Lossless Bootleg Bonanza: Grateful Dead – Mill Valley, CA (02/28/75)

WEIRS-STUDIO-BLUES-ROUGHS

Grateful Dead
Bob Weir’s Studio – Recorded by Dan Healy
Mill Valley, Ca
2-28-75

Download: FLAC/MP3

SBD MR > R > R > CD * > EAC > WAV > FLAC
This is a tagged version of shnid: 93779

SBD MR (Vault Reel) > R
(Jerry Garcia’s copy given to him by Kidd Candelario) ** > R (Will Boswell) > CD

— R dubbed at 3 3/4 ips using an Akai GX625
— mastered to CD by Matt Smith
— R > Apogee Mini Me (24/96) > Apogee Mini DAC (monitoring) > Wavelab 5.0
(dithered to 20/4 4) > CD > EAC > WAV (shntool confirms no sbes) > FLAC (TLH)

*********************************

Disc 1 of 2 (55:40)

1. (x) distorto (crazy fingers) jam – ends with drum roll (0:38)

2. (x) distorto (crazy fingers) jam (8:06) – Officially Released on Beyond Description

3. (x) bouncey jam (11:36)

4. (x) Weir chording “bouncey jam” while band talks about
how to play “…you’re playing fours in there, it sounds
like, Bobby…” [about 1:39]
(fade in) studio talk > stronger than dirt jam [about 2:03] > (4:08)

5. talk about chording while keyboard noodling >
drum noodling and talk [about 1:09] >
stronger than dirt jam > studio talking [about 10:46] (11:18)

6. (fade in) “girl from ipanema jam > “…ah ha-ah…” [about 1:59]
spacey noodling jam (x) [about 0:41]
(x) more spacey noodling jam (fade out) [about 1:44] (4:19)

7. (fade in) “tleother-ish” jam > slow “nfaway-ish” jam > [about 1:11]
“oh, yeah, i almost had it there…” >
“tleother-ish” jam > slow “nfaway-ish” jam >
noodling > studio talk & g t;
“…can you play that back for us, please?” [about 14:24] (15:30)

*********************************

Disc 2 of 2 ( 77:12 )

8. (fade in) “shakedown streetish” funky jam [about 10:14] >
noodling >
“hey, dan, turn the snare drum up in my ears, please.” >
noodling and short jam [about 2:01] > (12:13)

9. tom-tom drum rolls > talk about mics > noodling >
“…there’s something ringing out here, ned…” >
“don’t worry about it” [about 1:33] >
show tune one jam > drum kit rolls and noodling [about 2:11] >
fast show tune two jam [about 5:31] >
jgarcia plays slow show tune >
“…hey, record every precious moment of this.” >
jgarcia jam and drum rolls [about 2:05] > (10:56)

10. “…you know what they are? they’re slow triplet
synchopations,man…” >
killer groove jam [about 3:36] >
studio talk [about 1:57] >
“jungle music” jam > “…i’m playing threes and you should play a four-four
line against that…” [about 2:43] > (8:21)

11. studio talk and noodling > “…and, healy, the name of
that tune is pock-a-way…” [about 1:25] >
“slipknot” noodling [about 1:17] >
“the music never stopped” jam [about 11:59] (14:14)

12. (x) five or more “the music never stopped” theme jams > (10:14)

13. “the music never stopped” jam > “”…oh, gawd…” >
several yelps (x) (21:11)

notes from th eoriginal uploader:

incredible jams! outstanding sound quality!!
new to general circulation (Aug 1 2008)
what more could you want?

once again, I can’t give enough thanks to the cast of characters responsible for bringing us this joy: Will Boswell, Taper Pat, Matt Smith, and Ihor W Slabicky (sorry if I left anyone out, this really seems to be a community contribution). Still, special thanks to my direct connection: Taper Pat and Matt Smith. I’m not only forever grateful for this wonderful music you keep sending my way to share with others, but I’m also forever grateful for your friendship, guidance, and kindness. I feel truly blessed to know you and have you in my life.

* track notes by Ihor W Slabicky (thanks Ihor!!!)

please forgive the tracking and timing issues. studio sessions could be tracked any number of ways and I did the best I could to adapt Ihor’s wonderful notes for a differently tracked version

** as Taper Pat observes:

“The source for this set of music is from a stash of reels and cassettes of unknown lineage made for JG by Kidd Candelario for listening purposes in the early and mid ’70’s (how did we play, what did we play, etc..). Kidd did not use archival material in the transfers (equipment, methodology or media) so the sound quality of the stash is variable. However, as time passes and analog sources decay or are MIA, some of the stash is proving to be great interest to the GD community. The stash is most likely copies of the master source, but in
some cases (O&ITW 6/6/73 Passaic), most likely is the master.”

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