Jesse Jarnow

Archive for July, 2012

yo la tengo, hanukkah 2018, night #8 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
9 December 2018
*(Hanukkah, night 8)*

comedians: Todd Barry, and Toddophonic Todd
opening act: Shadowy Men on a Shadowy Planet
mix CD: Dave Weckerman
benefiting: New York Civil Liberties Union

Tell Me When It’s Over (Dream Syndicate)
For You Too
The Evil That Men Do (Craig’s Version) (with Shadowy Men on a Shadowy Planet)
She Cracked (Jonathan Richman) (with SMOSP)
You Don’t Own Me (Lesley Gore) (with SMOSP)
Pablo and Andrea
Polynesia #1 (Michael Hurley) (with Peter Stampfel on fiddle/vocals)
Lewis (with PS)
Is That Enough (with PS)
Walk Away Renee (The Left Banke) (with PS)
New Amphetamine Shriek (The Fugs) (with PS & Jeffrey Lewis on vocals)
Autumn Sweater
Tom Courtenay
Blue Line Swinger
Take Care (Alex Chilton)

*(encore)*
That’s What You Always Say (Dream Syndicate) (with Steve Wynn on guitar/vocals)
Glide (Dream Syndicate) (with SW)
Apple Suckling Tree (Bob Dylan) (with SW & Dallas Good of SMOSP on organ)
The Days of Wine and Roses (Dream Syndicate) (with SW)
Griselda (Antonia) (with PS & Marilyn Kaplan on vocals)
My Little Corner of the World (Bob Hillard & Lee Pockriss) (with MK)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #7 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
8 December 2018
*(Hanukkah, night 7)*

comedian: Joe Pera
opening act: Heron Oblivion
mix CD: Georgia
benefiting: Environmental Defense Fund

Dream Dream Away
Satellite
Here To Fall
Barnaby, Hardly Working
Green Arrow
Moby Octopad
The Weakest Part
Mr. Tough
Nowhere Near
Goin’ Back (Carole King & Gerry Goffin) (with Meg Baird of Heron Oblivion on vocals & Kevin Micka on drums )
I Should Have Known Better
Out the Window
Sudden Organ
Heroin (Velvet Underground) (Roky Erickson version) (with Charlie Saufley of Heron Oblivion on guitar)

*(encore)* with Steve Gunn on guitar
Puss ‘n’ Boots (New York Dolls)
The Kid With the Replaceable Head (Richard Hell)
Turning Time Around (Lou Reed) (with John Cameron Mitchell on vocals)
Let’s Call the Whole Thing (George & Ira Gershwin) (with JCM & Preservation Hall Jazz Band)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #6 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
7 December 2018
*(Hanukkah, night 6)*

comedians: David Cross (as Rabbi Alan Sugarman)
opening act: Oneida
mix CD: Ira
benefiting: Astraea Lesbian Foundation for Justice

James played bass with Oneida for their set. Georgia & Ira sat in on drums & organ for “Each One, Teach One” & “Sheets of Easter.”

whole set with Oneida (Baby Jane/guitar, Showtime/guitar, Kid Millions/drums, Bobby Matador/organ & bass, Snaps London/keyboards)

You Are Here
Night Falls on Hoboken
Let’s Save Tony Orlando’s House
The Point of It
Little Eyes
Don’t Say A Word (Hot Chicken #2)
Damage
Big Day Coming (fast)
The Room Got Heavy
We’re An American Band
Mushroom Cloud of Hiss >
Dream Baby Dream (Suicide)

*(encore)*
To Sir, With Love (Don Black/Mark London) (with David Cross on vocals)
Swallow My Pride (The Ramones)
Pet Sematary (The Ramones) (with Clay Pigeon on vocals)
Don’t Come Close (The Ramones) (with Sharon Van Etten on vocals)
One Day (Sharon Van Etten) (with SVE on guitar/vocals)
The Dolphins (Fred Neil) (with SVE on vocals)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #5 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
6 December 2018
*(Hanukkah, night 5)*

comedians: Jon Benjamin & Jon Glaser (as Dave Franz & Dave Farina), and John Oliver
opening act: Bill Callahan with Jim White
mix CD: Yuka Honda
benefiting: Center For Constitutional Rights

Noise (Paul Simon, as Jerry Landis; Tico & The Triumphs)
Forever >
Stupid Things >
She May, She Might
Season of the Shark
I Found A Reason (Velvet Underground)
I Feel Like Going Home
I’ll Be Around
Shaker >
Styles of the Times
From A Motel 6 >
Drug Test
I Heard You Looking (with Joe Puleo on organ)
Our Way To Fall

*(encore)*
Touched By The Sun (Carly Simon) (with Bill Callahan on guitar/vocals)
Way Out West (Big Star) (with Jody Stephens of Big Star on vocals)
Baby Strange (T-Rex) (with JS on drums)
September Gurls (Big Star) (with JS on drums)
Blue Moon (Big Star) (with JS on vocals)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #4 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
5 December 2018
*(Hanukkah, night 4)*

comedian: Jim Gaffigan
opening act: Matmos
mix CD: Kid Congo Powers
benefiting: Union of Concerned Scientists

whole set (minus “Awhileaway”) with Matmos on electronics.

Everyday
Let’s Do it Wrong
Flying Lesson (Hot Chicken #1) >
Saturday
Above the Sound >
The Ballad of Red Buckets (with Dave Schramm on guitar)
Awhileaaway (with DS)
The Summer (with DS)
Cherry Chapstick >
Dreams (Fleetwood Mac) (with Dutch Worthington on bass)
Little Honda (The Hondells)
The Story of Yo La Tango

*(encore)* with Dave Schramm on guitar/vocals
The Way Some People Die
Wasn’t Born To Follow (Carole King/Gerry Goffin)
Then He Kissed Me (Phil Spector/Ellie Greenwich/Jeff Barry) (with LaLa Brooks of the Crystals, Kevin Micka on acoustic guitar, & horn section)
I Wonder (Phil Spector/Ellie Greenwich/Jeff Barry) (with LB, KM, & horns)
Da Doo Ron Ron (Phil Spector/Ellie Greenwich/Jeff Barry) (with LB, KM, & horns)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #3 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
4 December 2018
*(Hanukkah, night 3)*

comedian: Jo Firestone
opening act: Nancy
mix CD: James
benefiting: Reproductive Health Access Project

Bridge Over Troubled Water > (Paul Simon) (drone)
Big Day Coming (quiet)
Before We Run
House Fall Down
Ashes
Black Flowers
What Can I Say (NRBQ)
Sorrow (The McCoys)
Artificial Heart
Some Kinda Fatigue
Nothing To Hide
Sugarcube
Pass the Hatchet, I Think I’m Goodkind

*(encore)* with the Strangeloves & Matt Fiveash (bass)
Cara-Lin (The Strangeloves)
Night Time (The Strangeloves)
Hang On Sloopy (The McCoys)
I’m On Fire (The Strangeloves)
I Want Candy (The Strangeloves)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #2 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
3 December 2018
*(Hanukkah, night 2)*

comedian: Roy Wood Jr.
opening act: Blind Boys of Alabama
mix CD: Perfume Genius
benefiting: Committee to Protect Journalism

Ohm (acoustic) (with the Blind Boys of Alabama)
Jesus (Velvet Underground) (with the Blind Boys of Alabama)
False Alarm
Stockholm Syndrome
The Last Days of Disco
Beanbag Chair
Shades of Blue
The Story of Jazz
Ain’t Talkin’ ‘Bout Love (Van Halen) (Minutemen arrangement)
Decora
Double Dare
Ohm (electric)
More Stars Than There Are In Heaven (boogie version) (with Blind Boys of Alabama)

*(encore)* with Jon Langford of the Mekons on guitar/vocals
The Plans We Made (Lonesome Bob)
Girl From the North Country (Bob Dylan) (Nashville Skyline version)
Where Were You (The Mekons)
Hard To Be Human Again (The Mekons)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

yo la tengo, hanukkah 2018, night #1 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
2 December 2018
*(Hanukkah, night 1)*

comedians: Bridey Elliot & Rebecca Robles
opening act: Sun Ra Arkestra
mix CD: Joe Belock
benefiting: HIAS

whole set & encore with Jim White on drums. members of the Sun Ra Arkestra enter during “Dreaming” and stay for rest of set.

From Me To You (The Beatles, sung as “From Me To Jews”)
Here You Are > (with Arkestra’s Danny Ray Thompson on voicemail greeting)
I Was The Fool Beside You For Too Long >
Tears Are In Your Eyes
Out of the Pool >
Upside Down
Dreaming (Sun Ra)
My Heart’s Reflection
Deeper Into Movies
Emulsified (Rex Garvin & the Mighty Cravers)
All the Glitter Is Gone
Nuclear War (Sun Ra)

*(encore)*
For Your Love (Graham Gouldman) (with Matt Clarke on keyboard)
Look Through Any Window (Graham Gouldman) (with Graham Nash on vocals & Matt Clarke on guitar)
Bus Stop (Graham Gouldman) (with Graham Nash on vocals/guitar & Matt Clarke on guitar)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

alternate routes, episode 07

Alternate Routes
with Jesse Jarnow

1. “Trip Slug” – Bilders
Bilders USA recordings (unreleased)

2. “The Fading of An Old World” – Jonathan Richman
featuring Jonathan’s former Modern Lovers bandmate (& ex-Talking Head) Jerry Harrison
from SA (Blue Arrow Records)

3. “Faint Smell of Moss” – Dark Meat
from Teal Clods From Tim’s House (Free Music Archive)
coming soon on LP via Sunwatcher Records

4. “Telluride Speed” – Ryley Walker
Ryley Walker (guitar)/Bill McKay (guitar)/Ryan Jewell (drums)/Scott Colberg (bass)
NYCTaper recording made at Bowery Ballroom, New York City, NY, April 29, 2018.
studio version on Deafman Glance (Dead Oceans)

5. live at Union Pool – Chuck Johnson
NYCTaper recording made at Union Pool, Brooklyn, NY, April 12, 2018.
see also: Balsams (VDSQ)

all tracks posted with permission of artists/labels
DJ bed music by Paul Blanding

alternate routes, episode 06

Alternate Routes
with Jesse Jarnow

1. “He Sold His Soul” – Willie Klein with Two-Mule Team
recorded at Wonders of Nature, Brooklyn, NY, September 15, 2018
originally on Tape #1 & Mofungo’s Out of Line

2. “Even Now” – Sue Garner with 75 Dollar Bill & Talice Lee
recorded at Union Pool Front Room, Brooklyn, NY, July 16, 2017
originally on Shadyside (Thrill Jockey)

3. “WZN #4″ – 75 Dollar Bill
recorded at Monty Hall, WFMU, Jersey City, NJ, October 7, 2017 (Free Music Archive)

4. “Sycamore” – Antenna
from You Don’t Have To Be Fashionable, vol. 6 (With A Messy Head)

5. “Hablo Picasso” – Carton Sonore
from You Don’t Have To Be Fashionable, vol. 6 (With A Messy Head)

6. “Out & In” – Sonic Youth
from Not The Spaces You Know, But Between Them (Three-Lobed)

7. “Za-Zen” – The Pen Test
from Interstate (Moniker)

all tracks posted with permission of artists/labels
DJ bed music by Paul Blanding

alternate routes, episode 05

Alternate Routes
with Jesse Jarnow

1. “Bread and Roses” – Marisa Anderson
PhilaTaper recording made at Philadelphia Mausoleum of Contemporary Art, July 5, 2018
recorded on Traditional and Public Domain Songs
new album Cloud Corner (Thrill Jockey)
PhilaTaper GoFundMe for Katie Wescott

2. “Deep Sea Diver” – Gwenifer Raymond
from Deep Sea Diver 7-inch (Tompkins Square)
new album You Never Were Much of a Dancer (Tompkins Square)

3. “Current” – Kristin Thora Haraldsdottir
from VDSQ Solo Acoustic, vol. 14 (VDSQ)

4. “The Two Worlds” – Brigid Mae Power
from Live at WFMU on This is the Modern World With Trouble, July 5, 2018 (Free Music Archive)
new album The Two Worlds (Tompkins Square)

5. “I’d Rather Be Hayin’” > “Space Drums” > “Route 5″ – Wet Tuna
from Livin’ The Die (CD: Child of Microtones, LP: Feeding Tube, cassette: Baked Tapes)

all tracks posted with permission of artists/labels
DJ bed music by Paul Blanding

alternate routes, episode 04

Alternate Routes
with Jesse Jarnow

1. Sarah Louise – “Hellbender”
from VDSQ Acoustic Series, vol. 12 (VDSQ)

2. Itasca – “No Consequence”
with Dave McMaster on pedal steel
from Live at WFMU on the Avant Ghetto with Jeff Conklin, May 30, 2016 (Free Music Archive)

3. Paul Blanding – “Sketch #4 (Predator)”
from Krampusnacht (Music For An Unwritten Puppet Opera) (Bandcamp)

4. Thumbscrew – “Unconditional”
Michael Formanek (bass) / Tomas Fujiwara (drums) / Mary Halvorson (guitar)
from Ours (Cuneiform)

5. Chris Forsyth & the Solar Motal Band – “Dreaming in the Non-Dream”
with Peter Kerlin (bass), Jason Robira (drums), and Ryan Jewell (drums)
NYCTaper recording made at Union Pool, Brooklyn, NY, July 28, 2018

all tracks posted with permission of artists/labels

#deadfreaksunite 1977

#deadfreaksunite 1977
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th/50th anniversary and edited here for readability and occasional revision/correction and minor expansion. Many shows streamable via archive.org.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

2/26/77 san bernardino: 1st dead show under a democratic administration since the day the band allegedly dosed hugh hefner. 1977 opens with debut of TERRAPIN STATION (properly, LADY WITH A FAN/TERRAPIN STATION). brisk & slightly rough &, like, pretty epic. debut, too, of weir’s fully-formed 7/8 space-reggae jam-piece, ESTIMATED PROPHET. globs of garcia mu-tron & godchaux synth-clav color. maybe it’s the mix or all the harmonics thrown into SUGAREE, but weir seems to have new effects/compression on his guitar, too. misterioso garcia thrills, assertive piano, & a sea of cymbals lead glorious drift in 25 minute PLAYING IN THE BAND > THE WHEEL > PLAYING. SLIPKNOT shortening & loosening, drama lessening. would love a chart of garcia’s most frequently mangled couplets in FRANKLIN’S TOWER. EYES OF THE WORLD shifts into 2 minutes of just phil, keith, & drummers. big bass chords & quick sparkling dissolve to DANCING IN THE STREET.  AROUND & AROUND features full weir/donna shriek out & 1st signs of weir’s falsetto post-show “thank you!” squeak.

2/27/77 santa barbara: sunday night boogie in a college gym, surviving as solid audience tape by rob bertrando. ESTIMATED PROPHET played again (& at most ’77 shows), garcia embracing gnarly guitar-is-talkin’-to-me auto-wah. cooly aching PEGGY-O. GOOD LOVIN’ moves to 1st set, loses jams & vitality. last SCARLET BEGONIAS before discovery of FIRE. donna moans, jerry fractals. w00! 2nd set suite begins with ST. STEPHEN, pleasantly without NOT FADE AWAY inside for 1st time since june. NOT FADE AWAY follows anyway. post-DRUMZ garcia twofer: 2nd TERRAPIN STATION with glorious, building 1st MORNING DEW of the year as epilogue.

3/18/77 winterland: opener of 1st multi-night winterland run since 10/74. ’77 mojo almost in place, 3 major new songs on display. 1st gloriously sprawling ’77 SUGAREE, almost 15 minutes. l’il dead air but much flow, piano color, & garcia’s 1st use of effects on the song. dampened SCARLET BEGONIAS into 1st FIRE ON THE MOUNTAIN. no intro solo yet, dynamics TK, but big ending. an instant 2-chord jam standard. bill graham apparently hosted a giveaway quiz show at setbreak, which sounds like a very good or very bad improv comedy set-up. TERRAPIN STATION (garcia’s last prog tune?) with sole live AT A SIDING coda, instrumental only. a mystic destination, sadly abandoned. 10 minutes into 20 minute NOT FADE AWAY, garcia & mu-tron find new path to big peak. vocal ending flows into graceful ST. STEPHEN.

3/19/77 winterland: night 2 of 3. BERTHA opener still growing into new blocky & less swingin’ rhythm, keith finding piano corners. unusually heady close to long 1st set, 50m of ESTIMATED PROPHET, TERRAPIN STATION / PLAYING IN THE BAND > SAMSON & DELILAH > PLAYING. garcia sounds fully inside TERRAPIN STATION lyrics. elegant piano & panic inducing tape flutters. 1st next-beat segue into PLAYING. momentum, space, & patience with ideas from all on both sides of great 31m PLAYING/SAMSON/PLAYING segue, especially drawn-out reprise. grace & compelling music within, but 48m EYES OF THE WORLD > DANCING IN THE STREET > WHARF RAT > FRANKLIN’S TOWER feels scattershot. feels like they forgot how to jam on EYES, drummers staying static while other 4 go wild, but retreating & dissolving just as quickly. laser guitar bulletpoints on DANCING much more successful, ditto full force UNCLE JOHN’S BAND encore, 2nd in 2 shows.

3/20/77 winterland: sunday night dead. technically the 1st spring ’77 show. a few stunning spots, but mostly just very good. 1st BEAT IT ON DOWN THE LINE since 9/75, in fine shape, only song played from jug band era thru nearly the end. only ’77 version. last standalone SCARLET BEGONIAS, 13 minutes & wondrous. keith on synth for 1st time as garcia scouts new valleys. sublime inventive peak. faster than usual ROW JIMMY has more magnificently lyrical than usual solo & piano counterpoint, earning audible cheer on soundboard. after 10 locked in minutes, THE OTHER ONE breaks into another 5 minutes of almost entirely solo garcia, spinning threads out in space. on the other hand, the synth definitely doesn’t work on STELLA BLUE. 1st TERRAPIN STATION encore. satisfying!

4/22/77 philadelphia: spring tour ’77 opens! before the show, keith haring sells his bootleg dead t-shirts in the parking lot. despite dropped lyrics by garcia (an increasingly common occurrence), magnificent 10 minute MISSISSIPPI HALF-STEP with big rippling crests. purposeful 21-minute PLAYING IN THE BAND to close 1st set. stays busy with cool double-drumming, mini-pockets, far-out synth colors. 2nd SCARLET BEGONIAS > FIRE ON THE MOUNTAIN, a conversational & wide open path, rare song designed to be only jammed into. donna chants “fire! fire!” semi-off-mic during shift into FIRE. still 2 verses, lyrics jumbled or unfinished, tangible sense of play. great 20 minute DANCING IN THE STREET with long-unfurling ribbons of neon garcia but for some reason weir sings GOT MY MOJO WORKING. nope. nice garcia pair of THE WHEEL > TERRAPIN STATION to close encoreless show, latter with goofy 8-bit sounding polymoog.

4/23/77 springfield, MA: haven’t done the math, but tuning breaks seem to be getting longer in ’77. weir teases BLACKBIRD during one. no jam in CASSIDY yet, but garcia finds multiple cool turns in 48s solo. hadn’t noticed it missing, but 1st ME & MY UNCLE since 6/75. one big story of the tour is the arrival of keith godchaux’s polymoog synth, almost as big a change as having 2 drummers again. polymoog shows up on LOSER, SUGAREE, & other older tunes, sometimes a bit awkwardly. surf-like on ONE MORE SATURDAY NIGHT. synth sounds better on newer songs, like break in MUSIC NEVER STOPPED & semi-drones in SLIPKNOT with cool garcia response. speedy SCARLET BEGONIAS takes quiet way into FIRE ON THE MOUNTAIN, wordless donna jean sounding more like patti smith than karen dalton. FIRE & ESTIMATED PROPHET are A+ platforms for almost-comprehensible garcia guitar chatter, ready for subtitling by acidhead linguists. huge FRANKLIN’S TOWER melts very briefly to audience tape at 1st peak, fun trompe l’oeil-like moment.

4/25/77 passaic: 1st of 3 nights at the *other* capitol theater. garcia’s vocals sound great everywhere, SHIP OF FOOLS especially. though mickey hart’s been playing it since 6/76, SCARLET BEGONIAS has completed transition from delicate groove to tom-tom thunder. could be the mix, but FIRE ON THE MOUNTAIN feeling a mite sluggish, even as garcia’s solos hone in on his steel drum vibe. unlike FIRE (where garcia hasn’t sung a full 2nd verse yet; will notify when he does), he’s got the TERRAPIN STATION narrative down. small window of phil/garcia/billy free improv kicks in PLAYING IN THE BAND, weir disappearing for stretches, defaulting into DRUMZ. 16 minute WHARF RAT has most thoughtful jam of show, 6 minutes of weaving that might not go back into PLAYING but inevitably does.
4/26

4/26/77 passaic: crappy audience tape early on followed by great multi-camera footage of entire 2nd set & more. video has multiple revelations. one is that the stage lights go off during the long-ass tuning breaks. was that standard in ’77? garcia is at nearly Full Muppet (© @thoughtsonthedead), esp. during DEAL & ESTIMATED PROPHET, all animated eyebrows. very present. i think there are more shots of keith godchaux than all other 1972-1978 videos combined. but also the audience is sitting during DEAL? detailed jam in 14 minute DANCING IN THE STREET unfolds to slow rolling garcia slide guitar, chill marching drums, & perfect dancing piano. nicely liquid & sweet tempo’d EYES OF THE WORLD in post-DRUMZ slot breezes into space until drummers cut it off with SAMSON & DELILAH. great set, way fun to watch the musicians work throughout, especially the quiet drama of rare standalone STELLA BLUE.

4/27/77 passaic: last of 3 at the capitol & another remarkable multi-cam closed-circuit video. but why is the front row sitting?! again, could be the mix, but i think the tom-toms have finally overrun whatever sustained delicacy was left in LOOKS LIKE RAIN. godchaux still learning to drive his polymoog, sounding a little clumsy on ROW JIMMY & definitely more stiff than his piano playing. nifty laser beam pitch-bending by keith on ESTIMATED PROPHET. guitar solo seems about to turn jammy until weir cuts it off. band seems a little, um, *up* for set 2, especially. SCARLET BEGONIAS so brisk that garcia is almost shouting. same on RAMBLE ON ROSE. amazing to see full video of a ’77 SCARLET > FIRE ON THE MOUNTAIN, garcia almost dancing, looking as exuberant & blissed as the jam. economic 16 minute SCARLET > FIRE, with 1st lesh-led segue into GOOD LOVIN’. too soon, but successful upshift give or take a brief stutter. TERRAPIN STATION requires something with gravitas to follow it. a jam? silence? here, a heavy MORNING DEW. works.

4/29/77 the palladium: the dead begin a manhattan residency in the spring of punk. just like before europe ’72, the dead take up for 5 shows at NYC’s old academy of music on 14th street. tight 29-minute HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER is perfect opener. short rich SLIPKNOT! that doesn’t delve far. during FRANKLIN’S, someone (on the audience tape, i think, but can’t be sure) rings a bell at the appropriate lyric. excellent swirl. fierce set-closing MUSIC NEVER STOPPED with rolling drawn-out peak. SUGAREE has backchannel drumz jam going on behind garcia’s solo. most of the show exists only as a muddy audience tape by jerry moore, except for 3 as filler on download series. SCARLET BEGONIAS takes bright CHINA/RIDER-like turn, veering into GOIN’ DOWN THE ROAD, its last non-FIRE destination for a year. back to audience for NOT FADE AWAY jam, short bass solo, musical dissent, DRUMZ, & moar jerry: THE WHEEL decelerating into WHARF RAT. i sometimes wonder if any of the CBGB regulars made it into any of the palladium gigs & what they thought.

4/30/77 the palladium: crystal clear soundboard reveals highs & lows of godchaux’s polymoog on opening MUSIC NEVER STOPPED. for 1st time, weir pairs two country songs with a next-beat segue, in this case MAMA TRIED > ME & MY UNCLE, a favorite trick thru ’95. excellent 1st set jerry in PEGGY-O (getting less spare by the show) & another multi-peaked & mighty MISSISSIPPI HALF-STEP. rare phil setbreak banter sighting: “thanks, folks, we’re gonna take a short break. y’all can do whatever you want to.” SCARLET BEGONIAS methodically climbs to a more leisurely FIRE ON THE MOUNTAIN. another quick dive to GOOD LOVIN’, a new norm.
in NOT FADE AWAY, weir heads for DANCING IN THE STREET, but garcia goes weird, keith gets noisy, drummers go off auto-pilot, & woooo. they land in a gently rushed STELLA BLUE, building back to ST. STEPHEN, band thrashing on riff until they finally find reentry point. encore is TERRAPIN STATION’s NYC debut, getting big cheers when then song starts, as if everybody knows it already.

5/1/77 the palladium: granted, i don’t listen to many audience tapes, but the 1st “freebird!” i’ve heard so far, just before CASSIDY. debut of donna jean godchaux’s 1st dead tune, SUNRISE. i actually like the tune, but also an energy drain midway into a dead set. developed & multi-chorused BEER BARREL POLKA because “billy had to catch the late flight to acapulco,” if you needed a new euphemism. solid 45-minute 2nd set jam suite (PLAYING IN THE BAND > DRUMZ > THE OTHER ONE > COMES A TIME > PLAYING) fits perfectly on tape side. as so often in ’77, PLAYING & THE OTHER ONE are good but unadventurous & COMES A TIME is just jaw-dropping (with dramatic outro jam). sweet, confident BROKEDOWN PALACE encore, 1st since 10/74 & 1st with donna. smooth mid-tune polymoog switch by keith.

5/3/77 the palladium: tape flutter on soundboard adds analog nostalgia to slow jerry tunes like ROW JIMMY, PEGGY-O, & SHIP OF FOOLS. welcome return of JACK STRAW, 1st since 10/74 & 1st with donna taking over phil’s part. not as sharp as it’ll get, but sounding good. really digging these semi-regular blocks of 2nd set garcia, tonight FRIEND OF THE DEVIL & then 26-minute EYES OF THE WORLD > WHARF RAT. EYES on-point from the start, wonderful jerry vocal & short jam that opens into cool refreshing passage of almost totally solo garcia. last pre-cornell NOT FADE AWAY arrives at brightness by end. multiple voices shouting for TERRAPIN before encore.

5/4/77 the palladium: last of 5 nights in NYC & ready for the tour proper. big jams & nice soundboard with tuning breaks edited out. another typically dazzling MISSISSIPPI HALF-STEP flows into BIG RIVER, less a segue than a pick-up, but a logical & lovely pairing. mixed properly (ie. very low), mickey’s SCARLET BEGONIAS cowbell almost sounds delicate, a little chaotic web for garcia’s guitar. great filler/oldie-free 2nd set, capped by TERRAPIN STATION & thorough, winding 37-minute PLAYING IN THE BAND > COMES A TIME > PLAYING. drummers have to reset groove when COMES A TIME hits 1st change, but a real stunner with patient PLAYING reprise.

5/5/77 new haven: on the 12th anniversary of the warlocks’ 1st show at magoo’s pizza parlor, the sleeper of spring ’77′s big 4. wonderful 15 minute SUGAREE rolls from big noodle peak back down to quiet noodle canyon, like a hippie-jam version of terry riley’s “in c.” weir continues to establish his 1st set C&W double-slot, this time MAMA TRIED/EL PASO. PEGGY-O a showcase for weir’s guitar curlicues. garcia clearly ready to go out on ESTIMATED PROPHET, continuing to solo under weir’s final “nah nah”s instead of reverting to changes. some days, i prefer this SCARLET BEGONIAS to the cornell version, the jam getting more detailed & further afield before the climb. FIRE ON THE MOUNTAIN is a bit sleepier. nice shimmering fade on ending theme with a logical but magic-snuffing segue into GOOD LOVIN’. only standalone ST. STEPHEN of tour. ecstatic garcia riffage, lots of weir in the mix (here & for whole show), & mild TRUCKIN’ themes. opening with PROMISED LAND & encoring with JOHNNY B. GOODE, the dead continue to pledge allegiance to chuck berry.

5/7/77 boston garden: a classic & early high-rotation tape for me. everything smokes. tuning breaks edited for official release. thx! rare to hear keith godchaux as conversational, from BERTHA opener on. still only 45 seconds, but cuz of keith, CASSIDY solo is now a jam. quality weir banter, wishing kreutzmann happy birthday when it’s actually his birthday for once. rare on-mic appearance by mickey. great color/shapes by weir & cool interplay with keith on enormous 12:30-minute MISSISSIPPI HALF-STEP with extended ending jam. HALF-STEP so good that it buries keith’s switch midway to globby (but creatively played) polymoog. easy conceptual fade to BIG RIVER. 2nd set opening TERRAPIN STATION is at full glow, keith finding cool new piano spaces even in the relatively static (so far) outro. hey, keith’s dubby percussive polymoog on ESTIMATED PROPHET is way boss, too. somehow didn’t realize he was the tape’s secret hero. lesh sets tone on 11m EYES OF THE WORLD with big bass lead in intro. never a dull moment, all clearly listening hard to each other. perfectly patient post-DRUMZ build to THE WHEEL with equally great exit, very out for ’77. more lit keith & stretches of solo jerry. another reason i love this show (especially in the tape era): no songs i’d skip until set-closing AROUND & AROUND.

5/8/77 cornell: and here we are. took me a long time to accept this show/era as magical. the dead at their most normal. far out! all the songs just bop along, dependable & solid, with great singing/energy/dynamics, etc., somehow both intimate/close & enormous. i was shocked to eventually discover barton hall is a field house. i’d envisioned a lecture hall based on crowd on the soundboard. another way to dig godchaux’s polymoog on LOSER & other garcia songs: as stylized soundtrack to ’70s sci-fi westerns, maybe italian? as sweet as this ROW JIMMY is (& it’s sweet!), the polymoog & mickey’s pronounced backbeat keep me from liking it more than the ’73s. 16 minute DANCING IN THE STREET doesn’t go anywhere in particular, just grooves while garcia runs delicious riffs thru his mu-tron pedal. whether the best or not, surely the definitive SCARLET BEGONIAS/FIRE ON THE MOUNTAIN. perfect & triumphant with effortless flow. delirious bass slides fire SCARLET & godchaux’s WTF harmonized piano riff unfolds throughout jam, only time that happened, i think. for 1st time, garcia gets all but 1 line in FIRE! while gorgeous, the solos never felt transcendent to me. heresy! still THE version. all-time peaks in 16 minute NOT FADE AWAY & 14 minute MORNING DEW. stunning fluid double drumming on DEW peak. also: jerrrrrry! [i also wrote a long review about the may '77: get shown the light box set.]

5/9/77 buffalo: another flawless night. @samgustin calls set 1 “the 3rd set of 5/8,” with no repeats from the evening before. promoted by future miramax magnates bob & harvey weinstein, who perhaps ripped the dead off. increasingly rare & magnificent HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER to open. rad, weird chord colors from weir in ace SLIPKNOT. 2nd set opens with 1st of many BERTHA/GOOD LOVIN’ pairings. really not a fan of the latter’s jamless post-’76 versions. just an oldie. thrillingly, ESTIMATED PROPHET cracks open for 1st time, floating away from 7/8 time on expanded garcia phrases & out into jam space. fun-filled 42 minute jam sequence of ESTIMATED > THE OTHER ONE > DRUMZ > NOT FADE AWAY > COMES A TIME, getting even better post-DRUMZ. NOT FADE AWAY is as bright as night before & gets weirder as it winds into COMES A TIME, which is capped by peak lyrical garcia solo. unusually, garcia leads transition into SUGAR MAGNOLIA & it’s so gradual that it restores some chillness to the tune.

5/11/77 st. paul: little delights throughout the 1st set, including squiggly new places in RAMBLE ON ROSE & even LOOKS LIKE RAIN. masterful 13 minute big/small/big SUGAREE. good mix for digging weir’s oddball upper register non-reggae rhythms on ESTIMATED PROPHET. great singin’ on both SCARLET BEGONIAS & FIRE ON THE MOUNTAIN. seam-exposing transition & laidback FIRE until tumbling last solo. 1st non-encore UNCLE JOHN’S BAND since 10/74. 15m with questy jam, drummers moving into quiet with garcia. then, wondrous solo jerry. give or take the polymoog burp-drone organ, a flawless BROKEDOWN PALACE encore, jerry in perfect voice. (st. paul was also one of the shows where keith haring sold his bootleg dead t-shirts. read more in my book heads.)

5/12/77 chicago: 1st of 2 at creatively named auditorium theatre. great, of course, but comparably few eye-bulging moments. off-mic, mickey exhorts bobby to deliver “seatbelt” joke about venue’s balcony. to billy (presumably) “he didn’t deliver it right.” 55 minute 2nd set jam suite: TERRAPIN STATION / PLAYING IN THE BAND > DRUMZ > NOT FADE AWAY > COMES A TIME > PLAYING IN THE BAND. PLAYING is pretty static, but NOT FADE AWAY dazzles for last 4 minutes, effortless head jazz flow carrying especially to PLAYING’s ending. every ’77 COMES A TIME should be a national holiday. garcia’s voice is some kind of astonishing here. his solo, too.

5/13/77 chicago: 1st JACK-A-ROE, radical folk about male-presenting sailor. jaunty! garcia gets all the words. 1st set ending SCARLET BEGONIAS/FIRE ON THE MOUNTAIN transition breaks down to drums/bass. uncharacteristically jambandy. mellow FIRE. 16 minute OTHER ONE long/wild for ’77. loud spiraling garcia with few sprung clock mini jams & another quiet, gorgeous solo jerry valley. final STELLA BLUE solo perfect & so very patient, surprise landing at semi-rare GOIN’ DOWN THE ROAD FEELIN’ BAD.

5/15/77 st. louis: 2 more debuts, 1 soon-familiar pairing, 1 fresh tuning move, & no hometown chuck berry covers on a sunday special. 1st PASSENGER, by lesh/peter monk, sung by bobby/donna. big energy & garcia slide. maybe lesh’s most structurally simple/direct song? after PASSENGER, a hot 3m, mickey off-mic to weir: “we gotta let the end of that cook longer!” 1st FUNICULI FUNNICULA tuning jam. 19 minute DANCING IN THE STREET 1st set closer goes further than much-loved 5/8 version, hitting assertive 2 guitar tangle mid-jam. set 2 jumps right into 35m ESTIMATED PROPHET > EYES OF THE WORLD > DRUMZ > SAMSON & DELILAH. 1st ESTIMATED/EYES, norm ’til late ’80s. ESTIMATED only breaks free of 7/8 briefly, but good drama. EYES takes its time. flowing bass intro & short well-developed outro. ST. STEPHEN veers into NOT FADE AWAY as usual, but garcia & co. sing IKO IKO atop it before singing NFA. fun but half-baked. 10 minute NOT FADE AWAY defaults to boogie & gets interesting & way cool for last 2m before weir starts SUGAR MAGNOLIA.

5/17/77 tuscaloosa: 1st show in alabama. could be recording, but amped up. phil no longer sings, but mucho surliness both off/on mic. noir-shuffle on JACK-A-ROE, like never-ending tour dylan. PASSENGER doesn’t jam (& won’t, really), but great underrated set addition. 1st HIGH TIME since 9/76 tour opener, sounding only slightly tentative at the start. happily/unexpectedly, keith sticks to piano. another delicious set-closing SCARLET BEGONIAS/FIRE ON THE MOUNTAIN, mickey singing (i think) his FIRE verse way off-mic around 8:50. deep pathways in groovy-but-sure-wish-it-was-longer PLAYING IN THE BAND, kicking off 37 minute PLAYING > DRUMZ > WHARF RAT > PLAYING. 5 minute DRUMZ finds a little topography. “my hands are insured” someone says. given mickey’s post-tour accident, wonder if that was true. to cool effect, garcia builds into WHARF RAT intro as drumzers are still drumzing. short heady path back to PLAYING.

5/18/77 atlanta: a beautiful betty board taped over a non-dead tape somewhere on the chain. spectral signals during tuning breaks. only ever DEAL opener. besides that, EYES OF THE WORLD, & JACK-A-ROE, though, garcia calls exclusively slow, meandering songs. dripping 8-minute IT MUST HAVE BEEN THE ROSES has only the briefest of solos & clear swaying garcia/donna/weir harmonies. 24 minute ESTIMATED PROPHET > EYES not extraordinary, but generous with overflowing happy garcia leads. moar solo jerry in THE OTHER ONE. the quiet garcia comes to anti-climax with nearly 16 minute & sometimes discombobulated STELLA BLUE, guitar like a flickering candle. nice moment in song i don’t really care for: AROUND & AROUND gets quiet, garcia’s guitar hyperfuzzed & bubbling over.

5/19/77 atlanta: in set 1, surf’s mostly up during 16 minute SUGAREE. 14 minute DANCING IN THE STREET is peak mu-tron rainbow lasers by garcia. sing-songy garcia solos in RAMBLE ON ROSE & ESTIMATED PROPHET set bright keynote for jams to come. could live inside either. sweet flow & surprise twists in 56 minute PLAYING IN THE BAND > UNCLE JOHN’S BAND > DRUMZ > THE WHEEL > CHINA DOLL > PLAYING IN THE BAND. 11 minute PLAYING goes full star-splatter. electrifying turn into UNCLE JOHN’S end jam, returning to song proper via vocal tag. only time? DRUMZ is a bummzer when UNCLE JOHN’S seems ready to rage & 7m THE WHEEL feels short, though stellar placement/momentum/playing. 1st CHINA DOLL since 10/74, 1st with mickey. too many damn cymbals. lovely besides. lurching shift back to PLAYING but jam gets deep. few long segue sequences from spring ’77 are this satisfying. 3 garcia songs, 2 big jams, 1 bust-out, 1 total oddity.

5/21/77 lakeland: nicely building JACK STRAW, :30 longer & way fiercer than most of tour, garcia clearly lit when they hit last vocals. full stop before SCARLET BEGONIAS jam leads to slightly different rhythmic feel, carrying to woozy FIRE ON THE MOUNTAIN garcia swirl. 72 minute suiteness: ESTIMATED PROPHET > HE’S GONE > DRUMZ > THE OTHER ONE > COMES A TIME > ST. STEPHEN > NOT FADE AWAY > ST. STEPHEN. slightly awkward dissolve from ESTIMATED into 1st HE’S GONE of the year, which hits jamming speed & is immediately detoured by DRUMZ. fun ride but OTHER ONE feels like spaceship on autopilot. semi-solo jerry bridge to ’77′s last gripping COMES A TIME.

5/22/77 hollywood, FL: 1st official live release from 1977 (may or otherwise), from 1995, great show with a fun abnormality. 16 minute SUGAREE, maybe perfect, drummers guiding song up/down. garcia guitar fans & a few moments of excellent cascading free flight. hot moves in 9 minute LAZY LIGHTNING/SUPPLICATION, 14 minute DANCING IN THE STREET, & 2nd set opening HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER. main action is in 53 minute ESTIMATED PROPHET > EYES OF THE WORLD > WHARF RAT > TERRAPIN STATION > MORNING DEW. ESTIMATED/EYES transition is still mostly bullshit, but EYES is bright & opens to short jam that dissolves into 2 minutes of near-solo jerry. immediately after WHARF RAT, garcia accidentally(?) hits mid-TERRAPIN STATION changes, skipping “lady with a fan” section & jumps in. funny that twice in 3 shows garcia jams into a song’s ending & then never again, as far as i know. but, hey 4 straight jerry songs. perfect fade segue into 1st MORNING DEW since cornell, not as intense, but with perhaps deeper valleys.

5/25/77 richmond: “dave’s picks, v. 1″! archetypal may ’77 yummys on all fronts, at a shriners’ temple. also a 5.1 fan mix. like 5/22, PEGGY-O is less delicate than earlier takes, but still crisp, its punchiness now happily escaping the island-folk groove. last may ’77 SCARLET BEGONIAS > FIRE ON THE MOUNTAIN, totally even-keel build, never quite peaking but patiently untying knots. 64 minute ESTIMATED PROPHET > HE’S GONE > DRUMZ > OTHER ONE > WHARF RAT > OTHER ONE > THE WHEEL starting to resemble ’80s 2nd set form. short ‘n’ smooth deceleration from ESTIMATED into HE’S GONE, but still shocked that the former hasn’t yet lit out for the territories. thrilling moments in OTHER ONE, almost breaking thru to space-jazz weirdisms, but momentum & rhythmic disagreements turn to WHARF RAT. quick easy turn from 2nd OTHER ONE verse into THE WHEEL, pristine while they’re playing it though weir’s outro jam ripcord is bogus. even after 2 listens, i don’t totally understand how AROUND & AROUND got to be over 8 minutes & not sure if i care to.

5/26/77 baltimore: unusually for the dead, band waits to start until more people to arrive (according to weir). good seats available. explosive fireworks-in-the-daytime garcia solos in BROWN EYED WOMEN & BERTHA. either band is adjusting to BERTHA’s new groove or i am. double-time jam in SUGAREE turns into detailed world of its own, spiky lead punctuation by weir, with equally conversational comedown. despite an opportunity for a local baltimore shout-out, weir shows surprising restraint & skips DANCING IN THE STREET. digging the breadth of the lesser ’77 songs: folky JACK-A-ROE (here, really up), power rawk PASSENGER, & even donna’s swaying SUNRISE. psychedelic half of jam-suite (TERRAPIN STATION > ESTIMATED PROPHET > EYES OF THE WORLD) is same length (32 minutes) as oldies portion. drag. ESTIMATED feeling properly chill. short but spaced jam winds down logically before starting into laser-sharp EYES.

5/28/77 baltimore: to paraphrase composer lou harrison: everything must come to an end, even may ’77. non-stop 34m BERTHA/GOOD LOVIN’/SUGAREE 3fer to open. fake splice segues, but real momentum & energy. besides new songs, SUGAREE is tour breakout, nearly doubling in length since fall. 19m with seamless bliss in & out of double-time. 1st CANDYMAN since 10/76. garcia mildly shaky on intro. while nice under wordless oohs, chintzy new polymoog part is distracting. righteous surprises in 67 minute ESTIMATED PROPHET/PLAYING IN THE BAND > TERRAPIN STATION > DRUMZ > NOT FADE AWAY > WHARF RAT > PLAYING. for a few seconds near very end of ESTIMATED, garcia seems to be pushing towards TERRAPIN, but weir cuts him off with song end. 11 minute PLAYING stays compelling. polymoog on verses pleasantly evokes baroque TC-era organ. scattered jam with rad ambient synth washes. vibey crossfade into TERRAPIN. typically powerful, spawns 1st improv: 30s of tantalizing PLAYING jam before surrendering to DRUMZ. 15m NOT FADE AWAY boss throughout. intro jam like reverse MIND LEFT BODY. post-verse space-dance locks tight with new weir changes. in flip of usual, WHARF RAT > PLAYING REPRISE punctuate NOT FADE AWAY. much cooler set-capper than more oldies.

6/4/77 the forum: the dead’s debut at LA’s fabulous forum, audience recording only. charming crowd chatter. woman: “i wonder if we’ll ever see CHINA CAT again?” (eventually.) mildly gnarly tape makes music edgier, even on wee TENNESSEE JED jam. garcia plays cool circles around intro/melody on great CANDYMAN. 90 minutes of 2nd set song suites. jams aren’t always successful or long enough or fluid, but held together by sense of fun & movement. 30 minute ESTIMATED PROPHET > EYES OF THE WORLD > DRUMZ > GOOD LOVIN’. if drummers were on board, ESTIMATED/EYES segue would be perfect. big wide EYES, 1 minute of teasing jam. ugh, weir’s 1st GOOD LOVIN’ ad-libs: “even in russia! (got to have lovin’) even in china!” er, bob? 56 minute PLAYING IN THE BAND > FRANKLIN’S TOWER > CHINA DOLL > NOT FADE AWAY > PLAYING has dead air & disagreement, but a lot goin’ for it. incoherent PLAYING space-out drops into FRANKLIN’S which, instead of endless boogie, springs into nifty & more coherent space-out. dig CHINA DOLL’s polymoog harpsichord. chaos as NOT FADE AWAY comes in way too fast, but hits fun corners at speed.
6/7

6/7/77 winterland: 1st of 3 tour closers at home, each casually excellent summations of era. keith’s last run playing acoustic piano. tuning jam on 1880 italian hit FUNICULI FUNICULA is almost a full performance, 2 articulated minutes of cartoon soundtrack dead. 2nd set opens with last SCARLET BEGONIAS > FIRE ON THE MOUNTAIN of spring ’77, taking valley route to a many-colored fireworks show. 35m ESTIMATED PROPHET > HE’S GONE > DRUMZ > SAMSON & DELILAH sags in middle, though crisp NOBODY’S FAULTy blooze in HE’S GONE is nice. 25 minute TERRAPIN STATION > MORNING DEW goes from good to fuckin’ luminous. DEW’s 1st solo & last big burn feel more daring than 5/8, even. also the last MORNING DEW of 1977, appearing one time each in ’78 & ’79, but basically in hibernation until 1980. smell ya later, DEW. garcia extra-lit at show’s end, even AROUND & AROUND. ace sunshine solo & widening jam on UNCLE JOHN’S BAND encore.

6/8/77 winterland: 2nd of 3 tour closers in former SF ice palace. pulling to another era’s close. vivid tape & performances. last SUGAREE with keith on piano & a 16-minute classic. double-time waves come & go, crashing into long imaginative solo & 3rd verse. realizing that keith godchaux’s move to electric keyboards will be almost as big a tonal change as return of mickey hart’s 2nd drums. riveting PASSENGER. real talk: i’ll take donna’s SUNRISE every day over anything any of the keyboardists wrote/sang, excluding pig. BERTHA/GOOD LOVIN’ opens set 2, fixed pairing over next years. former is big & comfy, latter is big & overexcited, courtesy hart/weir. beaming moments across 2nd set jam suite. 19m EYES OF THE WORLD & 14m OTHER ONE float with elegance but open magically near ends. garcia, weir, & donna achieve sweet blend on masterful BROKEDOWN PALACE, keith’s soulful piano adding a lot, too.

6/9/77 winterland: A+ soundboard & a motherlode for weir variations on the “just exactly perfect” in-joke/cosmic philosophy. almost every song is a goodbye to keith’s grand piano, gone after this show. on THEY LOVE EACH OTHER, garcia’s solo carves open space. garcia is extra-present, playing with melody/phrasing on joyful DEAL & intimate LOSER (& beyond), inventiveness carrying into solos. all is great, really. even feelin’ weir & donna’s LOOKS LIKE RAIN duet, with deft piano. SUNRISE builds to AOR psych-prog grandeur. maaaaybe the all-time HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER with powerful & deep 9 minute SLIPKNOT jam & 17 minute free-flying FRANKLIN’S. even end of 48 minute ESTIMATED PROPHET > ST. STEPHEN > NOT FADE AWAY > DRUMZ > ST. STEPHEN > TERRAPIN STATION > SUGAR MAGNOLIA is graceful. mondo jerry jamz on ESTIMATED, still wishing they’d go all-in, but effortless melt into ST. STEPHEN, with successive waves of cheers. double-encore is last ONE MORE SATURDAY NIGHT with genuine boogie-woogie piano & then it’s adios to spring ’77. and 11 days later, mickey’s car accident & the last summer without any dead shows for 18 years, minus the englishtown labor day mega-jam.

9/3/77 englishtown: the dead, marshall tucker, & new riders at [high-pitched voice] raaaaceway park! in lieu of a summer tour, the dead play to 125,000 people in new jersey, birthing a new generation of deadheads. (patrolled shipping containers lined the concert side to prevent the usual festival gatecrashing. apparently it worked.) never really got into this show when i had it on tape tbh. too big & shouty & not enough jamming. can hear (some of) the appeal now. 1st gig with keith godchaux solely on electric keys & since mickey hart’s june car accident. drums starting to loom over rest of sound. PEGGY-O filled with textbook lesh basslines, subdividing/pushing/reframing melody & rhythm. drums ride the breaks hard. some cooking garcia in MUSIC NEVER STOPPED 1st set closer & BERTHA/GOOD LOVIN’ 2nd set opener, but harsh edge abounds. choice banter: weir on mickey’s alien communications & “just exactly perfect” variations, including sweet phil soliloquy. phil in transylvanian accent: “we will all be beautiful together when it is perfect! is it not so? is it not written in the sky?” 23 minute ESTIMATED PROPHET/EYES OF THE WORLD floats in place, but never flies. apparently, an unexplained setbreak after SAMSON & DELILAH. most interesting improv cascades out of last few minutes of HE’S GONE into unusually open intro to 20 minute NOT FADE AWAY. 1st TRUCKIN’ since 9/75 & lesh’s vocal return, with falsetto weir shrieks. messy/hilarious/worrying attempts at post-peak reentry. for encore, bellowing phil & what was supposed to be full TERRAPIN STATION suite, with weir on doubleneck guitar, but mickey bails. imperfect show that marks the beginning of a new era for dead & heads, essentially lasting ’til “in the dark.”

9/28/77 seattle: fall tour opener. godchaux’s electric keys make everything sound just off. could be mix, but drums feel overbearing. fun climbing jam on TENNESSEE JED opener, electric dixieland with joyous sing-song vistas & flourishes, nearly missing reentry. PEGGY-O illuminated again by phil’s odd subdivisions. FRIEND OF THE DEVIL has queasy keys & unceasing unchill 2nd snare. 1st DIRE WOLF since 10/74. intro riff up an octave & a bit slower. jauntiness replaced by 2-drummer plod, almost escaping during solo. EYES OF THE WORLD jams for a short breath, with garcia & keith locking in, even after the drummers have course set for thuddery. zonky drumless jerry space between NOT FADE AWAY & WHARF RAT, some seeming tempo battles on the latter, resolving to swooping solo. for once, a decent segue into AROUND & AROUND, but still so much of what i find tame about post-hiatus dead.

9/29/77 seattle: another mix where drums seem to lead instead of garcia, especially 1st 5 minutes of SUGAREE & end of FRANKLIN’S TOWER. suiteless 17 minute standalone FRANKLIN’S TOWER lurches with new extra-accented gait. nice valleys. wordless soul cooing before last chorus. really wonderful vocal performance by garcia on SHIP OF FOOLS, partially muted by bored-sounding/unswinging metronome-like 2nd snare. not much for jammin’. temple bells surface briefly & gorgeously in DRUMZ. TRUCKIN’ soundin’ more together with 2 big bright peaks. STELLA BLUE loses focus during 2nd half, but guitar solo transforms into a surprise up-shift into GOIN’ DOWN THE ROAD FEELIN’ BAD. on UNCLE JOHN’S BAND encore, garcia finally cracks door into deep jam space for agonizingly brief, beautiful moment.

10/1/77 portland: what a difference a mix makes. drum energy still feels over the top, but beautifully framed in a stereo board tape. uptempo 1st set. DIRE WOLF punchier than comeback version. TENNESSEE JED solo bubbles over again. glimmering MUSIC NEVER STOPPED peak. cooperative steering on jam suite, especially during smooth & amorphous downshift on 23m EYES OF THE WORLD > DANCING IN THE STREET. 1st BLACK PETER since 10/74 is a stunner. purdy piano, bass punctuation, jerry/donna sounding great. all on same page, even drummers. earlier MUST HAVE BEEN THE ROSES is likewise at excellent tempo. not quite delicate, but never dirge-like. great singing. okay, fine, once this AROUND & AROUND kicks in, there’s some ace non-sloppy boogie-oogie-oogie & jerry shreds.

10/2/77 portland: 1st CASEY JONES since 10/74 opens (& 1st with mickey since 2/71). garcia spaces verse(s) & decent vamps ensue. mightily jacked-up JACK STRAW, yeesh. another uptempo 1st set with no slow tunes minus donna’s SUNRISE, still oddly interesting to me. 1st DUPREE’S DIAMOND BLUES since 7/69, oddly served by metronomic drums. garcia articulating lyrics, very present. neat donna part. 12 minute LET IT GROW is overblown in best way. flashes of prog-era jerry as he alternates knotty soloing/comping. dashing piano chords.
4 shows & finally 1st SCARLET BEGONIAS/FIRE ON THE MOUNTAIN. 24 minute with beautiful arpeggio pools by keith on FIRE, almost finding exit. oh & phew, it’s 1st jam show of tour. 21 minute PLAYING IN THE BAND > DRUMZ > THE WHEEL followed by 27 minute TRUCKIN’ > OTHER ONE > WHARF RAT. short heavy PLAYING, billy’s snare dancing old style, phil conversing with jerry. peaceable crossfade into DRUMZ via temple bells. powerful, together TRUCKIN’ remembers jam, though steers instantly to condensed 2-verse 7m OTHER ONE, ever-churning.

10/6/77 tempe: only 67 minutes circulate, from king biscuit flower hour. other recordings seem to be composites from fall shows? only pictures i could find from 12-show early fall ’77 tour, confirming garcia switched back to playing wolf & lost his shampoo. charged NOT FADE AWAY turns corner near MIND LEFT BODY before beautiful garcia disassembly into another detail-filled BLACK PETER. slinky exit move from BLACK PETER, too, garcia’s solo seeming to suspend gravity for a second as band shifts back into NOT FADE AWAY. not enough to redeem it, but AROUND & AROUND has a skewed phil-driven breakdown before final yowlfest.

10/7/77 albuquerque: just the 2nd set circulates. an hour’s worth of segues with nice moments but only a little jamming. 1st TERRAPIN STATION of tour, weirdly. longest yet, only cuz garcia forgets verses. guitar confidence returns when he remembers words. 11 minute PLAYING IN THE BAND gets dense & heady just before DRUMZ, dissolving too briefly to bells/whistles/sirens/cymbals. still, nice! tape splice into 2nd IKO IKO. just-baked-enough high altitude boogie. garcia knows more words now & leans in, which is cool. no jam on THE WHEEL sadly, but WHARF RAT peaks gloriously, drops into short wide open zone, & peaks gloriously again.

10/9/77 denver: LAZY LIGHTNING/SUPPLICATION down to tight 7m. underrated l’il jam in general. keith’s electric tone getting harsh. long, satisfying 14 minute SUGAREE, garcia spiraling up & up & up & elegantly down. as good as spring, but less pleasing due to mix & keys. another totally burning MUSIC NEVER STOPPED, garcia’s guitar solo over-saturating the soundboard tape during big string-fanning peak. garcia drops 2nd verse of SCARLET BEGONIAS. formerly a novelty, probably this is the tour where i stop noting when it happens. grungy electric keys kinda work for the SCARLET jam, sleepy 2-chord bed that lands in FIRE ON THE MOUNTAIN at pleasant easy pace. smooth deceleration from ESTIMATED PROPHET into HE’S GONE, with short but stunning/spare/inventive pre-verse solo by garcia. pro accelerating count-off segue into TRUCKIN’, back at full bluster & coming to a clear end, jerry improvising a coda before DRUMZ. for the 1st time (& for reasons i’ve never understood or investigated) weir squeaks a falsetto post-set “thank you!”

10/11/77 norman: fat jammin’ tuesday on 1st visit to oklahoma in 4 years. 2 big’ns to bookend 1st set & 89 minute 7-song (+ DRUMZ) set 2. 25 minute HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER, last ’til ’82, opens. late SLIPKNOT! messiness, but whole is still elegant. le sigh. LET IT GROW getting bigger, lightspeed jam with room for everybody. always wish it would fly open, but here lands softly at setbreak. 17 minute DANCING IN THE STREET is among longest ever, boogie-in-place rainbow shimmy & warp/woof weaving by garcia/phil/weir/keith. 25 minute ESTIMATED PROPHET > EYES OF THE WORLD doesn’t go far, but great longform garcia threads, gliding transition, & interlocking jams. intricate quiet jerry before NOT FADE AWAY, speeding up into bright double-time, veering into elegant coda, & dropping into WHARF RAT. WHARF RAT itself is a bit muddled, but thrilling ascending jam mid-song before descent to AROUND & AROUND.

10/12/77 austin: only outdoor show of tour. “y’all make sure to huddle together to keep warm,” suggests phil before setbreak. gorgeous vocal performance by garcia on slowly unfolding FRIEND OF THE DEVIL, starting to shake the hippie reggae for stoned marching. underrated: bobby/donna/jerry vocal parts on ESTIMATED PROPHET. the martian blues are nice, but lately never go far into orbit. wish the lovely 1m of temple bells/cymbals to start DRUMZ lasted longer before the thump-th’-th’-thumping. so ready for DRUMZ/SPACE. 10 minute OTHER ONE has top-speed locked-in jams, but only seems to have one setting, disintegrating almost instantly after 2nd verse. on the other hand, BLACK PETER is 15 minutes, un-dirge-like, & overflowing with soulful vocals & 5 minutes of bright & redemptive jerry blues. coolest part of TRUCKIN’ is only on the audience tape: slide into hypnotic groove that becomes 1st NOBODY’S FAULT BUT MINE since 7/74. despite its redundancy IKO IKO is a welcome variation on NOT FADE AWAY, plus good segue into SUGAR MAGNOLIA.

10/14/77 houston: hilariously big bass mix on opening JACK STRAW, louder than vocals, for full dose of ludicrous countermelodies. 12 minute MISSISSIPPI HALF-STEP is at full rush as soon as soloing starts, aided by sweet (adjusted) bass mix, & only swells from there. 18 minute PLAYING IN THE BAND slides into free dead jazz & swings in space for whole jam, jerry weaving through dialogue(s). satisfying! long by recent standards, 7 minute THE WHEEL is cool/comfortable post-DRUMZ with short purposeful jam that garcia steers straight to WHARF RAT. once again, 14 minute WHARF RAT turns corner into something close to improv space, drummers at march while garcia goes a-questin’ & returns. for encore, last BROKEDOWN PALACE ’til 4/80 (more plodding & drummier than spring) drops into 6 minute PLAYING REPRISE.

10/15/77 dallas: drummers feeling the right kind of laid back for once on uptempo BERTHA as much as downtempo RAMBLE ON ROSE. garcia mayhem in LET IT GROW, a glowing refuge for prog thrills from whole gang, really. expanded middle & short explosive outro jam. not something i usually say: gorgeous vocal by donna jean on SUNRISE verses. more cosmic/ethereal than many of weir’s tunes. fite me. 38 minute TERRAPIN STATION > ST. STEPHEN > NOT FADE AWAY > STELLA BLUE feels great (esp. jerry solo on STEPHEN), but never fully liberates. if there’s not gonna be a real jam anyway, TRUCKIN’ is a cherry encore choice. huge cheer for “dallas” line, derr.

10/16/77 baton rouge: 1st LA show since 1/70 new orleans bust, closing tour’s 1st leg. great stereo soundboard, enjoyable all around. for all the times weir’s gotten crowds to wish his bandmates happy birthdays on days when it wasn’t, no one mentions it’s his 30th. SCARLET BEGONIAS locks into mellow piano groove, garcia skating peaceably around on top. stately last FIRE ON THE MOUNTAIN solo. 32 minute bobby birthday suite discovers a few unexpected wide-open spaces during ESTIMATED PROPHET > DRUMZ > THE OTHER ONE > GOOD LOVIN’. finally, ESTIMATED opens up, landing in 2 minutes of wonderful quiet space. garcia squigglies mix with temple bells & thoughtful drumzing. after bobby suite, garcia follows TERRAPIN STATION directly with ballad, dramatically arcing BLACK PETER.

10/28/77 kansas city: opening night of 8-show run from the midwest to the north country. highlights more in song moments than jams. surely fun to be had if somebody boosted the gain & transcribed the interminable tuning break between THEY LOVE EACH OTHER & CASSIDY. era when garcia stops focusing on new material, SCARLET/FIRE & TERRAPIN only played every few shows, most ’75′-’76 songs now dropped. stellar CANDYMAN. A+ dynamics, soulful singin’, warm harmonies, pleasant electric dixieland solo, bluesy piano asides, bass dabbles. shifting 56 minute down/up/down/up jam suite: HE’S GONE > DRUMZ > NOT FADE AWAY > STELLA BLUE > GOIN’ DOWN THE ROAD FEELING BAD. HE’S GONE stretches to 20 minutes without much happening, nice crossfade into DRUMZ, & long NOT FADE AWAY with diggable 4m jerry space-out. powerful STELLA BLUE with big jerry vocal, nice phil/bob color, astonishing solo, upshift into peppy/swinging GDTRFB.

10/29/77 dekalb: highlights & surprises abound. opens with 1st MIGHT AS WELL since may, totally lit jerry. best ever, maybe? stunning 13 minute LET IT GROW, preview of ’80s thunder, detailed middle that takes time climbing back to frenzy, end jam now a 2 minute landing. set 2 opening BERTHA opens to a cool & unexpected piano-made valley on “ran into a rainstorm” verse, lingering a little after. 64 minute ESTIMATED PROPHET > EYES OF THE WORLD > ST. STEPHEN > DRUMZ > NOT FADE AWAY > BLACK PETER gets deep, resolves persuasively. EYES cracks into 7m of increasingly lovely garcia shapes, weir feedback, occasional counterpoint, & beautiful flow into ST. STEPHEN. mostly together STEPHEN is jubilant slo-mo setpiece. phil joins drumzers for NOT FADE AWAY intro. hilarious bass interjections ensue. long & patient BLACK PETER stays at exquisite quiet for 9m ’til garcia lets loose for last blues, both mournful & ecstatic. also, keith & donna burn down their hotel room after the show just ‘cuz, plus other details.

10/30/77 bloomington: featuring one of the most drippingly psychedelic jam sequences of the year. with few exceptions, most shows this fall are now clocking at 2.5 hours of music. less occasionally close to 3, the standard in may. weir tells joke about poaching deer that either involves unexplained physical punchline or the sudden sound of weir tackled by roadie? keith’s chintzy faux-harpischord tone achieves improbable & kinda beautiful meld with garcia’s guitar on PEGGY-O. wonderful 55m set 2 jam: PLAYING IN THE BAND > OTHER ONE > DRUMZ > THE WHEEL > WHARF RAT > PLAYING IN THE BAND. way deep for ’77. perfect warm mix highlights weir’s weird not-quite-leads/not-quite-rhythms, on PLAYING especially. maybe my fave jam(s) of the ’77? powerful & together WHEEL, weir guiding jam. big WHARF RAT chords make me miss real piano. and that guitar solo!

11/1/77 detroit: drummers & whole band playing really well & easily together, no one/everyone leading, even if it’s really drummers. powerful JACK STRAW, starting at properly chill/confident tempo. great builds by the drumzers, piano adding nicely to drama. post-DIRE WOLF, birds (or bird calls?) near stage. garcia adds an enjoyable moment of exotica slide guitar before burning PASSENGER. rare TERRAPIN STATION opener sets up non-stop 63 minute set 2. huge ending, especially vocals, & nice long landing. still want a jam there. 43  minute ESTIMATED PROPET > OTHER ONE > DRUMZ > WHARF RAT > TRUCKIN’, garcia’s transition from ESTIMATED especially time/space-suspending. after a burp, TRUCKIN’ climax works too well & band shifts into 2 minutes of cool mini-jams before remembering they no longer jam TRUCKIN’. semi-inaudible off-mic chatter throughout, feat. off-color mickey. before encore, jerry nixes a phil suggestion. can anyone tell what? ripsnortin’ US BLUES with edgy vocals, perhaps due to the looming post-show border crossing, band’s 1st since ’74.

11/2/77 toronto: 1st T-O visit since 7/70 festival express. lyrical garcia guitar delights in RAMBLE ON ROSE. great vocal, too. garcia closes 1st set with another forceful & charged MIGHT AS WELL, about trans-canada 1970 train trip with janis, The Band, & co.. keith nears 5/8 SCARLET BEGONIAS piano break & leads throughout. jerry lays back on FIRE ON THE MOUNTAIN ascent, only uncoils briefly. energized 27 minute ESTIMATED PROPHET > ST. STEPHEN > TRUCKIN’. ESTIMATED grips with crackling & bent garcia solos, band wilding away. fantastic TRUCKIN’ keeps peakin’ & peakin’, clever boogie-woogie by keith. AROUND & AROUND follows & never sounded dinkier. if there’s not gonna be a mystic jam or grand statement after big TERRAPIN STATION, it might was well be the encore.

11/4/77 colgate university: homecoming at cotterel basketball court. weir wishes them well several times. big and/or long jams within. loving the bright ‘n’ jaunty ’77 DUPREE’S DIAMOND BLUES vibe. only challenge seems to be garcia remembering the lyrics. great 13 minute LET IT GROW hits bright plateau in 1st jam, opens majestically in 2nd. 1st COLD RAIN & SNOW since 9/76, only billy hits cue. hosed phil: “we’re the jones gang… on eeelectric guitar we have jerry jones.” jerry: “donna jean jones, freshly deported from canada.”  75 minute PLAYING IN THE BAND > EYES OF THE WORLD > ESTIMATED PROPHET > THE OTHER ONE > DRUMZ > IKO IKO > STELLA BLUE > PLAYING IN THE BAND. garcia soars near end of 13 minute PLAYING, flying into harshly rushed EYES, yielding neat guitar turns & nifty rhythmic clanging in outro. well-executed count-off segue into ESTIMATED, feeling looser this deep into suite. 11m of subtle chillness & spacious singsong solos. OTHER ONE down to perfunctory 4.5m. mostly exquisite STELLA BLUE expands with graceful drama on way back to PLAYING.

11/5/77 rochester: near riot getting in, heads pushed through glass doors in bad-vibed mob scene. also, what’s up oberlin squad? rowdy crowd. performances just about back at spring consistency. big 12m MISSISSIPPI HALF-STEP one of many garcia highlights. great jerry vocals abound: there, DIRE WOLF, MUST HAVE BEEN THE ROSES, BLACK PETER. lovely bluesy piano asides on together CANDYMAN. bass, tuning cloudburst, & rare EYES OF THE WORLD set opener. slow & right on. 2 bass solos, fluid drumz segue into SAMSON & DELILAH. jam is 49m ESTIMATED PROPHET > HE’S GONE > PHIL/DRUMZ > OTHER ONE > BLACK PETER. all but DRUMZ over 10m, each its own kind of static. heady detailed interplay though little movement on ESTIMATED. kinda subdued OTHER ONE but all keep listening hard.

11/6/77 binghamton: maybe the all-time great MISSISSIPPI HALF-STEP to open. hyper-enunciated solos/vocals. much of set 1 right up there. sparkles all over, even MEXICALI BLUES/ME & MY UNCLE. big MUSIC NEVER STOPPED. bright dynamics/slide guitar color on SAMSON & DELILAH. not sure how i feel about this SCARLET BEGONIAS/FIRE ON THE MOUNTAIN, though. feels l’il empty. nice bliss late in transition jam. garcia lyric-mangling on FIRE is buzzkill, but jam heats up after 1st vocals. will he ever sing 2 complete verses? tune in next tour! 44 minute ST. STEPHEN > DRUMZ > NOT FADE AWAY > WHARF RAT > ST. STEPHEN > TRUCKIN’. nice late STEPHEN detailing, but doesn’t take off ’til band coheres from 1st the big WHARF RAT peak through short ST. STEPHEN bridge into powerful blooze cruise TRUCKIN’.

12/27/77 winterland: the grateful dead begin 1st bay area new year’s run. new year’s energy palpable. or maybe it’s just edge city. hyped & tight, lots of garcia shreds. drummers (mickey?) keep pushing BERTHA chorus into doubletime, adding a manic queasiness. tempo continued into GOOD LOVIN’. all in all, they almost sound like a different band from the rest of ’77, mega-charged & subtly different dynamic. after slowing down 1971-’74 & especially post-10/77 comeback, DIRE WOLF now back to ’70 speed & sounds (maybe) even better. before SCARLET BEGONIAS, weir makes springy guitar noise. garcia: “that’s horrible, man! no!” weir keeps doing it. solid & true 17m SCARLET > FIRE ON THE MOUNTAIN, garcia only briefly stumbling on FIRE lyrics! cascading keys & soaring guitar colors. when they finally wind-down to post-TRUCKIN’ space, music feels restless, the energy only working when in forward motion. but HE’S GONE & WHARF RAT both move with nice, medium-slow tempos. even more, drums stay respectful & chill. also, heaviness: last run before garcia loses his voice for a few shows & (some say) never quite got it back fully.

12/29/77 winterland: tempos normal after jacked-up opener. weir: “our new name is gonna be the just exactly perfect brothers band.” last SUGAREE of the year is 14 minutes. cool & effortless if not quite glorious, with a quiet/purdy between-verse group valley. tuning before 2nd set has jerry/keith/weir noodling with 5-note alien call from close encounters. keith can’t quite get it. 54m PLAYING IN THE BAND > CHINA CAT SUNFLOWER > I KNOW YOU RIDER > CHINA DOLL > PLAYING JAM > DRUMZ > NOT FADE AWAY > PLAYING. 16 minute PLAYING floats along, finding colorful shapes around 11m, spinning them briefly & dripping into space before garcia starts the 1st CHINA > RIDER since 10/74, instant eternal bounce. donna’s vocal replaces phil’s. garcia audibly psyched to be singing/playing it. elegant descent from RIDER to CHINA DOLL, last ’til 5/79. synth dominates early, but garcia’s vocal is jawdropping. good guitar, too. RIDER > CHINA DOLL segue is like a 1-time(?) successful on-the-fly version of the semi-fixed RIDER > HIGH TIME transition from ’70. rare double encore leads with final TERRAPIN STATION of ’77 & last with jerry’s “young” voice.

12/30/77 winterland: great show with 1 of year’s best jams. wonderful jerry vocals on MISSISSIPPI HALF-STEP, SHIP OF FOOLS, & everywhere. ROW JIMMY & DIRE WOLF both have especially grand/expressive jerrying. LET IT GROW (weir still calls it “weather report”?) flickers hot. another CLOSE ENCOUNTERS alien call tuning before the 2nd set. “soon now!” phil announces, confidently. the 36m ESTIMATED PROPHET > EYES OF THE WORLD > ST. STEPHEN would feel a mite lacking as a jam suite if not for that EYES. like, whoa. big crests after 1st verse of 15 minute EYES, taut solo & easy sailing into magical post-song group improv over shifting minimalist swing. video confirms what i suspected: EYES gets rad when mickey moves to percussion & band reverts to quintet. cool to see them jamming in close. a logical (if not fully elegant) upturn into ST. STEPHEN transitions the evening into the party zones.

12/31/77 winterland: a fun way to end the year, but not one of the all-time enduring grateful dead concerts, musically speaking. some decent song versions (JACK STRAW) & another articulated FUNICULI FUNICULA tuning, but not much for the highlights reel. midnight comes half-hour late cuz bill graham had to be at santana but then he rides over crowd on a motorcycle & CHAOS! SUGAR MAGNOLIA! NAKED PEOPLE! 1978! SCARLET BEGONIAS starts casually. some blazing moments, but lurches into FIRE ON THE MOUNTAIN. mickey cowbells for disconcertingly long time after FIRE ends. 19m TRUCKIN’ is a mess & garcia disappears for full 5 minutes, though jam goes to a few curious piano/bass-led corners when he does. keith adds semi-ambient keyboards during DRUMZ, an idea i like a lot… or maybe he’s just falling asleep. someone check on him, please? at the end of the night & the last recording of 1977, bob: “merry christmas.” accurate summation of the year, anyway.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

#deadfreaksunite 1976

#deadfreaksunite 1976
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th/50th anniversary and edited here for readability and occasional revision/correction and minor expansion. Many shows streamable via archive.org.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

5/28/76 orpheum theatre: 1st of 3 circulating rehearsals from sessions that seem to have started in mid-april. crisp 2-drummer mix. could be stockholm syndrome, but i might like parts of LAZY LIGHTNING, 1st rehearsed in ’75. really feeling the jam into SUPPLICATION. 1st ATTICS OF MY LIFE since ’72, not played onstage ’til ’89. almost convincing, minus mickey & keith’s reggae. phil critiques donna. recorded in ’72, played once in ’74, weir seems to write new & final CASSIDY intro on the spot & everyone else knows just what to do. 1st COSMIC CHARLIE since ’70. despite alleged ’76 lethargy, think it’s actually at same tempo as earlier versions.

5/29/76 orpheum theatre: 2nd circulating 45 minute rehearsal fragment, split evenly between EYES OF THE WORLD & PLAYING IN THE BAND. ’76 has reputation for slowness, but EYES is faster & busier, lazy gait turned to a gallop. nice quiet places, plus mickey cowbell. PLAYING definitely slower & tentative as they relearn. 1 full take, 2 subdued donna wails, good spacin’, meh reentry.

5/30/76 orpheum theatre: last pre-tour rehearsal. WHARF RAT kept earthbound by too many cymbals/drums. round-toned overdrive solo. 1st recorded run-through of THE WHEEL, released on garcia’s solo debut in ’72 & losing the spaced pedal steel & but getting dreamier. CANDYMAN is few clicks faster than ’74, donna’s harmony replacing phil, but the intimacy & urgency seem gone.

6/3/76 portland, OR: the grateful dead return to road after 19-month break. debuts, bustouts, rearrangements, & new M-E-L-L-O-W vibe. big part is the mix, but so much feels mushy & imprecise & sedate. mickey’s drums busy up everything & redraws center of band. 3 party-starting debuts (MIGHT AS WELL, SAMSON & DELILAH, LAZY LIGHTNING/SUPPLICATION), though psych/prog ambition seems nearly gone. 1st CASSIDY since 3/72, 2nd ever, doesn’t have a jam yet. dead debut of THE WHEEL, which kind of *is* a jam but doesn’t get to do so. rearranged THEY LOVE EACH OTHER goes reggae-y & works. DANCING IN THE STREET (1st since 1970) goes disco, jams, & is very silly. gravity-free moments in DANCING, burbling 10m SCARLET BEGONIAS (a fine place for mickey, for now) & elsewhere, but little flow. 33 minute late show HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER opens into big exploration, loses way, hints at ’73/’74 EYES ending. weir’s between-verse disco-soul grunts on HELP ON THE WAY are totally unacceptable.

6/4/76 portland, OR: 1st slowed-down FRIEND OF THE DEVIL, which is beautiful, but just not as fun & folky as earlier. debut of garcia/hunter’s magnificent MISSION IN THE RAIN, played only briefly by the dead. not there yet. hoping to find a keeper. weir repeats 6 of his 9 songs from 1st night, garcia only MIGHT AS WELL & HELP/SLIPKNOT/FRANKLIN’S, getting into legit space again. 1st COSMIC CHARLIE since ’70. no slower, just less bounce. already mellow before, ’76 STELLA BLUE now too sleepy.

6/9/76 boston music hall: 1st east coast dead show since 8/74, 1st of 4 in boston & start of month-long tour sold by mail order only. counting bust-outs, just under 1/2 of 3-hour show is new to the band’s repertoire since last time through town. sloppy starts/ends. beginning of SCARLET BEGONIAS jam is mickey’s cowbell versus donna’s wail. cowbell wins but we all lose. settle down beavis! (he doesn’t.) great 11 minute CRAZY FINGERS, richly developed & dipping into denser & darker territory before collapsing suddenly. bummer, man. much clearer soundboard mix than portland shows. great singin’ on SHIP OF FOOLS. can just hear garcia’s voice starting to fray. 1st ST. STEPHEN since 10/71. crowd freaks. the tempo is only a l’il slower but is tamer & muted. bridge now a waltz. new jam, too. EYES OF THE WORLD bucks ’76 trend of slowness & gets speedy/messy. cool nooks & jam before vocals, but losing some earlier elegance. 1st HIGH TIME since 7/70. well suited to slower dead & even donna’s voice, though definitely one too many drummers.

6/10/76 boston music hall: odd & enjoyable mix with keith godchaux’s piano near front. sweet jams with garcia on expanding SUGAREE. [sold myself on the idea that LAZY LIGHTNING/SUPPLICATION is actually tasty, well-rehearsed disco-prog. just hope the jam opens up. stellar 2nd version of MISSION IN THE RAIN, underrated brooding hippie soul by garcia. besides a few drummerly nits to pick, a keeper. why couldn't they ever count off HELP ON THE WAY & start together? SLIPKNOT! opens up wide & resolves gracefully & dramatically. LET IT GROW establishing its place as reliable portal to detailed high-speed dead jazz, with new DRUMZ break & blustery weir drama. good deep space in PLAYING IN THE BAND once mickey chills out, reconstructing to great full-band jam with all contributing. PLAYING almost becomes 1st great segue of '76, falls apart, & then is just that, slinking into DANCING IN THE STREET.

6/11/76 boston music hall: big cheer after "tell everyone you meet that the candyman's in town" in CANDYMAN. jerry's a cartoon now. 1st show with cheers for meta-lyrics identified with the musicians. happens on "band beyond description" in MUSIC NEVER STOPPED, too. band finds excellent quiet spot in SCARLET BEGONIAS, give or take beavis-y cowbell. lovely coos & ooos by donna late in the jam. some quick-cut segues, including seemingly planned late-set EYES OF THE WORLD/STELLA BLUE inside SUGAR MAGNOLIA/SUNSHINE DAYDREAM. EYES darts coolly & confidently, ending drama deleted, & dissolves to STELLA BLUE, tom-tom clunk creeping like kudzu.

6/12/76 boston music hall: another great MISSION IN THE RAIN vocal by garcia. quizzical & just-exactly-imperfect solos, but a stunner. LAZY LIGHTNING & SUPPLICATION is one of the dead's more underrated post-'76 platforms for fast-n-squiggly garcia jams. despite general unpredictability of '76, open-ended improv is far reduced & virtually absent from this show except in small blurps. garcia adds extra "true to me" in WHARF RAT, start of soul belter era, & a twinkling 5 minute jam. due to FM mix, hi-hats sound like casios. 1st COMES A TIME since 10/72, with big solo & delivery. one more split-up SUGAR MAGNOLIA (with U.S. BLUES) as encore.

6/14/76 beacon theatre: 1st grateful dead show in NYC proper since 3/72. fan club only tix. mini-riots ensue. can't tell what's the bass-less '76 mix & what's the music, but PLAYING IN THE BAND has lost some warmth & its old weird & easy flow. band still trying to figure out what to do with THE WHEEL, lonely-seeming as a standalone 2nd set opener. what a great song, though. an A+ weir intro after long tech break: "we're going to try to answer the musical question, 'what happens if the music ever starts?'" another nice 10 minute CRAZY FINGERS, losing some delicacy but brushing into SPANISH JAM turf. happy to discover that it's a '76 thing, too! effective full-stop "segue" before well-placed post-jam COSMIC CHARLIE, getting successive cheer ripples as crowd recognizes it. 13m SLIPKNOT! dissolves in good & bad ways. real discombobulation but also a thread-dissolving float into garcia space & new zones. garcia seems to lose steam midway through drooping FRANKLIN'S TOWER. there's always the next show.

6/15/76 beacon theatre: TENNESSEE JED isn't that much slower than earlier versions & this one has a charming slow-motion bop. band's heavier '76 groove isn't just hart. kreutzmann also switched from matched grip to overhand to better telegraph snare hits. return of old easy ST. STEPHEN > NOT FADE AWAY pairing. former has beautiful spacious jam, latter folds shakily into STELLA BLUE. after being so perfect in '72-'74, plodding 6/76 versions of STELLA BLUE are especially hard to listen to, fragile tension seems MIA. just a wee bit blustery, but SAMSON & DELILAH is consistently popping, a tight platform for all to noodle around barest song-groove. following DANCING IN THE STREET, THE WHEEL makes it into 2nd set post-jam slot, though they don't quite figure out to jam into it yet. 5 minute SCARLET BEGONIAS goes in middle of SUGAR MAGNOLIA. cute idea that could work, ragged in execution. plus, no jam.

6/17/76 passaic: and off to 3 nights in scenic passaic at the other capitol theater. much video circulating. drum mics picking up charming mickey crosstalk. "the whole band's too fuckin' loud," as garcia counts off THEY LOVE EACH OTHER. weir reins in developing space jammin' in SLIPKNOT!, though not that gracefully, audibly counting off but most miss initial cue. funked up DANCING IN THE STREET always seems about to launch free, never does. smooth & maybe-too-easy segue into SAMSON & DELILAH. nice SHIP OF FOOLS (quiet donna!), though 2nd drums continue to subtly pull quieter songs' dynamics away from garcia.

6/18/76 passaic: dig the double drumming on cowboy songs like MAMA TRIED & BIG RIVER, locked grooves & no space for tom-tom thunder. another 13 minute 1st set CRAZY FINGERS (with relatively soft post-jam landing, even) but that's it for open-ended improv in this show. 1st few listens suggest this could be my keeper take of MISSION IN THE RAIN, good vocal & big performance. will revisit. uneventful EYES OF THE WORLD deletes end jam (sigh), opts for DRUMZ & 1st segue into THE WHEEL (yay), unjammed (boo).

6/19/76 passaic: sweet rolling garcia/godchaux mini-jam in TENNESSEE JED. pure "electric dixieland," as david crosby put it. 18 minute PLAYING IN THE BAND doesn't do much. nifty outro in LET IT GROW; cool keith figures, & smooth slide into DANCING IN THE STREET. this charming mickey, cont.: "hey, weir! how about some rock & roll?! hey, phil, why don't we do ST. STEPHEN! yeah, let's do that!" they don't. endless 20 minute boogie, starting with AROUND & AROUND. weir tells drummers to slow down. they aren't pleased.

6/21/76 philadelphia: excellent SCARLET BEGONIAS with nice non-ridiculous double-drummer peak & freakishly smooth landing. keeper version of CANDYMAN, garcia soulfully yo-yo'ing around the melody, mostly controlled & awesome, sometimes less so. well-placed IT MUST HAVE BEEN THE ROSES, rare garcia ballad as second set closer. one of my favorite underused dead moves. off-mic, band using shorthand before encore. phil: "JBG?" weir: "teargas?" (?) garcia: "sugar mag?" (they do JBG.)

6/22/76 philadelphia: big nifty jam in CRAZY FINGERS, spiraling up & semi-naturally back down into a fairly devastating COMES A TIME. 22 minute PLAYING IN THE BAND gets solidly & convincingly weird for 10+ minutes, thrilling dead-brand space jazz going in & out of focus. lesh/drummers trio leads almost-smoothly into 1st great use of THE WHEEL, slow build intro & swift effective jam into PLAYING reprise. another non-languid hyperspeed 12m EYES OF THE WORLD, heavy mickey, eventually settling in (sort of) for nice jerry-isms. no EYES outro, instead sliding into DANCING IN THE STREET, with its 1st gorgeous & semi-out between-verse jam.

6/23/76 philadelphia: thought it was dead, but weir's 1st YELLOW DOG JOKE since '72. like much else, doesn't quite pack its old punch. crowd now cheering for every reference to "the band" in THE MUSIC NEVER STOPPED, an audible shift from a general audience to a niche. a few isolated cosmic portals in ST. STEPHEN & DANCING IN THE STREET, but an earthbound evening at the tower. very early audience clapalong in NOT FADE AWAY, though heads don't sustain it & it disintegrates quickly.

6/24/76 philadelphia: mushy audience tape. cowbell loud & clear, especially on SCARLET BEGONIAS that cuts new space just before peak. fantastic build & short soaring jam from WHARF RAT, a fine reminder of how DARK STAR is sometimes only a breath away, even post-'74. and a pretty lifeless SUGAR MAGNOLIA, a reminder of how energetic the song legitimately was on most nights.

6/26/76 chicago: what a difference a nice soundboard makes. old-style phil/jerry conversations instantly clear in 9m SUGAREE. sweet '74ish SCARLET BEGONIAS filled with intricate curlicues & sunlight, edging on free space, mickey's drums pleasantly contained. PEGGY-O returns, perfectly suited for the '76 slow burn. near total crash in MUSIC NEVER STOPPED. not sure i've heard one that bad? faith-rejuvenating 36m PLAYING IN THE BAND > ST. STEPHEN > THE WHEEL > PLAYING with well-developed meltdown & rolling WHEEL outro. short but cool CRAZY FINGERS improv, though steam disappears during a dynamic-free STELLA BLUE.

6/27/76 chicago: 17 shows in, band, mixes & new songs (MIGHT AS WELL, slow FRIEND OF THE DEVIL) getting tighter & more relistenable. 1st exciting & spaced-out DRUMZ segment of '76 in 17 minute LET IT GROW. big explosion back into song, almost instantly melting back to jam. satisfying oceanic swirl & smooth return in 9m SLIPKNOT. garcia takes FRANKLIN'S TOWER into quiet with long lay-outs.

6/28/76 chicago: donna now adding yeahs/woos to songs where there weren't previously yeahs/woos, on TENNESSEE JED & EYES OF THE WORLD. SCARLET BEGONIAS finds moment of pure zone-warp in the middle, resolving into beautiful glide. '74 delicacy paved over by hi-hat. good news: band finally finds a nice beginning-to-end DRUMZ-linked segue-flow for 2nd set. bad news: whole set is barely an hour. zippy 16m EYES OF THE WORLD wanders on pre-verse detours, outro has 1st '76 bass/drumz weird-out, short off-mic discussion, & then debut of blissed 2-chord HAPPINESS IS DRUMMING jam, instrumental prototype for FIRE ON THE MOUNTAIN, from mickey's then-new "diga" LP. garcia gets knotty in 10 minute encore NOT FADE AWAY. on audience tape, disconnected outro clapalongs, but none coalesce.

6/29/76 chicago: end of 19-show tour before return to san francisco. verdict: magic is sporadic, but far more mojo than i expected. last grateful dead MISSION IN THE RAIN, a soulful keeper. garcia kept playing it solo. best original to get dumped so quickly? why? tiny windows of jam-space opening up in CASSIDY & MUSIC NEVER STOPPED. garcia would clearly keep going, but weir brings songs back. all kinds of great slow motion pockets in ROW JIMMY & garcia even remembers most of the words. donna sounds just exquisite. satisfying full spectrum 36m PLAYING IN THE BAND > THE WHEEL > PLAYING. THE WHEEL gets deserved jam. nice drawn-out PLAYING reprise. garcia finds A+ martian loop-riff midway through NOT FADE AWAY. band builds & dramatically ties it back to song. #deadfreaksunite [6/6]

7/12/76 orpheum theatre: the grateful dead’s 1st bay area show in 8.5 months, longest break since band formed. opening night of 6. long soundcheck (with video). much work on STELLA BLUE. minus audience, weir revives “form a big long line” in DANCING IN THE STREET. after a month, band is plenty crisp in places with only details changed, like donna’s BROWN EYED WOMEN vocals. i miss phil’s singin’. weir’s 1st NEW MINGLEWOOD BLUES since 4/71, a song i definitely never missed, though can see how it’d be fun to play with 2 drummers. more excellent deep dives & dead jazz intimacy in SUPPLICATION. always shocking how quickly they can just drop into that zone. 10 minute 2nd set opening SUGAREE wanders, finds cool garcia nooks. weir tests out new corny blues growl in SAMSON & DELILAH & elsewhere. listened to 14m FRANKLIN’S TOWER 2x on headphones. 1st time seemed boring & sleepy; 2nd time, filled with details & mini-jams. YMMV. DRUMZ gets nicely weird & free as a prelude to THE WHEEL but the show never quite achieves space. no keepers?

7/13/76 orpheum theatre: the band must’ve read fans bitching on twitter about the lack of jamming on 7/12 cuz things escalate quickly. night 2 opens with 1st MISSISSIPPI HALF-STEP since 10/74, thankfully pretty intact, though lazy river jam rolls a l’il too lazily. PEGGY-O is gorgeous & garcia does some serious singing, but mickey’s infinite marching snare subdivides it from ballad into a groove. 30 minute 1st set CRAZY FINGERS > LET IT GROW; former with unhurried cascades, latter with space DRUMZ & 2nd jam that goes even further. another odd ’76 mix, but lots of killer keith godchaux piano colors. 2nd set not as cool, though NOT FADE AWAY gets spaced again. rehearsal paid off: STELLA BLUE regains many of its dynamics & is only mildly awkward wedged btwn SUGAR MAGNOLIA & SUNSHINE DAYDREAM. encore DANCING IN THE STREET nearly hits 16 minutes, longest yet, & (while still goofy) goes out & pretty much sails away.

7/14/76 orpheum theatre: not a lot of drums in mix, but that’s cool, especially on SHIP OF FOOLS, which has nice quiet vocals up top. more good 1st set jamming in 35 minute PLAYING IN THE BAND > THE WHEEL > PLAYING. not much swing but flows nicely to space & back. another speedy, cluttered, unsatisfactory 12 minute EYES OF THE WORLD, dissolving into a beautiful 60 seconds of solo garcia before WHARF RAT. 1st OTHER ONE of ’76, 8 minutes & 1st verse only. escapes triplets just before choppy bass bridge into MUSIC NEVER STOPPED.

7/16/76 orpheum theatre: gorgeous soundboard, courtesy of a recent “dave’s picks,” though still never enough of kreutzmann’s snare. monster 49 minute 2nd set sequence of PLAYING IN THE BAND > COSMIC CHARLIE / SPANISH JAM > DRUMZ > THE WHEEL > PLAYING. adventures aplenty. except that dave of the “picks” has graciously excised SAMSON & DELILAH from the middle, brilliant move from a vibe perspective. thx! restless PLAYING until lesh hits not-quite-STRONGER THAN DIRT bassline & band remembers their space jazz moves. A+ CHARLIE placement. SPANISH JAM builds slowly from unusual mid-set start-from-zero space-out, as great (or better) than any earlier take.

7/17/76 orpheum theatre: killer newish “dave’s picks.” great piano mix. MISSISSIPPI HALF-STEP back to form, focused & biting. bonkers 59 minute set 2 jam: COMES A TIME > OTHER ONE > EYES OF THE WORLD > OTHER ONE > GOIN’ DOWN THE ROAD, with much weirdness to spare. 16 minute COMES A TIME must be longest ever, drifting almost imperceptibly from solo to inventive improv, like falling into a dream. gnarly OTHER ONE with many corners & 10 minute old-style space-out. odd not to hear phil singing, which garcia keeps forgetting to do. big story of set is properly chill 15 minute A+ EYES OF THE WORLD that veers into odd-timed & purposeful “blues for allah”-like mini-jams. the EYES jam evolves gracefully into GOIN’ DOWN THE ROAD, though detours nicely into a rare 2nd OTHER ONE verse before veering back. pretty sure donna isn’t onstage for set 2, leaving bobby free to do bobby, which (by the end) he does quite handily.

7/18/76 orpheum theatre: finale of 6 shows at the orpheum & last of the post-comeback small theater shows. garcia opens with another purposeful MISSISSIPPI HALF-STEP. 1st LOSER since 10/74, l’il more subdued. donna takes over phil’s vocals. nice momentum-building cut from SUPPLICATION into LET IT GROW. cool post-DRUMZ jam finds new changes, dissolves, & reforms elegantly. short but deep DARK STARry jams bracket WHARF RAT, which has beautiful quiet donna vocals & some proto-TERRAPIN pomp. rest of show has crazy setlist moves & new suite combos, but not quite coherent improv magic of previous 2 nights. way fun, though. i mean, THE OTHER ONE > ST. STEPHEN > NOT FADE AWAY > ST. STEPHEN > THE WHEEL > THE OTHER ONE > STELLA BLUE. #deadfreaksunite [6/6]

8/2/76 hartford: 1st big post-hiatus east coast gig. bit flat. only an audience tape; many ugly clap-alongs. 10 minute MIGHT AS WELL 2nd set opener turns into nifty jam (!), uptempo space-boogie that suggests lots of places but just sort of ends. 55 minute PLAYING IN THE BAND > WHARF RAT > GOIN’ DOWN THE ROAD > PLAYING IN THE BAND has a few killer moments, but lacks revelation. PLAYING takes ~12 minutes to coalesce & find its weird. WHARF RAT opens to bass solo & conversational grooving, eventually turning generic. donna-hating revisionists be damned, crowd sure seems to love her PLAYING screams & AROUND & AROUND wailing.

8/4/76 jersey city: end of summer tour & last of 6 ’72-’76 shows at roosevelt stadium. 1st set filled with slow songs & long equipment breaks. tape isn’t great. only overblown NEW MINGLEWOOD BLUES seems to gel. also the beginning of the era of out-of-breath garcia, notable on chorus of LOSER, & much of why post-’75 dead remains hard for me. 30 minute HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER feels clunkier than usual, but lots of great quiet slow-motion turns in SLIPKNOT! brisk & semi-functional next-beat segues between FRANKLIN’S/DANCING IN THE STREET/THE WHEEL/SAMSON & DELILAH, mini-jams in the middle. generous 2-hour second set, but the mojo seems evaporated by time of 36 minute NOT FADE AWAY > DRUMZ > THE OTHER ONE > SHIP OF FOOLS. change in garcia’s voice & approach on display on SHIP OF FOOLS, quiet sweetness traded for quiet soul melodrama.

9/23/76 durham: fall tour opener. i chose grotty mono PA tape over terrible audience recording. tough to dig. 1st RAMBLE ON ROSE since 10/74 & 1st with mickey hart. one of the few ’71-’74 songs not to lose something with a 2nd drummer. EL PASO makes post-hiatus return, too, with nice garciaing, but band now solidly into the sloppy rock endings phase of their career. lyric crashes for garcia in CRAZY FINGERS, which unspools into nifty winding jam (sorely needing a better mix) & oddly smooth landing. confident & brilliant full-band intricacies in SLIPKNOT! lively/awake keith godchaux piano throughout, especially on FRANKLIN’S TOWER. after finally slowing back down in july, EYES OF THE WORLD returns to harsh high-speed chug, restrained until quickly-collapsed jam. 13 minute OTHER ONE with muffled space-out drops into 1st post-hiatus MORNING DEW, rusty but glorious. great keith.

9/24/76 william & mary: vivid audience tape. big energy & lots of piano. not what i expected from ’76 dead! ugly cowbell clonk early, but tight & adventurous PLAYING IN THE BAND makes fun surprise turn into SUPPLICATION & back, one time only. laser sharp HELP ON THE WAY/SLIPKNOT! dissolves into DRUMZ & builds perfectly back into song until comically overshooting reentry. majority of the 2nd set is made up of songs debuted over the previous 2 years, increasingly a rarity, & feels more alive for it. even STELLA BLUE is brisk &, more importantly, dramatic/dynamic, great decorative color by keith throughout.

9/25/76 landover: 1st BERTHA since 10/74, less swing but huge & locked in, the sound of ’77 finding itself. nice jaunty PEGGY-O. garcia’s voice sounds better than spring/summer. adding occasional vocal asides in every show of tour so far. 1st known ALL OVER NOW (on stones’ 2nd US LP), likely sung by weir in ’65/’66, now a platform for his awful blues growl. hard pass. not much by way of out jamming, but SUGAREE, SCARLET BEGONIAS, & DANCING IN THE STREET all briefly achieve total sunshine flow. last COSMIC CHARLIE ever. awkward energy, but garcia/weir/donna jean approach a sweet sleepy vocal blend. toodle-oo, COSMIC CHARLIE. NOT FADE AWAY almost spaces but falls into DRUMZ, a bass solo, & back into ST. STEPHEN by way of oversized bass tag.

9/27/76 rochester: nice soundboard mix. sloppy double drumming feels punchy & charming instead of sludgy. ever-so-slightly brisker tempo on 1st fall THEY LOVE EACH OTHER cancels faux-reggae & restores a little bit of the ’73 bounce. now that weir is playing ALL OVER NOW, he has to play it every night. feels regressive & bland. dead don’t bring much new to it. right-on bass solo preludes full drop into 60m HELP ON THE WAY > SLIPKNOT! > DRUMZ > OTHER ONE > WHARF RAT > SLIPKNOT! > FRANKLIN’S. SLIPKNOT! keeps going to wild places, a brilliant set centerpiece. such a bummer they stopped opening it up like this after this tour. THE OTHER ONE recovers some dizzying pre-’71 2-drummer swirl. lots of full-steam-ahead bass. almost breaks free, always snaps back. 18m FRANKLIN’S TOWER is fun but maybe runs out of ideas. succeeds wildly as dance music for twirling hippies, though.

9/28/76 syracuse: left turns, some real surprises, & even more ample keith godchaux piano. for 1st time, BERTHA seems driven by drummers instead of garcia’s rhythm guitar, which is now slightly more staccato. unsettling. likewise, languorous ’76 FRIEND OF THE DEVIL morphs into more of a spacious hippie reggae groove than a song, lots of weir & hart. breakneck LET IT GROW is fun overkill. big bass & hyper-intricate jam evaporate to mega-rare 1st set GOIN’ DOWN THE ROAD FEELIN’ BAD. 2nd set bracketed by PLAYING IN THE BAND, punctuated by 2 excellent jams that start from near standstills, & excitement throughout. 28 minute PLAYING > THE WHEEL > SAMSON & DELILAH notable for patient improv & perfect segues, especially the gradual upshift into SAMSON. after clean SAMSON ending, band jumps back into 6m of PLAYING-like jam before stumbling half-gracefully into confident COMES A TIME. DRUMZ falls into a waaay too fast EYES OF THE WORLD, hiccuping/pausing before garcia leads way into miraculous & moody thematic jam. dick latvala named it ORANGE TANGO JAM for “dick’s picks 20.” only one, i think. like a mature post-”blues for allah” SPANISH JAM. speedy DANCING IN THE STREET ends before a standalone PLAYING REPRISE. weir even sings JOHNNY B. GOODE well. wtf?
9/30

9/30/76 columbus: flat soundboard & fuller/noisier audience tape transmogrified into nice sounding matrix mix. show-opening MUSIC NEVER STOPPED has more pronounced MIND LEFT BODY break than usual (3:52-5:00), highlighting how jam got repurposed. 15 minute CRAZY FINGERS with lovely corners that seem like they’re going to emerge into new changes, but don’t. last version ’til ’82. sad! 11 minute SCARLET BEGONIAS stays contained, as usual, though garcia gets into some big spaces & invents elegant denouement before reprise. fun to be had, but not much adventure in 40m ST. STEPHEN > NOT FADE AWAY > DRUMZ > WHARF RAT > NOT FADE AWAY > ST. STEPHEN. even played crisply, i’m just not into slowed-down ST. STEPHEN, though garcia pushes EYES-like prettiness en route to NOT FADE AWAY. last MORNING DEW encore. whispering final solo finds sublime jerry/keith dialogue. existential respite today/any day.

10/1/76 indianpolis: warm soundboard mix. not into the new clipped rhythmic feel on BERTHA opener, but groovy garcia vocal ad-libs. chattering cowbell prevents 11 minute SCARLET BEGONIAS from gliding into full chillness. some sweet off-mic vocalizations by donna jean. another epic SLIPKNOT! with aggressive big-eared weaving. eventually keith locks into quiet melancholic changes while garcia sketches. 1st split-open DANCING IN THE STREET goes into DRUMZ > THE WHEEL > SHIP OF FOOLS before a full stop & standalone DANCING reprise. THE WHEEL lands in more tangled garcia/lesh/godchaux conversations before dissolving perfectly into SHIP OF FOOLS.

10/2/76 cincinnati: only dead show at riverfront arena, site of ’79 Who stampede. drab audience tape leaves plenty to imagination. BROWN EYED WOMEN kept the same non-jammy form from ’71-’95, but garcia’s solo restating the melody getting more abstract post-hiatus. not much freshness, even in 13 minute LET IT GROW, though 2nd set opening MUSIC NEVER STOPPED has another cool MIND LEFT BODY break. 2nd set jam sequence is 39m DANCING IN THE STREET > DRUMZ > THE OTHER ONE > STELLA BLUE > THE OTHER ONE > SUGAR MAGNOLIA. weak bass drop into 10m THE OTHER ONE, but crowd audibly perks up at energy. donna now singing on chorus. not much happening in jam. sleepy STELLA BLUE now regularly over 10m, gorgeous piano & brief but surprising outro jam into OTHER ONE reprise. #deadfreaksunite [6/6]

10/3/76 detroit: last night of 9-show eastern swing. bright soundboard with punchy bass via “30 trips” box. 1st set bounces right along, lots of ’71-’72 songs. very present lesh. drummers may’ve claimed BERTHA, but garcia still owns SUGAREE. rolling groove on SCARLET BEGONIAS swells inventively. impeccable MUSIC NEVER STOPPED, continuing to peak after MIND LEFT BODY break. 67 minute 7-song segue in 2nd set has multiple surprises but begins with 10m PLAYING IN THE BAND that dissolves to DRUMZ without doing much. left turns begin in THE WHEEL, which has 5m of high-speed excitement before 1st GOOD LOVIN’ since 10/74, only 2nd since pigpen era. weir’s GOOD LOVIN’ is my definition of a boring twirl-ready oldie, but here veers into PLAYING-like mode, driven by godchaux’s piano. graceful landing in beautifully sung COMES A TIME. 90 second spiraling guitar outro makes an easy bridge into DANCING IN THE STREET.  DANCING, too, drops into uncharacteristic dense jam with busy piano clouds, eventually a 14m NOT FADE AWAY that feels like a breather. weir segues into CHINA CAT SUNFLOWER intro, which gets cheers but no musical traction, just the ending to DANCING.

10/9/76 oakland coliseum stadium: 1st of 2 shows with the who, the dead opening on saturday, starting at 11am. SCARLET BEGONIAS is all afternoon sunshine, godchaux on rhodes, cowbell mixed pleasantly low, garcia finding new jam grottos. pleasant 1st set. magnificent 11 minute SUGAREE closer builds to ecstatic crest & slow descent into sweet quiet valley before final chorus. not always into ST. STEPHEN/NOT FADE AWAY/ST. STEPHEN, but band achieves a deep & creative choogle midway through & hits big reprise. crisp no count-off HELP ON THE WAY in THE ELEVEN’s former spot, garcia’s solo finding fresh & dramatic loopholes & pathways. SLIPKNOT packs in 5m of riveting improv action (& cool drop-down) before DRUMZ/SAMSON & DELILAH & long purposeful SLIPKNOT reprise. FRANKLIN’S TOWER hits escher-like flow, somehow always rising back into itself. 2 songs that follow seem unnecessary.

10/10/76 oakland coliseum stadium: 2nd day on the green with the who. stage set involves a phone booth? over 2 gigs, dead only repeat chuck berry’s PROMISED LAND. pete townshend supposedly shocked; who’s been playing same set for a year. 1st set capped by 15m DANCING IN THE STREET, which garcia pushes into exciting mini-jams, smoothly into WHARF RAT & back to DANCING. 52 minute sequence in 2nd set is almost paint-by-numbers, PLAYING IN THE BAND > DRUMZ > THE WHEEL > THE OTHER ONE > STELLA BLUE > PLAYING. groovy messy space-jazz textures on PLAYING, but feels reined-in by 2nd drums. 10 minute WHEEL bends into exhilarating exchanges. STELLA BLUE impressively quiet for a stadium, but getting stiffer. still unclear why mickey hart couldn’t just sit out occasionally? set’s most thrilling & coherent improv comes in 3 minutes of post-STELLA BLUE confusion before gelling into PLAYING ending.

10/14/76 shrine auditorium: 1st LA show since 7/74 & 1st at shrine since ’68. 1st set is murky audience tape. triumphant SCARLET BEGONIAS. weir & drummers peak but jam keeps going. garcia & lesh blow through & find gorgeous minute-wide vista. the MIND LEFT BODY jam has left the MUSIC NEVER STOPPED. when crisp soundboard kicks in, MISSISSIPPI HALF-STEP still feels a l’il sluggish, ditto SHIP OF FOOLS, though donna nails outro part. big jam is 30 minute DANCING IN THE STREET into WHARF RAT & back, 2nd in 2 shows. more purposeful. garcia unties knots under bass chords. jam peels back to kreutzmann & garcia, who slow down together & land perfectly in WHARF RAT before huge reprise.

10/15/76 shrine auditorium: last touring show of ’76 comeback. pleasant 1st set, 2nd filled with nice surprises. vibey garcia tunes with fine singin’ & full-band punctuation, especially on dramatic LOSER & long, lazy SUGAREE that unfolds over 10 minutes. rare EYES OF THE WORLD 2nd set opener immediately jumps into 3 minute garcia/phil jam, underscoring how rare that mode has become. [great EYES all 'round, a click uptempo, spidery dialogues & short rich outro that weir upshifts smoothly into MUSIC NEVER STOPPED. 1st HE'S GONE since 10/74 (& mickey's return) does a gospel sway into DRUMZ & then great 14m OTHER ONE filled with bliss tangents. soulful, dynamic COMES A TIME in ballad slot. ultra-lyrical & expressive garcia solo blooms unexpectedly into bright FRANKLIN'S TOWER. well-earned SUGAR MAGNOLIA (with tiny coda jam) ends with shrieks that i thought were donna 'til she started singing.

12/31/76 cow palace: 1st new year's since '72, a co-headline with santana, & 1st of 16 consecutive NYE gigs. soundcheck reported to be RIVER DEEP, MOUNTAIN HIGH (covered by keith & donna with garcia on 1975 LP), which woulda been something. questing 23 minute PLAYING IN THE BAND fights free, finds ample room to get lost & (i think) garcia's 1st use of delay & mu-tron pedals. bill graham leads a very bill graham midnight countdown, impossible to count with. SUGAR MAGNOLIA to ring in '77, palpable big energy. speedy EYES OF THE WORLD sails into beautiful interlocking jam by garcia/weir/lesh/keith before clearing into starlight of WHARF RAT. GOOD LOVIN' sprouts 2 short bright jams like it's still the pig era, 2nd turning into SAMSON & DELILAH (played at 37 of 41 '76 shows). garcia & co. get down to incredible drumless quiet during SLIPKNOT. phil tries to start STRONGER THAN DIRT during DRUMZ, but no bites. for encore, 1st UNCLE JOHN'S BAND & BID YOU GOODNIGHT since 10/74. 1st UJB without phil vocals. donna sounds nice. hefty outro. garcia fully committed on great GOODNIGHT, almost possessed, while keith & drums comp along.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

#deadfreaksunite 1975

#deadfreaksunite 1975
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th/50th anniversary and edited here for readability and occasional revision/correction and minor expansion. Many shows streamable via archive.org, though ’75 is scattered: 4 shows & nearly 2 dozen rehearsals/fragments (many with Ned Lagin) at Bob Weir’s home studio as the band writes “Blues for Allah.” I did my best to date everything accurately, based on both LIA’s scrupulous archive post and Ned Lagin’s extensive NedBase. Other recordings are still not public, some detailed in David Browne’s excellent book So Many Roads.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

2/19/75 ace’s: few minutes of the band tentatively running fuzzed version of CRAZY FINGERS chords, figuring out rhythm.

2/27/75 ace’s: 5 short jams-in-progress, double-keys lineup dense but graceful. CRAZY FINGERS, aka DISTORTO, assured if l’il plodding. PROTO 18 PROPER is a less-ballistic 1st draft of terrapin’s AT A SIDING, bright odd gallop across between THE ELEVEN & GOIN’ DOWN THE ROAD. A TO E FLAT JAM is sly but meh funk-shuffle, finding a great zone with rich expressive changes during last minute.

2/28/75 ace’s: keeper take of DISTORTO, garcia soaring over rolling groove with split-signal fuzz from 5/14 & 6/20/74 CHINA DOLL. the bounce of PROTO 18 PROPER really is a lost dead jam, a big calypso-gallop i can easily imagine in arenas. a bit phish-like, even. 11 minutes of lesh’s STRONGER THAN DIRT, satisfying & elliptical. brief convincing noodle on GIRL FROM IPENEMA. 10 minutes of proto-SHAKEDOWN STREET funk. much dead air & idle chatter. garcia & kreutzmann rap about the meters’ “pink” album (“rejuvenation”) and jam on JUNGLE MAN. listening to 45 minutes of early MUSIC NEVER STOPPED, can hear jam’s relation to the chromatic ecstasy of MIND LEFT BODY.

3/5/75 ace’s: 2 pieces of DISTORTO evolving towards CRAZY FINGERS, soon-abandoned backbeat asserting itself a bit heavily.

3/17/75 ace’s: cancelled dead practice turned 3-hour 27th birthday jam for ned lagin with lesh, garcia, kreutzmann, & david crosby. could listen to croz (on electric 12-string) lead ned & JG for days on LOW DOWN PAYMENT & HOMEWARD THRU THE HAZE. stunner 25-minute standalone jam, crozby & lagin (on piano) stacking chords, throwing changes for garcia, improvising odd turns. then, multiple (weir-less?) passes through MIND LEFT BODY as it turns into MUSIC NEVER STOPPED, perhaps misdated. 10 STRONGER THAN DIRT fragments. lots of dead air, but also cool pockets & discarded rhythmic approaches for soon-abandoned piece. perhaps missing music still? john cipollina supposedly plays, too. plus lagin pieces like MAKE A CAT LAUGH & others?

3/??/75 ace’s: dazzling 13m NINES jam (to go with THE ELEVEN/MAIN TEN/THE SEVEN?). band settles into odd time, soars past it, returns. then, 35 minutes of ebbing/flowing improv that’d be among the best of any year but sounds semi-unfocused after NINES. tasty SLIPKNOT moves. one of the long jams drops into the BLUES FOR ALLAH main riff, sounding quite spinal tap-ish, which i suppose it is. several runs through HELP ON THE WAY/SLIPKNOT!, fully-formed except for vocals, including one at scary light speed, eggheady & precise. 3rd take lands in FRANKLIN’S TOWER, lyrics done. hello, HELP/SLIP/FRANK. maybe 1st ever? “stunning,” says jerry at end. yes. lastly, s’more jamming, 15 seconds of LAZY LIGHTNING, & 3 more FRANKLIN’S TOWERS. can lou reed sue them over the groove now?

3/??/75 ace’s: despite the “first day”/1/75 labeling on this recently circulating recording (with incredible sound), i’m almost positive this is a 3/75 rehearsal for the SNACK benefit, with ned lagin & mickey hart. properly, this is BLUES FOR ALLAH/STRONGER THAN DIRT/BLUES FOR ALLAH & it gets admirably weird & dense & beautiful. warning: some cowbell.

3/21/75 ace’s: rehearsal for SNACK benefit with david crosby, merl saunders, ned lagin, & (maybe?) mickey hart. joyous 15 minutes of 2 STRONGER THAN DIRT > BLUES FOR ALLAH takes, 2nd maybe better than 1st, a full articulation of ’74 EYES jams. killer 15 minute BLUES FOR ALLAH > STRONGER THAN DIRT, too, the latter’s rhythms gathering gradually from the swirl, starting with lesh. stray fragment running through unfamiliar & lovely changes, maybe by crosby?

3/23/75 kezar stadium: 1st performance since 10/20/74, as jerry garcia & friends at SNACK benefit with jefferson starship, neil young, & bob dylan. the band features ned lagin (his last stage appearance with the dead) & merl saunders on keys, mickey hart (sort of back), minus david crosby, who rehearsed for the show but couldn’t make it due to his son’s birth. octet debuts probably unnamed instrumentals from ace’s sessions, labeled now BLUES FOR ALLAH > STRONGER THAN DIRT > BLUES FOR ALLAH. ALLAH riff lumbers but flies, especially after kicking into prog-time DIRT, dense in all ways, but incredibly graceful. DRUMZ is ever thus. return trip from DIRT is even fiercer, rich B3 by merl, darting rhodes by ned, buzzing bass, & elegant (not-yet-worded) ALLAH reprise. then, because weir, JOHNNY B. GOODE. in short: free-form jazz exploration in front of a festival crowd. in my top 10?

3/26/75 ace’s: musically unsatisfying but quality shit-shooting throughout. especially giggly digressions on pop melodies near start. unusual surf-grunge riff tangent slides into angular country-funk glide. some runs through 7/4 fragments that will be LAZY LIGHTNING. highlight is 15m of band listening to playback of hot SLIPKNOT. like chatty audience tape, except it’s jerry & co..

4/2/75 ace’s: a slog in places. generic jams & unresolved fragments, including MUSIC NEVER STOPPED, LAZY LIGHTNING, A TO E FLAT. back to 1 drummer after 3/23 show with mickey hart. especially notable on speedy/graceful HELP ON THE WAY/SLIPKNOT! instrumental. neat hearing the band stack the CRAZY FINGERS intro arrangement & piece together song. brief vocals only on 6th pass.

4/17/75 ace’s: the dead minus jerry, plus ned & croz; LOW DOWN PAYMENT & “allah” jams. jerry-less 1975 dead is odd, accidentally anticipating #GD50, etc., & not bad, but leadless song segments aren’t terribly compelling. short “jams” 3/16/17/31/32 are likely lagin’s RUNNING HOME, NO NAME, & A LOST SOUL, UNTITLED. unsure which is which.

4/29/75 ace’s: SWING WARMUP, 2 minutes of brief 2 keys/1 drummer dead in default mode. MUSIC NEVER STOPPED now done minus lyrics.

5/7/75 ace’s: 1 take of HOLLYWOOD CANTATA, MUSIC NEVER STOPPED with alternate LA-centric lyrics. “i don’t like them words,” weir says. 2 versions of STRONGER THAN DIRT (& more) with ned lagin & david crosby.

6/3/75 ace’s: instrumental CRAZY FINGERS has over-pronounced reggae bounce. band stretches odd STRONGER THAN DIRT groove pretty far. standalone 30-minute jam stays mellow & flowing (nice godchaux, man), shifting to darker & more tentative space near end.

6/5/75 ace’s: jerry seems bummed about molasses slow takes of FRANKLIN’S TOWER, “it just seems too busy, i’m not sure why.”

6/6/75 dominican college: ned lagin & phil lesh with jerry garcia, david crosby, & mickey hart. a stereophonic avant-dead holy grail. echoed drums & spun-out biomusic conversations have ned lagin processing garcia & croz. better than official seastones LP. 60 minute set is just delightfully disorienting at high volumes, especially the high-pitched cat communications on track #9.

6/7/75 ace’s: maybe the 1st HELP ON THE WAY/SLIPKNOT!/FRANKLIN’S TOWER. great spaces in all 3 & especially in 2nd standalone HELP. ace dixieland-disco by keith on not-yet-cheesy LAZY LIGHTNING jam. last A TO E FLAT JAM, not flying yet & never will.

6/17/75 winterland: 2 sets at the bob fried memorial boogie, as jerry garcia & friends, 2nd of 4 ’75 dead gigs. spontaneously (ned lagin leaves & mickey hart arrives at last minute), it is 1st show by 6-man/donna lineup that will hold ’til ’79. CRAZY FINGERS debut opens, sweet & confident with watery godchaux rhodes & small jam. 1st gig in 8 months with, like, actual songs. weir offers almost only covers, confirming band as the same ol’ grateful dead. to be fair, it *is* a boogie, especially with return of hart. lovely PEGGY-O, but the big beat era hath come. hart’s not even especially offensive, but band’s quiet mode is audibly busied. 1st onstage HELP ON THE WAY (instrumental)/SLIPKNOT!/FRANKLIN’S TOWER closes 1st set. loose but magnificent, still sorting out ending. BLUES FOR ALLAH/STRONGER THAN DIRT/BLUES FOR ALLAH hits classic dead jam space, a fine set piece, though last time played as such. then SUGAR MAGNOLIA, high-pitched shrieking (by deadheads/weir), & US BLUES. greensleeves on PA & back to the studio.

8/12/75 great american music hall: 2 songs circulate from long soundcheck day before “blues for allah” release party, neither from LP. only take of keith & brian godchaux’s SHOWBOAT, on “keith & donna”. on-brand dixieland bounce, fun & burbling if just a little lite. 1st THAT’LL BE THE DAY since ’69, slow & garcia band-like, perhaps inspired by mickey hart’s box of mic’d crickets.

8/13/75 great american music hall: single most polished grateful dead show ever(?) & maybe my fave. nearly everything is a highlight. band drops in one-by-one behind bill graham as he introduces the musicians, landing perfectly in the 1st HELP ON THE WAY with vocals. jam opens quickly into brief beautiful flight before dazzling SLIPKNOT!, double drummers in full effect, every voice finding a place. vocals fantastic throughout, though the official mix helps. FRANKLIN’S TOWER (& beyond) filled with concise expressive garcia solos. debut of weir/barlow’s MUSIC NEVER STOPPED, cool falsetto harmonies by garcia & donna, who gets her 1st solo vocal in a GD original. so sad, so slow, so sweet IT MUST HAVE BEEN THE ROSES with an especially perfect garcia vocal (ditto the SUGAREE in the 2nd set). bass solos to bookend soaring EYES OF THE WORLD, 1st minus the 7/8 ending but (for now) with lesh’s STRONGER THAN DIRT prog fantasia. the only thing i really skip on this show: weir’s molasses slow AROUND & AROUND. not wild ’bout the DRUMZ jamz, but they’re short. the only CRAZY FINGERS i’ve ever needed, the hippie-reggae transmogrifying into a magical california zen float. it just always works. extraordinarily compact 5:33 OTHER ONE, no vocals, but full-flight improv spiraling from high-speed burn to a moody denouement. the debut of weir’s lovely instrumental SAGE & SPIRIT, released on “blues for allah,” but only played once more, in 1980. only full BLUES FOR ALLAH, mickey hart’s crickets chirping. “under eternity blue” coda is an ethereal end to era. [i wrote a long essay about this show.]

9/28/75 lindley meadow: 4th of 4 ’75 performances & final free show in golden gate (or any) park besides 1991 bill graham memorial. 6 weeks since last gig, but sounds like longer. very different vibe, or maybe it’s just garcia’s new guitar. 1st show of late ’70s. band isn’t playing every day anymore & everything is looser but also softer/mellower. omnipresent bed of rhodes by keith godchaux. or last show of the ’60s? doctor needed because woman is having baby backstage. or maybe by soundboard. band can’t quite figure out. phil gettin’ surly about the correct pronunciation of TRUCKIN’, last ’til 9/77. bigger cheer for “cocaine” than “long strange trip.” TRUCKIN’ has only real improv of 2-hour/2-set show. big bass dashes, loud cymbal chatter via hart, & nice dense jam in 11 (i think). aaaaaaaand DRUMZ. sadder: last real version of lesh’s STRONGER THAN DIRT, the dead’s headiest/dorkiest/proggiest instrumental. mickey hart leads the way into NOT FADE AWAY, the boogie portion of the set, & the rest of the ’70s.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

alternate routes, episode 03

Alternate Routes
with Jesse Jarnow

1. Gunn/Truscinski Duo – “Sugar”
from Live at WFMU on Surface Noise with Joe McGasko, April 16, 2018 (Free Music Archive)

2. John Andrews & the Yawns – “Double-Sided Coin”
from Freedom of the Press benefit compilation (Kith & Kin)

(mic break)

3. Jeremy Barnes – “Rain Flows Down Like a River”
from Summer ’16 (L-M Duplication)

4. Drunken Foreigner Band – “Akha 1”
from White Guy Disease (Electric Cowbell)

(mic break)

5. Garcia Peoples – “One Step Behind > Hangin’ On”
NYCTaper recording made at Wonders of Nature, Brooklyn, NY, June 10, 2018

all tracks posted with permission of artists/labels

alternate routes, episode 02

Alternate Routes
with Jesse Jarnow

1. Oneida (with Lee Ranaldo & James McNew) – “Cedars”
from Live at Secret Project Robot (Safety Meeting)

2. Secret Drum Band – “DaDaDa”
from Dynamics (XRAY)

(mic break)

3. Mary Lattimore – “Let’s Talk About Your Dead Friends”
from Live at WFMU on Surface Noise With Joe McGasko, October 7, 2016 (Free Music Archive)

4. Ned Lagin – “Sun Cats”
from Cat Dreams (self-released)

(mic break)

5. Elkhorn – “Lion”
from Lionfish (Eiderdown Sounds)

all tracks posted with permission of artists/labels

alternate routes, episode 01

Alternate Routes
with Jesse Jarnow

1. Thor and Friends – “Carpet Creeps”
from The Subversive Nature of Kindness (L-M Duplication)

2. The Ex – “Soon All Cities”
from 27 Passports (The Ex)

(mic break)

3. One Eleven Heavy – “Species Blues”
from Everything’s Better (Kith & Kin)
exclusive, to be released in September

4. Man Forever – “You Were Never Here”
live release recorded at Cafe Oto, London, UK, May 22, 2017

5. Sunwatchers – “Nose Beers”
NYCTaper recording made at Union Pool, Brooklyn, NY, June 24, 2017

(mic break)

6. Alexander – “iv”
recorded reel-to-reel (& released) by Southern Jukebox, Minneapolis, MN, August 15, 2017

all tracks posted with permission of artists/labels

#deadfreaksunite 1967

#deadfreaksunite 1967
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th/50th anniversary and edited here for readability and occasional revision/correction and minor expansion. Many shows streamable via archive.org, though ’67 is a bit messy. For the clearest guide through 1967, consult LIA’s post, which includes a half-dozen or so 30-60 second or so audio fragments heard in the background of contemporary film footage, which I did not annotate unless it was historically interesting.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

1/14/67 polo field: the human be-in! 30m of the dead in front of ~20,000 people in golden gate park. free acid, love, turkey, etc.. swooshy soundboard, opening midway through VIOLA LEE BLUES. mix is a total mess, but double-speed jam craziness plays big. GOOD MORNING LITTLE SCHOOLGIRL dominated by charles lloyd, adding skittering flute & some vocals. mixed bag, but 1st interesting guest. (the MORNING DEW commonly affixed to be-in tapes is likely from 1968.)

3/18/67 winterland: 90m from 2 sets, before & after chuck berry. week of dead’s debut LP release & 1st tape since LA album sessions. so few tapes from ’67, hard to know if they’re representative. opens with last speedy early version of ME & MY UNCLE, gone until 4/69. the real earliest MORNING DEW, similar to album take from january. inside guitar solo & emphatic young garcia shouting outro. “NO!” set 2 opens with 2m THE GOLDEN ROAD, written at label’s behest. 1st of 2 known live versions. more jerry shouting. joyous & garagey. last THE SAME THING save 12/31/71 (& weir’s ’90s revival). 12m with great jam that patiently moves beyond blues.

4/8/67 KPIX: one of several dead appearances on local TV, the only one with an actual live performance. ralph gleason interviews the band & mainly a giggly garcia. final surviving CREAM PUFF WAR, rare song with words/music by garcia & 1st original with modal jam. 2 minutes of non-modal fun here. WALKIN’ BLUES mash-up alternates between the dead’s arrangement & quicksilver’s & is the only known pigpen version. slinky snare.

4/9/67 the panhandle: tiny barely audible fragments in the background of film footage contain a few seconds of garcia singing a blues song i can’t identify & an even short blip of the band (maybe) playing GLORIA.

6/18/67 monterey pop: on after the who smashed gear & before hendrix burned his, dead bummed with their set. 14m VIOLA LEE BLUES opener swings easily into double-time & frenzy beyond with kreutzmann snare flourishes & melting garcia guitar. phil lesh vs. MC peter tork, condensed – tork: “the beatles aren’t here! don’t gatecrash!” lesh: “the beatles would want you to!” bad & still unidentified guest harmonica honking all over other 3 songs. funny how this & woodstock both feature mysterious randos. 1st recorded ALLIGATOR > CAUTION & earliest ALLIGATOR, too. 1st lyrics by robert hunter but pig’s mic ain’t on. already a gnarly jam. 1st taped CAUTION since 5/66 & much more developed. short pig rap & then busy high-speed action with great dialogues near the end. bill graham handles outro MC duties. perhaps the dead scared off (the at least semi-dosed) peter tork.

7/23/67 straight theater: long-delayed opening of only venue in the haight & sole surviving tape of beat legend & merry prankste neal cassady with the dead. long circulating as a puzzling fragment on semi-bootleg flexidisc by ex-lesh roommate (& courtney l0ve’s father) hank harrison. it makes much more sense when heard unedited. on the full 16m version, garcia introduces cassady & he speed-raps as band starts into TURN ON YOUR LOVELIGHT, though pig’s mic isn’t working. the sound is murky, as if the recording is only from cassady’s microphone & the band is just in the background bleeding into it. not cassady’s best, but charming asides/flows/punchlines (“i knew i should have worn more paisley”), dead ends, occasional vocalizing. jam disintegrates with gear issues, but emerges into proto-DARK STAR space as cassady babbles. hard to tell exactly what’s going on. eventually, band gets it going & land in earliest taped LOVELIGHT, presumably with more neal, but fades after 1m.

8/4/67 toronto: bill graham presents the san francisco sound. opens with fragment of last OVERSEAS STOMP, electrified jugband doofery. 1st known NEW POTATO CABOOSE. music: lesh, lyrics: bobby petersen, vocal: weir. most ambitious & psychedelic original yet. deep jerry. 20m VIOLA LEE BLUES hits dazzling froth before last verse. feedback & MERRY-GO-ROUND BROKE DOWN cartoon sign-off.

8/5/67 toronto: last of 6 days/nights with jefferson airplane & luke & the apostles, presented by bill graham. only 19m, but great. 1st fully taped TURN ON YOUR LOVELIGHT, just over 7m. pigpen still tentative in beginning/end raps, but wild jerry shred in between. 1st complete ALLIGATOR is fire, garcia solo subtly shifting to full band deep zone & silly vocal freak-out end.

9/3/67 rio nido: labor day dead, gigging/woodshedding at a resort by the russian river. essential. the classic early quintet dead tape. primal thrills, full tilt boogie, blissed improv, & 1st taped 20+ minute jams. 32m MIDNIGHT HOUR opener, at big weave from 1st jam. patience, left turns, volume swells, cool pockets, jerry sparkles, more pig raps. DANCING IN THE STREET jam melts instantly into long, slow garcia ideas, pulling on bright colored threads, proto-DARK STAR flows. 23m VIOLA LEE BLUES centerpiece is glorious, my favorite early dead jam, deep & conversational. pigpen right there, too, throughout. 15m surprise-filled ALLIGATOR is swinging/swaggering, weir high in mix & playing great, even some lead figures. feedback/organ coda. also, robert hunter’s 1st dead show (or maybe since 5/65) & 1st time hearing band sing his lyrics, on ALLIGATOR.

9/4/67 rio nido: 6m from end of CAUTION. quizzical fuzzed-out jerry at edges of early space jazz. organ coda & feedback dissolve. phil: “well, we’ve been turned off again. it’s now 1-o-clock, folks. now the only thing to do is go home & screw.”

9/15/67 hollywood bowl: 1st circulating audience tape & pretty cruddy. bill graham presents, with the airplane. big brother cancels. decent 15m VIOLA LEE BLUES opener is a hungry band showing off chops. molten moments, but audio quality makes it hard to dig, dig? garcia seems to tease donavan’s 1-month-old THERE IS A MOUNTAIN ~8:10 in ALLIGATOR, predating the allman brothers by a few years. 1st recorded ALLIGATOR > CAUTION is hearty 29 minutes. with noise dissolve. already-bad tape gets worse during jam, like the taper is walking around? goofy drums/vocals vaudeville tag after a feedback session feels very cartoony or, er, phish-y.

9/29/67 straight theater: formerly known as “5/5/67 fillmore” but more likely from the night before mickey hart 1st played with band. shows billed as dance class to get around restrictions. phil: “i just saw a narc down in the audience… if you see one step on him.” 1st taped HE WAS A FRIEND OF MINE since previous july, properly mark spoelstra’s JUST A HAND TO HOLD, harmonies & jangle channel warlocks. spidery jerry. choice stoned call/response. weir: “say DOPE!” (crowd: “DOPE!”) weir: “say PRIMATE!” (garcia: “say whaaat?”) weir: “say WHAT!” last recorded GOLDEN ROAD (of 2), unchanged at a boisterous 132 seconds. can see how this didn’t fit into their plans, but pure joy. GOLDEN ROAD also serves as cool drop into deep 10m NEW POTATO CABOOSE, picking up swing & weird-jazz swagger around odd turns. can hear the space for 2 drummers in ALLIGATOR especially, already a pretty snarling jam. cool organ moves by pigpen. (tape re-dated from weir’s NEW POTATO dedication, likely to KMPX DJ chandler laughlin, released from jail in 9/67.)

10/22/67 winterland: crispy warts-&-all soundboard. last document of the dead as a quintet before mickey hart joins as 2nd drummer. legend has hart joining immediately after 1st jamming on 9/30, photos/audio suggest otherwise. definitely only 1 drummer here. except NEW POTATO CABOOSE, glittering psychedelia, all 7 songs will be in repertoire when they return to quintet lineup in 4 years. MORNING DEW opener remains high octane, purposeful but speedy garcia solo. HURTS ME TOO is warlocks quintet at intimate best. major: 1st recorded THAT’S IT FOR THE OTHER ONE suite. specifically, 15m CRYPTICAL ENVELOPMENT/THE OTHER ONE/CRYPTICAL ENVELOPMENT. blazing 3m of jerry jams before OTHER ONE vocals, both verses 1st drafts. “when i woke up this morning, my head was not intact…” but the real fire comes on CRYPTICAL reprise, 8m of garcia building methodically in curling psychedelic monologue.

10/31/67 winterland: formerly “1/27/67,” new dating speculative, math below. but: 1st tape with 2 drummers. ugly audience recording. brief organ jam in 22m VIOLA LEE BLUES before garcia takes over, though lots of cool B3 as jam spirals. good stuff hidden in murk. 37m ALLIGATOR/CAUTION is huge & chaotic. jerry-fired jams & 2-drummer propulsion, cowbell/2nd snare providing constant movement. ALLIGATOR’s structure hints at date: 2 drummers (putting it post-9/29) but no early drum break (pre-11/10). not many candidates. detonation of (presumably) onstage cannon around 9:30 in CAUTION suggests the arrival of mickey hart into the grateful dead. alt. theory #1: based on 2 misdated songs (both AUD versions of hart-less 10/22), maybe just 2nd set of that, with mickey joining in. and yet the 2 recordings feature different versions of COLD RAIN & SNOW (“1/27″ has a count-off), suggesting different shows. alt. theory #2: after joining the dead, mickey didn’t immediately play on every single show & this is 10/14 in santa clara. furthurmore, @corry342 doesn’t think the 10/31/67 show actually happened, which narrows it to 10/14. alt. theory #3: actually mickey’s 1st show. he claimed there was a “2-hour” ALLIGATOR/CAUTION, but drugs.

11/xx/67 unknown venue/studio: a multi-track recording, either of a studio jam or a live show, the earliest good-sounding tape with 2 drummers. LIA speculates that it’s live based on ambience & the echo of the vocals & i’m mostly inclined to agree, though i could also hear this as a live-in-studio rehearsal to hear what they sound like with mickey. early THAT’S IT FOR THE OTHER ONE (with no weir vocals). dating comes (via LIA) via the placement of 1st drum break in 20-minute ALLIGATOR/CAUTION. nicely conversational, including the barest earliest hints of garcia playing with the BID YOU GOOD NIGHT melody as the band hits the choogle eternal, followed by a well-executed dissolve into feedback.

11/10/67 shrine expo hall: the dead in LA, between buffalo springfield & blue cheer. 1st big tape of new era with mickey hart as 2nd drummer & fullest realization of their psychedelia yet. 16m VIOLA LEE BLUES opener soars into all-soloing frenzy, neat organ leads. band swings even harder as they pull back into tune. enjoying mickey on songs proper. 2nd snare is manic on BEAT IT ON DOWN THE LINE, but somehow carves new spaciousness on pigpen blues. great instrumental separation underscores MORNING DEW’s conversational arrangement, jerry/bob/phil weaving around each other. charming chatter after weir busts a string. later, before ALLIGATOR, pigpen coos (sort of) at baby sunshine kesey, gurgling nearby. drummers don’t hit the churning triplets yet on 11m OTHER ONE suite, but nifty snare dialogues on CRYPTICAL ENVELOPMENT outro. 1st appearance of “cowboy neal” verse in THE OTHER ONE, 5 months before cassady’s death, when weir usually places its writing. 36m ALLIGATOR/CAUTION subdivides from blues shred to flickering jeweled jerry/phil duo jams (& back). nice dissolve.

11/11/67 shrine expo hall: 1st 2-drummer TURN ON YOUR LOVELIGHT opens. no weird rhythmic pockets yet, but new propulsion is evident. forgot to mention yesterday: mickey’s adding nice sparing glockenspiel to NEW POTATO CABOOSE, making it officially sound like 1967. the overly ambitious structures/harmonies are all too obvious, but NEW POTATO’s jazz moves make for the most mature jamming yet. ‘cuz it’s ’67 there’s are labeling mysteries. i think this is the real 11/11 ALLIGATOR/CAUTION. new ALLIGATOR twist (on 11/10, too): post-verse breakdown to cowbell/guiro/drumz/garcia. jambandy af but fierce.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

yo la tengo, hanukkah 2017, night #8 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
19 December 2017
*(Hanukkah, night 8)*

comedian: Jon Glaser (as Beer Joe)
opening act: Sun Ra Arkestra
mix CD: Derrick Carter

members of the Sun Ra Arkestra enter during “I Feel Like Going Home” outro and stay through rest of set: Michael Ray, Knoel Scott, Vincent Chancey, Danny Ray Thompson, Dave Davis

Big Day Coming (quiet)
Five-Cornered Drone (Crispy Duck)
Today Is The Day (fast)
Upside Down
Is That Enough
The Weakest Part
I’ll Be Around
I Feel Like Going Home
Dreaming (Sun Ra)
Sudden Organ
Emulsified (electric) (Rex Garvin & the Might Cravers)
Clumsy Grandmother Serves Delicious Desert By Mistake >
And the Glitter Is Gone >
Nuclear War (Sun Ra)

*(encore)*
Rock and Roll Santa (Jan Terri)
More Stars Than There Are In Heaven
My Little Corner of the World (Bob Hilliard & Lee Pockriss) (with Marilyn Kaplan on vocals)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey ho ho ho, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #7 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
18 December 2017
*(Hanukkah, night 7)*

comedians: Josh Gondelman, Chris Gethard
opening act: 75 Dollar Bill
mix CD: Georgia

whole show with Fred Armisen on drums.

Here To Fall
Let’s Save Tony Orlando’s House
Flying Lesson (Hot Chicken #1)
Satellite
Let’s Compromise (Information) (with Rick Brown on drums/vocals & Che Chen on guitar of 75 Dollar Bill)
The Ballad of Red Buckets (with RB & CC)
Barnaby, Hardly Working (with RB & CC)
Nowhere Near
Wonderful Again (Hypnolovewheel) (with Stephen Hunking of the XL Kings on guitar/vocals)
Autumn Sweater
The Story of Jazz >
Nothing To Hide
Heroin (Velvet Underground) (Roky Erickson arrangement) (with Tara Key of Antietam on guitar)

*(encore)*
Ain’t Talkin’ ‘Bout Love (Van Halen) (Minutemen arrangement)
Walk Away Renee (The Left Banke)
Ghost Rider (Suicide) (with Michael Shannon on vocals)
Griselda (Antonia/Peter Stampfel)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey ho ho ho, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #6 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
17 December 2017
*(Hanukkah, night 6)*

comedian: Eugene Mirman
opening act: Tweedy
mix CD: James

whole show with Jeff Tweedy on guitar/vocals/bass and Spencer Tweedy on drums.

Eight Days A Week (The Beatles)
Little Eyes
The Point Of It
Season of the Shark
Mr. Tough
Did I Tell You
If I Ever Was A Child (Wilco) (JT on vocals)
When It’s Dark
My Heart’s Not In It (Russ Titelman/Gerry Goffin)
My Back Pages (Bob Dylan) (JT on vocals)
I Should Have Known Better
Drug Test (minus JT & ST)
Mushroom Cloud of Hiss (minus JT & ST)

*(encore)*
I’m A Believer (Neil Diamond) (minus JT & ST)
Jeepster (T-Rex) (with Todd Barry on drums)
Just What I Needed (The Cars)
Take Care (Alex Chilton)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey ho ho ho, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #5 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
16 December 2017
*(Hanukkah, night 5)*

comedian: Aparna Nancherla
opening act: Superchunk
mix CD: Antietam

whole set with Amy Garapic on vibraphone/drums and Mac McCaughan on keyboard/guitar/drums/vocals.

Our Way to Fall
My Heart’s Reflection
Stockholm Syndrome
Tears Are In Your Eyes
Damage
The Summer
Oh No Not My Baby (Carole King/Gerry Goffin) (MM on vocals)
False Alarm >
Styles of the Times
Deeper Into Movies
Double Dare
Blue Line Swinger (minus MM)

*(encore)*
Paul Is Dead
I Can’t Make It On Time (The Ramones) (with Jon Wurster as Marky Ramone)
Sheena Is A Punk Rocker (The Ramones) (with JW/MR)
Detouring America With Horns (acoustic)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Possibly, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #4 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
15 December 2017
*(Hanukkah, night 4)*

comedian: John Hodgman
opening act: Half Japanese
mix CD: John McEntire

Cherry Chapstick
Beanbag Chair
Shades of Blue (debut)
Black Flowers
Don’t Have To Be So Sad
Attack on Love (with Jad Fair on guitar)
Circus Strongman Runs For PTA President (with JF on vocals)
Principal Punishes Students With Bad Impressions and Tired Jokes (with JF on vocals)
Velvet Monkey Theme Song (Velvet Monkeys) (with Don Fleming on guitar/vocals and Jay Spiegel on floor tom/snare)
Run Run Run (Velvet Underground) (with DF & JS)
Decora
Pass the Hatchet, I Think I’m Goodkind

*(encore)*
with Marshall Crenshaw on guitar/vocals
You’re My Favorite Waste of Time (Marshall Crenshaw)
Take Me For What I’m Worth (P.F. Sloan)
A Must To Avoid (P.F. Sloan/Steve Barri)
Don’t Dream It’s Over (Neil Finn)
Whenever You’re On My Mind (Marshall Crenshaw)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Like, wow, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #3 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
14 December 2017
*(Hanukkah, night 3)*

comedians: Jon Benjamin & Jon Glaser as the Brothers Italiano
opening act: The Sadies
mix CD: Ira

Sugarcube
Seven Day Weekend (Doc Pomus) (sung as “Eight Day Weekend”)
Awhileaway
Song For Mahlia
Ashes (debut)
I’m So Lonesome I Could Cry (Hank Williams) (with SQÜRL: Jim Jarmusch on guitar/vocals & Carter Logan on electronics)
Two Trains (with JJ & CL)
Shaker (with JJ & CL)
Out the Window > (with JJ & CL)
I’m So Lonesome I Could Cry > (Hank Williams) (drone version) (with JJ & CL)
Ohm (with JJ & CL)
Little Honda (The Hondells) (with JJ & CL)

*(encore)*
Just Like Tom Thumb’s Blues (Bob Dylan) (with Travis & Dallas Good of the Sadies on guitars/vocals)
A House is Not A Motel (Love) (with TG & DG)
Tom Courtenay (Georgia version)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #2 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
13 December 2017
*(Hanukkah, night 2)*

comedian: Neil Hamburger
opening act: Los Straitjackets
mix CD: Dave the Spazz

whole set (after 1st 3 songs) with Mary Lattimore on concert harp.

The Evil That Men Do (Craig’s Version)
Run Run Run (Velvet Underground) (surf instrumental version) (with Los Straitjackets)
For You Too (debut)
Green Arrow
Today Is The Day
Gentle Hour (Snapper)
Pablo and Andrea
The Sea Horse
Stupid Things
Big Day Coming (fast)
We’re An American Band
The Story of Yo La Tango

*(encore)*
with John Doe of X on vocals/guitar/bass
The New World (X)
My Darling, Blue Skies (John Doe)
Pressing On (Bob Dylan)
Let’s Get Rid of New York (The Randoms)
Adult Books (X)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

yo la tengo, hanukkah 2017, night #1 setlist

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

Yo La Tengo at Bowery Ballroom
12 December 2017
*(Hanukkah, night 1)*

Todd Barry, Bob Odenkirk, and Miriam & Nobody’s Babies opened
mix disc by Mike Watt
benefit for New York Stem Cell Foundation & the Multiple Myeloma Research Foundation

whole set with Mary Halvorson (guitar) and Zeena Parkins (harp), entering during “Before We Run” outro jam.

Back in the New York Groove (KISS) (sung “Back With the New York Jews”)
Before We Run >
Everyday
From A Motel 6
Walking Away From You
Last Days of Disco
Saturday
The Kid With the Replaceable Head (Richard Hell)
Moby Octopad
Artificial Heart
Tom Courtenay
I Heard You Looking

*(encore)*
So Easy Baby (The Zantees) (with Miriam Linna on percussion/vocals & Bruce Bennett on guitar/vocals)
Cruel To Be Kind (Nick Lowe) (with Nick Lowe on guitar/vocals)
Baby, It’s You (Burt Bacharach/Luther Dixon/Mack David) (with NL)
Here Comes the Night (Bert Berns) (with NL)
Shake That Rat (Nick Lowe) (NL on bass)
(What’s So Funny ‘Bout) Peace Love and Understanding? (Nick Lowe) (with NL)

[ If reposting, kindly credit Frank & Earthy: http://www.jessejarnow.com/category/ylt / @bourgwick ]

(Hey, you might also dig my book: Big Day Coming: Yo La Tengo & the Rise of Indie Rock.)

#deadfreaksunite 1966

#deadfreaksunite 1966
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th/50th anniversary and edited here for readability and occasional revision/correction and minor expansion. Many shows streamable via archive.org, though ’66 is kinda messy. Consult LIA’s post before doing any heavy listening.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

1/8/66 fillmore auditorium: the fillmore acid test! the earliest known grateful dead live recording & utter psychedelic comedy gold. fade in on chaos. phil sings along with tuning. pigpen to babbs: “HEY MAN STOP YOUR BABBLING & FIX THESE MICROPHONES. WE NEED POWER.” earliest versions of all songs except for dense CAUTION. not terribly far out, but garcia’s early blues-noodle turns spiky & menacing. dig garcia’s grease on leiber/stoller’s HOG FOR YOU BABY, b-side to current #9 primitives hit. babbs interrupts. but not sure i ever quite bought garcia doing DEATH DON’T HAVE NO MERCY, which feels a bit rinky-dink with pigpen’s farfisa. 27 minutes in, the cops arrive & shut down the acid test, resulting in LOL-packed 4:27 of LSD-abetted confusion. an all-time favorite. babbs (?) moves sound-source between mics & narrates in real-time, cops make announcements, sirens wail, weir raps, somebody moans & OMs. phil conducts band in national anthem, dude screams “fuck you,” garcia stays chill while his face melts, tape cuts.

1/??/66 “acid test #3″: a chaotic soundcheck of some sort. occasional yelling, merry pranksters, & bass jams that almost coalesce. most charming part is bright-eyed bushy-tailed band chatter. phil: “i’m tired of playing in warehouses” & jerry playing the optimist. weir, spacily: “i’d like to play in the grand canyon.” phil (?): “well, as long as it’s with you guys, i don’t care…”

1/??/66 berkeley: VIOLA LEE BLUES rehearsal, probably the 1st owsley tape. garcia is clearly the leader, phil is clearly the asshole. pigpen can’t figure out vocal or harmonica part. cool at first, eventually he leaves drunk, hounded by phil. nobody goes after him. owsley, i think, sings verses on track 19. then, cool 15m VIOLA LEE jam on early arrangement, 1st big improv on tape.

1/??/66 berkeley: fuller VIOLA LEE BLUES rehearsal tape at owsley’s pad, with 2 early slower takes of phil’s awkward CARDBOARD COWBOY. drumless/keyless CARDBOARD COWBOY practice is more interesting/graceful than the 3 surviving live recordings. awkward even by phil standards, drumless vocal practice gives me new pop appreciation for the song.

1/28/66 the matrix (maybe): 14m of early dead from a badly dated owsley reel. earliest known versions of all songs. good banter. only the ending of YOU DON’T HAVE TO ASK/OTIS ON A SHAKEDOWN CRUISE: last of 3 always-shifting verses, short solo, & 1st weir shouts. band returns for a late set after the loading zone plays. shaky VIOLA LEE BLUES has alternate swing-blues jam, not yet modal/crazy. management clearly wants the dead off the stage. “let ‘em throw us out,” phil says as band plow into speedy I KNOW YOU RIDER. so the plug gets pulled 40 seconds into MIDNIGHT HOUR. band sounds completely used to it & mostly amused. garcia: “shut us off again.” lesh: “g’night ladies & gentleman & you too, you pricks.” last SF gig before dead, owsley, & pranksters move to LA.

2/5 or 6/66 los angeles: likely a fragment of band’s 1st show after moving to LA, but (based on crowd) not the northridge acid test. 1st known TASTEBUD, generic blues & generic blues lyrics by pigpen & 1st live MINDBENDER, doofy but crisp nuggets-style garage-psych. 1st known BEAT IT ON DOWN THE LINE, a jug band holdover. spiraling guitar intro, spiky solo, early backing vocals, & heavier backbeat. if anyone has the 2 missing tunes or another theory on the date, hmu. more on ’66 mysteries.

2/13/66 (maybe) youth opportunities center: 15 or so minutes of watts acid test. begins with bob weir tripping & testing out microphones. on a distant mic, girl starts flipping the fuck out, screaming “WHO CARES?” etc., & pigpen sings/talks her down, occasional drum hits. a capella pigpen/drum duet. bob weir: “some day ron will take acid.” pig tells weir to get something going, but weir’s face seems to be melting too hard. nonetheless, billy/pigpen only version of NEW ORLEANS, with weir joining on vocals, someone else honking harmonica, the only “dead” version until 1970. phil joins but also seems to be melting. 7 minutes worth of the sole dead take of TWIST & SHOUT, sung by pig, not the beatles arrangement, with (presumably) tripping guest harmonica player. if garcia’s face is melting, it’s not impeding his shredding. then the song falls apart. no applause, just residual acid test noise. phil: “our drummer flashed, we’ll be back later.” can hear the tape being played back elsewhere in the room.

2/66 pink house: earliest tape of garcia doing HI-HEELED SNEAKERS, played occasionally with the dead & turning up in garcia/saunders setlists ’72-’74. more work on VIOLA LEE BLUES. weir gets yelled at for starting it too fast, actually the tempo they’d end up playing it at. plus, it speeds up. getting closer to the multi-jam structure, with some nifty dancing garcia guitar parts. “popssssicle break” someone announces. end tape.

2 or 3/xx/66 pink house (maybe): wow! mystery ’66 tape: phil & jerry demo a gorgeous folky & previously unknown dead original with cool harmonies. “wandering man“?

2 or 3/xx/66 pink house rehearsal (maybe): a few high fidelity slices via the “rare cuts & oddities” CD (& a few others on the hell’s honkies’ comp “san franciscan nights”). only early dead version of rufus thomas’s WALKING THE DOG, sung by weir, showing up again in 1970, good bee-sting garcia leads. likewise, only early dead version of chuck berry’s PROMISED LAND with garcia on vocals, becoming a staples with weir singing in ’71. adore this alternative universe. pig’s 1st real original, YOU SEE A BROKEN HEART, fun response vocals by jerry. 1st taped version of BIG BOSS MAN, weir’s rhythm guitar sounding present & cool & vaguely like a normal human guitarist. BEAT IT ON DOWN THE LINE still has the jerry guitar intro, but the earliest backing vocals have morphed into the more familiar arrangement. earliest taped dylan cover, IT’S ALL OVER NOW, BABY BLUE, & garcia’s version of ONE KIND FAVOR.

2 or 3/xx/66 pink house: moar “rare cuts & oddities.” an early version of NOT FADE AWAY, a lot closer to the stones version during the verses (with teenage weir clearly doing his best jagger) & a rolling CAUTION-like groove elsewhere, kinda awkward & falling apart, with alternate lyrics about how “i’m gonna be your candyman” that were maybe written by weir (?), not turning up again on a dead tape until 1970.

2 or 3/66 unknown venue: from “rare cuts & oddities,” the only early dead version of BIG RAILROAD BLUES, pig doubling garcia’s lead vocal on harmonica, done with a jug band bounce that would disappear when revived in ’70. doesn’t totally work, but i’m still charmed by pig singing fats domino’s SICK & TIRED. the only taped version of the very early stones’ original EMPTY HEART, sung by pig & doubled by jerry in places, another example of the forgotten early jerry/pig tandem, cool jagged garcia rhythms under 1st harmonica solo, playing co-lead under 2nd.

2 or 3/66 pink house: a 5 minute early example of the earliest SPACE jam, mostly just garcia & weir. doesn’t sound too different from the 2-guitar SPACE jams of the ‘70s/‘80s/‘90s. then a tape jump into the beginning of some blues song they’re rehearsing with vocal parts, but which i can’t identify.

2/23/66 pink house: 12 minutes of a blues jam that winds into something that might be LA BAMBA but is also sort of GOOD LOVIN’ (a segue they would do ~20 years later), the pulling back into a half-speed jam on IT’S A SIN. the sound of a band learning to play together.

3/2/66 pink house (presumably): from “rare cuts & oddities,” the tremolo-heavy electrified folk tune BETTY & DUPREE, a candidate with DEATH DON’T HAVE NO MERCY for the 1st jerry ballad & the traditional origin point for DUPREE’S DIAMOND BLUES in ’69. on an alternate timeline, garcia revived this in the late ‘70s & figured out how to make it graceful. earliest STEALIN’, presumably played by the jug band, too.

3/9/66 pink house rehearsal: another unknown song, sung by pigpen. maybe a cover, but enough odd changes to make it a dead original? a few takes working on WHO DO YOU LOVE. pigpen to billy: “remember when we used to do it at magoo’s? the way we did it at magoo’s?” 13m jam starts as thin blues noodle but grows into some cool & almost substantial weirdness before tape runs out.

3/10/66 pink house rehearsal: another owsley tape (vocals panned hard) from band’s pad in LA, downstairs from LSD tabbing operation. SITTIN’ ON TOP OF THE WORLD practice, electrified jug band tune, recorded in ’67 & unchanged til ’72, besides stabbing organ part. tantalizing just-off-mic chatter about songwriting/lyric transcription? maybe could be deciphered with a level boost.

3/12/66 danish center: 1st dead tape that’s more than a fragment. 2 sets, 67m of excellent owsley soundboard. not technically an acid test, but based on the band’s memories that they took acid *every* saturday night in spring ’66, well… both set openers are only surviving takes of not-terribly-compelling instrumental warm-ups: STORMY MONDAY & freddie king’s HEADS UP. 1st known live version of pigpen’s 1st real original, YOU SEE A BROKEN HEART. generic, but clever call/response with garcia on verse. earliest IT’S A SIN & 1st live versions of ONE KIND FAVOR (jerry blues, meh) & NEXT TIME YOU SEE ME (instant pig staple, already coolly swingin’). 1st full MIDNIGHT HOUR & 1st taped pigpen raps. it achieves grease, if not much else. tasty jerry licks & not-tasty blues screams. amusingly trippy setbreak banter, implying they’re alternating slots with another act. wonder who? weir plugs ice cream man outside. tape closes with 1st VIOLA LEE BLUES featuring multi-jam structure. at 11m, 1st big dead improv. raw but right on.

3/25/66 trouper’s hall: all-night harmonica store. poster by acid chemist owsley stanley, photos by @rosiemcgee12. A+ sound. earliest live STEALIN’, electrified jug band boogie recorded for 1st single. and then a still-unidentified 9m R&B instrumental jam. before they play it, weir says the mystery jam’s title fast, garbled, & off-mic. anyone wanna slow that down and/or have a guess? 1st HEY LITTLE ONE by dorsey burnette, garcia crooning rockabilly-pop. gorgeous twang-psych solo. outro belting hints at ’80s ballads. 1st complete YOU DON’T HAVE TO ASK, meticulously overwritten & ambitious psychedelic garage pop with changing keys & vocal parts, wild guitaring. 30m set, a break, then the earliest COLD RAIN & SNOW, on 1st album & staple for next 30 years. a herky jerky thrill.

4/66 “studio demo”: via “rare cuts & oddities,” the earliest versions of STANDING ON THE CORNER & CREAM PUFF WAR (with alternate chorus, slightly slower tempo, & a few more arrangement tricks). neither shows up on live recordings until the band’s return to san francisco in may. manic GOOD LOVIN’ has pig on lead (jerry sings on the only ’66 live version) & super-charged almost beach boys-like gang vocals.

4/22/66 longshoreman’s hall: 23m from hyped trips festival knockoff, 1st gig since return from LA. nice sound. 1st BEAT IT ON DOWN THE LINE with multi-beat intro (6, in this case). still some lyric differences & semi-written guitar break. earliest GOOD MORNING LITTLE SCHOOLGIRL (with mucho bass counterpoint) goes into willie cobb’s YOU DON’T LOVE ME, jerry sung, & back. the two songs are basically interchangeable, but it’s the earliest recorded grateful dead segue.

4/24/66 longshoreman’s hall: solid 35m (maaaaybe) from 3rd night of fake trips fest, recently surfaced radio ad sadly taken down. 7m VIOLA LEE BLUES still a work-in-progress, but already more jam than solo, clean-toned jerry weirdisms & double-time swing. also in-progress: owsley’s mix. semi-audible garcia/lesh jams in MIDNIGHT HOUR’s quizzical breaks & pretty spaces behind pig’s rap. BEAT IT ON DOWN THE LINE has guitar figure intro but written solo, so maybe date is wrong? forensics here. almost 8m of blues jam with jorma kaukonen & jack casady; unremarkable adventures in unpleasant double bass fuzz.

5/??/66 unknown venue: formerly “ivar theater 2/25/66.” song arrangements seem to date it from may or june. earliest recorded dead version of SHE’S ON THE ROAD AGAIN, garcia-sung jug band holdover with prominent lead harmonica by pigpen. 1st I KNOW YOU RIDER with “muddy water” & “sun will shine” verses. everybody sings everything, phil loudest. no northbound train yet. unison riffs & drum breaks of COLD RAIN & SNOW way more together than earlier version, but garcia’s voice still fluttering all over. effective not-quite-segue from greasy KING BEE into CAUTION, latter with nifty dual guitar/harmonica & mini-jam.

5/19/66 avalon ballroom: the dead’s avalon debut & 1st real tape from the ballroom era, early & late sets. big drums. many firsts. earliest STANDING ON THE CORNER, dead original. lyrics seem like garcia doing dylan. last version of b-grade garage-psych MINDBENDER. 1st great VIOLA LEE BLUES, kretuzmann & lesh shifting casually into a jam under garcia solo, unfolding smoothly into the modal fringe. earliest CREAM PUFF WAR, rare song with words/music by garcia, & earliest original to survive until 1st album. solo stays just inside. earliest SITTIN’ ON TOP OF THE WORLD, too, surprisingly in exact same arrangement & tempo they’d stick with until dropping it in ’72. aaaand 1st taped version of weir’s electrified jugband tune NEW MINGLEWOOD BLUES, too, most of the 1st album repertoire now in place. rare pigpen joint: 2nd & final surviving so-so take of fats domino’s SICK & TIRED. also, 1st taped version if elmore jame’s IT HURTS ME TOO, a pigpen standard unchanged through his last tour, sad & sweet. earliest SILVER THREADS & GOLDEN NEEDLES, weir’s 1st country tune (cool phil harmony) & earliest live version of garcia’s BABY BLUE, only live ’66 version of insanely way-too-fast GOOD LOVIN’ with garcia singing lead (plus the “new ending,” per stage banter), gone ’til ’69.

7/3/66 fillmore auditorium: independence ball, with love. vocals brutal throughout. swingin’ boogie, though. band dedicates set to “the sundancers of ignacio, colorado, out there doin’ it.” garcia plugs mnasidika, local head boutique. earliest versions of half-dozen tunes, including HE WAS A FRIEND OF MINE (properly mark spoelstra’s JUST A HAND TO HOLD) & NOBODY’S FAULT BUT MINE, both pretty straight. 1st known DANCING IN THE STREET, staple for next 5 years, already an enthused (if contained) jam platform, garcia testing the edges. VIOLA LEE BLUES sounding immensely assured. not as wild & out as 5/16, but all lean in hard & stay together in the jam, even pigpen. earliest live version of BIG BOSS MAN, slinky & hep, pig fave thru ’72. 1st of 2 known versions of KEEP ROLLING BY, pig-led stones-y original with neat gang vocals. only DON’T MESS UP A GOOD THING, his/her soul re-set for pig, & j. “guitar” watson’s GANGSTER OF LOVE, unconvincingly sung by jerry. 1st CARDBOARD COWBOY (aka NO LEFT TURN UNSTONED), overwritten phil lesh mod-psych, stiffly sung. waiting to be covered gracefully. YOU DON’T HAVE TO ASK gets drum intro. instrumental break now guitar/key duo. with CREAM PUFF WAR, most accomplished original so far. pig’s MIDNIGHT HOUR rap still half-baked, but rare & sweet shout to longtime girlfriend, vee. 1st bill graham band intro.

7/16/66 fillmore auditorium: alternating sets with the airplane. being a 1966 saturday, probably tripping, too. vocals getting better. off-mic intra-squad reminders to watch tempos before BEAT IT ON DOWN THE LINE, YOU DON”T HAVE TO ASK, & others. only known take of leadbelly’s IN THE PINES, sung by garcia, & not wholly successful. more like a drinking song than a murder ballad. 1st of 2 versions of allen toussaint’s PAIN IN MY HEART, learned via otis redding, sung by pigpen. the ’72 dead would’ve crushed this. kreutzmann’s drums starting to really move with garcia’s guitar, seeking destination on CREAM PUFF WAR, finding it on VIOLA LEE BLUES. late set begins with a cute bill graham intro & for 1st time, short-lived full band pre-intro to VIOLA LEE. gang vocals sound big. only surviving ’66 live version of DON’T EASE ME IN, electric jug bounce & b-side for 1st single, released locally that summer. forensics dept.: off-mic voice asking “otis?” before tight YOU DON’T HAVE TO ASK helps confirm alt. title, OTIS ON A SHAKEDOWN CRUISE. weir not getting DANCING IN THE STREET lyrics yet, adds own verse. jam doesn’t go far, but sure goes. tape cuts off.

7/17/66 fillmore auditorium: nice big sound. another good miniature jam on CREAM PUFF WAR that doesn’t break through, exactly, but the band (& billy, really) starting to swing/flow during solos. nice reverb-y atmosphere during slinky 9-minute KING BEE. last KEEP ROLLING BY. unlike the version earlier in the month, this one is nearly 8 minutes, feels like it should have stax horns, & has a misterioso maybe-kinda-modal jam in 1st half before pig-style rave-up. definitely some alternate universe dead, a pigpen tune with a psych jam. adios!

7/29/66 vancouver trips festival: despite the event’s name, the grateful dead’s 1st real trip out of town for purposes other than acid tests. band’s garage-prog phase coming to an end. last known versions of 2 early originals, including opener STANDING ON THE CORNER. farewell to the awkward grooviness of CARDBOARD COWBOY. a bouncy BABY BLUE, same day as dylan’s motorcycle crash in woodstock. short locked-in garcia/kreutzmann improv in CREAM PUFF WAR. plus, the a-side to the band’s brand new single STEALIN’, released only in san francisco. probably no merch table in vancouver. set-closing VIOLA LEE BLUES is 2nd of 2 versions with descending circusy pre-intro. big noise for the canadian n00bs. (my full essay on the dead’s adventures at the vancouver trips festival is available now in rhino records’ 50th anniversary reissue of the band’s first album.)

7/30/66 vancouver trips festival: last show with (& stereo-panned tape made by) owsley’s proto-wall of sound. as event MC comes on, phil: “we’ll use a simple syllable to test our microphones tonight. the syllable is narc. narc. narc. narc.” 9m DANCING IN THE STREET opener pushes fleetingly into a modal peak & back via garcia, giving jam graceful sense of movement. last known version of dorsey burnette’s #48 1960 hit HEY LITTLE ONE. tasty inside guitar solo, but not much of a loss. on the other hand, goodbye to the too-clever-for-this-world structure of YOU DON’T HAVE TO ASK. and off go owsley stanley & tim scully with the dead’s equipment truck to establish a new LSD lab.

late ’66 rehearsal: on “rare cuts & oddities” collection. love weir’s early version of SILVER THREADS & GOLDEN NEEDLES, brought back in ’69.

11/19/66 fillmore auditorium: solid soundboard is 1st full tape since summer, most polished & confident yet. lothar & the hand people! debate over if this is 11/19/66 or 3/17/67, but weir’s “autumn” in DANCING IN THE STREET suggests former. cute one-by-one bill graham intro ala “one from the vault”: “on the bass, mr. philip lesh… on the far left, on lead guitar & vocals, the charles atlas of the psychedelic set.” only surviving ’66 live version of HI-HEELED SNEAKERS. honky blues vocals by garcia. tasty licks, though. enticing guitar/organ swirl on CREAM PUFF WAR. 2nd of 2 versions of allen toussaint’s PAIN IN MY HEART, learned via otis redding, sung by pigpen. the ’72 dead would’ve crushed this. earliest SAME THING by willie dixon, sung by pig. moody 11m jam. early jazzy comping by weir under organ solo & double-time build. weir finally gets lyrics to DANCING IN THE STREET & band gets jam. soaring garcia, spiraling further out as tape cuts off around 6m. set ends with 34m of pig. 1st known SMOKESTACK LIGHTNING (with fine guitar/harp toodle) downshifts into KING BEE. nice flow on dynamic 19m MIDNIGHT HOUR. pig works crowd & briefly raps about “TCB”. elvis to the courtesy phone.

11/29/66 the matrix: 1st of 2 nights & 3.5 hours of music. many otherwise undocumented corners of mysterious ’66 repertoire. 80m of sets 2/3, beginning with earliest ME & MY UNCLE, only song played every year 1966-1995 (except ’68?). speedy. drum roll intro. musicologist graeme boone pegs weir’s modal playing on 12m SAME THING as 1st sign of mccoy tyner influence. 1st known version of the olympics’ BIG BOY PETE is big group-sung fun. matrix co-owner marty balin seemingly shouting requests. at marty’s request, only extant live take of phil-sung EARLY MORNING RAIN. more involved harmonies/arrangement than ’65 studio demo. set 3 opens with 1st of 2 BEEN DOWN SO LONGs, jerry-sung original, like a lost jug band tune. 1st try at writing americana? more rare pig: 1st of 2 SOMETHING ON YOUR MINDs (not dino valente’s). only I JUST WANT TO MAKE LOVE TO YOU ’til weir’s ’95 revival. garcia & weir get juggy & doofy with 1st taped OVERSEAS STOMP, done by mother mccree’s in ’64 but only 3 known late ’66 dead versions (& a fragment from ’67). band signs off with short full-band arrangement of vaudeville themes. not the looney tunes’ MERRY-GO-ROUND BROKE DOWN/”that’s all folks” outro (as its often labeled), but cartoonish just the same.

12/1/66 the matrix: another remarkable slice of 1966. 3 sets, 2 hours, & many oddities from a hole-in-the-wall club in san francisco. band’s repertoire continues to turn over rapidly. on the 3 shows from late ’66, 9 songs (plus 2 with a guest) appear nowhere else. garcia promises “cold beer on tap, lurid night club atmosphere, & beatniks! more beatniks than you can count on two hands.” only live BETTY & DUPREE, demoed in march. folk tune converted to rock ballad, vibrato crooning by garcia matched by guitar tremolo. last known versions of ONE KIND FAVOR, SOMETHING ON YOUR MIND, & charming BEEN DOWN SO LONG, semi-lost neo-jugband original. sole extant live ALICE D. MILLIONAIRE, garage pop named for 10/66 “LSD millionaire” headline about owsley, though lyrics don’t have much to do with it. sung by pig. clever vocals/arrangement. weir starts new-to-them ME & MY UNCLE, which falls apart quickly. they try again with garcia leading & succeed. hyper farfisa/guitar. only taped DEEP ELEM BLUES from the era. nifty chorus harmony & arrangement abandoned with acoustic/electric revival in 1970. 2nd set punctuated by rando singing/harmonicaing YONDER’S WALL & MY OWN FAULT. pass. last ON THE ROAD AGAIN ’til 1980 acoustic sets. superb feral jams in each set! 1st set closes with longest ever CREAM PUFF WAR (at 9m), 3rd with untethered 11m DANCING IN THE STREET. in the 2nd set, ecstatic 15m VIOLA LEE BLUES expands to white hot peak, garcia blazing louder than drums. wish the bass was audible. at tape’s end, another ME & MY UNCLE. either filler from same period or band drilling song. i like to think latter.

12/23/66 avalon ballroom: released in 1970 & ’71 as quasi-bootlegs “vintage dead” & “historic dead”. unclear what’s from which night. sounds great, though. again, weir’s seasonal lyric change in DANCING IN THE STREET rounds down the date, december not september. last recorded BABY BLUE ’til ’69 & last uptempo version. no solos, just guitar breaks. only surviving dylan cover from early years. nice bright moments, including action-packed 7m DANCING & final farfisa-driven STEALIN’, revived acoustic by garcia/grisman in ’92. last known version of strident electrified jug standard of I KNOW YOU RIDER, MIA until getting paired with CHINA CAT SUNFLOWER in ’69. solidly 2/3 of the 2 LPs is pigpen, including side-long MIDNIGHT HOUR that won’t win over haters but has chill conversational garcia. can see why band wasn’t into these LPs, but can only imagine how stoked deadheads must’ve been when they came out.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

#deadfreaksunite 1965


#deadfreaksunite 1965
show-by-show notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th anniversary and edited here for readability and occasional revision/correction and minor expansion. All shows streamable via archive.org.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

11/3/65 golden state recorders: 18m 5-song demo by the emergency crew, formerly the warlocks, soon the grateful dead. the only known ’65 tape & earliest recorded electric music, 6 months after band’s founding. amazing recording, hinting at the dead’s undocumented early months, an alternate universe with phil as lead singer.

CAN’T COME DOWN: dylan-y rave-up about gettin’ real high, lyrics/vocals by garcia, tight harmonica breaks. no surviving live versions.

MINDBENDER: stilted but ambitious pop, vocals & dense lyrics mostly by lesh. mystic farfisa. sweet spaghetti western licks by garcia.

ONLY TIME IS NOW: the dead’s lost sunshine-pop gem. cool beatles-y tremolo. lyrics by jerry pal dave parker, future dead bookkeeper.

CAUTION: cribbed from Them’s MYSTIC EYES. blues-clang condensed into ultra-busy & well-packed 3m. already they’re all soloing at once.

I KNOW YOU RIDER: brighter/faster than iconic later arrangement. slop-rock guitar chug. lead singin’ by phil. but who’s on tambourine?

EARLY MORNING RAIN: gordon lightfoot tune, sung by lesh. groovy fun with a good urgent bounce. phil’s vocals are goofy, but i can dig.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

new art by ned lagin.

The California musician and artist Ned Lagin returns with his first public work since his 1975 Seastones LP, collecting art, photographs, and writing from the past decade of his long and decidedly non-public career. With a long series of poetic Notes acting as deeply psychedelic grounding texts for the visual works, Lagin’s art (and words) tease out the threads between his circuit drawings in the sand and natural landscapes, his nude self-portraits and light-time geographies. Together, they make for a kind of personal ecology of creation, a worldview whose component parts reflect on one another and cast a light backwards on the sounds and concepts behind Seastones.

I’m pulled most strongly to Lagin’s sand drawings, a personal miniaturized form of land art, ecologically sustainable if artistically ephemeral (and a bit similar to some of my father’s recent work). It’s not hard to feel the connection between beaches and time, from the metaphoric standard of an hourglass, to the long and short-term change of tides, erosion, and other natural forces. And it’s through Lagin’s overt threads between his beach-works and his 1970s recordings (right down to the LP’s title) that his opaque-seeming music begins to make more sense as (in Lagin’s phrase) “moment-forms” realized and washed away by time, memory, and a half-dozen varieties of organic and synthetic obsolescence. At least, that’s part of what I got out of reading through Lagin’s 30 pages of carefully considered Notes, which are probably worth going through in conjunction with the work.

For those curious about Ned Lagin’s music, the website presents some answers, too, but also questions. Alluringly, there are hints of future releases, both of a new album and of an expanded and remixed Seastones. But Lagin’s art and writing will have to do for now, materials that (when absorbed) might provide some kind of conceptual remastering on his music for anyone who cares to look/listen/read, new moment-forms waiting to be found in the listening. Ned Lagin’s SpiritCats.com is an unexpected hello from a long silent voice.

#deadfreaksunite 1974


#deadfreaksunite 1974
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th anniversary and edited here for readability and occasional revision/correction and minor expansion. All shows streamable via archive.org.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

2/22/74 winterland: a long soundcheck spent working on 3 new songs, the retired ATTICS OF MY LIFE, & a proto-ESTIMATED PROPHET jam. show opens with the proper debut of U.S. BLUES, ex-WAVE THAT FLAG. nice & punchy, though band doesn’t seem quite done practicing it. the 1st IT MUST HAVE BEEN THE ROSES, the only GD tune credited solely to hunter, is an instant winner, though fast & a bit clunky. garcia plays fully articulated SLIPKNOT! inside PLAYING IN THE BAND, uncharacteristically forcing it discordantly into the jam. 1st SHIP OF FOOLS, a major new jerry tune, is likewise uptempo compared to future versions, but dramatic & funny & wonderful. not a lot of compelling jamming, the band’s overexcitement best encompassed by non-sequitur bass bombs in CHINA DOLL.

2/23/74 winterland: final HERE COMES SUNSHINE until the (shudder) ’90s revival. farewell big blissy jam, we hardly knew ye. ’74 model mellowness seems way less lethargic & more pleasing than the ’73 version, probably mostly due to the warm piano/rhodes mix. even-keeled LET IT GROW with sweet weird-swing by kretuzmann. subtle jerry/keith SLIPKNOT! counterpoint in OTHER ONE.

2/24/74 winterland: another U.S. BLUES opener, clearly the new anthem, more confident than its debut, now beaming & exuberant & goofy. great show all around, with vivid foregrounded piano/rhodes in CUMBERLAND BLUES, PLAYING IN THE BAND, WEATHER REPORT SUITE & more. 1st DARK STAR of ’74 starts & stops a few times before coalescing into a short, jaw-dropping coda & a long, drippy MORNING DEW.  1st IT’S ALL OVER NOW BABY BLUE since 9/72 & last ’til ’81. slightly uptempo, but graceful, unrushed, & nice. g’bye.

3/23/74 cow palace: hello, wall of sound! the 1st proper show for owsley’s legendary, crystalline PA. greetings, as well, to SCARLET BEGONIAS & CASSIDY, last major pre-hiatus debuts. SCARLET’s open-ended bounce is sloppy & irresistible. CASSIDY, released 2 years earlier on “ace,” has even more potential. a real shame they shelved it again ’til ’76. my fave weir song? final PLAYING IN THE BAND  > UNCLE JOHN’S BAND > MORNING DEW > UNCLE JOHN’S BAND > PLAYING IN THE BAND sequence, led by magical soft-edged garcia attack that could last forever. unexpected beatles-y counterpoint vocal on SHIP OF FOOLS’ final chorus, not articulated during 3 previous versions.

5/12/74 reno: the wall of sound hits the road. 3-set outdoor show amid crazy washoe zephyr winds that phil references. lulz whenever the dead use gazillion-watt WoS to play polka-boogies. appropriately surly lesh vocals on MEXICALI BLUES & everywhere. high-speed details & thrilling MIND LEFT BODY-like descent before the only lyric-mangled verse of quick-dissolving OTHER ONE, a fully developed MIND LEFT BODY jam & 2 more jerry ballads, though SHIP OF FOOLS is sly & perfect in early uptempo version.

5/14/74 missoula: 1st & only time the dead played montana. “sweet susie” returns to LOSER for 1st time since ’72. garcia sounds confused. bubbling SCARLET BEGONIAS jam, too short, kreutzmann pushing the band outside the structure. a pleasant landing into IT NUST HAVE BEEN THE ROSES. 27m DARK STAR features unparalleled space-swing, highwire JG/BK dazzle, stereo fuzz conversations, flexatone, & ample cosmic boredom. dense & unsettling CHINA DOLL with insane overloaded guitar solo amid a drippingly psychedelic soundboard mix. fratboy hits weir on head with plastic beer pitcher & weir responds appropriately with cheesiest ONE MORE SATURDAY NIGHT yet.

5/17/74 vancouver: debut of a new faster arrangement of LOOSE LUCY. still a throwaway, but now with refreshing bonus pep. weir’s MONEY MONEY, on the other hand, is unsafe at any speed. the worst dead tune not written by a keyboardist? IT MUST HAVE BEEN THE ROSES & SHIP OF FOOLS both slow down even more & get even better. played almost every night & rightly so. top notch PLAYING IN THE BAND & TRUCKIN’ > EYES OF THE WORLD > CHINA DOLL jams but, except for hard-driving EYES outro, nothing exceptional.

5/19/74 portland: big cheer for 3rd ever SCARLET BEGONIAS. does the crowd possibly know it or is it just instinctual 1st reaction? band makes a point of cutting off the SCARLET jam (why?!) & ending together crisply, an oddity by itself. thankfully, it won’t stick. 4 big garcia ballads, including beautiful 1st PEGGY-O of ’74 & a powerful CRYPTICAL-like WHARF RAT that keeps expanding as it spirals. fast, fun TRUCKIN’ unwinds into an unusual funk-slop MIND LEFT BODY, the closest kreutzmann ever got to breakbeats.

5/21/74 seattle: a monster show highlighted by a 46-minute PLAYING IN THE BAND, 3rd longest standalone jam in the band’s history. good omens: donna jean’s SCARLET BEGONIAS wail is kind of nice & low-key, karen dalton style. last of 3 MONEY MONEYs. fuck that song. no, really. it’s so hateful & un-deady. 1st set ends on unusual elegiac note with an unfussy CHINA DOLL. works really well. A+ PLAYING soars with bizarre internal logic, earns its brief space-outs & is bookended by some of the more brutal donna screams ever. the 23m EYES OF THE WORLD > WHARF RAT that follows might be seen as unnecessary by some. i am not among them.

5/25/74 santa barbara: one of my 1st killer soundboards (thanks, compuserve tape tree!) & my personal definitive CHINA CAT SUNFLOWER > I KNOW YOU RIDER segue. TRUCKIN’ bends swiftly from blooze boogie to fast zagging & drumless space where keith plays subtly sun ra-y monophonic synth & into the only ’74 LET IT GROW unattached to rest of WEATHER REPORT SUITE & capped by 3rd big WHARF RAT in 3 shows. also the show where a taper snuck in his deck by burying it in the stadium the night before.

6/8/74 oakland: a sun-stroked bill graham day on the green at oakland stadium w/ the beach boys, new riders, & commander cody opening. strong candidate for the all-time most of out-of-tune dead show, due to heat. for mucho excellent baseball banter, check @NotBobWeir. SCARLET BEGONIAS feels slightly off-kilter, with garcia unwinding a cool inverted version of the melody to signal the end of the jam. 40m PLAYING IN THE BAND > WHARF RAT > PLAYING IN THE BAND wanders early but goes molten. even keith steps up during A+ darting full-band improv.

6/16/74 des moines: 4 hours over 3 afternoon sets at the state fairgrounds. pictures show grand piano, but keith plays mostly rhodes. good fun throughout. SCARLET BEGONIAS is short but big. sounds like it could go anywhere. uncharacteristically clangy CHINA CAT SUNFLOWER > I KNOW YOU RIDER. bodacious EYES OF THE WORLD > BIG RIVER segue. refreshing to hear the band keep uptempo momentum instead of resolving into a ballad. weir & donna finally nail nifty beatles-y SHIP OF FOOLS outro harmony. 30m PLAYING IN THE BAND with chiming disassembly & abstruse zapping. keith uses fuzzed rhodes for garth hudson-style country-funk on ME & MY UNCLE. many-themed TRUCKIN’ capped by smooth MIND LEFT BODY as a confident bridge into sweeping WHARF RAT. weir loses his voice & doesn’t sing after the big jam. also refreshing.

6/18/74 louisville: a stone classic. rich sound, punchy bass, mucho piano, quiet dynamics. like my old tape, slightly sped up. PSA by weir: “you’re probably wondering why we called you all here tonight. the upshot of it is that one of you is a Venutian spy.” an all-time great EYES OF THE WORLD, crisp & roaring, godchaux taking the 1st solo & adding triumphant harmony to the 7/8 outro. 20m LET IT GROW sparkles into mutant swing & a 19m OTHER ONE, dissolution, odd pockets, & space-blooze prelude to STELLA BLUE. rare MORNING DEW encore. long & exquisite quiet valley before the final peak, filled with piano/guitar/bass droplets.

6/20/74 atlanta: debut of the weir/garcia guitar harmony intro to JACK STRAW. 1st TO LAY ME DOWN of the year. ineffable LSDC&W. more sweet godchaux piano throughout. especially breathtaking quiet filigrees on MUST HAVE BEEN THE ROSES. you were right, @jimmyjacktoth. EYES OF THE WORLD opens into a runaway garcia solo; an early version of SLIPKNOT, everyone else half-successfully figuring it out as they go. CHINA DOLL features the return of the awesome overloaded split-signal feedback guitar solo from the missoula version.

6/22/74 miami: super-fine 29m PLAYING IN THE BAND with shimmering jazz dance, soft-fuzz guitar, & sudden invention in the clouds of unknowing. comfortably far-out CHINA CAT SUNFLOWER with a half-baroque rhodes part. odd tempo disagreements on BERTHA, WHARF RAT, more.

6/23/74 miami: only dead version of chuck berry’s LET IT ROCK. started by phil, sung by jerry, outside garcia/weir rotation. fun but wut? the 1st setbreak SEASTONES duet between phil lesh (on quad bass) & ned lagin (on e-mu modular synth) zapping thru the wall of sound. 13m of disorienting & increasingly piercing full-body biomusic burble & scream around the jai-alai fronton. deadheads applaud politely. lagin plays rhodes on JAM > SHIP OF FOOLS & is fully present on a wordless 22m DARK STAR > SPANISH JAM, conversing with garcia & lesh. or this is the busiest godchaux playing ever? garcia deploys split-signal feedback-fuzz during SPANISH JAM & destroys.

6/26/74 providence: A+ mix of soundboard with jerry moore audience tape. dude in the crowd really wants people in front to sit down. frenetic LET IT GROW jam cooks for 4m & evaporates. SEASTONES is mostly gentle bio-voltage. heads seems receptive, even enthused. another abnormally long CHINA CAT SUNFLOWER, starting with a noodle-y prelude & a quizzical diversion before garcia starts to sing. big thumpin’ TRUCKIN’, but quad bass solo, OTHER ONE riffage, SPANISH JAM, other themes feel restless & disconnected.

6/28/74 boston garden: an old fave with setlist shenanigans & a fun, consistent up-ness; big jam is more scattered than i remembered. split-up SUGAR MAGNOLIA/SUNSHINE DAYDREAM bookends a set for 1st time. SCARLET BEGONIAS moves to 2nd set & nearly breaks free. short soundboard SEASTONES excerpt erupts from vivid oceanic static to screaming flares. crisp TO LAY ME DOWN; best since its revival 42m WEATHER REPORT SUITE > MIND LEFT BODY builds, hovers near DARK STAR with brilliant themes, fuzzy dead air & long build to U.S. BLUES. surly phil intros SHIP OF FOOLS: “a quiet, tender, meaningful, sympathetic, heavy-duty ballad in the key of b-flat.”

6/30/74 springfield, MA: superb PLAYING IN THE BAND > UNCLE JOHN’S BAND > PLAYING IN THE BAND delights with mondo keith, dime-turn transition, & thoughtful reprise. 2 more spots where almost all drop out but garcia, including a jerry/phil feedback-fuzz bridge into UNCLE JOHN’S BAND & 6m prelude to STELLA BLUE. most cogent SEASTONES yet courtesy of the 1st complete soundboard. seems like phil harshing the noise & ned bleeping more consonantly. nice l’il charge from U.S. BLUES > TRUCKIN’. killer EYES OF THE WORLD (again: keith!) with wild kreutzmann drumming during end break.

7/19/74 fresno: right-on 30m PLAYING IN THE BAND marked by straight jazz, dancing rhodes by birthday boy keith, flowing de- & reconstruction. annoyingly chatty audience-only tape of SEASTONES punctuated by friendliest taper ever. “are you taping this?” “absolutely!!” 1st HE’S GONE since february is long & shaky, with dixieland blues coda by garcia that is sweet & mournful but never takes off. LET IT GROW, peaks atop peaks, a brief space-canyon, glorious patient SPANISH JAM, full-flight EYES OF THE WORLD. enthralling.

7/21/74 hollywood bowl: generally sweet audience tape with another lazy summer MISSISSIPPI HALF-STEP > IT MUST HAVE BEEN THE ROSES & another talk-marred SEASTONES. 21m PLAYING IN THE BAND with brisk note-chasing & a mini-MIND LEFT BODY/NOBODY’S FAULT/SPANISH JAM collision to set up WHARF RAT.

7/25/74 chicago: just noticing that ROW JIMMY has gradually sped up since slow-ass ’73 versions, back to refreshing SUGAREE-ish lilt. a pleasant vocal-less DARK STAR. nothing jarring, just satisfying linked jams, harmony guitars, drum/keys break, proto-SLIPKNOT, more. JOHNNY B. GOODE has weir shouting like it’s already the ’80s. donna gets brassy on a new part of SHIP OF FOOLS. :( .

7/27/74 roanoke: besides conversational 25m PLAYING IN THE BAND & garcia forcing U.S. BLUES into uneventful 5m boogie jam, oddly improv-less show. weir sings 5 songs in the 2nd set, all covers, 4 from the ’50s. no ONE MORE SATURDAY NIGHT even though it was a saturday. thanks?

7/29/74 landover: rare DC area show. the hep place to be for swinging beltway liberals at the height of watergate, per reports. straight-ahead & great. many enthused whoops throughout U.S. BLUES. especially assertive IT MUST HAVE BEEN THE ROSES. missing SEASTONES. compact & articulate 49m HE’S GONE > TRUCKIN’ > NOBODY’S FAULT > OTHER ONE > SPANISH JAM > WHARF RAT & bonus PEGGY-O.

7/31/74 hartford: 3 sets, all cracking & on point. 1st SCARLET BEGONIAS show opener, purdy rhodes cascades, concise but far-reaching. extraordinarily animated & delightful garcia vocals throughout. 1st time he punches the line “let my eyes no LONGER see” in ROSES. 1st onstage acknowledgment of SEASTONES? “we’ll be for another set in a few moments,” sez jerry. “…& additional weirdness,” adds phil. 2nd full SEASTONES soundboard is the harshest phil/ned custy blastage yet. “get off the stage,” someone yells audibly. #noiselife. curling, primo 40m TRUCKIN’ > MIND LEFT BODY > SPANISH JAM > WHARF RAT. even ONE MORE SATURDAY NIGHT kinda glows a little.

8/4/74 philadelphia: fairly ripsnorting JACK STRAW thanks to strident phil vocals, a completely tasty solo, & over-saturated mix. 20m LET IT GROW churns, goes supernova, & reforms for a fast, weird 2 minutes before garcia slashes into WHARF RAT.

8/5/74 philly: sparkling soundboard. another golden MISSISSIPPI HALF-STEP > MUST HAVE BEEN THE ROSES. not a natural segue, but a nice pairing. nearly gentle SEASTONES, woman desperately screaming “jerrrrrrry!” on audience tape. last 3m is a burbling annihilation & denouement. big bouncing SCARLET BEGONIAS, 1st to break 10m. half-hour TRUCKIN’ thrills & opens up without resorting to jam motifs.

8/6/74 jersey city: summer tour finale ends an era: the last east coast show (& final U.S. jaunt) ’til mickey hart’s return in ’76. 2 big 1st set jams. jeweled 19m EYES OF THE WORLD with atypically mellifluous bass solo. weir PSA: “don’t climb on the fence, idiot!” PLAYING IN THE BAND bubbles into syncopated space-funk & a totally-like-WOW segue into a semi-off-kilter SCARLET BEGONIAS & on back to PLAYING. rare HE’S GONE prefaces a 31m TRUCKIN’ swerve through SPANISH JAM & only the 5th OTHER ONE of ’74, bookended by SUGAR MAGNOLIA/SUNSHINE DAYDREAM. U.S. BLUES’s “summertime done come & gone” refrain caps the tour & the epoch. see you in a month for europe ’74.

9/9/74 london: the wall of sound takes europe! 1st of 3 nights at alexandra palace starts hours late, earning ill-will from UK heads. 1 set, scant improv. ugly coked-up vibes, per mcnally’s bio. nice SCARLET BEGONIAS, though, with audible cheer for “grosvenor square” line. 16m TRUCKIN’ packs big & bigger thrills with aggressive OTHER ONE bass orbits but instead parachutes into WHARF RAT.

9/10/74 london: excellent 1st set garcia, including dramatic LOSER & nuanced PEGGY-O. LET IT GROW finds edge of space & pulls back. weir opens show with tepid AROUND & AROUND & hijacks early 2nd set with interminable & ultra-lame 16m NOT FADE AWAY. thankfully, 31m DARK STAR flashes between heaviness, confusion, & killer keith. serious post-verse meltdown into bass-crazed MORNING DEW.

9/11/74 london: good: SCARLET BEGONIAS getting longer & more intricate. bad: donna now wailing/whoaing/la-la’ing deeper into the jam. set 2 consists of 69m SEASTONES > EYES OF THE WORLD > WHARF RAT. probably my all-time most-played sequence, still rewarding & weird. garcia & kreutzmann join for deep, lysergic SEASTONES, jagged figures transforming to silver valleys, floating blurps, buddha-guitar. ned’s strident melodic piano dominates EYES, unrushed themes unfolding before a 10m SEASTONES reconstruction into WHARF RAT. lagin remembers garcia erupting into “a prolonged loud belly laugh” after the jam’s conclusion, totally audible on tape. bonus 3rd set. garcia/weir/donna master the counterpoint on final SHIP OF FOOLS chorus, setting up dramatic finish.

9/14/74 munich: weirdly off. SCARLET BEGONIAS has cool counterpoint & high-speed garcia but awkward grooves & rare sloppy ending. SEASTONES achieves a mellow vibration & builds to quad-fuzz detonation finale. germans sound way riled. PINBALL WIZARD comes on PA. last of 6 lovely MISSISSIPPI HALF-STEP / MUST HAVE BEEN THE ROSES pairings, always a nice oasis in a desert of bob weir cowboy songs. no big jam, though 16m TRUCKIN’ hits laser focus for last few minutes, resolving to uptempo MIND LEFT BODY descent into WHARF RAT. more quicksilver garcia during EYES OF THE WORLD encore, but not enough to save show. backstage, bad vibes. http://bit.ly/X3M0HQ

9/18/74 dijon: smallest dead show in years, only a few hundred people. 1st set is ragged but even UNCLE JOHN’S BAND opener stretches casually. tiny french crowd even gets 1st FRIEND OF THE DEVIL since 12/72. jerry ballads aplenty & jam delights all over. both SEASTONES & 2nd set drums/bass break have lesh playing something like free jazz. EYES OF THE WORLD dips into a magical mood, wistful & quiet, lots of gorgeous lead bass & hints of SLIPKNOT; CHINA DOLL grows cool busy drum part. HE’S GONE burns into my new fave TRUCKIN’: 23m of fuego garcia, free DRUMZ, stereo bass, & a “CAUTION JAM” that’s something even better: 10m of shifting, sustained invention & cracking snare turnarounds, melting to SHIP OF FOOLS. thrilling, cohesive set.

9/20/74 paris: a shaggy night in the city of light. midtempo & loose FRIEND OF THE DEVIL. overheard on drum mic pre-BEAT IT DOWN THE LINE: “are you crazy? i can’t count that high, you dumb shit.” 14(?)-beat intro nearly collapses. bizarre SCARLET BEGONIAS gets quiet with slide guitar, off-mic donna la-la’s, off-key monophonic synth (ned?), subtle cowbell details. TRUCKIN’ fans out into squiggly space with neat results, eventually a long garcia/kreutzmann duet, & noise bass bridge into EYES OF THE WORLD. does EYES have bad mix or is it falling apart? unrelated(?), billy k. throws moped through a window. http://bit.ly/1rbjqQV

9/21/74 paris: a sometimes brutal conclusion to 7-show europe ’74 tour & the last dead show outside of san francisco ’til 6/76. or it could be another weir-less mix that just feels off. solid EYES OF THE WORLD outro sounds ready for “blues for allah” sessions. full band on 11m SEASTONES, a fun & dense mess that loses steam. great shattering-glass blasts & a nice ned/keith piano duet, though. 18m PLAYING IN THE BAND stays low stakes with small lurvely garcia/lagin dialogues, dissolves into DRUMS, & screeches awkwardly into final chorus. kreutzmann starting to get into cowbell, including on ROW JIMMY break. maybe the ’80s weren’t only mickey’s fault?

10/16/74 winterland: 1st of 5 eventful “retirement” shows, longest all-time gig (4+ hours of music) & probably the furthest out. camera crew starts shooting “the GD movie.” last ME & BOBBY McGEE. always dug the way garcia bark-crooned the high part on the chorus. weir’s 27th birthday, but happy overbalance of jerry songs; back-to-back TENNESSEE JED & crackling CUMBERLAND BLUES both stretch subtly. 24m SEASTONES, ambient washes sound like (or possibly are?) nearby humans screaming; into dope 25m garcia/lesh/lagin/kreutzmann quartet. too much even for SF deadheads, who clap impatiently during last space-out &, disbelieving maybe, slow to cheer when WHARF RAT starts. and then: 36m WHARF RAT > EYES OF THE WORLD, each with an elliptical solo jerry break. on EYES, thick double keys by lagin & godchaux. and still 45m more: TRUCKIN’ mini-suite &, before encore, phil endearingly & atonally singing HAPPY BIRTHDAY to weir.

10/17/74 winterland: the last shows before mickey hart’s return, containing final streamlined 1-drummer versions of many faves. last RAMBLE ON ROSE ’til 9/76. goodbye phil vocals, goodbye subtlety on the bridge. rare FRIEND OF THE DEVIL sounding comfy. last kreutzmann-only OTHER ONE, forever the best jam for his inside-out gang-of-one free drumming. it really tied the room together. 30m OTHER ONE gets both verses, quick SPANISH JAM & MIND LEFT BODY (last ’til 12/83). last BK-only STELLA BLUE. :( .
10/18

10/18/74 winterland: final 1-drummer SUGAREE & PEGGY-O, spare & uncomplicated tunes served well by spare & uncomplicated drum parts. last WEATHER REPORT SUITE PRELUDE/PART 1. among my fave weir songs, sad & autumnal no matter the season. love garcia’s faux steel. last of 4 jams out of SEASTONES with ned lagin on keys. kreutzmann comes out swingin’, leading modal jazz dances that fold back into the last DARK STAR ’til 12/78. end of an era. quiet & lilting 1st half & post-verse jam that stays mostly inside, almost funky. nice bounce. and into patient MORNING DEW that goes supernova, last ’til 9/76. 3rd set seems unnecessary, but why not? g’bye billy-only SHIP OF FOOLS. an audience mic isn’t synced or this is worst-clapping crowd in dead history, often just totally unrelated to music.

10/19/74 winterland: almost too many comings/goings to note. final fast, crisp version of FRIEND OF THE DEVIL before ’76 slowdown. last LOOSE LUCY & BLACK THROATED WIND ’til 1990. final 1-drummer SCARLET BEGONIAS. sigh. randomly, 1st MAMA TRIED since 8/71. sloppy! rare BIG RAILROAD BLUES, fun bakersfield break in intro. final TOMORROW IS FOREVER (1st since 12/72), underrated garcia/donna C&W. so many songs go on ice: CHINA DOLL (until 5/77), UNCLE JOHN’S (12/76), RACE IS ON (10/80), DIRE WOLF (9/77), BLACK PETER (10/77). before vocals, TRUCKIN’ (9/77) veers into 1st legit CAUTION JAM since pig’s death (fire!), DRUMZ, & solo jerry space.

10/20/74 winterland: “the last one” before the dead’s break from the road, end of the 1st epoch. sweet typo on the ticket, even. as usual, bill graham both cheered & booed but nails intro: “as it should be on a sunday night in san francisco, the grateful dead.” weir garbles every single syllable of the 1st verse of MAMA TRIED, psychedelic in its own way. besides that, whole 1st set sparkles. lesh getting raspy, but BROKEDOWN PALACE (last ’til 5/77) is a stunner, final “american beauty” tune sung with its original harmonies. SEASTONES (last at a GD gig) starts with ned solo, making tangible bleep grids, moist & tonal. then phil & white noise washes arrive. garcia joins for last 15m of SEASTONES, adding subliminal melodic swells & noodles to lesh & lagin’s unsettling, sparse vibrations. mickey hart returns for last 2 sets, quietness refined since ’71 instantly swallowed by big busy beat. band’s balance audibly shifts. new possibilities in propulsive hippie fusion & deep messiness emerge in 61m 4-song PLAYING IN THE BAND sequence with lagin on aggressive 2nd keys. 1st GOOD LOVIN’ since pigpen’s death, led by weir, only dead cover with 3 lead singers at different times (garcia in ’66/’69, pig in ’69-’72). and it’s way blown-out, the dawn of a new era of rhythmic clusterfuck, drifting between locked-in brilliance & aimless textural float. last EYES OF THE WORLD with 7/8 ending break. SLIPKNOT! riff links into STELLA BLUE, now swollen with overbearing tom-tom fills. cutting in mid-solo, a jawdropping MISSISSIPPI HALF-STEP 2nd encore. perfect call with nearly every lyric apropos. it even reigns in hart. WE BID YOU GOODNIGHT to close it out, the last until new year’s ’76. dudes in crowd still shouting for ST. STEPHEN.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

dead tapes at baby’s allright, 22 june 2014

 

all cassette Dead set
Baby's Allright
22 June 2014

5/2/70 Binghamton: Don't Ease Me In, I Know You Rider, Friend of the Devil, Dire Wolf, Beat It On Down the Line, Black Peter, Candyman > Cumberland Blues, Deep Elem Blues, Cold Jordan
4/28/71 Fillmore East: Morning Dew
5/26/73 Kezar Stadium: Eyes of the World > China Doll
2/18/71 Port Chester: Dark Star > Wharf Rat > Dark Star (with Ned Lagin)
12/18/73 Miami: Brown Eyed Women
5/8/77 Ithaca: Scarlet Begonias > Fire On the Mountain
5/26/73 Kezar Stadium: Here Comes Sunshine, El Paso, Loser
5/25/74 UC Santa Barbara: Promised Land, Ship of Fools
5/2/70 Binghamton: Dancing in the Street
10/19/74 Winterland: Scarlet Begonias, To Lay Me Down
6/18/74 Louisville: Eyes of the World > China Doll
9/28/75 Golden Gate Park: Help on the Way > Slipknot! > The Music Never Stopped
3/2/80 Jerry Garcia Band at The Stone: After Midnight > Eleanor Rigby Jam > After Midnight
5/2/70 Binghamton: The Other One > Cryptical Envelopment reprise > Cosmic Charlie
11/17/73 Los Angeles: Playing in the Band > Uncle John's Band > Morning Dew > Uncle John's Band > Playing in the Band
5/19/74 Portland, OR: Peggy-O
2/24/74 Winterland: China Cat Sunflower > I Know You Rider
5/2/70 Binghamton: Viola Lee Blues > We Bid You Goodnight

 

https://pbs.twimg.com/media/BqmJl2nCQAAMwOP.jpg

https://pbs.twimg.com/media/BqmVeULCYAAMWJU.jpg:large

dead vinyl at baby’s allright, 6 february 2014

all Grateful Dead/Jerry Garcia vinyl set
Baby’s Allright
6 February 2014

“Here Comes Sunshine” from Dick’s Picks, v. 1 (Brookvale)
“China Cat Sunflower > I Know You Rider” from Ain’t It Crazy bootleg
“Don’t Ease Me In” 7-inch version, from untitled Italian bootleg
“Cold Rain and Snow” from Grateful Dead (Warner Bros.)
“Stealin’” from Rare Cuts and Oddities (Rhino)
“It’s All Over Now, Baby Blue” from Vintage Dead (Sunflower)
“Dancin’ in the Street” from Dick’s Picks, v. 4 (Brookvale)
“Dark Star” from untitled Italian bootleg of Glastonbury Fayre [actually 8 April 1972]
“Crazy Fingers” from Blues For Allah (Grateful Dead)
“Positively 4th Street” from Garcia/Saunders’ Live at Keystone (Fantasy)
“Bird Song” from Garcia’s Garcia (Warner Bros.)
“Playing in the Band” from Weir’s Ace (Warner Bros.)
“Next Time You See Me” from Europe ’72, v. 2 (Rhino)
“Wake Up Little Susie” from Bear’s Choice (Warner Bros.)
“Silver Threads and Golden Needles” from Family Dog at the Great Highway, San Francisco, CA 4/18/70 (Rhino)
“Dire Wolf” from Reckoning (Arista)
“Cumberland Blues” from Winterland, May 30, 1971 (Rhino)
“Bill Graham introduction > Help On the Way > Slipknot! > Franklin’s Tower” from One From The Vault (Light in the Attic)
“It Hurts Me Too” from Europe ’72 (Warner Bros.)
“Ain’t It Crazy” from Ain’t It Crazy bootleg

Plunderphonic layered/segued:
“Mason’s Children > Caution > Feedback” / from Dick’s Picks, v. 4 (Brookvale)
“#2″ / from Ned Lagin’s Seastones (Round)
“Late For Supper > Spidergawd” / from Garcia’s Garcia (Warner Bros.)
“What’s Become of the Baby” / from Aoxomoxoa (Warner Bros.)
“Eep Hour” / from Garcia’s Garcia (Warner Bros.)
“Dark Star” / from Dick’s Picks, v. 4 (Brookvale)
“Side E” / from John Oswald’s Grayfolded (Important)
“Eyes of the World” from One From the Vault (Light in the Attic)

“Shakedown Street” from Shakedown Street (Arista)
“Cats Under the Stars” from Garcia’s Cats Under the Stars (Arista)
“Let’s Spend the Night Together” from Garcia’s Compliments of… (Round)
“‘Til the Morning Comes” from American Beauty (Warner Bros.)
“Run For the Roses” from Garcia’s Run For the Roses (Arista)
“Viola Lee Blues” from Grateful Dead (Warner Bros.)
“Boys in the Barroom” from Robert Hunter’s Tales of the Great Rum Runners (Round)

#deadfreaksunite 1973


#deadfreaksunite 1973
tape-by-tape notes

An extended listening project tracking the Grateful Dead’s evolution, recording by recording. Originally posted on Twitter on each show’s 40th anniversary and edited here for readability and occasional revision/correction and minor expansion. All shows streamable via archive.org.

[1965] [1966] [1967] [1968] [1969] [1970] [1971] [1972] [1973] [1974] [1975] [1976] [1977]

2/9/73 stanford: 1st gig in band’s actual hometown of palo alto since ’66, testing new PA & 7 new songs, most ever debuted at once. PA blowout on 1st note sadly not included. garcia almost immediately debuts ROW JIMMY, more subtly boisterous than later incarnations. weir’s using a nice new organ-y compression, notably on 1st LOOKS LIKE RAIN since 7/72, now unbearable without pedal steel & phil harmony. new boogie-outs LOOSE LUCY (with alternate lyrics) & WAVE THAT FLAG (the proto-U.S. BLUES) are the 1st 2 garcia songs that i find mostly disposable. 1st HERE COMES SUNSHINE near end of 1st set, 4-part vocals ragged & effective, bright changes perfect for glorious rainbow noodling. garcia’s 3 2nd set firsties begin with sweet emphatic groove of THEY LOVE EACH OTHER, song #1 in the deadhead wedding band fakebook. 1st EYES OF THE WORLD, instantly a major new tune, 19m debut dances between ambling & rambling, loses steam three times, picks up, misses the 7/8 ending & melts into 1st heartbreaking CHINA DOLL, the roughness of the rest of the show highlighting garcia’s buddha-croon.

2/15/73 madison: debut of loretta lynn’s YOU AIN’T WOMAN ENOUGH, donna’s 1st solo lead vocal, nice flash of ’72-style C&W. gentle cymbal-heavy DARK STAR, lots of garcia volume-knob violin twirls, pre-verse drift, & a lovely but clunky bass solo segue into 25m EYES OF THE WORLD > CHINA DOLL, phil sketches the 7/8 transition. the 1st big new piece for 2nd set suite-spot since ’67, really.

2/17/73 st. paul: drowzzzzy 20m early set HE’S GONE / LOOKS LIKE RAIN with, um, scatting by multiple suspects during former’s outro. punchy ROW JIMMY would fit on “Europe ’72.” terrifying ululation/flutter by donna throughout YOU AIN’T WOMAN ENOUGH. almost jamless 2nd set, save a short, buoyant HERE COMES SUNSHINE with a perfect, liquid segue into CHINA > RIDER.

2/19/73 chicago: amazing 2nd set. magical, soft-snared mix. 70m 5-song segue, starting with HE’S GONE. thankfully only phil scats. spiral splice from OTHER ONE into 1st essential EYES OF THE WORLD, lesh & weir darting lazily with garcia, 7/8 section fully formed.

2/21/73 champaign-urbana: garcia playing new tunes in his 1st slot at nearly every show. gang harmonies sound nice on ROW JIMMY. phil’s LOOKS LIKE RAIN harmonies return for final chorus. still figuring out the segue into EYES OF THE WORLD, 2 false stabs out of TRUCKIN’ (including a breakneck bass solo) before they achieve crossfade. the EYES gearwork loosens into a blissful open space, recombining a bit clumsily into a magnificent STELLA BLUE.

2/22/73 champaign: DARK STAR with flexatone(?!) & purposeful dissolve into another confident & blazing EYES OF THE WORLD. gigantic peak.

2/24/73 iowa city: 45m worth of bits/bobs. reluctantly starting to dig the brute force BOX OF RAIN vocals. consonant & opaque PLAYING IN THE BAND. tantalizing 5m post-TRUCKIN’ bass solo fragment verging on FEELIN’ GROOVY/BEAUTIFUL JAM (labeled as NOBODY’S FAULT BUT MINE?)

2/26/73 lincoln: 25m brightly traced DARK STAR, phil playing at SITTING ON TOP OF THE WORLD, meanders into EYES OF THE WORLD via finally-graceful bass segue. MISSISSIPPI HALF-STEP is jaunty & surprising in the now-gentrified post-suite jerry ballad slot, billy on top the segue all the way.

2/28/73 salt lake city: great dick’s picks mix. can really hear keith/weir interaction, especially nice on SUGAREE. 2nd verse & end tag shaved off THE OTHER ONE for ’73, collapsing instead into EYES OF THE WORLD, with alternate lyric about a “lazy country home.” sequence of languid EYES dissolves ends in 1st ’73 MORNING DEW. 1st BID YOU GOODNIGHT since 8/71 to close out 1st tour-leg.

[ during the dead's 14 days off between 2/28 & 3/15/73, garcia played 12 times: 3 shows with merl saunders, the 1st 8 old & in the way gigs, & pigpen's wake. not going to make a habit of tweeting garcia solo joints, i promise, but maaaaybe occasionally...

3/7/73 garcia/saunders at keystone berkeley: w/ ex-frumious bandersnatch/founding journey guitarist george tickner, who is oddly great, comping cool/responsive stuff under garcia & holding his own during great space-spirals out of MERL'S TUNE. subtle segue into GEORGIA ON MY MIND. garcia sounds genuinely & genially bummed to have to stop when the bar flips on the house lights. ]

3/15/73 uniondale: 1st gig since pig’s death, 1st at nassau coliseum, band wearing nudie suits, ala 12/72. phil’s 33rd birthday. weir’s outro freak-outs ramping up show by show; a slippery/hilarious slope. hard to reconcile the utter long island chaos of the audience tape with the quiet swing evidenced when source switches to A+ soundboard. spacious layouts in 24m PLAYING IN THE BAND jam. jerry ballads bookend EYES OF THE WORLD suite with wild OTHER ONE. 3+ hours, the new normal.

3/16/73 uniondale: nice jammy 1st set with BIRD SONG / PLAYING IN THE BAND combo to close. 1st local cheer for “just like New York City” in RAMBLE ON ROSE. jerry: “all you people throwing joints on the stage, why don’t you light ‘em up & pass ‘em around?” phil: “we’re ALREADY high, thanks.” return of the PROMISED LAND/BERTHA/GREATEST STORY EVER TOLD next-beat segue suite from 9/72, some decent cowboy boogie, & then… DARK STAR, with odd intro harmonies establishing a sustained dreaminess, moody tangents, & an atonal high-step into TRUCKIN’ > MORNING DEW.

3/19/73 uniondale: inaudible drums, indoor fireworks, & off-time crowd clapping on audience-tape portion make everything woozy. 1st HE’S GONE since pigpen’s death, crowd inventing a new meaning with small successive cheers during outro. last time in the 1st set. 1st TAKE A STEP BACK, lesh/weir-tandem dead-style crowd control. funnier than weir’s YELLOW DOG JOKE. PSA from garcia: “there are some krishna consciousness people out there passing out good things to eat. it’s okay to eat it.” 1st THE RACE IS ON since 5/70, excepting weir’s sit-ins with the new riders. half-smooth half-segues from HALF-STEP > STELLA BLUE > JACK STRAW. again, band doesn’t jam into EYES OF THE WORLD, opting for a clean next-beat start after THE OTHER ONE & easily hitting the thoughtful, lazy gait. at all 3 nassau gigs, 1st big drug busts by undercovers, apparently audible on some tapes. band won’t return til ’79.

3/21/73 utica: 1st properly rehearsed & quite lurvely WEATHER REPORT SUITE PRELUDE serves as an intro to DARK STAR. unconvincing space-out but awesomely zapped crossfade into EYES OF THE WORLD, 7/8 outro in full blossom. 1st ’73 WHARF RAT, rare mangled lyrics, nice jam.

3/22/73 utica: lesh & garcia charmingly bait the fire marshal. jerry, giggling: “yeah, try to keep your fires in the fire aisle.” big CHINA CAT SUNFLOWER > I KNOW YOU RIDER. terrific OTHER ONE with cartoonish stomp intro, busted gearwork, lyrical jerry/phil duet, return of the flexatone. plum excellent archetypal ’73, gorgeous soundboard, with band in absolutely zero rush. solid 106m of jam songs/suites.

3/24/73 philadelphia: A+ 30m TRUCKIN’ that gets lost en route to DARK STAR. breathless uptempo dazzle & 1st SPANISH JAM since 2/70. 4m DARK STAR proper is shortest ever & melts into SING ME BACK HOME, which i thought was retired. happy to be wrong.

3/26/73 baltimore: wolfman jack introduces the band before the 2nd set, which appropriately opens with the WJ-referencing RAMBLE ON ROSE. a poised post-TRUCKIN’ unwind into a warm WEATHER REPORT SUITE PRELUDE that picks up steam, sparkles almost reluctantly, & dissipates into WHARF RAT. then, another long jam (EYES OF THE WORLD) into the set’s 3rd jerry ballad (MORNING DEW) to go with ’73′s 1st CANDYMAN. nearly 4 hours of music.
3/28

3/28/73 springfield, MA: phil plugs upcoming “interstate smoke-in” on the steps of hartford capitol building on 4/19. “bring your own.” STELLA BLUE bridge lyric finally changes from “can’t keep from cryin’” to “gonna make ‘em shine.” 63m WEATHER REPORT SUITE PRELUDE > DARK STAR > EYES OF THE WORLD > PLAYING IN THE BAND dream sequence also contains anxious & unfocused night terrors.

3/30/73 rochester: crackling CUMBERLAND BLUES. i want to know why somebody (weir?) clearly says “BEEP!” at the 1:10 mark of I KNOW YOU RIDER. amicable drop from EYES OF THE WORLD into NOT FADE AWAY, a ’73 rarity, but it feels out of place in the post-EYES gloaming.

3/31/73 buffalo: predictable apeshitness at the right moment in the 1st buffalo TRUCKIN’. PROMISED LAND/BERTHA/GREATEST STORY choppy as ever. THE OTHER ONE contains a breakneck SPANISH JAM & a post-meltdown FEELIN’ GROOVY into the only CHINA CAT-less I KNOW YOU RIDER between ’70 & ’85.

4/2/73 boston garden: fried ‘n’ frayed tour closer. atrocious vocals. band sounds off, too. still, typically devastating PLAYING IN THE BAND. the only fully jammed HERE COMES SUNSHINE: rich post-outro weaving loses thread quickly & reverts to insect-space & then ME & BOBBY McGEE. last WEATHER REPORT SUITE-less PRELUDE to tired EYES. SUGAR MAGNOLIA freakout nearing peak weir. BID YOU GOODNIGHT now features donna. no thx.

5/13/73 des moines: 3-set/4-hour (plus breaks) lazy marathon. 1st jam (besides CHINA > RIDER) doesn’t come ’til end of set 2. perhaps due to tape degeneration, the 28m PLAYING IN THE BAND is a pleasant unceasing rain that never quite breaks into a storm. beautiful stasis. pre & post-verse, the band glides adroitly out of THE OTHER ONE triplets into consonant & constantly renewing churn.

5/20/73 santa barbara: the spring of 3-set stadium gigs continues. garcia’s voice is thrashed. sounds kind of cool, albeit painful. jerry’s renewed interest in banjo via old & in the way is obvious in crystalline, articulated runs in BEAT IT ON DOWN THE LINE. the nuanced, piston-like PLAYING IN THE BAND jam & spare post-verse OTHER ONE ruminating are both hard to imagine in front of 17K people.

5/26/73 kezar stadium: 1st show in the haight since 3/68. A+ bettyboard with gorgeous stereo separation & a high circulation staple. still a good starter tape. everything glows with spring sunshine. FEELIN’ GROOVY JAM now firmly built into CHINA > RIDER. final run of the very ’73 HE’S GONE/TRUCKIN’/OTHER ONE/EYES OF THE WORLD/CHINA DOLL sequence with deep quiet & a thrilling EYES peak.

6/9/73 RFK stadium: gang harmonies impressive on LOOSE LUCY, even donna, voices blending indistinguishably. BIG RIVER = primo boogie. garcia cycles through MORNING DEW & HERE COMES SUNSHINE licks during a discombobulated post-TRUCKIN’ dissolve. eventually, a nice count-off segue into PLAYING IN THE BAND. after 2 sets & 3.5 hours (following 2 openers), jerry announces that the dead are done & it’s time for the allmans.

6/10/73 RFK stadium: a stone summer classic with endless highlights. effortless 1st set glides to a weaving BIRD SONG & cymbaly PLAYING IN THE BAND. set 2 opens with EYES OF THE WORLD > STELLA BLUE (featuring an accidental(?) new melody) & rarely lets up, though AROUND & AROUND is weir at his dinkiest. a satisfying 26m DARK STAR filled with high-speed pre-verse maneuvers & a thorough bass meltdown into a WHARF RAT where kreutzmann lays out entirely during the bridge, wonderfully quiet music in a big, big stadium. a 3rd set superjam with dickey betts, butch trucks, & allegedly merl saunders, totally inaudible. mega hippie bullshit, but also great. lurvely GD debut of TRAIN TO CRY & then moldies: 1 elvis, 1 buddy holly, 2 chuck berry. likely the only decent grateful dead version of JOHNNY B. GOODE cuz the betts/garcia & kreutzmann/trucks combos are totally sweet. a delightful melding of the dead & allmans vibes.

6/22/73 vancouver: opener of 1st proper tour since march. 4 hours with a solid half devoted to jam songs & suites. my kinda dead. keith’s rhodes back in action with chiming, unexpected peaks in BIRD SONG finale. 1st tour with both rhodes & grand piano? 1st BLACK PETER since 10/72. l’il shaky with nobody’s strongest vocals, but band’s instinctual dynamics shine. lots of nice space. (sidenote: weir’s standard HE’S GONE > TRUCKIN’ transition is one of the few places where a count-off & segue mark can co-exist.) 5m semi-farty