David Dodd (ddodd) Wed 3 Sep 03 12:47
Foolish Heart w: Hunter m: Garcia AGDL: http://arts.ucsc.edu/gdead/agdl/fool.html LASF: http://www.whitegum.com/songfile/FOOLISHH.HTM
Alex Allan (alexallan) Thu 4 Sep 03 18:57
To A Foolish Heart Lyrics: Robert Hunter Music: Jerry Garcia Copyright Ice Nine Publishing; used by permission. Carve your name, carve your name in ice and wind Search for where, search for where the rivers end Or where the rivers start Do everything that's in you, you feel to be your part But never give your love my friend unto a foolish heart Unto a foolish heart Dare to leap, leap from ledges high and wide Learn to speak, speak with wisdom like a child Directly to the heart Crown yourself the king of clowns or stand way back apart But never give your love my friend unto a foolish heart Unto a foolish heart Shun a friend, shun a brother and a friend Never look, never look around the bend Or check the weather chart Sign the Mona Lisa with a spray can, call it art But never give your love my friend unto a foolish heart Unto a foolish heart A foolish heart will call on you to toss your dreams away Then turn around and blame you for the way you went astray A foolish heart will cost you sleep and often make you curse A selfish heart is trouble, but a foolish heart is worse Bite the hand, bite the hand that bakes your bread Dare to leap, where the angels fear to tread Till you are torn apart Stoke the fires of paradise with coals from hell to start But never give you love my friend unto a foolish heart Unto a foolish heart
David Gans (tnf) Wed 16 Jun 04 22:14
Jerry Garcia 9/28/89: JG: I write a song from the top down. That is to say, I usually start with a melody, and then the chord changes, and somewhere in there -- or else I start with the text that Hunter gives me, and I work out from there. I don't present a song to the band until I have a basic rhythmic feel for it, the melody as I imagine it to be sung, and the chord changes. That has to be in place before I feel like I've got a song.... Sometimes I'm more diffuse than others. My diffuse song on [Built to Last] was "Foolish Heart," where my original notion of it was much more stringy. I had a kind of Pete Townshend kind of acoustic guitar thick rhythm notion, something between that and that kind of the U2 uptempo roll -- the fingerpicking roll. Something along those lines -- I sort of wanted it to have something like that. But it's the evolution of the parts in the band that made me completely rethink it. I eventually abandoned that idea totally. The thing that's interesting about "Foolish Heart" is it doesn't have any pads in it. Nobody's playing chords in the song, not anybody. Everybody's playing lines, and the lines hook up and tell you all you need to know about the harmonic content of the song. You don't wonder where it's going. It's so beautifully designed, it's like a clock. It's really lovely. It surprised me it came out so interesting and so perfect and so totally its own personality. That's the Grateful Dead in action, really. DG: Brent came up with that line that really made it lock into place. But then you came up with an answer for it on the album, and that was the thing that emerged. The first time we heard it I thought, "Yeah! He locked it. That covers that last little bit." JG: Well, it started with Weir's little thing. I wanted Weir to play the little hook here, which is [sings] into the first chord [of the verse]. And I wanted the suspended thing there. So I wanted that tonality there, and Brent played that line, and I had Weir play that other line, and all of a sudden it was starting to -- "Oh, I see!" So now there's room for me to do a little thing that's going to fit in there. But the unpredictability of Bob's part in there is one of the things that makes it really interesting to listen to.... DG: Is your answering line going to come back out onstage now? JG: Yeah, to some extent. It doesn't really appear very often; it seems to characterize it just because it's there at all. I was not going to have that at all; in fact, I almost thought, "I don't think I even want to play the guitar on this tune." During the body of the tune I only play a few notes and a few chords on the one, and a couple of little answers in the chords, and a couple of little licks in the body of the tune -- that is, against the vocal. Apart from that, it's hands off, mostly, and most of what you perceive as the rhythm are the little things that Mickey's doing, which is like a net of teeny-weeny rhythm instruments that occur once every four bars, some of 'em. Just little sounds, but they add to the overall groove. And Phil's part is incredible, the way it comes up in between Brent and Weir's, in their holes. But it still maintains the feel of the tune rhythmically on a certain level; his part is really remarkable too. It's another one of those things -- it's pure Phil and it's also just totally absolutely appropriate.
Alex Allan (alexallan) Thu 17 Jun 04 06:00
Wow - great piece. You really managed to draw some insights out of Jerry.
black muddy liver (xian) Thu 17 Jun 04 14:53
there was a great version at laguna seca in the same show with a midi-drenched drums of ear shatting drama.
Julie Ellen Anzaldo (jewel) Fri 18 Jun 04 10:42
Lightning in a Box (unkljohn) Fri 18 Jun 04 16:53
That's amazing. The song sounds so simple, and yet reading that it sounds so complicated.
Christian Crumlish (xian) Mon 21 Jun 04 10:12
yes, i think 88
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