Chieftains Opening for OAITW

Update 7/22/2022: somehow I got the date wrong by a week, but in any case this Chieftains set is now being released by the Owsley Stanley Foundation!

A book by John Glatt entitled The Chieftains: The Authorized Biography (St. Martin's Press, 2015) describes Chesley Milliken arranging a meeting between Garcia and The Chieftains, who were touring the US in autumn 1974. After their local gigs, Garcia invited the Chieftains "to open for his own bluegrass group Old And In The Way, who were playing a show at the Boarding House to be recorded for a live album. Garcia also arranged a radio show with the legendary Tom Donaghue [sic]." Paddy Moloney recalls that "Jerry sent a limo for us and we did the show, which was San Francisco's top-rated radio programme. Jerry interviewed us and we talked and played tunes and discussed the music. Later in the week we opened for Jerry's bluegrass band and it was a wonderful evening of music."

This interested me for several reasons. First, of course, Garcia's grandfather William Clifford was Irish. Second, I have heard snippets of rumors that when he went to Ireland with Deborah in the summer of '93, he picked some tunes in some pubs and such, and I had even thought that maybe he did so with the Chieftains. (It appears not, since the bio would have mentioned it.) Third, of course, lots of the white roots music Garcia played ultimately derived from various isles off the northwest coast of Europe, not just the sea shanties and all that but also bluegrass as a Scotch-Irish-American compound, so I am just interested in this crossing as a meeting of musics. And, finally, this was just specific enough regarding timeframe --OAITW was recorded on 10/1/73 and 10/8/73-- but also necessarily mistaken (because it was said to be autumn 1974), and so I wanted to try to gain clarity.

Well, I have found it. 1974 is indeed wrong.

If he's right about OAITW being recorded, and the Chieftains gigs happening before that, then we should be closely prior to 10/1 or 10/8/73. Through the magic of digitized newspapers, I find them playing the following:

• 9/29/73: The Gaelic League sponsored a gig this night at 8 PM in the Scottish Rite Memorial Auditorium, 19th and Sloat in the city. (! ad: SFC19730928p57)
• 9/30/73: concert at the Oakland Auditorium Theatre, 8 PM (! listing: SFSECDB19730930p07)

So far, so good.

Then I started Googling around for a list of "Live From the Record Plant" KSAN broadcasts, and found none. (Someone, please get on that!) It took me some fine-tuning on the search syntax to find what I was looking for, but I found it.

• 10/7/73: 11 PM, KSAN (94.9) - The Chieftains (! listing: SFSECDB19731007p22)

Even though "later in the week" would normally be understood to mean more than one night later, there was still space for the Chieftains to open for OAITW the next night at the Boarding House. So I queried Peter Rowan, and he affirmed that The Chieftains opened for OAITW on 10/8/73. 

Update: Chieftains appear to have opened on 10/1. Since I followed the logic closely, it seems that Paddy just had the sequences and timeframes a little unclear, as they were reported in the book.

Update your spreadsheets. And, if you keep records of Garcia's whereabouts even when he wasn't playing, you can place him at the Record Plant on the night of 10/7/73, hanging with Big Daddy and talking with and listening to the Chieftains.

Now, I am contractually obligated to make two further queries.

First, is there tape of the 10/7/73 Live From the Record Plant KSAN broadcast?
update: Yes! At the SF Museum of Performance and Design, which holds the KSAN Vault. Two reels have been digitized and are available for on-site auditioning, by appointment.

Second, did Bear tape the Chieftains on 10/8/73 10/1/73 at the Boarding House? update: yes he did!

Let me make one final point, after updating my data: Garcia was a very busy boy right in this timeframe. I now have him as follows for the eight days starting Sunday 9/30:

• Sunday 9/30 OAITW in Stinson Beach
• Monday 10/1 OAITW Boarding House (recorded for release)
• Tuesday 10/2/73 JGMS Legal Aid Benefit
• Wednesday 10/3/73 OAITW at Keystone Berkeley
• Thursday 10/4/73 11 AM and 3 PM sessions for Paul Pena at Heider's
• Friday 10/5/73 OAITW at the Santa Cruz Civic
• Saturday 10/6/73 OAITW at Keystone Berkeley
• Sunday 10/7/73 Record Plant rapping with Big Daddy and the Chieftains
• Monday 10/8/73 OAITW Boarding House (recorded for release)

"Work eight days a week | baby I give it all to you"

And on the ninth day, a Tuesday, he rested. As far as I know.

What is the Opposite of a Bat Outta Hell? JGB at Keystone, September 10-12, 1976

I am not a huge fan of the syrupy tempos of 1976 JGB, the ultimate comfort band for Our Hero. There are some great sounding tapes, the occasional killer show (4/3/76b), and some spectacular specific songs ("Right Mighty High", "Moonlight Mile", "Who Was John" and others are some of my faves), but the overall vibe is just too laid back for me. It has been intimated that I lack the patience and sophistication to appreciate this stuff, which is like fine wine or something. Maybe so.

I have been particularly indifferent to the September performances. The Pirates' Ball on 9/15/76 is certainly fun, holds a lot of curb appeal, but the music wasn't the thing for me. The Astor Theatre may have been a deco masterpiece, but Garcia's one show there on 9/20/76 was dull as day-old dishwater. And so on. I haven't felt particularly differently about the hometown weekend on September 10-12 at the Keystone Berkeley. The thing that most interests me is the provenance of the board tapes. They look like Betty Board lineage, but they are not among the tapes lassoed together by the ABCD crew. I suspect that Latvala spun copies for Alligator or Kingbee and they entered the world via those benefactors, but I can't be sure.

Anyway, below I post my listening notes for the three hometown nights, September 10-12, the first of which took place only 5 days after Rex Jackson's passing. Here is the thumbnail.

Friday 9/10

• Nick The Greek opened. He'd do so again on 11/15/76 and then he and Jerry wouldn't share a bill, so far as I know, until the 3/18/87 Artists' Rights Today benefit at the Old Fillmore.
• Reinhart Hohlwein (sp?) pulled a stunning tape.
• "My Sisters And Brothers" grooves low and slinky.
• I liked "After Midnight" and this very long version of "I'll Take A Melody".
• Mighty High has great energy, but it's a little off-kilter here and there.

Saturday 9/11

• Beautiful Betty Board
• Sugaree: what is the opposite of a bat out of hell? Whatever it is, that's how they come in on Sugaree. Sloooowww.

Sunday 9/12

• Short second set at only 40 minutes. Jerry strums HSII, but it either wasn't taped or it was closing time and it didn't happen.
• Maria Muldaur joins along. I need to check, but I think this is my earliest documented case of her joining the JGB. Sociometrists, take note.

Listening notes below the fold.

Long Ago and Far Away: JGB at Cumberland County Civic Center, Portland, ME, June 20, 1982

LN jg1982-06-20.jgb.all.aud-lamarre.139447.flac2496

Great pull by Doug Lamarre, very good JGB from the strong month of June 1982. Bobby Cochran and Bob Weir from Bobby and the Midnites sit in on the encore, which includes the JGB singleton "Johnny B. Goode".

Jerry sounds quite strong.  Two new tunes stand out. "Valerie" holds some serious heavy-metal appeal, and "Run For The Roses" involves some uncommon wah-pedaling.

Kahn gets two mentions, first for some big pulling at the start of "Mission In The Rain" and, second, neater, for some noodling he is doing at the start of the show. Here is an mp3 of the snippet, which runs about 20 seconds starting from about 0:23 of the first track of this fileset.

The noodle sounded to me like "Blue Moon", but I don't know squat. Nick urges comparison with Ray Brown's bassline on this Oscar Peterson version of Jerome Kern's "Long Ago (And Far Away)". Getting all musicological up in here, he says that "Kahn is playing what sounds like a C, Am, Dm, and G, which in the language of music theory is a I-vi-ii-V progression.  'Blue Moon' is one famous example of this". So I don't feel totally foolish.

Anyway, I would welcome your analyses. It's always fun when Jerome's namesake comes up, and when a Garcia engagement crosses into uncommon deep Americana.

Listening notes below the fold.

Jerry Garcia at the Warfield - August 21, 1982??

What a strange thing this is.

SFC listing for Jerry Garcia at the Warfield, August 21, 1982.

It almost certainly wasn't JGB: that band had last played June 24 out east, and wouldn't play again (in a new configuration) until October 13th.

It was almost certainly planned to be the Garcia/Kahn acoustic duo, two days before they'd play the Kabuki Theater a mile and a half away.

But it almost certainly didn't happen. This is the only whiff of this I have ever seen, and it's just so random ... yet it didn't come from nowhere. Someone in Garcia's orbit called the Chronicle and told them about this. Weird.

I don't know whether to call this is a phantom or a cancellation. Anyone?

GD at Freeborn Hall: Friday, October 28, 1966

This is out of my wheelhouse, but since it brings together two loose ends for me I thought I'd post it here.

The Sacramento Bee of 10/23/66 p. W14 has a piece on upcoming homecoming events at Cal Aggie, i.e., UC Davis.

The Grateful Dead are scheduled to play Freeborn Hall Friday 10/28/66, Yellow Brick Road also on the bill.

This ties two things I have discussed here.

First, having gone to Campolindo HS in Moraga, I always wondered why the GD canceled their scheduled gig at little St. Mary's College on this Friday night (10/28/66). I still don't know why, but at least I see that the band played a different gig. Maybe the pay was better.

Second, years back I found a Dead gig at Freeborn on January 6, 1967 which said that the last time they played Freeborn, the GD played to a full house. But there was no "last time" in the record at that point. Now there is: 10/28/66. Add it to your lists.

Kean College Tour Closer: JGB, November 15, 1982 (Late Show)

jg1982-11-15.jgb.late-1.aud-vita-minches.78008.flac1644

Pretty standard late '82 gig to my ears, not the equal to 11/11/82 late or 11/13/82, IMO. Errico's Gatling Gun start to HTC is awesome.

Three little oddities jump out to my pattern-obsessed brain.

First, no early show tape. Hm. Second ... , both the Vita aud and the soundboard tape are missing the encore. Hm. never mind. Third, all of the newspaper listings, some of the tickets, and the band's in-house itinerary show the venue as De'Angelo Gymnasium, but other tickets, the handbill/poster, and at least one recollection (from someone involved in planning the show) place it in the theatre, as the '80 and '83 shows at the college were. Update: it was moved from the gym to the theatre because of concerns for the court surface.

One of these is not like the others.

No biggy, but contradictions are fun.

Jerry Garcia Band

Wilkins Theatre, Kean College

1000 Morris Avenue

Union, NJ 07083

November 15, 1982 (Monday) - Late Show (10 PM)

Vita MAC missing 1 tune shnid-78008

--8 tracks, 7 tunes, missing encore, 74:12)--

l-t01. crowd and tuning [1:23-1:00] 

l-t02. Mission In The Rain [1:00 + 8:53] [0:16] % [0:21]

l-t03. Harder They Come [13:45] [0:11] % [0:12]

l-t04. It Ain't No Use [9:55] [0:02] % [0:03]

l-t05. Mystery Train [8:52] [0:27]

l-t06. Run For The Roses [5:01] [0:33]

l-t07. Dear Prudence [12:44] ->

l-t08. Tangled Up In Blue [11:20] (1) [0:12]

[MISSING: --Encore-- Midnight Moonlight]

! ACT1: Jerry Garcia Band #15b

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

! lineup: John Kahn - el-bass;

! lineup: Melvin Seals - keyboards;

! lineup: Greg Errico - drums;
! lineup: Elisecia Wright - vocals;
! lineup: Shirley Faulkner - 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/19821115-02

! JGC: https://jerrygarcia.com/show/1982-11-15-wilkins-theatre-kean-college-union-nj-2/. Commenter Matthew Turkin posts (November 25th, 2015): "was one of the people on the concert committe (CCB) that put on this night and the next year's shows at Kean College. Great shows w great people that helped bring these shows 4 ourselves and all the heads that we knew. The theatre was rockin from the seats to the rafters. 'Never had such a goodtime, in my life before'."

! db: https://etreedb.org/shn/23339 (sbd, shnf, also missing encore); https://etreedb.org/shn/78008 (this fileset). It appears that the early show does not circulate, though Jerrybase gives a setlist.

! map: https://goo.gl/maps/lhE48

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2012/07/wilkins-theatre-kean-college-1000.html

! listing: Daily Record (Morristown, NJ), November 12, 1982, p. 17; Courier-News (Bridgewater, NJ), November 13, 1982, p. B-13; Philadelphia Inquirer, November 14, 1982, p. 13-J.

! venue: the band itinerary, three newspaper listings, and some tickets give the venue as De'Angelo Gymnasium, while other stubs and conventional reckoning have it as Wilkins Theatre. The JGC comment by Matthew Turkin seems to confirm it was in the Theatre, so somewhere either wires were crossed or plans were changed. update: plans changed

! seealso: JGMF, "Armistice Day Rocker: JGB at Felt Forum, November 11, 1982," URL https://jgmf.blogspot.com/2018/01/armistice-day-rocker-jgb-at-felt-forum.html; JGMF, "Greg Errico hits like a linebacker," URL http://jgmf.blogspot.com/2017/07/greg-errico-hits-like-linebacker.html.

! R: field recordist: Jim Vita

! R: field recording gear: 2x Sennheiser 421 > Sony D-5

! R: field recording location: 16th row center

! R: Transfer and FLAC encoding by David Minches: Master cassette played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: Jim Vita pulled a pretty good one this night - the vocals are low, but that's fine since they sound fatigued here at the end of the tour (as they may well have at the start, in this period). The bass is especially well captured, and the drums are very present, not least because Errico just crushes those fuckers.

! R: l-t01 mistracked, tune starts at about :23

! P: l-t02 MITR vocals shaky out of the gate, as they often were. Nice energy, fluid playing. John is making himself heard here. Errico bashes.

! P: l-t03 HTC man, Errico is just HAMMERING the start. Great energy from John, too.

! P: l-t05 MT frenetically paced

! l-t08 (1) JG: "See ya later."

Chronicle Pickings

Over the years, when I go to the Bay Area I try to make time to spin the Chronicle microfilm to check out the listings. Corry has done some of this as well, and I don't think he'll mind me aggregating a sense of what we have accomplished together.

It is relatively painstaking, of course, though after awhile you learn that the weekday entertainment stuff comes along after the classifieds (which you can train your eyes to detect moving by at fast speed), after the day's TV highlights. Enough hours of this, and you can spin it fast and land right where you want. I never did quite get the hang of the San Francisco Sunday Examiner and Chronicle in the same way, but now that it's been digitized that's no longer of any moment, and the overall progress is faster. That said, the SFE being digitized also decreases the marginal benefits of hitting the Chron.

Yesterday I did 10/16/68-12/31/68, and 3/16/69-5/31/69 (less 5/1-15/69, which I seem to have overlooked). This took almost exactly two hours. I didn't discover anything totally new in the Garciaverse. It's not that frustrating, it's what I expected given that the SFE and the SFC should have covered much of the same ground, especially with a name as big as Jerry's.

So, below I report what we have covered at some level (Corry mostly captured the Ad Libs in Gleason's columns, I have done those and the Datebook openings) and what we mare missing.

Caveat Lector:

• The data are fragmentary in two senses. First, early years especially just snapshot Gleason's Ad Libs - no Datebooks etc. Second, for a time I was trying to get every day, with an eye toward the needs of future researchers (and realizing that it could all be surpassed if the paper is ever digitized, which I hope it is). But the last few visits I just can't justify it to myself. So I look at every listing, but I only capture it if something catches my eye. Unevenly, this can be the Fillmore Tuesday auditions, Matrix gigs, anyone who touches the Garciaverse, other weirdness that seems noteworthy. So even what we have might be quite incomplete when it comes to what other researchers might be looking for.
• Also, I am basically comfortable stopping in the mid-to-late 70s. As the Garcia Band drifts into predictability and comfort, and our existing knowledge presumably becomes more complete, I have less inclination to search for needles in haystacks.

So, here is where we are with the Chronicle:

12/1/65-12/10/65	DONE
12/11/65-7/31/66	NEED
8/1/66-8/15/66	DONE
8/16/66-9/30/66	NEED
10/1/66-8/31/67	DONE
9/1/67-12/31/67	NEED
1/1/68-1/7/68	DONE
1/8/68-2/28/68	NEED
3/1/68-4/30/69	DONE
5/1/69-5/15/69	NEED
5/16/69-10/20/71	DONE
10/21/71-12/31/71	NEED
1/1/72-2/28/72	DONE
3/1/72-5/31/72	NEED
6/1/72-10/30/72	DONE
10/31/72-12/20/72	NEED
12/21/72-8/10/73	HAVE
8/11/73-9/30/73	NEED
10/1/73-10/10/73	HAVE
10/11/73-4/26/74	NEED
4/27/74-4/30/74	HAVE
5/1/74-6/9/74	NEED
6/10/74-6/14/74	HAVE
6/15/74-7/31/74	NEED
8/1/74-2/28/75	HAVE
3/1/75-6/30/75	NEED
7/1/75-8/31/75	HAVE

Second Night Out for Liz and Essra: JGB, Santa Cruz Civic Auditorium, June 25, 1981

update: the original title of this was "First Night Out", but I have discovered a warmup gig on 6/24/81 at the Keystone Palo Alto (not in Salinas, as I had elaborately laid out).

Liz Stires and Essra Mohawk appear to debut as backing vocalists on the night before this show. There are no singers on the late May shows, then there are here and the next night. One presumes that the 6/24/81 Palo Alto gig was a warmup: off-night, if not quite off the beaten path.

Phil Lesh sits in while John Kahn travels Europe with his mom. Merle [sic] Saunders sits in for the first two tunes - his last sit-in with Garcia On The Side, I do believe.

The only other non-musical thing I'd note was the GD-centric billing in the preview entitled "Night of the Dead". This was uncommon, and for years the standard Garcia Band contract rider prohibited any trading on the name Grateful Dead or on Garcia's association with that band. With Mickey Hart a key principal in the opening band, High Noon, and Phil joining Jerry, this night seems to have permitted of an exception. It's almost like the "Grateful Dead Three Ways" framing around the December 1975 Kingfish, JGB and Keith and Donna Band gigs.

Musically, I like it. Phil sounds good, I really liked "I'll Take A Melody" and "Simple Twist Of Fate".

Jerry Garcia Band
Civic Auditorium
307 Church Street
Santa Cruz, CA 95060
June 25, 1981 (Thursday)
Senicola-Poris MAC shnid-89567

--set I (7 tracks, 6 tunes, 59:29)--
s1t01. crowd and tuning [1:46]
s1t02. How Sweet It Is (To Be Loved By You) [7:36] [0:24]
s1t03. Catfish John [8:15] (1) [0:36]
s1t04. Sitting In Limbo [10:10] [0:28]
s1t05. That's What Love Will Make You Do [8:33] [0:40]
s1t06. Mississippi Moon [11:12] ->
s1t07. Tangled Up In Blue [9:41] (2) [0:09] %

--set II (6 tracks, 5 tunes, 56:27)--
s2t01. crowd (3) and tuning [1:28]
s2t02. I'll Take A Melody [12:20] % [0:03]
s2t03. Simple Twist Of Fate [12:14] [0:08] %
s2t04. Knockin' On Heaven's Door [13:22] [0:05] % [0:09]
s2t05. Dear Prudence [9:14] ->
s2t06. Midnight Moonlight [7:00] [0:21]

! ACT1: Jerry Garcia Band #13a
! lineup: Jerry Garcia - el-g, vocals;
! lineup: Melvin Seals - keyboards;
! lineup: Jimmy Warren - keyboards;
! lineup: Daoud Shaw - drums;
! lineup: Essra Mohawk - backing vocals;
! lineup: Liz Stires - backing vocals.
! guest: Merl Saunders - keyboards (s1t01-s1t03).
! guest: Phil Lesh - el-bass (whole show).

JGMF:

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

! Jerrybase: https://jerrybase.com/events/19810625-01

! JGC: http://jerrygarcia.com/show/1981-06-25

! db: https://etreedb.org/shn/9302 (aud shnf); https://etreedb.org/shn/89567 (this fileset).

! map: https://goo.gl/maps/kkDtK

! JGBP: http://jerrygarciasbrokendownpalaces.blogspot.com/2011/09/civic-auditorium-307-church-st-santa.html
 

! venue: http://www.cityofsantacruz.com/departments/parks-recreation/civic-auditorium

! band: JGB #13a (http://lostlivedead.blogspot.com/2012/01/jerry-garcia-band-personnel-1975-1995.html)

! historical: High Noon opened. Lesh replaces Kahn on bass; Saunders sits in on first two numbers, almost sounds like Melvin was late. Very interesting use of Grateful Dead marketing. This is almost like a "GD Three Ways" kind of feel. See preview title. The listing has a picture of Jerry with caption about "Jerry Garcia and friends", and listing identifies Hart. Clearly planned and sold around Garcia, Lesh, etc.

! seealso: Arnold, Corry. 20160804. June 26, 1981 Fox-Warfield Theatre, San Francisco, CA: Jerry Garcia Band with Phil Lesh/High Noon/Mike Henderson (The Truth Is Out There). Lost Live Dead, August 4, URL https://lostlivedead.blogspot.com/2016/08/june-26-1981-fox-warfield-theatre-san.html, consulted 7/28/2019. That's where Corry reports that John Kahn was touring Europe with his mom during this timeframe.

! preview: "Night of The Dead," Good Times, June 25, 1981, p. 5

! ad: Good Times, June 25, 1981, p. 12

! listing: Good Times, June 25, 1981, p. 20

! R: field recordists: Richard Senicola and Jaime Poris

! R: field recording gear: 2x Nakamichi 300 + 1x Nakamichi 700 > (Nak 550) > Sony TC-D5M (Mark Severson's equipment)

! R: field recording media: 2x Maxell MX cassette

! R: field recording location: 35 feet back from right center of stage

! R: Transfer and FLAC encoding by David Minches: Master played back on Nak Dragon > Grace Lunatec V3 (24/96) > Digital Audio Labs Card Deluxe > Adobe Audition 2.0 > (dither/downsample) > FLAC encoding.

! R: this is a great pull! Drums are super-punchy. What a tape!

! personnel: Definitely two keys plus two backup singers. I presume that Merl was playing Melvin's Hammond on the tunes that list him, and that Melvin was sitting out. I probably wouldn't be able to hear three keyboards at once, anyway.

! s1t03 (1) JG: "We'd like to thank Merl Saunders for sittin' in with us for a couple of tunes."

! P: Phil is pretty hot and heavy for Miss Moon and TUIB. BTW, earlier in the set an audience member mentions him by name, lest there be any doubt that Lesh is in the house.

! s1t07 (2) JG: "We're gonna take a lil short break, we'll be back in a [inaudible] minutes."

! s2t01 (3) @ 0:18 crowd member starts singing "Elvira" ... now there's a time capsule for you.

! P: s2t02 ITAM @ 2:01-2:04, you hear Philip Lesh playing the freaking bass. Wow. Great backing vocals @ 5:48. Rare to hear them this clearly ... great stuff! @ 11:19 JG is doing some ridiculous running around the chords.

! P: s2t03 STOF is incredible, careful, deliberate, beautiful! This tape captures it really, really nicely. STOF without the bass solo is interesting

! P: s2t04 KOHD @ 6-min mark, Jimmy Warren's little solo is not great.

! R: s2t06 Midnight Moonlight [00:01 - 00:07] patched with SHNID-9302

Deadsources Index

Somehow it had eluded me that LIA was maintaining an index of posts at Deadsources. Wonderful - thanks!

TDIH 1990 Bird Song

Man, this is a great Bird Song.

https://archive.org/details/gd1990-07-21.131538.cmc34.fob.katzeff.mattes.petty.flac16/gd1990-07-21.set1t07.flac

RIP Bill Vitt

https://jambands.com/news/2019/07/19/drummer-bill-vitt-passes-away/

Tighten Up

The "Tighten Up" jam has always been a favorite. I am partial to the 1/2/70 and 10/31/71 versions, always wondered where the heck that last one came from since it's so well-developed while not having been played in well over a year (and never before with Keith, AFAIK).

Just here to note that the wonderful jam out of the wonderful 7/17/76 Comes A Time has a little Tighten Up feel to my ears. It never really lands on it, but it sure sounds similar. Very nice.

https://archive.org/details/gd1976-07-17.141966.ecm270.menke-miller.flac1644

! seealso: LIA

Garcia-Hunter Originals

Somehow, I had never pinned down in my mind that Jerry played none of his original tunes before the advent of the Jerry Garcia Band in 1975. Pure covers before then. Hm.

You all probably knew this. And at some level I did, too. But it has come into sharper focus for me with this morning's cup of coffee.

One More Cup Of Coffee

I think Garcia could have done this one well.

https://www.bobdylan.com/songs/one-more-cup-coffee-valley-below/

One More Cup of Coffee (Valley Below)

WRITTEN BY: BOB DYLAN

Your breath is sweet
Your eyes are like two jewels in the sky
Your back is straight, your hair is smooth
On the pillow where you lie
But I don’t sense affection
No gratitude or love
Your loyalty is not to me
But to the stars above

One more cup of coffee for the road
One more cup of coffee ’fore I go
To the valley below

Your daddy he’s an outlaw
And a wanderer by trade
He’ll teach you how to pick and choose
And how to throw the blade
He oversees his kingdom
So no stranger does intrude
His voice it trembles as he calls out
For another plate of food

One more cup of coffee for the road
One more cup of coffee ’fore I go
To the valley below

Your sister sees the future
Like your mama and yourself
You’ve never learned to read or write
There’s no books upon your shelf
And your pleasure knows no limits
Your voice is like a meadowlark
But your heart is like an ocean
Mysterious and dark

One more cup of coffee for the road
One more cup of coffee ’fore I go
To the valley below

I Need More Shows

This was posted to youtube five years ago. I am not sure who made it, but it never gets old, and never will.

ABCD and the Betty Boards

https://denisonmagazine.com/feature/spring-2019-raising-the-dead/

Do you want to know how the Betty Boards got home? This is the true story. Want to know how the May '77 (including 5/8/77) and January '78 and Felt Forum '71 and 2/26/77 and so many other Dead tapes ended up being released from fresh transfers of the master reels, rather than old DAT transfers? Did you know that Betty now has possession of all of the Garcia Betty Boards?

It's all there. These guys took the big financial risk of bringing the three main batches back together and sending them home. And they did it not for money, but for love of the music and the community and to do right by Betty Cantor-Jackson.

Thank you, ABCD!!

! seealso: https://www.cooley.edu/news/soifer-lecture-features-quest-recover-lost-grateful-dead-recordings

Taper Extraordinaire Sean Webber-Small

Spinning Sean Webber-Small's spaced omni recordings of the GD at Cal Expo on this date in 1990. I am not sure if I was there - I don't think so, but I can't really remember and I can't find my stubs to verify one way or the other.

But SWS generously shares some insights into what went into this pull, via a comment at the Archive fileset, and they are so valuable for the historical record that I wanted to reproduce them here. Thank you, Sean Webber-Small and all the tapers, including Marcus Buick and Tom Hughes, good ol' Campolindo buddies and members in good standing of the elite Bay Area taper community of the day, who are namechecked here.

This was the first year since the 1980's that there was no Greek and Frost shows, which was a bummer. Fortunately Uncle Bill booked the band into Cal Expo. It was not the Greek, but it was good. 

For me, these shows were stressful, but that was somewhat normal. I always felt the pressure of making the best recording at the show. It was not as much of an ego thing as much as it was that I believed I was capturing "the record" for the show. This was especially true when I knew that none of my Schoeps / Digital posse was going to be there. And that was the case for Cal Expo in 1990. 

The stress and planning for these shows started the day mail order was announced. I had just had knee surgery and knew I was going to be on crutches in June. Worse, I needed to plan for who was going to help as the show was general admission and I wanted to run spaced omi-directional capsules which would require managing a large territory. I would need a plan and of course help. While I might have owned the gear, positioned the mics and hit play/record, good recordings were a 100% team effort. And I needed a team!

For me, the key to making a good recording always seems to come down down to a few key things:

1. Having the right gear for the application. 
2. Placing the microphones in the right spot to get the best balanced sound in the venue. 
3. Controlling the people around the microphones so that talking and extraneous noise is not heard or only minimally heard on the recording. 

From my knowledge of the venue, basically an open field, Schoeps MK2s spaced omni-directional capsules were my first choice. I would be using them with my Doug Oade built microphone power supply and a relatively new recording device: a DAT. Sometime in 1989 the PCM crew made the jump to using DATs. At these gig's I was using the Panasonic SV250. 

Location, location, location.... From my show experience and listening pleasure, I always wanted to be as close to the Front of House console as possible. If you think about it, the band's audio engineer, Dan Healy, is mixing first and foremost for himself. Is he making it sound good in the entire venue, sure. But the nature of mixing a room has it that the sound is naturally best where the engineer is standing. My goal: get in front of, but as close to Dan as possible without making it too easy for security to come in and get us. As a reminder, although taping in 1990 was allowed, it was only allowed BEHIND the front of house console. Recording in front of the console was a big No No and as such, put us at risk of being thrown out every time we recorded there. Risky business every show for me.

For spaced omni's I would need two areas (blankets), one for each mic between 8' and 12 ' apart - with each mic being equidistant from the stage. Today I would do this with a laser measure, but in 1990, not an option. So I had to triangulate using the front of house console and the side grandstands. More "feel" than exact science. 

To pull this off I would need 4 to 6 people around each microphone and stand and two to three blankets. That's roughly ten people and two mic stands to coordinate and manage.

The bad news was that I was on crutches - which, was also the good news as I was able to enter the venue early with the blankets, the gear and a helper. We laid out our spot and waited untill friends and people sympathetic to our recording arrived. 

As I was always trying to figure out how to make a better recording, I decided to try and move the microphones from closer to 8' on the 8th, 10' on the 9th and 12' on the 10th. I know the notes on this say the mics were spread at 8', but I just checked my notes and this night we were closer to 9.5'. 

While I hate to leave people out that helped at the show, and there were many - I need to special thanks a couple of peeps. First and foremost, my helper extraordinaire Cindy R. Calling her a helper is not quite right. These days I would call her a co-producer or associate producer. She helped in the planning, standing in line, getting friends over to help stand near the mics and telling them all to be quiet. I should probably mentioned she also put up with my crazy "taper" idiosyncrasies - and I had many. Thanks Cindy R! I also remember our friend Marc T. was also there. He was there with B&K 4011's in the middle of our spaced omni's. Also there an of huge help was Marcus B. and Tom - my old roomies! Thanks Dudes.

The recordings for all three nights turned out pretty fine. I would say some of our finest. So fine in fact, a friend of shared them with his pal who was tight with Dan Healy. The next thing I know he had digital soundboards of all three nights! Of course the SB's became the "goto" recordings for the shows for a while. But upon further review from the officials in the booth, these recordings get me closer to what it was like being there on those warm summer nights in 1990.

On the 9th, I can still remember Garcia rocking back and forth during lovelight looking offstage at someone, playing his heart out with an energy that filled us all up.

It was good.

Linear Dead Listening

I am a bicycle commuter (19 miles a day), and I generally listen to Dead shows while pedaling.

Awhile back, I did the whole E72 tour consecutively. Earlier this year, I ran sequentially through 1974. So much good music. I don't really retain too many specific memories, so just a few observations.

The February Winterland shows are uneven. 2/22 is the best of the bunch, IIRC, 2/23 has that nice Here Comes Sunshine (last one?), and 2/24 was weak. At least that's how I remember it. Maybe it was the other way around. ;-)

May and June - hamina hamina. So much good stuff. I didn't do the Pacific Northwest shows through the official release, which I wish I had. But there's just loads and loads of great music here.

"Money Money" is a great tune. I don't blame those who objected to its misogyny for doing so, but man do I wish they could have just done it with Bob's vocal mic turned down, because the music gets me tapping my toe.

July also strong, unsurprisingly. I seem to recall that the one show without a big jam (Roanoke?) actually had a great PITB. One of these shows really did, anyway.

August 4-5-6 also awesome.

E74? Yeesh, not so good, is my impression. There was a good Dark Star or two, 9/10 for sure, some other moments.

I thought I had recalled Phil saying he did a "Firebombing of Dresden" type assault somewhere in the Munich, maybe in Seastones, but I didn't hear it. I was ready.

The Last Ones, or whatever they were called? Blech. I know there are better tapes now than there used to be, but for some of these shows I still only managed to get the ones with the old reverbing out-of-sync crowd clapping, the booming room sound, etc. The 10/19 Caution Jam was pretty legit, wonder why they didn't do that more. They seemed to be trying hard, the shows had their moments, but mostly I found them to be a letdown.

One obvious conclusion from my '74 listening: Friend of the Devil should always, only, ever have been played upbeat. Another: I do love me some Spanish Jam.

I even listened to some Seastones, and it was often diverting.

Spoiler alert: Mickey Hart returns, and a drummer who doesn't really keep time just muddies the waters, IMO.

Now, I have started in on 1976. Some good stuff here the first few dates, though nothing that really destroys me. 1976 is often considered a relatively slow and sleepy year, and nothing I have heard so far dissuades me from that view. Might As Well is nice, The Music Never Stopped is nice, Help > Slip > Franklin's is nice, Crazy Fingers is nice, Lazy > Supp is fun, Cosmic Charlie is lame. The PITBs start off short, and the one I heard a few days ago sounded like it wanted to go into Dancin' In The Street, before it reprised. Today I was with the 6/10 version and, indeed, it segues nicely into DITS.

I seem to have skipped 6/9 II, so no Stephen yet, but I expect to be underwhelmed.

Interesting that Jerry hasn't figured out the wailing approach to Samson that he'd develop. I look forward to hearing that song develop over the course of the year.

I have been trying not to FF>> too much. For '74, It Must Have Been The Roses was my biggest challenge, Ship Of Fools not far behind. (Interesting these are Jerry tunes.) For '76, I WILL NOT listen to Looks Like Rain, and you can't make me do it. What a turd. I see now that it was on the shelf all through 1974, another point in that great year's favor.

So, there you have it.

Something (Beatles)

Deaddisc says Garcia and Saunders played the Beatles "Something" (from Abbey Road). Is this right? Is there tape? Am I forgetting something?

Purty