hiatus

Still only blogging intermittently. But please make yourself at home! Check some tags, do some reading, leave a comment.

Saturday, April 12, 2014

I work for the union

Garcia was a member of the American Federation of Musicians (AFM), local no. 6 in San Francisco.

He initially applied on August 24, 1965 and was approved for membership one week later. He gave his address as 71 Miguel Street, San Francisco, claiming to have resided there for four years. He claims his occupation as music teacher. Question #29 asks "Have you played any professional engagements during the time you were not a member of the Federation, and if so, where and with whom?" Answer: no (of course).

Like a lot of creative types, Garcia was paperwork-challenged, as indicated by his very messy card.
  • Applied 8/24/85;
  • Admitted 8/31/65;
  • Dropped 4/12/66;
  • Readmitted to membership 7/16/66;
  • dropped 3/31/68;
  • Readmitted to membership 7/13/68;
  • dropped 3/31/69;
  • readmitted 4/3/70;
  • dropped 6/30/72;
  • readmitted 9/21/72;
  • suspended w/ $100 fine 3/25/74
  • dropped 9/30/74;
  • readmitted 5/12/75;
  • dropped 12/31/80
  • readmitted 3/26/81, con't to 9/21/82

I don't know if he got someone to keep his paperwork together after that time (I think so) or if there were more ebbs and flows that I just wasn't able to pin down.

Friday, April 11, 2014

Jersey Shore, Jerry and Scher (VN jg1977-07-09.jgb.early)



In July 1977, the Jerry Garcia Band went out east for a few big paydays playing for John Scher in Hempstead, NY and two shows on the Jersey Shore, at the Convention Hall in Asbury Park. I have reported on the first night (7/8) and on the 7/9 late show from an audience tape.  Lots of interesting stuff here – the Garcia-Scher partnership (a Don Law-promoted show up Cape Cod was scheduled for the 10th, but canceled for reasons unknown to me), money, hooliganism (between shows on the second night) and some interesting performances ("Tough Mama", from Dylan's Planet Waves, shows up the first night in the middle of a seven-year absence, and the late show second night ends with the only known JGB performance of "Not Fade Away").

Here's how it might have looked financially for the night of the 9th:


As noted, a big payday all around.

Now, into the world drops video of many John Scher promoted Garcia Band shows, including material from both 7/9/77 shows. I have now viewed the early show video, and it's nothing short of amazing. Stunning. Unbelievable. I can't believe I get to watch this. My deepest gratitude goes out to all those who have made it possible for this stuff to be seen. Wow.

See my viewing notes below. A few tiny points. First, neither Donna Jean Godchaux nor Maria Muldaur is present. Second, John Scher says at the end that folks can use their ticket stubs to go see the Grateful Dead Movie. This makes me think that there is some cross-promotion happening between the Garcia Band gigs and The Movie. No big deal, but interesting. We know that fucker was a monkey on Garcia's back – maybe the band and John Scher and all the rest of them are celebrating together their shared midsummer fortune with a payday, some partying, some music. I wonder where John Belushi was this night?

Jerry Garcia Band
1300 Ocean Avenue
Asbury Park, NJ 07712

July 9, 1977 (Saturday) – Early Show 7 PM
partial (41:34) B&W video

--end early show + encore--
[0:04] Sitting Here In Limbo :05-12:29 -15:49
Mystery Train 15:50-27:19 (1) -30:09
--encore--
tuning 30:10-31:59
How Sweet It Is (To Be Loved By You) 32:00-40:36 –(2) 41:34 %

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia – el-g, vocals;
! lineup: John Kahn – el-b;
! lineup: Keith Godchaux – piano;
! lineup: Ron Tutt – drums.

JGMF:
! 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: http://www.thejerrysite.com/shows/show/1325
! db: http://db.etree.org/shn/8659 (Mattson early and late shows shnf); http://db.etree.org/shn/76441 (Mattson early and late shows flac1644).
! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.
! historical: when this show ended, around 10:30 p.m., police started arresting visibly intoxicated people along the Boardwalk, a couple dozen in all (“Arrests Follow 2 Rock Concerts”).
! R: Both the audio and video quality of this recording are quite stunning. The video is a black and white multicam from the Monarch Entertainment screen feeds. They had this pretty locked in. The lighting is good. This is not a heavily generated copy. Tracking is clean. Pro quality. Some static late 36 minute mark.
! P: SHIL botches the first lyrics, and his voice is already betraying him. And this is the early show? Gonna be a slog vocally for awhile, I predict. Garcia looks skinny in the arms, heavy lidded, bouncing 2:25 to get himself warmed up. Tutt hitting the shit out of it. Keith short sleeves and mid-tint shades. 4:08 Jerry is really warming up already, a beautiful run @ 4:20, I was totally wrong. He is still futzing with his gear, but his guitar voice is fluid and expressive. John is beautifully mixed and he sounds good. Tutt visibly deeply in the groove 5:36. @ 5:50 ish Jerry is playing to Keith, looking over to him as he plays percussively and a little rough, asking him to soften it up. Keith is staring lost down at the ground to 3 o’clock, but he hears Jerry and starts with some more melodious stuff, warming up to a feature in the second half of 6-minute mark that is very nice. Around 7:30 Jerry is comping melodiously behind, almost like his “Day By Day” feel. Keith still getting warmed up, but this is pretty good. @ 8:45 Garcia is beautifully filmed, looking very much like Ed Perlstein’s blue snap of Garcia from ?2/22/76? on the cover of Don’t Let Go, frizzy haloed hair. Keith is noodling something, maybe Epistrophy, something jazzy, e.g., 14:15. Fascinating. Kahn is doing some ditty now late 14 over 15. Not just scales, I don’t think, but maybe. Can hear the stage talk 15:45 ish.
! MT @ 18:22 see Harry Popick dancing in the background. Garcia isn’t real secure on the vocals, so he steps back like he means to stay back for awhile late in the 18 minute mark. Not in a hurry, clearly warming himself up. Tutt is a metronome, lots of high-hat, e.g., 19:30ish. 23-24 Jerry picks up his pace a little, gets John’s attention. Things had been a little sluggish, they are a little peppier now. Nice shot of the white Travis Bean 24:30ish. He’s smiling a little now, strumming, John is roostering, getting real close to Jerry, signals a little thing to him around 25 turn. Jerry now down reel close on the neck, comes back confidently 25:51 because he strums his way to the mic. Kahn swings around behind him? Jerry sings the station master part with such gusto that he knocks his glasses down the end of his nose, big dig 25:35. Big dig.
! @ 27:35 (1) It looks like they are going to stay on for another song, no-one’s leaving, then Jerry leans over, whispers something, in John’s ear, and steps to the mic, pulling off his guitar: “Thanks a lot, we’ll see ya later.” That is odd that he waited 15 seconds to call it. It’s possible that Scher told them to shut it down, Big Steve relayed it to Jerry, and so they are shutting it down. But maybe it was Jerry saying “Hey John, let’s go get high, we’ll do a last one as an encore.” Or, perhaps he knows that later they plan to drop the half-hour singleton “Not Fade Away”, he knows they’ll need the time, and so he’s just planning responsibly. These and many other inferences are observationally equivalent. Maybe it’s everything at once. Sometimes it is. Tutt returns @ 30:10. This was one of those perfunctory encore calls, band and audience both knew they were coming back. 30:55 Kahn is playing a classical tune I should know, Fur Mathilde or something like that.
! P: HSII Jerry is very bouncy, obviously found some energy during the three minutes he was off stage. Note there are harmony vocals. If my analysis of the 4/2/76 early show video is correct, that would be Tutt on high harmonies, since Keith sings baritone parts. Jerry enthusiastic, rocking and looking back at Tutt, affirming his harmonies, some strong chords 37 minute mark. Nice closeup of some nice guitar soloing around 38:40. Back to “open my eyes at night”. Late Keith joins in on vocals, so all three are singing.
! @ 41:20 (2) John Scher: “Thank you very much, and good night. Those of you that want to be reminded, with you ticket stubs you can go see the Dead Movie for a half a buck less. Again: thanks, and good night. We’ll see you next time.” Wow. That little piece explains this mini-tour to me: It was about the GD Movie!

LN jg1970-07-12.nrps-gd.aud-cooper.122707.flac1644

More old listening notes.

The "Not Fade Away" and "Good Lovin'" from the electric Dead set feature absolutely top shelf rock and roll playing. Look at how I go off on this stuff wow wow wow wow wow and all that. If this tape sounded better, this'd be in the canon with 5/2/70.

Note that Pigpen never makes himself heard - Weir sings "Good Lovin'".

Don't ask me about the metadata - I will not be the one to figure out what was played on what dates (and what we mean by "dates" for these midnight shows) during the four-night July 1970 run of Fillmore East Dead shows.

The AGD set looks great on paper, but it doesn't set me on fire. The NRPS set is a wreck, and probably incomplete on this fileset. Get drawn in by the rarities, but stay for the quintet scalping.


An Evening With The Grateful Dead
Fillmore East
105 2nd Avenue
New York NY 10003

July 12, 1970 (Sunday)
Jim Cooper aud shnid-122707

--set I: Acoustic Grateful Dead (8 tracks, 29:56, presumed incomplete)--
s1-AGD-t01. //El Paso [#2:23] [0:04] % [0:02]
s1-AGD-t02. Friend Of The Devil [3:53] [0:02] %
s1-AGD-t03. /New Speedway Boogie [10:17] [0:02] %
s1-AGD-t04. /So Sad (To Watch Good Love Go Bad) [2:36]
-enter David Nelson-
s1-AGD-t05. (1) [0:03] Rosa Lee McFall [2:51] % [0:04]
s1-AGD-t06. A Voice From On High [2:37] % [0:04]
s1-AGD-t07. Jordan [2:08] % [0:04]
s1-AGD-t08. Swing Low Sweet Chariot [2:48] %

--set II: New Riders of the Purple Sage (6 tracks, 29:42, presumed incomplete)--
s2-NRPS-t09. Six Days On The Road [3:44] %
s2-NRPS-t10. Whatcha Gonna Do [4:23] %
s2-NRPS-t11. Truck Drivin' Man [3:52] % [0:03
s2-NRPS-t12. Dirty Business [6:30] %
s2-NRPS-t13. Lodi [5:03] %
s2-NRPS-t14. Last Lonely Eagle// [6:07#]

--set III: Electric Grateful Dead (16 tracks [11 songs], 82:35, presumed approximately complete)--
s3-GD-t15. Morning Dew [0:43] %
s3-GD-t16. Morning Dew [con't] [1:48] %
s3-GD-t17. Morning Dew [con't] [0:54]
s3-GD-t18. Morning Dew [con't] [1:00] %
s3-GD-t19. Morning Dew [6:08] % [0:02]
s3-GD-t20. /Sitting On Top Of The World [#3:15]
s3-GD-t21. /Me And My Uncle [3:18] [0:02] %
s3-GD-t22. Not Fade Away [15:02] % [0:04]
s3-GD-t23. Casey Jones [5:00 % [0:05]
s3-GD-t24. Mama Tried [2:40] [0:03] %
s3-GD-t25. [0:03] % Good Lovin' [9:55] %
s3-GD-t26. Good Lovin' [con't [9:00] % [0:03]
s3-GD-t27. High Time (2) [7:32] [0:02] % [0:02]
s3-GD-t28. ... Cumberland Blues/ [#4:40#]
s3-GD-t29. China Cat Sunflower [6:45] [-1:13] % [->]
s3-GD-t30. [+1:13] I Know You Rider [3:06] [0:02] % [0:04] % dead air [0:06]

! ACT1: Acoustic Grateful Dead
! lineup: Jerry Garcia - ac-g, vocals;
! lineup: Bob Weir - ac-g, vocals;
! lineup: Phil Lesh - el-b, ?vocals?;
! lineup: ?Bill Kreutzmann? - drums;
! guest: David Nelson - mandolin, vocals.

! ACT2: New Riders Of The Purple Sage
! lineup: John Dawson - ?ac?-g, vocals;
! lineup: David Nelson - el-g, vocals;
! lineup: Jerry Garcia - pedal steel guitar;
! lineup: Dave Torbert - el-b;
! lineup: Mickey Hart - drums.

! ACT3: Grateful Dead
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Bob Weir - ael-g, vocals;
! lineup: Phil Lesh - el-b, vocals;
! lineup: Bill Kreutzmann - drums and percussion;
! lineup: Mickey Hart - drums and percussion;
! absent: Ron "Pigpen" McKernan.

JGMF:
! R: symbols
! db: http://db.etree.org/shn/122707 (this fileset).
! archive: https://archive.org/details/gd1970-07-12.aud.cooper.122707.flac16
! map: https://goo.gl/maps/75Kk8
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/11/fillmore-east-105-second-avenue-new.html
! R: field recordist: Jim Cooper
! R: field recording equipment: 2x Hitachi mics > Hitachi TRQ-222 Cassette recorder.
! R: field recording location: Row H, about the 30th row, center.
! R: "This is an incomplete recording and there is an electronic noise intermittently on the left channel. Talking and crowd noise is present as well."
! R: taper note: "This was a great concert and one of the best nights (mornings) of my life."
! R: this is definitely not a high-fidelity recording, and the L-channel static is quite present. Massive overload. But what are you gonna do? It's an amazing historical document. Thank you Jim Cooper and Rob Berger and all the tapers and sharers!
! metadata: I don't have time to get into the metadata now. I need to listen to all of the other tapes and read what's already known about the actual assignation of the various music to the various "July xx 1970 Fillmore East" recordings. Try to sort out calendar dates and times, so confused because of the ca. midnight starting time of these shows.
! P: This contains a pretty amazing EGD performance. For my money, The "Good Lovin'" is among the best they did. The AGD and NRPS sets are, respectively, just OK and pretty bad, at least based on this tape.
! P: t01 one of the great pleasures of the GD acoustic sets is hearing Jerry sing harmonies. Like on this El Paso.
! t04 is Jerry playing electric?
! song: "So Sad (To Watch Good Love Go Bad)" (t04): Everly Brothers' 1960 release, maybe a singleton in the recorded GD canon. Indeed, as of now (12/6/2013) I understand this to be a singleton. I have listened to it twice, don't get much out of it.
! s1-AGD-t05 (1) "IRIT & LAURIE LOVE": "I love you, Jimmy."
! s1-AGD-t05 RLM has mandolin accompaniment, presumably Nelson.
! s1-AGD-t06 AVFOH mandolin (Nelson?), Nelson definitely on harmony vocals
! P: t01-t08: the acoustic material underwhelms me. It looks great on paper. Maybe it's the tape quality. But I just can't get into it.
! P: t12 This "Dirty Business" has a weird feel. Torbert is walking it a little too much early on, and it never attains that deep, burning, grungy groove that the best versions do. This is *way* uptempo for this song. Interesting. Not totally successful. Weird. Interesting.
! P: t13 Lodi is kind of a mess, Dawson off, Nelson not keeping right tempo (check around 1-1:29). He has to keep trying to tell people to get off because no-one quite knows what to do. Train wreck.
! P t09-t13 The NRPS material is below average, I'd say. I hear lots of tempo weirdness. Of course, the tape isn't doing anyone any favors.
! P: t14 LLE again it just doesn't sound together. While Dirty Business is much too brisk, this is just a little bit too brisk.
! R: NRPS-t14 LLE cuts out, probably less than a minute missing.
! R: t15-t19 MD splices @ track markers and t17 @ 0:33.
! R: t20 SOTOTW clips in
! P: t21 MAMU This is done "electric GD" style, as opposed to "NRPS" style, which the Acoustic GD would on occasion do (e.g., 4/18/70 Family Dog). It's a shame, because I really like the high harmonies in the NRPS arrangement, but whatever. My sense is that GD just wasn't willing to let go of the song and let NRPS have it, and they seemed to prefer to play it electric to acoustic. (I also miss the NRPS harmonies on "Mama Tried", FWIW.)
! P: t22 NFA this is a MASSIVE rendition of an American classic. Jerry has the wah cranked up already in the setup to his first solo in the second minute. It's less pronounced in the solo itself, but for a second he hit wah to rival 8/27/72's "Greatest Story Ever Told". Yeah, I said it. @ 3:45 they start really cooking, Bob turns himself up a little, Jerry digging a little groove. Taper's girl getting a little chatty. 4:18 Bob starts a great little descending thing, they are a little bit in the AWBYG/GDTRFB outro theme for awhile, they could easily drop it right down into that, but they are not in a rush. Garcia quotes "First There Is A Mountain" @ 5:36 for a few seconds, and he's a little bit in that tempo, back to a chunky NFA line @  6-minute mark, egging the crowd to keep that beat so he can wander back out. Crowd starts some very nice rhythm, and Jerry goes to about 60 degrees from his previous course, just the place he was looking for. Nice though over 7-min mark, stepping in a little more wah. Jerrys' in an "Other One" space late in the 8-minute mark, but Bob has something of his own going, and he doesn't take the bait, so Jerry comes back out and returns to the AWBYG/GDTRFB space. Here at 10:14 they could very easily turn it any of a number of directions, building some suspense 10:35, Phil and Jerry both pregnantly fluttering strings, Jerry hits a nice theme late in the 10-minute mark ... Bob strums some stuff, a little darker, and 11:23 Bob is almost playing Eyes Of The World! We'll hear these same chords in 1974. A few times it sounded to me like they could have pivoted to IKYR. In short, like a lot of 1970 NFAs, this one opens up very nicely and is highly thematic. @ 12:57 Bob forces them right back to NFA ... it was a little hasty ... they all get there, but I just don't think everyone was quite ready. So they set their feet under them, go once 'round the bases, at get to the verse @ 13:32ish. Jerry is having to do more harmony vocals, with Pig laying out somewhere. A few times I thought I heard Pig, but I don't think so.
! P: t25-t26 GL: Weir sings! Drum interlude 2:35-9:58. @ 4:35 a crowd member yells "Hey [or Yay] Pigpen!", or I thought he did. But Pig never makes himself heard. This drum session is hot as hell, and the crowd shows its appreciation early in the 9-min mark. The reprise is drummed up and drops in perfectly. Yeah! Nice rhythm led by Phil, 6- of t26 ... then a big bass solo 6:15 wow! This is a great jam. The second cut track of GL lays bare the band's raw power ... Wow. In the 2-min range of this track, Phil sounds like fucking Beethoven, and everyone is jamming alone and together, totally locked in but each carving his own groove, birds darting and ducking through and around the others, a supertight, colorful weave. Outstanding. Jerry hits a peak at 3:20 and the crowd yips a little bit, unbelieving. At 6 minutes into this track ... wow wow wow 6:15 Phil is doing his best Jack Casady. Ballin ... WOW. Jerry starts to get some waahhh, and he could be Jorma back there a little bit. Listen to what Phil runs over at 6:58 WOW WOW WOW 7:13 drops into Good Lovin' with the rest of the crew. Weir takes the vocals @ 7:29. @@
t27. (2) @ ca. 3ish High Time during tune, woman asks near taper “Want the cat? Text file note: "DELI BOVI DEBUT".
! R: t28 CB enters in progress and barely clips out, not much missing.
! P: t30 CCS transition from CCS to IKYR is Nice. Gets immediate liftoff at 3:28ish, Bob doing a really nice lead turn, he has some a long way from the spacy androgynous teenager of the Warlocks! Jerry's playing it real chonky behind him, and the whole band locks around Bob as he shreds. His transformation as a guitar player is mostly credit to Bob himself, of course, but I am sure the band around him had something to do with it! So Jerry starts expressing interest in taking a turn of his own in the 5:20 mark, by 5:43 we have IKYR theme. But the band is laying back, almost waiting for something, and Phil around 6:15 says "Hey, how about it?" The crowd cheers and starts clapping up IKYR, and I think Phil was basically taking a tip o' the hat, or soliciting one, but also offering one up to everyone in the room. "Hey, how about it, you having fun, or what?!?" They ought to be, because they have been grooving to a great American rock and roll band channeling a million cosmic megawatts. It's a nice moment all around. I can see why the taper, Jim Cooper, said "This was a great concert and one of the best nights (mornings) of my life."
! R: t29-t30 obviously I'd track the transition differently, but it's all good. There are some tape splices in this region, into the first minute ot the IKYR track (t30). Again @ 2:20.

LN jg1984-11-17.jgjk.all.aud-drew-seaweed.110537.flac1644

Regular readers will know I have been exploring Garcia's putative Rock Bottom period by listenings to tapes and more or less noting what I hear. Tough job, but somebody's gotta do it.

I harbor considerable ex ante animus toward this tour - I have heard some first hand reports of its deep, dark, junky feeling, recoil at the pictures of the greasy, sweaty, strung out Garcia from this tour, and have never been lit up by what I heard when I listened to the shows. This is the classic "Garcia's side projects were all about Jerry and John making drug money" tour, which is a line which my devotion to the side stuff already indicates I don't altogether buy, and which makes me feel icky inside. But here it is.

These listening notes are mostly from some unknown number of months ago. As I was finishing them up with links and stuff, I decided to listen to "Goodnight Irene" [Allan | deaddisc], which is a favorite of mine and which I have always thought must have resonated emotionally with Jerry - "I want to jump overboard in a river and drown" could not have failed to bring his father to mind, could it?

And I guess I hear that it's not as bad as I feared it might be, and is not bad at all if this is Rock Bottom. He cannot sing very well, to be sure. But he is giving it his all. It's flawed, but he's trying. Yeah, the first set is about 38 continuous minutes, not a ton. But, I dunno, it's not horrible. I am looking forward to hearing more from this tour, all of a sudden (though I feel like detouring to some other material, cleansing my palate of Rock Bottom for awhile).

Billboard (December 1, 1984, p. 37) reports this as a sellout, just a hair under $37k gross on 2,800 tickets, and the fans sound happy enough being treated to Jerry Garcia playing "Ripple". Not a bad night's work, all in all.


Jerry Garcia and John Kahn
Orpheum Theatre
1 Hamilton Place
Boston, MA 02108

November 17, 1984 (Saturday)
Seaweed 1st gen cassette shnid-110537

--set I (6 tracks, 37:53)--
s1t01. crowd and tuning [0:47]
s1t02. Deep Elem Blues [8:52] [0:07]
s1t03. When I Paint My Masterpiece [7:50] [0:06]
s1t04. Little Sadie [4:02] [0:06]
s1t05. Simple Twist Of Fate [11:11] ->
s1t06. Run For The Roses [4:37] [0:15]

--set II + encore (8 tracks, 53:10)--
--set II (7 tracks, 48:38)--
s2t01. crowd and tuning [0:58]
s2t02. Friend Of The Devil [7:56] [0:10]
s2t03. I've Been All Around This World [6:50] ->
s2t04. Oh Babe It Ain't No Lie [6:50] ->
s2t05. Gomorrah [6:16] [0:05]
s2t06. Birdsong [11:39] [0:02]
s2t07. Goodnight //Irene [8:#00] (2) [0:26]
--encore (1 track, 4:32)--
s2t08. Ripple [4:13] [0:19]

! ACT1: Jerry Garcia and John Kahn
! lineup: Jerry Garcia - ac-g, vocals;
! lineup: John Kahn - ac-b.

JGMF:
! 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: http://www.thejerrysite.com/shows/show/1722
! db: http://db.etree.org/shn/30874 (Mark flac, deprecated); http://db.etree.org/shn/31343 (speed correction of shnid-30874); http://db.etree.org/shn/110537 (this fileset); http://db.etree.org/shn/113549 (aud flac)
! map: https://goo.gl/maps/6MLna
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/09/orpheum-theatre-1-hamilton-place-boston.html
! R: field recordist: unknown
! R: field recording gear: unknown mics > Sony TC-D5
! R: source tape: 1st gen cassette provided by Drew and Seaweed1010 (Maxell XLII)
! R: transfer: Nakamichi CR-5A playback > Edirol FA-66 > Wavelab > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transfer by Andrew F.
! R: seeder notes: Decent audience recording, an upgrade to shnid-31343, and also includes the two songs that were missing from that source. The levels in 2nd Set are a bit over-driven, not too bad.
! R: I think this is a perfectly good tape.
! R: s1t02 Deep Elem the sound is muffled 0:05 > 0:32, and mic-bumps at 7:11 and 7:14.
! P: s1t05 STOF Not a terrible performance. The line about the sailors coming in and all that is given with some sensitivity. Then the end of the song has a pretty nice guitar buildup. JG even says "Thank you" as he takes it from STOF into RFTR.
! The timing of set I is basically continuous. So, in real time, that really was about a 38-minute set. And I doubt they were back "in a few minutes" after the "short break" announced by JG after RFTR.
! s2t05 JG says "Thank you" again between OBIANL and Gomorrah.
! R: s2t07 Goodnight Irene @ 6:29 tape flip, mended by Drew
! P: s2t07 GI is played totally respectably. He can't sing at this point, but we knew that. This is not bad. John is even playing late 5. Jerry bringing some energy right at the splice 6:29, too bad. Long version. Might check one of the other tapes of this night. I love this song (songs-G). Weird finish about "see you in my dreams". A for effort.
! s2t07 (2) JG: "Thanks a lot. See y'all later." There must be a tape splice in here somewhere.

Thursday, April 10, 2014

LN jg1985-06-01.jgb.all.aud-corley.20921.shn2flac

There are some points I'd like to flesh out, about The Mission, Jerry's San Francisco DNA, and the rest of it. But there's just not time to do everything.

Another show with the Modulus Graphite guitar. I hear no difference.

Sets are still short in historical perspective. For the book I'll be able to make some graphs and stuff for that. As I have suggested, the night before, in L.A., was pretty much a disaster, but this night feels pretty good. I am sure I am hearing too much, but to me Garcia sounds glad to be home and playing. The voice is shredded, but the performance is quite good all around. Check out "Mission In The Rain" for that SF feel. Great stuff. As I note, in some interview (anyone remember which one? LIA?), Garcia projected a vision of himself as a "Mission Street R&B guy". This is a richly evocative characterization, truly the little corner of Americana carved out by the Garcia Band.



Note my spelling of "Reuben And Cérise". This is Hunter's title in Box of Rain (Hunter 1993, 181-183), followed by Dodd (2005, 360-362) and Allan. On Cats Garcia spelled our lady's name "Cherise" (as jerrygarcia.com continues to do). Deaddisc is inconsistent, labeling it "Rubin And Cherise" on the album page, but "Reuben And Cerise" (no accent aigu) on the song page; I believe the alternative spelling of our charming mandolinist is strictly incorrect, and hers only pedantically so. FWIW, anyway, all that.


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

June 1, 1985 (Saturday)
Corley shnid-20921 shn2flac

--set I (5 tracks, 41:20)--
s1t01. //Cats Under The Stars [#7:29] [0:04] % [0:04]
s1t02. Knockin' On Heaven's Door [10:54] [0:09]
s1t03. Tore Up Over You [9:24] [0:06] % [0:03]
s1t04. [0:05] Run For The Roses [5:07] ->
s1t05. /Deal [7:43] [0:10] %

--set II (5 tracks, 46:36)--
s2t01. [1:00] Mission In The Rain [11:08] [0:35]
s2t02. Love In The Afternoon [7:49] [0:25]
s2t03. Gomorrah [5:48] [0:07]
s2t04.Reuben And Cérise [7:10] [0:05] % [0:21]
s2t05. Tangled Up In Blue [11:38] [0:28]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Jaclyn Branch - vocals;
! lineup: Gloria Jones - vocals.

JGMF:
! 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: http://www.thejerrysite.com/shows/show/1794
! JGC: https://jerrygarcia.com/show/1985-06-01-the-stone-san-francisco-ca/
! db: http://db.etree.org/shn/20921 (this fileset).
! map: http://goo.gl/maps/L0BBt
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/stone-mothers-412-broadway-san.html
! band: JGB #21b, THE Jerry Garcia Band (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! R: field recordist: John Corley
! R: field recording equipment: 2x Nakamichi 700 > Sony TC-D5M
! R: transfer: MAC > DATx > CDx (Jim Powell); CD > EAC0.9b4 (offset corrected, secure mode, QPS QUE 2410) > minor level adjustments at the beginning of each set (SF6) > tracking (cdwav) > sector boundaries confirmed (shntool) > SHN (shorten 3.4) via C.Ladner, misSHN in the rain, 12/03. shn2flac JGMF.
! historical: More explorations in the darkest period of Garcia's life. That's highly contestable, of course. One might think the last 18 months were worse, and they probably are, objectively. But I think he had lost hope by that time, and he didn't feel it as acutely. This period a decade earlier, by contrast, juxtaposes how down in the deep he was with where he still had a chance to be, at 43 years old, and how much he had left to do. One other thing about this show: *very* exceptionally, Garcia is not playing his Doug Irwin guitar (which one? I had written Rosebud, but maybe Tiger? I don't know the guitars) he's playing one made by Modulus Graphite (see Golden Road, Summer 1985, p. 9).
! R: s1t01 CUTS cuts in
! P: s1t01 @ 4:40 love Jerry's guitar tone and work here. Sounds great.
! P: s1t02 KOHD Garcia bending some huge notes late 6. This is great. Long vocal extension of "door" over 9 minute mark. Garcia is feeling this song.
! P: s1t03 TUOY JG is taking a great solo, it's not very loud on the tape, but it's a great solo, and the crowd is showing him some love, in the 2- minute mark. Nice guitar work continuing over 3. Very good guitar playing.
! R: s1t05 Deal clipped, certainly a tape flip there. So that was side A.
! P: s1t05 Deal solo from 3:29 blisters, mid-83 level grunge, but with some of his longer sustain from later. Still nice soloing, nice extension 4:19, with mid-length phrases, still raging 4:30-4:40, a little extra turn, long scale, over 5 cutting them in halves or quarters, more wail 5:09. They get nice some space over 6. I would have liked to see a few more minutes of wailing here. They are pretty clean back to "don't you let that Deal go down", Jerry good energy to end even if his voice sounds shot.
! P: s2t01 MITR Jerry is giving it his all by tackling this song. He knows he sounds rough, but it's "Mission In The Rain" - he's "ready to give anything for anything" he takes. Gallops into the song's upbeat part, the ladies backing him up strongly 2:30. This tape really captures the feeling of this hometown show. Beautifully. "Ten years ago, I walked these streets, my dreams were riding tall. Tonight, I would be thankful, Lord, for any dream at all ... come again ... walkin' along in the The Mission, in the rain, come again ..." Do you know San Francisco? Jerry does. If you know someplace truly amazing, but you're not from there, and that drives you crazy - you wish you were from there, maybe only secretly you wish it, but you aren't, and the ones who are are, and they know it, and they know that you know it, and there's no denying it. It doesn't have to be actively, obnoxiously spotlighted. I am a little jealous of Jerry for having San Francisco in his bones, the salt, the portal grit, the depth of it. It seems that Mission In The Rain (#song-M), words by Robert Hunter and music by Jerry, is directly biographical, Hunter writing about Garcia's attachment to the city, their shared attachment, but Garcia's native DNA lock on it. I bet his body chemistry was off when he wasn't soaked in fog. xxx The Mission xxx. The way he sustains his N at 3:20 ish, on come agaiN, he is accenting very nicely. Now it's the same spirit with his guitar 3:40ff, not in a rush. In some interview xxx, when asked about his musical image of himself, it was as a "Mission Street R & B guy". What an amazing local pointil that is. Jose, Jerry's father, was a jazzman in the 1930s, before being blackballed by the union and then drowning before young Jerry's eyes in xxx 1945. The song loses the thread a few times, loses a little steam, but there is something delightfully intimate about this performance, Jerry and his local fans in his local haunt in his city.
! P: s2t03 Gomorrah vocals sound fatigued.
! P: s2t04 RC Garcia's voice is shredded, but this has tons of energy. Melvin has some nice horny synth working.
! P: s2t05 TUIB no words leaving stage. Crowd seems enthused, happy.

Tuesday, April 08, 2014

"awww, no, last song?!?" (LN jg1985-06-03.jgb.all.aud-russjcan.92786.flac1644)

Keystone Palo Alto on a Monday night, as Garcia is trying to kick his junk habit.

The show is mostly notable because Garcia plays a Modulus guitar. Playing anything other than the Irwin "Rosebud" at this time was an exceptionally rare event. Blair Jackson's amazing Golden Road (no. 7, Summer 1985, p. 9) mentions that the alternative guitar appeared at a pair of early June Garcia Band shows. Since Garcia canceled a scheduled June 2 show to attend Wagner's Ring with Phil, the pair can only be 6/1 and 6/3. I confess that I hear nothing different.

I don't intend to wallow around Rock Bottom any longer than necessary, but it has to be done. Tonight's episode features a roughly 35 minute second set. Tapers and tapersfriends are so damn cool, because, just like 3/2 ("Jerry's gotta clean up his act, man"), they themselves provide insight and color beyond pulling tape of Jerry. As Jerry gallops into "Midnight Moonlight" 30 minutes into the second set, regulars know what that means: Jerry's done. It's gonna be a gill-coked MM and a race backstage to comfort. This probably after a very long setbreak, so up late taboot.

Groaning with disappointment at the first notes of Midnight Moonlight ... "awww, no, last song?!?" You are right to pose the question, Herr Kanzlerfreund: what the fuck? Not even one side of tape? Fuck you, Garcia. That would piss me off. The "kids they dance, they shake their bones" (Barlow-Weir), but the grownups know they're getting ripped off. If I had been seeing Garcia Band shows at this time (I was just a bit young), I might not have continued to do so after what JGB delivered to the home crowd in the first half of '85.

Musically, I noted some OK moments in Deal, else not much to say.

Again, I don't intend to wallow down around here more than necessary. Things will get really ugly with late August 1984, the November '84 Garcia-Kahn tour, and a few other turds. For my purposes, it's worth getting this stuff down, and documenting it. At some point, I'll probably sum up the set times from this period. There are lots in the sub-40 minute range. That'll be one reasonably good indicator, I think, of Jerry's health during this period and more generally.

Jerry Garcia Band
Keystone Palo Alto
260 South California Avenue
Palo Alto, CA 94301

June 3, 1985 (Monday)
Cansler flac1644 shnid-92786

--set I (5 tracks, 49:19)--
s1t01. [0:35] How Sweet It Is :36-9:13 [0:32] % [0:07]
s1t02. They Love Each Other [8:08] [0:12] % [0:09]
s1t03. When I Paint My Masterpiece [11:15] [0:08] % [0:02]
s1t04. [0:11] Mississippi Moon :12-9:53 [0:18] %
s1t05. /Deal [#9:14] (1) [0:06]

--set II (3 tracks, 35:03)--
s2t01. [0:49] I'll Take a Melody [13:48] [0:04] % [0:12]
s2t02. Simple Twist of Fate [12:2] [0:08]
s2t03. Midnight Moonlight [7:15] (2, 3) [0:16]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Gloria Jones - vocals;
! lineup: David Kemper - drums;
! lineup: Jaclyn LaBranch - vocals;
! lineup: Melvin Seals - keyboards.

JGMF:
! 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:
! JGC: http://jerrygarcia.com/show/1985-06-03-keystone-palo-alto-palo-alto-ca/
! db: http://db.etree.org/shn/20920 (Corley shnf); http://db.etree.org/shn/95560 (Taz Yamaguchi flac1644); http://db.etree.org/shn/92786 (this fileset).
! map: https://goo.gl/maps/7AzlG
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/11/keystone-sophies-260-s-california-ave.html
! band: JGB #21b, THE Jerry Garcia Band (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! historical: Garcia plays a Modulus guitar at this show -  I list Ron Price as opening, no idea who that is. A Monday night at the KPA feels out of pattern, not there are sufficient degrees of freedom to detect patterns in JGB billings first half of 1985.
! R: field recordist: Russ Cansler;
! R: field recording location: 10 feet away, left of center 5 feet;
! R: field recording gear: 2x Hat-Mounted realistic PZMs > Sony WMD6C;
! R: field recording media: 1x Maxell UDS-II 90 No nr;
! R: transfer: HD > Audacity > CDWave > TLH.
! R: seeder notes: "Not much presence on vocals; slight mic handling noise; light tics on tape -- age artifact?"
! R: mix and sound real funky to start, very fluttery. Vocals very far back. Numerous skips.
! P: s1t05 Deal JG can't even sing to start. Later, sounds much spacier and more GD ish than usual. There's almost a little Close Encounters wah feel ca. 7. Pretty good Deal.
! s1t05 (1) JG: "We're gonna take a break for a little while."
! historical: (2) s2t03 @ 0:09 Taper or guy near taper groans with disappointment at Midnight Moonlight ... "awww, no, last song?". You are right to pose the question, Herr Kanzlerfreund: what the fuck? Not even one side of tape? Fuck you, Garcia. That would piss me off. The "kids they dance, they shake their bones" (Barlow-Weir), but the grownups know they're getting ripped off. If I had been seeing Garcia Band shows at this time (I was just a bit young), I might not have continued to do so after what JGB delivered at The Stone in the first half of '85. At end (3) JG says something I can't hear. Also of note: *very* exceptionally, Garcia is not playing his Doug Irwin guitar (which one? I had written Rosebud, but maybe Tiger? I don't know the guitars) he's playing one made by Modulus Graphite (see Golden Road, Summer 1985, p. 9).


updated 5/31/85 post

Consider this blog business, but since I know some follow RSS feed I wanted to say that I have added a chunk to my recent post on Garcia-Kahn 5/31/85a at the Beverly Theatre.

Sunday, April 06, 2014

Jerry's gotta clean up his act, man (LN jg1985-03-02.jgb.all.aud-rlouk.99524.flac1644)

Ticket stub for Jerry Garcia Band, The Stone, 492 Broadway, SF, Saturday, March 2, 1985. Contributed by Erik VanO.
First Garcia Band show since the bust on 1/18/85. It delivers a three-song, thirty minute first set. Apparently the ladies were late in arriving. But ol' Jer makes up for it by stretching out almost a full 45 minutes in the second set. I am sniffing around a bunch of tapes to see if this might be the shortest "set" on record that wasn't exogenously cut-short. Just over a half hour.

Speaker 1: "Yes sir, this is our roving reporter. Can we give an account of the show so far?"
Speaker 2: "I'm gonna tell you something. Jerry's gotta clean up his act, man. Gotta take a 45 minute break, two hour sets, I'll be happy."
Speaker 1: "Thank you from our eye spy reporter."
Speaker 2 does not sound like some uptight Angeleno who is getting ripped off in Beverly Hills. No, he sounds like a simple, sensible young hippie who has some insight into some things, such as that playing a short set and taking a two-hour break before coming back out, playing real late, less severe than not enough but of course joining with it, just doesn't show the appropriate level of engagement and respect. It's a burn, a ripoff. "Jerry's gotta clean up his act, man." He's not mad about it, he's just sayin'. Indeed.

That said, the music is not bad. My notes suggest maybe things are gonna be all right.

Also of note, methodologically: hot tapes bias this listener toward hearing hot performances. Shocking, I know. Case in point: this is a raw, flawed upfront tape, and I was doing cartwheels about what I was hearing in "Let It Rock" to open the show. Then I double-checked against the Corley tape (shnid-23146), which has a real full Nak 700 sound, mics are higher up (in the "Silly Hat", perhaps?) and I didn't notice anything special with the tune. The difference could be due to me (four hours later I can be in a different space), or the tape, or random. Either way, these "results" are not very robust, reliability is a big challenge, and caveat emptor all around. At least you're getting what you pay for!

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

March 2, 1985 (Saturday) - 8:15 PM
R Louk MAC flac1644 shnid-99524

--set I (3 tracks, 31:08)--
s1t01. Let It Rock [8:45] [0:13] % [0:05]
s1t02. Simple //Twist of Fate [12:#11] [0:12] %
s1t03. Deal [9:23] (1) [0:18] %

--set II (6 tracks, 44:08)--
s2t01. //How Sweet it Is (To Be Loved By You) [#8:53] (1) [1:27] %
s2t02. /When I Paint My Masterpiece [#8:48] [0:07] % (2) [0:48] %
s2t03. Run For The Roses [5:05] ->
s2t04. Gomorrah [5:39] ->
s2t05. Reuben And Cherise [7:04] [0:03] ->
s2t06. Midnight Moonlight// [6:12#]

! ACT1: Jerry Garcia Band #21b
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: David Kemper - drums;
! lineup: Jaclyn Branch - vocals;
! lineup: Gloria Jones - vocals.

JGMF:
! 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: http://www.thejerrysite.com/shows/show/1788
! db: http://db.etree.org/shn/23146 (Corley shnf); http://db.etree.org/shn/99524 (this fileset).
! map: http://goo.gl/maps/L0BBt
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/stone-mothers-412-broadway-san.html
! band: JGB #21b, THE Jerry Garcia Band (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).
! historical: I listen to this as the first Garcia Band show of 1985 and the first since the bust on January 18. (The Dead had played three nights at the Kaiser, February 18-20). So I am listening for how he sounds at this particular inflection point in his life. Not surprisingly, the vocals are very weak, though not the worst I have heard. The opening "Let It Rock" may be the best version of this song I have ever heard - there's one in mid-1981 that I have always held in high esteem, but this one is outrageously good. Wow. But what are we to make of a THREE SONG, half hour first set? This is, to my knowledge, one of the shortest Garcia sets on record, certainly one that wasn't cut short by a fire alarm or a bomb threat or something. What happened? Garcia freak Erik Van O, whose ticket stub is the only visual artifact I have from this show, reports that the ladies were late arriving, only came in at Deal. The evidence is consistent with this, rather than with missing material. First, there's another tape (John Corley's) containing the same set. Second, the ladies are indeed absent to start. Third, Garcia's extra juice here at the front is consistent with something being a little bit different. Fourth, at the end of set I Garcia says something that I can't quite make out, but it sounds like he's claiming he wants to let the ladies get acclimated. Fifth, there's some interesting ambient talk, which surely reflects public knowledge of the bust, but possibly also what's happening this night. I'll endorse the taper's friend's view: "I'm gonna tell you something. Jerry's gotta clean up his act, man. Gotta take 45 minute break, two hour sets, I'll be happy." Woman had also asked at the start of the set if Gar would play 45 minutes. And that's the *long* set. So, yeah, circumstances and all that. But, on the other hand, folks payed $8 for this show on a Saturday night. Scalping them on the show opener, and then mailing it in, doesn't speak to respectful treatment of the paying audience. I don't know about the alternate guitar this night, could have been one of the June shows.
! R: field recordist: R Louk;
! R: field recording gear: handheld stereo mic > portable Aiwa cassette deck
! R: transfer: Yamaha tape deck playback > Yamaha 10 band graphic equalizer > wav (Audacity - 24 bit/48 khz) > CDWav > TLH (16/44.1 conversion, SBE's fixed) > flac.
! R: Gotta love the in your face feel of this grungy little up front aud. Well done, sir or madam, with the handheld stereo mic. I wonder if this is running fast? The timings on the Corley aud seem longer, and things don't feel as scorching up front, anyway.
! P: s1t01 LIR first solo in 1 is smokin'. Another solo over 2 and hot as fucking hell, holy shit he is on fire. Oh my, feedback in the 3-minute mark that is out of this world. I don't how much is that this tape is tinny itself, but it's freaking great. Now some longer phrasings late 3 over 4, picked up his pace and fluidity. Whoa, this is out of the gates like a bat outta hell. Still shredding 4:20. Fully in control 5:20, touching some notes more carefully now, the band letting it breathe a little bit, he starts comping 5:45, invites Melvin to step up. John hits a few deep down notes late 5. Melvin featuring early 5. This band is really tight. David Kemper. Now fanning loudly late 6 minute mark, all kinds of raunch, way up high on the neck 7:11, fanning chords, picks up the melody 7:30, but with major force. He is tearing the shit out of this, my goodness. Addendum: I have just listened to this via the Corley tape, and it doesn't light me up, a few hours after writing what I wrote above. The handheld tape has a lot more juice, I guess.
! R: s1t01 there's a brief splice after LIR, but not much missing.
! P: s1t02 STOF Jerry is singing this carefully. He has better control of his voice here than I might have thought. John starts his bass feature @ 6:40. Jerry returns 8:34, Melvin playing some nice piano through the whole song, do I hear organ and pian simultaneously after 9:30? yes, again 9:58 there are two keyboards, unless he's got the organ with one hand and piano with another? Blair Jackson suggests that's probably what it is. wk attended and says there was just Melvin.
! R: s1t02 STOF brief splice around 9:00 mark
! P: s1t03 Deal Garcia's guitar playing in the 5-minute mark is incendiary.
! s1t03 @ 9 (1) JG says something inaudible something-something "show up", and the crowd approves. This is consistent with Erik VanO's memory that the ladies arrived late and that this caused some kind of set anomaly.
! R: s2t01 HSII cuts in
! P: s2t01 HSII Jerry botches first lyrics, does not sound healthy in his singing.
! s2t01 (1) near the end of the track a woman asks "How long's he gonna play? 45 minutes?" She must be psychic! :)
! R: s2t02 WIPMM cuts in
! s2t02 @ 9:30 (2) taper: "Yes sir, this is our roving reporter. Can we give an account of the show so far?" friend: "I'm gonna tell you something. Jerry's gotta clean up his act, man. Gotta take a 45 minute break, two hour sets, I'll be happy." Taper: "Thank you from our eye spy reporter." Sounds like he's reversing what they actually got - 45 minute set, two hour break.
! P: s2t06 Mid Moon a mile a minute, of course.
! P: s2t06 Mid Moon cuts out, not much missing.

Bullshit! Bullshit! Reprise (LN jg1985-05-31.jgjk.early.aud-pinedo.32007.shn2flac)

updated 20140408

I have told the story once before of the Jerry Garcia/John Kahn acoustic duo early show on May 31, 1985, in the context of Bill Graham's branding of the '86-87 JGB tours down south as "The Jerry Garcia Band Electric".

I want to flesh out a bit more detail from the two named informants about this show, whose accounts line up quite beautifully. This post became a bit of a rabbithole for me around the bust and other things from early '85, but let me drop this and a few brief notes as raw materials for a longer piece of writing about this period.



"Miller Beer Presents an evening of acoustic music, Jerry Garcia w/ John Kahn" should already give you that acrid, headachy feeling - Jerry and John were not in good shape during this period. I have started to dabble in Garcia's Rock Bottom period, which I estimate runs the second half of 1984 (especially, say, from late August) through early 1985 (say, ca. 5/31/85). Recent listening notes around 12/6/84 and 12/7/84 give some indication of my thinking, while an earlier listen to 5/19/84 suggest that things were still reasonably together.

Here's another report from the front of Rock Bottom: 5/31/85a. Thank you eyewitnesses!

Ben Karmelich:
This was Jerry Garcia at his worst.  He had a recent drug arrest and this was when he was in the worst shape physically. The day before the show, Jerry added a second show for the same night. Back then, one Jerry show meant two sets, while two Jerry shows per night meant one set per show, and you had to pay twice. In other words, he added a second show for that same night and expected the crowd to all go outside after the first set and buy another ticket to come back and see the second set.  Needless to say, the crowd was very upset.  One person brought a big banner that said "Jerry Sells Out L.A. Deadheads" with a sad face on it. After Jerry played an uninspired 6 song set, he said good night and left but the crowd refused to leave.  Eventually, Rock Scully came out to say that Jerry "meant to say" that he is taking a short break and eventually, a very pissed off Jerry came out for three more songs.
update 20140408: Ben's memory had the addition of a second show very soon before it was to take place. But I have just reminded myself of the ad in the Los Angeles Times, dated May 26, 1985 (p. N58) and it is interesting. I cannot post image, because I have it from ProQuest (albeit printed - d'oh!). But here's what I see: 1) a listing in the "Openings" section lists one show, 8 p.m. 2) A display ad above it calls the venue "The Beverly" in deco script, above which it says "box office open Monday [5/27], 11 a.m.". Even more interestingly, the ad lists two shows, 7:30 and 10 p.m., and the 7:30 is struck through to indicate that tickets have sold out.

(Memory is a tricky thing, and I am grateful to folks for sharing theirs, always. We should do more on the record, oral history kinds of things. Future historians will thank you if you give a recollection and especially if you go on record!)

I want to suggest that Ben's memory was off on a detail of timing but essentially correct. The paper evidence suggests that a second show was added not the day before the show, but four days before the show. The rest of Ben's story squares with what Erik VanO said (see below). But the incorrect detail has the spirit of what happened correct, and even more beautifully, it squares perfectly with the LAT material! Quite precisely, there was originally a single 8 p.m. show listed (per the listing). Ben reminds us that, in those days, this meant one ticket, two sets starting at 8 p.m. (ah ha ha ha ha ha ha ha ha ha!!!!).

Instead, folks who bought any of the 1,500 tickets sold for the "8 p.m." show, whenever they bought them, were now going to get half as much as they expected (or, just as much at twice the price). They are going to turn the house between sets (now, by the magic of the market, and with all of its solemnity, rechristened a "show"). And this is Before The Internet, so you might not have found out until you got to the show. That is a freaking ripoff.

It looks to me like the Miller Concert Series was quite the enterprise. They sold out a show reasonably quickly and decided to check what the market would bear. They were only going to get one shot at it - one night only. I have this place holding 1,500 - at let's say $13 to the consumer, let's say $11 after ticketing fees, that's $16,500 gross (1984 dollars). Would you rather have just over $36k today for one show, or about $73k for two? I suspected as much.

I don't know what Mill would say about this, since I only pretend to have read him. On the one hand, those 1,500 early buyers get screwed. On the other hand, another 1,500 (maybe among them the same people, that's immaterial) get to buy a ticket to see Jerry. If it's worth it to them, so much the better. I don't know if those utilities cancel out in a utilitarian perspective. Pareto, of course, would reject it outright, since at least one person (the dude or lady who ran out to paint an anti-Jerry sign) was made worse off.

/update 20140408

Erik VanO picks up the story.


Erik VanO:
The show ended with Ripple and the crowd was pissed off at the short show and no encore. When the house lights went on the crowd booed and that morphed into a "bullshit-bullshit" chant. No one would leave. So Jerry had to come back out and play more tunes. I know this well because, me, being mister stat guy, know it all, laughed at everyone and said "it's over, this is standard, he never does an encore, this is it" and proceeded to put my money where my mouth was: I walked out to prove my point. Within moments, the lights went out and I watched everyone from the lobby run ecstatically back into the seating area. They would not let me back in. I ran around side and was allowed to sit with the security dudes on the fire escape since they were confused as well and had the doors open expecting the theatre to exit. So I saw and heard the tunes with my own ears, but from technically outside, but NO WAY that I missed a single note. So I'm not sure whether you'd even call it a second set, I never thought of it as that, more of an encore/riot control, but regardless, those were the only songs played in that unusual circumstance, and I'd say its safe to say that all tapes now, and yet undiscovered,  would support that as well.

There's only one tape of this show known to me, recorded by Joe Pinedo and preserved from first generation cassette copies by Brian Mandel (shnid-32007). Thank you, gentlemen. Alas, the circulating copy doesn't really reveal anything about this incident, except that Garcia tried to deliver to his paying audience, to the tune of $12.75-$14.75, a "complete show" that would fit on a single cassette side, comfortably - 35 minutes of condensed actual music. I don't have the quotes located right now, but I can give a long paragraph here about Garcia's professional standards, which were real. The key litmus test is giving the paying fan his/her money's worth. And I think that even Jerry would admit that he failed his own test, fell short of his own standard, on 5/31/85a.

Revealed preferences are tricky, but the fans certainly seem not to have felt that 6 songs in 40 minutes was worth what they paid. It was already bad enough, as Ben Karmelich reports, that they were feeling fleeced enough ex ante to get in Garcia's face about it. They're pissed, maybe he's pissed that they're pissed (and embarrassed, which would be wholly appropriate, IMO), he's passive aggressive with a short set, and they call him out on it. This wouldn't have happened in the Bay Area, on his home turf (and listenings to 3/2/85, 6/3/85, on which I will soon report, confirm); the LA heads were sufficiently without illusions, or sufficiently interested in getting their money's worth, or whatever, to demand a professional gig. They did.

"Bullshit! Bullshit!"

Garcia must have been mortified with himself for insulting his fans to this point. The "encore" set is a little bit of a dickslap,so I am not saying he's had a good healthy epiphany by any stretch. On the contrary, more passive-aggression. 15 more minutes? Fuck you too, Jerry.

I don't think he could help himself at this point. One has to think that 1/18/85 must have been rock bottom, but, I dunno, sometimes there's a valley floor down there, and one wanders around the bottom for a bit, because 5/31/85a is definitely staking its claim.

Listening notes below the fold.

Jerry Garcia and John Kahn
Beverly Theatre
9404 Wilshire Boulevard
Beverly Hills, CA 90212

May 31, 1985 Early Show - 7:30 PM
Pinedo MAC shnid-32007 shn2flac

--complete show (9 tracks, 50:39)--
--main set (6 tracks, 35:57)--
s1t01. [0:05] Run For The Roses :06-4:39 [0:02] % [0:02]
s1t02. /I've Been All Around This World [#4:30] (1) [0:04]
s1t03. Friend Of The Devil [6:15] [0:04]
s1t04. Deep Elem Blues [7:02] [0:07]
s1t05. Simple Twist Of Fate [8:32] [0:05]
s1t06. Ripple [4:28] (1) [0:07]
--encore (3 tracks, 14:42)--
s2t01. [0:12] Jack-A-Roe [3:47] [0:09]
s2t02. Oh Babe, It Ain't No Lie [5:19] ->
s2t03. //When I Paint My Masterpiece [#5:11] (2) [0:03]

! ACT1: Jerry Garcia and John Kahn
! lineup: Jerry Garcia - ac-g, vocals;
! lineup: John Kahn - ac-b.

JGMF:
! 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: http://www.thejerrysite.com/shows/show/1792.
! JGC: http://jerrygarcia.com/show/1985-05-31-beverly-theater-beverly-hills-ca/
! db: http://db.etree.org/shn/32007 (this fileset).
! map: https://goo.gl/maps/ZONPI
! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/beverly-theater-206-north-beverly-dr.html; https://sites.google.com/site/wilshiremoviepalaces/warner-bros-beverly-hills.
! historical: Ben Karmelich: This was Jerry Garcia at his worst.  He had a recent drug arrest and this was when he was in the worst shape physically. The day before the show, Jerry added a second show for the same night. Back then, one Jerry show meant two sets, while two Jerry shows per night meant one set per show, and you had to pay twice. [ed: they "turned the house"] In other words, he added a second show for that same night and expected the crowd to all go outside after the first set and buy another ticket to come back and see the second set.  Needless to say, the crowd was very upset.  One person brought a big banner that said "Jerry Sells Out L.A. Deadheads" with a sad face on it. After Jerry played an uninspired 6 song set, he said good night and left but the crowd refused to leave.  Eventually, Rock Scully came out to say that Jerry "meant to say" that he is taking a short break and eventually, a very pissed off Jerry came out for three more songs.
! historical: Erik VanO: The show ended with Ripple and the crowd was pissed off at the short show and no encore. When the house lights went on the crowd booed and that morphed into a "bullshit-bullshit" chant. No one would leave. So Jerry had to come back out and play more tunes. I know this well because, me, being mister stat guy, know it all, laughed at everyone and said "it's over, this is standard, he never does an encore, this is it" and proceeded to put my money where my mouth was: I walked out to prove my point. Within moments, the lights went out and I watched everyone from the lobby run ecstatically back into the seating area. They would not let me back in. I ran around side and was allowed to sit with the security dudes on the fire escape since they were confused as well and had the doors open expecting the theatre to exit. So I saw and heard the tunes with my own ears, but from technically outside, but NO WAY that I missed a single note. So I'm not sure whether you'd even call it a second set, I never thought of it as that, more of an encore/riot control, but regardless, those were the only songs played in that unusual circumstance, and I'd say its safe to say that all tapes now, and yet undiscovered,  would support that as well.
! R: field recordist: Joe Pinedo;
! R: field recording gear: Sony 939 > Sony D5;
! R: transfer: transfer & CD mastering/shn conversion by Brian Mandel, gdplusmore@aol.com: 1st gen cassette (Maxell XLII 90 with Dolby B) > Nakamichi BX300 > Macintosh > Peak Bias > JAM > cdr > eac > mkw > shntool. shn2flac conversion by jgmf 3/20/2014.
! R: seeder notes: "previously had set II listed as incomplete, but this is all JG and JK played."
! s1t01 RFTR brutal tape drag first 20 seconds or so, and warble continues for awhile.
! s1t02 (1) JG: "Thank you."
! s1t03 I swear there's a really weird vibe. When he flubs lyrics, people seem to be laughing at him. In late 5, when he says "it don't look like me", I think a dude yells "thank God" and a chick near the mic laughs.
! P: s1t04 DEB JG sounds lost on the music, things are very off-kilter. Early 2-min John is actually stepping up and helping out, and they find each other. 2:25 ish Garcia takes a nice percussive lead, little fan 2:41, nice little solo coming down late 2. Lose each other a little again late 4.
! s1t06 Ripple the clapping is throwing everything off, or in any case there's some tempo weirdness and off-kilter feel.
! s1t06 (1) JG: "Thank you."
! s2t02 OBIANL guy yells we love you Jerry. Poeple yelling Jerry, he's trying to sing and play, STFU people!
! R: s2t02-s2t03 tape flip
! s2t03 (2) JG: "Thanks a lot everybody. See y'all later."