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Today In History
June 15th
7 shows
74 tapes
Years
1995
30.1k
PlaybackListensHours
48h56776
7d1.4k193
30d30.1k4.2k
49 shows
343 tapes
1994
11.7k
PlaybackListensHours
48h2.5k403
7d4.2k594
30d11.7k1.7k
85 shows
460 tapes
1993
38.6k
PlaybackListensHours
48h2.3k299
7d7.7k1k
30d38.6k5.1k
83 shows
656 tapes
1992
43.8k
PlaybackListensHours
48h2.2k301
7d7.7k1k
30d43.8k5.8k
57 shows
539 tapes
1991
41.9k
PlaybackListensHours
48h3k395
7d11.2k1.5k
30d41.9k5.6k
78 shows
973 tapes
1990
48.6k
PlaybackListensHours
48h3.2k427
7d15.4k1.9k
30d48.6k6.3k
78 shows
1,139 tapes
1989
49.2k
PlaybackListensHours
48h2.8k358
7d7.4k913
30d49.2k6.1k
78 shows
1,017 tapes
1988
20.4k
PlaybackListensHours
48h1.3k152
7d3.2k376
30d20.4k2.4k
82 shows
882 tapes
1987
40.5k
PlaybackListensHours
48h7.6k967
7d11.5k1.4k
30d40.5k4.5k
88 shows
1,025 tapes
1986
12.5k
PlaybackListensHours
48h904103
7d2.5k279
30d12.5k1.4k
47 shows
684 tapes
1985
23.3k
PlaybackListensHours
48h3.4k407
7d4.5k525
30d23.3k2.7k
73 shows
1,357 tapes
1984
25.7k
PlaybackListensHours
48h4.7k557
7d12.5k1.5k
30d25.7k3.2k
67 shows
1,075 tapes
1983
21.3k
PlaybackListensHours
48h1.2k159
7d3.5k460
30d21.3k2.8k
71 shows
1,069 tapes
1982
42.5k
PlaybackListensHours
48h1.6k196
7d3.4k425
30d42.5k5.3k
63 shows
753 tapes
1981
35.9k
PlaybackListensHours
48h1.8k233
7d5k630
30d35.9k4.5k
92 shows
868 tapes
1980
69.8k
PlaybackListensHours
48h7.9k921
7d14k1.6k
30d69.8k8.1k
91 shows
794 tapes
1979
21.8k
PlaybackListensHours
48h1.4k197
7d4.2k593
30d21.8k3.1k
79 shows
608 tapes
1978
42.3k
PlaybackListensHours
48h1.7k234
7d5.1k689
30d42.3k5.7k
87 shows
592 tapes
1977
278k
PlaybackListensHours
48h9.9k1.4k
7d32.8k4.5k
30d278k38.4k
64 shows
418 tapes
1976
85.9k
PlaybackListensHours
48h11.5k1.6k
7d39.4k5.3k
30d85.9k11.6k
45 shows
298 tapes
1975
6.4k
PlaybackListensHours
48h47448
7d85890
30d6.4k654
25 shows
63 tapes
1974
93.1k
PlaybackListensHours
48h3.6k451
7d10.4k1.4k
30d93.1k11.8k
42 shows
324 tapes
1973
90k
PlaybackListensHours
48h4.9k639
7d20.5k2.8k
30d90k11.6k
75 shows
445 tapes
1972
63.5k
PlaybackListensHours
48h3k377
7d6.3k805
30d63.5k7.8k
88 shows
361 tapes
1971
33.9k
PlaybackListensHours
48h1.5k158
7d4.7k518
30d33.9k3.9k
82 shows
357 tapes
1970
39.5k
PlaybackListensHours
48h1.8k213
7d4.5k522
30d39.5k4.2k
101 shows
376 tapes
1969
27.8k
PlaybackListensHours
48h1.8k283
7d3.5k490
30d27.8k4.1k
112 shows
326 tapes
1968
7.7k
PlaybackListensHours
48h846103
7d1.6k199
30d7.7k970
41 shows
125 tapes
1967
1.7k
PlaybackListensHours
48h11316
7d29842
30d1.7k228
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h25418
7d99767
30d8k539
32 shows
78 tapes
1965
632
PlaybackListensHours
48h352
7d1128
30d63237
2 shows
2 tapes
1970
7/12/70
Dire Wolf
3:42
tuning
1:01
The Rub
3:15
How Long Blues
3:33
Dark Hollow
3:17
crowd yells to fix the drums.. "Mickey Mickey Tom Tom"
0:58
Friend Of The Devil
4:00
Candyman (listen for fans ask for it before it starts)
6:47
Katie Mae
4:06
Bring Me My Shotgun>
1:01
She's Mine
2:52
Rosalie McFall
3:34
Tell It To Me
3:07
Wake Up Little Susie
2:28
Easy Wind
8:45
Mama Tried
2:53
Cold Rain And Snow
5:54
Attics Of My Life
7:12
China Cat Sunflower>
4:18
I Know You Rider
5:43
High Time
7:40
It's A Man's World
11:28
Bobby Sells The Brooklyn Bridge
0:50
Cryptical Envelopment>
2:05
Drums>
6:10
The Other One>
8:35
Me & My Uncle>
3:22
The Other One
1:15
Dancin In The Streets (splendid version)
12:41
Turn On Your Lovelight>
14:02
St. Stephen Jam!!>
2:27
Lovelight
8:19
FIN
View on archive.org
Sources
Transferrer: Rob Darst;Jim Cooper;Jim Cotsman
3:19:59
Transferrer:
Rob Darst;Jim Cooper;Jim Cotsman
SHNID:
gd1970-07-12.aud.composite.130938.flac16
Source:
Combination of the two audience recordings shnid 9379 and shnid 122707; edits were limited to volume, speed, cross-fades at the beginning and end of patches, and such elimination or reduction of drops, static, clicks, and bumps as I could obtain without losing any music; see info files for details
Taper Notes:
View NotesThis is a combination of the two audience recordings available for this date: shnid 9379 (identity of taper not given) and shnid 122707 (taped by Jim Cooper). Since no soundboard circulates for this show, we are very fortunate indeed to have these two recordings. Thanks, guys! Source 1 (shnid 9379): AUD>MC>C>C>D>CD>EAC>SHN edits/encoding by J. Cotsman Source 2 (shnid 122707): Jim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC Recorded by Jim Cooper using a Hitachi TRQ-222 Cassette recorder and 2 Hitachi microphones from Row H, about the 30th row, center. Each source has advantages and disadvantages. 9379 is more complete and has less audience chatter during quiet passages, but it has more distortion during loud passages. Cooper's recording is generally clearer, especially during loud passages, but it is less complete and has more microphone noise and audience chatter. Happily, these two recordings complement each other more often than not. For details on which source is used when, see the notes below. NOTES (1) The dates for this show (July 12) and the one preceding it (July 11) were incorrectly reversed in most previous sources. Many attendees have pointed out the error, and one of the tapers of the previous night's show, Marty Weinberg, even announces helpfully, "It's Saturday night, July 11, 1970." (This announcement can be heard on shnid 108156, just before Easy Wind.) Both were "midnight shows," so technically this show was performed in the early morning of Monday, July 13, but it is the concert billed as "July 12." (2) The provenance of the "Night of the Living Dead" introduction to the electric set is uncertain. This music accompanied a film; some attendees remember this as a clip from "The Night of the Living Dead," while reporter Tom Zito wrote afterwards of seeing "spacemen wrapped in plastic bags emerge from graves." It has generally been assumed that the music was the film's audio track. However, I think it is more likely that the Grateful Dead accompanied the film with a live improvisation. I have reached this tentative conclusion for three reasons: (a) The music we hear is not from the soundtrack of The Night of the Living Dead. (b) The introduction sounds like the Grateful Dead playing scary-movie music. (c) On 9379, at a little over a minute into Morning Dew, a guy near the microphone says, "...[inaudible] one of the most cosmic versions of this song that I've ever heard, opening up like that [inaudible]. It was really scary." Since the opening of Morning Dew itself is not unusual, he must have been referring to the "introduction," and since he viewed the introduction as part of Morning Dew, he must have had reason to believe that the Grateful Dead performed it. (3) I did not apply EQ or high-frequency noise reduction to either source. My edits were limited to volume, speed, cross-fades at the beginning and end of patches, and such elimination or reduction of drops, static, clicks, and bumps as I could obtain without losing any music. 122707 runs 3-5 percent slower than 9379; I matched the speed of 122707 to 9379 in all cases. Edits were done in WaveLab Elements 7, with gentle use of the iZotope Ozone Declicker. (a) Acoustic Set: A mono version of the left channel of 9379 supplies most of the acoustic set. From Monkey and the Engineer until A Voice From On High, the right channel of 9379 is mostly hiss and does not add to the listening experience. The taper fixed the problem after Rosalie McFall, so the final three songs are in stereo. Friend of the Devil, missing in 9379, comes entirely from 122707. As luck would have it, this is the best-sounding recording of any acoustic tune captured in 122707. For the most part, the acoustic set in 122707 is plagued by mike noise, static, and loud audience chatter, but during FOTD, these problems are largely absent. Given that this show includes the only known version of So Sad, I devoted special attention to this track. The performance is very delicate and hard to hear over the chattering of the audience. The version included here is a mono version of the left channel of 9379 until 1:18, at which point it becomes a matrix of the left channel of 9379 and the right channel of 122707. (The recording of So Sad on 122707 cuts in at this point, and the right channel is free of the static that plagues the left channel.) For the second half of the song, at least, this combination brings out more detail than any other approach that I could devise. (Many thanks to Light Into Ashes for the suggestion!) It is a beautiful performance; perhaps the band would have played the song again, if the audience had only shut up and listened. (b) NRPS Set: By the time NPRS takes the stage, both tapers have solved most of their technical difficulties. As noted above, 122707 is generally clearer than 9379, but it is incomplete and more vulnerable to audience chatter. 122707 supplies the first three songs and Lodi, and 9379 supplies the final four. Dirty Business and Last Lonely Eagle, the quieter songs, are composites. 9379 supplies the first 2:43 of Dirty Business, and 122707 supplies the rest. In 9379, Last Lonely Eagle is missing Garcia's entire solo: it seems to have been deliberately cut out, perhaps because it was partially damaged. 122707 supplies the missing passage at 2:01-2:44, and for once the audience is relatively quiet. (c) Electric Set: 9379 supplies the Night of the Living Dead introduction. Morning Dew is a composite: 122707 supplies the beginning and end, and 9379 supplies 0:35-4:14. 122707 supplies the rest of the set through I Know You Rider, which is patched with 9379 at 1:30-2:41 and 3:58-3:59. 122707 ends at that point, so 9379 is the only source for the final two tunes, Viola Lee Blues and Uncle John's Band. In several places, 122707 features protracted bursts of static in the right channel. I patched these with the left channel. This occurs in Casey Jones (1:05-1:51), Good Lovin' (1:22-1:38, 2:22-3:18, 9:57-12:34), and China Cat Sunflower (2:49-2:53). Enjoy! Rob Darst August 11, 2014
Taper: Jim Cooper
2:22:01
Taper:
Jim Cooper
SHNID:
gd1970-07-12.aud.cooper.122707.flac16
Source:
Jim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC
Taper: Marty Weinberg
1:24:43
Rating:
10.00 / 3 ratings
Taper:
Marty Weinberg
SHNID:
gd1970-07-12.Weinberg.MAR.108156.flac16
Source:
Marty Weinberg's 5" 1/4 track Master Audience Reel>HHb CDR-850>CDR>EAC>CDR>EAC>.WAV>TLH>.FLAC
Taper: Mystery Reel of an unknown audience recording uncovered and shared by LL member Cloverman, which he sent to Matt Smith for his great reel transfer work. The handwriting on the reel case is thought to be Latvala's, no more is known.
2:37:20
Rating:
9.00 / 2 ratings
Transferrer:
edited and mastered by Jamie Waddell with listening assistance by Jim Blackwood. Rel transfer by Matt Smith
SHNID:
gd1970-07-12.aud.mysteryreel.cloverman.smith.GEMS.108002.flac16
Lineage:
all transfers and work performed in the 24 bit realm Weiss-Saracon for 16 BIT 44.1kHz; SBE Free, Flac Level 8 with TLH, Meta Data with Tag & Rename
Taper Notes:
View NotesThese were midnite shows so the dates are confusing for hostorians as they line up for a concert on one day, and see the actual show on the next as far as official time goes. My research from reputable sources puts this as the show billed on the 11th, not the 12th. I re-ordered this source to the commonly accepted order of high time and cold rain and snow in set two. An image of the transferred order of the reel for set two is included, and it is different. All sorts of tape pauses and cut in parts smoothed tastefully.
Transferrer: SirMick
2:43:16
Rating:
9.64 / 13 ratings
Transferrer:
SirMick
Source:
aud > ??? > shn > wav > shn