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 couldn't name the best Dead show I ever attended much less choose the best show I've heard -- ask me today, maybe I'd say Hartford 10-15-83; tomorrow, maybe Meadowlands w/ Stephen Stills ("Love the 1 you're w/"); next day . . . Hampton 10-9-89; following day anything from Europe '72. That's what I love about the serius GD station -- they choose the tunes & shows (much better than I could by the way) and I get turned onto stuff I either don't have or wouldn't think to play or if I have it, I have an old scratchy recording or somethin like that.
There's a show from the Capitol Theater (I think) w/ the very last "Operator" that I absolutely DIG! The GD w/ Pigpen and the GD w/out Pig seem like close cousins - same family; different cats or same soup; different recipes. Too young to ever have seen Pig, but somehow have this indescribable affinity for the cat -- modest, soulful, no bullshit but selflessly considerate -- and I get all of that just from hearing the guy play/sing -- Would really, really like to have known the dude, especially in my partying days -- but I digress -- sorry, but Pig is m' buddy like it or not!
Anyway, best dead show or best dead tune? The one that is presently playing (which is why I keep comin back to the post Jerry shows -- the spirit still exists and shines every now and again and when ya least expect it -- like when Joan Osborne or Chris Robinson sings a Pig tune! Ah, I knew this would come full circle at some point.
Don't keep the faith -- SPREAD it!
My favorite show is actually a Dick's Picks Volume 14, particularly the Boston December 2, 1973 show. I love the mix of jazzy, country, rock & roll, combination from '73 and the whole late fall tour stands out to me as some of the to best ever. I'm happy to have an official soundboard of this show but love my audience cassette which I still listen to that has the warmth and crowd response. 12-12-73 Atlanta is good too, Road Trips Denver is right up there as well. Release Watkin's Glenn show or RFK w/ the Allman Bros. dual tour.
I've always said that if I were stranded on an island and could only have one show with me it would be 3/1/69. Not only does it have the full Live Dead medley but it's also got most of the Anthem suite. Any show where they played The Eleven, New Potato Caboose and Doin' That Rag would be exceptional, but these versions are all magnificent. No surprise given the fact that they had just laid down the ultimate Dark Star 2 nights before. Plus the ridiculous Hey Jude by Pigpen for the encore is a hoot!
My $0.02 At least for the mood I'm in now. Could change by tomorrow..........
Best, Might as Well, ever? Oh Yeah.
Whole show is right up there.
March 7, 1981
Venue: Cole Field House
Location: College Park, MD
Great show start to finish, best Bird Song ever?
Will somebody PLEASE release this show.
I'm among those who consider 5-8-77 to be among the best ever, maybe THE BEST!
But I would like to pick a couple of shows from different periods in the Grateful Dead evolution. I would really like to see 2-11-70 among them or perhaps 2-13-70. Among my other personal favourites are of course 8-27-72 as mentioned above and also 6-10-73. There are other strong shows from 1977, such as 5-19-77 or 5-9-77.
Other great shows are 12-30-78 and 8-19-80. There's so many, it's hard to pick just ONE.
mine are 12 5 71
alternate 12 1 79
And no mention of Minglewood or Brown Eyed Women but very glad to read Blair here touting an amazing first set that flies well below familiar radar. I love it.
it's also on film
alternate: 5/11/72, because it's 5/11/72.