Phil Lesh quotes:

In a way, it's my way of dealing with, finding closure with Grateful Dead music, and giving thanks in a way to Jerry and Bob and all the guys in the band for making up this wonderful music.

Actually, the year anniversary of what you just heard, my son Grahame and I are going to be in a play together, and I'm acting for the first time in front of an audience that doesn't consist of a high school drama class.

Bruce's band is so different from the Grateful Dead; there's no lead guitar player, for one thing.

We sing a little song before we eat, a little blessing before we eat, and it's really - we're thanking the Lord and the Earth for the food that we eat, and it really brings you together in a profound kind of way.

... Everything we (the Grateful Dead) ever did was a demonstration of the value of cross-fertilization, It was unconscious at first, but when we started looking at each other, we had all these different influences... Bobby Weir used to call it electric Dixieland.

So, in the course of events, I had an opportunity to come in contact with Colin Matthews, through the Rex Foundation sponsoring recordings of various music that was being recorded over there.

So what it boils down to, in my humble opinion, is that we need to support the arts in schools, and at every other level in the education of children.

If, as some savants of consciousness suggest, we are actually agreeing to create, from moment to moment, everything we perceive as real, then it stands to reason that we're also responsible for keeping it going in some harmonious manner.

I mean, sports are big, big, big business.

To sing a simple round is truly an enlightening experience.

In St. Louis, some people were hurt seriously when some fans got on top of a roof that was where other fans were underneath it, at a park somewhere, and it collapsed.

Because, first of all, we were becoming aware during that tour that there was a group of people that was following the band around, and they weren't interested in coming in to the shows, they were just interested in hangin' out outside and tryin' to break in.

And that format was - we'd been using that format, I guess, since the late '70s, and it was starting to get very predictable. In other words, certain songs would surface in the same points in the set every so often; it was like rotation.

When the band would leave the stage, and then the audience would just take over, and keep the groove goin'.

... We borrowed it all from Coltrane. I started encouraging everybody in the band to listen to John Coltrane - 'Check it out, see what these guys do.' They take one chord, the tonic chord, and just play all over it. 'We can do that too!' I wanted to make our music something really amazing - I wanted it to be jaw-dropping and turn on a dime and do all of those things that I knew music could do, and nobody told us we couldn't do it. I shouldn't say 'I,' though - Jerry Garcia was behind it the whole way.

The decision to change the name meant we were getting serious, because we couldn't make a record if some other band had the same name as us. I told the boys I was in a record store, thumbing though 45s, and I'd seen a record with the name the Warlocks on it. I've often wondered whether I hallucinated it, because I never saw the record again and I never heard a word about any band called the Warlocks.

There was always so much encouragement, to just really take it and run with it, from Deadheads.