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

Tuesday, December 12, 2017

Mr. Sandoz Dilaudid

I have a memory of hearing Phil say this over the PA during one of the Dead's Egypt shows, but I have no idea if this was just a dream I dreamed, it happened at another show, something like this but not exactly like this happened, or something else.

Does this ring a bell to anyone?

update: 11/2/77 - Canada, not Egypt. After FOTM and before Estimated, at about 9:35

Would Mr. Sandoz Dilaudid please come to the backstage area?

Monday, December 11, 2017

Woody's Rag

For years, I have wanted to know the name of the second song from the first "real" live Garcia-Grisman gig, 2/2/91 at the Warfield, which has always just been identified as "Instrumental". It starts at 7:20 of the embedded video. (It was also the second song of the second night, 2/3/91, starting at about 7:50 of this recording.)

Well, the great Neil V. Rosenberg, whose book Bluegrass: A History, is totally essential, has sent along an identification. It's "Woody's Rag", written by the one and only Woody Guthrie, and done among others by The Weavers.

Thank you, Professor Rosenberg!

Sunday, December 10, 2017

Black Mountain Boys date

I don't really do pre-Dead, but I found this, don't see it at JGC, don't know where else there might be show lists for pre-Dead bands, and thought I might as well put it here.

The "Marri-Eds" sponsored a hootenanny at the Santa Cruz Civic Auditorium on March 25, 1964, featuring The Couriers, Lino with his Latin and American Folk Songs, the Black Mountain Boys from Palo Alto, and Bill Helm from the San Francisco Bay Area.

The Great Barcia

Rock Scully's book referred often to Jerry as "the Great Barcia". I had originally thought it was Salvador Dalí, but looking back, I guess not. It still tickles me.

This just came back to mind as I came across two ads, a month apart, for Reconstruction at the Catalyst in Santa Cruz on 3/31/79. Someone at the Sentinel was either a Prankster or confused, and not just about Jerry (see also "Greg Kihm"). Anyway, I am sure that, especially in Reconstruction, the Great Barcia didn't mind having some of his higher fans possibly thrown off the scent.
ad for "Re Construction" at the Catalyst, featuring mystery guitarist "Jerry Garsia", Santa Cruz Sentinel, February 23, 1979, p. 16.

ad for Reconstruction at the Catalyst, featuring mystery guitarist "Jerry Barcia", Santa Cruz Sentinel, March 23, 1979, p. 13.

Sunday, December 03, 2017

4/23/93: great setlist, low energy

LN jg1993-04-23.jgb.all.aud-neumann.15923.shn2flac

Great setlist, low energy. At least that's how I hear it.

Jerry Garcia Band
Warfield Theater
982 Market Street
San Francisco, CA 94102
April 23, 1993 (Friday)
Neumann KM54 MAD shnid-15923 shn2flac

--set I (7 tracks, 56:56)--
s1t01. ... Cats Under The Stars [#8:13] [0:47]
s1t02. Knockin' On Heaven's Door [10:15] [0:26]
s1t03. That's What Love Will Make You Do [8:13] [0:12]
s1t04. He Ain't Give You None [8:00] [0:41]
s1t05. Ain't No Bread In The Breadbox [7:45] [0:14]
s1t06. My Sisters And Brothers [4:00] ->
s1t07. Deal [7:59] (1) [0:11] %

--set II (8 tracks, 62:50)--
s2t01. /The Way You Do The Things You Do [#9:24] [0:12]
s2t02. The Maker [#8:48] [0:19]
s2t03. Money Honey [6:40] [0:20]
s2t04. The Hunter Gets Captured By The Game [7:20] [0:12]
s2t05. Lazy Bones [7:47] [0:08]
s2t06. Reuben And Cherise [8:07] [0:42]
s2t07. Señor (Tales Of Yankee Power) [6:39] ->
s2t08. Midnight Moonlight [6:02] (2) [0:10] %

! ACT1: JGB #21b
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Jacklyn LaBranch - backing vocals;
! lineup: Gloria Jones - 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:


! map:

! band: THE Jerry Garcia Band, JGB #21b (

! historical: Both s2t02 "The Maker" and s2t04 THGCBTG were released on 2001's Shining Star (see

! field recordist: [presumed] Chuck and Janet Vasseur

! R: field recording gear: 2x Neumann MK54 > unknown DAT deck

! R: field recording location: FOB

! R: transfer: DATx > CDRx (via S.Aserkoff) > DAE (EAC 0.9 beta 4, offset corrected, secure mode) > tracking (cdwave) > SHN (shorten 3.4) > FTP via C.Ladner/candyman FTP. "Another installment of the MisSHN in the Rain."

! R: seeder comment: "Fantastic recording and performance." JGMF comment: hm. Recording has a weird quality to my ears, like there's a frequency that's too low in there somewhere. The vocals are pretty low, which could well be how JG wanted to be mixed this night, since, as I note below, he sounds a little rough around the edges.

! P: Vocals sound a little tired.

! R: s1t01 CUTS fades in

! P: s1t04 HAGYN very enthusiastic vocals.

! P: s1t07 Deal very good, some very big stuff. Even some wah 6:25ff.

! s1t07 (1) JG: "We'll be back in a little while."

! R: s2t01 TWYDTTYD clips in, not much missing.

! P: s2t02 Maker @ 6 ish he starts the "Brother John" line hard and high, almost like the "body .... bent and broken" verse, but then drops down into another key.

! P: s2t04 THGCBTG - wow. Jerry sounds old, but that makes this all the more powerful. Rarity! All 90s versions: 4/20/91, 4/21/91, 5/22/91, 11/13/91, 4/23/93, 11/11/93, that's it. #songs-H

! P: s2t05 Lazy Bones this is a cluster to start. This is another one that got only infrequent play.

! s2t08 (2) JG: "Thank you. See ya later."

Legion of Mary at 8162 Melrose, March 7, 1975

LN jg1975-03-07.lom.early.aud-ladner.23338.shn2flac

I wanted to hear "The Hunter Gets Captured By The Game", the only circulating version from this time period, so I revised the whole show. Nothing else jumped out at me, but man is that a great song.

Legion Of Mary
Pitschell Players Cabaret
8162 Melrose Avenue
Los Angeles, CA 90048
March 7, 1975 (Friday) - early? show
aud misSHN shnid-23338 shn2flac and retrack

--(8 tracks, 7 tunes, 90:52)--
t01. tuning (1) [0:26]
t02. That's The Touch I Like [10:09] [1:34]
t03. Favela [16:02] [1:11]
t04. Last Train From Poor Valley [8:16] % [0:40]
t05. Mystery //Train [13:#14] [0:19] % [0:40]
t06. You Can Leave Your Hat On [15:23] [0:36]
t07. The Hunter Gets Captured By The Game [11:23] % [0:05]
t08. Let It Rock

! ACT1: Legion of Mary
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: Martin Fierro - flute (t02, t05), saxophone, percussion;
! lineup: John Kahn - el-bass;
! lineup: Ron Tutt - 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:, giving this as the early show.

! db: (this fileset).

! map:

! JGBP: I guess this was the Ash Grove building, which was being leased for various performances, and eventually became the Improv. JGBP gives capacity as 250.

! ad: Los Angeles Times, February 16, 1975, p. Z45.

! ad: Los Angeles Times, March 2, 1975, p. U45.

! listing: Los Angeles Free Press, March 7, 1975, p. 27.

! metadata: Not clear if this is really the 8:30 PM early show (as per JGC), the 11:30 PM late show (as I have had it at some point), or some combo thereof. The LAFP listing on the day-of only gives an 8:30 show, from which I infer that the late show was already sold out.

! historical: band got $1,500 flat guarantee each night, so $750 per show.

! R: source: AUD (mics and taper unknown) > ? > C > DAT > WAV > SHN; cassette > DAT transfer:  Nakamichi DR-2 cassette deck > Tascam DA-30 Mk II by J. Powell; DAT > SHN transfer: Sony PCM-R500 > coaxial S/PIDF > M Audio Audiophile 2496/P4 2.0 GHz > WAV recording/editing (Soundforge 6.0) > tracking (CDWave editor) > sector boundaries confirmed (shntool) > SHN (mkwact) by C. Ladner. misSHN in the rain, 4/04. shn2flac by jgmf 20091122, retrack 20171203.

! R: seeder note: "decent amount of hiss - you've been warned."

! t01 (1) JG, talking to sound man: "That's much nicer."

! R: t04 MT tape flip @ 7:52, speed warbling after the cut.

The Hunter Gets Captured By The Game

My first working title for Fate Music was The Hunter Gets Captured By The Game. The THGCBTG framing, as I lovingly acronymized it, reflected a slightly darker view of Garcia's side trips than I presently hold, one in which his damned Midas Touch tainted even his silly bar band, which eventually had to play boomy Madison Square Garden in front of 15,000 whippeted, "Jerrrrrryyyyy!!!!!!"-screaming fans.

As of now, I hold a less tragic view of the whole arc. Yes, even the JGB came to carry Jerry's Burden, but to such a lesser extent that, relative to the GD, it formed a relative oasis where our hero could drink of some cool American (and other) musical water without too much hassle. He probably even took some pride in bringing Melvin, David and the ladies to the Garden, staying at the Ritz and playing the rest of the east coast gigs via day trips on private jets out of Teterboro, nothing but the best under the expert management of John Scher, all under his own name.

It's still a good theme, though. And what a song!

Everyday things change
And the world puts on a new face
Certain things re-arrange
And this old world seems like a new place

Secretly I've been trailing you
Like the fox that preys on the rabbit
I had to get you and so I knew
I had to learn your ways and habits

Ooh, you were the catch that I was after
But I looked up and I was in your arms
And I, I had been captured

What's this old world coming to
Things just ain't the same
Any time the hunter gets captured by the game

I had laid such a tender trap
Hoping that you might fall into it
Your love hit me like a sudden snap
One kiss and then I knew it

Ooh, my plan didn't work out
Like I thought
'Cause I had laid my trap for you
But it seems that I got caught

What's this old world coming to
Things just ain't the same
Any time the hunter gets captured by the game

If you aren't in love with Wanda Young after hearing this, you aren't paying attention. So, for me, the song speaks both to Garcia's love life and his musical life. Let's take a closer look.

THGCBTG first entered the observable Garciaverse in 1974, appearing on Jerry's second eponymous album, which we know as Compliments (Round Records RX 102). I don't know when/where the track was laid down, though, regarding the when, March 4, 1974 seems possible. The following are credited:
  • Jerry Garcia - guitar, vocals
  • Larry Carlton - guitar
  • Michael Omartian - piano
  • Merl Saunders - organ
  • John Kahn - bass
  • Ron Tutt - drums
  • Bobbye Hall - congas 

John Kahn selected the material for Compliments, and his love of Motown, and not least the Funk Brothers' instrumentation, knew few bounds, so choosing this Smokey Robinson tune (one of many) made perfect sense. Compliments first brought Ronnie Tutt into Jerry's orbit, as he has recently noted, and they'd gig steadily together from December 6, 1974 through August 12, 1977. Among these hundreds of gigs, two from the winter of 1975 are known to have included THGCBTG:
Table xxx. Known live Jerry Garcia performances of "The Hunter Gets Captured By The Game"

The song is one of those handful of songs that Jerry seems to have picked up at occasionally long intervals. I have always interpreted songs with this pattern, such as Tough Mama, Like A Road, Let's Spend The Night Together, some others, as songs that he really liked. I don't have any basis for that, in particular, except that, especially from the turn of 1976 and the predominance of comfort over challenge in his side bands (Reconstruction being a notable exception), there just weren't that many setlist variations, not least because there wasn't always a lot of rehearsing. For a song to keep coming back, especially with different bands and their different players (and their different repertoires) suggests to me that they exercised a certain pull on our hero (and his musical director, John Kahn).

A former sort-of-girlfriend of Jerry's told me he played this song for her back in the mid-70s, and of course it's a song not about the pursuit of music without bullshit, but of a lover. The 2/27/75 version doesn't circulate and, AFAIK, is unheard outside the Garcia Vault. (Same goes for the 5/22/91 version, BTW, from one of the latest Garcia sets not to circulate in any form.) The 3/7 version does, and I am listening to it now. It's very, very nice, with a lot more development than the later versions.

Of these, I have also just revisited 4/23/93 (officially released on Shining Star), and raggedy old Jerry gives it a shopworn world weariness which suits it well. The 4/23/93 date, and the inclusion of this version on Shining Star, are both redolent of Deborah Koons, who would "officially" have become Jerry's main squeeze around this time, for the second time, apparently after some years of chasing. Shining Star, with its execrable cover art done by a friend of hers, was a DK joint all the way, so maybe she found special resonance with this tune, the flipside of her rumored aversion to "Reuben And Cherise".

So if the early and late versions may speak to romantic pursuits, for me the Reconstruction versions speak more to the theme of Jerry's Burden. He wanted to hide in Reconstruction, way back in the shadows just playing whatever weird stuff that band was putting out. It seems that he really didn't want to front that band, as evidenced by insisting on being listed as a "special guest" in the publicity. While I doubt it's true, and certainly doubt that it represented a conscious choice, for him to sing THGCBTG with Reconstruction expresses the impossibility of truly hiding; he's after a good time, playing music with good players and for an audience, with a minimum of hassle, but he finds himself straining for those high notes. "It seems like I got caught", indeed.

Nothing to Write Home About on a Charlie Miller Birthday Show

LN jg1981-11-03.jgb.all.aud-composite.138177.flac1644

November 3rd is Charlie Miller's birthday, among other people. Now you know.

This '81 show has a good DLG, some interesting playing in Dear Prudence, but didn't light me up. Maybe it's because the tapes just aren't that great. I also listened to DLG via the set II matrix (shnid-138159), and it was still good, but not great.

Painters Mill
Painters Mill Road
Owings Mills, MD 21117
November 3, 1981 (Tuesday)
aud composite flac1644 shnid-138177

--set I (6 tracks, 52:04)--
s1t01. [0:14] Sugaree [9:48] %
s1t02. [0:35] I'll Take A Melody [10:36] %
s1t03. The Way You Do The Things You Do
s1t04. /Valerie [6:20] %
s1t05. Mystery Train [8:02] ->
s1t06. Tangled Up /In Blue [9:#42] (1) [0:07]

--set II (6 tracks, 70:21)--
s2t01. The Harder They Come [12:28] [0:03] %
s2t02. Knockin' On Heaven's Door [14:26] [0:01] %
s2t03. /Don't Let Go [#13:57] [0:03] %
s2t04. The Night They Drove /Old Dixie Down [7:#48] ->
s2t05. Dear Prudence
s2t06. Midnight Moonlight

! ACT1: Jerry Garcia Band #14b
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Jimmy Warren - electric keyboards;
! lineup: Melvin Seals - organ;
! lineup: Ron Tutt - drums;
! lineup: Julie Stafford - vocals;
! lineup: Liz Stires - 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.

! db: (s2 sbd shnf); (this fileset); (s2 matrix flac1644).

! JGC:

! map:

! venue: URL;


! band: JGB #14b (

! R: source: Set One: AUD (marked 2nd Gen) kindly provided by wk &; set Two: AUD (unknown lineage) kindly provided from the collection of DL.

! R: Transfer: Maxell XLII's > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transfer by Andrew F. 04/2017

! R: seeder note: "This is a composite of two different AUD recordings. Caveat, both tapes
sound a bit rough.  Skip in TUIB at 1:57. Tape-flip in TUIB at 4:30, about 15 seconds missing. Tape-flip in TNTDODD at 4:55, about 45 seconds missing."

! r: s1t04 Valerie clips in

! P: s1t05 MT is going a mile a minute

! P: s1t06 TUIB nice raunch late 6. Very molten playing.

! s1t06 (1) JG: "Gonna take a break for a little while, we'll be back in a little bit."

! R: s2t03 DLG clips in

! P: s2t03 DLG is very good

! P: s2t05 DP some very pretty progressions in the 8 minute mark, very high up, swinging a bit 9:10. Good version.

Monday, November 20, 2017

Find Someone Who Looks at You the Way John Looks at Jerry

VN jg1977-07-09.jgb.late.voodoonola

Jerry Garcia Band
1300 Ocean Avenue
Asbury Park, NJ 07712

July 9, 1977 (Saturday) –Late Show 10 PM
complete (128:25) B&W proshot video via Music Vault, URL

re-do the time markers
0:00:00 – [0:47 The Harder They Come 0:48-15:04 -15:06
0:15:07 - Stage Noise
0:17:42 - They Love Each Other -25:42
0:25:46 - Stage Noise
0:30:05 - Midnight Moonlight
0:40:13 - Stage Noise
0:43:38 - Russian Lullaby (incomplete)

! R: RL splice @ 58:05, not much missing

0:58:57 – noodling
1:00:51 - Tore Up Over You
1:14:06 - crowd noise
1:14:54 - Knockin' On Heaven's Door
1:31:32 - Stage Noise
1:33:51 - Tangled Up in Blue
1:45:46 - crowd noise
1:51:00 - Not Fade Away (Incomplete)

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia – el-g, vocals;
! lineup: John Kahn – el-b;
! lineup: Keith Godchaux – el-piano (Polymoog keyboard), ac-piano;
! lineup: Ron Tutt – 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.

! db: (Mattson early and late shows shnf); JGMF: (Mattson early and late shows flac1644); (Steve Strange late show flac1644).

! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.

! JGMF: see also "Rockabilly JGB Doing Not Fade Away: July 9, 1977,"

! ad: Asbury Park Press, June 26, 1977, p. 14.

! expost: "Arrests Follow 2 Rock Concerts," Asbury Park Press, July 11, 1977, p. unk.

! historical: "More than 30 persons, most of them from North Jersey and New York, were arrested Saturday night and early yesterday morning" after the Garcia Band shows ("Arrests Follow 2 Rock Concerts"). 22 police. Crowd of 250-300 (per police) gather at Bradley Park, across Ocean Avenue from Convention Hall, about 6:30 pm. Drinking. Cops announce they're gonna bust the drinking, etc. over the bullhorn. Crowd mostly dispersed 7:30, when JGB scheduled to start. Arrests begin at 10:30 pm, after the early show. "Police arrested people as they came off the Boardwalk and were visibly intoxicated. The arrests continued until about 1:25 am [text not clear]". Most was possession of alcohol, maybe 28? That'd be a summons or $100 bail. Nine for possession of marijuana or LSD, $500 bail. One Prince Charming got three charges and $5,000 bail: possession of a large knife, assault and battery of a police officer, and resisting arrest. (Your mother will love him!) Wage: $20,557. Only 120 tickets shy of a sellout (3,776 of 3,896).

! R: seeder notes: Thanks to BGA LLC.

! R: Original audio from video mastered using Adobe Audition

! R: audio patch in NFA from shnid 76441 taped by Mark Mattson

! R: audio and video editing by Voodoonola

! R: the video and audio quality are breathtaking.

! P: HTC catch Tutt do a great run around 3:15. Keith's electric keyboard is clearly shown 7:15ish. Watching JG play 8:30 is wonderful. At 10:10 he looks at John with such love. The admiration is so great. Swaying and smiling 10:25 as the crowd cheers. So, so, so nice.

! P: TLEO Tutt doing some harmonies visibly @ 20:10. Keith now on acoustic piano.

! P: MM KG has baritone and Tutt has high parts. KG's voice is unfortunate. Nice solo over 30, Kahn hitting some nice fat stuff and there's a crowd shot of a dude right upfront reacting to it, probably same look I had on my face. Wow. Late 30 Jerry takes another turn, he wasn't satisfied with the first one (it's true he hit a bad note in there), now he has his eyes closed and that helps, sometimes.

! P: RL wow. We know that Jerry, John and Keith, sometimes just Jerry and Keith (!), played some Hot Club stuff at Club Front in mid-1978. The love that Jerry and John share for each other is palpable. Over 43 John is practically cooing at Jerry, playing with him like a kitten, and Jerry is using that to get off. It's potent. At 45, John steps in front of Jerry and is ready to jump on a feature, but Keith steps up and plays a beautiful little thing. Jerry sways with pleasure and smiles at Keith, comping with his eyes on Keith. If Garcia's comping and looking at you and urging you to play, you play, by God. 46 Keith picks up his tempo a little bit. He's playing very well-controlled piano here, not so heavily percussive on the left hand. Now John feature 47:15 ff. At 48:45 you are getting a perfect view of John's fingers. It is very nice to see this, but I don't think this bass solo holds a candle to what some of John's contemporaries could do. Garcia is having a smoke and watching John, so it's a little trio configuration of John leading, Keith and Ronnie just holding the beat. Jerry comes back 50:35, crowd gives John a nice hand. But it also knows, or many of its members do, that Garcia's about to play his guitar.

! P: TUOY John was playing something very interesting around 70 min mark, but the seeder had already tracked KOHD. I think he was noodling something else, and then the transition to KOHD sounded abrupt. But maybe I just wasn't playing close enough attention.

Saturday, November 18, 2017

San Francisco Sessions, 1972

I have been processing information from contracts filed at the American Federation of Musicians (AFM) Local No. 6 in San Francisco.

There is nothing representative about these – I have information on stuff that is a degree or two from Garcia, and a few other random tidbits of idiosyncratic interest to me. I post them mostly for future researchers who might be interested. (The six-digit numbers just reference my scans, so I can retrieve these as needed.) List after the jump.

Alone and Together

I have always liked this image.

Friday, November 17, 2017

Picture of the Murdering Punks at the Inn

A little piece in the from the Santa Rosa Press-Democrat on the tenth anniversary of the Inn of the Beginning in Cotati notes that "A picture spread in the Pacific Sun featured Jerry Garcia and the New Riders of the Purple Sage playing there in their early days". Great - now I *have* to track that down.

! ref: Jensen, Sophia. 1978. Inn celebrates its beginning. Press-Democrat (Santa Rosa, CA), September 29, p. 1B.

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] >