Please make yourself at home! Check some tags, do some reading, leave a comment.

Friday, June 17, 2016

Reaching for the Gold Ring

Uncle Bobo comes on about three minutes in, introduces the band, and they drop into a sublime "Crazy Fingers", one of my favorite songs.

Sunday, June 12, 2016

The Final "After Midnight"

Garcia played J.J. Cale's "After Midnight" a bunch --by my count, 96 times starting 6/30/72-- with a number of different personnel configurations, for about ten years. But then, after Monday March 7, 1983, he just dropped it.

A new fileset of 3/7/83 shows me some killer guitar work in "After Midnight", "Catfish John", and "Tore Up Over You".

Listening notes follow:

Jerry Garcia Band
The Stone
412 Broadway
San Francisco, CA 94133

March 7, 1983 (Monday)
MSC tuppeware CD shnid-135946

--set I (4 tracks, 36:34)--
s1t01. How Sweet It Is (To Be Loved By You) [8:30] [0:49]
s1t02. Catfish John [11:48] %
s1t03. [0:10] After Midnight [10:19] [0:03] %
s1t04. Run For The Roses [4:46] (1) [0:08] %

--set II (5 tracks, 59:24)--
s2t01. Mission In The Rain [10:50] [0:31]
s2t02. Tore Up Over You [10:09] [0:25] %
s2t03. Simple Twist Of Fate [15:10] ->
s2t04. Dear Prudence [14:10] ->
s2t05. Midnight Moonlight [8:06] (2) [0:04]

! ACT1: JERRY GARCIA BAND #15b (First show-October 27, 1982 Rissmiller's, Reseda, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA)
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: Melvin Seals - organ;
! lineup: John Kahn - el-bass;
! lineup: DeeDee Dickerson - vocals;
! lineup: Jaclyn LaBranch - vocals;
! lineup: Greg Errico - drums.

! JGC:

! db: (unknown low-gen aud via Brad Tenner); (this fileset).

! map:


! band:

! personnel: because of the mix, this tape provides a great opportunity to hear Gregg Errico with the JGB. He brings some serious thud to the proceedings. He also just about never misses a beat. The other weird thing I didn't quite pin down is the backing vocals - they were only in on a few numbers, that I could hear.

! historical: Big Saturday night at the Santa Cruz Civic was followed by Sunday and Monday night at the Stone - this is Monday. We'd expect him to sound a little ragged, but he actually sounds quite good ("for the period", he thinks). The guitar work in the first set is exceptionally good - now I want to hear more from this period. The vocals are mostly pretty good for the period, not too much mumbling around lost lyrics. The first set is short and hot - 36 minutes is about as short as a JGB set ever got. It sounds considerably amped up - I wonder if they were late driving over the Golden Gate and picked themselves up with a little too much gusto? The second set actually stretches out to a good length, but it compelled me less. CJ and After Midnight both burn very hotly with some outstanding guitar work. I'd even give them a @@. Tempos a little squirrely, as they can be on a horse scampering to barn, on "Midnight Moonlight". All told, a good night's music for your Monday night $xx.

! R: Source: SBD > ? > CDR > WAV, via the jjoops tupperware collection.

! R: Transfer: Wavelab > CD-Wave > TLH > FLAC 1644 tagged. June 2016.

! R: Seeder Note: "Mostly mono monitor mix (mmmm!) heavy on snare & bass drum. ID-102491 patches as follows; How Sweet 0:00 > 0:49, Run for the Roses entire track, Mission 0:00 > 0:07, Tore Up 2:45 > 3:44, and Simple Twist 0:00 > 3:05. Thanks to Gems and jjoops... enjoy!"

! P: s2t01 CJ is awesome 6 min range, Garcia's fluid lines give John a rubber wall to bounce off of. @ 10 good climax to the "born a slave" verse. Very good. The singing is very forward in the mix, and we can hear Jer sounding all right.

! song: "After Midnight" (s1t03): last known Garcia performance of the JJ Cale classic. TJS 96 performances, first 6/30/72, last 3/7/83.

! P: s1t03 AM I don't like this tempo on the song. I am not hugely fan of the singing here, which is pretty perfunctory. On the other hand, by 4:45 the guitar is *wailing* - this would have left some ears ringing in the club. Long expressive phrases continue through 5:15, he works that really molten sound and is just doing the whole guitar god thing. Whoa. I stopped pricking my ears up after 6 something, but even on the basis of the first six minutes I'd call this very hot.

! s1t04 (1) setbreak announcement mostly inaudible, sounds like "We're gonna take a break for a little while, we'll be back in a little bit".

! P: s1t04 RFTR the ladies don't back him on "chicken to die", as they later would. They aren't even woo-ing during the verses. An interesting arrangement. It's possible that they are just completely absent from the mix, because I am not sure I heard them, but thought I might have, chorus late 1.

! P: s2t01 MITR was good, no major flubs.

! R: s2t02 TUOY in the 4:30ff range Garcia's guitar work shines. The bass is totally inaudible on this recording, drums way forward, organ audible but not loud. There's an argument to be made that TUOY was about as hip-thrusting as guitar got - Hank Ballard -- never hit a note like the one right at 6 in his life -- anyway. Man, very incendiary tone 6:15, glass shredding 6:23. 6:40ff Melvin doing some lead, while guitar comp is still dominant in this monitor tape. Over 7 Melvin is swinging too, taking a good turn -- good piece 7:24ff, classic B3 sound. Man could play some R&B. @ 7:46 Garcia just stomps all over him to the front of the stage for another run - you had your minute, big guy, now step aside. A bit rude. Nice strong finish.

! R: s2t03 STOF when he does another verse, vocals are way loud in the mix. Bass feature 7:06. Having just listened to a 1979 Reconstruction show and then listening to this, four years later, the man's playing has fallen off the face of the earth, his power has dissipated. Garcia re-enters 9:55. That bass feature was lame.

! P: s2t04 DP harmony vocals are back. They have been inaudible most of the tape, need to double check where and not.

! P: s2t05 Mid Moon this is a long version of the song ("for the period", my brain is saying). They could have ended it late 6, but Jerry does the "if you ever feel sorrow" verse again - I feel like he is smiling over to one of the singers, who hit a lyric one extra time that last time 'round - redemption.

! s2t05 (2) JG: "Thanks a lot. See ya later on."

in lieu of new content

Let me point you to the JGMF date index at

Any show that I have addressed explicitly at any length is indexed there, more or less.

Anyway, take a spin and leave a comment!

Monday, June 06, 2016

Half a mil

Somewhere along the line JGMF crossed over half a million pageviews. Thank you!

Tuesday, May 31, 2016

Green Green Grass Of Home

This show (GD 5/31/69) is a maxed-out masterpiece. Mamma mia. Play it loud!
Random tape archaeology: this is shnid-76, very early in the shn game.

! Corry: "when the Dead headlined McArthur Court on May 31, 1969, it was one of the biggest rooms that they had headlined up until that time. The show appears to have been scheduled for the track stadium (Hayward Field) and moved indoors, but in any case it was a sign of the Dead's status in Oregon."

! ad: Oregon Daily Emerald, May 28, 1969, p. unk, via URL;

! Corry: Arnold, Corry. 2011. Grateful Dead Pac-10 Home Court Analysis. Lost Live Dead, February 15, URL, accessed 5/31/2016.

! song: Green Green Grass Of Home
Lyrics: Curly Putman
Music: Curly Putman  5/31/69 version struck me as a real Garcia masterpiece. He achieved that sound he was searching for quite nicely, thankyouverymuch (as Babbs might say). Weir sings it well - he had a great memory for these country tunes, and he "Bobby Ace" was stepping forward for the first time right in this period. He sounds great. Garcia's steel is getting "that sound" that you want from the steel, Ralph Mooney and Tom Brumley's sounds, for starters.

Sunday, May 29, 2016

The real dates of the "September 1, 1974" material

Jerry Garcia and Merl Saunders Band, Pure Jerry 4: Keystone, Berkeley, September 1, 1974 (Jerry Made JGCD0004, 2004).

We always knew that this was a hodgepodge of dates (there are several set/end-of-show announcements, in weird spots if we have a continuous show from 9/1/74). But what little evidence we have suggests that things are more hodge and podge than I suspected.

Disc 1;
  • Neighbor, Neighbor (Valier)
  • Keepers (Saunders / Kahn)
  • Sitting In Limbo (Bright / Chambers)
  • Favela (Jobim)
  • Tough Mama (Dylan)
  • La-La (Fierro)[actually La-La -> People Make The World Go Round] [8/24/74, h/t nick]
Disc 2;
  • Someday Baby (Hopkins)
  • Think (McCracklin / Robey)
  • Roadrunner (Dozier / Holland / Dozier)
  • The Harder They Come (Cliff)
  • I Second That Emotion (Robinson / Cleveland)
  • Going, Going, Gone (Dylan)
Disc 3;
  • Soul Roach (Saunders / Shanklin)
  • Mystery Train (Parker / Philips)
  • Wondering Why (Carrier / Saunders)
  • People Make the World Go Round (Bell / Epstein)
  • Keystone Jam (Garcia & Saunders Band)
  • It's Too Late (Willis) [8/11/74]
  • The Night They Drove Old Dixie Down (Robertson) [8/11/74]

Sunday, May 15, 2016

Garcia and Saunders at the Lion's Share

I see that 7/5/73 is slated for official release as (per B&N) Garcialive 6: July 5 1973 Lion's Share (Jerry Garcia / Merl Saunders).

See my post now titled "Garcia and Saunders at the Lion's Share" if you want to learn more about the very interesting songs, the great performance, the mysterious trumpet player.

This is a nice pick. I hope The Powers That Be consider trying to license use of the original reels or buying them, as the Dead should have done for 3/26/72 and did for the July '78 boxset, rather than using Rob Eaton's best-possible-at-the-time 1996 DAT transcriptions.

Friday, May 06, 2016

LIA's Call

"Call for Missing Tapes", mostly the old stuff that LIA does so well:

Let me just add that if you have any Jerry tapes that aren't in circulating, our operators stand ready to aid in the archiving process. If you have any questions about what circulates and not, you can check out, among other things,

Tuesday, April 26, 2016

RIP Michael Hunt

Sunday, April 17, 2016


Image taken from page 136 of 'Favourite Ballads. With music and ... illustrations'
Dubois, Laurent. 2016. The Banjo: America’s African Instrument. Cambridge, MA: Belknap Press of Harvard University Press. en route as of 20160417
Keïta, Cheick M. Chérif. 1995. Massa Makkan Diabaté: Un Griot mandingue à la rencontré de l'écriture. Paris: Éditions L'Harmattan. to read

Saturday, April 16, 2016

The Mecca

These Dead shows from The Mecca in Milwaukee, WI, from April of 1989 are outstanding.

Garcia is burning a hole in the atmosphere in "Little Red Rooster", of all places. This band is Locked. In.

Saturday, April 09, 2016

Investing in Marmaduke

Some notes-to-self.

The Grateful Dead family was interested in turning John Dawson into a recording artist as early as 1968, and willing to spend their own studio time to do it, even though nothing ever came of it, so the New Riders project can be seen as a solution rather than a random idea.

I do think this slips a little into "functional fallacy", of postulating as the cause of some beneficial thing the mere fact that it is beneficial, ergo, folks must have wanted it and caused it to be produced. It might have been that they loaned him a bunch of money as friends, and then contributed so as to increase the probability of future repayment. So that would be "money -> idea" rather than "idea -> money" (in which case we are 180 degrees from our usual positions).

LIA seems to agree that the idea of Dawson as a "solution" doesn't follow from what we know: "we don't know what the purpose of the Dawson demo was, if Garcia himself had any plan or record-label in mind, or if Dawson just wanted to shop around various companies, or if there was thought to be any leverage from Dawson's 'Dead connection'."

Either way, cool insight: this is "as if" it were an early investment in a more diversified portfolio of commercializable music - absolutely fascinating.


LIA comments "If indeed the Dead were giving some of their studio time to an old buddy, it strikes me as a precursor to the Round Records idea", an interesting thought. JGMF, in comments:
I agree with LIA (in comments) and you that Round becomes the formalized expression of some basic elements of the Garciaverse: he wanted to help out his friends with paying gigs, and the world demanded that he monetize himself (in addition to giving time, effort and layers of skin) to achieve that. For all of his other flaws, Garcia was an unusually generous friend. Think about how many lives were "made," how many properties in Marin and Sonoma made affordable, by professional involvement with Jerry. Man had the Midas Touch.

JGMF, in comments, where apparently I have already had the same urge to think through the titular proposition. At least I agree with myself that this is interesting!

[Corry says] "I find it strange that no record company was interested in John Dawson's demos." Here's a flyer: maybe the record companies insisted on some demonstrable GD/Garcia connection, e.g. a playing contribution from Jerry, as a condition of signing on his friends? This necessity drove (at least to some extent) Garcia's constitutive role in the NRPS, which is consistent with your idea that the NRPS was a solution (a band with Garcia, i.e., one that could sell records) to a problem (Jerry's desire to help his ol' pal Marmaduke).

Saturday, March 26, 2016

Linda Chicana

Is the name of the song that has gone on Reconstruction setlists as "Linda".

Here is Cal Tjader doing it:

Thursday, March 24, 2016

JGB at Freeborn Hall, November 12, 1976

Sometime in the afternoon or thereabouts of Friday, November 12, 1976, Garcia, John Kahn, Keith and Donna Jean Godchaux, probably Richard Loren hopped into sedans being driven by monitor mixer Harry Popick and roadie Bill 'Kid' Candelario to Davis, California, about a hundred miles east of San Francisco on I-80. Thus began a little weekend jaunt that strikes me as more pleasant than one they'd do in August '81 (billed as the "1st Northern California Tour"), if only because the latter passed through Stockton in August, while this one offers foggier temperatures and a cooler implicit psychology.

It had already been a busy week, Sunday-Monday for Freddie Herrera in Berkeley and Palo Alto (I don't think a note of these shows circulates among collectors), then Tuesday through Thursday at Elliot Mazer's His Master's Wheels studio, in the space formerly operated by, variously, Pacific High Recorders and Alembic. The band gives every appearance of trying to use these sessions to work up some old favorites, sort of like a second version of Compliments, a few more fonky gospel numbers, maybe a few not so fonky, but a nice eclectic mix, for some ready-to-sell vinyl. This is the...

 ... Abortive 1976 Garcia Band album

At His Master's Wheels (HMW) Elliot Mazer had put together a space that Garcia really liked, singling it out when asked about the tastiest rooms in the Bay Area in June of 1974, right after recording Compliments (mostly at Columbia) and using it for Reflections, recorded second half 1975 and released early 1976, itself involving some abortive components (see Corry). That involved the payoff of the summer 1975 United Artists bailout. In late 76, Jerry played for Clive, and Arista paid the HMW studio time, as Davis, Garcia, Weir and the Grateful Dead (the latter three not at all the same thing as these men make their respective journeys) enter into a deal to further find fates. It’s impossible to say whether Davis fronted the studio time as an act of good faith, or whether, more likely, the time would eventually come out of Garcia’s advance. Despite its aesthetic promise, I can't say why this project gwas shelved. Eventually, after long battles with demons in the studio --recorded in earnest August-November 1977 and released around April 1, 1978-- Cats Under The Stars replaced it as the first, and in many ways the only, Jerry Garcia Band studio album.

The Abortive 1976 Jerry Garcia Band Album would differ from its predecessors, not a Jerry Garcia record, but a Jerry Garcia Band one, a false step in the institutionalization of Jerry Garcia. Bringing Nicky on board in summer 1975 was certainly a touring proposition - Nicky is contractually obligated to mention his 1975 Mercury record No More Changes (see my WIP "Hiatus Garcianomics"), and the band took xx tours (involving out of town flights) in its three-and-a-half months together. But having the Session Man in the house was almost certainly also a recording proposition: the timing with the recording Compliments is too strong suggestive. But it fell apart, for reasons unknown, and became a little bit of a Garcia-GD Frankenstein, incoherent even if it has its moments.

After August 1976 sessions paid by Round Records - perhaps the last good checks that outfit ever wrote, if they didn't bounce, October and November found Arista paying the bills, leaked to the cognoscenti no later than November 20th.[i] Conceptually, take 2 of the first JGB album resonated with the "Americana Jerry likes" feel of Compliments, but with the band of Garcia-Kahn-Tutt-Godchaux (Keith) and at least some of the material drawing from cooler, stiller depths. Garcia tried Elizabeth Cotten's "Freight Train" and "Oh Babe It Ain't No Lie" on for size for the project, about which I wrote at some length, noting that the ancient songstress found pulp-and-glue permanence in the New Lost City Ramblers Songbook (1964), through which, I surmise, Garcia might have learned the tunes. An undated OBIANL features on All Good Things, disc 3, track 11.

The Band also drew heavily from the gospel well with which Jerry, Keith, Donna and the rest had spent so much time in the Godchaux's living room in 1975 (for Keith and Donna), sometimes quite literally accompanied by a Samarian woman and a "Strange Man".  telling her every sinful thing she'd done, and setting her free. After a shambolic January, the bicentennial live act came to feature more upbeat gospel, as well, from the celestial choir of  “My Sisters And Brothers” to the hot-to-trot show closer “Ride Mighty High”. (Another angelic boogie, “Magnificent Sanctuary Band” [released on the 2004 box set All Good Things] never made it out of Stinson.)

Beyond gospel we find a Dylan (“Visions Of Johanna”, on the bonus disc All Good Things Redux), some black--and-white rockers “Bo Diddley” and “Not Fade Away” (11/9/76), a little R&B on November 10th (“Don’t Let Go”, “The Way You Do The Things You Do”), "The World Is Waiting For The Sunrise" (11/10/76), “Matilda” (calypso on both 11/10/76 and 11/11/76!) and the pure train “Streamlined Cannonball” (11/11/76). To travel to the places to which these various tunes were established, among the people who established them, would drive across every route and byway east of the Mississippi, lots of cities and hollers and plains, and a few on the other side; to do so by the means that conveyed them would bring you to ambient voice, boat, ship, raft, rail and automobile. Aesthetically, the collection would make a fine record.

The Weekend "Tour"

After laying down some tracks, the tour looks take draw a long, deep, weekend breath through some gigging and green spaces, the late Friday night show in Davis, it culminated in a pair of Saturday night shows at verdant Humboldt State.
Table xxx.

I have notes from the front end below. In terms of the back end of the "tour", Jerry has some land up in Mendocino, that Laird Grant lives on - maybe Garcia checked in, said hello and stocked up on the local fare --still autumn, harvest season-- for the rides back home.

Garcia at Freeborn

Depending on where they were coming from, this crew crossed a bridge (Richmond-San Rafael from Marin, or the Bay Bridge from the City), hooked up with I-80 east bound, crossed another bridge (over the Carquinez Strait), went up over the coastal ridge and dropped into the Great Central Valley. "Jerry Garcia has always liked this town," wrote the California Aggie reviewer about Davis. Campus gym Freeborn Hall would have been a drafty, smelly basketball arena at this time, all echo, but the college kids, many of them from the Bay Area, were enthusiastic, and the show shimmered. "Never before," wrote his seasoned reviewer, "have I seen Garcia dance, nor have I ever seen him smile so much".
Table xxx.

So nice to hear. In terms not of the visuals of Jerry (and Donna) swaying in a sweet groove, but of the audio, we are blessed to have Betty Cantor Jackson's 4th reel of the night (reels 1-3 are AWOL, and may have returned do dust), and it holds just a 30 minute "Don't Let Go" and a show-closing "Might High", the crème de la crème of 1976 JGB repertoire, just about (LAALWFH wants a word with me).

LN jg1976-11-12.jgb.s2p-end.sbd-wise.132401.flac1648

A few highlights of the Davis show, based on the tape evidence.

John Kahn does a bass feature in DLG, which is actually interesting, not his usual feathery fluttery tickling thing – actual bass playing. He could do this in earlier years, and occasionally later on, but to hear John Kahn play with some power in November 1976 is a revelation.

Keith is noodling around some classical tunes after DLG.

"Mighty High" is nothing short of amazing. I love Donna Jean Godchaux.

Jerry Garcia Band
Freeborn Hall, University of California
Davis, CA 95616
November 12, 1976 (Friday) - 8 PM
BCJ reel #4 wise DAT flac1648 shnid-132401

--end of show (3 tracks, 2 songs, 38:17)--
reel04-t01. crowd and tuning [0:19]
reel04-t02. Don't Let Go [28:53] (1) [2:46]
reel04-t03. Mighty High// [6:19#]

! ACT1: Jerry Garcia Band #3
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: John Kahn - el-bass;
! lineup: Keith Godchaux - piano, vocals;
! lineup: Donna Jean Godchaux - vocals;
! lineup: Ron Tutt - drums, vocals.

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
! JGC:
! db: (same source reel, probably different source DAT and definitely more primitive DAT > CD transfer - deprecated); (this fileset - best source).
! map:
! band:
! review: Krane, Matt. 1976. Garcia & Company: Phenomenal Crowd Pleasers. California Aggie, November 15, 1976, p. 3. positive review of 11/12/76. Under subtitle "Fabulous Crowd Pleasers" starts by getting out his Webster's: "mellifluous (me-lif-loo-es, adj. (L. /mellifluus: mel, mellis-honey, fluete-to flow), flowing sweetly and smoothly; honeyed; said of words, sounds, etc. … Jerry Garcia has always liked this town, Davis", gave a memorable performance. Not's the JGB has played Crabshaw Corner in Sacto. Freeborn  Freeborn usually sounds like ass, but the reviewer says the band's gear sounded great." Kane praises "Garcia's magnificently mellow, fluid blues progressions". "Never before have I seen Garcia dance, nor have I ever seen him smile so much. But he had a lot to smile about, and so did a crowded Freeborn." "He appeared very warm and comfortable. His music was doubly so."
! R: recordist: Betty Cantor-Jackson
! R: media: 7" reel master @ 7.5ips 1/2 track (reel #4 only). As far as I know, reels 1-3 are not in the Garcia Vault, which might mean they are still out in the world somewhere. They are known not to be among the Betty Boards (TM). Given the water damage to this reel, though, it's strongly possible that the first three reels were among the miles of rotted spaghetti and distingrated vinyl and oxide, silt and pulp and goat piss. As of this writing (3/24/2016), my best sense is that they are gone forever, but that could be wrong.
! R: gear: Betty's Nagra reel to reel deck (serial #SL11183)
! R: lineage: Playback on Otari MX5050-Meyer VX-1 signal processor-Sony PCM R-700 DAT @ 48KHz (circa 1999). Original zero gen DAT played back on a Sony PCM R-500-Digital Audio Labs Card deluxe-16 bit 48KHz. Editing (Adobe Audition CC) - Mastering & Processing (iZotope Ozone 6) - FLAC encoding (dBpoweramp) - Tagging (Tag & Re-name - Digital Transfer, Editing & Processing By JW:February 2015.
! R: note: 16 bit 48Khz file set formatted for music servers"
! R: note: "This reel was old & brittle and there is some tape squeal present."
! R: reel04-t02 DLG @ 15:43 ran past a place where the oxide wasn't, some squeal. Again late 22, ca. 22:50.
! P: reel-04-t02 DLG 12ff John Kahn is taking a bass solo, and for 20 seconds he's on it, a little too fluttery at 12:20, some great bass soloing by John Kahn -- yeah, I said it. @ 14:43 the band comes back, John gets a nice round of applause from the crowd. This is building to a very nice crescendo, all involved, Garcia high up 15:18, all the rest is percussion, now he puts some blue on it 15:39. Garcia in a very interesting space 16:13, a little more speed. 25ff is Garcia's vocale-guitar duetting, some good moaning and scowling. Jerry gets real strong wid it to come to an end, everyone lands right.
! reel04-t02 (1) Keith is playing a classical piece late 29. 29:49 - sounds like something definable. 30:20 for sure, that Parisian Waltz. more at 30:35. another quote 30:53, more than a quote. He wants to play it. Garcia strums for Mighty High @ 31:04.
! P: reel04-t03 Mighty High is incredible. Donna is bringing it early 5ff, everyone singing hard, she is belting! You guy, girl! Even Keith is yelling, in his nasally way, making the tape squeal. Man, that is some good time music for the Aggies!
! R: reel04-t03 squeal somewhere in 4. 5:38 squeal. Reel ends, maybe 30 seconds of music missing.

[i] McDonough 1976 11/20/76.