tag:blogger.com,1999:blog-61008548835810544552024-02-22T13:22:26.066-08:00Cryptical DevelopmentsReflections on the Music in the Bay Area in the 60's, 70's and Beyondcryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-6100854883581054455.post-18645404621246646972023-07-30T11:39:00.001-07:002023-07-31T13:15:59.816-07:00Don't Panic, this is the Movies, remember? Grateful Dead at Universal Amphitheatre 6/30/73<p> <span face="Calibri, sans-serif">Between the May/June stadium shows that were recently released on the</span><u style="font-family: Calibri, sans-serif;"> Here Comes Sunshine</u><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">box set and the huge Watkins Glen concert with the Allman Brothers and the Band, the Grateful Dead did a short west coast tour that included three more stadium shows in Vancouver, Portland and Stadium (all released on the <u>Pacific Northwest: the Complete Recordings 73-74</u> box set), followed by a three-night stand at Universal City’s intimate new concert venue, the Universal Amphitheatre. The Amphitheater had been created as a</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">regular stop on the Universal City studio tours where western-style stunt performances were performed during the day. At 5200 seats, the venue was one of the smallest venue the band played that year (the Pershing Auditorium in Lincoln, Neb. was a tad smaller at 4800), but certainly the smallest place they played that summer of big stadium shows. The amphitheatre was well designed for music, with a wide arc of seats that was not deep so that the farthest seats from the stage were less than 150 feet. Although it was later enclosed, the venue was outdoors when the Dead played there. It also had quite a bit of LA glitz, with the ushers all in tuxes and the backdrop behind stage curtain showing the wild west décor that was the setting for the afternoon stunt shows.</span><span face="Calibri, sans-serif"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Although I had just seen the Dead in May at UCSB, another out of town show beckoned, and the fact that my friend David’s well-connected father got us primo seats for the Saturday show was an added incentive, so I took a cheap commuter flight down and joined David and my roommate Tim, also in LA for the summer, for another memorable 1973 Dead show. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Despite the small venue, the Dead’s sound system was much the same as what they used at UCSB, with stacks of McIntosh amplifiers and hard trucker speakers behind the band and much taller columns of speakers on either side of the stage. Despite the enormity of the PA, the sound was not overwhelming, and, as the PA committee moved towards the wall of sound, all of the instruments and vocals were crystal clear. With trim body and his hair newly styled into a black halo around his face, Jerry Garcia was dashing in his trademark black t-shirt and jeans, and Weir, Lesh and Donna Godchaux were also a tad more dressed up than was the norm at the time. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The first set was pretty standard, relying heavily on material from Garcia and Weir’s solo albums aamd Europe 72, long with newer tunes destined for Wake of the Flood. Weir opened with Promised Land while the sound was tweaked. Next up was a bright, letter perfect rendition of “They Love Each Other” followed by equally crisp renderings of “Mexicali Blues,” “Tennessee Jed” and “Looks Like Rain,” on which Keith Godchaux contributed some gorgeous, delicate piano. The set’s first extended excursion was “Bird Song,” on which Kreutzmann masterfully driving the bus with mostly cymbals and kick drum. Garcia, Weir and Lesh stretch out, especially during an extended coda, out of which they charged directly into a spry “Cumberland Blues,” with Garcia and Keith G. playfully jousting licks. As the song concluded, some smoke drifted across the stage, but was quickly dispersed, prompting Garcia to quip “Don’t panic folks. This is the movies, remember?” Weir came back with “Wait until they see the volcano.” <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Next up was “Row Jimmy,” with lush vocals by Garcia and Donna, Keith switching between electric and grand piano above Kreutzmann’s crisp martial drumming. After a fine “Jack Straw,” Keith shone again with barrelhouse licks on “Beat It On Down the Line,” after which things slowed down with a rare first set “Black Peter.” A long set-closing “Playing in the Band” found Garcia and Weir trading spicy chordal stabs while Keith kept the proceedings grounded on his electric piano. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The second set opened with a bang with “Greatest Story Ever Told” followed by “Ramble On Rose” and a lively “El Paso.” We were lucky to catch the run’s “Dark Star” next. Medium in length, the introductory part was all about Garcia jousting with Lesh, until Keith asserted himself with some ambient electric piano about five minutes in, and getting a delicate near-solo passage starting at about 6:30, with the electric piano sounding eerily like an old toy music box. Garcia then re-inserted the Dark Star intro and went into the first verse. After the vocal interlude, the light, airy mood devolved into feedback and darker chaos for several minutes before stopping abruptly as the band shifted gears radically and dropped into “Eyes of the World.” “Eyes” was a long version played to perfection. The coda to “Eyes” featured two runs through the proto-“King Solomon’s Marbles” section with a lengthy instrumental interlude between them where Keith, back on the grand piano, played some virtuoso jazzy passages with Jerry. The post-marbles jam continued for a while, the volume decreasing and the pace slowing as the band shifted nimbly into a gorgeous, moody “Stella Blue.” After a tuning break, the set concluded with a double dose of Weir-sung rock and roll with “Sugar Magnolia” and a “Saturday Night” encore<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">After a good night’s sleep and a hearty breakfast, I headed back to northern California very satisfied with the weekend. The Universal Amphitheatre was a really special place to see the Dead, and a treat to see such an intimate show in a year of big arenas and stadiums. Although the Dead never played there after this run, Garcia appeared at the venue twice in 1989 and 1991, although it had been converted to an indoor hall by then. <o:p></o:p></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com0tag:blogger.com,1999:blog-6100854883581054455.post-75297406481644063512023-05-17T11:29:00.001-07:002023-06-05T02:21:27.670-07:00Sun, Sea Breezes, and the Grateful Dead. UC Santa Barbara May 20, 1973<p> </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I can readily say that the most enjoyable Dead show I ever attended took place 50 years ago this month (writing this in May 2023) outdoors on the UC Santa Barbara campus. After starting 1973 with a show at Stanford’s Maples Pavilion, the band mounted a musically memorable and doubtless very chilly Midwest tour during the last half of February. Following a brief break, they swung through the eastern seaboard mostly playing basketball arenas and large auditoriums. Following a six-week hiatus, they started a May-June tour of outdoor stadiums comprising five shows at four venues which have now been compiled as a 17 disc Rhino Box Set called <u>Here Comes Sunshine</u>. Oddly, the first show of this outing was in Des Moines Iowa, followed by two shows closer to home in Santa Barbara and San Francisco <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The stadium show marked the return of both the band and venue following mishaps in 1969. As documented by reporter Michael Lydon in a tour journal published in <a href="https://www.rollingstone.com/music/music-news/grateful-dead-jerry-garcia-1969-cover-story-103056/" style="color: #954f72;">Rolling Stone</a>, The Dead’s performance at UCSB’s Robertson Gym was cut short when Jerry Garcia and Bear decided that the house sound system provided for the show was inadequate and should be replaced with their own equipment. However, the Dead’s sound system was ultimately not assembled, and the band slunk off without playing the second set that they had announced to the crowd. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The last show held at UCSB’s stadium took place on November 9, 1969 and featured a bill comprising LA folk rockers Sweetwater, the Steve Miller Band (who ultimately did not perform), and headliners Crosby Stills Nash and Young. I also attended that show and a description is provided <a href="https://cryptdev.blogspot.com/2011/01/score-benefit-dead-and-others.html" style="color: #954f72;">here</a>. This popular billing led to many people without tickets crashing the gates and damaging the facilities, leading to a ban on concerts being held there until 1973. At the time, UCSB was a hotbed of student activism, which probably reached its peak with the February 1970 riots that culminated in the burning of the Bank of America branch in Isla Vista, the campus-serving community adjacent to UCSB. By 1973, with US participation in the Vietnam war coming to a close and violent student activism ebbing, the campus agreed to give both the Dead and concerts at the stadium another chance. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">A group of my UCSC friends and I drove down the coast on Friday afternoon after classes, getting to the Isla Vista apartment of the friends we stayed with in time for dinner. In the early evening, a group of us walked over to the campus to check out the situation at the stadium. Although we were unable to get into the venue, all of the lights were on, and the Dead were in the middle of a sound check. Actually, it was just Phil testing out the sound system, but we were treated to a good quarter hour or so of him soloing on his bass, with the sound reverberating through the stadium. It sounded like the sound was coming from different places on the stage, which seems entirely possible given that Lesh’s Alembic bass “Big Brown” had quadrophonic capabilities that had each string routed to a different set of speakers. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZinZUpO7B51uLhSiNItNB5xcDEg8KXUadtHh_e7OetGIcKvvSXvYFJqhGDNkSVrX_Kgq-3Nbov3jDXB91bOzucuxpjLuWws_xTZ8j7xcB_0zGVrAAZnqk8Sr-Ykg0UFBQfooN94nUKo8HXu8Bu4UmQL6fw7UMhOSoma3t4ZTxzsmsafwZXM6AczuX/s1432/Phil%20and%20MacIntosh%20Amps.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1276" data-original-width="1432" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZinZUpO7B51uLhSiNItNB5xcDEg8KXUadtHh_e7OetGIcKvvSXvYFJqhGDNkSVrX_Kgq-3Nbov3jDXB91bOzucuxpjLuWws_xTZ8j7xcB_0zGVrAAZnqk8Sr-Ykg0UFBQfooN94nUKo8HXu8Bu4UmQL6fw7UMhOSoma3t4ZTxzsmsafwZXM6AczuX/w320-h285/Phil%20and%20MacIntosh%20Amps.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Phil and McIntosh Amps 5/20/73 Photo M. Parrish<br /><br /></td></tr></tbody></table><br /><o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">On Sunday morning, we took our time getting over to the stadium, probably arriving around 10 AM. It was a perfect day for an outdoor concert, sunny but not too hot, and tempered by gentle sea breezes. In contrast to general admission stadium concerts in subsequent years, there was no real ‘land rush’ for seating, and our group secured a comfortable outpost on the field about 100 feet from the stage. In contrast to the 1969 CSNY show, the venue was full but did not seem oversold, and there was plenty of space to spread out on the grass or in the stands. If there were any crowd control issues, I did not see them. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"> </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifPdKN2SCvfCV_UypY04yFxWzddLi0O3yyd1l_Dwv0M5BJivx8qN5LtMOhUPmxZ7QUU4Vkgy-PNFHvR98Uu3fIKrOA6HOas3PCdGh6Qd2ucDbPxoKk9li_BOKte5twjTaf-uISm6ajHSHWkJy-pEJodbYfXY6Ca5w8ZO4Q5eeekEfBNFxmp4W2ENn/s1847/Torbert%20and%20Marmaduke%20Cropped.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1273" data-original-width="1847" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifPdKN2SCvfCV_UypY04yFxWzddLi0O3yyd1l_Dwv0M5BJivx8qN5LtMOhUPmxZ7QUU4Vkgy-PNFHvR98Uu3fIKrOA6HOas3PCdGh6Qd2ucDbPxoKk9li_BOKte5twjTaf-uISm6ajHSHWkJy-pEJodbYfXY6Ca5w8ZO4Q5eeekEfBNFxmp4W2ENn/w295-h204/Torbert%20and%20Marmaduke%20Cropped.png" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dave Torbert and Marmaduke 5/20/73<br />Photo: M. Parrish<br /><br /></td></tr></tbody></table><br /><o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> <span> </span></o:p>The show opened at noon with Dead family members New Riders of the Purple Sage. By 1973, the New Riders had established themselves as a strong headlining act, especially on the east coast. They opened the afternoon with an expansive set that split the vocal duties between principal songwriter John “Marmaduke” Dawson’s originals, lead guitarist David Nelson’s takes on “Dim Lights, Thick Smoke, and Loud , Loud Music” and “She’s No Angel.” Bassist Dave Torbert sang lead on the majority of the tunes, including the Robert Hunter penned rocker “Kick In the Head” and rock and R&B classics including “Hello Mary Lou,” “School Days,” and “I Don’t Need No Doctor.”</p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">After a reasonable break, the Dead took the stage, starting off with a familiar opener, “Bertha.” This was only the second time I had seen the Dead in a large outdoor venue, and the improvement in the overall band sound between this and the previous summer’s show at the Hollywood Bowl was amazing. Since late 1972, a sound engineering brain trust convened by Ron Wickersham and comprising Bear, John Meyer, Sparky Razene, Dan Healy, John Cutler, Rick Turner, and John Curl had been working on tweaking the band’s stage setup leading towards 1974’s immense wall of sound. The UCSB stage setup was really a mini-wall of sound, with stacks of different types of family-built Hard Trucker speaker cases and McIntosh amplifiers arrayed behind the band along more familiar elements like Garcia’s twin reverb amp and the Courtney Pollack tie-dyed speaker cabinets. The most notable changes were the towering columns of speakers on either side of the stage that comprised the majority of the PA, with a wide variety of sizes and shapes of speakers transmitting different elements of the band’s sound. A large canvas shade was stretched between the enormous scaffolding that housed the PA stacks, keeping the majority of the sun off of the band. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Garcia played the entire show using the Alembic-modified Stratocaster "Alligator" while Weir favored a similarly tweaked Gibson SG. Keith Godchaux used a full grand piano that, despite being covered by a reflective tarp, demanded repeated ministrations by a harried-looking piano tuner.</p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqm50NZNDNwiLFUs8Gvq9CxSs6jocS44mx8o3LgGUfHwStstghyGpJhhpD8aNxq3IFvEc442kB4dbw0PvghdFOnH-NYI76LdjdiXSgn88shTduPoI7jgIGbSQsfN95-hp0N8NmCxqMTw66DtYJFQZ8z6iAzfOZTiivgoVer4auWc0qHeur_UP_EhrC/s2019/Garcia%20singing%20cropped.png" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1295" data-original-width="2019" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqm50NZNDNwiLFUs8Gvq9CxSs6jocS44mx8o3LgGUfHwStstghyGpJhhpD8aNxq3IFvEc442kB4dbw0PvghdFOnH-NYI76LdjdiXSgn88shTduPoI7jgIGbSQsfN95-hp0N8NmCxqMTw66DtYJFQZ8z6iAzfOZTiivgoVer4auWc0qHeur_UP_EhrC/s320/Garcia%20singing%20cropped.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: M. Parrish</td></tr></tbody></table><br />The first set rolled along with familiar tunes for awhile, “Mama Tried,” a letter-perfect “Box of Rain,” a rousing “Deal,” “Looks Like Rain” and “Tennessee Jed.” Next up was Weir’s interpretation of Buck Owens’ “The Race Is On”. Previously sung by Weir a few times in in 1969-70, either sitting in with the New Riders or by the Dead with Marmaduke guesting on vocals, the country chestnut had been dusted off during the winter tours and given a peppy new arrangement with great harmonies from Donna and Jerry. The “China Cat Sunflower”/”I Know You Rider” medley was a perfect complement to the sunny day, and featured an embryonic version of the transitional D-A-G-A passage that became a full blown feature of the medley up until the band’s hiatus at the end of 1974. <o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Rather than concluding the set with China Cat>Rider, the band kept going with “Beat It On </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4qhHBQr5FQ9oYc5t43Tl8KY6oFA5_QCuZPiBhCCl7wvsaEH9Hlf6iSN6AsVRFkMb87b3ZxKYCTnAnf_kJ3jt54yzNUlBbGMGKw1nOzydl5ijsC2xfUkMdsHevbBppWLVfEnMOGIaZ9haoLhtdfn5VdxhQ12SaOZ7p99Hin_CVPniiJV_ve3_HtzKS/s2944/group%20shot.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="2944" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4qhHBQr5FQ9oYc5t43Tl8KY6oFA5_QCuZPiBhCCl7wvsaEH9Hlf6iSN6AsVRFkMb87b3ZxKYCTnAnf_kJ3jt54yzNUlBbGMGKw1nOzydl5ijsC2xfUkMdsHevbBppWLVfEnMOGIaZ9haoLhtdfn5VdxhQ12SaOZ7p99Hin_CVPniiJV_ve3_HtzKS/s320/group%20shot.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">5/20/73 Photo M. Parrish</td></tr></tbody></table><br />Down the Line,” again showcasing Donna’s great harmony vocals, followed by the first ‘new’ song of the show, “They Love Each Other” in its early (and, to my ears, superior) up-tempo arrangement. The set then wrapped up with a gnarly, 19 minute excursion into the depths of “Playing In the Band.”<o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Following a generous break, the band came back with another set of single songs, starting with familiar opener “Promised Land” and including two more of the new-for-1973 tunes, “”Row Jimmy” and Here Comes Sunshine” alongside relative newcomers “Brown-Eyed Women,” “Mexicali Blues,” “Jack Straw” and “Greatest Story Ever Told,” wrapping up with a cheerful “Casey Jones.” Mid-set, several of us were confused by the fact that the band had not launched into a typical second set medley/jam, and it was a surprise to all when Weir announced that they were going to take another short break. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">As the day progressed and shadows grew long, the Dead showed no signs of fatigue as they</p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigb-xPlTsQ137bDWU5Hfn60Jnk88bKy7uBFs_POecdNAcMyqeWfiOt8Nvt9cev9lnzw64WWQmp27xfLkczXbplo8aFOf4DTodWMm4PlnjZRfrgnVhmbjumAmhl2MCj-erajfGBIW7dGBizY7HQroZkZnV9xHf5Ly_L81TkvTiTQVYboGoJwr9mdazb/s2580/Circling%20cropped.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1241" data-original-width="2580" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigb-xPlTsQ137bDWU5Hfn60Jnk88bKy7uBFs_POecdNAcMyqeWfiOt8Nvt9cev9lnzw64WWQmp27xfLkczXbplo8aFOf4DTodWMm4PlnjZRfrgnVhmbjumAmhl2MCj-erajfGBIW7dGBizY7HQroZkZnV9xHf5Ly_L81TkvTiTQVYboGoJwr9mdazb/s320/Circling%20cropped.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">5/20/73 Photo: M. Parrish</td></tr></tbody></table><br /> launched into their third set with a powerful “Truckin’” which led into a gritty instrumental take on “Nobody’s Fault But Mine” driven by Garcia’s gritty slide guitar and then which opened up into a free-form jam in the key of E that featured some fine ensemble playing before dropping into an athletic, jazz-inflected Kreutzmann drum solo that culminated with Lesh’s bass bomb that heralded the arrival of “The Other One.” After a powerful first verse, the band settled into a more plaintive late afternoon exploration and some rapid arpeggiated soloing by Garcia that erupted into a furious wah-wah driven “Tiger” passage that shortly dropped into the mellow intro to another of the unrecorded tunes, “Eyes of the World.” “Eyes,” along with the earlier renditions of “Here Comes Sunshine,” China Cat>Rider,” and “They Love Each Other,” were perfect complements to the lazy Sunday afternoon. The brisk, jazzy outro to “Eyes” abruptly morphed something newly appended to “Eyes,” the repeated bass-and-guitar driven repeated minor key riff that ultimately emerged (in expanded and modified form) on record as “Stronger than Dirt or Milking the Turkey” on their 1975 album “Blues for Allah.” As the pace slackened and the volume crept downwards, Garcia and Hunter’s poignant “Stella Blue” emerged out of the previous instrumental chaos. By this time, the late spring afternoon was starting to ebb, and the Dead wrapped up their third set with “Sugar Magnolia.” Retuning for the encore, Garcia told the crowd "We had a pretty nice time today. Thank you all for coming." before sending the mellow crowd happily on their way with a no-frills “Johnny B. Goode.”<o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">We all had school on Monday, so made the trek back to Santa Cruz Sunday night with happy memories of a glorious day of music on our minds. The Dead played a similarly ebullient outdoor show at Golden Gate Park’s Kezar Stadium the following Saturday which I did not attend because of a conflicting engagement in the Sierras. <o:p></o:p></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com2tag:blogger.com,1999:blog-6100854883581054455.post-42383521197386855072023-04-22T11:59:00.003-07:002023-04-22T16:07:14.993-07:00The Ducks and Friends in Santa Cruz – Summer of 1977<p> <span face="Calibri, sans-serif">My last summer in Santa Cruz before leaving for graduate school in Chicago was an eventful one in CSNY lore. Most notable was Neil Young’s summer-long residence in town, during which he played 18 shows with an ad-hoc supergroup called the Ducks, mostly in small, funky watering holes. Although unofficial tapes of a few of these shows have circulated for years, this month (April 2023) marks the first official release of the band’s music on a two-disc compilation entitled</span><span face="Calibri, sans-serif"> </span><u style="font-family: Calibri, sans-serif;"><a href="https://neilyoung.warnerrecords.com/en/the-ducks-high-flyin-3lp/093624855750.html">High Flyin’</a></u><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">that does a good job of providing an audio document of the band’s energetic live sound and its diverse catalog of original and cover material.</span><span face="Calibri, sans-serif"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">In addition to Young, the Ducks comprised bassist Bob Mosley, guitarist Jeff Blackburn, and drummer Johnny Craviotto. All had deep musical roots that allowed them to easily stand toe-to-toe with Young creating a raw energy that blended their California roots with a bar band energy that paralleled the emerging ethos of punk rock (Indeed, Young and Blackburn crafted “Out of the Blue and Into the Black” either during the summer or shortly thereafter). <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Mosley was the bassist and the most commanding vocalist in the original lineup of legendary San Francisco group Moby Grape. After recording two albums with the group’s original lineup, they famously started to fragment with the defection and mental breakdown of Skip Spence, the band’s vibrant and charismatic front man. Although they filled out their Columbia contract with two fine additional albums, they never recaptured the financial and critical success of their initial heyday in 1966-68. In 1971, the original band (plus cellist Gordon Stevens) relocated to Santa Cruz and recorded a fine album, <u>20 Granite Creek,</u> named after the address of the sprawling mountain house they lived in at the time. The band did a few dates in support of the album, including an infamous gig at the Fillmore East, but Spence soon quit again and the group broke up once more. Most of the band members remained in the Santa Cruz mountains, and a new version of the group existed from about 1973-75, with original members Mosley, Peter Lewis, and Jerry Miller augmented by Blackburn on guitar and vocals and Craviotto on drums and vocals. This group was a live powerhouse on good nights, and Blackburn contributed quite a bit of original material, including the driving anthem “Silver Wings” which was later a mainstay of the Ducks shows, with two versions showcased on “High Flyin’.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Young knew both Mosley and Blackburn since the 60s, as the Buffalo Springfield and Moby Grape connected early in their careers, and Blackburn, then partnered with vocalist Sherry Snow, was also part of the early SF Ballroom scene. Blackburn had moved to the Santa Cruz area in the late 1960s, and stayed there until his untimely passing earlier this year. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">As Ducks tour manager Frank Mazzeo recounted the band’s origins in an a 2002 <a href="http://www.benmarcusrules.com/summer-of-neil-neil-young-with-the-ducks-1977" style="color: #954f72;">interview</a> with writer Ben Marcus, he was drawn to Santa Cruz when he heard that the Jeff Blackburn Band (which then comprised Blackburn, Mosley, and Craviotto) had lost their lead guitarist, so the enigmatic Young decided that a summer in Santa Cruz playing in a superior bar band would be a great thing to do. Renting two bungalows on the cliff above Seabright Beach, Young and Mazzeo settled in for the summer.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Young was no stranger to Santa Cruz, having first performed at the Civic Auditorium in 1973, and subsequently made a few guerilla performances with Crazy Horse at county venues like Margarita’s and the Catalyst in 1975 and 1976 (a practice he continued into the 1990s). His first appearance of the Santa Cruz summer was not a Ducks show per se, but rather a guest shot at a birthday celebration for another Moby Grape member, lead guitarist Jerry Miller, at the Backroom, a concert space behind beloved but long-defunct Szechwan restaurant the New Riverside. Young only guested on a few songs near the show’s end, but the Ducks were revealed publicly a few days later through a cover article/interview in Santa Cruz weekly <u>Good Times</u>, announcing their debut at the Crossroads, a tiny watering hole that was located in the Sash Mill shopping center just north of downtown. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">In pre-Internet days, news of the band’s creation traveled slowly, so I was lucky enough to get into the packed Crossroads for their first show. I had seen Young several times previously, with CSNY, the Stray Gators, at the 1975 SNACK benefit, and a memorable 1976 Berkeley Community Theater show with Crazy Horse, but seeing him in such an intimate setting was an unexpected treat. A large equipment/recording truck outside was out of character for a small bar gig, and the number of roadies/technicians outnumbered the band members. Despite the front page <i>Good Times</i> article, it was a remarkably low-key gig, and the Crossroads was not oversold, nor did there seem to be a lot of people shut out from the show. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Despite this being the first official Ducks gig, the two strong sets of music the band played indicated a lot of rehearsal had preceded the live show. Since Blackburn, Mosley, and Carviotto had been performing together for some time, they had already developed a strong onstage chemistry, particularly the rhythm section. In addition to being a commanding vocalist, Mosley remains one of the most powerful straight-ahead bass players to come out of the San Francisco ballroom scene, and he and Craviotto meshed powerfully with Blackburn’s chunky rhythm guitar, a synchrony that reflected the many hours they shared together on stage in Moby Grape and Blackburn’s band. Young’s sizzling lead guitar and raunchy harmonies fit right into the band’s well developed bar band persona. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">All four band members shared lead vocals, roughly alternating turns throughout the show. Young performed a rousing “Mr. Soul” at just about every gig, but otherwise focused on a relatively short list of mid-seventies originals each night, including versions of “Little Wing” (recorded the previous year for the only recently released Homegrown), “Human Highway,” “Are You Ready for the Country,” “Long May You Run,” “Comes a Time,” “Cryin’ Eyes,” and “Sail Away” (the one Ducks song he apparently penned during his summer in Santa Cruz). On any given night, Young sang less than a quarter of the tunes performed over what was usually two sets. This reflected either his reluctance to hog the spotlight after joining an existing band or, equally probably, the fact that the band already had a strong repertoire of road-tested material featuring the other three musicians. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Mosley’s vocals included a couple of mid to late period Grape Tunes: “Gypsy Wedding” from 20 Granite Creek and “Truckin’ Man” from Moby Grape 69. He also performed a number of other originals, most of which have not ended up on subsequent Moby Grape or Mosley solo albums. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Craviotto’s vocal slots mostly comprised renditions of classic rock and country anthems like “I’m Ready,” “Honky Tonk Man,” and “Bye Bye Johnny.” A smooth, supple vocalist, he also took lead on a breakneck cover of Jack Nitzsche’s “Gone Dead Train.” <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The deepest catalog of Ducks tunes belonged to Blackburn, and they were a diverse bunch of tunes ranging from wistful country rockers like “This Old Car,” the mystical anthem “Two Riders,” the surf-rock raveup “Hey Now, and the elegant instrumental “Windward Passage,” which they introduced at later Ducks shows. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">All in all, that first show was an amazingly energetic and entertaining night of music that belied the fact that the quartet had only been working together a few days. After another night at the Crossroads, the Ducks regularly played several times a week at watering holes throughout the Santa Cruz city limits. They would approach a venue in the afternoon, buy out the band scheduled to play there, and put out another night of high-energy rock and roll. As the word spread through Santa Cruz County and beyond, hunting for the elusive Ducks gigs became a pastime for more and more people. I was working in Palo Alto at the time and also preparing to move to Chicago for grad school in a few weeks, so I did not join the hunt, but a tip from a friend got me into a second gig at the Crossroads a few weeks later, which found the band in even finer form. That show, on August 5, is represented by seven tracks on “Flyin’ High.”<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">During prime Duck season, I also got to see a Moby Grape show on July 29 (I think) at the Crossroads, with the lineup that recorded the 1978 <u>Live Grape</u> album: Jerry Miller, Peter Lewis, Skip Spence (back after a long absence), and newcomers Cornelius Bumpus, Christian Powell and, from the Rhythm Dukes, drummer “Fuzzy” John Oxendine. Spence was definitely in his own orbit, and the addition of Bumpus’ songs and vocals lend a new R&B flair to the band’s sound. Although the Ducks did not play that night, no band members were in attendance at the Grape show, and Mosley was not part of the band again until sometime in the 1980s. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The other show I saw with Young in attendance that summer was a sublime acoustic benefit for the United Farmworkers at the SC Civic, billed as a David Crosby solo show. Following a great set by the original David Grisman Quintet (the first of many times I saw them), Crosby appeared alone for the first few songs, opening with a killer triptych of “The Lee Shore,” “Page 43,” and “Triad” after a few more songs, he brought out Graham Nash, and they performed five songs as a duo, most notably a gripping version of Nash’s “Cathedral.” After Crosby’s “Low Down Payment,” the duo were joined onstage by ‘local boy” Neil Young, who stayed for the remainder of the show, with the trio performing Young’s “Human Highway,” “New Mama” and “Only Love Can Break Your Heart” along with CSN/CSNY favorites “Déjà vu,” “Our House,” “Wooden Ships” and “Teach Your Children,” concluding the impromptu reunion with “Sugar Mountain.” This was a warm, intimate performance that showed the trio in good spirits and enjoying one another’s company. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">By the end of July, word had spread about the Ducks and all of the shows had lines of would-be patrons from the rest of the bay area and beyond that far exceeded the capacity of clubs like the Crossroads and the Backroom. The Ducks moved to playing larger venues like the Catalyst and the Santa Cruz Veteran’s Auditorium, but a lot of the magic had slipped away. Near the end of August, some of Young’s guitars were stolen from his summer rental, and the Ducks era ended with their biggest show, at the Santa Cruz Civic. Young returned to his ranch in the mountains and, although the remaining Ducks continued to perform for a while without Neil, the band lost much of its mojo, and soon disbanded. Blackburn continued to be an important part of the Santa Cruz music scene until his passing last year, whereas Craviotto switched gears and became a well-respected manufacturer of high-end wooden <a href="https://www.craviottodrums.com">drums</a>. Sadly, he also passed in 2016, leaving Young and Mosley (who seems to have retired from the music business) as the last Ducks standing. It’s been a long time coming, but <u>High Flyin’</u> does a fine job of capturing the magic created during those few weeks in Santa Cruz nearly a half-century ago. <o:p></o:p></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com1tag:blogger.com,1999:blog-6100854883581054455.post-69186572515123677952023-02-09T03:55:00.003-08:002023-02-09T11:11:34.519-08:00The Dead Back on the Farm. February 9, 1973<p> <span face="Calibri, sans-serif">It’s hard to believe that it was 50 years ago today that I first heard the Grateful Dead in my hometown of Palo Alto (well, really in Stanford if you want to get technical). Although I had seen Jerry Garcia played in and around town with Merl Saunders and the New Riders a few times, the Dead had not played in town since the Midpeninsula Free University Be-In in 1967, and a temporary ban on rock concerts at Stanford’s Frost Amphitheater had kept them from the most obvious appropriately sized venue in the area. Thus it was a welcome surprise when the Dead announced that they would open their winter 1973 tour at Stanford University’s basketball stadium, Maples Pavilion.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">The stadium, named after principal donor Roscoe Maples, had opened in 1969, but this only the fourth time the 7500-capacity venue had been used for a concert after evening shows were banned from Frost in fall of 1970.</span><span face="Calibri, sans-serif"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The show was memorable musically, but its artistic aesthetics were leavened with a number of physical challenges. The Wall of Sound made its official debut at the Cow Palace the following March, but the Maples show was the debut of the prototype of that system, which replaced the Dead’s traditional wall of amplifiers with stacks of hard truckers speakers and McIntosh amplifiers, creating a towering edifice behind the band for the first time. As has been famously recounted in several Dead histories, and recounted by sound man Dan Healy himself in a 1982 Interview with David Gans (published in <a href="https://perfectible.net/product/conversations/">Conversations with the Dead</a>), the debut of the new system did not go as planned: <span face="Arial, sans-serif" style="color: #010001;">“ We spent maybe $20,000 on amps, crossovers and stuff, started the show, and in the first two seconds of the song wiped out every brand-new tweeter. Smoked every single one. “Oh, okay, we learned about that!" you know? We went through all these changes to put these protection devices, and they never worked! They blow long after the speaker’s gone.” <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">It was further into the opener, “Promised Land,” than two seconds into the song, and you can’t hear it on the edited soundboard tape, but the loud pop and screech as the speakers gave up the ghost was a signal to the audience that all was not going well. The band carried on regardless.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">Meanwhile, down on the floor of the pavilion, the carefully arranged rows of folding chairs created both obstacles and hazards to the audience, who were used to stand and flow organically like a giant amoeba since the early days at the Fillmore and Avalon. In relatively short order, the chairs were disassembled and stacked against the stands on the side of the pavilion, and things proceeded as usual for a general-admission Dead show. Speaking of the stands, my friends and I had (wisely, given the circumstances) positioned ourselves about midway back in the stands, away from the folding chair debacle. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">A unique feature of Maples Pavilion was its sprung floor, created by matrices of crossed wood under the playing floor that was designed by architect John Warnecke to prevent player injuries. In practice, the floor created greater risks of injuries for players, and it was removed during a $30M retrofit of the stadium in 2004. In the meantime, the combination of the sprung floor, a sea of dancing deadheads, and the towering speaker columns created another hazard, as the towers started to visibly sway back and forwards. Fortunately, the arc of movement of the towers was not sufficient to cause them to fall, but at the peak of their flexure I was glad to be in the stands and not on the floor. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">The physical challenges of the gig aside, the Maples show marked the debut of a raft of new material that would comprise the bulk of the Hunter-Garcia material on the band’s next two studio albums. Although both “Stella Blue” and “Half Step Mississippi Uptown Toodeloo” had been road-tested during the last half of 1972, an impressive seven compositions made their debut at the Stanford show. After Weir’s opener, the band moved right into “Row Jimmy,” which managed to blend the wistful balladry of “Stella Blue” with the choral cadences of tunes like “Tennessee Jed” and “Ramble on Rose.”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">After solid versions of “Black-Throated Wind,” “Deal” and “Me and My Uncle” Weir apologized for the problems with the new sound system, commenting “This is sort of get the bugs out night – that’s why we’re here.” And “If it irritates you, tonight’s going to get you crazy. Lesh then asked “Is there anyone back there who can’t hear?” As the conversation dropped into mayhem, Garcia slid into “Sugaree.” After another relatively new Weir piece “Looks Like Rain,” the second Garcia-Hunter tune, the uncharacteristically raunchy “Loose Lucy” was rolled out, its mid-tempo boogie accented by a lumbering, repetitive guitar and bass figure. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">Deep into the first set, the third new tune appeared, the sparkling “Here Comes Sunshine.” After the sometimes bleak pictures painted in most of the 1971-72 Hunter lyrics, the song’s breezy optimism, shared with “Eyes of the World and “They Love Each Other,” literally brought a warmer, sunnier face to the band that was also embodied in most of their performances during 1973.Lyrically and melodically, “Here Comes Sunshine” remains one of the gems of the Garcia-Hunter songbook, although Garcia flubbed some of the lyrics in its maiden outing. The generous first set concluded with a 19 minute version of “Playing in the Band.”<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">The second set was preceded by a plea by Wavy Gravy for funding to help rebuild the recently demolished Bach Mai Hospital in Hanoi, after which the band opened with a strong “China Cat/I Know you Rider.” After “Jack Straw,” the next new tune was rolled out, “They Love Each Other.” Previously Hunter had veered away from love songs, other than melancholy remembrances of lost love like “Wharf Rat” and “Stella Blue,” but “TLEO” is a full-blown celebration of a couple’s palpable love for one another, coupled with a sprightly melody from Garcia. I confess to always preferring the up-tempo 1973 incarnation of the song with the bridge to the simplified, slower version that emerged on <u>Reflections </u>and in subsequent live performances.<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">If there is any complaint to be made about the Dead’s stellar run of performances overseas captured in the Europe 72 box set, it would be the repetitive choice of the tunes used to anchor the extended segments of the second sets, which mostly alternated between “Dark Star” and Truckin’ leading into “The Other One.” Although the extended segment of the Stanford second set started with “Truckin,” it led smoothly into the next of the band’s debuts, “Eyes of the World.” “Eyes,” with its jazzy chords and relatively sprightly tempo, was to become a second set mainstay during the rest of the band’s performing history, and a crowd favorite. Eyes wove its way into the debut of another of Hunter’s melancholy story songs, the sadly elegant “China Doll.” Later in the band’s career, the conclusion of the second set medley would usually herald the end of the show, but the Dead still had quite a bit of gas in their tank at this show. A trio of short tunes, Big River, “Ramble On Rose” and “Box of Rain” preceded the evening’s final debut, the quixotic “Wave That Flag.” Although this snappy tune persisted in the Dead’s repertoire through most of the year, its off-the-cuff lyrics were ultimately deemed not ready for prime time, and the song re-emerged Phoenix-like, as “US Blues” at the first Dead shows of 1974 at Winterland. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">With all of the new songs rolled out, the Dead returned to familiar territory to wrap up the marathon show with “Sugar Magnolia.” “Uncle John’s Band,” “Around and Around” and an encore of “Casey Jones.” <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;">Technical challenges and bouncing floors aside, the Dead put on a strong performance at home to prepare for their winter swing through the Midwest that would commence a week later in Madison, Wisconsin. Although Garcia, and later Weir, were regular visitors to mid-Peninsula clubs in the rest of the 1970s, the Dead would not return to their old stomping grounds until they began an annual tradition of shows back at Stanford, this time at Frost Amphitheater, in October, 1982. <o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><span face="Arial, sans-serif" style="color: #010001;"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com2tag:blogger.com,1999:blog-6100854883581054455.post-33889051467783438032022-01-23T05:27:00.000-08:002022-01-23T05:27:12.877-08:00Watch the Skies - The Who and the Dead at the Oakland Stadium October 9-10/76<p> <span face="Calibri, sans-serif">If you’re reading this, chances are good that you have friends that you have acquired because of musical interests in music. Many times those shared musical interests overlap broadly – for instance, if you both like the Dead, you may well both like groups like Hot Tuna and the Allman Brothers. In college, one of my best music friends was Jeff E., a fellow UCSC student and Palo Alto resident who was also a DJ at Stanford Radio Station KZSU. Jeff’s and my musical worlds overlapped tangentially. His favorite group by far was the Who, but he had eclectic tastes spanning people like Bowie, the Kinks, the Move, the Beach Boys, and so on. He had next to no use for the Dead or most of the 60s San Francisco bands. Nonetheless, we bonded over music fandom, and saw quite a few shows together, including the infamous 1973 tour opener for the Who at the Cow Palace where drummer Keith Moon collapsed on stage twice before being replaced by an amateur drummer from Monterey who did quite a creditable job of helping them finish their show. We also saw musical comedian Martin Mull several times at his gigs at SF dinner club the Boarding House, several years before Mull became a TV actor on Fernwood 2Nite.</span><span face="Calibri, sans-serif"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">In the fall of 1976, a terrifically excited Jeff called me to give me a heads-up to a remarkable confluence of our musical worlds. He breathlessly announced “Your favorite band and my favorite band – together at the Oakland Stadium!” He also alerted me to Bill Graham’s latest way of springing this massive double bill on the world. Graham posted ads in the Chronicle on a Sunday in late August simply stating “Watch the Skies at noon on Friday!” Since I did know what to expect, I was at the local BASS tickets outlet at the Saks Fifth Avenue store at Stanford Shopping Center at noon the following Friday, when an airplane towing a big banner circled the Bay Area announcing the two shows with the Grateful Dead and the Who that were scheduled at the Oakland Coliseum stadium on October 9 and 10, 1976. The Oakland Stadium held a lot of folks, so these shows did not sell out immediately (I’m not sure if they ever stopped selling tickets), but we were among the first people to get tickets.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi3h2I16BX2jjJRBSHBUbRtQp0mVMPUeUFq9GqLg3HYFQ9k1R8aV5_DfTHenfC-2kKNWh-7lxvRqS5z6zmno280OM-1PRvSzE7KETU8ibdm4ETXrpzCleO3MZLjAmPg66b8yS6uBHhoW6ZGqPBAyo-HXEe-l208BQzTRvF-bhEu6zrQuR7gT8YjgWH5=s1200" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="848" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi3h2I16BX2jjJRBSHBUbRtQp0mVMPUeUFq9GqLg3HYFQ9k1R8aV5_DfTHenfC-2kKNWh-7lxvRqS5z6zmno280OM-1PRvSzE7KETU8ibdm4ETXrpzCleO3MZLjAmPg66b8yS6uBHhoW6ZGqPBAyo-HXEe-l208BQzTRvF-bhEu6zrQuR7gT8YjgWH5=s320" width="226" /></a></div><br /><o:p></o:p><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">The Dead had worked back into touring through the summer and fall of 1976, initially playing multiple nights in small capacity theatres in Portland, Boston, Philadelphia, New York, Chicago and San Francisco and then doing a run of east coast and Midwest venues, mostly small ballparks and coliseums, in August through early October. The Two Oakland Coliseum shows were by far the biggest venues they had played so far that year, and this was the first time other than Woodstock that the two bands, both strong draws in the Bay Area, had shared a bill. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">The Who had most recently played two San Francisco concerts in March at Winterland, after a 2 ½ year gap of area shows following the 1973 Cow Palace gig. Tickets for the Winterland shows were by lottery and many folks, including me, were shut out. Therefore, the Day on the Green gig was a big event for Who fans as well as for the usual suspects who were just looking for a big outdoor rock festival. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">We rolled into the stadium early in the morning, and ended up with a decent spot about 1/3 of the way back from the stage. Since starting the <i>Day on the Green </i>shows in 1973, Bill Graham Productions had continually upped their ante in terms of production and set design. For these shows, the crew prepared an elaborate stage set that had a London skyline on the left, one of San Francisco on the right, joined by a bank of fog above the stage proper. The stage itself was oddly outfitted with a bunch of flower beds in front of the monitors (the Dead crew must have loved that) and potted trees in the back that partially obscured the rear bleachers, the scoreboard, and the backstage area.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">I had seen the Dead at the stadium once before, on 6/8/74, but this was the first time they had opened a show at what, for them, must have been the ungodly hour of 11 AM. I brought my camera and, as the band took the stage, I worked my way up near the rail to take some pictures for the first few songs. I was used to being up front at smaller shows, and Dead audiences were pretty congenial and relatively loosely spaced in those days at places like Winterland, but the large crowd, the mixture of Who fans, Deadheads, and those just looking for a Day on the Green made the experience more harrowing than what I had experienced previously. As they did so often, the Dead kicked the show off with “Promised Land”, and the gyrating bodies in close quarters made for an adventurous photo expedition. I stayed up front through “They Love Each Other” and managed a few different angles, but the forward position of the grand piano and the flowers made it challenging to get decent pictures. The first set was pretty standard fare for the time, ending with an extended “Sugaree.” Although the Dead did not have the Wall of Sound for this gig at the Stadium, the sound was really fine, and the crew had somehow remedied the echo off of the back wall of the stadium that plagued the 1974 show that did feature that imposing sound system. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEik-1bnoEhESOCUsEJXkyNVmvX2LzfNmRIQZUmU3-omsernp5RgBUpVDBuJqBO_47pp100djbXCNE9AQNUMTZ3T51Om3967YkeESWW0qMEZ9RznxO4fM3rUNgejzCgeQqxgJbOzjGxhNB7HmGLxSy-wIrRTutJ_NvvQV1wTaZ2da2bBXEVMEbUNrUTt=s1472" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1472" height="217" src="https://blogger.googleusercontent.com/img/a/AVvXsEik-1bnoEhESOCUsEJXkyNVmvX2LzfNmRIQZUmU3-omsernp5RgBUpVDBuJqBO_47pp100djbXCNE9AQNUMTZ3T51Om3967YkeESWW0qMEZ9RznxO4fM3rUNgejzCgeQqxgJbOzjGxhNB7HmGLxSy-wIrRTutJ_NvvQV1wTaZ2da2bBXEVMEbUNrUTt=s320" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Grateful Dead 10.9.76 Photo: M. Parrish<br /></td></tr></tbody></table><br /><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">By the start of the second set, the sun was starting to heat up the crowd, and the band played a memorably inventive medley, opening with St. Stephen, which weaved in and out of Not Fade Away, leading straight into “Help on the Way” and “Slipknot”, followed by a brief Rhythm Devils segment that led into an energized “Samson and Delilah.” Garcia continued with some free-form minor key soloing, followed by some unique conversation with Keith Godchaux’s piano that gradually morphed back into “Slipknot.” A brief reprise of the main “Slipknot” theme finally cascaded into a welcome “Franklin’s Tower.” The Dead were on the clock for an hour second set, so they plowed on into the set-closing “Saturday Night,” returning with a quick “U.S. Blues” for an encore.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">During the lengthy set change, the field was getting hot, and we retreated to the stands at the rear of the stadium, which still afforded a good view and sound. When the Who came on, the large stage set kind of dwarfed the four musicians the quartet, who nonetheless succeeded in summoning enough raw energy to charge the crowd. Townshend jumped around the stage and Moon, in what proved to be his last Bay Area appearances, appeared relatively healthy and turned in energetic performances. The band’s set was pretty pro-forma, with a first half composed of tried and true numbers like “I Can’t Explain” and Substitute,” along with most of “Who’s Next” and two songsfrom their most recent outing, <i>The Who By Numbers</i>. They then went into an abbreviated version of Tommy, wrapping things up with a trio of other favorites, “Summertime Blues,” a long version of “My Generation (with a bit of “Join Together” in the middle), and “Won’t Get Fooled Again.” Despite lengthy clapping from the audience, there was no encore.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiQLDdH3CfBC3siD5Tfrc1hyEGQvtA-xRLMukTWLIoOlDztwBiVls9_GMWa_a7WhIpLRi5zM6IBRi3zfNg_QmLUBSef5gRo9feLL4dNtScIV1pvGt-O7trCcDf0cYuWFG697JvItwDVzZwBxSKxYzhcT-IXLoAZ3cCOwDPQFpr3FBxmvqX-_FCAbvn=s5888" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="5888" height="217" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiQLDdH3CfBC3siD5Tfrc1hyEGQvtA-xRLMukTWLIoOlDztwBiVls9_GMWa_a7WhIpLRi5zM6IBRi3zfNg_QmLUBSef5gRo9feLL4dNtScIV1pvGt-O7trCcDf0cYuWFG697JvItwDVzZwBxSKxYzhcT-IXLoAZ3cCOwDPQFpr3FBxmvqX-_FCAbvn=s320" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Who 10.9.76 Photo: M. Parrish</td></tr></tbody></table><br /><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">The next Day’s Dead performance was high energy from the start, opening with “Might as Well,” fueled by some boogie-woogie piano by Keith. Other highlights were rare mid-set versions of “Deal” and “Promised Land”(one of three repeats from the previous day), and the one-time-only set closer that comprised “Wharf Rat” embedded in a spacy “Dancin’ in the Streets” sandwich. The second set was more mellow, this time featuring an extended segment bookended by “Playing in the Band,” with “The Wheel,” Drums. “The Other One,” and “Stella Blue” as filling. They closed with powerful versions of “Sugar Magnolia” and, as an encore, “Johnny B. Goode.”<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">The Who’s set proved to be a near-carbon copy of the first day’s set, down to the jokes between songs, so I left near its end, leaving the Who fans to wrestle with traffic in the parking lot. They did manage an encore, allegedly in response to financial coaxing by Bill Graham, combining “Shakin’ All Over,” “Spoonful” and their limp take on “Johnny B. Goode” to wrap up the weekend. This was sort of the last hurrah for the who as the original quartet. Although they did record one final album with Keith Moon, had five more dates on their 1976 US tour, and played two ragged shows in London in 1977, Moon’s deteriorating physical condition precluded any of the long tours that had carried the band through the last decade, and the drummer passed away in September of 1978. For me, their performances were disappointing, particularly in comparison to the two spectacular performances I had heard from the band at the Fillmore West in 1969 and the SF Civic in 1971.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">The Dead continued their relentless post-hiatus touring with a couple of shows in LA, the NYE show at the Cow Palace discussed here, and then a full roster of theatre and arena shows the following year, with Winterland, where the band played ten shows in 1977, returning as the band’s home base. The two bands did share the stage again in Essen, Germany in 1981 for a Rockpalast TV Broadcast, where Pete Townshend sat in for the last half of the Dead’s second set, gamely trying to blend into the Dead's well-oiled interplay. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">So, did these shows make Jeff into a Deadhead? Definitely not, although he said that he appreciated their musicianship, it really wasn’t his cup of tea, and I don’t know that he ever saw them again. Still, it was great for us to be able to see our favorite bands together, and Bill Graham’s crew made sure that the two shows were memorably enjoyable events. <o:p></o:p></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com0tag:blogger.com,1999:blog-6100854883581054455.post-42936619928518832262020-07-30T12:16:00.007-07:002020-08-02T07:14:41.766-07:00The Grateful Dead Unplugged - 1968-1970<p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Although 1970 was fraught with financial and personal challenges for the Grateful Dead, it was a tremendous year for them artistically. One of the most notable aspects of a very busy touring year (133 nights of performances, 147 shows in total) was the introduction of acoustic sets into their performances at select shows. These performances were often showcases for the new songs the band was writing at the time, which resulted in what are arguably their two best studio recordings – <i>Workingman’s Dead </i>and <i>American Beauty</i>– but they also provided the opportunity for Garcia, Weir, and Pig to revisit their folk roots with a variety of traditional, bluegrass, blues, and folk tunes. The purpose of this piece is to trace the band’s experimentation with acoustic instruments onstage from the first occurrences in late 1968 to November 1970, when the Dead abandoned acoustic shows until 1978. I should note that, deep in writing this piece, I discovered a 2009 Deadessays <a href="http://deadessays.blogspot.com/2009/08/deads-acoustic-sets-1969-1970.html">post</a> that covers much of the same ground. Since my take is somewhat different, I was an eyewitness to three of the shows with acoustic sets, and I had already penned nearly 8000 words, I decided to go ahead and put this out in honor of the 50<sup>th</sup>anniversary of the year of the Acoustic Dead.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Late 1968 and Early 1969</font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The band’s use of acoustic instruments began relatively late in 1968, when they played one-off acoustic versions of <i>Aoxomoxoa</i>songs. For the first half of 1969, they often introduced the suite that comprised the bulk of <i>Live Dead </i>with Dupree’s Diamond Blues followed by Mountains of the Moon with Garcia playing his acoustic Martin and Weir playing muted electric guitar. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">From known setlists, Mountains of the Moon was only performed live by the Dead using at least one acoustic guitar (Jerry’s). Its first known live airing was at the Los Angeles Shrine Auditorium on Dec. 20, 1968, where Garcia performed it solo on acoustic guitar. Its next airing was at. the infamous 1/18/69 Playboy After Dark taping, where the Dead dosed the cast and crew. Garcia played an acoustic six string, Weir an acoustic 12 string, and TC a harpsichord on what is one of the most beautiful and ethereal live versions of that song and can be seen here. Existing set lists show Mountains only having been played nine times live, and it was wedged in between Dupree’s and Dark Star in all but two of the shows. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">There were a couple of relatively raucous fully electric versions of Dupree’s played at the Avalon Ballroom on January 24 and 25. The version from the 24<sup>th</sup>also notable in that Pig played some funky harmonica that the band obviously decided did not fit the song. It was also played electric a number of times after the semi acoustic couplet leading into Dark Star was dropped, and of course was resurrected in 1981 through the rest of the Dead’s performing history. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The hybrid acoustic electric versions of Dupree’s and Mountains of the Moon were performed relatively often during the first half of 1969. The first known version of this acoustic couplet is from the Dead’s late show on 2/11/69 at the Fillmore East, a show that was released on CD in 1997. The medley recurred on that tour in Philadelphia (2/15/69) and at the second Dream Bowl show in Vallejo (2/22/69). It was subsequently played at two of the winter 1969 Fillmore West shows recorded for <i>Live Dead</i>, again at the Avalon in on 4/5/69, on tour in Boston (4/22/69), Chicago (4/26/69) and back at the Fillmore West on 6/7/69, when the two songs were preceded by the debut version of Dire Wolf, performed nearly solo (with minimal percussion support) by Garcia. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">On July 12, the show at Flushing Meadows opened with the last Dead performance of Mountains of the Moon a stand-alone version again with Garcia on his Martin. Although the only known recording is a sketchy audience recording, Audio quality aside, it is another hypnotic version, with a long spacy outro. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Starting in June, Garcia started playing his new ZB Pedal Steel on a few songs in many sets, a trend that continued at many shows during the last half of the year. As interesting as these performances are, they are tangential to the topic at hand here, although quite a few tunes later played during acoustic sets appeared either during these performances or at shows where Bob Weir sat in with the early versions of the New Riders of the Purple Sage in summer/fall 1969. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Acoustic Sets in December 1969<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">As the year drew to a close, Garcia and Weir played short acoustic sets to open the 12/19/69 show at the newly re-opened Fillmore Auditorium, and again at the McFarlane Theatre in Dallas. Both sets were hastily assembled because of band member absences. For the Fillmore show, Phil Lesh was MIA somewhere, whereas Billy Kreutzmann was the latecomer for the Dallas show. These sets, which seem ad-hoc, presumably presented the model that the band decided to institute in limited shows during 1970. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The Fillmore set consisted entirely of covers and traditional tunes that Garcia and Weir presumably knew by heart. Bob opened with “Monkey and the Engineer,” a whimsical song that has been in his repertoire, on and off, since 1964 when he was with Mother McCree’s Uptown Jug Champions. The tune was composed by Jesse Fuller, an Oakland musician who performed as a one man band for years in the bay area and also composed “San Francisco Bay Blues,” which was covered by many artists including the Weavers, Hot Tuna, Eric Clapton, and Phoebe Snow. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Next Garcia sang the traditional murder ballad Little Sadie, which was one of a large group of songs that Garcia and his contemporaries heard on recordings by the likes of Clarence Ashley, Woody Guthrie, and possibly Johnny Cash. This song remained a mainstay of Garcia’s acoustic performances throughout his career, with a studio jam version recorded by Garcia, Tony Rice, and David Grisman on their <i>Pizza Tapes </i>release. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Next, Bob Weir sang Long Black Limousine, a slow ballad that was written by Vern Stovall and Bobby George, and subsequently covered by a variety of country artists, including Bobby Bare, Glen Campbell, and Merle Haggard. The most famous version, however, was recorded by Elvis Presley in 1968 on <i>From Elvis in Memphis</i>. Weir summoned the same mournful country voice he used to good effect on Green Green Grass of Home (played several times in 1969 electric with pedal steel).<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Garcia chose another traditional tune I’ve Been All Around This World, for the last acoustic number. Widely covered in the folk and bluegrass traditions, this slow ballad describes the arrest and incipient hanging of the subject of the song. Like Little Sadie, this song stayed in Garcia’s acoustic repertoire for the duration, and was the title tune of a Garcia-Grisman album released in 2004.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">At this point, Phil apparently showed up, so they switched modes and started the electric set with the first live rendition of the fine but short-lived <i>Workingman’s Dead</i> outtake Mason’s Children.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">A week later, in Dallas, history repeated itself with Kreutzmann MIA, allegedly still in the air en route to Dallas. As a result, Garcia and Weir again did an acoustic duet to open the show. The set started with the four tunes played at the Fillmore, played in the same order. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Next Weir sang a gospel tune, Gathering Flowers for the Master’s Bouquet. Written by Marvin Baumgartner, this song was recorded by a variety of country artists, first by California family band the Maddox Brothers and Rose in 1948. It was subsequently recorded by the likes of Hank Williams, Connie Smith, and the Stanley Brothers. This was the only performance of this song at a Dead concert, although Weir subsequently performed it with Lukas Nelson at a club gig in 2013. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Still killing time, Garcia and Weir did the first acoustic version of Black Peter, which had been in their performing repertoire for the month of December and had in the set for 10 previous electric renditions. At the end of the song, Garcia announced that Kreutzmann had shown up, and the duo wrapped up the acoustic set with a performance of Uncle John’s Band, without keyboards or bass, but with muted percussion and Phil on harmonies.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Strumming Down in New Orleans<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next acoustic set within a Grateful Dead concert also occurred as a result of an accident – this time the failure of the speaker on Phil Lesh’s amplifier during the January 31, 1970 concert the Dead played with Fleetwood Mac at the Warehouse in New Orleans. The second of three shows the band played there, this show was followed by the infamous arrests of most of the band on drug charges so, on a personal front, it was not one of the group’s better evenings. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The acoustic segment that closed their show opened with six songs featuring just Garcia on electric guitar and Weir on acoustic. They opened with another rendition of Long Black Limousine, on which the duo alternated lead vocals on the two verses. Jerry’s tastefully arpeggiated solo is a highlight, and the whole performance was punctuated by ominous electronic grunts from the ailing amplifier. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Next Weir sang Seasons of My Heart, a slow George Jones ballad that he sang seven times with the Dead between November 1969 and February 1970. Most of those performances were electric with Garcia on either pedal steel or electric guitar. On this version, Garcia’s enthusiastic electric leads provide an interesting contrast to the song’s languid tempo.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"> <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Sawmill is a Mel Tillis-penned, uptempo country tune that Weir performed regularly with the New Riders during his “Bobby Ace” guest spots beginning in August 1969. It was also performed several times during electric Dead sets <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Old, Old House is another George Jones tearjerker that the Dead had performed once previously, at the Fillmore East on 6/21/69, with Garcia on pedal steel guitar. Weir also sang it at least once with the New Riders on 8/28/69, and probably on other occasions. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The streak of George Jones hits continued with the catchy, Don Rollins-penned tune, The Race Is On, which Weir also performed a number of times with the Dead and the New Riders with Garcia on pedal steel guitar, and subsequently became a mainstay of the Dead’s 1973-74 repertoire, making a few return appearances in the 80s and 90s. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Following a short break, Garcia returned to perform what I believe are solo acoustic versions of three songs performed acoustic in previous concerts already discussed – Black Peter, Little Sadie, and I’ve Been All Around this World. Following the Garcia tunes, Pigpen did the first of what would be many solo versions during the year of Ligntnin’ Hopkins’ Katie Mae, Although Mckernan primarily played keyboards, harmonica, and percussion during the Dead’s electric sets, his work in folk clubs prior to the Dead had shown him to be a very skilled country blues guitarist, a talent that he put to work many times during the 1970 acoustic sets. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The part of the evening that was recorded ends with a ragged version of Cumberland Blues, the first in an acoustic set featuring two acoustic guitars and one and possibly two percussionists. Weir butchers the words in two places during a performance that seems like a very weird way to end a show. It is possible that more music was played after the tapes ran out.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After these three impromptu acoustic sessions, the Dead decided to start incorporating acoustic segments into selected shows. There were at least a couple of reasons for the implementation of these acoustic interludes. First, much of the material that the band was composing during 1969 and early 1970 readily lent itself to performance with acoustic instruments. Secondly, this format allowed for the performance of a variety of traditional, folk, and country covers that either were not part of the Dead’s electric performance repertoire or would not be presented in what the band members viewed as an optimal format in that context. Third, and possibly most importantly, Garcia and Weir had evidently enjoyed these returns to their folk roots, and wanted to do more of them.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">It is important to note that these acoustic performances, like the partially acoustic interludes leading into Dark Star in 1969, did not occur at every show. In most cases, they occurred in theatres during multi-night runs, where the equipment and staffing were available for what were often time-consuming and technically complex changes of equipment necessitated by setting up microphones for the guitars, setting up seats for Garcia and Weir, and rebalancing the PA for the different mode of delivery. The decision to include or exclude these sets may have also been dictated by how much time the band had for their sets and whether the venue had a curfew or not. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Fillmore East February<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The first premeditated acoustic sets occurred during the late shows of the last two nights of the Dead’s legendary February run at the Fillmore East. Portions of these sets were officially released in 1973 as part of<i>Bear’s Choice</i>. During the Fillmore East run, acoustic music was not performed during the shorter early shows, and there was no acoustic set during the late show on February 11, which instead included an extended jam with members of the Allman Brothers and Fleetwood Mac. However, the late show encore that night was an acoustic version of Uncle John’s Band featuring a single guitar and spare hand percussion. The acoustic sets themselves were just Weir and Garcia (and later Pig) on acoustic guitars – no bass or percussion. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">For the February 13 late show, the Dead opened with five electric tunes, taking a break after a lengthy Smokestack Lightning to reconfigure the stage for the acoustic numbers. What followed was a six-song acoustic set, starting again with Monkey and the Engineer and Little Sadie.” Next up was the first Dead rendition of the Everly Brothers tune Wake Up Little Suzie sung with verve by Weir with energetic harmonies from Garcia, leading directly into “Black Peter.” Following “Uncle John’s’ Band, Pigpen again closed the set with Katie Mae.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next night, the acoustic set in the late show occurred after three electric tunes, and was a repeat of the previous night’s setlist, with the exception that “Little Sadie” was replaced by the first Dead version of Dark Hollow, a song initially recorded by folk singer Bill Browning in 1958 that subsequently became a standard for bluegrass performers like Mac Wiseman and Ralph Stanley. The Dead did a killer version of this tune, with great harmonies from Garcia behind Weir’s vocal lead. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Texas Tour<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After the Fillmore East shows, the Dead, still smarting from the arrests in New Orleans, did a five date tour of Texas. All of the audio that is known from that tour is a fragment of the show on February 23 in Austin, which again included a six-song acoustic set, notable in the inclusion of an acoustic version of Me and My Uncle as well as the last Dead performance of George Jones’ Seasons of My Heart. The entire acoustic set is known.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">2/23/70 Acoustic: Monkey and the Engineer, Little Sadie, Me and My Uncle, Black Peter, Seasons of My Heart and Uncle John’s Band. It is unknown whether acoustic sets occurred in the other Texas shows. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Family Dog and Southwest<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">For a three-night run at the Family Dog, the Dead played entirely electric shows on 2/27 and 3/1, but inserted a brief three-song acoustic set in the middle of the 2/28 show: Monkey and the Engineer, Little Sadie and Black Peter.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The Dead did not do any acoustic songs at their 3/7/70 Santa Monica show, but broke out a five and a half song acoustic set well into the show the next night in Phoenix. After six electric songs, the acoustic set comprised Monkey and the Engineer, I’ve Been All Around this World, Me and My uncle, Black Peter, and Katie Mae, the outro of which morphed into a bizarre blues improvisation by an audience member that endured for nine minutes, during which Pig dispensed with his acoustic guitar and the band took up their electric instruments to finish out the piece. The same audience member inserted his strange vocal and harmonica contributions into the last two electric songs, Not Fade Away and Lovelight. If this had happened a few years later, roadies would have had him offstage before he sang a note.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Capitol Theatre/March Shows<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After a week or so of rest, the Dead were back on the east coast, starting with the mysterious and unrecorded performance with the Buffalo Symphony Orchestra on 3/17, followed by a two night stand opening the Capitol Theatre in Portchester. This venue became the site of some of the most iconic Dead shows of the next year, and again both late shows featured acoustic sets in the middle of the performance. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">On March 20, the six-song acoustic set included three tunes new to the repertoire. Deep Elem Blues was in the Jerry Garcia’s repertoire since at least 1963, when It was performed by Jerry and Sarah Garcia at the Tangent in Palo Alto. It was also in the Dead’s early setlists, as evidenced by their performance at the Matrix on 12/1/66. Don’t Ease Me In was the Dead’s first single, and was also part of their performing repertoire in 1966. Friend of the Devil came out of some songwriting sessions between Robert Hunter, NRPS songwriter John Dawson, and Garcia near the end of 1969. Originally intended as a New Riders tune, Garcia ultimately commandeered Friend of the Devil for the Dead. The Capitol performances, featuring many minor lyrical differences relative to the version ultimately recorded on <i>American Beauty</i>, appear to have been the first versions performed live by the Dead. The remainder of the set featured two <i>Workingman’s Dead</i>tunes, Black Peter and Uncle John’s Band, and another version of “Katie Mae.”<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next night’s late show featured a shuffled version the previous night’s setlist plus one additional tune: Friend of the Devil, Deep Elum Blues, Don’t Ease Me In, Black Peter, Wake Up Little Suzie, Uncle John’s Band, and Katie Mae. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next show the Dead played, on 3/24, was an all-electric performance at an amusement park, Pirate’s World in Dania Florida. Maybe because of the venue, they played a relatively short set (90 minutes), but it was notable for a rare-for-1970 electric version of Don’t Ease Me In, which was doomed to become a tiresome set closer/encore in the last two decades of the band’s tenure. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next verified date in the Dead’s weird 1970 touring schedule was the April 3 show at the Field House of the University of Cincinnati. Again, the band stuck in an acoustic set mid-show after playing six electric songs. This seven-song set was notable for the first known live performance of Candyman, but otherwise consisted of material performed in earlier sets: Friend of the Devil (still with some alternate lyrics), Deep Elem Blues, Candyman, Wake Up Little Suzie, Black Peter, Uncle John’s Band, and Katie Mae. For the first time, the entire acoustic set featured restrained drums (both Hart and Kreutzmann this time) and Lesh on harmonies and electric bass. Katie Mae continued to be performed by Pig solo. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Fillmore West with Miles Davis<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">One of the Dead’s most famous hometown runs was this co-bill with Miles Davis’ Bitches Brew band which had the legendary trumpeter appearing before the Dead’s single long set. As was the case at the Capitol shows, the Dead played short acoustic segments in the middle of their set on the first three of the four nights. On the fourth night, the band played the entire show in electric mode, although they performed a few songs (Candyman, Deep Elem Blues, Black Peter) that were normally performed during acoustic sets during that era. The 4/11/70 show was notable in that it included the first acoustic version of New Speedway Boogie. </font><span style="font-family: times;">As shown below, the setlists were relatively similar the first three nights.</span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">4/9/70: Friend of the Devil, Deep Elem Blues, Candyman, Black Peter, Uncle John’s Band, Katie Mae<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">4/10/70: Friend of the Devil, Deep Elem Blues, Candyman, Wake Up Little Susie > Black Peter, Uncle John’s Band<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">4/11/70: Don’t Ease Me In, New Speedway Boogie, Friend of the Devil, Me and My Uncle, Candyman, Black Peter, Uncle John’s Band. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">I went to the Friday show as described <a href="https://cryptdev.blogspot.com/2011/06/miles-davis-and-dead-41070.htm">here</a>.</font></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><img alt="Photo: Michael Parrish" border="0" data-original-height="1391" data-original-width="2048" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6owC-rO_4Y0KrB-rDpFXL6g6v3RxxHVtt576bucaV1LNPqqKekmB4LNgy20QEGz84CUJTjPWPwypTnf3ac_JP3GQCfAS5O6hEOWm-g9ys9hAEDjL4PhtVeuSvBzvkPCFEG4pQVuDZNE/w256-h174/Acoustic+Set+2.JPG" style="margin-left: auto; margin-right: auto;" width="256" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Photo: Michael Parrish<br /><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_6owC-rO_4Y0KrB-rDpFXL6g6v3RxxHVtt576bucaV1LNPqqKekmB4LNgy20QEGz84CUJTjPWPwypTnf3ac_JP3GQCfAS5O6hEOWm-g9ys9hAEDjL4PhtVeuSvBzvkPCFEG4pQVuDZNE/s2048/Acoustic+Set+2.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><font face="times"></font></a></div><p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">As in Cincinnati, the acoustic set that night included electric bass and drums for the whole set. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Family Dog – Hartbeats/Cards Off the Bottom shows<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After playing a short electric set at a benefit on April 15, the Dead took part in a unique weekend of shows at the Family Dog. The shows were billed as Mickey Hart and the Hartbeats and Bobby Ace and the Cards off the Bottom of the Deck, with the rest of the bill being the New Riders of the Purple Sage and Charlie Musselwhite. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The Hartbeats/Bobby Ace segments each night were extended Grateful Dead acoustic sets, incorporating some of the New Riders into the sets for the first time. Since they were set to begin the first tour of “Evening with the Grateful Dead” shows in a couple of weeks, these could probably be considered as dress rehearsals for those shows. However, they are even more interesting because there is so much material performed that was never played on any other occasions. We are very fortunate that the master soundboard reel of the second of the weekend shows turned up in 2013, having been in Mountain Girl’s possession from a stash of tapes that had been in Jerry Garcia’s possession. Otherwise, these shows, for which audience tapes do not appear to exist, would be basically lost to musical history. Fortunately long time fan Judy Dawson did keep setlists of the other shows, so we have a reasonable picture of the entire weekend, with a single acoustic set each night.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><h3 style="line-height: 15.75pt; margin: 0in 0in 0.0001pt;"><font face="times" size="3"><span style="font-weight: normal;">4/17/70: Don't Ease Me In</span><span style="font-weight: normal;">, Long Black Limousine, Monkey And The Engineer, Deep elem Blues</span><span style="font-weight: normal;">, Candyman</span><span style="font-weight: normal;"> > Cumberland Blues</span><span style="font-weight: normal;">*, Me And My Uncle*@, Mama Tried*@, Cathy's Clown*@, Wake Up Little Susie*@, New Speedway Boogie</span><span style="font-weight: normal;">*@,Friend of the Devil</span><span style="font-weight: normal;">, Black Peter</span><span style="font-weight: normal;">, Uncle John's Band</span></font></h3><h3 style="line-height: 15.75pt; margin: 0in 0in 0.0001pt;"><span style="font-weight: normal;"><font face="times" size="3">4/18/70: I Know You Rider, Don’t Ease Me In, Silver Threads and Golden Needles, Friend of the Devil, Deep Elem Blues, Wake Up Little Suzie > Candyman, Cumberland Blues*, New Speedway Boogie*, Me and My Uncle*@, Mama Tried*@, Katie Mae, Ain’t It Crazy, Roberta, Bring Me My Shotgun, The Mighty Flood > Black Snake</font></span></h3><h3 style="line-height: 15.75pt; margin: 0in 0in 0.0001pt;"><span style="font-weight: normal;"><font face="times" size="3"> </font></span></h3><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">4/19/70: I Know You Rider ; Friend Of The Devil ; Candyman ; Sawmill ; Deep Elem Blues ; The Rub ; Katie Mae ; Roberta ; Big Breasa ; She's Mine ; Cumberland Blues* ; Wake Up Little Susie*@ ; Mama Tried*@ ; Me And My Uncle*@ ; The Race Is On*@ ; Uncle John's Band<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The first night, Pigpen apparently did not do any songs, and the set consisted entirely of material performed in earlier acoustic sets with the exception of the Everly Brothers tune Cathy’s Clown, which Weir had done with the New Riders. Although it can’t be verified with recordings, it seems likely that this and the preceding two tunes, Me and My Uncle and Mama Tried, were sung by Weir with harmonies added by Marmaduke from the New Riders, as was the case in Weir’s guest slots with NRPS during 1969 and 1970. If the format followed that of Saturday’s show, Garcia would have played electric guitar on the segment starting with Cumberland Blues and ending with New Speedway Boogie, with David Nelson adding an additional acoustic guitar for those tunes. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">On the 18<sup>th</sup>, the set opened with the first of the lovely acoustic versions of I Know You Rider that became common during the acoustic sets of the next few months. Delivered at a much slower pace than the electric versions paired with “China Cat Sunflower,” the tune takes on a mournful quality very different than the generally exuberant and uptempo electric versions. It also included an additional verse that was not included in the electric versions “I’d rather drink muddy water, sleep in a hollow log, than stay here in Frisco, be treated like a dog.” <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">This show also featured the first acoustic version of Silver Threads and Golden Needles, although the band did a sizzling electric version of the tune back in 1966 and did several versions with Garcia on pedal steel in 1969. As noted above, Garcia played electric guitar on Cumberland Blues through Mama Tried, with Nelson and Dawson from the New Riders sitting in. However, the real jewel of this show is the six-song set of tunes played solo by pigpen at the end of the tape. Starting with Katie Mae, he continued with another Lightning Hopkins tune, Ain’t It Crazy (the Rub), which he had performed back with Mother McCree’s Uptown Jug Champions and that later made its way into Dead electric sets in 1971. The next four songs, were only performed at these shows, and three of them only this night. Roberta is a traditional blues tune that Pig made his own with different lyrics. Bring Me My Shotgun and Black Snake are Lightning Hopkins tunes whereas The Mighty Flood (which John Lee Hooker recorded as Tupelo Blues) is probably traditional but credited to Hooker.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">.Pig’s versions of all of these are so well executed and soulful that you would imagine he played them all the time. He may have at home or backstage, but these were the only performances in the context of “Dead” shows, and really show their bluesman in his best light.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The final night allegedly featured the pig mini-set in the middle of other familiar acoustic Dead tunes, and featured two additional blues songs, the mysterious Big Bresa and She’s Mine, yet another Hopkins tune. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Late March Shows<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The week after the Family Dog shows, the Dead played two nights at Mammoth Gardens in Denver. There is a poor audience recording of the first night, which documents a fairly typical six-song acoustic set: I Know You Rider, Monkey and the Engineer, Friend of the Devil, Me and My Uncle, Candyman, and Uncle John’s Band. From a format standpoint, though, this is significant as the first show where the acoustic set preceded the electric set, rather than being stuck in the middle. This format would get further massaged during the May east coast college tour. There is an extensive discussion about the two Denver shows <a href="http://jgmf.blogspot.com/2010/05/gd-at-mammoth-gardens-denver-co-april.html">here</a>. It appears likely that the New Riders did not appear, and that the acoustic set preceded the electric set. An interesting annotation is that it appears that opening act John Hammond and Pigpen did an acoustic blues set together after the Dead’s set one of the evenings. Since Pig had been flexing his chops on acoustic blues at the Family Dog shows, this seems entirely plausible. Before heading back to California to regroup for that tour, the Dead played one long electric set at an outdoor concert in Poynette, Wisconsin. Two attendees confirm that there was no acoustic set at this show.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">May East Coast Tour<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The Family Dog shows were clearly preparation for a new touring format for the Grateful Dead – an Evening with the Grateful Dead. As noted in Lost Live Dead <a href="http://lostlivedead.blogspot.com/search/label/1970">here</a>, the Dead devised a relatively economical, if physically taxing, method of touring and performing without opening acts. In the new format, the Dead would open the show with acoustic numbers, folk songs first, moving into more country/bluegrass territory in the middle of the opening set, having a few hybrid acoustic electric tunes with Garcia on electric guitar and David Nelson on acoustic, and wrapping up with one or more gospel numbers featuring a vocal quartet of Garcia, Weir, Marmaduke and David Nelson. Next would be the New Riders set, with Garcia on pedal steel and Hart on drums. Weir was frequently introduced in the NRPS set doing some of the country tunes he had been singing with the Dead and the New Riders for the last year or so. Generally the NRPS set would finish with some familiar rock song – either Honky Tonk Women or the Weight, leading into the main dish – an hour plus electric set by the Dead. Regarding the Alfred show, JMF goes to great length <a href="http://jgmf.blogspot.com/2011/05/ln-jg1970-05-01gdall-126minssbd.html ">here</a> to postulate that this show had a slightly different format, with the New Riders going first, followed by the acoustic, then electric Grateful Dead.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><o:p> </o:p> </font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">This tour was somewhat of an endurance event for the Dead -17 shows in 19 days, mostly at colleges and a few ballrooms. The tour opener was at Alfred College, one of the State University of New York campuses located in far upstate NY. A complete SB tape of this show circulates, so the format of the show is very clear, and the entire show is relatively concise at just about two hours. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/1/70 Acoustic Set: : Deep Elem Blues, I Know You Rider, Monkey and the Engineer, Candyman, Me and My Uncle*@, Mama Tried*@, Cumberland Blues*, The Race Is On*@, Wake Up Little Suzie*@, New Speedway Boogie*@, Cold Jordan*@, Uncle John’s Band.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">From Me and My Uncle through Cold Jordan, the Dead were augmented by Nelson on guitar and Dawson, who provided harmonies for all of these tunes. This was the first of many live versions of Cold Jordan, which featured Nelson on mandolin and some really gorgeous four part gospel harmonies from Garcia, Weir. Nelson, and Dawson. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The best known (and arguably the best) of the May College Tour shows occurred the next night, at Harpur College, the Liberal Arts and Sciences campus within SUNY Binghampton. This show was widely distributed among tapers after a pristine version of the entire show was broadcast on public radio in California and New York, just a few weeks after the performance date. In 1997, it was the first acoustic set commercially released, on <i>Dick’s Picks Volume 8</i>. Clearly the band was having a lot of fun that evening, and the banter between songs during the acoustic set is priceless. It was notable in including the acoustic set debut of two Grateful Dead classics: Dire Wolf and Beat It On Down the Line. Also, contrary to the listing on the commercial release and countless tape lists, Candyman was not a partial version leading directly into Cumberland Blues. Instead, the version of Candyman was cut on the master real, and the remaining portion was ingeniously grafted onto Cumberland. Jerry played electric on Cumberland, Although he had done so on numerous occasions in the bay area, this was also the first night on the tour that Weir guested during the NRPS set, playing on Sawmill, the Race Is On, Me and My Uncle, and Mama Tried. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/2/70 Acoustic Set: Don’t Ease Me In, I Know You Rider, Friend of the Devil, Dire Wolf, BIODTL>Black Peter, Candyman, Cumberland Blues*, Deep Elem Blues*, Cold Jordan*@, Uncle John’s Band. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next day, the Dead played a free outdoor concert at Wesleyan University in Middletown, Connecticut. Despite the absence of an adequate soundboard or audience tape, this is one of the best documented of the May 1970 shows, and you can find an extensive discussion of it <a href="http://deadessays.blogspot.com/2013/02/may-3-1970-wesleyan-university.html">here</a>. It is notable in being the first time the Dead tried to play acoustic music outdoors (apparently with mixed results), and in being one of only two free concerts during the tour. It also coincided with a massive protest over the murder of black panthers and the continued incarceration of Bobby Seale, and followed a series of fire bombings on the campus on May 1. The brief acoustic set featured just Bob and Jerry, as much of the rest of the band was still in transit. A film of the event (viewable only in person at the Wesleyan library) shows a guest harmonica player on two of the acoustic songs, and is also audible on a brief audience tape of the start of this set. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/3/70 Acoustic Set (partial list): Deep Elem Blues+, Friend of the Devil+, Silver Threads and Golden Needles, Black Peter<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">+With guest harmonica player<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Following a couple of rare days off, the Dead played their second free outdoor show of the tour on a chilly night at Kresge Plaza at MIT. This really fine show was one 90 minute electric set, and set the stage for the group’s scheduled show at MIT’s Dupont Gym the next night. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The 5/7/70 performance was the longest shows of the known shows on the tour, nearly five hours as compared to the total time of two hours at the Alfred College performance at the start of the tour. The acoustic set was unusual in that there was no guest slot with Dawson during the acoustic set, although Nelson played second acoustic guitar when Garcia switched to electric for Cumberland Blues and New Speedway Boogie, which was rendered in a long, pensive version perhaps reflecting the weird political events of the previous several days. Weir guested during the Riders set, doing four tunes: The Race is On, Seasons of My Heart, Mama Tried and Sawmill. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"> 5/7/70 Acoustic Set: Don’t Ease Me In, I Know You Rider, Friend of the Devil, Me and My Uncle, Deep Elem Blues, Candyman, Cumberland Blues*, New Speedway Boogie*, Black Peter, Uncle John’s Band.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next night the band hit yet another State University of New York Campus, this time in upstate Delhi. All that is known of the sets from this show are derived from a partial audience tape of the electric set. Chances are there was an acoustic set, but we don’t have any information about it. This show is discussed at length here. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">http://lostlivedead.blogspot.com/2020/05/the-grateful-dead-in-upstate-and.html<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next night, 5/9/70 the Dead were over in Worchester Mass at Worchester Polytechnic University. A tape of a partial acoustic set purporting to be this show was proved to actually be the start of the 5/3/70 Acoustic set when matched with the video from that show. <a href="ttp://deadessays.blogspot.com/2009/08/missing-1970-shows.html">Memories</a> of attendees indicate that an acoustic set was played, including Black Peter, Monkey and the Engineer, and Cold Jordan.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">http://deadessays.blogspot.com/2009/08/missing-1970-shows.html<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Another consecutive gig in the schedule found the Dead down in Atlanta, where the band presumably flew but their equipment did not, leaving them without . Some audience memories indicate that the Dead played with the Allman Brothers, using that band’s equipment because theirs was MIA. Apparently there was no acoustic set, but there was a jam with the Allmans. No recordings are known from this gig either.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/14/70 found the Dead in Kirkwood, Missouri of all places, playing at Meramac Community College. A complete soundboard recording of this show circulates, and it includes a fairly standard, six song acoustic set: Don’t Ease Me In, Friend of the Devil, Deep Elem Blues, Silver Threads and Golden Needles, and Candyman. The acoustic set was plagued by sound problems, which seems to have led to its early termination. The band made up for the abbreviated acoustic set with a nearly two hour electric performance, after which they must have caught a flight for New York.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The norm during this era was for the Dead to play multiple night runs at the Fillmore East – a guaranteed money maker for both Bill Graham and the Band. For whatever reason, most likely the scheduled multi-band festival the next day at Temple University, the band only played a single night, with early and late shows, at the Fillmore East. On previous runs at both the Fillmore East and the Capitol, the early shows were short electric shows, with acoustic segments only in the late shows. However, this time the new three-set format was employed at both the early and late shows, resulting in the bands playing a total of nearly six hours in one very long evening. The bulk of the late show was released as <i>Road Trips Vol. 3 Number 3</i> in 2010. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Throughout the tour, the configuration of the acoustic sets had been fairly constant, at least based on extant recordings and setlists. The band apparently held back a few surprises for New York, at least in part necessitated by a desire not to repeat material from the early and late shows. These shows marked the first time on tour that Pigpen participated in the acoustic sets. In the early show, he sang and played harmonica on Ain’t It Crazy (the Rub), performed with the rest of the band, and the last show included his solo versions of She’s Mine and Katie Mae. The late show included two covers not previously played. The set opened with Garcia singing The Ballad of Casey Jones, the folk song that originally introduced the legend of engineer Jones into the folk tradition. This tune was performed a few other times by the Dead, and was common in sets by the Jerry Garcia Acoustic Band in the 1980s. The late show acoustic set closed with another debut, another bluegrass quintet rendition of “A Voice From On High,” one of Bill Monroe’s most moving gospel numbers. Following the electric set, the late show concluded with an encore of Cold Jordan.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Meanwhile, in the New Riders sets, Weir guested on Mama Tried, Me and My Uncle and Sawmill in both the early and late shows. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/15/70 Early Show Acoustic Set: Don't Ease Me In, I Know You Rider, Ain’t It Crazy (The Rub), Friend Of The Devil, Long Black Limousine, Candyman, Cumberland Blues*, New Speedway Boogie*, Cold Jordan*@<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">5/15/70 Late Show Acoustic Set: The Ballad Of Casey Jones, Silver Threads, Black Peter, Friend Of The Devil, Uncle John's Band, Candyman, She's Mine, Katie Mae, I Hear A Voice Callin'*@<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"> The next day 5/16/70, the Dead participated in a multi-band outdoor festival at the stadium of Philadelphia’s Temple University, sharing the bill with Jimi Hendrix, the Steve Miller Band, and Cactus. A partial audience recording exists of their brief show, which was a single electric set.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">It appears that the band had been contracted to play the final show of the tour at Fairfield University in Fairfield, Connecticut, but the show appears to have been cancelled. This is discussed at great length <a href="http://lostlivedead.blogspot.com/2009/12/may-17-1970-fairfield-university.html">here</a>. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"> In any event, the Dead’s marathon spring tour had come to a close. putting them back in the Bay area for nearly a week before leaving for the UK for their first European show, a single shot at the Hollywood Festival in Newcastle-Under-Lyme. Recently uncovered film that was added as bonus footage for the documentary Long Strange Trip does show Garcia, Weir, and Lesh rehearsing the harmonies for Candyman with acoustic guitars at some indoor venue in the UK.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><b>June in San Francisco and New York</b></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCD91a4msmQYYuLdz1J8ZXmlDdrJZ50r-ylGMl-k1wItZWFWGBWV-24caZbaSHi66Aktq2uUC3xoKTYKL50SX8e_sfUkOgM8wX3jQy4cBYfYxIusPr11aVW3JcFUHlnGR2Fi2pmvyfXaY/s716/dead-and-davis.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><font face="times"><img border="0" data-original-height="716" data-original-width="480" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCD91a4msmQYYuLdz1J8ZXmlDdrJZ50r-ylGMl-k1wItZWFWGBWV-24caZbaSHi66Aktq2uUC3xoKTYKL50SX8e_sfUkOgM8wX3jQy4cBYfYxIusPr11aVW3JcFUHlnGR2Fi2pmvyfXaY/w138-h205/dead-and-davis.jpg" width="138" /></font></a></div><font face="times">After returning from England, the Dead had a week without gigs before returning for another four night hometown stand at the Fillmore West. For these shows, the Evening with the Grateful Dead format was followed, with the exception that home towm blues-rock band Southern Comfort played between the Acoustic Dead sets, which opened the night, and the performances by the New Riders and the electric Grateful Dead. As had become typical for these acoustic sets, Nelson and Dawson joined for one or more songs near the end of the acoustic set. The first night featured the first version of “Swing Low Sweet Chariot” which featured Nelson prominently on mandolin. Weir guested with the New Riders on 6/4, but not on 6/5, which I attended.<o:p></o:p></font><p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">6/4/70 Acoustic Set: Deep Elem Blues, Candyman, Silver Threads & Golden Needles, Friend Of The Devil, Cumberland Blues*, Wake Up Little Susie*, Swing Low Sweet Chariot*, Uncle John's Band<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">6/5/70 Acoustic Set: Dire Wolf, I Know You Rider, Silver Threads & Golden Needles, Friend Of The Devil, Me & My Uncle, Black Peter, New Speedway Boogie* <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">6/6/70 Acoustic Set: Don't Ease Me In, The Frozen Logger, Friend Of The Devil, Candyman, Deep Elem Blues, Cumberland Blues*, Wake Up Little Susie*@, New Speedway Boogie*<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">6/7/70: Don't Ease Me In, Silver Threads & Golden Needles, Friend Of The Devil, Candyman, *@Cold Jordan,*@ Swing Low Sweet Chariot,*@ Cumberland Blues, Me & My Uncle*@, New Speedway Boogie*<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The middle of June was busy for the band. The Dead played two dates in Hawaii, both apparently entirely electric shows with buddies Quicksilver Messenger Service. Workingman’s Dead was released on June 14, and the band went to Memphis for a one-off electric gig on June 19, returning to the Bay Area where they participated in a 6/21 benefit at Pauley Ballroom at UC Berkeley where they performed with numerous other acts, playing a short electric set. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">On June 24, the Dead did another one night-two show stand at the Capitol Theatre in Portchester, NY. Like the two-show 5/15 date at the Fillmore East, the early and late shows both featured the acoustic/NRPS/electric format, making for a very long evening, and two of the more interesting electric sets of the year. The early show acoustic set included a relative rarity, the Gene Chrysler country weeper Let Me In, which was a hit for Porter Wagoner in 1966. That tune shows up a few times in Dead related sets, including the KSAN studios jam featuring Garcia/Weir/John and Mario Cipollina/Pete Sears that occurred in July and another studio jam in Boston in November that featured Garcia, Weir, and Duane Allman. It also included the first acoustic set version of Attics of My Life, which had been played in the electric set a few times in previous weeks. Dawson and Nelson do not appear to have contributed to the early set. The Late set was notable for the first appearance of Big Railroad Blues, which opened the acoustic set, and for the presence of an acoustic encore of Swing Low Sweet Chariot. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"><br /></font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times">6/24/70 Early Show Acoustic set: Dire Wolf, Don't Ease Me In, Attics of My Life, FOTD, Let Me In, Candyman, Uncle John's Band. </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">6/24/70 Late Show Acoustic Set: Big Railroad Blues, Deep Elem Blues, Monkey & The Engineer, The Rub, Silver Threads & Golden Needles, Friend Of The Devil, Candyman> Cumberland Blues*<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Electric set encore: Swing Low, Sweet Chariot*@<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Festival Express and Mississippi River Festival<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">From 6/27 to 7/5, the Dead were part of the Festival Express train tour through Canada. A good deal of footage from the festival tour was shot and much of it ended up in the Festival Express film that was released in 2003. A number of additional filmed performances are viewable on youtube, and an exhaustive exposition of the shows, available film and music can be found <a href="http://deadessays.blogspot.com/2013/07/the-festival-express-guide.html">here</a>. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjJU1wWD83LnCwhRt6Dn23q1mrYypQG43GGEKCTsfZrUot8UV7okuVQRQK1Ut_8i4xIjcf3CB_6C21fQhdt6Gx-BznB-5u3Fer4uKtQcAcxWXdsT91eGjksPtDvR2hdgbxX-VjNtFlqgo/s500/Dead+Festival+Express.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><font face="times"><img border="0" data-original-height="375" data-original-width="500" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjJU1wWD83LnCwhRt6Dn23q1mrYypQG43GGEKCTsfZrUot8UV7okuVQRQK1Ut_8i4xIjcf3CB_6C21fQhdt6Gx-BznB-5u3Fer4uKtQcAcxWXdsT91eGjksPtDvR2hdgbxX-VjNtFlqgo/w256-h192/Dead+Festival+Express.jpg" width="256" /></font></a></div><font face="times">What we know for sure is that the Dead played a free acoustic set in Toronto’s Coronation Park to placate protesters who thought the shows on the tour should all be free. There was also an acoustic set at the 7/4/70 Calgary show, from which the opening version of Don’t Ease Me In (with Pig sitting in on harmonica) was included in the film. We know from tapes that Candyman, Dire Wolf and Uncle John’s Band were also performed in that afternoon’s acoustic set. <o:p></o:p></font><p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">One notable change that apparently started on the Festival Express tour has to do with the configuration of the acoustic sets. Up until these shows, Garcia, Weir, and Pig (when present), performed sitting on folding chairs whereas Phil Lesh stood up to play electric bass. From the Festival Express shows through the end of the acoustic set experiment, the band all performed standing, with the obvious exception of the drummers and keyboard player, when one was present.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Right after the festival express wrapped up, the Dead played a one nightery at the Mississippi River Festival, an outdoor, multi-day event in Edwardsville, Illinois. Newspaper accounts of the event indicate that an acoustic set was played before the electric set, also verified by this <a href="https://bloximages.newyork1.vip.townnews.com/stltoday.com/content/tncms/assets/v3/editorial/5/b7/5b7c3143-6dd8-5221-9710-2b055480a9cf/53a451671d453.image.jpg?resize=620%2C416">photo</a> by Jeff Ward. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">The Dead at Midnight – Fillmore East<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Without missing a beat, the Dead were back at the Fillmore East the next night for the first of four shows. These followed a unique format, starting at midnight and running until the wee hours of the morning. Complete audience tapes exist of the last two nights, but documentation from the first two shows is more problematical. There may not have been an acoustic set on <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/10/70 – in any event, no setlist or recording exists. These shows featured the debuts of several covers. The 1960 Everly Brothers Hit So Sad (to Watch Good Love Go Bad) was sung as a unison trio by Garcia, Weir, and Dawson, with Garcia still on electric guitar following New Speedway Boogie. Rosalie McFall is a familiar bluegrass tune penned by Charlie Monroe that later became an important part of Garcia’s acoustic repertoire in the 80s and 90s. How Long Blues, sung by Garcia with Pigpen on Harmonica, was a country blues standard written by Leroy Carr and Scrapper Blackwell and first recorded by the duo in 1928. Tell It To Me (often called Cocaine Blues) is an uptempo cautionary tale about the dreaded powder written and recorded by country artist Billy Hughes in 1947. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/9/70: Silver Threads & Golden Needles, Cumberland Blues*, Dire Wolf, Swing Low Sweet Chariot*@ <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/10/70: No setlist known for acoustic Set, although it presumably took place.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/11/70: Monkey & The Engineer, Don't Ease Me In, I've Been All Around This World, Dark Hollow, Black Peter, El Paso, New Speedway Boogie*, So Sad (To Watch Good Love Go Bad)*@, Rosalie McFall*@, A Voice From On High*@, Cold Jordan*@, Swing Low Sweet Chariot*@ <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/12/70: Dire Wolf, The Rub, How Long Blues, Dark Hollow, Friend Of The Devil, Candyman, Katie Mae, She's Mine, Rosalie McFall, Tell It To Me, Wake Up Little Susie, Cumberland Blues* <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Bay Area and California July and August<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After the Fillmore East shows, the Dead stayed in their home state for the rest of July, August, and the first half of September working on <i>American Beauty</i>. In between studio sessions, they managed a number of gigs, many in very small venues, as they introduced much of the new material, and some additional covers, into their repertoire. They also experimented with a format incorporating just the acoustic Dead set and the New Riders at some of these shows. Unfortunately, the dates of several existing recordings are disputed. Let’s start with some shows that are documented by reliable dates. As Owsley Stanley was prepared to be incarcerated in Terminal Island, the Dead sent him off with a couple of shows at San Rafael’s Euphoria Ballroom (soon to be reinvented as Pepperland). The 7/14/70 show featured an acoustic set, with David Crosby rather than David Nelson playing second acoustic guitar (12 string in his case) when Garcia switched to electric for Cumberland Blues and New Speedway Boogie. The second show, on the 16<sup>th</sup>, featured one electric set. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/14/70 Acoustic Set: Don't Ease Me In, Friend Of The Devil, Dire Wolf, Dark Hollow, Candyman, Black Peter, How Long Blues, Deep Elem Blues, Cumberland Blues%, New Speedway Boogie%<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">%David Crosby on 12-string guitar. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Going in chronological order of assigned dates, the next shows for which setlists are known are what is identified as a July 30 Matrix show featuring the New Riders, with Dead members opening with a brief six song acoustic set. The novelty in this set was the debut of a new Garcia-Hunter ballad, To Lay Me Down, which opened the set. Although To Lay Me Down did not appear on record until 1972, on the first Garcia solo album, its lyrics were penned by Robert Hunter in an amazing literary epiphany one afternoon in Late May when Hunter was part of the Dead’s entourage to the UK for the Hollywood Festival. That afternoon, as he consumed a fine bottle of Retsina, he penned the lyrics to Brokedown Palace, To Lay Me Down, and Ripple, three of the Dead’s most tender and enduring ballads. The version performed at this show is fully formed, the same sans some instrumental differences with the one that appears on Garcia. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">There are at least two problems with the assigned date for this show. Newspaper research by some other Dead bloggers turned up both calendar listings and eyewitness accounts of the Dead and New Riders performing not at the Matrix in San Francisco, but at the Lion’s Share in San Anselmo on July 30 and the next two nights in the same acoustic Dead/NRPS combo found on the purported Matrix tape. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Interesting scholarship on the summer 1970 shows can be found<a href="http://deadessays.blogspot.com/2011/03/hartbeats-july-1970.html"> here</a>, <a href="http://jgmf.blogspot.com/2011/04/gdnrps19700731-19700801-lions-share-san.html?m=0">here</a>, and <a href="tp://jgmf.blogspot.com/2012/02/new-riders-of-purple-sage-and-acoustic.html">here</a>. </font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">I would like to offer an additional theory that this performance is not from late July but more likely late August/Early September, simply because of the presence of To Lay Me Down. That new tune is not performed on the well-dated mid-August Fillmore West shows, but does appear on two of the mid-September Fillmore East, so it is entirely possible that To Lay Me Down was put in performance shape after the Fillmore West shows. On the other hand, if this show was from late summer, it might well have included some of the other <i>American Beauty</i> tunes like Ripple, Brokedown Palace, or Truckin’, so the date may not be that far off. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times"> </font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">7/30/70 acoustic set: To Lay Me Down, Dire Wolf, Candyman, Rosalie McFall, A Voice From On High, Swing Low Sweet Chariot <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times"> </font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">At any rate, we do not have setlists for the three Lion’s Share gigs. If only one could be a fly on the wall at those shows…<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times"> </font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The next Acoustic curiosity from this period is a tape that has always been identified as Golden Hall, San Diego 8/5/70. This soundboard tape was in trading circles very early. I remember it being listed on a very early tape trader ad I found on a bulletin board at Palo Alto’s World’s Indoor Records in the summer of 1971, although I probably did not get it until 1974 or so.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">This is an entirely acoustic performance again prominently featuring Nelson and Dawson. A Lost Live Dead<a href="http://lostlivedead.blogspot.com/2015/10/august-28-29-1970-thee-club-los-angeles.html#comment-form"> post</a> regarding the otherwise undocumented Los Angeles shows in late August suggests that this tape might be from one of the 8/27-28 gigs featuring the Acoustic Dead and the New Riders at the short-lived Thee Club. However, I would again offer the set list as evidence that the date for this show is probably close to being correct, even if the venue is suspect. It included a unique selection of songs that were parts of acoustic sets earlier in July, along with the Dead debut of the Marty Robbins classic El Paso along with the only known Dead performance of Jimmy Martin’s Drink Up and Go Home, which later found a home in Garcia Acoustic Band sets in the 1980s. What are missing, though, are the four new <u>American Beauty</u>tunes performed at the Fillmore West shows – the lone tune from that album being Candyman, which had been in the repertoire since April. Still, it’s a nifty show, featuring a long run of bluegrass tunes and another version of To Lay Me Down. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">“8/5/70” Setlist: Candyman, El Paso, Rosalie McFall, Tell It To Me, Drink Up & Go Home, I Hear A Voice Calling, Cold Jordan, Swing Low Sweet Chariot, Deep Elem Blues, Dark Hollow, Friend Of The Devil, Mama Tried, To Lay Me Down, Dire Wolf, The Ballad Of Casey Jones.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The Fillmore West run was probably both a convenient infusion of cash as the Band was working in the studio on the new album, and a way to do a trial run for several of the songs they were recording. No reliable audience tape exists for the first night, so I would approach the partial setlist below with some caution. I went the third night, and the tape and setlist concur with what I remember from the show. The second night included four tunes not previously performed, all from the <i>American Beauty </i>Sessions. Truckin’, later to emerge as a charging electric rocker, started its performance life as a whimsical, choogling jug band tune. The other two songs from Hunter’s May London Trifecta, Ripple and Brokedown Palace, were performed as a medley. Finally, the album’s Pigpen contribution, the country blues shuffle Operator, was performed by the whole group. There was a piano player on Truckin’, Ripple and Brokedown Palace. The style of keyboard playing is sufficiently different from Pigpen’s work that I believe these parts may have played by Ned Lagin, who was in town during the summer helping to record American Beauty. As usual, Garcia switched to electric guitar for New Speedway Boogie with Nelson joining on acoustic, and the set concluded with Nelson and Dawson contributing to the two gospel bluegrass tunes. 8/19/70’s acoustic set was in much the same vein as that the previous night, including the three new Garcia-Hunter songs along with a couple of the obscure covers played earlier in the summer, How Long Blues and Cocaine Blues. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">8/17/70 Acoustic Set (?): Cumberland Blues, New Speedway Boogie, Dire Wolf, Candyman, Swing Low Sweet Chariot <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">8/18/70 Acoustic Set: Truckin', Dire Wolf, Friend Of The Devil, Dark Hollow, Ripple> Brokedown Palace, Operator, Rosalie McFall, New Speedway Boogie*, Cold Jordan*@, Swing Low Sweet Chariot*@ <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">8/19/70 Acoustic Set: Monkey & The Engineer, How Long Blues, Friend of The Devil, Dark Hollow, Candyman, Ripple> Brokedown Palace, Truckin', Tell It To Me, Rosalie McFall, Cumberland Blues*, Wake Up Little Susie*, New Speedway Boogie*, Cold Jordan*@, Swing Low Sweet Chariot*@ <o:p></o:p></font></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0TxA5sipfEfaPTa_c76OIVUJOnzm8KXIKtKHr_nUXxOQL7rxSokajqbxtcXtn3JE3THKmZgrMablIJtYPlWOmjcjK5JTUeJNfDR-Oe2sZYlgSaL27K8DHyszZMymYMAoTyocLCde8zw/s1600/Acoustic+Dead+1+closeup.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><font face="times"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0TxA5sipfEfaPTa_c76OIVUJOnzm8KXIKtKHr_nUXxOQL7rxSokajqbxtcXtn3JE3THKmZgrMablIJtYPlWOmjcjK5JTUeJNfDR-Oe2sZYlgSaL27K8DHyszZMymYMAoTyocLCde8zw/w320-h178/Acoustic+Dead+1+closeup.jpg" width="320" /></font></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><font face="times">Acoustic Dead 8.19.70 Photo: M. Parrish<br /><br /></font></td></tr></tbody></table><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjADg-WEM-y7rz9z_Yw0-Rl-6QfErots4eMSkEo6NZ43q5i_NkiGxCX8XfvCIW1ofxxxq6GAqFPFDLN-21dACCW-U9czqv7M90031xAYFSRhH7q4-ItV3yghfso68v6DnWuaSu94zPde4o/s280/Thee+Club.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><font face="times"><img border="0" data-original-height="280" data-original-width="180" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjADg-WEM-y7rz9z_Yw0-Rl-6QfErots4eMSkEo6NZ43q5i_NkiGxCX8XfvCIW1ofxxxq6GAqFPFDLN-21dACCW-U9czqv7M90031xAYFSRhH7q4-ItV3yghfso68v6DnWuaSu94zPde4o/w144-h224/Thee+Club.jpg" width="144" /></font></a></div><p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Near the end of the month, the Dead and New Riders played two dates at a new club in Los Angeles, Thee Club. These were again billed as acoustic performances by the Dead with the New Riders playing a regular electrified set. There has been speculation that the “8/5/70” set might in fact be from one of these shows. A thorough discussion of this weekend can be found <a href="http://lostlivedead.blogspot.com/2015/10/august-28-29-1970-thee-club-los-angeles.html#comment-form">here</a>. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><o:p> </o:p>8/27,28/70 Thee Club, Los Angeles California (Setlists unknown)</font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><o:p></o:p></font></p><font face="times"><br /></font><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">Fillmore East September<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">September was a quiet touring month as the Dead finished up <i>American Beauty,</i>but they did travel to New York for another four-night run at the Fillmore East, continuing the acoustic/NRPS/electric format that they used in previous engagements. Soundboard recordings exist of part of the electric set from 9/19 and of the entire shows from 9/18 and 9/20. Poor audience recordings also exist of the entire shows from 9/17 and 9/18, plus the recently discovered acoustic set from 9/19, so we have a good idea of what was performed during these shows. With the exception of 9/18, when the acoustic set was aborted after two songs because of sound issues, each night concluded with the bluegrass gospel medley of Cold Jordan into Swing Low Sweet Chariot. The first two acoustic sets opened again with Truckin’, after which it disappeared from the acoustic sets for the rest of the year, and started appearing in the electric set on 10/4/70, where it has remained ever since. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The real oddity of these shows took place on 9/17/70, with the only version of Box of Rain performed by a never-to-be-repeated lineup that very nearly recreated the album version. Phil Lesh was on acoustic guitar rather than bass, David Nelson played electric b-bender lead guitar, David Torbert played bass, and Jerry Garcia played piano, with Bob and the drummers in their usual roles. A truly awful recording can be heard <a href="https://archive.org/details/gd70-09-17.aud.remaster.sirmick.27591.sbeok.shnf">here</a> on Jack Toner’s audience tape. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">The last two nights heralded the brief return of To Lay Me Down, this time with kind of a lead piano part which may have also been played by Garcia. As far as I can tell, this run and the August Fillmore West engagement were the only shows where the band had a piano onstage. It is also prominent in the two versions of Truckin’ so perhaps that was either Pigpen or some uncredited guest.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">9/20/70 is justifiably regarded by many as among the best of the 1970 acoustic sets. High energy, and bolstered by the twin mandolins of David Grisman and David Nelson. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">9/17/70 Truckin’, Monkey & The Engineer, Dark Hollow, Friend of The Devil, Ripple, Brokedown Palace, Box Of Rain&, Rosalie McFall, Cold Jordan> Swing Low Sweet Chariot <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">9/18/70 Truckin’, Black Peter (aborted)<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">9/19/70: Don't Ease Me In, Candyman, Silver Thread and Golden Needles, Friend of the Devil, Deep Elem Blues, The Rub, Rosalie McFall, Cumberland Blues, New Speedway Boogie, To Lay Me Down, Cold Jordan> Swing Low Sweet Chariot <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">9/20/70: Uncle John's Band, Deep Elem Blues*#, Friend Of The Devil*#, Big Railroad Blues*# Dark Hollow*#, Ripple*#, To Lay Me Down, Truckin', Rosalie McFall*#, Cumberland Blues*#, New Speedway Boogie*#, Brokedown Palace*#<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After the New York shows, the Dead did a weird little two-date tour, hitting Pasadena on 9/25 and the Summit in Salt Lake City the next night. Apparently the Pasadena show was the New Riders and one Dead Electric set. On the other hand, the Salt Lake City show (verified by a newspaper review and several eyewitness reports on <a href="https://www.dead.net/show/september-26-1970">dead.net</a>) included a long acoustic set followed by a relatively short electric set. Here’s a partial setlist for the acoustic part. </font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: times;">9/26/70 Acoustic (partial, from concert review) I Know You Rider, Ripple, Candyman, Friend of the Devil, Uncle John's Band</span></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"><br /></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">I have no idea why the two consecutive dates would have had such different configurations. In any event, the Salt Lake show was the last acoustic set played at a one-nighter.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times">The Last Hurrah – Capitol Theatre November Shows<o:p></o:p></font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34T9QmOjMnzBe2EcWkte-ZhNs0FXUqTib52oekQK-wR4DhLOxXnGhyphenhyphenqRWK6InrazWtrIvjg0q0R-Z_g1OD85grEnA1w47l0O-UmMtWshRkxeAtrEbluphXg5L1nWuS8qnwCqJ0iEjdz4/s325/images.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><font face="times"><img border="0" data-original-height="325" data-original-width="155" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34T9QmOjMnzBe2EcWkte-ZhNs0FXUqTib52oekQK-wR4DhLOxXnGhyphenhyphenqRWK6InrazWtrIvjg0q0R-Z_g1OD85grEnA1w47l0O-UmMtWshRkxeAtrEbluphXg5L1nWuS8qnwCqJ0iEjdz4/s320/images.jpeg" /></font></a></div><font face="times">In October there were the two “Three Bands for Three Dollars” shows at Winterland on 10/4,5 both entirely electric as far as we know (the 10/4 radio broadcast began with the Dead’s electric set, but it is possible the New Riders and/or Hot Tuna played beforehand. <o:p></o:p></font><p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">Starting on 10/10, the Dead spent pretty much the rest of October and all of November on the East Coast and Midwest. 30 dates in about six weeks – a stretch even for a hard-touring band like the Dead. These shows were all electric, and the first leg (10/10 to 10/18) was just the Dead without the New Riders. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">However, when the Dead returned to the Capitol Theater in early November, they played what turned out to be the last three acoustic sets of 1970 on 11/6,7,8 at one of the band’s most legendary runs, sadly known only from some very good audience tapes. The main events at these shows were the wild electric sets, but some interesting tunes turned up during the acoustic sets, notably the second known acoustic version of Attics of My Life and three versions of El Paso and Operator. Either there was no acoustic set on 11/5 or recordings of it were not made or have not survived. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">11/5/70: No acoustic set?<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">11/6/70: Candyman, Uncle John's Band, Attics of My Life, Drums & Phil, Don't Ease Me In, Deep Elem Blues, Dark Hollow, Friend of The Devil, The Rub, Black Peter, El Paso, Brokedown Palace, Uncle John's Band<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">11/7/70 Deep Elem Blues, Monkey & The Engineer, Big Railroad Blues, Operator, Ripple, El Paso, Cumberland Blues* <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">11/8/70: Dire Wolf, I Know You Rider, Dark Hollow, Rosalie McFall, El Paso, Operator, Ripple, Friend of The Devil, Wake Up Little Susie, Uncle John's Band <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><b><font face="times"> </font></b></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After the Capitol shows, the Dead were back to all electric shows for the duration of their career, save for a few small benefits and the long run of 1980 shows in San Francisco, New Orleans, and New York. There were probably several contributing factors to dispensing with the acoustic sets. First, they were plagued by sound problems stemming from the difficulty of properly placing and balancing the microphones for the guitars. Secondly, in many cases, the extended acoustic sets, plus a healthy set by the New Riders, often resulted in a surprisingly short electric set. And as interesting and fun as the acoustic sets were, the electric sets are where the improvisational and energetic magic happens. Finally, with the advent of two albums worth of strong new material released during 1970 and many more new compositions emerging in late 1970-early 1971, the band simply had more material to play during their electric sets. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">In December, concert billings indicate that the band at least pondered doing a few additional acoustic sets. <a href="http://cryptdev.blogspot.com/2011/02/pepperland-then-and-now.html">The 12/21/70 Show at Pepperland</a> was billed as the Acoustic Dead, but it turned out to feature Garcia/Lesh/Kreutzmann/David Crosby (David and the Ding-A-Lings) instead. A Winterland benefit on 12/23/70 was also advertised as featuring acoustic Grateful Dead, but they ended up playing a single electric set instead. Radio ads for New Years eve also promoted both acoustic and electric sets, but no acoustic set was forthcoming. Given Winterland’s cavernous acoustics, an acoustic set probably would not have been very feasible for either of these shows anyway. I remember that the acoustic set for the 12/31/80 NYE show at the Kaiser didn’t really work that well for the same reason.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">After generally playing one longish electric set in the late 1970 electric shows, the Dead mostly transitioned to the now-familiar two-set formula at the El Monte Legion Stadium shows at the end of December 1970. The end of 1970 also saw one last appearance of the acoustic gospel quartet, as Garcia, Weir, Nelson and Dawson did a short radio broadcast/interview to hype the three El Monte shows.<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">KPPC Studios 12/27/70: Silver Threads and Golden Needles, Cold Jordan, a Voice From On High, Swing Low Sweet Chariot. <o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"> </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times">The Grateful Dead's experimentation with playing acoustic instruments onstage during 1968 to 1970 was another aspect of their experimenting with different genres of music and different ways of performing. Even though it didn't end up being a permanent part of their onstage persona, it stands as a high water mark of the Dead's creative expression during one of their most interesting and productive years. It's hard to believe this was 50 years ago. </font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><o:p><font face="times"><br /></font></o:p></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">*With David Nelson<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">@With John Dawson<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times"># With David Grisman<o:p></o:p></font></p><p class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><font face="times">& Garcia on piano, Nelson on guitar, Torbert on bass</font><font face=""><o:p></o:p></font></p>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-32841081161348275512020-07-24T19:43:00.007-07:002021-06-30T13:35:36.404-07:00Live Music in Palo Alto1971-73 - Across the Tracks at Homer's Warehouse<div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;">
Literally across the tracks from In Your Ear, Homer’s Warehouse was the other main venue for regular live music performance in Palo Alto during the early 1970s. An actual warehouse located where the western extension of Homer Street intersected the main Southern Pacific train line from San Francisco to points south, Homer’s period as a rock venue is portrayed in colorful fashion in Andrew Bernstein’s <u><a href="https://www.californiaslim101.com/">California Slim, the Music, the Magic, and the Madness</a></u>, which I heartily recommend as essential reading on the Palo Alto music scene in the 1970s. It provides the full, colorful story of the club whereas this piece is intended to provide all of the information I could find on who was booked at Homer’s Warehouse during its brief two year tenure. Homer’s was more of a gritty rock-based roadhouse than the more genteel, blues-and-jazz focused In Your Ear. Because it was a bar and closed its doors before I turned 21, I never made it to Homer’s Warehouse. The purpose of this appendix is to spotlight some of the musical luminaries that played other main club the Palo Alto area in the early 1970s. There are a number of these bands for which I couldn’t find any information, so I just list the date and the band name in those instances. <o:p></o:p></div>
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For the first year of its existence, Homer’s Warehouse was run and booked by Bob Giussi, and its booking policy seems to have mostly attracted a lot of bikers, an otherwise relatively rare commodity in primarily white collar Palo Alto. <o:p></o:p></div>
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<b>12/4/71 Gold<o:p></o:p></b></div>
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Gold was a Latin-inflected blues band from San Francisco’s Mission District. Their manager and sometime percussionist Ron Cabral was a school teacher by day and a good friend of Country Joe McDonald, who he met when they were both in the army. Although they did not release recordings during their tenure as a band (1968-1973), there are two posthumous releases by the band that show them to be a tight and dynamic ensemble. Their most infamous gig was supporting Big Brother and the Holding Company and Janis Joplin’s final band, Full Tilt Boogie, at the Palms Ballroom (later Pepperland) in San Rafael on 5/16/70. Gold was apparently a hit at Homer’s as they were booked for two subsequent dates. Cabral also wrote a very entertaining book, Country Joe and Me, <o:p></o:p></div>
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<b>12/9/71 The Dogs<o:p></o:p></b></div>
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After lead singer Roy Loney left San Francisco rock band the Flamin’ Groovies, the band briefly took the name the Dogs before wisely returning to their original name. Although they were part of the original San Francisco rock renaissance of the mid to late 1960s, and performed during the closing of the Fillmore West in July 1971, the Flamin Groovies’ short old time rock tunes cut against the grain of what most Bay Area bands were doing at the time. The Groovies had their greatest success in the late 1970s/early 1980s when the musical fashions of the day caught up with their style and they moved temporarily to the UK. <o:p></o:p></div>
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<b>12/10/71 Around and Around<o:p></o:p></b></div>
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<b>12/23/71 The Doobie Brothers<o:p></o:p></b></div>
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I believe the Doobies actually played a number of times at Homer's during the Guissi era, but this was the one hard date I could find. Being based in San Jose, Homer's was an easy gig for the Doobie Brothers, presumably still living hand to mouth at this point a few years away from the beginning of their glory years.<br />
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<b>1/8,9/72 The Beans<o:p></o:p></b></div>
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As detailed here, the Beans were initially a jam-band focused group from Phoenix Arizona including the core of future band the Tubes. The Beans was one of a very few bands that I could determine played at both Homer’s Warehouse and In Your Ear.<o:p></o:p></div>
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<b>1/15/72 Black Kangaroo and Lollapalooza. <o:p></o:p></b></div>
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Black Kangaroo was the power trio rock band that was principally a vehicle for guitarist Peter Kaukonen’s Hendrix-style instrumental acrobatics. They released their sole album in 1972 on Grunt Records, the label run by Kaukonen’s brother Jorma’s band the Jefferson Airplane. The younger Kaukonen went on to play on a number of other Grunt recordings, toured with the Jefferson Starship, has played occasionally with Hot Tuna, participated in the 1989 Jefferson Airplane reunion, and has released a number of solo albums on his own Veldt records. <o:p></o:p></div>
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1<b>/21-22/72 Fluid Drive and You<o:p></o:p></b></div>
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<b>1/26/72 King Kong<o:p></o:p></b></div>
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<div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>2/2/72 Funeral Wells</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>2/17/72 You Thursday</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<b>3/3/72 Pomps<o:p></o:p></b></div>
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<br /></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>3/10,11/72 Rockets</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>3/17/72 Hades</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></div>
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<b>3/24-26/72 The Doobie Brothers<o:p></o:p></b></div>
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<br /></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>5/4,5/72 Touchstone</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;">This is an intriguing booking because the timing is right for this to have been an appearance by the band Touchstone that included former Grateful Dead keyboard player Tom Constanten, former Country Joe and the Fish Drummer Chicken Hirsch, and avant-garde composer/guitarist Paul Dresher. They released a single album, Tarot, which was the soundtrack to a mime production. </div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></div>
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<b>5/18/72 Gold<o:p></o:p></b></div>
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<b>6/6/72 Blues Bash<o:p></o:p></b></div>
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<b>6/7/72 Mike Shapiro Band. <o:p></o:p></b></div>
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Mike Shapiro was lead guitarist for Palo Alto band William Penn and his Pals, which included keyboardist-lead vocalist Greg Rolie who would shortly go on to fame and fortune as a key member of Santana. <o:p></o:p></div>
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<b>6/15-16/72 Country Weather<o:p></o:p></b></div>
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Country Weather was one of the better unsigned second or third wave San Francisco rock bands, with a twin guitar lineup of Greg Douglass and Steve Derr, they were probably closest in style to early Quicksilver. This gig was near the end of the band’s tenure, with Douglass slated shortly to work with Van Morrison, Hot Tuna, and Terry and the Pirates before becoming a member of the Steve Miller Band in 1976.<o:p></o:p></div>
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<b>6/17/72 Frank Biner Band.<o:p></o:p></b></div>
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Oakland’s Frank Biner was a blues vocalist-guitarist that played Chicago clubs before migrating to the Bay area in the 1960s. He sang backing vocals on several Tower of Power cuts and later worked with Michael Bloomfield, who he had known from his Chicago days. Other than a 1982 single, Biner didn’t have recordings of his own released until he was signed by German label Acoustic Music, which released four albums by Biner during the 1990s. <o:p></o:p></div>
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<b>7/6/72 Titus’ Mother with Linda Laflamme. <o:p></o:p></b></div>
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Linda Laflamme was the original keyboard player in It’s a Beautiful Day and the first wife of that group’s violin player/songwriter David LaFlamme (not to be confused with his current wife Linda). After leaving IABD, Laflamme formed Titus’ Mother, a band that never recorded and seems to have mostly vanished from Bay Area musical history. Here is a brief insight into Titus’ Mother from a 2003 interview of David LaFlamme by Peter Thielen:<b><span style="color: #fff6dc; font-family: "helvetica neue";"></span></b> “Yeah, she started her own band Titus’ Mother, did “Food Stamp Blues” and a lot of other — what I call protest music. Very political. I remember once, Freddy over at Keystone [a club in Berkeley] he had spoken with Titus’ Mother and they wanted to play there, and he said, “Do you think you could get that ex-husband of yours to play?” So I talked to Freddy and he said, “I want you to play here at the Keystone, but I want your ex-wife to be on the bill as the opening act.” I said “Freddy, this is going to be the biggest mistake that you ever made in your life, you’re going to be so sorry you did this.” He said, “No, I’m not, no I’m not, I think it’s going to be fantastic. The place will be packed.” I said “Oh, there will be people there, but you’ll be sorry.” Guess what? She got her friends, they made some signs, and they paraded up and down in front of the club all week before we were supposed to play there because of the high ticket prices. (laughs) He called me and said “What is she doing? David, please, I don’t understand.” (laughs) “I told you Freddy, she’s very political and she doesn’t like these fifteen dollar ticket prices, she’s really upset about it.”<o:p></o:p></div>
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<b>7/8/72 Gold<o:p></o:p></b></div>
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<b>8/18-19/72 Ribbet<o:p></o:p></b></div>
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<b>9/29/72 A Natural Act<o:p></o:p></b></div>
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<b>11/2-3/72 Bluesberry<o:p></o:p></b></div>
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<b>11/4/72 Madness<o:p></o:p></b></div>
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Following a biker skirmish that resulted in one person being stabbed with an ice pick, Homer’s Warehouse closed its doors after the incident was reported on the front page of the Palo Alto Times. After being closed for a few weeks, Andrew Bernstein and Rollie Grogan took a sublease from Bill Giussi, who had originally leased the warehouse from 82 year old landlady Katherine Urban, whose husband had built a group of warehouses in the former industrial center. <o:p></o:p></div>
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<b>2/2/73 Stoneground and Blue Mountain<o:p></o:p></b></div>
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Stoneground started out as a trio from Concord that morphed into a 10 piece band with five lead singers. They were the central band for Warner Brothers Records’ Medicine Ball Caravan and appeared in both the movie from that tour and a Hammer Horror film called Dracula A.D. 1972. By 1973, they had undergone a number of personnel changes, most recently the departure of former Beau Brummels singer-songwriter Sal Valentino, but were still a powerful live act with lead singer Annie Sampson, guitarist Tim Barnes, keyboardist Cory Lerios, and drummer Steve Price. Blue Mountain was a great Palo Alto based rock/R&B band. <o:p></o:p></div>
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<b>2/9/73 Nick Gravenites and Luther Tucker<o:p></o:p></b></div>
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Nick Gravenites was an essential part of the group of Chicago blues musicians who migrated to the bay area in the 1960s. Gravenites wrote songs for the Butterfield Blues Band, was a principal songwriter and vocalist for the Electric Flag, and then performed regularly with Michael Bloomfield in his club gigs around the bay. He also performed without the guitarist, particularly when Bloomfield’s tendency to miss gigs became more commonplace. For this performance, Gravenites performed with pianist Mark Naftalin and a rhythm section. <o:p></o:p></div>
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<b>2/13/73 Asleep at the Wheel<o:p></o:p></b></div>
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Asleep at the Wheel had played a number of gigs at In Your Ear before it closed, but became close to a house band at Homer’s during the remainder of the club’s existence. The original lineup of Asleep at the Wheel easily succeeded in bringing western swing to Bay Area clubs and released a series of strong albums on United Artists, Epic, and Capitol. Andrew Bernstein’s book chronicles many exploits of the band during their affiliation with Homer’s. <o:p></o:p></div>
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<b>2/15/73 Sons of Champlin<o:p></o:p></b></div>
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The Sons of Champlin predated many of the better known San Francisco bands, but never obtained the commercial success of the Jefferson Airplane or the Grateful Dead. After briefly changing their name to Yogi Phlegm in 1971, the band returned to their earlier name and recorded possibly their strongest album, Welcome to the Dance in 1973. At this point, the Sons comprised Bill Champlin, Terry Haggerty, Geoff Palmer, David Schallock, and James Preston. A formidable live act, the Sons of Champlin were regulars on the Bay Area circuit and also toured nationally during this period. <o:p></o:p></div>
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<b>3/4/73 Old and In the Way. <o:p></o:p></b></div>
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Old and in the Way’s second live performance was the first appearance by Jerry Garcia in a Palo Alto club since his appearances with the New Riders at the Poppycock in late 1969 (He did play twice at Stanford in the meantime, once with Merl Saunders at Frost Amphitheatre and once with the Dead, on 2/9/73, at Maples Pavilion). According to Bernstein’s book, Sam Cutler contacted the club to offer the club a gig by this then unknown but soon to become legendary ensemble, comprising Garcia, Peter Rowan, David Grisman, and John Kahn, so they got this gig on a Tuesday night, two days after OIITW did their first radio broadcast for KSAN from the Record Plant. For the radio gig, the band included fiddler Richard Greene but, According to Bernstein book, the group performed the first time at Homer’s as a quartet without a fiddler. Garcia clearly liked playing at Homer’s as he returned two more times with Old and In the Way, and also did a weekend in May with Merl Saunders. <o:p></o:p></div>
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<b>3/23/73 Rowan Brothers and Frank Biner Band<o:p></o:p></b></div>
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At this time, the Rowan Brothers consisted of Chris and Lorin, the two younger siblings of Earth Opera/Bill Monroe/Seatrain guitarist Peter Rowan. The duo had met Jerry Garcia, then a neighbor of theirs in Stinson Beach, through Peter, and he was instrumental in getting the younger Rowans signed to Columbia records, who released their first eponymous LP in 1972. At this point, the Rowans were working with a small electric group, performing a wide variety of original tunes by the two brothers. <o:p></o:p></div>
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<b>4/10 Bob Banks and the Gas Tanks<o:p></o:p></b></div>
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Banks and the Tanks were apparently a country band made up of Stanford students who had enough cronies to fill the club from the nearby university.<o:p></o:p></div>
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<b>4/12/73 Copperhead and Luther Tucker Band.<o:p></o:p></b></div>
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After he left Quicksilver Messenger Service in 1970, Guitarist John Cipollina migrated to Copperhead, a harder-rocking band that included bassist Hutch Hutchinson, drummer David Weber, keyboard player/vocalist Jim McPherson and guitarist/vocalist Gary Phillippet. They recorded a single eponymous album for Columbia in 1972 that consisted of original material written by Phillippett, McPherson and Cipollina in various combinations. The band broke up Phillippet, who also went by Gary Phillips, had a long career in bay area bands including Freedom Highway, Earthquake, and the Greg Kihn Band. McPherson did recording with a variety of Marin County musicians in the mid to late 1970s, and was a member of High Noon, an eclectic band put together by Mickey Hart in 1980 that included Merl Saunders and Norton Buffalo. Around the time Copperhead folded, Cipollina started working with Terry and the Pirates, a great rock and roll ensemble that was fronted by Terry Dolan and featured twin lead guitar courtesy of Cipollina and Country Weather’s Greg Douglass. Cipollina subsequently worked regularly with Nick Gravenites and was a member of the Dinosaurs as well as numerous other Marin County based groups.<o:p></o:p></div>
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Blues guitarist Luther Tucker had impressive credentials before fronting his own band, having served in Muddy Waters and later James Cotton’s bands in the late 1960s before going out on his own in the early 1970s. He was a regular at In Your Ear during its last months of operation. During this era, Tucker also worked with John Lee Hooker, and did not record under his own name until the 1990s, when he also did an album with the temporarily reunited Ford Blues Band.<o:p></o:p></div>
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<b>4/18-19/73 Stoneground<o:p></o:p></b></div>
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<b>4/20-21/73 Rowan Brothers Chaos Chorus and Stagger Band<o:p></o:p></b></div>
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The Chaos Chorus were an electric trio from Sonoma County that were led by a teenaged Norton Buffalo. Buffalo, an amazing harmonica player, songwriter and vocalist, later played with Commander Cody, led his own band, the Norton Buffalo Stampede, that recorded a couple of albums in the mid-1970s for Capitol. For many years, he was Steve Miller’s sidekick in the Steve Miller Band, and also recorded a series of fine albums with guitarist Roy Rogers. <o:p></o:p></div>
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<b>4/27/73 Sons of Champlin<o:p></o:p></b></div>
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<b>5/2/73 Dirty Butter Jug Band<o:p></o:p></b></div>
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Santa Cruz ensemble Dirty Butter Jug Band has been playing since the early 1970s. The group originated when New Jersey music fanatics Tim Greenwood, Bob Young and Rita Black decided to start a jug band. Moving to California in 1971, they assembled a sprawling cast of collaborators that began performing in bay area clubs, most notably the legendary Club Zayante in the Santa Cruz mountains. <o:p></o:p></div>
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<b>5/3/73 Appaloosa and the Mad Brothers<o:p></o:p></b></div>
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There was a New England Quartet called Appaloosa that recorded a single album for Columbia in 1969, produced by Al Kooper. Given the time gap and the lack of any follow up recordings by this group, and the fact that they had a return gig in July, it is more likely that this was an unrecorded bay area band.<o:p></o:p></div>
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<b>5/4,5/73 Jerry Garcia and Merl Saunders. <o:p></o:p></b></div>
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As noted in California Slim, Andrew Bernstein knew Jerry Garcia from the folk days, and took guitar lessons from him. Since the Grateful Dead moved out of Palo Alto, Garcia had been a rare presence in Palo Alto, other than some excursions with the New Riders in 1969-70 and a Dead performance at Stanford’s Maples Pavilion on 2/19/73. However, once Garcia played a local place that he liked, he would often return there frequently. Jerry clearly liked playing Homer’s Warehouse, starting with his March date with Old and In the Way, but this was the only time he performed there with Merl Saunders. Soundboard recordings exist of both nights of this May engagement.<o:p></o:p></div>
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<div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>5/6/73 Mad Deal Ely</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<b>5/18/73 Old and In the Way<o:p></o:p></b></div>
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Two weeks later, Garcia was back again playing bluegrass with with Old and In the Way.</div>
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<b>5/19/73 Stoneground<o:p></o:p></b></div>
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<b>5/24/73 Cat Mother and Eyes<o:p></o:p></b></div>
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Cat Mother and the All Night Newsboys had a long history, starting as a quintet playing rock and roll in New York, where they met Jimi Hendrix, who produced both their first album The Street Giveth and the Street Taketh Away and the hit single from that album “Good Old Rock n Roll” which reached #21 on the Billboard singles chart in 1969. The group subsequently moved to California, went through a number of personnel changes, and released two more albums. By 1973, they were mostly playing bay area clubs, including this one date at Homer’s.<o:p></o:p></div>
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<b>5/25,26/73 Crabshaw’s Outlaws (Elvin Bishop) and Elvis Duck</b>. <o:p></o:p></div>
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In 1973, Elvin Bishop was juggling two bands. The Elvin Bishop Group was a popular club and ballroom act that he had maintained since at least 1969, featuring keyboard player Stephen Miller and vocalist Jo Baker. In 1973 he began playing club gigs with a different group including second guitarist Johnny Vernazza, who had played in soul/R&B band Gideon and Power. Gideon and Power also included vocalist Mickey Thomas, who had been mentored by that band’s lead singer Gideon Daniels. Thomas was recruited into Crabshaw’s Outlaws as a backing vocalist. The novelty of the sound of Bishop’s new group was the twin lead guitars of Bishop and Vernazza, which created a sound more reminiscent of the Allman Brothers than the classic Butterfield Blues Band. Eventually Bishop transitioned the Outlaws into a new version of the Elvin Bishop Band in 1974 that recorded a number of best-selling albums for southern rock label Capricorn and generated the huge AM hit “Fooled Around and Fell In Love,” which launched Thomas’ career as a lead vocalist, initially in the Bishop band and later in the Jefferson Starship and Starship. <o:p></o:p></div>
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<b>6/8/73 Paul Pena<o:p></o:p></b></div>
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Boston area guitarist-vocalist Paul Pena had moved to the Bay Area in 1971. He had opened for the Grateful Dead in Philadelphia in 1969, so he visited the Dead’s office to get help getting local gigs. Pena opened for Garcia and Saunders numerous times, and they also appeared on his album New Train, which was recorded in 1973 but remained unreleased until 2000 because of contract disputes. That album, which was produced by Ben Sidran and featured a core band of Sidran, bassist Harvey Brooks, and drummer Gary Malabar, included the song “Jet Airliner, which Sidran passed to his sometime collaborator Steve Miller whose version of the song was a huge AM hit a few years later. In 1999, Pena was the subject of a documentary film<i>, Genghis Blues</i>, which documented his journey to Tuva to compete in their annual throat singing competition. Back in 1973, Pena most often performed solo, but it is possible he had a band for this headlining gig. <o:p></o:p></div>
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<b>6/9/73 Butch Whacks and the Glass Packs<o:p></o:p></b></div>
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Butch Whacks and the Glass Packs were (an amazing 15 piece rock and roll band dedicated to performing old style rock and roll hits from the 50s-early 60s. The band got their start as students at St. Mary’s College in Moraga playing frat parties, and eventually morphed into a very popular bay area club and theatre act. I saw Whacks and company one time, my first visit to the San Jose State Student Union Ballroom in 1973. Their schtick was greaser rock and roll – think Sha Na Na but with more energy and musical talent. It would have been great to see them at an intimate space like Homer’s. After disbanding in 1976, the group came back together in 1983 for the first of 22 annual reunion performances before finally calling it quits for good in 2014. <o:p></o:p></div>
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<b>6/15/73 Sons of Champlin and Funeral Wells<o:p></o:p></b></div>
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<b>6/22/73 Luther Tucker<o:p></o:p></b></div>
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<b>6/23/73 Staton Brothers<o:p></o:p></b></div>
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The Staton Brothers Band was a Los Angeles Based quartet that produced one CSNY-influenced album on Epic in 1972. They did not record a follow-up, but clearly were still performing in 1973. <o:p></o:p></div>
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<b>6/29/73 Country Joe McDonald and His All-Star Band and Funeral Wells<o:p></o:p></b></div>
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Country Joe McDonald’s All-Star Band included two members of Big Brother and the Holding Company, bassist Peter Albin and drummer David Getz, along with vocalist Dorothy Moskowitz, late of pioneering Los Angeles electronic ensemble United States of America. During this era, apparently membership in the All-Star Band was fluid, so this gig may have featured a slightly different lineup<o:p></o:p></div>
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<b>7/3/73 Pegasus<o:p></o:p></b></div>
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Pegasus was a five piece Sons of Champlin-like band from Maine that recorded a single in 1973, and undertook at least one brief west coast tour that apparently included this bay area gig. <o:p></o:p></div>
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<b>7/4/73 Asleep at the Wheel and Commander Cody and His Lost Planet Airmen<o:p></o:p></b></div>
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With simpatico musical styles and similar party energies, Asleep at the Wheel and Commander Cody were a natural co-bill, and I saw the bands together many times, primarily at the Keystones, during 1975-77. <o:p></o:p></div>
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<b>7/5/73 Appaloosa<o:p></o:p></b></div>
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<b><br />7/6,7/73 Elvin Bishop Band and El Roacho<o:p></o:p></b></div>
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This gig was apparently played the ‘classic’ Bishop band with Stephen Miller and Jo Baker, approaching its last legs. El Roacho was a six piece Texas-by-way-of-Los-Angeles rock band that released a single album The Best of El Roacho’s Biggest Hits on Columbia in 1973, allegedly produced by a young T-Bone Burnett. Not to be confused with punk trio Sons of El Roacho. <o:p></o:p></div>
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<b>7/13/73 Stoneground and New Shreveport Homewreckers<o:p></o:p></b></div>
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All I know of the New Shreveport Homewreckers was that they used to gig around Santa Cruz when I was a student at UCSC and featured Moby Grape’s Jerry Miller as guitarist for at least part of their existence.<o:p></o:p></div>
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<b>7/20/73 Sonny Terry and Brownie McGhee<o:p></o:p></b></div>
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Acoustic Blues duo Sonny Terry and Brownie McGhee had played several times at In Your Ear and apparently chose a booking at Homer’s when they had a more high profile gig at the Paul Masson Winery in Los Gatos a few days later. Bernstein’s description of his several days driving Terry around is priceless.<o:p></o:p></div>
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<b>7/21/73 Butch Whacks and the Glass Packs<o:p></o:p></b></div>
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<b>7/24/73 Old and In the Way and Asleep at the Wheel<o:p></o:p></b></div>
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Because I did not turn 21 until 1974, I never made it to Homer’s Warehouse myself. However, I was told by a friend who worked at Stanford radio station that their set would be broadcast on the radio station, so I had my tape recorder set up and recorded the first sets of both bands, which were indeed broadcast on KZSU. By this point, Old and In the Way had quite a few gigs under their belt and, after brief tenures with Richard Greene and John Hartford in the fiddle slot, had settled on virtuoso Vassar Clements, whose graceful, swooping fiddle runs were the icing on the bluegrass cake that was Old and In the Way. The broadcast was the first time I had heard Asleep at the Wheel, and I was immediately smitten with their extroverted western swing groove and the seductive vocals of Chris O’ Connell. <o:p></o:p></div>
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<b>8/4/73 Asleep at the Wheel, Elvis Duck, Phantoms of the Opry<o:p></o:p></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>8/10,11/73 Elvis Duck</b></div>
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<b>8/15/73 Kinky Friedman and his Texas Jewboys and Asleep at the Wheel<o:p></o:p></b></div>
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This was the first meeting between Texas legend Friedman and Asleep at the Wheel, who were soon to join Friedman as Austin residents. I'm sure a good time was had by all at this show, and that many libations were consumed. <o:p></o:p></div>
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<b>8/17,18 Truckin’<o:p></o:p></b></div>
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<b>8/24/73 Jesse Colin Young and Jerry Corbitt<o:p></o:p></b></div>
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Former Youngbloods bandmates Young and Corbitt reunited for a few duo performances around this time, including this show and one a week later at Homer’s. <o:p></o:p></div>
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<b>8/25/73 Orphan<o:p></o:p></b></div>
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Orphan was a Boston based light rock band built around guitarist Eric Lillhequest and <o:p></o:p><br />
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vocalist-guitarist Dan Adrien that recorded two albums for London Records. I saw them around this time at the Boarding House in San Francisco, where they opened for musical comic Martin Mull. </div>
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<b><br /></b><b>8/28 Kanger Kakko Band</b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b><br /></b></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><b>8/30/73 Cat Mother, Orphan and Fever</b></div>
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<b>8/31/73 Jesse Colin Young and Jerry Corbitt<o:p></o:p></b></div>
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<b>9/14/73 Ramblin’ Jack Elliot and Phantoms of the Opry<o:p></o:p></b></div>
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In the early 1970s, folk legend Ramblin’ Jack Elliot had connected with the Grateful Dead/New Riders family, most notably joining them at the Felt Forum on 3/18/73 for a fine Riders/Dead mashup. Elliot subsequently moving to the Bay area for a few years and doing club dates such as this event at Homer’s. Support act Phantoms of the Opry was a bay area bluegrass quintet featuring Pat Enright, later leader of the Nashville Bluegrass Band, and bassist/vocalist Laurie Lewis, early in her career. <o:p></o:p></div>
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<b>9/20/73 Fever<o:p></o:p></b></div>
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<b>9/21 Truckin’<o:p></o:p></b></div>
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<b>10/3/73 Old and In the Way <o:p></o:p></b></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;">Per a message from the Owsley Stanley Foundation, this show, previously believed cancelled, did indeed take place, and was taped. Here's a setlist: </span><span style="font-family: calibri, sans-serif;"> 1. On & On</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 2. Catfish John</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 3. Goin' to the Races</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 4. Lonesome Fiddle Blues</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 5. Land of the Navajo</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 6. Eating Out of Your Hand</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 7. Uncle Pen</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 8. The Hobo Song</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 9. Pig In a Pen</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 10. Sally Goodin</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 11. Panama Red</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 12. Lonesome LA Cowboy</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 13. Wicked Path of Sin</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 14. Blue Mule</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 15. I'm On My Way Back to the Old Home</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 16. Old & In the Way</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 17. Old & In the Way Breakdown</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 18. Muleskinner Blues</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 19. You'll Find Her Name Written There</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 20. 'Til the End of the World Rolls Round</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 21. Down Where the River Bends</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 22. Lost</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 23. Drifting Too Far from Shore</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 24. Love Please Come Home</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 25. High Lonesome Sound</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 26. Wild Horses</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 27. White Dove</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 28. Midnight Moonlight</span></div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;"><span style="font-family: calibri, sans-serif;"> 29. Orange Blossom Special</span></div>
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<b>12/15/73 Steelwind<o:p></o:p></b></div>
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A band fronted by Jefferson Airplane/Starship songwriter Jack Traylor, Steelwind released one album on the Airplane’s Grunt label in 1973. The group also featured a 19 year old Craig Chaquico as lead guitarist, soon to go on to stardom with the Starship and later as an acoustic guitarist playing mellow new age music. <o:p></o:p></div>
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As described in <i>California Slim</i>, the club reached the end of its tenure following an incident where Asleep at the Wheel’s bus being parked on the Homer’s property drew the ire of landlady Katherine Urban, who had her employees dig a ditch around the vehicle to prevent it being moved. At that time, she also learned to her great displeasure that Homer’s had not only been operating as a rock club, but had been sublet without her knowledge to Bernstein and Grogan. The bus was removed from its imprisonment in the moat, but Bernstein and Grogan decided it was time to abandon ship. The last booking I could find for Homer’s was the Steelwind show, but the two entrepreneurs moved on to briefly book shows at Zinzanatti Umpapa, a defunct polka club on nearby California Avenue that had previously been a Purity Market and would later be house rock clubs Sophie’s and the Keystone Palo Alto. But that’s another story, again covered colorfully in Bernstein’s book. <o:p></o:p></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;"><br /></div><div class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in 0in 0.0001pt;">Updated 8/1/20 with some new calendar listings courtesy of JGMF.</div>
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cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com4tag:blogger.com,1999:blog-6100854883581054455.post-37614514747252593382020-07-03T13:36:00.001-07:002022-01-23T05:37:38.426-08:00Tales from In Your Ear – Live Music in downtown Palo Alto 1971-72<div class="separator"><div class="separator" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;">
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The block on the north side of University Avenue between High Street and the Circle next to Alma Street is ground zero for the history of mid-century popular music in Palo Alto. At the western end of the block, at the intersection of the circle and the base of University, stood the Tangent, an only-in-Palo-Alto name for a club that indeed formed a tangent relative to the circle. Although the Tangent itself was a relatively benign pizza parlor, the upper room, dubbed the Top of the Tangent, was a music club where future San Francisco rock stars like Janis Joplin, Jorma Kaukonen, Peter Albin, and David Nelson performed and which, most famously, served as the breeding ground for the future members of the Grateful Dead. Jerry Garcia and Ron “Pigpen” Mckernan performed there with various ensembles before they joined up with aspiring folkie Bob Weir and others to form a jug band, Mother McCree’s Uptown Jug Champions, which soon morphed into a blues-rock band called the Warlocks, who we are now discovering played a number of their early gigs in this intimate music room as well.</div>
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A bit later, in 1967, at the eastern end of the block, a cozy L-shaped room on the ground floor of a three-story building at the corner of University and High opened as the Poppycock, an incongruous blend of a fish and chips restaurant and a music venue that booked a dazzling variety of folk, blues, and rock acts between 1967 and 1971. The Poppycock era is being described in a post in the always wonderful <a href="https://rockprosopography101.blogspot.com/?m=0">Rock Prosopography</a>. It appears that the Poppycock called it a day by mid-1970. It was succeeded in November by an establishment called Mom’s that seems to have only existed for a few months or weeks. A new owner remodeled the club and it re-opened in May, 1971 as a primarily jazz and blues focused venue called In Your Ear, which persisted for less than two years during which it became the primary club for those types of music in the Mid-Peninsula. As you will see from the calendar listings below, the club hosted a wide variety of popular recording artists of the day, along with many musicians like Charlie Daniels, Robben Ford, David Pomeranz, Dobie Gray, the Tubes, Frankie Beverly and Raw Soul (later Maze), and Asleep at the Wheel who subsequently graduated to much larger venues. <o:p></o:p></div>
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My only experience at the Poppycock was going there one lunch hour for fish and chips with my family, probably as early as 1967. I did attempt to see the New Riders of the Purple Sage there in November 1969, but the night they were billed, the person answering the phone had no idea when or if they would go on, so I was unable to convince my parents to take a chance on my going there on a school night.<o:p></o:p></div>
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However, I did make it to In Your Ear a number of times, and I have fond memories of the club. Thanks to listings in the <i>San Francisco Examiner </i>and the <i>San Mateo Times, </i>I have been able to piece together a moderately complete list of gigs during the club’s brief tenure which I will annotate with memories from my own visits to the venue. <o:p></o:p></div>
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<b>Opening Weekend: 5/20-22/71 Shanti, Topsoil, and Festival of Light<o:p></o:p></b></div>
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<a href="https://www.youtube.com/watch?v=f7Ks6ZgaYK8">Shanti</a> was a remarkable band that, like many talented ensembles, never received the wider commercial success they deserved. Anchored by three amazing Indian musicians, table players Zakir Hussain and Pranesh Khan, and sarod player Aashish Kahn, who joined forces with rock musicians Neil Seidel (lead guitar), Steve Haehne (guitar, vocals), Steve Leach (bass) and Frank Lupica (drums) to create one of the earliest fusions between western popular music and classical Indian music. They recorded one great album for Atlantic n 1971, but were dropped by the label after sales were disappointing. Hussain’s career flourished, including collaborations with John McLaughlin, Mickey Hart, and George Harrison. The Khans were sons of sarod master Ali Akbar Khan and went on to collaborate with a variety of other eastern and western musicians, including George Harrison and Eric Clapton. Shanti played two additional weekend stands at In Your Ear in July 71 and Febuary 72 before breaking up. A performance video of the band can be found<a href="https://www.youtube.com/watch?v=EkgtKzIK2OU"> here</a>. I have no idea who either Topsoil or Festival of Light were. In the listings below, I do not provide text for artists for which I could find no information. As always, Additions/Corrections from readers would be most welcome.<o:p></o:p></div>
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<b>5/28-29/71 Gideon and Power and the Real Charles Ford Band<o:p></o:p></b></div>
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Gideon and Power were a high-energy Gospel/Soul band from San Francisco with a dynamic lead singer, Gideon Daniels and a swinging soul chorus. Their one album featured former AB Skhy guitarist Dennis Geyer and Elvin Bishop keyboardist Stephen Miller, and Daniels was the one who taught future Bishop vocalist Mickey Thomas to sing. <o:p></o:p></div>
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The <a href="https://folkways.si.edu/the-charles-ford-band/blues/music/album/smithsonian">Real Charles Ford Band</a> was the closest thing that In <o:p></o:p></div>
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Your Ear had to a house band. I saw them a couple of times, but not at this set of gigs. The band had one great blues album on Arhoolie and were a tremendous live act, with lots of energy and a pretty decent lead guitarist named Robben Ford. Within a year, Ford was on to bigger things, but it was great to see this band, which also featured Ford’s brothers Mark on Harmonica and Patrick on drums (the band was named after their father Charles). The Charles Ford band has reunited at least a couple of times since breaking up in 1972.<br />
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<b>6/1-3/71 Sun Ra Solar Arkestra. <o:p></o:p></b></div>
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I wish I’d been able to go to this show. It’s hard to imagine jazz luminary Sun Ra’s huge Arkestra on the tiny stage at In Your Ear, but they probably flowed out into the audience.<o:p></o:p></div>
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<b>6/10-12/71 Sonny Terry and Brownie McGhee. <o:p></o:p></b></div>
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Terry and McGhee played the bay area a lot during the 70s, and they made In Your Ear a regular stop during the club’s brief existence. I didn’t see them until 1975 at the Keystone Berkeley, but even then they generated rock band style energy with just an acoustic guitar and a harmonica. A dynamic duo onstage, McGhee and Terry reputedly detested one another by the end of their nearly 40 year long partnership.<o:p></o:p></div>
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<b>7/1/71 Charles Musselwhite and Beany Cecil and the Snakes<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUH3EIl802-JVUXjtDkS5ewLZnMYSnpmLuq3lyNE4SOVPd3yZaFB0WgbM-prbsOIhyphenhyphenMnp6FDFYWN5W7tS_cfFHFU-Rc_K9JGZ57uV0gLXyRkwv3WdM5lFYAtsHaWg2Q4VQxaNgYNIg6SI/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="225" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUH3EIl802-JVUXjtDkS5ewLZnMYSnpmLuq3lyNE4SOVPd3yZaFB0WgbM-prbsOIhyphenhyphenMnp6FDFYWN5W7tS_cfFHFU-Rc_K9JGZ57uV0gLXyRkwv3WdM5lFYAtsHaWg2Q4VQxaNgYNIg6SI/s200/Unknown.jpg" width="200" /></a></div>
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Charlie Musselwhite came out of the same group of white blues players as Elvin Bishop, Mike Bloomfield, Steve Miller, Nick Gravenites and Barry Goldberg that migrated from Chicago to the Bay area in the late 1960s. At this point, he was a regular on the regional club circuit. Curiously, he only played In Your Ear a couple of times. Musselwhite has been a consistent recording and performing presence since then, and has experienced a late career resurgence in popularity through his collaborations with Ben Harper.<o:p></o:p></div>
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<b>7/3-6/71 Dan Hicks’ Hot Licks and Ooganookie<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG2bXsRDO5ECDjE7Eo1RTpt5AvfG7ec3ZzJeqoCP9khrBopwvk5c0zk5TTZF28vji8zGR_8CDb-bE2Jih_UMRrrG8pT3NEu5s1-MuBzWjWvpe3gvpaDRXsWc9us7Rfb4psVM-G_UPX_m8/s1600/Unknown.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG2bXsRDO5ECDjE7Eo1RTpt5AvfG7ec3ZzJeqoCP9khrBopwvk5c0zk5TTZF28vji8zGR_8CDb-bE2Jih_UMRrrG8pT3NEu5s1-MuBzWjWvpe3gvpaDRXsWc9us7Rfb4psVM-G_UPX_m8/s200/Unknown.jpg" width="200" /></a></div>
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A great weekend Bill of Dan Hicks and the Hot Licks, on the verge of semi-stardom with their series of Blue Thumb albums starting with “Where’s the Money.” Their hot club style jazz and Hick’s laconic and catchy tunes were a great match for Santa Cruz Mountains electric newgass stalwarts Ooganookie, who returned as headliners in October 1972. I never saw Oganookie at In Your Ear, but heard them many times when I moved to <a href="https://cryptdev.blogspot.com/search?q=oganookie">Santa Cruz</a> for College in 1971.<o:p></o:p></div>
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<b>7/8-11/71 Shanti<o:p></o:p></b></div>
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<b>7/15-17/71 Bola Sete<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrh_aJ84JxTMYSJEMLZA-_7yotD1_OJeM1AjoSpeJj83xf6iN0UmxLH1fyoHPIhurS7Ar6wf0G6dRydTkTmBD7j5tu1HcAesW4RNiqo611vMBh5d5O_P9mPWHavEni-Sxqg3MAwih_yU/s1600/A-179053-1113634566.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="600" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrh_aJ84JxTMYSJEMLZA-_7yotD1_OJeM1AjoSpeJj83xf6iN0UmxLH1fyoHPIhurS7Ar6wf0G6dRydTkTmBD7j5tu1HcAesW4RNiqo611vMBh5d5O_P9mPWHavEni-Sxqg3MAwih_yU/s200/A-179053-1113634566.jpg" width="200" /></a></div>
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Brazilian guitarist Bola Sete had been a fixture in bay area jazz clubs for many years, recording extensively with luminaries like Cal Tjader and Vince Guaraldi. In 1971, he released an album on Fantasy entitled <i>Shebaba</i> which was essentially big band Latin jazz-rock. When I saw him at the Fillmore a few months earlier, this was the style he was playing, but it is uncertain whether he would have performed that way or solo at a club gig. His appearance a month later was identified as a band gig. <o:p></o:p></div>
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<b>7/23-24/71 Gideon and Power<o:p></o:p></b></div>
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<b>Undated Sunday afternoon in July or August 1971. Denny Zeitlin Trio. <o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDIPDSH-7trujwcsAgOwS0dbjRIDVQeOc-0J2uMLbtIq07LHbudlv07fdoj_8Y6cUOJiIJelhEPQdehhuVKPv8WJD8Dq3O80pA0HpxOyvrpjdq3jDNgdBQbZkxeeKhNFwVgocBNCkEbXo/s1600/R-2392863-1319875775.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDIPDSH-7trujwcsAgOwS0dbjRIDVQeOc-0J2uMLbtIq07LHbudlv07fdoj_8Y6cUOJiIJelhEPQdehhuVKPv8WJD8Dq3O80pA0HpxOyvrpjdq3jDNgdBQbZkxeeKhNFwVgocBNCkEbXo/s200/R-2392863-1319875775.jpg" width="198" /></a></div>
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It was a common practice for In Your Ear to book bands for Thursday-Sunday runs with the Sunday matinee being a ‘family show.’ One Sunday, the Denny Zeitlin trio was booked for a show, and my father and my brother attended. We were mainly interested because the rhythm section, drummer George Marsh and bassist Mel Graves, had until recently been members of the Jerry Hahn Brotherhood, a really great, but short-lived band that had one album on Columbia. Keyboardist Zeitlin was in a phase where he was experimenting with a lot of electronics, and he had brought an arsenal of electronic keyboards and synthesizers for the gig. Unfortunately, when we arrived, we were the only customers, so the group decided not to play the gig. As fate would have it, I wouldn’t get to see Zeitlin perform for another 35 years.<o:p></o:p></div>
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<b>8/12-13/71 Pollution<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdO4Ql4VDppN_sy66OQT25-e3MH1FK-8aBvW8h76B47HTTctT6sYqDhYzRTAF6tjlbPIXVszJq2sqhSNxsuXJ7jTRQwRc8Mh5NnK7V0Dz_-MQBgGAyf86DhfNkDJi-uGETR4j9kZhM1c/s1600/R-1856539-1248302389.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSdO4Ql4VDppN_sy66OQT25-e3MH1FK-8aBvW8h76B47HTTctT6sYqDhYzRTAF6tjlbPIXVszJq2sqhSNxsuXJ7jTRQwRc8Mh5NnK7V0Dz_-MQBgGAyf86DhfNkDJi-uGETR4j9kZhM1c/s200/R-1856539-1248302389.jpg" width="200" /></a></div>
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Pollution was a Southern California rock-soul band that was where vocalist Dobie Gray got his start, sharing lead vocals with Tata Vega. They released two albums on Atlantic sublabel Prophecy in 1971 and 1972. Presumably this was touring behind the first release. An interesting sidelight about Pollution is that they were managed by Max Baer Jr., who played Jethro in the <u>Beverly Hillbillies</u> TV series. <o:p></o:p></div>
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<b>8/18/71 Ligntnin’ Hopkins<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5lx93IxXukZ7t0RmYgfhGwds1UBzfBQWuPUENSlsSuwyatP-vumoCx9Y5Dkt9Nmrnlw40WwvloLfORXF8-RBX2prBwfPtXo0O9b1C2PTGq4itP8beq_sB0O372l_r4dq8M9GkOn9QblQ/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5lx93IxXukZ7t0RmYgfhGwds1UBzfBQWuPUENSlsSuwyatP-vumoCx9Y5Dkt9Nmrnlw40WwvloLfORXF8-RBX2prBwfPtXo0O9b1C2PTGq4itP8beq_sB0O372l_r4dq8M9GkOn9QblQ/s200/Unknown.jpg" width="200" /></a></div>
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Lightnin’ Hopkins was one of many early blues players that In Your Ear brought in during its brief tenure. Hopkins was a regular visitor to the bay area, so it is not surprising that he would show up in Palo Alto. During this era, he primarily performed solo but playing an electric guitar. <o:p></o:p></div>
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<b>8/20-21/71 Bola Sete and His Band<o:p></o:p></b></div>
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<b>8/25/71 Real Charles Ford Band<o:p></o:p></b></div>
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<b>*8/26-27/71 Pure Food and Drug Act.</b><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx4vm8VuOsP0hPQJt6dQpTFa7z1M_bBVlOQ1LoWNuh0WRB2m__mwVM9F4rGzU0VSA74ARJFyPzgK-z3Ek1Mk03zGXiVQaGQMK8sfh8LaBVgVNDAj-OKuVBKJmvoZrMliluG4KFK6nxiUg/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="184" data-original-width="274" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx4vm8VuOsP0hPQJt6dQpTFa7z1M_bBVlOQ1LoWNuh0WRB2m__mwVM9F4rGzU0VSA74ARJFyPzgK-z3Ek1Mk03zGXiVQaGQMK8sfh8LaBVgVNDAj-OKuVBKJmvoZrMliluG4KFK6nxiUg/s200/Unknown.jpg" width="200" /></a></div>
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The Pure Food and Drug Act was a really interesting group that was based around electric violinist/vocalist Don “Sugarcane” Harris, who had been half of the 1950s doo-wop duo Don and Dewey and had more recently been part of bands led by Frank Zappa and John Mayall. Mayall’s USA Union band also included guitarist Harvey Mandel, who had previously worked with Canned Heat, the Barry Goldberg Reunion, and had recorded a series of great solo albums on the Phillips label, and was also in the Pure Food and Drug Act. Some of my friends and I were excited to see this group and headed down on a Friday evening to check them out. Unfortunately, PF&DA was a no-show, but we were treated to a great set by a pickup band fronted by lap steel guitar wizard Freddy Roulette instead. <o:p></o:p></div>
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<b>9/15/71 Jeffery Cain and the Real Charles Ford Band. <o:p></o:p></b></div>
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Marin County folksinger Jeffrey Cain’s quirky acoustic folk tunes earned him a recording contract with Racoon Records, the Warner Brothers label run by the Youngbloods. He seems like a strange match for the Ford Band, but presumably they played after him.<o:p></o:p></div>
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<b>9/16-19/71 Albert Collins<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijztqWkxRtKiB9DqK4jWy9mWFT4AGbRoeMOYAY0QXzqu9_wtVFF9d1rsaHLP9YqEYSaFaI6IjQ8_NoW-8Ga44SdIx3WP_i5oMK7-wsTuw5krdQ50cDhP28Uty7iAX_CAbogAAfq7ZP1_U/s1600/R-6470211-1457816422-3579.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="300" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijztqWkxRtKiB9DqK4jWy9mWFT4AGbRoeMOYAY0QXzqu9_wtVFF9d1rsaHLP9YqEYSaFaI6IjQ8_NoW-8Ga44SdIx3WP_i5oMK7-wsTuw5krdQ50cDhP28Uty7iAX_CAbogAAfq7ZP1_U/s200/R-6470211-1457816422-3579.jpg" width="200" /></a></div>
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Electric blues guitarist Albert Collins was a regular visitor to the bay area during most of his career, often playing places like the Fillmore West and clubs like the Keystones. Always a dynamic live performer, it would have been great to see Collins in the intimate confines of In Your Ear. <o:p></o:p></div>
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<b>*9/21-23/71 Hot Tuna<o:p></o:p></b></div>
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Starting in 1969, Jorma Kaukonen and Jack Casady had started playing one or more blues numbers in the middle of Jefferson Airplane sets, and were performing occasionally outside of the Airplane context that year in both electric (as documented on Before We Were Them) and acoustic contexts at places like the Matrix and the New Orleans House, where their debut album was recorded with harmonica player Will Scarlett. By that time, much of their repertoire was already in place, and in fact Jorma had been playing many of those tunes and basic arrangements since his folk club days in the early 1960s. On a number of occasions, 3-4 song Hot Tuna mini-sets appeared during Airplane shows in places like New York’s Fillmore East and the LA Forum, with Jorma, Jack, and Jdrummer Joey Covington joined by either Paul Kantner or, more often, Marty Balin on vocals.<o:p></o:p></div>
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During 1970, those Mini-sets within Airplane sets became common, and Hot Tuna, as a quartet with Balin, played a few shows on their own, apparently including a brief Alaskan tour and an outdoor gig in Washington DC as part of Warner Brothers’ Great Medicine Ball Caravan tour. They also took a jaunt to Alaska in May and did some ill-fated recording in Jamaica in June. When Papa John Creach Joined Tuna in October, the band became more of an independent entity, comprising Kaukonen, Casady, Creach and, starting in November, new drummer Sammy Piazza. This group, augmented once more by harmonica player Will Scarlett, closed out the year at Winterland as one of the opening acts for the Grateful Dead. <o:p></o:p></div>
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In 1971, the Airplane only played five gigs, and this gave Tuna much more leeway to play their own shows. Much like Jerry Garcia’s bands, In the Bay Area, Tuna played a lot, mostly supporting gigs in larger venues like the Fillmore West, Pepperland, and Winterland. On the East Coast, Tuna did three tours, starting with headlining performances at venues like the Fillmore East and the Capitol Theatre in January, starting to build a fanatical following in New York City that has continued to the present. They also played a few club gigs near home. The smallest place they played in the bay area was surely the Chateau Liberte in the Santa Cruz Mountains, a tiny roadhouse that held at most a couple of hundred people where they also recorded their second album, <i>First Pull Up, Then Pull Down </i>and later played a New Year’s show. The only other place of similar size they played during the year was In Your Ear, where they did this single three night stand. I was in College at UCSC by this time, but was able to make it over the hill for the Thursday night show, which I attended with my father. <o:p></o:p></div>
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The club was completely packed for this show, and we were only able to secure a table in the side room, which afforded a lateral view of the band, as they were set up facing towards University Avenue in the main room. This turned out to be fortunate, as this was easily the loudest concert I have attended over the years. Tuna had the same arsenal of amplifiers that they would use at the Fillmores or Winterland, and the high pitch of Papa John’s electric violin dug into my ear canals like a drill. Other than seeing the Airplane live for ten minutes at Winterland back in October of 1969, this was my first time seeing Jorma and Jack live, and they certainly did not disappoint. Tuna played one long set, mostly made up of material from their first and second albums. Unfortunately, I don’t have a set list. Creach’s bluesy violin extrapolations and Piazza’s propulsive drumming were the perfect foils for Jorma and Jack at this stage in their career, and they entered the studio a few weeks later to record what I consider the quintessential Hot Tuna album, <i>Burgers</i>. <o:p></o:p></div>
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<b>10/1-3/71 Tim Buckley and Friends<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEyFOq5f0JW1A_np9mAWfxABqJsLWF2Cx2hFm6iiCCNz9QypkAytsYaEdxq_Rr3p3kTMcOblViYINbmfE0mErjgzAewTmU3Rf8QhiB2Ujrd8cHJ0qaUYU4o0Y9d6t_XfwoETQ_eDa7dhY/s1600/R-4096204-1371288577-9884.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="300" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEyFOq5f0JW1A_np9mAWfxABqJsLWF2Cx2hFm6iiCCNz9QypkAytsYaEdxq_Rr3p3kTMcOblViYINbmfE0mErjgzAewTmU3Rf8QhiB2Ujrd8cHJ0qaUYU4o0Y9d6t_XfwoETQ_eDa7dhY/s200/R-4096204-1371288577-9884.jpg" width="200" /></a></div>
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1971 was allegedly rather a lost year for folk-jazz vocalist Tim Buckley, as he broke up his band in January after disappointing initial response to his 1970 album Starsailor (now considered a timeless classic) so this booking with ‘friends’ is a bit of a mystery. No idea who he played with or even if the shows took place.<o:p></o:p></div>
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<b>10/4-5/71 Jerry Corbitt and Charlie Daniels<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZdWWXt9OZqFe18qr0kNYINoVsECdV3DOcerg5lMNMbP3y5xJDhm1o2xm35DA8n99ArrNuLOcOAO-lgiQGUPyx-U-XZHBsGWuHE0RWlmobyFFaKPkjyqPDO0j_egCbE4d_vGuSJjS3T4/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="224" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZdWWXt9OZqFe18qr0kNYINoVsECdV3DOcerg5lMNMbP3y5xJDhm1o2xm35DA8n99ArrNuLOcOAO-lgiQGUPyx-U-XZHBsGWuHE0RWlmobyFFaKPkjyqPDO0j_egCbE4d_vGuSJjS3T4/s200/Unknown.jpg" width="199" /></a></div>
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After guitarist Jerry Corbitt left the Youngbloods in 1969, he performed as a solo artist around the bay area and then teamed up with musician Charlie Daniels, who had produced the album <i>Elephant Mountain</i>for the Youngbloods shortly after Corbitt left the band. And yes, this is the same Charlie Daniels who went on to become an outlaw country star with hits like “The Devil Went Down to Georgia.”<o:p></o:p></div>
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<b>10/6/71 Childhood’s End</b></div>
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<b>10/7/71 Gary Smith Blues Band<o:p></o:p></b></div>
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Harmonica player Gary Smith is one of a small group of hardworking Bay Area blues musicians who started in the late 1960s and early 1970s and continues to work clubs in the region. <o:p></o:p></div>
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<b>10/8-10/71 Real Charles Ford Band<o:p></o:p></b></div>
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<b>10/14-16/71 Sonny Terry and Brownie McGhee<o:p></o:p></b></div>
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<b>10/21-23/71 Vince Guaraldi Trio<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitLCvisEI3Ve1iLjjg3EQLej0rX2LYhvi7CDQ7KRkG6tShN-n9U8RgjmbB4AsN3ZIR-hYgObtjvjITjbeOdrGvRZ8-7nUoDLvNtA2xQu1Zmb2B46PGMjBY69UW0gpWpXitFgZmc97FtPY/s1600/R-1789959-1243456479.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitLCvisEI3Ve1iLjjg3EQLej0rX2LYhvi7CDQ7KRkG6tShN-n9U8RgjmbB4AsN3ZIR-hYgObtjvjITjbeOdrGvRZ8-7nUoDLvNtA2xQu1Zmb2B46PGMjBY69UW0gpWpXitFgZmc97FtPY/s200/R-1789959-1243456479.jpg" width="200" /></a></div>
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Although he is probably known best today for composing the music for the early Peanuts TV specials, Vince Guaraldi was an important part of the bay area jazz scene in the 1950s through 1970s, as a member of Cal Tjader’s band and later as a bandleader. In addition to the iconic “Linus an Lucy” from the Peanuts score, he was co-author of another jazz standard “Cast Your Fate to the Wind.” Although he received both a financial windfall and widespread publicity for his work on the Peanuts scores, Guaraldi toured rarely, preferring to gig at Bay Area jazz and supper clubs. Following this debut gig at In Your Ear, the club became a regular stop for Guaraldi through February of 1972, when he vanished from their schedule. <o:p></o:p></div>
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<b>10/25/71 Mose Allison Trio<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt31DOMUy1pi21SNJeGb86BSEg3DDbxSAVVd5V0vry2cMGrns3GuYKI4ZQ1l8qDdvMK6-jKHfbeGCANqGr2m9WTepPNWd4e3uNTEgDYeHGAity2-Jg1QsuISUOjLRPqMw3SqFi660rAPo/s1600/-methode-times-prod-web-bin-4c6861b8-adaf-11e6-bf75-8dcf2cf16a22.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1180" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt31DOMUy1pi21SNJeGb86BSEg3DDbxSAVVd5V0vry2cMGrns3GuYKI4ZQ1l8qDdvMK6-jKHfbeGCANqGr2m9WTepPNWd4e3uNTEgDYeHGAity2-Jg1QsuISUOjLRPqMw3SqFi660rAPo/s200/-methode-times-prod-web-bin-4c6861b8-adaf-11e6-bf75-8dcf2cf16a22.jpg" width="200" /></a></div>
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Jazz/Blues vocalist and pianist Mose Allison performed with his trio, rounded out by bassist Clyde Flowers and drummer Eddie Charlton. Allison obviously liked the intimate vibe of the club, and returned the next March with Wally Heider’s mobile recording truck to record his Atlantic album <i>Mose In Your Ear,</i> the only record I know of that was recorded at the club. <o:p></o:p></div>
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<b>11/3/71 Larry Coryell<o:p></o:p></b></div>
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Jazz guitarist Coryell was in the midst of his psychedelic fusion period during this time, so this was presumably an electric show with his band Eleventh House. <o:p></o:p></div>
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<b>11/4-6/71 Rockin’ Foo<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZQS3yL9cBhtsbkTnet49O2piF94EgKJixThhoCaUVkuKD3mSi4lWSAMol5rVlFH4BAHOsNpHgO2mSs1OQGkPBCDh2QIFOgfcfzmdp1vFGL7YvzwfVdBIo0lP8eTdvvBK4Qm-rey0gY0/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="224" data-original-width="225" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieZQS3yL9cBhtsbkTnet49O2piF94EgKJixThhoCaUVkuKD3mSi4lWSAMol5rVlFH4BAHOsNpHgO2mSs1OQGkPBCDh2QIFOgfcfzmdp1vFGL7YvzwfVdBIo0lP8eTdvvBK4Qm-rey0gY0/s200/Unknown.jpg" width="200" /></a></div>
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Rockin’ Foo was a Los Angeles trio led by guitarist-vocalist Wayne Erwin, who previously did sessions with the Monkees and a very young Warren Zevon. They would have been touring behind their eponymous second album, and apparently broke up shortly thereafter. <o:p></o:p></div>
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<b>11/9-10/71 Clifton Chenier and his Bayou Band<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfM7qEt_RCW9wlg9Uyw6Chl6bFFWnCx5bY2xGa8ZQGwe0xiz2XeHM3lWGbX1WYcPP1jtAbjYaWLAbTHB3y1l1MK9UGRqfdaaRBKs8v97bmsPNiWDQmkpg5qyyy2QOKfhOyzvB8LA4nzU8/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfM7qEt_RCW9wlg9Uyw6Chl6bFFWnCx5bY2xGa8ZQGwe0xiz2XeHM3lWGbX1WYcPP1jtAbjYaWLAbTHB3y1l1MK9UGRqfdaaRBKs8v97bmsPNiWDQmkpg5qyyy2QOKfhOyzvB8LA4nzU8/s1600/Unknown.jpg" /></a></div>
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Arhoolie Records maven Chris Strachwitz was largely responsible for making the Bay Area a reliable home for Cajun and Zydeco musicians. After releasing an album by Chenier, Strachwitz brought Chenier and his Bayou Band to the Berkeley Blues Festival in 1966 after which he became a regular fixture in clubs throughout Northern California. Les Blank filmed a documentary about Chenier, Hot Pepper, which came out in 1973.<o:p></o:p></div>
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<b>11/21/71 Pat Bisconti and Charlie Nothing<o:p></o:p></b></div>
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One of the more colorful groups that played In Your ear was the duo of artists Pat Bisconti and Charlie Nothing who performed various woodwind and reed instruments and, most notably, played on exotic metal guitar like instruments called dingulators that were fashioned by Nothing from car parts thanks to welding tools he inherited from sculptor Ron Boise, who had fashioned a musical sculpture called the Thunder Machine for the Merry Pranksters back in the 1960s. You can get a sense of what a dingulator performance sounded like <a href="https://www.youtube.com/watch?v=ZHjYAsp-wRM&t=1405s">here</a> and <a href="https://www.youtube.com/watch?v=eyjZIH7Vyzs">here</a> is a link to a solo saxophone album that Nothing released in 1967. Apparently they had a following, as the duo were booked another three times in late 1972. <o:p></o:p></div>
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<b>11/26-27/71 Mike Nock Group. <o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUnBjRAvynrcNT6UH3ao7dYawpshbPEhUm7-PIS65x4NjChaxaQGG8OoYA-pd7MoMedjCNA3XiHzW3BWB_V4okWGiCYJ4NPnpB3YxFdbT2j8nGan0mEn2Nil5swx_4IwTVESnvHYI3IdM/s1600/51oHuAQq84L._SY355_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="354" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUnBjRAvynrcNT6UH3ao7dYawpshbPEhUm7-PIS65x4NjChaxaQGG8OoYA-pd7MoMedjCNA3XiHzW3BWB_V4okWGiCYJ4NPnpB3YxFdbT2j8nGan0mEn2Nil5swx_4IwTVESnvHYI3IdM/s200/51oHuAQq84L._SY355_.jpg" width="199" /></a></div>
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New Zealander Mike Nock previously played keyboards for Bay Area jazz fusion band The Fourth Way, who recorded three albums between 1968-1970. Presumably his eponymous group continued in this vein. Nock moved to Australia in the 1980s and maintains an active recording and performing career. Nock and his band became regulars at In Your Ear, playing an additional seven dates at the club during 1972. <o:p></o:p></div>
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<b>12/3/71 Real Charles Ford Band<o:p></o:p></b></div>
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<b>12/4/71 Charlie Musselwhite and the Real Charles Ford Band<o:p></o:p></b></div>
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During this period, Musselwhite often performed around the area with the Ford Band backing him up. <o:p></o:p></div>
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<b>12/7/71 Sugar Pie DeSanto<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUrvkHaX9qZDjLscbzoS4sMKxCCc8HZ9n4pkxrtpgwWf-XWivlCO5EzrPn1U89_hvQ66Zhr7eTI2IlUKFalmctNg3UvWQohGfqI_zYqsKh7I7nj5p-D_T96bRLbX21bznViJui7bdiyQo/s1600/unnamed.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="170" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUrvkHaX9qZDjLscbzoS4sMKxCCc8HZ9n4pkxrtpgwWf-XWivlCO5EzrPn1U89_hvQ66Zhr7eTI2IlUKFalmctNg3UvWQohGfqI_zYqsKh7I7nj5p-D_T96bRLbX21bznViJui7bdiyQo/s200/unnamed.jpg" width="137" /></a></div>
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Oakland R&B singer Sugar Pie DeSanto had recorded and toured with Johnny Otis and James Brown before settling in the bay area in the late 1960s. A powerful live performer, DeSanto remained a fixture in bay area clubs and blues festivals to the present day. <o:p></o:p></div>
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<b>12/13/71 Little Frankie Lee and the Real Charles Ford Band<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOno1-3qhtNUgvddlCYI5F-W-UEnSMvmePOieiANaOF2w1sbzj5TLgTFX0P6v1z2FKazqq0tWQOmiuM3uYVfPvlKxjJZpu0SaUbX4p0uBcDn6XTza7o1GOswZZWMlCCYz6DirfHEK9jc/s1600/A-2286858-1367173609-6461.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZOno1-3qhtNUgvddlCYI5F-W-UEnSMvmePOieiANaOF2w1sbzj5TLgTFX0P6v1z2FKazqq0tWQOmiuM3uYVfPvlKxjJZpu0SaUbX4p0uBcDn6XTza7o1GOswZZWMlCCYz6DirfHEK9jc/s200/A-2286858-1367173609-6461.jpg" width="200" /></a></div>
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Dynamic vocalist Little Frankie Lee started his career in Texas, where he had hits with tunes like “I Gotta Come Back” and “Full Time Lover.” He relocated to California in the 1960s and continued to perform and record until his death in 2015.For this gig, It’s not clear whether he performed with his own band or was backed up by the Fords. <o:p></o:p></div>
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<b>12/15/71 Ruby Delicious<o:p></o:p></b></div>
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A solid funk band that was fronted by vocalist Delicious had a regional hit with a sizzling cover of Aretha Franklin’s “Rock Steady.”<o:p></o:p></div>
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<b>*12/21-23/71 Vince Guaraldi<o:p></o:p></b></div>
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During a pre-Christmas run at the club, my whole family went to see Vince Guaraldi for theFriday night date of their residency. Guaraldi was on a Fender Rhodes electric piano, and was accompanied by electric cassist Koji Kataoka, drummer Mike Clark, and sax/flute player Vince Denham. We ended up at a table directly in front of the stage, My father had a circadian rhythm that got him up very early in the morning (something I inherited), and it had been a long week, so he started to nod off despite the great music being played a few feet from him. Denham apparently took his somnolence as a challenge, and spent a good bit of his solo time during the set blowing right in my dad’s direction trying (unsuccessfully, as I remember) to wake him up. The quartet played a great set, stretching out on standards and closing, inevitably, with a jam band-style extrapolation of “Linus and Lucy.”<o:p></o:p></div>
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<b>12/28/71 Vince Guaraldi<o:p></o:p></b></div>
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<b>12/29/71. Swifty Galoose and the Chartreuse Goose<o:p></o:p></b></div>
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No idea..<o:p></o:p></div>
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<b>12/30/71-1/1/72 Real Charles Ford Band<o:p></o:p></b></div>
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Sounds like this was a great way to round out the year and bring in 1972.<o:p></o:p></div>
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<b>1/5/72 Gabor Szabo<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi070IW4OOgW8QwxqRmS0G0Z413SCfUc_taqQsvHwc-7GhzjWieFJ-RFeTOFLParykj8QqGfFJb02WKVlz9vAsBzXJj5IdDXAaGZHNRx37UszR90sbQCed3OHchnFYApsXKZSlnR9yxY4c/s1600/0000650000_350.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="350" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi070IW4OOgW8QwxqRmS0G0Z413SCfUc_taqQsvHwc-7GhzjWieFJ-RFeTOFLParykj8QqGfFJb02WKVlz9vAsBzXJj5IdDXAaGZHNRx37UszR90sbQCed3OHchnFYApsXKZSlnR9yxY4c/s200/0000650000_350.jpg" width="200" /></a></div>
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In 1972, Jazz guitarist Gabor Szabo was in the midst of a run of commercially successful albums on Blue Thumb and CTi that mixed radio-friendly originals with light jazz versions of contemporary pop and rock tunes. As In Your Ear started to shift its bookings towards more touring jazz acts, Szabo’s band was a logical addition to their schedule. <o:p></o:p></div>
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<b>1/10/72 Dennis Geyer. <o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEial2cBwe1c5328cX55EY4cNIFmG9lecN82VWxMOimqj-QShW_uNFsasVSGKLMUjtrXoeXgGFIt-G3dyIlvYjPaAfPBhmXTG8lDwMwCrGAdYyNoIGSMvJp7SK93KpoFA9PPe-_z6QDWJws/s1600/ABSkhy2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="161" data-original-width="200" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEial2cBwe1c5328cX55EY4cNIFmG9lecN82VWxMOimqj-QShW_uNFsasVSGKLMUjtrXoeXgGFIt-G3dyIlvYjPaAfPBhmXTG8lDwMwCrGAdYyNoIGSMvJp7SK93KpoFA9PPe-_z6QDWJws/s200/ABSkhy2.jpg" width="200" /></a></div>
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Guitarist-vocalist Dennis Geyer was the front person for the excellent rock-blues quartet A.B. Skhy, who had relocated from Wisconsin to San Francisco during the late 1960s and released two great albums on MGM records. After A.B. Skhy broke up in 1970, Geyer apparently fronted his own band which played In Your Ear several times. He later played with Queen Ida’s Bon Temps Roulez and has recorded with a number of Marin County musicians over the years, both on records and at live gigs. <o:p></o:p></div>
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<b>1/11/72 Vince Guaraldi<o:p></o:p></b></div>
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<b>1/12/72 Group Therapy<o:p></o:p></b></div>
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It is possible that this was the New York area band that had two albums out on Phillips in the late 1960s. Alternately, it could be another bay area ensemble lost in the sands of time.<o:p></o:p></div>
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<b>1/13-15/72 Sonny Terry and Brownie McGhee<o:p></o:p></b></div>
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<b>1/17/72 Mordecai and the Doctor and the Dennia Geyer Band<o:p></o:p></b></div>
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<b>1/19/72 Frontier<o:p></o:p></b></div>
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I couldn’t find anything on either Mordecai and the Doctor or Frontier<o:p></o:p></div>
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<b>1/20-22/72 Bobby Hutcherson with Essra Mohawk<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5zeiaquAZ8NLf13_iqm4WKtjW7Ux2QicfK7deKOXsT6-ENe4ZXJ8x6IjfMOrba6R1zH922LucMmWlpkJV6wvNZieQg28GVdbGe10qPO93wfal0vJ88LgprzZF7JDZTWkHcxBu0xi9NMc/s1600/images.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div>
<span face="Calibri, sans-serif"><img border="0" data-original-height="512" data-original-width="512" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2o12GgIgxjgTGkzcLmaM-Ki-0BoSx5lenHKlZvEjCMWoOUyRCm6HCG0fSUwna-RhFPzhVRLYQpWeRQZyPoo-2TBhK8MPQK0EZ7JUm-jBPt1eHkYFnS8DqIGMuMiPwEX5P17xHI_PhTeA/s200/unnamed.jpg" style="text-align: center;" width="200" />This sounds like an intriguing double bill<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5zeiaquAZ8NLf13_iqm4WKtjW7Ux2QicfK7deKOXsT6-ENe4ZXJ8x6IjfMOrba6R1zH922LucMmWlpkJV6wvNZieQg28GVdbGe10qPO93wfal0vJ88LgprzZF7JDZTWkHcxBu0xi9NMc/s1600/images.jpg" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="253" data-original-width="199" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5zeiaquAZ8NLf13_iqm4WKtjW7Ux2QicfK7deKOXsT6-ENe4ZXJ8x6IjfMOrba6R1zH922LucMmWlpkJV6wvNZieQg28GVdbGe10qPO93wfal0vJ88LgprzZF7JDZTWkHcxBu0xi9NMc/s200/images.jpg" width="157" /></a>, with vibe virtuoso Hutcherson’s straight ahead jazz band paired with keyboardist-singer-songwriter Essra Mohawk’s folk-jazz tunes. Unlike the fusion and funk experiments of many of his peers, Hutcherson’s work as a bandleader focused on relatively conventional acoustic jazz. Mohawk, whose original name was Sandy Hurwitz, had previously recorded on Frank Zappa’s Straight label and was briefly in the Mothers of Invention. Her albums during this period were soulful jazz-folk somewhat reminiscent of Laura Nyro’s work at the time. Incidentally, a few tracks on her 1971 album Primordial Lovers featured the core of the Jerry Hahn Brotherhood before they had recruited keyboardist-vocalist Mike Finnigan. In 1981, she was briefly one of the first background singers for the Jerry Garcia Band. </span><br /><div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<b>1/27-29/72 Dennis Geyer Band<o:p></o:p></b></div>
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<b>1/31/72 Chris Darrow</b><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEYWjNAbRCETMy7nNV2zINGYnElqaUdUFd1QDZjWmm2Gp7NzpIrILVwJSmg_cbA_xxpDcgcL6WsIoAbEvgVyaM-S9YfSW3mD_W4BDzsQ-VMhh6ME_5stmtFRpDzCfaVfrBiSv8F3IcKM/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="264" data-original-width="191" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmEYWjNAbRCETMy7nNV2zINGYnElqaUdUFd1QDZjWmm2Gp7NzpIrILVwJSmg_cbA_xxpDcgcL6WsIoAbEvgVyaM-S9YfSW3mD_W4BDzsQ-VMhh6ME_5stmtFRpDzCfaVfrBiSv8F3IcKM/s200/Unknown.jpg" width="144" /></a></div>
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Southern California multi-instrumentalist Chris Darrow was a member of both the Nitty Gritty Dirt Band and Kaleidoscope before releasing the first of many solo albums in 1972. This gig must have gone well, as he returned for a weekend stint at the club in March. <o:p></o:p></div>
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<b>2/1/72 Vince Guaraldi and Kathie Marion<o:p></o:p></b></div>
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Kathie Marion opened five gigs for Guaraldi and one for Oganookie, but I couldn’t find anything about her. Perhaps she sang with Guaraldi’s group, but probably not with Oganookie.<o:p></o:p></div>
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<b>2/2-5/72 Gabor Szabo<o:p></o:p></b></div>
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<b>2/7/72 Floating House Band and Victrola<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCGGaMOk23o4otkiBdrNW6ASEvRYUEPq6GAnMQJKMjh0qSSkYqMqZyGFB2GgM7wEcXvQ9vKmPk9tcuHb6XLTF5D0_lNB-dqgzwITOZryG1adntQlGQRSnViUPtD_lw2El7QNHReUmb6V4/s1600/91xWt%252B8EpFL._SS500_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCGGaMOk23o4otkiBdrNW6ASEvRYUEPq6GAnMQJKMjh0qSSkYqMqZyGFB2GgM7wEcXvQ9vKmPk9tcuHb6XLTF5D0_lNB-dqgzwITOZryG1adntQlGQRSnViUPtD_lw2El7QNHReUmb6V4/s200/91xWt%252B8EpFL._SS500_.jpg" width="200" /></a></div>
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The Floating House band was an acoustic guitar-vocal trio that had one album on bay area folk label Takoma Records that was vaguely reminiscent of a spaced out alter ego of pop-folk band America.<o:p></o:p></div>
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<b>2/8/72 Vince Guaraldi and Kathie Marion<o:p></o:p></b></div>
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<b>2/9/72 Mance Lipscomb and Slap Jack Poulin<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWwTOobOmsfZ3v_wN5T8TlcnJVAAwUejeOOYSuZjuSW0rVOFJT4ELYU9BkdkqBLSpTaV41h5hgxmaYUyVrwuDJYKRTUvQdPIUQ0-a2LIyj1hLPXwAinz6J2QlTmyRp3pvygzt2-lN_7tU/s1600/R-2278376-1297094401.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWwTOobOmsfZ3v_wN5T8TlcnJVAAwUejeOOYSuZjuSW0rVOFJT4ELYU9BkdkqBLSpTaV41h5hgxmaYUyVrwuDJYKRTUvQdPIUQ0-a2LIyj1hLPXwAinz6J2QlTmyRp3pvygzt2-lN_7tU/s200/R-2278376-1297094401.jpg" width="200" /></a></div>
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Texas bluesman Lipscomb was another musician coaxed onto the folk revival circuit thanks to recordings made by Chris Strachwitz, who released seven Lipscomb albums on his Arhoolie label. In 1970, Lipscomb was the subject of a film produced by Les Blank. I couldn’t find any information on Slap Jack Poulin, but he did return for a solo billing two weeks later. <o:p></o:p></div>
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<b>2/10/72 Wolfgang and Strauss<o:p></o:p></b></div>
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<b>2/11-13/72 Shanti and Mellow Mountain<o:p></o:p></b></div>
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<b>2/15/72 Vince Guaraldi and Kathie Marion<o:p></o:p></b></div>
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<b>2/16/72. Victrola<o:p></o:p></b></div>
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<b>2/17-20/72 Kenny Burrell Quartet and Judy Mayhan<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs6HRP3mZ-gnN1TiRy-ReE6JAOB02mhyphenhyphenH8h_cGX2zFVP_Y5K3WC4g8TFmd04Hyw-DKw6htyiP4zDTDSevGwr_33AdTtblvFXdk9S135fMZAwl4AgmwClZbGhyphenhyphenLQsiM1-saNxS33z81T9s/s1600/R-3155304-1318291979.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk6LCUY2bx2MD32_VpKF18RGeexMdzUsztVRFcZxt0IQbnBbFTBzVWbx43BC9snwXZC53xW7ZDWp54L_rWNpfe8U-QBFqMcHIBVyfEEKBVsUzhNIy6NS-7QNqd0AMba59WDxVsZprHV_U/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="225" data-original-width="225" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk6LCUY2bx2MD32_VpKF18RGeexMdzUsztVRFcZxt0IQbnBbFTBzVWbx43BC9snwXZC53xW7ZDWp54L_rWNpfe8U-QBFqMcHIBVyfEEKBVsUzhNIy6NS-7QNqd0AMba59WDxVsZprHV_U/s200/Unknown.jpg" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs6HRP3mZ-gnN1TiRy-ReE6JAOB02mhyphenhyphenH8h_cGX2zFVP_Y5K3WC4g8TFmd04Hyw-DKw6htyiP4zDTDSevGwr_33AdTtblvFXdk9S135fMZAwl4AgmwClZbGhyphenhyphenLQsiM1-saNxS33z81T9s/s1600/R-3155304-1318291979.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="596" data-original-width="600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs6HRP3mZ-gnN1TiRy-ReE6JAOB02mhyphenhyphenH8h_cGX2zFVP_Y5K3WC4g8TFmd04Hyw-DKw6htyiP4zDTDSevGwr_33AdTtblvFXdk9S135fMZAwl4AgmwClZbGhyphenhyphenLQsiM1-saNxS33z81T9s/s200/R-3155304-1318291979.jpg" width="200" /></a>This appears to be the only run of dates that jazz guitarist Kenny Burrell played at the club. In 1972, he had just begun recording for Oakland’s Fantasy Records. Although I couldn’t find the members of his touring band in 1972, he regularly performed in a quartet format with piano, bass and drums. Judy Mayhan has had a long career as a folk-jazz singer songwriter. Born in the Midwest, she moved to New York in the early 1960s where she was part of the burgeoning folk scene in Greenwich Village. She recorded mainstream albums for Atlantic in 1970 (at Muscle Shoals, where she recorded with an all star crew including Duane Allman, and in Hollywood, with assistance from Lowell George and Richie Hayward and Decca in 1971. Mayhan has remained active as performer and recording artist since then, mostly in northern California. <o:p></o:p></div>
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<b>2/21/72 Slap Jack Poulin<o:p></o:p></b></div>
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<b>2/22/72 Vince Guaraldi and Kathie Marion<o:p></o:p></b></div>
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<b>2/23/72 Cisco Friederich Rasmussen<o:p></o:p></b></div>
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<b>2/27/72 John Klemmer. </b></div>
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Saxophonist Klemmer was an early experimenter in jazz fusion, most notably on his 1969 Chess album Blowin' Gold. By the early 1970s, he had moving towards the more smooth jazz arena that has defined much of his career and was recording for Impulse. </div>
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<b>2/28/72 Robben Ford</b><o:p></o:p></div>
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After cutting his teeth in live performances at In Your Ear as lead guitarist for the Real Charles Ford Band, Robben Ford returned for this one gig as a solo headliner. Fame and fortune were just around the corner.<o:p></o:p></div>
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<b>2/29/72 Vince Guaraldi and Kathie Marion<o:p></o:p></b></div>
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<b>3/13-14/72 Chris Darrow<o:p></o:p></b></div>
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<b>3/21/23 The Beans and Rebecca Williams<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsEDM4hve5_VklzA972opQrMbgIHslWhQm31giAkc-dE2Qu4gaI7ZHxe6HlN9ZQ5NhZqMicVwd-MNh2YuAMLRUiwf0lRCjYXiMwX4DW3JZy_pkXUCYWbG3GCs5u_5UZLC9fp6WlP0iqA/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="166" data-original-width="189" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsEDM4hve5_VklzA972opQrMbgIHslWhQm31giAkc-dE2Qu4gaI7ZHxe6HlN9ZQ5NhZqMicVwd-MNh2YuAMLRUiwf0lRCjYXiMwX4DW3JZy_pkXUCYWbG3GCs5u_5UZLC9fp6WlP0iqA/s200/Unknown.jpg" width="200" /></a></div>
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Rock band the Beans moved from Arizona to the bay area in the late 1960s, where they played clubs like In Your Ear and Santa Cruz’ Catalyst from 1969-1972, when they merged with members of another Phoenix band, the Red White and Blues Band to form the Tubes. Based on this date and the Tubes booking a month later, that transition apparently took place in late March or early April 1972. <o:p></o:p></div>
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<b>4/4-5/72 Charles Moffett and the Moffettes<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggOoeLvnC8ikO-raX326922Cd3EYb2Mf5OVOFKZZzd4kN-9NwrxSGJQyrttlQNhDrpWZImCkXgm00gydsCKPHmpj8urlkIvtwUBYLSsBjmLr0LeXENpHcYRuuEj4LM4s0lTMfC_IR65hg/s1600/A-282491-1373123576-1948.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggOoeLvnC8ikO-raX326922Cd3EYb2Mf5OVOFKZZzd4kN-9NwrxSGJQyrttlQNhDrpWZImCkXgm00gydsCKPHmpj8urlkIvtwUBYLSsBjmLr0LeXENpHcYRuuEj4LM4s0lTMfC_IR65hg/s200/A-282491-1373123576-1948.jpg" width="200" /></a></div>
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Jazz drummer Charles Moffett had a music school in the bay area and performed with a group called the Moffettes made up of his music students, including four of his children. One of his sons, bassist and composer Charnette, started playing in the band at age 7, and later moved to New York City, playing with a who’s who of top jazz musicians, and releasing a long series of albums under his own name. <o:p></o:p></div>
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<b>4/6/72 Mike Nock Trio<o:p></o:p></b></div>
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<b>4/7-8/72 Luis Gasca’s Band. <o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfRjSHfBawzn1OHtZiYQWKJ5yircgXJEdnjgtzHDoqfnlFKr1dw5REoIH2QohCXXRZzlbqJJquv0itKECp-PmWXXihY1papjUzlqXxtuiCy0opnU2aiMgxJTFaSI3r7sYVJY0WK2zYdJI/s1600/R-384917-1433846477-7385.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfRjSHfBawzn1OHtZiYQWKJ5yircgXJEdnjgtzHDoqfnlFKr1dw5REoIH2QohCXXRZzlbqJJquv0itKECp-PmWXXihY1papjUzlqXxtuiCy0opnU2aiMgxJTFaSI3r7sYVJY0WK2zYdJI/s200/R-384917-1433846477-7385.jpg" width="200" /></a></div>
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Trumpet player Luis Gasca was a regular member of the Latin jazz-rock community in San Francisco, both as a bandleader and a sideman. He released a landmark album in 1971 entitled <a href="https://www.youtube.com/watch?v=Th7FrYDZElg">For Those Who Chant</a> which featured the entire Santana Band of the time, along with saxophone master Joe Henderson. <o:p></o:p></div>
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<b>4/9-10/72 Big Mama Thornton<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZpgGXc-AYyd1Ld_GBZloU6H_ZvGhYX0dZhGzrwvXyMpiJo-hLv4dfBpTsqTFWJp7jQfl4ox1hNYIzcsekFPyEur_EBP_by1pdVQpuMDPLJv47wIkXKuKJERHMlymbaOamxCRMBMuwUPg/s1600/Big+Mama+Thornton+-+In+Europe+front+cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZpgGXc-AYyd1Ld_GBZloU6H_ZvGhYX0dZhGzrwvXyMpiJo-hLv4dfBpTsqTFWJp7jQfl4ox1hNYIzcsekFPyEur_EBP_by1pdVQpuMDPLJv47wIkXKuKJERHMlymbaOamxCRMBMuwUPg/s200/Big+Mama+Thornton+-+In+Europe+front+cover.jpg" width="200" /></a></div>
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Blues Singer Big Mama Willa Mae Thornton had an active and periodically successful career from 1947-1984. She is best known for having been the first to record Lieber and Stoller’s early rock anthem “Hound Dog” and later for writing “Ball and Chain,” which became one of Janis Joplin’s signature numbers. Born in Alabama, Thornton’s early career was in Houston, where she worked with Johnny Otis and recorded “Hound Dog,” her version of which sold over half a million copies. In the late 60s, she was another artist who moved to the Bay Area to record for Arhoolie Records. By the late 1960s, she had another career high when she recorded for Mercury and Pentagram records. Starting in the early 1970s, she began struggling with alcohol abuse that ultimately led to health problems that led to her death in 1984. This pair of dates appears to be the only booking she had at In Your Ear, but she was a fixture at Bay Area clubs and blues festivals at the time. <o:p></o:p></div>
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<b>4/11-12/72 Hadley Caliman Sextet<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAQWNzAaRlWFDH-Dm6ka84W5qFVPZmzD_-biOBcRsASbNFBC3Y9K0nmRr8OlicBaQBt7XTCcKLnjGLg-CwRvKZyyyWNgKcxErIMTQUy15vJCl7_kCu5vZ2Ljd7FCDdu0WJdrlZdTLVMYM/s1600/Hadley_Caliman_%2528album%2529.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="316" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAQWNzAaRlWFDH-Dm6ka84W5qFVPZmzD_-biOBcRsASbNFBC3Y9K0nmRr8OlicBaQBt7XTCcKLnjGLg-CwRvKZyyyWNgKcxErIMTQUy15vJCl7_kCu5vZ2Ljd7FCDdu0WJdrlZdTLVMYM/s200/Hadley_Caliman_%2528album%2529.jpg" width="200" /></a></div>
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Saxophone/flute player Hadley Caliman had a long and successful career. During the early 1970s, he was particularly active working with California musicians like Joe Henderson, Bobby Hutcherson, and Freddy Hubbard. At this time, Caliman was recording as albums for Mainstream records that were relatively smooth jazz/funk. Moving to the Seattle area, Caliman continued performing regularly until his death in 2010. <o:p></o:p></div>
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<b>4/13/72 Mike Nock Group<o:p></o:p></b></div>
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<b>4/16/72 Blue Mountain<o:p></o:p></b></div>
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Blue Mountain was a large rock band that featured some classmates my high school (Cubberley) in Palo Alto. Although they never released any recordings, they gigged extensively around the bay area and became semi-regulars at In Your Ear and at the Chateau Liberte.<o:p></o:p></div>
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<b>4/17/72 Bayete and his Quintet. <o:p></o:p></b></div>
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Pianist Todd Cochran changed his performing name to Bayete in the early 1970s. During this time, he was recording for Prestige Records, who released two jazz fusion albums in 1972 during a period he was also working with Bobby Hutcherson, sax/flute player Hadley Caliman and bassist James Leary. A few years later, Cochran was the keyboardist, songwriter, and vocalist for the space rock group Automatic Man, which had a major label record deal largely thanks to ex-Santana drummer Michael Shrieve’s pedigree. Later, Cochran worked with an amazingly diverse roster of musicians including Peter Gabriel, Stanley Clarke, Carl Palmer, Maynard Ferguson, Joan Armatrading, and Freddie Hubbard. In the 2000s, he added a successful new career to his resume doing scores for movies. <o:p></o:p></div>
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<b>4/20/72 Mike Nock Group<o:p></o:p></b></div>
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<b>4/21-22/72 Mike White Group<o:p></o:p></b></div>
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When jazz fusion band the Fourth Way broke up in 1970, electric violinist White, like keyboardist Mike Nock, became leader of an eponymous band. White, who had attracted notice as a member of John Handy’s seminal quintet prior to joining the Fourth Way, recorded a couple of albums for Impulse Records in the early 70s with a band rounded out by pianist Ed Kelly, bassist Ray Drummond, and (on the 1972 release Spirit Dance) drummer Kenneth Nash. <o:p></o:p></div>
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<b>4/23/72 Mike Nock Trio<o:p></o:p></b></div>
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<b>4/24-26/72 Mose Allison Trio. <o:p></o:p></b></div>
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Recording the live album <i>Mose In Your Ear </i>for Atlantic Records. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqXXjy4HYazqVPriR6pka4Zsc8E7pssu83JWcpm6uGZLDvlxUHqrUsf_n6RcyTbQkOhqLrwP7gKG8H29S5PPEVtq5Yfni2UfMoByubx5wBIcjN2hzDXQYXh35ch9KJnWZ24G6UFDp7vY/s1600/Mose_in_Your_Ear.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqXXjy4HYazqVPriR6pka4Zsc8E7pssu83JWcpm6uGZLDvlxUHqrUsf_n6RcyTbQkOhqLrwP7gKG8H29S5PPEVtq5Yfni2UfMoByubx5wBIcjN2hzDXQYXh35ch9KJnWZ24G6UFDp7vY/s200/Mose_in_Your_Ear.jpg" width="200" /></a></div>
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<b>4/27/72 Mike Nock Trio<o:p></o:p></b></div>
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<b>4/28/72 Loading Zone<o:p></o:p></b></div>
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The Loading Zone was among the first wave of San Francisco rock bands, playing the Trips Festival in 1966 and opening for many of the other SF Bands during the heyday of the ballrooms. From 1967 to 1969, they featured the dynamic lead vocals of Linda Tillery, who subsequently went solo and recorded Sweet Linda Devine, produced by Al Kooper. By 1972, the Zone was near the end of its musical rope, with keyboard player Paul Fauerso handling lead vocals. In 2008, the core of the group – Fauerso, drummer George Marsh, and bassist Mike Eggleston, reunited briefly and released an album <i>Blue Flame</i>composed of new material and selections from an unreleased 1969 studio album, and performed at least one show that I attended, at Berkeley’s Freight and Salvage. Incidentally, the late era Loading Zone performed at my high school graduation in 1971.<o:p></o:p></div>
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<b>4/30/72 The Tubes<o:p></o:p></b></div>
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The Tubes had played a bit over a month earlier under their previous name, the Beans. Although they were not to release their debut album for another three years, the Tubes were already developing the elaborate stage shows that that became their trademark. A version of the band still tours and records. Their former keyboard player, Vince Welnick, later joined the Grateful Dead, and appears to be the only Dead member to have played at In Your Ear. <o:p></o:p></div>
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<b>5/10/72 Earle Davis and the Majic Exploration Band<o:p></o:p></b></div>
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Trumpet player/bandleader Earle Davis was part of the jazz scene in New York in the late 1950s-early 1960s. Moving to the bay area in the late 1960s, he led a number of different lineups, which were usually called the Majic Spirit Band. Not sure why his group was billed as the Majic Exploration Band for this gig. <o:p></o:p></div>
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<b>5/11-14/72 Jon Hendricks and the Art Lande Trio<o:p></o:p></b></div>
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Jazz pianist Art Lande was relatively early in his career at this point, but he went on to record a duet album with sax player Jan Garbarek, to found the Rubisa Patrol with trumpeter Mark Isham, and to record with artists like Paul McCandless and Gary Peacock. Lande remains active as a performer, teacher, and recording artist. <o:p></o:p></div>
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<b>5/16/72 Stuart Little Band<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpKBGRV5FOso8Fua5eSpFEWutUHCNfTiAB5fIreJKXgbZCBHFDqonSs1wnUC5ZamFeUo7K1cSnVUMw1v39E2aAebEuf2WWDsbiGQYYnYH1ZlD_GswUAJlBjJSX4xss7CB8r5c-oh90M8/s1600/unnamed.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="512" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpKBGRV5FOso8Fua5eSpFEWutUHCNfTiAB5fIreJKXgbZCBHFDqonSs1wnUC5ZamFeUo7K1cSnVUMw1v39E2aAebEuf2WWDsbiGQYYnYH1ZlD_GswUAJlBjJSX4xss7CB8r5c-oh90M8/s200/unnamed.jpg" width="200" /></a></div>
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The Stuart Little Band was a six-piece Stockton area psychedelic rock band that was active in California clubs and concert halls from 1969-1976. Although they never released an album during their performing lifetime, a <a href="https://www.amazon.com/Mouse-That-Almost-Roared/dp/B016C8SVWM/ref=sr_1_1?dchild=1&keywords=stuart+little+band&qid=1593802073&sr=8-1">CD</a> of studio recordings of the band was released in 2015, along with a book chronicling the band’s history written by the band’s flute player David Hoeim.<o:p></o:p></div>
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<b>5/18/72 Billy Mitchell and Company<o:p></o:p></b></div>
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There were two active jazz musicians named Billy Mitchell at this time, one a tenor sax player who had a long and varied career with jazz icons like Thad Jones, Dizzy Gillespie, and Count Basie. The other Mitchell was a piano player who didn’t start recording until the late 1970s and got his start in New York. I’d bet this gig was the sax player’s.<o:p></o:p></div>
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<b>5/19/92 Bobby Hutcherson Quartet<o:p></o:p></b></div>
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<b>5/23-25/72 Jack Bonus</b>. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxmUmqR9dObuW98F4ioBxJO8ZReY978Nr5vubF9MmZ_-n_9NS1GLc62ehFz3gBNlAmKCrguoR85c8msGY9ey1fVYHIVQUmt9pFXTMEeK6l7ayH3L5RqwxaJBCrD_cENmpSX9Cqu6RHhI/s1600/R-2281379-1319647721.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="200" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxmUmqR9dObuW98F4ioBxJO8ZReY978Nr5vubF9MmZ_-n_9NS1GLc62ehFz3gBNlAmKCrguoR85c8msGY9ey1fVYHIVQUmt9pFXTMEeK6l7ayH3L5RqwxaJBCrD_cENmpSX9Cqu6RHhI/s200/R-2281379-1319647721.jpg" width="200" /></a></div>
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Saxophonist/songwriter Jack Bonus did a lot of sessions for people like Tom Paxton, the Rowan Brothers, and Earth Opera, the eccentric late 60s rock band fronted by Peter Rowan and David Grisman. Bonus recorded one equally strange album for the Airplane’s label Grunt that came out in 1972, so this may have been a record release of sorts. Today he is probably best known for penning “The Hobo Song,” which Peter Rowan sang on the debut album by Old and In the Way and has since become somewhat of a jamgrass standard. Bonus passed away in 2013. <o:p></o:p></div>
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<b>5/26-27/72 Michael White’s Quartet<o:p></o:p></b></div>
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<b>6/10/72 Zoot Sims<o:p></o:p></b></div>
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Jazz saxophonist Zoot Sims had a long jazz career, playing in big bands in the 1940s, recording with luminaries like Jack Kerouac and Chet Baker in the 1950s, and playing with a who’s who of veteran jazz musicians in a variety of settings until his death in 1984. <o:p></o:p></div>
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<b>6/12/72 Blue Mountain<o:p></o:p></b></div>
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6<b>/15-16/72 Jon Hendricks with Larry Vucovich Trio<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvYVLpvE26VsYahq_I_NWn7ZrCTtI23EpU2xcfYXubESqMjq3CVhU1kgNc7ObkXp6ZuLW71vQXG_WwLCIkP2texkcZHJMn3n9clsFCWvtg7ZxxujpynaljipxI1mpE4XKKUgX0HZJ9ac/s1600/A-253478-1566584960-5675.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="284" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvYVLpvE26VsYahq_I_NWn7ZrCTtI23EpU2xcfYXubESqMjq3CVhU1kgNc7ObkXp6ZuLW71vQXG_WwLCIkP2texkcZHJMn3n9clsFCWvtg7ZxxujpynaljipxI1mpE4XKKUgX0HZJ9ac/s200/A-253478-1566584960-5675.jpg" width="189" /></a></div>
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This sounds like it would have been a great gig, with master jazz vocalist Jon Hendricks performing with pianist Larry Vukovich’s trio. Vukovich worked steadily with Hendricks during this period, after performing similar accompaniment with vocalist Mel Torme. Hendricks was a member of popular jazz vocal trio Lambert, Hendricks and Ross, and created a popular musical, the Evolution of the Blues, which debuted at the 1960 Monterey Jazz Festival and later had successful theatrical runs in San Francisco and Los Angeles. In 1966 he cut a very obscure single “Fire in the City”/”Your Sons and Daughters” with the Grateful Dead that was part of the soundtrack of an independent film also entitled Fire in the City. <o:p></o:p></div>
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<b>6/17-18/72. Luis Gasca with EdMcCleer and Mark Lawshe<o:p></o:p></b></div>
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<b>6/20-21/72 David Pomeranz and the Dick Conte Group<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhys1ymoEiTtV-85zPj713kZFbj84tBegExgpSHX2dlp6lsA5PN_IAejC5NqWRQz1n3JzS4A1dCTnudk3ycPPs0jHYRypb8F6EDYSHBsuNER6KIszv7rhldUdcI1SUs06U0rpD5k4RD_Gs/s1600/R-11932153-1524993847-7126.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhys1ymoEiTtV-85zPj713kZFbj84tBegExgpSHX2dlp6lsA5PN_IAejC5NqWRQz1n3JzS4A1dCTnudk3ycPPs0jHYRypb8F6EDYSHBsuNER6KIszv7rhldUdcI1SUs06U0rpD5k4RD_Gs/s200/R-11932153-1524993847-7126.jpg" width="200" /></a></div>
<span face="Calibri, sans-serif">Early in his career as a singer-songwriter, David Pomeranz was recording his first solo albums and playing clubs like In Your Ear. Only 21 at the time, Pomeranz already had two Decca albums under his belt, but he was to go on to a multi-platinum career as a performer, songwriter for artists like Barry Manilow and Donna Summer, and writing scores for films and theatrical productions. Jazz pianist Dick Conte has been a regular performer and jazz DJ in the bay area since the early 1960s.</span><br />
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<b>6/22-24/72 Cal Tjader. <o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfyOULXLzMeYra85mxdClBGVMd1UwNhxvQbdE3S9QoLnRsp_zBf6rZo1Q0aOOE-auxt1xhkJwazbPa1WlpvUDB-2HUC9VsgC58Zx7WsNdqcZ0gTdk7w45IZ08LB7ha9fY31Fpw25XLeHY/s1600/Cal_Tjader.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="329" data-original-width="220" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfyOULXLzMeYra85mxdClBGVMd1UwNhxvQbdE3S9QoLnRsp_zBf6rZo1Q0aOOE-auxt1xhkJwazbPa1WlpvUDB-2HUC9VsgC58Zx7WsNdqcZ0gTdk7w45IZ08LB7ha9fY31Fpw25XLeHY/s200/Cal_Tjader.jpg" width="133" /></a></div>
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Vibraphone player Tjader, although of Swedish extraction, played an important role in popularizing Latin jazz in the Bay Area. He performed with Dave Brubeck during his college years and later become a wildly popular bandleader whose groups included notable sidemen like Vince Guaraldi, Mongo Santamaria, and Willie Bobo, whose “Soul Sauce” was a top 40 hit for Tjader in 1964. During this period, he was recording on Fantasy records and flirting with fusion. <o:p></o:p></div>
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<b>6/27-28/72 JuJu<o:p></o:p></b></div>
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JuJu was a sextet that performed an airy style of free jazz and recorded a couple of albums on Black Fire in the early 1970s. Although the band was based in the DC area, leader James “Plunky” Branch had lived in the bay area for awhile and maintained connections there, so this was likely an unusual west coast road trip for the group. Alternately, this may have been a different band with the same name. <o:p></o:p></div>
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<b>6/29-30/72 Mike Nock Group<o:p></o:p></b></div>
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<b>8/5-7/72 Mose Allison Trio and the Real Charles Ford Band<o:p></o:p></b></div>
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<b>8/11/72 John Lee Hooker<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lPQuqjldKXHUqlORZGbY2CtB9sc1Mm57lnoNnXsd-EbxmYnohafGYZ-iYoJo2Frfk9BoWz4JUwrDx8y4Q5PEPTvDA3gKx187ZZ-bZY9srF-6agLPny8ikrXsI10dCH4SQXD7fTJzR_s/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="231" data-original-width="219" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lPQuqjldKXHUqlORZGbY2CtB9sc1Mm57lnoNnXsd-EbxmYnohafGYZ-iYoJo2Frfk9BoWz4JUwrDx8y4Q5PEPTvDA3gKx187ZZ-bZY9srF-6agLPny8ikrXsI10dCH4SQXD7fTJzR_s/s200/Unknown.jpg" width="189" /></a></div>
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Blues guitarist-vocalist John Lee Hooker was a long-time bay area resident, so the only thing surprising about his booking at In Your Ear was that it didn’t happen sooner. In 1971, he was in the midst of one of several commercial high points in his career, having justrecorded the seminal Hooker and Heat with Canned Heat. Hooker and Heat was followed quickly by two albums on ABC, Endless Boogie and Never Get Out of these Blues Alive, both featuring guest shots from friends like Steve Miller, Van Morrison (with whom Hooker occasionally shared club bills with during this time), and Elvin Bishop. <o:p></o:p></div>
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<b>8/16/72 Asleep at the Wheel<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizEc6BnGcim6vrL5eLBIfc6aGK5SgQF_e2AHACFzbxwIGToJMY-n2y9Bt8AO1Ks01mdwwaUMO9ssRNmBNWYpf4gsJvcnNjjwz31OSigFkiIfLi0lRjzTaJ4FmD8XQa9vk5WjVBGXn2ooI/s1600/unnamed.gif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="282" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizEc6BnGcim6vrL5eLBIfc6aGK5SgQF_e2AHACFzbxwIGToJMY-n2y9Bt8AO1Ks01mdwwaUMO9ssRNmBNWYpf4gsJvcnNjjwz31OSigFkiIfLi0lRjzTaJ4FmD8XQa9vk5WjVBGXn2ooI/s200/unnamed.gif" width="200" /></a></div>
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Best known as a Texas western swing band, Asleep at the Wheel was founded in West Virginia, and spent 1970-73 living in Oakland California, where they moved at the recommendation of friends Commander Cody and the Lost Planet Airmen. The two bands often shared billings, and they were pretty much the only bands playing western swing and country music in the Bay Area at the time. Despite myriad personnel changes over the years, Asleep at the Wheel, who relocated to Texas in 1974, are still going strong, thanks to the efforts of leader-guitarist and sole original member Ray Benson. <o:p></o:p></div>
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<b>8/18-19/72 Mike Nock with Eddie Marshall and Ron McClure<o:p></o:p></b></div>
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For most of his shows at In Your Ear, Nock was presumably supported, as he was here, by the former Fourth Way rhythm section of drummer Marshall and bassist McClure.<o:p></o:p></div>
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<b>8/22/72 Blackjack<o:p></o:p></b></div>
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<b>8/23/72 Asleep at the Wheel<o:p></o:p></b></div>
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<b>8/24/72. Noema<o:p></o:p></b></div>
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<b>8/28/72 Blue Mountain<o:p></o:p></b></div>
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<b>9/13/72 Asleep at the Wheel<o:p></o:p></b></div>
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<b>9/14-15/72 Bobby Hutcherson Quartet<o:p></o:p></b></div>
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<b>9/29-30/72 Blue Mountain<o:p></o:p></b></div>
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<b>10/9/72 Luther Tucker Thing<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCfcetjF9OQ0_RKrZz3qkN_Sv50EfDcirnPRAdJlyFkLqiFyqCaQkEswqmId9acUEUVz2JzJqkUuDHfzQtFvlYH1j7G1lm9Qq-Vph2n8siGSI1FbTeWnbdqI0laT02ZzoD80FiREJssO8/s1600/LUTHER_TUCKER.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="847" data-original-width="1062" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCfcetjF9OQ0_RKrZz3qkN_Sv50EfDcirnPRAdJlyFkLqiFyqCaQkEswqmId9acUEUVz2JzJqkUuDHfzQtFvlYH1j7G1lm9Qq-Vph2n8siGSI1FbTeWnbdqI0laT02ZzoD80FiREJssO8/s200/LUTHER_TUCKER.jpg" width="200" /></a></div>
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Blues guitarist Luther Tucker had impressive credentials before fronting his own band, having served in Muddy Waters and later James Cotton’s bands in the late 1960s before going out on his own in the early 1970s. He was a regular at In Your Ear during its last months of operation. During this era, Tucker also worked with John Lee Hooker, and did not record under his own name until the 1990s, when he also did an album with the temporarily reunited Ford Blues Band.<o:p></o:p></div>
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<b>10/10/72 Bobby Hutcherson/Bisconti and Nothing<o:p></o:p></b></div>
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One can only imagine what Hutcherson’s conservative jazz audience thought of Bisconti and Nothing’s surrealistic dingulator explorations.<o:p></o:p></div>
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<b>10/12/72 Zytron with Bert Wilson and David Pomeranz<o:p></o:p></b></div>
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Zytron was a Big Sur-based ensemble jazz-funk ensemble featuring keyboardist David Kempton, sax player Bert Wilson, and drummer James Zitro. It is unclear from this booking whether Pomeraanz was playing with the group (hard to imagine, given the disparate styles involved) or opening for the group. Music and more information on Zytron can be found here.<a href="https://www.davidkempton.com/rec/zytron/">https://www.davidkempton.com/rec/zytron/</a><o:p></o:p></div>
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<b>10/16/72 Luther Tucker Thing<o:p></o:p></b></div>
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<b>10/18/72 Oganookie and Kathie Marion<o:p></o:p></b></div>
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<b>10/26/72 The Space Rangers<o:p></o:p></b></div>
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This is another mystery. Rock guitarist Neil Meriwether put together a band with that name in 1974, but presumably this was someone else.<o:p></o:p></div>
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<b>11/4/72 Jon Hendricks and Hues<o:p></o:p></b></div>
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I’m not sure if Hues was the LA Band the Hues Corporation. The timing works, and this was before that group had their big commercial breakthrough starting in 1973 and accelerating with their big hit “Rock the Boat” in 1974. As yet unrecorded, the Hues Corporation were featured as themselves in 1972 in the film Blacula. <o:p></o:p></div>
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<b>11/7/72 Pat Bisconti and Charlie Nothing<o:p></o:p></b></div>
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<b>11/8/72 Phantoms of the Opry<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wjMDGyrQVurrhsmGES-E4SlNQfbqckIyE2iG9z1uj5BlzVc94B0liz6srYQu1uSr08-QRfDvqNUruPTI1Y1wJhyphenhyphen1s6hh5eX_92q-dnT4tt0_LUAilsyvMBMxqSqOKdbiTQ-CLE7fun0/s1600/Unknown.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="179" data-original-width="281" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wjMDGyrQVurrhsmGES-E4SlNQfbqckIyE2iG9z1uj5BlzVc94B0liz6srYQu1uSr08-QRfDvqNUruPTI1Y1wJhyphenhyphen1s6hh5eX_92q-dnT4tt0_LUAilsyvMBMxqSqOKdbiTQ-CLE7fun0/s200/Unknown.jpg" width="200" /></a></div>
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In Your Ear didn’t book much bluegrass, but they did bring in this sterling bay area group that featured Pat Enright, later with the Nashville Bluegrass Band on guitar and vocals and a very young Laurie Lewis on bass. <o:p></o:p></div>
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<b>11/9/72 Noema<o:p></o:p></b></div>
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<b>11/13/72 Luther Tucker’s Blues Band<o:p></o:p></b></div>
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<b>11/16/72 Sunnyland Slim Blues Band with Michael Bloomfield<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-KSCs8BTrQJfEbydAEm_XeP8g59iTiCxbYwTKX6FaOMQB8RStRP_jCEWj3y8Vssv9kBRzr_nuixYbQG4-nYA_U-DNpgszIF8xujm8zV-NRP7-7zyGmaKC4Ev4xC5hd10infOvmoaDLM/s1600/hqdefault.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT-KSCs8BTrQJfEbydAEm_XeP8g59iTiCxbYwTKX6FaOMQB8RStRP_jCEWj3y8Vssv9kBRzr_nuixYbQG4-nYA_U-DNpgszIF8xujm8zV-NRP7-7zyGmaKC4Ev4xC5hd10infOvmoaDLM/s200/hqdefault.jpg" width="200" /></a></div>
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Chicago blues pianist-vocalist Sunnyland Slim apparently made a rare visit to the bay area in 1972, and was billed with Michael Bloomfield, who had jammed with Slim on numerous occasions back in Bloomfield’s formative years in Chicago blues clubs. At this point, Bloomfield had largely retreated from the rock spotlight, instead focusing on low-key gigs like this one. <o:p></o:p></div>
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<b>11/20/72 Luther Tucker’s Blues Band</b></div>
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<b>11/23-25/72 Bluesberry<o:p></o:p></b></div>
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<b>11/27/72 Luther Tucker Band<o:p></o:p></b></div>
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<b>11/28/72 Pat Bisconti and Charlie Nothing<o:p></o:p></b></div>
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<b>12/8-9/72 Jimmy McCracklin and His Band<o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJaz-XYtB_zgEKY5fIfFSFQq5VWeU6bic6n9Nd873bXhcjU_d60m5UPcPLvNd0iG2sev1FEbe2pXddlA3yIuRZ2qClLnWO_cH66nxWSOHHgDBFnqeBx8lwu1xMpnqeDSISBNW_fPRFx7o/s1600/4158P7P76DL.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJaz-XYtB_zgEKY5fIfFSFQq5VWeU6bic6n9Nd873bXhcjU_d60m5UPcPLvNd0iG2sev1FEbe2pXddlA3yIuRZ2qClLnWO_cH66nxWSOHHgDBFnqeBx8lwu1xMpnqeDSISBNW_fPRFx7o/s200/4158P7P76DL.jpg" width="200" /></a></div>
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Blues/R&B Pianist-vocalist Jimmy McCracklin’s career stretched back to the 1940s, when he started performing at Richmond, California venue Club Savoy. In the 1950s, McCracklin had a hit with an infectious boogie tune “The Walk.” During the period of this booking, McCracklin operated his own club, the Continental, in San Francisco. McCracklin remained active well into the early 200s, and passed away in 2012 at the age of 91. One of his other best known songs, “Think,” was a regular part of the repertoire of Jerry Garcia’s electric bands. <o:p></o:p></div>
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<b>12/11/72 Frankie Beverly’s Raw Soul and Auditions<o:p></o:p></b></div>
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Raw Soul was the band that Beverly led in the bay area during the early 1970s before he was encouraged to change the group’s name to Maze, after touring for several years as opening act for Marvin Gaye. Maze became a hit machine, with nine gold albums released during the 70s through the 90s. Another example of an artist on the cusp of mass popularity playing at the tiny Palo Alto venue.<o:p></o:p></div>
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At this point, In Your Ear’s days were numbered. Presumably they continued to book acts for the rest of December, but I was unable to find any subsequent listings. Sadly, the club reached the end of the line on New Year’s eve 1972, when a fire started by the club’s pizza oven essentially destroyed the building. Today the site of the club is occupied by a modern building housing a mattress store – a fate similar to that of the former Dana Morgan’s music store a few blocks away. Although both the Stanford and Varsity Theatres further up University Avenue held occasional musical events in subsequent years, the closing of In Your Ear essentially brought an end to live music venues in downtown Palo Alto. <o:p></o:p></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com11tag:blogger.com,1999:blog-6100854883581054455.post-42642122389478168752019-07-28T12:30:00.002-07:002019-07-28T12:30:25.338-07:00New Year’s Eve with the Grateful Dead –Part 2. Year-end adventures at the Cow Palace<div class="MsoNormal" style="font-family: Cambria, serif; margin: 0in 0in 0.0001pt;">
A year before they went on hiatus, the Dead took the opportunity to take a break from doing a New Year’s gig, and so did I. However, Jerry was out and about, and I ended up celebrating virtually with him, Kreutzmann, and Boz Scaggs as they joined the Allman Brothers for part of their marathon set at the Cow Palace, which was generously broadcast on KSAN. <o:p></o:p></div>
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1973 had been a good year for the Allmans after a couple of years recovering from the deaths of Duane in 1971 and Berry Oakley in 1972. These two key band members died a year and two weeks apart, both dying from motorcycle collisions a few blocks apart in Macon Georgia. However, by 1973 the band had regrouped, bringing on new bassist Lamar Williams and pianist Chuck Leavell and finishing the album they had begun with Oakley in the fall of 1972. That album, <i>Brothers and Sisters</i>, proved to be the band’s best selling album, featuring a more country-rock infused sound largely due to Betts’ compositions. </div>
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Although <i>Brothers and Sisters</i>didn’t come out until August, the band toured steadily throughout the year, playing 58 shows in 1973. They shared the stage with the Dead on three occasions – June 9 and 10 at RFK Stadium and then at the huge festival at Watkins Glen that also included the Band and brought a reported 600,000 people to a sports car track in upstate New York. At all of those shows, there was some degree of cross-pollination between the bands, so it was not too surprising that Garcia and Kreutzmann would show up to jam with the Allmans at the Cow Palace. </div>
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After a fairly typical first set heavy on Duane-era Allman Brothers chestnuts, the band returned for a nearly three hour second set that began with much of the material from <i>Brothers and Sisters</i>before veering into a long jam session beginning with “Le Brers in A Minor, “the instrumental from the band’s second album that they often paired with “Whipping Post” to close their sets that year. As “Les Brers” wound down, Garcia and Kreutzmann took the stage and contributed to a long instrumental version of Whipping Post,” with Garcia’s and Betts’ pentatonic licks bouncing off one another and intertwining in increasingly complex configurations. “Whipping Post” was generally a showcase for Gregg Allman’s impassioned vocals, but he and drummer Butch Trucks sitting out the rest of the show. The tempo shifted dramatically with Boz Skaggs joining in and providing vocals for a set of old tunes including “Linda Lou” and a jammed out version“Hey Bo Diddley,” interspersed with instrumental takes on “Hideaway” and a Blues jam that ended the main set. Following what was apparently an onstage wedding of a couple of audience members, the same ensemble of players wrapped the show up with an instrumental version of “You Don’t Love Me” leading into an ebullient version of “Mountain Jam.” All in all, not a bad way to ring in 1974. Unfortunately, though, the last time Betts and Garcia would share a stage together. <o:p></o:p></div>
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Possibly encouraged by Garcia and Kreutzmann’s experience with the Allmans, the Dead played the Cow Palace for the first time for the fabled “Sound Test” on March 23, 1974. I’ll discuss this elsewhere. <o:p></o:p></div>
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At the end of 1974, no one expected a Dead NYE show as the band had gone on hiatus (or possibly retired from touring) in October. Nonetheless, celebrations featuring band members occurred in one (and possibly two) locations. I described the Kingfish NYE bash in Palo Alto <a href="https://www.blogger.com/blogger.g?blogID=6100854883581054455#editor/target=post;postID=7982638547817292867;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=10;src=postname">here</a>, and Lost Live Dead speculates on the possibility of a Garcia/Saunders New Year’s show at the Keystone Berkeley <a href="http://lostlivedead.blogspot.com/2009/12/new-years-eve-1974-and-1975-keystone.html">here</a>. <o:p></o:p></div>
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I did not spend NYE 1975 hearing Dead band members, but Garcia did play the Keystone Berkeley that year, the last performance of the initial Nicky Hopkins/Ron Tutt,/John Kahn version of the Jerry Garcia Band, with Weir, Hart, and Matthew Kelly sitting in. The entire performance, warts and all,. has been released as <i>Garcia Live Vol. 5</i>. <o:p></o:p></div>
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When the band wrapped up 1976 with their 12/31/76 Cow Palace show, it was the first Dead New Year’s show in four years, and established a tradition of bay area year-end shows that continued unabated until 1991. The Dead played the Cow Palace once before, in March 1974 for the vaunted Sound Test, but this was the first and only time they celebrated New Years at the venerable Daly City landmark. The capacity crowd was typically enthusiastic, but more clearly a hard-core Deadhead assemblage than had been the case at the 1974 Sound Test. <o:p></o:p></div>
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New Year’s 1976 was a long show, with the Dead’s two sets preceded by an opening performance by Soundhole, a relatively short-lived Marin County group that served as Van Morrison’s backing band for awhile and featured Mario Cipollina (John’s brother and future member of Huey Lewis and the News) on bass. It was the second and last time I saw Soundhole, who opened a show at Winterland for Quicksilver and Little Feat near on 12/28/75 earlier, but I confess that they didn’t make much of an impression on me either time. <o:p></o:p></div>
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Santana’s set was another story entirely. In the mid-1970s, Santana was a phenomenal live act, and the band’s hour-long set at the Cow Palace was as exciting and adventurous as any music coming out of the bay area at the time. Starting out as a muscular rock band that deftly balanced rock, Latin music, and blues. After flirting with harder rock in an expanded ensemble including guitar wunderkind Neil Schon, Carlos became a disciple of Guru Sri Chimnoy and moved into more of a jazz-rock focus both in his eponymous band and in collaborations with John McLaughlin and Alice Coltrane. While their 1972-74 studio albums took on more of a smooth fusion sheen, the band’s live shows remained incendiary, as evidenced by 1974’s triple live LP <i>Lotus</i>, recorded on a 1973 tour of Japan. By the band’s 1976 album <i>Amigos,</i> Santana had returned to a more song-based approach, with some terrific new material. Usually a headliner, Santana’s second billing at the Cow Palace was one of their rare supporting slots during that era. Other than Carlos, the sole holdover from the classic Santana Band was Jose “Chepito” Areas, rounded out by some mainstays of early 1970s bands like keyboardist Tom Coster and percussionists Raul Rekow and Graham Lear. It also featured some short-lived additions to the group – vocalist Luther Rabb, percussionist Joel Badie, and bassist Pablo Telez.Possibly knowing that Dead audiences could be a discerning crowd, the band pulled out all the stops for their brief, powerful set. Mixing newer songs like “Let The Children Play” and “Dance, Sister, Dance” with jazz instrumentals including “Europa” and “Every Step of the Way.” All in all, a perfect performance to set the stage for the headliners.<o:p></o:p></div>
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<span style="font-family: "times new roman" , serif;">The Dead’s set was arguably one of their finest New Year’s performances, and was justifiably chosen for a commercial release as 2007’s <i>Live at the Cow Palace</i>. Although the Dead’s summer 1976 tour had been relatively low-key, with the band reacquainting themselves with playing as an ensemble, their sets were marked by a raft of new original and cover material, and featured some ingenious juxtapositions of songs. The Dead picked up momentum through the fall tour, where they primarily played either stadiums or arenas, moving towards the consistency and energy that made 1977 such a watermark year for the band. Poised at the precipice of that momentous year, the Dead did not disappoint. For the first time, the band’s first set did not commence at midnight, but closer to 10 PM. The two sets were long and really varied. They opened with the a pair of standard show openers: “Promised Land,” which Healy seemed to usually use to adjust everyone’s levels, followed by “Bertha.” The heart of the first set was pretty standard stuff – “Mama Tried,” “They Love Each Other” and “Looks Like Rain.” As the last hour of the year ebbed away, the band finished strong with a typically energetic “Deal” followed by 22 minutes’ worth of instrumental explorations within “Playing in the Band” which demonstrated that the Dead weren’t saving all the musical weirdness for the second set. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Bill Graham’s crew wheeled a huge float through the crowd with a big flower on top as 1977 approached. This was the first show that the band opened the year with “Sugar Magnolia,” - a tradition that Graham pretty much insisted they maintain for the majority of the rest of the Dead’s New Year’s shows. As usual, a balloon drop accompanied the appearance of Graham as Father Time, erupting out of the blooming flower this time. A long and very unusual second set followed, with two long medleys separated by short tunes. The first emerged out of “Sunshine Daydream” with a lovely, brisk “Eyes of the World” that found Garcia soloing endlessly over Lesh’s low-register thrusts and parries. Next up was “Wharf Rat,” atypically positioned early rather than as the penultimate tune in a jam and featuring some sublime harmonies in the first bridge and a long instrumental coda with more ornate leads from Garcia. After a brief full-stop, the band charged into the first “Good Lovin” since 10/20/74, sung by Weir, but still in the basic arrangement from the Pigpen era. A unique instrumental passage slowly transitioned between the melody and tempo of “Good Lovin” and the next tune, a slow, sensuous “Samson and Delilah.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Next up was “Scarlet Begonias,” which had evolved from a fairly short, poppy tune into one that featured another long instrumental coda that clearly anticipated its merger with “Fire on the Mountain” that would appear at Winterland in March. An energetic “Around and Around” could easily have been a show closer, but this was a night that Jerry wanted to keep playing, and not just treading water, as evidenced by his choice of a rare late-set “Help on the Way” leading into an extra-gnarly “Slipknot.” Rather than going into “Franklin’s Tower (MIA entirely this show), a moody improv passage paved the way for a bass-and-drums exploration, followed by Not Fade Away. This had to be the end of the set, right? Guess again, as Jerry led the band into a letter-perfect “Morning Dew. This possibly one of Garcia’s best performances of that majestic song, both vocally and instrumentally, and is only one of two times the Dead played it at a New Year’s show. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Presumably because it was now Saturday morning, the first encore was “One More Saturday Night.” The band had been playing for a long time, and it was well into 1977 by the time the adamant crowd coaxed them back for a final pair of tunes, a gentle “Uncle John’s Band” leading directly into a sloppy but soulful “We Bid You Goodnight,” which brought the band’s first post-hiatus touring year to a close, and set the stage for a strong touring schedule for 1977, which many consider their strongest post-hiatus year. <o:p></o:p></span></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com4tag:blogger.com,1999:blog-6100854883581054455.post-26100680109539095632018-01-07T14:05:00.001-08:002019-07-28T12:18:50.939-07:00The Grateful Dead - Shows in California March to December, 19721972 was a big year for the Grateful Dead. They fully
integrated new members Keith and then Donna Godchaux, bid adieu to Pigpen as a performing member of the band, went
on a wild jaunt in Europe in the spring, and toured steadily during the summer,
fall, and winter, culminating in a quintet of December shows in Long Beach
and San Francisco. I saw the Dead nine times in 1972, including the two August
shows I discussed here.<br />
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The Dead began the year in a very atypical fashion, playing
a show at Winterland on the evening of January 2 following their New Years
show.<span style="mso-spacerun: yes;"> </span>I did not attend that show, but
did make their next gig, also at Winterland. During the first several years I
saw shows at Winterland, Bill Graham and crew experimented with different
positions in the hall for the stage. For New Year’s the stage was located on
the narrower side of the auditorium, adjacent to Post Street, a position that
became standard from December 1972 until the hall closed at the end of 1978.
However, for the March 5 show (a benefit for the Native Americans who had
occupied Alcatraz Island at the time), the stage was located on the long
dimension of the auditorium, opposite the main entrance on Steiner Street. It
remained in this location throughout most of 1972, only returning to the alternate
location sometime prior to the mid-December run of Dead shows. <o:p></o:p></div>
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This show was notable for several reasons. The Sons of
Champlin, still operating under the name Yogi Phlegm, were scheduled to open
the show. However, guitarist Terry Haggerty, vibes player Geoff Palmer, and
bassist David Shallock were seriously delayed, ostensibly caught in traffic,
and Bill Graham wanted to keep the lengthy show as on schedule as possible, so
the rest of the band recruited a couple of the musicians in the green room to temporarily
fill out their ranks. Thus the show opened with the quartet of Bill Champlin,
Bill Vitt, Phil Lesh, and Jerry Garcia jamming out on a medley of “Big Boss
Man” and “How Blue Can You Get.” At the conclusion of those songs, the other
two Phlegmatic musicians took the stage, and Jerry and Phil went back to
whatever they were doing earlier. The Sons of Champlin/Sons/Yogi Phlegm never
got their due as a sublime jamming vehicle, and it was not mere convenience
that led the Dead to enlist them so frequently as an opening act.<o:p></o:p></div>
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The New Riders followed and I have no memories of anything
that distinguished their set. This was a transitional period for the Riders,
with bassist David Torbert emerging as a lead singer and songwriter to balance
the front man duties with John ‘Marmaduke’ Dawson, who had done most of the
writing and lead singing previously. Pedal steel player Buddy Cage, only a few
months into his gig of replacing Garcia, had already firmly established himself
as an essential part of the sound of NRPS MK II. What I do remember was that
the Riders played a long set and<span style="mso-spacerun: yes;"> </span>that,
coupled with some unusually long breaks between sets, meant that the Dead took
the stage very late, probably after 11. One of the most memorable aspects of
the pre-Dead set break was Wavy Gravy, lying on stage in a full body cast,
delivering one of his memorably free-form monologues. <o:p></o:p></div>
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The Dead’s performance that night was notable for several
reasons. First and foremost, it turned out to be the band’s last hometown show
with Pigpen, who had delivered some virtuoso performances during the band’s New
Year’s run and remained in strong form for this show. Secondly, it represented
the debut performance of Weir and Barlow’s “Black Throated Wind,” and that of
the revised version of “Greatest Story Ever Told” that appeared on Weir’s solo
album Ace, which had been recorded in the early months of the year. “Good
Lovin’” had also been retooled, adding a high harmony part, sung by Phil Lesh,
to the song’s chorus. Structurally, it was a very odd show, with a typical
first set followed by a 30 minute, four-song second set (“Good Lovin,’” “Not
Fade Away”>”Goin’ Down the Road Feelin’ Bad”> “Not Fade Away”). The short
second set, appended by a brief “One More Saturday Night” encore, was at the
behest of promoter Graham, who was running up against the venue’s 2 AM
curfew.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<o:p>Grateful Dead Winterland 3/5/72</o:p></div>
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Bertha</div>
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Black Throated Wind (debut)</div>
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Mr. Charlie</div>
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Greatest Story Ever Told</div>
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Next Time You See Me</div>
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Tennessee Jed</div>
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Jack Straw</div>
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I Know You Rider </div>
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Mexicali Blues</div>
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You Win Again</div>
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El Paso</div>
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That Winterland Benefit was also
the Dead’s last hometown show until the August San Jose>Berkeley Community
Theatre run (discussed here), but I had the opportunity to see them sooner than
that at my first out-of-town show, 6/17/72 at the Hollywood Bowl. The Dead had
played the Hollywood Bowl once previously, on a 9/15/67 bill with the Jefferson
Airplane. This was not only the largest venue I had seen the Dead to date, but
also my first time seeing them outdoors. <span style="mso-spacerun: yes;"> </span>Although this was well over a year before the
Wall of Sound started evolving, the audio system provided was more than
adequate to provide clear sound to us in our seats, which were roughly midway
back in the Bowl. Once again, the New Riders preceded the Dead with a fairly
typical set for the era, closing with an extended version of “Willie and the
Hand Jive.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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The Dead’s sets represented Pigpen’s
last performance onstage with the band, but he was a wraithlike presence behind
his organ for the entire show. In contrast to his heroic efforts during the
Europe ’72 tour, he took no vocals, and his instrumental contributions,
although not insubstantial, were relatively subdued. The show featured the
debut, late in the first set, of a new Hunter/Garcia song, “Stella Blue” which
evolved to become one of the mainstays of the post-drums slot where Garcia
often sang one of their ballads. <o:p></o:p></div>
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The second set was again relatively
abbreviated at about an hour, containing a fairly typical, yet abbreviated,
medley of “Truckin’”>”The Other One”> “Ramble On Rose.” The set concluded
with that era’s standard closing medley of “Not Fade Away”>”Goin Down the
Road Feelin’ Bad” with “One More Saturday Night” tacked on in lieu of an
encore, most likely a result of the familiar tug-of-war between the Dead
wanting to play long sets and venue-imposed curfews.<span style="text-indent: 0.5in;"> </span></div>
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Grateful Dead Hollywood Bowl 6/17/72</div>
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The Promised Land</div>
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Sugaree</div>
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Black Throated Wind</div>
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Tennessee Jed</div>
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Me And My Uncle</div>
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I Know You Rider</div>
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Playing In The Band</div>
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Loser</div>
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Beat It On Down The Line</div>
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Stella Blue (debut)</div>
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El Paso</div>
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Casey Jones</div>
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Truckin' > </div>
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Drums > </div>
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The Other One </div>
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Ramble On Rose</div>
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Sugar Magnolia</div>
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Goin' Down The Road Feeling Bad></div>
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<span style="text-indent: 0.5in;"></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
One More Saturday Night</div>
<div>
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
In contrast to the two performances
the Dead played locally during the first half of the year, they played ten
hometown shows in the latter half of the year in addition to touring
relentlessly elsewhere. First off, the band played a masterful run a run of
local shows starting in San Jose and concluding with four at the Berkeley
Community Theatre.<span style="mso-spacerun: yes;"> </span>The two of those
shows which I attended are described <a href="https://cryptdev.blogspot.com/2012/08/grateful-dead-august-1972.html">here</a>. At the last of the Berkeley shows,
it was announced that they would be back in town for an October 9 show at the
much roomier Winterland as a benefit for the band’s road crew. <span style="mso-spacerun: yes;"> </span>For this show, our UCSC contingent snagged
prime seats in the balcony opposite the mid-arena stage that Graham used during
most of 1972.<span style="mso-spacerun: yes;"> </span>Once again, the New Riders
opened the show, followed by a more typically generous two sets from the Dead.
The first set was notable for the live debut of the revival of “Box Of Rain,”
which was performed onstage at most a couple of times during acoustic sets
around the time it was recorded for “American Beauty in 1970. The new, electric
version is the arrangement that the band performed during the remainder of its
touring history, at that time prominently featuring Donna Godchaux on harmony
vocals.<span style="mso-spacerun: yes;"> </span>The first set concluded with a
20 minute version of “Playing in the Band,” reminiscent of some of the more
interesting versions of that tune performed during the European tour.<span style="text-indent: 0.5in;"> </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
Set two opened with an oddity, a
brief blues jam featuring a possibly chemically altered Grace Slick riffing
vocally in front of the bemused band. The second set medley consisted once more
of “Truckin’” leading into “The Other One,” this time followed by “Wharf Rat.” Overall,
this was an exceptionally generous and well-played show, clearly reflecting the
many miles the band had logged on the road in previous weeks.<span style="text-indent: 0.5in;"> </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Grateful Dead Winterland 10/9/72</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">The Promised Land</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Deal</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Me And My Uncle</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Tennessee Jed</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Black Throated Wind [6:48]</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Friend Of The Devil</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Beat It On Down The Line</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Loser</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">El Paso</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Box Of Rain (first since 10/70) </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">China Cat Sunflower > </span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">I Know You Rider</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Mexicali Blues</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Sugaree</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Playing In The Band</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
Jam with Grace Slick> </div>
<div class="MsoNormal" style="text-indent: .5in;">
He's Gone</div>
<div class="MsoNormal" style="text-indent: .5in;">
Big River</div>
<div class="MsoNormal" style="text-indent: .5in;">
Mississippi Half-Step Uptown Toodeloo</div>
<div class="MsoNormal" style="text-indent: .5in;">
Greatest Story Ever Told</div>
<div class="MsoNormal" style="text-indent: .5in;">
Brokedown Palace</div>
<div class="MsoNormal" style="text-indent: .5in;">
Truckin' > </div>
<div class="MsoNormal" style="text-indent: .5in;">
The Other One> </div>
<div class="MsoNormal" style="text-indent: .5in;">
Wharf Rat</div>
<div class="MsoNormal" style="text-indent: .5in;">
Sugar Magnolia</div>
<div class="MsoNormal" style="text-indent: .5in;">
Casey Jones</div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Johnny B. Goode</div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
As detailed in a nice <a href="http://lostlivedead.blogspot.com/2010/10/december-10-12-1972-winterland-grateful.html">Lost LiveDead piece</a>, the Dead and Allman Brothers were slotted for three nights at Winterland
in early December. However, the untimely death of bassist Berry Oakley in early
November led to the Allmans not performing, and I believe it was close to
Thanksgiving when tickets for the showsn now featuring the Dead without the
Allmans, went on sale. The New Riders were touring back east, so the Dead
selected three different opening acts for these shows. Incidentally, this was
the first time I opted to go to a complete hometown run of shows, something to
be repeated all too often in the future. Between October and December, the
stage configuration at Winterland shifted once again to the stage occupying the
shorter, west-facing dimension of the hall (where it remained for the remainder of the auditorium's existence), and I remember being up close on the floor
for all three nights.<span style="text-indent: 0.5in;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnSbpswBKuTWvTeo758GMVHfCiuG5CPaaLaUt_EOSyng6VKbrNT0cwTEp58GnzO9QGuV5dwa-yOAi-Tc3Y5mZLqb0IUta_w4XWDa_uKGW4z1xpQDuBBWjgrQCFuyaamJkdAw3m_6hEog/s1600/Dead+3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1087" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnSbpswBKuTWvTeo758GMVHfCiuG5CPaaLaUt_EOSyng6VKbrNT0cwTEp58GnzO9QGuV5dwa-yOAi-Tc3Y5mZLqb0IUta_w4XWDa_uKGW4z1xpQDuBBWjgrQCFuyaamJkdAw3m_6hEog/s320/Dead+3.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grateful Dead Winterland 12/10/72 Photo: Michael Parrish</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
The first show had scheduled Bay
Area bluegrass band High Country as the opening act. High Country was already an
institution by 1972, fronted by<span style="mso-spacerun: yes;"> </span>mandolin
player Butch Waller, a crony of Garcia’s from his bluegrass days. I’m not sure
if my friends and I arrived late, or whether High Country ultimately did not
make the gig, but I certainly have no memory of them performing at the show (I
suspect the latter was the case). The Sons of Champlin played another reliably
funky set the second night, and the 12<sup>th</sup> represented the second and
final co-billing of the Dead and the Rowan Brothers. The Rowans set was notable
by the presence of David Grisman (still identified from the stage as “David
Diadem”) playing electric piano rather than mandolin, and by the Rowans’
clothing, which consisted of western suits outfitted with patterns of small
electric lights. The Dead followed suit in debuting the set of their own
country suits, without lights, crafted for them by notable Los Angeles tailor
Nudie.<span style="mso-spacerun: yes;"> </span>One other fashion note is that
these were the first local shows Bob Weir played sans his signature pony tail
(It appears that he probably cut his hair between the October and November
tours). </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi821D49r0W8M6WqZNrwbm9FbPMroRkP-xao2PpzfZF8UNNgULwmA9O0a0TwlIMjTlTlKPmmgJtfsanp3q9qmkw935EA0otqo3g7hQrgPIU8rWsBgpiBpMnidD-pvEXVWSVwkzkXoRf8xQ/s1600/Bob+and+Bill.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1087" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi821D49r0W8M6WqZNrwbm9FbPMroRkP-xao2PpzfZF8UNNgULwmA9O0a0TwlIMjTlTlKPmmgJtfsanp3q9qmkw935EA0otqo3g7hQrgPIU8rWsBgpiBpMnidD-pvEXVWSVwkzkXoRf8xQ/s320/Bob+and+Bill.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bob Weir and Bill Kreutzmann Winterland 12/10/72<br />
Photo: Michael Parrish</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyiqhMyREmYY58p1FWz6I3OozxX7Uq8pTwwFTjOFbdxq5rGUkZaARc5zJsRetFu_Pz5GbVQdYX7JDP_QKzmMPocBr0niKPBIThxkfwY6zTvQgklSGK7-ZiQIaY4aulwbNj-Z-7s8Im2f0/s1600/Jerry+best.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1087" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyiqhMyREmYY58p1FWz6I3OozxX7Uq8pTwwFTjOFbdxq5rGUkZaARc5zJsRetFu_Pz5GbVQdYX7JDP_QKzmMPocBr0niKPBIThxkfwY6zTvQgklSGK7-ZiQIaY4aulwbNj-Z-7s8Im2f0/s320/Jerry+best.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jerry Garcia Winterland 12/10/72 Photo: Michael Parrish</td></tr>
</tbody></table>
<br />
<div style="text-align: left;">
</div>
<o:p></o:p><br />
<div class="MsoNormal" style="text-indent: .5in;">
The three Winterland Dead shows
maintained the very high playing standards that the band exhibited throughout the year. I would be hard pressed to
identify any shows from 1972 that were subpar). They were very long shows, with
14 song first sets the first two nights, but only 13 on the 12<sup>th</sup>.
Box of Rain was played all three nights, as were Playing in the Band and Sugar
Magnolia. The centerpieces of the second sets on the 10<sup>th</sup> and 12<sup>th</sup>
were Truckin>Drums>The Other One, whereas the 11<sup>th</sup> featured a
33 minute Dark Star that led into Stella Blue. One of the reasons 1972 shows
are so engaging is that the extended segments labeled as “the Other One” and
“Dark Star” opened up into extremely varied and engaging group instrumental
improvisations that, to my ears at least, had more substance than most of the
‘space’ segments of the band’s later years.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Winterland 12/10/72 - Sunday<span style="mso-tab-count: 1;"> </span><o:p></o:p></div>
<div class="MsoNormal">
Cold Rain And Snow<o:p></o:p></div>
<div class="MsoNormal">
Beat It On Down The Line<o:p></o:p></div>
<div class="MsoNormal">
Don't Ease Me In<o:p></o:p></div>
<div class="MsoNormal">
Black Throated Wind<o:p></o:p></div>
<div class="MsoNormal">
Bird Song <o:p></o:p></div>
<div class="MsoNormal">
El Paso<o:p></o:p></div>
<div class="MsoNormal">
Around And Around<o:p></o:p></div>
<div class="MsoNormal">
Tennessee Jed<o:p></o:p></div>
<div class="MsoNormal">
Big River<o:p></o:p></div>
<div class="MsoNormal">
Box Of Rain<o:p></o:p></div>
<div class="MsoNormal">
Candyman<o:p></o:p></div>
<div class="MsoNormal">
Bertha<o:p></o:p></div>
<div class="MsoNormal">
Playing In The Band<o:p></o:p></div>
<div class="MsoNormal">
Casey Jones<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Promised Land<o:p></o:p></div>
<div class="MsoNormal">
Stella Blue<o:p></o:p></div>
<div class="MsoNormal">
Jack Straw<o:p></o:p></div>
<div class="MsoNormal">
China Cat Sunflower> <o:p></o:p></div>
<div class="MsoNormal">
I Know You Rider<o:p></o:p></div>
<div class="MsoNormal">
Truckin' ><o:p></o:p></div>
<div class="MsoNormal">
Drums > <o:p></o:p></div>
<div class="MsoNormal">
The Other One<o:p></o:p></div>
<div class="MsoNormal">
Deal<o:p></o:p></div>
<div class="MsoNormal">
Sugar Magnolia<o:p></o:p></div>
<div class="MsoNormal">
Ramble On Rose<o:p></o:p></div>
<div class="MsoNormal">
Johnny B. Goode<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Uncle John's Band<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Winterland 12/11/72 Monday<o:p></o:p></div>
<div class="MsoNormal">
The Promised Land<o:p></o:p></div>
<div class="MsoNormal">
Sugaree <o:p></o:p></div>
<div class="MsoNormal">
Mexicali Blues<o:p></o:p></div>
<div class="MsoNormal">
Loser<o:p></o:p></div>
<div class="MsoNormal">
Me And Bobby McGee<o:p></o:p></div>
<div class="MsoNormal">
Brown Eyed Women<o:p></o:p></div>
<div class="MsoNormal">
Beat It On Down The Line<o:p></o:p></div>
<div class="MsoNormal">
China Cat Sunflower > <o:p></o:p></div>
<div class="MsoNormal">
I Know You Rider<o:p></o:p></div>
<div class="MsoNormal">
Box Of Rain<o:p></o:p></div>
<div class="MsoNormal">
He's Gone<o:p></o:p></div>
<div class="MsoNormal">
Around And Around<o:p></o:p></div>
<div class="MsoNormal">
Friend Of The Devil<o:p></o:p></div>
<div class="MsoNormal">
Me And My Uncle<o:p></o:p></div>
<div class="MsoNormal">
Big Railroad Blues<o:p></o:p></div>
<div class="MsoNormal">
Playing In The Band<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mississippi Half-Step Uptown Toodeloo<o:p></o:p></div>
<div class="MsoNormal">
Dark Star > Stella Blue<o:p></o:p></div>
<div class="MsoNormal">
Big River<o:p></o:p></div>
<div class="MsoNormal">
Deal<o:p></o:p></div>
<div class="MsoNormal">
Tomorrow Is Forever<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Sugar Magnolia<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Casey Jones<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Winterland 12/12/72 Tuesday<o:p></o:p></div>
<div class="MsoNormal">
Bertha<o:p></o:p></div>
<div class="MsoNormal">
Beat It On Down The Line<o:p></o:p></div>
<div class="MsoNormal">
Brown Eyed Women<o:p></o:p></div>
<div class="MsoNormal">
Mexicali Blues<o:p></o:p></div>
<div class="MsoNormal">
Bird Song<o:p></o:p></div>
<div class="MsoNormal">
Jack Straw<o:p></o:p></div>
<div class="MsoNormal">
Cumberland Blues<o:p></o:p></div>
<div class="MsoNormal">
Box Of Rain<o:p></o:p></div>
<div class="MsoNormal">
El Paso<o:p></o:p></div>
<div class="MsoNormal">
Don't Ease Me In<o:p></o:p></div>
<div class="MsoNormal">
Me And Bobby McGee<o:p></o:p></div>
<div class="MsoNormal">
Tennessee Jed<o:p></o:p></div>
<div class="MsoNormal">
Around and Around<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Playing In The Band<o:p></o:p></div>
<div class="MsoNormal">
He's Gone<o:p></o:p></div>
<div class="MsoNormal">
Truckin' > <o:p></o:p></div>
<div class="MsoNormal">
Nobody's Fault But Mine Jam> <o:p></o:p></div>
<div class="MsoNormal">
Bass And Drums > <o:p></o:p></div>
<div class="MsoNormal">
The Other One > Sing Me Back Home <o:p></o:p></div>
<div class="MsoNormal">
Sugar Magnolia<o:p></o:p></div>
<div class="MsoNormal">
Goin' Down The Road Feeling Bad > <o:p></o:p></div>
<div class="MsoNormal">
One More Saturday Night <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 0.5in;">
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<div class="MsoNormal" style="text-indent: .5in;">
Following the Winterland shows, the
Dead played a single southern California show on the 15<sup>th</sup> at the
Long Beach Arena that I did not attend, <span style="text-indent: 0.5in;">featuring a remarkable long form second set segment that led from Truckin' through a unique uptempo improvised segment into "Dark Star" and culminating in a powerful “Morning
Dew.” They then took a couple of weeks off for the holidays, returning to
Winterland for the New Year’s show discussed <a href="https://cryptdev.blogspot.com/2018/01/new-years-eve-shows-with-grateful-dead.html">here</a>.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<o:p></o:p></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com2tag:blogger.com,1999:blog-6100854883581054455.post-87049582241202077222018-01-04T09:53:00.002-08:002018-01-04T09:53:39.158-08:00New Year’s Eve shows with the Grateful Dead and friends Pt. 1<div class="MsoNormal">
During their tenure as a band, the Grateful Dead worked on
New Year’s Eve 22 times. I attended 17 of those shows and listened to two more
remotely. What started out as a year-end celebration for most of the top-line
San Francisco bands of the 1960s evolved into an annual tradition for the band
and promoter Bill Graham. These marathons were hit-and-miss musically, but
always were memorable spectacles that marked the transition from one year into
the next in high style. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was too young to participate in the first several NYE
shows. It is conceivable that the Dead played somewhere on NYE 1965, but no
information I have come across supports a gig on that date.1966, at Graham’s
Fillmore Auditorium, featured the Dead, Airplane, and Quicksilver. The band was
back east in late December, 1967, and played Boston’s Psychedelic Supermarket
the two nights before NYE, but sat out the 31<sup>st</sup>. Back in San
Francisco, Graham held a celebration at Winterland with the Airplane, Big
Brother, Quicksilver, and Freedom Highway. At the end of 1968, the Dead played
the first of their six New Year’s shows at Winterland, along with Quicksilver,
Santana, and It’s a Beautiful Day. This show is documented at length in a
wonderful <a href="http://lostlivedead.blogspot.com/2011/12/december-31-1968-winterland-grateful.html">Lost Live Dead essay</a>. 1969 found the band on the road again, playing
their first out-of-town New Year’s Show at the relatively tiny Boston Tea
Party. A <a href="https://archive.org/details/gd69-12-31.sbd.gardner.7373.sbeok.shnf">splendid soundboard recordin</a>g exists of this show, and recordings of
all of the band’s subsequent New Year’s shows are easily found online or as
official audio and/or video releases. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My first glimpse of the Dead at New Year’s came from the
1970-71 marathon. I did not attend, but decided to experience the event in what
was planned as a dazzling multi-media extravaganza, featuring a video feed
courtesy of KQED and a quadrophonic audio feed involving broadcasts from two FM
stations, KSAN and KQED-FM. The early parts of this show remain a mystery, as
the broadcasts did not start until early in the support set from Hot Tuna.
Advertised as further support were the Acoustic Dead, Stoneground, and the New
Riders of the Purple Sage, but I do not know which of these bands actually
played. It seems certain that the Dead did not play an acoustic set, as they
had basically abandoned that format in their shows after the early November
Capitol Theater run. I would imagine the New Riders and Stoneground may have
played brief sets before the broadcast started. If anyone reading this attended
this show and remembers who played, please chime in.<span style="mso-spacerun: yes;"> </span>The Tuna set was beset by sound problems. At
that point in time, FM simulcasts depended on dedicated telephone lines from
the venue to the stations, and both KSAN and KQED started having audio
difficulties at the start of the broadcast, although they were generally ironed
out for the bulk of the Tuna set, which found the band playing as an electric
quartet comprising guitarist Jorma Kaukonen, bassist Jack Casady, drummer Sammy
Piazza and harmonica player Will Scarlet. Building on the repertoire that Jorma
and Jack had introduced on the initial eponymous (and acoustic) Hot Tuna album,
the group debuted new material like Kaukonen’s “Ode to Billy Dean” which
memorialized one of Kaukonen’s musical comrades from his south bay folk club days,
and “Third Week in the Chelsea” a plaintive tune that foreshadowed the
implosion of Jorma and Jack’s other band, the Jefferson Airplane. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After a decent break, the Dead came out and embarked on one
of their extended tuning sessions before plowing into a strong version of
“Truckin’” one of the most popular tunes off of their recently released
American Beauty. Almost immediately, things started to go south, with one and
then both radio signals cutting out, although the TV signal persisted
throughout the Dead’s generous set. Some onstage sound issues led the band to
play a rare electric version of “Monkey and The Engineer” while the crew dealt
with the technical glitches. The rest of the set was pretty pro-forma for late
1970, ending with a neat medley of “Good Lovin’” and “Uncle John’s Band.” It
was a frustrating evening for me, trying to get a good sound signal on one or
the other of the two FM stations, both of which bailed after the seventh song,
“Dire Wolf.” I then tried to record off of the TV using some cheap condenser
mics, but my brother’s tape recorder’s drive belt was failing, producing speed
fluctuations that rendered the tape unlistenable. Today one can find a hybrid
version of the show online, incorporating audience recordings, part of the
funky FM signals, and some soundboard bits. In the early 2000s, an additional
tape from that evening surfaced featuring a jam between Hot Tuna and Bob Weir
that transpired in the wee hours after the Dead ended their set.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first NYE show I attended was 12/31/71. I remember
procuring hard tickets at the box office in the Sharon Heights shopping center.
Tickets were $5 in advance. I went with my friend Tim P., who shared a number
of Dead shows with me during our college years.<span style="mso-spacerun: yes;">
</span>We snagged balcony seats on the east side of the ballroom, providing a
clear view of the proceedings without the crowds and chaos on the floor. As was
the case the previous year, the entire show was broadcast on KSAN, and my
parents were kind enough to record the show during their NYE at home. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First up (and unbilled in the advance ads for the show) were
the Sons of Champlin, who were still operating under the moniker Yogi Phlegm –
a name they adopted for some arcane reason during most of 1971 into the early
part of 1972. I should note that the Yogi Phlegm set from 3/5/72, which started
with a jam between YP members Bill Champlin, Geoff Palmer, and Bill Vitt and
Garcia and Lesh, often mistakenly circulates as this evening’s performance.
Their actual set, with the broadcast plagued by some audio issues, consisted of
the following:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yogi Phlegm 12/31/71<o:p></o:p></div>
<div class="MsoNormal">
Papa Can Play<o:p></o:p></div>
<div class="MsoNormal">
Who<o:p></o:p></div>
<div class="MsoNormal">
Whatcha Gonna Do?<o:p></o:p></div>
<div class="MsoNormal">
All and Everything<o:p></o:p></div>
<div class="MsoNormal">
Let Your Daddy Know<o:p></o:p></div>
<div class="MsoNormal">
Right On<o:p></o:p></div>
<div class="MsoNormal">
Welcome To the Dance Suite (Silence>Sound/Turn
Around/Healthy Woman)<o:p></o:p></div>
<div class="MsoNormal">
?Wasted<o:p></o:p></div>
<div class="MsoNormal">
Without Love<o:p></o:p></div>
<div class="MsoNormal">
Cold Sweat.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As was the case during the band’s Yogi Phlegm days, the set
was very open-ended, with lots of jamming, and consisted mostly of material
from their most recent and subsequent 1970s albums.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The New Riders had toured steadily with the Dead throughout
1971, but this was their first local show with Buddy Cage rather than Garcia on
pedal steel. They played a generous and energetic set, comprising most of the
material from their first two albums:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
New Riders of the Purple Sage 12/31/71</div>
<div class="MsoNormal">
Six Days On The Road<o:p></o:p></div>
<div class="MsoNormal">
I Don't Know You<o:p></o:p></div>
<div class="MsoNormal">
Sing Me a Rainbow <o:p></o:p></div>
<div class="MsoNormal">
Dim Lights, Thick Smoke (And Loud, Loud Music)<o:p></o:p></div>
<div class="MsoNormal">
Sailin' <o:p></o:p></div>
<div class="MsoNormal">
Henry<o:p></o:p></div>
<div class="MsoNormal">
Portland Woman<o:p></o:p></div>
<div class="MsoNormal">
Truck Drivin' Man<o:p></o:p></div>
<div class="MsoNormal">
Garden Of Eden<o:p></o:p></div>
<div class="MsoNormal">
Hello Mary Lou<o:p></o:p></div>
<div class="MsoNormal">
Runnin' Back To You<o:p></o:p></div>
<div class="MsoNormal">
I Don't Need No Doctor<o:p></o:p></div>
<div class="MsoNormal">
Last Lonely Eagle<o:p></o:p></div>
<div class="MsoNormal">
Louisiana Lady<o:p></o:p></div>
<div class="MsoNormal">
Willie And The Hand Jive. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In addition to Cage replacing Garcia, the biggest change was
the introduction of lead vocals by David Nelson (“Dim Lights”) and Dave Torbert
(“Willie and the Hand Jive”, “I Don’t Need no Doctor”).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As Midnight approached, the anticipation mounted for the transition
into 1972, and for the Dead’s performance. For what became a tradition moving
forwards, Bill Graham shuffled onto the stage dressed as father time, crawling
into a clock. At the witching hour, balloons dropped, fake explosions occurred,
and two BGP folks in diapers emerged from the clock and started running around
the stage as the Dead launched into “Dancing in the Streets,” with Weir
changing the second line to “It’s New Year’s Eve so I do Believe, there’ll be
dancing in the streets.” This was the only version of “Dancin’” that the Dead
performed in 1971 and the last they would play until the dreaded Disco revival
of the song in 1976, and it’s a good, powerful rendition, punctuated on the
radio broadcast by whoops and hollers from the naked new year’s babies. <span style="mso-spacerun: yes;"> </span>After Dancin’ Weir surveyed the damage and
commented “ I hope to tell you, this stage is a fXXXing mess.” Undaunted, the
band tuned up and launched into “Mr. Charlie” the first of an abundance of
Pigpen tunes performed that night, including the debut of his new rocker “Chinatown
Shuffle” midway through the first set. This was Pig’s first bay area appearance
since his illness, and he came through in fine form, as he had during the
earlier December tour. The opening set also included most of the new
Hunter-Garcia tunes unveiled that year, along with Weir’s newish “Playing in
the Band” and the set-closing “One More Saturday Night,” which featured the
debut of Donna Godchaux’s signature wails with the band. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second set featured the pairing of “Truckin’” and “The
Other One” (here a sandwich enclosing “Me and My Uncle)” that was by far the
most-played of the band’s long-form excursions that year. Late in the second
set, well into the wee hours of the morning, Weir and Garcia traded verses on
the first live version of “Big River” <span style="mso-spacerun: yes;"> </span>Pig delivered another rarity, an eerie version
of “The Same Thing,” which was the only version of that tune sung by him since
1967 and featured some outstanding slide guitar from Garcia. After closing the
second set with a strong version of Not Fade Away>Goin’ Down the Road>Not
Fade Away medley that closed most of their shows in 1971 and on into 1972, the
band encored with a fun but sloppy version of “Casey Jones.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p>Grateful Dead 12/31/71</o:p></div>
<div class="MsoNormal">
Dancing In The Streets</div>
<div class="MsoNormal">
Mr. Charlie</div>
<div class="MsoNormal">
Brown Eyed Women</div>
<div class="MsoNormal">
Beat It On Down The Line</div>
<div class="MsoNormal">
You Win Again</div>
<div class="MsoNormal">
Jack Straw</div>
<div class="MsoNormal">
Sugaree </div>
<div class="MsoNormal">
El Paso</div>
<div class="MsoNormal">
Chinatown Shuffle</div>
<div class="MsoNormal">
Tennessee Jed</div>
<div class="MsoNormal">
Mexicali Blues</div>
<div class="MsoNormal">
China Cat Sunflower</div>
<div class="MsoNormal">
I Know You Rider</div>
<div class="MsoNormal">
Next Time You See Me</div>
<div class="MsoNormal">
Playing In The Band</div>
<div class="MsoNormal">
Loser </div>
<div class="MsoNormal">
One More Saturday Night*</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Trucking'> </div>
<div class="MsoNormal">
Drums></div>
<div class="MsoNormal">
The Other One > </div>
<div class="MsoNormal">
Me And My Uncle> </div>
<div class="MsoNormal">
The Other One > Black Peter</div>
<div class="MsoNormal">
Big River</div>
<div class="MsoNormal">
The Same Thing</div>
<div class="MsoNormal">
Ramble On Rose</div>
<div class="MsoNormal">
Sugar Magnolia</div>
<div class="MsoNormal">
Not Fade Away> </div>
<div class="MsoNormal">
Goin' Down The Road Feeling Bad></div>
<div class="MsoNormal">
Not Fade Away</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Casey Jones</div>
<div class="MsoNormal">
* Donna Jean Godchaux's onstage debut with the Dead</div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
The next year, New Year’s tickets went on sale around Thanksgiving
(before those for the December 10-12 Winterland run) and they were still
relatively easy to procure. I drove up to Winterland with a few friends from
high school and college, and we settled into the balcony about mid-hall on
stage left for what we knew would be a long evening. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For 1972, the New Year’s lineup was identical to that in
1971, with the minor exception that Yogi Phlegm had wisely reverted to calling
themselves the Sons of Champlin in early 1972.<span style="mso-spacerun: yes;">
</span>Their short set consisted mostly of material from their Welcome to the
Dance album, which came out the following year. I’m not sure why their set was
so short, but it did pave the way for the very long set from the New Riders
that followed. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sons 12/31/72:<o:p></o:p></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
The Swim<o:p></o:p></div>
<div class="MsoNormal">
Welcome To The Dance suite(Silence>Sound/Turn
Around/Healthy Woman)<o:p></o:p></div>
<div class="MsoNormal">
For Joy<o:p></o:p></div>
<div class="MsoNormal">
Lightnin’<o:p></o:p></div>
<div class="MsoNormal">
Without Love<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By the end of 1972, the New Riders of the Purple Sage were a
mature, confident headlining act with three Columbia albums under their belt,
and had fully integrated material sung by both David Nelson and Dave Torbert. They
played an expansive set, nearly two hours in length, including originals from
all three albums along with extended versions of “I Don’t Need A Doctor” and
“Willie and the Hand Jive” among the several covers. Harmonica player Matthew
Kelly (who had played with Torbert in a band called Horses before he joined the
New Riders and would co-found a new band, Kingfish, with him in 1974) guested
on harmonica on several tunes. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
New Riders 12/31/72<o:p></o:p></div>
<div class="MsoNormal">
I Don't Know You <o:p></o:p></div>
<div class="MsoNormal">
Lochnivar <o:p></o:p></div>
<div class="MsoNormal">
Hello Mary Lou <o:p></o:p></div>
<div class="MsoNormal">
Henry<o:p></o:p></div>
<div class="MsoNormal">
California Day<o:p></o:p></div>
<div class="MsoNormal">
She's No Angel<o:p></o:p></div>
<div class="MsoNormal">
Superman<o:p></o:p></div>
<div class="MsoNormal">
Whiskey<o:p></o:p></div>
<div class="MsoNormal">
Groupie*<o:p></o:p></div>
<div class="MsoNormal">
Portland Woman<o:p></o:p></div>
<div class="MsoNormal">
Rainbow<o:p></o:p></div>
<div class="MsoNormal">
Truck Drivin' Man<o:p></o:p></div>
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All I Ever Wanted<o:p></o:p></div>
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<span style="mso-spacerun: yes;"> </span>I Don't Need No
Doctor* <o:p></o:p></div>
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Long Black Veil <o:p></o:p></div>
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Louisiana Lady <o:p></o:p></div>
<div class="MsoNormal">
School Days <o:p></o:p></div>
<div class="MsoNormal">
Dim Lights, Thick Smoke (And Loud, Loud Music)<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Take A Letter Maria <o:p></o:p></div>
<div class="MsoNormal">
Last Lonely Eagle<o:p></o:p></div>
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Willie & The Hand Jive*<o:p></o:p></div>
<div class="MsoNormal">
Encore: Glendale Train<o:p></o:p></div>
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(*w/ Matthew Kelly on Harmonica)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As midnight approached, the Grateful Dead took the stage
resplendent in the Nudie tailored suits they first wore at their previous Bay
Area gig, also at Winterland, on 12/12/72. Following a more conventional
year-end countdown than that of the previous year, the Dead launched into Chuck
Berry’s Around and Around, which they had started playing sporadically in late
1970 and moved into a more regular rotation in the fall of 1972. Highlights of
the first set included an early “Box of Rain” and “Don’t Ease Me In,” the jug
band tune that was the band’s first single and that similarly had been added to
regular rotation in the fall. <span style="mso-spacerun: yes;"> </span>Following
a long, exploratory “Playing in the Band,” the Dead wrapped up the first set
with “Casey Jones.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second set opened with another Chuck Berry tune, “Promised
Land, followed by an early version of “Half Step Mississippi Uptown Toodeloo,”
the first of a new batch of songs they were prepping for their next studio
album, <u>Wake of The Flood</u>. The high point of the second set was the
extended version of “The Other One, which lasted a good 40 minutes including a
drums and bass interlude, and was augmented by David Crosby joining in midway
on electric 12 string. As was fairly typical in that era, the structure of “The
Other One” was completely abandoned for a long interval following the drums,
but eventually returned to familiar territory, leading into a gorgeous version
of “Morning Dew” with Crosby still on board. After pausing to tune up, the set
continued with “Sugar Magnolia”, dedicated to Bill Graham, and a soulful “Sing
Me Back Home.” Near the end of that song, dust and detritus started raining
down on the stage, and it slowly became apparent that an adventurous soul had
somehow climbed through an opening in the roof of Winterland to land on the
extremely fragile looking lighting rig. The band hastily exited the stage,
while Bill Graham coached the fellow to hang on while a rope was lowered
allowing him to climb down to safety without injuring himself or anyone on
stage. Graham’s handling of this potentially deadly situation was masterful. However,
the momentum of the Dead’s performance had been disrupted by the human drama,
and they wound up the main set with their third Berry tune of the evening, “Johnny
B. Goode,” returning for two encores: Uncle John’s Band and “One More Saturday
Night. <o:p></o:p></div>
<div class="MsoNormal">
Sometime before or during the second set, an announcement
was made that a jam session would follow the Dead’s set, including Joni
Mitchell and others. As a result, my friends and I stuck around for a good half
hour after the Dead’s set concluded, but no more music transpired, at least
onstage. This was to be the last Grateful Dead New Year’s performance until 1976,
which is where I will pick this up in a subsequent post. <o:p></o:p></div>
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<o:p> </o:p> </div>
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Grateful Dead 12/31/72 (well, really 1/1/73):<o:p></o:p></div>
<div class="MsoNormal">
Around & Around<o:p></o:p></div>
<div class="MsoNormal">
Deal<o:p></o:p></div>
<div class="MsoNormal">
Mexicali Blues<o:p></o:p></div>
<div class="MsoNormal">
Brown Eyed Women<o:p></o:p></div>
<div class="MsoNormal">
Box Of Rain<o:p></o:p></div>
<div class="MsoNormal">
Jack Straw<o:p></o:p></div>
<div class="MsoNormal">
Don't Ease Me In<o:p></o:p></div>
<div class="MsoNormal">
Beat It On Down The Line<o:p></o:p></div>
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Candyman<o:p></o:p></div>
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El Paso<o:p></o:p></div>
<div class="MsoNormal">
Tennessee Jed<o:p></o:p></div>
<div class="MsoNormal">
Playin' In The Band<o:p></o:p></div>
<div class="MsoNormal">
Casey Jones<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
Promised Land<o:p></o:p></div>
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Mississippi Half Step<o:p></o:p></div>
<div class="MsoNormal">
Big River<o:p></o:p></div>
<div class="MsoNormal">
Sugaree<o:p></o:p></div>
<div class="MsoNormal">
Truckin'><o:p></o:p></div>
<div class="MsoNormal">
The Other One> <o:p></o:p></div>
<div class="MsoNormal">
Drums><o:p></o:p></div>
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The Other One*> <o:p></o:p></div>
<div class="MsoNormal">
Morning Dew*<o:p></o:p></div>
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Sugar Magnolia<o:p></o:p></div>
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Sing Me Back Home<o:p></o:p></div>
<div class="MsoNormal">
(guy on light rig drama)<o:p></o:p></div>
<div class="MsoNormal">
Johnny B. Goode<o:p></o:p></div>
<div class="MsoNormal">
E: Uncle John's Band<o:p></o:p></div>
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E: One More Saturday Night<o:p></o:p></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-81051563140635389032016-05-30T21:20:00.000-07:002016-05-30T21:20:15.310-07:00Neil Young discovers Santa Cruz - 3/10/73 - Neil Young and the Stray Gators, Linda Ronstadt and her band. Santa Cruz Civic Auditorium <div class="MsoNormal">
My apologies to the reader who asked for me to write about
this show some time ago. GV, this one is for you.</div>
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<o:p></o:p></div>
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The Santa Cruz Civic Auditorium is a fine place to hear
music. Located a couple of blocks off of the town’s main drag, Pacific Avenue,
it is a splendid old art deco edifice that can seat just over 2000 patrons.
Paradoxically, it was not used for popular music concerts much, if at all,
during the first 18 months I went to UCSC, and not for several years prior to that.
I do remember seeing a sign for a Doobie Brothers dance concert maybe in late
1972, but I’m not sure how the promoters got around the ban on such events that
had more-or-less held since May 28, 1966, when a Jefferson Airplane concert was
held there, discussed at length in the wonderful Rock Prosopography 101 and linked <a href="http://rockprosopography101.blogspot.com/2010/05/307-church-street-santa-cruz-ca-santa.html">here</a>. Rock shows had previously been banned in
the hall in <a href="http://www.history.com/this-day-in-history/rock-and-roll-is-banned-in-santa-cruz-california">1956</a>, when rioting ensued following a concert by Chuck Higgins and
his Orchestra, best known for their single “Pachuko Hop.”<o:p></o:p></div>
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<br /></div>
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At any rate, it was big news in town when it was announced
that the Civic would host Neil Young in March of 1973. As far as I can tell,
this show was the start of Young’s long relationship with the beach town, where
he famously relocated for several months in the summer of 1977 as a member of
short lived supergroup the Ducks.<span style="mso-spacerun: yes;"> </span>In the
spring of 1973, Young was riding a crest of unparalleled popularity following
the release a year earlier of his most commercial album, Harvest, which held
the distinction of the best selling album of 1972. Ironically, he was not able
to tour behind that album around the time of its release because of a back
injury he sustained in 1971. Instead, he confined his live appearances to a few
stealth appearances with his friends, including a marvelous Crosby Nash
acoustic show that I attended on 10/17/71 at De Anza College’s Flint Center in
Cupertono. At that show, Young joined his once and future bandmates for a few
tunes including “Helpless” and “Ohio.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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However, by the beginning of 1972, Young was fit enough to
venture out on the road with a new band, the Stray Gators, for what was a
hybrid acoustic/electric tour. <span style="mso-spacerun: yes;"> </span>The
travails of this tour have been famously documented in several books about
Young – band personnel issues, Young’s continuing back issues, and just the
length of the tour and size of most of the arenas made it a challenging few
months for him.<span style="mso-spacerun: yes;"> </span>However, his relatively
unexpected stop in the Santa Cruz Civic, which was probably the smallest venue
on the tour, seemed to have been a relative high point.<o:p></o:p></div>
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<br /></div>
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There was quite a line of students and townies queued up at
the Civic when tickets went on sale, and they sold out quickly, but it seemed
like everyone I knew who wanted to go got tickets. It was my first venture into
the Civic, a tidy little auditorium that, like many of its larger cousins, has
fixed raised seating ringing the floor, but folding chairs set out on the floor
for concerts, allowing for flexible use of the floor for events such as the
town’s popular Derby Girls, who hold their home games in the Civic. My friends
and I positioned ourselves in the stands halfway back on stage right.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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The first surprise of the evening was an unbilled opening
set by Linda Ronstadt and her current touring band. Up to that point, Ronstadt
had had a moderately successful career as lead singer of the Stone Ponies and
as a solo artist on Capital but, newly signed to David Geffen’s Asylum Records,
she was about to be elevated to major stardom. Her brief opening sets on
Young’s tour did much to raise her visibility, and I was certainly impressed
with her and her crack country rock ensemble, which probably included Richard
and Mike Bowden, but further details, including the set list, did not register
at the time. I do recall that she did a ripping version of “Silver Threads and
Golden Needles,” as well as what had up to that time been her biggest hit
single “Long Long Time” from her Stone Pony days. <o:p></o:p></div>
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<br /></div>
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Neil came out in a good mood, opening with a brief solo
acoustic set. Unfortunately, I did not keep a set list, and no audience tapes
of the show have surfaced, but I know he did a “Sugar Mountain” and a few
Harvest tunes, incliding “Heart of Gold” and “Old Man.” He then brought out his
band, comprising pianist Jack Nitzsche, bassist Tim Drummond, drummer Johnny
Barbata, and steel player Ben Keith, opening with a pumped up version of “The
Loner.” Most of the remainder of the set consisted of new material, much darker
and more electric than the gentle sounds he had cooked up on his previous
album. In an avuncular mood, Young provided lengthy introductions to most of
the material, pretty much all of which was released on Time Fades Away and
Tonight’s the Night. At the time, it was a remarkable new body of work, not so
easy to digest on first hearing, but one that grew in significance as time went
on. Again, the exact order is unclear, but the band did a whole string of new
songs, including “Time Fades Away,” “Lookout Joe,” “New Mama,” and Young’s
powerful autobiographical tune, “Don’t Be Denied” in a row. Midway through the
electric set, he introduced Crosby and Nash, who entered, both wielding
electric guitars, to thunderous applause. They harmonized on a few tunes that
were regular in the CSNY repertoire, “Alabama,” “Southern Man,” and “Cinnamon
Girl” as well as another new piece, “Yonder Stands the Sinner,” largely
maintaining the downbeat tone of the other new tunes. The set closed with a
long, raucous version of Young’s “Last Dance,” which featured a seemingly
endless coda with the three vocalists singing “Come on, turn out the lights,”
over and over to grating instrumental accompaniment, the usually gentle strains
of Keith’s pedal steel transformed into a sweeping electronic wail.<span style="mso-spacerun: yes;"> </span>As the song finished the lights, indeed, came
on and left the audience rather stunned, although they did coax the band back
for a quick encore of yet another new tune, “Are You Ready For the Country.” <o:p></o:p></div>
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The Stray Gators tour was largely written out of Young’s
recorded history by virtue of the live album from the tour, “Time Fades Away,”
being long out of print on vinyl and never released on CD. Like Young’s Santa
Cruz performance, it’s not a pleasant listen, with the band charged with
adrenaline and Young’s voice a hoarse remnant of the one that had made him such
an easy listening success a couple of years earlier.<span style="mso-spacerun: yes;"> </span>Much like “Tonight’s the Night,” which he
recorded with an entirely different band save for sole holdover Ben Keith later
that year, the album is still a riveting listen, a no-holds-barred diary of a
relatively dark time in Young’s life. The good news for Santa Cruz was the show
marked the beginning of a beautiful friendship, which continued with his
periodic stealth appearances at places like Margarita’s, the Coconut Grove and,
most often, the Catalyst for decades to come. <o:p></o:p></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com1tag:blogger.com,1999:blog-6100854883581054455.post-58444000106667672002016-04-03T22:20:00.002-07:002016-04-05T06:55:11.112-07:00Winterland 3/18-20/77<div class="MsoNormal">
1977 was one of several career high points for the Grateful
Dead, characterized by consistently strong playing, along with the introduction
of several of their most challenging and enduring original compositions. While
praise has been heaped on the band’s May 8<sup>th</sup> outing at Cornell
University’s Barton Hall, for me that year will always be about two venues –
Winterland and the relatively off-the-beaten track Chick Evans Field House at
Northern Illinois University in DeKalb. <o:p></o:p></div>
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The Dead played Winterland more times in 1977 than any other
year, with ten shows beating out the eight in 1974 and six in both 1972 and
1978. I’m both proud and embarrassed to say I went to all of the 1977
Winterland shows, despite relocating to Chicago for graduate school in the fall
of that year. <o:p></o:p></div>
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Their first show of that impressive run, on Friday, March 18<sup>th</sup>,
essentially introduced yet another manifestation of the band to the old skating
rink. The show started pretty conventionally, with a bunch of familiar songs
like “Promised Land” and “It’s All Over Now.” What was different was the
intensity of the band’s playing. When the Dead returned from hiatus the
previous summer, their tempos had been relatively languid, the jams generally
concise, and the playing more focused than inspired – kind of a chamber
ensemble incarnation of the fire breathing beast of a few years earlier.<span style="mso-spacerun: yes;"> </span>During the latter part of 1976, as the
musicians regained comfort and confidence, their energy levels began to ramp up
and they began to take more chances with the pathways they charted between
songs. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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A mid-set highlight was “Sugaree.” When the song emerged
mid-1971, it ran a relatively brief six minutes and change. Sugaree’s duration
had gradually expanded over the years but, that night at Winterland, it emerged
as a full-blown showcase for Garcia’s extravagant soloing, clocking in at
nearly a quarter hour, with Lesh clearly egging the guitarist to pile one
soloed chorus atop another. Besides just being long, the song was deftly
orchestrated, steadily building in intensity before coming back to earth on the
final line. The set concluded with what by now was a fairly standard piece of
the repertoire, “Scarlet Begonias” which led through a long coda with wordless
vocalizations by Donna into something new – a shuffling groove shifting between
B and E chords that evolved into the first live Grateful Dead version of “Fire
on the Mountain.” However, this wasn’t exactly the song’s debut. Mickey Hart and Robert Hunter penned the tune some in the early 1970s and Hart recorded a few versions of the tune for several unreleased albums between 1972 and 1974. It was to be the title tune of his second solo album, which was rejected by Warner Brothers. A bit later, on 5/30/75, Jerry Garcia and David Freiberg joined Mickey Hart’s
Diga Rhythm band in Golden Gate Park for a beautiful instrumental version of
the song. Although it appeared on the sole Diga album as “Happiness is
Drumming,” it was clearly introduced by Diga percussionist<span style="mso-spacerun: yes;"> </span>Zakir Hussain as “Fire On the Mountain”.<span style="mso-spacerun: yes;"> </span>The Winterland debut of the song, now sung by Garcia, was a
scorcher, with Garcia really letting loose with the now-signature power wah
from his Mutron effects pedal. Quite a way to wrap up an outstanding first set.
<span style="mso-spacerun: yes;"> </span>As I ventured out into Winterland’s
lobby during the break, a girl nearby was joyfully singing the new song’s
chorus. <o:p></o:p></div>
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The meat of the show was in the second set, which opened conventionally
with energetic versions of “Samson and Delilah,” “Brown-Eyed Women,” and “Ship
of Fools,” which was delivered at a much brisker tempo than usual. Next came
the hometown debut of the band’s other two new songs.<span style="mso-spacerun: yes;"> </span>This was long before the advent of online
songlists, not to mention streaming, but one moderately timely pipeline to
information on the Dead was a column in the monthly free music paper BAM, which
featured a regular column entitled “Dead Ahead” that was penned by various
authors, but mainly by future GD Hour Host and Dead scholar David Gans. In what
I believe would have been the March iteration of the column, Gans described the
band’s two new songs, which had first been played at a pair of concerts down
south, the first in San Bernadino on Feb. 26 followed by a show at UC Santa Barbara
the following night. Gans intimated that these songs, particularly the magnum
opus “Terrapin Station” were something special, and boy was he right. <o:p></o:p></div>
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“Estimated Prophet,” a Weir-Barlow collaboration, featured a
reggae beat and lyrics that recounted what must have been a common occurrence
for Weir – a meeting with a drug casualty with a Messiah complex. At that time,
Weir had an ornery affection for<span style="mso-spacerun: yes;"> </span>the 7/4
time signature (some would say 7/8), a counterintuitive meter that was earlier
used in his“Lazy Lightning” and even earlier in the rarely performed Dead
instrumental workout that has been accurately and informally dubbed “The
Seven.” Estimated Prophet” features slow, slightly ominous sounding verses and
a soaring chorus that portrays California as the narrator’s promised land. All
in all, somewhat of a musical mongrel, but one that is both haunting and
surprisingly danceable.<o:p></o:p></div>
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So much has been written about “Terrapin Station” that I
can’t add much here. Robert Hunter’s brilliant epic poem may have been severely
edited by Garcia, but it was still arguably the most complex and lengthy song
(as opposed to an open-ended improvisational vehicle like “Dark Star”) that the
band ever performed. Unlike that tune and much of the Dead’s jammed-out
repertoire, “Terrapin Station” is composed fairly literally, and did not vary
much in instrumental structure from performance to performance. However, it did
move through several distinct phases, both lyrically and instrumentally,
starting with the familiar folk tale of the soldier, the sailor, and the lady
with a fan, and then moving somewhat abruptly into the land of Terrapin, where
a headlong train seems headed for the same dire fate that befell Casey Jones. <o:p></o:p></div>
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Hunter’s narrative went well beyond the portion that the Dead
performed, and the song’s Winterland debut was unique in the band’s performance
history in including an extended instrumental coda that appeared, with lyrics
and all kinds of baroque embellishments, on the studio version of the tune on
the Terrapin Station album later that year. This section, which apparently was
dubbed “Alhambra” by one of the audience tapers of the era, was a brief but
exquisite instrumental rendition of the portion of the Terrapin suite that
appeared on the album as “At a Siding.” Without the lyrics and dominated by
some lovely slide guitar from Garcia, this brief interlude was one of the high
points of the second set. In their frequently contrary fashion, the band for
some reason elected to never play this section again. I’m just guessing, but it
may have been a dynamic consideration – to end the tune with a bang (as they
did on the 3/20 encore version) rather than fading into the more intimate “At a
Siding-Alhambra” passage. <o:p></o:p></div>
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A brief drumfest ensued, and led into another show highlight.
Generally the sets of “show highlights” and versions of “Not Fade Away” do not
overlap, particularly in later years where it became a signal to end the second
set. However, in this version, the longest of 1977 at nearly 20 minutes, the
length was equaled by the quality of the playing, particularly from Mr.
Garcia.<span style="mso-spacerun: yes;"> </span>As the drum duel ended, the two
drummers shifted into the Bo Diddley beat for awhile before the rest of the
band chimed in. With Phil playing driving things with some aggressive octaves,
the rest of the band noodled somewhat placidly in E for the first six minutes
or so before breaking into the two verses. With the vocals out of the way,
Jerry really got down to business around the 9 minute mark, soloing first with
some kind of overdrive for a couple of minutes and then dropping back around
10:30 while the drummers laid down some off-beat thumps and then switching to
some other distortion effect for some more furious soloing around the 12 minute
mark, playing behind and in front of the beat, with the drummers, Phil and
Keith all in synch. Power chord and percussion pandemonium ensues around 14
minutes before everyone falls back into the Bo Diddley beat for the long,
mellow vocal denouement. <o:p></o:p></div>
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After the vocals, the volume dropped way down, and the band
moved stealthily into the opening bars of a gorgeous rendition of “St. Stephen.”
At the band’s previous gig in Santa Barbara, they broke with recent tradition
by playing the original arrangement of the St. Stephen bridge, but the revised,
waltz time version was back for the Winterland shows. As the final line of
“Stephen” crashed to a close, the drummers were starting back into a “NFA”
reprise, but Weir took command, instead driving the train straight into “Around and
Around,” a tune which was, all too often, relatively rote in its delivery.<span style="mso-spacerun: yes;"> </span>In this case, though, the energy of the rest
of the set carried over into what was arguably one of the most energetic
versions of this tune on record. Garcia was MVP again, starting with some Chuck
Berry inspired licks between verses, and then stretching out further on both
sides of the modulation preceding the the final verse and then driving Keith
and Phil to a power chord embellished frenzy before and during the vocal
passage, ending the tune with an extended orgasmic instrumental release. <o:p></o:p></div>
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For the sole encore, the band brought things back down to
earth with a soulful version of “Uncle John’s Band,” which nonetheless
contained some energetic instrumental thrashing prior to the acapella bridge. A
fine way to wrap up what remains what I consider one I consider one of the best
Dead shows I ever attended. <o:p></o:p></div>
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The remaining two nights of the March run were fine, and I
know at least one of my colleagues actually prefers the next night, which
included a long first set medley of “Terrapin”>Playing in the Band”>”Samson
and Delilah”>Playing in the Band” and it is hard to beat the perfiously
mentioned run-closing “Terrapin” encore on Sunday. This was a weekend full of
repeats. Besides “Terrapin” and “Estimated” being played all three nights, “St.
Stephen,” “Uncle John’s Band,” “Peggy-O,” “Cassidy,” “Promised Land,” “Around
and Around,” and “Samson and Delilah” were each played twice, and “Scarlet”
returned to end the first set on Sunday without being paired with “Fire on the
Mountain.” The level of musicianship and audience engagement was consistently
strong all three nights, so you really can’t go wrong with any of the three
shows, which set the tone for the remainder of the remarkable year that
followed.<o:p></o:p></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-72382634062235742872016-01-02T15:15:00.002-08:002016-01-04T11:19:21.626-08:00Grateful Dead – May to August, 1971<div class="MsoNormal">
I'm sorry it’s been so long since I have written anything here –
hopefully posts will become more regular now.
For this and a few subsequent contributions, I will turn my attention
to several Grateful Dead shows that I attended within a given calendar year where I did
not take any photographs, starting with 1971. When I graduated from high
school, I no longer had regular access to a darkroom for some time, which
served to limit, but not completely curtail, my taking pictures at shows.</div>
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Winterland 5/30/71. As noted in an <a href="http://cryptdev.blogspot.com/2012/02/new-riders-of-purple-sage-at-peninsula.html">earlier post</a>, the Dead
show scheduled for Friday 5/28/71 was postponed two days because of Garcia’s
illness. He was well enough to play the next night, a show I did not attend,
but lives in some infamy as the night scores of audience members were
unwittingly and heavily dosed by electric Kool-Aid. Given the ruckus that this
caused on the streets of San Francisco after the show, I was not too sorry to
miss this one.</div>
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There was no Kool-Aid in evidence the following night, which
comprised a long show starting with Bay Area folk-rock ensemble RJ Fox,
followed by the New Riders and the Dead. James and the Good Brothers, who were
advertised as opening the shows, did not perform on the 30<sup>th</sup>.</div>
<div class="MsoNormal">
<br /></div>
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The Dead’s two sets were characteristic of the band’s
consistently high level of playing in that era, peppered liberally with the new
tunes (“Bertha”, “Playing in the Band”, “Loser”, “Deal”) that they had rolled
out in early 1971.<span style="mso-spacerun: yes;"> </span>Other highlights were
a rare first set “Morning Dew” and the west coast debut of the band’s electric
revival of Pig’s playful rendition of Lightning Hopkins’ “The Rub.” The one
thing this show lacked was an extended improvisational segment, with the second
set jam consisting of a fairly standard “Truckin” that led right into a
“Lovelight” that featured a memorably raunchy rap from McKernan. The show
wrapped up with a nice pairing <span style="mso-spacerun: yes;"> </span>of “Uncle
John’s Band” and “Casey Jones,” followed by an encore of “Johnny B. Goode.”The
second set of this show was given an official release on vinyl by Grateful Dead
Records in 2012.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fillmore West 7/2/71. In late Spring 1971, Bill Graham
announced plans to close down both the Fillmores East and West. For the last
hurrah of the San Francisco ballroom, Graham scheduled a week’s worth of shows
featuring many of the musicians that put San Francisco on the musical map in
the late 1960s. When KSAN announced their plans to broadcast all of the
concerts, I chose to stay home and tape the shows off of the radio. As it
turned out, most of the shows that week were relatively disappointing, with groups
like Quicksilver Messenger Service, Creedence Clearwater Revival, and It’s a
Beautiful Day having lost much of the magic of their glory days a few years (or
in Creedence’s case, only a few months) earlier.<span style="mso-spacerun: yes;"> </span>The notable exceptions were a sizzling Sunday
night set by Santana (for which the band chose not to allow a broadcast), and a
dazzling evening of music on Friday night that saw Jerry Garcia onstage for at
least six hours with three different bands. </div>
<div class="MsoNormal">
<br /></div>
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Opening the show were the Rowan Brothers, Chris and Lorin,
who had recently moved from the east coast to Marin, and were in the process of
recording their debut album for Columbia. For the Fillmore set, the duo were
augmented by a group of heavy hitters comprising Garcia on pedal steel, Phil
Lesh on Bass, David Grisman on mandolin, and Bill Kreutzmann on drums. Their
brief set fit right in with the evening’s laid back country-rock vibe. For
those interested, the bulk of the 7/2/71 Rowans set is available on the duo’s
fine 2004 double CD <u>Now and Then</u>. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By this time, the New Riders had toured almost constantly
with the Dead for over a year. Although Garcia’s days in the pedal steel chair
were numbered, his command of the instrument was at its peak, and these mid to
late 1971 NRPS sets were some of the band’s best, mixing material from their as-yet
unreleased 1<sup>st</sup> LP with great covers like “Down in the Boondocks,”
“Lodi,” and “Six Days on the Road.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although the band only had two songs in the Last Days of
Fillmore movie, their entire set was widely circulated in trading circles and
through a number of early bootleg records. The band was in exceptionally fine
form that evening and, although their set was fairly standard for the era, it
included a number of memorable moments, including the ferocious “Bertha”
opener, a stand-alone version of “That’s It For the Other One” dedicated by
Phil Lesh to Owlsley Stanley, and, as a final encore, a version of “Johnny B.
Goode” for the ages introduced by Garcia as “Here’s the one it’s all about.”
All in all, a really fine way to bid farewell to the venerable old ballroom
where the Dead played so many gigs.</div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<div class="MsoNormal">
8/14/71 Berkeley Community Theater. Up to these shows, I had
only seen the Dead in Bill Graham’s grungy ballrooms, so it was a bit
unsettling to see them in this relatively genteel concert hall across the bay.
At 3500 seats, the BCT could hold more people than the Fillmore West but far
fewer than Winterland, and its configuration, a wide concert hall wide rows of
reserved seats and a spacious balcony, made it seem much more intimate and
upscale. As was true with most 1971 shows, the New Riders opened with a
generous set including both “Garden of Eden” and “Superman,” the two tunes that
comprised the original 1969 demo by the proto-New Riders, then going by the
moniker Marmaduke and Friends. As was often the case, the Riders set wrapped up
with their plaintive cover of the Band tune, “The Weight” with Garcia chiming
in on vocals for the last line of the chorus. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Dead’s set featured two of songs that were new as of the
summer tour - Garcia’s “Sugaree” and Pig’s “Mr. Charlie,” both collaborations
with lyricist Robert Hunter.<span style="mso-spacerun: yes;"> </span>In its
early incarnations, “Sugaree” weighed in at a perfunctory 6 minutes, although
it soon thereafter became a vehicle for Garcia’s extended soloing.<span style="mso-spacerun: yes;"> </span>The rest of the show was relatively standard
for that era. One unusual fashion note was that Bob Weir was wearing a tie-dyed
tank top very similar to the one he sported in the closing of the Fillmore
movie. Another mystery that I couldn’t solve until decades later was the
presence of a guest keyboard player who, starting with the Truckin’/The<span style="mso-spacerun: yes;"> </span>Other One jam,” shared the bench with Pigpen
and played some decidedly more adventurous organ lines than what we had come to
expect from Mr. McKernan. The rangy, long haired keyboardist’s identity came to
light when Ned Lagin revealed his secret history of sitting in with the Dead in the 1970s (for full details, see Ihor
Slabicky’s exhaustive web archive, <a href="http://nedbase.blogspot.com/">Nedbase</a>).<span style="mso-spacerun: yes;">
</span>The jam itself is distinctive, with a powerful drum solo bridging the
two tunes and a beautiful extended jam that departs far from the home base of
“The Other One,” led by some particularly assertive bass and lyrical Garcia
guitar extrapolations before circling back to the main theme. The show
concluded with a chorus of “Happy Birthday” directed at band colleague David
Crosby, followed by a double encore of “Johnny B. Goode” and “Uncle John’s
Band.” </div>
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The Fall of 1971 saw some dramatic changes, with McKernan
going on sick leave and replaced on the fall tour by new keyboardist Keith
Godchaux, and Garcia-Hunter and even Weir coming up with a strong batch of new
songs. I already <a href="http://cryptdev.blogspot.com/2011/11/grateful-dead-visit-old-west-harding.html">wrote</a> about the single show I saw with this lineup (11/7/71 at
the Harding Theater). Pigpen returned to the fold for a December tour, and I will
get to the last show I saw that year, New Year’s at Winterland, in due time. </div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com3tag:blogger.com,1999:blog-6100854883581054455.post-14611727442472468372015-06-09T01:57:00.004-07:002015-06-09T01:57:54.758-07:00Remembering B.B. KingB.B. King - Foothill College Gymnasium February 21, 1971<br />
B. B. King and Jeff Beck - Arie Crown Theatre, Chicago 7/26/03<br />
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With B.B. King’s recent, I thought it would be a good time to revisit the two times I saw him play the blues. The first time I saw King was on a Sunday night in 1971 (Thanks to Lost Live Dead and JGMF for providing the correct date) at a venue not known for concerts, not to mention as being an ideal setting to hear one of the world’s finest blues guitarists. Located in Los Altos Hills, a high-priced mid-peninsula zip code even at that early date, Foothill College was, and remains, one of the premier Community Colleges in the country, and somewhat of an architectural treasure to boot. Located atop a hill that is now directly adjacent to Highway 280 (which was built along its current right-of-way well after Foothill opened in 1965), the campus remains a masterpiece of mid-century architecture, with new additions blending seamlessly with the original buildings. <br />
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Although B.B. King was a regular visitor to the ballrooms in San Francisco, his appearance on a suburban college campus reflected the more widespread commercial success afforded by his two most recent albums, Completely Well (which included what was to become one of his signature tunes, “The Thrill is Gone”), and the more rock oriented Indianola Mississippi Seeds. That album, produced by Bill Scymczyk (soon to become the preferred producer for the Eagles), was a successful attempt to make King more familiar to mainstream rock audiences. Scymczyk used Los Angeles session musicians rather than King’s band, and paired the guitarist with mainstream rockers like Leon Russell and Joe Walsh. At the time, Foothill did not book a lot of rock or blues shows, at least that I was aware of, but it gave me a rare chance to see a blues legend not too far from home. Foothill has a fine theatre, but I suspect that booking economics led to this show being held in the college gymnasium, as was the case for so many university gigs before events and performing arts centers became more commonplace later in the century. We got reasonable seats (I think it was general admission) and, perhaps because it was a Sunday night, there was no opening act.<br />
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As was de rigueur for King’s shows of the era, the concert began with a few instrumentals from his band. In striking contrast to most rock bands of that era, King’s group was decked out in matching slacks, blazers, and turtlenecks. <br />
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<tr><td class="tr-caption" style="text-align: center;">B.B. King and Band - Foothill College Gymnasium 2/21/71<br /> Photo: M. Parrish</td></tr>
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The band was tight, and capably performed their task of warming up the crowd for their boss. King came out and, if memory serves, he opened his set in customary fashion with “Every Day I Have the Blues.” King, dressed in a sharp cream colored suit, took command of the stage immediately. What made King such an icon among the blues performers of his era was his uncanny combination of skills – a master showman, an eloquent vocalist, and a remarkable player with an eloquent, immediately recognizable instrumental voice. There have been many guitarists who played faster, indulged in more complicated chord progressions, or played louder, but what made King’s guitar sound so memorable was the emotion he squeezed out of every note. He had very strong hands, and could bend strings to elevate the notes played a whole step or more. Although this technique has become almost universal among blues-rock players, King, along with contemporaries like Albert King, Albert Collins, and Muddy Waters basically pioneered this style in the 1950s, and no one used it more effectively to wring emotion out of their solos. He also perfected the use of vibrato, something that was common among slide and steel guitarists but relatively rare among lead guitarists. King used these techniques individually or in tandem to generate his immensely appealing playing style.<br />
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<tr><td class="tr-caption" style="text-align: center;">B.B. King and Band - Foothill College Gymnasium 2/21/71<br />Photo M. Parrish</td></tr>
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Equally important to both King’s music and his stage persona was his singing style. A smooth, engaging vocalist, King drew the audience in with his smooth baritone, and he blended humor and drama in his powerful vocal delivery. An imposing physical presence, King often used body language to appear larger than life and to lessen the barrier between him and the audience.<br />
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For King and his band, I suspect the Foothill gig was just another date on a long string of one nighters, but it left a lasting impression on me, as well as revealing where young white players like Michael Bloomfield and Harvey Mandel got inspiration and necessary parts of their instrumental took kits.<br />
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For whatever reason, I did not see King in concert again until 2003, when I reviewed a show at Chicago’s Arie Crown theatre featuring him and Jeff Beck for the Chicago Tribune. By this time, years of touring and advancing diabetes kept King confined to a chair for most of his set. He talked a lot between songs, let the band do a lot of the heavy lifting, but his playing sounded just fine. The contrast between Beck’s aggressive jazz-rock playing and King’s relatively laid-back, extroverted blues was striking, and the combination didn’t really jell as well as one might hope. Nonetheless, it was a fine evening of music, and I am glad that I got to see BB one more time.<br />
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King’s passing leaves yet another huge gap in the roster of the original artists who pioneered electric blues guitar in the 1950s. Although he spent his last few weeks under Hospice care, King toured tirelessly until then, and he passed just a few months shy of his 90th birthday.<br />
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cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com0tag:blogger.com,1999:blog-6100854883581054455.post-80111691457432778972014-09-01T19:13:00.002-07:002014-09-02T14:00:08.989-07:00UCSC 1971, The Rhythm Dukes, and Oganookie<div class="MsoNormal">
In the fall of 1971, I entered college at UC Santa Cruz. Although only an hour from home, Santa Cruz might as well have been a different planet. Much less populated and pretty much graffiti-free in 1971, the town nonetheless already had the funky, slightly shabby, beach town ambiance it retains today.<o:p></o:p></div>
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The campus, only six years old when I entered, was tiny compared to its present size, with only five functional colleges, with the original four clustered together at the top of the hill, and the arts based College Five set widely apart, near the exit of the perimeter road to Empire Grade. I chose UCSC over the other UCs because of its academic excellence, small size, unique residential college organization, and because of the haunting beauty of the forests and meadows of its campus, set on a hill overlooking the town of Santa Cruz and Monterey Bay. A friend’s father was one of the main UCSC architects, so I had visited the campus on numerous occasions when it was under construction.<o:p></o:p></div>
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What Santa Cruz was not known for at that time was a music scene. There were really no viable live music venues in Santa Cruz proper, and the relatively small population did not support too many local bands. The biggest venue, the Santa Cruz Civic, was essentially off limits for rock concerts when I first arrived in Santa Cruz , although they did start permitting shows there by 1973. There were clubs in the Santa Cruz Mountains like the fabled Club Zayante and the even more storied Chateau Liberte, but there were few if any options in the city itself. The original Catalyst was still in existence on Front Street, but it seemed to be more of a coffee house than a music venue at that juncture, prior to its purchase in 1973 by Randall Kane and move to larger quarters on Pacific Avenue where it emerged as the town’s flagship rock venue.<o:p></o:p></div>
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My principal knowledge of Santa Cruz musicians prior to arriving on campus in the fall of 1971 was the fact that Moby Grape, one of the best and most mercurial of the San Francisco Bands, had just recorded an album there, the marvelous and underrated 20 Granite Creek. The Grape’s travails have been documented at length elsewhere, but in 1971 the original members got together in a rambling house in Santa Cruz to record a new album of original material with their original producer David Rubinson. Moby Grape’s resident genius Alexander Spence had left the group abter being hospitalized for mental problems during the recording of their second album, Wow. For Granite Creek, Spence was back in the fold and accompanied by multi-inatrumentalist Gordon Stevens who apparently kind of watched over the volatile Spence as well.<o:p></o:p></div>
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At any rate, Moby Grape had imploded once again following a short tour including some high-profile but musically disastrous gigs at the Fillmore East in June of 71. Nonetheless, most of the Grape members stuck around Santa Cruz, and at least one, bassist Bob Mosley, still lived in nearby La Selva Beach last time I checked. The Grape reformed with various lineups over the next four decades, but I did not see them live until 1973, when a version of the group performed in the UCSC Quarry Amphitheatre.<o:p></o:p></div>
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However, my first Grape siting occurred fortuitously on the second night I was on campus. For most of my time at UCSC, the campus at night was bustling with energy. Each of the residential campuses had its own flavor but, between the dining halls, the dormitories, and coffee shops, each remained a hub of bustling activity well into the night. During orientation week, there were also a number of unadvertised dances and social events. A group of new friends from my dorm and I were exploring the campus late that evening when we happened onto a dance concert at the spacious Cowell College Dining Hall, down the hill from my own new home at Crown College. Holding forth was a power trio that was billed as the Rhythm Dukes, featuring Grape lead guitarist Jerry Miller along with bassist John Barrett and, I presume, drummer John “Fuzzy”Oxendine.<o:p></o:p></div>
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The Rhythm Dukes were formed in 1969 following one of Moby Grape’s several breakups, when Miller and Grape drummer Don Stevenson joined forces with Oxendine and Barrett in the Santa Cruz Mountains to hang out and form this new loose, jam-based ensemble. They routinely played the ballrooms and clubs in the Bay area through the summer, but Stevenson left the fold in the fall, with the band continuing as a trio. For most of 1970, the group was augmented by keyboardist/vocalist Bill Champlin, whose main band, the Sons of Champlin, had also broken up. Champlin left in late 1970 when the Sons reformed, and some additional Dukes, including guitarist Russell Dahneke, were recruited to round out the band. When The Grape reunited for 20 Granite Creek, the Dukes pretty much folded, although the show I saw and a couple of others demonstrated that the Dukes trio got together for a few fall 1971 gigs after Moby Grape had imploded once again. Those interested in the Rhythm Dukes should check out the band’s web site and Bruno Ceriotti’s extremely useful <a href="http://rhythmdukes.com/performancelist.html">family tree and gig guide.</a><br />
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Rhythm Dukes 1970 Champlin, Oxendine, Miller, Barrett</td></tr>
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The Dukes show at UCSC was my first exposure to Miller playing live, and his blend of speed and precision was, and remains, a marvel to behold. Details of the set are fuzzy, since I knew none of their material except for Miller’s “I’m The Kind Of Man That Baby You Can Trust,” which was one of the highlights of <u>20 Granite Creek</u>, but there were blues standards, country-inflected workouts, and lots of extended jams. Not bad at all for a free, unadvertised orientation week concert.<o:p></o:p></div>
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Although the Dukes apparently folded soon after this gig, Miller was a steadfast presence in many different bands in the Santa Cruz area for the next several years, including the Original Haze (which featured future Call leader Michael Been on bass and vocals), the New Shreveport Homewreckers and many incarnations of Moby Grape.<o:p></o:p></div>
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A week or so later I had my first exposure to another peerless Santa Cruz Band, the eclectic quintet known as Oganookie. who were arguably the area’s best and most popular dance band. Oganookie got their start on the other coast during the height of psychedelia as a very different band called Federal Duck. Initially an informal aggregation of musically inclined students at suburban Philadelphia’s Haverford College that apparently at one time included humorist <a href="http://articles.baltimoresun.com/2004-07-25/news/0407220437_1_federal-duck-duck-pond-haverford">Dave Barry</a>, the group, sans Barry, managed to get a recording contract with Musicor Records and put out a single album in 1968 that was recorded by seven other musicians including bassist Bob Stern, drummer Tim Ackerman, lead guitarist George Stavis, and guitarist Jack Bowers. The band’s sound was a blend of Strawberry Alarm Clock style soft psychedelia with some harder-edged guitar workouts and just a taste of the bluegrass influences to come in their later incarnation.<br />
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By 1969, Stavis had flown the coop and secured a recording contract with Vanguard Records, for which he recorded the remarkable solo banjo recording Labyrinths. He also opened for the Grateful Dead at Purdue University on April 18 of that year, so apparently toured in support of that album.<o:p></o:p></div>
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1970 found the core of Federal Duck (Stavis, Ackerman, Stern, and decamped to a farm in the Santa Cruz mountains. They had added guitarist-vocalist Bruce Frye, and reinvented themselves as country-rock ensemble Oganookie. Several of the musicians also switched instruments. In addition to playing bass, Stern proved to be a fine electric violin player. Bowers moved to electric piano and became the group’s principal songwriter, whereas Stavis focused almost entirely on the electric banjo, sometimes switching to bass when Stern was fiddling. Another Duck member, keyboardist Ken Stover, also migrated to the Santa Cruz area, playing in bands including funksters Chameleon. <o:p></o:p></div>
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Oganookie was a quintessential jam band a couple of decades before that term was coined. Their blend of rock and electrified bluegrass instrumentation and their tendency to play extended versions of bluegrass tunes, notably their trademark pairing of Bill Monroe’s “Uncle Pen” and “Orange Blossom Special” made them one of the most popular acts for dances on campus and in town. They also epitomized the people’s band ethos, playing many benefits and extolling the virtues of the back-to-the-land lifestyle the group modeled.<o:p></o:p></div>
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Alas, Oganookie’s term as a band was relatively short-lived, as the group broke up by mid-1973. Before sailing off into music history for good, the band did reunite in 1975 for a pair of energetic and sold-out concerts at the Coconut Grove Ballroom at the Santa Cruz Beach Boardwalk and, apparently, once again in 1991. <a href="http://montauktheend.blogspot.com/2009/10/montauk-is-muse.html">Bob Stern</a> moved back east, became a dentist, and still plays the fiddle. Stavis and Ackerman both enrolled in the History of Consciousness program at UCSC, and Stavis also appears to have moved back east. He recorded a new-agey banjo album for Aspen Records in 1986 entitled Morning Moods, and still gigs periodically. Both Frye and Ackerman’s current whereabouts are not easily discoverable on the net.<o:p></o:p><br />
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<a href="http://www.gtweekly.com/index.php/santa-cruz-area-music/love-your-local-santa-cruz-band/5504-jack-bowers.html">Jack Bowers</a>, however, stayed in the Santa Cruz area. After Oganookie’s demise, he spent several years working with country rocker Jill Croston (AKA Lacy J. Dalton) and built a career working in the Arts program at nearby Soledad Prison. I saw him at a career retrospective concert at Kuumbwa in Santa Cruz last March, and he remains a fine keyboard player and composer.<o:p></o:p></div>
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As the seventies ticked by, Santa Cruz became more and more of a rock and roll town. More later. </div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-62076199965036048462014-01-20T14:30:00.003-08:002014-01-20T14:30:59.475-08:00Grateful Dead, Sufi Choir, Whirling Dervish Dancers and Yogi Bhajan. Winterland, 3/24/71.<div class="MsoNormal">
By March of 1971, it had been a good seven months since I
had seen the Grateful Dead, and several months since I had been to any large
concerts.<span style="mso-spacerun: yes;"> </span>A mid-week trip to Discount
Records produced a handbill that showed the Dead playing at Winterland that
evening, along with a mysterious crew including Yogi Baijan, the Sufi Choir,
and the Whirling Dervish Dancers.<span style="mso-spacerun: yes;">
</span>Although it was the middle of a school week, and I had never driven to San Francisco by myself, I entreated my parents to
let me go, and they assented, provided I could find someone to go with me. I
asked a school friend, Tom, who had never seen the Dead, if he wanted to go,
and he miraculously got permission from his parents to go with me, and by 8 PM
or so, we were off on 101 towards Winterland.<o:p></o:p></div>
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Walking into the already darkened hall, it became
immediately evident that this would not be a typical concert. On the stage were
a number of robed, bearded gentlemen chanting around a roaring fire that sent
flames high into the air inside what was famously a huge wooden firetrap. <span style="mso-spacerun: yes;"> </span>Decades later, taking Yoga classes in
Chicago, I learned what a major cultural force Yogi Bhajan and his Kundalini
Yoga movement had become.<span style="mso-spacerun: yes;"> </span>I can’t
identify Bhajan in the photos I took, and another bespectacled gentleman led
the chanting, so it is possible that he was not even there. Regardless, the
spectacle certainly made a strong impression at the time.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Ceremonial Fire Winterland 3.24.71 Photo: M. Parrish</td></tr>
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can guess that the fire marshalls were not in attendance at that point. We
found seats in the balcony and listened to the ceremony which, being mostly in
Sanskrit, didn’t mean much to me at the time. <br />
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Once the chanting was finished, the fires were quenched
(whew!) and the stage cleared for the Sufi Choir.<span style="mso-spacerun: yes;"> </span>This group, conducted by William Allaudin
Mathieu, came together as a group of followers of spiritual mystic Samuel
Lewis, whose followers called him Mursid. The group was a true choir, that
persisted under Mathieu’s direction from 1969 until 1983.<span style="mso-spacerun: yes;"> </span>After performing several beautiful pieces on
their own, the choir was joined by Dead members Jerry Garcia, Bob Weir, Phil
Lesh, and Bill Kreutzmann for their last two pieces. The Dead members provided
delicate droning chords below the choir’s angelic harmonies, with Garcia’s
leads dancing around the choir’s melodies – a magical, all to <o:p></o:p></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oiYBeJ41SrXi7-UjUJwinomIJRvcy7mr5nboW5zr2U_gnBtb9dJU74Gzh_nqHROyzPQHfr-H5gILKC2NC84930YMw2_mR_F7kqfJokDLYlOSArbiZAvEAp9Wu_ObhKIX200BUS9X-80/s1600/Dead+and+Sufi+Choir+2+Cropped.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oiYBeJ41SrXi7-UjUJwinomIJRvcy7mr5nboW5zr2U_gnBtb9dJU74Gzh_nqHROyzPQHfr-H5gILKC2NC84930YMw2_mR_F7kqfJokDLYlOSArbiZAvEAp9Wu_ObhKIX200BUS9X-80/s1600/Dead+and+Sufi+Choir+2+Cropped.jpg" height="127" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dead and Sufi Choir 3.24.71<br />Photo: M. Parrish</td></tr>
</tbody></table>
brief
collaboration. <br />
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<br /></div>
<div class="MsoNormal">
Winterland was pretty full, especially for a Wednesday night
for a show with limited advance promotion, but most of the floor was cleared
for the next performance, by a group of Whirling Dervish Dancers, who spun very quickly in large arcs, forming intricate patterns. I believe the accompaniment
was just recorded music, but can’t say for sure.</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYT52fmoVj8881Ki3AsQjHcae6Ka-x5BZoG9jiGJqUpNSOtCGPdR56a7pGRcXCAenA8ZqblHWE8GzlPAAhomy2TwiXtGJftB2mje9ObnzJvUpX4J5cYJXei2545hPfaDeHZKPPyXB16yk/s1600/Dervishes+Cropped.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYT52fmoVj8881Ki3AsQjHcae6Ka-x5BZoG9jiGJqUpNSOtCGPdR56a7pGRcXCAenA8ZqblHWE8GzlPAAhomy2TwiXtGJftB2mje9ObnzJvUpX4J5cYJXei2545hPfaDeHZKPPyXB16yk/s1600/Dervishes+Cropped.jpg" height="86" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dervish Dancers 3.24.71 Photo: M. Parrish<br /></td></tr>
</tbody></table>
<o:p></o:p><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjoa-jE18iQI_MNKRURd_HAWWdrVxcuIiulTtEYBcdEt40VkPOIPTrlWqy3mZTm5IZ9r0uCrNTjU3IPp_niNEIpTWUodryu4ycxn2RUMVSVat_zjVh9IRtjL4sxvqho9cnKCwOdflASQ/s1600/Best+Dead+Cropped.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjoa-jE18iQI_MNKRURd_HAWWdrVxcuIiulTtEYBcdEt40VkPOIPTrlWqy3mZTm5IZ9r0uCrNTjU3IPp_niNEIpTWUodryu4ycxn2RUMVSVat_zjVh9IRtjL4sxvqho9cnKCwOdflASQ/s1600/Best+Dead+Cropped.jpg" height="174" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grateful Dead 3.24.71 Photo: M. Parrish</td></tr>
</tbody></table>
<div class="MsoNormal">
It was quite late, close to 11, when the Dead finally came
onstage for their regular set. (Contrary to Deadbase, the New Riders did not
appear at this show).<span style="mso-spacerun: yes;"> </span>I was surprised and saddened by the absence of Mickey Hart,
which had not been reported in the local press, despite his having been on
hiatus from the band since February. At
this juncture, the band’s music was markedly less psychedelic than it has been
just a few months earlier, with a raft of shorter songs, including several new
originals, having taken the place of some of the longer pieces, although a nice
Truckin’>Other One emerged late in the first set. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Other than the early Fillmore West shows that
included both an early and late set by each band on the </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnNWI9DkUdIhhwLSPA43y_5K_RZ9fQB3IMRE-iPeMUBHuEEDBUBCC7lKoKfAL1ZPFV1sAmbW0gQdYs2-Shy4fYzCfSdOLzw_7GSU_8WkQsIwk0d0b9YPvJWzaCEyp1CWpgXB1WOda2U4/s1600/Best+Pig+Cropped.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnNWI9DkUdIhhwLSPA43y_5K_RZ9fQB3IMRE-iPeMUBHuEEDBUBCC7lKoKfAL1ZPFV1sAmbW0gQdYs2-Shy4fYzCfSdOLzw_7GSU_8WkQsIwk0d0b9YPvJWzaCEyp1CWpgXB1WOda2U4/s1600/Best+Pig+Cropped.jpg" height="235" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grateful Dead 3.24.71 Photo: M. Parrish</td></tr>
</tbody></table>
bill, this was the
first electric Dead show I saw that included two separate sets (although the
“Evening with the Dead” shows included breaks between the acoustic set, the New
Riders, and the electric set. The shift
from one drummer to two was palpable in the music, with a much greater emphasis
on rockers, starting with the pairing of an embryonic “Greatest Story Ever
Told” and “Johnny B. Goode” that opened the show, and continuing with new tunes
like “Bertha” and “Playing in the Band” (in its initial, concise
incarnation). The show wrapped up with something
else that was new to me, but quickly became the standard closer for the next
few years – the Not Fade Away sandwich with “Goin’ Down the Road Feelin’ Bad”
as the filling, followed by a nice “Uncle John’s Band” encore as closing time approached. <br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;">The drive home was interesting, given that I had been through a full day of school before taking off on this evening adventure. It had been a splendid evening, full of surprises, and a great introduction to the leaner, more rock oriented Grateful Dead of 1971. </span></div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-72643046216578016152013-07-10T05:35:00.002-07:002013-07-13T10:16:54.495-07:00My Season with Kingfish Part Three<!--[if gte mso 9]><xml>
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After giving my phone number to Tim Hovey at the Keystone
Berkeley, I don’t think I really expected to hear from him. Imagine my surprise
a couple of weeks later when I got a phone call from Richard Hundgen,
Kingfish’s manager at the time. Richard there at the beginning of the in the
Haight Ashbury music scene, a member of the original inner circle of Big
Brother and the Holding Company and a good friend of Janis Joplin’s. Turns out he had an open date, and we actually
began talking about bringing Kingfish to UCSC on March 7. Since it was already early
February, that didn’t provide a lot of lead time. <o:p></o:p></div>
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<br /></div>
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At the time, I was a member of Gotterdammerung, the group at
UCSC’s Crown College that screened films in the college’s dining hall every
Saturday night. As such, getting access to the dining hall wasn’t too big a
problem. A bigger problem was how to sell tickets and deal with expenses,
principally paying the band. Because it was technically a university function,
all of the funds had to flow through the events office, which also sold tickets
for the event, and they would only issue a check for the performers – a
situation that understandably did not sit well with the band. It took a lot of
finagling, and at least one promoter-to-manager phone shouting match, to get
everything settled, but amazingly, it all came together. My colleagues in the
film group were amazing, working out details like lighting, security, and
publicity. The event poster was drawn by
Judy, by then my fiancé, and copies were put up mainly just on campus.<o:p></o:p></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgylg1kz8G_DebKIhSKJBMyYeBMSQHbRKNAurWNjKK97fbxAooUhPItDSPu0CRvFTt54cqkiwkP0FlKHeFbcNCfsDNhm8by7sstERdaoSamLYRXCXhlX9oFe_qW8J4sjL_9vwGokgK3V3s/s1600/Crown+College+Dining+Hall.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgylg1kz8G_DebKIhSKJBMyYeBMSQHbRKNAurWNjKK97fbxAooUhPItDSPu0CRvFTt54cqkiwkP0FlKHeFbcNCfsDNhm8by7sstERdaoSamLYRXCXhlX9oFe_qW8J4sjL_9vwGokgK3V3s/s320/Crown+College+Dining+Hall.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crown College Dining Hall entrance today. <br />
The dining hall proper is to the left</td></tr>
</tbody></table>
<br />
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<br /></div>
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During this period, we saw several other Kingfish shows,
including a second one at the Keystone Berkeley where I met up with Richard
face to face after the show. He invited me back to the Keystone Green Room,
which looked exactly like it does in the inside gatefold of the Garcia-Saunders
live album, minus the nun, and with a different cast of characters. <o:p></o:p></div>
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<br /></div>
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As the date of the show approached, tickets were selling
briskly, and things were looking up. In talking with Richard, we had broached
the idea of hosting a dinner for the band before the show. He initially
declined, saying that the band usually ate by themselves, but later accepted
the invitation on behalf of the band and crew. At that time, Crown College had
a small conference facility near its parking lot in a secluded building that
now houses radio station KZSC. We ended
up serving dinner to the band and crew down there. People came and went as they
set up for the show in the dining hall up the hill. The crew that night was Tim
Hovey and Rex Jackson, and Richard was there to tend to business. <o:p></o:p></div>
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<br /></div>
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If memory serves, we served them baked chicken, rice, and
some dolmas that Judy scared up in downtown Santa Cruz. Although there was
plenty to do, we managed some face time with the band during dinner. Oddly
enough, the main topic of conversation among the group was the Karen Black TV
movie “Trilogy of Terror,” which had aired earlier that week. The most
significant music related bit of information I gleaned from the session was a
confirmation by Weir that the Dead had indeed plotted to do a free show at
UCSC’s gorgeous quarry amphitheatre in the late sixties. They ultimately
abandoned the plan when it became apparent that it would be pretty much
impossible to make the logistics work without ending up with a Santa Cruz
version of Altamont. Still, it was nice to have that urban legend confirmed
firsthand.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifdU8bATVDXsIJrjRmZdFY-Nm0Ir63pafaZ7UUmFjIASM0w8bJHFz3UBNDveZxSAzACCQU06sCJyDN0hxi3Frd6ct317SmxlIlLS9Ddc83ypU-7Us5zUhWwp5HwI91ksL8mh2VWzvDF6g/s1600/Upper_Quarry%252C_UCSC.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifdU8bATVDXsIJrjRmZdFY-Nm0Ir63pafaZ7UUmFjIASM0w8bJHFz3UBNDveZxSAzACCQU06sCJyDN0hxi3Frd6ct317SmxlIlLS9Ddc83ypU-7Us5zUhWwp5HwI91ksL8mh2VWzvDF6g/s320/Upper_Quarry%252C_UCSC.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Quarry Amphitheater UCSC</td></tr>
</tbody></table>
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<br /></div>
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The band, who had been playing several nights a week in
clubs, had a relatively minimal setup, although they did bring their own PA. We
handled the lights from the projection booth near the top of the dining hall’s
elevated ceiling. As the show approached, I was tasked with doing a lot that
glamorous promoter stuff – finding Mr. Kelly some decongestant, guiding Mr.
Weir to a secluded restroom, cleaning up after dinner… you get the drift.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With little more than on-campus publicity, the show handily
sold out, and there were a few people listening outside, but the numbers were
completely manageable. If I remember correctly, the show started more or less
on time, and the band played the three one-hour sets specified in the contract.
As I noted in the previous entries, Kingfish was a stellar live act in 1975,
and their show that night did not disappoint, although promoter duties
distracted me from giving it my full attention. The audience, mostly UCSC
students who had not yet heard Kingfish, gave the band a rousing reception. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I did get
some significant karma payback that night. The previous year, I had been part
of a group of Crown students that smuggled a large number of marshmallows into
Winterland for the 2/23/74 Dead show. This was inspired by tales from Bob R.,
the preceptor of our dorm, who had first seen the Dead on 4/14/71 when they
played at his undergraduate alma mater, Bucknell College in Lewisburg, PA.
Apparently a group of Bucknell students had similarly smuggled in marshmallows,
and Bob and his friends were participants in a ferocious marshmallow fight. He
waxed poetic about how much fun it was to throw the marshmallows around, and
how it was harmless and good clean fun. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Doing the same thing in the spacious confines of Winterland
proved fun, but certainly not clean and, unfortunately, a good number of the squishy
missiles made their way onto the stage, prompting Phil Lesh to admonish the
crowd to “share the marshmallows with your friends rather than throwing them up
on stage.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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At any rate, some of the same miscreants decided it would be
fun to recreate this event one more time, </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9f_tFyBuJRvFJu_uUMXVNRpZZMDerq8JhJfaOg0ktUA1FekdYpmxOTxTBYiCg7AsdnR-0NGiPESuvaQmxN4PS2kjaKHWxrpA_kEGWy-aJkNrZDMXVZuK_fB_yGov_YouKaLNXAyEOiE/s1600/Kingfish+ticket+stub.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV9f_tFyBuJRvFJu_uUMXVNRpZZMDerq8JhJfaOg0ktUA1FekdYpmxOTxTBYiCg7AsdnR-0NGiPESuvaQmxN4PS2kjaKHWxrpA_kEGWy-aJkNrZDMXVZuK_fB_yGov_YouKaLNXAyEOiE/s320/Kingfish+ticket+stub.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ticket stub from the 3/7/75 show</td></tr>
</tbody></table>
at the UCSC Kingfish show. A
marshmallow war did occur, brief in duration but lasting in impact, as I and my
colleagues learned as we spent well over an hour scrubbing the sticky dining
hall floor after the show. Meanwhile, the band packed up their gear and prepared to hit
the road. I got surprisingly warm thanks from the band, and especially from Hovey
and Jackson.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After the Kingfish show, I got a call from John McIntire,
who was managing Keith and Donna at the time, asking if we wanted to promote a
show with them a few weeks later. At that point, though, I was looking at a
wedding in May, and had a round of chemistry and biology classes to finish up
before graduating in June. That show did go on, but with a different group of
student promoters and at the somewhat roomier Kresge Town Hall. All in all, I am glad I had the experience of
promoting a show, and it gives me a great appreciation of all that goes into
making such events run smoothly. Furthermore, I believe this was still the only
time that any of the original core members of the Dead have performed on the
campus that now houses the Grateful Dead’s Archive. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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I saw Kingfish a number of times after the UCSC show, but
the frequency dropped as other commitments (graduating, marriage, graduate
school) took more and more of my time.
The last really memorable shows I can think of were in June, 1975. On June
8, Kingfish preceded Garcia and Saunders on a warm Sunday afternoon in Palo
Alto’s El Camino Park, where I had attended a couple of Midpeninsula Free
University Be-Ins several years earlier. Kingfish played their usual tight set.
After the show, Judy and I walked back across the street to Stanford Shopping
Center’s parking lot with Dave Torbert and his partner Patty. Nine days later,
Kingfish played a two set show at the sprawling Winterland benefit for poster
artist Bob Fried that culminated in an epic “Garcia and Friends” set that was
actually the Dead’s first full show since their hiatus from touring the
previous October. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kingfish in its original incarnation carried on for about
another year, at which point Bob Weir chose to devote his energies once again
to touring with the Dead. Kingfish carried on, but the original lineup
splintered, leaving Torbert and Kelly with a changing crew of guitarists and
drummers over the next several years.
Torbert passed away, way too early, in 1982, but Kelly carried on with
the Kingfish name until well into the 1990s, occasionally reuniting with Weir,
most notably during a 1986 tour that also featured Steve Kimock on lead guitar. <o:p></o:p></div>
<!--EndFragment-->cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com4tag:blogger.com,1999:blog-6100854883581054455.post-79826385478172928672013-04-27T11:41:00.001-07:002013-04-27T11:41:18.750-07:00My Season with Kingfish Part 2
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After their first show at the Chateau, Kingfish started
gigging relatively regularly around the Bay Area, but more or less established
a weekend residency back at the Chateau for much of the winter. Confirmed dates were December 13,14; January
3,4; and 1/26; but I believe they played some other dates in the intervening
weeks as well. I went to at least one night of each run with Judy, and got to
hear the group developing their sound and their repertoire. One novelty during
the mid-December run was a single version of Johnny B. Goode, which failed to
make it into the band’s regular repertoire.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
I also started seeing the group at
the Keystone Berkeley. The first show of theirs I attended there was Sunday
December 29, which was notable for a couple of reasons. First, it was the first
time I saw the group change up their instrumental lineup for a few songs.
Torbert switched to guitar and Kelly took up the bass for a trio of tunes, all
sung by Torbert. “California Day” was one of Torbert’s most memorable originals
from his days in the New Riders, a gorgeous ballad evoking the mystique of the
northern California coastline. He also sang “Lonesome Fugitive,” one of Merl
Haggard’s many songs about outlaws. The third tune in this mini-set was a
bouncy, uptempo version of Hank Cochran’s honky tonk lament “A-11,” which was
best known from Buck Owens’ 1964 version. Another notable aspect of the show
was that Weir’s bandmate Phil Lesh was in attendance, and actually watched part
of the show from a chair on the side of the relatively tiny Keystone stage, but
did not play. Incidentally, contrary to
the <a href="http://lostlivedead.blogspot.com/2009/10/bob-weir-and-kingfish-tour-history-1974.html">Lost Live Dead tour history</a>, James and the Mercedes did not open this
particular show, although they appeared with Kingfish a few times in early
1975. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
By the mid seventies New Year’s Eve
was already a big night for music in the bay area. Although the Dead themselves
had not played a show that night since 12/31/72, Garcia and Bill Kreutzmann had
brought in the previous new years jamming with the Allman Brothers at the Cow
Palace. Thus it was a welcome surprise to learn that Kingfish had been booked
to play a show near most of the band’s old stomping grounds, at the Stanford
movie theatre in downtown Palo Alto. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
I had been going to the Stanford
theatre since our family moved to Palo Alto at the end of 1960. I remember
going to summer double features there for a dime in my pre-teen years and had
seen many a movie there in subsequent years. By the mid-seventies, the movie
palace had fallen on hard times, and the Kingfish show was an early attempt to
transform the theatre to a venue for live performances. The theatre’s heyday as
a live venue is chronicled in
one-time promoter Andrew Bernstein’s immensely entertaining memoir
<a href="http://www.amazon.com/California-Slim-Music-Magic-Madness/dp/1479770450/ref=sr_1_1?ie=UTF8&qid=1367087338&sr=8-1&keywords=California+Slim">California Slim: The Music, the Madness, and the Magic</a>. Miraculously, the
increasingly decrepit theatre was rescued from giving way to another franchise
store by the generosity of film buff David Packard Jr., who convinced the David and Lucille Packard
Foundation to spare no expense in restoring the theatre, now an <a href="http://www.stanfordtheatre.org/">archival film showcase</a>, to its former glory. </div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="text-indent: 0.5in;">Back at the close of 1974, the theatre was not in great
shape, but it was a fine, relatively intimate place to spend New Year’s Eve
with Weir, Torbert, and friends. </span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">You can
find an extensive discussion of this show </span><a href="http://hooterollin.blogspot.com/2011/07/december-31-1974-stanford-music-hall.html" style="text-indent: 0.5in;">here</a><span style="text-indent: 0.5in;">.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Opening the evening was another band
with a strong Dead connection. Osiris was a Palo Alto based blues-rock band
whose keyboard player, Kevin McKernan, was the younger brother of the Dead’s
late singer and keyboardist Ron “Pigpen” McKernan. Their lineup was very
Dead-like with two guitars, bass, keyboards, and two drummers, and I believe they used some equipment salvaged from the Wall of Sound. The most vivid memory of their set was an
amazing version of “Hard to Handle” with Kevin McKernan, who bore an eerie
physical resemblance to his sibling, channeling Pigpen’s trademark delivery of
the song.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kingfish played two sets, with no real surprises to those of
us who had already seen them a few times. They had started to work a number of
other tunes into their repertoire by this time. Weir’s contributions included a
really nice uptempo version of Dolly Parton’s “My Blue Tears” and a snazzy
arrangement of “Saturday Night” with some twin lead guitar from Weir and
Hoddinott. Over the next several weeks, they worked in a number of other tunes
– classic soul tunes including “Shop Around,” “Roadrunner,” a rock arrangement
of Bill Monroe’s “Muleskinner Blues” that was often paired with Torbert’s
version of “Mystery Train,” Bo Diddley’s “Mona” and the blues standard “C.C.
Rider” (these latter two found their way into the Dead’s post-hiatus
repertoires). Torbert added “I Hear You
Knocking,” “Carol” and a few cover tunes he did with the New Riders, including
“School Days,” “Willie and the Hand Jive” and “Sea Cruise,” as well as his own
“Groupie.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Because Kingfish had been playing
such small venues, and spending considerable time in the Santa Cruz mountains,
I got it in my head that it might be possible to convince them to come play at
UC Santa Cruz. Having never promoted a show in my life, I nonetheless thought
it was something worth pursuing. I was a member of Gotterdammerung, a student
group that showed films every Saturday night in the Crown College Dining Hall,
so I figured we could get use of the Dining Hall for a show if we could pull it
off. So, at the next Kingfish show we
attended, January 25 at the Keystone
Berkeley, I approached Kingfish sound
man Tim Hovey during the break to float the idea of their coming to UCSC.
Since, as noted above, I had no promotion experience, and they knew nothing of
the venue, he seemed somewhat dubious,
but he took my name and number and said they might be in touch. I didn’t really
expect much to come of it. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Tim Hovey has a significant role in
Kingfish/Horses history. He was co-writer, with Torbert, of “Important
Exporting Man” on the third New Riders album, and “Wild Northland” on the first
Kingfish album, and the pair wrote another Kingfish mainstay, “Goodbye Yer
Honor” with Matthew Kelly. Earlier, he had collaborated with John Carter, Scott
Quigley, and Tim Gilbert on “Jump for Joy” which had appeared on the Horses
album and became a mainstay of the Kingfish repertoire. Earlier, Hovey had been
a child actor who appeared in a number of 1950s television shows. Hovey was a
friendly chap, and seemingly a good soundman, as I recall all of the Kingfish
shows of that era having a bright, clear mix.<o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Opening that Keystone show was
another interesting band with Dead connections. On the 1970<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Pelbkvym9L3UHQpP_veOAVSVmMWtLCnFUmARqdXf2yPzcfiRAq3Q8Uu61QJPodB_waur61YZ5mgzsZwjT2HszcFvEN_OIB-v0aeBxwp6CvmrECpw2K3egD_DVWqcNyvpt48wlmh0xYA/s1600/james+and+the+good+brothers+-+st+1971+front+large.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Pelbkvym9L3UHQpP_veOAVSVmMWtLCnFUmARqdXf2yPzcfiRAq3Q8Uu61QJPodB_waur61YZ5mgzsZwjT2HszcFvEN_OIB-v0aeBxwp6CvmrECpw2K3egD_DVWqcNyvpt48wlmh0xYA/s200/james+and+the+good+brothers+-+st+1971+front+large.jpg" width="200" /></a></div>
Festival Express
tour, the band members met up with a Canadian folk-rock ensemble called James
and the Good Brothers, comprising singer-songwriter James Ackroyd and .twins
Bruce and Brian Good. James and the Good
Brothers subsequently made it out to California, and eventually recorded a fine
eponymous album for Columbia that was produced by Betty Cantor and included
contributions by Bill Kreutzmann and an uncredited Jerry Garcia. There has been
much speculation at Lost Live Dead and Jerry Garcia’s Middle Finger about the
politics and economics of some of the Dead-related signings by other labels.
Columbia, then run by Clive Davis, seem to have signed several loss leaders
from other labels during the early seventies, including the Rowan Brothers,
James and the Good Brothers and even the original incarnation of the New Riders
of the Purple Sage. In Davis’ recently
published autobiography, he indicates that he was courting the Dead as early as
1969, and these signings could have been part of that effort, which ultimately
resulted in the Dead signing with Davis’s subsequent label. Arista, after
Grateful Dead records folded in 1976. At
any rate, James and the Good Brothers splintered after their album failed to
generate much interest, with the Goods split back to Canada, where they
recruited younger sibling Larry and became (and remain) one of Canada’s more
popular country acts. As an aside, Bruce Good’s sons Travis and Dallas are
mainstays of Toronto’s remarkable alt-country ensemble the Sadies. <br />
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Back in California, Ackroyd had
assembled a rock group, which he dubbed James and the Mercedes that comprised a
second guitarist, bass player, drummer, and two female vocalists, one of whom
was Frankie Weir, Bob’s partner at the time. We saw this group on two
consecutive nights, at the Keystone and then the Chateau, and they were
enjoyable if not particularly memorable. These were the only bookings I remember for
this particular ensemble, whch probably broke up after a rather public
separation of the Weirs shortly after the two shows with Kingfish. Ackroyd
seems to vanish from the musical radar around this time, and the Good Brothers
website indicates that he has passed away.<o:p></o:p></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2GbKxEUfqkoH6QAgKHcSOZUQCeHJe1SEQdgm8BaNc8ZiLD93-7NPnhyphenhyphenPSkqdcgNQ6cJQtFy3XiP8H9U-kI1NPZc-jmKHk2SJHHZIwnsFiwvkf7e86Pbt2g_9QgZiINyj4AbD2crRETkw/s1600/Kingfish+best.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2GbKxEUfqkoH6QAgKHcSOZUQCeHJe1SEQdgm8BaNc8ZiLD93-7NPnhyphenhyphenPSkqdcgNQ6cJQtFy3XiP8H9U-kI1NPZc-jmKHk2SJHHZIwnsFiwvkf7e86Pbt2g_9QgZiINyj4AbD2crRETkw/s320/Kingfish+best.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kingfish Chateau Liberte 1/26/75 From left to right:<br />Hoddinott, Weir, Herold, Kelly, Torbert<br />Photo: M. Parrish</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
The next night, Kingfish was back
at the Chateau, and I believe this was their last gig there. I took some photos
at that show, but the very dark ambience of the good ol’ Chateau rendered them
pretty sketchy, even with the assistance of photoshop. As noted, James and the
Mercedes opened, and about the only person visible in the shots of that group
is Ms. Weir. That show was memorable because I did speak with Hovey again and,
more significantly, was introduced to the group’s imposing road manager, Rex
Jackson. Jackson, a tall, muscular fellow who clearly could take on any of the
Chateau’s bikers, was a bit brusque on our first meeting, but turned out to be
a really nice guy. <o:p></o:p></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03dgiDJgkcbWfkkMIHaLaxUCxzzeW_saZoYaVO9ABuqB0l1_NzCV9FylsxO-aC_NidObpcrErT0pX9MjHFwKhtnXNJuITEpkoEhyphenhyphen3vXksyOkKss_MhWJwQ5d7VTMrK0Ver1G9dHr-IPE/s1600/James+and+Mercedes4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj03dgiDJgkcbWfkkMIHaLaxUCxzzeW_saZoYaVO9ABuqB0l1_NzCV9FylsxO-aC_NidObpcrErT0pX9MjHFwKhtnXNJuITEpkoEhyphenhyphen3vXksyOkKss_MhWJwQ5d7VTMrK0Ver1G9dHr-IPE/s320/James+and+Mercedes4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">James and the Mercedes Chateau Liberte 1/26/75<br />Frankie Weir in spotlight. Photo: M. Parrish</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
I did not keep Kingfish set lists,
but I think this may have been the first show at which I heard Weir sing “All I
Need is Time,” the Bud Reneau ballad
that had previously been a hit for both Gladys Knight and the Pips and Roy
Orbison. Kingfish’s arrangement was one of the highlights of their shows during
that era, with Weir doing his best crooning and the band, especially Hoddinott
displaying a beautiful combination of chops and restraint. <o:p></o:p></div>
<div class="MsoNormal" style="text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-indent: .5in;">
Well, this has gone on long enough.
I will wrap this up in Part 3, hopefully more quickly than I got this piece
done. <o:p></o:p></div>
<!--EndFragment-->cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com4tag:blogger.com,1999:blog-6100854883581054455.post-21762815605404735382013-04-18T08:41:00.001-07:002013-04-18T08:41:18.716-07:00Cryptical ReviewsSorry it's been so long since my last post. I'm working on a long one that I hope to have up soon. In the meantime, I have started a second music blog focusing on reviews of recordings, books, and shows:<br />
www.crypt-rev.blogspot.com. I hope to add to this weekly.<br />
<br />
<br />cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com0tag:blogger.com,1999:blog-6100854883581054455.post-78345115553863641722013-01-20T22:31:00.001-08:002013-01-25T12:16:57.713-08:00The Chateau Liberte and a Season with Kingfish and Garcia/Saunders– Part One<!--[if gte mso 9]><xml>
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The retirement of the Grateful Dead from touring in October
1974 came as a blow to fans who had gotten used to seeing them several times a
year, particularly in their bay area home base. Other than Jerry Garcia, who
performed regularly with Merl Saunders, the remaining band members kept a low
profile – rarely, if ever, venturing out as performers outside of the context
of the Dead. Even Garcia’s solo ventures
had, <span style="font-family: 'Times New Roman';">up
to that point, mostly focused on San Francisco, Berkeley, and Marin, which
presented a conundrum for me as a student at UC Santa Cruz without ready access
to transportation. To add insult to figurative injury, almost all of Garcia’s
performances at the time were in bars that weren’t accessible to me as a 20
year old. Thus, it was a miracle of timing and geography that the Dead’s two
guitarists discovered the legendary Chateau Liberté,
located back in the woods of the Santa Cruz mountains not far from the summit
of Highway 17. The Chateau, easily a two hour drive from Marin County, was a
favored hangout for some of the alums of Moby Grape (notably Skip Spence, who
played a pivotal role in the formation of Chateau regulars the Doobie
Brothers), and Hot Tuna had also used the club for woodshedding, and recorded
their second album, <u>First Pull Up and Then Pull Down</u>, at the club.</span></div>
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<span style="font-family: 'Times New Roman';">The first Dead related performance at the Chateau that I am aware
was also my first visit there, for a Jerry Garcia/Merl Saunders performance on
October 11. Why Jerry was playing at a tiny club in the Santa Cruz mountains
five days before beginning the farewell Dead shows at Winterland that became
the Grateful Dead movie speaks volumes about his attitude towards playing and
the music business. Don H., one of my college dorm friends, a fine musician
himself, had a large van, and a bunch of us piled in the back for the trip up
the mountain to the Chateau. Traveling Hwy 17 in the back of a Dodge van can be
a disorienting experience, but it was even more eerie pulling off onto Summit
Road and then Old Santa Cruz Highway in pitch blackness. Fortunately, Don had
been to the Chateau before, so he had no trouble finding the way. Out of the
darkness, a jumble of cars, motorcycles and people appeared surrounding a small
shack-like structure that seemed impossibly small to be hosting a Garcia show. We
paid our three bucks to the formidable doorman and made our way into the dimly
lit club. Close to showtime, the Chateau was comfortably full but not so crowded
that a fire marshall would be concerned (assuming s/he could find his way
there).<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">Not having accurate figures of capacity, I would
venture that the Chateau held at most half the people that could fit in the Keystones
in Berkeley or Palo Alto. The main concert room was the size of a large living
room, and the building was divided in half by a two sided bar parallel to the
stage. On the other side of the bar was another, smaller room that held the
pool tables, which were always in use, even when the musicians were onstage. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman';">Although this was the fourth time I had seen
Jerry and Merl, it was really the first full two set show I heard them play,
and it was one of the most memorable of the many shows I heard them play over
the next eight months. The ensemble was rounded out by John Kahn on bass,
Martin Fierro on sax, flute and percussion, and LA session veteran Paul
Humphrey on drums. At this stage in their musical partnership, Fierro played
much more of a support role than he did during the Legion of Mary era in 1975,
when his continued full bodied roar on sax could get overwhelming. Instead,
this was a delicately played, very jazzy show, full of subtle nuances that
could be seen as well as heard by the rapt and attentive audience (at least those
of us in the front room). I attribute some of the magic of this iteration of
Garcia and Saunders’ band to the presence of Humphrey, whose tasteful playing
was more restrained than that of the group’s more rock-oriented drummers of the
era such as Bill Kreutzmann, Bill Vitt, and Ron Tutt. All of those guys could
certainly swing in a jazzy vein, but Humphrey brought something unique to the
mix that took the band’s sound in a different, more understated direction that
was unique to the shows during his tenure in the group. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">My friends and I positioned ourselves by the
soundboard, which, although in the back of the room, probably wasn’t more than
20 feet from the stage. I wasn’t keeping setlists at that time, and the
Garcia-Saunders songbook of the day was sufficiently eclectic and often obscure
that the names of many of the tunes were not pinned down by Garcia researchers
until the last few years. Although rockers like “I’m a Road Runner” and
“Mystery Train” were played, the bulk of the show was lush instrumentals and
mood pieces like Saunders’ take on “Wondering Why,” which featured some
beautiful flute work from Fierro. The transcendent point of the show for me
occurred late in the second set, with a long, gorgeous version of Jimmy Cliff’s
“Sitting in Limbo,” which had just entered the group’s repertoire a couple of
months previously. All in all, I couldn’t have hoped for a better initiation
into seeing Dead related ensembles in clubs. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman';">Another opportunity was afforded just three
weeks later, when a tiny ad appeared in the pre-Thanksgiving edition of Santa
Cruz weekly <u>Sundaz</u> announcing back to back shows by Garcia and Saunders on
Saturday and, on the preceding evening, a hitherto-unknown group called
Kingfish that featured Bob Weir and bassist David Torbert, who had left the New
Riders of the Purple Sage a few months previously. For reasons that elude me now, the second
Garcia show wasn’t workable for me, but I did end up going to the Kingfish
show, curious to see what this new group had to offer. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman';">The early history of Kingfish has been detailed
in depth <a href="http://lostlivedead.blogspot.com/2009/10/bob-weir-and-kingfish-tour-history-1974.html">elsewhere</a>, but the players other than Weir and lead guitarist Robbie
Hoddinott that comprised this lineup had intertwining histories that went back
to the mid-sixties. Torbert, drummer Chris Herold, and New Riders guitarist
David Nelson were core members of the legendary New Delhi River Band,who played
regularly in the Santa Cruz mountains and the south bay from 1966-69. Late in
the band’s tenure, Kingfish harmonica and guitar player Matthew Kelly, who had
led another group (St. Matthew’s Blues Band) that often opened for the NDRB,
apparently joined the group as a full time member following Nelson’s departure
(For a comprehensive history of the NDRB, go <a href="http://lostlivedead.blogspot.com/2012/05/david-nelson-and-new-delhi-river-band.html">here</a>). Kelly, Torbert, and Kelly
subsequently moved into another band, named Shango, and ultimately to a
recording 1969 recording project released under the name <u>Horses</u>, which
was the brainchild of the Los Angeles songwriting team of Tim Gilbert and John
Carter, and which included future TV star Don Johnson as lead singer-guitarist.
Whether this group displaced Shango or was solely a recording project is
unclear. Regardless, Kelly, Torbert, and Herold went their separate ways by
early 1970, with Torbert becoming permanent bassist for the New Riders when
they began touring regularly with the Dead and Kelly moving to the UK to play
with blues rock band Gospel Oak. By
1973, Kelly was back in the US and began playing with Herold and pianist Mick
Ward in a primarily instrumental group called Lonesome Janet, back in the South
Bay-Santa Cruz mountains axis. When Torbert quit the New Riders in near the end
of 1973, he hooked up with his old cronies and hot young guitarist Robbie
Hoddinott to form the first version of Kingfish. Ward died in a car accident in
mid-1974, leaving a void that Weir stepped into when the Dead’s hiatus began. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUudGxRmuGfj-sj7wNBGk4bgpVSp9ExF-BjfYKkB9J_7gSRONSMGfiW_-bHaJMinbgBntB3OW4fxEj4p1-6tkSUD52cZzagAgK_671IPc9PmrIFXdiNaldXwyR8T-dnyXScD3W0dxn0lA/s1600/chateauad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUudGxRmuGfj-sj7wNBGk4bgpVSp9ExF-BjfYKkB9J_7gSRONSMGfiW_-bHaJMinbgBntB3OW4fxEj4p1-6tkSUD52cZzagAgK_671IPc9PmrIFXdiNaldXwyR8T-dnyXScD3W0dxn0lA/s1600/chateauad.jpg" /></a></div>
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<span style="font-family: 'Times New Roman';">I was home in Palo Alto for Thanksgiving, but
ended up going to the show with a few friends from school who lived on the
peninsula, including my roommate Chuck and his sister Judy. Strangely, the
Chateau seemed more packed than it had been for the Garcia show a few weeks
earlier, possibly because this show was promoted more broadly. Nonetheless, we
had no trouble getting in, and finding a good vantage point near the stage. Any
doubts that this Kingfish thing was a scam evaporated when we saw Bob Weir
onstage a few feet away fiddling with his equipment. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">However, before Kingfish was to take the stage,
an opening set was provided by Santa Cruz Mountains stalwarts Timbercreek, a five
piece psychedelic country rock band that owed more than a passing debt to the
Dead, the New Riders and their ilk. I had heard Timbercreek several months
earlier at the Boulder Creek Theater, co-billed with one of the earliest public
screenings of <u>Sunshine Daydream</u>, a professionally shot (and still
officially unreleased) film of the Dead’s 8/27/72 performance at the
Springfield, Oregon Creamery. Timbercreek released one album, Hellbound
Highway, in 1975, and played the Chateau frequently, but rarely ventured out of
the Santa Cruz mountains. I remember them sounding good on both occasions,
tight instrumentally and with some good originals, but can’t provide a lot of
additional detail about their sets. A few decades ahead of their time,
Timbercreek would have found a comfortable niche in today’s jam band scene. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">Kingfish’s gig at the Chateau appears to have
been their third or fourth show with the new lineup, and Bob Weir was still
finding space within the band’s instrumental mix and repertoire. Weir had
really never played outside of the context of the Dead (other than a handful of
appearances as Bobby Ace doing C&W and folk covers in 69-70), so the audience literally had no idea of what material the band would play. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">What they delivered was two fine sets of
surprisingly polished music that showed them realizing their potential right at
the outset. Torbert took the lion’s share of the lead vocals, opening with a
slow, funky version of “Next Time You See Me,” the Junior Parker blues tune
that was a mainstay of Ron “Pigpen” McKernan’s repertoire with the Dead.
Torbert’s slippery, melodic bass work was a key element of Kingfish’s sound.
Equally distinctive was the truly remarkable telecaster picking by
twentysomething lead guitarist Robbie Hoddinott, who had seemingly come out of
nowhere as a fully formed Danny Gatton-style guitar hero. Matthew Kelly
alternated between rhythm guitar and gritty blues harmonica. Weir initially
played more rhythm than lead, but gradually worked more of his trademark
arpeggiated embellishments into the band’s sound as his time in the band
progressed. <o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIgGotZSLR1C2jg6ycZfsITU_pj6_UF9tXpYtbNlUQb__6dWpeUuHBsLbCjoRYZoo1P8DfKcAUIgK-WXkxZ3lgktXCZGtGBGldNGyBtjpt55DCpcHzWTL6AKba0yEjycUmz0nblRF6jFA/s1600/Horses.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIgGotZSLR1C2jg6ycZfsITU_pj6_UF9tXpYtbNlUQb__6dWpeUuHBsLbCjoRYZoo1P8DfKcAUIgK-WXkxZ3lgktXCZGtGBGldNGyBtjpt55DCpcHzWTL6AKba0yEjycUmz0nblRF6jFA/s320/Horses.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Horses Circa 1969 Torbert (l) and Herold (r)<br />
in the second row, and Kelly back row (l)</td></tr>
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<span style="font-family: 'Times New Roman';">Many of the other Torbert-sung tunes that were
the core of the Kingfish repertoire came from the Carter-Gilbert tunes penned
for the<u> Horses</u> album, where they were sung by Johnson. However, they were by
and large a great fit for the Kingfish bassist, and the band quickly made them
their own. These included the soaring “Jump for Joy” (titled “Run Rabbit Run”
on Horses, and the oddly syncopated and exotic “Asia Minor,” which was written
by the duo in conjunction with Quigley and Tim Hovey, who had a long
association with the Kingfish core and we’ll get to in part 2. A couple of tunes faked us out as potential
Dead covers. Torbert and Kelly’s “Hypnotize begins with an AM7 riff that
sounded just like the intro to “Eyes of the World” and Kingfish’s funky take on
“Battle of New Orleans” started out with a slow shuffle that sounded like the
intro to “Sugar Magnolia” on quaaludes. The group’s sole instrumental was a
cover of Little Walter’s “Juke” which had shown up on the Horses album with the
unlikely title Horseradish (and a Carter-Gilbert writing credit). For most of
the band’s career, Hoddinott sang a single tune – a cover of Junior Walker’s
hit “Shake and Fingerpop” (Hoddinott also sang another Walker single “Peace and Understanding” with Kingfish on occasion). <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">For most of the first year of his tenure in the
band, Weir sang only covers (except for his own "One More Saturday Night"), and only a very small number of tunes he did with
the Dead – initially only two Chuck Berry tunes – Promised Land and Around and
Around, which closed the first set and the show, respectively. For his other
tunes, Weir went back to El Paso composer Marty Robbins for another gunfighter
ballad, “Big Iron,” referenced Bill Monroe with “Muleskinner Blues,” Bobby
Womack with “It’s All Over Now,” and Bo Diddley with “Mona.” Although Weir
would later add these latter two tunes to the Dead’s repertoire, this was the
first place he played them, at least in a rock band context. Torbert dug deep
into the R&B repertoire for Rufus Thomas’ “Jump Back,” the Lieber and
Stoller classic “Young Blood,” Dave Bartholomew’s “I Hear You Knockin’” and
Junior Parker’s “Mystery Train.”<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3B2wJpI6hafJrdZJPL_AowprnMNZzl9IESP_bcblfJYIgYlZ2MWYWb4pv14gF38kSFB6MmqQvL0r-Kpxe8F496Thrq1kBKFFgfpQAvsRib2M2I-q7muYVMuumaojsEPlwClyJI0Qic44/s1600/Kingfish+best2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3B2wJpI6hafJrdZJPL_AowprnMNZzl9IESP_bcblfJYIgYlZ2MWYWb4pv14gF38kSFB6MmqQvL0r-Kpxe8F496Thrq1kBKFFgfpQAvsRib2M2I-q7muYVMuumaojsEPlwClyJI0Qic44/s320/Kingfish+best2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kingfish at the Chateau Liberte 2/24/75<br />
Photo: M. Parrish</td></tr>
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<span style="font-family: 'Times New Roman';">Thus Kingfish’s repertoire, at the outset, was
fundamentally different than those of the famous bands the two lead singers
hailed from. They clearly dug deep into their mutual love of all kinds of roots
music to fashion a repertoire that established Kingfish as its own entity.
Although they added a number of other covers and originals throughout the
1974-76 tenure of the original band, the songs they played that night at the
Chateau remained the lion’s share of Kingfish’s repertoire during their time
together, and in the several reunions that followed later in the century.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';">From the outset, Kingfish was a ferocious live
ensemble that had clearly spent a lot of time woodshedding before playing out. Torbert, whose skills and prominence as a lead vocalist and songwriter had
increased dramatically the last two years he was in the New Riders, seemed confident
and relaxed as putative leader of Kingfish, and Weir clearly relished the
challenge of moving into a more traditional rock/R&B ensemble. The band dug
deep into their collective musical tastes to develop a distinctive repertoire
that drew little from either the Dead or NRPS songbooks. The group also never
took on the Dead’s penchants for extended improvisation, focusing instead on
vocals and tight instrumental arrangements that gave Hoddinott plenty of leash
to display his flashy and virtuosic licks. The assembled throng of mountain
folks and Deadheads enthusiastically embraced the group’s style and repertoire.
Over the next couple of months, the Chateau became somewhat of a home away from
home for the quintet as they continued to hone their chops, and I will delve
more into their residency there in a subsequent post. <o:p></o:p></span></div>
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<!--EndFragment-->cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com17tag:blogger.com,1999:blog-6100854883581054455.post-54375729387385081332012-08-26T17:03:00.000-07:002012-08-26T18:33:27.091-07:00Grateful Dead - August 1972<br />
<style>p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: Times; }div.Section1 { page:</style>Upon returning from their winter-spring 1972 jaunt through
Europe, the Grateful Dead chose to spend the summer into fall alternating
between large outdoor shows and mid-sized, theatres. This week marks the 40<sup>th</sup>
Anniversary of a run of Dead shows that culminated in the much-heralded Veneta,
Oregon performance on 8/27/72 that was memorialized by the unreleased but
oft-bootlegged film <u>Sunshine Daydream</u> and was lauded by John Dwork in the first
volume of the <u>Deadhead’s Taping Compendium</u> as one of the high water marks of
western civilization. I went to two of the less heralded of the six shows of that run,, and took a few
pictures at the 8/20/72 show, so I thought I would take this occasion to share a few reflections
here.
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In the summer of 1972 , I was between my frosh and sophomore
years at the University of California Santa Cruz and home in Palo Alto for the
summer. As was the case every summer during my undergraduate years, I scrambled
to find employment that would allow me to fund the next year’s schooling. After
quite a bit of searching, I secured a temporary gig at plastics company Raychem
in Menlo Park, creating heat-shrinkable tubing for electronic wiring on the
graveyard shift. This was my first and only job on a production line, and it
gave me a deep appreciation for what my colleagues in the plant – and their
counterparts in similar facilities throughout the world – did every day. I
think it also gave me an even greatea appreciation of the privilege I had to
gain a college education. In the
meantime, the graveyard shift schedule, which began at midnight Sunday night
and ended at 8 AM Friday mornings (unless we worked overtime on Friday night as
well) wreaked havoc with my biological as well as social clocks. I would get home, eat breakfast, try to
sleep during the day, and emerge, vampire-like in the late afternoon or
evening. It never quite worked, and I always attempted to revert to a
conventional schedule on weekends, which meant that I spent most of the summer
in a sleep-deprived state. </div>
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In July, when tickets were announced for a run of four Dead
shows at the relatively intimate Berkeley Community Theater, I realized that
the only one of the shows my work schedule would permit me to attend was the
Friday, August 25 show. I and a few of my college friends, went to the local
Sears Ticketron outlet and got tickets which, if memory serves, were either in
the first or one of the closest rows. Roughly a week before this run of shows
began, a last-minute addition to the Dead’s schedule was added, for Sunday,
August 20 at the equally intimate San Jose Civic Auditorium. Since I didn’t
have to be at work until midnight that evening, I figured I would have time to see that show
as well, so it was back to Sears for general admission tickets for my friends
and I. </div>
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The Sunday show was the only time the Dead played the San
Jose Civic Audirorium, Although the band had roots in the mid-peninsula, and
had famously played the San Jose Acid Test in an old Victorian house on the current site of the San Jose City Hall Rotunda the night of the Rolling Stones’
1966 show at the Civic, they never gigged at the Civic Auditorium during the sixties, when the
auditorium hosted shows by a wide variety of rock acts including the Byrds,
Cream, the Airplane, and the
Buffalo Springfield. Garcia had played there a few weeks earlier (7/1/72) with
Merl Saunders, Tom Fogerty, John Kahn, and Bill Vitt, and apparently liked the
intimate, funky confines of the Civic enough to bring the Dead there as part of
their west coast August run. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTepiULoMmZpKGLuyoAM0sHD42ShACjrWw-D7NiX4K57cDK-UsmmrnJkYgwHazEmlyEjBwYzx4NlyfIplga4HNp0RRLjqX0_JLeWFpGanpjWIQPK4F110XgK_X-O_kvGoCBrY8Da_PKc/s1600/San_Jose_Civic_Auditorium-San_Jose-20000000000075332-500x375.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtTepiULoMmZpKGLuyoAM0sHD42ShACjrWw-D7NiX4K57cDK-UsmmrnJkYgwHazEmlyEjBwYzx4NlyfIplga4HNp0RRLjqX0_JLeWFpGanpjWIQPK4F110XgK_X-O_kvGoCBrY8Da_PKc/s320/San_Jose_Civic_Auditorium-San_Jose-20000000000075332-500x375.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">San Jose Civic Auditorium</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8XXoollFkUUXKSQAS0boR8BOHreAz56bByxe4QYx8kAWPtZt0yCjj_ohx1hEDDpl2_LURJoo1etFettQiqGEyDx7iTUf2giaLkjLaijUuCVBKm6KJ975Ynp0-5w45MpnyzeMcqswPScM/s1600/COVER_Civic.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8XXoollFkUUXKSQAS0boR8BOHreAz56bByxe4QYx8kAWPtZt0yCjj_ohx1hEDDpl2_LURJoo1etFettQiqGEyDx7iTUf2giaLkjLaijUuCVBKm6KJ975Ynp0-5w45MpnyzeMcqswPScM/s1600/COVER_Civic.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">San Jose Civic Auditorium in its heyday</td></tr>
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The Civic is a gorgeous, 3300 capacity mission-style
auditorium that was built as part of the WPA project and opened in 1936. The
horseshoe-shaped seating arrangement made for good sightlines from the floor,
the mezzanine seating, and the balcony.
After years of relative disuse during the late 20<sup>th</sup>century,
the audirorium underwent an extensive makeover in the last several years, and
now again serves as a mid-sized venue for south bay concerts. I saw veteran
rock bands Yes and Procol Harum there a couple of weeks ago, and was impressed
with the improvements in seating, lighting, and sound reinforcement, while maintaining
the feel of the old facility. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQo3fqRaipT_2VPbzNFAARQ3KXXIAp2TP0CCNCcc-BgY0LrG07eNxst6LZ4xL8WsBceyFTrXY6fEbVx7gGqG59_s9XTDZ7SCEeeBZfmCPlT5MsWZ4ELlL8U4cGV_bfdS6nzp3cg1AwYOg/s1600/Jerry2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQo3fqRaipT_2VPbzNFAARQ3KXXIAp2TP0CCNCcc-BgY0LrG07eNxst6LZ4xL8WsBceyFTrXY6fEbVx7gGqG59_s9XTDZ7SCEeeBZfmCPlT5MsWZ4ELlL8U4cGV_bfdS6nzp3cg1AwYOg/s320/Jerry2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jerry Garcia and Bob Weir 8.20.72 Photo: M. Parrish</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL4TIXWxu6kfjv_x6FKVwzVxjLX5QivfvYnpbVcqztsWQLb3CBKwFCVTaN0r0rt1C4FbK5mmAKl_PNWgSFSac9VViOXdmOjYhydNdel1w7w32tAKrTcOMlLjmrhyphenhyphenjqDEBz8Vx_KJ_AYeE/s1600/Phil+and+Bill.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL4TIXWxu6kfjv_x6FKVwzVxjLX5QivfvYnpbVcqztsWQLb3CBKwFCVTaN0r0rt1C4FbK5mmAKl_PNWgSFSac9VViOXdmOjYhydNdel1w7w32tAKrTcOMlLjmrhyphenhyphenjqDEBz8Vx_KJ_AYeE/s320/Phil+and+Bill.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bill Kreutzmann and Phil Lesh 8.20.72 Photo: M. Parrish</td></tr>
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Although the San Jose show was held on a Sunday night and
was a last-minute addition to the roster, it was the Dead’s first local
appearance since the trip to Europe, and drew a respectable, if not sold out
crowd. Their set included a few songs that local crowds had not heard before,
including the Garcia-Hunter ballad “Stella Blue” and “He’s Gone,” Hunter’s not
to Mickey Hart’s father Lenny, the
one-time Dead manager who had absconded with a bunch of the band’s money a
couple of years before. What was most striking, to me at least, was the extent
to which Keith and Donna Godchaux had been incorporated into the band. Keith’s jazzy piano chops proved a
powerful foil to Garcia and Lesh, as evidenced by the extended improvisational
workouts on “Playing in the Band” and “The Other One.” Donna’s vocal role was
most evident on choral arrangements such as the coda to “He’s Gone” and the
almost doo-wop harmonies that now ornamented Bob Weir’s “One More Saturday
Night.” The relatively concise show was over by about 1030, giving me plenty of
time to make it to work by midnight. </div>
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The 8/20/72 gig was, sadly, the Dead’s only performance at
the San Jose Civic, and they only played the city of San Jose one more time, an
outdoor show at San Jose State University’s Spartan Stadium in 1979 that was
the debut of keyboardist Brent Mydland. </div>
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<tr><td class="tr-caption" style="text-align: center;">Berkeley Community Theatre</td></tr>
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The Berkeley Community Theatre which seats 3500, is similar
in size to the San Jose Civic, but configured more of a conventional theatre
than the arena-shaped south bay venue. Throughout his years as a promoter, Bill
Graham used the facility for more upscale acts that benefited from its fixed
seating and acoustics far superior to Graham’s other venues like Winterland and
the Cow Palace. The Dead first played the BCT in 1968, and had played two shows
there the previous August, but the decision to play four nights there rather
than two or three at Winterland this time out was clearly was an artistic
rather than a financial one. </div>
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The band’s BCT run is considered by many to be a high water
mark of 1972, leading up to the infamous Oregon Field trip show the following
Sunday. Excellent soundboard tapes circulate of the shows on the the 21<sup>st</sup>,
22<sup>nd</sup>, and 24<sup>th</sup>, but the Friday show is one of the few
shows for which neither a complete recording or even a full setlist exists. A
fragmentary soundboard recording is known that has the song order jumbled,
based on my memory of the show. </div>
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After waking from my Friday afternoon slumber, I collected
my college roommate Tim and on and off girlfriend Debbie for the trip up to
Berkeley. Arriving there, we made what proved to be a serious tactical error by
chowing down at the Giant Burger on University Avenue, a perennial Berkeley
landmark for many years previously and afterwards. We got to the Theater early,
which proved to be a good thing. At 730, Bill Graham came out to announce that
the show, scheduled for 8 PM, would be starting early with an unannounced set
by the New Riders of the Purple Sage, who played their distinctive cosmic
cowboy country rock for a good hour. </div>
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After a break, the Dead came on and got a rare
person-by-person introduction “for all the folks from Boise” before the band
slipped into their slow, funky rendition of “Cold Rain and Snow.” The first set
was relatively textbook, save for a rare, and very rough, rendition of “The
Frozen Logger,”which tended to show up when the band was dealing with some
onstage equipment woes. The set ended with an uncharacteristically ragged
version of “Bertha,” with Garcia mangling the words of a song he had performed
at practically every show for the previous year and a half. The second set opened with Weir’s
spirited reading of Chuck Berry’s “Promised Land” which was followed by another
wild and wooly voyage through “Playing in the Band” which, clocking in at 18
minutes plus, was half again as
long as the version we had heard in San Jose a few days before. </div>
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During this era in the band;s existence, the extended
segment during the second set almost always alternated between sets of songs
built around either “Dark Star’ or “The Other One.” As fate would have it, the Dark Stars occurred on Monday and Thursday, so both the San Jose and 8/25
Berkeley shows featured sets of music that opened with “Truckin’ and wound
their way into “The Other One,” terminating in a slow ballad. For the San Jose show, the transition between
the two songs was punctuated by a Bill Kreuztmann drum solo, but the Friday
Berkeley show found Truckin’ gradually giving way to one of Phil Lesh’s
infrequent but always adventurous bass solos which drove the band powerfully
into another long, frenetic
version of“The Other One,” which is separated by a break (presumably because of
a tape flip) from “Black Peter”on
the soundboard tape. </div>
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The Berkeley Community Theater was (and presumably still is)
a union house, and stiff penalties were assessed if shows went beyond the
contracted midnight curfew. Although the New Riders had started early, their
set placed time pressure on the Dead’s usually open-ended time schedule. Thus the
show ended somewhat abruptly without an encore with a “Sugar Magnolia” that
just squeaked in before the witching hour. Our show actually ended even a bit earlier, as the Giant Burger in
Tim’s stomach had been making its presence known more and more strongly through
the latter part of the show, and had us taking our leave just as the band was
swinging into “Sunshine Daydream.” </div>
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<br />
After this run, the Dead did not play the BCT for many years, although Garcia played a benefit there with Merl Saunders in 1974 and some of the band participated in an acoustic set for a 4/15/81 benefit for SEVA. 1984, 1985, and 1986, the band did an annual run of shows there that were benefits for their chairtable arm, the Rex Foundation. Their last show there, a benefit for the music programs of the Berkeley public schools, was an acoustic set billed as Phil Lesh and Friends on 9/24/94. The BCT has fallen into relative disuse in recent years, but recently had a new sound system installed, so perhaps it will, like the San Jose Civic, experience a 21st century revival as a live music venue. </div>
cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com7tag:blogger.com,1999:blog-6100854883581054455.post-52798968026049073882012-07-13T20:57:00.001-07:002012-07-13T20:57:17.380-07:00Fillmore West 11.6.70 – Zappa, Boz, and More.<style>
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<tr><td class="tr-caption" style="text-align: center;">Frank Zappa Fillmore West 11.6.70 Photo: M. Parrish</td></tr>
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Freak Out!, the first double album by the Mothers of
Invention, was among the first dozen or so albums I bought, and Frank Zappa’s
compositional skills, the eclectic musicianship of the original Mothers, and
their greasy, sarcastic personae held great appeal to me as a mid-teen aged
music nerd. Although I had all of their albums, the first opportunity I had to
see Zappa in person was in November of 1970. Zappa and the Mothers topped a
typically eclectic Bill Graham quadruple bill at the Fillmore West. Not unlike
something out of one of Zappa’s cheesy teen anthems, a planned date to go to
the show fell through at the last minute, so I once again headed up to San
Francisco on a Friday night with my dad to Market and Van Ness. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7KeoyNMXJmEJWL2YYuioGnTY5eGzqxIU0rj_0KIaSqNf10Px1IAwDJdxgTETDWdXA1Kyorglv5Q7Kb32qB2QupkjtGd_kyedvyuqpiDQOt0oPHC_Hnt5F4_bw13YyWMlz_MPnFgy4Y8k/s1600/BG255-PO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7KeoyNMXJmEJWL2YYuioGnTY5eGzqxIU0rj_0KIaSqNf10Px1IAwDJdxgTETDWdXA1Kyorglv5Q7Kb32qB2QupkjtGd_kyedvyuqpiDQOt0oPHC_Hnt5F4_bw13YyWMlz_MPnFgy4Y8k/s400/BG255-PO.jpg" width="265" /></a></div>
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At the Fillmores, Bill Graham was extremely fond of throwing
together eclectic mixes of performers. Some made for artistic magic and others
seemed – well – thrown together, and that was more the case for the Zappa show.
Opening were two solid touring power trios from the UK. Bottom of the bill (and absent from the poster) was
Irish band Skid Row (not to be confused with the later hair metal band), who
played the familiar loud blooz rock that Cream had adopted from Chicago
bluesmen like Buddy Guy a few years earlier. Skid Row’s guitarist was a young
Garry Moore, who later became a regular guitar foil for Cream’s Jack Bruce,.
They had briefly included future Thin Lizzy front man Phil Lynott on bass, but
he was gone by the time I saw them. I honestly don’t remember much about Skid
Row’s set – they couldn’t have played too long because of time constraints. </div>
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Next up were Liverpudlians Ashton, Gardner, and Dyke, who
are best remembered today for one significant hit – “Resurrection Rag.” A bit
proggy, A, G, & D put on a reasonable show that ended up with them doing
that “Rag.” After splitting up in 1972, Ashton, Gardner, and Dyke performed in
a number of short lived bands with former members of Deep Purple and Yes. They
put on a pretty good show, but didn’t make much of an impression.</div>
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After departing the Steve Miller Band in 1968, guitarist Boz
Scaggs disappeared for a year or so, re-emerging with his sublime eponymous
solo <a href="http://en.wikipedia.org/wiki/Boz_Scaggs_%28album%29">album</a> on Atlantic, which he had recorded in Muscle Shoals with the studio’s crack
session team augmented by Duane Allman, who played a particularly dazzling solo
on “Loan Me a Dime,” the Fenton Robinson blues that became Scaggs’ signature
tune. After the album’s release, Scaggs assembled a large ensemble that became
one of the best live bands during their time together from 1970 to 1972. The
group’s first album together, 1970’s <a href="http://en.wikipedia.org/wiki/Moments_%28Boz_Scaggs_album%29">Moments</a>, was quiet, elegant, and jazzy – a strong departure from much
of what was coming out at the time,
and a record that has stood the test of time much better than some of
Scagg’s later disco efforts. Scaggs built his band around a set of talented and
seasoned players, including former Mother Earth drummer George Rains, guitarist
Doug Simril, keyboard player Jymm
Joachim Young, and a horn section made up of trombone player Pat O’Hara, sax
and flute player Mel Martin, and trumpeter Bill Atwood (later replaced by Tom
Poole). Scaggs’ sets of that era relied heavily on material from his first two
solo albums, as well as a long, spacy version of“Baby’s Calling Me Home” from
the first Capitol Steve Miller Band album. The
horn section did a lot more jazz blowing than R&B punctuation, and Young’s
organ was a perfect counterpart for Scaggs and Simril’s heavily reverbed
guitars. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKB-YEVihvdtw8IXLP9LdRi6GigXXA_kzj392ibCnI56pRj_kBYl5p52-_i0MjSFZU08PoKgc1lfA7bv-y_9mmu38kN2FZc2jeMSvBM7XCWJUBgPR9HjSY4UvOB2MguKXB9H5KMVNVk4/s1600/Flo's+belly.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYKB-YEVihvdtw8IXLP9LdRi6GigXXA_kzj392ibCnI56pRj_kBYl5p52-_i0MjSFZU08PoKgc1lfA7bv-y_9mmu38kN2FZc2jeMSvBM7XCWJUBgPR9HjSY4UvOB2MguKXB9H5KMVNVk4/s320/Flo's+belly.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jeff Simmons, Flo, and Eddie 11.6.70 Photo: M. Parrishj</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Frank Zappa’s original Mothers of Invention had been a
relatively stable group for nearly five years, and that was the ensemble I
fully expected to see at the Fillmore. However, Zappa had broken up the Mothers the previous November and, since June, had been touring with an entirely
different group of Mothers built around former Turtles vocalists Mark Volman and Howard
Kaylan (who assumed the nom de plumes of the Phlorescent Leech [later shortened to Flo] and Eddie during their tenure with Zappa). This group was as
theatrical, if not more, than the previous group, but relied much more on
physical comedy, pubescent
humor, and heavily vocal arrangements. In addition to Zappa, the group had some
very accomplished instrumentalists in jazz keyboard player George Duke,
multi-instrumentalist Ian Underwood (the sole carryover from the 'classic' Mothers), and drummer Aynsley Dunbar. Bass player
Jeff Simmons was also a solo artist on Zappa’s Straight label who had recently
released <a href="http://en.wikipedia.org/wiki/Lucille_Has_Messed_My_Mind_Up">Lucille Has Messed My Mind Up</a>, which has subsequently become a cult
classic.</div>
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<tr><td class="tr-caption" style="text-align: center;">Aynsley Dunbar and Zappa 11.6.70 Photo: M. Parrish</td></tr>
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Zappa had recently finished filming his first movie Uncle
Meat in 1969, but announced at the
Fillmore that the show was being filmed for a second movie, 200 Motels. Uncle
Meat was not released as a film until a video version came out in 1987, but the
1969 double LP of the same name was one of the best efforts by the jazzy,
middle period Mothers. 200 Motels, on the other hand, was released commercially
in 1971. The film, starred a bizarre cast including Theodore Bikel and Ringo
Starr. No footage from the Fillmore show was
included in the movie proper, but much of the material filmed showed up in a 1971 VPRO TV documentary on Zappa and was also excerpted in Zappa's 1988 documentary The Real Story of 200 Motels. When you take into account the widely distrubuted soundboard tape of much of the performance, this stands as one of Zappa's best documented concerts. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBZKDhZ2Ab7sq48TtxirOJ_yMb8xiFkRBaVUwSUQ3i1_e9DjfHWuv_OhL1VWzQJjrefWEVraItNisVw8-VQfnjQGJ0cK8DIdQU72oy3iRHVkGUHBJxCZYuYwtkjJR5ExyZvH30e4oTpM/s1600/Zappa+and+Camera+edited.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDBZKDhZ2Ab7sq48TtxirOJ_yMb8xiFkRBaVUwSUQ3i1_e9DjfHWuv_OhL1VWzQJjrefWEVraItNisVw8-VQfnjQGJ0cK8DIdQU72oy3iRHVkGUHBJxCZYuYwtkjJR5ExyZvH30e4oTpM/s320/Zappa+and+Camera+edited.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zappa and Cameraman 11.6.70 Photo: M. Parrish</td></tr>
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<span style="font-family: Times; font-size: 12pt;">The
set of music the band played the night I saw them was similar to much of what
was released on Fillmore East June 1971, mixing old Mothers songs like “Call Any Vegetable,” “Little House I
Once Lived in” and a greatly shortened “King Kong” (all modified to incorporate
the new vocal-heavy lineup) with new material like “The Sanzini Brothers” and
“Do You Like My New Car?” which was built around comedy routines by Kaylan and
Volman and allowed them to trot out the Turtles hit “Happy Together.” Although
the group’s instrumental chops were still considerable, I was pretty
disappointed that there wasn’t more Uncle Meat-style instrumental
extrapolations. Still, I was glad
to have seen Zappa during this period and, if nothing else, he and his
bandmates proved great photographic subjects, probably due at least in part to the film crew's presence.</span>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com1tag:blogger.com,1999:blog-6100854883581054455.post-11516189755028232182012-06-09T15:01:00.003-07:002020-08-05T19:06:11.425-07:00Jerry Garcia and his banjo in Santa Cruz 1973-75Jerry Garcia performed relatively often in the Santa Cruz area with his various bands from 1975 until 1985, but his previous appearances were few and not too well documented. Garcia clearly had friends in the area, but seemed to either not be interested in making the trip down south for gigs or, possibly more likely, lacked an appropriate place to play in the area and/or a reliable promoter to work with.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkxG_UShc0UuNOG_FUUEsx-34TtVoa2IhuIjkzgM8-uWRtz4G3pAOslVT86utPiPXiH5GdVqNltMx7G5mNiWm3ZdpIYS_ME2IMoy1rjYV5IFk0VS0sqf2o_LiLvxmUAQCYNBBHsfkiYE/s1600/OIITW+Santa+Cruz+Civic.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkxG_UShc0UuNOG_FUUEsx-34TtVoa2IhuIjkzgM8-uWRtz4G3pAOslVT86utPiPXiH5GdVqNltMx7G5mNiWm3ZdpIYS_ME2IMoy1rjYV5IFk0VS0sqf2o_LiLvxmUAQCYNBBHsfkiYE/s320/OIITW+Santa+Cruz+Civic.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poster for 10.5.73 OIITW Show</td></tr>
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The first Garcia gig I know of in Santa Cruz county (not counting possible acid tests or undocumented early Dead gigs) was on October 5, 1973 at the Santa Cruz Civic Auditorium with Old and In the Way. From 1978 on, Garcia played at the Civic on a number of occasions with his touring band, but this was a rare opportunity to see him on banjo in an acoustic setting. Old & In the Way, which also comprised Peter Rowan (guitar, vocals and principal songwriter), David Grisman (mandolin and vocals), John Kahn (bass) and a variety of fiddle players (most prominently Vassar Clements, who was on board at the Civic gig), had been playing as an ensemble since March, 1973 in between Garcia's gigs with the Dead and Merl Saunders. Other than a couple of concert hall/bluegrass festival mini-tours back east, OIITW had pretty much restricted themselves to club gigs at places like the Keystone Berkeley, Homer's Warehouse, and the Boarding House, so the SC Civic (capacity 2000) show was a large one for them, and a pretty big payday for the other band members, even at the $3.50 advance/$4 door tariff. The promoters, Jelly Roll Community Productions, probably promoted some other shows in the area, but never established themselves as a regular force in the region's concert market. <br />
<br />
For many years, the SC Civic had been underused as a concert venue. The first show I saw there was an early Santa Cruz Neil Young gig with the Stray Gators the previous spring (3/10/73) about which I will write more later at some point. The venerable and relatively intimate venue has always been a fine place to see concerts, with good sight lines from almost anywhere on the floor or the raised stands that ring the arena. It remains a cultural icon in Santa Cruz, hosting concerts on a regular basis along with the annual season of appearances by the city's very popular Santa Cruz Roller Derby Girls. The OIITW show was general admission, with chairless festival seating on the floor. I recall our contingent getting a very good position on the floor a few people back from the stage. The hall was full, probably sold out, but not oversold. <br />
<br />
Although I had heard a few OIITW shows on the radio, the Civic show was the only time I saw the bluegrass quintet live. They were preceded by two solo acts. First up was Bruce Frye, who had spent the lead singer and principal songwriter for the beloved Santa Cruz proto-jam band Oganookie (which will get a post of their own at some point) before the group broke up a few months earlier. As a hometown hero, Frye's laid back solo set was brief but well received. Next up was folk legend Ramblin' Jack Elliot, who by this time lived in Marin and traveled in the same circles as the members of the Dead. Elliot opened at least one other OIITW show, the group's last regular gig at Sonoma State on 11/4/73. An old pro, Elliot worked the crowd masterfully with his short, alternately wry and wistful performance before the stage was set for Old and In the Way.<br />
<br />
I did not make a set list for the OIITW set, and no recordings seem to exist of the show, so I can only approximate what was played (Paradoxically, the compere announced that the show was being broadcast live on Santa Cruz radio station KUSP - so far as I know, no recordings of the broadcast exist!). The group's repertoire is very well represented by the band's original album (which remains one of the best selling bluegrass releases today) and the several subsequent archival releases on David Grisman's Acoustic Disc label. Most of Peter Rowan's OIITW originals were played - "Lonesome LA Cowboy," "Panama Red," "Midnight, Moonlight," and an extended version of "Land of the Navajo" to finish up the one long set. I think they opened with the Stanley Brothers tune "Goin' to the Races" and they also played the Jack Bonus Tune "Hobo Song" as well as Grisman's "Old and In the Way." Garcia took a vocal lead on another Stanley Brothers tune, "White Dove," while Rowan shone on his interpretation of the Stones tune "Wild Horses." Late in the set, Ramblin' Jack came out to yodel the Hank Williams classic "Waiting for A Train." Particularly impressive was the fiddle work of Vassar Clements on his own "Kissimee Kid" and the set closing extravaganza "Orange Blossom Special." I'm sure more was played, but I was mostly familiar with the OIITW repertoire from a couple of radio broadcasts at that point and don't trust my memory any further. The group seemed in high spirits and played very well together, leaving little indication that they would call it a day (other than a short reunion at the 1974 Marin Bluegrass Festival) after two more gigs. For whatever reason, I did not bring my camera to this show, probably operating under the assumption that I would have the opportunity to photograph the group under more favorable circumstances at some other time. Too bad.<br />
<br />
In February, 1975, Margarita's a new watering hole/restaurant featuring live music opened at 1685 Commercial Way, just east of Highway 1 in south Santa Cruz. The club was nicely appointed, airy, and featured very good Mexican Food. They had a 'soft opening' on February 16 with Kingfish, and scored a real rarity a few nights later that will be the focus of the rest of this post. To get a feel for Margarita's and their adventurous and diverse booking policy, here is a reasonably complete schedule of the club's adventurous jazz/rock/blues bookings during the Winter/Spring/Summer of 1975:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMpBLI5jF9_3v6Zrar10ZcBijOvTpUiauEfl1jRRYT8dPTS-81gqn0BLC5mVfsN5mXX4Y4EtUlcavXSM4wd8FxRSKMLgEEywYAEj6fYRxBydj9NS5KKsxAFGqUUOcw4C03gFcfd9_LOw/s1600/Margaritas+Edited.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMpBLI5jF9_3v6Zrar10ZcBijOvTpUiauEfl1jRRYT8dPTS-81gqn0BLC5mVfsN5mXX4Y4EtUlcavXSM4wd8FxRSKMLgEEywYAEj6fYRxBydj9NS5KKsxAFGqUUOcw4C03gFcfd9_LOw/s320/Margaritas+Edited.jpg" width="208" /></a></div>
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2/16 Kingfish<br />
2/20, 21 Good Old Boys<br />
2/22,23 Sons of Champlin<br />
2/24,25 Sonny Terry and Brownie McGee<br />
2/27,28 Earl "Fatha" Hines<br />
3/1,2 Albert King Revue<br />
3/8 Etta James, Anna Rizzo and the A Train<br />
3/12,13 Dr. Hook and the Medicine Show<br />
3/14,15 Kenny Rankin<br />
3/17 Gato Barbieri<br />
3/21 Butch Whacks and the Glass Packs<br />
3/22 Pablo Cruise<br />
3/23 Billy Cobham<br />
3/27 Don Ellis Big Band<br />
3/28 Snail<br />
3/29 Chameleon<br />
3/30 Ray Brown<br />
4/1,2 Eddie Harris<br />
4/3 Chameleon<br />
4/4,5 Hugh Masekela<br />
4/7,8 George Benson<br />
4/10 Chameleon<br />
4/11,12 Jimmy Witherspoon<br />
4/13 Hoodoo Rhythm Devils<br />
4/14 Eleventh House with Larry Coryell<br />
4/18 Snail<br />
4/19 Pablo Cruise<br />
4/20 Snail, Larry Hosford, Artichoke Revue<br />
4/22,23 Return to Forever<br />
4/24 Oregon<br />
4/25,26 Beau Brummels<br />
4/27 Bobby Hutcherson/Randy Masters<br />
4/29,30 Willie Dixon and the Chicago All Stars<br />
5/1 White Eyes<br />
5/2,3 Cold Blood<br />
5/4 Dirty Butter<br />
5/5 Caryn Robin<br />
5/7,8 Burrows-Larson<br />
5/9 Grinders Switch<br />
5/10 Tubes<br />
5/12 Caryn Robin<br />
5/14,15 Jeremy Steig <br />
5/16,17 Muddy Waters<br />
5/23,24 Etta James<br />
5/25 Snail<br />
5/27 Chameleon<br />
5/28,29 Holly Penfield<br />
5/30,31 Tubes<br />
6/1 White Eyes<br />
6/3 Brian Auger<br />
6/5,6 Stoneground<br />
6/7 Kingfish<br />
6/10 Freddie King and Pablo Cruise<br />
6/12-14 Snail and Raw Soul<br />
6/15 White Eyes<br />
6/16 Caryn Robins<br />
6/19 Dirty Butter<br />
6/20,21 Keith and Donna<br />
6/22 Snail<br />
6/23 Caryn Robins<br />
6/24 Feltones<br />
6/25, 26 Country Joe McDonald<br />
7/13,14 James Cottom<br />
7/16,17 Sons of Champlin<br />
7/18,19 Jerry Miller Band<br />
7/20 White Eyes<br />
7/21 Burrows-Larson<br />
7/22 Holly Penfield<br />
7/25,26 Raw Soul<br />
7/27,28 Soundhole<br />
7/29 Holly Penfield<br />
7/30,31 Stoneground<br />
8/1,2 Albert Collins<br />
8/4,5 Hedzoleh Sounds<br />
8/6,7 Bo Diddley<br />
10/2 Merl Saunders<br />
10/3 Kenny Rankin<br />
10/4-5 Jerry Miller<br />
10/6 White Eyes<br />
10/7 Artichoke Brothers<br />
10/8-9 Kathi McDonald<br />
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<br />
Jerry Garcia's second appearance in Santa Cruz during the 1970s was a very low key affair. As was the case elsewhere in the bay area at that time, he could show up at a club, get a reasonable but not unmanageable crowd, and get to play some music without a lot of the hoopla and baggage that came with a Dead show. Because Margarita's had just opened, publicity for this show was pretty miniscule - a concert schedule listing in Santa Cruz weekly rag Sundaz was about all there was. I had learned about it when I went to the Kingfish show that opened the venue. Given Garcia's popularity, it was surprising to find a relatively sparse group in attendance. I went to the second of the two evenings, on February 21. <br />
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During early 1975, Jerry Garcia's principal playing output was the Garcia/Saunders Band, which was shortly going to start billing themselves as Legion of Mary. The Dead were on hiatus except for a few one-off appearances such as the one they would do the next month at Kezar Stadium. So why would Garcia show up playing banjo in a tiny Mexican Cantina in Santa Cruz with an entirely unique lineup? Posts in both Jerry Garcia's Middle Finger and Lost Live Dead have posited that Garcia often experimented with formats in out-of-the-way venues, and Margarita's certainly fit that bill at that point in time.<br />
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At Margarita's the Good Old Boys comprised Garcia on banjo, mandolin player Frank Wakefield, New Riders guitarist David Nelson, fiddler Brantley Kearns, and standup bassist Pat Campbell. During the course of their set, it became apparent that the group, less Garcia (who had produced) and augmented by bluegrass legends Chubby Wise on fiddle and Don Reno on banjo, had just recorded an record an album,<i> Pistol Packin' Mama</i>, that came out a few months later on the Dead's Round Records label. Clearly Reno and Wise, who participated in <a href="http://www.candlewater.com/interviews/WakefieldandGarcia_1/">two days of recording for the album</a>, had already decamped back down south, so Garcia was recruited to fill the banjo slot, and Kearns, who was also an actor and went on to work successfully with Dwight Yoakum a few years later, had been selected as the fiddler. I wish my memory of the set was more substantial, but it is no surprise that they played most, if not all, of the material on the album, which included the title tune, "Ashes of Love," "Dim Lights," and "Glendale Train" from the NRPS repertoire and "Deep Elem Blues" (Wakefield's version) which was a regular in the Dead's 1970 acoustic set lists. Garcia sang a couple of tunes, "All the Good Times" and "Drink Up and Go Home," another tune that appeared a few times in 1970 Acoustic Dead sets. it was a fun, low-key evening, and Garcia, Nelson, Wakefield, Kearns, and Campbell seemed to be really enjoying themselves. Amazingly, this performance was released on CD in 2018 on Rock Beat Records, having been recorded by John Cutler, later the Dead's sound man, using Owsley Stanley's Nagra Reel to Reel recorder. <br />
<br />
Although Garcia did not make a return visit to Margarita's he started to visit Santa Cruz more regularly thereafter, first for three 1975-76 shows (10/8/75, 2/26/76, and 8/19/76) with the JGB at the Del Mar Theatre, downtown on the Pacific Garden Mall, and later at both the Catalyst two blocks down Pacific (11 shows from 1979-85: 3/30-31/79 5/27/79, 2/7/80, 1/18/81, 1/29/81, 2/2-3/82, 10/13/82 and 10/16/85) and back at the Civic Auditorium (2/19/78, 3/5/83, and 2/24/87). <br />
<br />
As for Margarita's - their high-profile booking policy seems to have been hard to sustain financially and, even by the time the gig summary above tailed off, they were relying more and more on homegrown Santa Cruz talent and closed by sometime in 1977. Margarita's was visited on several occasions by Neil Young's stealth tours of Santa Cruz, at least once in 1976 and, I believe, on several nights during his summer of 1977 residency with the Ducks, which I will get to here in due time...<br />
Today the location is a medical/dental office building, but a relatively similar venue, <a href="http://www.moesalley.com/">Moe's Alley</a>, is located about a block away, at 1535 Commercial. <br />
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<br />cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com17tag:blogger.com,1999:blog-6100854883581054455.post-88940495512983197002012-05-05T18:07:00.002-07:002012-05-06T08:52:26.171-07:00Grateful Dead Fillmore West 6/5/70 and 8/19/70<div class="separator" style="clear: both; text-align: center;">
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During the summer of 1970, the Dead continued to tweak their
concert format. With the addition of the New Riders into the shows, along with
the acoustic sets, the Dead could now provide an entire evening of music on
their own. However, the June 1970 Fillmore West run of the group was
transitional in that the billing followed the traditional Bill Graham three act
format, with the poster listing the Dead, the New Riders, and Southern Comfort.
My father and I went to the Friday show of the set, which meant dealing with
end-of-week traffic that resulted in us getting in a bit after the show had
started. Based on the format of previous Graham-booked Dead shows, we pretty
much expected the Dead’s acoustic set to be folded within their electric set at
the top of the bill. Therefore we were surprised to walk into the Fillmore to
the strains of acoustic guitars and Bob Weir singing “Silver Threads and Golden
Needles.” The acoustic
configuration of the Dead sounded more polished than it had in April, and again
both Hart and Pigpen were absent. The repertoire was pretty familiar, the still
unreleased “Friend of the Devil,” “Me and My Uncle” transferred over from the
electric repertoire, and two tunes from the recently released Workingman’s
Dead: Black Peter and the set closing “New Speedway Boogie,” for which Garcia
switched over to electric guitar. Unlike the previous evening’s acoustic set, a
tape of which recently surfaced, neither
David Nelson nor John Dawson from the New Riders participated in the evening’s
acoustic set,</div>
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Following the acoustic Dead set was a great set by
Southern Comfort, a band of seasoned Bay Area blues players that included
drummer-vocalist Bob Jones, organist Steve Funk, guitarist Fred Olson, and a horn
section comprising trumpeter John Wilmeth and saxophonist Rev. Ron Stallings.
The group had recently released their debut album on Columbia, produced jointly
by Nick Gravenites and soon-to-be Garcia sidekick John Kahn. Their big band
blues-rock sound was very much in the style of what Gravenites and guitarist
Michael Bloomfield were dishing out in that era – not too surprising as several
of the Southern Comfort musicians, notably Jones, Wilmeth, Stavro, Olson, and
Stallings, also played in the Bloomfield/Gravenites bands of that era. Sadly,
Southern Comfort proved a relatively short-lived experiment, releasing only the
one, eponymous album in 1970, but they sounded great live. </div>
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Next up were the New Riders, playing what may have been
their first Fillmore West run (I have seen the New Riders listed as having
played the evening of 2/7/70, but this is unconfirmed and doubtful). The Riders
had tightened up considerably in the couple of weeks since I had seen them at
Peninsula School, another indicator that David Torbert was a very new recruit
to the band in spring of 1970 (see discussion here). No real surprises in their
set, which was mostly first NRPS album material augmented by tunes like “Truck
Drivin’ Man” and “Six Days on the Road.”</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLoly23TAhsYTTJfmGHiJh0lLzqvSuq9LVdmcLsMBLUbEkegVZMAwYnlmooIQbKaNWeEMCu7FkdwuFMkcvaMpVE263UJnDxTOXQO6U4_PXNtIXM3HYVYwsK0yt83M8BMnO-hUyoZTAeyk/s1600/Bob+and+Billy+Cropped.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLoly23TAhsYTTJfmGHiJh0lLzqvSuq9LVdmcLsMBLUbEkegVZMAwYnlmooIQbKaNWeEMCu7FkdwuFMkcvaMpVE263UJnDxTOXQO6U4_PXNtIXM3HYVYwsK0yt83M8BMnO-hUyoZTAeyk/s320/Bob+and+Billy+Cropped.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Weir and Kreutzmann 8.19.70 Photo: M. Parrish</td></tr>
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The Grateful Dead played a particularly long, expansive
electric set, starting out with their most frequent opener of that era, “Cold
Rain and Snow.” “Easy Wind” brought McKernan to center stage, and provided an
early opportunity for some open-ended jamming, followed inevitably by one of
Weir’s cowboy covers, Merle Haggard’s “Mama Tried.”</div>
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For whatever reason, the Dead rarely played "Dark Star" on
their home turf in 1970 (2/8/70 and possibly 4/11/70 are the only verified Dark Stars
played in northern California that year), but they seemingly loved to trot out
the "Cryptical Envelopment/Other One" suite on home turf. A napkin compilation
shows the Dead playing Dark Star once (possibly twice if they played it on
4/11/70) in Northern California out of 24 shows for which complete set lists
exist. By contrast, they played
the "Cryptical" suite (or sometimes just "The Other One") at 12 of those 24
shows. By contrast, looking at shows in greater Metropolitan NYC (28 total), "Dark Star"
and "Cryptical" were played 11 times each. Needless to say, the long number on
6/5 was again "Cryptical Envelopment" leading into a short drum duel followed by
“The Other One" and back into a long, mellow “Cryptical" Coda, which threatened
to go into "Cosmic Charlie", but eventually wound down, leading directly into the
first hometown version of “Attics of My Life,” which the Dead would shortly be
recording for inclusion on American Beauty. Laced with complex vocal harmonies, “Attics” was always hard
for the Dead to pull off in concert, and this version has its share of shaky
harmonies. Neglected mid-set,
Pigpen was given two showcases in a row, a rollicking, if flub filled, “Hard to
Handle” followed by one of many long, snaky versions of “It’s a Man’s World”
that the Dead played between March and September, 1970, when it mysteriously
vanished from their repertoire for good. As curfew time approached, the main
set wound up with a nice electric version of “Uncle John’s Band.” The encore
consisted of a dynamic twofer of “St. Stephen” charging into “Casey Jones.”
This show was notable for me as the only 1970 Dead show that I was able to hear
all the way to the end although, as fate would have it, I missed its beginning. </div>
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Two months later, the Dead announced an early week August run
back at the Fillmore West (this time a full “Evening with the Dead with no
support other than the NRPS), and I convinced my brother, home from college for
the summer, to go up with me for the Wednesday, 8/19/70, show. Contrary to the
report in <a href="http://www.deadlists.com/">Deadlists</a>, there was no opening bluegrass group unless they played
well before the 8 PM start time. By August, the Dead’s acoustic sets had become
more arranged and complex, with an acoustic piano onstage and an extended
segment featuring Dawson and Nelson from the New Riders. The band was recording
<u>American Beauty</u> concurrently with the Fillmore run, and thus it was no surprise
that the show featured a good chunk of material from that album, along with a
good selection of traditional folk and blues tunes. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0TxA5sipfEfaPTa_c76OIVUJOnzm8KXIKtKHr_nUXxOQL7rxSokajqbxtcXtn3JE3THKmZgrMablIJtYPlWOmjcjK5JTUeJNfDR-Oe2sZYlgSaL27K8DHyszZMymYMAoTyocLCde8zw/s1600/Acoustic+Dead+1+closeup.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0TxA5sipfEfaPTa_c76OIVUJOnzm8KXIKtKHr_nUXxOQL7rxSokajqbxtcXtn3JE3THKmZgrMablIJtYPlWOmjcjK5JTUeJNfDR-Oe2sZYlgSaL27K8DHyszZMymYMAoTyocLCde8zw/s400/Acoustic+Dead+1+closeup.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acoustic Dead 8.19.70 Photo: M. Parrish</td></tr>
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Weir kicked things off with “Monkey and the Engineer,” a
tune he learned (along with “Beat It On Down the Line”) from Oakland one man
band Jesse Fuller. Garcia came back with the traditional “How Long Blues”
augmented by some gospel tinged piano. The keyboardist was not clearly visible
from my vantage point (or in the photos), but my thesis is that some of the
piano was played by Ned Lagin (who was visiting the Dead from back east that
summer and played on <u>American Beauty</u>), and the rest was played by
Pigpen. "Friend of the Devil" was composed by John Dawson, Jerry Garcia, and
Robert Hunter in late 1969, and became a hallmark of the Dead’s acoustic sets
from late February. Friend of the Devil had entered the acoustic dead
repertoire early on, but was much more polished in its incarnation that
evening, thanks in part to the addition of the piano part. Weir, whose
compositions on American Beauty consisted of "Sugar Magnolia" and a co-writing
credit on “Truckin,” dipped back into the public domain for the bluegrass
chestnut “Dark Hollow.” </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJ9MVWDzoBXBdbKqMeLW9l8Oih5o5ufE24Zujk_k2d_k3vueeHxvL1V0pOFLOJK7xho5fzIq7LazMktvnuUqxw7PuPxDxw6P_9ffJXMFpJUKHhjfwEmzucvbYdsGi0A3HRX2xyflJl-s/s1600/Acoustic+Dead+Cropped+2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlJ9MVWDzoBXBdbKqMeLW9l8Oih5o5ufE24Zujk_k2d_k3vueeHxvL1V0pOFLOJK7xho5fzIq7LazMktvnuUqxw7PuPxDxw6P_9ffJXMFpJUKHhjfwEmzucvbYdsGi0A3HRX2xyflJl-s/s400/Acoustic+Dead+Cropped+2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">8.19.70: Acoustic Dead - Kreutzmann, Nelson, Garcia, Weir Photo: M. Parrish</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Another Garcia-Hunter ballad, “Candyman” had shown up in
March, and formed the first part of a three song medley of <u>American Beauty</u> tunes, rounded out by the combo of “Brokedown Palace” and “Ripple,” merged the way
they are on the album. These two songs made their live debut that weekend, and
"Ripple" flowed effortlessly out of "Brokedown Palace." Curiously, this pairing was
apparently abandoned as an in-concert vehicle following the August Fillmore
run. Best known as an electric
tune, “Truckin” had debuted in the Dead’s repertoire as an acoustic shuffle the
night before, and was performed that way in concert through September, first
emerging as an electric piece at the 10/4/70 Winterland gig. The acoustic
version was predictably more concise than the expansive versions that emerged
in later years, but was a good vehicle for what was essentially a story song. </div>
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The brisk workout on another traditional tune, “Cocaine
Blues” was sung energetically by Garcia, and ornamented by some very fine
mandolin work from David Nelson. Nelson was also instrumental in driving along
Garcia’s version of another bluegrass standard, “Rosalie McFall.” Next Garcia
switched to electric for a couple of tunes, “Wake Up Little Suzie” and “New
Speedway Boogie,” which also featured piano work that I believe is too nimble
to be attributed to Pigpen. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQWClfeqE2AUZ8kJMHZVtN-JuZvNDE9Fi6ZeRWmO20slqHkXySSq0DeCFAD0AbSPRdgyNE7ytcFs9CseAOdW6ieB4fM-93gch3qP17a1Qt-ojh4phvApZtt62kp2N1PJclu8VEwArZvI/s1600/Gospel+Quartet.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQWClfeqE2AUZ8kJMHZVtN-JuZvNDE9Fi6ZeRWmO20slqHkXySSq0DeCFAD0AbSPRdgyNE7ytcFs9CseAOdW6ieB4fM-93gch3qP17a1Qt-ojh4phvApZtt62kp2N1PJclu8VEwArZvI/s320/Gospel+Quartet.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gospel Quartet 8.19.70 Photo: M. Parrish</td></tr>
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To close out the extended acoustic set, Nelson returned, along
with John Dawson, to fill out a bluegrass gospel quartet for a couple of
sweetly sung sacred tunes, “Cold Jordan” and “Swing Low, Sweet Chariot.” </div>
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These shows and the September runs at the Fillmore East were
arguably the pinnacle of the Dead’s acoustic sets. They had experimented with
entire unplugged shows in San Diego on August 5 and at the Family Dog back in
March, but the decision was ultimately made, possibly for logistical reasons,
to scale back the frequency of the acoustic opening sets as the year
progressed, and they were gone entirely by year’s end, replaced by the familiar
format of one or two long electric sets. </div>
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After a short break, the New Riders were given a nice long
set, comprising some new Dawson material including “I Don’t Know You,” “Last
Lonely Eagle,” and “Dirty Business,” which was a showcase for some
spectacularly outside Garcia steel playing. By this time, Dawson was sporting a beard, and had traded his Guild acoustic for a Fender Telecaster. </div>
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<span style="font-family: Times; font-size: 12pt;">During
the acoustic set, Bob Weir had launched into one of his shaggy dog stories,
this time dealing with an encounter with a particularly vicious “Kodiak
Woodchuck.” In response to that story, an unidentified emcee introduced the
Dead’s electric set with the following into “Out of the wilds of Marin County,
sometimes known as the Kodiak Woodchuck Motherfuckers – the Grateful Dead!” Once
again, the slow, funky arrangement of “Cold Rain and Snow” kicked off the set,
followed by “Me and My Uncle” and “Easy Wind.” </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbGK_yzgvAmArZF4GtHniibiRFGk4g_9xGliefa6Uo6eVGWMMeVYQCoYqQTujrjZLOqvc1ksNMaKHpwboNVD67Vd8XFkAu2PY7w3hP3v4_LIZeJnDhTUCyKUtIJ0xJkC52qhyBqdZA_k/s1600/Phil+and+Jerry+cropped.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbGK_yzgvAmArZF4GtHniibiRFGk4g_9xGliefa6Uo6eVGWMMeVYQCoYqQTujrjZLOqvc1ksNMaKHpwboNVD67Vd8XFkAu2PY7w3hP3v4_LIZeJnDhTUCyKUtIJ0xJkC52qhyBqdZA_k/s320/Phil+and+Jerry+cropped.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Garcia and Lesh 8.19.70 Photo: M. Parrish</td></tr>
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<span style="font-family: Times; font-size: 12pt;">My brother, who had a summer job
at Hewlett-Packard, decided we had to leave at that point. Fortunately, an
intrepid audience taper recorded the show, so I know that I missed a unique
pairing of “St. Stephen” and an embryonic “Sugar Magnolia” as well as a set
closing “Not Fade Away”/”Lovelight” medley featuring guest David Crosby.
Unfortunately, this was to be the last time I saw the Dead proper in a live
venue during 1970, although I did keep up with their progress during the
TV/Radio broadcasts on 8/30/70 (Calebration), 10/4/70, and New Year’s Eve. In
retrospect, I wish I could have seen a few more shows from that year, but I was
happy to have seen the five I got to attend, and am grateful for the extensive
audio archive available from 1970 for the Dead. </span>cryptdevhttp://www.blogger.com/profile/13944617292210813801noreply@blogger.com13