A Pigless Monster at the Fillmore East: July 12, 1970

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

More old listening notes.

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

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

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

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


An Evening With The Grateful Dead
Fillmore East
105 2nd Avenue
New York NY 10003
July 12, 1970 (Sunday)
Jim Cooper aud shnid-122707

--set I: Acoustic Grateful Dead (8 tracks, 29:56, presumed incomplete)--
s1-AGD-t01. //El Paso [#2:23] [0:04] % [0:02]
s1-AGD-t02. Friend Of The Devil [3:53] [0:02] %
s1-AGD-t03. /New Speedway Boogie [10:17] [0:02] %
s1-AGD-t04. /So Sad (To Watch Good Love Go Bad) [2:36]

-enter David Nelson-
s1-AGD-t05. (1) [0:03] Rosa Lee McFall [2:51] % [0:04]
s1-AGD-t06. A Voice From On High [2:37] % [0:04]
s1-AGD-t07. Jordan [2:08] % [0:04]
s1-AGD-t08. Swing Low Sweet Chariot [2:48] %

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

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

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

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

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

JGMF:

! R: symbols: % = 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: it's complicated. What this Cooper tape identifies as 7/12/70 

! db: http://etreedb.org/shn/122707 (this fileset).

! archive: https://archive.org/details/gd1970-07-12.aud.cooper.122707.flac16

! map: https://goo.gl/maps/75Kk8

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/11/fillmore-east-105-second-avenue-new.html

! R: field recordist: Jim Cooper

! R: field recording equipment: 2x Hitachi mics > Hitachi TRQ-222 Cassette recorder.

! R: field recording location: Row H, about the 30th row, center.

! R: "This is an incomplete recording and there is an electronic noise intermittently on the left channel. Talking and crowd noise is present as well."

! R: taper note: "This was a great concert and one of the best nights (mornings) of my life."

! R: this is definitely not a high-fidelity recording, and the L-channel static is quite present. Massive overload. But what are you gonna do? It's an amazing historical document. Thank you Jim Cooper and Rob Berger and all the tapers and sharers!

! metadata: I don't have time to get into the metadata now. I need to listen to all of the other tapes and read what's already known about the actual assignation of the various music to the various "July xx 1970 Fillmore East" recordings. Try to sort out calendar dates and times, so confused because of the ca. midnight starting time of these shows.

! P: This contains a pretty amazing EGD performance. For my money, The "Good Lovin'" is among the best they did. The AGD and NRPS sets are, respectively, just OK and pretty bad, at least based on this tape.

! P: t01 one of the great pleasures of the GD acoustic sets is hearing Jerry sing harmonies. Like on this El Paso.

! t04 is Jerry playing electric?

! song: "So Sad (To Watch Good Love Go Bad)" (t04): Everly Brothers' 1960 release, maybe a singleton in the recorded GD canon. Indeed, as of now (12/6/2013) I understand this to be a singleton. I have listened to it twice, don't get much out of it.

! s1-AGD-t05 (1) "IRIT & LAURIE LOVE": "I love you, Jimmy."

! s1-AGD-t05 RLM has mandolin accompaniment, presumably Nelson.

! s1-AGD-t06 AVFOH mandolin (Nelson?), Nelson definitely on harmony vocals

! P: t01-t08: the acoustic material underwhelms me. It looks great on paper. Maybe it's the tape quality. But I just can't get into it.

! P: t12 This "Dirty Business" has a weird feel. Torbert is walking it a little too much early on, and it never attains that deep, burning, grungy groove that the best versions do. This is *way* uptempo for this song. Interesting. Not totally successful. Weird. Interesting.

! P: t13 Lodi is kind of a mess, Dawson off, Nelson not keeping right tempo (check around 1-1:29). He has to keep trying to tell people to get off because no-one quite knows what to do. Train wreck.

! P t09-t13 The NRPS material is below average, I'd say. I hear lots of tempo weirdness. Of course, the tape isn't doing anyone any favors.

! P: t14 LLE again it just doesn't sound together. While Dirty Business is much too brisk, this is just a little bit too brisk.

! R: NRPS-t14 LLE cuts out, probably less than a minute missing.

! R: t15-t19 MD splices @ track markers and t17 @ 0:33.

! R: t20 SOTOTW clips in

! P: t21 MAMU This is done "electric GD" style, as opposed to "NRPS" style, which the Acoustic GD would on occasion do (e.g., 4/18/70 Family Dog). It's a shame, because I really like the high harmonies in the NRPS arrangement, but whatever. My sense is that GD just wasn't willing to let go of the song and let NRPS have it, and they seemed to prefer to play it electric to acoustic. (I also miss the NRPS harmonies on "Mama Tried", FWIW.)

! P: t22 NFA this is a MASSIVE rendition of an American classic. Jerry has the wah cranked up already in the setup to his first solo in the second minute. It's less pronounced in the solo itself, but for a second he hit wah to rival 8/27/72's "Greatest Story Ever Told". Yeah, I said it. @ 3:45 they start really cooking, Bob turns himself up a little, Jerry digging a little groove. Taper's girl getting a little chatty. 4:18 Bob starts a great little descending thing, they are a little bit in the AWBYG/GDTRFB outro theme for awhile, they could easily drop it right down into that, but they are not in a rush. Garcia quotes "First There Is A Mountain" @ 5:36 for a few seconds, and he's a little bit in that tempo, back to a chunky NFA line @  6-minute mark, egging the crowd to keep that beat so he can wander back out. Crowd starts some very nice rhythm, and Jerry goes to about 60 degrees from his previous course, just the place he was looking for. Nice though over 7-min mark, stepping in a little more wah. Jerrys' in an "Other One" space late in the 8-minute mark, but Bob has something of his own going, and he doesn't take the bait, so Jerry comes back out and returns to the AWBYG/GDTRFB space. Here at 10:14 they could very easily turn it any of a number of directions, building some suspense 10:35, Phil and Jerry both pregnantly fluttering strings, Jerry hits a nice theme late in the 10-minute mark ... Bob strums some stuff, a little darker, and 11:23 Bob is almost playing Eyes Of The World! We'll hear these same chords in 1974. A few times it sounded to me like they could have pivoted to IKYR. In short, like a lot of 1970 NFAs, this one opens up very nicely and is highly thematic. @ 12:57 Bob forces them right back to NFA ... it was a little hasty ... they all get there, but I just don't think everyone was quite ready. So they set their feet under them, go once 'round the bases, at get to the verse @ 13:32ish. Jerry is having to do more harmony vocals, with Pig laying out somewhere. A few times I thought I heard Pig, but I don't think so.

! P: t25-t26 GL: Weir sings! Drum interlude 2:35-9:58. @ 4:35 a crowd member yells "Hey [or Yay] Pigpen!", or I thought he did. But Pig never makes himself heard. This drum session is hot as hell, and the crowd shows its appreciation early in the 9-min mark. The reprise is drummed up and drops in perfectly. Yeah! Nice rhythm led by Phil, 6- of t26 ... then a big bass solo 6:15 wow! This is a great jam. The second cut track of GL lays bare the band's raw power ... Wow. In the 2-min range of this track, Phil sounds like fucking Beethoven, and everyone is jamming alone and together, totally locked in but each carving his own groove, birds darting and ducking through and around the others, a supertight, colorful weave. Outstanding. Jerry hits a peak at 3:20 and the crowd yips a little bit, unbelieving. At 6 minutes into this track ... wow wow wow 6:15 Phil is doing his best Jack Casady. Ballin ... WOW. Jerry starts to get some waahhh, and he could be Jorma back there a little bit. Listen to what Phil runs over at 6:58 WOW WOW WOW 7:13 drops into Good Lovin' with the rest of the crew. Weir takes the vocals @ 7:29. @@

t27. (2) @ ca. 3ish High Time during tune, woman asks near taper “Want the cat? Text file note: "DELI BOVI DEBUT".

! R: t28 CB enters in progress and barely clips out, not much missing.

! P: t30 CCS transition from CCS to IKYR is Nice. Gets immediate liftoff at 3:28ish, Bob doing a really nice lead turn, he has some a long way from the spacy androgynous teenager of the Warlocks! Jerry's playing it real chonky behind him, and the whole band locks around Bob as he shreds. His transformation as a guitar player is mostly credit to Bob himself, of course, but I am sure the band around him had something to do with it! So Jerry starts expressing interest in taking a turn of his own in the 5:20 mark, by 5:43 we have IKYR theme. But the band is laying back, almost waiting for something, and Phil around 6:15 says "Hey, how about it?" The crowd cheers and starts clapping up IKYR, and I think Phil was basically taking a tip o' the hat, or soliciting one, but also offering one up to everyone in the room. "Hey, how about it, you having fun, or what?!?" They ought to be, because they have been grooving to a great American rock and roll band channeling a million cosmic megawatts. It's a nice moment all around. I can see why the taper, Jim Cooper, said "This was a great concert and one of the best nights (mornings) of my life."

! R: t29-t30 obviously I'd track the transition differently, but it's all good. There are some tape splices in this region, into the first minute ot the IKYR track (t30). Again @ 2:20.

His voice is fading fast: JGB at SUNY New Paltz, 11/29/77

LN jg1977-11-29.jgb.all.aud-cooper.berger.124217.flac2496

I have already posted about the fascinating setlist rarity, "Here Comes The Sun" popping up in the middle of "Stir It Up". Neat.

Beyond that, I note that this is a pivotal moment in Garcia's singing. Everything's still arranged around the highs he could hit early in 1976 and 1977. But in the meantime, The Movie et seq. has made a smoking ruin of his otolaryngological system. Even at $200 a gram around this time, Garcia seems to have been doing lots and lots of blow; John Henry himself couldn't compete against marching Bolivians in tunneling through the human sinus. I had always thought that he was doing top-shelf medical stuff, and perhaps it varied. But an interview from a year later (December 1978) finds Jerry not being choosy:

The toot is vicious, cut with meth, not with quinine, and it’s enough to rip your sinuses out. It goes straight to the forebrain – a howling blizzard of Insight and Truth. The rush is, well, chilling; your scalp tingles, a hospital sourness scours the back of your throat.  Then a Con Ed generator of electricity sizzles your synapses (Abbott 1979, 35).

There's also the three packs of Camels a day (Troy 1994, 190). I don't know how Jerry's opioid of choice, "Persian", which he smoked, may have affected things. Maybe it palliated the nose, throat and sinuses, leaving him ready to dust and maybe darn some socks ("Refreshing!"). But even so, vocal chord striation brings singing limitations. I hear all of that here, much more than I did on my recent listen to 11/23/77. His voice is fading fast -- six weeks later, in January 1978, he'd pass several Dead shows without singing -- and he hasn't trained himself nor modified arrangements to go around and through these new limitations.

Jerry Garcia Band
Elting Gym, State University of New York (SUNY)
New Paltz, NY 12561
November 29, 1977 (Tuesday)
Jim Cooper flac2496 shnid-124217

--set I (5 tracks, 55:10)--
s1t01. //Let It Rock [#6:48] [0:02] % [0:13] % [0:16]
s1t02. Stir It Up (1) [10:41] [2:16]
s1t03. I Second That Emotion [9:18] %
s1t04. ... Simple Twist Of Fate [#13:20] % [0:04] %
s1t05. /Midnight Moonlight [#12:07] %

--set II (7 tracks, 72:36)--
s2t01. [0:28] % /The Way You Do The Things You Do [9:55] %
s2t02. /Catfish John [#9:48] %
s2t03. The Harder They Come [13:41] %
s2t04. [0:04] % /Gomorrah [#6:28] %
s2t05. /Mystery Train [#8:36] [0:02] %
s2t06. /Russian //Lullaby [#13:#50] %
s2t07. Mission In The Rain [9:37] (1) [0:03] %

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-b;
! lineup: Keith Godchaux - piano;
! lineup: Buzz Buchanan - drums;
! lineup: Donna Jean Godchaux - vocals;
! lineup: Maria Muldaur - 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/19771129-01

! db: http://etreedb.org/shn/124216 (Cooper flac1644); http://etreedb.org/shn/124217 (Cooper flac2496, this fileset).

! map: https://maps.google.com/maps?q=elting+gym+address&oe=utf-8&client=firefox-a&hnear=Elting+Gym,+Southside+Loop,+New+Paltz,+New+York+12561&gl=us&t=h&z=16

! band: JGB #4 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

! seealso: JGMF, "Fall '77 Gig Economics: The Case of SUNY New Paltz (JGB, 11/29/77)"

! tags: 1977, JGB, listening notes, Here Comes The Sun, Jim Cooper, college gigs, Elting Gym, SUNY, New Paltz, NY, rarities, drugs, vocals, songs-H

! R: field recordist: Jim Cooper

! R: field recording equipment: 2x Sony ECM22p > Hitachi TRQ-232

! R: field recording media: 1x Maxell UDKLII-C90 (Dolby B), 1x Maxell UD-C90 (Dolby B)

! R: transfer: Nakamichi Dragon (Dolby B) > Benchmark ADC1 24/96 > PC > Adobe Audition 2.0 > cd wave > flac. transfer & seeded by Rob Berger 3/13.

! R: notes: "nice aud for a gymnasium. thanks Jim"

! s1t02 (1) Stir It Up JG plays "Here Comes The Sun" melody from 8:45-9:10.

! P: s1t04 STOF JG's voice sounds shot. He is straining against range limitations, and he hasn't yet trained himself how to sing around them. This is a pivotal moment in his singing. Everything's still arranged around the highs he could hit early in 1976 and 1977. Discuss. Bottom line: late 1977, Jerry's having to adjust his singing style pretty drastically, but he hasn't quite gotten there. And, oh yeah, Simple Twist: the whole old man thing works to pretty good effect, so it's not all bad. Some nice glassy guitar picking mid-6ff. This STOF has some nice interplay between Garcia, Keith and John. Jerry laying out long paragraphs late 8 over 9-min mark. 10-minute mark Garcia is fanning very close together, a good 30-second blast, that's nonetheless under control. Yeah, hits it hard 10:45, a 5-second thing to drop the big '1' for the next verse. Well done. Pretty good version of STOF, NB no bass feature.

! R: s1t05 MM clips in

! P: s2t01 TWYDTTYD these harmony "arrangements" aren't working for me.

! R: s2t03 HTC patched drop out

! R: s2t06 RL clips in, splice @ 12:46

! P: s2t06 RL Kahn does a bass feature late 6-min mark

! s2t07 (1) JG: "See y'all later on."

JGB at Queens College, October 30, 1975

LN jg1975-10-30.jgb.all.aud-cooper.124251.flac2496

Have barely had time to write a word about the Hopkins-era JGB these last 4+ years of blogging and hiatuses. That remains true, so the writeup will be short. Bottom line is that I think Nicky sounds really good (i.e., reasonably sober). I sort of figure that the day off the day before had done everyone some good. The tempos are upbeat. Pretty good tape of a pretty good show.

Jerry Garcia Band

Colden Auditorium, Queens College

Kissena Blvd.

Flushing, NY 11367

October 30, 1975 (Thursday)

Cooper MAC 2496 shnid-124251

--set I (8 tracks, 85:02)--

s1t01. / Let It Rock [10:38] %

s1t02. Sugaree [8:09] [0:02] % 8-12-9:29

s1t03. That's Alright Mama [11:35] [0:03] % [0:45] % [0:25]

s1t04. Catfish John [10:39] %

s1t05. /Pig's Boogie [#6:54] % [0:23]

s1t06. I'll Take A Melody [12:21] % [0:55]

s1t07. Money Honey [8:48] [0:02] %

s1t08. [0:23] (I'm A) Roadrunner [10:51] %

--set II (10 tracks, 98:15)--

s2t01. //It Ain't No Use [9:54] [0:02] % [0:27]

s2t02. Russian Lullaby [8:36] % [0:10]

s2t03. That's What Love Will Make You Do [10:47] [0:02] % (1) [0:59]

s2t04. Friend Of The Devil [5:38] % [0:15]

s2t05. Lady Sleeps [5:09] [0:03] %

s2t06. [0:56] Mission In The Rain [5:49] [0:04] % [0:01]

s2t07. Mystery Train [13:01] [0:02] %

s2t08. [1:08] The Night They Drove Old Dixie Down [9:11] [0:05] % [0:03]

s2t09. Let's Spend The Night Together [18:26+0:17] ->

s2t10. [-0:17] Edward The Mad Shirt Grinder [7:02] (2) [0:03]

! Band: Jerry Garcia Band

! lineup: Jerry Garcia - el-g, vocals;

! lineup: Nicky Hopkins - piano;

! lineup: John Kahn - el-b;

! 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/19751030-01

! band: Jerry Garcia Band #1 (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html).

! db: http://etreedb.org/shn/124251 (this fileset), http://etreedb.org/shn/124248 (1644 fileset, same source), http://etreedb.org/shn/92780 (Gerry Moskal aud).

! map: https://maps.google.com/maps?q=Colden+Auditorium,+Queens+College,+65-30+Kissena+Blvd.,+Flushing,+NY+&hl=en&sll=38.997934,-105.550567&sspn=7.374835,16.907959&t=h&hq=Colden+Auditorium,&hnear=Queens+College,+65-30+Kissena+Blvd,+Flushing,+New+York+11367&z=16&iwloc=A. As of this date (11/9/2013), Google Maps locates Colden Auditorium on Reeves Avenue. The [hard contemporary evidence] says "Kissena Blvd." (no number). JGBP gives street number 65-30, but I don't quite know, so I am sticking with the hardest contemporary evidence, for as far as it will go.

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/colden-auditorium-queens-college-65-30.html

! R: field recordist: Jim Cooper

! R: field gear: Sony ECM-22P > Hitachi TRQ-232, Maxel UD-C90, no NR

! R: transfer: Nakamichi Dragon > benchmark ADC1 24/96 > pc > adobe audition 2.0 > cd wave > flac. Transfer & seeded by Rob Berger 3/13.

! R: seeder notes: “brilliant!”

! R: running slow? Reporting now during TWLWMYD, and it sounds just fine.

! historical: $9,000 guarantee plus $1,500 lights and sound. Staying 5 nights at the St. Moritz on Central Park South, so this was just a drive to Flushing from Manhattan. Candace doing the lights.

! seealso: JGMF, "Bloody Hell," http://jgmf.blogspot.com/2014/01/bloody-hell.html.

! P: s1t01 LIR Nicky some really nice runs at the start of the song

! P: s1t02 Sugaree JG pretty nice solo over the 6-mark.

! P: s1t03 TAM sounds like After Midnight to start. Nicky sounds great.

! R: s1t05 PB clips in

! P: s1t07 MH @ 5:30- JG guitar solo, starts off low and a little fuzzy, then 5:45 he sharpens up with a jagged run that's very, very, nice. A little faster run 6:10-6:23, they pick up the energy a little bit, swinging more now. Jerry playing very well. Fanning @ 6:45, Nicky errs late in the 6-min mark, not letting the solo play, then he's gone for awhile, until Jerry settles back into the swooping hook that is really the trademark of "Money Honey". Still not hearing Nicky much until late in the 7-min mark. Maybe he was cleaning his mirror?

! P: s1t08 IARR Jerry never quite settled on how he wanted to present Roadrunner in terms of key, tempo, etc. In every iteration, it reflects the idiosyncrasies of its human and pharmacological context. A temporal cipher. In early '74, it was young Jerry running a little too hot (e.g., 2/9/74), with tons of color from Merl's organ. With JGMS and LOM it really benefited from Martin's saxophone as well in terms of the overall palette. The Garcia-Hopkins JGB was a lot more stripped down, of course. Especially on a tape (night?) like this, where Nicky is really hard to hear, things are just too percussive, or something. Nicky solos in the 5-min mark, the rest of the guys chugging behind him. Sounds like Jerry practically had to write him an engraved invitation to take a run. With that said, the Garcia-Hopkins tempos are generally pretty good, still some juice like earlier, but not the swampy dirges of 1976-1978. So, this is a pretty good tempo for IARR, even though I don't find this version to be very good. It just never really cooks.

! R: s2t01 IANU cuts in, not much missing

! P: s2t02 Russian Lullaby: Love this tempo! Very upbeat. Such great Hot Club swing, Nicky providing some really nice saloon groove. Coffee or whisky? Why not both? Jerry's attack in the 2:30 mark is really inventive, like he's skipping two notes down instead of a more continuous scale. In the late-5 over 6 minute mark Jerry has almost a Midi sound, very interesting. It's rather trumpet-like, his playing here. Nicky another solo late-6 over 7 minute mark. NB that RL did not have the bass solo at this point.

! s2t03 (1) After John runs through the chord progressions for FOTD, knowledgeable fans call it out. Good call!

! P: s2t04 Crowd clapping enthusiastically to the familiar (because played by the GD) "Friend Of The Devil". This tempo is great, very upbeat. Nicky's playing shows lucidity that was too rare during his time with JGB. Jerry takes a fine solo over the 4-minute mark, compact but reasonably dextrous. He's getting warmed up, I hope.

! song: "Friend Of The Devil" (s2t04) [Jerrybase]: One of the rare tunes Jerry played inside and outside of the GD with any regularity, this one, like other switch-hitters such as "Sugaree" and "Deal", a Garcia-Hunter joint that Jerry just seemed to love.

! setlist: s2t05 was listed in this info file as "Waltzing Matilda", but it is "Lady Sleeps".

! song: "Lady Sleeps" (s2t05) [Jerrybase]: Nicky wrote and performed this pretty piano instrumental as a solo, spotlight piece during his time with the JGB. In most live JGB renditions he segued it into the unfortunate "No Time", a forgettable nasal lament which also appeared on Nicky's 1975 release No More Changes (Mercury SRM 11028). Here it stands on its own, and nicely, a velvety soft, gentle feel sharpened by Nicky's clean strokes.

! P: s2t06 MITR: These early versions of MITR are so great. There was only really a brief window when he could truly handle the vocals, including the opening lines. Here he flubs some lyrics in the mid-3 range.

! P: s2t09 LSTNT some nice fanning over the 10-minute mark. Late in the 14-minute mark there appears to be some discord, not sure who contradicts whom, but Jerry and Nicky don't seem on the same page as one of them returns hard to the LSTNT theme, the other stiff-arms. Now to mid-15 minute mark they are dueling vigorously, late 15-minute mark Tutt picks up the tempo, and they get into a very tasty romp, a little bit to the tempo of "Caution" for the GD fans, Jerry running around now, building to some nice fanning @ 17:15, back to LSTNT theme 17:30, Tutt banging like an animal late in the 17-minute mark, some great drumming, Jerry rises in response late 17-minute mark, now everyone digging in real deep, Jerry more theme then winds down into Edward.

! R: s2t09 LSTNT a brief splice @ 16:46?

! P: s2t10 Edward is a tremendously exciting piece of music, getting Jerry to sound like John Cipollina and David Gilmour in one song is no mean feat. Tip o’ the cap to ya, Session Man.

! s2t10 (2) JG: "Thank you. See y'all later on."

! Staying at St. Moritz, 30 Central Park South, New York, NY, 10019 (http://goo.gl/maps/gQOgv), five nights. Jerry's the only one of the traveling party with a double room, so I presume he's with Deborah Koons or another woman not named Mountain Girl. Players Nicky Hopkins, John Kahn and Ron Tutt, manager Richard Loren, and drivers/'quippies Steve Brown, Kidd Candelario, Steve Parish, and B. Zachary all get single rooms. The band members had hit the road on Tuesday the 21st, the drivers probably a few days earlier, so everyone's a week or more on the road. Nine shows in seven consecutive nights, Wednesday (10/29) off in NYC, then, starting this night, six shows on four consecutive evenings, flying home the next day (Monday, November 3rd). "You've 'ad yer fun ... now pay fer it!" Back to the old salt mines. Hop in the limo, dozen mile ride to Queens, and play this long-ass gig.