’s activities were a costly
distraction, limiting the Dead’s engagement schedule and their paychecks. Jerry
always made the Dead his first priority, but his pure love of music transcended
monetary considerations and he was seduced by the muse
in all shapes and forms, which meant playing not only with the Grateful Dead”
(Loren 2014, 122). #why #GDJG
they didn’t sit well with some of the other Grateful Dead members. The band was
not yet making the big money that would come later. There were rumblings in the Dead community that Jerry’s activities were a costly
distraction, limiting the Dead’s engagement schedule and their paychecks. Jerry
always made the Dead his first priority, but his pure love of music transcended
monetary considerations and he was seduced by the muse
in all shapes and forms, which meant playing not only with the Grateful Dead”
(Loren 2014, 122). #why #GDJG
GD
jealousy/complexity/attitudes: “Jerry was above reproach, so as his
manager, I became the brunt of all the resentment. For me, Jerry came first,
and I found myself having to juggle feelings on both sides witl1 a positive
attitude, as diplomatically as possible. I had to deal with a complex web of
relationships, both within and surrounding the band” (Loren 2014, 122).
jealousy/complexity/attitudes: “Jerry was above reproach, so as his
manager, I became the brunt of all the resentment. For me, Jerry came first,
and I found myself having to juggle feelings on both sides witl1 a positive
attitude, as diplomatically as possible. I had to deal with a complex web of
relationships, both within and surrounding the band” (Loren 2014, 122).
Ron Rakow
introduced as a “character” a “high-finance
wheeler-dealer”, a “slick and self-assured businessman, high-level
Scientologist and low-level hippie” who “managed to ingratiate
himself into the Dead community, where he concocted a number of weird and shady
deals. One involved a sixteen-car fleet of British-made Ford Cortinas,
which he leased at a bargain rate to members of the Dead family to get around
Marin County. The cars, the subject of some hilarious stories, all ended up
destroyed, broken, and abandoned in the hills and lagoons of Marin. Many of his
schemes, wacky as they were, seemed harmless-until one day the band discovered
that he was responsible for glaring irregularities in the Dead accounts.
Confronted by Phil Lesh and others, his [123] explanation was, “Go fuck
yourselves!” He wrote himself a severance check for two hundred
twenty-five thousand bucks and disappeared from the scene. Years later, his
financial shenanigans finally caught up with him, and he spent five years
behind bars” (Loren 2014, 122-123).
introduced as a “character” a “high-finance
wheeler-dealer”, a “slick and self-assured businessman, high-level
Scientologist and low-level hippie” who “managed to ingratiate
himself into the Dead community, where he concocted a number of weird and shady
deals. One involved a sixteen-car fleet of British-made Ford Cortinas,
which he leased at a bargain rate to members of the Dead family to get around
Marin County. The cars, the subject of some hilarious stories, all ended up
destroyed, broken, and abandoned in the hills and lagoons of Marin. Many of his
schemes, wacky as they were, seemed harmless-until one day the band discovered
that he was responsible for glaring irregularities in the Dead accounts.
Confronted by Phil Lesh and others, his [123] explanation was, “Go fuck
yourselves!” He wrote himself a severance check for two hundred
twenty-five thousand bucks and disappeared from the scene. Years later, his
financial shenanigans finally caught up with him, and he spent five years
behind bars” (Loren 2014, 122-123).
More Rakow:
“Ron had always been friendly and generous to me because of my close
association with Jerry, but I never trusted him. I could recognize a shark
after my New York experiences, even one posing as a hippie entrepreneur. I made
a point of maintaining a good distance from Ron and not getting involved with
him or any of his schemes. Ironically, I went through a strange spell with some
of the band members and crew, who mistakenly thought Ron and I were in cahoots
simply because we both lived in Stinson Beach and shared a friendship with
Jerry. I heard rumors that we were referred to as the “Stinson Beach
Mafia,” the nefarious outsiders who were trying to take over the Dead. It
was my first direct introduction to the nasty business of Dead family rumors,
jealousies and suspicions” (Loren 2014, 123).
“Ron had always been friendly and generous to me because of my close
association with Jerry, but I never trusted him. I could recognize a shark
after my New York experiences, even one posing as a hippie entrepreneur. I made
a point of maintaining a good distance from Ron and not getting involved with
him or any of his schemes. Ironically, I went through a strange spell with some
of the band members and crew, who mistakenly thought Ron and I were in cahoots
simply because we both lived in Stinson Beach and shared a friendship with
Jerry. I heard rumors that we were referred to as the “Stinson Beach
Mafia,” the nefarious outsiders who were trying to take over the Dead. It
was my first direct introduction to the nasty business of Dead family rumors,
jealousies and suspicions” (Loren 2014, 123).
Heading “A Day in the Life” #adayinthelife: “I
rented a one-room office in Mill Valley, halfway between our homes in Stinson
Beach and the Grateful Dead office in San Rafael. We hired Sue Stephens, my
devoted assistant from the Rowan Brothers days, picked up some furniture,
installed phones, bought a movie projector, and put together a small sound
system. What the office lacked in designer decor, it made up for in relaxed and
easygoing ambiance. On typical mornings, Jerry walked in around nine o’clock,
slapped his briefcase down on the desk, grabbed a big mug of [124] coffee, pulled up a chair, laid out a
couple of lines, lit a joint, and began the day. Mornings were spent tending to
business, watching movies on reels I’d rented from LA, or jawing with anyone
who popped into the office. Jerry’s Bay Area friends and musicians dropped by
from time to time with stories and news from the odd collection of places and
people that made up Jerry’s world. In
those days, Jerry was vibrant and active. (Loren
2014, 123-124). See also Bernstein California Slim video games at Homer’s
#adayinthelife
rented a one-room office in Mill Valley, halfway between our homes in Stinson
Beach and the Grateful Dead office in San Rafael. We hired Sue Stephens, my
devoted assistant from the Rowan Brothers days, picked up some furniture,
installed phones, bought a movie projector, and put together a small sound
system. What the office lacked in designer decor, it made up for in relaxed and
easygoing ambiance. On typical mornings, Jerry walked in around nine o’clock,
slapped his briefcase down on the desk, grabbed a big mug of [124] coffee, pulled up a chair, laid out a
couple of lines, lit a joint, and began the day. Mornings were spent tending to
business, watching movies on reels I’d rented from LA, or jawing with anyone
who popped into the office. Jerry’s Bay Area friends and musicians dropped by
from time to time with stories and news from the odd collection of places and
people that made up Jerry’s world. In
those days, Jerry was vibrant and active. (Loren
2014, 123-124). See also Bernstein California Slim video games at Homer’s
#adayinthelife
“The bond we established during those times made it all
the more painful for me to see him, long after our days together, slide into
addiction and self-isolation” (Loren 2014, 124).
the more painful for me to see him, long after our days together, slide into
addiction and self-isolation” (Loren 2014, 124).
Early OAITW: “When I was Jerry’s manager in the early
seventies, Jerry, David Grisman and Peter Rowan started hanging out at Jerry’s
house in Stinson Beach to play bluegrass and traditional acoustic music for
their own enjoyment. Jerry played his old Weymann five-string banjo and the three
jammed out archival bluegrass tunes. I was never a big bluegrass music fan, but
there in Jerry’s living room, I soon found myself sharing the joy these three
guys were having playing tunes from their musical roots and became transfixed
by the sound I was hearing. They had left behind this music to pursue other
musical goals, and now they were playing it again. They were enjoying every
moment, and their exuberance was infectious. Jerry, David, and Peter decided to
form a band, and Jerry recruited his friend, the Garcia-Saunders bassist John
Kahn, to join on upright acoustic bass. . This exciting project for old friends
became Old and in the Way. I accepted their offer to manage the band’s affairs,
and they were off and running. Rehearsals started, [126] songs were chosen, and
after just a few living room rehearsals, Garcia, always more eager to perform
than rehearse, suggested, “Hey, man. This is fun! We should play in a few
bars and see where it takes us.” David invited Richard Greene to play fiddle.
When he couldn’t make it, John Hartford sat in. The first couple of gigs were
small, loose, informal affairs in Stinson Beach that were quickly followed by a
dozen performances in Bay Area clubs. I put forward the idea that they play
some gigs on the East Coast. The band was without a permanent fiddle player, so
David suggested that they try to get Vassar Clements. We contacted Vassar in
Nashville, and in a matter of days, he arrived at the first gig in Boston and
proceeded to blow everybody’s socks off. Vassar, like Peter, was a veteran of
Bill Monroe’s band and was regarded by many as the greatest fiddler alive.
Jerry, of course, had an enormous fan base. Old and in the Way was a band of
unique revelers, on stage and off, who energized each other. John had a brilliant
dry wit and played an omnipresent bass; Peter’s singing and songwriting were
brilliant; David’s quest for perfection on the mandolin was unwavering; Vassar,
with his pipe clenched tightly between his teeth, played faultlessly; and
Jerry, with his huge heart, was determined to conquer the banjo. Delighted by
the challenge of David’s and Vassar’s licks, Jerry held his own and made the
banjo his constant companion. Everyone had nicknames. Peter was Red because
he’d written “Panama Red.” Grisman dubbed Garcia, Spud, and Garcia,
in turn, named David, Dawg. Vassar was Clem, and Kahn was Mule. Kahn gave me
the name Zippy because I was always moving quickly and am a high-energy kinda
guy” (Loren 2014, 125-126).
seventies, Jerry, David Grisman and Peter Rowan started hanging out at Jerry’s
house in Stinson Beach to play bluegrass and traditional acoustic music for
their own enjoyment. Jerry played his old Weymann five-string banjo and the three
jammed out archival bluegrass tunes. I was never a big bluegrass music fan, but
there in Jerry’s living room, I soon found myself sharing the joy these three
guys were having playing tunes from their musical roots and became transfixed
by the sound I was hearing. They had left behind this music to pursue other
musical goals, and now they were playing it again. They were enjoying every
moment, and their exuberance was infectious. Jerry, David, and Peter decided to
form a band, and Jerry recruited his friend, the Garcia-Saunders bassist John
Kahn, to join on upright acoustic bass. . This exciting project for old friends
became Old and in the Way. I accepted their offer to manage the band’s affairs,
and they were off and running. Rehearsals started, [126] songs were chosen, and
after just a few living room rehearsals, Garcia, always more eager to perform
than rehearse, suggested, “Hey, man. This is fun! We should play in a few
bars and see where it takes us.” David invited Richard Greene to play fiddle.
When he couldn’t make it, John Hartford sat in. The first couple of gigs were
small, loose, informal affairs in Stinson Beach that were quickly followed by a
dozen performances in Bay Area clubs. I put forward the idea that they play
some gigs on the East Coast. The band was without a permanent fiddle player, so
David suggested that they try to get Vassar Clements. We contacted Vassar in
Nashville, and in a matter of days, he arrived at the first gig in Boston and
proceeded to blow everybody’s socks off. Vassar, like Peter, was a veteran of
Bill Monroe’s band and was regarded by many as the greatest fiddler alive.
Jerry, of course, had an enormous fan base. Old and in the Way was a band of
unique revelers, on stage and off, who energized each other. John had a brilliant
dry wit and played an omnipresent bass; Peter’s singing and songwriting were
brilliant; David’s quest for perfection on the mandolin was unwavering; Vassar,
with his pipe clenched tightly between his teeth, played faultlessly; and
Jerry, with his huge heart, was determined to conquer the banjo. Delighted by
the challenge of David’s and Vassar’s licks, Jerry held his own and made the
banjo his constant companion. Everyone had nicknames. Peter was Red because
he’d written “Panama Red.” Grisman dubbed Garcia, Spud, and Garcia,
in turn, named David, Dawg. Vassar was Clem, and Kahn was Mule. Kahn gave me
the name Zippy because I was always moving quickly and am a high-energy kinda
guy” (Loren 2014, 125-126).
Loren says: “In September 1973, Ron Rakow needed new
product for Round Records-the subsidiary of Grateful Dead Records owned by
Garcia and Rakow-and he was on Jerry’s case to make another album” (Loren
2014, 131). Yet I don’t think Round Records existed yet, did it?
product for Round Records-the subsidiary of Grateful Dead Records owned by
Garcia and Rakow-and he was on Jerry’s case to make another album” (Loren
2014, 131). Yet I don’t think Round Records existed yet, did it?
Compliments: “Most of the recording took place in LA in
late December 1973. John had top session musicians lay down the basic tracks
first, and then he used Jerry as a vocalist and support player” (Loren
2014, 131). The date is news to me.
late December 1973. John had top session musicians lay down the basic tracks
first, and then he used Jerry as a vocalist and support player” (Loren
2014, 131). The date is news to me.
Compliments “selections from Van Morrison, Dr. John,
the Rolling Stones, Chuck Berry, Smokey Robinson, and Irving Berlin” (Loren
2014, 131).
the Rolling Stones, Chuck Berry, Smokey Robinson, and Irving Berlin” (Loren
2014, 131).
Compliments Garcia: “I let John select most all of it,
but I made a few suggestions like … ‘Russian Lullaby’ was my idea”
(Loren 2014, 132).
but I made a few suggestions like … ‘Russian Lullaby’ was my idea”
(Loren 2014, 132).
Hells Angels #hellsangels : On a bright September day in
1973, had Liberty been a live lady instead of a statue in New York Harbor, she
would have raised her eyebrows in disdain at the sight of “the wretched
refuse” partying on the passing steamship. They were not the tired, the
poor, or the huddled masses yearning to breathe free; they were the Hells
Angels drinking beer, sucking nitrous oxide out of party balloons, and
rollicking on the upper deck of the SS Bay Belle. Specifically, they were
members of the New York City and Richmond chapter of the Hells Angels outlaw
biker club and their friends. Resplendent in leathers and tattoos, they were
rocking to the sounds of Bo Diddley as he belted out “Who Do You
Love?” The Angels had always treated me with respect and loyalty, but I
also had seen them suddenly snap and get in your face, so I thought it best to
pocket my camera after a few cautious snapshots and not invite trouble. I was
attending the raucous affair, appropriately called “The Hells Angels
Pirate’s Ball,” with Jerry, Merle [sic] Saunders, Bill Kreutzmann, and
John Kahn. We were guests [133] of the Angels” (Loren 2014, 132-133).
9/5/73
1973, had Liberty been a live lady instead of a statue in New York Harbor, she
would have raised her eyebrows in disdain at the sight of “the wretched
refuse” partying on the passing steamship. They were not the tired, the
poor, or the huddled masses yearning to breathe free; they were the Hells
Angels drinking beer, sucking nitrous oxide out of party balloons, and
rollicking on the upper deck of the SS Bay Belle. Specifically, they were
members of the New York City and Richmond chapter of the Hells Angels outlaw
biker club and their friends. Resplendent in leathers and tattoos, they were
rocking to the sounds of Bo Diddley as he belted out “Who Do You
Love?” The Angels had always treated me with respect and loyalty, but I
also had seen them suddenly snap and get in your face, so I thought it best to
pocket my camera after a few cautious snapshots and not invite trouble. I was
attending the raucous affair, appropriately called “The Hells Angels
Pirate’s Ball,” with Jerry, Merle [sic] Saunders, Bill Kreutzmann, and
John Kahn. We were guests [133] of the Angels” (Loren 2014, 132-133).
9/5/73
#hellsangels “Their presence always had an edge of
unpredictability, and they could turn violent on a moment’s notice” (Loren
2014, 133).
unpredictability, and they could turn violent on a moment’s notice” (Loren
2014, 133).
#hellsangels “Sandy Alexander, the president of the New
York City chapter of the Angels, felt that the Dead-Angel connection was solid
enough to ask Jerry and Ron Rakow for funds to complete a documentary film
about the club that they were making with Leon Gast, the director. Sandy
introduced Ron and Jerry to Leon, who showed them the footage he’d already
shot. Jerry was enthusiastic about the film, and he and Ron ended up investing
well over two hundred fifty thousand dollars towards its completion”
(Loren 2014, 133). Hells Angels Forever
York City chapter of the Angels, felt that the Dead-Angel connection was solid
enough to ask Jerry and Ron Rakow for funds to complete a documentary film
about the club that they were making with Leon Gast, the director. Sandy
introduced Ron and Jerry to Leon, who showed them the footage he’d already
shot. Jerry was enthusiastic about the film, and he and Ron ended up investing
well over two hundred fifty thousand dollars towards its completion”
(Loren 2014, 133). Hells Angels Forever
#hellsangels “Jerry was intrigued with the
larger-than-life Angels, and the first East Coast -tour of the Garcia-Saunders
Band just happened to coincide with the Pirate’s Ball the Angels were having in
New York. Jerry had agreed to perform as a favor to Sonny Barger, the president
of the Oakland Angels chapter, who was in prison at the time on federal
charges. The event, which was on a boat that chugged around the New York
harbor, was a benefit to raise funds for Barger’s defense” (Loren 2014,
134).
larger-than-life Angels, and the first East Coast -tour of the Garcia-Saunders
Band just happened to coincide with the Pirate’s Ball the Angels were having in
New York. Jerry had agreed to perform as a favor to Sonny Barger, the president
of the Oakland Angels chapter, who was in prison at the time on federal
charges. The event, which was on a boat that chugged around the New York
harbor, was a benefit to raise funds for Barger’s defense” (Loren 2014,
134).
9/5/73: “The Angels’ temperaments were ramping up fast,
in close correlation to the increase in the consumption of drugs and alcohol.
We were suddenly more aware of our isolation and situation: we were partying on
a boat in the middle of a harbor with the elite of the outlaw biker world. They
were a fearsome group, intimidating not just in size, and we felt a growing
apprehension as the action became more frenzied. Surrounded by a seemingly
friendly pack of dogs but wary of their ferocious potential if paws got stepped
on, we were treading carefully. We discreetly retreated to the ship’s boiler
room, which was serving as the makeshift backstage. It occurred to me that we
were somewhat removed from the boisterous deck crowd above but now trapped in a
confined space below, and that space shrank dramatically when Big Vinnie pushed
his way into our midst. Vinnie was huge-well over six feet tall and more than
three hundred pounds, with a bearded pug face, massive arms, and a pumped-up
chest protruding from his denim vest. He gesticulated [135] wildly, flailing
his spike-belted bulging arms perilously close to our faces. “I just come
down here to see yous and make sure ya bein’ treated right. Lemme know if ya
have any problems need fixin’.” Thoughts of having Big Vinnie hovering by
my side when I had to deal with shady promoters distracted me, but I was
interrupted from my daydream by Jerry’s voice assuring Vinnie that there were
no problems and we were delighted to be on board. Vinnie snorted his
satisfaction and turned to leave. We were relieved to see him go. Jerry watched
Vinnie shuffling off. “Man, you gotta hand it to that guy! He’s scary, but
he’s real.” Yeah! Real scary!” I added. Jerry smiled. ‘Yeah. He’s
just who he is.” He believed that there was something uniquely American
about the Angels-their toughness, independence, and directness. Jerry accepted
people for who they were, on their terms, without judgment. Years later, we
heard that Big Vinnie ended up in prison for throwing a girl from a rooftop to
her death. It was tragic news but not surprising.” (Loren 2014, 134-135).
in close correlation to the increase in the consumption of drugs and alcohol.
We were suddenly more aware of our isolation and situation: we were partying on
a boat in the middle of a harbor with the elite of the outlaw biker world. They
were a fearsome group, intimidating not just in size, and we felt a growing
apprehension as the action became more frenzied. Surrounded by a seemingly
friendly pack of dogs but wary of their ferocious potential if paws got stepped
on, we were treading carefully. We discreetly retreated to the ship’s boiler
room, which was serving as the makeshift backstage. It occurred to me that we
were somewhat removed from the boisterous deck crowd above but now trapped in a
confined space below, and that space shrank dramatically when Big Vinnie pushed
his way into our midst. Vinnie was huge-well over six feet tall and more than
three hundred pounds, with a bearded pug face, massive arms, and a pumped-up
chest protruding from his denim vest. He gesticulated [135] wildly, flailing
his spike-belted bulging arms perilously close to our faces. “I just come
down here to see yous and make sure ya bein’ treated right. Lemme know if ya
have any problems need fixin’.” Thoughts of having Big Vinnie hovering by
my side when I had to deal with shady promoters distracted me, but I was
interrupted from my daydream by Jerry’s voice assuring Vinnie that there were
no problems and we were delighted to be on board. Vinnie snorted his
satisfaction and turned to leave. We were relieved to see him go. Jerry watched
Vinnie shuffling off. “Man, you gotta hand it to that guy! He’s scary, but
he’s real.” Yeah! Real scary!” I added. Jerry smiled. ‘Yeah. He’s
just who he is.” He believed that there was something uniquely American
about the Angels-their toughness, independence, and directness. Jerry accepted
people for who they were, on their terms, without judgment. Years later, we
heard that Big Vinnie ended up in prison for throwing a girl from a rooftop to
her death. It was tragic news but not surprising.” (Loren 2014, 134-135).
#hellsangels “The Garcia Band ended up playing at
another Pirate’s Ball several years after our first experience, but for the
most part I tried to shy away from Sandy Alexander’s persistent attempts to
promote the band. I had started working with John Scher and his company,
Monarch Entertainment, for our East Coast shows, and I used our commitment to
John when necessary as a reason for not being able to do shows outside the
Monarch umbrella. It helped me fend off Sandy’s requests but ended up
unintentionally casting John as the bad guy, an undesirable role at best”
(Loren 2014, 136).
another Pirate’s Ball several years after our first experience, but for the
most part I tried to shy away from Sandy Alexander’s persistent attempts to
promote the band. I had started working with John Scher and his company,
Monarch Entertainment, for our East Coast shows, and I used our commitment to
John when necessary as a reason for not being able to do shows outside the
Monarch umbrella. It helped me fend off Sandy’s requests but ended up
unintentionally casting John as the bad guy, an undesirable role at best”
(Loren 2014, 136).
“John was promoter in 1978 when the Dead did a Giant
Stadium concert in East Rutherford City, the night before the band’s Egypt
tour. At the last minute, Sandy Alexander informed John that forty to fifty
Angels would be attending the concert, and he wanted permission for them to
park their bikes in the area beneath the stadium. This request was actually a
favor by Angels’ protocol, and when Angels asked for favors they expected
favors to be given. John relayed the request to the Jersey Sports Exposition
Authority but was emphatically denied. To appease Sandy, John offered to cordon
off a section of the parking lot for the bikes, but Sandy was furious and
threatened the now-terrified John. Shortly after their encounter, I got a call
from Sandy demanding that I tell John to let the Angels park under the stadium
or else. We appealed to the Sports Authority, who were growing increasingly
nervous about the Angels, and they responded by getting the mayor of Jersey
City to back them up on their denial. John, who was no longer sleeping at
night, begged me and the band to do something-anything” (Loren 2014, 136).
Stadium concert in East Rutherford City, the night before the band’s Egypt
tour. At the last minute, Sandy Alexander informed John that forty to fifty
Angels would be attending the concert, and he wanted permission for them to
park their bikes in the area beneath the stadium. This request was actually a
favor by Angels’ protocol, and when Angels asked for favors they expected
favors to be given. John relayed the request to the Jersey Sports Exposition
Authority but was emphatically denied. To appease Sandy, John offered to cordon
off a section of the parking lot for the bikes, but Sandy was furious and
threatened the now-terrified John. Shortly after their encounter, I got a call
from Sandy demanding that I tell John to let the Angels park under the stadium
or else. We appealed to the Sports Authority, who were growing increasingly
nervous about the Angels, and they responded by getting the mayor of Jersey
City to back them up on their denial. John, who was no longer sleeping at
night, begged me and the band to do something-anything” (Loren 2014, 136).
“Jerry and I went down to the club headquarters at
Seventy-seven East Third Street, the safest street in New York thanks to the
Angels, who the local working-class residents regarded as guardians.
Seventy-seven East Third Street, the safest street in New York thanks to the
Angels, who the local working-class residents regarded as guardians.
Sandy greeted us with, ”What the fuck’s with this asshole
Scher? Is he tryin’ to mess with us?”
Scher? Is he tryin’ to mess with us?”
“Believe me, Sandy,” I said with complete
sincerity, “nobody’s trying to mess with you!”
sincerity, “nobody’s trying to mess with you!”
“We don’t like it any better than you do,” Jerry
chimed in, “but we don’t make the rules.”
chimed in, “but we don’t make the rules.”
“Rules! What fuckin’ rules, man?” ‘john tried his
best. He . .. “
best. He . .. “
“Bullshit!” Sandy interrupted. “He’s a
fuckin’ liar!” Jerry gave Sandy his best what-can-we-do? look.
fuckin’ liar!” Jerry gave Sandy his best what-can-we-do? look.
Sandy liked Jerry and reached over and patted him on the
shoulder. ”Y a wanna know about rules, man? There’s only one goddamn rule-ya
take what ya want and fuck the rest.”
shoulder. ”Y a wanna know about rules, man? There’s only one goddamn rule-ya
take what ya want and fuck the rest.”
”We’re really sorry, Sandy,” Jerry offered.
“Ah, don’t worry ’bout it. We’re gonna park
underneath.” Sandy shrugged. “No problem.”
underneath.” Sandy shrugged. “No problem.”
”But … but … ,” I stuttered.
”We talked to some guys we know and got the Jersey State
Troopers to put pressure on the stadium dickheads. They changed their minds.
Know what I mean? We’re parkin’ underneath.”
Troopers to put pressure on the stadium dickheads. They changed their minds.
Know what I mean? We’re parkin’ underneath.”
Jerry and I exchanged looks of relief.
Sandy nodded at us. “That’s how the fuckin’ rules
work!”” (Loren 2014, 137).
work!”” (Loren 2014, 137).
Under heading “Beatle Juiced and the Banality of
Fame”, Loren: “I want to jam with ’em. Get me a guitar louder than
J.C.’s!” John Lennon told me” (Loren 2014, 137). “‘J.C.? You
mean Jerry,” I said, amused by my imagined image of Jesus in a band.
“I mean Jerry what’s-his-name, in the black T-shirt,” Lennon replied.
1974 was an odd and pivotal year, with a
lot of disquiet. People were being challenged and pressured. The pendulum swing
was reaching an apex, and the Piper was having a field day” (Loren 2014,
138).
Fame”, Loren: “I want to jam with ’em. Get me a guitar louder than
J.C.’s!” John Lennon told me” (Loren 2014, 137). “‘J.C.? You
mean Jerry,” I said, amused by my imagined image of Jesus in a band.
“I mean Jerry what’s-his-name, in the black T-shirt,” Lennon replied.
1974 was an odd and pivotal year, with a
lot of disquiet. People were being challenged and pressured. The pendulum swing
was reaching an apex, and the Piper was having a field day” (Loren 2014,
138).
July ’74 Bottom Line shows! “On the Fourth of July
weekend, the Garcia-Saunders Band was playing in New York at the Bottom Line on
West Fourth Street in Greenwich Village. The Dead had just finished an East
Coast tour, and Jerry’s Compliments album had been recently released. The
owners of the Bottom Line had contacted me back in February, offering a
four-show engagement for the Garcia-Saunders Band, and we’d accepted. I
arranged for John Kahn and Merl to fly in, and John brought along his
girlfriend at the time, Maria Muldaur, who was riding high on her hit single
“Midnight at the Oasis.” She sat in as a guest vocalist, and the
group was hot. Word got out, and lines stretched around the block for every
show. The Bottom Line was the happening place to be in the city, and all sorts
of people were showing up.” (Loren 2014, 138).
weekend, the Garcia-Saunders Band was playing in New York at the Bottom Line on
West Fourth Street in Greenwich Village. The Dead had just finished an East
Coast tour, and Jerry’s Compliments album had been recently released. The
owners of the Bottom Line had contacted me back in February, offering a
four-show engagement for the Garcia-Saunders Band, and we’d accepted. I
arranged for John Kahn and Merl to fly in, and John brought along his
girlfriend at the time, Maria Muldaur, who was riding high on her hit single
“Midnight at the Oasis.” She sat in as a guest vocalist, and the
group was hot. Word got out, and lines stretched around the block for every
show. The Bottom Line was the happening place to be in the city, and all sorts
of people were showing up.” (Loren 2014, 138).
11/74 Lennon, which RL seems to sort of merge in with the
July shows. “John Lennon showed up backstage at the beginning of his
eighteen-month “Lost Weekend” estrangement from Yoko, and he was
shit-faced. After making his bizarre request for a guitar louder than Jerry’s,
he turned and left, leaving me thinking, ”What the hell was that?” When
Jerry took his backstage break, I relayed Lennon’s desire to sit in with a
louder guitar. “What the fuck!” Jerry snorted. Lennon returned and
repeatedly kept calling Jerry “J.C.” Fueled by alcohol and who knows
what else, he was creeping me out with his uncool behavior. Jerry, however,
simply ignored the drunk Beatle and kept his distance” (Loren 2014, 138).
July shows. “John Lennon showed up backstage at the beginning of his
eighteen-month “Lost Weekend” estrangement from Yoko, and he was
shit-faced. After making his bizarre request for a guitar louder than Jerry’s,
he turned and left, leaving me thinking, ”What the hell was that?” When
Jerry took his backstage break, I relayed Lennon’s desire to sit in with a
louder guitar. “What the fuck!” Jerry snorted. Lennon returned and
repeatedly kept calling Jerry “J.C.” Fueled by alcohol and who knows
what else, he was creeping me out with his uncool behavior. Jerry, however,
simply ignored the drunk Beatle and kept his distance” (Loren 2014, 138).
Lennon: “it was hard for me to see him stumbling
around, a bad drunk, grappling with his demons in public. His music and his
songs attested to another side of the man, and if he had shown up sober, his
encounter with Jerry that evening could have evolved into something
extraordinary” (Loren 2014, 139).
around, a bad drunk, grappling with his demons in public. His music and his
songs attested to another side of the man, and if he had shown up sober, his
encounter with Jerry that evening could have evolved into something
extraordinary” (Loren 2014, 139).
Sam Cutler had taken control of the GD organization, playing
politics. He was let go in January 1974. Sam was tight with the crew, which was
not very happy about his departure. crew: “drug-fueled, rowdy antics”
(Loren 2014, 141). “Their macho mentality was overwhelming the band’s
former hippie aesthetic (Loren 2014, 142).
politics. He was let go in January 1974. Sam was tight with the crew, which was
not very happy about his departure. crew: “drug-fueled, rowdy antics”
(Loren 2014, 141). “Their macho mentality was overwhelming the band’s
former hippie aesthetic (Loren 2014, 142).
1974: “Cocaine was changing everything. Of all the
drugs I’d encountered on the scene, cocaine changed people’s personalities the
most and tended to fuel their egos and make them irrational” (Loren 2014,
143). #drugs
drugs I’d encountered on the scene, cocaine changed people’s personalities the
most and tended to fuel their egos and make them irrational” (Loren 2014,
143). #drugs
“increasingly difficult to deal with the escalating
cocaine use and the presence of the “cocaine cowboys,” as John
Barlow, the lyricist, called them. Most of the cowboys were recent additions to
the road crew. The labor involved in transporting and setting up the Wall of
Sound demanded muscle, and these guys were big, burly characters with surly
attitudes and a taste for toot. They were riding high on coke, inflated salaries,
and pumped-up egos. Dealing with them was a pain in the ass, and their salaries
were sucking a small fortune out of Grateful Dead Productions” (Loren
2014, 145). #drugs
cocaine use and the presence of the “cocaine cowboys,” as John
Barlow, the lyricist, called them. Most of the cowboys were recent additions to
the road crew. The labor involved in transporting and setting up the Wall of
Sound demanded muscle, and these guys were big, burly characters with surly
attitudes and a taste for toot. They were riding high on coke, inflated salaries,
and pumped-up egos. Dealing with them was a pain in the ass, and their salaries
were sucking a small fortune out of Grateful Dead Productions” (Loren
2014, 145). #drugs
Rock Scully pushed E74 for his promoter buddy, Tom Salter,
who was loaded with drugs, “more of a rich groupie than a promoter”
(Loren 2014, 146). #drugs
who was loaded with drugs, “more of a rich groupie than a promoter”
(Loren 2014, 146). #drugs
Loren’s heading for E74: “burned out from exhaustion,
blown out on the trail (Loren 2014, 146). #drugs
blown out on the trail (Loren 2014, 146). #drugs
“Rex Jackson, a longtime and respected crew member,
came down hard on the group, railing about the cocaine madness and challenging
the group to toss their drug stashes and get it the fuck together” (Loren
2014, 146). #drugs
came down hard on the group, railing about the cocaine madness and challenging
the group to toss their drug stashes and get it the fuck together” (Loren
2014, 146). #drugs
“The London shows were a disaster” (Loren 2014,
147). Then they undertook a “death march across Europe” (Loren 2014,
148).
147). Then they undertook a “death march across Europe” (Loren 2014,
148).
“The Movie turned out to be a bear, taking two and a
half years to reach theaters. Jerry was the film’s editorial director, and he
put in endless hours and energy editing the film and soundtrack” (Loren
2014, 150).
half years to reach theaters. Jerry was the film’s editorial director, and he
put in endless hours and energy editing the film and soundtrack” (Loren
2014, 150).
The Movie: “Expenses piled up and the film’s budget ballooned
from one hundred twenty-five thousand dollars to six hundred thousand”
(Loren 2014, 150). Graham financed the final 40k to get the prints made, then
John Scher and Richard agreed to do special showings rather than standard
distribution (Loren 2014, 151). Premiered at the Ziegfeld Theater in NY on
6/1/77.
from one hundred twenty-five thousand dollars to six hundred thousand”
(Loren 2014, 150). Graham financed the final 40k to get the prints made, then
John Scher and Richard agreed to do special showings rather than standard
distribution (Loren 2014, 151). Premiered at the Ziegfeld Theater in NY on
6/1/77.
RL characterizes John Kahn as JG’s “musical
director” (Loren 2014, 153).
director” (Loren 2014, 153).
#why “playing in other bands gave him the opportunity
to interact with a variety of talented artists other than the Dead members, and
he enjoyed being a carefree musician without the commander-in-chief
responsibilities that were his when he played with the Dead … Being on the road
with the Jerry Garcia Band, free of an encumbering entourage and complicated politics, differed from
touring with the Dead” (Loren 2014, 153).
to interact with a variety of talented artists other than the Dead members, and
he enjoyed being a carefree musician without the commander-in-chief
responsibilities that were his when he played with the Dead … Being on the road
with the Jerry Garcia Band, free of an encumbering entourage and complicated politics, differed from
touring with the Dead” (Loren 2014, 153).
“In July of 1975, Jerry and John decided to take the
band in a different direction, looking for a cleaner, meaner sound” (Loren
2014, 153).
band in a different direction, looking for a cleaner, meaner sound” (Loren
2014, 153).
“I persuaded them to drop the incongruous ‘Legion of
Mary’ name and just go with the Jerry Garcia Band” (Loren 2014, 154).
Mary’ name and just go with the Jerry Garcia Band” (Loren 2014, 154).
Loren calls Nicky “The Chopin of Rock” (Loren
2014, 154). Kahn suggested him.
2014, 154). Kahn suggested him.
RL says NH debuted with JGB at Key Berk 8/5/75, but I think
he probably got that from Deadbase or something (Loren 2014, 154).
he probably got that from Deadbase or something (Loren 2014, 154).
“The well-organized and short out-of-town gigs that the
Garcia Band was doing seemed to work for him, but before long we started to
notice an increase in his reliance on drugs and alcohol. I was amazed that a
guy with a major intestinal disorder could pack in so much cocaine and booze,
but it seemed to alleviate the symptoms of his affliction; either that or he
was just so high he didn’t notice them. His self-medicating started to affect
his performance and create tensions with the band members, especially Ron, who
was Nicky’s polar opposite in both physical stature and personality. Nicky was
a fragile, capricious Brit and a brilliant musician prone to going off the
rails. Ron was a beefy, no-nonsense Texan and a brilliant rock-solid musician.
Despite being worlds apart, they had gotten on well at first, but Ron, as the
rhythmic center of the band, was intolerant of music inconsistencies. Nicky
could be flamboyant, especially when he was [156] loaded, adding an extra beat
here and there. These sometimes sloppy rhythmic fluctuations drove Ron
crazy” (Loren 2014, 155-156).
Garcia Band was doing seemed to work for him, but before long we started to
notice an increase in his reliance on drugs and alcohol. I was amazed that a
guy with a major intestinal disorder could pack in so much cocaine and booze,
but it seemed to alleviate the symptoms of his affliction; either that or he
was just so high he didn’t notice them. His self-medicating started to affect
his performance and create tensions with the band members, especially Ron, who
was Nicky’s polar opposite in both physical stature and personality. Nicky was
a fragile, capricious Brit and a brilliant musician prone to going off the
rails. Ron was a beefy, no-nonsense Texan and a brilliant rock-solid musician.
Despite being worlds apart, they had gotten on well at first, but Ron, as the
rhythmic center of the band, was intolerant of music inconsistencies. Nicky
could be flamboyant, especially when he was [156] loaded, adding an extra beat
here and there. These sometimes sloppy rhythmic fluctuations drove Ron
crazy” (Loren 2014, 155-156).
“The band had had it with Nicky. His drug and alcohol
use debilitated him and made him impossible to work with” (Loren 2014,
156).
use debilitated him and made him impossible to work with” (Loren 2014,
156).
Booker: “The black, gay, junkie priest” (Loren 2014,
156). “When Nicky left, I had already signed the Jerry Garcia Band to an
engagement at Sophie’s Club in Palo Alto, so we were pressed to find a
replacement. A friend of John’s who had been playing in New Orleans suggested
that we contact a keyboard guy there named James Booker” (Loren 2014,
156). Makes it sound like NH’s departure was sudden, consistent with contract
having NH’s name on it.
156). “When Nicky left, I had already signed the Jerry Garcia Band to an
engagement at Sophie’s Club in Palo Alto, so we were pressed to find a
replacement. A friend of John’s who had been playing in New Orleans suggested
that we contact a keyboard guy there named James Booker” (Loren 2014,
156). Makes it sound like NH’s departure was sudden, consistent with contract
having NH’s name on it.
“unstable genius” (Loren 2014, 157). “He told
me he was on methadone, and I agreed to make arrangements to have it available
during his stay in the Bay Area” (Loren 2014, 157).
me he was on methadone, and I agreed to make arrangements to have it available
during his stay in the Bay Area” (Loren 2014, 157).
RL picked Booker up from the airport. First stop was a
methadone clinic in the Haight-Ashbury (Loren 2014, 157).
methadone clinic in the Haight-Ashbury (Loren 2014, 157).
Booker’s business card at the time read “James Booker,
the Black Liberace” (Loren 2014, 158).
the Black Liberace” (Loren 2014, 158).
June 1976, “we appointed John Scher as east coast [GD]
tour coordinator” (Loren 2014, 159).
tour coordinator” (Loren 2014, 159).
“we approached Clive Davis” (Loren 2014, 160).
Between Terrapin and The Movie, Garcia was burning the
candle at both ends. “to get through days and nights of writing,
recording, and editing, he had made a pact with the devil” (Loren 2014,
161). PERSIAN. #drugs
candle at both ends. “to get through days and nights of writing,
recording, and editing, he had made a pact with the devil” (Loren 2014,
161). PERSIAN. #drugs
heading: “The Puff of No Return”: “”Hey,
man, you gotta try this shit!” The fateful words rolled off our Persian
hash dealer’s lips as if he were the snake addressing Eve.
man, you gotta try this shit!” The fateful words rolled off our Persian
hash dealer’s lips as if he were the snake addressing Eve.
”What is it?” I asked, as Jerry examined the innocuous
brown powder that had been placed on my desk in our Mill Valley office.
brown powder that had been placed on my desk in our Mill Valley office.
“It’ll mellow you right out,” the Persian
promised. The scene desperately needed to mellow out. The excessive cocaine use
had everyone in a perpetual state of frayed nerves and grinding teeth, and
something that would relieve the edginess seemed almost therapeutic. “It’s
like Persian hash. Take a hit of the smoke,” he said, unfolding a small
piece of tin foil from his pocket, placing some powder on it, and holding a
lighter underneath. We took turns sucking in the smoke with a straw. In a few
seconds, we were floating in the warm, comforting balm of heroin. Without a
forbidding negative moniker like “smack,” it had arrived with an ease
of entry, offering a reprieve from all pressures and anxieties –·temporarily
anyway. Jerry looked at me. ‘Wow, man, this is some god shit!””
(Loren 2014, 161). #drugs
promised. The scene desperately needed to mellow out. The excessive cocaine use
had everyone in a perpetual state of frayed nerves and grinding teeth, and
something that would relieve the edginess seemed almost therapeutic. “It’s
like Persian hash. Take a hit of the smoke,” he said, unfolding a small
piece of tin foil from his pocket, placing some powder on it, and holding a
lighter underneath. We took turns sucking in the smoke with a straw. In a few
seconds, we were floating in the warm, comforting balm of heroin. Without a
forbidding negative moniker like “smack,” it had arrived with an ease
of entry, offering a reprieve from all pressures and anxieties –·temporarily
anyway. Jerry looked at me. ‘Wow, man, this is some god shit!””
(Loren 2014, 161). #drugs
“Heroin addiction is insidious, and its destructive
power has been described in detail in many places. One of its initial appeals
to Jerry was that it helped him balance all his various projects and
commitments. He could smoke weed, do coke, take the edge off with rat, record,
edit, and perform. He was an easygoing guy who kept an even keel even when he
was high. He didn’t like theatrics or drama, and rat kept him relaxed and
immune to emotional highs and lows. That was true at least for about a year,
and then I started to notice some telltale changes. He had a lot less energy,
chose to be more reclusive and withdrawn, and had a more passive onstage
presence.
power has been described in detail in many places. One of its initial appeals
to Jerry was that it helped him balance all his various projects and
commitments. He could smoke weed, do coke, take the edge off with rat, record,
edit, and perform. He was an easygoing guy who kept an even keel even when he
was high. He didn’t like theatrics or drama, and rat kept him relaxed and
immune to emotional highs and lows. That was true at least for about a year,
and then I started to notice some telltale changes. He had a lot less energy,
chose to be more reclusive and withdrawn, and had a more passive onstage
presence.
Eventually, heroin becomes a consuming drug that users do in
seclusion as they slowly slip away. The process can be long and drawn out or a
quick overdose. Jerry did heroin for twenty years, interrupted by futile
attempts to clean up. He didn’t die of a sudden overdose; heroin just
slowly ate away at him like a sweet, suffocating poison. (Loren
2014, 162). #drugs
seclusion as they slowly slip away. The process can be long and drawn out or a
quick overdose. Jerry did heroin for twenty years, interrupted by futile
attempts to clean up. He didn’t die of a sudden overdose; heroin just
slowly ate away at him like a sweet, suffocating poison. (Loren
2014, 162). #drugs
#women: “Jerry was not a philanderer” (Loren 2014,
162). JG met DK in NY in 1973 and was smitten (Loren 2014, 163). Once she threw
a five-gallon water jug through the window of Richard’s Mill Valley office,
screaming “like a barbarian princess” (Loren 2014, 163).
162). JG met DK in NY in 1973 and was smitten (Loren 2014, 163). Once she threw
a five-gallon water jug through the window of Richard’s Mill Valley office,
screaming “like a barbarian princess” (Loren 2014, 163).
They lost $500k on Egypt, which RL blames on the crew for
hazing away the piano tuner (Loren 2014, 179). “After the shows, Jerry,
Bobby, Keith, Donna, Alan, about twenty close family members of the band, and I
sailed for two and a half [186] days up the Nile from Luxor to Aswan on Atti’s
new boat, the Sobek – dubbed the
“Ship of Fools”” (Loren 2014, 185-186).
hazing away the piano tuner (Loren 2014, 179). “After the shows, Jerry,
Bobby, Keith, Donna, Alan, about twenty close family members of the band, and I
sailed for two and a half [186] days up the Nile from Luxor to Aswan on Atti’s
new boat, the Sobek – dubbed the
“Ship of Fools”” (Loren 2014, 185-186).
March 1981 Kreutzmann again attacks RL in a rage. In the old
days he would have spoken to Jerry, but by this time “he was so consumed
by his addiction” that it would do no good (Loren 2014, 210). Garcia was
“lost in another phase of his personal odyssey. He was no longer living in
idyllic Stinson Beach with Mountain Girl. He was holed up in Rock Scully’s
basement, where he was well supplied with whatever he needed for his visits to
dreamland. He was no longer interested in the kind of adventures I envisioned.
He was taking his own personal trips to other places. Amazingly, he did some of
his best artwork during this period, bringing back memorable images from his
private sojourns and applying them to canvas and other graphic media with
stunning results” (Loren 2014, 211). #drugs
days he would have spoken to Jerry, but by this time “he was so consumed
by his addiction” that it would do no good (Loren 2014, 210). Garcia was
“lost in another phase of his personal odyssey. He was no longer living in
idyllic Stinson Beach with Mountain Girl. He was holed up in Rock Scully’s
basement, where he was well supplied with whatever he needed for his visits to
dreamland. He was no longer interested in the kind of adventures I envisioned.
He was taking his own personal trips to other places. Amazingly, he did some of
his best artwork during this period, bringing back memorable images from his
private sojourns and applying them to canvas and other graphic media with
stunning results” (Loren 2014, 211). #drugs
RL tried to get together a film script Watch The River Flow about Ol’ Muddy and American music (Loren
2014, 213, 216-217), but Garcia lethargy prevented him from contributing.
#drugs #movies
2014, 213, 216-217), but Garcia lethargy prevented him from contributing.
#drugs #movies
“The Saga of Sirens” pp. 225-229.
Lucy Kroll, John Kahn’s godmother and show business insider.
Jerry, John and RL started their “quest to make a movie” of Kurt
Vonnegut’s Sirens of Titan in 1977. RL and JG were watching lots of movies, and
Garcia was “bursting with [226] boundless, creative energy” (Loren
2014, 225-226). Inspired by success of Close Encounters (Loren 2014, 226). Note
that this is Garcia right after the ordeal of The Movie. “Wouldn’t it be
far out to make that?”, he said of Sirens of Titan (Loren 2014, 226).
Jerry, John and RL started their “quest to make a movie” of Kurt
Vonnegut’s Sirens of Titan in 1977. RL and JG were watching lots of movies, and
Garcia was “bursting with [226] boundless, creative energy” (Loren
2014, 225-226). Inspired by success of Close Encounters (Loren 2014, 226). Note
that this is Garcia right after the ordeal of The Movie. “Wouldn’t it be
far out to make that?”, he said of Sirens of Titan (Loren 2014, 226).
Optioned the book for 6 years for $60k (Loren 2014, 227).
“Like Vonnegut’s characters on the remote moon Titan,
the project languished for years, stranded by our demanding schedules, the
difficulty of getting studio backing, and plain old human procrastination”
(Loren 2014, 227).
the project languished for years, stranded by our demanding schedules, the
difficulty of getting studio backing, and plain old human procrastination”
(Loren 2014, 227).
Loren had Warren Leight write up a treatment in 1983, but
“we barely got a response from Jerry”, who was “sliding into his
own private fantasy drug world” (Loren 2014, 227).
“we barely got a response from Jerry”, who was “sliding into his
own private fantasy drug world” (Loren 2014, 227).
Word of the project reached Saturday Night Live actor and
staff writer Tom Davis, who was doing some pretty heavy drug partying with
Jerry, which gave him access to Jerry that Warren and I didn’t have. Tom used
his connections to get the novel to Bill Murray, who had the potential for
being the star to move the project forward. Murray was riding high on the
recent success of Ghostbusters, and the studios were anxious to bankroll his
project of choice. Bill read the book, loved it, and wanted to play the role of
Malachi Constant, the novel’s protagonist. Things spun somewhat out of control,
and Davis overshadowed Warren, despite my strong suggestion to Jerry that he
look at Warren’s superlative screenplay again.
staff writer Tom Davis, who was doing some pretty heavy drug partying with
Jerry, which gave him access to Jerry that Warren and I didn’t have. Tom used
his connections to get the novel to Bill Murray, who had the potential for
being the star to move the project forward. Murray was riding high on the
recent success of Ghostbusters, and the studios were anxious to bankroll his
project of choice. Bill read the book, loved it, and wanted to play the role of
Malachi Constant, the novel’s protagonist. Things spun somewhat out of control,
and Davis overshadowed Warren, despite my strong suggestion to Jerry that he
look at Warren’s superlative screenplay again.
With Murray’s commitment and the revived interest, I got
pulled back into the fray and ended up in LA at a meeting with super-agent
Michael Ovitz, Jerry, Tom, Bill, and Gary Gutierrez — the special effects
artist whose company had been creating visuals for the film. I expected a
meeting with big-name movie and music stars and high-powered Hollywood movers
and shakers about a possible multi-million-dollar film project to be a serious
affair. I was wrong. while Ovitz and I, the business guys, were at one end of a
huge table talking about financing, development, and rights, Bill was at the
other end playing the role of a billiard pocket. His mouth was wide open at the
edge of the table, waiting while Tom attempted to roll gumballs across the
hardwood into his mouth. Despite his shenanigans, Bill had serious Hollywood juice,
and based on his interest alone, Ovitz was able to get us a development deal at
Universal Pictures with an advance of two hundred fifty thousand dollars. It
covered the cost of the book rights, an option renewal, full storyboards,
drawings, paintings, incidentals, and Tom’s draft of the screenplay. Warren
Leight’s original masterpiece [229] of a screenplay was not only ignored but
never even acknowledged. Tom’s desperate desire to bond with Jerry and his
drug-fueled insensitivity dealt a nasty blow to Warren, and to me. I never
fully got over it” (Loren 2014, 228-229).
pulled back into the fray and ended up in LA at a meeting with super-agent
Michael Ovitz, Jerry, Tom, Bill, and Gary Gutierrez — the special effects
artist whose company had been creating visuals for the film. I expected a
meeting with big-name movie and music stars and high-powered Hollywood movers
and shakers about a possible multi-million-dollar film project to be a serious
affair. I was wrong. while Ovitz and I, the business guys, were at one end of a
huge table talking about financing, development, and rights, Bill was at the
other end playing the role of a billiard pocket. His mouth was wide open at the
edge of the table, waiting while Tom attempted to roll gumballs across the
hardwood into his mouth. Despite his shenanigans, Bill had serious Hollywood juice,
and based on his interest alone, Ovitz was able to get us a development deal at
Universal Pictures with an advance of two hundred fifty thousand dollars. It
covered the cost of the book rights, an option renewal, full storyboards,
drawings, paintings, incidentals, and Tom’s draft of the screenplay. Warren
Leight’s original masterpiece [229] of a screenplay was not only ignored but
never even acknowledged. Tom’s desperate desire to bond with Jerry and his
drug-fueled insensitivity dealt a nasty blow to Warren, and to me. I never
fully got over it” (Loren 2014, 228-229).
Bill Murray dropped out, and it got shelved. RL set up a
meeting between himself, Garcia and Jonathan Demme, but “Jerry was too
enervated by then to muster enough energy and enthusiasm to interest Demme, and
Demme was distracted by problems he was having on the set of his film, so the
meeting went nowhere … As Vonnegut himself cryptically wrote, ‘And so it
goes’” (Loren 2014, 229). That meeting was 1987.
meeting between himself, Garcia and Jonathan Demme, but “Jerry was too
enervated by then to muster enough energy and enthusiasm to interest Demme, and
Demme was distracted by problems he was having on the set of his film, so the
meeting went nowhere … As Vonnegut himself cryptically wrote, ‘And so it
goes’” (Loren 2014, 229). That meeting was 1987.
Jerry of “boundless depth, talent and energy”
(Loren 2014, 231).
(Loren 2014, 231).
“Over the years, he’d done his share of drugs, but none
got a hold of him like heroin. And when it did, much to my heartbreak, we
drifted apart. By the mid-80s, he had a major dependence and had become more
and more reclusive. He had little energy, was not interested in much, and
didn’t want to be disturbed. His condition attracted an odd assortment of
people-most of whom didn’t have his best interests at heart and enabled his
increased isolation by deciding who could see him” (Loren 2014, 231).
#drugs
got a hold of him like heroin. And when it did, much to my heartbreak, we
drifted apart. By the mid-80s, he had a major dependence and had become more
and more reclusive. He had little energy, was not interested in much, and
didn’t want to be disturbed. His condition attracted an odd assortment of
people-most of whom didn’t have his best interests at heart and enabled his
increased isolation by deciding who could see him” (Loren 2014, 231).
#drugs
Loren emphasizes how quickly and fully Garcia returned to
the road after the coma. “From afar it seemed at times like his needs were sacrificed for propping up the golden calf”
(Loren 2014, 232).
the road after the coma. “From afar it seemed at times like his needs were sacrificed for propping up the golden calf”
(Loren 2014, 232).
end of OAITW: “Back in the OAITW days, there had been a
misunderstanding about work that David had performed for Round Records, and he
was not fairly compensated. … Jerry had [233] trusted Ron with the label’s
finances and was unaware that his friend had not been paid” [please] (Loren 2014, 232-233). #OAITW
misunderstanding about work that David had performed for Round Records, and he
was not fairly compensated. … Jerry had [233] trusted Ron with the label’s
finances and was unaware that his friend had not been paid” [please] (Loren 2014, 232-233). #OAITW
Grisman: Loren places Jerry and David’s reunion to a San
Francisco recording session in 1990 (Loren 2014, 233). Is that right? “For
reasons known only to Jerry [ed: interesting],
their reunion that night spurred him to authorize the Rex Foundation-a charity
funded by the Grateful Dead-to honor David with its Ralph J. Gleason Award for
his contribution to music, which was accompanied by a check for ten thousand
dollars” [ed: is that even legal?]
(Loren 2014, 233). #David_Grisman
Francisco recording session in 1990 (Loren 2014, 233). Is that right? “For
reasons known only to Jerry [ed: interesting],
their reunion that night spurred him to authorize the Rex Foundation-a charity
funded by the Grateful Dead-to honor David with its Ralph J. Gleason Award for
his contribution to music, which was accompanied by a check for ten thousand
dollars” [ed: is that even legal?]
(Loren 2014, 233). #David_Grisman
Leave a Reply