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Sunday, April 23, 2017

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

which became 

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

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

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

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

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

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

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


! R: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

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

! TJS:

! JGC:

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

! map:


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

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

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

! R: s1t03 INU bad tape warbling

! R: s1t04 SIL clips in

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

! R: s2t01 LIR enters in progress

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

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

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

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

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

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

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

October 14, 1985 (Monday)
CC shnid-138028

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

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

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


! R: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! JGC:

! db: (this fileset).

! map:


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

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

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

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

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

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

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

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

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

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

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

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

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

Da Weez

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

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

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

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

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

Friday, April 21, 2017

Gee Baby, Ain't I Good To You?

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

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

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

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

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

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

Tuesday, April 11, 2017

GD Portland 7/25/72

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

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

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

Sunday, April 09, 2017

GD Fillmore West April 9, 1970

What a hottie this Good Lovin' jam is!

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

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

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

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

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

Looking forward to hearing this Other One.

Saturday, April 01, 2017

Bay Area Music Venues via

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

Saturday, March 25, 2017

Recent Closet Call Results

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

A Humboldt show, probably not long after the harvest.

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

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

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

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

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

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

Sunday, February 19, 2017

Bleg for Tolces on Garcia, Kahn and Reflections

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

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

Saturday, February 18, 2017

Joe and Ruth Garcia: Directory Samples

1935: no trace of Joe and Ruth Garcia

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

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

Sunday, February 12, 2017

Concert Vault

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

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

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

Friday, January 13, 2017

Reading Notes: Jackson and Gans 2015

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

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

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

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

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

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

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

Various annotations and reading notes below the fold.