Archive for the ‘GD Channel on Sirius XM’ Category

Slate story about Tales from the Golden Road

Tuesday, March 31st, 2015

The headline is somewhat unfortunate, but the story is a good one. Jack Stripling interviewed Gary Lambert and me about our hosting of Tales from the Golden Road on SiriusXM’s Grateful Dead Channel.

Read it: UNGRATEFUL: As the long, strange trip nears its conclusion, two radio show hosts talk down disillusioned Deadheads.

Tales from the Golden Road is a call-in show that airs Sunday afternoons 4-6pm ET on SiriusXM Channel 23, the Grateful Dead Channel. Gary Lambert and I are the cohosts. Rebroadcasts Mondays 9am and Wednesdays 1am ET. You can join in the conversation by calling 888-897-4748.

Grateful Web interview with DG

Thursday, February 21st, 2013

Really nice interview with Dave Papuga on Grateful Web. Intended to promote the February 23 KPFA marathon, but we talked about a lot of stuff.

DG interview from Gathering of the Vibes 2012

Sunday, August 12th, 2012

“Tales” meet’n’greet at GOTV

Friday, July 15th, 2011

Gary Lambert and David Gans, co-hosts of “Tales from the Golden Road” on the SiriusXM Grateful Dead Channel, will hang out at the Grateful Dead/Rhino booth at the Gathering of the Vibes starting at 4pm on Saturday, July 23. Stop by and say hello!

“Tales from the Golden Road” is broadcast live Sundays 4-6 pm ET, with rebroadcasts Mondays 9 am & Wednesdays 1 am ET. The Grateful Dead Channel is 23 on both Sirius and XM.

DG interview w/ Music Marauders

Wednesday, March 30th, 2011

Intern at Sirius XM

Thursday, September 10th, 2009

If any of you know any college students who might be interested in an internship at Sirius/XM (and specifically the GD and JamOn channels), they are recruiting right now. Here’s the info:

Requirements for internship: Must be at least 18 years old. Must be enrolled in a college or university and be receiving academic credit for the internship (all internships are UNPAID). Must work a minimum of 20 hours per week; no more than 40.

SIRIUS XM Radio Music Programming Interns receive hands-on experience with the day-to-day operations needed to successfully program a radio station. Interns are asked to load, edit and properly mark intros and cross fades on all audio in automation system (Nex Gen Prophet/Dalet). Segue talent voice breaks; monitor audio levels and report issues. Gain an understanding of music scheduling software (Music Master/Powergold) and assist with database maintenance; adding music and non-music elements into rotation, research back-fill information (label, composer, etc.), if not supplied. Review various types of audio and isolate pieces for on-air use through Adobe Audition; listener phone calls, artist interviews, liners, or IDs. Assist with maintenance of CD Music Library; includes database up-keep, labeling and filing new music CDs, interviews and live performances. Other responsibilities are included.

Please contact jamon@siriusxm.com with your resume details with FALL INTERNSHIP in the subject line so we can easily spot your email.

Thanks!

Kenny’s 3/22/87 story

Monday, August 24th, 2009

My friend Kenny Fryman in Ohio sent me this story. Sirius XM is broadcasting the 3/22/87 show this week…

By 03/22/1987, I had seen Grateful Dead 3 times. The first was 7/2/85 in Pittsburgh. I basically went to check out the scene. I remember being amazed at how crazed the crowd was at the music. From inside the arena, I could see all these people dancing like crazy out in the halls where the light came through the doorways and that it seemed like everyone was constantly roaring it’s approval of the band . I do remember the band played “Revolution” and that it was really cool. After that show, my friends and I started buying the albums, learning the songs and more about the scene. That Fall, we got tickets to 11/8 in Rochester, New York. I remember Jerry seeming distracted and seemed to often have his back to the crowd. I was reallly into hearing “Leaving Texas, 4th day of July…” that night however. The following Summer I went 7/2 in Akron with Bob Dylan and Tom Petty. The sound was poor and if the playing was very good, it didn’t come across to where we were sitting. However, by then I was pretty much into the scene, the songs and the band and was crushed when Jerry went into a coma and was near death just a week or so later.

As we know, Jerry recovered and started playing again. When the Spring 1987 tour was announced, I HAD to go. I was working at that time as a substitute teacher in Kent, Ohio and had to work the day tickets went on sale. I paid a friend to sit and hit the redial button on my phone until he got through to the ticket agency and got tickets for all three nights at Hampton Virginia, the start of the Spring tour.

The drive for hundreds of miles wasn’t so bad as it seemed like there were so many people with “Dead” stickers on their vehicles and we saw them more and more often the closer we got. I don’t remember much of the lot scene upon arrival except that there was so much color even from the main road before we turned in.

We were down on the floor at show time as it was general admission. The band started with “Hell in a Bucket” then “Sugaree.” I was completely stunned by the sound. I had an out of body experience during one of the jams. I was floating around in space during the jam, felt myself being pulled by gravity back to Earth as the jam neared it’s end and landed solidly back on my feet on the floor just as the next verse started.

So, I’m hanging around tonight thinking back at my experience 20 years ago and how my life has changed since. I plan to party a bit and maybe watch some Dead on video. If any of you could be with me, that would be really great. Hope to see all of you soon.

Kenny

Tom Davis guest DJ on Sirius XM

Monday, June 15th, 2009

Tom Davis’ guest DJ show on the Sirius XM Grateful Dead Channel airs this week (all times Eastern):

Mon @ 9 PM
Tues @ 5 PM
Wed @ 9 AM
Fri @ 1 AM
Sat @ 8 PM
Sun @ 10 AM

Jerry Moore interview on Sirius XM

Thursday, June 4th, 2009

I interviewed Jerry Moore for the Grateful Dead Channel in January 2008. We’re rebroadcasting that conversation this weekend: Saturday 10 am ET and Sunday 8 pm ET

The Grateful Dead Channel is on Sirius 32 and XM 57.

Author Peter Conners on “Tales” today

Sunday, April 26th, 2009

Today on “Tales from the Golden Road” we’re interviewing Peter Conners, author of Growing Up Dead: The Hallucinated Confessions of a Teenage Deadhead. I like this book a lot. The title is more sensationalistic than the tale itself.

4-6pm eastern on Sirius 32/XM 57.

Rolling Stone’s “Live Dead” review

Tuesday, March 17th, 2009

Getting ready for next Sunday’s 1969 marathon on the Sirius XM Grateful Dead Channel, I ran across a pointer to Lenny Kaye’s original review of Live Dead in Rolling Stone, published in January of 1970.

I like his opening paragraph:

Live Dead explains why the Dead are one of the best performing bands in America, why their music touches on ground that most other groups don’t even know exists.

Read the rest here.

Dark Star marathon program log

Tuesday, January 6th, 2009

Many listeners have asked for a listing of the 12/21/08 Sirius XM GD Channel Dark Star marathon. Here it is! (All times Eastern)

00:05 Dark Star 10/26/89
00:32 Dark Star 7/13/84
00:49 Dark Star – David Grisman Quintet, from Stolen Roses
01:01 Dark Star 4/8/72
01:33 Dark Star – David Murray Octet, from Dark Star: Music of the Grateful Dead
01:49 Dark Star 4/27/69
02:16 Dark Star – Fit & Limo, The Serpent Unrolled
02:24 Dark Star 6/10/73
02:51 Jam> Dark Star> Morning Dew 10/18/74
03:39 Dark Star 12/31/78
03:56 Dark Star 12/6/73
04:38 Dark Star 2/13/70
05:09 Dark Star> St. Stephen> NFA> Lovelight 9/19/70
06:17 Dark Star 2/27/69
06:41 Dark Star 8/1/73
07:07 Dark Star – Ratdog 11/14-15/08
07:39 Dark Star> Morning Dew 9/21/72
08:28 Dark Star 4/28/71
08:42 Dark Star> Jam> Sugar Magnolia 10/31/71
09:11 Dark Star – Fit & Limo, The Serpent Unrolled
09:22 Dark Star 10/26/89
09:51 Dark Star> Drums> Space> Dark Star> The Last Time 10/31/91
10:40 Dark Star – David Grisman Quintet, from Stolen Roses
10:50 Dark Star 2/13/70
11:19 Dark Star 10/18/72
11:50 Dark Star 4/8/72
12:22 Dark Star 12/6/73
13:05 Jam> Dark Star> Morning Dew 10/18/74
13:52 Dark Star 12/31/78
14:10 Dark Star 8/1/73
14:35 Dark Star 7/13/84
14:53 Dark Star> St. Stephen> Not Fade Away> Lovelight 9/19/70

16:00:00-18:00:00 TALES FROM THE GOLDEN ROAD

18:03 Dark Star 6/10/73
18:30 Dark Star> Other One> Dark Star> UJB Jam> Dark Star 11/8/69
19:04 Dark Star 11/14-15/08
19:36 Dark Star – David Murray Octet, from Dark Star: Music of the Grateful Dead
19:52 Dark Star 7/13/84
20:08 Dark Star> Drums> Space> Dark Star> The Last Time 10/31/91
20:57 Dark Star 11/11/73
21:35 Dark Star 10/26/89
22:01 Dark Star> Morning Dew 9/21/72
22:52 Dark Star 4/8/72
23:24 Dark Star> Mind Left Body Jam 10/25/73
23:48 Mountains of the Moon> Dark Star – Tom Constanten
23:54 Dark Star 2/24/68

New Year’s Eve on Sirius 1/1

Monday, December 29th, 2008

I just read this copy for Sirius XM announcements.

This New Year’s Eve, Bob Weir and and Phil Lesh and their bands are joining together in San Francisco for an extraordinary collaboration. Can’t make it? No problem … you can hear Ratdog, Phil and Friends, and the midnight festivities right here on the Grateful Dead Channel starting at 3 pm eastern!

Start the year with a truly special event – and exclusive backstage interviews that just might give some clue as to what to expect in 2009. Hear it all New Year’s Day starting at 3 pm eastern, with an encore presentation immediately afterwards … only on Sirius 32 and XM 57 – the Grateful Dead Channel!

Dark Star Marathon: the music

Sunday, December 21st, 2008

I don’t have a list of the broadcast in order, and I’m not sure if all of these pieces made it into the final playlist, but here is a list of the selections I submitted for our Sirius XM Grateful Dead Channel Dark Star marathon:

2/27/1969 Fillmore West (Live Dead)
4/27/1969 Minneapolis (Dick’s Picks 26)
11/8/1969 Fillmore West (Dick’s Picks 16). Dark Star-> The Other One-> Dark Star -> Uncle John’s Jam -> Dark Star
2/13/1970 Fillmore East (Dick’s Picks 4)
9/19/1970 Fillmore East. Dark Star-> Stephen-> Not Fade Away-> Lovelight
4/28/1971 Fillmore East (Ladies and Gentlemen… The Grateful Dead)
10/31/1971 Columbus OH (Dick’s Picks 2). Dark Star-> jam-> Sugar Magnolia
4/8/1972 Wembley, England (Steppin’ Out with the Grateful Dead)
8/27/1972 Veneta OR. Dark Star-> El Paso
9/21/1972 Philadelphia (Dick’s Picks 36) Dark Star-> Morning Dew
10/18/1972 St Louis, Playing in the Band-> Drums-> Dark Star-> Morning Dew-> Playing in the Band
6/10/1973 Washington DC
6/24/1973 Portland OR. Dark Star-> Eyes of the World-> China Doll
8/1/1973 Jersey City
10/25/1973 Madison WI. Dark Star-> Mind Left Body Jam
11/11/1973 Winterland (Winterland 1973 boxed set)
12/6/1973 Cleveland OH
2/24/1974 Winterland. Dark Star-> Morning Dew
6/23/1974 Miami (Audience recording by Jerry Moore). Dark Star jam-> Spanish Jam-> US Blues
10/18/1974Winterland (Grateful Dead Movie DVD/Soundtrack CD). Jam-> Dark Star-> Morning Dew
12/31/1978 Winterland (Closing of Winterland DVD/Soundtrack CD). Dark Star-> The Other One-> Dark Star
7/13/1984 Greek Theater, Berkeley (Audience recording)
10/26/1989 Miami Arena
7/12/1990 Washington DC (View from the Vault II DVD/Soundtrack CD)
11/1/1990 London. Playing in the Band jam-> Dark Star-> Drums-> Space-> Jam-> Dark Star
10/31/1991 Oakland Coliseum Arena. Dark Star-> Drums-> Space-> Dark Star-> The Last Time With Gary Duncan on guitar, Ken Kesey speaking about Bill Graham’s death (including an e.e. cummings poem)
11/14-15/2008 Ratdog @ Tower Th, Upper Darby PA

David Murray Octet, Dark Star (The Music of the Grateful Dead)
David Grisman Quintet, from Various Artists, Stolen Roses: Songs of the Grateful Dead
Tom Constanten: Mountains of the Moon-> Dark Star
Fit and Limo, The Serpent Unrolled

There were many more that deserved to be included, obviously. I had several 1968 selections in the works, but I just ran out of time. And I coulda sworn I had the audience recording of 1/10/79 in there. Dang. We’ll just have to do it again with another batch of Dark Stars!

Sirius XM Dark Star Marathon

Saturday, December 20th, 2008

Starting at midnight Eastern Time tonight, and continuing until midnight tomorrow night, it’s the Dark Star marathon on the Grateful Dead Channel (Sirius 32, XM 57).

Here are some program notes, adapted from spoken intros by Gary Lambert and David Gans:

4/8/72 Empire Pool, Wembley, England:

I never met a Dark Star I didn’t like. I talked with a lot of fellow music lovers in the course of putting this program together, and pretty much everyone agrees that 1972 was a peak year for the Dead and for Dark Star in particular. This edition of the band had guitarists Jerry Garcia and Bob Weir and bassist Phil Lesh, of course; Bill Kreutzmann was the sole drummer; and pianist Keith Godchaux had been in the band since the fall of 1971. Ron “Pigpen” McKernan’s health was failing and by this time he wasn’t participating in the extended musical explorations very much; he was off the road altogether after June of ’72.

In a conversation that took place in the Dick’s Picks folder of the old (but still lively) DeadNet Central web site, Florida-based drummer and author Peter Lavezzoli describes the 4/8/72 “Dark Star” this way:

The Wembley Dark Star is an astounding example of the Dead’s unique brand of synergy, one of their finest extended statements of collective improvisation. There are none of the typically identifiable “themes” of this era, other than the Dark Star theme itself. It’s all fresh improv. Garcia leads the way, but mostly by responding to the others. Some of the unexpected harmonic plateaus that the band discovers in the pre-verse jam are completely unique to this Dark Star. There is never a moment where the energy slackens, even in the deeper space segments. This is the group mind at its most tautly focused.

This Dark Star appeared on a limited-edition three-record compilation titled (A Musical Anthology of) Glastonbury Fayre, released in 1972 – even though the Dead did not perform at that summer 1971 event. The complete sequence of “Dark Star,” “Sugar Magnolia,” and “Caution” can be found on a terrific 4-CD set titled Steppin’ Out with the Grateful Dead: England ’72, released in July of 2002. In a day full of wonderful musical adventures, this one stands out as one of the all-time greats: April 8, 1972 at the Empire Pool in Wembley, England. – David Gans

9/19/70 Fillmore East:

Some important advice regarding the 67-1/2 minute recording from the Filmore East 9/19/70: prepare yourselves for a wild, wild ride. This unreleased Dark Star has that whisper-to-a-scream thing coming out of the first verse; a passage similar to the 2/19/71 jam we named “Beautiful jam” on the boxed set So Many Roads; and some of that descending chord sequence people refer to as the “Feelin’ Groovy” jam.

The sequence that follows this epic Dark Star includes some amazing stuff, including a jam in “Not Fade Away” based on the Youngbloods song “Darkness, Darkness,” that goes immediately into a “China Cat Sunflower” jam. And after one of the randiest, filthiest “Lovelights” you ever heard, you’re going to hear the crowd going absolutely apeshit, even after the lights come up and the house music comes on – the Youngbloods’ “Get Together,” as it happens. Finally you’ll hear Phil and Pigpen come out to deliver a special benediction, the house music comes up again, the Youngbloods song ends – and just for good measure, you’ll hear some guy holler one last “Casey Jones!” into the emptying hall. It’s a great moment. – DG

10/26/89 Miami Arena:

My friend Steve Silberman, co-author of Skeleton Key: A Dictionary for Deadheads, once characterized the Miami Dark Star of 10/26/89 as “one of the most amazing pieces of late-20th century music of any sort. In the late 1980s the Grateful Dead began using an electronic tool called MIDI, the musical instrument digital interface. Keyboardists had been playing sampled and artificial sounds for many years by then, but it was more of a challenge to create devices that could accurately track the bending of strings and the subtleties of touch that guitarists employed. Once the Dead had that capability, it was possibly for them to, in effect, play any sort of sound that could be recorded or invented. Computer music wizard Bob Bralove had a lot to do with the amazing instrumental voices we heard in the last quarter or so of the Dead’s musical history. Jerry had one sound that Vince Welnick characterized as “hitting a parking peter with a sledge hammer”; Jerry played sounds based on French horns, bassoons, flutes, and so on – and it didn’t sound like a guitar wearing a flue suit, either: he’d phrase things like a flute player, somehow, while still being very much Jerry Garcia.

So this Dark Star, recorded at the Miami Arena on October 26, 1989, is indeed a very effective example of what the Grateful Dead were able to do with the infinitely expanded musical palette that MIDI provided. As Steve Silberman described it, this “Dark Star” (quote) “disperses the melody among guitars, virtual oboes and bassoons, pianos, bass flutes, chimes, bells, kalimbas, typewriters, explosions, steam whistles and industrial alarms.” – DG

11/1/90 Wembley Arena, London:

The 11/1/90 Dark Star comes from a pivotal moment in Grateful Dead history: the band’s European tour in the fall of 1990, which introduced the newly-recruited keyboard duo of Vince Welnick and Bruce Hornsby to the audience across the pond. “Dark Star” always presented limitless possibilities for collective musical invention, and this one, which took place at the Wembley Arena in London, is a particularly long and rewarding voyage into the unknown, featuring full-on Rhythm Devils and Space segments between the verses of the song. I especially like the post-drums sequence spotlighting Bruce Hornsby’s variations on the Dark Star theme, which call to mind the solo improvisations of one of Bruce’s big influences, the brilliant jazz pianist Keith Jarrett. There’s also some deep, dense and dissonant jamming after the second verse of the song. By the way, all of this was tucked between the halves of “Playing In The Band,” and you might be able to detect vestiges of that tune as the band finds its way into and out of “Dark Star.” – Gary Lambert

6/23/74 Miami Jai-Alai:

In planning for this event, we decided that it was important to present some of these monumental dark stars in their original contexts, with the other music that followed or was intertwined with the band’s most important improvisational vehicle. And we also wanted to feature a few of the great recordings made from the audience. We have Jerry Moore’s audience recording from Miami, Florida on June 23, 1974. This was the year the Dead toured with the “Wall of Sound” PA system that had literally hundreds of speakers and dozens of amplifiers, each instrument going through its own separate signal path and speaker system. It was amazingly clear in every part of the listening environment, and the Grateful Dead made some of the best music of their career at this time, too. This is what the list-makers call a Dark star Jam, because the band wandered off into a Spanish Jam before ever getting to the vocal part of the song. A guy named Wildhare had this to say about 6/23/74 in a discussion on DeadNetCentral: “It starts out very sweetly melodic and then at around the 7:45 mark Jerry hits the weird button and Pandora’s Box pops open. Demented flying monkeys emerge, tentatively at first, but before long they’re flapping around like sonsabitches, cavorting like demented flying monkeys will for the next ten + minutes before the band slides into Spanish Jam.” – DG

10/31/91 Oakland Coliseum Arena:

The band played shows on Halloween 14 times during its 30-year performing career. The confluence of the Dead and this holiday devoted to the celebration of all things weird was a natural match, given all that skeleton imagery among the band’s iconography, not to mention the inherent spookiness in the name “Grateful Dead.” The Halloween shows were generally raucous, entertaining affairs. But the performance of October 31, 1991 was different, as it happened in the wake of tragedy: it was the last of a four-show run at the Oakland Coliseum Arena that had begun just two nights after the helicopter crash that took the life of the pioneering rock concert impresario Bill Graham, a great friend to the Dead and to Dead Heads everywhere. The shows provided a much-needed opportunity to share our collective grief, and also to celebrate Bill’s life, and the Dead rose to the occasion magnificently. The Halloween rendition of “Dark Star” was, as you might expect, an especially intense one, with a longtime friend and musical associate, Gary Duncan of Quicksilver Messenger Service joining in on guitar. The performance reached its emotional peak during the Space sequence with the appearance of the great novelist and iconoclast Ken Kesey, one of the Dead’s earliest benefactors in his role as ringmaster of the traveling psychedelic circus known as the Merry Pranksters. Taking center stage, Ken said farewell to Bill Graham with an unforgettable reading of “buffalo bill’s defunct,” ee cummings’ elegy for another legendary showman, Buffalo Bill Cody. Here’s the Grateful Dead with “Dark Star,” plus the classic Rolling Stones rocker “The Last Time,” from the Oakland Coliseum Arena on Halloween 1991. We miss you, Bill. – GL

10/18/74 and 12/31/78 Wnterland, San Francisco:

The “Dark Star” recorded at Winterland in San Francisco on October 18th, 1974 is nicely representative of the nimble, jazzy group improvisations of that period in the Dead’s music, followed by what many consider one of the all-time great performances of “Morning Dew.” If that version sounds familiar, that’s because it provided the musical climax to the “Grateful Dead Movie,” the excellent concert documentary co-directed by Jerry Garcia and Leon Gast. The complete “Dark Star>Morning Dew” sequence is available on the Grateful Dead Movie Soundtrack, a five-CD set that Grateful Dead Records put out some years ago, featuring all the music from the movie plus much more from that historic five-night Winterland run, which represented the last shows the Dead would play before commencing an indefinite hiatus from touring. Next up is the very next live performance of “Dark Star.” But it would take some time to get there. For while the Dead returned to live performance with a handful of impromptu gigs in 1975 and resumed touring a year later, it would be more than four long years after that October ’74 run before “Dark Star” would find its way back into the band’s repertoire, much to the dismay of many Deadheads. In fact, one fan took it upon himself to start counting the days since the last time the tune had been played in public, displaying the mounting tally on a banner flown from the upper balcony of Winterland whenever the Dead played Bill Graham’s fabled dump of an ice-rink-turned-rock-palace during its final year of operation. Ever the masters of suspense, the Dead kept that banner (and all of us) hanging right up until the night that Bill closed that old building down: New Year’s Eve 1978. Or to be more exact, the early hours of New Year’s Day, 1979. Beginning their third set somewhere around 4 in the morning, the Dead played that unmistakable opening figure, the building shook with joy, and that banner, which by that time read “1535 days since last SF Dark Star,” came tumbling down. Here’s what was almost certainly the most eagerly anticipated performance of “Dark Star” ever played: 12/31/78, available on the DVD and soundtrack CD set The Closing of Winterland. – GL

(I just learned that the “1535 days” banner was the work of Karen Hicks and her husband Marc Francis. I’ve known them for years and never knew that! – DG)

Ratdog 11/14-15/08 Tower Theater, Philadelphia:

Here’s a shining example of the way that “Dark Star” has continued its role as a great vessel for collective improvisation in the post-Grateful Dead era. We have a terrific version by Bob Weir and RatDog from their most recent tour of the Northeast. Well, actually, it’s two halves of a terrific version made one with a bit of artistic license and digital editing magic. You see, RatDog has continued the venerable Grateful Dead tradition of starting a song, going off on all sorts of musical detours and tangents, then returning to that song sometime later that night. Or maybe not until the next night. Or even later in the tour. In this case, “Dark Star” was spread across two nights at the Tower Theatre in the Philadelphia suburb of Upper Darby. The band considerately provided a place where the transition between the two halves could be made as seamless as possible, yielding a final result that sounds uncannily like a single, uninterrupted statement. Here’s RatDog with “Dark Star” from November 14th and 15th, 2008. – GL