Ladies Taping at the Boston Music Hall, March 14, 1978

 LN19780314: jg1978-03-14.jgb.all.aud-rolfe-minches.111596.flac1644

Great first set, OK second set. That's based on this listen to this tape.

Jerry Garcia Band
Boston Music Hall
Boston, MA
March 14, 1978 (Tuesday)
Dauby Rolfe MAC

--set I (8 tracks, 83:53)--
s1t01. Crowd and Tuning {3:53}
s1t02. How Sweet It Is To Be Loved By You [10:44] [1:31] {12:25}
s1t03. They Love Each Other [7:23] [2:31] {9:54}
s1t04. Knockin' On Heaven's Door [14:14] % [0:31] {14:45}
s1t05. That's What Love Will Make You Do [10:46] [3:10] {13:56}
s1t06. Mission In The Rain [11:01] [0:09] % [0:21] {11:31}
s1t07. The Night They Drove Old Dixie Down [10:19] {10:19}
s1t08. /Mystery Train [7:#01] [0:06] {7:07}

--set II (6 tracks, 47:22)--
s2t01. crowd and tuning {0:35}
s2t02. Love In The Afternoon [9:13] [0:08] % [1:25] {10:46}
s2t03. Gomorrah [6:42] [1:49] {8:31}
s2t04. The Harder They Come [11:00] [0:14] {11:14}
s2t05. I'll Be With Thee [5:22] [0:03] % {5:25}
s2t06. Midnight Moonlight [10:27] [0:23] {10:50}

! ACT1: Jerry Garcia Band #4a
! lineup: Jerry Garcia - el-guitar, vocals.
! lineup: John Kahn - el-bass;
! lineup: Buzz Buchanan - drums;
! lineup: Keith Godchaux - keyboards, harmony vocals;
! lineup: Donna Jean Godchaux - backing vocals;
! lineup: Maria Muldaur - backing vocals.

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; # = truncated timing; { } = time as tracked on this recording; [ ] = recorded even 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/19780314-01

! db: shnid-14969 (Tom Dalti MAC); shnid-92367 (Claudette Gardel MAC); shnid-111596 (Dauby Rolfe MAC, this fileset).

! R: Field Recordist: Dauby Rolfe and female friend;

! R: Field Recording Equipment: 2x Sony ECM 99 microphones > Teac PC-10 cassette deck (possibly Sony TC-152);

! R: Field Recording Location: Right Center Row "G", seat 20;

! R: Analog-Digital-Lossless (12/20/2004): Nakamichi Dragaon playback > ART DIO A/D converter > Egosys Waveterminal 2496 soundcard > Cool Edit 2000 (wav) > mkwACT (shn encoding), by David Minches;

! R: Subsequent (2011): shn > flac8 encoding (Trader's Little Helper v2.4.1, build 160) > tagging (foobar2000 v0.9.6.8). Size: 729 MB.

! Recording: This is another strong recording, to go with great pulls by Tom Dalti (shnid-14969) and Claudette Gardel (shnid-92367). (Question for you taper sociologists: is there another show this early, GD or Garcia or anything else for that matter, taped independently by two female tapers? Thank you so much, ladies. Go!) Anyway, Dauby is in the sweet spot, and while we can hear the limits of the cassette medium (some hiss, for example), everything is here.

! Recording: Steve Rolfe: "According to my wife Dauby, two security guys showed up to confront the evil tapers. She smiled and waved to the security guys, who, in turn, smiled and waved back, then went away. Evidently, they were shocked to find two ladies taping. She had a little trouble with rightleft levels, but did a good job considering it was her first solo effort. It is very listenable" (DNC Garcia folder #52714, 12/26/2004).

! Whoever was doing the sound this tour, and again when the JGB went to the Pacific Northwest in November of 1978, had Kahn's bass sound as beautiful in the room as it would ever be. Yes, Kahn is playing very, very well in this period. But the PA sound on it is just fantastic.

! Show: Based on set I, I was proclaiming this a masterpiece. Set II strikes me as considerably weaker. Notice that the first runs to 84 minutes and the second to 47. That set II timing is exceptionally short for a night when there was only one show (i.e., not early and late shows).

! For CD burning, disc break between TNTDODD and Mystery Train.

! s1t03 TLEO taper's neighbor, as if a celebrity, into microphone: "Well, I'd just to like to say that being here ..." [trails off as song starts]. Funny little moment.

! s1t04 KOHD @ 10:55, Kahn actually bangs the frets of his bass, in the midst of a gloriously lilting version of the song. Awesome. If you want to hear John Kahn when he could play the fucking bass, check this (and 3/12/78, and 3/18/78) out.

! s1t06 MITR @ 4:30 Kahn does a really interesting string bend. Neat.

! s1t08 Mystery Train clips in

Jerry Garcia and Friends: March 25, 1972, Academy of Music, New York, NY

https://jerrybase.com/events/19720325-03

Bo Diddley, Jerry Garcia and Bob Weir: Saturday, March 25, 1972, Hells Angels Benefit at the Academy of Music, New York, NY. I sure feel inept not knowing more about this venue. I assume it's the one at 126 14th Street, New York, NY? I am basing that on this random bit of info I found.




Anyway, the pic is credited to photographer Chuck Pulin and accompanied a too-brief but neat piece of writing (1) about the weeklong scene (GD in residence from Tuesday, March 21, 1972 through Tuesday, March 28, 1972 before jumping off to Europe)

Haven't seen this pic before, thought I'd put it into the record.

REFERENCE:
(1) Carr, Patrick. 1972b. One Full Week Running With: Grateful Dead. Grapevine (Toronto) no. 14, May 17, 1972, p. 15.

updates:

update01: see also my "JGB 9/15/76 S.S. Duchess, New York City Harbor, New York, NY"

update02: LIA has transcribed under "March 21-28, 1972: Academy of Music, NYC"

TJS and phantom gigs

How should The Jerry Site handle phantom gigs?

In another post, commenter David Minches said that disconfirmed dates should be left in with a note that they are incorrect.

I agree. But I think the "misdates" need to be filterable and should be marked off by text or color or font or border or something.

Does everyone agree that this would be the optimum solution, were it to be implementable?

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

Is it possible to love books too much?

That's a pic of my copy of Dennis McNally's Long Strange Trip. It had been taped and glued years ago but we all know how well that keeps a binding together when you are still using the book. I bought a replacement copy (new paperback, just to add my bit to the metadata that matter). One might consider throwing this old one out, but there is so much marginalia written into it that I have to "transfer" these written data to a computer before I could do that.

Also in the frame, that I can pick up easily:

• am/fm radio, for sports broadcasts.
• CD: Legion of Mary, The Jerry Garcia Collection, Vol. 1: Legion of Mary (Rhino Records, R2 74692, 2005).
• CD: Nitty Gritty Dirt Band, Will the Circle Be Unbroken (Capitol Records, 0777-7-46589-2-8, LC-0249, 2002)
• a bunch of other crap

GD19671201-02: December 1-2, 1967, Psychedelic Supermarket, Boston, MA - CXL

update note 20150517: I find it hard to update posts once I make them, too little time and all that. In any case, I think I have learned the following things.

First, the Dead shows advertised for the Psychedelic Supermarket in Boston on December 1-2, 1967 ended up canceled. Is that right?

Second, per commenter Bob E, who ran the show, the GD played Clark University at 2:30 in the afternoon on Saturday, December 9th. This, BTW, is a well-scoring dart for Corry Arnold, who more or less called it at Lost Live Dead, what was lost is found and all that. I hope Bob E. can answer more questions about that gig - was it Atwood Hall? What was the room capacity? How many attended? All that! I assume there is coverage in the campus newspaper, maybe stuff in the University archives.


Grateful Dead
Psychedelic Supermarket
590 Commonwealth Avenue
Boston, MA
Friday, December 1, 1967
Saturday, December 2, 1967
CANCELED

Found a Dead show as above listed in the great Boston After Dark, November 29, 1967, p. 5.

Corry has posted on GD shows at the Psychedelic Supermarket on December 8-9, 1967. Makes sense they'd try to do consecutive weekends if they were out east, and developing a new base in Boston might have been more attractive than building what was probably already a solid base in NYC, the ongoing "Rise of the East Coast Deadhead".

In my original post here, I noted Corry's speculation on a December '67 Dead show at Clark U. possibly on 12/2, which turns out to have happened on 12/9. I have no idea if that still relates to canceled Boston shows on 12/1-2 other than as color following, but that's cool, too.

Let me close with an appeal. The San Francisco Public Library has the amazing combination of true grit American metropolis reality with the finest state-of-the-art digital scanners in the world which make research there a breeze. San Diego Public Library is looking up.

The Boston Public Library is an American gem, as much as the great public libraries across the country, but when I was there in 2011 and made this post, it hosted only one digital microfilm scanner. Some Boston Deadhead ought to patronize the place and buy 'em a bank of digital scanners to get after the Boston After Dark and all the rest of them.

In 2011,  in my original post, I said "Humanity is on the brink of losing untold information that still lives on paper and microfilm" and "I hope someone has it in their plans to digitize the Underground Newspaper microfilm collection." I gather now that a project to digitize and make public that important collection, improved and upgraded (i.e., perhaps freshly scanned?), OCRd, is underway. Hooray!

Hippies who made bundles have a special responsibility not to play to the type of what some colleagues of mine are writing as "The Greediest Generation". Help the BPL out, if you can spare it in these parlous times.

Casey Jones Used Cocaine: LN19790613 Reconstruction River Theater Guerneville CA

jg1979-06-23.reconstruction.late-1.aud-bershaw-GEMS.96235.flac1644

On Wednesday, June 13, 1979, Reconstruction appears to have played the River Theater in Guerneville, CA. As far as I know this gig is only known because of a surviving audience recording made by Alan Bershaw. 

update: I now am about 99.9% sure the correct date is 6/23.

Reconstruction
River Theater
16135 Main Street
Guerneville, CA 95446-8301
June 13, 23, 1979 (WednesdaySaturday) - late show
all-1 2nd gen aud GEMS shnid-96235

--late show (7 tracks, missing 1 tune, 74:15)--

[MISSING Tellin' My Friends About You]]
t01. dead silence [0:07] (1) [0:51] I'll Take A Melody [11:16] [0:13] % [0:10]
t02. [0:05] Fast Tone [18:17] [0:14] % [0:05]
t03. The Jealous Kind [4:40]
t04. [0:04] That's What Love Will Make You Do// [13:#13]
t05. Linda Chicana [13:02] [0:15]
t06. What You Won't Do For Love [5:56] (2)
t07. Dear Prudence [9:23] [0:27]

! ACT1: Reconstruction
! lineup: Jerry Garcia - guitar, vocals;  
! lineup: John Kahn - bass;
! lineup: Merl Saunders - keyboards, vocals;
! lineup: Ed Neumeister - trombone;
! lineup: Ron Stallings - tenor saxophone, vocals;
! lineup: Gaylord Birch - drums.

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: https://jerrybase.com/events/19790623-02 (late show)

! db: shnid-96235 (this fileset, deprecated); https://etreedb.org/shn/149121

! venue: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/06/river-theatre-16135-main-street.html

! map: https://goo.gl/maps/fSydhUs6qupbxPgt7

! JGMF: http://jgmf.blogspot.com/2011/02/ln19790613-reconstruction-river-theater.html (this post)

! JGMF: http://jgmf.blogspot.com/2020/06/quicky-i-think-reconstruction-61379-at.html (re: dating)

! R: field recordist: unknown

! R: field recording equipment: Nakamachi 300 w/CP3 caps > unknown cassette deck

! R: subsequent analog: 1st gen reel @ 7.5ips > 2nd gen reel @ 7.5ips, via Alan Bershaw

! R: transfer: 2nd geen reel > DAT > CDR

! R: "from the Jjoops Tupperware of Treasures..."

! R: seeder notes: - Edited and Mastered by Jamie Waddell on the GEMS Edit Station - Sound = C+ - No setlist of this show circulated really except from this CDR cource, no less a copy in some of the more trusted vaults - This is the first PROOF this show happened and contains the first verson of the skanky Merle tune "The Jealous Kind"..ya gotta love it! - This is a complete remastering.  What i had, had issues. I took about three months to get to this happy medium between quality and an overprocessed feel. - Most songs cut in or out - Thanks Jjoops for the source and where is Alan Bershaw?  Anyone?"

! historical: We might think a one-off Wednesday night billing seems a little odd, but it seems to have happened a fair amount during Reconstruction's 9-month run (January 30, 1979 through September 22, 1979, by current reckoning). This is about "as off the beaten path" Garcia could be in 1979 and still be performing with others before an audience. update: this was almost certainly a Saturday gig, 6/23/79 - still off the beaten path for 1979 Jerry!

! R: GEMS did a great job with this tape. C+ sound rating is too harsh. It ain't hi-fi, but it ain't horrible. Recording may be a bit fast. Jerry's vocals sound a little high on ITAM and Dear Prudence.

! d1t01 (1) when recording enters @ 0:08, you hear a request for Casey Jones. @ 0:15, emcee requests a "nice round of applause for Casey Jones." @ 0:32, audience member notes astutely that "Casey Jones used cocaine." All right, then.

! R: t01 some tape warble

! setlist: t02 was listed as "Another Star", but it is "Fast Tone"

! P: t02 great bass and drums interlude @ track 16:19-17:23

! S: t03 This is understood as the public debut of "The Jealous Kind"

! R: t04 TWLWMYD cuts out not long before the end

! P: t05 Linda Chicana is the best song here, IMO

! R: t06 possible  spice @ 1:28 WYWDFL

! P: t06 (2) Some stage introductions (Neumeister, Stallings, Saunders) in the energy after "What You Won't Do For Love," and Jerry sounds like he and John want to force the pace into Dear Prudence before they can announce him!

! P: d1t07 DP JG is tearing it up reasonably well in 7-min mark

19910810 JGB French's Camp Piercy CA (Fifth Annual Electric on the Eel)

Jerry Garcia Band played the Fifth Annual Electric on the Eel event  put on by Bill Graham Presents and the Hogfarm at French's Camp near Piercy, CA on Saturday, August 10, 1991. I don't get into the 90s as much, needless to say, but since this just came up elsewhere I thought I'd just lay out a few things. I'd love to get some attendees' recollections if possible!

Just a few things: First, the reschedule of the show from July 13, 1991. Second, the show itself. Maybe close with a few thoughts.

1. This show was rescheduled from July 13, 1991. Here are some Wolfgang's Vault images. (I assume that since they allow you to copy the picture locations so easily, it's copacetic to use these. Anyone know differently?)

I am about 98% convinced that the rescheduling had to do with Garcia being in rehab. Here's McNally (LST, p. 588):

The [GD] summer tour ended in Denver [0n 6/28/91] where the band sat down with Garcia in a major intervention, and he responded positively. He spent August driving himself to a methadone clinic every morning, standing in line with everyone else to receive his allocation, seemingly committed to getting healthy.

I have never particularly noticed that there is a long gap from 6/28/91 through 8/10/91, with this canceled date in the midst of it -- and a few others, besides. Besides the comas in '86 and '92, this might be the longest non-playing spell I have documented at any time during which information is reasonably reliable.

2. The show holds some interest. First is the song-selection.  This is the fourth and final version of "Twilight," which JGB had started playing in the spring. A gorgeous cover of the Robbie Robertson for old Jerry. Not sure why they stopped playing it. Jerry never once got the words right, but it was a wistful, soulful, painful, beautiful song. Perhaps it was insufficiently oblique, I dunno. The third and final version of "See What Love Can Do", which never moved me that much. [update: all these years later, I like it much more!] Second version of "Lazy Bones," which is generally way too slow for my taste (though I seem to recall once or twice having been able to appreciate the craftsmanship of it). Plus the stuff that had entered the repertoire in 1990-1991, including "You Never Can Tell," "Lay Down Sally", "Everybody Needs Somebody to Love", etc.

Second interesting thing about the show is a little taper trivia. Marcus Buick, Tom Hughes, Rick Katzeff, and probably others taped this show with two widely-spaced (can't remember how far apart) omnidirectional Schoeps CMC32s from a really nice spot. It's a great tape, shnid 30813. If you like some of the spaced omni Grateful Dead tapes from 1990 (e.g., 5/5/90 at Dominguez Hills, one of the June '90 Cal Expo shows), you'll like this, too. It really is one of the nicer audience pulls you'll ever hear. We don't do much taper talk on these various blogs, but of course they have contributed in unfathomable ways to the whole thing. Thank you, tapers!

Third thing to note, even smaller, is what I consider the overrating of this show among fans. I suspect this results from the unusual song selection, the great circulating tapes, and what I presume to be massively favorable bias among those in attendance. I wasn't there, but I have a hunch the scenery was beautiful (Piercy is certainly off the beaten path!) and the day was pretty wonderful. But the show has always struck me as relatively lackluster.

3. Last thought. It wasn't until today that I realized that this was in the midst of yet-another attempt by Jerry to get clean. Bearing in mind the Fall 1991 Rolling Stone article, and Hornsby's recollections of how exasperated he was with Jerry's drug use in September of 1991, and his rapid deterioration through to the next medical meltdown in August of 1992, it's not that surprising that I find this show to lack good energy and think much, much less of the shows to come (even the exalted Fall 1991 JGB tour, which is usually exalted relative to same-era GD) than most others do.

Update: see also my writeup of the very nice 6/10/89 Eel River show, and note that all three Eels --8/29/87, 6/10/89, and this show-- are now scheduled for official release.

LN19810129 JGB Catalyst Santa Cruz

Jerry Garcia Band, Sunday, January 29, 1981, The Catalyst, Santa Cruz, CA. shnid 111412.

So I thought I'd check out an early Melvin Seals JGB show as a reward for having concluded that his public debut with JGB was 1/22/81. Randomly picked this one. Pretty nice tape that puts you FOB, but the show is not much of a treat. In fact, it's a total trainwreck. I cannot recall hearing Jerry sound this out of it this early on. It's not quite as bad as ca. August-December 1984, but it's pretty bad. Melvin is bringing it, the drummer seems on, and it sounds to me like the main culprit is Garcia.

Anyway, this is a quintet, post-Ozzie Ahlers and pre-arrival of the backup singers in June, featuring Jimmy Warren and Melvin Seals on keys and Daoud Shaw on drums. By my reckoning this is their fourth show together. Things would get better very, very quickly ... the February '81 east coast tour is quite hot right from the get-go. So this sounds like a down night, warming up a new band, fighting technical gremlins. Can't win 'em all.

Jerry Garcia Band
The Catalyst

Santa Cruz, CA zzzzz
January 29, 1981 (Thursday)
JS MAC

--set I (4 tracks, 47:12)--
d1t01. How Sweet It Is [8:55] [0:12] % [1:15]
d1t02. Catfish John [8:55] [0:07] % [0:26]
d1t03. Like a Road [16:18] [0:03] % [0:09]
d1t04. Deal [10:23] [0:13]

--set II (6 tracks, 62:15)--
d2t01.  //Harder They Come [12:39] [0:10]
d2t02. % [0:05] Mission in the Rain [12:59] % [0:22]
d2t03. That's What Love Will Make You Do [9:29] [0:02] % [0:40]
d2t04. The Night They Drove Old Dixie Down [8:21] ->
d2t05. Dear//Prudence [#9:24] ->
d2t06. Midnight Moonlight [7:54] [0:09]

This originally listed as shn 17145 with incorrect attribution and lineage.

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Daoud Shaw - drums;
! lineup: Melvin Seals - keyboards (organ);
! lineup: Jimmy Warren - keyboards (electric piano)

JGMF:

! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [mm:ss] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [mm:ss] right after a song title is an attempt to say how long the song really was, as represented on this recording.

! Jerrybase: https://jerrybase.com/events/19810129-01  

! R: field recordist: JS

! R: field recording gear: 2x Electrovoice RE-10 microphones > Sony TC-D5m

! R: Transfer: Nakamichi Dragon (Dolby B decoded) > Macintosh with Digidesign AudioMedia III sound card(A/D 44.1/16) > Pro Tools (minor "nip and tuck" edits, normalization and tracking - no EQ or digital noise reduction) > AIFF > CD > Toast > xACT (FLAC level 8 files with sector boundaries verified); transfer by JS.

! Recording: Nice FOB tape. Vocals are low, bass is pretty near inaudible, but the drums are right on you and guitar is pretty good. Keyboards nice and clear. Not too much crowd.

! R: d1t01 HSII some tape funkiness at start

! P: d1t01 HSII @ 1:22 Melvin does an 8-second sustain and then comes in with a nice solo. This is clearly early Melvin, and he is tearing it up! HSII goes for almost three minutes instrumentally, as they try to find the groove and as the sound people try to get things right. Jimmy solo, but Melvin solos over him, @ 2:12. Jerry's guitar is completely absent, then there's a crowd cheer @ 2:24 and Jerry's guitar comes in. Sounds like technical difficulties. First vocals don't start until 2:57! Then there is a lot of playing around before they land back .... Jerry starts the song back over at 6:46 with first vocals again ... yikes! He hits two clams in a row and sounds really, really bad. HSII vocals almost inaudible, more technical difficulties, @ start. Jerry sounds pretty sick on the opening vocals of HSII. Ragged. HSII @ 7:32 second vocals another horrible vocal clam. OUCH.

! Performance: Jerry's vocal weaknesses on this show, and his overall sound, lead me to conclude that he was probably not making healthy choices this night, or in any case was just off his game. I was going to lambaste the four-song first set, but I think equipment problems dictated that. There's a longish delay before the setbreak announcement (after Deal), Jerry sounds a little exasperated, and there are audible electronic gremlins out of the PA while he's talking.

! P: d1t04 Jimmy Warren is really not bringing much to Deal

! R: d2t01 HTC cuts in, enters on "battle won"

! P: MITR bad vocal flubs ca. 2:45. He sounds lost, and so he forgets the words, and he gets embarrassed and sings in a more constricted way, and so forth. A struggle. He is LOST.

! R: d2t05 Dear Prudence tape flip @ 0:05.1.

When did Melvin Seals begin with JGB?

Edited 20110216

The Jerry Garcia Band show listed as Saturday, December 20, 1980, Keystone Palo Alto, Palo Alto, CA, has always struck me odd. I argue here that (1) "12/20/80" is a "phantom" listing, a mislabel of 12/20/79. Along the way (2) I argue that "1/18/81" is also a phantom, a mislabel of 1/18/83. This leads to a new-to-me understanding of when Melvin Seals joined the band; I (3) conclude here that Melvin Seals's public debut as keyboardist with the Jerry Garcia Band was Thursday, January 22, 1981 at the Keystone Palo Alto, Palo Alto, CA. This can be seen as a companion piece to my query about the start of the Garcia-Saunders relationship.

Observation #1: all circulating tapes of "12/20/80" are actually copies of 12/20/79. No-one with ears to hear (or eyes to see, if one had been there) could confuse Melvin and his Hammond B-3 with Ozzie Ahlers and his electric piano (can't remember the precise gear right now).

Observation #2: the last reasonably well documented JGB show before "12/20/80" is August 9 (*shiver*), 1980, Keystone Palo Alto, Palo Alto, CA (shnid-29088 [partial sbd]). As we presently understand it, that is the last show of the Garcia-Kahn-Ahlers-Errico quartet version of the Jerry Garcia Band. (Errico would return on October 13, 1982, for another 8-month stint.)

Observation #3: I know of no hard evidence (newspaper ad, ticket stub, attendee recollection, distinct tape, etc. etc.) of a JGB show on 12/20/80. Gordon Sharpless, credited as contributor at TJS, has shared his conclusion that "12/20/80" is a misdate of 12/20/79 in comments.

Observation #4: there have been tape recordings labeled "Melvin Rehearsals", dated Wednesday, January 14, 1981 through Friday, January 16, 1981, at Club Front in San Rafael, CA. I have January 16th to listen to (thank you, wk!) but haven't gotten around to it yet. It's the kind of thing that is going to be all consuming for 90 minutes, and I tend not to have chunks of time like that. Tape datings are among the least reliable data sources we have --I have created a new tag called 'methodology', by the way-- but the coincidence of Wed-Fri rehearsals right before starting up the new configuration the next week is a strongly suggestive one. (I would have guessed that they'd gig on Saturday 1/17, but if they weren't ready they probably spent a few more nights rehearsing.) There may well have been further rehearsals, but there is no public information about that. Anyway, these rehearsals are consistent with a later starting date than "12/20/80" ... I don't think workaholic Jerry would have been rehearsing this new band for the 3-4 weeks required to have started up before 12/20/80 and still been rehearsing in the third week of January.

Observation #5: The next conventionally-listed JGB gig is Sunday, January 18, 1981, Catalyst, Santa Cruz, CA. This would be a plausible first gig for a band with a new lineup: Sunday night at the relatively out-of-the-way Catalyst. I see three reasons to conclude that this date is bogus, though. First, the tapes circulating with this date are all from January 18, 1983 (same venue, the Catalyst). Mislabels being what they are, this doesn't mean an '81 show on this date and venue didn't happen. Second, TJS had this note: "DeadBase's setlist for this show is a duplication of their 01/18/83 setlist and incorrect", and it credits gorshar as a contributor. This is exactly like the profile of 12/20/80, of course. Third, the manucript tradition (i.e., Corry's lists) never contained information on this show. Strike three and this date is out, as far as my current reasoning goes.

Interim Analysis. Here's what I think happened for both "12/20/80" and "1/18/81". The old manuscript tradition correctly had no listing for these shows. At some point a tape of 1/18/83 gets mislabeled "1/18/81" (easily enough), just as a tape of 12/21/79 became "12/20/80" (though this one has a less obvious orthographic explanation). This tape forms the basis of a Deadbase listing (most of which, but obviously not this one, drew from Corry's lists). When the Jerry Site comes around in ca. ?1999? or ?2000?, gorshar tells Ryan about the mislabel, but Ryan (rightly, conservatively) makes the note but keeps the entry in, just in case. But I am prepared to conclude here that 1/18/81 is also a bogus listing.

Observation #6: the next known JGB show is Thursday, January 22, 1981, the first of two nights at the Keystone Palo Alto in Palo Alto, CA (Jerrybase, shnid-97266 [Latvala's partial audience recording]). These are Melvin's presumed third and fourth shows, after "12/20/80" and "1/18/81". But I argue there that 1/22/81 is the correct dating for Melvin Seals's public debut with the Jerry Garcia Band. The two preceding dates, "12/20/80" and "1/18/81", are both phantoms, by my analysis.

Aside, re: personnel: Melvin would never leave the JGB's keyboard chair, putting in an astonishing 14+ years. Without checking the numbers, I think this makes Melvin Jerry's #2 onstage musical collaborator (in terms of frequency) outside the Grateful Dead, following Jerry's ol' buddy John Kahn. There is obviously much, much more to say about Mr. Melvin Seals, who continues, 30 years on, to engage this music as "Melvin Seals and JGB".

Aside re: venues: Corry's pathbreaking work on the Keystone complex, including his Garcia shows at Keystone overview, deserves to be borne in mind at all times. His economic analysis is especially important, really providing some good hard evidence about the Garcia-Keystone (let me use that as shorthand for Freddie Herrera and the whole complex here) symbiosis. He mentions the nice complementarities of Jerry being able to rotate through the various clubs, especially in this period when the Keystone Berkeley, Keystone Palo Alto, and the Stone (San Francisco) were all operating. I don't read him as identifying any further division of labor, but I have a hypothesis: the Keystone Palo Alto was more likely to be used midweek than either of the other two clubs. That's not to say the KPA never got weekend shows, just that, by the early 80s, if there was woodshedding to be done and a Keystone club was to be involved, it was more likely to happen in Palo Alto than in Berkeley or SF. Otherwise, it seems like slightly more out-of-the-way places such as the Catalyst and the River Theater got a disproportionate share of the "debut" action. And given the fluidity of JGB membership in the early 1980s (e.g., in terms of backup singers and drummers), there was an unusual amount of woodshedding to be done. I do think we could get at this with some very simple statistic tests, but I'll add that to the "to-do" list.

And a meta point underneath (or "over", anyway) that: maybe the fact that less central venues tended to get the "debut" performances in the early 80s is why information on precise starting and ending dates has been so inconsistent. Fewer notetakers and tapers = less carry-though to the present. An interesting sociology of knowledge involved in all this, but I digress ...

Upshot:

1. I argue and conclude that the "12/20/80" JGB date is a phantom
2. I argue and provisionally conclude that the "1/18/81" JGB date is a phantom.
3. I argue and conclude that Melvin Seals's public debut with the Jerry Garcia Band was January 22, 1981, following at least some rehearsals the week prior.

Source Check:
McNally, LST: no mention
Jackson, Garcia, p. 321: Melvin's arrival and tenure noted, but no starting date/timeframe given.
Jackson, cutting room floor: no mention.

Reasonably Good Voice and Superb Guitar: JGB on the Russian River, May 31, 1982

jg1982-05-31.jgb.all.aud-GEMS.95427.flac1644

So, this show came up a few days ago as one at which Liz Stires and Julie Stafford were probably singing backing vocals. Part of an interesting occasional discussion on personnel issues in which the early 80s JGB backup singers and drummers have been the matter of some focus (see also here on the late '83 JGB tour).

The only copy I know of is shnid 95427, which derives from an unlineaged audience recording preserved by the GEMS folks at Lossless Legs. It's basically a nice, upfront audience tape. Not even too much crowd noise. You get the limitations of being up so close (low vocals), but the recordist did a nice job and everything is present. A few cuts here and there, but, hey, we all have a few blemishes, don't we?

The show is quite nice. I am sometimes surprised by the things I find, despite lots and lots of listening. (I guess that capacity to surprise is always there, else why are we doing it? Anyway ...) I would have expected a rather sloppy show, given that they are off the beaten path, Monday night, and all that. Just another gig. But, in fact, Jerry is in reasonably good voice and his guitar playing is absolutely superb. He isn't quite as fast here as he is in other first-semester 1982 shows, which is to the good. He is hitting nice clean notes, elaborating pretty lengthy thoughts, and so forth. Standouts for me are the Valerie, Roadrunner and especially Dear Prudence. I almost never give a fig for DP but this one has some shimmering guitar work for a couple of minutes around 7 minutes in. Overall, then, not in a big coke-fueled rush that finishes with one of those coke-blast-45-minute-just-pay-me-so-I-can-score-lets-play-Midnight-Moonlight sets that would become so common in the Bay Area in 1984-1985. Just working methodically through some really neat progressions, taking care, feeling it. Do y'thing, mang.

So everything has just a little extra something to it after a rough start to How Sweet It Is. There is a harmonica player identified as Matthew Kelly during "Mystery Train," which benefits from the harp. They take some time to really get the old engine a-chugging at the start. Part of me thinks this does not sound like Matthew Kelly, but I am really not in a position to have any confidence about that. Guest shots were very rare during this period --I have long maintained they relate inversely to Jerry's opiate intake-- and overall things have a little extra something on this night..

Anyway, various and sundry notes below.

Jerry Garcia Band
River Theatre
16135 Main Street
Guerneville, CA 95446-8301
May 31, 1982 (Monday)
GEMS aud shnid-95427

--set I (6 tracks, 55:08)--

s1t01. introduction, tuning [0:19], How Sweet It Is To Be Loved By You [9:09] [0:06]
s1t02. % [0:15] Catfish John [10:18] [0:09] % [0:08]
s1t03. Valerie [6:36] [0:04] % [0:27]
s1t04. I Second That Emotion [12:46] [0:04] % [0:07]
s1t05. Love In The Afternoon [9:56] ->
s1t06. Run For The Roses [4:37] [0:07]

--set II (6 tracks, 66:44)--
s2t01. crowd and tuning [0:23], (I'm A) Road Runner [9:50]
s2t02. /Knockin' On Heavens Door [14:#22] [0:05]
s2t03. //Mystery Train [10:#25] [0:09] % [0:09]
s2t04. The Night They Drove Old Dixie Down [7:56] ->
s2t05. Dear Prudence// [13:#27]
s2t06. //Tangled Up In Blue [#9:46] [0:06]

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia - el-g, vocals;
! lineup: John Kahn - el-bass;
! lineup: Bill Kreutzmann - drums;
! lineup: Melvin Seals - keyboards (organ);
! lineup: Jimmy Warren - keyboards (electric piano);
! lineup: Liz Stires - backing vocals;
! lineup: Julie Stafford - backing vocals.
! guest: Matt Kelly - harmonica (s2t03).

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/19820531-01

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/06/river-theatre-16135-main-street.html

! Personnel. This show takes place during a period of some fluidity (and certainly ex post uncertainty) about personnel in the JGB. Here is what I think we have here. There are definitely two keyboardists, Melvin on organ (probably a Hammond B3) and Jimmy Warren on electric piano (probably a Fender Rhodes). There are two female backing vocalists. I am not qualified to judge who they are, but various discussion on JGMF, LLD and elsewhere leads me to conclude that this is Julie Stafford and Liz Stires.  Julie Anzaldo recalls "Liz and Julie" singing at an '82 River Theater JGB show which included Roadrunner. Since there are no backing vocals on 10/24/82 (same venue, also including Roadrunner), it would seem this is the Liz & Julie show that Julie A. recalls. Oh yeah, we also cannot be 100% sure that this is Kreutzmann drumming.  BK is the conventional listing, and since I can't discern who's drumming I follow convention here.

! R: Source: Unknown Audience recording > ? > cdr > eac > wav > Gems Edit Station > flac.Edited and Mastered by Jamie Waddell on the GEMS Edit Station. A GEMS production -+-+- www.shnflac.net -+-+- Trac'ed Cdwave Flac'ed level 8 TLH.

! R: GEMS Notes: - Big Thanks to Katfish John for sharing his cd's - Numerous mic bumps were fixed, some artifacts may remain - Beginning of Tangled Up In Blue cuts in - End of Dear Prudence Cuts out - Mystery Train cuts in - Recorder was turned off between some songs

! s1t01 enters on emcee introduction.

! Recording. What a lovely little FOB audience tape. Imperfect, but aren't we all! Vocals are low and there is some considerable phasing in the beginning. It seems a nice representation of the JGB at a freaky little theater on the Russian River. Oh yeah, no Russian Lullaby? C'mon, man.

! s1t01 They are a little lost to start of HSII.

! s1t03 JG takes a nice cookin' solo in Valerie. He is playing pretty well.

! s1t05 LITA some audible mic issues @ 2:20 ish

! s2t01 This is a pretty peppy RR.

! s2t02 KOHD clips in.

! s2t03 Mystery Train special @ start, Jerry pulling off a little bit to let it settle in. Nice!

! s2t05 Dear Prudence splice @ 3:24, 12:49

! s2t05 Dear Prudence @ 8-min mark, a minute or two before and after, JG is playing really nice, long lines ... very thoughtful and clean. Gorgeous.

! d2t06 TUIB cuts in, anomalies @ 0:10, 0:50; muffling 1:22-1:26, anomaly @ 1:29

The River Theatre (Guerneville, CA) 1982 Liz and Julie Conundrum, Resolved

In my previous post on the JGB's early 1980s drummers and backup singers, I grappled with the puzzle of the backup singers on 10/24/82 at the River Theater, 16135 Main Street, Guerneville, CA, 95446-8301:

an eyewitness to the 10/24/82 River Theater (Guerneville, CA) show, which we know featured the return of female vocalists after the brief four-show interregnum of 10/13 and 10/21-23, thought that "Julie" was one of the singers. This was how Julie Stafford first came to my attention as someone who might have sung onstage with JGB ...

I then noted in comments the following:

The eyewitness to the River Theater (Guerneville, 10/24/82) show is Julie A., and she is exceptionally credible. She and John saw a great fraction of Bay Area Jerry shows from '79-90s or so, and taped many of them. She may come post here, but in any case she says she is 100% sure that the backup singers on 10/24/82 were two white women, Julie and Liz ... And if Jacklyn and DeeDee didn't start on 10/24/82, then we have their debut date wrong, too.

I believe I have this little conundrum solved: JGB also played the River Theater, Guerneville, CA, on May 31, 1982, and I believe that this is the Guerneville show with Liz and Julie singing. It would have been in the "Liz and Julie" period. Julie Anzaldo avers that the "Liz and Julie" show could have been 5/31. She remembers Roadrunner being played, but it was played at both Guerneville shows. There weren't any other particular rarities that might have set the two shows apart in memory, except perhaps for the guest shot by Matt Kelly on harmonica at the May 31 show (for "Mystery Train").

This may help to resolve two things in particular that had confused me. First, it restores the longstanding update: MISTAKEN understanding that Jacklyn LaBranch and DeeDee Dickerson debuted on 10/24/82. Second, it reconciles with the Liz Stires chronology, which has her leaving after the 6/22/82 Mosque Show in Richmond, VA.

Update: I have posted listening notes on 5/31/82.

On the theater, I would love to learn more! Seems like my kind of place

Here are the Garcia dates I have for it:

Reconstruction, June 23, 1979 (Wednesday)
Jerry Garcia Band, May 31, 1982 (Monday)
Jerry Garcia Band, October 24, 1982 (Sunday)
Jerry Garcia and John Kahn, September 28, 1984 (Friday)
Jerry Garcia and John Kahn, August 17, 1985 (Saturday)
Jerry Garcia and John Kahn, October 11, 1985 (Friday)

! map: https://goo.gl/maps/2VFWg. And here is the Google Street View from ca. now:

When the Hunter Gets Captured By The Game

RIP, Gladys Horton.

Lyrics from Alex Allan's site. Love Horton's enunciation on the Marvelettes version of this great Smoky Robinson song. Lots of other recordings out there, too!

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.

GSCBF14: Old And In The Way: Sunday, April 28, 1974, ca. 23:15

Part of a series of back-of-the-napkin thoughts about the Golden State Country Bluegrass Festival (GSCBF), held in San Rafael, CA from Friday, April 26th through Sunday, April 28, 1974.

Previous installments:

GSCBF1: just a mention

GSCBF2: a plea for a release of the film and tapes!

GSCBF3: Sunday 4/28/74 afternoon schedule

GSCBF4: Greenbriar Boys (a.k.a. "Frank Wakefield"): Sunday, April 28, 1974, ca. 15:00 

GSCBF5: Jimmy Martin and the Sunny Mountain Boys: Sunday, April 28, 1974, ca. 16:15

GSCBF6: Doc and Merle Watson: Sunday, April 28, 1974, ca. 1700 

GSCBF7: Steve Martin and John McEuen: Sunday, April 28, 1974, ca. 1900 

GSCBF8: Skunk Cabbage: Sunday, April 28, 1974, ca. 19:05 

GSCBF9: Great American String Band: Saturday, April 27, 1974, ca. 23:15 ("Where's Jerry?") 

GSCBF10: Ramblin' Jack Elliott: Sunday, April 28, 1974, ca. 19:30 

GSCBF11: John Hartford (& Friends): Sunday, April 28, 1974, ca. 20:15 

GSCBF12: Ralph Stanley & His Clinch Mountain Boys: Sunday, April 28, 1974, ca. 21:15 

GSCBF13: Nitty Gritty Dirt Band: Sunday, April 28, 1974, ca. 22:00

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Somehow I have a sense of anticlimax, having reached this point. I have gone through the entire, historically precious set of "Debbie" tapes, which pretty completely covers the Sunday, April 28, 1974 afternoon program of the festival. And here we have the first performance of OAITW in almost five months, and the group's last-ever. As Corry has pointed out to me, right around this time Grisman seems to turn from traditional bluegrass and from the song (i.e., with vocals) orientation that Peter Rowan represented in OAITW to what would become "Dawg Music", as first systematically explored in the Great American Music Band. So this is a really pivotal moment for lots of things.

Yet, the set just doesn't light me up. They are obviously running up against a hard time limit and really have to rush. Things never really take flight. So, historically important, but not the OAITW set I'd grab first for musical quality (for that I'd turn to the Boarding House shows from October 1973, which have given us all of the officially released OAITW material).

Thanks to Matt Smith for sharing these incredible tapes with me. I plan to continue the series as I pick my way through the "soundman" tapes, which sound much nicer but which pose considerably greater challenges in terms of days/dates, sequences, running time of the sets, etc.

Golden State Country Bluegrass Festival
Marin County Veterans' Auditorium Building and Grounds
San Rafael, CA

<--Nitty Gritty Dirt Band precedes-->

Old & In The Way
Sunday, April 28, 1974 ca. 23:15

Source: "soundman reels, disc 6 of 6 (4/28/74)"
Provenance: reel
Transfer: AKAI GX 636 playback > Apogee mini ME @ 24/96 > Apogee Mini DAC (monitoring/mastering) > lynx one soundcard > wavelab 5.0 > CD, by Matt Smith.
Lossless encoding: extraction (EAC) > initial tracking (CDWave) > minor edits (Wavelab 5.0) > FLAC level 8 (TLH).
Tagging: foobar2000 v0.9.6.8.

(7 tracks, 21:07)
t01. monitor talk [0:35]
t02. High Lonesome Sound [3:43] [0:13]
t03. Pig In A Pen [2:01] [0:10]
t04. Panama Red [2:56] (2, 3) [0:37]
t05. Wild Horses [4:42] [0:05]
t06. encore calls [0:50]
--Encore--
t07. Hobo Song [4:58] (4, 5) [0:14]

Lineup:
Peter Rowan - ac-g, vocals;
David Grisman - mandolin, harmony vocals;
John Kahn - ac-bass;
Jerry Garcia - banjo, vocals;
Vassar Clements - fiddle;
?unknown? - harmonica ("Hobo Song" only).

JGMF Notes:

! 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.

! Recording: Matt Smith has since done a new high-res transfer as of about 2010. I had already noted and extracted the CD copies he sent me a few years ago, and in any case since I wanted to patch from the Debbie tapes it made sense to just work with the 1644s. I'll probably cut and note the high-res copies of the soundman tapes separately, with no patches, at least in a first cut. With the patches from the Debbie tapes, this is basically a continuous 21 minutes, and is the entire OAITW set.

! Recording: The Debbie tape and the soundman tape play very nicely here in terms of coverage. The soundman source is much nicer, and especially much more present in the right channel, so the transitions are a little jarring. I just didn't have time/energy to really do it up more smoothly, not least knowing that there's a high-res version of the soundman tapes sitting on a hard drive. I haven't listed the provenance of the Debbie tapes above: it's the same as on all the Debbie tapes, albeit from "4/28/74, disc 2 of 2".

! Performance: OAITW hadn't played for almost five months, probably since November 4, 1973. There was absolutely not an OAITW set on the Saturday, April 27, 1974. The recordings that circulate labeled this way are just wrong. There was one OAITW set at the GSCBF, it was Sunday to close the festival, and this is it. This is really just a quicky reunion to cap things off. Remember that the GSCBF was dedicated to Vassar Clements, and of course being in Marin the locals (most prominently Garcia) were crowd favorites, so it was a good call to have OAITW close it out. They sound very rushed for time, which is a shame.

! t01 and first 5.5 seconds of t02 (High Lonesome Sound) patched in from Debbie source. You can hear how the different mix, and how much nicer these soundman tapes are.

! t02 HLS some tape munching @ 2:30

! t04 PR @ 1:20 some channel panning just at the start of Garcia's banjo solo

! t04 (2) @ 3:00 Grisman, off-mic: "We've got time for one more." Garcia: "One more and an encore, man!" [JGMF note: wants to play!]

! t04 (3) @ end of track: Grisman to crowd: "Thank you, we've got time for about one more."

! t06 between Wild Horses and Hobo Song, the soundman source had 30 or so missing seconds, from about 0:15 to about 0:45. I butt-patched in the Debbie material here. The transitions are audible, but I am just not skilled enough to balance, etc. The channels may even be inverted ... what do I know?

! t07 @ 0:26 Hobo Song some funkiness, almost a sub-second blip

! t07 Personnel: unknown harmonica on Hobo Song

! t07 (4) Rowan: "Thank you very much, everybody! It's been a great festival. Thank you all!"

! t07 (5) @ 5:08 Unknown speaker: "Good night, thank everybody for comin'. Have a safe trip. See you next time."

<--end of Sunday program-->
<--END OF FESTIVAL-->

Jerry Garcia's Middle Finger
http://jgmf.blogspot.com/search/label/GSCBF

LN19760119 JG interview by Father Miles Riley, KPIX-TV Studios, San Francisco, CA

Update: looks like a 26 minute recording is available through the GDAO: http://www.gdao.org/items/show/379043

Update2: GD Archive material gives taping date as 1/19/76

Update3: see also "Jerry's January 1976".

Update4: 26 minute video has finally come into the light!

I have now put some slightly more verbatim "viewing notes" below the fold. Not a full transcription, but close enough for my own purposes.

Interview of Jerry Garcia by Father Miles Riley
KPIX-TV Studios
San Francisco, CA
Interview date: January 19, 1976 (Monday), 9 p.m.
Air date: January 31, 1976 (Saturday), 1 p.m.

(16 tracks, 13:34)
t01. Jerry's mother [1:04]
t02. Jerry's image, fame [1:52]
t03. aura, music vs. words, responsibility, leadership, JG experiential thing [3:00]
t04. interaction, film [0:16]
t05. TV [0:37]
t06. feedback, interaction with fans [0:37]
t07. mailing list, record samplers and fan mail [0:18]
t08. musical eclecticism, evolution, energy [0:46]
t09. where JG functions best [0:25]
t10. "it's working" [0:28]
t11. the best things happen when everyone agrees [0:40]
t12. improvised architecture [0:32]
t13. feeling good about it [1:06]
t14. something to work on, with observable progress [1:00]
t15. sign off [0:03]
t16. Hank Harrison voice note [0:40]

JGMF:

! Original note: "More from Hank Harrison's cassette interviews." Came with two further tracks. Track two was said to be interview to Robert Petersen, track three with Pigpen and Petersen. I note that Pigpen is on both, probably Petersen, too.

! Lineage given as "MC > CD > EAC > FLAC". I note that there's gotta be more than that. Harrison's voice notes are superimposed over tape, for one thing. And there was some kind of high-pitched tone at the start of some pieces ... would that be a reel? Or would a little dictation machine have done something like that, too?

! Lineage: JGMF: I took the flac, decoded, tracked it with CDWave, wrote up these notes, and flac'd with TLH.

! Recording: this runs to about 14 minutes. I assume the show was 30 minutes, but can't know that and that is correct, as determined by the video. There is definitely some conversation missing here [from the sound file - true]. We cut in at t01, and at a point are two there are references to things Jerry just said that don't appear on the tape. Just a wild guess that it was 30 minutes and we have about half of it. ["You are correct, sir!" -- ed]

! Material: Very, very interesting. I wonder how Father Miles Riley got Garcia to come into a TV studio to appear on his hipster priest show. Note that there is one interview, I can't remember the context, in which Garcia talks about being fascinated with these TV preacher types. But in that seetting he was talking about the hellfire and brimstone types, sweating hard and asking for money. Like that white-haired coke fiend who used to be on Bay Area TV in the 70s. Anyway, Father Miles Riley sounds much more in the gentle, closeted, trying-to-be-hip, leftwing catholic priest tradition.

! According to Harrison's notes and based on the vibe of the conversation, it does feel face to face, in studio. [update: yes] HH's notes only say the air date, not the recording date.

! The good Father has a reasonably light touch in trying to steer JG toward things spiritual and whatnot, but JG really isn't biting. He knows where Riley wants to take it, but he's pretty good-humoredly steering clear of it. It's a very interesting discussion. Indeed, t13 is sort of premised where the Priest tries to raise "faith", and Garcia basically says that his own guiding light is whatever feels good. If it feels good, he does it. If it doesn't, he doesn't. Hardly a faith-based, less still even remotely ascetic, philosophy.

! t01. This has to be the only tape I have ever heard of Jerry talking at all about his mother. There have been a few other interviews in which he discusses her, but hearing January 1976 JG talk about this is enlightening indeed. "I never was able to say to her, 'I thought you did OK'." I never was able to finish that idea. I don't feel as though our relationship is gone forever. She always respected what I did, and liked the fact that I was a musician and liked what I  was doing and so forth. And she never judged me. Even through things with involvement with drugs and things like that. It's a shock as things like that always are. (re death of his mother). Once your parents are gone ... y'know ... y'know [heavily connotative pause, more in the sense of "it's weird" in a way.] . They're gone. On some levels it's liberating and on other levels it's very sad."

! t02. "The kind of fame that I'm involved in, such as it is, is low enough of a profile so that I'm not constantly being reminded of it" [people aren't running up for autographs] "It's much cooler than that." So glad he could still say this as of early 1976, at least!

! t07 note that the mention of the mailing list, record samplers etc. provides data consistent with the identified time frame of the interview.

! t14. We might say something about Garcia's workaholism based on t14. He basically says fulfillment in life results from having something to work on, on which one can make observable progress, at the very center of life. Homo Faber, of a sort.

! t09. "I am not an artist in the solo ... or in the independent artist in the garrett mold. ... I'm part of dynamic situations and that's where I like it, and that's where I feel I function best. And The GD as a collection of people are all people who've come to that idea."

! t11. GD: "If somebody doesn't like it, we don't do it. We've learned to trust each other." "No idea really makes it if you can't include everybody."

! t16. Hank Harrison: "That was Father Miles Riley, Catholic Priest television host of a show called 'I Believe', recorded at KPIX Studios in San Francisco, aired at 1 o'clock in the afternoon in the entire Bay Area, 1/31/76, interview with Jerry Garcia of the Grateful Dead."

JG: December 21, 1970 (Monday), Pepperland, San Rafael, CA

At some point I need to figure out Pepperland. I see from a Rock Prosopography post on Sons of Champlin setlists that the venue was the Bermuda Palms ca. 1967, then became Euphoria Ballroom, then became Pepperland. Nothing turns up on Rock Archaeology.

COAU has a little bit. With an address of 737 Francisco Blvd. E, San Rafael, CA 94901, it is apparently recently known as Litchfield's Zebra ?Restaurant?:


View Larger Map

But my purpose here is not to dig into Pepperland, but to follow up on the gig on December 21, 1970. I had mentioned it in one of the recent Hooteroll? posts, and I reproduce an ad from the Pacific Sun that I had also posted there. (What can I say, I like this image?)

In comments, cryptdev confirmed that Howard Wales was not present, so the billing in the ad is wrong.

We have good eyewitness information on this at Deadlists, however. This from MP:

I attended part of this show. It was indeed the Jerry Hahn Brotherhood opening, with a spectacular set. Next up was a blues band (not Howard Wales) that I can't recall the name, but John Kahn was their bass player. The New Riders played next. Around 2 AM, Garcia, Lesh, Hart, and David Crosby came out. They opened with "Drop Down Mama," and also played "Alabama Bound," "Triad" and "Deep Elem Blues" before I was dragged kicking and screaming from the hall by my ride, who needed to work the next morning. The ads billed the show as "Acoustic Dead" but this segment, at least, was electric. At one point, Garcia introduced the group as "David and the Ding-A-Lings" (not Dorks!) and Crosby countered with the name "Jerry and the Jets." Weir and Pigpen were visible wandering around backstage, so it is entirely possible, even likely, that the entire Dead played even later, as curfew clearly was not an issue.

So I'll just extract and reformat. On this night, we have the following:

1. Jerry Hahn And The Brotherhood 
2. blues band, with John Kahn on bass: Comment: LLD, take note!
3. New Riders of the Purple Sage (NRPS). Comment: Mickey is in the house. Wonder if he played drums, or if Spencer did?  First documented show with Spencer was in Cleveland on 11/29/70, but as I am learning it might have switched back and forth for awhile, so with Mickey here it's possible he played.
4. David And The Dorks. Comment: Jerry Garcia, Phil Lesh, Mickey Hart, David Crosby. Name is utterly fluid, so this DATD listing is purely conventional. Much to say, eventually, about David and the Dorks. Not sure what more there is to be learned ... hopefully more!
5. possibly the GD, acoustic or electric possible

A few thoughts..

If the GD did play, this would have been a rare "threefer" day for Garcia. The only other days I can think of him playing live with three different bands, off the top of my head, were the closing of the Fillmore West run (July 2, 1971) and, you guessed it, the Golden State Country Bluegrass Festival on April 28, 1974. (He played three separate shows on 6/5/82, but all as the Garcia-Kahn acoustic duet.)

With Weir and Pigpen in the house, I'd wager the GD were at least slated to play. I'd even say there might be better than even odds that the GD played in some configuration.

Wonder where Mickey Hart's head was at, given how things would shake out in regards to Perfidious Lennie over the next few months? I also wonder whether his barn studio was being planned or built yet?

Would JG ever play at Pepperland again?

GSCBF13: Nitty Gritty Dirt Band: Sunday, April 28, 1974, ca. 22:00

Part of a series of back-of-the-napkin thoughts about the Golden State Country Bluegrass Festival (GSCBF), held in San Rafael, CA from Friday, April 26th through Sunday, April 28, 1974.

Previous installments:

GSCBF1: just a mention

GSCBF2: a plea for a release of the film and tapes!

GSCBF3: Sunday 4/28/74 afternoon schedule

GSCBF4: Greenbriar Boys (a.k.a. "Frank Wakefield"): Sunday, April 28, 1974, ca. 15:00 

GSCBF5: Jimmy Martin and the Sunny Mountain Boys: Sunday, April 28, 1974, ca. 16:15

GSCBF6: Doc and Merle Watson: Sunday, April 28, 1974, ca. 1700 

GSCBF7: Steve Martin and John McEuen: Sunday, April 28, 1974, ca. 1900 

GSCBF8: Skunk Cabbage: Sunday, April 28, 1974, ca. 19:05 

GSCBF9: Great American String Band: Saturday, April 27, 1974, ca. 23:15 ("Where's Jerry?") 

GSCBF10: Ramblin' Jack Elliott: Sunday, April 28, 1974, ca. 19:30 

GSCBF11: John Hartford (& Friends): Sunday, April 28, 1974, ca. 20:15 

GSCBF12: Ralph Stanley & His Clinch Mountain Boys: Sunday, April 28, 1974, ca. 21:15

 We are almost to the end of the Debbie tapes, which are probably multigen cassette-sourced (and have the corresponding sonic limitations), but run pretty continuously from Sunday 3 pm until about 11:30 pm or midnight.

So we just had the very traditional-sounding Ralph Stanley & His Clinch Mountain Boys. The Debbie tape of that is only about 17 minutes, while I expect that the set ran at least 30. Unfortunately, and uncharacteristically for the Debbie tapes, it feels fragmentary, cut on both the front and the back end. Now that I think on it, I think the sound quality is inferior, as well. Weird.

Anyway, Colorado boys The Nitty Gritty Dirt Band come on around 10 pm, let's say -- we really can't be sure until I read and hear more accounts. (Note to self: I need to read the Marin Independent-Journal from about December 1973 through 1974. I think that will tell a lot more about what went down with this Festival.) That's how it was scheduled, so we'll just go with that as an anchor, in any case.

So these guys were famous for lots of stuff, but especially for getting old-time and modern country players together ca. 1972 for the Will The Circle Be Unbroken project. Let me refer to it as WTCBU for short. So this was a huge deal, though I have a lot more to learn. I know that lots of the '73 bluegrass festivals billed a "WTCBU Reunion" as the show-closer. This was presumably various permutations of the great many amazing folks who appeared on the record. (FYI, Bruno has a post on the NGDB.)

The GSCBF would be no different. Back in GSCBF3 I synopsized the Sunday afternoon-evening schedule. Ralph Stanley was scheduled for a half-hour set starting at 9, then a "special guest" and then the Dirt Band. The basis for that schedule was an undated document from the Southern Folklife Collection. (Have to see if I can post images of docs from their collection.) It is so much more detailed than any other listings I have ever seen that I assume it was printed pretty close to show time. Here's what it read across the bottom:

Beginning at 10:30 p.m. Sunday there will be a reunion of the "Will The Circle Be Unbroken" album including Nitty Gritty Dirt Band, Vassar Clements, Merle Travis, Doc Watson, Jimmy Martin, Norman Blake. Every effort is being made to include all others performing on the Circle album.

That's not quite what we get. Vassar and Doc Watson are the only two who actually come out with the Dirt Band for "WTCBU", even though Jimmy Martin had said a few hours earlier that he'd be there for it (GSCBF5, recording note #6). I assume that the rest of these guys are partying back at the hotel or driving or flying out of town already. It seems like everyone's having a pretty good old time, and there are lots of guests: Colorado mandolinist Jerry Mills, John Hartford, Vassar Clements, Doc Watson, David Nelson, and lots of other people make appearances during this roughly 70-minute "set". (We might consider it two sets, but since the NGDB guys are constantly on stage for this, I consider it a whole.)

Oh yeah, and a guy named Jerry Garcia. No-one has ever really bothered to pin this down as far as I know, but he is playing electric guitar here. I originally thought it even sounded like something different from his standard electric guitar from this time frame, but now I am not so sure. Note that Garcia's total time on tape here is about 10 minutes. It's very interesting for Garcia folks to hear this material (as it is to hear his 15-minute banjo sit-in with the Greenbriar Boys earlier in the day) , because any time he's doing something that was out of the pattern it's fun to consider how it fit in. He doesn't knock me out here, but I really just can't tell.

So, here we go, the penultimate set of the Golden State Country Bluegrass Festival, running from maybe 10 pm to about 11:15 pm, by my reckoning.

Golden State Country Bluegrass Festival
Marin County Veterans' Auditorium Building and Grounds
San Rafael, CA

<--Ralph Stanley & His Clinch Mountain Boys precedes-->

Nitty Gritty Dirt Band
Sunday, April 28, 1974 ca. 22:00

Source: "Debbie reel 4/28/74" CD 1 of 2
Provenance: unknown sbd recording (?maybe MSC > C?) > reel
Transfer: AKAI GX 636 playback > Apogee mini ME @ 24/96 > Apogee Mini DAC (monitoring/mastering) > lynx one soundcard > wavelab 5.0 > CD, by Matt Smith.
Lossless encoding: extraction (EAC) > initial tracking (CDWave) > minor edits (Wavelab 5.0) > FLAC level 8 (TLH).
Tagging: foobar2000 v0.9.6.8.

(24 tracks, 67:49)
GSCBF-1974-04-28-2200-NGDB-t01. Steve Martin banjo tune and introduction [0:55]
GSCBF-1974-04-28-2200-NGDB-t02. talk and tuning [0:37]
GSCBF-1974-04-28-2200-NGDB-t03. Some of Shelley's Blues [2:33] (1) [0:40]
GSCBF-1974-04-28-2200-NGDB-t04. The Moon Just Turned Blue (J.D. Souther) [2:50] [0:38]
GSCBF-1974-04-28-2200-NGDB-t05. Tulane and Johnny (Chuck Berry) [2:59] [0:46]
GSCBF-1974-04-28-2200-NGDB-t06. Cosmic Cowboy [3:28] [0:16]
GSCBF-1974-04-28-2200-NGDB-t07. Jerry Garcia introduction [1:14]

--enter Jerry Garcia (el-g)--
GSCBF-1974-04-28-2200-NGDB-t08. Jambalaya (Hank Williams) [4:21] [0:18]
GSCBF-1974-04-28-2200-NGDB-t09. Sally Goodin [0:45] ->
GSCBF-1974-04-28-2200-NGDB-t10. Battle Of New Orleans (J. Driftwood) [2:44]

--exit Garcia--
GSCBF-1974-04-28-2200-NGDB-t11. talk and introductions [2:31]

--enter Jerry Mills (mandolin), John Hartford (fiddle), Vassar Clements (fiddle)--
GSCBF-1974-04-28-2200-NGDB-t12. Teardrops In My Eyes (Osborne Bros.) [2:12] [1:05]
GSCBF-1974-04-28-2200-NGDB-t13. Bonie Maronie [2:42] [0:58]
GSCBF-1974-04-28-2200-NGDB-t14. Randy Lynn Rag (Earl Scruggs) [3:12] [0:13] %
GSCBF-1974-04-28-2200-NGDB-t15. ... Flint Hill Special [#1:55] (2) [1:00]

--??exit Hartford?? ??exit Mills??--
GSCBF-1974-04-28-2200-NGDB-t16. Mr. Bojangles (Jerry Jeff Walker) [3:43] [0:49]
GSCBF-1974-04-28-2200-NGDB-t17. Honky Tonkin' (Hank Williams) [2:10] (3) [0:56]
GSCBF-1974-04-28-2200-NGDB-t18. Diggy Liggy Lo (J.D. Miller) [2:20] (4) [0:21]
GSCBF-1974-04-28-2200-NGDB-t19. stage talk, set up [2:18]

--enter Doc Watson (guitar, vocals), David Nelson, John Hartford--
--1st encore--
GSCBF-1974-04-28-2200-NGDB-t20. Will The Circle Be Unbroken [4:34] [0:48]
GSCBF-1974-04-28-2200-NGDB-t21. Way Downtown Fooling Around [3:21] (5) [0:38] %

--2nd encore--
GSCBF-1974-04-28-2200-NGDB-t22. tuning and talk (6) [0:58]
GSCBF-1974-04-28-2200-NGDB-t23. (7) Down Yonder [3:25] [0:12]
GSCBF-1974-04-28-2200-NGDB-t24. announcement (8) %

Lineup (needs confirmation):
Jimmie Fadden;
Jeff Hanna;
Jim Ibbotson;
John McEuen.

JGMF Notes:

! 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.
! Mono recording.
! GSCBF-1974-04-28-2200-NGDB-t03: (1) "This is the best concert we've ever seen". The artists seem to be enjoying the Lammers' hospitality!
! GSCBF-1974-04-28-2200-NGDB-t11: reference to "our friend David Nelson over here"
! GSCBF-1974-04-28-2200-NGDB-t12. Teardrops In My Eyes, I think I hear David Nelson singing harmony @ 1:50 ish
! GSCBF-1974-04-28-2200-NGDB-t14. skip or other anomaly @ start of Randy Lynn Rag, when the washboard comes in. Some kind of anomaly
! GSCBF-1974-04-28-2200-NGDB-t15. Flint Hill Special fades in
! GSCBF-1974-04-28-2200-NGDB-t15. (2) audience member: "Play more Chuck Berry!" Answer: "We're gonna get back to that. We can't get too loud, folks, they told us they're gonna shut us down if we get loud again. We got some nice pickin' comin' up after this, too, so we don't want to spoil it."
! GSCBF-1974-04-28-2200-NGDB-t17. (3) "There's another band comin' out called Old And In The Road [sic], too."
! GSCBF-1974-04-28-2200-NGDB-t18. (4) "Thank you very much, bye bye."
! GSCBF-1974-04-28-2200-NGDB-t21. (5) encore calls.
! GSCBF-1974-04-28-2200-NGDB-t22. (6) "I'd like to thank all you people again for coming', if you like this type of thing. Hope you do. I think the people that did it are gonna try to do some more in the future." That wouldn't happen.
! GSCBF-1974-04-28-2200-NGDB-t23. (7) Doc Watson to kick off Down Yonder: "How does it go, Vassar?"
! GSCBF-1974-04-28-2200-NGDB-t24. (8) "Old And In The Way is gonna come up and do a set, folks, so sit tight."

<--Old And In The Way follows-->

Jerry Garcia's Middle Finger
http://jgmf.blogspot.com/search/label/GSCBF