Jesse Jarnow

#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]

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]

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]

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.

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