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Friday, July 18, 2014

LN jg1978-03-22.jgb.all.sbd-ladner.19832.shn2flac

As a prelude to a review of the off-to-a-great-start GarciaLive 4 release of the Sebastopol 3/22/78 benefit show, here are some fragmentary listening notes from a year ago on the rough circulating sbd copy.

It appears that I engaged the question of the pianist on that very date over at Corry's post (probably now getting lots of traffic!) on the show - scroll down to comments.  I was clearly unclear on who's doing what. For I example, I was convinced that Keith was playing on LITA (s2t06), though the release belies this.

I plan on listening a little and then posting more extensively. Hate fragmenting conversations too much, but anyway.

Jerry Garcia Band
Veterans' Auditorium
282 S. High Street
Sebastopol, CA 95472

March 22, 1978 (Wednesday)
118 min degraded sbd shnid-19832 shn2flac

--set I (5 tracks, 46:43)--
s1t01. How Sweet It Is (To Be Loved By You) [6:45] [0:18]
s1t02. Catfish John [9:00] [0:08] %
s1t03. Simple Twist Of Fate [10:37] [0:13] % [0:02]
s1t04. I Second That Emotion [10:05] [0:08]
s1t05. The Night They Drove Old Dixie Down// [9:27#]

--set II (8 tracks, 71:28)--
s2t01. Harder They Come [11:39] [0:27]
s2t02. Mission In The Rain [11:11]
s2t03. Cats Under The Stars [7:53] [0:06] %
s2t04. Gomorrah [6:27] %
s2t05. Mystery Train [8:22] [0:15] % [1:46]
s2t06. Love In The Afternoon [9:30] [0:03] %
s2t07. I'll Be With Thee [5:06] ->
s2t08. Midnight Moonlight// [8:42#]

! Band: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Keith Godchaux - piano (xxx);
! lineup: ?Ozzie Ahlers - piano (xxx)?;
! lineup: Buzz Buchanan - drums;
! lineup: Donna Jean Godchaux - vocals;
! lineup: Maria Muldaur - vocals.

! R: symbols:
! TJS:
! JGC:
! db: (this fileset)
! map:
! venue:
! band
! see also: March 22, 1978 Veterans Hall, Sebastopol, CA: Jerry Garcia Band (Ozzie Ahlers-piano?),
! historical. Garcia attended Analy High School in this off-the-beaten-path Sonoma County town, and I guess we think he gigged a little during that time xxx. Benefit show xxx.
! R: source: SBD > CM(x) > CDR > WAV > SHN.
! R: shn2flac conversion by jgmf 7/12/2013.
! R: seeder Comments: "Multiple analog generations with a significant amount of hiss.  Sound quality is a bit spotty and gets even spottier by the end of the second set.  End of last song of each set is clipped."
! R: I'd add the there are surely speed fluctuations all over the place.
! P: seeder comment: "Very primitive and open-ended jamming sounding 'Cats Under the Stars' in its lucky #7 performance.  Sounds like a band having a great time."
! R: seeder comment: "Thanks to H.Angus for source CDRs. DAE (EAC 0.9b4, offset corrected, secure mode) > sector boundaries confirmed (shntool) > SHN (shorten 3.4) > FTP via C.Ladner/candyman FTP. MisSHN ITR, 10/03." shn2flac jgmf 7/12/2013.
! P: s1t02 CJ these harmony vocals are not very together.
! R: s1t05 TNTDODD ctuts out, maybe a half minute or a minute missing.
! P: s2t04 Gomorrah, DJG says at the start "This is a true story."
! R: s2t05 the tape wow and flutter is really, really painful to hear.
! P: s2t05 MT noticing the drummer's insistent steel horse rhythm.
! s2t05 interesting long tuning, piano ... my brain delights to think it could be them sitting Ozzie down at the piano bench ... maybe KG passed out. Sounds like drummer is working on tempo, too. Why, if they just came off xxx gigs in xxx nights? But it still sounds like Keith playing piano, too bad.
! personnel: Keith definitely playing on LITA(s2t06)

//notes end

Wednesday, July 16, 2014

Fieldwork Pictures

A small sampling. I have many more. I was looking for a pic of the Marin County Clerk and Recorder's office, but couldn't find it. I think I took pix of the Inn of the Beginning and the Cabaret in Cotati. Definitely have one of Macky around here somewhere. I have posted a few snaps from Olompali.

Anyway, here are a few more. Ahhh, beautiful Bay Area ...

Marin Civic

2400 Fulton Street
SF Civic

Marin Civic

River Theater, Guerneville

Bear's Lair, UC Berkeley

Tuesday, July 01, 2014

Garcia Talks Locally, Fall 1972

Staska, Kathie, and George Mangrum. 1972. Rock Talk by KG: Jerry Garcia discusses Grateful Dead, albums. Hayward Daily Review, October 12, 1972, p. 42.

It's a marvel to study Garcia interviews over the years in all kinds of ways. The man could talk as knowledgeably, engagingly, expansively, and articulately as he played the guitar, which is really quite something.

By way of preface, let me note the out-of-town selection bias exhibited by published interviews - locals barely bothered, but journalists in every burg across the country wanted to write Garcia up when he or the Dead came to town. This has all kinds of observable implications. One I'd note in passing is that it reinforces Garcia's remarkable ability to find an oral formulation that worked, and to stick with it,when it came to the inevitable stock questions about the Acid Tests, all that. He spoke to lots of people he didn't know - good to have a rap ready. Out-of-town stuff is probably also more tied up in commercialization than most local chats, a record to promote or, more likely, just trying to sell out the local basketball shed. It's not good or bad, but to me it's worth remembering that for a lot of what we read Garcia saying, he's on the road talking to people who aren't from where he's from. We get something of Garcia's self projection, from the outside looking in.

Local interviews for lots of periods were more rare. Corry often notes that most media just weren't that interested, a lot of the time. For many years (e.g., probably the second half of the 70s and the first half of the 80s) you'd only write up Garcia for a really slow news day.

This interview seems to have the commercial pretext of promoting the Dead's forthcoming Europe '72. This gives way to a small, slightly grainy, but interesting snapshot of the local context of Jerry Garcia, fall 1972. Among other things, he seems accidentally anti-commercial.

First, about the column. Kathie Staska and George Mangrum ran the amazing "Rock Talk by KG" column in the Hayward Daily Review throughout the 1970s in an unlikely passage from school paper to legit townie news. Hayward is an East Bay town between Oakland and Fremont, a crossroads (I580 and I880 join up, and Mission Blvd. starts running south all the way to Mission San Jose). It's surely a real property-rich spot nowadays, but I have it as "generic East Bay" in the 1970s. Anyway, good little town, and from this spot K and G reported on the Bay Area music surrounding Garcia when he wasn't on the road. They did a great job not just with San Francisco but also with the Berkeley roots music places (Mandrake's, New Orleans House, Longbranch Saloon) forgotten joints like the Bodega down in Campbell, the Marin clubs, all of it. Nice mix of touring acts, one-offs, and local favorites. In short: this is a great local music news column for a guy like me.

Second, I don't know the date of the chat (not really an interview), but I conjecture that it took place at the Dead's Winterland gig on October 9, 1972. (A propos of nothing, the article characterizes that gig as a benefit for the Dead's roadies, "who have been with them for six years".) The article appears on 10/12, and Gar says that Europe '72 will be available locally on 10/15. (FTR: deaddisc has it November 1972 [Warner Brothers 3WS-2668],while wiki says November 5.) The interviewer asks about the Tom Fogerty record, which I take to be Excalibur (Fantasy 9413, October 1972). It all just feels like October to me, though the only hard limits we have are between 8/25 and 10/11. The resolution is not great, but I am pretty comfortable with the 10/9 dating.

Anyway, here are a few shutterclicks.

Garcia Had A Lot of Album Credits in This Period
KG: It sounds like every album we pick up has your name on it. It would seem that you spend quite a bit of time on other people's albums.

Garcia: It's just an illusion. I don't actually spend that much of my life doing it. Each one of those albums represents about two days in the studio, maybe less, sometimes more. It doesn't represent that much ... accumulated time.
Fogerty Record
KG: One of the latest examples of this is on the new Tom Fogerty album.

JG: It has [sic] a chance for me to play different styles than I normally play.
Goodness, I wish he had taken the bait. He sounds rushed. I don't think he's on record anywhere about Tom Fogerty. But here's a chance for him to sell some vinyl - that's why they're together, I presume - and he sort of whiffs. Silly, anti-commercial man. On the other hand, this is a great GOTS quote: "a chance for me to play different styles than I normally play".

August 1972 BCT Dead Shows

The Dead played a four-of-five night run August 21-22 and 24-25 at the Berkeley Community Theatre, selling it out (I think?) for Bill Graham and finding some utterly transcendent moments, as during a hellfiring "The Other One" on the second night. I don't think I have ever met a Deadhead who doesn't love these shows.

Garcia, not so much.
KG: How did your last concert in the area (Berkeley) go for you?

JG: The four days at the Berkeley Community Theatre weren't our best performances. They could have been a lot better in my opinion. We haven't done a good show around here for quite awhile. Generally speaking, when we play here it's during our off season because when we're touring, we're usually touring the rest of the country.

When we've been working is when we're best. When we did the Berkeley show [sic] we hadn't been playing in quite awhile. It was more of a warmup for us for going out on the road.
Two thoughts.

First, huh. I think he's too hard on himself. If ever there was proof of the proposition that Jerry often articulated, that the Grateful Dead experience was totally subjective, this might be it. Anyway, de gustibus and all that. I hope he at least liked Veneta!

Second, I guess this is the piece that frames in the local vs. the road thing for me. Nothing earth-shattering, but an interesting perspective, and one that resonates . It has often been said that, for many years, the Dead played their best shows on the east coast. There's something to this, the people are different, sure, but also the energy of the road, that diesel taste of airline fuel in your nose, the zing. Home is home, if you're lucky.

Tuesday, June 24, 2014

Merl Saunders - May 28, 1972

Corry has done more than anyone to probe into the relative blank spot that is summer 1972 for the Jerry Garcia - Merl Saunders live aggregation.
As Corry says in the latter post, linking to the former: "there were almost no Garcia-Saunders shows in 1972, save for a two-week window in late June-early July, when Kahn and Saunders seem to have been back in town."

I have nothing major to add, just a tiny listing I found for Merl to play in the City on 5/28/72:

May 28, 1972: Merl Saunders and Friends and the Flowing Stream Ensemble, S.F. Museum of Art, McAllister at Van Ness, 2-4 pm, free.

I suspect that careful work spinning through SF Chronicle listings (which has not been done, to my knowledge, for the 1971ff period which interests me) will uncover more. In the meantime, here's a random one.

Harpur College NRPS set

"Enough about the Dead, how was the New Riders' set?" - one guy, once

Any Deadhead worth her salt knows the Harpur College gig from May 2, 1970. It's a monster, one of the Dead's best, and long-circulating from FM tapes; it has blown a lot of minds.

I don't remember hearing much about the New Riders set from this night's Evening With the Grateful Dead, so I thought I'd check it out.

Performance: NRPS "meh", but Bobby Ace is real good

Sometimes, things aren't much noted because they aren't really noteworthy. I'd say that's the case here: this is easily the weakest of the sets played this night.

Arrangements need work. Nelson needs more volume and/or confidence. Marmaduke's grating singing gets in the way of enjoying his great songwriting. Garcia and the rest of the band sound fine, but this is only really their second night out and they can't quite unstick the cobwebs wisping over their ears and through their fingers.

I really like the Bobby Ace interregnum. Bobby was coming into his own as a guitarist, singer and stage presence at this time, and this is the perfect feature for the beautiful young man, in well-worn boots, jeans and collarless shirt, with the long pony tail and the handsome persona. The songs are simply wonderful. "Sawmill" is a great little Garciaverse rarity. Country legend Mel Tillis wrote the tune and first released it in 1959 (deaddisc), and the Riders' idol Buck Owens covered it, but it was Tillis's 1973 version that hit #3 on the charts (wiki). This is a great tune! "The Race Is On" also hit #3 on the country charts, for George Jones in 1965. The Dead played it a bunch in 1973, and in the 1980s revived it whenever they'd play on Kentucky Derby Day (e.g., 5/3/86, 5/6/89, 5/5/90), always a vernal treat for Bay Area fans. Merle Haggard got all the way to #1 in August of '68 with "Mama Tried", soon also picked up by the Dead. I prefer the NRPS arrangement, as I do with MAMU. These songs just sound great with steel.

Context: On Campus, May 1970

Still, the context is super interesting. "Harpur College", known to Deadheads the world over for the monster show played on this night. But this was An Evening With the Grateful Dead, and I don't recall seeing much discussion of the evening's middle set by the Dead's white country cousinage, the New Riders of the Purple Sage. This particular zoo got rolling on Friday, May 1st at little Alfred College in upstate New York and steamed into Binghamton for a Saturday show which is an indispensable part of the GD Legend on the East Coast, its economic lifeblood for fifty years. A large generation of baby-boom (and post) northeast corridorians and other city dwellers bought tickets at the time and now buy beautiful, multimodal nostalgia, delivered to the couch, street, car and garden. The Dead were a San Francisco band cashing New York checks. "Harpur  College" - every Deadhead, at least, knows those two words. See the Wolinsky review for some flavor.

More broadly, say "college campus" and "Spring 1970", and I am all ears, because this was a really weird time in American history, worth recalling as we consider our current polarization. The Dead played colleges on both sides of the May 4th Kent State shootings. You remember those, "four dead in Ohio" as CSNY put it, and this:

John Filo's Pulitzer Prize-winning photo of Mary Ann Vecchio screaming over the dead body of Jeffrey Miller, May 4, 1970, Kent State University.
On May 4, l970 members of the Ohio National Guard fired into a crowd of Kent State University demonstrators, killing four and wounding nine Kent State students. The impact of the shootings was dramatic. The event triggered a nationwide student strike that forced hundreds of colleges and universities to close. H. R. Haldeman, a top aide to President Richard Nixon, suggests the shootings had a direct impact on national politics. In The Ends of Power, Haldeman (1978) states that the shootings at Kent State began the slide into Watergate, eventually destroying the Nixon administration. Beyond the direct effects of the May 4th, the shootings have certainly come to symbolize the deep political and social divisions that so sharply divided the country during the Vietnam War era. (Lewis and Hensley, ND).
 Here's the Dead's itinerary, in the thick of things:
  • 5/1: Alfred College
  • 5/2: Harpur College
  • 5/3: Wesleyan
  • 5/4-5/5: no shows
  • 5/6: MIT (free in Kresge Plaza)
  • 5/7: MIT (DuPont Gym)
  • 5/8: SUNY Delhi
  • 5/9: Worcester Polytechnic Institute
The Dead's set furiously rages and is truly of its time. The NRPS set is just some guys trying to get it together, which I guess we could say is timeless.

Listening notes below the fold.

Saturday, June 21, 2014

Dee Dee Dickerson Discography

I recently posted a little bit of information from the John Scher Presents program for JGB 5/31/83. It included a little bio on the various band members.

In comments, nick picked up on Dee Dee Dickerson's work with Pharoah Sanders, and posted link to Donna Dickerson at discogs.I had not known her name was Donna. Anyway, following Nick's lead, I combed through discogs and allmusic and tried to put together a little discography.

Because Google Docs's embedding technology sucks, here's a direct link. The technology sucks in other ways, as for example by dropping the right most "notes" column I have made in my Excel spreadsheet, but I deal with that now.

Thursday, June 19, 2014

Wednesday, June 18, 2014

Accounting the JGB: October 8, 1975

Since we are having fun with a few provisions around how the JGB was billed and advertised for the October 8, 1975 (Wednesday!) shows at the Del Mar Theatre in Santa Cruz [JGC 7:30 PM | JGC 10:30 PM | map | JGBP venue, but 'Theatre' is correct], why don't we look at this in some more detail.

Here's how the promoter's (YEA Productions) accounts might have looked:

Table xxx. Promoter Expenses and Revenues, JGB, October 8, 1975

839 paying customers for the 7:30 PM engagement, 1,392 for the late show, building capacity ca. 1,450 for this show.

Jerry Band getting $5k this night, opener Doug Haywood gets $300.

There were apparently posters made, though I don't think I have seen any. Lights by Photon Drive. Radio ads on KLRB, KFAT, KDON, KBEZ, KOME. Print in Sundaze, Good Times (is this the same one that started in San Francisco?), and the Santa Cruz Sentinel. The carnations are a nice touch. It also seems nice to have offered to buy the refreshments, though the rebate from Garcia Band management (Richard Loren) could be read as Garcia effectively buying this night.

Seems like a lot of work for a eleven hundred bucks, but then again, what else you gonna do on a Wednesday night? Jerry would come back down to the Del Mar twice in 1976, Thursday 2/26 (two shows) and Thursday 8/19 [JGC], the latter of which is a great show with a really attractive poster, which I'll leave you with in closing. (Notice the billing!)

Monday, June 16, 2014

Billing the JGB: October 8, 1975

Billing shall be as follows without deviation:

JERRY GARCIA BAND 100% size type

Featuring 25% size type

Nicky Hopkins 75% size type
John Kahn 75% size type
Ron Tutt 75% size type

The names of each band member shall appear below "JERRY GARCIA BAND" in any and all forms of advertising in the order listed and shown above. Artist must approve all radio spots and only those songs approved by Artist shall be used. The names of each band member shall be used in all radio advertising after the name JERRY GARCIA BAND. The name Grateful Dead or the association of Jerry Garcia as a member of the Grateful Dead shall not be exploited or used in any manner in any and all advertising and publicity, including marquee and radio advertising. Any violation of the above billing and advertising demands shall be grounds for non -performance with full contract price due Artist.

Sunday, June 15, 2014

I Sing Blues, Where Has It Led? (LN jg1983-05-31.jgb.all.aud-vita.76578.flac1644)

On Tuesday, May 31, 1983, the Jerry Garcia Band lit up an SRO West 52nd Street institution, the venerable Roseland Ballroom, with one of the finest shows of the 1980s.  On any given night, Jerry Garcia could deliver the fucking goods, and this is the fucking goods. Everything crackles. I have titled the post with a line from the show opening "Rhapsody In Red", the big rocker from 1978's Cats Under The Stars that worked beautifully with Jerry's grungy, metallic, 1983 JGB sound. This one is a rip-snorter.

I notice Greg Errico's deep, thudding percussion this night and Melvin being a little tentative. I feel Garcia very much in an R&B space, shaking his sweaty mane and tearing the shit out of several solos. Very high energy show. See notes.

The John Scher Presents program for this night is nothing to write home about, aesthetically. But I'll post scans of the last two pages, with a few comments.

John Scher Presents program for JGB at Roseland Ballroom, 5/31/83-6/1/83, p. 3.

Standard little band bio, of course. But check out these details, some of which hadn't quite stuck in my brain.
MELVIN SEALS | Organ | Has quite an extensive background in Broadway productions having worked on four shows, including " Evolution Of The Blues". Other music talents he's worked with include Oscar Brown, Buddy Miles and Elvin Bishop, as well as Maria Muldaur and Chuck Berry. Melvin is a producer for a company out of Nashville and has produced such Gospel greats as the Hawkins Family. The Martin Luther King television special is one prestigious project he has participated in. Melvin has been with the Garcia band for three years now, and also directs the current female singers in the band.
I have to check this info against what I know. But I found the last line, about Melvin directing the female singers, to be very interesting. I had always assumed that Kahn dealt with arrangements, but this implies a more elaborate (and possibly alternative) set of arranging responsibilities.

JACKIE LA BRANCH | Backup Vocals | A recent addition to the band, she has been mainly singing gospel with the San Francisco Inspirational Choir, and has worked with Maria Muldaur on gospel tunes.
DEE DEE DICKERSON | Backup Vocals | Another recent addition, she has been working with some of the industry heavies for years. Her long list includes Herbie Hancock, Taj Mahal, Pharaoh Sanders, and Quicksilver Messenger Service.

Both these girls have been a welcome addition to the band and the audience's enjoyment is evident. The ladies are great!
I sure would like to know more about the ladies, and be in touch with them if at all possible. If you know them, please have them be in touch! I'd like to learn more.

Finally, a little piece of capitalism from the back cover:

John Scher Presents program for JGB at Roseland Ballroom, 5/31/83-6/1/83, p. 4 (back cover).

I am sure there had been lots of GD and JGB cross-promotions over the years, but for whatever reason this struck me. I love how, for lack of something else to draw attention to, the ad for the GD's Go To Heaven promotes it on the basis of including "Don't Ease Me In," perhaps the only time in history capitalism managed such a crass feat. The Run For The Roses selections don't look that appealing either, come to think of it. Oh well. Play on, Jerry.

Jerry Garcia Band
Roseland Ballroom
239 West 52nd Street
New York, NY 10019

May 31, 1983 (Tuesday)
Vita flac1644 shnid-76578

--set I (7 tracks, 50:32)--
s1t01. tuning [0:37]
s1t02. Rhapsody In Red [10:17] [0:04] %
s1t03. They Love Each Other
s1t04. That's What Love Will Make You Do ]10:03] % [0:04]
s1t05. Valerie [6:48] [0:04] ->
s1t06. How Sweet // It Is (To Be Loved By You)
s1t07. Run For The Roses [5:00] (1) [0:06]

--set II + encore (8 tracks, 68:33)--
-- set II (7 tracks, 60:44)--
s2t01. tuning [0:15]
s2t02. The Harder They Come [15:16] [0:03] % [0:12]
s2t03. Mission In The Rain [9:28] [0:03] % [0:06]
s2t04. Mississippi Moon 
s2t05. Tangled Up In Blue [12:15] [0:03] %
s2t06. /Gomorrah [5:49] ->
s2t07. Deal [8:25] (2) [0:03] % [0:02]
--encore (1 track, 7:49)--
s2t08. Midnight Moonlight [7:43] [0:06] %

! ACT1: Jerry Garcia Band #15b
! Lineup: Jerry Garcia - el-g, vocals;
! Lineup: John Kahn - el-bass;
! Lineup: Melvin Seals - keyboards (Hammond B-3 organ);
! Lineup: Greg Errico - drums;
! Lineup: Jaclyn LaBranch - vocals;
! Lineup: DeeDee Dickerson - 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: (unknown MAC shnf); (senn 441 shnf); (Cohen shnf); (Vita flac1644, this fileset).
! venue:
! band: JGB #15b (
! map:
! R: field recordist: Jim Vita
! R: field recording gear: 2x Sennheiser 421 > Sony D-5 (Maxell UDXLII)
! R: transfer and FLAC encoding by David Minches:
Master played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.
! R: shnid-4416 note: 04/07/2007, jjoops-garcia: "The cassette flip at the start of Run for the Roses suggests that this could be from Vita's master, though of course it's possible that others besides Vita got caught flipping there. "
! historical: Diamorphine, 2014-04-23 00:35:35: "Saw both shows and still remember being blown away by the Don't Let Go [on 6/1]. The place was hot and packed with people and the music just rumbled inside of you. It's seeing shows like this, with the band just feet away from you, the whole place dancing, made the thought of JGB at MSG or the like totally impossible."
! P: s1t02 RIR hot hot hot late 5 acid molten playing, tearing the shit out of it over 6-minute mark. No warmup needed this night - he is fully frothed here. 6:35ish some interesting tone. Very fluid in 6:40 range, hot, tight, fast, sharp, lots of good adjectives for this, over 7. Pulling a little 7:11 ff, more pulling train whistle 7:17. Letting it breathe post 7:30. Man, so nice. On any given night, Jerry Garcia could deliver the fucking goods, and this is the fucking goods. 8:20 churning some chunkier stuff, 8:33, 8:38 pure metal strumming, chunky percussive but shorter pulls interspersed with those earlier longer phrases, 9:08, he's Chuck Berry, signalling back to the song. Seizes the '1' at 9:23 and sings. Wow. That is a masterpiece of a performance right out of the gate.
! P: s1t03 TLEO is not a song I love, but this version is really good.
! P: s1t04 TWLWMYD from 4:45 there is some exemplary playing, then he does some very well controlled pulls around 5:05 and 5:10 - check this out. More energy 5:30, another turn round the bases. 6:05 he steps back and comps, Melvin is a little slow to take the cue. He's playing 6:15ff, but not loud at all. Now 6:30 he does a big B3 swoop. Still super low in the mix, but that could be the tape. See also a similar reaction I have from, when, 8/11/84? Melvin coming in with about a 'C' grade feature. Now louder over 7. There you go, big fella, lean into it, groove to it, loosen up! (Then again, maybe he was tearing it up, but wasn't mixed loud!) 7:30ff Garcia steps up for some guitar playing, playing of the guitar. Hitting real hard over 8, tight and clean and fluid, an extra up 8:15, great tone, and yet another run 8:27ff! Really hot. Everything has something extra this night. Wow. Errico does a big run down 9:21 ish,  hits again 9:34, he's awesome. Gar gives it his best R&B head shake.
! P: s1t05 Valerie the shit Garcia is doing 4:30 is absolutely evil. He lands cleanly on "I ain't afraid of the cold cruel world outside" ... he sounds great. He's really got his R&B-guy-singing-about-his-baby working well this night.
! R: s1t06 HSII some kind of tape nastiness @ 4:10.
! P: s1t06 HSII even this rocks this night! He puts a filter on in the 4-minute range, a little more flavorful tone, and he's really hitting some great notes through the minute mark. Melvin steps up post 5 with his nice HSII solo that he did. Garcia only comes to lead 6:30, and he is awn fiyah. 6:58 more high register work, 7:16 nice pull. He is one with Motown, huge chords 7:30, really loud, loud major chording guitar playing to the "open my eyes at night" @ 7:44. This is a huge performance to this point. Huge. Man, Jerry loved NYC.
! P: s1t07 RFTR I love that he played this extra song. He could very well have called it after that incendiary HSII. But he is not settling on this night. So, tip o' the cap. His voice is starting to sound a little ragged, but his guitar playing is great and the band is very tight.
! R: s1t07 RFTR 0:02 - 0:07 patched (crossfade) from Mark Cohen's master; Nak 700s > Sony D-5.
! s1t07 (1) JG: "We're gonna take for a few minutes. We'll be back in a little while."
! P: s2t02 HTC classic JGB version of this song. Notes shoving each other aside 5:30, another set of scaling runs 6:05ff. Fingers are going a mile a minute. His voice sounds tired, I am worried about some of these tunes coming up.
! P: s2t03 MITR has pep. Good but brief fan @ 7:15
! P: s2t05 TUIB very hot. Garcia puts some big effects on late 7 over 8 and this is rockin'. More big effects 8:39, more a minute later. Very expressive, articulate, powerful guitar work. Still really extending his phrases a minute later, not phrases, sentences, or even mere paragraphs, but whole narratives, hits a great little note 11:07. Wow, this is absolutely rockin'. Errico is BANGING.
! R: s2t06 Gomorrah clips in
! P: s2t07 Deal is also hot. Listen to little run 5:28. Whole band is on, but Jerry is smokin' hot.
! s2t07 (2) JG: "Thank you. See ya later."
! P: s2t08 MM even Midnight Moonlight has it all this night. What a show.

working without TJS

By now, anyone reading this knows that The Jerry Site (TJS) is no more.There's lots to say about that, and more to do, but not right now.

How do we replace TJS in engaging Garcia on The Side?

Short answer, we don't. It had some functionality that is not replaceable by any current resource. (JGC) is the current best source. It has the setlists and lots of other info from TJS, and can be a major improvement insofar as it allows commenting. That was a crucial lacuna at TJS, and it will allow "us" to put attendee recollections and such to the relevant shows much more efficiently than TJS could. I hope it becomes a focal point for first person accounts, comments, and lots of other things about Garcia shows.

But JGC doesn't allow the same kind of easy textual and chronological navigation, "just the data, ma'am," that TJS did. The artifice of moving pictures and moving product is obscuring the data underneath. I understand why that's the case, and as a consumer it's great - as a scholar, though, I have to lament it.

Here are the following functions I'd like to see at JGC.
  1. Much cleaner, table/text based display by year, fewer pictures and more data per page
  2. Automatically sorts chron, which for some mysterious reason JGC's current display doesn't seem to do?
  3. Clickable to any date.
  4. Clickable venue, so that a click returns the list of all shows played at the venue. (TJS had this for a time, but it went away some years ago.)
  5. Clickable city, as just above.
  6. Clickable state, as just above.
  7. Provide a toggle filter for GD, non-GD, both
  8. Searchable for song, returning results at TJS did - summary statistic (e.g., 189 times played), with tabulation of all shows.
  9. Better personnel metadata, searchable by performer; this all includes guests. The band data at are cool, and the timeline is exceptionally useful. I need to explore it more. But the personnel data are essential to preserve for future social network analysts.
Anyway, I hope they continue to refine the site. It looks great, and it can be mindblowing if further improved.

In the meantime, here's a tiny hack to make our lives easier: if you use their date format, you can enter dates at the end of URL and get where you want to go. In other words, easier search-by-date operation than the clunky clicks you have to undertake at the current site. The basic format is

For example:

This resolves to
. So I can find individual dates reasonably easily, which was not possible at TJS.

Anyway, let's keep the conversation going about what needs to be done to ensure that we limit backward movement in accessibility upon TJS's demise.

Friday, June 13, 2014

Loose Lucy

Jerry looking happy and energetic bringing "Loose Lucy" out of mothballs on 3/14/90.

Saturday, June 07, 2014

Fun With Ngrams: Grateful Dead and Jerry Garcia, 1965-1995

Here's the bigram relevant to evaluating some hypotheses I ventured in my"Garcia and Marley" post. 
Figure xxx. Google Bigram: "Grateful Dead" and "Jerry Garcia", 1965-1995

In that post, I hypothesized that "Jerry Garcia" and "Grateful Dead" would show an uptick 1986. On visual inspection the GD claim looks rightish: the 1986-1995 slope should be statistically significantly larger than the 1965-1985 slope. I am sure there's a simple test for that kind of structural break.

I think visual inspection suggests an uptick for "Jerry Garcia" as well, but there I'd really like to see the statistic. There's a substantive point that becomes an inferential point: The Grateful Dead was massively more popular (as measured by appearances in printed materials, and probably on any other sensible measure) than Jerry Garcia, per se. We know this. But, in books, it's about a 10x difference by the end, with the spread especially increasing 1986 and forward (i.e., post "Touch of Grey"). I'd hypothesize (call it H20140607c) that the two phrases co-appear more robustly in the later period, i.e., that Garcia is partly subsumed under the GD behemoth. That'd be appropriate.

The inferential point is that we can't really tell about the Garcia curve through visual inspection, because there's no way to set a separate vertical axis, which we need (per the substantive point I just made). So, here's just "Jerry Garcia":
Figure xxx. Google Unigram: "Jerry Garcia", 1965-1995

I think the answer is that, yes, there's a 1986 and post uptick, but, again, I'd like to run the statistic. In the meantime, pictures are fun.

The Jerry Site


Tip o' the hat to the amazing Ryan Shriver, for everything. 

Friday, June 06, 2014

Garcia and Marley

At some point I will write up Garcia's engagements with reggae. It's an interesting story, really revelatory.

In the meantime, on a lark, I played with Google Ngram for these two. Ngrams are a very neat tool.

Figure xxx. Google Bigram: Bob Marley and Jerry Garcia, 1965-1981

The vertical is the percentage of all consecutive two-word phrases in English language books from the given year, digitized by Google (all of them, pretty much, by the 1970s), comprised by the respect phrases "Jerry Garcia" and "Bob Marley".

This metric is good to compare over time appearance of the phrase (of N components, hence Ngram) (look at the sharp Marley trajectory to his passing, and Garcia's relative stability to this point).  Hypothesis: "Grateful Dead" will reveal this same kind of trend as Garcia; both will spike up 1986ff.

But it's also good to compare cross-sectionally, i.e., Garcia and Marley. Very simply, the picture says that Garcia was more popular earlier in this series, their stardom paths crossed in 1973, and Marley soared to greater fame until his death, while Garcia's level was established around 1973 and stayed steady during the rest of the period to 1981.

Thursday, June 05, 2014

We're Having a Reasonably Good Time Here (LN jg1989-01-28.jgb.all.sbd-goetz-retracked.28352.shn2flac)

Love this show. Two snaps up.

A few bullets.

First, I had a cryptic note-to-self in the 1/27/89 listening notes to elaborate on the "a year too late" thesis. In a nutshell, it's my argument that when JGB recorded itself in 1990 at the Warfield for what would become the eponymous 1991 double-live record (Arista 18690, August 1991), it did so after its peak, which I date from ca. 2/5/88-5/22/89. They got on a roll and started rolling tape, but what they got in the can wasn't the crème-de-la-crème.

Don't get me wrong, I love the release (and the 1997 followup, How Sweet It Is [Grateful Dead Records GDCD 4051, 1997], material from the same 1990 Warfield shows). Some of the tunes, such as "Waiting For A Miracle", were better for having matured a bit. Others, including the amazing take on Dylan's "Señor (Tales Of Yankee Power)", weren't in the repertoire yet. So it's not a disaster, by any means. I just happen to think that 1988-1989 JGB is much fresher, peppier, livelier and tighter than the 1990 vintage.

At some point, with more time, I'd elaborate. But not now.

Second, during "Waiting For A Miracle", someone appears to make her way up on stage. Garcia, who sounds healthy and happy and alive during this wonderful period, deftly rips the e-brake on the tune. As one of the ladies says, "He didn't miss a beat!" Garcia, grinning behind his beard, chats up the crowd:
Hey, if any more of you are gonna lose it, wait till between songs, OK? Y'know?
[JG laughs. Kemper splashes, one of the ladies says "Yeah Jerry!"]
Thanks. We'd appreciate that.
[Everyone onstage is cracking up. "Yeah Jerry!" The ladies are retelling the story to each other.]
We're having a reasonably good time here, you know what I mean?
Garcia sounds amazing, relaxed and happy. Listen to the ladies talking and laughing here - awesome. We know that Garcia very rarely addressed the crowd in any direct way in the later years, really not much after 1970 or so. During his Rock Bottom period, his mutterances would cover the set break and the show closing. But during this 1988-1989 period, a few times, he joked and laughed with the crowd. He's no freaking oracle, of course, and I don't want to be one of those "Jerry spoke!" guys. But we can't ignore the data that pertain to health and openness, any more than we can ignore the dogs that don't bark, when he couldn't get his chin off his chest. Engaging the audience this way is engaging humanity this way, and that was something that Garcia found exceptionally difficult to do as his fame (and isolation) grew. It's also an indicator of health: the sicker he was, the less he engaged, ceteris paribus.

Third, I noted in discussing 8/11/84 at the Caldwell College nunnery that Garcia played "Like A Road Leading Home" just after a stage-crashing incident. Well, on 1/28/89 he did it again. It's probably a coincidence. But there weren't that many stage crashers at JGB shows, I have just come across two such incidents, and both times Garcia serenades the tripper with this soothing Nix-Penn confection (Allan).

When the road gets too long
And you run all out of song
And the pain gets too much
For you to bear

Turn around, turn around
Turn around, and I'll be there
Like a road, like a road
Leading home

Fourth, this is just a great show from any period. I really, really like the "Don't Let Go" this night, much stronger than the night before (as is "Let's Spend The Night Together", though that one is still too tame for my taste, compared to the Nicky Hopkins-era versions). But every song positively crackles. See my notes below. But don't take my word for it. About ten years ago, Rob Goetz posted (somewhere, I can't recall) reviews of many 1989 Garcia Band shows. Here's how he summarizes this one, based on the second set alone.

I am truly impressed. ... On this particular night Jerry’s jamming was profound. Each song from this second set is exceptional and shows that Jerry’s abilities were not in question. For many years I was of the opinion that Garcia just couldn’t cook in the late 80s through the 90s. On this particular night, 1/28/1989, Jerry provided all the evidence I need to throw that opinion straight out the window. On 1/28/1989 Jerry delivered one of his finest performances ever. I can’t wait to hear the first set – whenever it is released. ... Bravo to Jerry for this truly special performance.
Oh yeah, one more thing (so, fifth): Goetz also notes how sloppy the GD were in February 1989, saying that whatever was bugging Garcia at the Kaiser, for example, didn't seem to be bugging him a week prior. Big contrast, from this loose and inspired playing to pure shambolism in the span of seven days.

Listening notes below the fold.

Saturday, May 31, 2014

GarciaLive volume 4: March 22, 1978
ATO Records will release Garcia Live, Volume 4: March 22nd, 1978 Veteran’s featuring Jerry Garcia Band. The set will be released on 2CD on July 8.
This is great news! I hope the liner notes are informative, and I can't wait to hear it. The only circulating tape (shnid-19832) has pretty significant issues.

Naturally, Corry is on the job.

Monday, May 26, 2014

LN jg1989-01-27.jgb.all.sbd-moses.84866.flac1644

Can't believe I haven't annotated any 1989 Garcia Band. For my money, 1988-1989 is one of the great JGB periods, which a fresh and healthy Jerry (that's what starts to break down, for me, 1990-1991), solid band, some fresh material, rehearsed arrangements, and lots of classic American songs. Nothing too crazy, lots of good music.

Friday, January 27, 1989 finds Garcia healthy and frisky after, I believe, an extended Maui scuba vacation. This is his first public appearance since the New Year's Eve Dead show, and the first Garcia Band gig since early December (2-3), also at the Orpheum. The Dead would play four shambolic Chinese New Year shows at Oakland's Henry J. Kaiser Auditorium starting a week from this night, so 1/27 really does feel like warming up.

It's hard to listen to any show in isolation, which is what I'd really like to do here - put some fresh ears on a show that has a positive connotation in my head, just listen to it on its own terms. But I can't. I know I am a fan of the next night, and the next Orpheum weekend (March 3-4), which I also really like, and the rest of the spring, which is a peak period for me.

But I can't hear this one out of its context, and the greatness of the context leads me to sympathize with this show. Where vocals are flubbed (as they really are throughout the night), I hear Jerry shaking out the cobwebs. Where things are a little brief, I call them "tight". When entropy strikes arrangement, I give them unearned credit for how they meant it to sound. I try not to beat myself up about it - it probably is a good show. But I also think it's true that I am looking ahead to what's coming.

Setlist Notes

It's certainly an interesting show. Here's the setlist with some notes. 

JGB setlist 1/27/89 Orpheum Theatre

"Let's Spend The Night Together" is a great song on any measure, and most every Garcia version is excellent. The fact that he played this so well and often with Nicky Hopkins gives it special resonance. In the Hopkins era it served as a "jam vehicle", stretching out and thus not usually played on a night with another long number such as "Don't Let Go". This night we get both, but LSTNT, coming out of 13 years of mothballs (last played 1/28/76), clocks in at a brisk 6:47. This resurrected version stayed much tighter, usually clocking in 10 minutes, I'd estimate. I don't think it stayed long in this show opener slot, but I'd have to check. It's still a work in progress, but I have always argued that toying with the repertoire is an unalloyed good - when he's working up new material, Garcia is engaged. (The version from the next night, 1/28/89, is much hotter and is overall outstanding.)

"Waiting For A Miracle" (Allan | deaddisc | TJS): Canadian singer-songwriter Bruce Cockburn penned this lovely paean to popular hope amidst war and poverty in Managua, Nicaragua in winter 1986. Jackie LaBranch heard it on the radio and brought it to the Garcia Band (Jackson 1989, 44), which sandpapered it a little, roughened it up some, and put a radio-worthy version on the double-disc live Jerry Garcia Band (Arista 18690, August 1991). This is a great example of the idea that fresh repertoire reflects fresh Jerry - here, he not only agreed to tackle a new number, but Garcia -I presume, since he's the one who has to sing 'em- made some lyrical edits that really worked, scuffling for a nickel and struggling for a dime instead of struggling for a dollar and scuffling for a dime, looking more toward the future than toward the past, standing up tall instead of proud. This is probably just driven by how singable the different sounds could be for this particular singer, but Garcia certainly made the song his own.

"I Hope It Won't Be This Way Always" (Allan | deaddisc | TJS): The canonical version is from the Angelic Gospel Singers' 1968 Nashboro release Jesus Paid It All (deaddisc). Founded in 1944 by Margaret Wells Allison and her sister, adopting its first male member in 1961, and performing and touring about sixty years, the Angelic Gospel Singers are dubbed by the Encyclopedia of American Gospel Music "the longest consistently selling female gospel group in African American history" (via wiki). A staple in observant African American households, they're probably rare in white homes and largely silent in white cultural accounts. John Kahn's place was an exception – he loved and curated a huge record collection around inter alia every black American musical idiom, including church music, and brought this one to the Band from the likely-sounding compilation All Time Gospel Hits (perhaps Nashboro LP 7034, 1966) (Jackson 1989, 44).

As is so often the case, Blair Jackson was on the job, reporting on "Waiting For A Miracle" and "I Hope It Won't Be This Way Always" in the Golden Road, along with another new-to-the-Garcia-Band-repertoire number, "Throw Out The Lifeline", again brought in by Kahn from all-male North Carolina gospel group the Sensational Nightingales.

Race, Class, Gender, and JGB #21b

If I were feeling expansive, I'd add to Blair's characteristically excellent account a little analysis of the race, gender and class contours laid bare by the advent of these songs to the JGB repertoire.

On race, I have argued (xxx) that THE Jerry Garcia Band, #21b, the one that ran almost continuously for over a decade from summer 1983, integrated two of the three musics that formed the core of Garcia's musical life: white and black American roots and rootsy contemporary music. (The third, electronica, was supplied by the contemporary Grateful Dead.) In the past, Garcia had maintained different bands for these purposes, playing lots of contemporary (and some older) black music with Merl and white roots music in his country and bluegrass side projects. After the mid-1970s, the he starts bringing in more Dylan and Garcia-Hunter material, i.e., rootsy white contemporary Americana, refines the (white) bluegrass offerings to a few Peter Rowan originals (Mississippi Moon and Midnight Moonlight), and leavens everything with a big dose of R&B. JGB #21b was a racially integrated American musical act. It's hard for me to overstate the importance of this as a statement about Garcia's musical interests and commitments. I am fascinated that Kahn brought in the black church number while Jackie LaBranch brought in the deeply white and Canadian Cockburn's tune.

I am also fascinated by the gender and "class" contours of the fresh material. Jackie LaBranch brought "Waiting For A Miracle" to the group, a black woman who was definitely part of the band rather than its leadership (the Garcia-Kahn duopoly). Maybe every band (and leadership) worth its salt alights to a good song when it comes along – that'd be the hope. But I think that there are loads of bandleaders who weren't really looking for suggestions from the backup singers. The whole jazz band leader trip, show business itself, cuts against that kind of democracy. The Garcia Band has often been lauded for its relatively egalitarian ethos, especially early on and especially when it came to divvying up receipts from a bar gig. But as it got more lucrative, this has to have given way – does anyone really think that the band got the same amount as Jerry for a 1990s gig at the Warfield? I don't think so. But it probably wasn't a straight line, and I conjecture that it was down as much, at times, to Garcia's level of engagement as to the bottom line. In late 1988, Garcia is healthy, open, thriving, engaged. "Jackie's got a song? Let's try it." As either Jackie or Gloria can be heard repeatedly on this and other contemporary Garcia Band tapes, I'd give that a "Yeah, Jerry!"


Why did Garcia play the Orpheum for Bill Graham six times in four months in late 1988-early 1989 (December 2-3, January 27-28 and March 3-4), and then never again? I assume the Warfield was being renovated, but I just don't know. In 1990, the Garcia-Graham partnership would move a quarter mile down Market and would never leave.

The poster advertises a special guest. Was this meant to be Clarence Clemons, or was there an opener? I don't know.

Anyway, I love this period. The next night is better than 1/27, but this show has its moments.

Jerry Garcia Band

January 27, 1989 (Friday) - 8 PM
sbd-moses flac1644 shnid-84866

--set I (8 tracks, 52:04)--
s1t01. Let's Spend The Night Together [6:47] [0:41]
s1t02. Stop That Train [6:40] [0:25]
s1t03. Someday Baby [5:34] [0:50]
s1t04. Run For The Roses [5:22] [0:20]
s1t05. Mississippi Moon [7:41] (1) [0:49]
s1t06. Waiting For A Miracle [5:05] [0:03] %
s1t07. I Hope It Won't Be This Way, Always [4:35] ->
s1t08. Deal [7:07] (2) [0:07] %

--set II (7 tracks, 62:53)--
s2t01. The Harder They Come [10:14] [0:20]
s2t02. And It Stoned Me [5:52] [0:14] % [0:02]
s2t03. Knockin' On Heaven's Door [8:19] [0:37]
s2t04. Think [5:57] [0:06] %
s2t05. Don't Let Go// [14:36] %
s2t06. That Lucky Old Sun (Just Rolls Around Heaven All Day) [9:18] [0:09]
s2t07. Midnight Moonlight [7:05] (3) [0:04] %

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: Jaclyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing vocals;
! lineup: David Kemper - 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.
! TJS: On poster there is a special guest listed. Was that supposed to have been Clarence Clemons (sp?), or was there an opener?
! db: (Dan Cole MAC shnf SBEs, deprecated); (Dan Cole MAC shnf); (sbd flac1644, this fileset).
! historical: the "year too late" thesis. Sounds to me like they are thinking about recordable arrangements. Also of note, a few things. First JGB of 1989, and first JGB gig in almost two months! The prior shows (December 2-3, 1988) were also at the Orpheum, as were the next two (March 3-4, 1989). That's six gigs in a three month span at the same room, which he'd never play again, and which he had only played a few times in the previous 15 years (twice, to be exact - 5/21/76 and 5/7/88). What gives? I wonder if the Warfield was being renovated?
! R: main source (through s2t04): unknown soundboard tape > ? > A (big) cardboard box, maxell XL2S90 cassette dolby B > Nakamichi CR3A,(Dolby B) eq out  > hp computer > Sound Forge (vol@5.5db) > CD wave >  Flac > you!
! R: "Guessing 2nd or 3rd gen SBD", to which I'd say, "at most". This is a nice tape.
! R: second source (s2t05-s2t07): MAC (Sony D6C w/Sony stereo mic) > 1 cassette > Nakamichi CR3A playback onto HP Computer (no dolby) > Sound Forge Vol@ 5.5DB > CD Wave > Flac7.
! R: transferred by John Moses 5-7-07.
! R: s1t01 maybe fast? Jerry's guitar is buried in the mix, organ very prominent.
! P: s1t01 LSTNT Too bad the guitar is so low in the mix, because Jerry sounds on his game. @ 3:15 this is a very well rehearsed-sounding return from the break. Jerry's soloing 5-min mark sounds great. I want to check out an audience recording. Tight stop.
! P: s1t03 Someday Baby JG flubs the first verse. But after that he is singing very nicely, sounds great on this soundboard tape! Melvin big lead late 2, very forward in the mix and sounding strong. Arrangement gets a little squirrely again later, and Jerry just closes up shop.
! P: s1t04 RFTR this sounds great. Jerry sounds amazing here.
! s1t05 (1) after MM, as after several other tracks, one can hear the ladies talking. Here, one of them says "That was real good", and I can't disagree with her.
! P: s1t06 vocal flubs on WFAM, but he's giving it his all. Seems like a bunch of songs have that profile this night. I think Gar is performing courageously, with great ease and fluidity. @ 3:12 someone misses the change, things get a little loose in the cage for a bit. Extra vocal effort 3:30, "like the ones that DIE, tryin' to set the ay ay ayngels in us free"! Gar is extemporizing vocally, in lieu of remembering the words. But they hadn't been playing this long.
! song: WFAM (s1t06): hadn't been played much. xxx
! song: IHIWBTWA first time played. Next night maybe second, and maybe that's it?
! setlist: do a setlist analysis. xxx
! s1t08 (2) JG: "We'll be back in a few minutes."
! P: s1 gets good points for energy, but it's a little sloppy. First show of the year, first show in xxx weeks! I have in my mind that Garcia had probably just been scuba diving in Hawaii before this. He sounds clean as a whistle. And to those who don't like such speculation, to heck with ya. s2 is good. This is probably an average show from an above-average period, really showing Jerry rested, relaxed, and playing well.
! P: s2t04 Think some very heavy guitar work in the 2-min range. Melvin steps up 2:49, playing nicely. More very heavy guitar 4:45 forward, "give up my woman!" over 5 mark.
! P: s2t05 DLG more vocal flubbing at the start of the song. Garcia's shaking the cobwebs out. Very exceptional work on DLG, using his voice to push his guitar, as if by extending his diaphgram he's just moving his guitar grasp just a little bit.
! R: s2t05 DLG cuts out, not much missing
! R: s2t06 TLOS level adjustment early on
! s2t07 (3) JG: "Thanks a lot, we'll see ya later."