What Shall We Say? - Remembering Bobby Weir - Part 2

0:00You are listening, you are listening to Unbroken Chain, Music of the Great Folded and Friends here on KBOO Portland Community Radio since 1968. My name is Andrew Geller and I've got an eclair of a show for you today and by that I mean the whole thing is going to be really delicious and there's a surprise in the middle. So more about that surprise filling later, we're doing part two of what shall we say my series of shows as a tribute to the life's work of Bob Weir in and out of the Great Folded. Today is the second Great Folded show, there will be a third covering the later years of the Great Folded and then there will be two more shows post-Great Folded, although I think some of it will include Bob's solo work during the

1:05Great Folded's era. It'll differ from my fill tribute because fill didn't really do solo work when the Great Folded were a touring concern. More about that later, I've got tickets to give away, I've got a whole bunch of stuff to share with you online at the website, I haven't put any of that up yet, but you can go into Facebook and search KBOO Dead and find our page. I'll be putting some stuff up there related to the surprise filling as well as the rest of what shall we say. Play list will be at the KBOO website and let's just start off today's playlist with this here number.

3:24And the food came up in time and the starters did it isn't love the band kept us so busy. We both now bow their time. There may have been a description like Joseph's favorite choir. And people join in anything while the music plays the band. Well, that stuff's not so fine. Greasy rust is growing. Well, some light didn't roll along. Oh, they sing about that drink. Women laugh and children scream, but bad kids play it all. I keep on dancing. We're the same line. We're the one and only one song. No one's known it's worth the band's song. Packed it up.

4:24We're the one and only one song. We're the one and only one song. Look at all the dancing. Come on to the world, come on to the world, come on and clap your hands. Well, the cool breeze we want Tuesday. And the cocks of bubba cry. And the feats of bulletins. Well, they're singing it from the answer. Here's the clean of the stars.

5:28Here's the clean of the stars. Here's the clean of the stars.

6:28Here's the clean of the stars. Here's the clean of the stars.

7:28Here's the clean of the stars. Here's the clean of the stars.

8:28Here's the clean of the stars. Here's the clean of the stars.

9:28Here's the clean of the stars. Here's the clean of the stars.

10:28Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars.

11:33Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars. Here's the clean of the stars.

12:49You know me, you got to lay your hand And sometimes the cards you work are done And if you don't lay your hand down Sometimes that's so shattered of me All the times I can never stay I really hope for you to be All alone To achieve its best I miss you, I miss you You wouldn't lose me when I became a sea change What she lost was partly your door She looked the same Even on reds and bottom makes me 12 years

13:52All I bring could say is that you're ashamed I'm walking to the bottom of the plain I got to bend the slope To take a step To pick a place to go To just keep you joking Oh oh oh We'll simply stare in an outer window When I like to get some street people or I travel But if you got a wallet, I'm actually going to come I'm going to bust you down the management street You said I'd like a bowling game We locked down, we got some better games We just won't let you be the one or only

14:54We just won't let you be the one or only We just won't let you be the one or only We locked a child up, we got a time on you when I settle down Well I guess you can't revoke, you're so over-trying Get out of the door, get out of the door The lights on shine, don't be Other times I can barely see They lead up girls to be All right, the things you're gonna stay on Now come out of the door To you, I'm gonna do it more Oh, no, hey, I bet you know

15:56The bad old, she got a patch on her bones To get a patch of your bones You know, you bet you know You know, you bet you know You know, you bet you know You know, you bet you know You know, you bet you know You know, you bet you know You bet you know

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30:38. . . . . . . . . . . . . . . . . . . . . number 21 after the music starts and those tickets are yours. Okay, we jumped a

31:42little bit into the Brent era and we're gonna stay there for a little bit. Today's show is the transition between Keith and Brent. We'll hear some of each continuing going forward but here's a little bit more Brent. We're up the summit high. We can't get through. You're a leasing line made in town. You're a leasing line made. Must've met you kind of bright made. But you really get me high. When I hear your velvet thunder, it seems only I start to wonder. Would you go closer?

32:58I, if I asked you to, leasing line way messing with my reason. It's an obsession but it's pleasing till the end I was sad. I swear it's yours. You're a leasing line made. You're a leasing line made. Must've met you kind of bright made. You're a leasing line made. You're a leasing line made.

34:23Lies you learn, they say you'll never shine, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black, I'm black, I'm black, I'm black

37:09Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black, I'm black, I'm black, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black, I'm black, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black

38:13Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black

39:17Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

40:21Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

41:23Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

42:41Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

43:51Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

45:01Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

46:07Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

47:07Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

48:07Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

49:07Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

50:07Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black Lies you learn, they say you'll face, one of double those in my case, I'm black

51:07Lies you learn, they say you'll face, one of double those in my case, I'm black You are listening to what shall we say, the second version Let me tell you what you've been listening to for the past 20 or so minutes here We started off our second set with an early Brent era lazy lightning into supplication

52:11From May 15th at the Nassau Colosseum in Uniondale, New York, May 15th, 1980 And just most recently there we heard feel like a stranger from October 12th, 1984 in Augusta, Maine So I didn't mean to do it like a Keith set, a Brent set, although I guess I quite didn't, but try and mix it up for the rest of the show 21, so he's going to get to go see the Garcia project at the mission theater To all those you I disappointed, I do have more tickets later, so stay tuned There's more to come and we haven't quite gotten to the creamy center yet, so there's that to look forward to It is five minutes before, oh wait, four minutes before one, this is KB OO Portland and support for KBU comes from its members

53:18And Chenoweth Law Group, strategic advisors and trial lawyers for businesses and individuals throughout the Pacific Northwest More information available at ChenowethLaw.com And like I said, this is KB OO Portland, we are at 90.7 FM, we are at 104.3 FM in Falometh and 91.9 FM in Hood River Our translators are K282BH in Falometh and K220HR in Hood River If you're listening to me near Hood River, there's a chance for you to go see the Grateful Dead's music performed live Let's see, was that last night and tonight, tonight and tomorrow night? One of those, anyway, it's definitely happening tonight, you could go and check out the Garcia Birthday Band's website Because that's the band who's playing Alright, let's see here

54:18I'm going to have to start making some tough choices, however, this one is not a tough choice Because there's a new and unique Grateful Dead book out It's called Clowns in the Barion Ground, the Grateful Dead, Literature and the Limits of Philosophy Christopher Kaufman is the author, he's a master lecturer in humanities at Boston University in Massachusetts Where he uses his degrees in English literature and language to lecture on literature, philosophy and rhetoric Chris has also been a Grateful Dead fan for decades and has presented multiple times at the annual Grateful Dead studies association meeting On topics such as Finnegan's Wake of the Flood, James Joyce's Grateful Dead German Romantic Philosophy, Georgic Poetry and Weather Report Suite Part 2 And, Ovid, William Shakespeare and the Grateful Dead

55:22I spoke with Chris last week about Clowns in the Barion Ground, and today I'll air some excerpts from that conversation The whole interview, which is nearly an hour long, will be available on the KB website after today's broadcast Find it from today's Grateful Dead and Friends webpage or just search kb00.fm for Barion Clowns Chris begins by explaining why he wrote this book There are several different ways to answer that question, but I think the most immediate thing was that I was just taken with the question of what I do, as you say, mostly literary criticism I was wondering what happens with the dead if we look at them through the critical lenses, the academic intellectual perspectives that we bring to reading other sorts of material And their lyrics proved just as rich as I could have hoped

56:24I talked about some of the more interesting to me, and I think for my overall argument of the book, pieces But I should say, and I'll probably repeat this, there's a lot more that could have been done And certain versions of the book had a little bit more on some things that didn't end up in the final draft It's just proven incredibly rich and it's great to be able to talk about I'm glad it's out there so some people can get it into their hands and in front of their eyes Okay, so not to put the cart before the horse here, but does that mean that you might be writing additional books to cover ground you didn't get to? Probably not additional books, but definitely some other materials You posit literally on page one that the Grateful Dead quote, engage the literary tradition to a degree that is woefully under-recognized So what's been under-recognized in the Grateful Dead's use of literary traditions? Again, I think there are a few different answers to that, but what I'd say is the Dead had such a devoted fan base

57:30Everyone comes to anything that's been said about them with so much information already in place, so much of the context So it's an interesting audience to write for because they're so well informed already And part of what many of them bring to their listening to the band is an awareness of Oh, something's going on in this lyric, say, and by the report suite or whatever and it's connected to I'm aware that it's connected to some literary work or I'm aware that it's working in the same sort of space I think a lot of people know that casually, but I, as a scholar, one of the reasons I became interested in exploring this more is There hasn't been someone who's sat down and really undertaken a book life, study of this kind of thing And really tried to be careful and rigorous and methodical about thinking about how those things that we all enjoy while we're listening Really take shape and are manifest and sort of what happens if we look at them all together, not at the same time

58:31But on more or less the same kinds of terms and try to think about what we can learn about the dead Maybe what the dead can teach us about how we think about literature as well So this really informed fan base, you know, like I'm saying, it's an audience that was interesting to write for Because they know so much, I mean they've spent many of them much, much longer than I have listening to this music I got into it as a young teenager, but I'm still compared to some people, including some you've already named, right? Still learning, and I think it's an inexhaustible thing, I think we can keep learning Another way to put what my motivation for the book was is that I've learned so much from listening to the band And from interacting with other dead heads and one of the things that I found so winning and so characteristic of their audiences is Everybody brings their own thing to the table, the thing that was always sort of tossed out there is, yeah, the audience is part of the show And that absolutely seems true to me, and one of the things that I could bring to the table was an effort to kind of grapple with some of these questions

59:37And it was in some ways kind of an attempt to repay some of the kindness that I've encountered over the years Well, that kind of dovetails with the idea that Robert Hunter didn't really ever want to tell anybody what he meant when he was writing his songs If he really meant anything, because he wanted to have people make up their own minds what the song was about And he said at least once, he had other people tell him better ideas about the song he wrote than he had And he was like, wow, I like that better Yeah, absolutely. I mean, it speaks to the richness, not just Hunter's text, Peterson and Barlo and some of the pieces written by the performing musicians as well, some of the lyrics composed by the performing musicians as well There are opportunities for interpretation that open on to others and things get richer And some of the things that I found most interesting in terms of working on the project were things where I really had to grapple with the lyric that I hadn't thought through as well as maybe I thought I had And sometimes would find that where I ended up was not what I expected that led me down a path that was surprising

1:00:43That was really a delightful kind of thing to run into here and there While I don't want to give the listener the impression that we're really exclusively focusing on Robert Hunter Hunter definitely is more engaged in those aspects of the literary tradition than Barlo, Peterson Peterson maybe to a greater degree than Barlo, but Peterson was nowhere nearly as prolific a lyricist for the band as Hunter was Hunter would be pretty familiar with a lot of this given his background, he lived in England for a while as well And together with Garcia, they loved putting a little piece of this, a little piece of this, a little piece of this Together, it seems like most of what they did came from somewhere else a little bit at a time I agree, absolutely What you say is very much in keeping some of the things I talk about relatively early in the introduction of my book

1:01:45There are a lot of moments where not Hunter so much actually, but Phil Lash and Garcia and T.C In particular, kind of talk about the music as existing kind of apart from them and the musicians Right, the music plays the band, the musicians are kind of this channel or this medium for this music that's happening somewhere else And you just kind of tune into it and you tap into it and if you do that in the right way it comes through you in the right way If you're equal to it, right? Like you quote Phil Lash is saying, music is about bringing eternity to time I was just looking at that line again a couple of days ago and I'm so struck by it anew It's a fascinating idea, it's a huge idea It's a wage Wait, music isn't just music Right, it's this confrontation with what can we call it, it's outside of time Even eternity hesitate a little bit to use that word, right?

1:02:45But again, that phrase is wonderful to me because in some ways it's compatible with something I was talking about earlier Right, the sense that there is a certain limit that you can get to then there's something beyond that And it's the beyond that that the band is interested in again and again in the lyrics and the music in terms of how they Think about structuring a show or a run of shows or a tour There are so many different possibilities and they were interested in that realm of possibility I mean realm of the potential And in some ways I won't say everything but so much of what I do in the book is trying to figure out How those moments happened and how a familiarity with some of the literary sources they drew on helped those moments happen That's Chris Kaufman, he's the author of Clowns in the Barry and Ground, the Grateful Dead literature and the limits of philosophy It's available now from Duke University Press and if you just search for Clowns in the Barry and Ground

1:03:45You're either going to get this book or probably a link to David Dodd's archived annotated Grateful Dead lyrics online And what you do here is definitely different than David's work although there is some overlap He was very much more is there a reference to this somewhere doesn't have to be literature So he has a broader sweep of where stuff came from since you're focused on literature Let's get into some lyrics and songs We've both mentioned this and this is airing on what shall we say That lyric does come from a certain song you mentioned early on in the book So let's talk a little bit about let it grow and why you decided to include mention of it so early on in your book Why is let it grow part of your initial discussion?

1:04:46Well, I think it illustrates really well a couple of different things that I wanted to approach And I do for the most part I save remarks about particular sets of lyrics for later in the book But in the introduction I kind of I tried to lay out with reference to three songs Some of the different kinds of uses of literary texts that we encounter in the lyrics of the dead Let it grow is rich in my eyes for a variety of reasons But among them as a song that has references to specific texts One of the things I didn't do in the book which I considered at one point But it really needs I think to be a separate book of its own because it's just such a huge topic Or references either to like sacred texts in general or to biblical texts in particular But that's something that's in the background of let it grow

1:05:46And a bunch of other Barlow tunes really? Absolutely So I wanted to acknowledge that fairly early on But I also I think in some ways I wanted to do it early because I was a little worried that it would kind of take over the text If I put it somewhere else it would end up being the kind of many headed thing that got away from me So I do think it won't be me but I'd love to see somebody take on maybe somebody already is working on something Where they take on that kind of job It's an important one and I think somebody's going to need to do it at some point I certainly hope someone does I mean there have been some papers where people who look at one or another aspect of it Maybe it's tied to what you and I were talking about a couple of moments ago You know with a sense that we're moving from a place of Here's what's going on with the dead to here's what was going on that we talked about Or that we experienced when we experienced the dead You know with we're being this kind of inflection point for that or something But having a little bit of a retrospective view isn't the worst thing

1:06:48Particularly because it can set us up to understand sort of how this thing is going to carry forward into the future I don't mean to sound like the timeline is closing the book on us I think it's just a matter of figuring out how this thing is going to be manifest moving forward That's a different conversation To get back to let it grow, one thing that was going on that I wanted to grapple with fairly early Was the sacred text, the biblical texts that are invoked in that piece The other thing that encouraged me to look out early on is I guess it's related to something we're talking about at the very beginning Where I suggest that they're sort of more superficial and then less superficial Right, there's a deeper undercurrents that we can think about We're thinking about the literary identity of the grateful dead and their sources One of the things that is true in lots of apparent ways about that song Is that it draws on this whole tradition of nature poetry and of pastoral poetry And of Georgic poetry, right?

1:07:48So these different kinds of poems about humans in relation to the earth and the fruits of the earth That has its biblical side, but it also has a tradition that goes back to the poetry of ancient Roman and Greek sources I look particularly at some of Virgil's work as a model for what Barlow does in some of the lyrics And it seems to me that there are particular motifs that Barlow brings into play That have this tremendously long history And in the works of the most agust writers in our tradition You know, we're talking about Shakespeare could certainly stand alongside them But when you're talking about Virgil, they're only a handful of people you can mention in the same breath And another reason I guess that I'm saying that I wanted to deal with it early Is because it's a really great instance of just how ambitious their engagement with literature could be They didn't shy away from the challenge

1:08:51That's part of I think what gives those powerful lyrics their strife But it's also something, right? It's this tip of the hat to sort of where the band had been at certain points You know, Mickey's got his ranch and Barlow has he has a working ranch and part of Wier's experience was through Barlow Doing that kind of manual labor and being in that kind of world for some time And I think that's important because it reminds us that even though Wier would take on like a cowboy persona Right? It wasn't just a mask that he don't, right? He actually had that experience and he knew people who lived in that world And so it's not as casual as some people might think it could have been I often think about this when I'm thinking about the other bands that are sometimes mentioned in the same breath With the dead's turn from the sort of fire breathing psychedelic band of the late 60s to working man's dead in American beauty

1:09:53And people say, well, you know, sort of like country folk was becoming a thing We had the grandparts and the birds and CSN and the band were driving this change But I think for the dead it was maybe a little different because they had some experience in that world of farming And there was also new writers of the purple sage, which was banned very much connected to the grateful dead Garcia was part of it. I want to say that Phil Lesh was part of it for a little while as well Yeah, he was And Bob, we or would play with them under his guys with Bobby Ace, right? There was a nod to it. There was more than a nod, you know, it was something they were invested in And those great shows of 1970, you know, when you get the acoustic set and then the new writers and then the electric stuff And it's all of a piece, but it's also drawing on all of these different experiences And some of those experiences emerge in the lyrics And when they do, they sometimes draw on these literary models

1:10:53And that's what I was really struck with, one of the things I was really struck with And thinking about that song and feeling like it had to be something that I got into play early in the book This one doesn't have a name yet, but anyway, this is how it goes You You

1:12:19You You

1:13:19You You

1:14:19You You

1:15:19You

1:16:19La-da-da-da la-Doul La-da-da-da la la-Doul La-da-da la la-Doul Born and come, she follows the path to the river shore But the land is on, the song is the last song, the morning's done She doesn't sign, she's barking in the rain, she's still there bein' Passing to the sea She don't stop the town where they're calling She's gone, she's gone, she's brown as the bank where she used to

1:17:21She's gone, she's gone, she bears in a way where the moon has taught her Ready, ready, ready, ready, ready, ready, ready, ready, ready Round and round, we're gonna fly in the broad sea Season's round, pushing through the barley me Token down, open and speckin' in until it's big Black girl to live again She can't cease to say she'll attract the flag Back to work at the station and choose more

1:18:22Ready, ready, ready, ready, ready, ready, ready, ready, ready We're shall we sing, shall we call it, we're gonna fly in the broad sea Won't we fly in the broad sea, Season's round, we're gonna fly in the broad sea We're shall we sing, shall we call it, we're gonna fly in the broad sea We're shall we sing, shall we call it, we're gonna fly in the broad sea

1:19:48I'm a man and I'm a man and I'm a man and I'm a man and I'm a man and I'm a man. Through it goes, we make what we make, where all we gain. Got the mall, the bun of the women, work out man, she's just now. We just ran out of time, now we're running wild

1:22:14So So So So So So So So So So So So So

1:23:18So So So So So So So So So So So So

1:24:22So So So So So So So So So So So So So

1:25:26So So So So So So So So So So So So So

1:26:29So So So So So So So So So So So So So is available on the KABU website right now. You could either go to the website KBOO.FM, navigate to today's Grateful Dead and Friends page for this show. There's a link at the

1:27:30bottom of there. Or from KABU's homepage, just search for burying clowns. And it'll come up. The entire interview is up there. You can grab it for your very self and hear all the other stuff that we didn't talk about. And we did talk about, but I didn't air. And there's plenty. So, hope you enjoyed that. Following that, I did a little compilation of weather reports suite. The first part, the prelude and part one, where Bobby's just kind of scat singing, is from an acoustic demo. He did solo. I imagine while the rest of the band is watching him. I don't know where it's from. If you do, go to the Facebook page KBOO dead inside Facebook. And let me know. And then when we got to round to let it grow, we listened to the October 11th, 1977 version from Norman, Oklahoma.

1:28:36Now, on the acoustic version, he does sing, let it grow with different lyrics. I'm going to attach that to today's Grateful Dead and Friends webpage at KBOO.FM. So, you can hear the whole thing with the alternate lyrics. It's not there yet. I'll do that a little later today. All right. I got a hustle. I think I'm already short on time for what I want to play. And I've still got a ticket giveaway to do. So, let's see. I'm going to call an audible here. After the music starts, if you want to go see Tom Hamilton, March 26th, at the showdown saloon, down near 11th and Powell, be the first caller after the music starts at 503-231-8188. 7. And tell me why I used the last musical selection that I used. I'm curious of how much you were paying attention. And if that doesn't work, we'll come up with something else. So, 503-231-8187.

1:29:42Why did I use that last musical selection to get tickets to go see Tom Hamilton at the showdown saloon? You may have been wondering why in a Bob Wears special, I haven't played this song yet. Well, here it is. It's a short one. It's probably the only one we're going to do because choosing one is a little bit of a fool's errand. And, well, I guess I'm a fool. So, I'm going to go see Tom Hamilton at the showdown saloon, which is a little bit of a fool's errand.

1:30:47So, I'm going to go see Tom Hamilton at the showdown saloon. Tom Hamilton at the showdown saloon. Tom Hamilton at the showdown saloon.

1:32:04Tom Hamilton at the showdown saloon. Tom Hamilton at the showdown saloon. Tom Hamilton at the showdown saloon.

1:33:23I woke today, held your side of there, covers were still long, where you've been there. You were gone, my dream was filled with dread. Not be sleeping, here again. This old man, because I love you, that's not going to show.

1:34:33I'm going to be around, make me hurt again, and again. Still sing your last songs, written in the last few days.

1:35:36You get guests from Maddie Cross, this year she's worth five. Where you've been, it's just the last thing they're thinking about. You're only trying to make it through the night You're only trying to make it through the night

1:37:05You're only trying to make it through the night You're only trying to make it through the night I only want to move I only want to try it down It's you in the eyes, I might have drawn You're only trying to make it through the night You're only trying to make it through the night I only want to try it down

1:38:11You're only trying to make it through the night You're only trying to make it through the night It's all around because I love you That's not going to change Run me around, make me hurt again, again Run me around, make me hurt again I only want to try it down You're only trying to make it through the night

1:39:17Ray the storm will come What should it look like Ray? That storm would come That's a storm There's nature thr nature Isn't it a storm they're hyping Showed it up like Ray? Right tourists look like rain If you're stuck right with gold You got to wave This grey story, looks like rain If you're stuck right with gold

1:40:17It's great to stop the gun, it feels like rain, it feels like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, it feels like rain, oh, it's like rain It's great to stop the gun, it looks like rain, it feels like rain, oh, here comes the rain

1:41:46It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain

1:42:55It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain

1:44:06It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain, oh, here comes the rain

1:45:22It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain, oh, here comes the rain

1:46:37It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain, oh, here comes the rain

1:47:48It's great to stop the gun, it looks like rain, oh, here comes the rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:49:03It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:50:14It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:51:21It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:52:28It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:53:37It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain

1:54:40It's great to stop the gun, it looks like rain It's great to stop the gun, it looks like rain All right, now we're going to play everybody's favorite fun game And don't be afraid, don't be afraid, don't be afraid, just do it

1:56:00Nobody's looking, lean over and kiss your radio. I'm out of time. This is a track I hoped to play this time. I will play it next time. I'm just going to use the first minute or so of it as a bed for signing off here. What you just heard was the other one. April 6, 1982 at the Spectrum in Philadelphia. Following that, we heard looks like rain June 9, 1977 at Winterland. And then most recently there, not fade away from MacArthur Court down at the University of Oregon in Eugene, January 22, 1978. And that's going to close out. Shall we say part two? I will be back in April with part three. I am preempted this next month.

1:57:03Phil G will be on next week with his beginning of his Bob Weir Tribute. He will continue that in March unless he's also preempted. If you want to get in touch with any of us, you can do so through our Facebook page KBOO Dead Inside Facebook. There's a bunch of resources there to find out more about the Grateful Dead's lyricists, their songs and their lyrics. You can also leave suggestions for future. What shall we say, broadcasts? What else? KBOO DeadShow at gmail.com is the place to also email any and all hosts thanks to all the donors who make this possible. Literally, you make this possible. So thank you so much. This is KBOO Portland.