Grateful Dead

Blair’s Golden Road Blog - Goodbye to My Cassettes

By Blair Jackson

If you see me wandering around Berkeley and Oakland wearing a black arm band and weeping uncontrollably, it may be because I have finally decided it is time for me to part with my large collection of Grateful Dead cassette tapes. This is not a decision I have arrived at lightly. These cassettes provided me with thousands of hours of pleasure (and occasional pain and puzzlement) since I started collecting Dead tapes around 1977. (Before that, I owned only a handful—can’t even recall how I obtained them—as well as a number of live bootleg LPs.) But it’s time to face facts: I never listen to tapes anymore, my Sony dubbing deck was put out to pasture many years ago, and the cassettes are just taking up space in my already cluttered storage room. Most are still sitting, collecting dust, on the mounted shelves I bought long ago through an ad in The Golden Road. One of the wall units crashed to the floor recently, sending cassettes flying on top of the other junk and keepsakes that sit in chaotic piles below them. I took that as an omen. Other cassettes fill unmarked bags and boxes, the sorting significance of each long since forgotten.

I was never a truly serious tape collector—maybe a 7 on a scale of 1 to 10. In the early years of amassing tapes, I relied completely on the kindness of friends, and my friends’ friends, to hip me to shows I “should” have and to make me copies. Honestly, until I started The Golden Road in 1984, I did not follow the Dead’s tours night to night, so I would never know whether the 5/9/79 Binghamton show was better than the one in Amherst three nights later. In fact, I might not have even known the Dead were on the East Coast at that time. But tapes would sort of dribble down to me from a variety of friends and acquaintances who were serious tape collectors, and the more I listened to them, the more I wanted. (“Must … get … more!”) For many years I had considered myself a Dead Head, but I quickly learned there were vast gaps in my knowledge of the group’s musical evolution, and collecting tapes brought me up to speed.

It was always exciting to get a new batch of tapes, and I’d pray that the quality was OK. Each year seemed to bring more and better soundboard recordings (“How do those get out of the Vault?” I wondered), but much of what came my way were audience tapes of varying audio fidelity, and that was fine, too. There were a few that sounded really, really bad—as if they were recorded from the inside of a garbage can in the alley behind the venue. But in some cases I kept them because the show was so good or it had some particular historical or sentimental value (like the hideous tape of the Gaelic Park ’71 show I’d attended). I rarely played tapes around my non-Dead Head friends, but when I did I was careful to limit it to soundboard copies. “Regular” people could not abide a hissy, distant audience tape.

Ah, yes—remember that first second when you put on a new tape for the first time and discovered whether it had a lot of hiss or some other audio flaw? Although I did have a few fairly well-connected friends making me tapes, I was still down the chain a few links, so I rarely got pristine copies in my early days of collecting. It’s when I started looking for “upgrades” that I knew my little hobby had gone to another level.

After I started The Golden Road in the winter of 1984, passing myself off as some kind of authority on the band (the nerve!), I decided that if I was going to write intelligently about the scene, I should probably make an attempt to hear every show the band played. This proved to be more daunting than I’d expected, as it required reaching out to many different tapers (or friends who knew who had taped which shows), and the first year there were several shows I just couldn’t find. By the end of ’85, however, a steady stream of soundboard and audience tapes—some arriving many weeks after the shows—found their way to the Golden Road mailbox. “Oh, goody! New stuff to listen to!”

I dutifully listened to each one, kept the ones I liked and recorded over the rest. Really, there was no reason to hear that Boreal show again. Being there was bad enough. Occasionally there would be a bonanza that would get everyone excited: “Have you gotten the ‘Betty Boards’ yet?”

As my collection grew, I joined the legions of folks who used custom J-cards. Mine had a discreet “Stealie” (without the lightning bolt) on the left-hand side of the spine, and I developed a color-coding system based on the band’s different eras, using fine-tipped felt markers: ’65-’70 tapes had a red Stealie and writing; ’71-’75 were dark blue; ’76-early ’79 (when Keith and Donna left) were purple; the Brent era from April ’79 until Jerry’s meltdown in ’86 were green; post-coma until Brent’s death were turquoise; and the Bruce and Vince era had a red Stealie but blue writing. When I started my J-card system, I didn’t know that within 10 years the purple on the spine of the late ’70s shows would almost completely disappear, for some reason, and a few years later the green ones started heading towards invisibility.

I organized my shelves chronologically (by color; I was never anal enough to do it by date within each color). Unfortunately, though, my unpredictable listening habits meant that tapes might disappear under the seat of one of our cars, or in the living room or office in my house, or get loaned out to a friend who might or might not remember to give it back to me. I wasn’t real good at keeping track. Over the months, I’d get lazy about returning tapes to their proper region on my shelves, and instead just plunk them wherever; often on top of what was once a neat row of organized tapes. Cases would break or vanish (like socks in the laundry), and suddenly I had some cassettes with labels but no cases piling up in odd places, and cases with no cassettes. Every couple of years I’d try to marry the errant cassettes with the empty cases, but it never worked out completely right, one-to-one.

As usual with all things technological, I was way behind the curve when people started converting their tapes to digital and putting shows on CDs. I never had a setup of my own to do that and I found it incredibly daunting to try to replace all my tapes with CDs by once again begging from friends. Where do I start? Nevertheless, I much preferred the CD format to tapes (“Hey, it’s easy to skip ‘Little Red Rooster’ or zip right to that ‘Morning Dew’!”) and I did manage to acquire a few choice nuggets on CD. But I never pursued it with the zeal of my tape quests, so to this day I don’t have very many shows on CD.

If I had been savvy or determined enough, I could have joined the many thousands of Heads who downloaded hundreds of SBDs from Archive.org while that practice was permitted (now SBDs can only be streamed), but I wasn’t and I didn’t. Still, that website has allowed me to hear any Dead show I care to, and has been an invaluable aid to the research I’ve had to do for books, stories or liner notes I’ve written though the years. The quality is better than on my old cassettes, and it’s right there at my fingertips! Of course, the cool fools now have everything on hard drives; CDs are passé. I’d do that, too, if someone would just hand me an already filled one; too much work otherwise. Still lazy after all these years.

And so, the ol’ cassettes have no value to me anymore. Do I toss ’em and let them become more landfill? That’s seems kind of wasteful and un-green. Try to find a home for them with someone who still collects and plays cassettes? I don’t want to box ’em up and send them somewhere; too hard. It’s a quandary. I’ve taken some off the shelves and put them in bags and boxes, and others are still up on the wall. Sometimes I’ll look over and see the date on the spine and think, “Oh, I love the ‘Scarlet-Fire’ from that show!” I’m getting wistful in my old age.

But I know I’m never gonna listen to that tape again. Its time has passed. Its gotta go.

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deadmike's picture
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But of course marye ...

... there gotta be an exellent crisp soundboard tape out there somewhere of that magical night in 1983 ... ^_ ^

Micke Östlund,
Växjö, Sweden

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so in the era of taper sections and archive.org

it's hard to believe what people had to go through to get some of those tapes back in the day!

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Oakland, CA
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because the Keystones

were not taper friendly, even though everyone knew perfectly well what was going on. I used to bring in various bits of people's taping gear in with my photo equipment because it blended in better.

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One Man

that's the thing about tapes, the oddball moments on the side that they record forever.

Somewhere in my extremely chaotic pile o' tapes is one of a Jerry Garcia Band show at the Keystone Berkeley, circa 1983, which is notable for an extremely hot 'n' spacy Don't Let Go, the solo of which went on for about 10 minutes and caused Billy Kreutzmann, who happened to be drumming that night, to be more or less looking at Jer wondering what planet he was on and trying madly to keep up for most of the duration. I was on the rail and saw the whole thing. On the tape, just as the whole thing is going into hyperspace, the taper gets into a shouting match with the bouncer who's just spotted his gear.

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I say....

Keep all of your J-cards for the memories and recycle the tapes themselves as the music is readily accessable at higher levels of quality.
Maybe keep a few of em as fun artifacts, first tape, last tape....somethin like that.

:)

Love the blogs man

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Aud Tape Fun

Oh, man. The post from jaydoublu reminds me of a Garcia acoustic tape from Boston where he sings the line from "Gomorrah" that goes "I heard a voice telling me to flee" and right then there is an altercation near the taper and someone says, "Get the f**k out of here!" Talk about synchronicity...

cosmicbadger's picture
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France
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Europe 72 and other stuff

The shows are already pulled from Archive.org and from the vineyard on this site.

Many tapers are going digital, first by checking out the avialable digital versions, comparing them to their tapes and only ditching the tape if it is inferior. This saves a lot of unnecessary and time consuming digitisation of tapes when something better is easily obtained.. As previosuly mentioned it can and does also lead to some new discoveries.among those piles of tapes.
But digital is not secure, Hard Drives fail. Back everything up on a second drive or on DVDs

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Official Releases Europe '72

Will all of Europe '72 be pulled from the Internet, once its officially released? It seems in the past that certain shows have been pulled due to the commercial release.
If so, thats a heck of alot of great music, no longer available to those who only "archive" through the web.

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Where Did I put all those MAX points?

what about donating them to UCAL @ Davis..........They could be added to the Grateful Dead project. Years from now, perserved under glass a rare J-card from 5/8/77.

or
Library of Congress
Attn: Curator Mickey Hart

I'll have a hard time getting rid of my tapes. While I know most is available via Etree, Sugarmegs and Archive. I'll miss that girls comment on my 3/27/93 Albany tape. Its right at the end of Comes A Time as they go into Corrina.....You hear her say "Maybe it will be better this time"

What is to be done with all my old Dupree Diamond News, Unbroken Chain, Relix magazines. I'm keeping the Golden Roads ( Of Course ).

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Like old friends

They are hard to say goodbye to. I parted with my cassettes a couple of years ago, but I kept a couple for keepsakes. I am vexed by the concept of managing local copies of shows; I just wanna listen. Nowadays, because of the shows on archive.org I am considering reclaiming the space on my external HD by dumping those files. So the wheel goes 'round. Thank you for sharing your sweet story.

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