Tuesday, March 23, 2021

In Case of Emergency, Break Glass: JGB at Keystone, March 22, 1984

 

LN jg1984-03-22.jgb.all.aud-corley.22191.shn2flac

Over the years, I thought that maybe February '82 was my least favorite JGB month, supplying a "warmish-dampish-Motel-6-towel feeling, without the hygiene", the drugs starting to really take their toll, not so much terrible as just vaguely gross.

Well, it has come to my attention that March 1984 is pretty bad, too. I lead my 3/4/84 listening notes with the title "A 35 Minute Second Set". True, the tape was tightly edited, and if DATs had been a thing the recording might have topped 40, maybe even approached the Minelli Line of 45. Well, here I am, having listened to Wednesday, March 22, 1984, and its set I, similarly tightly edited, checks in at 31 minutes and 17 seconds. As of this typing, only 9/16/84 set I comes to mind as a shorter, no-excuses electric set, at 30:54. (3/2/85 I nosed 3/22/84 out, at 31:08, but it had the excuse that the ladies apparently showed up late.) It is possible that some acoustic sets were shorter, e.g., 5/23/85 set I, but the circulating tape might be incomplete. In all of these cases, Garcia seems like he's trying to win his age bracket in the 10k.

Anyway, it would be one thing if these sets were hot, as at least one tape shows 3/2/85 I to be. But, to my ears, on this listen to this tape (a great Corley aud, the only one circulating for this date), it's just dull. When a server seems to drop a tray of glasses at 5:12 of Mid Moon, to me it feels far more like a metaphor for Garcia's health than the "orjersmic buildup" that my ol buddy neo_levo, Chris Ladner, heard in it. Your 6.1 miles may vary.

Jerry Garcia Band
Keystone
2119 University Avenue
Berkeley, CA 94704
March 22, 1984 (Wednesday)
Corley shnid-22191 shn2flac

--set I (4 tracks, 31:17)--
s1t01. [0:16] How Sweet It Is (To Be Loved By You) [6:51] % [0:02]
s1t02. They Love Each Other [6:47] % [0:18]
s1t03. Rhapsody In Red [8:42] [0:02] % [0:02]
s1t04. Deal [8:05] (1)

--set II (5 tracks, 40:19)--
s2t05. [0:27] I Second That Emotion/ [10:01#] % [0:04]
s2t06. Someday Baby [7:09] [0:02] %
s2t07. Run For The Roses [5:31] [0:10] % [0:21]
s2t08. Night They Drove Old Dixie Down [9:07] ->
s2t09. Midnight Moonlight [7:22] (2) [0:05]

! ACT1: Jerry Garcia Band #21a
! lineup: Jerry Garcia - guitar, vocals;
! lineup: John Kahn - bass;
! lineup: Melvin Seals - keyboards;
! lineup: Jacklyn LaBranch - backing vocals;
! lineup: DeeDee Dickerson - backing vocals;
! lineup: David Kemper - drums.

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: https://jerrybase.com/events/19840322-01

! db: https://etreedb.org/shn/22191 (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 #21a (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! seealso: JGMF, "A 35 Minute Second Set: JGB at The Stone, March 4, 1984"

! R: field recordist: John Corley

! R: field recording gear: 2x Nakamichi 700 > unknown cassette deck

! R: lineage: MAC > D > CD > DAE (EAC0.9b4, offset corrected, secure mode) > Soundforge 6.0 (+2.0 dB gain) > tracking (cdwav editor) > sector boundaries confirmed (shntool) > SHN(mkwact). D > shn via C. Ladner.

! R: seeder comments: Outstanding audience recording. Pauses between some tracks. Tape flip during space between t05-t06. t09 - the orjersmic build up @  the end of the main solo section beginning at 04:56 is punctuated by a seemingly? precisely timed either Jerry glass breaking somewhere close by @ 05:13 - guaranteed to make your pets stand up and take note. Thanks to J.Powell for the CDR source. misSHN in the rain, 2/04.

! P: s1t01 HSII flubs first lyric, opened my eyes at night and there you were

! s1t04 (1) JG: "[inaudible] take a break for lil while. We'll be back in a few minutes."

! R: s2t05 ISTE end clips

! song: "Someday Baby" (s2t06): one of those songs that came up in several different bands, only to disappear. In this iteration, it had returned in December '83, after almost three years off. Here it gets its final run for almost another three years (3/10/87).

! P: s2t06 Someday Baby horrible vocal clam @ 6:32

! s2t09 (2) JG, not perfectly clear, but I think "Thanks a lot, see ya later."

Monday, March 22, 2021

42

Regular reader Dr. Jeff once asked that I post listening notes for Jerry's 42nd birthday show at the Stone, 8/1/84.

I have dutifully done so, some years later, and have just about nothing to report. Jerrybase tells me that he hadn't opened a second set w How Sweet in over three years, so there is that. Too many turns at the end of Cats. Sorry not to have more to say, Doc, but please feel free to weigh in on comments and set me straight!

I did use the occasion to make a list of Garcia's musical bday engagements. I do have the sense that in later years the GD Family had a picnic on this date. I have wondered if the 8/1/87 JGAB thing, which does not bear a certain date, derives from one of those. But I dunno.

1965: Warlocks
1966: none; 
1967: GD
1968: none; 
1969: NRPS
1970: NRPS/GD
1971: none; 
1972: none; 
1973: GD
1974: none; 
1975: studio w/ GD, studio (non-playing?) w/ NRPS (2 PM and 6 PM); 
1976: none; 
1977: studio w/ JGB
1978: none; 
1979: none; 
1980: none; 
1981: none; 
1982: GD
1983: none; 
1984: JGB
1985: none; 
1986: none; 
1988: none; 
1989: none; 
1990: none; 
1991: none; 
1992: JGB
1993: none; 
1994: GD
1995: none.

Jerry Garcia Band
The Stone
412 Broadway
San Francisco, CA 94133
August 1, 1984 (Wednesday)
Rogers MAC shnid-144293 rename

--set I (6 tracks, 5 tunes, 48:20)--
s1t01. crowd and tuning [0:18]
s1t02. Cats Under The Stars [9:22] % [0:17]
s1t03. Mission In The Rain [11:34] % [0:11]
s1t04. Love In The Afternoon [10:13] %
s1t05. //Run For The Roses [5:03] [0:04]
s1t06. Tangled Up In Blue [11:11] (1) [0:08]

--set II (4 tracks, 40:31)--
s2t01. //How Sweet It Is (To Be Loved By You) [#9:24] % [0:19]
s2t02. When I Paint My Masterpiece [9:31] % [0:08]
s2t03. Dear Prudence// [13:48] ->
s2t04. //Midnight Moonlight [7:16] (2) [0:05]

! ACT1: JGB #21b
! 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; [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: https://jerrybase.com/events/19840801-01


! db: https://etreedb.org/shn/9303 (same source shnf); https://etreedb.org/shn/144293 (this fileset); https://etreedb.org/shn/149281 (Senn MK441s)



! ad: San Francisco Sunday Examiner and Chronicle Datebook, July 15, 1984, p. 37.



! R: field recordist: Craig Rogers

! R: field recording gear: 2x AKG CE-1 mics > Uher Cr-240

! R: field recording location: lip of stage

! R: transfer: master cassette > Nakamichi Dragon > Sony R700 DAT > Sony PCM p-700 DAT @ 44.1k > Digital Audio Labs Card Deluxe > wav 16/44.1 - Transferred by Jim Wise; Lineage: wav 16/44.1 > Adobe Audition 3.0.1 > iZotope RX4 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac16.

! R: Notes: - Azimuth and phase adjustments made. - Pitch corrected. - There were tape pauses after each track, I have crossfaded them together. - I don't usually use eq but the vocals were very low because the mics were only picking up vocals from the stage monitors. I have, therfore, rebalanced them using the module in RX7 Advanced to increase their presence and other elements too.  It's difficult to know just how high in the mix they should be but I think they sound about right.  I also made some other level adjustments. - There is hardly anything missing from the incomplete tracks. Thanks to Kenny Mance [sic] and Craig Rogers for this extraordinary recording. [note: I don't think Mance was involved.] Thanks to Jim Wise for the transfer. Thanks to Joe B. Jones for his help with pitch correction. edited and mastered SIRMick December 2018.

! R: Gloriously good tape for the guitar and overall feel. Low vocals may be a feature for this period. Melvin is a little buried.

! R: I renamed the files, which had the date as 1984-09-01, to 1984-08-01.

! historical: Jerry's 42nd birthday. 1965: Warlocks; 1966: none; 1967: GD; 1968: none; 1969: NRPS; 1970: NRPS/GD; 1971: none; 1972: none; 1973: GD; 1974: none; 1975: studio w/ GD, studio (non-playing?) w/ NRPS; 1976: none; 1977: studio w/ JGB; 1978: none; 1979: none; 1980: none; 1981: none; 1982: GD; 1983: none; 1984: JGB; 1985: none; 1986: none; 1987: none; 1988: none; 1989: none; 1990: none; 1991: none; 1992: JGB; 1993: none; 1994: GD; 1995: none. It's not otherwise a particularly noteworthy show, and set II fits well on a single cassette side.

! P: s1t02 CUTS way too many turns at the end

! R: s1t04 MITR man, I love the sound of the strings on this tape. So good.

! R: s1t05 RFTR cuts in

! s1t06 (1) JG: "We're gonna take a break for a while, be back in a few minutes."

! R: s2t03-04 lists a cut (e.g., tape flip), and then comment from john on shnid-9303 says "my notes from aoxoa say the Midnight Moonlight is missing from this show. The version on the disc is from 7/29/84 - hence the cuts."

! s2t04 (2) JG: "Thanks a lot. See y'all later."

Wednesday, March 17, 2021

How about the Mouth on that Beast? JGB at the Stone, February 2, 1980, as recorded by Bad Bob Menke

LN jg1980-02-02.jgb.all.aud-menke-motb-0038.105635.flac1644

I recently revisited an old favorite, 2/17/80, and surprised myself by not noting anything about the "After Midnight -> Eleanor Rigby -> After Midnight" medley, to say nothing of an old favorite of another kind, "Positively 4th Street". I have vowed to revisit these. Someone was also extolling old favorite 3/8/80 on its recent anniversary, claiming that this last AMERAM was the best, and we speculated that maybe the band hung it up after that because, really, where else was there to go with it? Always leave 'em wanting more, amirite? It would indeed have been sad if AMERAM had become just another thing, like MAMU -> Mexicali over on the dark end of the street. I vow to revisit that one, too, though I have held a candle of hope out for the emergence of that master tape, ready for a fresh clean transfer, for coming on 25 years, to no avail. Why do you forsake me, tape goddesses?

Anyway, let me here touch on a charming third old favorite from this period, 2/2/80 at the Stone. As was typical in the Freddie Herrera - affiliated stable of clubs, old times bluesers Muddy Waters and John Lee Hooker played the soft open Thursday night, and then Jerry headlined the first weekend under the new management. (I seem to recall this being pretty much the same billings as opened the seemingly ill-starred Keystone Stockton back in '74.) John Angus pulled a remarkable tape from the Friday show, I think in the company of his brother Harry, who is the venue guru extraordinaire (a.k.a. JGBP) of our little corner of the blogosphere and who enjoyed the white linen tablecloths and vased red roses classing up the joint on that first Friday. I have not revisited that tape in many years - add another to the to-do list. But the legendary, enigmatic HOF taper Bad Bob Menke pulled an all-time great tape the next night. The Powers That Be (TPTB) even released a track of it, "When I Paint My Masterpiece", on a 2005 Dylan homage / money grab. I hope Bob got paid for it. Because, man, what a recording! The Mouth of the Beast, indeed.

And this is a characteristically killer early 1980 Garcia Band performance. Lossless pioneer Danny Metz, who used to do the math to be sure to cut tracks on sector boundaries to ensure Red Book CD-audio compatibility before the programs automated that process, once said that "Jerry's solo in Train To Cry [from] 5:30-7:10 may be the sickest bluesy guitar work I have ever heard." Danny also praises Johnny D's drum work. I can't argue. One of the things I have noticed in some of these shows, too, is that Ozzie Ahlers doesn't take any shit from ol Jer. Here, in TLEO, Mr. Eponymy starts throwing elbows about 4 minutes in, and Ozzie just plays harder for a while. Yeah! All kinds of good glassine guitar work throughout, some of it Mutron-smooth like leaded cathedral fare and some of it sharp and shardy. For me, the real highlights arrive in Masterpiece, well-released not least because it features the longest scrub in the history of rock and roll, and then, of course, AMERAM. So much Mutron, so much killer jamming, such a killer medley. Ozzie even does a little "Riders On The Storm" descent 13:40ish, headed to the Beatles by way of the Doors. All in all, a wonderful listen!

Oh yeah, how about some color from the flamboyantly fabulous Bay Area Reporter (via archive.org):


Garcia's local club dates have long been one of the special joys of this burgh. Some will tell you that here resides the true wonders of The Dead, without all the hocus-pocus. Others will tell you it's just a boring old fart. Let those who have ears hear [!]
Jerry Garcia Band
The Stone
412 Broadway
San Francisco, CA 94133
February 2, 1980 (Saturday)
Menke motb-0038 shnid-105635

--set I (5 tracks, 49:13)-- 
s1t01. //It Takes A Lot To Laugh, It Takes A Train To Cry  [8:20] [0:02] %
s1t02. They Love Each Other [9:28] [0:12] % [0:18]
s1t03. Money Honey [8:19] [0:15]
s1t04. Sitting In Limbo [13:26] ->
s1t05. That's Alright, Mama [8:34] (1) [0:14]

--set II (6 tracks, 72:30)--
s2t01. [0:12] Harder They Come [16:53] [0:54]
s2t02. When I Paint My Masterpiece [13:51] [0:16] %
s2t03. [0:13] Russian Lullaby [14:57] [0:07]
s2t04. After Midnight [15:40] ->
s2t05. Eleanor Rigby Jam [4:28] ->
s2t06. After Midnight [4:49] [0:12]

! ACT1: Jerry Garcia Band #11a
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Ozzie Ahlers - keyboards;
! lineup: John D'Fonseca - drums.

JGMF:


! db: https://etreedb.org/shn/4432; https://etreedb.org/shn/16681; https://etreedb.org/shn/85532; https://etreedb.org/shn/92372; https://etreedb.org/shn/92432; https://etreedb.org/shn/105635 (this fileset)




! ad: San Francisco Sunday Examiner and Chronicle Datebook, January 20, 1980, p. 22; San Francisco Sunday Examiner and Chronicle Datebook, January 27, 1980, p. 13

! mention: San Francisco Examiner, January 25, 1980, p. 23;

! listing: Bay Area Reporter, January 31, 1980, p. 22. In characteristically cheeky style, the BAR writes "Garcia's local club dates have long been one of the special joys of this burgh. Some will tell you that here resides the true wonders of The Dead, without all the hocus-pocus. Others will tell you it's just a boring old fart. Let those who have ears hear."

! listing: BAM no. 72 (February 1, 1980), p. 41

! official: Jerry Garcia - Garcia Plays Dylan (Rhino, R2 73263, 2005) (d2t01-Masterpiece)

! recollex: Harry Angus recalls that the white linens and roses were on the tables again this night, as the night before, which was the hard opening of the Stone as such. See that date for the specifics.

! R: field recordist: Bob Menke

! R: field recording gear: 2x Nakamichi CM700 > Sony TC-D5

! R: field recording media: 2x Maxell UDXLII

! R: Analog Sound Preservation: MAC >> Nakamichi CR7a => Korg MR-1000 >> DSF [1-bit 5.6448 MHz Stereo] >> Korg MR-1000 => Korg AudioGate >> WAV [24/96]. Transfer By: Bob Menke; Mastering By: Derek McCabe

! R: MOTB Release: 0038 16/44.1

! R: Release Date: 2010-01-26

! R: Bob Menke pulled a truly amazing audience tape this night.

! R: s1t01 ITALTL, ITATTC clips in

! P: s1t02 TLEO Ozzie missed Jerry's not-so-subtle cue to step back early 4, Ozzie just asserts and plays. Good on ya!

! R: s1t04 SIL tape flip near end (patched?? with Nak300's > Sony 158 > MAC (Maxell UD XLII) source

! P: s1t05 TAM killer glassine guitar tone 2.

! s1t05 (1) JG: "We're gonna take a short break, be back in a little while."

! P: s2t02 WIPMM Jerry working the Mutron. Huge long scrubby segment through the 11 range. Whoa. Still at it over 12. Longest scrubbing run ever, until 12:15?

! P: s2t04 AM so much Mutron 10:15. Wonderful jamming here 11. Ozzie does a little "Riders On The Storm" descent 13:40ish. Man, this jam is stretchy-good.

! R: s2t05 tape flip patched with Nak300's > Sony 158 > MAC (Maxell UD XLII source

! P: s2t06 AM more big fanning. Great stuff.

Tuesday, March 16, 2021

Donny's Debut: JGB at the Warfield, February 4, 1994

LN jg1994-02-04.jgb.all.aud-vasseur.146010.flac1644

Friday, February 4, 1994 through Sunday, February 6, 1994 are super interesting, for reasons that may not be independent. The amazing drummer David Kemper was let go at some point between the end of the fall '93 tour and the first night of this run, for reasons that seem unclear even to him. After over ten years in the chair, they didn't give him so much as an explanation. It is well established from the historical record, and has been repeatedly stated by those who knew him best -- I am not going to cite chapter and verse here, so if you want to imagine I am going beyond my paygrade, sure, fine, whatever -- that his greatest personal failing involved an unwillingness to tell (former) lovers and (former) bandmates that they were out. He seemed more inclined to have Big Steve deliver hard news. So, first, this inaugural set of 1994 shows featured the debut of Donny Baldwin, from the Starship orbit and also a veteran of the Elvin Bishop Group. I imagine, but don't have it pinned down, that this latter connection between Donny and Melvin facilitated the drummer's entry into the Garcia Band. Second, as astute student of the music Nick has framed it, the run provides "one last flash of greatness" for Jerry and friends. This is most obvious in the 2/6/94 "Don't Let Go", which my memory tells me is a true monster that stands up to any versions that Jerry ever played. I have found a lot to love in '94 and '95 Jerry Band over the last few years, but I agree that he never again played anything so great as that "Don't Let Go".

Indeed, I have often held February 14, 1994, eight days after that show, to augur Garcia's irreversible (though not monotonic) physical decline. The game of trying to pin such things too precisely doesn't get us very far. I might point to GD keyboardist Brent Mydland's passing on July 26, 1990 as signaling Garcia giving up the emotional ghost, and impresario Bill Graham's death on October 25, 1991, as removing all doubt. (See how this game works?) We can point to plenty of pictures from before Valentine's Day '94, the day on which Jerry married Deborah Koons, showing him looking haggard. But, after that day, he never looked anything but like a man shambling toward death's door. Deadheads held no love for Garcia's "Black Widow", who certainly treated the legendary Mountain Girl and all of the other women in Jerry's life very badly during the probate and other proceedings that followed his death, whose taste in music (no "Reuben And Cherise"??) and cover art (Shining Star - what in the almighty fuck?!??) affronted fan sensibilities, who allegedly either passively accepted or actively abetted Garcia's hard drug use, and whose love of tasteless licensing and merchandising strikes us, from the vantage of 2021, as decidedly Trumpian. Be all of that as it may, the observation I just cannot shake is that Garcia's decline accelerated markedly after those nuptials.

All of which makes the triumph of the February 4-6, 1994 shows so remarkable. Nick speculates that the band actually, y'know, rehearsed some with the new guy. The older pattern would have been to break him in on an off-night, off-the-beaten path, or both. Just about every new addition to the Garcia Band prior to Donny was afforded this possibility. So, they may or may not have gotten any rehearsal time, but they did get a gig. But, by 1994, as Bob Barsotti reported a few years later, "the only place [Garcia] could get it together physically to play with the Jerry Garcia Band was by getting in his car and driving for a half an hour to the Warfield" (Greenfield1996, 300, cited in context on my post on 3/4/95). So we might imagine that there were some rehearsals, and, indeed, as Nick points out, Jerry sounds generally together and the band sounds quite tight, consistent with some rehearsal. I have no data to that effect, but it seems likely.

So, onto my sense of Donny's Debut, 2/4/94. He's good, and it's good. Jerry sounds especially together in the first set, sprightly for the very common --indeed, statistically modal-- How Sweet -> Stop That Train opener, and working some great strong grunge into "Lay Down Sally". Nick elaborates:

The one major [2/4/94] high point is a steaming Lay Down Sally jam: Garcia's chugging along, sounding fine, and then decides to hit his distortion pedal and something clicks into place.  The audience feels it, Garcia responds, and you get one of those brief moments of aud-tape perfection as everything clicks into place.  Nice work, old man!

Jerry fades pretty hard at the end of set I (Deal) and through much of set II, sundowning especially noticeably in "The Maker", where I swear he departs from the lyrics and sings @ 1:40 "cannot see for the pain in my life". "Don't Let Go" is the other relative highlight of the show. It's a compact version, 12 minutes, and you'd think they might have held off on it to let the new guy get up to speed. But Donny plays very strongly. True, Jerry does no vocal-instrumental doubling on either the front or the back end of the song, which could often provide him a rare opportunity to engage in true vocal improvisation. But, even listening for limitations, I find a lot to like in this version, and a foreshadowing of the monster that'd spring forth two nights later, before the tune mostly faded into a shadow of its former self in its remaining fourteen months.

All in all, then, a nice show from a characteristically gorgeous Janet and Chuck Vasseur aud pull with the vintage Neumanns. Check it out if you can. If you are feeling impatient, go straight to 2/6/94 - do not pass Go, do no collect $200. If it's as good as I remember it being, and as (more reliably) Nick says it us, you can thank us later.

Oh yeah, one more thing: Melvin Seals sounds awesome this night, all big loud joyful swirly energy.

Listening notes follow.

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102
February 4, 1994 (Friday)
Vasseur shnid-146010

--set I (7 tracks, 53:29)--
s1t01. [0:05] How Sweet It Is (To Be Loved By You) [6:00] [1:04]
s1t02. Stop That Train [7:11] [1:16]
s1t03. You Never Can Tell [6:41] [0:08]
s1t04. Lay Down Sally [10:01] (1) [1:39]
s1t05. Struggling Man [6:25] [0:42]
s1t06. My Sisters And Brothers [3:56] ->
s1t07. Deal [8:11] (2) [0:09]

--set II (7 tracks, 61:16)--
s2t01. Shining Star [15:24] [0:13]
s2t02. Money Honey [6:31] [0:13]
s2t03. Wonderful World [4:29] [0:15]
s2t04. The Maker [7:10] [0:11]
s2t05. Don't Let Go [11:45] [0:15]
s2t06. The Night They Drove Old Dixie Down [8:41] ->
s2t07. Midnight Moonlight [6:04] (2) [0:07]

! ACT1: JGB #23
! lineup: Jerry Garcia - el-g, v;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: Donny Baldwin - 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/19940204-01

! db: https://etreedb.org/shn/15602; https://etreedb.org/shn/94747; https://etreedb.org/shn/95234; https://etreedb.org/shn/146010 (this fileset). Every one of these derives from the Vasseur master.

! band: JGB #23 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2013/02/warfield-982-market-street-san.html

! map: https://goo.gl/maps/ZW52vfHTbjs

! ref: Nick, "Feb 94 JGB: one last flash of greatness", URL https://deadthinking.blogspot.com/2017/11/feb-94-jgb.html.

! personnel: Donny Baldwin's first show in the drum chair, succeeding the impossible-to-replace David Kemper. I am typing this listening to Don't Let Go - you have to give the guy his due, because this cannot have been easy.

! R: field recordist: Janet and Chuck Vasseur

! R: field recording gear: 2x Neumann KM54 > DAT

! R: transfer: DAT Master > CDR (Kyle Porter); extract: CDR clone > EAC > WAV > FLAC16 (Bill Shaw aka Shark)

! R: Source Notes: Sometime in the early 2000's, Chuck loaned Kyle all of his 92-95 JGB masters to transfer to CDR. Kyle "mastered" the DATs to CDR, fading in/out as needed, adjusting levels (as needed) and tracking. Kyle then gave Chuck his masters back, with nice CDR copies of all of it. Chuck offered to clone the entire set for me, so I gave him a spool of 100 blank MITSUI CDRs and the next time I saw him, he gave them back to me, filled with his JGB recordings. Many of the Chuck V. JGB recordings do circulate already, but probably not all of them, and those that do may not be the Kyle Porter transfers. So, Here they are! --Shark

! P: s1t01 HSII Jerry sounds stoked. Melvin swirls up huge peaky feature late 3.

! P: s1t01 STT everyone sounds good. Donny hits nicely. Jerry bending some pitch.

! P: s1t03 YNCT Melvin, 3:30 I am typing, is on fire this night. He really sounds enthusiastic.

! P: s1t04 LDS oh man, what a killer grungy tone on LDS in the 7 range. A little modal, very firey. Nick: "The one major high point is a steaming Lay Down Sally jam:  Garcia's chugging along, sounding fine, and then decides to hit his distortion pedal and something clicks into place.  The audience feels it, Garcia responds, and you get one of those brief moments of aud-tape perfection as everything clicks into place.  Nice work, old man!"

! s1t04 (1) JG: "The new guy is, uhh, Donnie Baldwin. Playin' drums."

! P: s1t05 Struggling Man is done peppy - very good. Late 1 it slows down a little bit.

! P: s1t07 Deal a number of lyrical miscues. He is sounding a little tired.

! s1t07 (2) JG: "... take a break for a little bit ..."

! P: s2t04 The Maker he sounds pretty wobbly on the lyrics. @ 1:25 trying to get to second verse, mumbles. @ 1:40 sounds like he says "cannot see for the pain in my life". Goes across the great divide to Jean-Baptiste here early on. @ 2:09 "Body | is bent and broken". Donny nicely triggers Garcia's feature at 3ff.

! P: s2t05 DLG he doesn't do any vocal doubling at all. So by 3:15 he has already stepped back and away from the mic. But I confess that this is just perfectly good Jerry Garcia guitar work happening, e.g., around 6:30, when it has a real edge. I think I came into this listen of this wanting to hear its limitations. They're there, because this is not Eden. And I keep looking at the clock realizing that this is only going to run 12 minutes. But the quality is high. He strums it without quite such thick effects, Melvin swirly, Donny nicely picks up the pace. 8:15 Jerry definitely signals a connection to the tune. 9:20 assertively back to the tune, Donny be damned. Fully back to tun 10:12, no doubling.

! s2t14 (2) JG: "See y'all later."

Monday, March 15, 2021

Rocks, Bottles, and a Tired-Sounding Jerry: JGB at the Warfield, February 27, 1993

Apparently 12 people were arrested after this Saturday night show, allegedly for throwing rocks and bottles at police. Ten months earlier had seen unrest in the area, not necessarily caused by Jerry's kids, but related instead to acquittal of the cops in their trial for beating Rodney King in LA. No idea what might have triggered this early '93 issue.

Janet and Chuck Vasseur pulled an absolute masterpiece of a tape this night, as so many others. The show has its moments, including a nice easy start with "I Second That Emotion" (a tune I don't generally favor) and, especially, Old Jerry heart-feeling "I Shall Be Released". "Simple Twist" is also super-gentle. Lots to like in the set II song selection, especially, for me, "Reuben And Cherise". But I spun it three times and didn't get many sparks.

But Jerry sounds exhausted all night. I take to heart Mr. Completely's advice to avoid drug determinism, and I don't think it would be engaging in that fallacy to note 1) that Jerry sounds exhausted, and 2) we know, via Barbara Meier, that he was using in this period. It's not deterministic, but neither is this pure coincidence, IMO, YMMV.

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102
February 27, 1993 (Saturday)
Vasseur shnid-141455

--set  (8 tracks, 72:43)--
s1t01. I Second That Emotion [9:48] [0:52]
s1t02. I Shall Be Released [9:12] [1:15]
s1t03. Mission In The Rain [8:22] [1:16]
s1t04. [0:07] Simple Twist Of Fate [10:15] [0:26]
s1t05. Ain't No Bread In The Breadbox [8:12] [0:50]
s1t06. The Night They Drove Old Dixie Down [9:34] %
s1t07. /My Sisters And Brothers [#4:26] ->
s1t08. Deal [8:00] (1) [0:08]

--set II (7 tracks, 62:10)--
s2t09. Shining Star [13:34] [0:26]
s2t10. Tore Up Over You [7:30] [1:10]
s2t11. Wonderful World [4:38] [0:09]
s2t12. The Maker [8:05] [0:11]
s2t13. Lay Down Sally [9:24] [2:05]
s2t14. Reuben And Cherise [8:24] ->
s2t15. Midnight Moonlight [6:30] (2) [0:05]

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

JGMF:

! R: 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: https://jerrybase.com/events/19930227-01

! db: https://etreedb.org/shn/13036; https://etreedb.org/shn/29344; https://etreedb.org/shn/141455 (this fileset). As far as I can tell without A-B'ing, these are all from the Vasseur master.

! map: https://goo.gl/maps/ZW52vfHTbjs

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2013/02/warfield-982-market-street-san.html

! venue: http://hooterollin.blogspot.com/2011/11/september-25-1980-fox-warfield-theater.html

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

! expost: "12 arrests at Garcia concert," Argus-Courier (Petaluma, CA), March 2, 1993, p. 2, allegedly for throwing rocks and bottles at the police.

! R: field recordist: Janet and Chuck Vasseur

! R: field recording gear: 2x Neumann KM54 > DAT

! R: Transfer: DAT Master > CDR (Kyle Porter); Extract: CDR clone > EAC > WAV > FLAC16 (Bill Shaw aka Shark)

! R: This is a masterpiece of field recording.

! R: seeder notes: Sometime in the early 2000's, Chuck loaned Kyle all of his 92-95 JGB masters to transfer to CDR. Kyle "mastered" the DATs to CDR, fading in/out as needed, adjusting levels (as needed) and tracking. Kyle then gave Chuck his masters back, with nice CDR copies of all of it. Chuck offered to clone the entire set for me, so I gave him a spool of 100 blank MITSUI CDRs and the next time I saw him, he gave them back to me, filled with his JGB recordings. Many of the Chuck V. JGB recordings do circulate already, but probably not all of them, and those that do may not be the Kyle Porter transfers. So, here they are! --Shark

! P: s1t01 ISTE It's well known that I don't love this song. But I like how this feels coming out of the gate, despite the fact that Jerry definitely sounds vocally fragile.

! P: s1t02 ISBR I hadn't really grokked that he played this as consistently in the 90s as he did. This comes in sounding absolutely wonderful. Old Jerry.

! P: s1t03 MITR Garcia sounds quite wasted.

! P: s1t04 STOF bass feature late 5 is almost entirely inaudible, goes to about 7:10. This is a remarkably gentle version of STOF.

! P: s1t06 TNTDODD Melvin bg swirly feature over 6

! R: s1t07-08 strange to have a discontnuty and a clpped start w a DAT master.

! s1t08 (1) JG: "back in a couple minutes"

! P: s2t02 TUOY some good guitar 5:30ff.

! s2t15 (2) JG: "Thanks a lot."

Soft, Gentle and Round vs. Burning, Fiery and Huge: JGB at Laker Hall, SUNY Oswego, February 17, 1980

LN jg1980-02-17.jgb.all.aud-gatto.9017.sh2flac

The adjectives in the subject allude to the contrasts that really defined Garcia's guitar playing in 1980. Some tunes, like "I'll Take A Melody" featured both modes, the contemplative and the rockin'. "Friend Of The Devil", here in one of its last electric GOTS performances, features long, gentle, lovely progressions, as does "It Takes A Lot To Laugh, It Takes A Train To Cry". "That's Alright, Mama" delivers the fire, as do "Money Honey" and "Let It Rock".

For whatever reason, the two obvious setlist highlights, "Positively 4th Street" and the "After Midnight -> Eleanor Rigby -> After Midnight" melody, get no notes. A reviewer noted that Eleanor Rigby kicked off at the stroke of 12, which is a good touch. Apparently John was pretty stationary, as he had a 102 fever and had visited the local Krankenhaus earlier in the day.


I used to do backflips over this show, this time I find it merely very-good-to-excellent. Strong. Fine. Enjoyable.

Jerry Garcia Band
Laker Hall
SUNY Oswego
Oswego, NY 13126
February 17, 1980 (Sunday) - 8 PM
Gatto MAC shnid-9017 shn2flac retrack

--set I (7 tracks, 83:47)--
s1t01. //I'll Take A Melody [#17:35] %
s1t02. Friend //Of The Devil [9:#06] [0:02] %
s1t03. /How Sweet It Is (To Be Loved By You) [#9:20] %
s1t04. /Catfish //John [#12:#06] %
s1t05. /Deal [#9:14] [0:08] %
s1t06. /Positively 4th Street [#14:17] [0:06] % dead air [0:13]
s1t07. [0:05] /That's Alright, Mama [#11:31] (1) [0:04] 

--set II (8 tracks, 79:56)--
s2t01. /Money Honey [#9:12] [0:02]
s2t02. Sitting In Limbo [12:54] %
s2t03. Let It Rock 9:13] %
s2t04. After Midnight [12:21] ->
s2t05. Eleanor Rigby [5:34] ->
s2t06. After Midnight [4:45] [0:06] % dead air [0:11]
s2t07. /It Takes A Lot To Laugh, It Takes A Train To Cry [#10:45] [0:01] %
s2t08. [0:05] Harder They Come [14:44] (2) % dead air [0:02]

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g;
! lineup: John Kahn - el-b;
! lineup: Ozzie Ahlers - keyboards;
! lineup: John D'Fonseca - 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/19800217-01

! db: https://etreedb.org/shn/9017 (this fileset)

! band: JGB #11a (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

! map: https://goo.gl/maps/awDzv2i26GP2

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/03/laker-hall-suny-oswego-ny.html

! seealso: GratefulSeconds, "JGB's After Midnight>Eleanor Rigby>After Midnight Reigns Supreme in Oswego February 17, 1980," URL http://www.gratefulseconds.com/2019/06/jgbs-after-midnighteleanor-rigbyafter.html.

! ad: Oswegonian, February 7, 1980, p. 12;

! preview: Finn and Donoghue 1980; condensed version appeared as preview: "Jerry Garcia Band to Play at Laker Hall," Pulaski (N.Y.) Democrat, February 13, 1980, p. 12.

! review: [positive] Fausner 1980; "Kahn's lack of movement was due to the fact that he played the show with a 102 degree fever and had been taken to the hospital prior to the show." According to reviewer, Eleanor Rigby (in middle of "After Midnight") was started right at midnight - nice touch!

! historical: Rachel Sweet billed to open, but "announced the cancellation of her tour last week, much to the delight of Garcia fans" (Fausner). A ticket from ebay shows "Special Guest The Tom Johnson Band".

! R: field recordist: Keith Gatto

! R: field recording gear: 2x Nakamichi 300 > Sony TC-D5

! R: lineage: MAC > DAT > CD > WAV > SHN. shn2flac and retrack to sets, jgmf 2/17/2021

! R: Note: This was originally seeded with a corrupt d3t02 (HTC).

! R: good tape but for the cuts

! R: s1t01 ITAM cuts in

! P: s1t01 ITAM Jerry engages in some long wonderful mandolin fanning late 14 over 15.

! R: s1t02 FOTD presumed brief splice @ 0:40

! P: s1t02 FOTD it seems to me that this was relatively rare at this point, but maybe I just haven't paid attention. This version has some very lovely, gentle passages, but it ends a little abruptly. Update: Jerrybase shows it played again 2/22 and 2/23 and 7/24/80 the last GOTS electric version - after that it'd be JGJK, JGAB, JGBW (12/4/88) and JGDG only.

! R: s1t03 HSII levels lower, hiss higher until 8:47.

! P: s1t03 HSII Garcia's guitar work this date feels really round, soft, gentle. Not the least bit shreddy so far, but it's lovely.

! R: s1t04 CJ clips in, splice @ 10:44

! P: s1t04 CJ some really nice stacking chunks 10:15ish

! R: s1t05 Deal clips in

! P: s1t07 TAM shws the first real fire of the evening in Gar's guitar work.

! s1t07 (1) JG: "We're gonna take a break for a little while ..."

! P: s2t01 Money Honey ol Jer is playing some burning guitar in the 7 min range.

! P: s2t03 LIR huge, huge guitar work 6-7

! P: s2t07 ITALTL, ITATTC back in the gentle, contemplative guitar picking space.

! s2t08 (2) JG: "Thank you."

Upon Further Review: Various and Sundry Listening Notes on the Last Night of the Fall '83 Tour: JGB at Wilkins Theatre, Kean College, December 13, 1983

LN jg1983-12-13.jgb.early.aud-newberger-seaweed.133469.flac1644
LN jg1983-12-13.jgb.early-late.aud-minches.31253.flac1644
LN jg1983-12-13.jgb.early-late.aud-newberger.77710.flac1644
LN jg1983-12-13.jgb.late.aud-nak300.151810.flac2496


I first heard 12/13/83 in 2003, when Andrew Faintych sent me tapes from both shows recorded with Senn 421s  from the 10th row by "Tom from Avon, NJ". In 2005, Bu lent me his DAT of an unattributed aud, and minches and I did our transferring and lossless thing as shnid-31253.  shnid-77710 came around in 2006, and I think I listened to it in 2009. shnid-133469 came by in 2015, and I must have listened to it because I have timings, although I have no performance notes. Most recently came 151810 of the late show. It's a sign of my generalized appreciation for this show and tour that I have spun all of these, while countless hundreds of filesets, and probably a dozen or more from this very tour, sit unheard.

Given that weird batch of data, I thought I'd post all my listening notes, and present some extractions, maybe with rough datings, going in performance order. The listening notes comes last, the extractions of comments through the performance are in the middle, and the executive summary comes first.

1. What do we learn from this?

Probably not that much.

I am consistent in timing the blast-off of the early set Deal around 3:45 in, and I also note how it finds an open space at the end which I think is quite uncommon. Now of course I want to listen to the rest of the tour to see. But it's cool and worth checking out.

The late show setlist draws my eye throughout time, but I may well find that the performance doesn't quite live up to it (though my 2009 self raved).

One version of me called the late show "Catfish John" an all-timer, though others didn't bother to make a single note. Similarly, on the most recent listen I found the TUIB pretty compelling, but not so much on earlier listens (to other filesets). 2021 me also raved about the Rhapsody In Red from the Nak 300s, while others did not. The Don't Let Go gets similar notations re the vocal-instrumental doubling around 4 minutes in, and two mes also noted the sweet transition into Mid Moon. 2021 me made the particular note that DLG never returned to the song. On current thinking, that seems exceptionally rare. When did Garcia leave a song unfinished like that outside the Dead? Update: 12/4/83b DLG > Deal segue may be another case, need to double-check if DLG reprises.

2. Note Extractions

A. 1983-12-13 [Tue] Early Wilkins Theatre, Kean College, Union, NJ

2005:  Great setlists (especially the late show), and really terrific performances.  The vocals are a little rough, but there is some sparkling late '83 guitar work here, lots of energy.

Mission In The Rain

2006: the start of MITR is very off sounding. What a weird sounding tape. Where is John Kahn? It's a little cringeworthy for me, as MITR could sometimes be - once he lost the fall 1975 voice with which he originally sang it, it took him years to find an arrangement that really worked - probably not until 1987. I am really enjoying the raindrop notes Garcia's painting on the ceiling of the room, and, 8:20 and a nice note 8:40. Some excellent liquid playing. It's much better to play than sing, sometimes. Melvin stepping up a little bit early 9. I need to check how long this has been instrumental, and how much lyric this covers. Great instrumental break! @ 9:51 "all the things I planned to do I only did halfway ... tomorrow will be Sunday born of rainy Saturday"

2006: wanna hear what Kemper can do for you? Check out 3:04-3:08 of this TLEO. He just does a great driving run to enthuse Melvin for his feature, which sounds fine. Sounds like his fast hard start to TWLWMYD, but in a totally different context. Great drumming, looking way ahead and navigating the whole band to the '1', everyone gets comfortable.

2006: my God you understand exactly why Garcia loves this song. He is giving this great Dylan a great treatment. Carefully phrasing himself. John takes a lead ca. 6:50. Still leading early 9, Garcia has been playing an ethereal bowing sound behind John, who's still fluttering around until Jerry takes over 9:56. That was maybe a little abrupt on poor ol' John, but Jerry has something to say. John is still doing his lead style through 10:30, so a very nice dual thing from them. Good for John not to take getting cut off lying down, but I, for one, vote that it's Jerry's turn. John had stayed very forward into early 11, by 11:30 he drops back into his normal STOF swing. I think that, overall, this is an excellent STOF.

2006: @ 3:55 this one had been dragging for me a little, then to trigger the frenzy, David Kemper just hammers down the drums and forces Jerry into action. Jerry snaps to a higher level, immediately dialing in some fuzz and juice. That piece right from late 3 over 4 is pretty smokin'. @ 5:13 Jerry writes a nice sentence, everyone is playing well. The drummer is a freaking MONSTER. Band is active but indistinct, perhaps recording or PA issue. Organ big and full in all of the spaces, painting in every contour. Jerry very high to frets 6:20. This Deal goes to a totally unique space 10 min mark, almost letting it breathe ... very rare for JGB to enter this space. They find the '1' and come back 10:50. John Kahn sounds lost, or is just not available. Not sure this is entirely successful, a little strange sounding. Unusual.

2009: found Deal hot, especially solo @3:45

Encore:


2009 found this hot

B. 1983-12-13 [Tue] Late Wilkins Theatre, Kean College, Union, NJ

2005:  Great setlists (especially the late show), and really terrific performances.  The vocals are a little rough, but there is some sparkling late '83 guitar work here, lots of energy.

Set 1:


2005: The late show Catfish John is an all-time version of that song, tight all the way through and then really cooking from about the 10-minute mark.

2021: s1t03 Someday Baby a big ol yikes on the vocal clam on the first "worry my mind". He slows down and girds himself for the second one and it's a little better.

2006: TUIB and this whole set, Jerry sounds a little tired to me. Kemper picks up the tempo 1:30ff. Pretty good TUIB.

2021: TUIB is on fiyah, notes flying all over the place, spraying around indiscriminately at moments, but with laser focus at others. Around 9:30 Jerry takes TUIB a little out! Whoa, this is pretty bonkers.

Set 2:

2005: The second set of the late show is maybe just a touch disappointing, but probably only because the setlist raises expectations so much.

2021: HUGE chordal approach 5ff. The ladies tried to sing the chorus and Garcia just bulldozed, now 5:47 doing that syncopated galloping. Loud. Screaming again 9:34. John sounding strong here, too.

2003: Jerry does some really cool sing-along with his guitar in the 4-minute mark, and the jam over to Midnight Moonlight is pretty nice

2021: DLG nice vocal-guitar doubling 4. Steps out into a mode at 4:53. Man I dug this DLG. Garcia just put his head down and played with total determination for like 8 straight minutes. Melvin did some nice chunky stuff relatively early on, everyone else did their thing, but this version just found Jerry having a lot to say, and saying it. And then, fascinating true segue to Mid Moon - he never did reprise DLG, which is very rare indeed.

Midnight Moonlight

2021: Mid Moon has an extra special galloping quality to signify not just the end of the show, but the end of the tour. I don't know if it's the fastest version ever, but it's done really fast.

Listening notes below the fold.

Valerie Needs a Bath, 'cause she is GRUNGY: JGB at Keystone Palo Alto, February 26, 1983

I have a stack of listening notes that don't really say much, but I do like to post them just to keep track.


2/26/83: nice tape, good performance, nothing that absolutely slays me, except that "Valerie" absolutely KILLED in this period. I know the esteemed David Minches favors the 3/5/83 version, which I have revisited and do think is very strong. They all are. Otherwise, Jerry sounds pretty ragged vocally, but plays well and does his thing in the South Bay.

Jerry Garcia Band
Keystone Palo Alto
260 S. California Avenue
Palo Alto, CA 94306
February 26, 1983 (Saturday)
all-1 aud shnid-102505

--set I (5 tracks, 43:40)--
s1t01. //How Sweet It Is (To Be Loved By You) [#8:46] [0:04] %
s1t02. [0:19] (1) Catfish John [10:49] [0:04] %
s1t03. [0:21] Valerie [8:31] [0:05] %
s1t04. [0:20] Run For The Roses [5:23] ->
s1t05. Deal [7:44] (2) [0:10]

--set II (4 tracks, missing 1 track, 40:21)--
s2t01. /Sugaree [#13:29] [0:08] %
s2t02. /They Love Each Other [#7:51] [0:07] %
s2t03. /Let It Rock [#7:41] [0:08] %
[MISING: Dear Prudence]
s2t05. /Tangled Up In Blue [#10:50] (3) [0:08]

! ACT1: JERRY GARCIA BAND #15c (First show- January 13, 1983 Keystone, Berkeley, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA)
! lineup: Jerry Garcia - el-guitar, vocals;
! lineup: Melvin Seals - organ;
! lineup: John Kahn - el-bass;
! lineup: DeeDee Dickerson - vocals;
! lineup: Jacklyn LaBranch - vocals;
! lineup: Greg Errico - drums.

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: https://jerrybase.com/events/19830226-01

! db: https://etreedb.org/shn/32137 (s2 aud shnf); https://etreedb.org/shn/102505 (this fileset)

! map: https://goo.gl/maps/6U9QR2V8UV4YwBDh9

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/11/keystone-sophies-260-s-california-ave.html

! band: JGB #15c (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

ads: San Francisco Sunday Examiner and Chronicle Datebook, February 13, 1983, p. 19; San Francisco Sunday Examiner and Chronicle Datebook, February 20, 1983, p. 24.

! source: low gen cassette; Nakamichi DR-1 playback > Tascam 5000 > CDR > wav > flac, uploaded by brad tenner

! R: seeder notes: I can't tell you why the dear prudence is missing i have no notes on how or why i really don't think i missed it on the transfer so who knows but since the 1st set was uncirculated here it is. tracks renamed per etree standard.

! R: s1t01 HSII cuts in, static @ 0:30

! P: s1t02 HSII JG bungles first verse, starting with "open my eyes at night". But then he picks it up by getting back to "needed the shelter" at the start. He sounds rough vocally, for sure.

! s1t02 (1) Taper recognizes CJ, so decides to emcee a little bit: "Friends of the devil bring you 'Catfish John'."

! P: s1t03 Valerie KILLER GRUNGY version.

! P: s1t04 RFTR JG forgets to start singing the tune.

! R: s1t05 Deal sizeable level jump about a minute in

! s1t05 (2) JG: "We'll be back a little while later. Thank you."

! R: s2t01 Sugaree clips in

! P: s2t01 Sugaree kind of a wonky start vocally, like he starts off the beat. Errico sounds so great on this tape. Coming back to this a week or two later, and hear how rough he sounds vocally. 7 he starts doing some fanning, more flirtatious and allusive at this point, suggestive. More to come, I imagine. A little 10:47ff, but it doesn't get huge.

! R: s2t02 TLEO clips in

! P: s2t02 TLEO John sounds nicely, thickly engaged here.

! P: s2t03 LIR great tone, nice and scrubby first part of 6.

! P: s2t05 TUIB never really achieves escape velocity to my ears.

! s2t05 (3) JG: "Thanks a lot. See ya later."