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June 9th
9 shows
89 tapes
Years
1995
30.1k
PlaybackListensHours
48h56175
7d7k942
30d30.1k4.2k
49 shows
341 tapes
1994
8.6k
PlaybackListensHours
48h1.5k179
7d1.7k245
30d8.6k1.2k
85 shows
460 tapes
1993
38.4k
PlaybackListensHours
48h2.8k339
7d8.6k1.2k
30d38.4k5.1k
83 shows
656 tapes
1992
36.1k
PlaybackListensHours
48h2.2k287
7d4.5k577
30d36.1k4.8k
57 shows
539 tapes
1991
42k
PlaybackListensHours
48h3.5k503
7d11.8k1.6k
30d42k5.7k
78 shows
973 tapes
1990
35.2k
PlaybackListensHours
48h8k987
7d6.7k884
30d35.2k4.6k
78 shows
1,139 tapes
1989
47.8k
PlaybackListensHours
48h2.3k291
7d8.9k1.1k
30d47.8k6k
78 shows
1,017 tapes
1988
21.8k
PlaybackListensHours
48h1.2k134
7d3.3k377
30d21.8k2.5k
82 shows
882 tapes
1987
35.1k
PlaybackListensHours
48h1.6k176
7d6.6k713
30d35.1k3.8k
88 shows
1,025 tapes
1986
14.3k
PlaybackListensHours
48h63270
7d2.3k259
30d14.3k1.6k
47 shows
683 tapes
1985
21.9k
PlaybackListensHours
48h1.4k156
7d4.8k565
30d21.9k2.6k
73 shows
1,356 tapes
1984
15.8k
PlaybackListensHours
48h1.9k230
7d3.4k440
30d15.8k2k
67 shows
1,075 tapes
1983
33.7k
PlaybackListensHours
48h1.2k162
7d3.9k502
30d33.7k4.5k
71 shows
1,069 tapes
1982
42.1k
PlaybackListensHours
48h1.2k153
7d4.6k569
30d42.1k5.2k
63 shows
753 tapes
1981
52.1k
PlaybackListensHours
48h1.5k186
7d5.7k734
30d52.1k6.5k
92 shows
868 tapes
1980
72.7k
PlaybackListensHours
48h6.1k673
7d13.1k1.5k
30d72.7k8.4k
91 shows
794 tapes
1979
25.8k
PlaybackListensHours
48h1.4k196
7d3.4k480
30d25.8k3.6k
79 shows
600 tapes
1978
56.3k
PlaybackListensHours
48h1.7k230
7d12.2k1.6k
30d56.3k7.7k
87 shows
592 tapes
1977
299.2k
PlaybackListensHours
48h19.6k2.8k
7d40.6k5.5k
30d299.2k41.2k
64 shows
419 tapes
1976
50.3k
PlaybackListensHours
48h4.3k609
7d27.7k3.9k
30d50.3k6.8k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h59759
7d1.9k184
30d6.3k650
25 shows
63 tapes
1974
99.8k
PlaybackListensHours
48h7.3k959
7d11.5k1.5k
30d99.8k12.6k
42 shows
324 tapes
1973
80.6k
PlaybackListensHours
48h4.7k594
7d11.1k1.5k
30d80.6k10.3k
75 shows
445 tapes
1972
74.3k
PlaybackListensHours
48h2.2k279
7d8.3k1k
30d74.3k9k
88 shows
361 tapes
1971
34.3k
PlaybackListensHours
48h1.5k170
7d5.8k647
30d34.3k3.9k
82 shows
357 tapes
1970
45.2k
PlaybackListensHours
48h2.5k265
7d17.7k1.8k
30d45.2k4.8k
101 shows
376 tapes
1969
26.6k
PlaybackListensHours
48h1.9k319
7d6.2k1k
30d26.6k3.9k
112 shows
326 tapes
1968
6.8k
PlaybackListensHours
48h829112
7d1.3k156
30d6.8k854
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h12617
7d32346
30d1.5k208
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h25513
7d1k70
30d8k536
32 shows
78 tapes
1965
592
PlaybackListensHours
48h382
7d1156
30d59235
2 shows
2 tapes
1970
11/8/70
Dire Wolf
5:07
I Know You Rider
9:08
Dark Hollow
3:38
Rosalie McFall
3:38
El Paso
4:53
Operator
2:21
Ripple
4:25
Friend of the Devil
3:34
Wake Up Little Susie
2:25
Uncle John's Band
6:25
Morning Dew
11:34
Me and My Uncle
3:23
Mystery Train>
3:45
My Babe
3:10
Around and Around
3:11
New Orleans>
4:39
Searchin'
6:08
It's All Over Now, Baby Blue
9:44
Casey Jones//
4:20
Truckin'>
8:33
Dark Star>
16:36
The Main Ten>
4:17
Jam>
4:18
Dancin' in the Streets
10:59
Drums>
0:28
Not Fade Away>
4:43
Goin' Down the Road Feeling Bad>
7:59
Not Fade Away>
2:37
Drums>
0:28
Good Lovin'>
1:57
Drums>
4:12
Good Lovin'
8:13
FIN
View on archive.org
Sources
Taper: Jack Toner
1:14:10
Taper:
Jack Toner
Transferrer:
Transferred By Clinton Vadnais (2002) Speed Corrected And Remastered By Clinton Vadnais (jan 2026) From The Collection Of An In Memory Of Don Schneier
SHNID:
gd1970-11-08.176470.sony.tc110.toner.vadnais.flac1644
Source:
Assumed To Be Recorded By Jack Toner With Sony Tc-110 Cassette Deck With Built In Microphone.
Lineage:
1st Gen Reel > Teac A-2300sx > Rca Out > Audiophile 2496 > Wavelab Lineage: Wavelab> Cd Wave > Mkwact > Wav > Cd
Taper: Marty Weinberg
3:12:41
Taper:
Marty Weinberg
Transferrer:
Steve Martin,Matt SMith, Sirmick
SHNID:
gd1970-11-08.154243.partial.weinberg.martin.smith.sirmick.flac24
Source:
AKG 190E mic > Uher 4000 Report-L > Master Reels - recorded by Marty Weinberg and from the collection of Steve Martin
Lineage:
Transfer Master Reels > Akai GX625 > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > wav 24/96 - transferred by Matt Smith Lineage: Wav 24/96 > Adobe Audition 3 > iZotope RX 9 Advanced > iZotope Neutron 2 Advanced > CD Wave > flac24
Taper Notes:
View NotesNotes - I believe that this the first time that a direct transfer from Marty's masters have circulated and it's also the first time that it has been in 24 bit. We all know there are some incomplete songs, some clipped songs and some that just didn't get taped, so as there are already a number of compilations available I decided from the start that I was going to restrict myself to just those songs that were actually taped by Marty. We don't need another compilation so this is just Marty with some help from Ken and Judy Lee's recording. - All tracks and patches have been pitch adjusted and the patches eq'd so that they are a better fit with the main source. Thanks to Steve Martin for providing this soutce. Thanks To Matt Smith for the transfer. Thanks to Ken and Judy Lee. Thanks to Marty Weinberg for being in the right place at the right time. edited and mastered SIRMick November 2021
Taper: Marty Weinberg
3:53:18
Rating:
8.00 / 5 ratings
Taper:
Marty Weinberg
Transferrer:
Rob Berger and Morgan Evans
SHNID:
gd1970-11-08.125659.bergercomposite.flac16
Source:
source: aud reel master taped by Marty Weinberg; akg d190e > uher 4000L; transferred by Michael Parish; the following were used as patch sources: Jerry Moore's 1st gen reel of Marty's mar and Ken Lee's aud cassette master; assembled by Rob Berger
Taper Notes:
View Notesthanks to Morgan Evans,this seed features a big upgraded portion of Marty's recording that is new to common circulation. the following were used as patch sources: + = Jerry Moore's 1st gen reel of Marty's mar transferred by Rob Berger shinid 119787 * = Ken Lee's aud cassette master transferred by John Jay Hance shnid 26975 assembled by Rob Berger 2013
Taper: Jerry Moore and Marty Weinberg
1:55:00
Rating:
8.86 / 8 ratings
Taper:
Jerry Moore and Marty Weinberg
Transferrer:
Rob Berger
SHNID:
gd1970-11-08.aud.weinberg.moore-berger.119787.flac16
Source:
aud 1st gen reel, Jery Moore's reel copy of Marty Weinberg's reel;
Lineage:
mar > 7" reel @ 3.75 ips, dolby b; master: akg d190e > uher 4000L 5" open reel deck taped by Marty Weinberg technics rs-1506 > teac an-180/b > tascam hd-p2 24/96 > pc > cd wave > adobe audition 2.0 > flac; transferred & seeded by Rob Berger april 2012
Taper Notes:
View Notesnotes: *NRPS set (complete) available seperately Although the Lee/Hance/PCRP source of this is certainly sonically better, I've always loved the Lengandary Marty's recording as well. I think this copy of Jerry Moore's is the best and most unmonlested I've heard it. Enjoy.
Taper: Ken and Judy Lee
1:16:41
REMASTER
Rating:
8.67 / 3 ratings
Taper:
Ken and Judy Lee
Lineage:
Master Cassette > DAT > CD > EAC > SHN > Remastering > FLAC
Taper Notes:
View NotesRemastering of shnid 28609: using Adobe Audition, I repitched tracks 6-12 to match the rest of the show, and severely attenuated (by about 35 dB) the horrible booming resonance centered at about 215 Hz, most objectionable during Good Lovin'. I moved the track marker for the beginning of NFA to match more closely the change of source tape. Only tracks 5-12 are different from 28609 http://www.archive.org/details/gd1970-11-08.aud.weiner.28609.sbeok.shnf http://db.etree.org/shninfo_detail.php?shnid=28609
Taper: Ken & Judy Lee
4:27:29
Rating:
9.03 / 81 ratings
Taper:
Ken & Judy Lee
Transferrer:
Noah Weiner
SHNID:
gd1970-11-08.aud.weiner.28609.sbeok.shnf
Source:
Audience - Ken & Judy Lee
Lineage:
Dynamic Mics > Sony TC124 (AudMC) > Tascam 122 MK-III > Lucid ADA1000 > Tascam DA30-II (DAT) > Tascam CDRW 700 > CDR > EAC > SHN
Taper: Ken and Judy Lee
4:25:23
Rating:
10.00 / 22 ratings
Taper:
Ken and Judy Lee
Transferrer:
PCRP
SHNID:
gd1970-11-08.aud.lee.pcrp.26975.shnf
Source:
See info file
Lineage:
See info file
Taper: Ken Lee and Marty Weinberg
3:59:57
Rating:
8.44 / 19 ratings
Taper:
Ken Lee and Marty Weinberg
Transferrer:
The Wizard
SHNID:
gd70-11-08.aud.owens.23474.sbeok.shnf
Source:
Audience
Taper Notes:
View NotesThis does not exist in the vault so this is the best that's out there... This was drawn from at least three audience sources, Primarily Ken Lee's (MC>C>D>CD) and Marty Weinberg's (MR>C>D>CD). Some of these sources have been mixed up a bit over the years so I am not too worried about where each minute came from, I just tried to pick the best sounding parts and make them a little better... Acoustic Set - Primarily Lee's with patches NRPS Set - Weinberg's - No patch source available. First Electric Disc - Weinberg's with patches. Second Electric Disc - Through Dancin' is Weinberg, rest Lee with patches (The second half of Weinberg had bad bass saturation...) This show required a good bit of work. All sources needed a Continuous Noise filter to take the edge off the hiss. Each source was individually equalized to bring out the best in them. Gain adjustments were made to bring everything in balance and about 200-300 loud handclaps were removed from various parts. A lot of miscellaneous pops and gliches were cleaned up. All patches were matched as best I could to the rest of the songs sonic qualities. All editing done with Diamond Cut DC5 software.
Transferrer: CousinIt
2:50:48
Rating:
9.33 / 3 ratings
Transferrer:
CousinIt
SHNID:
gd1970-11-08.aud-weinberg.cousinit.18639.shnf
Source:
MAR source seems to be from Marty Weinberg's master, recorded from the floor, AKG 190E mic > Uher 4000 Report-L 5" reel machine.
Lineage:
C>SHN Conversion by Cousinit
Taper Notes:
View NotesPatch info: 0:00-1:48 of Morning Dew, are MAC>C>R>D>CD>EAC>SHN, from Ken Leigh's master. 2:06-2:10 of Dancin' in the Streets is MAC>C2>D>CD>EAC>SHN, from Ken Leigh's master. 2:11-6:42 of Dancin' in the Streets are MAC>C>R>D>CD>EAC>SHN, from Ken Leigh's master. 6:43 of Dancin' thru Good Lovin is MAR>C>D>CD>EAC>SHN from Marty Weinberg's master Notes: Very beginning of most Songs cut by taper to save tape. I was lucky enough to resurrect the Acoustic Set for it was on a very old Ampex tape. It would run for about 5 to 30 secs than drag and shut down the cassette. I would have to redo this process incrementally for each song until the song was complete. After that I could rewind and replay the song without any problems occurring to be able to transfer the song. A big PITA but well worth it. Acoustic Set Normalization and Pitch Correction via Soundforge. Electric Set Pitch Correction via Soundforge. D3t06 and onwards were added from the Warner source as these were the same. Sector boundaries fixed/seeking added to shn set by terrapinstation 06/06/2003.
Taper: Marty Weinberg and Ken Lee
4:00:09
Rating:
7.50 / 4 ratings
Taper:
Marty Weinberg and Ken Lee
Transferrer:
Jack Warner
SHNID:
gd70-11-08.aud.warner.17184.sbeok.shnf
Source:
Audience - Marty Weinberg and Ken Lee
Lineage:
See Notes
Transferrer: Miles Garrett and Morgan Evans
6:00:25
Rating:
9.00 / 2 ratings
Transferrer:
Miles Garrett and Morgan Evans
SHNID:
gd1970-11-08.aud.garrett-evans.3339.shnf
Source:
Audience
Taper Notes:
View NotesThe various sources for this composite recording make an accurate genealogy impossible, but the bulk of the recording seems to be MAC>C>D>CD, with a couple of mystery gens in there somewhere. The DAT>CD conversion was done by one Miles Garrett, and CD>SHN by Morgan Evans. Enjoy. The following discussion is from deadlists.com. After much listening, it appears that our copy is a well-executed composite of 1AUD patched with 2AUD, except for the last half of Dancin through the end of the show, which is patched with a higher-gen copy of the last reel of 1AUD: ************************************************************************* Since no SBD survives in the vault of this alltime classic show we are especially lucky that there are three AUD masters in circulation. The best master as far as sound, reportedly 1AUD was recorded from the balcony. It is recognizable by the following defects: it is missing the opening 1:46 of Morning Dew, the 1st 9 seconds of Around & Around, 1:02 of jamming in Baby Blue starting at 7:37, the first 3 seconds of Truckin, the first couple seconds of Dark Star, and 4:19 of jamming from Dancin, starting at 2:06. Some copies in circulation patch the beginning of Morning Dew with 2AUD; some patch the middle of Dancin with 2AUD, and of these some return to 1AUD for the last 3:56 of Dancin and others continue with 2AUD through to the end of the song. Also, many circulating tapes that start with 1AUD and patch through to the end with 2AUD continue through to the end of the show with 2AUD's version of the concluding sequence, NFA through Good Lovin, despite the fact that 2AUD's GDTRFB is missing fully 3 minutes of jamming starting at 4:12. Besides this cut, which includes the brief Mountain jam, the 2AUD master of this sequence is distinguished by a woman saying "hey, more" during the opening NFA drums. 2AUD has more audience noise than 1AUD; it was probably made on the floor from some ways back; it is not widely circulated except fragmentarily as patches in Dew and Dancin on copies of 1AUD, but the complete acoustic set and all of the electric set except New Orleans ? Searchin and Truckin through Dancin can be found; there is no sign of the NRPS set in 2AUD. Clearly on several occasions people have taken partial or complete versions of 1AUD and 2AUD and assembled various combinations of the two tapes to make more nearly complete versions of the show -- other combinations besides those noted above. 3AUD has only recently come into circulation. It was made on a Sony dictaphone; its sound quality improves as it progresses; probably the mic was moved closer to the PA in the course of the performance. 3AUD contains only the electric set; it is the only master that includes the opening 3 seconds of Truckin and the first bar of NFA; it is missing 0:47 of Good Lovin starting 5:40 after drums [4:07]. Most circulating copies of 1AUD require speed correction, whereas copies of 3AUD are more likely to be good speed. There is also SBD in circulation of the last 5 NRPS tunes, although there is no SBD of the Dead portions of this show in the vault or in circulation. ********************************************************************** more info: the person who is responsible for the bulk of the capitol theatre audience recordings is a fellow by the name of ken lee (not sure of his last name spelling). this is the guy who was employed by howard stein (local ny area promoter of the time) my source is his brother in law, mark c (a long time dead head & quite a nice & unassuming person) i owe mark a huge debt of gratitude. ken's port chester masters were recorded on a sony cassette deck (don't have the 'model # or mic info) his positioning was generally center lodge with mic's mounted on the rail. 3/21/70 had the mic's spaced at over 15 feet, and the recording bears out that information. 6/24/70 set#2 was mastered on a 120-minute cassette. ken is reported to be very un-friendly and intimidating (6 foot 5 inches with a security guard attitude) he was at tompkins square park, nyc 6/67 and reported a ? hour dancin' in the street, fwiw. he recorded many local shows (queens college, all 4 stands at port chester, Manhattan center.etc. mark says he was doing this only for himself and never did much of anything at all with his recordings. at port chester he had howard steins permission to tape, with the footnote of never letting them out. so...marks older sister is married to this guy & he would occasionally let mark have tapes & mark was apparently pretty free with his copies over the years. most of what circulates from gd @ port chester originated mainly from mark's 1st gen copies, not ken's masters. as time went on their relationship deteriorated (now they are estranged) and ken literally & figuratively shut the door on mark. marks last score from ken's tapes was back in 1986. when ken was out, mark & an instigating friend went armed with sony tc d5m's and recorded as much from the masters as they could get away with. ken arrived in the middle of all this and was outraged and shut it all down & proceeded to take all the copies (not all it turned out) mark told me that at that point in time, all the tapes he witnessed were badly in need of restoration (and this was back in 1986) i am sad to relay that even though these master still exist, there are rotting in un-kind hands it took me close to 2 years & many phone calls to hook up with mark, and then only for one day. things were haphazard & i taped what i could given the time i had on hand. ************************************************************************* for even further discussion of these great tapes see the Taper's Compendium.