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Monday, November 20, 2017

Find Someone Who Looks at You the Way John Looks at Jerry

VN jg1977-07-09.jgb.late.voodoonola

Jerry Garcia Band
1300 Ocean Avenue
Asbury Park, NJ 07712

July 9, 1977 (Saturday) –Late Show 10 PM
complete (128:25) B&W proshot video via Music Vault, URL

re-do the time markers
0:00:00 – [0:47 The Harder They Come 0:48-15:04 -15:06
0:15:07 - Stage Noise
0:17:42 - They Love Each Other -25:42
0:25:46 - Stage Noise
0:30:05 - Midnight Moonlight
0:40:13 - Stage Noise
0:43:38 - Russian Lullaby (incomplete)

! R: RL splice @ 58:05, not much missing

0:58:57 – noodling
1:00:51 - Tore Up Over You
1:14:06 - crowd noise
1:14:54 - Knockin' On Heaven's Door
1:31:32 - Stage Noise
1:33:51 - Tangled Up in Blue
1:45:46 - crowd noise
1:51:00 - Not Fade Away (Incomplete)

! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia – el-g, vocals;
! lineup: John Kahn – el-b;
! lineup: Keith Godchaux – el-piano (Polymoog keyboard), ac-piano;
! lineup: Ron Tutt – drums.


! 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.

! db: (Mattson early and late shows shnf); JGMF: (Mattson early and late shows flac1644); (Steve Strange late show flac1644).

! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.

! JGMF: see also "Rockabilly JGB Doing Not Fade Away: July 9, 1977,"

! ad: Asbury Park Press, June 26, 1977, p. 14.

! expost: "Arrests Follow 2 Rock Concerts," Asbury Park Press, July 11, 1977, p. unk.

! historical: "More than 30 persons, most of them from North Jersey and New York, were arrested Saturday night and early yesterday morning" after the Garcia Band shows ("Arrests Follow 2 Rock Concerts"). 22 police. Crowd of 250-300 (per police) gather at Bradley Park, across Ocean Avenue from Convention Hall, about 6:30 pm. Drinking. Cops announce they're gonna bust the drinking, etc. over the bullhorn. Crowd mostly dispersed 7:30, when JGB scheduled to start. Arrests begin at 10:30 pm, after the early show. "Police arrested people as they came off the Boardwalk and were visibly intoxicated. The arrests continued until about 1:25 am [text not clear]". Most was possession of alcohol, maybe 28? That'd be a summons or $100 bail. Nine for possession of marijuana or LSD, $500 bail. One Prince Charming got three charges and $5,000 bail: possession of a large knife, assault and battery of a police officer, and resisting arrest. (Your mother will love him!) Wage: $20,557. Only 120 tickets shy of a sellout (3,776 of 3,896).

! R: seeder notes: Thanks to BGA LLC.

! R: Original audio from video mastered using Adobe Audition

! R: audio patch in NFA from shnid 76441 taped by Mark Mattson

! R: audio and video editing by Voodoonola

! R: the video and audio quality are breathtaking.

! P: HTC catch Tutt do a great run around 3:15. Keith's electric keyboard is clearly shown 7:15ish. Watching JG play 8:30 is wonderful. At 10:10 he looks at John with such love. The admiration is so great. Swaying and smiling 10:25 as the crowd cheers. So, so, so nice.

! P: TLEO Tutt doing some harmonies visibly @ 20:10. Keith now on acoustic piano.

! P: MM KG has baritone and Tutt has high parts. KG's voice is unfortunate. Nice solo over 30, Kahn hitting some nice fat stuff and there's a crowd shot of a dude right upfront reacting to it, probably same look I had on my face. Wow. Late 30 Jerry takes another turn, he wasn't satisfied with the first one (it's true he hit a bad note in there), now he has his eyes closed and that helps, sometimes.

! P: RL wow. We know that Jerry, John and Keith, sometimes just Jerry and Keith (!), played some Hot Club stuff at Club Front in mid-1978. The love that Jerry and John share for each other is palpable. Over 43 John is practically cooing at Jerry, playing with him like a kitten, and Jerry is using that to get off. It's potent. At 45, John steps in front of Jerry and is ready to jump on a feature, but Keith steps up and plays a beautiful little thing. Jerry sways with pleasure and smiles at Keith, comping with his eyes on Keith. If Garcia's comping and looking at you and urging you to play, you play, by God. 46 Keith picks up his tempo a little bit. He's playing very well-controlled piano here, not so heavily percussive on the left hand. Now John feature 47:15 ff. At 48:45 you are getting a perfect view of John's fingers. It is very nice to see this, but I don't think this bass solo holds a candle to what some of John's contemporaries could do. Garcia is having a smoke and watching John, so it's a little trio configuration of John leading, Keith and Ronnie just holding the beat. Jerry comes back 50:35, crowd gives John a nice hand. But it also knows, or many of its members do, that Garcia's about to play his guitar.

! P: TUOY John was playing something very interesting around 70 min mark, but the seeder had already tracked KOHD. I think he was noodling something else, and then the transition to KOHD sounded abrupt. But maybe I just wasn't playing close enough attention.

Saturday, November 18, 2017

San Francisco Sessions, 1972

I have been processing information from contracts filed at the American Federation of Musicians (AFM) Local No. 6 in San Francisco.

There is nothing representative about these – I have information on stuff that is a degree or two from Garcia, and a few other random tidbits of idiosyncratic interest to me. I post them mostly for future researchers who might be interested. (The six-digit numbers just reference my scans, so I can retrieve these as needed.) List after the jump.

Alone and Together

I have always liked this image.

Friday, November 17, 2017

Picture of the Murdering Punks at the Inn

A little piece in the from the Santa Rosa Press-Democrat on the tenth anniversary of the Inn of the Beginning in Cotati notes that "A picture spread in the Pacific Sun featured Jerry Garcia and the New Riders of the Purple Sage playing there in their early days". Great - now I *have* to track that down.

! ref: Jensen, Sophia. 1978. Inn celebrates its beginning. Press-Democrat (Santa Rosa, CA), September 29, p. 1B.

Sunday, October 15, 2017

Cotati Cabaret magazine

Just read that the Cotati Cabaret was doing a magazine (much as it's Cotati plaza neighbor, the Inn of the Beginning, had done) in 1979 that was getting a print run of 15k. If anyone has a stash of these somewhere, I would love to consult them.

! ref: Mason, Clark. 19790413a. Life is a Cabaret in Cotati. Press-Democrat (Santa Rosa, CA), April 13, 1979, pp. 1B, 10B.

Thursday, October 05, 2017

a great matrix

My goodness, what a great sounding recording!

Garcia is on fire for the whole first set (all I have heard so far). He sounds amazing. The guitar playing is fluent and fiery, the vocals are lucid and not dreadfully junky-sounding. The whole band sounds good.

Lots of train references in the first set, even for the Grateful Dead.

Sunday, October 01, 2017

Imprisoned Impresario Put on the June 5, 1982 Garcia-Kahn Oregon State Penitentiary gig

I have updated my post on the dating of the Oregon State Penitentiary gig a little bit, having learned that it came to be not (as far as I know) because Garcia was doing a favor to an imprisoned friend or associate, but by the work of imprisoned impresario Steve Stilling.

Sunday, September 10, 2017

Merl Saunders and the Rainforest Band, featuring Jerry Garcia

Here's a weird one bottom of column 1 to top of column 2:
Several possibilities.

First, perhaps most likely (?), whoever called this in to the Petaluma Argus-Courier dropped Jerry's name in connection with Merl's 1990 Blues From the Rainforest release, and the person at the paper was somehow left with the impression that Jerry would play the listed gigs. It wouldn't be the first time that Garcia's name would pop up in unexpected ways in the promotion of a Saunders gig that Garcia really wasn't involved in. For example, almost a year after their last shared agglomeration had knocked off, a preview for an August 1980 Saunders gig in far northern California teased that Merle [sic] was "currently playing with Jerry Garcia under the name of 'Reconstruction'." (1)

Second, maybe Gar really was going to play these gigs, but, as with two other prospective July 1991 engagements (JGB on the Eel, 7/13/91 cum 8/10/91, at the Frost on 7/14/91, and at Telluride, 7/19/91), he ended up not doing them because he was in rehab (as I surmise about the other three dates), or just forgot.

update: heh heh, my own files would help me. I know he was scuba diving on 7/27/91 in Hawaii, which would certainly require flying out no later than 7/26. I don't know if that trip would have been planned by whenever the 7/19/91 item was called in, but I strongly suspect so. This makes Hypothesis 1, that the Saunders camp somehow, surely innocently, gave mistaken impression that Jerry would play, to the Petaluma paper.


(1) "A weekend of jazz planned at the Back Door Aug. 8, 9," Ukiah Daily Journal, August 6, 1980, p. 10.

Saturday, September 02, 2017

Thursday, August 31, 2017

E72 post 18 (final)

5/26/72 was quite good, but I don't feel like I have that much to say. Maybe outta gas, like Poor Pig, after the whole tour.

I noticed late in the tour that Weir was using more vibrato, sometimes so much as to sound like the Little Onion (the great John Cipollina) himself.

I'll just say again how sad it was to see Pig withdraw over the course of the tour. The short tunes are good, the organ playing remains good, but the big stuff disappears.

Randomly selected 11/21/73 Denver for my first post-E72 commute, and man had this band come a long way in a year and a half. They were great during E72. They were even greater in late '73. This show has a truly amazing big jam woven out of, through and around PITB. Stellar.

Wednesday, August 23, 2017

E72 post 17

The big jam of 5/24/72 didn't slay me, but I have to apply the normal caveats. I may not have been paying a ton of attention.

The Lovelight didn't go anywhere or do anything. Pig is totally out of gas. He never even tells us 'bout his baby, how come she make him feel so good.

5/25/72 struck me as kind of a mess, with lots of lyrical issues for Bob and Jerry in the first set. Bob can't remember Promised Land, Jerry turns China Cat around.

Good Lovin' again lacks any Pig rap. *sigh*

Uncle John's sounds sweet, Wharf Rat wants to be Dark Star at first (I think Denver '73 is another example of how those songs could have been brothers from another mother, in some ways), and, after it Dark Star indeed emerges. This one struck me as average for the tour, some good upbeat bits, so maybe a bit above average (high bar, though). SOTOTW is always good, and I loves me some standalone GDTRFB.

5/26, last night of the tour, sounds peppy out of the gate, as the horse starts smelling the barn. Set I ends with a wonderful moment, the London crowd clapping the NFA beat (before it would become a Deadhead cliché), and the band responding with a very enthusiastic NFA > GDTRFB > NFA.

The big jam is queued up for this morning's commute. The next number, famously, "rose straight to the top of the charts in Turlock, California", and Bob continues, "They love us in Turlock, and we love them for that."

By today's commute home, I'll be done with the tour. It's been a great ride.

Wednesday, August 09, 2017

Scotty's Jam

Does anybody have the state-of-the-art understanding of what the "Scotty's Music Store 5/14/70" / "Jetty's Music Theater 12/7/71" NRPS jam session really is? TIA.


Looks pretty certain to have been 12/9/71 at Scotty's Music Store. Here is some info from JGBP (thanks!).

Jerry plays a Zane Beck D-10 pedal steel and also Lloyd Green's old double neck Sho Bud with the yellow streak on the front owned by Scotty, a flat top guitar [6] and a brand new 1972 Micro Frets Spacetone guitar.

"The next time that the Dead came to St. Louis and the New Riders were with them and both bands came to the store and we had a kind off the wall jam session. Sometimes Buddy Cage would play the steel and then I would play. I owned Lloyd Green's old double neck Sho Bud with the yellow streak on the front and that is the guitar we played on. They came to the store one more time and anytime they would get within 200 miles of St. Louis they would call me and I would take my reel to reel tape recorder to the motel and took several tapes of the Steel Guitar Convention with me and after their concert we would listen to them the rest of the night. I took pictures and even put up a mike and recorded that jam session. I sold Jerry a double neck MSA and when it came time to pay for it the manager said to me, "What's our price"? Jerry put his hand on his shoulder and said, You pay this man full price!" Wow! Jerry and I corresponded for awhile and we exchanged LP's with each other. It's odd - a guy devoted to pure country and one of the most respected guys in rock and roll getting together and being so friendly with each other. Jerry Garcia and DeWitt "Scotty" Scott, Bob Weir and the rest of the band were very friendly too!" [4]

"That jam at Scotty's was interesting, and Scotty remembers a few details. Most interestingly is the smoking' hot lead guitar player. Scotty remembers his name I think. He was a Gibson rep out doing his midwest rounds and happened to be stopping thru St. Louis that day. He was there for the jam, and was totally unrelated to NRPS or Jerry. It really wasn't a performance as much as an impromptu jam. The Dead/NRPS were in town, and at that time Jerry no longer played steel with them, hence Cage's presence. A bunch of local hippie/deadheads found their way and crammed into Scotty's for the little jam. Rick Rhamberg was there and recalls this Nashville Gibson rep guitarist all duded out in his country getup and they didn't know who he was, but he sure could rip.” [5]

"My store is small but both bands were here and they sat on the floor and we were crowded but everyone enjoyed it. What they liked about meeting at my store is that I did not take advantage of their being here by letting everyone know that they were coming. Jerry, especially, liked that. All this is packed in boxes and stored away. I did not even mark on the boxes what was in them back in those days. I would have to search many, many boxes to find any thing that I have on those guys. About the recording. I only made one. Buddy Cage played steel guitar for awhile and I played steel guitar for awhile. Everyone had their go at singing and playing the flat top guitars.” [4

"And that was the night of the jam session. Even if I didn’t partake, there was a big enough cloud for everyone.”[1]

"Buddy Cage, Chuck Berry and many others have been here several times. There have been many jam sessions at this store and the one with Jerry Garcia is in the top ten.” [3]

The Grateful Dead performed at the Fox Theater, St. Louis, MO later on this date.

2.) Hitsman, Steve, comments, 2000-07-19,
3.) Scott, Michael, comments, 2013-06-07, email to author.
4.) Scot, DeWitt, robthewordsmith, comments, 2010-10-12,
5.) Jim F., comments, 2010-10-14,
6.) Scott, Michael, photographer, 1971-12-09.

E72 post 16

Started 5/24/72 today, got through set I and into set II.

Neat song selection - opening with oldies Cold Rain and Snow and BIODTL, a rare "Dire Wolf", a very good China > Rider (not too adorned, but tight and successful), good Playin. Oh yeah, Bob strums the WRS Prelude before MAMU.

Set II starts off well with Rockin' Pneumonia and another rarity for the tour, "Black Peter".

Looking forward to the remainder on tomorrow's ride!
Truckin' > Drums > The Other One > Sing Me Back Home > Sugar Magnolia, Turn On Your Lovelight

Tuesday, August 08, 2017

E72 post 15

"Promised Land" is fitting for the home stretch. Most of the rest of the first set is a blur because I heard it two weeks ago, an eternity for these kinds of recollections.

PITB clocks in at twelve and a half minutes, and I recall liking it very much.

SOTOTW is exciting. I have some tickle like maybe it was a game effort but flawed, I dunno.

"Rockin' Pneumonia" is a rarity that swings pretty well. It always reminds me of Big Boy Pete.

Mexicali is still fresh enough to be interesting - that feeling would fade.

The huge, crushing disappointment of this show, to me, is that there is no Pig rap in Good Lovin'. Nothing. Zilch. Nada. Niente. Man, E72 captures a last, bright burn for Pig, but also its snuffing out. I have been feeling it for several shows --it's possible I wouldn't "feel" it if I didn't know the outcome, but what are you gonna do?-- and this GL seals it for me. In Paris at the start of the month he did one of the great Good Lovin's, and I had considered going back and transcribing his raps, they were so distinctively well-crafted. By the end of the month, he's got nothing.

The best backing band in the world rages through a smoking version of "Good Lovin'", but, at this point, they've got no one to back. I don't hear much organ during the instrumental middle, either, which was generally something I'd been taking note of during the tour. Keith is playing very well. By the late 5 minute mark this thing is *cooking*, what a band. Philip Lesh absolutely assaults the reprise to the GL theme, man oh man, he sounds mad.

Ramble on Rose is great the whole tour. Then we get the big half-hour Star (appropriately yipped and clapped for by the savvy Londoners), which I wasn't able to give the attention it probably deserves. The Dew is interesting, coming from Jerry and then Bob, no big Phil hit to start it off; Garcia starts on the wrong verse and the whole version feels passionate but kind of jacked up. I haven't checked the timing, but it's quite short. I don't think there have been more than one or two played previously on the tour, opening one night IIRC, but I'd have to double-check.

After Dark Star > Dew is one of the best post-big jam pieces of the tour. The amazing thing about this band of talented and peaking young men is that they'd just play for hours. They'd often do a half dozen or more tunes *after* blowing an hour on a Truckin' > Other One or most of one on a Dark Star > anything, to say nothing of some minds. But instead of a ballad to ease them home, the crowd would get another 45 minutes of musicianship.

He's Gone has matured immeasurably over the course of the tour - probably the tune that grew the most. This one has a more developed break to "going where the wind don't blow so strange", as I heard it. I imagined that they worked on it during their days off. Anyway, it's good. There still are not enough harmony vocals, and a few other things are wonky, but it's getting there. Garcia even takes it for a little spin on the back end, something I had noted from earlier in the tour, which will form the germ of many an excursion in the years to come.

What can I say - I love "Sugar Magnolia" in its album version, and I *hate* it as it was played after about this year, 1972. This is a good one. [Aside: if the Dead had played FOTD on the E72 tour, they would have done it fast, the way it was meant to be.] "Comes A Time" is fantastic, my only quibble that his first guitar turn was nothing but the same notes he had sung on the first verse. He has tamed the vocal, though, no longer trying the falsetto, and he delivers this one with a lot of feeling.

Not done yet!

GDTRFB ambles out of the gate very promisingly, stumbles a little bit, but then does its thing, which I love. Kreutzmann leads to NFA, Garcia scrubs into "Hey Bo Diddley" -- totally awesome, but man did I long for a "Caution" out of that scrubbing!-- and it's great. NFA reprises, drops neatly into another American Beauty, "Uncle John's Band", which hadn't gotten much play on the tour. I imagined somehow that Garcia did especially well with the Garcia-Hunters this night, something about Hunter and London and all that.

Anyway, there is an awful lot to like from this show, perhaps more if I get a chance to revisit the first set and the Star.

Sunday, August 06, 2017

Grass Valley Grateful Dead

Why? Don't ask why, just listen (if you care to).

Patched out of Yamaguchi/Poris and a set of modded Nak 700s. Someone speculates in notes whether a 3rd mic is operating, because Phil. And, yes, Straw ambling out, and - Phil. And, drums.

Here are the notes, some classic stuff in here:
- tapes pauses/flips touched up
- Phil - the low end on this capture makes me wonder if a 3rd mic was employed
- A sheep was in attendance. (with black leather chrome spiked suspenders??)
- Bob, Brent & the Rhythm Devils jam it out after Terrapin.
- How do you like your TOO?? Shaken or stirred??
- The Joint… round & round. After all we are in Grass Valley.
Happy random listening to whatever you might randomly listen to this day.


Sweet Lord, this Jack Straw -- Mamma mia-- burning off both of my ears!

Wednesday, July 26, 2017

The Dates of All of the Tracks on the Late-Era Arista JGB Releases

Internaut jmoleton posted sometime back a more or less complete set of dates for the 1990s-2000s official JGB releases, Jerry Garcia Band (1991), How Sweet It Is (1997), and Shining Star (2001), over at the Workingman's Tracker.

I have appropriated jmoleton's info, asked commenter Nick to check a few things, verified a few things myself, and have produced a table of this material. The image below is static. But, depending on how well well Google Sheets handles sorting, you might be able to follow this link to a Sheet which allows you to sort by, for example, real chronological order (sort on date and track number). Or, you could reconstitute a show structure by sorting first on track number. Or whatever. Have at it.

Tuesday, July 25, 2017

E72 post 14

Should have been mentioning that there's been some good Tigering in the recent PITBs.

5/18/72 bullets follow. Overall, a wonderful show up to Dark Star (where I left off yesterday).
  • I confess that I managed to "miss" "It Hurts Me Too" and "You Win Again" while my headphones had to be removed.
  • Whole (rest of) first set is very tight. 
  • These PITBs are still only 10 minutes, but they pack a punch - the crowd appreciates.
  • Even "Casey Jones" is good.
  • To start set II, Phil signals GSET, but Garcia pulls out SOTOTW and it's *fantastic*. He doesn't remember all the lyrics, but it's just great to hear him tackle this chestnut, which had gotten a little play since Keith came onboard. It segues into a scorching MAMU, really fiery and aggressive. A few pretty good shorter numbers and then ...
 .. as I was coasting to a close, I hear a very interesting noodle that is clearly "Dark Star" despite having no formal relationship to that composition. Mmmm mmm mm. And I like the looks of Jim Powell's Dark Star map for this version:
Dark Star theme/jam [10:52] > Restate theme [1:56] > First Verse [1:28] > Spacy Jam [4:45] > Jerry, Phil and Bob [1:25] > Dissonant Scary Jam [5:35] > transition [1:37] >

Saturday, July 22, 2017

The Beatles

At about the age of 10, my sage older brother got a copy of Abbey Road, and I learned every groove of that record. Then, let's say in adolescence, the cassette of all the greatest hits and #1 singles and all that, which was ubiquitous in my piece of suburban America, burned me out on all the early stuff, especially. I dallied with "The White Album" for awhile, had a good long fling with Revolver in the car stereo for a bit, have been through Sgt. Pepper's a few times, but the rest is very patchy. In short, my understanding of the Beatles is woefully inadequate.

Anyway, while walking dogs I picked out the stereo remasters (2009) of Sgt. Pepper's (1967), "The White Album" (1968), and Abbey Road (1969).

The real revelation to me has been "The White Album"."Glass Onion" and "Everybody's Got Something to Hide Except Me and My Monkey" have been ringing in my ears for two weeks.

Having just spun through the Beatles' discography, and considering my preference for "later" stuff, it looks like I might start with the last track of  Yesterday and Today (1966) --"Day Tripper"-- and spin forward through to the end. That'd be some good listening.

Wednesday, July 19, 2017

E72 post 13

5/13/72 fin

I know the Lille cancellation and then 5/13/72 has been discussed by LIA and probably Corry in his recent free gigs post. These E72 posts of mine just can't do justice to what's out there - feel free to post additional links in comments!

I like this show, a lot. The first set has all kinds of energy. We get the first (I think?) marriage of The Other One and He's Gone, the latter of which is maturing pretty well. He still doesn't have all the singing arranged how it would be, but it's getting stronger. But it's really the first set that sounds spritely and enthusiastic.

Pig sounds like he's running out of steam, but that could just be my foreknowledge of the end creeping backward. Of note, though: no big rap this night.


The soundcheck of Garcia doing "Big River" is fun. I have just listened to the whole first set, less the closing PITB, and -WOW- another very good first set. Everything sounds especially tight, maybe a case where the FM broadcast led them to focus a little more. (They are pretty locked in the whole tour, but there's always room for improvement.) All of the early set songs are tight.

I like the China > Rider. China > Rider on this tour fascinates me. The "feelin groovy" connector that they'd play every time out in '73-'74 --which finds its purest expression, I thought the other day, in Des Moines on 6/16/74-- it's immanent in what they're doing. I can't tell if they all see it and chose not to do it --it's a jam they had explored a lot over the years, after all-- or if I am hearing the pre-echo of later versions that partly live in my DNA.

I haven't traced the evolution of the China-Rider pairing, but I found some E72 versions to be a little bit frustrating, neither the straight-drop from the first couple of years of doing them together, nor the later, I think very successful, "feelin' groovy" bridge. Some of these versions find them boys searching, but not always finding what they are looking for.

Anyway, this version is good.

Now comes the real shocker. "Beat It On Down The Line" is awesome here - tight and well crafted. And then, get this. My least favorite E72 song is "It Hurts Me To". I have said so in one of the other posts. But, my God, Garcia opens up a can of whoopass somewhere in this one that has to be heard to be believed, doing a crazed, scratchy, scrub. I can almost hear Pig nodding in recognition of what his lead guitar player laid down. Stunning.

Looking forward to hearing the rest from the "fairy Duchy" of Luxembourg.

! ref:

Saturday, July 08, 2017

GarciaLive vol. 9: JGMS at Keystone, 8/11/74

GarciaLive Volume Nine: August 11th, 1974 Keystone Berkeley - set for 7/28 release.

I have done listening notes on the Falanga-Menke aud, and beside the Four Tops' "Ain't No Woman (Like The One I've Got)" --and the tape-- it doesn't slay me. That said, I'll happily buy it - an uncirculated soundboard to support the team. Maybe I'll love it more!

Friday, July 07, 2017

E72 post 12

5/11/72 Rotterdam

Nothing really knocked me out. Nice to see some setlist variations (PITB and Truckin' in unconventional placements, Dew and UJB making appearances). But Pigpen seems to be running out of steam - neither Good Lovin' nor Caution really takes off for me, though I did enjoy learning that Pig keeps a bucket of greaze next to the bed so he can slap some on his transmission and drive.

--edit - the last Caution? Noooooo .......

Monday, July 03, 2017

The Penultimate Garcia Band Show

LN jg1995-04-22.jgb.all.aud-km54.137833.flac1648

Not a ton jumps out at me, though the "Mission In The Rain" has a nice feel, and "My Sisters And Brothers" takes on some country flavor.

Jerry Garcia Band
The Warfield
982 Market Street
San Francisco, CA 94102
April 22, 1995 (Saturday) - 8 PM
Neumann KM54 flac1648 shnid-137833

--set I (6 tracks, 62:40)--
s1t01. Cats Under The Stars
s1t02. They Love Each Other
s1t03. That's What Love Will Make You Do [9:52] [0:54]
s1t04. Mission In The Rain [10:36] [0:28]
s1t05. My Sisters And Brothers [4:43] ->
s1t06. Everybody Needs Somebody [14:55] (1) [0:09]

--set II (4 tracks, 51:12)--
s2t01. Harder They Come
s2t02. I Shall Be Released
s2t03. The Maker [11:08] [0:06]
s2t04. Tangled Up In Blue [13:29] (2)

! ACT1: JGB #23
! lineup: Jerry Garcia - el-g, v;
! lineup: John Kahn - el-bass;
! lineup: Melvin Seals - keyboards;
! lineup: Donny Baldwin - drums;
! lineup: Jaclyn LaBranch - backing vocals;
! lineup: Gloria Jones - backing vocals.


! JGC:


! map:

! db: (Neumann KM150, shn), (Sonic Studios DSM6), (this fileset).

! band: URL

! historical: middle night of the Garcia Band's last stand, at the Warfield, three and a half months before his death. Random selection and blind listening would be far superior to having a set of preconceived ideas, but this is how it has to be. I find some nice vibe in the autobiographical ode to San Francisco "Mission In The Rain" and some goodness in "My Sisters And Brothers".

! seealso:

! seealso:

! R: field recordist: unknown

! R: field recording gear: Neumann KM54. See

! R: field recording location: FOB

! R: Transfer: DAT(c) @ 48 kHz > Tascam DA-20MKII > Canare Coax > Korg MR-2000S > Kimber USB 2.0 > Samplitude Pro X2 (Build 256) > TLH v2.7.0 (flac 8, ffp) > Foobar2000 v1.3.10 Live Show Tagger.

! R: seeder notes: "Thanks to Dave Flaschner for the DAT. Transfer & edits by Jeff Mitchell
seeded to etree 2017-02-16"

! P: s1t01 CUTS Don't love Melvin's synth sound. 3 mumbles the verse. Not a bad CUTS. FF over TLEO.

! P: s1t03 TWLWMYD still swings with this band. Garcia's got no lungs left to belt it, but it grooves nicely. 8 minute he hits a clam, but comes back on the voice. He sounds totally breathless and is mixed way, way down low. Listen to him warming up MITR at the end of the track. San Francisco, baby!

! P: s1t04 MITR He is so breathless, it reminds me of the very end for Townes van Zandt. 2:35 ff he gets to step back and play, his guitar sounds relieved, liberated, and he's wefting and warbling his notes in fine style, these vintage Neumann mics putting you *in* the Warfield. What a great tape. Nothing especially poetic happens, but this is not bad.

! P: s1t05 MSAB starts off sprightly, so much that I am wondering if he's going to have the air to sing it. It's a little dubious. Garcia sounds like an ancient dude shaking his mane a little bit, which is kind of what he is. Nothing too crazy. Steps back to some plucking and bending, kind of a straight country feel not always present.

! s1t06 (1) JG: "Thanks a lot. We'll be back in a little while."

! P: s2t04 TUIB voice is both weak and scratchy - not good.

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

Sunday, July 02, 2017

"When you add a new member, it becomes a new band"


This is a nice little interview with Garcia after the 11/6/79 Philly Dead show. He talks about "Mission In The Rain" and "Reuben And Cérise", picks some gospel Dylan to spin, tells the story of the Rambler Room gig in '78, and drops the titular line, which I like a lot.

WMMR Studios
Philadelphia PA zzzzz
November 7, 1979 (Wednesday) - 2:30 AM
26 min FM cassette

! historical: WMMR-FM Radio interview with Lyn Kratz & Michael Tearson at 2:30AM

01 intro [0:58] %
02 Brent in the band, Making Go to Heaven album [6:02] %
03 Story of Reuben & Cherise, Jerry's new guitar, Acoustic shows, Bertha the fan
04 Mission in the Rain, Egypt trip, Smaller venues, GD films, Eclectic listening
05 Terrapin II Suite, thanks & outro
06 DJ Talk [0:45]

! R: Transfer: TDK D90 > Nakamichi CR-5A > Edirol FA-66 > Wavelab > CD-Wave > TLH > FLAC 1644 tagged.

! R: seeder Note: This interview occurred in the wee hours of the morning after the 11/06/79 Spectrum show.

! R: seeder note: Thanks to Poordevil and Sounddawg for this historic tape!

! t02  "When you add a new member, it becomes a new band"

! t02 GTH: "I think it's our best album." Yeesh.

! t03 song R&C: movie Black Orpheus. "It's the Orpheus story, and the Black Orpheus adaptation of the Orpheus story. Plus we transmogrified it and put it into New Orleans and Mardi Gras. And we changed the outcome somewhat. It was one of those songs that was very slow growing. It started off with a melody that I was fooling around with, while we were working on Blues for Allah, and I gave a copy of the melody to Hunter, and he took it home and fooled with it, fooled with it, fooled with it. He came up with a lot of different ideas. And then, independently of the original melody, he set a group of ... those lyrics. And I liked the lyrics better than I liked the original melody. So, I dumped the original melody, held onto the lyrics, and, after fooling with the lyrics, and look at em for a long, long time, and really liking them, and really wanting them to work, I came up with the new melody."

! t03 @ late 5:50 11/17/78 "Dan Healy has a cousin who is involed in Loyola University in Chicago. They were doing a little small benefit for a famine relief thing in Pakistan, and so we got involved in doing just that - an acoustic show, Bob and I and Phil playing electric bass very quietly, and Mickey playing a little snare drum with brushes. ... we rehearsed it about 15 minutes before we went in and did it. We enjoyed it really a lot."

! t04 song: MITR. "It's about SF. It's about me in San Francisco. It's as close to autobiographical as it's possible for me to get working with another guy. ... Hunter is able sometimes to write if I would say ... it's very personal. It's him speaking about me. When I do the song, it's a very personal song, I'm talking about myself, my life.

! t04 @ 7:20 "I've always been a Dylan fan." "Music is music." "Even the worst music doesn't hurt anybody ... wound anybody." Jerry picked "Gotta Serve Somebody" to listen to.

Swan Song for JGB #15b: Philly, June 5, 1983

LN jg1983-06-05.jgb.early-late.aud-nak300-minches.76973.flac1644
LN jg1983-06-05.jgb.early-late.aud-peters.138199.flac1644

I consider 5/31/83 at the Roseland Ballroom to be one of the best Garcia Band shows of the 1980s. Six days later, this band, featuring the great and powerful Greg Errico on drums, would play its final two shows at the Tower Theater in Upper Darby, PA. Surprisingly, only two tapes circulate as of mid-2017: an unattributed 1st gen copy of a Nak 300s master, and, now, Dave Peters's pulls of both shows have enter digitalia. Of historical note, as far as I know Jerry Garcia and Greg Errico would never play together again.

What follows are listening notes from the older source from at least a few years back, and then listening notes finished today from the Peters tape. Interesting to compare - they end up hitting a few points identically (6-7 minute range of LIR, circular patterns in TUIB, Errico's power), and are generally quite convergent.

LN jg1983-06-05.jgb.early-late.aud-nak300-minches.76973.flac1644

Jerry Garcia Band
Tower Theatre
19 South 69th Street
Upper Darby, PA 19082
June 5, 1983 (Sunday) - Early and Late (9:30 PM) shows
1st gen Nak 300 flac1644 shnid-76973

--early show, main set + encore (9 tracks. 70:31)--
--early show, main set (8 tracks, 60:12-0:07)--
a-t01. tuning [0:05]
a-t02. Cats Under The Stars [7:24] [0:08] %
a-t03. /They Love Each Other [#7:38] [0:07] % [0:19]
a-t04. Let It Rock [9:01] [0:04] % [0:14]
a-t05. Love In The Afternoon [7:46] [0:05] % [0:13]
a-t06. I Second That Emotion [9:20] [0:05] % [0:02]
a-t07. Simple Twist Of Fate [12:28] ->
a-t08. Run For The Roses [5:00] (1) [0:05] % pre-encore [0:07]
--early show, encore (1 track, 0:07+10:19)--
a-t09. Rhapsody In Red [10:17] [0:02] %

--late show, main set + encore (10 tracks, 87:19)--
--late show, main set (9 tracks, 79:21-0:05)--
b-t01. tuning [0:19]
b-t02. How Sweet It Is (To Be Loved By You) [8:34] [0:02] % [0:17]
b-t03. I'll Take A Melody [15:27] [0:01] % [0:13]
b-t04. Cats Under The Stars [7:16] %
b-t05. Gomorrah [5:51] %
b-t06. The Harder They Come [14:13] %
b-t07. tuning [0:07]
b-t08. Dear Prudence [14:27] ->
b-t09. Tangled Up In Blue [12:20] [0:03] % pre-encore [0:05]
--late show, encore (1 track, 7:58+0:05)--
b-t10. Midnight Moonlight [7:53] [0:05] %

! ACT1: Jerry Garcia Band #15b
! lineup: Jerry Garcia - el-Guitar, vox;
! lineup: John Kahn - el-Bass;
! lineup: Melvin Seals - Keyboards;
! lineup: Greg Errico - Drums;
! lineup: DeeDee Dickerson - vox;
! lineup: Jaclyn LaBranch - vox.


! 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.

! JGC: (early); (late).

! db: shnid-76973 (this fileset), shnid-138199 (Peters MAC flac1644). Only two tapes from a Philly show - surprising. The Nak 300s version runs slower than this one, not sure which is correct.

! map:


! band: Final show for JGB #15b (First show-October 27, 1982 Rissmiller's, Reseda, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA). That makes this the last known time Garcia and the great Greg Errico would share a stage.

! R: field recordist: unknown

! R: field recording gear: 2x Nakamichi 300 > Sony D-5

! R: source: master cassette > 1st copy cassette

! R: transfer and FLAC encoding by David Minches: 1st generation cassette played back on Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC.

! R: profoundly muffled, distractingly low vocals. a-t06 ISTE you can hear Jerry counting off the tune, perhaps spliced in from an alt. source? For a second there is sounded real real upfront. That would be consistent with low vocals.

! P: a-t04 LIR is quite good. A 6:25 some interesting patterning, then 6:45 some fanning, over 7, fan to pluck. More fanning early 7. Nice note around 7:28.

! P: a-t05 LITA some lyrics issues to start LITA.

! P: a-t08 RFTR this is a nice period for the song. Errico is much more heavily percussive than Kemper. Not evaluating in any way, just noting the stylistic difference. Errico is a banger.

! a-t08 (1) JG: "Thanks a lot. We'll see you later on. [inaudible]"

! P: b-t08 DP is quite good, with some extra vocal effort, some beautiful unhurried guitar work over the 6-minute mark, lovely. Throughout 9 over 10 he is really weaving lots of concentric circles, all the way to a great brief fan 10:32, now feels like he's unwinding the circles, speeding them up late 10, mixing punctuations with circles, some pulls 11:10-11:11. Lovely.

LN jg1983-06-05.jgb.early-late.aud-peters.138199.flac1644

Jerry Garcia Band
Tower Theatre
69th and Market
Upper Darby, PA 19082
June 5, 1983 (Sunday)- Early and Late (9:30 PM) shows
Peters MAC flac1644 shnid-138199

--early show, main set + encore (8 tracks, 68:50)--
--early show, main set (7 tracks, 59:19)--
e-t01. [0:26] Cats Under The Stars [7:12] [0:16]
e-t02. They Love Each Other [7:28] [0:10] %
e-t03. [0:19] Let It Rock :20-9:09 -9:15 % -9:26
e-t04. Love In The Afternoon 7:51
e-t05. I Second That Emotion 9:19
e-t06. Simple Twist Of Fate 12:08
e-t07. Run For The Roses 5:01
--early show, encore (1 track, 10:54)--
e-t08. [0:29] Rhapsody In Red [10:04] [0:21] %

--late show, main set + encore (8 tracks, 84:12)--
--late show, main set (7 tracks, 77:15)--
l-t01. How Sweet It Is 8:54
l-t02. I'll Take A Melody [15:06] [0:11] % [0:10]
l-t03. Cats Under The Stars [7:06] [0:05] %
l-t04. /Gomorrah [#5:38] [0:11] %
l-t05. /Harder // They Come [#13:#00 ][0:11] % [0:03]
l-t06. /Dear Prudence [#14:04] ->
l-t07. Tangled Up In Blue [12:05] [0:27] % pre-encore [0:04]
--late show, encore (1 track, 8:19)--
l-t08. Midnight Moonlight [7:41] [0:39] %

! ACT1: Jerry Garcia Band #15b
! lineup: Jerry Garcia - el-Guitar, vox;
! lineup: John Kahn - el-Bass;
! lineup: Melvin Seals - Keyboards;
! lineup: Greg Errico - Drums;
! lineup: DeeDee Dickerson - vox;
! lineup: Jaclyn LaBranch - vox.


! 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.

! JGC: (early); (late).

! db: shnid-76973 (1st gen Nak 300s Minches, flac1644), shnid-138199 (this fileset). Only two tapes from a Philly show - surprising. The Nak 300s version runs slower than this one, not sure which is correct.

! map:


! band: Final show for JGB #15b (First show-October 27, 1982 Rissmiller's, Reseda, CA | Last show-June 5, 1983 Tower Theater, Upper Darby, PA). That makes this the last known time Garcia and the great Greg Errico would share a stage.

! R: field recordist: Dave Peters

! R: field recording gear: 2x Nakamichi microphones > Sony D6C

! R: lineage: JVC TD-R462 playback > Audacity > TLH Flac8

! R: seeder notes: Tape paused between some tracks. Splice in late show t05.

! R: seeder notes: So the story goes: I answered an ad on Craigslist for 500 free Grateful Dead tapes. On picking them up from the taper, I'm also informed he and a friend recorded other bands through the 70's. These were never circulated, and deemed inferior in quality.
When I inquired about digitizing his masters, he laughingly obliged. Most of the old Ampex and BASF tapes are in poor shape, several completely off the spool, and many squealing badly.
I will be attempting to bake some of them. I will be presenting the ones of superior quality only, out of the initial batch he loaned me. I do believe these shows will be lovingly embraced by the Dime community, and will be shared here exclusively. Zombiwoof to Dime 2017 series.

! R: lots of room feel, vocals a little boomy. SBEs on every track should be fixed before burning to CD, if anyone still does that.

! P: e-t01 CUTS Philly crowd is singing along enthusiastically. This is a tight version, doesn't go 'round too many times at the end. Good start.

! P: e-t02 TLEO late 2 it's Melvin's turn, but he's inaudible. Up a little more 3:30ff, but he's still pretty low in the mix.

! P: e-t03 LIR is just smoking. Late 6 into 7, boy oh boy can this boy play his guitar. Even more 7:17 just head down and charging, very high in the register late 7.

! P: e-t07 RFTR John sounds great on this.

! R: e-t08 RIR levels come up late 2, but the guitar is pretty buried in the mix. The bass sounds great, by contrast.

! P: e-t08 RIR Jerry sawing 3:20ff, very good molten tone and sensible note choices. Hits the next verse perfectly right at 4. His voice is scratchy-fragile, but he's giving it his all. "I sing the blues | where has it led" (as he sang it) is always a great line. Oh my gosh, late 6 over 7 Garcia is absolutely on fire. Very good RIR, as expected.

! P: l-t02 ITAM Jerry is really feeling it, and the tape does a great job of capturing the crowd responding to him. Nice, nice feeling performance. John has missed a cue or two.
 6:30 one of the ladies goes a turn too many, Jerry circles back to pick her up, all is well. 8:40 ish he is doing some kind of pitch-bending which foreshadows the sustained work in this vein he'd undertake a decade later.

! P: l-t03 CUTS gotta learn how to end it. Like, someone just keep count, define a limit?

! R: l-t04 Gomorrah clips in

! R: l-t05 HTC clips in, splice @ 8:53

! R: l-t06 DP clips in DP

! P: l-t06 DP 9ff long circular progressions.

! P: l-t07 TUIB great energy on vocals and now guitar 6-min range. Exceptionally long phrases 8+ min mark, over 9 just sailing, and the band sounds great. More Garcia guitar pyrotechnics to close the tour. Nice landing to close.