Lossless Bootleg Bonanza: Grateful Dead – New York, NY (07/11-12/70)

grateful dead 1970

Grateful Dead
7-11-70
Fillmore East,
New York, NY
gd70-07-11.aud.cotsman.9379.sbeok.flac16

Download: FLAC/MP3

The July 11 and 12 shows were apparently midnight shows which makes it super confusing to date. People lined up for the shows on one day but the performances were technically the next day as per the calendar. I believe ticket stubs actually reflect the earlier date. To add to the confusion at least one of these sources was labeled incorrectly. I have left all dates alone as they were labeled in the source material. Which means you have two different shows labeled as the same date. I’m also copy/pasting the source notes as in in this post so you can read it all and make judgements for yourself. Its all very confusing. Sorry about that but it seemed better to me to leave everything as I got them and let you sort them as you like rather than me trying to make changes.

AUD>MC>C>C>D>CD>EAC>SHN
This is a flac encoded & tagged version of shnid: 9379

–Grateful Dead Acoustic Set–
101-d1t01 – The Monkey & the Engineer
102-d1t02 – Don’t Ease Me In
103-d1t03 – I’ve Been All Around This World
104-d1t04 – Dark Hollow
105-d1t05 – Black Peter
106-d1t06 – El Paso
107-d1t07 – New Speedway Boogie
108-d1t08 – So Sad (To Watch Good Love Go Bad)
109-d1t09 – Rosalie McFall
110-d1t10 – A Voice From On High%*
111-d1t11 – Cold Jordan*
112-d1t12 – Swing Low, Sweet Chariot*

–New Riders Of The Purple Sage–
201-d1t13 – Whatcha Gonna Do
202-d1t14 – Truck Drivin’ Man
203-d1t15 – Dirty Business
204-d1t16 – Lodi%
205-d2t01 – Last Lonely Eagle
206-d2t02 – The Only Daddy That’ll Walk The Line
207-d2t03 – Fair Chance To Know
208-d2t04 – Henry//
209-d2t05 – Honkytonk Woman

Grateful Dead Electric Set–
301-d2t06 – Night Of The Living Dead Intro (recording)
302-d2t07 – Morning Dew
303-d2t08 – Sittin’ on Top of the World
304-d2t09 – Me & My Uncle
305-d2t10 – Not Fade Away
306-d2t11 – Casey Jones
307-d2t12 – Mama Tried
308-d3t01 – Good Lovin’**
309-d3t02 – High Time
310-d3t03 – Cumberland Blues
311-d3t04 – China Cat Sunflower ->
312-d3t05 – I Know You Rider
313-d3t06 – Viola Lee Blues
314-d3t07 – Uncle John’s Band

*with David Nelson & John Dawson
**Bob Weir sings lead on Good Lovin’

notes:
-This is the only known Dead performance of the Everly Brothers song,
So Sad To See Good Love Go Bad
-This is the 1st known Dead rendition of Rosalie McFall
-Garcia plays pedal steel guitar with the New Riders
-For unknown reasons, Pigpen does not sing on any song during the show,
although he does play keyboard.
-The recording is rather distant and includes crowd chatter. In order
to save batteries, the tape was stopped and started by the recorder
just as songs started and ended. The beginnings and ends of most songs
are therefore clipped, though this has not been noted except for the more
severe cases.
-Sound Forge was used to normalize, pitch correct, and smooth over the cuts.

Thanks to Andrew Clarke
edits/encoding by J. Cotsman

Grateful Dead
Fillmore East, New York, NY
07/11/70

Mystery Reel of an unknown audience recording uncovered
and shared by LL member Cloverman, which he sent to Matt Smith for his great reel transfer work. The handwriting on the reel case is thought to be Latvala’s, no more is known.

Edited and mastered by Jamie Waddell,
with listening assistance by Jim Blackwood.

all transfers and work performed in the 24 bit realm
on the GEMS Edit Station
Weiss-Saracon for 16 BIT 44.1kHz

SBE Free | FlacLevel8 with TLH | Meta Data with Tag&Rename

a project **GEMS** http://www.shnflac.net May 2010

Set 1 Acoustic

01. Dire Wolf
02. tuning
03. The Rub
04. How Long Blues
05. Dark Hollow
06. crowd yells to fix the drums.. “Mickey Mickey Tom Tom”
07. Friend Of The Devil
08. Candyman (listen for fans ask for it before it starts)
09. Katie Mae
10. Bring Me My Shotgun>
11. She’s Mine
12. Rosalie McFall
13. Tell It To Me
14. Wake Up Little Susie

set 2 Electric

15. Easy Wind
16. Mama Tried
17. Cold Rain And Snow
18. Attics Of My Life
19. China Cat Sunflower>
20. I Know You Rider
21. High Time
22. It’s A Man’s World
23. Bobby Sells The Brooklyn Bridge
24. Cryptical Envelopment>
25. Drums>
26. The Other One>
27. Me & My Uncle>
28. The Other One
29. Dancin In The Streets (splendid version)
30. Turn On Your Lovelight>
31. St. Stephen Jam!!>
32. Lovelight

notes: These were midnite shows so the dates are confusing for hostorians as they line up for a concert on one day, and see the actual show on the next as far as official time goes. My research from reputable sources puts this as the show billed on the 11th, not the 12th. I re-ordered this source to the commonly accepted order of high time and cold rain and snow in set two. An image of the transferred order of the reel for set two is included, and it is different. All sorts of tape pauses and cut in parts smoothed tastefully.

Grateful Dead
07/12/70
Fillmore East,
New York, NY
gd70-07-12.aud.sirmick.24663.sbeok.flac16

This is a flac encoded & tagged version of shnid: 24663
source: aud > ??? > shn > wav > shn

–Acoustic Set–
101-d1t01 – //Dire Wolf*
102-d1t02 – The Rub
103-d1t03 – How Long Blues
104-d1t04 – Dark Hollow
105-d1t05 – Friend of the Devil
106-d1t06 – Candyman
107-d1t07 – Katie Mae
108-d1t08 – Bring Me My Shotgun ->
109-d1t09 – She’s Mine
110-d1t10 – Rosalie McFall
111-d1t11 – Tell It To Me
112-d1t12 – Wake Up Little Susie
(missing) – Cumberland Blues

–Electric Set–
201-d2t01 – Easy Wind
202-d2t02 – Mama Tried
203-d2t03 – Cold Rain & Snow
204-d2t04 – Attics of My Life
205-d2t05 – China Cat Sunflower ->
206-d2t06 – jam ->
207-d2t07 – I Know You Rider ->
208-d2t08 – High Time
209-d3t01 – It’s A Man’s, Man’s, Man’s World
210-d3t02 – Bobby Sells The Brooklyn Bridge
211-d3t03 – Cryptical Envelopment ->
212-d3t04 – D//rums ->
213-d3t05 – The Other One ->
214-d3t06 – Me & My Uncle ->
215-d3t07 – The Other One ->
216-d3t08 – Dancin’ in the Streets// ->
217-d3t09 – Turn On Your Lovelight ->
218-d3t10 – St. Stephen Jam ->
219-d3t11 – Lo//velight reprise//** ->

–Encore–
(missing) – Uncle John’s Band

–disc 1 total time–44:55–
–disc 2 total time–44:09–
–disc 3 total time–73:12–

notes:
* first few seconds are missing
** there appears to be a cut at 1:20

-There are small cuts between most tracks. It seems like the taper must
have been hitting the pause button on a regular basis.
-The volume on both sets fluctuated between channels and I have tried to
adjust this as much as is possible.
-There were a few dropouts that I have been able to patch in from the other
channel
-set 2 has quite a high level of hiss

comments:
not a great recording but it’ll do until something better shows up
SIRMick (thedarkstar@btinternet.com)

Grateful Dead
featuring the New Riders Of The Purple Sage
Sunday, July 12, 1970
Fillmore East
New York, NY

Set 1: Grateful Dead Acoustic

01. The Monkey And The Engineer
02. Don’t Ease Me In
03. I’ve Been All Around This World
04. Dark Hollow
05. //Black Peter
06. El Paso
07. Friend Of The Devil
08. New Speedway Boogie
09. So Sad (To Watch Good Love Go Bad)*
10. Rosalie McFall
11. A Voice From On High**
12. Cold Jordan**
13. Swing Low, Sweet Chariot**

Set 2: New Riders Of The Purple Sage

01. Six Days On The Road
02. Whatcha Gonna Do
03. Truck Drivin’ Man
04. Dirty Business
05. Lodi
06. Last Lonely Eagle
07. Only Daddy That’ll Walk The Line
08. Fair Chance To Know
09. Henry//
10. Honky Tonk Women

Set 3: Grateful Dead Electric

01. //”Night Of The Living Dead” Intro
02. Morning Dew
03. Sittin’ On Top Of The World
04. Me & My Uncle
05. Not Fade Away
06. Casey Jones
07. Mama Tried
08. Good Lovin’***
09. High Time
10. Cumberland Blues
11. China Cat Sunflower–>
12. I Know You Rider
13. Viola Lee Blues
14. Uncle John’s Band

* only known performance of the Everly Brothers’ So Sad (To Watch Good Love Go Bad)
** with David Nelson & John Dawson
*** Bob Weir sings lead. Pigpen played the organ but did not sing any leads this night.

This is a combination of the two audience recordings available for this date: shnid 9379 (identity of taper not given) and shnid 122707 (taped by Jim Cooper). Since no soundboard circulates for this show, we are very fortunate indeed to have these two recordings. Thanks, guys!

Source 1 (shnid 9379): AUD>MC>C>C>D>CD>EAC>SHN
edits/encoding by J. Cotsman

Source 2 (shnid 122707): Jim Cooper’s Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC
Recorded by Jim Cooper using a Hitachi TRQ-222 Cassette recorder and 2 Hitachi microphones from Row H, about the 30th row, center.

Each source has advantages and disadvantages. 9379 is more complete and has less audience chatter during quiet passages, but it has more distortion during loud passages. Cooper’s recording is generally clearer, especially during loud passages, but it is less complete and has more microphone noise and audience chatter. Happily, these two recordings complement each other more often than not. For details on which source is used when, see the notes below.

NOTES

(1) The dates for this show (July 12) and the one preceding it (July 11) were incorrectly reversed in most previous sources. Many attendees have pointed out the error, and one of the tapers of the previous night’s show, Marty Weinberg, even announces helpfully, “It’s Saturday night, July 11, 1970.” (This announcement can be heard on shnid 108156, just before Easy Wind.) Both were “midnight shows,” so technically this show was performed in the early morning of Monday, July 13, but it is the concert billed as “July 12.”

(2) The provenance of the “Night of the Living Dead” introduction to the electric set is uncertain.
This music accompanied a film; some attendees remember this as a clip from “The Night of the Living Dead,” while reporter Tom Zito wrote afterwards of seeing “spacemen wrapped in plastic bags emerge from graves.” It has generally been assumed that the music was the film’s audio track. However, I think it is more likely that the Grateful Dead accompanied the film with a live improvisation. I have reached this tentative conclusion for three reasons:

(a) The music we hear is not from the soundtrack of The Night of the Living Dead.

(b) The introduction sounds like the Grateful Dead playing scary-movie music.

(c) On 9379, at a little over a minute into Morning Dew, a guy near the microphone says, “…[inaudible] one of the most cosmic versions of this song that I’ve ever heard, opening up like that [inaudible]. It was really scary.” Since the opening of Morning Dew itself is not unusual, he must have been referring to the “introduction,” and since he viewed the introduction as part of Morning Dew, he must have had reason to believe that the Grateful Dead performed it.

(3) I did not apply EQ or high-frequency noise reduction to either source. My edits were limited to volume, speed, cross-fades at the beginning and end of patches, and such elimination or reduction of drops, static, clicks, and bumps as I could obtain without losing any music. 122707 runs 3-5 percent slower than 9379; I matched the speed of 122707 to 9379 in all cases. Edits were done in WaveLab Elements 7, with gentle use of the iZotope Ozone Declicker.

(a) Acoustic Set:

A mono version of the left channel of 9379 supplies most of the acoustic set. From Monkey and the Engineer until A Voice From On High, the right channel of 9379 is mostly hiss and does not add to the listening experience. The taper fixed the problem after Rosalie McFall, so the final three songs are in stereo.

Friend of the Devil, missing in 9379, comes entirely from 122707. As luck would have it, this is the best-sounding recording of any acoustic tune captured in 122707. For the most part, the acoustic set in 122707 is plagued by mike noise, static, and loud audience chatter, but during FOTD, these problems are largely absent.

Given that this show includes the only known version of So Sad, I devoted special attention to this track. The performance is very delicate and hard to hear over the chattering of the audience. The version included here is a mono version of the left channel of 9379 until 1:18, at which point it becomes a matrix of the left channel of 9379 and the right channel of 122707. (The recording of So Sad on 122707 cuts in at this point, and the right channel is free of the static that plagues the left channel.) For the second half of the song, at least, this combination brings out more detail than any other approach that I could devise. (Many thanks to Light Into Ashes for the suggestion!) It is a beautiful performance; perhaps the band would have played the song again, if the audience had only shut up and listened.

(b) NRPS Set:

By the time NPRS takes the stage, both tapers have solved most of their technical difficulties. As noted above, 122707 is generally clearer than 9379, but it is incomplete and more vulnerable to audience chatter.
122707 supplies the first three songs and Lodi, and 9379 supplies the final four. Dirty Business and Last Lonely Eagle, the quieter songs, are composites. 9379 supplies the first 2:43 of Dirty Business, and 122707 supplies the rest. In 9379, Last Lonely Eagle is missing Garcia’s entire solo: it seems to have been deliberately cut out, perhaps because it was partially damaged. 122707 supplies the missing passage at 2:01-2:44, and for once the audience is relatively quiet.

(c) Electric Set:

9379 supplies the Night of the Living Dead introduction. Morning Dew is a composite: 122707 supplies the beginning and end, and 9379 supplies 0:35-4:14. 122707 supplies the rest of the set through I Know You Rider, which is patched with 9379 at 1:30-2:41 and 3:58-3:59. 122707 ends at that point, so 9379 is the only source for the final two tunes, Viola Lee Blues and Uncle John’s Band.

In several places, 122707 features protracted bursts of static in the right channel. I patched these with the left channel. This occurs in Casey Jones (1:05-1:51), Good Lovin’ (1:22-1:38, 2:22-3:18, 9:57-12:34), and China Cat Sunflower (2:49-2:53).

Enjoy!
Rob Darst
August 11, 2014

4 thoughts on “Lossless Bootleg Bonanza: Grateful Dead – New York, NY (07/11-12/70)

  1. Lots to chew over and digest here!
    Also I was wondering whether this is the true source of Dylan’s choice of ‘I’ve Been All Around This World’ for the closing night encore of his epic Hammersmith ’90 residency. Should say i’ve yet to hear the Dead’s ver, but they have always been a rich source for Bob over the years. At the time the anoraks were frantically searching for the origins of this gem. Tracing it back to ‘Hang Me, Oh Hang Me’ and Bob’s early folk days. This seems far more likely to me. Not least because Bob was often hangin’ and Bicycling in NY around this period. I’m sure he caught a few Dead sets over those years, probably lurking in the shadows at the Filmore East.
    If you’ve never heard Bob’s interpretation folks then check it out. It perfectly suits his dark and menacing blues delivery from that period, it is also an ex perf, with some classic Bob phrasing. Much better to my ears than the more restrained ’92 ver chosen for the N.E.T. covers box set I shared here a while back

    Thanks Mat, i’ve got a big Dead/Garcia catchup from the blog scheduled in my pending tray. Will definitely get to this one.

    1. This period is a really interesting one to check out. The acoustic sets are a bit ragged, but lots of fun. The songwriting really grew up in 1970. They released two albums that year – Workingman’s Dead and American Beauty – which for my money are two of their very best. Playing those country tinged songs started to move them out of the really crazy psychedelic stuff from 1969 and into slightly more traditional fare. Well as traditional as the Dead gets and there is still plenty of out there jamming but it gets toned down a little and they’ve got a bunch more songs to play than they did just one year ago.

  2. Right on Mat, those 2 albums are the only ones i ever got around to buying on vinyl. Sometimes 1970 seems like a bottomless pit of Dead to explore. I’ll just keep on digging!

  3. There is some confusion with these dates! Might the “mystery reel” be the 7/9 show (F. East) for which no setlist (except for 3 short tracks) is available on Deadlists? And the second 7/12 show seems to be a better-sounding version of the 7/11 Show! Any way, thanks Mat for giving us some great music plus some GD mysteries to ponder!

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