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Sunday, April 23, 2017

The Twin Keys Quintet: JGB, The Stone, February 23, 1981 (Monday)

which became 

Andrew F. is transcribing the Closet Call tapes. What follows is from my deprecated transfer, with some updated details about Andrew's shnid'd version mixed-in. Funny that I found this show so bland, because I loved 2/22/81 when it first hit the streets.

"I have absolutely nothing of note to say. Completely run-of-the-mill" pretty much says it all (on this listen, &c).

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

February 23, 1981 (Monday)
s1s2p CC shnid-138135

--set I (5 tracks, 56:35)--
s1t01. They Love Each Other [8:11] [0:12] %
s1t02. Knockin' On Heaven's Door [14:55] [0:04] %
s1t03. It's No Use [9:00] [0:08] %
s1t04. /Sitting Here In Limbo [13:07] ->
s1t05. Tangled Up In Blue [10:49] [0:07] %

--set II (3 tracks, 27:29)
s2t01. ... Let It Rock [6:#53] [0:07] %
s2txx. [MISSING Russian Lullaby]
s2txx. [MISSING Harder They Come]
s2t02. Dear Prudence// [12:31]
s2t03. //Midnight Moonlight [7:55] [0:01] %

! ACT1: JGB #12b (1/27/81-6/1/81)
! lineup: Jerry Garcia: el-g, vocals;
! lineup: John Kahn: el-b;
! lineup: Daoud Shaw: drums;
! lineup: Jimmy Warren: keyboards (Fender Rhodes);
! lineup: Melvin Seals: keyboards (Hammond B3).


! R: 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.

! JGMF: The Twin Keys Quintet: JGB, The Stone, February 23, 1981 (Monday), URL

! TJS:

! JGC:

! db: none in circulation as of these notes (3/12/2011, deprecated transfer); (best xfer of same tape).

! map:


! band: JGB #12b, this is the shortlived twin-keys-no-vocalists configuration, with Daoud Shaw drumming (one presumes).

! setlist: the missing songs indicated here are from TJS setlist. However, this tape and the TJS setlist have different order for set I. TJS has KOHD, INU, and then TLEO, while here it's TLEO then the other two. The ordering on this tape makes more sense to me than starting off with KOHD, though I haven't studied setlist orderings from this time frame enough to really know if that's true. It's just a hunch. **update: AF has put the shnid'd version

! R: Tape Specs: unknown gen audience cassette (Maxell XLII90 no Dolby) > Nakamichi BX-300 playback (no Dolby) > Pyle Pro cables > WaveTerminal 2496 > Samplitude 10.1 Download Version (record @ 24 bits/48kHz) > CDWave 1.9.8 (tracking) > Wavelab 5.0.1a (cross-fades, etc.) > shntool (stripped non-canonical headers) > Traders Little Helper 2.4.1 (FLAC encoding, level 8) > Foobar (tagging).

! R: s1t03 INU bad tape warbling

! R: s1t04 SIL clips in

! R: s1t05 TUIB some tape munching/panning @ 7-min

! R: s2t01 LIR enters in progress

! R: s2t02-t03 sounds like a missing guzinta.

! P: I have absolutely nothing of note to say. Completely run-of-the-mill.

! R: Disclaimer: This is part of a "Closet Call" project aimed at getting missing Garcia dates into the digital realm. These are "warts and all" ... straight transfers of the source cassettes with editing only of the most offensive tape transitions and such. If you don't like hiss, possible speed problems, etc., etc., then move along. And, to anticipate a FAQ: no, I don't plan on doing 16/44s of these. Thanks to wk for supplying these tapes!

During Gaylord's Second Stint: JGB at the Stone, October 14, 1985 (Monday)

These may be the shortest two JGB sets ever played. Gaylord Birch drumming.

LN jg1985-10-14.jgb.all.aud.138028.flac1644

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

October 14, 1985 (Monday)
CC shnid-138028

--set I (4 tracks, 34:48)--
s1t01. Cats Under The Stars [7:12] %
s1t02. When I Paint My Masterpiece [8:45] %
s1t03. That's What Love Will Make You Do [8:31] [0:04] %
s1t04. Tangled Up In Blue [10:15] %

--set II ( 4 tracks, 31:22)--
s2t01. Run For The Roses [4:54] %
s2t02. [0:20] Love In The Afternoon [9:22] %
s2t03. The Night They Drove Old Dixie Down [9:25] ->
s2t04. Midnight Moonlight [7:19] [0:02] %

! ACT1: Jerry Garcia Band #22 (First show - October 7, 1985 Keystone Palo Alto; Last show - February 21, 1986)
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: Gloria Jones - vocals;
! lineup: Jaclyn LaBranch - vocals;
! lineup: Melvin Seals - organ;
! lineup: John Kahn - el-bass;
! lineup: Gaylord Birch - drums.


! R: 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: (this fileset).

! map:


! band: This is ultrarare JGB #22, with Gaylord Birch drumming. This configuration debuted on a Monday-Tuesday, October 7th and 8th, 1985 in Palo Alto, then Sunday-Monday the next week in San Fran. Of those four shows, the last one, 10/14, is the only one to circulate as of March 2017. Four gigs in October, four in December (14-15 in SF, 21-22 in PA, weekend gigs, all in circulation), then one gig in February (2/21/86). These were the only JGB shows without stalwart drummer David Kemper between 7/20/83 and 11/19/93. We know so little about this period. Where was Kemper? Corry bands post: "I presume that Kemper had another commitment, and since Birch was an established quantity from his time in Reconstruction, he was a comfortable choice as a sub." Stylistically, I don't hear the kick bass as much with him, a lot more snare and high stuff. He remains probably the second snazziest drummer with whom Garcia ever played, after Paul Humphrey (1974).

! seealso: Arnold, Corry. 2012. Gaylord Birch – Drums. Hooterollin' Around, February 3, URL, consulted 11/15/2014.

! R: source: AUD (marked 2nd Gen) kindly provided by wk &

! R: transfer: Maxell XLII > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transfer by Andrew F. 03/2017.

! R: "Very tight edits thru-out, most songs cut in and out abruptly with bits missing." The vocals are deeply buried, the bass isn't particularly audible, guitar is at least pretty upfront. As I am in s1t03, I'd say the guitar sounds great, drums are OK, everything else (e.g., bass and keys) is buried.

! historical: These tapes are tightly edited, but 35 minutes and 31 minutes for the two sets, respectively, is far below the Minelli Line, below which a good square effort for the fans becomes a Cabaret Economics ripoff.

! P: s1t01 CUTS is actually surprisingly together. The December 14-15 shows are the only other late '85 Jerry Band tapes in circulation as of this writing (3/24/17), and I had thought that at least one of them opened with some real timing misfires between drums and band. They manage to wrap CUTS up pretty tightly, not doing that thing of not knowing how to end it.

! R: s1t01 CUTS 34-seconds blank tape, cross-faded out at 4:52.

! P: s1t02 WIPMM Gaylord doesn't catch the ending, it sort of fizzles and fazzles to a close.

! P: s1t03 TWLWMYD Birch is great on this, right from the get-go. He has an extra beat going that really works well, and he nicely accents behind Jerry's chorus vocal. This is cookin'!

! P: s1t04 TUIB it's too bad the vocals are so buried, because they sound reasonably strong. compare with GD 9/3/85, or the September Red Rocks shows, and he sounds much better here.

! s2t02 LITA I may have to retract my statement about the voice - maybe sounding a little more ragged here later in the evening.

! P: s2t03 TNTDODD I have been wavering on the vocals, and here they are not terrible at first ... then they get pretty bad by 3 minutes into the song.

Da Weez

! db: shnid-117598
! R: field recording gear: 2x Sennheiser 421 microphones > Sony TC-D5M
! R: field recordist: Da Weez
! R: transfer: Sony TC-D5M (original record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac files, by D5scott.

I have no idea who these gentlemen are, but taper Da Weez never made a bad tape, and the good taste in gear suggested by D5scott's name is exceeded only by the straightforward beauty of his transfers of Da Weez's masters. They all come tagged "R.I.P. Sandy - aka 'Bigfoot'", which adds a sad human note to these revelatory sonic documents.

People sometimes imply that there are no more histories to write of the Grateful Dead and affiliated phenomena, but I totally disagree (beyond my own interest in asserting the contrary). There are tapers' histories to write for example, from socio-, Cleo-, musico-, and psychoacousticotechnicoothero-metric lenses. Just think of Flashback Charlie, that even hard-edged Brooklynite Jerry Moore might have recommended for a little meditation outside the Bottom Line, or finding a backdoor broom--closet way into the Academy of Music, just down the street from the Hells Angels' clubhouse in rough mid-70s NYC, or besuited east coaster Barry Glassberg. In the Bay Area, technical genius Jaime Poris, was were joined by James Olness (later a Bill Graham archivist and printer) in the 80s, joined later by Bu and the DAT Brats (working The Rail at the Warfield), then Chuck and Janet Vasseur with the four-digit, vintage Neumanns, a pierrine digital setup and upfront acumen. There's a book right there.

I just wanted to take a minute to give a thought to all involved. Da Weez went to the show and taped, not a cheap or trivial proposition. Sounds like Sandy (RIP) was around. At the very least, D5scott has taken the time, lending gear and skill to transfer the tapes. Tom Anderson's db.etree and Brewster Kahle's, helped along by casts of countless volunteers, help us fingerprint the fileset and hear it at any time from wherever you are. Deadlists keeps a canonical reference from The List of ca. early 2000s. The ArcHIVE, consisting of thousands of decentralized copies held by fans and collectors everywhere, relentlessly propagates itself, inter alia through "eternal flame reseeds at the torrent site Lossless Legs ( And, literally, on and on It goes: the parameter I'd use to state Its temporal limit asymptotically approaches the limit of humanity itself.

In other news, "Alabama Getaway" sprints out all flared nostrils and deep, grungy guitar from the first break, coked-out and scatterbrained. There's an "Funniculi Finnicula" tease before "Candyman", and Jerry sounds frisky.

Friday, April 21, 2017

Gee Baby, Ain't I Good To You?

A little over a year ago, I found a review of a unique-sounding Garcia-Saunders gig, backing Maria Muldaur at the Berkeley Community Theatre on October 12, 1974.

While unique at the gig level, it turns out that JGMS backing John Kahn's then-"old lady" Maria Muldaur, still flying high from a hit record or two, was actually not unique. Indeed, we have known from tape that she fronted the band on a few numbers --along with a drummer identified as "Ringo"-- on 10/27/74b at the Golden Bear in Huntington Beach, doing Fats Wallers' "Gee Baby, Ain't I Good To You".

It turns out that the latter was a pretty strict reprise, since they all did the same tune the night after the BCT show, 10/13/74 at the Santa Barbara County Bowl. Show reviewer David Rowell didn't find much to like about the Garcia-Saunders set --"What was coming from the stage was, at worst, disdain; at best, a 'stoned' lack of awareness"-- but he liked Maria (who also played some tambourine on the number before her star turn). In hitting the previous link, I see that the sit-in is documented at JGC, but I had been unaware of it.

In previewing the Legion at the Granada on 6/26/75, the Santa Barbara News-Review even published a picture of the event in question.

One last point: the same 6/26/75 preview says Maria also sat-in when the Legion played Venice on 6/14/75, so there's a fourth JG-HOST Shared Stage event with Maria (three in SoCal), before she joined the Jerry Garcia Band in its 1977-1978 configuration.

! seealso:
! ref: Rowell, David B. 1974. Garcia and Saunders take the back seat. Santa Barbara News-Press, October 14, B2.

Tuesday, April 11, 2017

GD Portland 7/25/72

Man, that interlude in The Other One on 7/25/72 is the bee's knees. Jim Powell's analysis (at Deadlists) just refers to it as "mystery theme".

LIA: "the Allmans-like Jam in the Other One of 7/25/72 ... sounds so composed it's hard to believe they only did it once."

It sounded a little Jeffersonian, a little Younbloodsish, a little this and a little that, to me. Discuss.

Sunday, April 09, 2017

GD Fillmore West April 9, 1970

What a hottie this Good Lovin' jam is!

These shows are only represented in imperfect audience tapes, but they are crucial documents from a period relatively underrepresented on soundboard tape. 7/12/70 at the Fillmore East is another one of these shows that has gotten too little attention because of soundboard snobbery. For this period, which rages, audience tapes are mostly all we have.

! R: Seeder cousinit provides these notes: "I believe this is a different AUD version compared to [Harry] Ely's master. An example is how Katie Mae differs (to me) in the way the guitar is captured. In the Ely version the guitar can barely be heard. This version has the guitar much more prominent."

! P: seeder notes: The Other One is a absolute monster ..."

This whole show just sizzles, and in all kinds of different ways. Pigpen shines, fronting one of the world's great electric backing band on "It's A Man's, Man's, Man's, Man's, Man's World," and feeling his solo acoustic country blues with "Katie Mae", who walks around "like she got oil wells in her back yard."

"Cowboy Song" is a true oddity. No-one seems entirely sure that it's David Bromberg, and perhaps feel it's not him at all? I wonder if this could have been not the folkie but that gentleman of the same name who wrote Guitar Player's Garcia feature in 1971? Often these music journalists did some picking (see the GPI Guitar Jam in whatever year that was). It might just be spurious, someone's wild guess.

Looking forward to hearing this Other One.

Saturday, April 01, 2017

Bay Area Music Venues via

This is the "Bay Area Music Venues" page at the amazing deaddisc. It complements JGBP nicely because presents a discographical view of the same spaces.

Saturday, March 25, 2017

Recent Closet Call Results

That link displays recent lossless filesets (shnids) entered at the etree database. The discerning Garcia fan will recognize that Andrew F. is working on two distinct cassette collections which contain some number of previously uncirculated pieces, especially from the 1980s, not already losslessly circulating. This includes the Closet Call tapes that wk has made available - thanks! - and another batch of tapes from DL. Here they are in chron, with a few annotations about what makes them interesting.

A Humboldt show, probably not long after the harvest.

07/18/80 set I rare 1980 quartet gig
07/18/80 set II rare 1980 quartet gig

05/06/83 The best show of the 80s happened on 5/31/83, but 5/6 doesn't move me.

Gaylord Birch on drums on all three of these, and very few JGB shows in '85.

01/18/86 An MIA hometown Garcia/Kahn show (FWIW).

Jerry and Bobby play a couple of tunes at Jane Dornacker's memorial service at the Warfield.

A second link,, takes you to etree's Bit Torrent site, where you can download the relevant lossless recordings. 

Sunday, February 19, 2017

Bleg for Tolces on Garcia, Kahn and Reflections

Tolces, Todd. 1975. Deadlines: Dead Lines: Jerry Garcia's been in the studio, fighting the clock and other hazards. Melody Maker, ca. September-October 1975.

I have a partial copy of this, but I am looking for the whole thing. Anyone have a scan to share? Your List Gets Mine.

Saturday, February 18, 2017

Joe and Ruth Garcia: Directory Samples

1935: no trace of Joe and Ruth Garcia

1940: Jos R (Ruth), restaurant at 399 1st street and home at 121 Amazon
1942: Jos (Ruth) liquors, same addresses
1951: Ruth (wid Jos), bartender, home at 56 Harrington

These are neat documents, sitting on shelves next to the world class microfilm scanners on the 5th floor of the S.F. Public Library. This is all I had time to get at my last visit. Maybe I'll try to get more next time. Love how they show the professions, how the women are parenthesized afterthoughts to the them (or defined as the man's widow), etc.

Sunday, February 12, 2017

Concert Vault

My goodness, I don't really follow what all comes online --or maybe it's new, so effectively I do-- but there is some 1980 and 1982 JGB (and snippets of 4/10/82 Garcia solo acoustic) online at I need to investigate some of this more.

Here's "Let It Rock" from 6/24/82:

And "Deal" from 7/26/80, Greg Errico on the drums:

Friday, January 13, 2017

Reading Notes: Jackson and Gans 2015

Jackson, Blair and David Gans. 2015. This Is All a Dream We Dreamed: An Oral History of the Grateful Dead. Flatiron Books.

Blair Jackson and David Gans, like Dennis McNally and David Browne earlier in my reading year, exceed my very high expectations. I don't generally do book reviews, and won't here, either, but I did want to spotlight just how foundational these guys have been in helping us understand the Grateful Dead's world just a little bit more.

Jackson and Gans are to writing about the Grateful Dead as, say, TC is to the band's music. I mean that as a compliment of utmost seriousness. In thinking about Garcia's musical life, I consider the players, those musicians who shared a stage or room with Jerry, to stand at the closest, inner ring of the social Garciaverse. TC was around 14 months and made an essential contribution to the Dead's most essential music, Live/Dead (1969). You can't understand the Dead if you don't understand TC.

Same goes for Jackson and Gans with respect to the written word (to say nothing of Gans's many contributions via the radio and otherwise). But it's more than just the authenticity and aesthetic – we would have been lost without them. From the second half of the 1970s forward, as the Dead grew more insular, Jackson and Gans became increasingly central informational nodes linking the goings on in Marin to the wider world, sometimes even all the way out to far-flung Contra Costa County. J Through inter alia Dennis Erokan's Bay Area Music (BAM), they brought us the little tidbits of gossip and the long form journalism. Jackson and Gans were the indispensable Deadhead journos in an era before the internet, when information was scarce. In 1981, they teamed up to interview the band and BAM covered Garcia across two issues,[i] as Adam Block had done a few years before.[ii] Blair and and Regan McMahon launched the fanzine the Golden Road (1984-1993) not long after, and with it helped define what such a publication can be, marrying art, erudition, great writing and lots of substance to the Deadhead experience. Gans's first book, 1985's Playing In The Band: An Oral and Visual Portrait of the Grateful Dead was the first of several to decode and re-encode the whole trip.

I won't narrate the rest of their story, but it underscores the creative efflorescence that the Dead tapped into and nurtured. Many talented people engaged many acts of genuine human creation around the whole scene, and the many wonderful writers and journalists certainly took, and continue to take, pride of place in my own text-centric little world. The semicentennial of 2015 was such a bounty of books, for example, that I am only now finishing up some transcriptions, first of Dennis McNally's shimmering personal text-collage Jerry on Jerry, then of Browne's rather stunning chronological retiling, reshuffling the deck and turning up aces, abundant fresh thoughts and material to consider.

In This Is All a Dream We Dreamed (TIAADWD), Jackson and Gans amaze me once again. I once briefly praised their work (with Steve Silberman) in curating the Dead's 1999 retrospective boxset So Many Roads, including the controversial (among picky Deadheads) but, IMO, correct choice to edit the 7/9/95 version of the titular swansong. The 2009 Let It Rock release of November 17-18, 1975 exemplifies their contributions to the Garciaverse: stellar music that is well-chosen, skillfully curated, sounding fat and fine from Betty's tapes and including Gans's excellent liner notes, featuring the rare chance to read drummer Ron Tutt's take on the Nicky Hopkins-era Garcia Band. I could go on and on.

I think Corry praised TIAADWD as oral history, and, as always, I can only second Corry's emotion. Communing with Jackson and Gans found me dusting off Greenfield (1996) and realizing that, not only have I never annotated it, but most every page either tells me something that I didn't know or tells me where I learned something that I do. Listening notes TBD. Talk is beautifully rich, and when it is thoughtful, well-considered, skillfully engaged and curated, manuscripting it reveals facets that may not become visible in similar material, but sourced from the human brain via fingers to text. Jackson and Gans have done lots of interviews, they live and breathe the substance and have come to master the various media in which they work, and it all comes together in a book that will remain an essential resource in any self-respecting Deadhead's library. If you haven't, yet, you should go buy it.

Various annotations and reading notes below the fold.

Friday, December 30, 2016

Reading Notes: Browne 2015

Browne, David. 2015. So Many Roads: The Life And Times Of The Grateful Dead. Boston, MA: Da Capo Press [a member of the Perseus Books Group].

I stand by my initial assessment - this book is the real deal, chock full of great tidbits, fluently written. This is a great addition to the canon, standing alongside Jackson, McNally and the rest.

Browne's method involved lots of interviews and access to materials with and from just about all of the key survivors at the very center of the Grateful Dead world. As a scholar, I lament that the move to improve the transparency of work done using qualitative methods underway in various scientific fields, which is a very good thing, could never work for this kind of writing. I will treat specific facts given by Browne as correct, unless I can find something to raise doubts. I rarely do.

The usual reading notes methodology. I know the endnotes don't format properly on blogger - one gets that for which one has paid, and I need to do it this way for my own purposes. Notes below the fold.

Thursday, December 29, 2016

NGC: Van Morrison and Toulouse Ta Truck

Via the Facebook page of the amazing Jake Feinberg, which is a treasure trove of text snippets from Jake's radio show, which you should listen to and support.

Too Loose to Truck, By Steve Mitchell
I was playing with a piano player 4 nights a week at a club called "Shipwreck Beats." It was John Allair and myself, we were playing duo gigs. John sang and played piano and a B-3 organ at the same time.
We're playing one night and this fella comes in with his saxophone and he's dressed all in black and he's got a black hat on and nobody knows who he is and he's standing there in the middle of the dance floor getting knocked around and he could play pretty good - it turned out to be Van Morrison.
Van liked what we were doing so he played with us. He came to our gigs and played with us cause he enjoyed playing and he wanted to develop his saxophone chops.
I had run into Phil Lesh at one of Mickey Hart's gatherings and we talked and he said he wanted to be able to play when the Dead weren't on the road.
It was all the Marin County guys, John Allair, Terry Haggerty from the Sons of Champlin and Van and Phil Lesh. There was a revolving door of people who were in and out of the band. Most of the time it was Phil, Allair, Haggerty and myself.
I don't think I ever knew of a Van Morrison connection in Toulouse Ta Truck (aka Too Loose To Truck, etc.). Did you?

Monday, December 19, 2016

If These Halls Could Talk

If These Halls Could Talk: A Historical Tour through San Francisco Recording Studios – by Heather Johnson (2006).

Has anyone ever seen a copy of this? I would like one, but it's $170+ at Amazon and not really available at my usual on-line used book haunts.

Saturday, December 17, 2016

Garciaverse Musics

I'll just throw this out there for comment, spitballing, and eventual dismantlement as a putative mapping (for Garciaverse purposes) of American music.

Reading Notes: McNally 2015

McNally, Dennis, ed. 2015. Jerry on Jerry: The Unpublished Jerry Garcia Interviews. New York: Black Dog and Leventhal Publishers.

I didn't quite know what to expect. On a read, it felt like this was all material that I already knew. From a strictly informational perspective I didn't feel like I got anything I didn't know out of Jerry's mouth. But when I went back to transcribe some key things, so engaged the book a second time, I felt like it really painted an intimate picture of Jerry by Jerry. McNally did a great job in using his own creative talent to let Jerry --a Jerry, a version of Jerry-- paint a lovely little posthumous self-portrait.

This is sort of like my "in praise of editorial judgment" thing --no reader here could possibly disagree-- Dennis McNally obviously knew Garcia well, was blessed to have spent a lot of time talking about everything under the sun with him, and he creatively arranges a lot of the material that I know (of), but hadn't really understood. It's nicely paced, a nice easy afternoon conversation, plenty of room to breathe, unlike so many of the Garcia interviews we get to hear. It's a nice piece of work, and it'll be on my shelf (or wherever I put it) for the long haul. (It's so nice that I won't even lament that absence of spatiotemporal identifiers for the quotes.)

A note on "reading notes": this is just my selective culling of quotes of particular interest to me. There's nothing representative about this stuff, I don't imagine. I pick up different stuff from LIA (who can remember it all without the contrivance of "reading notes"). The method is to sort these quotes into their respective topic buckets  (with little tags like #why and such), then put the book aside and move on to the next thing.

Raw notes below the fold. I lost steam with bolding the names at some point ...

Thursday, December 15, 2016

Bobby Ace

I was doing some thinking about Bob Weir's musical journey, and what I view to be the pivotal "Bobby Ace" period, running most obviously from about mid-1969 through 1970. And, since we were just talking about Family Dog shows, I got to thinking about the April 1970 acoustic gigs. Long story short, I just did some sniffing around some of the more obscure (in the Garciaverse) numbers they did. Here's a back-of-the-napkin breakdown.

Note that, as far as I can tell, this is entirely roots-derived white contemporary stuff - is there a black songwriter in the whole repertoire? Anyway, FWIW.

! song: Slewfoot
! song: Wabash Cannonball

Everly Brothers Originals
! song: All I Have To Do Is Dream (not their composition, but I think they did it first)
! song: Cathy's Clown
! song: So Sad (To Watch Good Love Go Bad)
! song: Wake Up Little Susie

! song: Mama Tried – Merle Haggard
! song: I've Got A Tiger By The Tail – Buck Owens

George Jones
! song: The Race Is On
! song: Old Old House
! song: Seasons Of My Heart

Contemporary Country – all of these were written in the 1960s
! song: Let It Be Me – also done by Everly Brothers
! song: Let Me In – Porter Wagoner
! song: Long Black Limousine – first available via Glen Campbell in 1962, eventually Merle Haggard and Elvis, too.
! song: Me And My Uncle – John Philips
! song: Silver Threads And Golden Needles – also by Everly Brothers
! song: Dire Wolf – Garcia/Hunter (sung by Weir 7/4/69)
! song: Green Green Grass Of Home – Curly Putnam, but done by Porter Wagoner and on Merle Haggard's Mama Tried.
! song: Games People Play – Joe South – also by Everly Brothers

Saturday, December 10, 2016

Lenny Hart's term of employment

I had never quite seen this much specificity on the dates around Lenny Hart, but in combination with some other factors (Gar talking about the situation with Rakow at the Family Dog, which the GD were playing through 3/1/70), this really seems pretty precise.

Hart was arrested July 26 in San Diego on a Marin County warrant charging he embezzled more than $77,000 between May 22, 1969 , and March 2, 1970, while he was employed as business manager of the group.

And specifics on Lenny's Perfidy: 

During the time he served as business manager, Hart wrote six checks, totaling $35,200, on the Dead’s account made out to the “Sunshine Company.” An investigation revealed that the Sunshine Company maintained an account at the same bank and the account was in the name of Leonard B. Hart, according to Thomas. The affidavit also said that Jerry Garcia, a member of the Grateful Dead, told San Rafael police that MGM Studios wrote $11,000 worth of checks for music composed by Garcia. The checks were made out to Hart, as trustee of the group, but neither Garcia nor the group ever saw the money".
! ref: "Rock Group Embezzling Case is Set," Independent-Journal, August 10, 1971, p. 5.

Wednesday, November 23, 2016

Old And In The Way at the Granada Theater, Santa Barbara

Several years ago, Richard Greene was kind enough to work through some of his old datebooks with me over the phone. He showed himself at the Granada Theater in Santa Barbara on Thursday, April 12, 1973, a date for which no Old And In The Way (OAITW) gig has been listed. I thought it was possible that he was playing with someone else this night --the man has always been highly sought after-- but I listed it as OAITW and vowed to check for clarification the next time I found myself in S.B. In the meantime, I even surmised that one of the undated OAITW live sets in circulation could be the very show, given the provenance of the tape, the room feel, other details.

I don't know about the tape, but I did turn up more confirmation for the gig

! ad: Daily Nexus, April 12, 1973, p. 5.

Nice to see Doc Watson opening the show, a year before he and Jer would share billings at the Golden State Country Bluegrass Festival in Marin. Note two shows. Note further that Richard doesn't make the billing, though he was apparently there.

Anyway, this is now pinned down just a little bit more. And here's the Granada in the present time:
Last note: the ad here says "Theatre", but Cinema Treasures and a 1975 LOM ad both say 'er', so I will go with the latter spelling.

UCLA Acid Test (CXL)

! ad: Daily Bruin, March 16, 1966, p. 2.

Suggested audio accompaniment for this post:, especially 30 minutes in when Ken Babbs is just raving, and things are just WILD.

The UCLA Daily Bruin has been digitized, and is accessible via the Daily Bruin Print Archive at The access is rather cumbersome, basically at the volume level, and this runs from spring to spring. I recommend 1) targeting a date and searching on it, 2) verifying the resulting date range, 3) clicking on "Back to Item Details" toward the top-left, 4) right-click-and-saving-file-as... (or whatever you Macs do), using either the PDF (quite large files) or, for a first sweep, text (much smaller). The text can be searched for your key terms. But I will say, just looking at the text, the OCR'ing appears highly imperfect. So you might need to try many different searching strategies to find anything. I had a pretty low yield rate on the things I was interested in.


Since I didn't have a canceled UCLA Acid Test in my cxl spreadsheet field, it didn't exist for me, even though I guess your average w00k might know of it. So I got inordinately excited when I found stuff around it, until reality came around and burst my bubble.

Anyway, still fun.


I found the preview first, and it is just about the most distilled piece of Babbsiana you'll ever encounter.
Barring the apocalypse, GSA ASUCLA, will allow the Merry Pranksters of Intrepid Trips, Inc. to let loose their version of interpersonal nuclear fission. The Acid Test, from 8 p.m. to 1:30 a.m. March 19 in The Student Union Grand Ballroom. What is The Acid Test? Well, it is a sort of a happening, a very total happening. There is no audience, no group of performers; everyone comes and the thing happens. There is music — The Grateful Dead will play genuine rock-'n-roll for dancing. But anyone can play music — there will be mikes and amplifiers available — and any person or group is urged to bring their equipment. There will be movies, three or four at a time, of the Pranksters and others doing whatever they do. But anyone can bring their own films and/or equipment. There will be people in strange clothes; come as you will. There will be strange lights, strobes and color wheels; bring more if need be. There will be Neal Cassady of On The Road doing battle with the fabled Thunder Machine, Roy's Audioptics, the Electric Man, the Psychedelic Symphonette, assorted miracles and marvels, more noise and yet more music. Tickets ($1.50 for students) are on sale at the Kerckhoff Hall Ticket Office or can be purchased at the door.
! preview: “Acid Test to Happen Here,” Daily Bruin, March 11, 1966, p. 14

In my recent post on the 1/17/69 UCSB show I posted about the winky-winky LSD references. Three years earlier, before acid was illegalized, there is no winking, there is just straight-up "come drink some acid punch with us and trip your _____ off right here on campus", presumably decodeable by enough Initiates to make it a happening.

I love the thought of Cassady ("of On The Road") doing battle with Babbs's Thunder Machine, the soundimage of whatever Roy's Audioptics was capable of laying down, "mindless chaos" as Garcia says in the late 33 minute of the audio accompaniment - the whole scene, naturally enough. Is "the Electric Man" anyone special? I'll leave this mostly to the commentariate to have at. Links to existing work will be gratefully received.


The ad mentions Tiny Tim and Paul Butterfield, whom we were just discussing in a comment thread, coincidentally enough, and drops the canonical name for the liquid medium of choice. Uncle Sam is in the house. Good stuff.


Universities document themselves religiously, full of their own senses of historical importance, and so I imagine that there might be materials in the University Archives about this. I didn't know of this cancellation, and even a closer scan of the Daily Bruin and probably the LA Free Press would reveal more. Perhaps Ross has already gone through it all and already knows everything I am saying! I thought it was fun.

Tuesday, November 22, 2016

Dropping in Robertson Gym (gd1969-01-17)

The Grateful Dead and Santa Barbara are two great things that go great together. One little mystery has always centered on the location of the January 17, 1969 gig. The gig was absent from Deadbase, is listed as Unknown Venue chez Deadlists, and circulates from Vault -> Latvala -> world tape as “Civic Auditorium, Santa Barbara, CA”, which Corry has noted does not exist. He’s right about that (as far as I know), but his alternative explanation, that the gig was at the Santa Monica Civic, is incorrect.

The gig was in Santa Barbara. Like another one a mere four months later (5/29/69), it took place in Robertson Gymnasium (“Rob Gym” for those who pick up games there), on the stunning campus of U.C. Santa Barbara (UCSB). [update: I see that already knew this.] Must have been a ‘head or two on the Program Council that year, though, as I'll note, looks like only the latter was fully campus-sponsored.

Background: Grateful Dead in Santa Barbara

4/29/67 Earl Warren Showgrounds Santa Barbara CA
1/17/69 Unknown Venue Santa Barbara CA
5/29/69 Robertson Gym - University Of California Santa Barbara CA
5/20/73 Campus Stadium - University Of California Santa Barbara CA
5/25/74 Campus Stadium - University Of California Santa Barbara CA
2/27/77 Robertson Gym - University Of California Santa Barbara CA
1/13/78 Arlington Theatre Santa Barbara CA
6/4/78 Campus Stadium - University Of California Santa Barbara CA

There are some interesting Jerry engagements in lovely old Santa Barbara, too, but I will break form and ignore them for now.

Ads and Such

With a little slaving over a hot microfilm reader, I found the following:

! ad: El Gaucho, January 16, 1969, p. 3;
! caption: El Gaucho, January 17, 1969, p. 1;
! ad: El Gaucho, January 17, 1969, p. 3;
! listing: El Gaucho, January 17, 1969, p. 5.

Here’s the day-of-show ad:

"Kappa Sigma presents In Concert Santana Blues Band / Grateful Dead / Travel Agency, lights by Dry Paint, January 17 [1969], 8:30 PM, Robertson Gym (Bring Your Own Pillow)"
Brief Analysis

Thank you, El Gaucho!

The ad reinforces the lost-from-memory feel of the gig, a bit of an in-your-face guerilla exercise with Kappa Sigma. The Santana Blues Band and its successors are well documented, and this show is not listed at the canonical Santanamigos site. If I were an objective observer, I would say SBB headlines over the Dead as a matter of presentation, which is pretty amazing given how early in Santana's run this occurred. It's useful to remember just how Spanish Santa Barbara is, perhaps - maybe Santana would bring the vaqueros' kids in from the high school.

El Gaucho advertises what's going to go down in technicolor glory, even through bad microfilm in black and white. In the sweet spot, top-left of the front page, soak in the picture of a bunch of crazed Deadfolk in various degrees of sprawling on the steps of 710 Ashbury, over caption beginning “DROPPING IN ROBERTSON GYM”, (caps original), and a–wink-wink and a-nudge-nudge.
Bring Your own Pillow

Perhaps it’s no surprise that the show seems to have fallen somewhat out of memory – many may not have imprinted for very long in situ, more the decaying trails of an up-close camera flash.

Listening to the Dead tape now and it's pretty bad. Pigpen is lost in Lovelight, even Dark Star > Steven > Eleven leave me totally flat. Death Don't is good, TIFTOO is fine but uneventful, and a *very* tentative Cosmic Charlie closes things out. The show is way below average for the period, for sure. It sounds like a good crowd which cheers a lot for the Lovelight (maybe the sound was bad), but eventually The Man drops in and shut things down, and young Mr. Weir puts a point on things:
They say that's all there is, so I guess that's all there is.
And goodnight to you, too.

Sunday, September 11, 2016

Grateful Dead Co-Billings

Based on a discussion at Lossless Legs, I generated my own list of openers for the GD. This isn't really openers, so much as acts that were co-billed. In many cases, GD was opening for someone else. But given my Garciacentrism, and various technical limitations, this was the easiest way for me to generate a rough-and-ready list.

Additions, corrections, etc. welcomed!

Wednesday, September 07, 2016

Red Rocks

Saw something in some ca. '84 GD band meeting minutes where Weir says they should move heaven and earth to play Red Rocks. Spent some time with one of the '83 gigs, and now running 9/7/85, and boy oh boy are they good. I hadn't recalled 9/7/85 being this good. Jerry sounds very together, his voice much better than I recall from just a few days before on the last Cryptical attempt (9/3/85).

And this, my friends, is a stellar recording:

Sunday, September 04, 2016

Garcia's Early '82 Tax Tour (Counterfactual)

More counterfactual history from a document in the GD Archives (ms332, ser2, box5), though I have seen it through another means as well.

This is a central piece of evidence, along with the Return of Ronnie Tutt tour in late '81 and a few other things, showing that this period marks a real effort to take care of old business. This especially involved disentangling Jerry/JGB and Grateful Dead finances. Though Marin County documents didn't yield any tax liens and such in this period that I could find (unlike 1978), Jerry was definitely having tax and more general money issues around this time, and this tour-that-wasn't, forecast from ca. February 1982, figured centrally in the various planning. (The fact that it didn't happen this way only speaks to the difficulties of taking care of business!)