The New Alphabet: ABCD GD

Here is a list of the Betty/Rex Grateful Dead recordings gathered together and returned to the Grateful Dead Vault in November 2016 by the ABCD group.

1971 – 35 REELS*- 1 REEL 10-19-71; + 1 REEL 12-2-71*= 35 REELS DELIVERED*

 

• 02-18-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 02-19-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 02-20-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 02-21-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 02-23-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 02-24-71 Portchester NY, 2 x 7” REELS ¼ trk 7.5ips Complete

• 04-05-71 NYC, 3 x 7” REELS ¼ trk 7.5ips Complete

• 04-06-71 NYC, 2 x 7” REELS ¼ trk 7.5ips Complete

• 04-07-71 Boston MA, 1 x 7” REEL ¼ trk 7.5ips Reel #2

• 04-08-71 Boston MA, 2 x 7” REELS ¼ trk 7.5ips Complete

• *10-19-71 Minneapolis MN, 1 x 7” REEL 1/2trk 7.5ips Reel #2 = *MISSING -1 REEL ON ORIGINAL INVENTORY*

• 11-15-71 Austin TX, 2 x 10” REELS 1/2trk 7.5ips Complete

• 11-17-71 Albuquerque NM, 2 x 10” REELS 1/2trk 7.5ips Complete

12-2-71 Boston MA, 1 x 10" REEL = + 1 REEL NOT ON ORIGINAL INVENTORY*

• 12-04-71 NYC, 1 X 10” REEL 1/2trk 7.5ips Reel #1

• 12-06-71 NYC, 3 X 10” REELS 1/2trk 7.5 ips Complete

• 12-07-71 NYC, 1 X 10” REEL 1/2trk 7.5ips Reel #2

• 12-10-71 St. Louis, MO, 1 x 10” REEL 1/2trk 7.5ips Reel #1

• 12-14-71 Ann Arbor MI, 2 x 10” REELS 1/2 trk 7.5ips Complete

• 12-15-71 Ann Arbor MI, 1 x 7” REEL ¼ trk 7.5ips Reel #1

• 12-15-71 Ann Arbor MI, 1 x 10” REEL ¼ trk 7.5ips Set #2

 
1972 – 47 REELS *+ 1 REEL 4-8-72; - 1 REEL 4-14-72; -1 REEL 4-16-72; + 1 REEL 8-25-72; + 1 REEL 9-9-72 = 48 REELS DELIVERED*

 

• 03-21-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-22-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-23-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-25-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-26-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-27-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-28-72 NYC, 3 x 10” REELS 1/2trk 7.5ips Complete

• *04-08-72 London UK, 2 x 10” REELS 1/2trk 7.5ips Complete =*+1 REEL NOT ON ORIGINAL INVENTORY*

• 04-11-72 New Castle UK, 1 x 10” REEL 1/2trk 7.5ips Reel #3

• *04-14-72 Tivoli DK, 2 x 10” REELS 1/2trk 7.5ips Complete * = MISSING -1 REEL ON ORIGINAL INVENTORY*

• *04-16-72 Tivoli DK, 2 x 10” REELS 1/2trk 7.5ips Complete * = MISSING -1 REEL ON ORIGINAL INVENTORY*

• 04-17-72 Tivoli DK, 3 x 10” REELS 1/2trk 7.5ips Reels #1, #2, #3

• 05-03-72 Paris FN, 3 x 10” REELS 1/2trk 7.5ips Complete

• 05-04-72 Paris FR, 1 x 10” REEL 1/2trk 7.5ips Reel #2

• 05-07-72 Bickershaw Fest UK, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #2

• 05-24-72 London UK, 1 x 10” REEL 1/2trk 7.5ips Reel #2

• 05-25-72 London UK, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #3

• 08-21-72 Berkeley CA, 1 x 10” REEL 1/2trk 7.5ips Reel #2

• 08-22-72 Berkeley CA, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #2

• *08-25-72 Berkeley CA, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #2 * = + 1 REEL NOT ON INVENTORY*

• 08-27-72 Veneta OR, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #2

09-9-72 Hollywood CA 1 x 10" REEL = + 1 REEL NOT ON INVENTORY*

 

1973 - 35 REELS

 

• 03-15-73 Uniondale NY, 1 x 10” REEL 1/2trk 7.5ips Reel #3

• 03-16-73 Uniondale NY, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #3

• 03-21-73 Utica NY, 3 x 10” REELS 1/2trk 7.5ips Complete

• 03-22-73 Utica NY, 2 x 10” REELS 1/2trk 7.5ips Reels #1, #3

• 03-24-73 Philadelphia PA, 2 x 10” REELS 1/2trk 7.5ips Reels #2, #3

• 03-28-73 Springfield MA, 1 x 10” REEL 1/2trk 7.5ips Reel #3

• 03-30-73 Rochester NY, 1 x 10” REEL 1/2trk 7.5ips Reel #2

• 03-31-73 Buffalo NY, 1 x 10” REEL 1/2trk 7.5ips Reel #2

• 04-02-73 Boston MA, 3 x 10” REELS 1/2trk 7.5ips Complete

• 05-26-73 Kezar Stadium SF CA, 6 x 7” REELS 1/2trk 7.5ips Complete

• 06-22-73 Vancouver BC, 5 x 10” REELS 1/2trk 15ips Reels #1, #2, #3, #4, #5

• 06-24-73 Coliseum, Portland OR, 4 X10” REELS 1/2trk 15ips Reels #1, #3, #4, #5

• 07-01-73 Universal Amphitheater, LA CA, 4 x 10” REELS 1/2trk 15ips Complete

 

1975 – 5 REELS

 

• 06-17-75 SF CA, 5 x 7” REELS Nagra 1/2trk 15ips Complete

 

1976 - 57 REELS

 

• 06-10-76 Boston MA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• *06-11-76 Boston MA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete *= + 1 REEL NOT ON ORIGINAL INVENTORY*

• 06-14-76 NYC, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-15-76 NYC, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-17-76 Passaic NJ, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-18-76 Passaic NJ, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-19-76 Passaic NJ, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-21-76 Philadelphia PA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-22-76 Philadelphia PA, 5 X 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-23-76 Philadelphia PA, 1 x 7” REEL Nagra 1/2trk 7.5ips Reel #1

• 06-26-76 Chicago IL, 5 X 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-28-76 Chicago IL, 1 X 7” REEL Nagra 1/2trk 7.5ips Reel #2

• 06-29-76 Chicago IL, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

 

1977 - 75 REELS

 

• 02-26-77 San Bernandino CA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 02-27-77 Santa Barbara CA, 1 x 7” REEL Nagra 1/2trk 7.5ips Reel #4

• 05-05-77 New Haven CT, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 05-07-77 Boston MA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 05-08-77 Ithaca NY, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 05-09-77 Buffalo NY, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 09-03-77 Raceway Park, Englishtown NJ, 9 x 7” REELS Nagra 1/2trk 15 ips

• 09-28-77 Seattle WA, 3 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 09-29-77 Seattle WA, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-01-77 Portland OR, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-02-77 Portland OR, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-28-77 Kansas City KS, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-29-77 DeKalb IL, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-30-77 Bloomington IN, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 11-01-77 Detroit MI, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 11-04-77 Hamilton NY, 1 x 7” REEL Nagra 1/2trk 7.5ips Reel #4

• 11-05-77 Rochester NY, 1 x 7” REEL Nagra 1/2trk 7.5ips Reel #5

• 11-06-77 Binghampton NY, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

 

1978 - 85 REELS * = + 1 REEL 1-10-78 = 86 REELS DELIVERED*

 

• 01-06-78 Swing Aud, San Bernadino CA, 4 x 7” REELS 1/2 trk 7.5ips Nagra Complete

• *01-10-78 Shrine Aud, LA CA, 4 x 7” REELS Nagra 1/2 trk 7.5ips Complete *+1 REEL NOT ON ORIGINAL INVENTORY*

• 01-22-78 McArthur Court, Eugene OR, 5 x 7” REELS Nagra 1/2 trk 7.5ips Complete

• 04-06-78 Tampa FL, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-07-78 Hollywood FL, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-08-78 Jacksonville FL, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-10-78 Atlanta GA, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-11-78 Atlanta GA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-12-78 Durham NC, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-14-78 Blacksburg VA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-15-78 Williamsburg VA, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 04-16-78 Wheeling WV, 4 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 06-04-78 Santa Barbara CA, 2 x 10” REELS Nagra 1/2 trk 15ips Reels #3, #4

• 10-18-78 SF CA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-20-78 SF CA, 5 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 10-21-78 SF CA, 6 x 7” REELS Nagra 1/2trk 7.5ips #1, #2, #3, #4, #5, #6

• 10-22-78 SF CA, 7 x 7” REELS Nagra 1/2trk 7.5ips Complete

• 12-31-78 SF CA, 6 x 10” REELS Nagra 1/2trk 15ips Complete

 

1979 - 11 REELS

 

• 02-17-79 Oakland CA, 9 x 7” REELS Nagra 1/2 trk15ips Complete

• 04-22-79 San Jose CA, 2 x 7” REELS Nagra 1/2trk 15ips Reel #7,#8

 
1980 - 11 REELS

 

• 09-27-80 SF CA, 2 x 7” REELS Nagra 1/2trk 7.5ips Acoustic

• 10-04-80 SF CA, 2 x 7” REELS Nagra 1/2trk 7.5ips Acoustic

• 10-06-80 SF CA, 2 x 7” REELS Nagra 1/2trk 7.5ips Acoustic

• 10-09-80 SF CA, 2 x 7” REELS Nagra 1/2trk 7.5ips Acoustic

• 10-10-80 SF CA, 1 x 7” REEL Nagra 1/2trk 7.5ips Acoustic

• 10-11-80 SF CA, 1 x 7” REEL Nagra 1/2trk 7.5ips Acoustic

• 10-13-80 SF CA, 1 x 7” REEL Nagra 1/2trk 7.5ips Acoustic

 

CASSETTES

 

1. 10/25/69 Winterland = 1 *MISSING = - 1 CASSETTE*

2. 2/24/71 Capital Theater = 1

3. 4/1172 Newcastle = 3

4. 4/14/72 Tivoli = 3

5. 4/16/72 Aharus = 3

6. 4/17/72 Tivoli = 3

7. 4/21/72 Bremen = 2

8. 4/24/72 Frankfurt = 3

9. 4/26/72 Hamburg = 3

4/29/72 Hamburg *= +3 CASSETTES NOT ON ORIGINAL INVENTORY*

10. 5/7/72 Wigan = 2 [*NOTE – LABELED AS 5/4/72*]

11. 5/11/72 Rotterdam = 1

12. 5/26/72 London = 1

13. 0/00/76 Studio = 1 *MISSING = - 1 CASSETTE*

14. 5/9/76 Rehearsal = 1

15. 6/11/76 Boston = 3

16. 7/18/76 Orpheum = 1

17. 12/31/76 Cow Palace = 2

18. 0/00/77 Studio = 1 [*NOTE LABELED “21APR”*]

19. 3/18/77 Winterland = 2

20. 3/19/77 Winterland = 3 *= +1 CASSETTE = TOTAL 4 CASSETTES FOR 3-19-77*

21. 3/20/77 Winterland = 3

4/23/77 Springfield *= +1 CASSETTE NOT ON ORIGINAL INVENTORY*

22. 5/19/77 Atlanta = 3

23. 6/7/77 Winterland = 3

24. 6/8/77 Winterland = 3* = - 1 CASSETTE = TOTAL 2 CASSETTES FOR 6-8-77*

25. 6/9/77 Winterland = 3 * = - 1 CASSETTE = TOTAL 2 CASSETTES FOR 6-9-77*

26. 10/6/77 Tempe = 2 [*NOTE TAPE 2 MISLABELED AS 10-2-77*]

27. 10/9/77 Denver = 2

28. 10/11/77 Norman = 2

29. 10/12/77 Austin = 2

30. 10/14/77 Houston = 2

31. 10/15/77 Dallas = 2

32. 12/30/77 Winterland = 1

33. 1/6/78 San Bernardino = 2

34. 1/7/78 San Diego = 2

35. 1/8/78 San Diego = 2

36. 1/10/78 Shrine = 2

37. 1/14/78 Bakersfield = 2

38. 1/17/78 Sacramento = 1

39. 1/31/78 Chicago = 2

40. 4/6/78 Tampa = 3

41. 4/10/78 Atlanta = 2

42. 4/11/78 Atlanta = 3

43. 4/12/78 Duke = 3

44. 4/14/78 Virginia Poly = 3

45. 4/15/78 Williamsburg = 1

46. 4/19/78 Columbus = 3

47. 4/21/78 Lexington = 2

48. 4/22/78 Nashville = 1 * = + 1 CASSETTE = TOTAL 2 CASSETTES FOR 4-22-78*

49. 5/9//78 Syracuse = 2

50. 5/13/78 Philly = 2

6/3/78 Santa Barbara Sound Check *= +1 CASSETTE NOT ON ORIGINAL INVENTORY* 51. 6/4/78 Santa Barbara = 2

52. 7/31/78 Studio = 1

53. 8/25/78 Studio = 1

54. 9/2/78 Giants Stadium = 2 *= + 1 CASSETTE = TOTAL 3 CASSETTES FOR 9-2-78*

55. 9/16/78 Egypt = 1

56. 10/17/78 Winterland = 3

57. 10/20/78 Winterland = 3

58. 10/21/78 Winterland = 2

59. *10/22/78 Winterland = 3 * = + 1 CASSETTE = TOTAL 4 CASSETTES FOR 10-22-78*

60. 10/22/78 Studio = 1

61. 12/17/78 Atlanta = 2

62. 12/21/78 Houston = 2

63. 12/31/78 Winterland = 1

64. 2/17/79 Oakland = 3

65. 6/21/79 Studio = 1

66. 6/28/79 Sacramento = 3

67. *8/4/79 Oakland = 2 *= + 2 CASSETTES = TOTAL 4 CASSETTES FOR 8-4-79*

68. 8/5/79 Oakland = 2

69. 10/18/79 Studio = 1

70. 11/23/79 San Diego = 2

71. 11/24/79 San Diego = 1

72. 11/25/79 UCLA = 1

73. *12/8/79 Studio = 1 * = + 1 CASSETTE = 2 TOTAL FOR 12-8-79*

74. *12/26/79 Oakland = 2 * = + 1 CASSETTE = TOTAL 2 CASSETTES FOR 12-26-79*

75. 12/27/79 Oakland = 1

76. 12/28/79 Oakland = 3

77. *12/30/79 Oakland = 1 * = +1 CASSETTE = TOTAL 2 CASSETTES FOR 12-30-79*

78. 12/31/79 Oakland = 3

79. 0/00/80 Studio = 1

80. 1/24/80 Studio = 1

81. 2/00/80 Studio = 1

82. 9/25/80 Warfield = 1

83. 10/9/80 Warfield = 3 [NOTE *LABELED AS 10-7-80*]

84. 10/13/80 Warfield = 3

85. 10/14/80 Warfield = 4

86. *10/31/80 Radio City = 3 *= - 3 CASSETTES MISSING*

87. 5/6/81 Nassau = 1

Feel Your Oats, and Race Back to Eat Them: JGB opening for Frank Zappa, UIC Pavilion, University of Illinois Chicago, August 18, 1984

Last night of the August '84 tour, which was really strong, amazingly strong given the shape Garcia was in. Zappa headlined the ads, but Garcia played second. Not much to write home about, except, on the theme of "oats". 1) Garcia is feeling them in the big guitar tunes CUTS, GOOMLW and Deal. Man - hot-hot-hot stuff, early and often in these tunes. 2) Like a horse racing back to the barn, Garcia sprints the band through the Midnight Moonlight at a really embarrassingly fast tempo. Kemper must have been sore for days trying to keep up.

Jerry Garcia Band
UIC Pavilion, University of Illinois-Chicago
1140 W. Harrison Street
Chicago, IL
August 18, 1984 (Saturday) - 7 PM
Hessberg MAC flac2496 shnid-148835

--main set + encore (7 tracks, 63:23)--
--main set (6 tracks, 53:28-0:55)--
t01. - ... Cats Under The Stars [#7:06] -8:12
t02. Get Out Of My Life Woman [11:00] [0:15]
t03. I'll Take A Melody [13:47] ->
t04. Run For The Roses [5:20] [0:01] % [0:07]
t05. Gomorrah [6:10] [0:14]
t06. Midnight Moonlight [7:29] (1) [0:09] % pre-encore [0:55]
--encore (1 track, 0:55+9:54)--
t07. Deal [9:45] (1) [0:09]

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

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [x:xx] = 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.

! Jerrybase: URL https://jerrybase.com/events/19840818-01

! db: https://etreedb.org/shn/8415 (O'Connell MAC shnf); https://etreedb.org/shn/22084 (Senn 421s shnf); https://etreedb.org/shn/148834 (this master, flac1644); https://etreedb.org/shn/148835 (this fileset). I am also aware of Nak 300 tapes pulled by David Doppelt and another by "Doug and Nancy" (the latter from the 3rd row), but it seems that neither of these has made the jump to lossless.

! map: https://goo.gl/maps/xFccM

! JGBP: URL http://jerrygarciasbrokendownpalaces.blogspot.com/2012/12/uic-pavilion-university-of-illinois-525.html. This is a relatively rare example of the JGB playing a venue before the Dead would play it (April 9-10-11, 1987). I am surprised the Dead could still play a 10k seat arena in April 1987, but I guess that was just before "Touch Of Grey" hit it big.

! ad: Chicago Reader, unknown date

! listing: Chicago Tribune, August 12, 1984, p. 26

! review: [positive] Van Matre 1984

! expost: URL https://web.archive.org/web/20150910005323/http://home.online.no/~corneliu/picturedisc2.htm

! expost: Billboard, 9/22/1984, p. 53. Sellout @ 9,728 sold, $15, gross $145,920.

! R: historical: Last night of the August '84 tour which must have made a bundle. FZ recalled "we were the opening act and I didn't see any of his set." Van Matre says the opening / closing slots were determined by a coin flip, with Zappa headlining, and he got the imagery in a Chicago Reader ad. Van Matre likes both of the "aggressively unfashionable" acts, finding Garcia "capable of conjuring up a kind of sweet, stoned, meandering magic with his music that has lasting appeal".

! misc: Zappa setlist: Zoot Allures, More Trouble Every Day, Penguin In Bondage, Hot Plate Heaven At The Green Hotel, City Of Tiny Lights, You Are What You Is, Mudd Club, The Meek Shall Inherit Nothing, Dumb All Over, He's So Gay, Bobby Brown, Keep It Greasey, Honey Don't You Want A Man Like Me?, Carol You Fool, Chana In De Bushwop, Let's Move To Cleveland, Cosmik Debris, Sharleena, Ride My Face To Chicago, The Illinois Enema Bandit. via http://etreedb.org/lookup_show.php?shows_key=54581.

! R: field recordist: Michael Hessberg

! R: field recording gear: 2x Sennheiser ME-80 > Sony D5 (MAC)

! R: lineage: Nakamichi DR-1 playback > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp (24/96) > Adobe Audition CC 2019 > TLH flac2496.

! R: seeder notes: - Thanks to Michael Hessberg for the Master Cassette source - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Brian O'Connell for the shnid8415 Nakamichi 100 source which supplies the first 1:15 of "Cats Under The Stars", some crowd and the first few notes of "Gomorrah" (0:09 total), as well as some crowd and first few notes of "Midnight Moonlight" (0:15 total) - Thanks to Joe B. Jones for his assistance with the pitch correction. Mastered by Scott Clugston, December 2019.

! P: nice punchy tape

! R: t01 CUTS enters in progress, maybe 30 seconds missing

! P: t01 CUTS Garcia's first guitar turn late 2 already has some great fuzz. He had flubbed lyrics and sounded listless vocally, but here the guitar goes straight to the good stuff, no dicking around.

! P: t02 GOOMLW sounds so awesome!! The crowd appreciative 5 as Garcia does some percussive grungy stuff. More great playing late 8 over 9. Man, Garcia is feeling his oats here.

! P: t06 Mid Moon: I can nearly taste the oats from Garcia's feedbag as he gallops to the barn. Embarrassingly sped up.

! t06 (1) JG: "Thanks a lot. G'night."

! P: t07 Deal fucks up verse goes right to "hate to leave you sitting there composin' lonesome blues". It's a fine, if misplaced, sentiment. Notwithstanding this, Deal is very hot, as you would expect. Very hot.

! t07 (2) JG: "Thanks a lot."

What It Is All About: Jerry Band Monday at the Keystone, August 16, 1976

I love love love the mid-1976 versions of "After Midnight", with Donna seconding on "what it is all about". (Happy 73rd birthday to DJG the day of this post, BTW!) I also like the "Stop That Train"s from this era, both imprinted on my brain from some tape I played the hell out of. This show, Monday 8/16/76 at Keystone, is solid. Maria Muldaur harmonizes some in "Ride Mighty High", this now being her earliest verified (by me) appearance with the Garcia Band (next known to me is 9/12/76).

I had thought of naming the post "Do Me A Favor? Open the Door and Let 'Em In", imaging McCartneyesque Jesus to Gabriel after 17 syrupy minutes of JGB "Knockin' On Heaven's Door". I have a rule, induced after listening to 3/12/76: any version of ‘Knockin’ On Heaven’s Door’ exceeding 17 minutes in length is too long. But I didn't think that set the right tone for a post about a show which I enjoy, despite the serious issues with this particular warbling tape.

Jerry Garcia Band
Keystone
2119 University Avenue
Berkeley, CA 94704
August 16, 1976 (Monday)
sbd shnid-13041 shn2flac rename to sets

--set I (7 tracks, 86:09)--
s1t01. ambience [0:59], They Love Each Other [7:05] [0:21]
s1t02. [0:12] %% [0:12] After Midnight [14:00] [0:14]
s1t03. [3:50] Stop That Train [13:40] % [0:05]
s1t04. [0:05] Midnight // Moonlight [8:#06] [0:18]
s1t05. [1:32] How Sweet It Is (To Be Loved By You) [9:09] [0:31]
s1t06. [0:50] Knockin' On Heaven's Door [17:45] [0:09] % dead air [0:10]
s1t07. The Way You Do The Things You Do [6:43] (1) [0:07]

--set II (5 tracks, 49:56)--
s2t01. //Mission In The Rain [#9:36] [0:03] %
s2t02. [0:30] He Ain't Give You None [11:51] [0:08] %
s2t03. [0:29] Tore Up Over You [11:20] [0:04] %
s2t04. Strange Man 6:58 [0:04] % [0:03]
s2t05. [0:14] Ride Mighty High :15-8:30 (xx)

! ACT1: Jerry Garcia Band #3
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Keith Godchaux - piano, vocals;
! lineup: John Kahn - el-b;
! lineup: Ron Tutt - drums, vocals;
! lineup: Donna Godchaux - vocals;
! guest: Maria Muldaur - vocals (s2t05 only).

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [m:ss] = 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 [m:ss] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19760816-02

! db: https://etreedb.org/shn/13041 (this fileset)

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html;

! venue: URL http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html; URL http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html.

! band: JGB #3 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! ad: SFSECDB19760808p39; SFSECDB19760815p43

! listing: SFSECDB19760815p07

! notes: JGB played Keystone Berkeley Wed 8/11, Mon 8/16 and Sat-Sun 8/21-22 - four shows in ten days, three of them on somewhat atypical nights. He was also at Elliot Mazer's studio working, I guess, on JGB tunes to sell to Arista, including "Ride Mighty High". Very long first set here.

! personnel: Maria Muldaur comes in and adds some "ride mighty high"s to the mix in the 6-minute range. As of 8/22/2020, this is her earliest known JGB sit-in, next one coming 9/12/76.

! R: SBD R/? > CDR > shn; shn2flac jgmf 8/2020.

! R: hissy, running fast, with lots and lots of warble, especially in KOHD, TWYDTTYD, & MITR (especially, especially the last one.

! R: I have flac files dated 10/17/2010, but don't have the original shns. So this was labeled as a .shnf folder, but I am changing it to a .shn2flac.

! P: s1t02 AM In the cassette days I had a tape of 7/9/76, I think, or maybe it was this show or 7/8/76, and I just love the AMs of this era. The vibe is just right, the way Donna adds her "what it is all about" refrain just smites me.

! R: s1t04 Mid Moon cut in Midnight Moonlight at 1:09

! P: s1t06 KOHD this version violates my red-line rule, first articulated in connection with 3/12/76, that "any version of ‘Knockin’ On Heaven’s Door’ exceeding 17 minutes in length is too long". And Jesus to Gabriel, pace Paul McCartney and Wings: "Do me a favor - open the door and let 'em in."

! s1t07 (1) JG: "We're gonna take a break for a little while. We'll be back a little bit later on."

! R: s2t01 MITR cuts in

! s2t01 at the wind-down of MITR, it sure sounds like Keith is noodling around with the chords of "Positively 4th Street", but maybe I am hearing things.

! P: s2t04 ASM very slow and gentle to start, but Donna really oversings as it develops.

! P: s2t05 RMH huge grand finish

! s2t05 (2) JG: "thanks a lot. We'll see y'all later on."

Studio Sessions at Jerrybase

We have pushed a lot of new studio sessions (a subset of "private" musical activities" which also include rehearsals, private events, etc.) to Jerrybase. They appear in blue in your search results.

There is lots of info here that you didn't know. For example, take a look at 1978, and see a few jazz standards you may not have known were played in this period by Keith, Jerry and John in their little "hot jazz" combo thing. I am super proud of having gathered up this information, which sheds new light. It's dramatically incomplete, it mostly covers the 1970s, but most of it has not been systematically documented until now.

Thanks to the amazing m0thra for his generous time and programming skills in getting this stuff presented!

I don't do a lot of Weir talk

But man, I do love this guy. We are such fortunate fans to have such smart and literate artists in our lives!

Quote from a recent interview about his songwriting, which I recommend. One bigger point, one smaller point.

I take the dream seriously. That’s all I can say. They’re very real. It’s not just brain chatter. There’s chatter involved in your daily thinking, that’s all. But you know how people say it’s just a dream, it’s just a dream. There is no such thing. Dreams are every bit as real as any other part of your body. 

Getting in touch with that, being in touch with that dream world, is a lifelong pursuit. As you’re younger, you can train yourself to get better at it as you get older. Not just for art, but for any sort of endeavor. There’s a lot that dreams can tell you.

Smaller point: He drew inspiration from Of Mice and Men in writing Jack Straw. Maybe you all knew that, but I did not.

Jerrybase Is Live!

https://www.jerrybase.com/

m0thra and I have been working hard for several weeks to bring together Jerrybase.

Check it out. Visit the About page for email addresses to which to send feature requests, bug reports, data issues, etc. We have lots more planned, but this is the beginning.

Thanks especially to the faithful readers, commenters, collaborators, and associated freaks and weirdos for all of your help.

Kenny Kosek

Has anyone ever pinned down the dates on which Kenny Kosek performed with JGAB on Broadway? I know he came out west for the Warfield and Wiltern gigs, but I have never pinned down when he was and was not present at the Lunt-Fontanne.

Updated Bibliography

I have updated the JGMF Bibliography. It lives at the top-right of the blog, under JGMF Essentials.

Quicky: I think Reconstruction 6/13/79 at the River Theater in Guerneville should be dated 6/23/79

update: I am now 100% certain that the correct date for this material is 6/23/79

The tape we have of the titular show comes from Alan Bershaw. Turns out he didn't tape it, but circulating versions come from his copy. This is a 2nd copy, lineaged as follows: Nak 550 w/CP3 caps > MAC > Nak 582 playback > 7.5 ips reel > Alan's reel.

Alan Bershaw's reel of "6/13/79" - thanks, Alan!

I am the last thing from a gear head, but the Nak 550 is the deck, but the CP3 caps would go with the mics, which remain unidentified. I also don't know the speed at which Alan's reel was recorded.

Anyway, let's first establish that, even with such good provenance, a '2' can become a '1' via careless manuscripting/transcription, and so it's not crazy to think that 6/23 could become 6/13.

Second, doggy no barkie. There is no other evidence for Reconstruction at the River on 6/13/79 (a Wednesday).

Third, there is evidence from the Santa Rosa paper that the theater was showing movies that night (King of the Gypsies at 7:30 and Hurricane at 9:30, for the curious).

• ! Ad: [contra] Santa Rosa Press Democrat, June 13, 1979, p. 11B

Fourth, the 6/23/79 Reconstruction got lots of play in the papers.

• preview: "Reconstruction Rocks at the River," Argus-Courier (Petaluma, CA), June 22, 1979, p. 3B
• listing: Argus-Courier (Petaluma, CA), June 22, 1979, p. 5B
• ad: Press-Democrat (Santa Rosa, CA), June 22, 1979, p. 10B

The preview notes that "Saturday’s concert is expected to be one of the last Sonoma County appearances for the group, as Garcia will soon be going into the recording studio to begin working on a new Grateful Dead album".

There was also a handbill:

If Reconstruction was such a big deal, why wouldn't a show ten days earlier have gotten similar sizzle?

Fourth - and I could have started with this, because it's QED from here, IMO - among the relatively undocumented detritus of the Betty Boards was this lil ol cassette:

soundboard cassette tape of Reconstruction 6/23/79 at the River Theater, "set #2". Scan courtesy of ABCD.

As it happens, a little birdie has told me that the material on this cassette is identical to material circulating from Alan's tape. Even the temporal assignment lines up: Alan's tape is primarily of the late show, and this tape says "2nd set". Not exactly the same wording, but it's pretty clear there were early and late shows this night.

update: again, this is now settled. The material is 6/23/79. There was almost certainly no Reconstruction gig on 6/13/79.

They Really Are a Scree-um: Legion of Mary at Keystone, Thursday, May 22, 1975

LN jg1975-05-22.lom.all.aud-menke-falanga-motb-0044.87156.flac2496

I just revisited 5/21/75, and it left me a little bit ... whelmed.

By contrast, at some point between downloading the files in 2011 and today, I listened to and noted the next night, and I *loved* it.

The Bob Menke - Louis Falanga aud belongs in the freaking Smithsonian. This stands as one of the finest audience recordings in the Garcia canon, and there are a lot. Gorgeous. The vocals are very low, so it is "flawed" from the perspective of releasability. But the instrumentation is finely captured, Jerry's guitar far forward and everything else nicely balanced. Reportedly, on this night they actually placed the mics on stage near Jerry's feet, with one pointed into Jerry's stage monitor and the other pointed to the rest of the band, Bob and Louis on the rail at center stage. If you want to hear Jerry Garcia's guitar playing ca. May 22, 1975, check this out.

Song highlights for me were "Little Sunflower" and, especially, "He Ain't Give You None". Garcia once described having this fantasy of being a Mission Street blues guy. It's not clear how much such a creature ever really existed, but we know exactly what he looks like (and he looks different to each of us). We also know what he sounds like: listening to Garcia play HAGYN, I am put in mind of just a smoky little R&B bar. This is Keystone --certainly smoky, and funky in its own way-- but Jerry is just so drenched in this vibe, I'm almost surprised he's not seated and doing the B.B. King thing. "Boogie On Reggae Woman" is hot: the way Merl just jumps onto this, and everyone falls into line, is just wonderful. Merl is ready to boogie, ladies and gentlemen.

It looks like TPTB have released four tracks from this night from Betty's tapes, though none of the tunes that especially lit me up. The Garcia Vault seems to hold reels 1-3 and 5-7, and I now see that the Betty Board material in circulation is not really "snippets", as labeled, but is reel #4. So it seems likely that the whole show exists as Betty tape, if only the 6+1 pieces could be brought together.

Legion of Mary
Keystone
2119 University Avenue
Berkeley, CA 94704
May 22, 1975 (Thursday)
Menke-Falanga MAC MOTB 0044 flac 2496 shnid-87156

--set I (6 tracks, 69:32)--
s1t01. [0:04] Tore Up Over You [11:42] [0:29]
s1t02. Little Sunflower [16:23] [0:19] %
s1t03. tuning and crowd ]0:50] % [0:19]
s1t04. I Feel Like Dynamite [12:12] [0:16] % [0:05]
s1t05. [0:14] % [0:26] Every Word You Say [10:49][0:24]
s1t06. % [0:44] Mystery Train [14:02] (1) [0:13]

--set II (5 tracks, 72:55)--
s2t01. /He Ain't Give You None [12:27] [0:16] % [0:22]
s2t02. [0:11] Boogie On Reggae Woman [14:33] [0:17] % [0:02]
s2t03. % When I Die [11:50] [0:09] % [0:05]
s2t04. [0:48] Going, Going, Gone [18:52] [0:30] % [0:09]
s2t05. (I'm A) Road Runner [12:05] (2) [0:18]

! ACT1: Legion Of Mary:
! lineup: Jerry Garcia - guitar, vocals;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: John Kahn - bass;
! lineup: Martin Fierro - saxophone, flute;
! 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.

! Jerrybase: https://jerrybase.com/events/19750522-01

! JGC: https://jerrygarcia.com/show/1975-05-22

! db: http://etreedb.org/shn/89046 ("Betty Cantor snippets"); http://etreedb.org/shn/87091 (this recording, flac1644); http://etreedb.org/shn/87156 (this fileset, flac2496).

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html

! venue: URL http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html

! venue: URL http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html

! official: Legion of Mary, vol. 1  (Rhino, R2 74692, 2005) (d1t04-When I Die [mislabeled "Since I Lost My Baby"]; d1t05-Tore Up Over You) - URL http://www.deaddisc.com/disc/Jerry_Garcia_Collection_1_Legion_Of_Mary.htm

! official: Legion of Mary, Absolute Mary (t02-Every Word You Say) - URL http://www.deaddisc.com/disc/Absolute_Mary.htm

! official: Jerry Garcia - Garcia Plays Dylan Again (t03-Going, Going, Gone) - URL http://www. deaddisc.com/disc/Garcia_Plays_Dylan.htm

! listing: "Country Joe McDonald Back In Area," Independent-Journal [San Rafael, CA], May 16, 1975, p. 21

! mention: San Francisco Examiner, May 16, 1975, p. 39.

! R: MOTB Release: 0044 24bit/96Khz

! R: Release Date: 09/09/2007

! R: field recordists: Bob Menke and Louis Falanga

! R: field recording gear: Sony ECM-270 and ECM-250 [Positioned Onstage] > Sony TC-152 > MAC

! R: field recording media: Maxell UD90

! R: Transfer: MAC > Nak Dragon > LynxTWO Model B > WaveLab 5.0 > HD 24/96 WAV

! R: Transfer: Bob Menke

! R: Mastering: Jamie Waddell

! R: This is one of the finest audience recordings in the Garcia canon, and there are a lot. Gorgeous. The vocals are very low, so it is "flawed" from the perspective of releasability. But the instrumentation is finely captured, Jerry's guitar far forward and everything else nicely balanced. Reportedly, on this night they actually placed the mics on stage near Jerry's feet, with one pointed into Jerry's stage monitor and the other pointed to the rest of the band, Bob and Louis seated at the front table right there on the rail at center stage. If you want to hear Jerry Garcia's guitar playing ca. May 22, 1975, check this out :).

! P: s1t02 Little Sunflower is simply wonderful.

! P: s1t03 Addams Family tuning by Jerry @ start.

! s1t06 (1) JG: "We're gonna take a break for a little while, we'll be back a little bit later on."

! R: s2t01 HAGYN clips in

! R: s2t01 HAGYN, listen to fingers on steel strings around 6 seconds in.

! P: s2t01 Garcia once described having this fantasy of being a Mission Street blues guy. It's not clear how much such a creature ever really existed, but we know exactly what he looks like (and he looks different to each of us). Anyway, listening to Garcia play HAGYN, I am put in mind of just a smoky little R&B bar. This is Keystone --certainly smoky, and funky in its own way-- but Jerry is just so drenched in this vibe, I'm almost surprised he's not seated and doing the B.B. King thing.

! P: s2t02 BORW: Man, the way Merl just jumps onto this, and everyone falls into line, is just wonderful. Merl is ready to boogie, ladies and gentlemen.

! song: "When I Die" (s2t03): This is an instrumental rendition of the title track from an album that Motherlode released in 1969 on the Kama Sutra label. Written by band members William "Smitty" Smith and Steve Kennedy, it was a hit single and spent some time in the Top 20.

! P: s2t03 WID is a novelty, but it doesn't really go anywhere special.

! P: s2t04 @ 0:32 JG strums GGG, the song could be tracked to start here. This song is where this recording (and its cousins similarly taped) is so precious. You can hear Garcia's guitar so clearly, and the vibe is just so resonant. The performance doesn't knock me out on this listen, but maybe I am just not in the patient, contemplative mood required to really get it. It's very, very good.

! s2t05 (2) JG: "So long."

! R: Special Note: These are recordings done by Bob Menke and Louis Falanga at the Berkeley Keystone, made in May and June of 1975, that MOTB will be turning out, the subsequent Grateful Dead and related recordings are dedicated to Bob Menke's mom, Connie, who is suffering from pancreatic cancer. As you listen to what are certainly the most unique - if possibly not some of the best - audience recordings of Jerry Garcia in his prime, please send out healing vibes and prayers to Connie any way you see fit. We are all pulling for her, so please keep her in your hearts and prayers. The MOTB Team.

Take the Road Before Us and Sing a Chorus or Two: Legion of Mary at Keystone, May 21, 1975

jg1975-05-21.lom.all.mtx-tobin-motb-0050.87219.flac1644

I recently gave 6/16/82 a listen to evaluate whether it merited its lofty reputation, or whether it might be exhibiting a case of the Cornells. I decided it was as good as its reputation.

Staying with that démarche, a week ago I spun 5/21/75, Legion of Mary at the Keystone, which has long circulated from low-gen soundboard reels the provenance of which I do not know. (These are not "Betty Boards".) I have been moving through the world for the last week with the feeling that this one, too, deserved the esteem in which it is held. But now, looking back at my notes, I can't really see the basis for that feeling. I spun a lovely matrix done by Matt Vernon of the soundboard tape (MSR > 1R) and the killer Menke-Falanga aud under the auspices of the Mouth of the Beast (MOTB) project. The tapes are awesome, the music comes through, the room is very present even on $10 ca. 2005 computer speakers, and one can hear the band relaxed, tuning, chatting, etc.

Figure xxx. Extract from contract, dated 5/19/75, for Legion of Mary engagement at Keystone Berkeley, May 21-22, 1975.

I only really noted one musical highlight in Garcia's work on "You Can Leave Your Hat On". He finds some chukka-chukkas that put me a little in mind of the Dead's "Caution", and It Is Good. I found two sort of problematic parts. First, "Finders Keepers" just didn't survive the transition to 1975 intact. It dragged in all of the Legion versions that come to mind, and it just sounds like the band lost interest in it, whereas a year earlier it crackled. Second, "Harder They Come" is done here more slowly than any other version I can recall, and not to good effect (IMO, YMMV). It lacks urgency.

So, where does that leave me? Sounds great. Certainly provides a great listen. But it didn't destroy me. So, I'd say the esteem in which it is held surpasses the esteem it deserves. Still lovely 1975 Jerry, just not the crème de la crème.

Oh yeah, the post title arises because, for reasons that aren't clear to me --maybe it was snowing in May in Berkeley, wink-wink?-- Jerry noodles "Sleigh Ride" at the start of set II.

Legion of Mary
Keystone
2119 University Avenue
Berkeley, CA 94704
May 21, 1975 (Wednesday)
MTX MOTB-0050 shnid-87219

--set I (6 tracks, 74:14)--
s1t01. That's A Touch I Like [10:12] (1) [2:22]
s1t02. I Feel Like Dynamite [12:29] (2)
s1t03. Last Train From Poor Valley [10:57] [0:14] % dead air [0:06] % [0:27]
s1t04. Finders Keepers [12:30] [0:48]
s1t05. Tough Mama [8:05] [1:41]
s1t06. That's What Love Will Make You Do [12:00] (3)

--set II (6 tracks, 81:11)--
s2t01. (4) [0:23] I'll Take A Melody [9:09] [0:54]
s2t02. You Can Leave Your Hat On [15:52] [1:17]
s2t03. Mississippi Moon [8:38] [0:53]
d3t01. Harder They Come [20:32] [1:04]
d3t02. Creepin' [13:36] [0:28]
d3t03. How Sweet It Is (To Be Loved By You) [8:12] (5) [0:12]

! ACT1: Legion of Mary
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: John Kahn - el-b;
! lineup: Martin Fierro - saxophone, flute (s2t03);
! lineup: Ron Tutt - drums.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [mm:ss] = 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.

! Jerrybase: https://jerrybase.com/events/19750521-01

! JGC: https://jerrygarcia.com/show/1975-05-21

! db: https://etreedb.org/shn/4478 (sbd shnf); https://etreedb.org/shn/4479 (sbd shnf); https://etreedb.org/shn/87086 (Menke-Falanga MOTB0043 flac1644); https://etreedb.org/shn/87133 (Menke-Falanga MOTB0043 flac2496); https://etreedb.org/shn/87149 (sbd pitch-patch); https://etreedb.org/shn/87219 (this fileset); https://etreedb.org/shn/87526 (MOTB0050 DTS5.1); https://etreedb.org/shn/87573 (DVD-A); https://etreedb.org/shn/138651 (sbd); https://etreedb.org/shn/141905 (sbd).

! map: https://goo.gl/maps/LDc43

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/02/keystone-2119-university-avenue.html

! venue: URL http://lostlivedead.blogspot.com/2010/12/2119-university-avenue-berkeley-ca.html

! venue: URL http://lostlivedead.blogspot.com/2011/01/jerry-garcia-and-keystone-shows.html

! official: More of the Best [3 track bonus CD that was distributed with pre-ordered copies of  The Very Best Of Jerry Garcia] (Rhino, 2006) (t01-TWLWMYD)

! ref: URL http://www. deaddisc.com/disc/More_Of_The_Best.htm

! listing: "Country Joe McDonald Back In Area," Indepdent-Journal [San Rafael, CA], May 16, 1975, p. 21

! mention: San Francisco Examiner, May 16, 1975, p. 39

! R: MOTB Release: 0050 16bit/44.1Khz; Release Date: 09/12/2007

! R: Matrix of 2 sources; 1--Lineage: SBD > 15ips reel > 15ips reel > DAT; Transfer 1: DAT > Sony R500 > Genesis Digital Lens > Fostex CR200 > CD; transfer 2: CD > EAC > WAV > SHN. 2--Audience FOB Recording; Media: Maxell UD90; Lineage: Sony ECM-270 and ECM-250 Blended [Positioned Onstage] > Sony TC-152 > MAC; Transfer: MAC > Nak Dragon > LynxTWO Model B > WaveLab 5.0 > HD 24/96 WAV; Taper: Bob Menke and Louis Falanga; Transfer: Bob Menke, Mastering: Jamie Waddell. Matrix Mastering: Kevin Tobin

! R: match and patch notes: I matched the speed of this recording to the MAC - it was slightly faster overall (about 1/2 a second per minute) and more consistent than the sbd recording. Audio Patches: 1) Between The Touch I Like I Like and I Feel Like Dynamite, 48.033 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 2) Aprox 4 minutes into I Feel Like Dynamite, 19.564 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 3) Between I Feel Like Dynamite and Last Train From Poor Valley, 27.500 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 4) Between I Feel Like Dynamite and Last Train From Poor Valley, another 35.900 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. Note: This includes the first few notes of Last Train From Poor Valley. 5) Aprox 7 minutes into Last Train From Poor Vallery, 21.273 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 6) Between Last Train From Poor Valley and Finders Keepers, 33.900 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 7) Between Finders Keepers and Tough Mama, 12.007 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 8) Aprox 7 minutes into That's What Love Will Make You Do, 36.803 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 9) At the end of That's What Love Will Make You Do, 11.116 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 10) Before I'll Take A Melody, 17.000 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 11) Between I'll Take A Melody and You Can Leave Your Hat On, 21.423 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 12) Aprox 4 minutes into You Can Leave Your Hat On, 22.372 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 13) Between You Can Leave Your Hat On and Mississippi Moon, 18.883 seconds were missing from the Audience recording and were filled in from the Soundboard recording. Missing audio was normalized to fit better. 14) Aprox 4 minutes into Mississippi Moon, 24.773 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 15) Between Mississippi Moon and Harder They Come, 16.966 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 16) Between Mississippi Moon and Harder They Come, another 1.593 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 17) Aprox 8 minutes into Harder They Come, 02.139 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 18) Aprox 11 minutes into Harder They Come, 20.807 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 19) Between Harder They Come and Creepin', 18.339 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 20) Aprox 4 minutes into Creepin', 22.035 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 21) Between Creepin' and How Sweet It Is (To Be Loved By You), 15.893 seconds were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better. 22) Aprox 3 minutes into How Sweet It Is (To Be Loved By You), 5 minutes and 36.666 were missing from the Soundboard recording and were filled in from the Audience recording. Missing audio was normalized to fit better.

! s1t01 (1) Several members of the band repeat Merl's request to have his vocal mic turned on.

! P: s1t02 IFLD "you might not agree with me .. betcha" repeatedly (4x) 11:20-11:40, then he messes up the feelin' hittin' him, back on track 11:48.

! s1t02 (2) Martin: "Hey, could you send some water up here?"

! P: s1t04 FK lost some zip as it aged - the 1974 versions bring tons more pop than the Legion ones do. This might be just about the last version?

! s1t06 (3) JG: "Thank you. We're gonna take a break for a little while. We'll be back a little bit later. Thank you."

! s2t01 (4) Garcia is noodling "Sleigh Ride" and someone, maybe John, says "Merry Christmas."

! P: s2t02 YCLYHO Garcia proliferates the notes in 9, and it is good. Around 12:40 and forward, he puts out some "Caution" style chukka-chukka, and it, too, is good.

! P: s2t04 HTC starts off normally paced, then drops into a very slow iteration, the slowest I can recall.

! s2t06 (5) JG: "Thanks a lot. We'll see y'all later on."

Music Mountain Is All That

Sometimes the conventional wisdom has it right, and the high esteem in which folks hold the Jerry Garcia Band show from June 16, 1982 at Music Mountain in South Fallsburg, NY illustrates the point. I heard it a few times way back when, and really liked it. Then I revisited it a few days ago for the first time in at least ten years, and I really liked it. It brings great energy. Everything pops. Valerie is young and grungy, inducing her man to shoot his dog just for barking! The "Don't Let Go" is incredible, Garcia just overflowing with ideas. There is a board tape of the first set, but if a complete master sbd tape existed this should be a no-brainer for release. I may not love it as much as I love 5/31/83, but one reasonably could.

Bobby and the Midnites shared the bill, and played second. Lucky for JGB, because apparently it rained cats and dogs during the Midnites set. People had a good time. A number of great-sounding tapes made it out of the venue, but I don't think the Cornell Effect drives the love for this show. Instead, it's just really good.

Which is pretty remarkable, because according to Andy Leonard, who had worked for the Dead, Our Hero wasn't looking so good:

I had never seen a human being that color before in my life. He was the wrong color. I thought he was going to die onstage. It scared the crap out of me (Browne 2015, 296).

These kinds of contrasts happen all the time in the Garciaverse. I have just come to accept that there is no one-to-one relationship between Garcia's health and how he performed on any given night.

On this listen, I spun the John Steinthal tape, put out by the Mouth of the Beast (MOTB) crew via the legendary Barry Glassberg's first gen reel. Nice tape, excellent show.

Oh yeah, one more thing: what an odd tour, really two tours in one. Things began on this night, after three hometown warmup gigs on June 10-11-12. JGB would do 8 shows in 9 nights, though they'd lose Liz Stires before the tour was over. Then, the Garcia-Kahn acoustic duet would take over the back end, for 11 gigs in 8 nights. Jerry must have made a pile of money on this two part electric-acoustic tour!

The three electric shows for which I have data (from Billboard), the first three of the tour, show gross of over a quarter million dollars.

The acoustic shows made less: we have data for five, grossing another $123k (with only two performers drawing pay). So we're talking over $400,000 and maybe a half mil for the jaunt, which would have had Jerry away from his hidey-hole on Hepburn Heights for less than three week. At those rates, Chief Smokin' Moccasin (Scully 1996/2001, 359) could afford plenty of new slippers.

Jerry Garcia Band

Music Mountain

South Fallsburg, NY 12789

June 16, 1982 (Wednesday) - 7 PM

Steinthal MAC > 1R MOTB-0057 flac1644 shnid-88972

--set I (6 tracks, 55:02)--

s1t01. How Sweet It Is (To Be Loved By You) [8:56] [0:02] % [0:05]

s1t02. Catfish John [12:57] % [0:04] %

s1t03. That's What Love Will Make You Do [11:09] % [0:04] %

s1t04. Valerie [6:57] ->

s1t05. Let It Rock [7:35] ->

s1t06. Deal [7:06] (1) [0:08]

--set II (5 tracks, 54:33)--

s2t01. (I'm A) Road Runner [8:41] % [0:04] %

s2t02. [0:32] Love In The Afternoon [12:44] % [0:03] 

s2t03. Don't Let Go [19:27] [0:02] %

s2t04. /The Night They Drove Old Dixie Down [#7:48] ->

s2t05. Run For The Roses [5:04] [0:08]

! ACT1: Jerry Garcia Band #14a

! lineup: Jerry Garcia - guitar, vocals;

! lineup: John Kahn - bass;

! lineup: Melvin Seals - keyboards;

! lineup: Jimmy Warren - keyboards;

! lineup: Bill Kreutzmann - drums;

! lineup: Julie Stafford - backing vocals;

! lineup: Liz Stires - backing vocals.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [m:ss] = 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 [m:ss] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19820616-01

! JGC: https://jerrygarcia.com/show/1982-06-16

! db: https://etreedb.org/shn/4422 (Senn 441 shnf); https://etreedb.org/shn/6659 (Silberman Senn 441 shnf); https://etreedb.org/shn/12513 (Eaton-Wise Senn 421/PZM blend shnf); https://etreedb.org/shn/19278 (Holvey AT815a shnf); https://etreedb.org/shn/33417 (Eaton-Wise Senn 421/PZM blend flac); https://etreedb.org/shn/88972 (this source, flac16); https://etreedb.org/shn/89042 (s1 sbd); https://etreedb.org/shn/89194 (s1 mtx); https://etreedb.org/shn/89198 (s1 DTS 5.1); https://etreedb.org/shn/89657 (this fileset); https://etreedb.org/shn/120086 (Dyche Nak 300).

! map: https://goo.gl/maps/PEnSRZgBLKz

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/10/music-mountain-south-fallsburg-ny.html

! band: JGB #14a/14c: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html

! ref: Billboard, July 3, 1982, p. 39. The show did not sell out! The venue held 10k, but this drew 7,863 paying customers for gross of $79,458.

! ref: "The Dead Come Alive: Bob Minkin's Live Photos of the Grateful Dead," URL http://www.rollingstone.com/music/pictures/the-dead-come-alive-bob-minkins-live-photos-of-the-grateful-dead-20141103/music-mountain-south-fallsburg-new-york-june-1982-20141103;

! seealso: JGMF, "A JGB drum solo by Bill Kreutzmann - Cape Cod Coliseum, June 18, 1982," URL http://jgmf.blogspot.com/2017/07/a-jgb-drum-solo-by-bill-kreutzmann-cape.html.

! seealso: JGMF, "Long Ago and Far Away: JGB at Cumberland County Civic Center, Portland, ME, June 20, 1982," URL https://jgmf.blogspot.com/2019/08/long-ago-and-far-away-jgb-at-cumberland.html.

! historical: Bobby and the Midnites also billed, Garcia Band went first. Apparently it rained mightily during Bob's set. Andy Leonard, former GD employee, says Garcia looked horrible: "I had never seen a human being that color before in my life. He was the wrong color. I thought he was going to die onstage. It scared the crap out of me" (Browne 2015, 296). Despite that, this is widely viewed as one of the great Garcia Band shows. and spinning it now (May 2020) after not having heard it in probably ten years, it holds up extremely well. It just packs tons of clear energy, not too grungy/down-and-dirty yet, still some youthful sweetness to Garcia's voice (though that'd be gone before long, and is already on its way out here in Dixie Down), the band very tight. After three hometown warmup gigs on June 10-11-12, here they start an east coast jaunt, 8 shows in 9 nights before the Garcia-Kahn acoustic duet would take over the back end, for 11 gigs in 8 nights. Man, Jerry must have made a pile of money on this two part electric-acoustic tour! The three electric shows for which I have data (from Billboard), the first three of the tour, show gross of over a quarter million dollars. The acoustic shows made less: we have data for five, grossing another $123k (with only two performers drawing pay).

! R: field recordist: John Steinthal

! R: field recording gear: 2x Nakamichi CM-300 > Sony TC-D5M > MAC (Maxell XLIIS-90)

! R: lineage: Sony TC-D5M (??) playback > TEAC AN-300 (Dolby encode) > Technics RS-1506US (Maxell UD 35-90 @ 3.75ips) > Technics RS-1506 > TEAC AN-300 (Dolby decode) > Grace Design Lunatec V3 (pre-only0 > Korg MR-1000 > DSF (1-bit 5.6448 MHz Stereo) > Korg MR-1000 > Korg AudioGate > WAV (24/96).

! R: MOTB Release Date: 2007-12-07

! R: people notes: R1 supplied By: Barry Glassberg; Transfer By: A. Egert; Mastering By: J. Waddell

! R: Mastering Notes -- Edited, mastered and downsampled to 16/44.1 on the GEMS Edit Station. -- Tape was paused between several songs. -- s2t0{3,4} - Tape pause between "Don't Let Go" and "The Night They Drove Old Dixie Down" cross-faded. 

! R: seeder notes: -- No music is lost due to the numerous tape pauses; however, the lead in is very short on a number of them. -- s1t01 - Output levels are very unstable during the opening of "How Sweet It Is"; taper is able to quickly adjust to optimum levels. -- s2t0{3,4} - Cross-fading of the tape pause - between "Don't Let Go" and "The Night They Drove Old Dixie Down" - may give the impression of a direct transition between the songs. The cross-fade was applied for aesthetics, as the tape pause was very abrupt, and there was actually a musical break.

! R: overall: Steinthal was a great taper, and this is a nice tape. Everything is forward out of the gate except the bass.

! P: s1t01 HSII he flubs the second verse, starting again with "needed the shelter"

! P: s1t03 TWLWMYD 5:30 ish Garcia is just hitting some great notes, very high up the fretboard as 6 approaches, crystalline playing, crowd appreciative. Jimmy takes a lead early 6.

! P: s1t04 Valerie lyrical flub again around 1:40, and this time the protagonist shoots his dog for merely *barking* at our anti-heroine. Very nice guitar work 3:44 ish, before and some after, featuring unexpected jumps between notes, skipping some, not splitting stuff evenly but taking a more diverse approach.

! s1t06 (1) JG: "Thanks. We're gonna take a break for a few minutes. We'll be back a little bit later."

! P: s2t02 LITA what I really hear is how he is varying the phrase lengths and note intervals. Man, this is highly articulate playing.

! P: s2t03 DLG is truly top shelf Jerry. Billy steps forward 10:20ff, and it becomes a true solo from about 10:35-11:20 or so. Then John steps back in and we have a drum-bass duet. Jerry returns 12:41 with a beautiful, confident, melodious piece.

! R: s2t04 TNTDODD clips in

In the meantime ...

... have videos of Deadhead TV ever made it into the 21st century? I don't think I ever caught an episode, but I have always kind of wondered if anything interesting came up.

listening notes backlog

I have a bunch of info files from stuff I have listened to, but generally without much to say. Will probably post a bunch of stuff. Or not.

Jerry Garcia Hand Print Face Mask?

Anyone heard of any craftsy, enterprising Deadheads making Covid-era face masks with Garcia's hand print? If so, please let me know, as I am in the market for one.

Twin Wonder Powers, Activate? JGMS, October 11-12, 1973 at Keystone Berkeley

Tape Archaeology

What used to be known by some of us as the Third Batch of Betty Cantor-Jackson tapes proved the most grudging of all the batches in terms of finding broad circulation. This especially vexed Garcia freaks, because it contained a number of drool-inspiring Garcia-Saunders sets. You might imagine where the mind would go, seeing entries like these in 1996, a world in which very few had heard any Garcia-Saunders shows that had happened between July 1973 and January 1974:

JGMS 10/11/73 notes from Rob Eaton's mid-1990s work on the Third Batch of Betty Boards

JGMS 10/12/73 notes from Rob Eaton's mid-1990s work on the Third Batch of Betty Boards

Purchased in a storage auction in May 1986 along with the rest of the Betties, but lost to broader reckoning for around a decade before they became available to Rob Eaton for preservation in 1995-1996, some of these tapes still do not circulate. Fall '73 Garcia-Saunders tapes came into the world relatively late: the Winterland Legal Aid Benefit from 10/2/73 (etreedb | JGMF) in 2007 via Alligator, 11/3/73 (etreedb | JGMF) on NYE 2012-2013, and these October 11-12 shows only in 2016, almost twenty years after they were first digitized. Remarkably enough, all of these tapes are now home where they belong, having been gathered together by the ABCD crew and returned to their owners at no profit (in the case of the GD tapes) and at no cost (in the case of the Jerry stuff) - that is, effectively, pro bono. Will Wonders never cease?

Stevie Wonder in the Garciaverse

Speaking of which, let me use the occasion of twin Stevie Wonder tunes on October 11, 1973 to pin down Garcia's engagements with that legend's compositions, all of which occurred in the company of Merl Saunders. Alphabetically, I identify the following, all of which except "Reggae Woman" were done as instrumentals in the Garciaverse.

"Another Star" (Allan | deaddisc | wikipedia)
A hotty from 1976's double-sized Songs in the Key of Life, Garcia played it, hotly, with Reconstruction throughout that band's eight-month run in 1979.

"Boogie On Reggae Woman" (Allan | deaddisc | wikipedia)
From Fulfillingness’ First Finale (1974), Merl sang this one very effectively starting on 11/2/74, on current reckoning (with Paul Humphrey drumming), appearing regularly until the demise of the Legion of Mary in summer 1975.

"Creepin'" (Allan | deaddisc | wikipedia)
Also from FFF, this one never lit me up during its 1975 Garciaverse appearances.

"I Was Made To Love Her" (Allan | deaddisc | wikipedia)
This 1967 title track, by contrast, almost always lit me up. It seems to have been one of the first songs in the Garcia-Saunders repertoire, showing up in setlists as early as Fall 1971, but also, regrettably, left relatively early, not making it past 1973. Indeed, the version I discuss below seems to represent its last known appearance in a Garcia setlist.

"Love Having You Around"
Garcia played this one, the first track from Stevie's 1972 Music of my Mind, with Aunt Monk at a San Francisco bar called the Generosity on May 9, 1975. There is rumor of at least one other Garciaverse performance, but details remain hazy.

You Are The Sunshine Of My Life (Allan | wikipedia)

The second single released from Talking Book (Tamla T 319 L, October 27, 1972), this one reached the top of the charts and won Stevie a Grammy.

Of course, please let me know if I am missing anything!

As a final note, the 10/11 show here features two of these numbers, and it looks to me like, besides this night, Merl and Jer and others played two Stevie tunes three other times, on 2/14/75, 3/1/75 and 4/10/75a. Every one of those occasions paired "Creepin'" and "Boogie On Reggae Woman" (and Creepin' only appeared once w/o BORW, 5/21/75).

This night, by contrast, we get the final JGMS version of "I Was Made To Love Her", played more slowly than any other Garciaverse version, and the singleton "You Are The Sunshine Of My Life", given a pretty spare and off-feeling 15-minute treatment.

What does this mean? Hell if I know. I am just pattern-matching.

On To The Music

The October 11-12, 1973 Garcia-Saunders performances at the Keystone strike me as, respectively, lackluster and about average. The first night proves especially disappointing, because look at that setlist, but boy is it low energy.

JGMS 10/11/73 reel #2, scan provided courtesy of ABCD. The handwriting is Rex Jackson's, and the information is very typical for how he labeled the tapes, with personnel characteristically listed (Merle [sic], "Kawn" [a joke]), date, DOW, venue on the left, and, on the right, we have reel #, speed and recording info, including "Revox", indicating that this was made on Rex's deck rather than Betty's Nagra. Oh yeah, one final note: those are mold stains along the bottom of the box. The Third Batch of Betties spent a long time in some pretty horrifying conditions, and Eaton worked heroically to preserve them.

"I Was Made To Love Her" - one of the great, poppin' vehicles for this band, is played too slowly and never really gets going. It would be permanently shelved after this performance.

"When I Paint My Masterpiece" - not a favorite of mine, but it was rare and Dylan is always interesting. Not much of note happens here, quite subdued, and ol' Jer puts it on the shelf until 1/20/80.

"One Kind Favor" - one of my very favorites, the version from the Cap in Passaic a month earlier, in the band's first out-of-state show, absolutely slays me. This one, again, never reaches any kind of boil.

"You Are The Sunshine Of My Life" - John is totally on this, but Garcia doesn't really know how it goes, maybe not in the right key? This sounds kind of like piano lounge stuff.

Even the "Harder They Come" from the 11th holds lots of flubbing and falling apart.

An off night, I guess. Probably the dullest '73 Garcia-Saunders show in circulation, despite the sexy setlist. What are you gonna do?

The next night comes out with more juice and sounds stronger overall to my ears on this listen, but After Midnight quickly returns things to the languid pace of the previous evening. "Train To Cry", very much not a favorite of mine, has perhaps never been played more slowly by anyone, ever. "My Funny Valentine" sounds great to my ears, and Jerry really lets it melt for awhile - probably the highlight to my ears. But, overall, and of course IMO (YMMV), 10/12/73 pales in comparison to every other show in circulation from the year, except the night before. Two weeks later, on 11/3/73, the band sets my hair on fire. Here? Well, not so much. And, somehow, the first 40 minutes of reel #1 turn up blank. Hm. Every night can't be amazing, I guess.

All of that said, and perhaps especially because it doesn't knock me out, I am inexpressibly grateful to all involved in getting these recordings into our ears: Betty and Rex, RE, Alligator and the rest, and to ABCD for doing the right thing by these precious artifacts.

Listening notes below the fold.

Two Sax Attack? JGMS at the GAMH, February 5, 1974

LN jg1974-02-05.jgms.all.sbd-ladner.32088.flac1644

I won't elaborate much. I have always held early '74 Garcia-Saunders in rather low esteem, despite my early familiarity with, place-based affinity toward --I attended Campolindo High School, just down the road-- and resulting inordinate love for the 2/9/74 Rheem Theater show. I was prompted to check-in with 2/5/74 by valued commenter runonguinness's observation that there appears to be a second sax present in set II, and esteemed fellow blogger nick's engagement with the issue, raising the possibility that it's Martin doing his best Rahsaan Roland Kirk and playing two horns at once. I was rather gobsmacked at either notion, having produced an earlier lossless fileset many years back from the same Ed Perlstein board patch (shnid-11254), and apparently not having noticed the second saxophone appearing throughout set II. What else have I been missing? God only knows.

Anyway, as you will see from my listening notes below, my method was to try to track moments where the saxes appear to diverge, and I find a number of them. I have posted my basic conclusions as comment at deadthinking, and if you have thoughts or comments on the key question please consider posting them over there, so we don't fragment "the literature" too much. I just have to post my own notes when I have them, because that's how I roll.

I enjoyed the show, a Tuesday at the amazing GAMH, very much. It's LONG, and quite good. I hated the overwrought vocals on Road Runner here in early '74, but there's a lot of good stuff here, including some nice melty stuff at the end of My Funny Valentine.

Listening notes below the jump.

Updated post on dates of "9/1/74" material

http://jgmf.blogspot.com/2016/05/the-real-dates-of-september-1-1974.html

Have at it, but don't ask how I know, because I can't say.

"Garcia Sounds Pretty Wrecked" - JGB at the Stone, July 31, 1984

A rare Tuesday night outing finds the newly-formed JGB #21b sounding pretty typical for the period. Apparently the second set started after midnight, which meant it happened on Garcia's 42nd birthday, which the crowd apparently commemorated with a song of its own.

Not much to note. I noted generically that Garcia sounds pretty wrecked, noted lots of lyrical flubs, and noted some hotness in Rhapsody In Red, which should always have delivered at least that.

LN jg1984-07-31.jgb.all.sbd-misSHN.14429.shn2flac

Jerry Garcia Band

The Stone

412 Broadway

San Francisco, CA 94133

July 31, 1984 (Tuesday)

MSC shnid-14429 shn2flac

--set I (5 tracks, 47:26)--

s1t01. //I'll Take A Melody [#14:21] % [0:10]

s1t02. Get Out Of My Life Woman [7:46] % [0:03]

s1t03. Like A Road Leading Home [9:02] [0:11]

s1t04. Run For The Roses [5:12] [0:06

s1t05. Deal [10:#26] (1) [0:10]

--set II (5 tracks, 53:04)--

s2t01. [0:03] /Rhapsody In Red [12:57] [0:04] % [0:03]

s2t02. Russian Lullaby [14:12] ->

s2t03. Knockin' On Heaven's Door [11:45] [0:13]

s2t04. Gomorrah [6:02] ->

s2t05. Midnight Moonlight [7:40] (2) [0:05]

! ACT1: JGB #21b (THE Jerry Garcia Band)

! lineup: Jerry Garcia - guitar, vocals;

! lineup: John Kahn - bass;

! lineup: Melvin Seals - keyboards;

! lineup: David Kemper - drums;

! lineup: Jacklyn LaBranch - backing vocals;

! lineup: Gloria Jones - backing 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.

! Jerrybase: https://jerrybase.com/events/19840731-01

! JGC: http://jerrygarcia.com/show/1984-07-31

! db: https://etreedb.org/shn/14429 (this fileset); https://etreedb.org/shn/149282 (TB MAC).

! band: http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html

! map: https://goo.gl/maps/Vr6EBXU6KvA2

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/stone-mothers-412-broadway-san.html

! ad: SFSECDB-19840715p37

! seealso: JGMF, "Gloria Advenit! JGB at Keystone Palo Alto, Saturday, July 28, 1984".

! seealso: JGMF, "42" (re 8/1/84)

! historical: Jerry celebrated his birthday with a Tuesday (7/31) and Wednesday (8/1) run for Freddie Herrera and Bobby Corona at the Stone. wk recalls that "the second set to 7/31/84 didn't start until 12:30 a.m., so everyone sang Happy Birthday to Jerry when the curtain went up. Then again at the beginning of Set I on 8/1/84. Technically he played two shows on his 42nd birthday."

! R: Source:  SBD > CM > PCM > Cass > DAT > ZA2  > CDR > WAV > SHNv3 (as given to me).

! R: Comments: Master tape paused between tracks. Thanks to J.R. Wolk for the seeds. Another installment of the MissSHN in the Rain splinter faction of the music never stopped project ...

! P: Garcia sounds pretty wrecked.

! R: s1t01 ITAM cuts in

! P: s1t01 ITAM flubs very first vocals, then again halfway through first verse.

! P: s1t03 LARLH lyrics not well recalled

! R: s1t05 Deal dropout (tape flip?) at 09:44.

! s1t05 (1) JG: "Thanks a lot. We're gonna take a break for a little while. We'll be back a little bit later."

! R: s2t01 RIR clips in

! P: s2t01 RIR excellent. Late 8 things get especially grungy, and stay that way for awhile.

! P: s2t02 RL when the vocals return, Jerry sounds fatigued.

! P: s2t04 Gomorrah lots of lyrical flubs

! s2t05 (2) JG: "Thanks a lot. See y'all later."

The Auds Have It - JGB at Irvine Meadows, May 18, 1984

LN jg1984-05-18.jgb.all.fm-ladner.32156.flac1644
LN jg1984-05-18.jgb.all.aud-french.84138.flac1644

There is a famous story of President Abraham Lincoln, taking a vote in a cabinet meeting on whether to sign the Emancipation Proclamation. All his cabinet secretaries vote nay, whereupon Lincoln raises his right hand and declares: "The ayes have it!" (source)

Just had an interesting experience highlighting the variable reactions that different tapes can generate.

In trying to be methodical in dating the birth of the longest-running GOTS aggregation, JGB #21b, to July 10 28, 1984 with the arrival of Gloria Jones, I wanted to compare some sbd tape from that night with sbd tape from the mini SoCal jaunt of May 17-20, 1984. I did so using some choruses from "Cats Under The Stars" from Irvine on May 18, for which there is an oddly-lineaged "FM-sbd" tape which the great Chris Ladner put into circulation back in the days of the tol.etree.org FTP server, when he and I did business as "misSHN in the rain" an offshoot of The Music Never Stopped Project. I think I came up with the misSHN appellation, and quite proud of it I was, too - a relatively successful triple entendre --we were on a mission, shn was the prevailing file format, and "Mission In The Rain" was primarily a song from Garcia's side projects, which was our focus-- is not that easy to come by.

Anyway, I decided to listen to the rest of the show, because I love me some '84 JGB, including the next night (5/19) and a hot hometown show a week prior (5/12), which my third grade teacher, Don Dearth, had taped. I was also  partly inspired by a new-to-digital Doug Lamarre pull of 8/13/84, which I'd like to spin soon.

It left me surprisingly cold. Not believing my ears, I decided to return to the FANTASTIC audience pull made by Mike French (shnid-84138), his first solo taping effort before he and crew gained experience as the "Tapers From Hell". As I had remembered, the tape positively screams, coming at you 6' up (Mike's chin level), from 9th row center in the orchestra pit, and Garcia is a grungy monster. Anything I note about a performance leads with a P, and I said this:

It's amazing what an aud can do. The first P note, for example, involves the effect Garcia kicks in around 5:30 (track time) of CUTS. I hadn't even noticed it earlier in this day listening to the board. Now, I go back to the board tape to find the same piece, and it's really pretty flat on the board tape, none of the zing that this aud delivers. Night and day.

The P note in question now includes "Great guitar playing. Then about 5:25 he puts some huge hairy fuzz on it, crowd lit up ... Pretty filthy." Similarly, my listening self found nothing noteworthy in the FM-sbd version of "Catfish John", but said this about the aud version: "this is one of those really long CJs that makes you marvel at how much Garcia had to say around this song. Big wah on, real round and soft, then a little more glassine ...", etc. Totally different observations emerge from the tape. Same goes for RIR. The board tape version left me unmoved, while listening to the aud I noted "raging guitar playing over 8, crowd is duly appreciative. Filthy grungy fanning, crazy power."

Und so weiter. No "team of rivals" here. The auds have it. Second set was pretty short, three tunes, which I imagine must reflect a hard curfew behind the orange curtain. Listening notes below the fold.