![]() ![]() Through the mid-‘80s with a stream of solo albums that never lacked forĪmbition. He’d launched a solo career in the mid-‘70s that continued actively They were beyond the days of churning out an album’s worth of material a year. Songs, the first since 1979, and the last until after Garcia’s coma in 1986. The same year, the Grateful Dead debuted three new Garcia/Hunter They wrote two songs for the Jerry Garcia Band’s 1982 album Run for the Least productive years of Garcia and Hunter’s three-decade long partnership. The second: 1984-1996.ĭedication to Jerry Garcia is the 1984 date. ![]() At the conclusion of the text, there are two notations. It is the longest sustained piece of published prose by Serialized online over the course of 1996 and, perhaps unsurprisingly, has aĬurious history that connects in complex ways with both the music and legacy of Storyteller himself exists as a character, where he even has a name and does, Storyteller of “Terrapin Station” stops speaking, the universe in which the Giant’s Harp is to say that is that it’s the world that exists when the Or you can just read it on your tablet or phone or the inside of your eyelids or whatever. But it’s still online via the Giant’s Harp Gateway (working PDF here), and you can go to a local copy shop with a thumb drive, print it out, and pay to get it bound. The catch, as it is, is that the book was only ever published online, in 1996, via Robert Hunter’s website. You–and I mean every single one of you–can go to a store in your town and walk away with a book called The Giant’s Harp written by Robert Hunter, a fantasy novel set inside what might be called the Terrapin expanded universe, in which the storyteller does a lot more than speak. Robert Hunter’s 1980 iteration of the “Terrapin Station,” with the first sections (as performed by the Grateful Dead) and new additions “Ivory Wheels/Rosewood Track” and “Jack O’Roses.”Įxcept for the fact that this last part isn’t true. Everything is just out of reach, a feeling of mystery rather than resolution, a bigger story–the story of the place called Terrapin–left completely unspoken, a broader universe known perhaps only to its creators. All the signifiers are just that, the whole song pointing at the notion of an epic without actually being one itself. Lady With a Fan, the Soldier, the Sailor, and their adventures at the Lion’sīut in another way, while “Terrapin Station” might be epic, it isn’t actually an epic. Is, too, is the symbol-laden story at the center of the song, concerning the Horror, there is an orchestra and chorale added by producer Keith Olson. Scale and structure of the song, with pastoral interludes leading to anĮnormous finale and on the album version, anyway, much to the band’s later Lyric, a brazen invocation to the muses in the most ancient sense there’s the Music has often represented folk ballads there’s Robert Hunter’s opening That puts the song in the realm of both folk ballads and the way classical Very much signifies itself as an epic every way, with a grand modal opening There are mysterious moods, cryptic lyrics, and places for all kinds of lead Long songwriting partnership, touching on many of the Dead’s strong suits. Out all over, but–to many–it’s a multi-sectioned peak of Garcia and Hunter’s Maybe it’s stoned-as-fuck highfalutin dinosaur rock made as punk was bursting Station,” Jerry Garcia and Robert Hunter’s title song of the Grateful Dead’sġ977 album and live showstopper every year thereafter: epic. That Deadheads and music journalists alike often use to describe “Terrapin ![]()
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