Touch of Grey: Grateful Dead's Jerry Garcia Talks Gear, His Near-Fatal Illness and 'In The Dark'
Here's an interview with the Grateful Dead's Jerry Garcia from the December 1987 issue of Guitar World, which features Joe Perry on the cover. The original story ran with the headline, "Back From the Dead: A little grey around the edges but still as out there as ever, Dead Head Jerry Garcia is pickin’ his way to prosperity."
Jerry Garcia looked around the Grateful Dead’s rehearsal studio in San Rafael, California, and smiled. “It’s good to not die,” said Garcia, who suffered a nearly fatal diabetic coma in July of ’86.
The legendary guitarist whose mercurial improvisations are the life’s blood of the Grateful Dead’s music has made a miraculous recovery from an illness that at first left him incapable of walking, speaking clearly or playing. “I remember the moment in the hospital when he was recuperating,” said Dead drummer Mickey Hart.
“Once he came out of his coma, you could see that he has life back in him,” The first thing he asked for was his acoustic guitar. He must play, he’s an animal. He’s like a thirsty animal, like a shark, always eating, always playing. If he can breathe, he’ll play.” Garcia insisted that he was never aware of being seriously ill. “For me it wasn’t one of those near-death experiences,” he explained.
“It was very weird, it had a sort of science-fiction quality to it. But it wasn’t painful, it was cerebral. The weird part of it was that it took a while for me to get to the point where I was understood. I had to fish for everything.
"It was like everything was in random access, I know all the words, but I can’t get it out of myself. So for the first few days it was mostly sort of Joycean inversions of language, and then after a while I started to remember how it worked. But I had to do that with everything. They had to teach me how to walk again, and playing the guitar, I had to do that stuff all over again. But it was all there. I mean the bits and pieces where all there, but I didn’t have ready access to all of them.”
Within three months Garcia was writing songs and playing with his solo group, the Jerry Garcia Band. In mid-December the Dead returned to the stage, opening with “Touch of Grey,” the celebration of aging that Garcia wrote a few years ago with lyricist Robert Hunter. The concert was a triumph. Instead of falling apart after Garcia’s illness, the Dead re-emerged with new energy. The group went back on the road, finished a concert film they’d been working on for years, then recorded In the Dark, their first album in seven years, and possibly their most commercially successful one yet. To simulate live conditions, the band recorded the album in a Marin County theater.
“That’s how the energy got into it,” said Garcia. “It’s a nice little theater and it has great sound. We rented it, moved out stuff in and set it up just as though we were playing live. We didn’t have an audience, but it was that same mood. We did the tracks as though we were performing full out, so on some of those tunes I didn’t replace any solos.” Garcia and Dead soundman John Cutler produced the album, and the results are astonishing.
The compression of the guitars sounds on the recording is unlike anything they’ve managed in the studio over the years. “The arrangements are read,” said Garcia. “The mix is my understanding about how Grateful Dead music works. A lot of the producers we’ve worked with haven’t understood how Grateful Dead music works. There’s real structure to it, there’s real architecture to it and there’s real conversation, like in a string quartet, to it “The instruments speak to each other. But unless you mix it so that that’s intelligible, then it’s nonsense. That’s the sense of the music, it’s something I can’t communicate to a producer, but I can hear it.
“One of the things the Grateful Dead can do is provide that energy,” said Garcia. “The music is mostly pretty minimalist, it’s just what’s in the band—rhythm guitar, keyboards, bass, drums and lead guitar. It’s classic rock ‘n’ roll in configuration, but the style is all Grateful Dead. We get that stuff from everywhere, and that urgency is what the band can do. That’s what we’ve tried to get on record all these years and failed miserably at.”
The other band members agree that In the Dark is their first truly representative recording. “I’m really impressed with it,” said Hart. “I can listen to it, and normally I can’t listen to Grateful Dead records. We were able to capture the spirit of the band for the first time.” Bob Weir confirmed that the group’s relief over Garcia’s recovery spurred them on.
“He bounces off his little brush with death,” said Weir, “and the momentum that he picked up carried through to the recording.” That crystal-clear guitar tone did not come from any specific recording technique. “The difference is intent,” he explained. “Usually on a record I do my solos toward the end of the record, but I have this problem with my own playing. I can play okay but I can’t judge myself. When I function as a producer I’m a pair of ears and I can do that pretty well. As a performer I can perform pretty well, but I can’t do them both at the same time. So I’ve always had problems judging my own work.
“Classically, I say, ‘Ah, it’s good enough,’ I’ll do however many takes and say, ‘Ah, that’ll do.’ Then later on it turns out to be a little lame, maybe, not as good as it could have been, not what I really wanted it to be. It’s like an afterthought because it’s the thing that I end up caring the least about from a producer’s point of view. “The thing about a guitar solo is, the guitar’s register is right in the human ear space, it’s like the human voice, you can almost not bury it. It penetrates through every cut. The smaller the speakers get, the louder the guitar gets. And so it’s not a problem to mix, never a problem to get on the tape, it’s one of the easiest things in the world to record. Everything else can be a problem.
“The guitar solos on Grateful Dead records have suffered from neglect, especially, just because it was me responsible for them. That’s just the way I worked. But on this record, part of it I was able to overcome because we played live, and I actually played the solos when he laid down the tracks, so they had the energy they needed. On things where I replaced them and did them again or did a different sort of solo or left a hole for a solo, I was more concerned with making the solo concise and intelligent and work well, so I spent more time. This is me conquering the problem.” Garcia admitted to finding himself playing things on In the Dark that surprised him.
“But I always used to do that,” he quickly added. “I remember that much about my own playing. I don’t invent that much of it, a lot of it invents itself. It all comes from spending hours with an instrument, you have to put in the time, and the more time you in the more access you have to the whole file of guitar possibilities, because all music is a collection of possibilities.”