![]() "When we started working with Arista, we did it thinking, 'What the fuck, it'll be nice to be involved with a record company, and not have to be doing the marketing ourselves, not have to do distribution' - just getting that held off. ![]() He wouldn't ever insist on handling us in any way," Garcia told BAM. Listen to Grateful Dead's 'Terrapin Part 1'ĭavis, as Garcia recalled, was not trying to overstep. ![]() Except for Stephen Barncard, who co-produced 1970's American Beauty, the band had not worked with an outside producer since 1968's Anthem of the Sun. Grateful Dead signed a deal in 1976 with Arista Records' Clive Davis, who had one stipulation: They needed to bring in an outside producer. They'd released three studio albums (1973's Wake of the Flood, 1974's From the Mars Hotel and 1975's Blues for Allah), plus a live double album (1976's Steal Your Face), and the pressure to maintain both a functional touring group and a cohesive business enterprise was too much. When they resumed in 1976, the Grateful Dead entered a new label contract: Their in-house label, Grateful Dead Records, had finally folded. They'd played a series of shows in October 1974 at San Francisco's Winterland Ballroom which was filmed and released as The Grateful Dead Movie, and then began a two-year hiatus from touring. This abundance of material could probably be attributed to the fact that the Grateful Dead suddenly had a fair amount of time on their hands - something they were not necessarily used to. "There were two or three tunes that didn't make it onto the album." "'Terrapin,' even from the inception, was clearly a side, and orchestrated," Garcia told BAM magazine in 1977. Fleshed out, the seven-section song reached 16 minutes in length. "We had a lot of material," Garcia added.
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