Week of July 22, 2002
By request, the conclusion of a two-part program on the making of Steppin' Out with the Grateful Dead: England '72, with engineer/producer Jeffrey Norman explaining and illustrating how multitrack recordings are mixed.
Steppin' Out with the Grateful Dead: England '72
DARK STAR (excerpt)
RAMBLE ON ROSE
THE OTHER ONE (excerpt)
UNCLE JOHN'S BAND
Every Wednesday, we post a program from the Grateful Dead Hour archives for your enjoyment and enlightenment. You can browse or search the playlists - by song title, show date, guest name, etc - at gdhour.com or on the GD Hour Search page, and let me know what program(s) you'd like to hear by emailing me at gdhour@dead.net.
Thank you for listening!
- David Gans
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verrrrrrry interesting...
Thanks David for puting this show back up.. I love this stuff.What a cool way to get an education on recording/mixing.. Jeff is locked in for sure..You do a great job interviewing.. keeping it fun,, love the break down of Placement with the bands playing... Pigpen left, Kieth Right,, helping with the vocal blend etc.. breaking down dicks picks also..back in the old days(86) or so we counted on you to bring us the music,, in todays time of instant gratification.. these interviews are more of a treat. steppin out...might be the best sounding Dark star recorded...great Cd.... be well..
Bobby K.
Great stuff
Thanks again for playing these David. A fantastic GD Hour two-fer.
I've had Steppin' Out for a while and am familiar with multi-track recording and mixing generally but (or maybe because of that) I really wanted to hear Jeffrey Norman talk about all of it. It was fascinating to know that the Dead sometimes recorded multi-tracks without using a desk.
There really is something about Europe 72 stuff. To me it's wilder than the rest of '72. I guess Pigpen's presence has a lot to do with that impression. Hearing some of his organ in isolation was a revelation. The guy could really play. Perhaps he was limited, but his playing had real feeling and grit that, in retrospect, adds a certain melancholy to the sound, knowing now that he would never play with the rest of them again.