... have videos of Deadhead TV ever made it into the 21st century? I don't think I ever caught an episode, but I have always kind of wondered if anything interesting came up.
Let me just remind you on the show's 49th birthday that
three years after the fact, a program called "Studio None" on cable channel 4 in Madison apparently broadcast footage of the Dead and Baby Huey from the [4/26/70] gig. The listing refers to "the 1969 Poynette Rock Festival", but I think this must be 4/26/70. Mmmm ... wonder where that tape might be? (! listing: Wisconsin State Journal, November 26, 1973, sec. 3, p. 3.)
Anyone know anyone in Madison who might be able to make inquiries? Nothing but photographs and memories circulates from this gig.
For years, I have wanted to know the name of the second song from the first "real" live Garcia-Grisman gig, 2/2/91 at the Warfield, which has previously just been identified as "Instrumental". They played it again the next night, and they would never play it publicly again.
Well, the great Neil V. Rosenberg, whose book Bluegrass: A History, is totally essential, has sent along an identification. It's "Woody's Rag", written by the one and only Woody Guthrie, and done among others by The Weavers.
! lineup: Keith Godchaux – el-piano (Polymoog keyboard),
ac-piano;
! lineup: Ron Tutt – drums.
JGMF:
! Recording: symbols: % = recording discontinuity; / =
clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] =
recorded event time. The recorded event time immediately after the song or item
name is an attempt at getting the "real" time of the event. So, a
timing of [x:xx] right after a song title is an attempt to say how long the
song really was, as represented on this recording.
! expost: "Arrests Follow 2 Rock Concerts," Asbury
Park Press, July 11, 1977, p. unk.
! historical: "More than 30 persons, most of them from
North Jersey and New York, were arrested Saturday night and early yesterday
morning" after the Garcia Band shows ("Arrests Follow 2 Rock
Concerts"). 22 police. Crowd of 250-300 (per police) gather at Bradley
Park, across Ocean Avenue from Convention Hall, about 6:30 pm. Drinking. Cops
announce they're gonna bust the drinking, etc. over the bullhorn. Crowd mostly
dispersed 7:30, when JGB scheduled to start. Arrests begin at 10:30 pm, after
the early show. "Police arrested people as they came off the Boardwalk and
were visibly intoxicated. The arrests continued until about 1:25 am [text not
clear]". Most was possession of alcohol, maybe 28? That'd be a summons or
$100 bail. Nine for possession of marijuana or LSD, $500 bail. One Prince
Charming got three charges and $5,000 bail: possession of a large knife, assault
and battery of a police officer, and resisting arrest. (Your mother will love
him!) Wage: $20,557. Only 120 tickets shy of a sellout (3,776 of 3,896).
! R: seeder notes: Thanks to BGA LLC.
! R: Original audio from video mastered using Adobe Audition
! R: audio patch in NFA from shnid 76441 taped by Mark
Mattson
! R: audio and video editing by Voodoonola
! R: the video and audio quality are breathtaking.
! P: HTC catch Tutt do a great run around 3:15. Keith's
electric keyboard is clearly shown 7:15ish. Watching JG play 8:30 is wonderful.
At 10:10 he looks at John with such love. The admiration is so great. Swaying
and smiling 10:25 as the crowd cheers. So, so, so nice.
! P: TLEO Tutt doing some harmonies visibly @ 20:10. Keith
now on acoustic piano.
! P: MM KG has baritone and Tutt has high parts. KG's voice
is unfortunate. Nice solo over 30, Kahn hitting some nice fat stuff and there's
a crowd shot of a dude right upfront reacting to it, probably same look I had
on my face. Wow. Late 30 Jerry takes another turn, he wasn't satisfied with the
first one (it's true he hit a bad note in there), now he has his eyes closed
and that helps, sometimes.
! P: RL wow. We know that Jerry, John and Keith, sometimes
just Jerry and Keith (!), played some Hot Club stuff at Club Front in mid-1978.
The love that Jerry and John share for each other is palpable. Over 43 John is
practically cooing at Jerry, playing with him like a kitten, and Jerry is using
that to get off. It's potent. At 45, John steps in front of Jerry and is ready
to jump on a feature, but Keith steps up and plays a beautiful little thing.
Jerry sways with pleasure and smiles at Keith, comping with his eyes on Keith.
If Garcia's comping and looking at you and urging you to play, you play, by
God. 46 Keith picks up his tempo a little bit. He's playing very
well-controlled piano here, not so heavily percussive on the left hand. Now
John feature 47:15 ff. At 48:45 you are getting a perfect view of John's
fingers. It is very nice to see this, but I don't think this bass solo holds a
candle to what some of John's contemporaries could do. Garcia is having a smoke
and watching John, so it's a little trio configuration of John leading, Keith
and Ronnie just holding the beat. Jerry comes back 50:35, crowd gives John a
nice hand. But it also knows, or many of its members do, that Garcia's about to
play his guitar.
! P: TUOY John was playing something very interesting around
70 min mark, but the seeder had already tracked KOHD. I think he was noodling
something else, and then the transition to KOHD sounded abrupt. But maybe I
just wasn't playing close enough attention.
My goodness, I don't really follow what all comes online --or maybe it's new, so effectively I do-- but there is some 1980 and 1982 JGB (and snippets of 4/10/82 Garcia solo acoustic) online at concertvault.com. I need to investigate some of this more.
The Grateful Dead played a legendary gig at the Sound Storm festival on Mrs. Irene York's farm near Poynette, Wisconsin on April 26, 1970. As ever, Corry is on the case, as is LIA over at Deadsources.
I have a couple of obscure followups.
First, three years after the fact, a program called "Studio None" on cable channel 4 in Madison apparently broadcast footage of the Dead and Baby Huey from the gig. The listing refers to "the 1969 Poynette Rock Festival", but I think this must be 4/26/70. Mmmm ... wonder where that tape might be? (! listing: Wisconsin State Journal, November 26, 1973, sec. 3, p. 3.)
Second, the Little Brothers of the Poor, a lay group from Milwaukee, asked the Columbia County Board for permission to host a "Festival of Christ" on the York Farm August 6-8, 1971, expressing hope that Joe Cocker and the Dead might perform. Seems unusual entertainment for a religious festival planned to include prayer and meditation, with prospective participation by evangelist Billy Graham and Catholic Bishop Fulton J. Sheen, but Jesus Freaks will Jesus Freak, I guess. (! ref: "Charity May Hold Poynette Rock Fest," Capital Times, April 24, 1971, p. 13.)
Third, Sound Storm '72 happened in August of that year. The promoter accused advertised headliners the Grateful Dead of backing out of agreement to play the Festival, which the Dead denied, with Gail Hellund telling local radio stations and newspapers that they had never accepted Don Bobo's offer to play the gig. (! ref: Cosgrove, Howard. 1972a. Rock Fair Set to Swing. Capital Times, August 3, 29; ! ref: Cosgrove, Howard. 1972b. Poynette 'Rock Fair' Falls Apart. Capital Times, August 10, 27.)
Powerful viewing of a gut-wrenchingly beautiful performance, a dying man grasping at life, stumbling a time or two, laying bare the depth and beauty of the human condition. Thank you, videographer, thank you Bob Dylan, thank you Jerry.
Wow. That is a four-minute black and white video, with sound, of JGMS playing "Sitting In Limbo" at Marx Meadows, Golden Gate Park, September 2, 1974. There's an equipment malfunction and the snippet ends on Big Steve coming out to fix some things.
Beyond the fact that this video exists, what amazes me most is that there are two horn players (h/t casable). Martin Fierro is the guy toward the right of the screen, and next to him is a guy with a beret or something and what I think is a baritone sax. update: this is Snooky Flowers! Right @ 0:39 and for a few seconds gives the clearest view of both of them. Snooky also plays a few lines later on, clearly him because Martin is shown and is not playing (see especially 2:53, and then the bari sax is audible until the sound cuts out @ 3:45).
Here's a screenie of the two of them from 0:51:
In a nice piece of convergence, on Facebook Merl Jr. captioned this pic of the show over at Facebook, noting that he himself is looking toward a cap lower down in the field, which is Snooky stooping over to roll a number. So it is definitely Snooky here. QED.
Thanks as always to Gordon the Drummer for keeping up with what hits the youtube airwaves.
BTW, love this about Garcia's apolitics: "Asked by the Barb if he sympathized the White Panther politics of the People's Ballroom, Garcia replied, 'I don't support them or not support them, but I'd just as soon play as not".
! ref: "Garcia Returns to Marx Meadows," Berkeley Barb, September 6-12, 1974, p. 2 (via Independent Voices).
The amazing NRPS archivist Rob Bleetstein not only responded to my query about the source for the NRPS official concert history listing that shows Garcia (guitar) and Sandy Rothman (banjo) sitting in with the New Riders on "Glendale Train", 12/15/73 at Winterland (see also Corry). I say, he not only responded to my query, he went ahead and posted video of the thing at YouTube.
Check it out.
Thank you, Rob.
Since this is JGMF, I'll allow myself a few Garciacentric observations.
Our Hero steps up for a little twirl from about 4:45ff, on Marmaduke's invitation. Not that there's any doubt about provenance, but he's beardless, as he should be during this particular period, wearing what I can only think of as an "Atlanta" dye, similar in pattern to what he wore on 5/10/70.
This is a great little piece of evidence around Garcia's traveling habits. One might have thought he'd stay in the southeast between the Dead's gigs in Atlanta on 12/12 and Tampa on 12/18, but no - back home he goes. Since it seems a safe assumption that the Dead's gear didn't need to breathe the salt air of The City, and thus stayed in the east, Jerry doesn't have his regular guitar, and is playing one I don't recognize here with the New Riders - I assume it's one of Nelson's. Gear heads (not me!) take note.
Sociometrically, I believe this is the only known Garcia-Rothman shared stage until Thanksgiving 1986 (which wasn't really a stage, but was a performance together in front of other people). Garcia would sit in again with the Riders a few months later, at Keystone Berkeley on 2/2/74, and as far as I know would not play live with Nelson again until the same Thanksgiving '86 reunion.
Wow. What a world we live in. Thanks again, Rob!
The 921 link has two minutes of pure gold, starting with the Grateful Dead
playing "Caution", high quality color and sound, a bit distant (but correspondingly atmospheric) in the Panhandle. Wow.
GtD says "In these clips I'm hearing bits of Caution, King Bee, Viola Lee Blues, and an unfamiliar blues shuffle tune sung by Garcia". The last piece sounds pretty interesting to me, would love to hear what others hear.
The link ending 927 is mostly atmosphere, but it's fascinating. A lost child is named - it'd be interesting to interview all of those kids that are announced as lost at Dead shows, "Frank" and all those people. I don't quite catch the name on my one pass-through.
The Longshoremen's Hall and Panhandle performances are well documented -
The Panhandle sometime in the afternoon (plenty of photographs exist)
and Longshoremen's late in the evening. However, there was planned a 2PM
Haight-Ashbury "Street Dance" show organised by The Diggers (for one
hour). I have always separated this from the Panhandle event as it
followed a street theatre event at Haight & Ashbury - and it was
called "Street Dance" - which would be inappropriate for Speedway
Meadows.
Anyway, again, very cool to be able to see and hear even tiny snippets of this. My thanks to all involved in making that possible!
In July 1977, the Jerry Garcia Band went
out east for a few big paydays playing for John
Scher in Hempstead, NY and two shows on the Jersey Shore, at the Convention
Hall in Asbury Park. I have reported
on the first night (7/8) and on the 7/9
late show from an audience tape. Lots
of interesting stuff here – the Garcia-Scher partnership (a Don Law-promoted show up Cape Cod was
scheduled for the 10th, but canceled for reasons unknown to me),
money, hooliganism (between shows on the second night) and some interesting
performances ("Tough Mama",
from Dylan's Planet Waves, shows up
the first night in the middle of a seven-year absence, and the late show second
night ends with the only known JGB performance of "Not Fade Away").
Here's how it might have looked
financially for the night of the 9th:
As noted, a big payday all around, about $200,000 in 2013 dollars.
Now, into the world drops video of many
John Scher promoted Garcia Band shows, including material from both 7/9/77
shows. I have now viewed the early show video, and it's nothing short of
amazing. Stunning. Unbelievable. I can't believe I get to watch this. My deepest
gratitude goes out to all those who have made it possible for this stuff to be
seen. Wow.
See my viewing notes below. A few tiny
points. First, neither Donna Jean Godchaux nor Maria Muldaur is present.
Second, John Scher says at the end that folks can use their ticket stubs to go
see the Grateful Dead Movie. This
makes me think that there is some cross-promotion happening between the Garcia
Band gigs and The Movie. No big deal, but interesting. (update: of course, John Scher's business partnership with the Dead included a chunk of change around The Movie, specifically the distribution. So these Garcia Band shows and The GD Movie are bound together in some pretty essential ways, it seems to me.) We know that fucker was
a monkey on Garcia's back – maybe the band and John Scher and all the rest of
them are celebrating together their shared midsummer fortune with a payday, some partying, some music. I
wonder where John Belushi was this night?
How Sweet It Is (To Be Loved By You) 32:00-40:36 –(2) 41:34 %
! ACT1: Jerry Garcia Band
! lineup: Jerry Garcia – el-g, vocals;
! lineup: John Kahn – el-b;
! lineup: Keith Godchaux – piano;
! lineup: Ron Tutt – drums.
JGMF:
! Recording: symbols: % = recording discontinuity; / = clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] = recorded event time. The recorded event time immediately after the song or item name is an attempt at getting the "real" time of the event. So, a timing of [x:xx] right after a song title is an attempt to say how long the song really was, as represented on this recording.
! band: JGB #xxx. Notice that neither Donna Jean Godchaux nor Maria Muldaur is present.
! historical: when this show ended, around 10:30 p.m., police started arresting visibly intoxicated people along the Boardwalk, a couple dozen in all (“Arrests Follow 2 Rock Concerts”).
! R: Both the audio and video quality of this recording are quite stunning. The video is a black and white multicam from the Monarch Entertainment screen feeds. They had this pretty locked in. The lighting is good. This is not a heavily generated copy. Tracking is clean. Pro quality. Some static late 36 minute mark.
! P: SHIL botches the first lyrics, and his voice is already betraying him. And this is the early show? Gonna be a slog vocally for awhile, I predict. Garcia looks skinny in the arms, heavy lidded, bouncing 2:25 to get himself warmed up. Tutt hitting the shit out of it. Keith short sleeves and mid-tint shades. 4:08 Jerry is really warming up already, a beautiful run @ 4:20, I was totally wrong. He is still futzing with his gear, but his guitar voice is fluid and expressive. John is beautifully mixed and he sounds good. Tutt visibly deeply in the groove 5:36. @ 5:50 ish Jerry is playing to Keith, looking over to him as he plays percussively and a little rough, asking him to soften it up. Keith is staring lost down at the ground to 3 o’clock, but he hears Jerry and starts with some more melodious stuff, warming up to a feature in the second half of 6-minute mark that is very nice. Around 7:30 Jerry is comping melodiously behind, almost like his “Day By Day” feel. Keith still getting warmed up, but this is pretty good. @ 8:45 Garcia is beautifully filmed, looking very much like Ed Perlstein’s blue snap of Garcia from ?2/22/76? on the cover of Don’t Let Go, frizzy haloed hair. Keith is noodling something, maybe Epistrophy, something jazzy, e.g., 14:15. Fascinating. Kahn is doing some ditty now late 14 over 15. Not just scales, I don’t think, but maybe. Can hear the stage talk 15:45 ish.
! MT @ 18:22 see Harry Popick dancing in the background. Garcia isn’t real secure on the vocals, so he steps back like he means to stay back for awhile late in the 18 minute mark. Not in a hurry, clearly warming himself up. Tutt is a metronome, lots of high-hat, e.g., 19:30ish. 23-24 Jerry picks up his pace a little, gets John’s attention. Things had been a little sluggish, they are a little peppier now. Nice shot of the white Travis Bean 24:30ish. He’s smiling a little now, strumming, John is roostering, getting real close to Jerry, signals a little thing to him around 25 turn. Jerry now down reel close on the neck, comes back confidently 25:51 because he strums his way to the mic. Kahn swings around behind him? Jerry sings the station master part with such gusto that he knocks his glasses down the end of his nose, big dig 25:35. Big dig.
! @ 27:35 (1) It looks like they are going to stay on for another song, no-one’s leaving, then Jerry leans over, whispers something, in John’s ear, and steps to the mic, pulling off his guitar: “Thanks a lot, we’ll see ya later.” That is odd that he waited 15 seconds to call it. It’s possible that Scher told them to shut it down, Big Steve relayed it to Jerry, and so they are shutting it down. But maybe it was Jerry saying “Hey John, let’s go get high, we’ll do a last one as an encore.” Or, perhaps he knows that later they plan to drop the half-hour singleton “Not Fade Away”, he knows they’ll need the time, and so he’s just planning responsibly. These and many other inferences are observationally equivalent. Maybe it’s everything at once. Sometimes it is. Tutt returns @ 30:10. This was one of those perfunctory encore calls, band and audience both knew they were coming back. 30:55 Kahn is playing a classical tune I should know, Fur Mathilde or something like that.
! P: HSII Jerry is very bouncy, obviously found some energy during the three minutes he was off stage. Note there are harmony vocals. If my analysis of the 4/2/76 early show video is correct, that would be Tutt on high harmonies, since Keith sings baritone parts. Jerry enthusiastic, rocking and looking back at Tutt, affirming his harmonies, some strong chords 37 minute mark. Nice closeup of some nice guitar soloing around 38:40. Back to “open my eyes at night”. Late Keith joins in on vocals, so all three are singing.
! @ 41:20 (2) John Scher: “Thank you very much, and good night. Those of you that want to be reminded, with you ticket stubs you can go see the Dead Movie for a half a buck less. Again: thanks, and good night. We’ll see you next time.” Wow. That little piece explains this mini-tour to me: It was about the GD Movie!
I'll tag this "VN" in the title, for viewing notes. B&W Monarch Entertainment video from the Cap in Passaic. Not even a crusty aud in circulation, and low-gen video of the complete show drops from the sky, 38 years later. Wow.
Viewing notes below. One of the most interesting things for me is to have some Archimedean leverage on who sings the harmony vocals on the various songs. The higher male parts are Tutt, the baritone is Keith.
Garcia is unbelievably bouncy and animated. There's a lot of great stuff. "Moonlight Mile" is sublime, though imperfect. "Lonesome And A Long Way From Home" could use a little boost out of the gate, but it has some really interesting spaces, including a quite explicit "Fire On The Mountain" theme, as was common during this era.
Great to be able to see this. Astonishing, in fact. Check it out.
Jerry Garcia Band
Capitol Theatre
326 Monroe Street
Passaic, NJ 07055
April 2, 1976 (Friday) – 11 PM (late show)
113 minute low-gen B&W video
introduction (1) 0:28
Sugaree :29-10:06 -11:20
Catfish John 11:21-20:03 –22:30
The Way You Do The Things You Do 22:31-29:05 -29:58
Mystery Train 29:59-39:33 –41:32
A Strange Man 41:33-47:56 –48:40
Moonlight Mile 48:41-58:54 % 59:00
Harder They Come 59:01-74:50 -76:52
The Night They Drove Old Dixie Down 76:53-87:00 -88:19
My Sisters And Brothers 88:20-95:40 ->
Lonesome And A Long Way From Home 95:41-112:30 (2) -112:41
! ACT1: Jerry Garcia Band #3
lineup: Jerry Garcia – el-guitar, vocals;
lineup: Donna Jean Godchaux – vocals;
lineup: Keith Godchaux - piano, vocals;
lineup: John Kahn - el-bass;
lineup: Ron Tutt – drums, vocals.
JGMF:
! Recording: symbols: % = recording discontinuity; / =
clipped song; // = cut song; ... = fade in/out; # = truncated timing; [ ] =
recorded event time. The recorded event time immediately after the song or item
name is an attempt at getting the "real" time of the event. So, a
timing of [x:xx] right after a song title is an attempt to say how long the
song really was, as represented on this recording.
! historical: unbelievable. Not even an audience tape, not
of either show from this night, and a complete video emerges! Wow.
! (1) John Scher: “On drums, Mr. Ron Tutt. On bass, the
indestructible John Kahn.” Etc.
! P: Sugaree Big huge grin and swaying, though the fingers
need a little warming up. The tempo is turgid. Keith feature over 5-min mark,
ho hum. Tape warbling. Is there any chance the whole thing is running slow? 7:45
Jerry is so blissed out, so is John, checking Donna out. Great little pulls
down the neck around 8:20, so animated! He’s putting his whole body into every
note.
! P: CJ has the three voice harmonies, Jerry, Donna and
Tutt! At 14:06 you can see Tutt singing “walking in his footsteps in the sweet
delta dawn” … wow! Again, crazy expressiveness over 17 min mark, his whole body
swaying, digging into every note. Rocking and singing. Sweet! Tutt again @
19:33 … they have this choreographed! @ 20:34-20:43 is that Harry Popick
talking to Tutt?
! P: TWYDTTYD I think this is Keith singing harmonies! Yes,
at start of song can see Tutt, and he is not singing. Garcia’s first solo
sounds almost like the melody of (a? another?) Motown. He takes a second run
round the bases, crowd, enthused, Jerry responding, Tutt banging. He skipped a
beat but no-one else did, and he caught up right on the 1, big cue to Donna for
the “you made my life so rich” verse. Nice.
! P: MT @33:07 another run ‘round the bases and it’s good.
More good in the late 33 min mark when he is tearing up, nodding shaking his
mane over the 34 mark. Outstanding. Smiling and shredding. Another very fluent
solo 36:30ish and ff. Pulling @ 37 wow! Some fanning 37:17. He is on fire,
gunslinging 37:30, bobbing his head like it’s 1968.
! P: Moonlight Mile. My goodness. Long noodle to start. Vocals
come in 51:45. The paragraph Jerry writes up until 53:48 leaves me breathless.
It’s like a Nabokov sentence, so richly textured. Just another “mad, mad day on
the road” … “just another moonlight mile down the road” …Nooohhh … they are all ready to do the “down
the road … down the road … down the road” shouting, Donna and Ronnie, and
Garcia pulls the rip cord. Why, Jerry, why? It rolls to an end, but it should
have gone on. Check against other versions #songs-M, but that “down the road”
climax is essential, and this version lacks it. Ahh, well. Maybe Jerry needed
to pee.
! P: HTC Jerry finds a nice groove 63 over 64, back to
bobbing, smiling, gesticulating. Keith nice lead 64:20ff, very pretty, fingers
well-filmed 64:40. KG another nice turn after 65. Nice shot 65:39, Keith, clean
hair, nose and above over the 9' Steinway baby grand, still grooving nicely, Garcia starts
saying hello after 56, chunky underneath and peaking hello, 66:30, Keith some
nice scales. Late 66 he steps on Jerry’s solo, Keith was going to go a third
time around. He is so loud and percussive. So Garcia soloes and they both do,
and that’s fine, Keith pulls back on the volume a little into 67. So Keith’s
feature was about two and a half minutes, he was ready for more. Jerry starting
to liquefy late 67, then doing a little wailing, looking over at Keith, puts
his hips into it 68:20. Really, really nice. 68:40 Jerry starts doing big cords
while Keith trills, Garcia making paragraphs of doubled syllables, not as fast
or baroque as the earlier stuff, but interesting because he’s doubling his
cords and then skipping the ones in between. Nice. Return to vox 69:40ish. 70:30
Donna was going to do another chorus, but Garcia goes to “the oppressors”
verse.
! P: TNTDODD can’t tell if that’s Keith singing the baritone
part. 86:05 Jerry shredding, again 86:20
! Sisters and Brothers marred by tape problems. But this is
a deepy, swampy, Dorothy Love Coates groove. 90:10 Donna holding onto the
Steinway and swaying … oh my. Watch Jerry sing @ 90:45! Wow. 94:30ish we can
see that the baritone singing is Keith, because Tutt is in frame and he’s just
grooving and drumming.
! P: LAALWFH they aren’t quite on the same page to start,
need to go round the bases. That’s unfortunate. So, too, is the 1976 tempo.
See, this song needs to bust out the gate. And it doesn’t here. So not off to a
good start. @ 97:00 Keith hits a clam and Donna shoots him a nasty look, right
on camera. See 4/3/76b for how it’s supposed to sound, or 4/1/76. 97:30 ish
Jerry goes to see about a technical issue, some distortion. 97:50ish he solos. 100
minute mark we haven’t achieved liftoff, Garcia is working a little to coax the
notes out of his guitar, and his bandmates. They get something cooking around
101:45. Now some nice syntactical sustain in the 103 minute mark, very long
phrases. 104:30ff JG gets back to the LAALWFH melody, and he’s doing some very
interesting work with Keith, looking back directly at him, they are together on
this little thing happening over 105 minute mark. Jerry is checking Donna out, jamming with her husband,
long run down and back up 105:39ish, there it is Jerry, right there, that’s the
spot! Late 106 mark Keith is hitting the FOTM stuff, Jerry joins him 107:15, or
nearly, but Keith is definitely on that. Jerry’s phrasing is long extended,
here, Tutt starts banging 107:45, Jerry down to FOTM theme, he is playing FOTM
over the 108 minute mark, fanning 108:06, 108:18 real high. Tearing it up.
108:33 this if JG playing FOTM, wow, picks something special right at 108:58,
so so nice. Back to LAALWFH on the guitar, 109:15ff, really back at 109:30,
slow it down, how’s he gonna signal the big return? Silence 110:00-110:10, then
the big return, but the tape is dying here. Just in time to get the big return
before it dies, thank you tape gods. They are going over “somebody help me”
more times than usual, over and over. Return 111:40, but we are in warbleville.
