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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.


  1. Deadlists says that the Cowboy Song guest "isn't Marmaduke or Ramblin' Jack or David Bromberg," so it's anyone's guess. Not sure why Bromberg is named in this version.

    The Other One suite & Not Fade Away are great, very hot versions, though hard to appreciate on the audience tape.

    Note on recordings: the first 45 minutes of the show exist in SBD. Then there are two audience recordings, which are similar in quality.
    This recording is incomplete (missing the end of the show). It's also a lot tinnier, like it was recorded over a phone, so Ely's recording may be an easier listen. On the other hand, this recording has less audience noise; some parts can be made out more clearly (like the Katie Mae guitar, or the Cowboy Song vocals); and it includes more tuning between songs - you can hear people calling for White Rabbit after the Cowboy Song.

    Great show poster too. Cryptdev's review of the following night (which is lost) -

  2. Don't forget that the Dead came on after Miles Davis, with his usual epic band (in this case, from memory: Stefan Grossman (soprano), Chick Corea (electric piano), Dave Holland (bass), Jack DeJohnette (dr), Airto Moreira (percussion), Miles Davis (trumpet). Parts released on Miles Davis Black Beauty, but I think that was from April 10 or April 11.

    Still--what a night (opening act Stone The Crows not bad either, by the way)


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