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June 5th
5 shows
26 tapes
Years
1995
27k
PlaybackListensHours
48h3k414
7d8.6k1.2k
30d27k3.8k
49 shows
340 tapes
1994
8k
PlaybackListensHours
48h69296
7d1.1k167
30d8k1.2k
85 shows
460 tapes
1993
31.5k
PlaybackListensHours
48h3.5k480
7d1.9k257
30d31.5k4.2k
83 shows
656 tapes
1992
32.7k
PlaybackListensHours
48h1k133
7d8.1k1k
30d32.7k4.4k
57 shows
539 tapes
1991
35.8k
PlaybackListensHours
48h1.7k229
7d8k1.1k
30d35.8k4.9k
78 shows
967 tapes
1990
33.7k
PlaybackListensHours
48h2.7k344
7d5k661
30d33.7k4.4k
78 shows
1,139 tapes
1989
45.2k
PlaybackListensHours
48h3.9k494
7d5.7k709
30d45.2k5.6k
78 shows
1,013 tapes
1988
21k
PlaybackListensHours
48h1.2k140
7d4.1k444
30d21k2.4k
82 shows
882 tapes
1987
38.4k
PlaybackListensHours
48h2.7k287
7d8.6k821
30d38.4k4.2k
88 shows
1,025 tapes
1986
14.4k
PlaybackListensHours
48h940105
7d1.8k202
30d14.4k1.7k
47 shows
683 tapes
1985
19.9k
PlaybackListensHours
48h1.9k228
7d3.4k399
30d19.9k2.3k
73 shows
1,356 tapes
1984
20.3k
PlaybackListensHours
48h1.6k200
7d2.2k289
30d20.3k2.6k
67 shows
1,075 tapes
1983
32.4k
PlaybackListensHours
48h1.5k194
7d3.3k441
30d32.4k4.3k
71 shows
1,069 tapes
1982
40k
PlaybackListensHours
48h1.7k215
7d3.4k418
30d40k5k
63 shows
753 tapes
1981
56.7k
PlaybackListensHours
48h2.1k269
7d4.4k552
30d56.7k7.2k
92 shows
868 tapes
1980
67.5k
PlaybackListensHours
48h5.2k594
7d12.3k1.5k
30d67.5k7.9k
91 shows
794 tapes
1979
27.9k
PlaybackListensHours
48h1.4k193
7d3k406
30d27.9k3.9k
79 shows
600 tapes
1978
52.8k
PlaybackListensHours
48h8.4k1.1k
7d5.4k719
30d52.8k7.3k
87 shows
592 tapes
1977
329.3k
PlaybackListensHours
48h15.9k2.1k
7d25k3.5k
30d329.3k46k
64 shows
419 tapes
1976
37.9k
PlaybackListensHours
48h10.3k1.4k
7d17.3k2.4k
30d37.9k5.1k
45 shows
298 tapes
1975
5.1k
PlaybackListensHours
48h78672
7d71378
30d5.1k544
25 shows
63 tapes
1974
94.5k
PlaybackListensHours
48h4.2k529
7d10.2k1.3k
30d94.5k11.9k
42 shows
324 tapes
1973
76.5k
PlaybackListensHours
48h4.2k551
7d9.7k1.3k
30d76.5k9.7k
75 shows
445 tapes
1972
75k
PlaybackListensHours
48h3k365
7d6.8k832
30d75k9.1k
88 shows
361 tapes
1971
32.6k
PlaybackListensHours
48h2.2k250
7d5.3k592
30d32.6k3.7k
82 shows
356 tapes
1970
31.5k
PlaybackListensHours
48h6.6k638
7d3.8k409
30d31.5k3.5k
101 shows
376 tapes
1969
22.6k
PlaybackListensHours
48h3.2k519
7d6.7k892
30d22.6k3.3k
112 shows
326 tapes
1968
6.4k
PlaybackListensHours
48h52066
7d1.1k133
30d6.4k799
41 shows
125 tapes
1967
1.4k
PlaybackListensHours
48h14922
7d28439
30d1.4k197
23 shows
55 tapes
1966
7.6k
PlaybackListensHours
48h51339
7d1k60
30d7.6k497
32 shows
78 tapes
1965
553
PlaybackListensHours
48h372
7d1086
30d55333
2 shows
2 tapes
1970
7/12/70
EL PASO
2:28
FRIEND OF THE DEVIL
3:53
NEW SPEEDWAY BOOGIE
10:19
SO SAD
2:36
IRIT & LAURIE LOVE
2:57
I HEAR A VOICE CALLING
2:41
COLD JORDAN
2:11
SWING LOW, SWEET CHARIOT
2:47
SIX DAYS ON THE ROAD
3:44
WHAT YOU GONNA DO
4:23
TRUCK DRIVIN� MAN
3:54
DIRTY BUSINESS
6:30
LODI
5:03
LAST LONELY EAGLE
6:06
MORNING DEW
0:43
MORNING DEW
1:48
MORNING DEW
0:54
MORNING DEW
0:59
MORNING DEW
6:10
SITTIN� ON TOP OF THE WORLD
3:15
ME & MY UNCLE
3:19
NOT FADE AWAY
15:06
CASEY JONES
5:04
MAMA TRIED
2:43
GOOD LOVIN
9:57
GOOD LOVIN
9:02
HIGH TIME
7:36
CUMBERLAND BLUES
4:40
CHINA CAT SUNFLOWER
7:58
I KNOW YOU RIDER
3:15
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