LOVE THIS INTERVIEW W/JER...
Jerry Garcia, interviewed by Bonnie Simmons 9/28/89 for "Built to Last" promotional disc:
JG: I think the first time Weir showed it ["Victim or the Crime"] to me was when we played with Joan Baez at an AIDS thing in the city, and he -- I listened in amazement and said "God, that's got pretty angular changes, doesn't it?" It's fascinating because it defies, almost, any effort to play freely through it. You have to know it; it's that simple. It has changes in it, and they're very strict, and they have lots of real dissonant moments. So the angularity of it was fascinating to me, the tonality was, because it's one of those things where you really have to stretch to figure out something appropriate to play to add to the tonal mood of the tune.
The text of it -- I don't believe I've ever actually listened to all the words to it. Ever. I have the gist of it; by now I probably could recite it if I really had to, but the text of it is more of the same in a way, it doesn't have a whole lot of light in it. It's very dense, and it's angstridden to boot. So it seemed to me when we were starting to record it, in order to save it from an effort to make it more attractive, I thought that what would work with the song would be to just go with it, to go with the angularity and the sort of asymmetrical way it's structured, and play to expose that. An early possibility that occurred to me was that this would be an interesting song to do something really strange with. And this is where of course Mickey comes into the picture, 'cause he's one of the guys that holds down the strangeness corner and he's always a willing accomplice in these ideas. So I thought the Beam, which is an instrument that people feel about about the way they feel about Victim or the Crime, the tune -- I thought, let's take two of the things that really have a huge potential for really upsetting people --
BS: A polarization tool.
JG: Absolutely -- and let's combine them in a happy marriage, something that will be a real horror show. And it's turned out to be strangely beautiful. I really enjoy it, now. When me and Mickey started working on it, I'd be sitting there listening and say "You know, I may be going crazy, but I'm starting to like this..."
BS: I am too. Initially I thought it was one of the oddest things I had ever imagined.
JG: Well, it certainly is strange. It's one of Weir's stunningly odd compositions, but it's also very adventurous. It's uncompromising; it's what it is, and the challenge of coming up with stuff to play that sounds intelligent in the context has been incredible, but also appropriately gnarly. I really wanted that part of it to work. I think we did a nice job on the record with it. It works. Whatever it is, it works. I'm real happy with it because it was one of those things that was like, "What are we going to do with this?" It's like having a monster brother that you lock in the attic. It's like a relative that you -- "God, I hope nobody comes over when he's eating...." But that's one of the things that makes the Grateful Dead fun.
We've got a handle on it, I think, now, and there's also places for us to take it. I think it may open up into something truly monstrous. It may turn into something truly monstrous in the future, and certainly the recorded version works.
Seems like I've been here before...
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