Jesse Jarnow

#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] [1978] [1979]

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] [1978] [1979]

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] [1978] [1979]

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] [1978] [1979]

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.)