Blair’s Golden Road Blog — Cornell ’77 Enshrined for the Ages
By Blair Jackson
On May 23, the Library of Congress’ National Recording Registry announced this year’s list of 25 songs, instrumental pieces and historic recordings to be added to the prestigious institution’s permanent collection. There’s lots of great stuff on the list: Prince’s “Purple Rain”; Dolly Parton’s “Coat of Many Colors”; Vince Guaraldi’s “A Charlie Brown Christmas”; Donna Summer’s euro-disco “I Feel Love”; the first-ever commercial recording—a version of “Twinkle Twinkle Little Star,” created for the first talking doll by one of Thomas Edison’s employees; the only surviving record of early 20th century Broadway sensation Lillian Russell; the 1943 NY Philharmonic debut by conductor Leonard Bernstein; the Grateful Dead’s May 8, 1977, concert at Cornell University’s Barton Hall… Whaaaaat? Where did that one come from?
Maybe it helps to have friends in high places. After all, Mickey Hart has been associated with the Library of Congress for many years. But when I asked him about it the morning the list was announced, he denied any involvement. “What can I say? The people have spoken!” he said with a laugh. “It’s true that I wrote part of the legislation for the [LOC’s digitization and preservation] project in 2000. It was copied after the Lucas-Spielberg Film Preservation Act. But when it came to voting, I recused myself.”
Voting? “People have been voting all year, and then the board decides what is culturally significant, and the librarian, James Billington, makes the final cut and the call.”
Ah, the power of Dead Head unity in action. Stuffing the ballot box—a tradition as old as this great republic itself!
All kidding aside, a copy of Cornell 5/8/77 is a perfect choice for the National Recording Registry. Consider this: It has never been released commercially (legally), yet it is probably among the most collected, traded and downloaded concerts by any band ever. That’s not hyperbole, either.
The original pristine audience recordings of this show started circulating among tape collectors very shortly after the concert, and quickly became a favorite of everyone who heard them—this at a time when Grateful Dead tape trading was just beginning to explode nationwide. In the pre-digital age, when all we had were cassettes, the show was part of any respectable tape collection, passed among untold thousands of people. It was always big news each time a cleaner, lower-generation copy would come through my circle of traders; had to have it! (It was also bootlegged as vinyl records and, later, CDs, and sold — boo, hiss! Not cool!) One of the late, great taper Jerry Moore’s greatest legacies is his audience recording of 5/8/77. I'm not sure whose recording I had originally; I didn't know any tapers by name back then.
But we really thought we’d gone to heaven when the much-ballyhooed show turned up among the famous “Betty Boards” in 1986-87—200+ hours of soundboard masters recorded by Grateful Dead sound engineer Betty Cantor, who stashed them in a storage locker for years, until they were auctioned off (due to non-payment of storage fees)—and bought by Dead Heads! What a treasure trove of tapes that turned out to be! So, gorgeous new SBD copies of 5/8/77 soon circulated to hundreds of thousands of collectors, further solidifying its reputation. (This chain of events also explains why 5/8/77 is, alas, not in the Grateful Dead tape vault, where it rightfully belongs, as the Dead, not Betty, were the rightful owners of their own master tapes, auction be damned.)
The show was reproduced many thousands more times when collectors transferred their tapes to CD. “Gotta get Cornell!” Again. By the time online live music repositories started popping up in the late ’90s—such as etree and the Internet Archive (Archive.org), who entered into a cooperative arrangement—high quality versions of the show became available to anyone with a computer, for streaming or downloading. There are currently 15 versions of 5/8/77 up on Archive—audience recordings, soundboards, and matrix combo versions. I frankly haven’t investigated deeply enough to know what the differences are—which came first, which is an “upgrade,” etc. (My own rule of thumb with Archive Dead shows is I look for Charlie Miller’s name, and if it’s attached to a recording, I’ll usually check that out first, since his name is synonymous with the highest quality transfers and upgrades.) Want to know how many times 5/8/77 has been downloaded from Archive.org? Are you sitting down? I added up the numbers beside each version: 928,006 as of May 23! I’m guessing that adding in all the copies that were made (tape and digital) in the years when the Grateful Dead was actually around, and when collecting was at its apex, the number could easily reach 2 million. Incredible for a so-called bootleg recording!
Is Cornell ’77 the greatest Dead show ever, as many have asserted through the years? (It’s been a consistent poll-winner.) Is it even the best show of the justly heralded spring ’77 tour? It doesn’t matter. It’s all opinions in the end, and we each have our own preferences for certain years, certain songs, etc. I don’t like to deal in those sorts of absolutes.
But it’s indisputably an amazing show. (OK, some might even dispute that. Sorry, this time you’re wrong!) The first set is solid and occasionally spectacular—the “Loser”; that speedy-confident “Lazy Lightning” > “Supplication”; “Row Jimmy” with beautiful Garcia slide, a fantastic “Dancing in the Street” that puts every disco song on the Saturday Night Fever soundtrack (released fall of ’77) to shame. The second set reaches some of the highest moments the Dead ever attained—particularly the jam after the second (final, in those days) verse of “Fire on the Mountain” and the completely transcendent version of “Morning Dew,” which has to be heard to be believed. Throw in “Scarlet,” “St. Stephen,” a really dynamic and elongated “Not Fade Away” and the then-new “Estimated Prophet”—each played with unbridled energy and enthusiasm—and you’ve got one helluva set. Is it perfect? No. Does that diminish its greatness? Not at all.
I asked Mickey what, if any, recollections he has from the show? He laughed. “Oh, I don’t remember shows that way. I know it’s famous. I guess there’s a great ‘Morning Dew’ and some others. I haven’t heard it in many years. But if the Dead Heads say that it’s one of the best shows, I believe them. They know.
“What’s funny is my wife [Caryl] was a student at Cornell at the time but she didn’t go to the show. She was off with her boyfriend seeing Barry Manilow or some dumb thing! She never got to see the Grateful Dead until we met in the ’90s.”
Well, it’s never too late to get into 5/8! Dig it now, Caryl!
All right, now it’s time to put you on the spot. If you were to choose just one Dead concert to represent the band forever in a digital archive, which would you pick and why?
I think that to represent the GD in the LOC, a show that includes an acoustic set is imperative. I would nominate 5/15/70. If Blair's "rules" allow for one date, then the early and late show, with the NRPS sets, would squeeze an awful lot into the Library. If not, I would say the late show from 5/15/70. Acoustic and electric sets, China>Rider, Dark Star, St. Stephen, Cold Jordan encore. What more could you want to represent the vast catalogue of the GD and a representative sample of all that they could offer?
I heard One From The Vault was on a summer hike up to Sunfish Pond in the Deleware Water Gap.
The year was 1981 and the Walkman was the latest must have.
Actually it wasn't even an official release at the time.
We all took turns listening every mile or so.
The audio quality along with the superb performance and hiking with headphones made it kind of a no-brainer for me.
But then again this was 1981 and with a couple of great shows under my belt already that year, I wouldn't be finished until 9-26-81.
5-6-81 along with 5-15-81 and finally 9-26-81 were all Great Shows
Not to mention 9-3-77 my first show or 6-18-83, Hershey Park, 3-23-87 or any number of shows from Brent's final years.
6-25/26-93 were the last Really Good shows that I caught.
Never could fully understand why 5-8-77 is the Chosen One.
Although those warm analog audio recordings from that time were out of this world.
What I'm trying to say is you'll find my favorite somewhere between the starting gun and the closing bell.
As a Cornell Alum, (yes, it was snowing!), I thought I would chime in. No comments today on the show, how good it was, etc and so forth, I thought I would approach this topic from the other direction so to speak---given the critieria of recordings being placed in the LOC, is this the show to place? I think not (and this is not a criticism per se of the show). The LOC recordings should contain essential recordings that represent what is distinctive and special about the artists so recorded. Now Cornell is great music, but does not, I think, capture what makes the Dead distinctive, and so worthy of this sort of documentation, or at least does not as well as many other (earlier shows). For me that would be a show that shows more clearly their genre-bending and moving between different aspects of American popular (and not so popular) musics. So a show that goes from a jig to a shanty, to a bit of musique concrete, to a rocker, and so on, and shows the musical relations between these distinct forms would better capture what to the non-Head, and to history, makes the Dead distinctive. I love the Spring '77 show, but by then the Dead formula was somewhat in place, and early shows which experiement more with genes, would be my choice.
one down, 2,317 to go...good call by the L.O.C. N.R.R. to recognize the band, the fans, and it's taping/preservation of moments culture.
i love the cornell show, though don't consider it to be the best of the month of may, of the year, or of all time. it is, however, a wonderful show...the morning dew feels like it makes time stop and float in the ether before moving on - and that's on tape 35 years later, i can only imagine the impact on those who were there.
narrowing it down to one show to preserve is proving to be a tough task. can't we just put the entire months of november and december from 1973 in there? the east coast tour in september of '72?
the one i'll throw in is 6/10/73. is it the best, no, but to me it's a show that's a great representation of everything the band could do at the time. a morning dew to open the day followed by long sets of psychedelic ragtime, jazzy, spacey, floating, meandering jams, and great playing by the band while playing in the band...oh yeah, and a third set with members of the allman brothers, who had shared the bill with the dead for that say (and the day before i believe). good stuff.
Literally one of the first tapes I EVER got back in 1982.
HOT show in cold air.
While there are a ton of shows that I would like to see enshrined, the one that I am currently digging is the 5/6/70 outdoor show at MIT in Cambridge, MA. According to Bobby, it was fucking cold out. You can feel it through Jerry's guitar. The solos have never been more raw and dominating as it was during Not Fade Away...
Whoa, I know what I'll be watching tonight. thanks alot
No way. BJ's question cannot be answered. One show obviously can't represent. I'm thrilled the popular Cornell '77 show made it to the LoC. Better than none. Maybe someone will hear it some day and get turned on. Good chance, actually, compared to many of the official releases. I think it's fitting a bootleg made it rather than a legit title.
Since I complained previously, and under the credit where credit is due category, I gotta sway that your liner notes for the most recent release -- the 1974 three set show that just came out -- were tremendous. Interesting, informative and I loved the technical details about the wall of sound system you included. Thanks.
For my money I may edge out Cornell with the 5-18-77 show. It has a different vibe than Cornell but from start to finish the band was creating the magic. The Stella Blue is amazing, brings you to tears; very beautiful. The debate could go on forever but that's part of the fun...