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June 5th
Years
1995
27.4k
PlaybackListensHours
48h3.7k492
7d9.3k1.3k
30d27.4k3.8k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h66895
7d1.4k211
30d8.4k1.2k
85 shows
460 tapes
1993
31.9k
PlaybackListensHours
48h2.6k356
7d2.4k322
30d31.9k4.2k
83 shows
656 tapes
1992
32.9k
PlaybackListensHours
48h1k136
7d11.9k1.5k
30d32.9k4.4k
57 shows
539 tapes
1991
36.4k
PlaybackListensHours
48h1.6k219
7d8.8k1.2k
30d36.4k5k
78 shows
967 tapes
1990
35.9k
PlaybackListensHours
48h2.5k325
7d6.3k839
30d35.9k4.7k
78 shows
1,139 tapes
1989
49.7k
PlaybackListensHours
48h3.7k473
7d7.2k902
30d49.7k6.2k
78 shows
1,013 tapes
1988
21.8k
PlaybackListensHours
48h1.2k131
7d5k540
30d21.8k2.5k
82 shows
882 tapes
1987
39.1k
PlaybackListensHours
48h2.6k282
7d9.7k944
30d39.1k4.3k
88 shows
1,025 tapes
1986
14.8k
PlaybackListensHours
48h947105
7d2.2k256
30d14.8k1.7k
47 shows
683 tapes
1985
20.7k
PlaybackListensHours
48h1.8k213
7d4.3k503
30d20.7k2.4k
73 shows
1,356 tapes
1984
23.1k
PlaybackListensHours
48h1.4k178
7d2.9k372
30d23.1k2.9k
67 shows
1,075 tapes
1983
33k
PlaybackListensHours
48h1.5k192
7d4.1k544
30d33k4.4k
71 shows
1,069 tapes
1982
40.8k
PlaybackListensHours
48h1.7k210
7d4.2k526
30d40.8k5.1k
63 shows
753 tapes
1981
58.3k
PlaybackListensHours
48h2k258
7d5.4k690
30d58.3k7.4k
92 shows
868 tapes
1980
70.9k
PlaybackListensHours
48h4k452
7d19.8k2.4k
30d70.9k8.3k
91 shows
794 tapes
1979
29.2k
PlaybackListensHours
48h1.3k183
7d3.7k521
30d29.2k4.1k
79 shows
600 tapes
1978
56.3k
PlaybackListensHours
48h8.2k1k
7d6.9k925
30d56.3k7.8k
87 shows
592 tapes
1977
344k
PlaybackListensHours
48h15.2k2k
7d32.7k4.6k
30d344k48.1k
64 shows
419 tapes
1976
38.7k
PlaybackListensHours
48h13.2k1.8k
7d18.7k2.6k
30d38.7k5.2k
45 shows
298 tapes
1975
5.3k
PlaybackListensHours
48h63564
7d89897
30d5.3k567
25 shows
63 tapes
1974
95.8k
PlaybackListensHours
48h4.3k534
7d12.7k1.6k
30d95.8k12.1k
42 shows
324 tapes
1973
78.2k
PlaybackListensHours
48h3.8k506
7d12.2k1.6k
30d78.2k9.9k
75 shows
445 tapes
1972
77.5k
PlaybackListensHours
48h2.9k351
7d8.6k1k
30d77.5k9.4k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h2.3k253
7d8.8k1k
30d33.5k3.8k
82 shows
356 tapes
1970
33.2k
PlaybackListensHours
48h5.4k521
7d4.5k487
30d33.2k3.7k
101 shows
376 tapes
1969
23.7k
PlaybackListensHours
48h2.5k398
7d8.8k1.2k
30d23.7k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h51965
7d1.2k151
30d6.6k817
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h16021
7d34847
30d1.6k215
23 shows
55 tapes
1966
7.7k
PlaybackListensHours
48h42831
7d1.2k74
30d7.7k508
32 shows
78 tapes
1965
571
PlaybackListensHours
48h342
7d1468
30d57134
2 shows
2 tapes
1971
4/28/71
Truckin'
13:51
Beat It On Down The Line
3:56
Loser
8:08
El Paso
6:51
The Rub
6:11
Bird Song
10:53
Playing In The Band
6:19
Cumberland Blues
7:03
Ripple
6:06
Me And Bobby McGee
8:55
I'm A King Bee
8:09
Bertha
6:21
Tuning
2:37
Morning Dew
12:39
Me And My Uncle
3:55
Deal
6:06
Hard To Handle
11:30
That's It For The Other One ->
19:50
Wharf Rat
9:38
Sugar Magnolia
12:33
Dark Star ->
14:00
Saint Stephen ->
6:23
Not Fade Away ->
3:33
Goin' Down The Road Feeling Bad ->
6:29
Not Fade Away
3:30
Pre Show Press Conference With Bill Graham
1:14:08
FIN
View on archive.org
Sources
Transferrer: Charlie Miller
4:39:34
SBD
Rating:
10.00 / 4 ratings
Transferrer:
Charlie Miller
SHNID:
gd1971-04-28.sbd.miller.106100.flac24
Source:
SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips)
Lineage:
Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k) Mastering Info: WAV -> Samplitude Professional v11.03 -> FLAC/24
Taper Notes:
View NotesNotes: -- Truckin through Bird Song (up to reel flip) from 1st Gen Reel -- Tom Constanten plays on Dark Star through the end of the show -- Press conference has a sample rate of 44.1k -- Thanks to Bill Gadsden for supplying the reels -- Thanks to Rob Eaton for supplying the patch source -- Thanks to Neil Sturtevant for rebuilding the dolby unit
Transferrer: Charlie Miller
4:39:34
SBD
Rating:
9.76 / 17 ratings
Transferrer:
Charlie Miller
SHNID:
gd1971-04-28.sbd.miller.106099.flac16
Source:
SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips)
Lineage:
Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k) Mastering Info: WAV -> Samplitude Professional v11.03 -> FLAC/16
Taper Notes:
View NotesNotes: -- All disc changes are seamless -- Truckin through Bird Song (up to reel flip) from 1st Gen Reel -- Tom Constanten plays on Dark Star through the end of the show -- Thanks to Bill Gadsden for supplying the reels -- Thanks to Rob Eaton for supplying the patch source -- Thanks to Neil Sturtevant for rebuilding the dolby unit
Transferrer: Matt Smith
3:26:31
SBD
Rating:
9.00 / 2 ratings
Transferrer:
Matt Smith
SHNID:
gd1971-04-28.126262.sbd.boswell.smith.flac16
Source:
Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Truckin thru Bird Song is from a second gen reel. Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC; Transfered and mastered by Matt Smith
Taper Notes:
View NotesMatt's note: bird song, bertha patched from 16 track source wharf rat. the other one from alternate sources Matt's original notes from 114029: I decided to put this out for a number of reasons but mainly it's a big improvement as to what circulates. The main reason being Will's reels are in prime condition and have never had to be baked over a number of times. The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them.. According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973. Will's are 7.5 ips. and Pat's are 3.3/4 ips. Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself. I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility. We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy!
Taper: Will Boswell
3:27:03
SBD
Rating:
9.00 / 2 ratings
Taper:
Will Boswell
Transferrer:
Matt Smith
SHNID:
gd1971-04-28.sbd.boswell.smith.114088.flac24
Source:
Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0 > FLAC 24 bit; Transfered and mastered by Matt Smith 6/11
Taper Notes:
View NotesMatt's note: Thanks to Bob Menke for the patch sources 'bird song', 'bertha' patched with 2 track Ramrod source.. 'other one > wharf rat' patched with 16 track source.. I decided to put this out for a number of reasons but mainly it's an improvement as to what circulates. The main reason being Will's reels are in prime condition and have never had to be baked over a number of times. The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them.. According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973. Will's are 7.5 ips. and Pat's are 3.3/4 ips. Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself. I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility. We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy! My notes: Big Thanks to Matt. Wonderful!! Thanks to jpc3 for tagging these files text file created & seeded 06/16/2011 gballen
Taper: Will Boswell
3:27:03
SBD
Taper:
Will Boswell
Transferrer:
Matt Smith
SHNID:
gd1971-04-28.sbd.boswell.smith.114029.flac16
Source:
Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0(dithered to 16/44 via 'UV22HR' Apogee algorithim > CD FLAC; Transfered and mastered by Matt Smith
Taper Notes:
View NotesMatt's note: Thanks to Bob Menke for the patch sources 'bird song', 'bertha' patched with 2 track Ramrod source.. 'other one > wharf rat' patched with 16 track source.. I decided to put this out for a number of reasons but mainly it's a big improvement as to what circulates. The main reason being Will's reels are in prime condition and have never had to be baked over a number of times. The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them.. According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973. Will's are 7.5 ips. and Pat's are 3.3/4 ips. Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself. I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility. We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy! My notes: Big Thanks to Matt. Wonderful!! Thanks to jpc3 for tagging the files text file created & seeded 06/17/2011 gballen
Transferrer: Matt Smith and Jamie Waddell
3:07:11
SBD
Rating:
10.00 / 1 rating
Transferrer:
Matt Smith and Jamie Waddell
SHNID:
gd1971-04-28.sbd.gems.102859.flac24
Source:
SBD MR>R@ 7 1/2 ips. Tape stock:Maxell UD35-7 tape.
Lineage:
Akai GX636>Apogee Mini Me @24bit/96kHz > Apogee mini DAC(monitoring/mastering) > Lynx One Audio Card > Wavelab 5.0 > FLAC. Pow-r3 Dither in Weiss-Saracon FLAC Level 8 in Trader's Lil Helper Meta-Data with Tag&ReName
Taper Notes:
View Notes-bird song has a reel flip -bertha is cut -other one is cut -wharf rat is missing Tom Constanten appears on Dark Star through NFA
Transferrer: refined, patched, retracked and SHN'ed by Chris Frisco at the Frisco Refinery, April 28, 2004.
3:22:20
SBD
Transferrer:
refined, patched, retracked and SHN'ed by Chris Frisco at the Frisco Refinery, April 28, 2004.
SHNID:
gd1971-04-28.sbd.frisco.32862.shnf
Source:
MR>R>CDR
Taper Notes:
View NotesTom Constanten appears on Dark Star through NFA sources: d01t01 through d01t07 (2:32): MR>R>CDR d01t07 (6:00) through the end: MR>CDR except for the following patches: d01t07 (1:17 - 1:18) patched from altenate SB source 1 d01t07 (2:32 - 6:00) patched from altenate SB source 1 d03t03 (4:37 - 13:07) patched from altenate SB source 2 d03t04 (0:00 - 9:27) patched from altenate SB source 1 all sources were synced to match altenate SB source 1 The following 21 glitches were painstakingly removed without deleting any of the wav. Each sector was repositioned, one by one, until flaw was no longer audible: d01t07: (5 @ 6:10) d02t01: (8:17, 8:32) d02t02: (7:38) d02t03: (0:00) d02t04: (4:54) d02t05: (3 @ 0:00) d02t06: (5:55, 6:02) d02t07: (9:18, 2 @ 9:21, 9:31) d03t02: (1:32) d03t06: (1:59)
Transferrer: Seth Kaplan and Alan Fink
3:23:23
SBD
Transferrer:
Seth Kaplan and Alan Fink
SHNID:
gd1971-04-28.sbd.kaplan-fink.11257.sbeok.shnf
Source:
Truckin'through Bird Song 02:07.38: MSR>Reel>Alesis Masterlink>CDR Bird Song 02:08.70 through end of show: MSR 7 inch(7.5 ips)Revox A 77>Alesis Masterlink>CDR (previous splices patched via multi- track sources as noted below)
Taper Notes:
View Notes(Extraction and.shn encoding by Seth Kaplan via EAC and MKW. Accurate extraction and properly aligned sector boundaries verified via EAC and .shntool) Notes: * patched w/Skull & Roses ** patched w/LAGTGD *** with Tom Constanten Truckin' - 0:19 -/splice > Bill Graham's intro before Truckin' Bird Song - 0:01.32 splice at source change from initial source to remaining source patched from LAGTGD. 0:03.049 MSR tape glitch prior to second splice removed and patched with additional 02:33.63 from LAGTGD. Bertha - cuts at 05:08 - probable reel flip. Cross fade from 04:57- 05:08 via Cool Edit 2000. Other One - 08:47.22 (through end) patched from Skull & Roses with initial 08:37.22 increased by +4db. Cool Edit Quick Filter used to increase frequencies: 2.9K - 1.5 7.3K - 4.5 22K - 7 Final 00:10 normalised by an average of +3db - +6db via Cool Edit 2000 to adjust the initial edited cross fade on the original Skull & Roses release as well as cut to remove the opening chord of Wharf Rat as heard at the end of the original Skull & Roses fadeout which is picked up in the following Wharf Rat patch from LAGTGD. Wharf Rat - entire track patched from LAGTGD and normalised to 60%. Sub second audience segment overlapped from end of 4/29's Minglewood preceding Wharf Rat on LAGTGD removed to complete the original segue from the Other One > Wharf Rat as heard at the end of the original Skull & Roses fadeout. General - several miscellaneous pops during tuneups either prior to or subsequent to Bird Song, Bertha, Hard to Handle and Cryptical Envelopment removed via Cool Edit 2000 click/pop eliminator. Edits performed by Seth D Kaplan via Cool Edit 2000. 08:37.22 of the Other One patch edited by Alan J Fink via Cool Edit as described above. The above edits make this classic show musically complete given the good fortune of having the long missing portions supplied via the official releases. Many thanks to the Dead, Bill Gadsden, the tapers, Jim Wise and others for getting just about all of the great music played during this phenomenal run, out there. Seth Kaplan July 27,2002 Bill Gadsden's story of the April '71 Fillmore tapes: -*-*-*-*-*-*-*-*- The Story of the Tapes *-*-*-*-*-*-*-*- "Who's the Dead freak?" With that innocuous question the story of these tapes begins. It was the summer of 1973, between attending 6/10/73 at R.F.K. Stadium and the Watkins Glen soundcheck. A friend of mine was listening to Live/Dead at his parent's house. A local cabinetmaker was working at the house and asked the question. He mentioned that he had a bunch of Dead tapes from the Fillmore East back at his house. For about a year, three 90 minute composites of the 4/71 shows had made their way around taping circles in the Princeton, N.J. area, but not the complete shows. Within hours, Peter Kafer and I were at the cabinet shop with our reel to reel decks. What we found when we got there were 11 master reels of the 4/71 shows, along with a host of other 1st and 2nd generation tapes from the Fillmore East of other bands, but also including 9/20/70. Also there were the 1st generation reels from 11/23/70 at the Anderson Theater. The 4/26-29/71 master reels were recorded by an individual named Buddy Miller, a local N. J. area musician. Buddy has become a very well respected, and recorded, Nashville guitarist. He is currently touring with Emmy Lou Harris, and can be heard on her current CD, Red Dirt Girl. Buddy was a friend of the cabinetmaker and, since he travelled a great deal, the tapes resided at the cabinet shop. Buddy was set up to record these shows by a friend who was a member of the Fillmore East soundcrew. These shows were NOT recorded in the same manner as the February '70,the May 15, '70 show, and the material from the September 18, 19, '70 shows. For the April '71 shows, a feed was run off the soundboard, which was upstairs in a balcony box, stageleft. There is a good picture of the soundbooth in Amalie Rothchild's book, Live at the Fillmore East. The feed went from the soundboard into a broomcloset nearby, literally a broomcloset. Buddy remembers a bucket and mop! The feed was mixed down on two little Shure line mixers and recorded on a middle of the line Sony deck onto BASF 90 minute reels at 7 1/2 ips. There was also a little consumer Dolby B unit used, which is why these recordings seem so 'bright'. We taped everything that summer of 1973 onto BASF reels. The following fall, Peter took his reels with him to California to begin his freshman year at U.C., Berkeley. From here he met various West coast tapers such as Bob Menke and Rob Bertrando, and the tapes began their circulation on the West coast. I took mine to Trinity College in Connecticut and began to circulate them out East. Two years later, we wanted to retape the original masters, since we now had somewhat better decks and Maxell reel to reel tape had come on the market. We recopied everything. At this time, Buddy Miller simply gave us many of the Fillmore and Anderson Theater reels for essentially the cost of blank tape. His own musical interests had moved on. Of the 4/71 masters, we were given 6 of the 11 reels and Buddy retained the other 5. I've had these reels in my possession since then. Why has it taken so long for these reels to enter the digital world? Basically because I dropped out of the whole tape collecting scene about 1980 due to family, career, etc. However, two of my old taping buddies, Bernie Tenenbaum and Chris Zingg, implored me to get my reels digitized before the analog reels degraded. Fortunately they had been safely stored in cardboard boxes, away from heat and light, in the back of a closet. I knew nothing of the digital world, didn't have a DAT or CD machine, had no idea what a tree or a 'B and P' was, and was absolutely amazed at how big the community of collectors had become. When I effectively left it at the end of the '70s, it was really only a handful of people. This past Spring I reconnected with Buddy Miller for the first time in over 20 years. He actually was able to dig up 2 of the 5 original BASF masters that he had hung onto, and mailed them up to me. With 8 of the original 11 now in hand, and my complete set of Maxell 1st gen. copies to fill in the blanks for the still missing 3 masters, I digitized the shows. The missing reels, #'s 4, 5, and 6, run from 4/27 Hard to Handle through the pre-break portion of Bird Song on 4/28. For this I used the Maxells. Along the way, I was directed to Jim Wise for advice and assistance in digitizing and getting the shows out into the community. I transferred the shows to CD incorporating the New Riders sets, instead of treating them discreetly. I really believe that the performances should be considered in their entirety. Back in the '70s when these shows got circulated, the Riders sets got ignored after awhile, which was a shame. They are a lot of fun to listen to, and a great warmup for the Dead show to follow. The reels were played on a Revox A77 and digitized directly onto an Alesis Masterlink ML9600, sampling at 16 bit, 44.1 k. The Alesis was a wonderful solution for someone in my position, sitting on a bunch of reels. It removed the intermediate step of re-recording everything onto DAT. For those who are curious about the Masterlink, check it out at www.alesis.com. One final bit of information that makes this whole 27 year story all the more fascinating is that these 2 track masters were used for the recent 16 track release, Ladies and Gentlemen....The Grateful Dead. While the 16 track recordings had Bill Graham's introduction and his tribute/tirade speech before In the Midnight Hour on 4/29, it was not nearly as strong and present as it was on the 2 tracks for some reason.Through an introduction facilitated by Jim Wise, Jeffrey Norman and David Lemieux asked if I could send out the 2 tracks to be used on the release. With 5 days to go before the production CDs were due at the printing plant, I FedEx'ed them out and they were used for those two Bill Graham pieces. A wonderful chapter after all these years. There has always been a question about 4/25/71. The BASF master labelled #1 begins with Big Boss Man from 4/26. Back in 1973 we saw nothing of any taping of 4/25's show. I have asked Buddy about it and, after 29 years, he doesn't believe he recorded it, which would be consistent with 4/26 being #1. Just a guess: since the record company was there to record the run, our surrepticious broomcloset tapers just lay low the first night to make sure it was clear to try to tape. I know there has been a high-gen fragment of 4/25 that has circulated for years that supposedly came from cassette masters that were also made of these shows. While anything is possible, if this were true one would have to wonder why no material from cassette has ever surfaced of any of the other 4 nights. The mystery remains, but one day I am gonna have to put this mystery to rest. I hope everyone enjoys these new and improved versions of the 4/71 Fillmore East shows. They have always been the heart of my Dead collection and many others as well, I suspect. Bill Gadsden
Transferrer: Unknown
4:29:30
SBD
Source:
Workin' Man Blues through the cut in Bird Song: MR>R>CDR the cut in Bird Song through the end: MR>CDR
Taper Notes:
View NotesGlitches: d2t05 0:19 - pause/splice? (between songs) (Truckin') d2t10 1:17 - dropout/splice? (Bird Song) d2t10 3:01, 3:03 - some tape problem d2t10 3:37 - background static d3t06 5:07 - reel flip?, rest of song missing (Bertha) d4t04 4:29 - end of reel? rest of song (and Cryptical?) missing (Other 1)
Transferrer: Bob Murphy
4:29:28
SBD
Rating:
9.76 / 25 ratings
Transferrer:
Bob Murphy
SHNID:
gd71-04-28.sbd.murphy.2248.sbeok.shnf
Source:
Soundboard
Lineage:
SBD > MR > (Reel post-Bird Song) > Alesis Masterlink > CD-R
Taper Notes:
View NotesMSR > (Reel post-Bird Song) >Alesis Masterlink> CD-R; via Bob Murphy; see details in info file; see Bill Gadsden's <a href="http://db.etree.org/shninfo_detail.php?shnid=1858" rel="ugc nofollow">detailed commentary</a> in pub comments for 4/29/71; note <a href="http://mars.dead.net/site/images/music/4075/4075s.html" rel="ugc nofollow">4 CD best-of-run</a> is available from <a href="http://www.gratefuldead.com" rel="ugc nofollow">the Dead</a> The new Vault release, "Ladies and Gentlemen, the Grateful Dead" is a compilation of all five shows from the April '71 Fillmore East run. LAGTGD is from the multitrack masters and is commercially available on Arista, or from GDM at http://mars.dead.net For the obsessive completist collectors, here are the complete 4-28-71 NRPS & Dead sets from the two-track masters. Garcia plays pedal steel on the NRPS set. Errata: There is a splice in the middle of Bird Song. The end of Bertha is cut. The Other One is cut at the end and Wharf Rat is missing (but appears on LAGTGD) shn conversion and ftp uploading by Bob Murphy