10/27/74: stay golden, Jerry

courtesy gdsets

I had never closely listened to this because of the aud tape quality, but I was feeling intrepid and it paid off.  This is currently the earliest Garcia/Saunders recording with Paul Humphrey.  Some thoughts:

• Humphrey's first gig with the band was evidently at the tiny Chateau Liberté club on 10/11.  The next night, Garcia/Saunders was at the Berkeley Community Theater, apparently being fronted by Maria Muldaur (JGMF).  At a rare outdoor show in Santa Barbara on the 13th, Muldaur joined them again (JGMF).  gdsets also lists a Keystone Berkeley gig on 10/15 (the night before the Dead's final pre-hiatus stand at Winterland!? hmm), and then this three-night run at the Golden Bear in Huntington Beach, just south of LA and presumably not far from Humphrey's home base (gdsets lists five nights?).  Okay.  In between all this, the Grateful Dead machine played their final five shows for the foreseeable future.  Everyone at the time must have been reeling at the potential consequences of a Grateful Dead-less world, but Garcia's work schedule was not disrupted in any way.

• The sound quality of this tape is not great, but at least it sounds like our taper was right up front, maybe even with his mics set up onstage.  The vocals are very low (another stage mic tape giveaway), but the instrumental balance is good.  But it's overloaded and a couple generations down the line.  Grit your teeth and adjust.

• Quality notwithstanding, I found the most of the music here surprisingly hot.  That's a Touch I Like and Roadrunner, tunes that I usually enjoy without taking much notice of, are both really bangin', with Humphrey's powerful beat nearly levitating the whole band.  Favela is another bananas crazy version, flying along really quickly, but incredibly energetic and intense.  Expressway, like one on the 31st, feels draggier to me, with Humphrey perhaps overcompensating a bit (and Fierro deserves every "more cowbell!" joke that you care to make at his expense).  It Ain't No Use is mislabeled in the text file as It's Too Late: besides plowing a deep groove, also take note of Garcia's nice Roy Buchanan-esque volume knob bends on the intro.  Mystery Train is slamming.  Wow!  This band smokes.

• No big surprise that Maria Muldaur joins in again tonight, playing blue light chanteuse on Gee Baby Ain't I Good to You, an old chestnut that was recorded by loads of folks -- notably, in this case, also by her then-husband Geoff Muldaur on his album Having a Wonderful Time.  The story of both of the Muldaurs' connection to Garcia in early 74 is worth parsing out, although not here -- but his album seems to have been made in Garcia's/Saunders' orbit (and with the latter's participation) around the time of Garcia's Compliments earlier in the year, and Geoff Muldaur was on stage with the band at least once, possibly twice.  Also, the text file here mysteriously notes "Ringo on drums," but I am not hearing any audible evidence that anyone else is playing besides Humphrey.  If there is, then there is no way in the world that it's that Ringo.

• Aud tape fun: the taper's pals provide a nice distraction during the downtime in between songs, but Garcia's voice (off mic) comes through in spots as well.  Before Favela: "how do we start this? ... G minor?" (cue stoned chuckles).  Before Mystery Train (track 8, @1:05) it sounds like one of the pals says something in a mock southern accent about Mississppi Moon, to which Jerry responds something that I can't make out.  In the chatter after Expressway, another pal reasons, "guess they have new songs to worry about."  Yes indeed.

7/3/77: throw the windows open wide

Jan 13 12, 1977, courtesy David Brady

While 1977 was a storied year for the Dead, the JGB wasn’t hitting the same stride.  There seems to have been some experimentation with personnel — pedal steel guitarist John Rich was apparently offered a spot in the band and played three gigs with them in Dec 1976 (he turned down the offer), and there is an unknown rhythm guitar player who plays at a few shows in early ’77.  Keith was also experimenting a bit with a Moog synthesizer, which didn’t last for long (he also played it intermittently on some of the earlier GD spring tour shows).  The Dead were working on Terrapin Station in Los Angeles and playing their typical amount of shows, and Ron Tutt was also on the road a lot with Elvis in the first half of ’77.  My guess is that they just weren’t in their usual groove, and I think this shows in a lot of earlier ’77 JGB shows, most of which leave me pretty cold.  Given how up in the air things seem to have been, I can see why there weren’t a lot of sweet spots.

Not that there aren’t any: the 6/23/77 benefit gig and the first Pure Jerry release from July 1977 have their moments, and I’ve always been partial to 8/7/77 (this older source).  For the past couple of days, I’ve been relistening to 7/3/77 at the Keystone Palo Alto, a wonderful Bettyboard tape of the second set, and it’s as sweet as can be.  It’s not perfect, but it’s got a lot going for it, particularly if your summer priorities are pretty modest.

It's five songs in just under 70 minutes.  The Harder They Come is a tune that doesn’t always do it for me — more than other songs, it often seems to reveal the weaknesses of whatever lineup was playing it — but this one is, oh yes, just exactly perfect to my ears.  Ron Tutt must been brushing up on his reggae chops and sounds excellent here, throwing down like, well, not like Kingston’s finest, but about as well as a first-call Nashville session guy in 1977 was going to sound on this stuff.  Jerry and Keith are both in top form, and, unusually, Maria Muldaur appears to be providing the sole backing vocal.  I believe Donna was recovering from an illness and didn’t make the band's brief east coast trip a few days later, and she appears to have skipped these two Palo Alto gigs as well (July 2 and 3).   Muldaur was no stranger, of course, but I don't think she had sang onstage with Garcia since '74.  She was still involved with John Kahn, but maybe she was also returning the favor for the band's appearance at her recent benefit?  I wonder if her presence did something to inspire them tonight.  Simple Twist is also a cut above: again, Tutt rises above his usual excellence, keeping things dynamic and interesting, and Jerry gives it his all vocally (check the “he woke up, the room was bare” verse).  Mystery Train chugs and simmers like the best ’77 GD Big Rivers in slow motion.  Knockin’ is the only blemish: it sounds like they were still ironing out the kinks in the newer arrangement that the JGB played for the rest of their career (straight tempo verses > reggae chorus), and, like most other versions, it doesn’t really need to be 16 minutes long, but all is forgiven when Jerry starts pouring out his heart in those solos.  An early Tangled closes the night, with a much lighter feel than later versions, and some quietly strong solos that are hitting the spot for me today.  Three Dylan tunes out of five?  That may be some kind of record.

Did I mention that this tape sounds fantastic?  Thanks again, Betty!

Muldaur's then current album