April 11 - April 17, 2011
Welcome back to the Tapers' Section, where this week we'll cover nice 13 year span in Grateful Dead history, from the magnificent Fall Tour of 1972 to the excellent and unpredictable Fall Tour of 1985, with a stop at the Warfield in 1980 for kicks.
Our first selection is from 11/19/71 in Houston, where we have this batch of first set tunes, Bertha, Me and My Uncle, Sugaree, BIODTL, Bird Song, BT Wind, Don't Ease, Mexicali, Box of Rain. The show-opening “Bertha” is missing a bit of the head of the song due to a recording glitch, but otherwise this is a mighty fine show. And quite a rare early Box Of Rain.
Next up is the second set opening sequence from 10/3/80 at the Warfield, featuring Scarlet Begonias>Fire on the Mountain, Samson and Delilah, Ship of Fools, Playing In The Band, drawn from the cassette master. There are multi-track (32 track, which is two 16 track machines running in sync) recordings of some of this run of shows, but unfortunately a good portion was recorded over in the early 1980s.
Lastly this week is the bulk of the second set from 11/2/85, featuring Estimated Prophet > Uncle John's Band > China Doll > Drums > Space > Morning Dew > Throwing Stones > Turn On Your Lovelight, It's All Over Now, Baby Blue. This is the second of two nights in Richmond, VA, and is every bit as good as the previous night, which was released as Dick's Picks Vol. 21.
Be sure to stop by next week for more great tunes from deep within the vault. And as always, we encourage you to write to use at the Tapers' Section, at the address below.
This is, well to say the least, nothing short of incredible! I absolutely love hearing these tunes. This is quickly becoming the one "big" thing that I look forward to every week.
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Not bad sound on the 1980 Warfield Theater show --10-3-80?
If taken against the fact that what we always hear of that run of shows is normally heard in a final-mixed form, on LP or HDCD -- straight from the source -- to the discs. Not many fans who traded tapes would ever gain access to much of the Warfield and Radio City runs. The band as such were recording too and professional considerations were being given, potentially, to every night's performance. So, while that was going on, some tapers decided not to record. Those who tried to get the run, usually compromised their rigs for stealth. There are very few, right? because, just think -- If you could get the perfect seat, (and all floor seats were reserved) to create an audience recording, great -- more power to you and everything, but who can get the same seats for the whole run?
When board tapes turned up via cassette to cassette dubs, the 'whole items' of '3-set shows' require a minimum of 3 'C-90's' per show. All good dub sessions were real time. And speed-dubs suck. Who had time to make that kind of massive tape grab? None that I ever knew. Sure, many people would have completed cassette collections of whole tours, but nobody ever seemed to have all those shows.
I went to three of the Warfield concerts.
...or four or five if you count not getting in once or twice; Outside, the crowd knotted up around someone speaking on the sidewalk of Market and I tried to see -- It was Bill Graham doing his best to let 'em down easy, or something.
My friend, Phil, was laughing, then he said, "Check it out, Owsley 'Bear' Stanley is here. He has the keys to to the building man -- and maybe he can let us from next door!!!"
When that didn't happen, we went around back. From the side you could just barely hear the show from the street, if an upper exit door was open. Couldn't stay in one place too long on the street though. We walked across and back down and to the right on Market again -- into this sweep that cops were making with a real old paddy wagon. Grabbing anyone slow and tossing 'em in the back of the wagon. They missed me by a few feet, I turned away just quickly enough, but not too quick for anyone to give chase. My friend was scooped up in the wagon all the sudden. He didn't run. I didn't run either, but I turned away quickly, to my left and back to the front of the building. I saw him through the door trying to find some space on a low bench. I waited for the show to end and my ride took me to Bryant Street Jail. I went in and told 'em at the widow, "I had ride home for my friend', but the guy in the window said, "your friend can't be moved".
The next night we went we damn sure had some tickets.
M.A. Akatiff -- Palo Alto, Ca.
Birthplace of The Grateful Dead.
Hey thank you for keeping the Drumz intact on that Richmond 2nd set segment. It keeps the 'completist' side of me happy. As always, I'm enjoying the nuggets you so faithfully provide us every week, DL. Yum!
P.S. I would still love to hear that 11/18 Box of Rain as it's not in circulation yet (to the best of my knowledge)...
"...drawn from the cassette master. There are multi-track (32 track, which is two 16 track machines running in sync) recordings of some of this run of shows, but unfortunately a good portion was recorded over in the early 1980s..."
Betty Cantor again? The early 80s was certainly a weird time for getting better than average recordings made, 1980 in particular (Radio City, hint, hint).
GD71 and GD72.
GD73 and GD74 are awesome, but the first two are PERFECT in my book.
Bob mentions that somewhere during the show, and the show ends with GDTRFB.
flvplayer, that is.
in the flvpaper window, drag the play time indicator to the right a bit. That should work. I've had that isue before, too.
11/19/72: a show that MUST be released. It is great on so many levels.
heard about houston, heard about detroit, heard about pittsburgh PA
...at it again. my poor laptop speakers just don't know what to do with phil bombs during the dew! i think they just run for cover...
That Richmond transition out of Space into Morning Dew is always great to hear. Thanks...