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

Sunday, October 15, 2017

Cotati Cabaret magazine

Just read that the Cotati Cabaret was doing a magazine (much as it's Cotati plaza neighbor, the Inn of the Beginning, had done) in 1979 that was getting a print run of 15k. If anyone has a stash of these somewhere, I would love to consult them.

! ref: Mason, Clark. 19790413a. Life is a Cabaret in Cotati. Press-Democrat (Santa Rosa, CA), April 13, 1979, pp. 1B, 10B.

Thursday, October 05, 2017

a great matrix

My goodness, what a great sounding recording!

Garcia is on fire for the whole first set (all I have heard so far). He sounds amazing. The guitar playing is fluent and fiery, the vocals are lucid and not dreadfully junky-sounding. The whole band sounds good.

Lots of train references in the first set, even for the Grateful Dead.

Sunday, October 01, 2017

Imprisoned Impresario Put on the June 5, 1982 Garcia-Kahn Oregon State Penitentiary gig

I have updated my post on the dating of the Oregon State Penitentiary gig a little bit, having learned that it came to be not (as far as I know) because Garcia was doing a favor to an imprisoned friend or associate, but by the work of imprisoned impresario Steve Stilling.

Sunday, September 10, 2017

Merl Saunders and the Rainforest Band, featuring Jerry Garcia

Here's a weird one bottom of column 1 to top of column 2:
Several possibilities.

First, perhaps most likely (?), whoever called this in to the Petaluma Argus-Courier dropped Jerry's name in connection with Merl's 1990 Blues From the Rainforest release, and the person at the paper was somehow left with the impression that Jerry would play the listed gigs. It wouldn't be the first time that Garcia's name would pop up in unexpected ways in the promotion of a Saunders gig that Garcia really wasn't involved in. For example, almost a year after their last shared agglomeration had knocked off, a preview for an August 1980 Saunders gig in far northern California teased that Merle [sic] was "currently playing with Jerry Garcia under the name of 'Reconstruction'." (1)

Second, maybe Gar really was going to play these gigs, but, as with two other prospective July 1991 engagements (JGB on the Eel, 7/13/91 cum 8/10/91, at the Frost on 7/14/91, and at Telluride, 7/19/91), he ended up not doing them because he was in rehab (as I surmise about the other three dates), or just forgot.

update: heh heh, my own files would help me. I know he was scuba diving on 7/27/91 in Hawaii, which would certainly require flying out no later than 7/26. I don't know if that trip would have been planned by whenever the 7/19/91 item was called in, but I strongly suspect so. This makes Hypothesis 1, that the Saunders camp somehow, surely innocently, gave mistaken impression that Jerry would play, to the Petaluma paper.


(1) "A weekend of jazz planned at the Back Door Aug. 8, 9," Ukiah Daily Journal, August 6, 1980, p. 10.

Saturday, September 02, 2017

Thursday, August 31, 2017

E72 post 18 (final)

5/26/72 was quite good, but I don't feel like I have that much to say. Maybe outta gas, like Poor Pig, after the whole tour.

I noticed late in the tour that Weir was using more vibrato, sometimes so much as to sound like the Little Onion (the great John Cipollina) himself.

I'll just say again how sad it was to see Pig withdraw over the course of the tour. The short tunes are good, the organ playing remains good, but the big stuff disappears.

Randomly selected 11/21/73 Denver for my first post-E72 commute, and man had this band come a long way in a year and a half. They were great during E72. They were even greater in late '73. This show has a truly amazing big jam woven out of, through and around PITB. Stellar.

Wednesday, August 23, 2017

E72 post 17

The big jam of 5/24/72 didn't slay me, but I have to apply the normal caveats. I may not have been paying a ton of attention.

The Lovelight didn't go anywhere or do anything. Pig is totally out of gas. He never even tells us 'bout his baby, how come she make him feel so good.

5/25/72 struck me as kind of a mess, with lots of lyrical issues for Bob and Jerry in the first set. Bob can't remember Promised Land, Jerry turns China Cat around.

Good Lovin' again lacks any Pig rap. *sigh*

Uncle John's sounds sweet, Wharf Rat wants to be Dark Star at first (I think Denver '73 is another example of how those songs could have been brothers from another mother, in some ways), and, after it Dark Star indeed emerges. This one struck me as average for the tour, some good upbeat bits, so maybe a bit above average (high bar, though). SOTOTW is always good, and I loves me some standalone GDTRFB.

5/26, last night of the tour, sounds peppy out of the gate, as the horse starts smelling the barn. Set I ends with a wonderful moment, the London crowd clapping the NFA beat (before it would become a Deadhead cliché), and the band responding with a very enthusiastic NFA > GDTRFB > NFA.

The big jam is queued up for this morning's commute. The next number, famously, "rose straight to the top of the charts in Turlock, California", and Bob continues, "They love us in Turlock, and we love them for that."

By today's commute home, I'll be done with the tour. It's been a great ride.

Wednesday, August 09, 2017

Scotty's Jam

Does anybody have the state-of-the-art understanding of what the "Scotty's Music Store 5/14/70" / "Jetty's Music Theater 12/7/71" NRPS jam session really is? TIA.


Looks pretty certain to have been 12/9/71 at Scotty's Music Store. Here is some info from JGBP (thanks!).

Jerry plays a Zane Beck D-10 pedal steel and also Lloyd Green's old double neck Sho Bud with the yellow streak on the front owned by Scotty, a flat top guitar [6] and a brand new 1972 Micro Frets Spacetone guitar.

"The next time that the Dead came to St. Louis and the New Riders were with them and both bands came to the store and we had a kind off the wall jam session. Sometimes Buddy Cage would play the steel and then I would play. I owned Lloyd Green's old double neck Sho Bud with the yellow streak on the front and that is the guitar we played on. They came to the store one more time and anytime they would get within 200 miles of St. Louis they would call me and I would take my reel to reel tape recorder to the motel and took several tapes of the Steel Guitar Convention with me and after their concert we would listen to them the rest of the night. I took pictures and even put up a mike and recorded that jam session. I sold Jerry a double neck MSA and when it came time to pay for it the manager said to me, "What's our price"? Jerry put his hand on his shoulder and said, You pay this man full price!" Wow! Jerry and I corresponded for awhile and we exchanged LP's with each other. It's odd - a guy devoted to pure country and one of the most respected guys in rock and roll getting together and being so friendly with each other. Jerry Garcia and DeWitt "Scotty" Scott, Bob Weir and the rest of the band were very friendly too!" [4]

"That jam at Scotty's was interesting, and Scotty remembers a few details. Most interestingly is the smoking' hot lead guitar player. Scotty remembers his name I think. He was a Gibson rep out doing his midwest rounds and happened to be stopping thru St. Louis that day. He was there for the jam, and was totally unrelated to NRPS or Jerry. It really wasn't a performance as much as an impromptu jam. The Dead/NRPS were in town, and at that time Jerry no longer played steel with them, hence Cage's presence. A bunch of local hippie/deadheads found their way and crammed into Scotty's for the little jam. Rick Rhamberg was there and recalls this Nashville Gibson rep guitarist all duded out in his country getup and they didn't know who he was, but he sure could rip.” [5]

"My store is small but both bands were here and they sat on the floor and we were crowded but everyone enjoyed it. What they liked about meeting at my store is that I did not take advantage of their being here by letting everyone know that they were coming. Jerry, especially, liked that. All this is packed in boxes and stored away. I did not even mark on the boxes what was in them back in those days. I would have to search many, many boxes to find any thing that I have on those guys. About the recording. I only made one. Buddy Cage played steel guitar for awhile and I played steel guitar for awhile. Everyone had their go at singing and playing the flat top guitars.” [4

"And that was the night of the jam session. Even if I didn’t partake, there was a big enough cloud for everyone.”[1]

"Buddy Cage, Chuck Berry and many others have been here several times. There have been many jam sessions at this store and the one with Jerry Garcia is in the top ten.” [3]

The Grateful Dead performed at the Fox Theater, St. Louis, MO later on this date.

2.) Hitsman, Steve, comments, 2000-07-19,
3.) Scott, Michael, comments, 2013-06-07, email to author.
4.) Scot, DeWitt, robthewordsmith, comments, 2010-10-12,
5.) Jim F., comments, 2010-10-14,
6.) Scott, Michael, photographer, 1971-12-09.

E72 post 16

Started 5/24/72 today, got through set I and into set II.

Neat song selection - opening with oldies Cold Rain and Snow and BIODTL, a rare "Dire Wolf", a very good China > Rider (not too adorned, but tight and successful), good Playin. Oh yeah, Bob strums the WRS Prelude before MAMU.

Set II starts off well with Rockin' Pneumonia and another rarity for the tour, "Black Peter".

Looking forward to the remainder on tomorrow's ride!
Truckin' > Drums > The Other One > Sing Me Back Home > Sugar Magnolia, Turn On Your Lovelight

Tuesday, August 08, 2017

E72 post 15

"Promised Land" is fitting for the home stretch. Most of the rest of the first set is a blur because I heard it two weeks ago, an eternity for these kinds of recollections.

PITB clocks in at twelve and a half minutes, and I recall liking it very much.

SOTOTW is exciting. I have some tickle like maybe it was a game effort but flawed, I dunno.

"Rockin' Pneumonia" is a rarity that swings pretty well. It always reminds me of Big Boy Pete.

Mexicali is still fresh enough to be interesting - that feeling would fade.

The huge, crushing disappointment of this show, to me, is that there is no Pig rap in Good Lovin'. Nothing. Zilch. Nada. Niente. Man, E72 captures a last, bright burn for Pig, but also its snuffing out. I have been feeling it for several shows --it's possible I wouldn't "feel" it if I didn't know the outcome, but what are you gonna do?-- and this GL seals it for me. In Paris at the start of the month he did one of the great Good Lovin's, and I had considered going back and transcribing his raps, they were so distinctively well-crafted. By the end of the month, he's got nothing.

The best backing band in the world rages through a smoking version of "Good Lovin'", but, at this point, they've got no one to back. I don't hear much organ during the instrumental middle, either, which was generally something I'd been taking note of during the tour. Keith is playing very well. By the late 5 minute mark this thing is *cooking*, what a band. Philip Lesh absolutely assaults the reprise to the GL theme, man oh man, he sounds mad.

Ramble on Rose is great the whole tour. Then we get the big half-hour Star (appropriately yipped and clapped for by the savvy Londoners), which I wasn't able to give the attention it probably deserves. The Dew is interesting, coming from Jerry and then Bob, no big Phil hit to start it off; Garcia starts on the wrong verse and the whole version feels passionate but kind of jacked up. I haven't checked the timing, but it's quite short. I don't think there have been more than one or two played previously on the tour, opening one night IIRC, but I'd have to double-check.

After Dark Star > Dew is one of the best post-big jam pieces of the tour. The amazing thing about this band of talented and peaking young men is that they'd just play for hours. They'd often do a half dozen or more tunes *after* blowing an hour on a Truckin' > Other One or most of one on a Dark Star > anything, to say nothing of some minds. But instead of a ballad to ease them home, the crowd would get another 45 minutes of musicianship.

He's Gone has matured immeasurably over the course of the tour - probably the tune that grew the most. This one has a more developed break to "going where the wind don't blow so strange", as I heard it. I imagined that they worked on it during their days off. Anyway, it's good. There still are not enough harmony vocals, and a few other things are wonky, but it's getting there. Garcia even takes it for a little spin on the back end, something I had noted from earlier in the tour, which will form the germ of many an excursion in the years to come.

What can I say - I love "Sugar Magnolia" in its album version, and I *hate* it as it was played after about this year, 1972. This is a good one. [Aside: if the Dead had played FOTD on the E72 tour, they would have done it fast, the way it was meant to be.] "Comes A Time" is fantastic, my only quibble that his first guitar turn was nothing but the same notes he had sung on the first verse. He has tamed the vocal, though, no longer trying the falsetto, and he delivers this one with a lot of feeling.

Not done yet!

GDTRFB ambles out of the gate very promisingly, stumbles a little bit, but then does its thing, which I love. Kreutzmann leads to NFA, Garcia scrubs into "Hey Bo Diddley" -- totally awesome, but man did I long for a "Caution" out of that scrubbing!-- and it's great. NFA reprises, drops neatly into another American Beauty, "Uncle John's Band", which hadn't gotten much play on the tour. I imagined somehow that Garcia did especially well with the Garcia-Hunters this night, something about Hunter and London and all that.

Anyway, there is an awful lot to like from this show, perhaps more if I get a chance to revisit the first set and the Star.

Sunday, August 06, 2017

Grass Valley Grateful Dead

Why? Don't ask why, just listen (if you care to).

Patched out of Yamaguchi/Poris and a set of modded Nak 700s. Someone speculates in notes whether a 3rd mic is operating, because Phil. And, yes, Straw ambling out, and - Phil. And, drums.

Here are the notes, some classic stuff in here:
- tapes pauses/flips touched up
- Phil - the low end on this capture makes me wonder if a 3rd mic was employed
- A sheep was in attendance. (with black leather chrome spiked suspenders??)
- Bob, Brent & the Rhythm Devils jam it out after Terrapin.
- How do you like your TOO?? Shaken or stirred??
- The Joint… round & round. After all we are in Grass Valley.
Happy random listening to whatever you might randomly listen to this day.


Sweet Lord, this Jack Straw -- Mamma mia-- burning off both of my ears!

Wednesday, July 26, 2017

The Dates of All of the Tracks on the Late-Era Arista JGB Releases

Internaut jmoleton posted sometime back a more or less complete set of dates for the 1990s-2000s official JGB releases, Jerry Garcia Band (1991), How Sweet It Is (1997), and Shining Star (2001), over at the Workingman's Tracker.

I have appropriated jmoleton's info, asked commenter Nick to check a few things, verified a few things myself, and have produced a table of this material. The image below is static. But, depending on how well well Google Sheets handles sorting, you might be able to follow this link to a Sheet which allows you to sort by, for example, real chronological order (sort on date and track number). Or, you could reconstitute a show structure by sorting first on track number. Or whatever. Have at it.

Tuesday, July 25, 2017

E72 post 14

Should have been mentioning that there's been some good Tigering in the recent PITBs.

5/18/72 bullets follow. Overall, a wonderful show up to Dark Star (where I left off yesterday).
  • I confess that I managed to "miss" "It Hurts Me Too" and "You Win Again" while my headphones had to be removed.
  • Whole (rest of) first set is very tight. 
  • These PITBs are still only 10 minutes, but they pack a punch - the crowd appreciates.
  • Even "Casey Jones" is good.
  • To start set II, Phil signals GSET, but Garcia pulls out SOTOTW and it's *fantastic*. He doesn't remember all the lyrics, but it's just great to hear him tackle this chestnut, which had gotten a little play since Keith came onboard. It segues into a scorching MAMU, really fiery and aggressive. A few pretty good shorter numbers and then ...
 .. as I was coasting to a close, I hear a very interesting noodle that is clearly "Dark Star" despite having no formal relationship to that composition. Mmmm mmm mm. And I like the looks of Jim Powell's Dark Star map for this version:
Dark Star theme/jam [10:52] > Restate theme [1:56] > First Verse [1:28] > Spacy Jam [4:45] > Jerry, Phil and Bob [1:25] > Dissonant Scary Jam [5:35] > transition [1:37] >

Saturday, July 22, 2017

The Beatles

At about the age of 10, my sage older brother got a copy of Abbey Road, and I learned every groove of that record. Then, let's say in adolescence, the cassette of all the greatest hits and #1 singles and all that, which was ubiquitous in my piece of suburban America, burned me out on all the early stuff, especially. I dallied with "The White Album" for awhile, had a good long fling with Revolver in the car stereo for a bit, have been through Sgt. Pepper's a few times, but the rest is very patchy. In short, my understanding of the Beatles is woefully inadequate.

Anyway, while walking dogs I picked out the stereo remasters (2009) of Sgt. Pepper's (1967), "The White Album" (1968), and Abbey Road (1969).

The real revelation to me has been "The White Album"."Glass Onion" and "Everybody's Got Something to Hide Except Me and My Monkey" have been ringing in my ears for two weeks.

Having just spun through the Beatles' discography, and considering my preference for "later" stuff, it looks like I might start with the last track of  Yesterday and Today (1966) --"Day Tripper"-- and spin forward through to the end. That'd be some good listening.

Wednesday, July 19, 2017

E72 post 13

5/13/72 fin

I know the Lille cancellation and then 5/13/72 has been discussed by LIA and probably Corry in his recent free gigs post. These E72 posts of mine just can't do justice to what's out there - feel free to post additional links in comments!

I like this show, a lot. The first set has all kinds of energy. We get the first (I think?) marriage of The Other One and He's Gone, the latter of which is maturing pretty well. He still doesn't have all the singing arranged how it would be, but it's getting stronger. But it's really the first set that sounds spritely and enthusiastic.

Pig sounds like he's running out of steam, but that could just be my foreknowledge of the end creeping backward. Of note, though: no big rap this night.


The soundcheck of Garcia doing "Big River" is fun. I have just listened to the whole first set, less the closing PITB, and -WOW- another very good first set. Everything sounds especially tight, maybe a case where the FM broadcast led them to focus a little more. (They are pretty locked in the whole tour, but there's always room for improvement.) All of the early set songs are tight.

I like the China > Rider. China > Rider on this tour fascinates me. The "feelin groovy" connector that they'd play every time out in '73-'74 --which finds its purest expression, I thought the other day, in Des Moines on 6/16/74-- it's immanent in what they're doing. I can't tell if they all see it and chose not to do it --it's a jam they had explored a lot over the years, after all-- or if I am hearing the pre-echo of later versions that partly live in my DNA.

I haven't traced the evolution of the China-Rider pairing, but I found some E72 versions to be a little bit frustrating, neither the straight-drop from the first couple of years of doing them together, nor the later, I think very successful, "feelin' groovy" bridge. Some of these versions find them boys searching, but not always finding what they are looking for.

Anyway, this version is good.

Now comes the real shocker. "Beat It On Down The Line" is awesome here - tight and well crafted. And then, get this. My least favorite E72 song is "It Hurts Me To". I have said so in one of the other posts. But, my God, Garcia opens up a can of whoopass somewhere in this one that has to be heard to be believed, doing a crazed, scratchy, scrub. I can almost hear Pig nodding in recognition of what his lead guitar player laid down. Stunning.

Looking forward to hearing the rest from the "fairy Duchy" of Luxembourg.

! ref:

Saturday, July 08, 2017

GarciaLive vol. 9: JGMS at Keystone, 8/11/74

GarciaLive Volume Nine: August 11th, 1974 Keystone Berkeley - set for 7/28 release.

I have done listening notes on the Falanga-Menke aud, and beside the Four Tops' "Ain't No Woman (Like The One I've Got)" --and the tape-- it doesn't slay me. That said, I'll happily buy it - an uncirculated soundboard to support the team. Maybe I'll love it more!

Friday, July 07, 2017

E72 post 12

5/11/72 Rotterdam

Nothing really knocked me out. Nice to see some setlist variations (PITB and Truckin' in unconventional placements, Dew and UJB making appearances). But Pigpen seems to be running out of steam - neither Good Lovin' nor Caution really takes off for me, though I did enjoy learning that Pig keeps a bucket of greaze next to the bed so he can slap some on his transmission and drive.

--edit - the last Caution? Noooooo .......

Monday, July 03, 2017

The Penultimate Garcia Band Show

LN jg1995-04-22.jgb.all.aud-km54.137833.flac1648

Not a ton jumps out at me, though the "Mission In The Rain" has a nice feel, and "My Sisters And Brothers" takes on some country flavor.

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102
April 22, 1995 (Saturday) - 8 PM
Neumann KM54 flac1648 shnid-137833

--set I (6 tracks, 62:40)--
s1t01. Cats Under The Stars
s1t02. They Love Each Other
s1t03. That's What Love Will Make You Do [9:52] [0:54]
s1t04. Mission In The Rain [10:36] [0:28]
s1t05. My Sisters And Brothers [4:43] ->
s1t06. Everybody Needs Somebody [14:55] (1) [0:09]

--set II (4 tracks, 51:12)--
s2t01. Harder They Come
s2t02. I Shall Be Released
s2t03. The Maker [11:08] [0:06]
s2t04. Tangled Up In Blue [13:29] (2)

! ACT1: JGB #23
! lineup: Jerry Garcia - el-g, v;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: Donny Baldwin - drums;
! lineup: Jaclyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing vocals.


! JGC:


! map:

! db: (Neumann KM150, shn), (Sonic Studios DSM6), (this fileset).

! band: URL

! historical: middle night of the Garcia Band's last stand, at the Warfield, three and a half months before his death. Random selection and blind listening would be far superior to having a set of preconceived ideas, but this is how it has to be. I find some nice vibe in the autobiographical ode to San Francisco "Mission In The Rain" and some goodness in "My Sisters And Brothers".

! seealso:

! seealso:

! R: field recordist: unknown

! R: field recording gear: Neumann KM54. See

! R: field recording location: FOB

! R: Transfer: DAT(c) @ 48 kHz > Tascam DA-20MKII > Canare Coax > Korg MR-2000S > Kimber USB 2.0 > Samplitude Pro X2 (Build 256) > TLH v2.7.0 (flac 8, ffp) > Foobar2000 v1.3.10 Live Show Tagger.

! R: seeder notes: "Thanks to Dave Flaschner for the DAT. Transfer & edits by Jeff Mitchell
seeded to etree 2017-02-16"

! P: s1t01 CUTS Don't love Melvin's synth sound. 3 mumbles the verse. Not a bad CUTS. FF over TLEO.

! P: s1t03 TWLWMYD still swings with this band. Garcia's got no lungs left to belt it, but it grooves nicely. 8 minute he hits a clam, but comes back on the voice. He sounds totally breathless and is mixed way, way down low. Listen to him warming up MITR at the end of the track. San Francisco, baby!

! P: s1t04 MITR He is so breathless, it reminds me of the very end for Townes van Zandt. 2:35 ff he gets to step back and play, his guitar sounds relieved, liberated, and he's wefting and warbling his notes in fine style, these vintage Neumann mics putting you *in* the Warfield. What a great tape. Nothing especially poetic happens, but this is not bad.

! P: s1t05 MSAB starts off sprightly, so much that I am wondering if he's going to have the air to sing it. It's a little dubious. Garcia sounds like an ancient dude shaking his mane a little bit, which is kind of what he is. Nothing too crazy. Steps back to some plucking and bending, kind of a straight country feel not always present.

! s1t06 (1) JG: "Thanks a lot. We'll be back in a little while."

! P: s2t04 TUIB voice is both weak and scratchy - not good.

! s2t04 (2) JG: "See y'all later."

Sunday, July 02, 2017

"When you add a new member, it becomes a new band"


This is a nice little interview with Garcia after the 11/6/79 Philly Dead show. He talks about "Mission In The Rain" and "Reuben And Cérise", picks some gospel Dylan to spin, tells the story of the Rambler Room gig in '78, and drops the titular line, which I like a lot.

WMMR Studios
Philadelphia PA zzzzz
November 7, 1979 (Wednesday) - 2:30 AM
26 min FM cassette

! historical: WMMR-FM Radio interview with Lyn Kratz & Michael Tearson at 2:30AM

01 intro [0:58] %
02 Brent in the band, Making Go to Heaven album [6:02] %
03 Story of Reuben & Cherise, Jerry's new guitar, Acoustic shows, Bertha the fan
04 Mission in the Rain, Egypt trip, Smaller venues, GD films, Eclectic listening
05 Terrapin II Suite, thanks & outro
06 DJ Talk [0:45]

! R: Transfer: TDK D90 > Nakamichi CR-5A > Edirol FA-66 > Wavelab > CD-Wave > TLH > FLAC 1644 tagged.

! R: seeder Note: This interview occurred in the wee hours of the morning after the 11/06/79 Spectrum show.

! R: seeder note: Thanks to Poordevil and Sounddawg for this historic tape!

! t02  "When you add a new member, it becomes a new band"

! t02 GTH: "I think it's our best album." Yeesh.

! t03 song R&C: movie Black Orpheus. "It's the Orpheus story, and the Black Orpheus adaptation of the Orpheus story. Plus we transmogrified it and put it into New Orleans and Mardi Gras. And we changed the outcome somewhat. It was one of those songs that was very slow growing. It started off with a melody that I was fooling around with, while we were working on Blues for Allah, and I gave a copy of the melody to Hunter, and he took it home and fooled with it, fooled with it, fooled with it. He came up with a lot of different ideas. And then, independently of the original melody, he set a group of ... those lyrics. And I liked the lyrics better than I liked the original melody. So, I dumped the original melody, held onto the lyrics, and, after fooling with the lyrics, and look at em for a long, long time, and really liking them, and really wanting them to work, I came up with the new melody."

! t03 @ late 5:50 11/17/78 "Dan Healy has a cousin who is involed in Loyola University in Chicago. They were doing a little small benefit for a famine relief thing in Pakistan, and so we got involved in doing just that - an acoustic show, Bob and I and Phil playing electric bass very quietly, and Mickey playing a little snare drum with brushes. ... we rehearsed it about 15 minutes before we went in and did it. We enjoyed it really a lot."

! t04 song: MITR. "It's about SF. It's about me in San Francisco. It's as close to autobiographical as it's possible for me to get working with another guy. ... Hunter is able sometimes to write if I would say ... it's very personal. It's him speaking about me. When I do the song, it's a very personal song, I'm talking about myself, my life.

! t04 @ 7:20 "I've always been a Dylan fan." "Music is music." "Even the worst music doesn't hurt anybody ... wound anybody." Jerry picked "Gotta Serve Somebody" to listen to.

Swan Song for JGB #15b: Philly, June 5, 1983

LN jg1983-06-05.jgb.early-late.aud-nak300-minches.76973.flac1644
LN jg1983-06-05.jgb.early-late.aud-peters.138199.flac1644

I consider 5/31/83 at the Roseland Ballroom to be one of the best Garcia Band shows of the 1980s. Six days later, this band, featuring the great and powerful Greg Errico on drums, would play its final two shows at the Tower Theater in Upper Darby, PA. Surprisingly, only two tapes circulate as of mid-2017: an unattributed 1st gen copy of a Nak 300s master, and, now, Dave Peters's pulls of both shows have enter digitalia. Of historical note, as far as I know Jerry Garcia and Greg Errico would never play together again.

What follows are listening notes from the older source from at least a few years back, and then listening notes finished today from the Peters tape. Interesting to compare - they end up hitting a few points identically (6-7 minute range of LIR, circular patterns in TUIB, Errico's power), and are generally quite convergent.

LN jg1983-06-05.jgb.early-late.aud-nak300-minches.76973.flac1644

Jerry Garcia Band
Tower Theatre
19 South 69th Street
Upper Darby, PA 19082
June 5, 1983 (Sunday) - Early and Late (9:30 PM) shows
1st gen Nak 300 flac1644 shnid-76973

--early show, main set + encore (9 tracks. 70:31)--
--early show, main set (8 tracks, 60:12-0:07)--
a-t01. tuning [0:05]
a-t02. Cats Under The Stars [7:24] [0:08] %
a-t03. /They Love Each Other [#7:38] [0:07] % [0:19]
a-t04. Let It Rock [9:01] [0:04] % [0:14]
a-t05. Love In The Afternoon [7:46] [0:05] % [0:13]
a-t06. I Second That Emotion [9:20] [0:05] % [0:02]
a-t07. Simple Twist Of Fate [12:28] ->
a-t08. Run For The Roses [5:00] (1) [0:05] % pre-encore [0:07]
--early show, encore (1 track, 0:07+10:19)--
a-t09. Rhapsody In Red [10:17] [0:02] %

--late show, main set + encore (10 tracks, 87:19)--
--late show, main set (9 tracks, 79:21-0:05)--
b-t01. tuning [0:19]
b-t02. How Sweet It Is (To Be Loved By You) [8:34] [0:02] % [0:17]
b-t03. I'll Take A Melody [15:27] [0:01] % [0:13]
b-t04. Cats Under The Stars [7:16] %
b-t05. Gomorrah [5:51] %
b-t06. The Harder They Come [14:13] %
b-t07. tuning [0:07]
b-t08. Dear Prudence [14:27] ->
b-t09. Tangled Up In Blue [12:20] [0:03] % pre-encore [0:05]
--late show, encore (1 track, 7:58+0:05)--
b-t10. Midnight Moonlight [7:53] [0:05] %

! ACT1: Jerry Garcia Band #15b
! lineup: Jerry Garcia - el-Guitar, vox;
! lineup: John Kahn - el-Bass;
! lineup: Melvin Seals - Keyboards;
! lineup: Greg Errico - Drums;
! lineup: DeeDee Dickerson - vox;
! lineup: Jaclyn LaBranch - vox.


! 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: (early); (late).

! db: shnid-76973 (this fileset), shnid-138199 (Peters MAC flac1644). Only two tapes from a Philly show - surprising. The Nak 300s version runs slower than this one, not sure which is correct.

! map:


! band: Final show for JGB #15b (First show-October 27, 1982 Rissmiller's, Reseda, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA). That makes this the last known time Garcia and the great Greg Errico would share a stage.

! R: field recordist: unknown

! R: field recording gear: 2x Nakamichi 300 > Sony D-5

! R: source: master cassette > 1st copy cassette

! R: transfer and FLAC encoding by David Minches: 1st generation cassette played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: profoundly muffled, distractingly low vocals. a-t06 ISTE you can hear Jerry counting off the tune, perhaps spliced in from an alt. source? For a second there is sounded real real upfront. That would be consistent with low vocals.

! P: a-t04 LIR is quite good. A 6:25 some interesting patterning, then 6:45 some fanning, over 7, fan to pluck. More fanning early 7. Nice note around 7:28.

! P: a-t05 LITA some lyrics issues to start LITA.

! P: a-t08 RFTR this is a nice period for the song. Errico is much more heavily percussive than Kemper. Not evaluating in any way, just noting the stylistic difference. Errico is a banger.

! a-t08 (1) JG: "Thanks a lot. We'll see you later on. [inaudible]"

! P: b-t08 DP is quite good, with some extra vocal effort, some beautiful unhurried guitar work over the 6-minute mark, lovely. Throughout 9 over 10 he is really weaving lots of concentric circles, all the way to a great brief fan 10:32, now feels like he's unwinding the circles, speeding them up late 10, mixing punctuations with circles, some pulls 11:10-11:11. Lovely.

LN jg1983-06-05.jgb.early-late.aud-peters.138199.flac1644

Jerry Garcia Band
Tower Theatre
69th and Market
Upper Darby, PA 19082
June 5, 1983 (Sunday)- Early and Late (9:30 PM) shows
Peters MAC flac1644 shnid-138199

--early show, main set + encore (8 tracks, 68:50)--
--early show, main set (7 tracks, 59:19)--
e-t01. [0:26] Cats Under The Stars [7:12] [0:16]
e-t02. They Love Each Other [7:28] [0:10] %
e-t03. [0:19] Let It Rock :20-9:09 -9:15 % -9:26
e-t04. Love In The Afternoon 7:51
e-t05. I Second That Emotion 9:19
e-t06. Simple Twist Of Fate 12:08
e-t07. Run For The Roses 5:01
--early show, encore (1 track, 10:54)--
e-t08. [0:29] Rhapsody In Red [10:04] [0:21] %

--late show, main set + encore (8 tracks, 84:12)--
--late show, main set (7 tracks, 77:15)--
l-t01. How Sweet It Is 8:54
l-t02. I'll Take A Melody [15:06] [0:11] % [0:10]
l-t03. Cats Under The Stars [7:06] [0:05] %
l-t04. /Gomorrah [#5:38] [0:11] %
l-t05. /Harder // They Come [#13:#00 ][0:11] % [0:03]
l-t06. /Dear Prudence [#14:04] ->
l-t07. Tangled Up In Blue [12:05] [0:27] % pre-encore [0:04]
--late show, encore (1 track, 8:19)--
l-t08. Midnight Moonlight [7:41] [0:39] %

! ACT1: Jerry Garcia Band #15b
! lineup: Jerry Garcia - el-Guitar, vox;
! lineup: John Kahn - el-Bass;
! lineup: Melvin Seals - Keyboards;
! lineup: Greg Errico - Drums;
! lineup: DeeDee Dickerson - vox;
! lineup: Jaclyn LaBranch - vox.


! 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: (early); (late).

! db: shnid-76973 (1st gen Nak 300s Minches, flac1644), shnid-138199 (this fileset). Only two tapes from a Philly show - surprising. The Nak 300s version runs slower than this one, not sure which is correct.

! map:


! band: Final show for JGB #15b (First show-October 27, 1982 Rissmiller's, Reseda, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA). That makes this the last known time Garcia and the great Greg Errico would share a stage.

! R: field recordist: Dave Peters

! R: field recording gear: 2x Nakamichi microphones > Sony D6C

! R: lineage: JVC TD-R462 playback > Audacity > TLH Flac8

! R: seeder notes: Tape paused between some tracks. Splice in late show t05.

! R: seeder notes: So the story goes: I answered an ad on Craigslist for 500 free Grateful Dead tapes. On picking them up from the taper, I'm also informed he and a friend recorded other bands through the 70's. These were never circulated, and deemed inferior in quality.
When I inquired about digitizing his masters, he laughingly obliged. Most of the old Ampex and BASF tapes are in poor shape, several completely off the spool, and many squealing badly.
I will be attempting to bake some of them. I will be presenting the ones of superior quality only, out of the initial batch he loaned me. I do believe these shows will be lovingly embraced by the Dime community, and will be shared here exclusively. Zombiwoof to Dime 2017 series.

! R: lots of room feel, vocals a little boomy. SBEs on every track should be fixed before burning to CD, if anyone still does that.

! P: e-t01 CUTS Philly crowd is singing along enthusiastically. This is a tight version, doesn't go 'round too many times at the end. Good start.

! P: e-t02 TLEO late 2 it's Melvin's turn, but he's inaudible. Up a little more 3:30ff, but he's still pretty low in the mix.

! P: e-t03 LIR is just smoking. Late 6 into 7, boy oh boy can this boy play his guitar. Even more 7:17 just head down and charging, very high in the register late 7.

! P: e-t07 RFTR John sounds great on this.

! R: e-t08 RIR levels come up late 2, but the guitar is pretty buried in the mix. The bass sounds great, by contrast.

! P: e-t08 RIR Jerry sawing 3:20ff, very good molten tone and sensible note choices. Hits the next verse perfectly right at 4. His voice is scratchy-fragile, but he's giving it his all. "I sing the blues | where has it led" (as he sang it) is always a great line. Oh my gosh, late 6 over 7 Garcia is absolutely on fire. Very good RIR, as expected.

! P: l-t02 ITAM Jerry is really feeling it, and the tape does a great job of capturing the crowd responding to him. Nice, nice feeling performance. John has missed a cue or two.
 6:30 one of the ladies goes a turn too many, Jerry circles back to pick her up, all is well. 8:40 ish he is doing some kind of pitch-bending which foreshadows the sustained work in this vein he'd undertake a decade later.

! P: l-t03 CUTS gotta learn how to end it. Like, someone just keep count, define a limit?

! R: l-t04 Gomorrah clips in

! R: l-t05 HTC clips in, splice @ 8:53

! R: l-t06 DP clips in DP

! P: l-t06 DP 9ff long circular progressions.

! P: l-t07 TUIB great energy on vocals and now guitar 6-min range. Exceptionally long phrases 8+ min mark, over 9 just sailing, and the band sounds great. More Garcia guitar pyrotechnics to close the tour. Nice landing to close.

A JGB drum solo by Bill Kreutzmann - Cape Cod Coliseum, June 18, 1982

LN jg1982-06-18.jgb.nall.aud-craigl.138576.flac1644

For about a minute-twenty in "Don't Let Go," Billy K. solos. It's a little surreal.

I have historically loved this show, but nothing much jumps out at me on this listen.

Cape Cod Coliseum
White's Path off Route 6
South Yarmouth, MA 02664
June 18, 1982 (Friday) - 8:30 PM
Craig L MAC flac1644 shnid-138576

--complete show (8 tracks, 85:36)--
--main set (7 tracks, 78:33)--
t01. [0:26] How Sweet It Is (To Be Loved By You) [9:46] [0:02] %
t02. Valerie [7:10] [0:03]
t03. Dear Prudence [13:42] [0:02] %
t04. Mississippi Moon [9:58] %
t05. Don't Let Go [18:31] [0:19] %
t06. Simple Twist Of Fate [12:15] ->
t07. Run For The Roses [6:12] [0:05] %
--encore (1 track, 7:03)--
t08. They Love Each Other [6:57] [0:06] %

! ACT1: Jerry Garcia Band #14c
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Bill Kreutzmann - drums;
! lineup: Melvin Seals - keyboards (organ);
! lineup: Jimmy Warren - keyboards (electric piano);
! lineup: Liz Stires - backing vocals;
! lineup: Julie Stafford - backing 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: (MSC, shn); (variant of shnid-18065); (inferior of this source tape, deprecated); (Rolfe Nak 700s MAC flac1644); (Morrone-Friend MAC flac2448); (Morrone-Friend MAC flac1644); (this fileset).

! band:

! map:


! historical: little tour with Bobby and the Midnites. This gig sold out 7,200, grossing $82,581 (Billboard, July 3, 1982, p. 39).

! R: field recordist: Craig L.

! R: field recording gear: 2x Nakamichi CM300/CP4 shotguns > Sony TC-D5

! R: field recording location: mics secured to a railing in the side riser.

! R: field recording media: Maxell XLII

! R: Transfer: MAC > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transfer by Andrew F. 06/2017.

! R: seeder note: "Upgrade to shnid-76599 sourced from the master. Several songs clipped-in abruptly, covered with small patches from ID-119077."

! P: I have loved this show in the past, e.g., from the soundboard. On this listen, it doesn't move me. Billy K. provides perhaps the only drum solo in the history of the Jerry Garcia Band.

! P: t02 Valerie Garcia in a grungy space for so early in the show, a little bit of big chording happening.

! P: t05 DLG has a drum solo - Billy K! - 15:35-16:50. How weird - don't recall this.

! P: t06 STOF very brief Kahn solo, though I wasn't necessarily listening that closely.

! P: t07 very GD wah sounding guitar, round notes.

Greg Errico hits like a linebacker

LN jg1982-11-13.jgb.all.aud-lamarre.135183.flac2496

Jerry Garcia Band
Bushnell Auditorium
166 Capitol Street
Hartford, CT 06105
November 13, 1982 (Saturday) - 7:30 PM
Lamarre MAC flac2496 shnid-135183

--set I (7 tracks, 62:13)--
s1t01. //How Sweet It Is (To Be Loved By You) [#7:59] [0:04] %
s1t02. They Love Each Other [8:00] [0:02] %
s1t03. Valerie [8:10] [0:02] %
s1t04. Let It Rock [8:18] [0:02] %
s1t05. I Second That Emotion [11:03] [0:05] %% [0:15]
s1t06. Dear Prudence [13:14] ->
s1t07. Run For The Roses [4:52] (1) [0:08] %

--set II + encore (6 tracks, 66:55)--
--set II (5 tracks, 57:37)--
s2t08. [0:18] Mission In The Rain [11:08] [0:01] % [0:07]
s2t09. The Harder They Come [15:55] [0:05] %
s2t10. Mystery Train
s2t11. The Night They Drove Old Dixie Down
s2t12. Tangled Up In Blue [11:41] (2) [0:07] %
--encore (1 track, 9:18)--
s2t13. Midnight Moonlight

! ACT1: Jerry Garcia Band #15b
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: Greg Errico - drums;
! lineup: Jackie LaBranch - backing vocals;
! lineup: Dee Dee Dickerson - backing 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: shnid-24222 (shn); shnid-33422 (Wise-Minches flac1644).

! band:

! map:

! JGBP: URL For some reason I had it as "Bushnell Memorial Hall".

! historical: Capacity 2728, tickets $11.50 (2102) and 10.50 (626), GP $30,746. Band $8,500 guarantee plus 85% over $27,382 plus $3,775 production fee. Rider p.4 specifies no mention of GD.

! Ref: jg1982-11-13.jgb.pass-ebay-20140927.JPG;

! ref: Grateful Dead Archive, MS332, Ser. 2: Business, Second Accrual (preliminary), Box 1034, folder 25: [Bushnell Auditorium/Hartford, CT/Nov. 13, 1982]. Special Collections, UC Santa Cruz.

! R: field recordist: Doug Lamarre

! R: field recording gear: 2x Sennheiser 441 > Sony D5

! R: field recording media: Maxell UD90, Dolby B

! R: transfer: Nakamichi Dragon (Dolby B) > Benchmark ADC1 24/96 > Tascam HD-P2 > compact flash > mac > adobe audition > fission> xACT flac. Transferred and seeded by Rob Berger 2/2016.

! R: not a great aud, but totally listenable, good room feel and the whole band pretty nicely balanced over low vocals.

! R: s1t01 HSII cuts in

! P: s1t03 Valerie some awesome, fulsome fanning late 4. Great stuff here late 5 as well. Very, very good.

! P: s1t04 LIR some real filth 3:20 ish. More big stuff 6:41, rock guitar.

! s1t07 (1) JG: inaudible set break announcement

! P: MITR the big extra turn he takes 8ff is very good, and the crowd expresses its appreciation. He is throwing himself lots of little curves here. Wailing 8:54, yeah. Big return to "all the things I plan to do" right over 9. Very energetic minute or two there. Not sure why the ladies don't back him on "there's some satisfaction | in the San Francisco rain" - later they would, and he could probably use the support already.

! P: s2t09 HTC Errico is such a big hitter. Band is bouncing right in the groove, crowd :50ish loves the vocals. This is a very high energy version, lots of good guitar work. I don't think Melvin steps forward enough - all Garcia, all the time.

! P: s2t10 MT I am not a huge fan of this tune, but the energy is pretty undeniable. GE hits *hard*. Melvin steps up for a nice feature 5ff, Garcia wails a huge note 5:53. Man, this thing is really on fire through 6, a mile a minute.

! P: s2t11 TNTDODD I have no idea why people cheer for this song. Because it's a Band song?

! P: s2t12 TUIB 2ff guitar work has been good all night, that was a good run. 3:12 John plonks a big old bass note. Vocals are low in the mix, but this is a nice roomy tape. Big giant note jumps out 4:20 and his next run fires things up even more. 4:48 GE some huge, giant high hat, loud! More loud early 5, the man hits like a linebacker. 5:30 band holds it out for him, Jerry strikes for another run, good interplay. Still cooking late 9. Man, there is some killer playing here, 10 min mark everyone must be banging their heads, the sweat must be flying. Right to 11 the titular reprise between Jerry and the ladies, to a nice close. Excellent version, though I am hard pressed to identify too many specific moments. Just lots of good music.

! s2t12 (2) JG: "See ya later."

Two Pauls in Boston

LN jg1974-11-14.jgms.early-1.aud-warburton.16461.shn2flac
LN jg1974-11-14.jgms.early.aud-alt.135968.flac1644

Garcia-Saunders, with Paul Humphrey drumming, Paul's Mall in Boston, late 1974. What's not to like?

Jimmy Warburton's tape (shnid-16461) blew my mind when it came out - a revelation. We were still erroneously calling "Valdez In The Country" "Bossa Martin", and wearing onions on our belts, which was the style at the time. "Just Kissed My Baby" caused me to spend some time with the Meters' Rejuvenation, for which I am eternally grateful. The tape captures the scene beautifully.

Recently an alternative master emerged, unattributed but nice-sounding and presumed complete, with an 18+ minute Harder They Come kicking the show off. Maybe part of the magic of the old tape was that it kicked right in with Favela, but obviously I am not complaining!

Nick has a great post on this show, LIA has posted the Howard and Gelzinis accounts after the first of the three-night, six-show run, and I have discussed the run in "'Secret' at Paul's Mall: see p. 27" and "Sole Star at Paul's Mall".

11/14/74 early show is still one of my favorites. Nick doesn't like it as much as I do, but DGNED. I probably need to soak with 11/27/74 and 11/28/74 more than I have.

Listening notes on both filesets follow.

LN jg1974-11-14.jgms.early-1.aud-warburton.16461.shn2flac

Jerry Garcia and Merl Saunders
Paul's Mall
733 Boylston Street
Boston, MA 02116
November 14, 1974 (Thursday) - Early Show
Warburton MAC early-1 shnid-16461 shn2flac

--(9 tracks, 88:26, missing 1 tune)--
[MISSING: The Harder They Come]
t01. tuning [0:06]
t02. Favela [10:45] [0:07] % [0:22]
t03. [0:08] Let It Rock [6:27] [0:06] % [0:44]
t04. My Problems Got Problems [14:35] [0:27]
t05. Mystery Train (1) [13:51] [0:10]
t06. //My Funny Valentine [#14:33] ->
t07. People Make the World Go Round// [2:24#]
t08. Just Kissed My Baby [11:16] [0:32]
t09. Valdez In The Country [12:48] [0:07]

! ACT1: Jerry Garcia and Merl Saunders
! Lineup: Jerry Garcia - el-g, vocals;
! Lineup: Merl Saunders - keyboards, vocals;
! Lineup: Martin Fierro - saxophone, flute;
! Lineup: John Kahn - el-bass;
! Lineup: Paul Humphrey - drums.


! 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: shnid-135968 (alt AUD, complete); shnid-16461 (this fileset).

! map:


! ad: Boston Phoenix, November 5, 1974, sec. 2, p. 27.

! JGMF: "'Secret' at Paul's Mall: see p. 27," URL

! JGMF: "Sole Star at Paul's Mall," URL

! seealso: Nick, "Garcia & Saunders, 11/14/74 Boston," URL

! historical: Ad in Boston Phoenix bills "Jerry Garcia" and doesn't mention early/late shows, but there were early and late. For the six shows, JGMS get $5,000 guarantee plus 70% gross receipts over $8,100. Tix $4.50, not sure of show times.

! personnel: Paul Humphrey on drums is totally distinctive. Really fast, lots of snare, great splashes, incredible.

! R: field recordist: Jimmy Warburton

! R: field recording gear: 1x Sony ECM-99 > Sony TC-152SD MAC (Dolby B)

! R: field recording location: left of center, 8' from stage, left-of-center, mics on a table

! R: transfer: Sony TC-152SD playback > Teac A2300SD 1st gen reel [Dolby B off] > Pioneer RT-701 playback > Teac AN-180 Dolby decoder > Fostex D5 DAT (A>D only) > Turtle Beach Montego II Digital I/O > shn (mkwACT) > wav (mkwACT) > tracking (CD Wave) > .shn (mkwACT). A > SHN by Noah Weiner, tracking by JJ.

! R: shn2flac jgmf 3/14/2015.

! R: seeder notes: "This is a nice recording of what is perhaps my (JJ's) favorite show of the 11/74 east coast Garcia/Saunders tour. Disc two [t06-t09], especially, is just wall-to-wall great stuff.

! P: t02 Favela is smokin' hot. Garcia solo late 3. Merl takes a turn late 5. Humphrey is splashing all over the place 6:15, so great.

! P: t05 Mystery Train a female audience member joins on vocals toward the end of the song

! R: t06 My Funny Valentine cuts in, probably not much missing

! R: t07 People Make the World Go 'Round cuts out, unknown missing.

LN jg1974-11-14.jgms.early.aud-alt.135968.flac1644

Jerry Garcia and Merl Saunders
Paul's Mall
733 Boylston Street
Boston, MA 02116
November 14, 1974 (Thursday) - Early Show

--(9 tracks, 108:24)--
t01. The Harder They Come [18:18] [0:02] %
t02. Favela [11:03] %
t03. [0:14] Let It Rock [6:32] %
t04. [0:07] My Problems Got Problems [14:41] %
t05. Mystery Train [13:14] [0:02] %
t06. My Funny Valentine [14:55] ->
t07. People Make The World Go Round [4:21] [0:03] %
t08. Just Kissed My Baby [11:23] [0:06] %
t09. [0:23] Valdez In The Country [12:53] [0:07] %

! ACT1: Jerry Garcia and Merl Saunders
! Lineup: Jerry Garcia - el-g, vocals;
! Lineup: Merl Saunders - keyboards, vocals;
! Lineup: Martin Fierro - saxophone, flute;
! Lineup: John Kahn - el-bass;
! Lineup: Paul Humphrey - drums.


! 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: shnid-16461 (Jimmy Warburton MAC, shn, missing HTC)

! map:


! ad: Boston Phoenix, November 5, 1974, sec. 2, p. 27;

! seealso: JGMF, "Sole Star at Paul's Mall," URL

! seealso: Nick, "Garcia & Saunders, 11/14/74 Boston," URL

! historical: Ad in Boston Phoenix bills "Jerry Garcia" and doesn't mention early/late shows, but there were early and late. For the six shows, JGMS get $5,000 guarantee plus 70% gross receipts over $8,100. Tix $4.50, not sure of show times.

! R: Source: AUD marked "1st Gen" rescued from ebay for coupla bucks.

! R: Transfer: XLII > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > R8Brain SRC > Wavelab (adding 16-bit patches) > CD-Wave > TLH > FLAC 1644 tagged. Transferred by Andrew F. 06/2016.

! R: Note: Recording does not match shnid-16461, Lucky us, now we have two! This one appears to be closer to the P.A. with lots of crowd chatter, has a real "you-are-there" sound. Also contains THTC and the complete PMTWGR. The tape was tightly edited with most songs clipped at start, THTC & MFV have a bit missing. Several patches from ID-16461 added to make the show as complete as possible; first 08 seconds Favela, first 21 seconds Let it Rock, first 07 seconds Problems, also in Problems 06 seconds starting at 10:29, first 16 seconds Mystery Train, first 08 seconds Just Kissed, and from 10:02 Just Kissed thru to end of show.

! R: this sounds very nice

! R: t03 LIR chatty nearby crowd guy might want to STFU and listen. @03:55 Jerry scrubs a thing that the audience really likes, then some glassy picking which, again, seems appreciated.

! P: t04 MPGP late 3 over 4 Garcia lays down some tasty licks. 8:45 ff Humphrey does a nice splashy little feature, still working it 9:14 behind Merl, but totally putting himself forward.

! P: t05 MT female audience member singing at end. She is not on the 1 with the band, Jerry is wrapping it up pretty fast.

! R: MFV thought I heard a splice @ 1:15

! P: MFV 1:30 he gives it a "Red Clay" CTI thing. Humphrey splashes and hi-hats wonderfully here. 1:52ff guitar exploration. The talkative crowd reminds us it's not just the kids today who talk throught the show. Shhh! Some big Martin squawking melting in the 6:30ff range. 14:30 some big fluttery fanned chords by Garcia.

! P: t07 PMTWGR Garcia still doing some decayed stuff at start, eases into the tune, Merl still swirling so @ 0:40 Garcia gets out with a beautiful set of fanned chords. Flute jacks up his entry - c'mon Martin. Paul tries to follow Martin, but the band is not together.

! P: t08 JKMB there is some great stuff here. Everyone plays.

! P: t09 VITC Listen to Paul Humphrey bring the tune in, straight outta Brazil. Man. Merl misses the obvious starting point, comes back a four later, but it's all good. 4 min mark Paul H is amazing, crazed splash 4:38, another 4:43 to make sure everyone took note. What a drummer! This is really great. At 12:45 just scrubs to bring things to a close. Very, very good stuff.

Wednesday, June 28, 2017

E72 post 11

5/10/72, con't

I have a million thoughts on these things while pedaling, but they spin away in the wind before I can commit them anywhere. I thought this show started off very slowly, with an especially bad China > Rider. But in Next Time You See Me (I think - could have been Big Boss Man), Garcia does some screaming guitar work that really draws my attention, in an unlikely place. He paints the Playin' really blue, and it feels like Garcia is having a great night. He's my focus this whole show, while with other shows I am really appreciating the interplaying of the whole band.

Truckin' feels pretty brief and tame, but it's The Other One that really starts setting this show apart. E72 is replete with great Other Ones, and this is a great Other One. About 5 minutes in, Garcia and pals enter a sad space, and I am thinking about the Concertgebouw which, in terms of acoustics, "is considered one of the finest concert halls in the world".  This piece is just lovely, mournful like an echo of war, old world and a little bit classical-sounding. Much later, toward the end of TOO, they find a second space with some of the same vibe. In between, there's all kinds of great stuff. At one point, Garcia wails and rowwrrrrss and tigers with glass-shard notes. All night he's got some kind of extra fuzz on things. Keith really takes a strong, inventive lead somewhat late in this half-hour-plus monster, and Weir distinguishes himself in the last few minutes before turning to Bobby McGee, but I don't hear as much of Phil in this version. Wharf Rat is now mature and really flexes its muscles. Jerry strong.

All of this, of course, could be quite opposite on a different listen.

After that hour-long medley, which includes some of the sweetest passages of the whole tour to this point, an energized band continues for almost another hour, Pig and Jerry doing some of their newer numbers, and Garcia also tackling Sing Me Back Home. I don't generally like that song the way the Dead did it, but this version is pretty good. Bobby's Sugar Magnolia is just fantastic on the tour, this one no exception, and then it issues into a Not Fade Away that has more of a Hand Jive feel to start than any other I have heard, very distinctive, before the GDTRFB > NFA closer. I guess there was no encore.

Anyway, overall, not the best show of the tour, maybe about average, but TOO contains some of the best passages from all of E72.

Tuesday, June 27, 2017

E72 post 10

Hm - Bickershaw left me a little cold. I had this Star > OO etc. as top-shelf material, but it didn't do much of anything for me. Lovelight was kinda lackluster.

IMO, YMMV, etc. On to 5/10/72, which is starting off pretty sleepy and clunky to these ears. China > Rider goes nowhere, at any point. Pig sounds a little tired, too.

Tuesday, June 20, 2017

E72 post 09

5/7/72, Bickershaw, have just finished set I. Plenty of good stuff here. Birthday Boy Billy K drives a very intense PITB. Good Lovin is another good one, with Pig again fixin' to do some greazin'.

E72 post 08

5/4/72 is good, but not as good as the previous night.

"You Win Again" and "It Hurts Me Too" back-to-back killed my buzz.

"He's Gone" again reverses the cat on a tin roof and nine mile skiddin verses, to ill effect. I think he's figuring out that the other was it better. On the other hand, on this night he only lost one round, so that's better.

Good Lovin' is just unbelievable. It starts a little slow, but after five minutes or so I was convinced this was the best GL of all time, and the whole 20 minute thing failed to disabuse me of that idea. Pig was just so on fire this tour, my goodness. Someone with a taste for the ribald ought to transcribe his E72 Good Lovin' raps - no cuss words, in particular, but definitely NSFW.

Did he really then do "Next Time You See Me" right after that GL? That might explain why there's no Caution after Sugar Mag.

The "Dark Star" is great, "Uncle John's Band" is still done, to my delight, more in the album form - good clean country.  I was thinking about Sugar Magnolia in the same way - as long as they were doing it like the album, I loved it. When it went from sweet country psychedelia to cocaine screaming, I lost interest.

Got 5/7/72 off and running.

Saturday, June 17, 2017

E72 post 07

It's fun listening to these things in such a way that I can't note times or what have you. I retain a lot less information, but maybe I enjoy the music more than I would if I were taking notes.

4/29/72 con't
I really liked the Dark Star > Sugar Mag > Caution - what's not to like? The Star has a huge, focused, "feelin' groovy" piece that I like, but that more cynical Deadheads love to hate. I think it's good clean fun. This is really the only era during which I can listen to Sugar Magnolia. My vague sense is that I found the Caution less compelling than some of others on the tour, but I dunno.

5/3/72 in Paris
Context here is that, a) I am a raving Francophile, and b) I spent a lot of time with this show in the late 1990s, when it came to CD traders as a Honeymoon Tape.

This show is just amazing on every level. The band just comes at the crowd in waves and waves and waves, and inexorably the crowd is swept long. The tape sounds incredible, somehow better than the rest, and the band seems especially focused and tight, vocals all really clean. Bertha is a good example. China > Rider is very near perfection here, quite distinct from an earlier one on the tour, or maybe more than one (can't remember which), which didn't quite click, wanting to get to the big '73'74 transition jam, which wouldn't fully materialize for another 11 months, but not quite there. This one, by contrast - sharp as a razor.

"He's Gone" has verses mostly in correct order, as I understand it. A few of these iterations (all?), he sings that he "lost two rounds", rather than one. Since Hunter has said this tune is about Lenny, I wonder if there was another ripoff in reference? It's also possible Jerry just forgot or preferred it this way for singing purposes. They are also putting a little meander on the end that will, before long, for the trunk of long explorations that would especially connect to Truckin' and The Other One in some huge jams in the pre-hiatus Golden Era.

On this night, Truckin' -> Other One is one for the ages, some absolutely incredible interplaying throughout. As I have described it in some of these posts, all six players are playing as well as they ever would, and even Pig's organ work is engaged and inventive. They all throw all kinds of stuff at each other, break off into pairs, reform, etc. Weir hits a few Spanish Jam chords here (he has done so in some of the other jams I have heard on E72), and when he lopes it into Bobby McGee we have just traveled from the edge of the universe to a California highway.

Even after a huge jam, the band has the energy to show off sparkling versions of the new tunes, and to keep pushing each other through a high energy version of the NFA > GDTRFB > NFA medley. Outstanding.

Random question, not sure during what show it came up: why no "Hard To Handle" on this tour? During one of the Pig numbers of these last few shows, I think 4/29/72, Bobby is doing some of the great stuff he used to do in the jammy middle of Hard to Handle, and it reminded me. They stopped doing it in 8/71 when Pig got sick, and never picked it back up again. I would much rather hear it than "It Hurts Me Too", but then it's been said that I don't really get the blues.

Can't wait for the next few shows!

Tuesday, June 13, 2017

E72 post 06

4/29/72 in the great city of Hamburg. First set seemed good, nice "Good Lovin'" again. He's Gone needs and will eventually get some re-arranging, or he has just been getting a few things wrong, like the order of the "nine mile skiddin'" and "cats on a tin roof". Maybe a little of both.

Just heard the "Next Time You See Me", and I do not like that plodding tempo they put on it.

Monday, June 12, 2017

E72 post 05

4/26/72, at the Jahrhundert Halle in Frankfurt, is a monster show. No wonder most of the show figured as the first post-Garcia live Dead release, Hundred Year Hall.

The 36-minute "The Other One" has not an ounce of fat. At one point Phil is doing a little waltz that sounds like the bastard child of "Clementine" and "The Seven". (LIA connects this piece from 4/26/72 to the Hartbeats, which is consistent.) The whole thing is just jaw-dropping.

"Comes A Time" is great, less oversinging. I love the falsetto, but it just didn't work. The tune sounds smoother than earlier versions.

"Lovelight" - is this the first one of the tour? It starts off LL and drops into much more of a Caution space, never really returning. Some very good stuff in here, also reminiscent of the E72 Good Lovin's.

Jerry is pushing GDTRFB while most of the rest of the band seems to want NFA. A few very interesting things happen in this track.

Overall, yeah, classic show, deserving of the attention it has gotten.

Started off on 4/29/72 in Hamburg, did anybody but Bobby know whether it was "Black-Throated Wind" or "Jack Straw" before he started singing? BTW is far and away inferior, though Jack Straw hadn't really gotten itself pinned down yet. Not surprising the latter stayed pretty continuously in the repertoire, the former, not so much.