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Page 1 of?
The Annotated "Fire CIn the Mountain"
'Ig_&Wg oll yoa had,why y*uwant
tu give
ware?"
The Annoiaiesf "Fire On the iviouRtain?n
.4n instetrlrnemt in The ,4m$s{*leqj &ateftrl Deqd. Lyios.
By travd-Dsdd
lq97-18s8 R.esearch Assaciate, Music Dept". University of California, Santa Cruz
"[ire On.the Mounlpin"
Words hy Robert l{unter; music by Mickey Hart
Copvrigtrt lce Nine Publishing; used by permission.
Long distance rururer what you standing there f*r?
Get up, get off, get out of the door
You're playing cold mu*ic on the bar room floor,
drowned in your laughter and dead to the core
There's a dragon with matches l*ose on the town
Take a whale pail af water just to cool him down
Fire - Fire 0n the MounJain
Fire - Fire on the mountein
Almost aflame siill you don't feel the heat
Takes all you got just to stay on the beat
You say it's a living, we all gotta eat
but you're here alone tllers's no $ne to compete
ff mercy's in busines* I wish it for you
More than just ashes when your dr*ams come true
Fire - Firs on the rnountain
Fire - Fire on the rnountain
Long distance runner what you holdin out for?
Caught in slow motion in your da*h to the door
The flame from your stage has now spread tn the floor
You gave all you gat, why you wanta give rnore?
The more that you give, why. the mcre it will take
to the thin line beyond which you really oannot fake
There's a fire
Ijire on the mountain
ttl{ire (}n th* Mountninrt
Recorded on
.
.
Sfurfu_dwu S,treet
Oegd,k{
http ://ortsites.ucsc. edrfGDea#agdllfi re.html
3/1112011
T'he
Atnstated "Fire On tha Mountain"
'
Page 2
of7
S:f-:lr.- f"fe-&g_r,""._f,
Mickev Hart resnrded
r Instrumental version with Diga Rhythm $and un #ffiq, entitled "Ilappiness [s Drumming"
r Sung version with Mystery Hox on {Wthutl:3.,tfry_g}
Cor'ered by
*
.
Eire-OMfsl*brsei{hs-fitslgful
DsM
Chaiice on Porv Wow's
Thglggydl-AlLrathq$ *n Mimkwye O.yasin {l.yasinlAll My Relations (with Bob Weir on eleckic
guitar) {1996)
And this note from
a reader:
Subject: fire on the mtri. annotati*n
Date: Mon, ?l Oct 1996 05:15:59 -fl400 {EDT)
From: Edward Brough Flolzwanger
just happened to be reading orrer ysur lyrics for fire on the mtn" and feit that they were
incomplete. I know Vfides31gedPAelg has ccvered the song on a number of occassions, and
thay always add two extra yerses, which I betrieve are in the original set of lyrics composed
I
bv Hunter.
"blind man, hlind m*n, call your dog
he lifts his leg on the fire, he's [hoggln'"1 the log
fire on the mountain, here she comes, here she comes
all the way around*
"TlIe more that you give" the more..."
Out of the frying pan inlo ths fire,
Over the flrattrap'l and urdsr the wire
Fire on the mtn. here she ffomss. here she somes
altr the w&y around"
"Fire on the rnountain, it's carning around
It never.Soes up and it nerrcr c*mes down."
I don't kn*w if you purposely excluded
these lyrics.
if they &ren't the original lyrics
at all, or
whether yllu wers not aware of their existenre. I hope this helps.
Ed
Thanks" Edl Huntsr does include soms lvrics like these in his anthnloEy, trul in a slightly ditTerent
versiqrn.
First perfinrmaune: March 1S" 19?? at Winterland Arena, San Francisco, "Fire" clased the first set,
fbllowing its etemal partner, lscadqt BSgprliagJ. This combinatisn of tunes, which often enclosed sorns
wonderful jamming, came tc be knnwn as "scarlet FirF"" It remained steadily in the repertoirn from then
(}n.
3ltll20t1
Page 3
The Annotated "Fire On the Mountain"
cfT
Coversd hy Fhirh {1984} This note from a reader:
Subject: flrr* on the mountain
Date: Tue. 20,{ug 1996 ilO:l?,Sfi -l-S100
From: hpein
add another inter*sting little tld bit to yaur fire on the rnountain
annotation. fls many other mentiofls wers made nf parodies, i wanted to mention at treast one
other one that i know of. i have a t*pe of phish fiom 19S5 in wtrich they sing difTerent lyrics
and the refrain is fire, frre up the ganja" aicording to the helping phriendly boclL the phish
equal of deadbase, they mention thaithe band in fact playing that song maY not be phish.
a*1*ay, whoever *ang it, it is kind of an amusing versioll of the song.
dear david. just wanted
t*
peace,
sam
Also worthy of note is the hilarious sendup by Lnftgve{$alpqn on their /trrdges lo Eert album: "Pasta
On the Mcuntain."
This note from a reader:
Date: Thu, 16 May 199619.32:03 +"0000
From: Brad Phillips
To : [email protected]. edu
Dear David,
I am really enjoying your Annotated Grateful Dead Lyrics Page. GD exegesis is a fabulous
idea for u **b e*g; My fellow deadheads ancl I have of corrrse been doing this kind of
thing on an informal basin for years.
A note to vour ongoing Fire on the Mountain page, When I saw the r*ference to "Pa$ta on
the Mouniain." I was reminded of a "trihute" bY the S"F. Bay fuea avant garde
band/perfbrmance artists, Idiot F'I esh.
They arose from the infarnous U.C. BerkelgY co-op" &,fu#BA-tldl. There was alwaYs a
large deadhead confingent in residence there. but also a fair amaunt of tension between the
deadheads and the moie "punko' elem*nt. The building was covered inside and outwith
some of the most interesting art and graffitti. MV favorite was on the outside in large letters
easily visible to anvone drivins up Dwieht Way. It read: FUCK l}{E DEAD" Most
probahly assumed this to he a necrophilia reference. We know better"
Anywav" this band. then colled Acid Rain {the-y had to change thcir name rvhen thev
u*aiir*d there were probablv about 100 unsucces*ful bands of the same nam€)' perfcrrrned at
one of the infamous"(there's that word again) "Wine Dinners"" These ev€nts vrere closer in
spirit to the origlnal acid tests. Shortly after.Ierrv fe1l into his first diabetlc coma thev
piayed a versi*n of Fire on the Mountain with *re refrain:
"Jsrry, Jerry'* in a snma." Even those of us pulling for Jerrr couldn't h*lp but
laugh.
hfip://artsites.ucsc.edu/fiDea#agdl/fire
.htrnl
3111/2011
The Annotated "Fire On the Mnuntain"
.
Page 4
ofT
F'lesh has sn oponymous alburn currently in release" hut I don't know ths details (lubnl"
etc.) They are reatrly weird. I douht they will ever attain *nmmeraial succe$s" They are at the
Idi*[
forefront of the "Rnck AgninstRmck* nampaign.
Justthought you'ld like to knor;v. Keep up the good work.
Brad Philtips
This note from a rearter:
Date: Sun, 12Nov tr995 lB:25:55 -080fifPST)
From: Eric Eliiott
To: [email protected]
Subject: Fire on the Mountain
Hi DavidIfere's an obscure ref*rence I think is interesting: The second chapter of William Golding's
Lard *f the Flies is titled *'Fire on the Mnuntain," and includes the sentence. "The separats
noises rtf the fired mereed into a drum-ro1tr t}rat seemed ts shake the mountain."
-Eric
Fire On the Mounfain
standard nld-time country tpne, recorded bv a large nurnbmr *f perfanners. inciuding Rile3i Purkett
and Clayton McMiahen, and Gid Tanner & his SkilletLiekers.
A
According to Alan Lomflx's ChecfuI-ist af RecarC*dS'omgs in t*t* liwglisk ImtS:u*re ln flre Archive o.f
Americsyt l,-alk Sang to.IruSt, J94$ fLihrarry of Comgres*, 1942)" * tune called "Fire in the Mountaifl*' was
played by G.G. Albritton and Cleo lFynn f)'Berry an fiddle with straw beating in Sebring, Florida" in
1E40.
A1soinc1udedasalinein&uIH$sry&gm$,Thect$f}.qffihasthisversion:
"Hogs in the garden. ffatch'em, Tsr'vser;
Ccvrs in the ceirn-field" run. b*ys. run!
Cats in the cream-pot, run girls, run!
Fire on the mountain" mn. hoys, runl" {-p. 26ff}
And this note fnrm a reader:
Date: Snt. 15 Jun 1996 l4:ff6:09 -0700 (PDT)
Frorn: "W. Bubelis"
Hi, David. I'm un LI$ sfirdent herCI at the U of Washinppon" and also a big fan of the Dead
*nd your we{: site with all the terrific *nnotations. I recently visited the site finr the first tirne
in months and sa.ar that your annctations for "Fire on the Mountain" are still a work in
htn://artsites.ucsc.edu/GDead/a,gd1/fire.htm1
3,/1 1/201
1
TheAnnotnted nFirn On the Momntain"
Fage 5 CIfT
progress. I'd like to add sornething that's been on my rnind ahout this song.
In the l(,&eg, the ancient Chinese Book of Changes, hq1&gra4g'[6 is titled variously The
Travelcr, Travel, The Stranger, and so on" It is repre*ented bv t}e trryo trigrams of fire and
msuntain, with fire resting on mountain. The tone of this hexagram is one of a little caution"
The traveler will not stay trong, and thus oannot expect a lot of succes*; he dossn't have the
perseysranue to attain n lntty goal. The traveler could easily be the "long distance runnsr"
who is addressed in the $CIng, somsnne rvho can't stay in one place long enough to make
nmore
thaniust ashes wher your drearns coms true."
The dragon, which I don't recall rneeting in any other Dead song, is a symbol of creative
power forthe Chinese. The repeated references to fire hint at this power, and also to the
{self-} destructive power of flame. The long-distance rururcr is bsund rvith the dragon and
the flame.
Thanks for putting up this site--it's a bookmarkl
Sfallv Bubelis
More on the l-Ching:
Subject: Fire an the Mountain addition - I Ching Phoenix
Date: Thu, I Jan 1998 02:12:42 -0800
From: Ed Meohem
Hi David"
Here's another addition to the Fire on the Mountain I Ching section - the topmost line of
hexagram 56 "suggests the idea of a bird buming its nest" (Legge translaticn). This of
course brings to mind the Phoenix, which the Dead introduced into the iconographv around
the same time as FOTM fi8-?9)" with the Phoenix on the Go to Heaven album. The same
phoenix is used to everi rn*re striking effect, IMHO, in the New Year's Eve 1980 t-shirt the Skull and Roses has these lightning bolts emanating outurards, and abnve it, they merse
into and fuel the fire, out of which is rising the Phoenix" "Think Di{ferent" inde*d.".
And on that alhum" Go to Heaven, you hnve #tfoga with its reference to fire and
ul-oose with the truth, baby" it's your firs".."
ereative/transformatir:nal thinking:
Thanks for the great sile,
_Ed
And another reader weighs in:
Suhjeot; EJ,: Deoemher lJpdate fnr the Annotated Grateful Dead Lyrlcs
Date: Sun, 15 Dec 96 23:5$:il0 PST
From: Mathieu M zl.t ICPTS/FMA
David,
I was j ust hrowsing around again, and
as
I was looking at "Fire *n the Mountain," I seemed
http://arrsites.ucsc.edu/GDead/agdl/fire.htm1
3/11/2011
Thn Annotated "Fire On the M*untain"
Page S
ofT
to remember a son# I used ta sing irr Sunday school as a little hoy.
"Thfire's a fire on the rnountain tunight"
No place to run, no place to hide.
Where wculd you go if you had to die tonigirt?
There's a fire *n the mountain tnnight.'n
.d little rnorbid for a young boy, but
it made you leam yourBible verses!!
AII the best,
Miles
This note from a reader:
Subject: Fire un the MtDate: Wed,2[ May 199? S0:43:li] +fi100
From : berryk@rs600CI. verona. k I 2 wi "us (erik herry)
"
Hi-I was just browsing CIn yotrr site and I thouglrt of another reference to "Fire on the
Mountain." Edward Abhey had a book in the mid-'Sflr entitled that. It was about an oldtimerwho refused to sell his land {including a mountain) to the govemment for nuke tests.
He ultimately died and his cabins and other property were bumed, reflrcting as "fire on the
mountflin" in the observing wolfs eyes" It was a pretfy straight-forward lYestern/eco-novel
until the very end, where it got really mystic. BTW, your site is fantastically far-reaching
and helpful" I linked into it from a TS Eliot page {into "Stella Blue"}. Thanks
erik
Keywords: @fire
DeadBase code: IFIRH]
Firstposted: October 1, 1995
Last mrodified: Nov*mber 24, l9s9
http //artsite
:
s
"
u c sc.
edr"r/GDea#agdllfi
re.
html
3/r 1120l r
nllays Betwsen"
The Annatated
Page
"the singing man is st his song, th* h*fii
The
oru
I of5
lheir hnees".^"
AmruutnterJ o'Days Betweellrt
An installment im The,4ffil#rq/ed fiIffigfirl Dead Ly(iqs.
By Uavid-P-sd-d
r:f Cahfornia li.yta.Cllz
Reyarch Ayociafe,Irlusl:.oert
:a]*v,
Cffryrieht
nejice_; 6-) 1995,199?
lt
Ilavid Dotld
"Ilays Betwetnll
Wards by Rnhert Hunter; m.usi* by Jem GarcLa
Copyright lce Nine Fublishing; used by permission.
Steve Si lb rm-aqss sffi {".p._*_th"_e*$
A note on the so:rgis S[uSffi.Ie.
e_
g
gg.
There were days
and there iroere d*ys
and there were days between
Summer flies and August dies
the world grows dark and m€ftn
Comes the shimmer of the m$on
on black infested t ees
the singing man is at his song
the holy s* their knees
the reckless ars out wrrcking
the timid plead their pleas
No one knows much more of this
than afiyone o&n $ee anyons can $se
There were days
and there were days
and there were days besides
when phantom ships with phantom sails
$et to sea on phantom tides
Comes the lightning of the sun
on bright unfocused eyes
the blue of yet another day
a springtirne wet with sighs
a hoprful candla lingers
in the land *f lullabies
where headless trorserEen vanish
with wild and lonely cries lonely cries
There were days
ard there vrere days
nnd there w*re days I knqlw
wh*n all we ever wanted
was to leam and iove and grow
0nce wt grerv int* CIur shoes
http ://a.rtsites.ucsc. edu/GDeadlagdl/days "htrnl
3/r 1/20r l
The Annntated "Days Behrys*n"
Fage ?
of5
we tcld them where t* gt:
walked halfway around the world
on promise of the glow
stoocl upon a mountain top
rvatkEd lprefqot iulhe s$qw
gave the hest we had t* give
how rnuch we'Il nevsr know we'll never know
There were days
and there wore days
and there rrere days between
polished like a goldnn borvl
the linest ever seen
Hearts of Summer held in trust
still tender, yCIung and green
left on shelves collecting dust
not knowing what they mean
valentin*s *f tlesh and blaod
as soft as velveteen
hoping love would not forsake
the days that li* betrneen lie betureen
ttflays Betweenrr
Recorded on S*
llfugEssdfi
J2fi*:le9_5
First performance: Fehruary 22, 1993" at the Coliseum Arena, Oakland, California. "Days Between"
appeared in the second set folling Druma and precedins Jhtqrd.{tg$tgrefi* It appeared regularly
thereafter, always in the second set.
Prospero, the Rose, nnd the Wormr
On ttDays Betwe*ntl
by Steve $ribpnuaq
{Bkir ./ack$an c*rked me.for *.few' obsewatiuns abant "J}ays
T\tsrc's much rnore ta suy *bawt {his he*atiful song, bwt
his
{}arcia
biograplry-lnyrnces's
trx
say tao mach here alre*ly" -,Yrer,c ,TrJlenmn*l
Copryrigtt Steve Silberman- tlsed by pernrission
Between"
I
"Days Betweefl" joined the Crrateful Dead oeuvrs right at the time* 1993*when old-time Deadheads
were askimg themselves if Garcia and lluirter were still capable of creating flrt that had a primordial,
fright*ning intensiff: the beauty at the edge of terror that Rilke described.
As ths other songs written roughly in the same period seemed to mine well-worn imnges and attitr-rdes*
almost reveling in their seasoned facility to c.reate One More Time an archetypal mood, like "I"azy River
Road" - "Days Bstween" slipped between your clothes and your skin like a chill wind out of a grave.
It had none of the arrogant retrsat to a juvenile mode of pranksterish defizurce thal "tiherty" h*d, it hrrned
the Rockwellian nostalgia of "Ln y River Rcatl" inward on itself, almost against itsel{ in an inquiry into
http:/lartsites.ucsc,edr#GDead/agdl/days.html
3111/2011
Page 3
The Anncitated "Days B*tween"
*f5
the tenability of idealism and sentimentality in a universe where, as another song has it. "You always hr.rrt
the one you trorre."
The most uncompromisingly adult lyric Hunter ever wrot$, the ver$es present a penorame or mandala of
exipknce in which each thing is in its place" but n* place is completely safe" Hunter does his allto resist
the tidal pull of sentimentality, sneing, as tslake did, that even the nrse at the heart of the world has a
devouring wonn at itn heart -the "black infested trees" on which moonlight shimmers exquisittly.
Ttre world is presented with unrelenting exactitudn, aT rorld where both the sighs of y*ung passion in
springtime and the l*nely horseman, leaving only his torn song in the world as he vanishes (as the singer
himsilf was about to vanish), co-exist, inform one another, tsgethfir creating a universe ofjoy aild horror
side-by-side. Only children would hove it anv other way, but in the Deadhead milieu where blithe rip-offs
could excu$e their own shadours with a funlqy "[t's All Good"" it was an important $tetment" at n time
when the grouprnind knew something was ulT-kilter, decaying, gallopins awflty from the original.iovspring, but no one sould quite put their finger on it.
In their last perfect marriage of form and inni,qht, Garcia gave Hunterls meditation a setting that
recollected uDark Star" in its uncanny, irreducible simplicity. Garcia's little figure op€n$ like a docr... and
who walks out? Prospero, the aged mage of "The Tempest," wh.o drowned his power-book as
Shakespeare himself surrendered the magic-making that had heen his arI.
Ev*n the tcxmented tone ffaraia was playing with at that tirne--the slurring headless-horseman's cry that
sounded so jarringly out of place in a celebratiCIn of precision like "China Cat Sunflower"--was at home
in "Days Bstwssn," as Weir strummed phantasmal chords behind him that flickered into clarity like
mnon-faces resolving in water.
"Days Betweefl" was the final baulefield wh*re the Dead dared to face the elementary questions of
existence, and refused to flinch" It has the same fated, tragic ma.iesty that bears witness to the life force in
all truly great art.
A hrief, sp*c*[*tiv* n$te *n the $$n&fs sfrucfnre
Hunter has laid out the lyric in an interesting manner, cnmprising fcur vnrses of fcrurteer lines each.
While fourteen lines is the traditional length of the $onnet form, Hunter's linss ore much shorterthan
striot sonnet form would allcrw, but thls mrv nevertheless be an homage to the form. More significant
than the number of lines in each verse is the quite subtle reference to one seas$R of the year in each v$rse,
in the mannsr of a poet using the seasons ar a metaphor fCIr the cycles of life" The first ver$e is aufumn,
Headless hor*emen
A referenoe to Hss$-u$mJffisgh- tale, Jhslsg$sd-of
Slespylldk:t-
wslked harefirot in the sm$w
This note from a reader:
Suhject: " days hefween"
http ://artsites"ucsc. edu/GDerd/agdlldays.htrnl
3it 1/20t
1
The Annotated "Da3rs Betlveen"
Date: Tue, 3 Dec 1995 02:57:l
From: [email protected]
Page 4
I
of5
-050ff
hi
firxt of all I really like your page of annotated Ilead songs !l There are a lnt of words and
phrases I never fully understood until noxi, well done!! I've been a long time fan of the Dead
and one thing I've noticed is lerry sometimes ehanges Hunter's lyries in concert. I don't know
if he dose it on purpose nr just fargets . I heard them play "Days Between" several times, it
w&s a break from there usual stuffand I liked it. Of the shows I savir and and the tapes I have
of those shown , it sounds to mo like'......stood upnn a mountian top, walked barefoot thru the
STARS.".."" (not snow)- I persanally like stars because it reminds me of the LSD days. Keep
up the gnod wnrk
bill
DeadBase code:
[DAYS]
Firstposted: January 11, 1996
Last revised: December 29" 1999
http :l/artsit*s.ucsc. edu/GDead/agdlldays.html
31fi/2A11
Page 1
Tfie Annotaterl "Eyes of the World"
nf?
,Wake nmv dis*aver thatyou srs the song th*t the m*ming bringxn
The Annotnted "Eyes of the World'{
.rtn instetrlffierat in The lffryorr$#af firatefi.rl-Send l.,vdqg
By Dcsid hdd
Rc*3allh Assoclate Mr::i: D:pl: u"iverlitr n:rCaiifornia, S3nla
Cru-z
::Sx&e-aftls.lUsrtdi
Words by Robert Hunter; rnusic hy lerry fiarcia
Copyright lce Nine Publishing: used by perrnission.
Right outside this lary flrmmer home
you don't have time to *all yaur soul a critic, no
Right outside the lazy gate of winte/s surnmqr horile
wondering where the n$1hals.h winters
lffings a mile long just carri.ed the bird away
Wake up to find out
that you are the SXec_af,lhe.Hsd-d
but the heart has its beaches
its homeland and thoughts *f its own
Wake now, discover that yrru
are the song that the rnorning brings
but the hgart has ite "spagans
its evenings and songs of its mrn
Thgre comes a redeemer
and he_slowhlss-fafu "g&.yn&
There -fqllorm s gumgga_.bShi_f d "him
fimt slqadsdslh-slaY'
and the seeds that were silent
all burst into bla$Ur And decaJThe night crlmes sa quiet
and ifs close on the heels ofthe day
Wake up to find out
that you are the eyes of the world
but the heart has its beaches
its homeland and thoughts of its own
Wake now, discoverthat you
are the song that the mcrrning brings
but the heart has its seasnns
its evenings and songs of its *wn
$.omsirles we-live no
pa$izulff way--blJ,-t,"sur-otiqu
hup:llartsites"ucsc. ed#fiIlea#agdlleyes-htrnl
311112fi11
The Ann*tated "Eyes of the Ifiy'arld*'
aqd
Fage 2
of?
liysjsJssr_trsmfi
$ometimes we ride $n your horses
Scmslimes we walk alone
Sometimes the songs that we hear
are just songs of our owu
l'Ifake up tm find out
that you are the eyes nf the rnor{d
but thr heart has its beaches
its homeland and thoughts of its own
Wake norrr. discoverthat ycru
are the song that t}e morning brings
but the heart has its seasons
its evenings and s*ngs of its own
"Eyes of the
\ilnrld"
Recorded on
, Wqks qfthE{lp$
* One From the [,]qult
t Without * Ne.l
o this version also included on Ihslri$l$
e Dic&'s Picks" Vol. I
t
"
Years
ilif,k's Pil:lrs, v. 6
Oru&k fi.c;ftLl,../ff
Covered by
r
o
*
Freddie McCrregnr
*n{jfe
{}$ thefufrynlairy
The Dave Ma!fu::uq Bg.nd sovered the s*ng on Augu.st 11, i995, in Berkeley, California"
Phish also played the song on May 19, 19fi5" {according to The Phish Stats iyeb ritq
First live pedormance wa$ in a show full of firsts: February 9, Iq73 at Maples Pavilion, Stanford
University- Other firsts in the show included "Chrna Dol!- "Hsrts Comes Sunshine," "Loose Lucy,"
"They Love Each Other," "Row Jimmy,'j and "Wave That Flag." "Eye$" appeared as the middle part of a
three-song medley comprising nTruskiil*")"Eys$")"ChinaDoll." It remained in the repertoire thereafter.
Eyes of the
W*rkl
At least two m*vies| one hook, and *ne song have used this
phrzu*e as a
o 4.191? sil&S1*fi1ffr,, based on the book (below) by Wriglm.
o A-1930,remake of thq 1917 film
title:
r A ca. 1965 country s*ng perficrrmed hy fieeirge Morgan on his album Skppir{ Arsund.
" A 1914 novel by Flarold Bell Wright" fl own this book--guess I'd better get ar*und to reacling it.)
3/11/?011
hup:llartsites.ucsc.edulGDea#agdl/eyes"html
The Annotated '*Eyes of thn World"
Fage 3
nf?
This note frrxm a reacl*r;
flate: Mon,04 Mar lE96 I I:47:l? -{)800
Fronn: ScottRubertssn
Sub_iect: Annotated Lyrics-Eyes of the world
M.y dearDoct*r
I write you with a tear in my eye aftnr reading but a small fraction of your beautiful work in
progress. Thankyou"
tf I might
add a small nr:te to the work on Ey*s *f the world.Yet another hook exists with
relati*n.
direct
"You are the eyes of the rryorld*'is a translation *f the noted Buddhist
practitioner Longchenpa's practical gurde to the trantra {The Jwet,$&lp: -4 Guide to the
Meanixg af Pure und'I'otal Pre$eFtce, the C.reative l:nenrgt *f the Universe, by*g tkuh kjri
,rerns hm byed rg,,al pts'i dnn khrid. din c&em *'gl"l* &o) It w*$ transletsd by Kennard Lipman
and Merrill Peterson and publi.shed hy Lotsawa of Novato,Ca. I believe the change ln name
occured after the last publication date af 1987. The song itsetrf obviouslv held importance
for the folks lnvolved in its production f*r part of l-lunter's lyrics are printed opposite the
title page. Afler rsading the text the relationship be*omes very clear since it instructs the
reader how to experience pure presence" How ffisny times at a *how did I fleel that.^.,.
From my heafi, thafiks again for a wonderfiil hidearvay in cyherspace..
Many blessirrgs"... scott robertson
nuthatch
Nuthatches: Family: Sittidae. Twenty-*ne species in four genertl. Distribution: N" America" Europe, N.
Africa, Asia, New Guinea. and Australia.
Size: Iength 4 to 7.5"; weight "35 to 1,?5 oz"
Flumage: upperparts blue-gpay; two *peaie* have a bright blue back; rome species have a black stripe
througlr each eye; underpafis grayish white to brown.
Yoice: repeated piping phrases, chareriug cnlls.
The word oRuthatsh" is derived from the fondness of the Eurasian species for hazel nuts.
Regarding the phrase: "'Wnnder where the rurthatch winters"..": "Only a f*'1ry species are known to
undertake migrations" Thn Red-hreasted nuthatch migrates fnm the woods of C*nada as far as the
southern montane wcodlafid* of North American. In some winters the east Siberian subspecies of the
Eurasiao nuthatch moves wsst as far as Finlald""
Regarding "wings a mile lnng": "...thmy have long wings and a short to mediunt tail."
Scurces:
.
t
The Ewryclapedtu ofBircfs, edited by Christopher M. Perrins and Alex L.A. Middleton. NY: Facts
on File, 1985.
TVte WorldAtlas qf.Bnd-r. NY: Random Housn, 1974"
http ://ar"rsites.ucsc. edL/GDeadlagdlleyes"htrnl
3/11i2011
The Ann*tated "Hyes rlf,thc
Thm
lilr:rld"
Fage 4
of?
heart has itx ems*ns
Compare the qu*te by BlgiSS IAEgel (1623-1662), frnm his {|qi?see.r (1ri?0):
"Ths heart has its rf,&$oils, which rea$orl does n*t knaw" We feel it in a thousaild things. I
say that the heart naturally lnves the Universal Being" ancl also itself nailrrally, amording as
it gives itself to them; and it hardens itself against one or the other at its will. You have
rejected the one and kept th* other" Is it by ree$on that you k:ve ycrurself?" {no. 277)
Tker* com*s fl r*desmer.."r
This note from n rsader:
Doug Al I ai re [rn ailto dougtr as-al I ai re@ui owa, edu]
Sent: Wednesday, F*bruary 12" 2003 1l;12,4,M
Subject: Annotated Lyrics. Eyes of tht World
F rom :
:
David.
Some thoughts nn Eyes of the World"
'fhere comes a redeem*r
and he slowly toc fades away
There follows a wagsn h*hind him
that's loaded with clay
and the seeds that rryere silent
all burst inf.r: bloom and decay
r Wagnn - Buddhism uses the term rragon or vehicle to indicate different religious
traditions.
* Clay *'Io oversi.mplift the rich and compiex Gnostic creation story, the aeon Sophia
created a godling, tle demiurge, and our universe withnut the participation
of God ttre Father or ttre other aeons. Because he was conceived in ignorance the
demiurge was hopelessly flawed, Fle developed on his own not knowing ahout the
Father or *ven S*pfria, much less any cf the r*st of the (complexity.""). He thought
this universe w&s everything and t}at he ruled it all. When hm tried to create
humanity, Adarn was nathing trut mindless clay until Sophia, after rec*nciling with
ffiisdnm)
(cornplexity^..), sneaked in a hit of divinity.
The (nCIstic takc on things wes that $ome people have that hidden spark of divinity
and are destined to rise above this misshapen w*rld, others don't have the spark but
know ab*ut it and can almost get tn heaven, while the rest are just ofthe enrth - clay and never vrill amcunt to anything.
r
Th* seeds that were silent - Recalls the sparks of divinily secretly sown by Sophia"
Chee*n,
Doug
dlaire
http:l/artsites-ucsc.erl#GDead/agdl/eyes.html
311112011
The Annntated "Eyes nf the Wnrld"
Page 5
*f,?
ffumn*times ws...
Compare the song "Goodnight frsne", (a song the band perfinrmed onqe) with its lines
"Sr:metimes I live in'*re country
I live in town
Sometimes I taks a peat ncti*n
To jump in the river and dfirvn,*'
Sometirnes
Afld this note frorn Todd Fahey:
flate: Fri, 2 Jun 1995 23:19:46 -0500
From: Fahey Todd B
Subject: Amended Addition to '*Eyes *f the World*
This may be tos obvious to add to the "Eyes" annotatir:n, hut flre four lines quoted from
.Goodnight Irene*' ars the same as inspired Ken Kesey's title, Sometirnes a Great Notian"
Kesey, as we all knorv" was the great generator of the Sixties, having" with Robert Hunter,
heen involved in the CLA's MK-ULTRA acid te$ts at the Menlo Park Veterans Hospital,
under the direction of Dr. teo Hnllister, $ns of the Cnmpany's prized psychiatrists. And, as
we also know, the early Warlocks, whn were to become the Grateful Dead, were Kesey's
house band for norne of the Pranksters' Acid Tests.
Again, this may be toa obviqrus, but there may be oa.e sr two vrho don't kuow all rhat.
Best,
Todd Brendan F*hey
Dr:ctoral Teaching Fellow, Creatirre Writing
Llniversity crf Ssuth'western Lr:uisiana
[email protected]
And this note from
a render:
Subject: Thoughtr or Ripple
Ilate: Thu, 30Ian 97 1?:55 EST
Ir
rom : Di ck Katz <0{lf}? 020 1 8fi @,m ci mail corn>
"
I was just wandering through your site and the notes on 'lRipplq" in particutrar. The lines
""..and if you So, no one may folloq that path is for your st*ps al$ns" always remind rne of
the third verse of "Eyes crf the Wsnld* that begin "S*metimex we live no pa*icul*r way hut
our own" which t* me gets to the very e$$eiloe cf the De*d experience which is t* simply be
who you are.
Som**imms rve *,isif
yfinr
nrrunfuy"""
http :/la*sites.ucsc. edu/Gfiea#agdl/eyes.htrnl
3/11/2011
Page 6
The Annotated "Eyes of th* Wnrld"
ofT
This note from a rc*der'.
l
Subject: Eycs o/t World nnte
Dale:Mon,23 Mar 1998 00:34:57 -0500
From : "Keith'DAlflI)' Lane* Keith" [email protected]
t"l
So, t aAa this in the tcme of smtribution,
someofla".. ttnm "Ey*s *f the Wcrld"
I hope it's usefu1 or nt least interesting to
Sometimes we vi*it your country
and live in your homs
I've always had a great connection with this line because I was luch enough as a highschool.erilg$z) to participate in * HOMESTAY $n afl international exnhange program,
called The Experiment in International Living"
The essence of The Experiment, which was founded in the 1930'x as an effort to prevent a
recurrafics of the atrocity of The Greot V/ar (VfW I to us these days), was the development
o,f what is called * HombsWy. The Experiment was instrumental in establishing and
legitimizing the idea of leaming aboui people in another country by living as a member of
th* furnily,-in their h*mes.Participnnts on these exchanges {myself inclgdedJ often report
the realisation of something like a'oneness with humanity,' andlor a r*aliuntion that'people
are people,' regardless of nitionality, which for me resrrnates back to being the "eyex of the
world," one with the world.
I don't remember which cam* first, my conscious listening to these lyrics, or rny hearing
from a deadhead the idea that the whole tour/sho#faurily thing was *ssentiaily an
eryteriment,but it was a revelation for me when I heard this line and thaught of my own
experiences" and put the tr,vo together over time.
The Experiment is an international organiuotion loosely organized along federal lines. Each
cCIurtry office is independent. The U.S" Experiment has becnme S{{}dd!sami[gJga. in
199? {Lttp://www.wsildlearning"org}, and was th* first international truining site, in the
1960's, for volunteers in the Peace Corps" This Peace Corps training contract eventually led
to the incorporatinn of the School f*r Inter.natiqqal Traiqlqg (http://rvww.sit.edu), {where I
earned a Bachelor's in International Studies in '94).
Besides the obvious "ps&ce" orientation of the sixties counterculture, I wonder if there is
another mora direct connection to the Pease C*rps or eyen The Experimefit. Did Robert
Hunter hang out r,vith early PCYs (Peace Corps Volunteers) who might have been
orientated Uy fhe Experiment, and might have learned of the histCIry of The Experiment and
the importance of thghomestay for realizing that we're all one? Just wondering. Anyone
who wants to contact lne about some clf fhese {or any} ideas, is welc<rme to e*mail me at
[email protected].
Thanks again fi:r a heautiful site,
Keith David Lane
Keywords: @birds, @,kesey
http ://artsites"ucsc. edu/GDea#agdl/eyes"hunl
3/11/201
i
I
The Annntated "Eyes of the S/r:rld"
Page 7 of 7
DeadBas* c*de: [EY"Efi]
Ilirst post*d: March 2?, 1995
Last revi*ed:Fehruary 12" 2003
hup ://artsitns-rrssc. edu/GDead/agdl/eyes.htnn I
3/l1l?01 t
Ttre Annotated "$ugor Mapprcdian'
Page 1 ofS
aut si*Eing f'll wulk yaa in the m*rni*g sawshine.-""
The Anmot*led o'Sugar Magnoliati
rtn instaitnnent in The drffr#r#rer{ Grateful De&(t:r.!{os*
By Dsudlsdd
1997-98 Rssearch Associate" Music Dept., University oflCalifornia" Santa Cru-z
*Yfussml:
lYords bv Robert Hrmter and RobertWeir
MMla
Sugar
blossom's bloorning
Head's all empty and I don'1care
Saw my baby dovrn by the river
Knew she'd have to come up soon fnr air
Sweet blosscm com.* on under the willow
We can have high times if you'll abide
Vfle can discover the wonders of nature
Rolling in the rusher dov"n by the riverside
She's got everything
She's got everything
delighffiJ
I need
Takes the wheel when I'm seeing double
Pays my ticket when I speed
She come skimming thr*ugh rays of violet
She can wade in a drop of der.v
She d$n't come and I don! follo:ry
Waits backstage while I sing to you
She can dance a Qaj"uq rhythm
Jump like a Willys in four wheel drive
She's a $lmmer lcve in the spring, fall and winter
She can make happy any man alive
Sugar magnCIlia
Ringin' that blue hell
Caught up in sunlight
Come CIil out singing
I'll walk you in the sunshine
Come on hon*y, cfilrle along with me
She's got everything delightful
She'o got everything I nerd
A hreeze in t}e pines in the surnmer night rno*nlight
Crary in the sunlight yes ind*ed
Sometimes when the cuckoa's crying
When the moon is halfway dow'n
http :l/artsites"ucsc. *dulGDead/agdl/smng.htrnl
3/t r/2011
The Annotated "Sugar Magnolia"
Pa,ge
t
of
5
Sometirnes when the night is dying
I takn rne out and. I
I wander rnund
wa"mctnr
round
Sunshine daydream
ta.ll trees
Going where the wind goes
tstroorning like a rcd EI-SS
W*lk ycu the
Breathing rn*re freely
Light out singing
I'll wtrllr ynu in thm mnrning sunshine
Sunshine daydream
lilalk you in lhe sunshine
tnSm.gar
Magnolintt
Recorded on
, Anteris{to E&{&ri,k*
, fuwq-ZA
. iltt''s1.tgfu*l,qJ.-";
"* {twq&e-d Y-qs Hsll
Jlir*; l@-s"--u-{
* 0-ruLttu&q.E-l{
Cnvered by the Pop-O-Pies on "/*rlc Tkird Album {Subterranean Sub52)"
First performance; Ju.ne 7 , 197(t nt the Fillmore Went i.n San Franoiscr. " Sugar &{agnotria" came out cf a
drum solo in thn xerond set, and w*s f*llorrynd hy a jam nn "Louie Louie."
A note on performarce prafitice: the banrl mften divided the song into twcr distinct entities, "Sugar
Magrolia," and "sunshine Darrdream.u The space between these parts could be as brief as the space of
several beats; could frarne a set, a$ in the closing *f I#interland; *r be as long as a week, in the case of
the performance occurring in the week cf Bill firaharn's death, when the '*Sunshine Daydream" came
during ths Polo Field concert in Golden Gate Park a weelc after the band r:rpened s show with "Sugar
She
d*n't (*me and I dnn't firllow
Cnmpar:* the lines from the fcrlk song" "Ssurwood Mountain"
"I got o girl in the head of ths hollow"
She won*t fffime nnd
I won't ffall 'er."
($t"ltrMg, p" 89?)
rilshss'
http ://artsites.ucsc. edu/GF,ea#agdllsrnag.html
3/l 1/2011
T'he Annotated
*'Suglar
Page 3
Magnolia*'
of5
This nnte from a read*r;
Subject: Annotated GD lyrics
Ilate; Tue,28 Apr l9$ff I I:39:31 -0500
Frnm: DAVII) KLIDRAV
David.
in. the rushes down
hy the riverside". You have links from Magnolia and Rose to their picture, but not to rush, a
tvpe of marsh plant that the song $*erns t* hn refer*ncing.
ln reference to "Sugar Magnolia".." the eighth line of the song is "rolling
I{er* is the main entry
f,rom ivlerriam-V/ebsters online dictionary (.}Y}ffi.tl-.P*ngm}:
t.l
Htymology: Middle Engflish, fiam Old English rysc; akin to il{iddle High
German rusch rush. Lithrranian regrti to knit
Date: hefore 12th century
eny of various monof,.otyledonous often tufted marsh plants (as of the gsnera
Juncus and Scirpus of the f*mily Juncacsa€, the rush family) with cylindrical
often hollow stams which are used in bottoming chairs and plaiting mats
Hope this helps.."
David Kudrav
[email protected] * wsrk
[email protected] - everything else
"May whatevor god you believe in have mercy on your soul*'--Q
And another note from a render:
Date: Mon, 28 Mav ?001
EBrown I [email protected] wrote
:
Dear Mr. Ilodd,
Your site is wonderflrl, and grcatly apprecinted by the new generation of Deadh*ads.
I was listening to Sugar Magnolia one day while reading J"R.R Tolkien's Fellowship of the
Rirg, and it occurred to mB h*rw much the girl being sung ahout is like th* ch*racter
Goldberry in the n*vel. She is des*ribed in fhe f,trll*wing r/erses.
I had
an errand there: gathering water lilies
green lenvss and lilies white to please rny pretty lady
the last ere the year's end to keep them from {he winter
to florver by herpretty feet ti"l the snows are melted
Each year at *ummer's end I go to find them for frer
in * wide pcml, d*ep and clear:. far dorvn lffithywindle
there they open first in spring anrl thnr* th*y linger latest
By that pool trnng ngo I f*und the River-daughter
http://artsites.ucsc.edr#GDead/agdl/smag"htrnl
3/l 1/?011
Pag* 4 of 5
The Annotated "Sugar Magnolia"
fair y*ung G*ldberry, sining in the rushes
Sweet was her singing then" and her heart was beating.
It seemed especially similar to the line "Sa'sr my baby dorvn by the river" as well as
"Rolling in the rushes; Dornm by the riverside". Hope this helps ycu, and keep up the ppeat
wr:rkl
Sincerely
Emily Brorryn
Wiltys
i+.t i:i!iri:i:::i::: :
:i:::l::: r
by the Overland Autnmotive Connpany, this ieep-typ*
vehicls is no lmnger in productirm.
':
tvtrarle
This note from a reader:
Dndd:
ffiii.*,l.**iti.l$[tl.ni,l'il..ui,,"sthappenedupCIny0uramazingsitewhi1eoffsurfinga
fabulous trip of strings on the web. Thought I might be able to contribute a nugget of info.
Re: Sugar Magnolia, *jump like a Willys in fourlvheel drive". " . Always one cf my favorite
lyrics for its obscura. When the Willy's jeep first same out, there was some type of
mareuver, ortriok, that an experienced driver could do ttr make the vehicle actually "leap",
jump, or catch air, somehow. details are sketchy, but there was an article in Smithsonian
magazine which refers to the idea, and has a great picture of an airborne jeep to boot. I
haven't done much research on this one, but fve seen the 'Jurnping" trick with the Willy's
jeep referenced a few othrr times. (in WWtr histories) I cant however, detennine how it
was done, or what the origin of the story wes. Perhaps it was a clever marketing ploy. Truly
a wonderful pie*e of ephemera,
Your website may bc the coolest free thing lve ever $een. I'm certainly going to buy the
book. lead on. regards
MikeMnichorvicz
Milwaukee,lilI
I checked into
the article Mike mention*, and
it
appeared in the November 1992 Smit}sonian,
for
anyone interested in pursuing the details.
F'irst posted: August 30, 1995
Last revised: May 29, 2CI01
http :l/artsites.ucso. edulGDead/agdl/smag.html
3/11/2011
Donrr Rap
In
1848 Lcsh u.nd*rxent * liver tfaneplanlL as a resrtlt nf chronin hepatitip e
infecti*n; since then, he has he*nmm nn outsp*rken aclvmcate for argan dnnr:r
progrems and when pmrfonning regularly *nonurflges mernhers of the
audience t*: becnms organ dmnmrs (tracks {dentified as fhe "donor rap" on the
live ren*rdings mf his variou* pnrformancm*).
Jnhnmy B" Grode
Chuck Berry
Ileep dnrmn in Lnuisiana cl*se to New {kleans,
Way hack up in thm woods frmong thn ever6re*ns...
Th*rm st**d n lng cahin rnadn nf,earth and wr:od,
Wh*rc lived a country boy nnme mf .Imnny B. ficlnd*.."
He never ever learned to read or write so ro'rmll,
Hut hm corrld play the guitar lik* rirging * hell"
Go, Go, Go Jonny {in, Go
fin .I*nny fin Gr:
fio Jonny Go Ga
Go Jonny fi* Go
Jnhnny B Goode
He used tr: carry his grritar in a gunny sack
And sit heneath the frsms by the railroad tra*k.
Oh, the engin*ers used to s*e him sitting in the shade,
Struming with the rhyfhm that the drivers rnmrl*.
People passing hy wauld st*p and say
Clh my that little country h*y cmmkl plmy
Go, Go, Gt J*nny Gn" Go
Go Jonny Go Gcr
Go .lonny Gn Go
Go Jonny G* ffin
Jonny B" Good
His mama told him snmmday he w*ulcl hc a man,
And you will be thn lender of a hig nld band.
Many people cnming frnm mil*s armund
To hem yru play your music whem fhe srmr 6rr dnwn
Maybe someday his name wnuld be in lights
Saying J*nny R. fiood tanighf"
G* #o Go Jonny Go
Go Go #o {i* Jnnny fin
Go Ga Gn ffio Jr.mny fio
Go Go Go Gn Jnnny G*
#o Jmnny B" Gnod