By the Grace of the Lord: Legion of Mary at the Masonic Temple, Scranton, April 12, 1975

LN jg1975-04-12.lom.late.sbd-gems.117832.flac1644

Legion of Mary
Masonic Temple
420 North Washington Avenue
Scranton, PA 18503
April 12, 1975, 11 p.m. late show (Saturday)
sbd gems shnid-117832

--late show, 11 pm, main set + encore (7 tracks, 91:36)--
--late show, main set (6 tracks, xx:xx)--
t01. Let It Rock [12:27] [0:16] % [0:04]
t02. tuning [0:38], La-La [12:44] (1) [0:38]
t03. tuning [0:20], Boogie On Reggae Woman [16:18] [0:12] % [0:47]
t04. Mississippi // Moon [8:#20] [0:08] % [0:46]
t05. tuning [0:18], Going, Going, Gone [14:08] [0:51]
t06. Beer Barrel Polka [0:11] -> Mystery Train [12:49] (2) [0:58]
--late show encore (1 track, xx:xx)--
t07. crowd [0:03] % dead air [0:07], tuning [0:42], Tough Mama// [7:43#] % dead air [0:04]

! ACT1: Legion of Mary
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Merl Saunders - keyboards;
! lineup: Martin Fierro - flute (t02, t05), saxophone, percussion;
! lineup: John Kahn - el-bass;
! 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/19750412-02. 

! R: Ryan Shriver's note from TJS: "This is probably the most confused Legion of Mary show in circulation. The setlist above is what I believe to be the correct setlist for the Late show." Shriver was a pioneer in many things, including trying to sort out the mess of the tapes with this date. The setlist on this tape matches the TJS setlist until the alleged encore.

! db: shnid 4484 ("MSR > 1R > P > D > ZA/2 > SHN"); shnid 31479 ("sbd > reel > dat > cdr > cdwave > flac > wav > flac"); shnid 117832 (this fileset). The notes for shnid 31479 say "Unlike the other source in circulation (shnid 4484), there is no splice in Lala and Mystery Train does not cut at the end". Neither of these earlier sources has the Tough Mama that appears on the present fileset, though as elaborated below I am not persuaded that that song is actually from this show.

! seealso: JGMF, "Catholics Listing the Legion"

! Seeder Notes: "Lineage unknown, some imperfections and dropouts remain but this seems different than the other sources.  I hope listeners sort out the extra song, which sounds to my ears to be the band coming back for an encore, but I could be wrong. Happy Holidays 2011. *gems*"

! Seeder: "Fresh transfer of Archived SBD DAT from Thrak; Mastering by Jamie Waddell; TDK DAT > Tascam DA20 > Lynx2 > Wavelab7; WeissSaracon for 16bit 44.1kHz FLAC8 SBE Free."

! R: I had originally said "very nice Betty Board", but as of 2/1/2014 I no longer thing Betty was along for this tour. I do not know the precise provenance of these April 1975 Legion sbd tapes. I suspect that the lineage given on shnid 4484 is closer to correct than the alleged sbd reel > DAT label on the (later-created and -circulated) 31479, but I am not sure. I now believe that Kingbee obtained copies of the April 1975 LOM tapes independently, though things are hazy.

! P: t01 LIR some nice fanning descents in the late 10-min mark, some bending and running around, brief flurries @ 11:25. Nice, Jer!

! t02 La-La, can hear Martin counting it off to start. Nice.

! R: t02 drop @ track 4:07

! P: t02 La-La: The cheek-shaking screaming in the 4-minute mark strikes me as consistent with the proposition I have articulated re: Martin Fierro, namely that he got more forward, more or less continuously so, over the course of his time playing with Jerry and Merl. We talk a lot, directly or indirectly, about the respective personal, musical/artistic, professional and other circumstances/goals/ambitions/hopes/dreams of Jerry, John Kahn, Merl, the OAITW guys and so forth. But we rarely talk about Martin. OAITW struggled and reasonably quickly failed to integrate [the circumstances/goals/ambitions/hopes/dreams of] Grisman, Rowan and Garcia. Corry has analyzed post-1972 JGMS as an equilibrium between Garcia, Kahn and Saunders. But Fierro has been largely overlooked. I'll try to elaborate and speculate at some point.

! t02 @ 13:50 (1) Merl vocal mic check "Testing. Testing"

! t03 BORW: Martin on guiro at start, but blowing saxophone right in the first verse.

! P: t04 Mississippi Moon: tempos are off at first, because Jerry wants this to be really, really, really, really slow. They're on the same page by the lyric, but the first half-minute involves everyone else successively (repeatedly) cutting their tempos inhalf to slow down with Jerry. It's amazing how sweet Garcia's voice still sounded at this point.

! R: t04 MM brief drop/clip @ 6:37.

! setlist: Playing Mississippi Moon and GGG back-to-back really anchors the languid pacing of this set.

! t06 (2) JG: "Thank you. We'll see y'all later on." House music comes up @ 13:28 or so. Stage announcements, crowd cries out in dismay. This is a show-closing announcement, so it's correctly placed regardless of the status of Tough Mama.

! setlist: t06 Mystery Train is intended as the last song of the set.

! setlist: t07 Tough Mama: This Bob Dylan composition was first released on the album Planet Waves. I have contended about Going, Going, Gone --also from Planet Waves-- that Garcia liked the sound of the song (as played on record by The Band) as much as the lyrics. Wild speculation, but Robbie Robertson's guitar work is just so striking, so obviously worthy of listening to (repeatedly) and playing with ... and Garcia picked these songs up off the album and put them in his side-band repertoire so quickly ... this song just has a nice feel to it.

! setlist: The Lossless Legs seeder (*gems*) opened the question of whether "Tough Mama" is indeed an encore of the late (11 pm) show held at the Masonic Freaking Temple at 420 North Washington Avenue in Scranton, Freaking, PA 18503 on Saturday night, April 12, 1975. Let's evaluate, quickly. Pro1: here it is, labeled that way. Pro2: the room and recording, to my useless ears, sound very similar. Con1: Tough Mama is not on other tapes. Con2: Ryan Shriver (TJS) went forensically through all of these April 1975 tapes years ago. He said of 4/12/75b "This is probably the most confused Legion of Mary show in circulation", and his findings did not include a Tough Mama encore for thos show. Con3: Unless they took like 10 minutes warming back up for the encore and *really* got the crowd settled down, I cannot believe the minute or so of tape leading up to Tough Mama captures a Legion of Mary encore in April 1975. Now Scranton ain't NYC, but there were probably at least a few Deadheads in the audience who had taken the time to see Legion of Mary on this present tour or, as something like Jerry Garcia and Merl Saunders (JGMS), during the November 1974 tour. Passaic 112 mi., NYC 121 mi., Upper Darby 122: not next door, but not impossible. Travel aside, many local Deadheads would be familiar with the Garcia-Saunders-Kahn-Vitt Live at the Keystone album from Fantasy. Things are way too sedate to believe that it's a late night encore of a tune from Dylan's Planet Waves. The Grateful Dead were "retired", or whatever they called it. The crowd sounds pretty rabid in the time after Mystery Train (t06), when the show appears to be ending. Folks are pretty worked up, and now they're really calm and quiet-like for the encore?. Long story short, the quietude of the crowd before Tough Mama (i.e., at the start of t07) seems incompatible with this being an encore for this show, at this time of night. It just doesn't ring true. In sum, while we are just dealing with a 9 minute tape fragment, I feel reasonably confident that this is not the encore for the 11pm LOM show on 4/12/75 in Scranton, PA.

! R: t07 Tough Mama cuts out.

Ambassador Garcia

LN jg1976-03-27.jgb.s1s2p.aud-mcdonald.110281.flac1644

The March-April 1976 Jerry Garcia Band tour is an interesting one. This was the quintet of Garcia, Kahn, Tutt, Godchaux and Godchaux. Let me just make a quick mention of the year overall, then make a few notes about the tour, before discussing this tape of the Jerry Garcia Band, Ambassador Theatre, St. Louis, MO, Saturday, March 27, 1976 [shnid-110281].

I find 1976 to be an extremely uneven year for this outfit. Most of the shows are absolutely stultifyingly slow and smacked out. Check out the Don't Let Go release, from JGB at the Orpheum Theatre, San Francisco, May 21, 1976 to see what I mean. It's the year in microcosm: you've got your somnambulant Knockin' On Heaven's Door [Allan | Scofield] to go with a pretty hot Lonesome And A Long Way From Home [Allan | Scofield] and a raging Mighty High [Allan | Scofield] (from a few months later, September 11, 1976, Keystone, Berkeley, CA [LN]). (I don't blame David Lemieux, BTW, who seems to me to have impeccable taste. I think did a great job within the parameters of the assignment.) (BTW2: the cover and liner photos by Ed Perlstein are unbelievably beautiful, even if they are from the La Paloma Theater in Pismo Beach from February.)

Anyway, back to the point: an interesting tour. Some really smacked out shows --Steve Silberman, I think, described the show at Finney Chapel, Oberlin College, Oberlin, OH on Sunday, 3/14/76 [shnid-29134 {a pretty dreadful aud}] as the musical expression of heroin-- and some ragers (the late show from Saturday, April 3, 1976 at Lisner Auditorium, George Washington University, Washington, DC [shnid-17328, Scott Jones's great audience master] comes to mind). Some truly dreadful tapes and a couple of amazing ones. (Aside: the obvious point, that tapes are incredibly important sources of knowledge, has been repeating itself to me over and over the last few weeks. A lot of the shows that are "obscure" are precisely so because there is no tape. And this is more likely the case in off the beaten path venues and cities.) Overall, I consider that the tour got better as it went along: April 1976 P March 1976 P February 1976 P January 1976 [except the Booker stuff], where 'P' is read "is preferred to".

This particular show is definitely toward the hotter end of the spectrum - Garcia sounds more electric, doing less in the way of gospel dirges. And we don't know how much of a boil things really got to during LAALWFH, which was of course a big monster show-closer in this period. The show is mostly interesting for its obscurity: off the beaten path (off the top of my head, JG played STL maybe 3-4 times?) but well-appreciated by an early review in Relix. Fun to lay down some thoughts and notes on the obscure stuff.

In what follows, I reproduce the whole info file I have, including Dan McDonald's notes. It gets a little confusing and lengthy. As you'll see from my notes (if you manage to get through them), I disagree with his analysis of the setlist. So, anyway,  here goes.

Jerry Garcia Band
Ambassador Theatre
St. Louis, MO
March 27, 1976 (Saturday)
s1s2p aud shnid-110281

--set I (5 tracks, 58:23)--
101-d1t01 - [0:28] /Sugaree [10:07] [1:00]
102-d1t02 - Catfish John [11:10] [2:25]
103-d1t03 - Mystery Train [8:41] [0:42]
104-d1t04 - Knockin' on //Heaven's Door [15:#26] [0:39]
105-d1t05 - They Love Each Other [7:22] [0:13]

Disc Two (6 tracks, 57:57)
--Set I, con't--
201-d2t01 - ambience [0:59] %
202-d2t02 - /Sitting Here in Limbo [13:23] [0:17]
203-d2t03 - How Sweet It Is [6:34] [0:10]

--set II (3 tracks, missing three tunes,
204-d2t04 - Harder they Come [17:18] [0:28]
205-d2t05 - %/Russian Lullaby [9:27] [0:12]
206-d2t06 - %/Tore Up Over You [9:06] [0:01]
[MISSING: Strange Man]
[MISSING: Friend Of The Devil]
[MISSING: Lonesome And A Long Way From Home]

! ACT1: Jerry Garcia Band #3
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Ron Tutt - drums, harmony vocals;
! lineup: Keith Godchaux - keyboards, harmony vocals;
! lineup: Donna Jean Godchaux - backing vocals.

DAN MCDONALD NOTES:

Probable lineage: 
Master audience cassette (stereo) -> 2 Maxell UDXL C90s -> Tascam 112 -> M-Audio 24/96 ->
24 bit, 48kHz ; 24-bit, 48kHz -> 16-bit, 44.1kHz using Diamond Cut DC8 (no dither).
Taper unknown. Transfer, editing, flac encoding and notes by Dan McDonald.
Metadata added by B. Proctor 10/13/10
--------------------------------------------------------------------------

I got this tape from a guy in St. Louis (probably the taper, but I can't say for certain) in 1977 or early 1978.  It doesn't appear to circulate in digital form.  The Jerry Site lists a tape of the first set from this night, but that appears to be a different tape. This one has a cut for a tape flip in Knockin' on Heaven's Door and has all but the last 2 songs as the set list appears on the Jerry Site. The guy I got the tape from never mentioned anything missing, as far as I can recall.   

I am fairly certain of the lineage for two reasons:
a) the recording is pretty clean and high frequencies are still present
b) there are only 2 bumps at 60Hz, suggesting the master and my copy
c) side b of my first cassette has a very short stop/start between How Sweet and Harder They Come
d) On my tape, "Harder They Come" was started at the end of the second tape, but tape ran out so it was copied again, starting from the beginning, at the start of the second tape that was given to me. Ordinarily, I would expect someone to have realized that Harder They Come wouldn't make it on the tape completely as soon as the first copy was made, and so not waste the time of copying the fragment and recopying it (this is analog, real-time copying - why waste 10-15 minutes copying something you're going to have to redo?).

_________________________________________________________________________________________

I did the following:
1. fade-in to audience for Sugaree.
2. cut (tape stop) in audience at 0:23 (just before Sugaree); cut and faded in
3. slight gain change at :28 of Sugaree because of tape start (taper missed about 1 second of Sugaree)
4. crossfade Knockin' at approx. 8:48 in because of an unfortunate spot for a tape flip 
5. fade out at end of How Sweet It Is because of tape stop
6. Cut about 2 seconds out of audience between How Sweet It Is and Harder they Come because of tape recorder getting up to speed.
7. Fade in of crowd section (d2, track 1), which I left as a short separate track.
8. Added gain for left and right channels for "Harder They Come" (left and Right) and "Russian Lullaby" left only). (Started at +4dB and ended with +0 dB increase).
9. combined How Sweet It Is and Harder They Come, added a 5-second crossfade during crowd noise, and recut (less than .03 seconds off in timing).
10. fade out at end of Tore Up Over You because of tape stop during applause
_________________________________________________________________________________________


The Jerry Site lists this as the setlist:

Set 1
1. Sugaree
2. Catfish John
3. Mystery Train
4. Knockin' on Heaven's Door (cut for tape flip)
5. They Love Each Other
6. Sitting Here in Limbo
7. How Sweet it Is

Set 2
8. Harder they Come
9. Russian Lullabye
10. Tore up over you
[edit 3/2011: Strange Man]
11. Friend of the Devil
12. Lonesome and a Long Way from Home

I would guess that TLEO is the end of the first set and that Tore Up Over You is actually the last song played that night.  I say this because there is a hard stop on the tape afterThey Love Each Other, and the crowd is louder before Sitting Here in Limbo, as if it they are getting ready for the second set, and the band sounds like it is getting ready for a second set, rather than between songs. If the show ended with Tore Up Over You, the total music time is about 2 hours, which is consistent with other shows around the same time (March, 1976). The show scheduled for the following night was cancelled due to a band illness. The revised setlist also fits with what I have on the tape, which would indicate the taper probably used 90 minute cassettes. He/She/They got the first 44 minutes, did a tape flip.  got the last 15 minutes of the 1st set, stopped the recorder, Got the first 20 minutes of the second set,switched to a new tape between How Sweet it is and Harder they Come, which allowed for the uninterrupted last 38 minutes of the show.  It could be that the second tape had a second side with FOTD and Lonesome, and that was just not recorded or not copied for me.  My second tape has Commander Cody on it for the last side, so for whatever reason, the person who traded it to me didn't have the last two songs listed.

/END DAN MCDONALD NOTES/
_________________________________________________________________________________________

JGMF:

! Jerrybase: https://jerrybase.com/events/19760327-01

! db: http://etreedb.org/shn/110281/

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

! d1t01 Sugaree clips in; large PA jump @ 1:22, JG says "sorry 'bout that" @ 1:36

! could be the quality of the tape/recording, but Jerry is getting a little more metallic raunch than I am used to from this era. E.g., solo ca. 8-min of Sugaree. Still true in CJ.

! I'd say that this show is more like April 1976 than March 1976. That's something that should get a JGMF post. Tutt is keeping a slightly faster pace with a sharper groove. Garcia's guitar sounds more like metal than wood, if you get my meaning.

! d1t02 CJ nice buildup by Jerry in ca. 7-min mark leading to the "Born a slave/in the town of Vicksburg" verse. The crowd is appropriately responsive.

! d1t03 Mystery Train @ 6:45, 7:25 Jerry is bending some nice raunchy notes.

! d1t04 KOHD tape flip @ 9:00, unknown amount missing.

! d1t04 KOHD is deep somnambulence, but then around 15-min Garcia starts fanning like a mofo.

! d2t02 SIL clips in

! d2t03 JG very clearly announces the setbreak after HSII.

! d2t04 HTC @ 14:52 JG's voice is terribly scratchy. Sounds more like '78 or '79 than '76 ... ouch.

! d2t05 Russian Lullaby clips in

! d2t06 Tore Up clips in

! TJS: "Review: Roger Allrich, "Jerry Garcia Band: Ambassador Theater, St. Louis, March 27, 1976," Relix 3, 4 (July-August 1976): 8. Allrich helpfully gives the complete setlist. He does not mention "A Strange Man" by name, but he mentions a Donna vocal before Friend of the Devil, and Strange Man fits the bill. Allrich notes that the show started around 9:15 pm, though the start was scheduled for 8:00 pm. The show was a sellout."

! Review: [positive] Cullinane 1976.

! Setlist: Dan McDonald, who generously seeded this copy speculates that TLEO is the last song of set I and that Tore Up is the last song of the show. I respectfully disagree with this. First, as noted above, Garcia clearly announces a set break after HSII. This would be a weird breaking point if the show ended at Tore Up -- that'd be a mighty truncated second set. But the Allrich review lays out the setlist with great clarity, and confirms the rest of the songs. I can't explain why everyone was cheering before Sitting in Limbo, which McDonald notes; to quote Phil about Pigpen (in the Fallout From the Phil Zone liner notes, talking about the crowd screaming during 8/6/71 Hard to Handle): "maybe he was dancing a jig." The only setlist question that remains from Allrich's review is the Donna vocal after Tore Up. If you look at the setlists from around this time, it's gotta be Strange Man [Allan | Scofield]. It was the only Donna vocal they were doing, and it usually came around this time in the show.

Will The Circle Be Unbroken: The Dead and the Allmans, Sunday, May 10, 1970, Atlanta Sports Arena, Atlanta, GA

Grateful Dead
Sports Arena
310 Chester Avenue, SE
Atlanta, GA
Sunday, May 10, 1970, 4 pm
Mother's Day

As Corry has so often noted at Lost Live Dead, in 1970 the GD were still a hand-to-mouth band, touring hard. If we include NRPS gigs as separate, I do believe 1970 would be Garcia's most prolific onstage year.

Anyway, I guess I'd take the overnight from Worcester, MA on May 9, 1970 to Atlanta, GA on Sunday the 10th (Mother's Day, I think, FWIW) as a sure sign of a band that is trying to pack in the paying gigs.

Not much is known about this Atlanta show, for which no tape is known to exist (at least not to me). Here's what Deadlists has to say about this show:

According to Barry Welch, who attended the concert, it was announced before the show that TWA had failed to deliver the band's equipment and they were going to borrow the Allman Bros' gear, and first the Allmans would play a set, and then the Dead would play a set, and then they'd Jam together. According to Chris Cole who attended this show it was an afternoon show and among the tunes played were Hard To Handle and The Other One. The Dead Jammed with the Allmans during the Allmans' set as well. DeadBase IX lists a Mama Tried and a Will The Circle Be Unbroken, the latter with the Allman Bros.

I had a chance to peruse a few issues of the great Atlanta counterculture Great Speckled Bird, and can report a few things based on a review by Miller Francis, Jr. in the May 18, 1970 issue (p. 7).

First, this:

What's so great about this picture is the stenciling on the equipment, giving really nice confirmation to the equipment aspects of the story. That's some shirt ol' Jer is sporting, too. The photog was Bill Fibben.

Anyway, here are some of the key quotes from the review:

• "Frankly, this was one of the greatest musical/sensual experiences the Atlanta hip community has ever had, rivaled only by another Dead offering in Piedmont Park after last year's Atlanta Pop Festival."
• "Announcement by Ed Shane that the Allman Brothers were present and would jam with the Grateful Dead."
• "The Allman Brothers lending their equipment to replace the Dead equipment left behind in Boston by the airline."
• "Mama Tried"
• "The first appearances on stage of Duane, Greg, Berry Oakley and Butch Trucks"
• "An incredible, unbelievable, destroying Southern hymn played by the Grateful Dead and the Allman Brothers Band, 'Will The Circle Be Unbroken'"

This account makes me think that Deadbase IX had some information from the GSB review, given the Mama Tried and Will The Circle Be Unbroken information.

I also wanted to display some of the other visual data surrounding this show, so here goes. First, the ticket stub:

hat tip: psilo.com

Here's an ad from Great Speckled Bird, May 4, 1970, p. 21. Love that they were already the good ol' GD in mid-1970 in a town they had played what, once? Probably some other nice Atlanta vibe in the rest of the information.

Here's a second ad from a week later (press day one day after the show, in fact: Great Speckled Bird, May 11, 1970, p. 20) with some slightly different wording and which identifies the Hampton Grease Band as the opening act.

At the risk of being presumptuous, let me try to summarize my analysis of this show in the form of a draft revised Deadlists entry. As you can see, I am leaning toward the conclusion that the blurred lines of the acts and the possible fog of time lead me to discount the memories of a separate AB set, and to prioritize the non-mention in the contemporary source. That's debatable, for sure.

Band: Grateful Dead   
Date: 5/10/70 - Sunday   
Location: Atlanta Sports Arena - Atlanta, GA   

Hard To Handle;
The Other One;
Mama Tried;
Will The Circle Be Unbroken.

Comments: scheduled 4 p.m. start time. Hampton Grease Band opened. The Grateful Dead played on equipment borrowed from the Allman Brothers. This is supported by three pieces of evidence. First, Barry Welch, who attended the concert, recalls a preshow announcement that TWA had failed to deliver the band's equipment and that this would be the remedy! Second, a contemporary show review (Miller Francis Jr., Great Speckled Bird, May 18, 1970, p. 7) confirms this, adding the detail that the gear is in Boston, consistent with GD being in Worcester, MA the night before, which we know to be true. And, third, the Miller review is accompanied by a photo of Garcia playing in front of a stack of Allman Brothers amps.

A clear understanding of who performed is a little bit elusive. Previous Deadlists entries, based on information from Welch, noted that there was an announcement that the billing would be as follows: 1) Allman Brothers set; 2) Grateful Dead set; 3) GD/Allmans jam. (Such a jam would have reprised one in Piedmont Park, also in Atlanta, from July 7, 1969.) It is not clear from the information as given whether this announcement was made from the stage, previous to the show over the radio, or otherwise. A second attendee, Chris Cole, confirms the afternoon start time and has been credited at Deadlists with the recollection that "The Dead Jammed with the Allmans during the Allmans' set as well." This would seem to conform roughly to the layout above. No prior information has listed the Hampton Grease Band, which featured in late advertisements for the show and was discussd in the Miller review. There may be some doubts about whether there was a separate Allman Brothers set, based on the following. The GSB review by Miller Francis references an "announcement by Ed Shane that the Allman Brothers were present and would jam with the Grateful Dead." But it doesn't mention a separate Allman Brothers set. It seems extremely likely that this review would have mentioned a separate Allman Brothers set if it had been announced and a fortiori if it had happened. This guy and this paper seemed close to the Atlanta music scene and seemed very serious about the AB. It mentions Duane Allman, Greg Allman, Berry Oakley and Butch Trucks coming onto stage and it mentions "an incredible, unbelievable, destroying Southern hymn played by the Grateful Dead and the Allman Brothers Band, 'Will The Circle Be Unbroken'". But no mention of an AB set. One guess is that there was no separate AB set, that the order was 1) Hampton Grease Band; 2) GD; 3) GD + AB.

Regarding the setlist, Cole recalls Hard to Handle and The Other One. The Francis review mentions Mama Tried. For those three songs, we cannot know on present information whether Allman Brothers were onstage. Francis does mention Will The Circle Be Unbroken as Grateful Dead plus Allman Brothers.

There is more information at data at Jerry Garcia's Middle Finger.

Recordings:     none in circulation 10/00

A Monster Don't Let Go at Hartwick College, December 3, 1977

LN jg1977-12-03.jgb.90mins.aud-unk-russell.LOSSY.flac1644

update whenever: seems like this material is lossy. One hopes the source tapes can be located and archived at higher resolution (on the sonic plane for sure, but also informationally!).

Not a huge amount to say. A show that has been MiA, around which some setlist uncertainty remains. See my overly baroque notes below.

The most noteworthy things about the show are a really nice Catfish John and a monster Don't Let Go.The latter is particularly noteworthy. Not only is it just really good (see notes), but it has a Close Encounters theme. I have posted on some of the Fall '77 JGB rarities; this one now joins the versions from 11/26/77 early show (inside TLEO) and the last show of the tour, December 11, 1977 at Penn State (inside Lonesome And A Long Way From Home). I haven't compared the three versions, but it's a pretty neat little noodle.

Jerry Garcia Band
Binder Physical Education Center, Hartwick College
One Hartwick Drive
Oneonta, NY 13820
December 3, 1977 (Saturday)
90 min tape

--set I (6 tracks, 52:23)--
s1t01. crowd [0:15]
s1t02. Catfish John [10:02] [0:16] % [0:18]
s1t03. The Way You Do The Things You Do [8:25] [0:07] %
s1t04. ... Let It Rock [9:#41] [0:09] % [0:21] % [0:12]
s1t05. Harder They Come [12:24] % [0:18]
s1t06. Night They Drove Old Dixie Down [9:37] [0:15]

--set II (3 tracks, 37:31, incomplete)--
s2t01. crowd and tuning [0:38]
s2t02. Don't Let Go [26:58] [0:12] %
s2t03. Tore Up Over You// [9:#42]

! ACT1: Jerry Garcia Band #4a
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Buzz Buchanan - drums;
! lineup: Keith Godchaux - keyboards, vocals;
! 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/19771203-01

! db: none as of 1/29/2011.

! map: http://goo.gl/maps/lv0Ys

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/binder-gym-harwick-college-one-hrtwick.html

! band: JGB #4

! R: source: unknown audience cassette transferred to CD by Scott Russell; EAC (extraction) > CD Wave (tracking) > Wavelab (editing) > TLH (fix & strip, flac8 encoding) > foobar2000 (tagging) by JGMF.

! Show/Recording: A Saturday night show in a small college gym in the midst of the JGB's reasonably long East coast tour of late 1977 (November 20 - December 11, 1977), this show has barely circulated in any medium (as far as I  know). There are a few missing sets from circulating tapes of the tour, but no other completely AWOL shows. The only editing undertaken here was to smooth some of the many rough tape transitions. No noise reduction or any other changes were made. The 90 minute running time of this recording is clearly indicative of a single cassette. Whether the whole show was taped, or whether the taper just had the one cassette, is unknown.

! Setlist: The Jerry Site listed four songs to start set I, which are absent from this recording: I'll Take A Melody, Mystery Train, Mission In The Rain, and Lonesome And A Long Way From Home. I am about certain LAALWFH is incorrectly placed. There are nine other documented appearances of LAALWFH on this tour, and in all nine it ended the show. I don't really have time to analyze where the other three "missing" songs were showing up on this tour, but I am confident that LAALWFH is misplaced. I am also reasonably confident that Catfish John was probably not the 5th song of set I. CJ was generally a second song of the night, though, as on 11/29/77 (SUNY New Paltz), it could be the second song of a set II. Anyway, when I put all of this together I am deeply suspicious about the four songs identified as missing from the start of the show. I'd bet there was one song before CJ.

! Setlist: The Jerry Site also listed the setbreak as falling beween The Way You Do The Things You Do and Don't Let Go. But there's a setbreak announcement that runs continuously after TNTDODD. So I am pretty persuaded that TNTDODD is the last song of set I. Don't Let Go opened several second sets on the tour, so I am also comfortable calling it the first song of set II here.
! Setlist: Combining all of the above, here's my best guess at a true setlist for this show: --Set I-- [unidentified opener, maybe I'll Take a Melody], Catfish John >> TNTDODD, as on this tape; --Set II-- Don't Let Go, Tore Up, and then maybe Mystery Train, Mission In The Rain, and LAALWFH.

! Recording: this is not a great copy of a not-a-great-but-not-unlistenable recording. There is a fair amount of hiss, distortion, etc. I think things may be running a tad slow. update: this apparently has mp3 in the lineage.

! Recording: s1t01-s1t02: warbling and panning s1t01 and start of s1t02 (Catfish John). It's a little distracting, but it's mercifully short.

! Performance: s1t02 Catfish John is tearing it up in the 8-min mark and the crowd is appropriately appreciative. If only there were a better tape to hear this more clearly! Overall this strikes me as a pretty nice Catfish John.

! Recording: s1t04 Let It Rock fades in on the 2nd or 3rd note.

! Performance: s1t04 LIR @ 7:30 Jerry does some nice fanning

! Recording: s1t06 TNTDODD quick little fade @ 0:33, pretty close to real time (i.e., nothing really missing), just a level anomaly).

! Performance: s2t02 DLG Close Encounters hints @ track 18:30

! Performance: s2t02 DLG the voice-guitar call-response near the end of DLG is fantastic! JG is really exploring lots of possibilities that I have never heard him engage before.