Phil Lesh in Oklahoma City, 2001

I graduated from college with a Bachelor of Science in English. The plan was to get a Masters Degree and then a Ph.D. and become a professor of literature at some college. After a single semester of graduate school, I realized I was exhausted, tired of living in libraries, tired of taking tests, writing papers, and the entire educational system. I decided to take a year off and then I could start fresh again.

A quarter of a century later, I still haven’t returned to school.

For a few years after that disastrous semester, I worked a lot of odd jobs and moved to various cities across the country. Whenever I was between jobs I often went home to Oklahoma and worked with my Dad. The summer of 2001 was one such period.

When I heard Phil Lesh was coming to Oklahoma City I immediately bought tickets. The day came and I printed out my driving instructions from MapQuest, making sure to highlight the major turns because it’s a bugger trying to make sense of those things while speeding down the highway.

As far as I could tell the Zoo Amphitheater didn’t have any real parking. Outside the venue was a large grassy area with lots of trees and a few little roadways passing through it. Everyone seemed to be parking there. Rather haphazardly I thought. I found me a space and walked through the lot scene. I didn’t stop for a Kind Veggie Burrito or any tie-dyed shirts. This was a general admission show and I wanted to secure a good spot.

The Amphitheater is a smallish venue. It sits on a small hill with the stage at the bottom. There were no seats but periodically some cut, rectangular stones had been dug into the ground creating a sort of spaced-out step system. I hadn’t brought any chair or a blanket to sit on so I found one of those stones close to the stage and sat myself down.

This was July in Oklahoma and it was hot. Damn hot. I was already covered in sweat. The grass that originally had covered the ground had long since been beaten into submission and murdered by the heat. What was left was a lot of dirt. I was already getting covered in it.

Up front, just to the side of the stage was a sort of camp shower. It was full of Deadheads trying to find some relief from the heat. I gathered with the dirty hippies and got myself good and wet. That cooled me down for a short while and turned the dust that covered my body into mud. Later some kind soul would take a hose and spray the entire crowd down.

I bought myself a way too expensive bottle of water and waited for the show to begin.

I don’t remember much of the show, except that it was a good one. I remember Warren Haynes belting out The Beatles’ “She Said, She Said” and a great rendition of “The Wheel.” I’d only just learned that song but it had quickly become a favorite. Its lyrics remain profound.

I was desperately hoping for a version of “Ripple” or “Box of Rain” for the encore but instead, we got a cover of Dylan’s “Like a Rolling Stone” which wasn’t bad.

What I really remember is just how ferocious the band sounded. I had seen RatDog* a couple of times at this point and they always sounded more intricate, more steadily put together. Phil and Friends were full of sound and fury. They were loud. They jammed on every song. It was great.

The sun eventually went down and cooled things off. The show ended late. Oklahoma City is a couple of hours from where my parents were living and I got home very late. I got home sunburned, exhausted, and utterly filthy, but with the biggest smile on my face.

That’s was Phil Lesh brought to the world. He let people dance and shake their bones. He gave joy to thousands of people all over the world.

What a long, long time to be gone. And a short time to be there.

*Listening to a recording of the Phil and Friends show earlier today I thought I heard Bob Weir sing on the first couple of songs but I just *knew* that couldn’t be true. Someone commented on the show on Archive.org about Bob making a guest appearance and I was ready to argue with him.

“I was there”, I was going to write, and “Bob wasn’t there.” “I don’t care if it sounds like him, I was there, damn it and I’m telling you Bob Weir didn’t make an appearance.” I was working on retorts like “Why would Bob Weir comes to freaking Oklahoma and only play on a couple of songs.” Then I looked it up. Bob was there. RatDog opened the show. I have no memory of that whatsoever.

Fleetwood Mac – Shows by Date

1968.06.09 – San Francisco, CA
1975.10.17 – Passaic, NJ
1977.05.21 – Nashville, TN
1982.10.21 – Los Angeles, CA
1987.11.28 – Salt Lake City, UT
1988.05.18 – London, England
1988.06.05 – Nurburg, Germany
1997.10.17 – Irvine, CA
1997.11.26 – Albany, NY
1997.11.27 – New York, NY
1998.09.05 – Ventura, CA – Peter Green solo
2003.05.15 – Buffalo, NY
2003.06.08 – Tampa, FL
2003.09.07 – Duluth, GA
2009.03.01 – Pittsburgh, PA
2009.03.16 – Rochester, NY
2009.03.26 – Toronto, Canada
2015.06.16 – Glasgow, Scotland

Fleetwood Mac – Irvine, CA (10/17/97)

Fleetwood Mac
Irvine Meadows Ampitheatre
Irvine, CA
10/17/97

Pre-FM Master

Disc 1

  1. JJ Jackson Intro
  2. The Chain
  3. Dreams
  4. Gold Dust Woman
  5. I’m So Afraid
  6. Temporary One
  7. Bleed to Love Her
  8. Gypsy
  9. Big Love
  10. Landslide

Disc 2

  1. Say You Love Me
  2. You Make Loving Fun
  3. Stand Back
  4. Oh Daddy
  5. Rhiannon
  6. Second Hand News
  7. Tusk
  8. Go Your Own Way
  9. Don’t Stop
  10. JJ Jackson Outro
  11. Show Promo

Pink Floyd – Tempe, AZ (04/20/75)

Pink Floyd
1975 April 20th
Activity Center, Arizona State University, Tempe, USA
title: “Tempe”

tracklist:

CD1

  1. Raving And Drooling (11:33)
  2. You’ve Got To Be Crazy (13:59)
  3. Speak To Me (1:58)
  4. Breathe (2:37)
  5. On The Run (4:40)
  6. Time (5:05)
  7. Breathe (Reprise) (1:02)
  8. The Great Gig In The Sky (6:45)
  9. Money (7:52)
  10. Us And Them (7:25)
  11. Any Colour You Like (7:30)
  12. Brain Damage (3:47)
  13. Eclipse (1:42)

CD2

  1. Echoes – cut (8:29)

Bonus:
January ?? 1974
Rockspeak, BBC Radio 1, London – Michael Wale interviews Roger Waters

  1. Interview (31:00)

tot length: 84:24 + 31:00 (bonus)

SQ: G+
(bonus:VG)

Grateful Dead – Oakland, CA (10/31/91)

Grateful Dead
10/31/91
Oakland Coliseum Arena
Oakland, CA

OTS; Nakamichi CM 300 CP4s >Sony WM-D6C [MX-S 100s w/Dolby C]
MX-S Cassette Masters Transferred Via Denon DR-M12HR w/Dolby C Engaged >Tascam DR100mkII (24bit/48kHz)
WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips] & Fades) >Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

Set I

  1. Tuning
  2. Help On The Way >
  3. Slipknot! >
  4. Franklin’s Tower
  5. Little Red Rooster
  6. Loser
  7. Just Like Tom Thumb’s Blues (tape flip)
  8. Let It Grow

Set II
Disc II:

  1. Tuning
  2. Scarlet Begonias >
  3. Fire On The Mountain >
  4. Truckin’ >
  5. Spoonful > *
  6. Dark Star > *
  7. Ken Kesey Rap $
  8. Drums > (tape flip)

Disc III:

  1. Space >
  2. Dark Star > *
  3. The Last Time *
  4. Standing On The Moon >
  5. Throwing Stones > (tape flip)
  6. Not Fade Away

Encore:

  1. Werewolves Of London *

Final performance of Werewolves Of London

Jerry Garcia – Guitar
Bob Weir – Guitar
Vince Welnick – Keyboards
Bruce Hornsby – Piano, Accordion
Phil Lesh – Bass
Bill Kreutzmann – Drums
Mickey Hart – Drums
Gary Duncan – Guitar *
Ken Kesey – Rap $

OldNeumanntapr Notes;
This was probably the best Dead show I’ve ever seen, and recorded, both in terms of set list and performance. This was my only Halloween show that I’d seen of the Dead, and the band was ON FIRE! After retiring ‘Help On The Way > Slipknot’ for so long it was nice to hear it return. This was my third ‘Dark Star’, and probably the best of the three, and was the only time I’d seen them do ‘Werewolves Of London’. It was quite appropriate for Halloween. Gary Duncan made a return from playing on the 27th and it was cool to see and hear him on ‘Spoonful’ and ‘Dark Star’. This was also the only time I’d seen Ken Kesey and that was really special. There was a guy going through the tapers section that night passing out little raised stick-on pumpkins for Halloween, so I took one and stuck it to the front of my D6. It’s still there!

I went to this show with my ex wife Nikki and my friend Dave. This was the night that I got flustered driving through Oakland going to the Coliseum and accidentally made a left turn onto the railroad racks before making a quick getaway. Hey, I never liked city driving! Dave laughed at me, of course.

When we were coming home, back to San Luis Obispo County, we stopped for a late meal at the Denny’s restaurant in Gilroy. I remember that there were two guys in the lobby talking loudly on big oversized cell phones of the day, and Dave looked at me and said, ‘What do you bet they’re talking to each other!’ Too funny.

We took our new ’91 Honda Civic sedan to this show and Dave was impressed with the cruise control on the way home through the Salinas Valley.

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

Grateful Dead – Oakland, CA (10/27/91)

Grateful Dead
10/27/91
Oakland Coliseum Arena
Oakland, CA

Set I
Disc I:

  1. Tuning
  2. Sugar Magnolia >
  3. Sugaree
  4. Walkin’ Blues
  5. Althea
  6. When I Paint My Masterpiece (tape flip)
  7. Candyman
  8. Cassidy
  9. Touch Of Grey
  10. Announcements From David Graham

Set II
Disc II:

  1. China Cat Sunflower >
  2. I Know You Rider >
  3. Samson & Delilah >
  4. Ship Of Fools >
  5. Iko Iko > *
  6. Mona > * (tape flip)
  7. Drums >

Dias III:

  1. Space >
  2. The Wheel >
  3. I Need A Miracle >
  4. Wharf Rat >
  5. Good Lovin’ (tape flip)

Encore:

  1. Knockin’ On Heaven’s Door

First performance of Mona since March 25, 1972
Last performance of Mona

Jerry Garcia – Guitar
Bob Weir – Guitar
Vince Welnick – Keyboards
Bruce Hornsby – Piano, Accordion
Phil Lesh – Bass
Bill Kreutzmann – Drums
Mickey Hart – Drums
Carlos Santana – Guitar *
Gary Duncan – Guitar *

OTS; Nakamichi CM 300 CP4s >Sony WM-D6C [MX-S 100s w/Dolby C]

MX-S Cassette Masters Transferred Via Denon DR-M12HR Cassette Deck w/Dolby C Engaged >Tascam DR100mkII (24bit/48kHz)

WAV >Audacity (Amplify, Track Splits, Balance Channel Levels, Minor Edits [Tape Flips], Fades, Downsample To 16bit/44.1kHz) >FLAC (Level 8) + Tags Via xACT 2.53 [Sept. 2024]

(Audience Cassette Master Recorded, Transferred, FLAC, Tags, & Front Cover Artwork By OldNeumanntapr)

OldNeumanntapr Notes;
This was the first Grateful Dead show after Bill Graham’s death from the helicopter crash. It was a very somber night, and they opened with ‘Sugar Magnolia’ in honor of Graham, as it was Bill’s favorite Dead song. ‘Mona’ was a treat to hear. I’d never seen Gary Duncan, from Quicksilver Messenger Service before, and Carlos is always special. I finally managed to drag Shane, my best friend from high school, along to a Dead show, and as I was setting up the recording gear in the tapers section he turned to me and said ‘This looks too much like work!’ I smiled and said that it wasn’t work, it was fun. He had fun watching all the deadheads but still just doesn’t get it. I guess the bus came by but he didn’t get on.

I was up and back from SLO County to the Bay Area three times in a row that week. Once for this show, once for the 10/31/91 Halloween show, and once for the Bridge Benefit on Saturday night followed by the Bill Graham memorial concert in Golden Gate Park on Sunday. It was quite a week!

Do NOT Convert To MP3.
Enjoy! Share freely, don’t sell, play nice, don’t run with scissors, etc. 😉

31 Days of Horror: The Fog (1980)

the fog poster

John Carpenter’s The Fog begins with a cheesy old campfire tale told by an old man that essentially gives us the backstory to the movie we’re about to see. Both the backstory and the actual story are pretty silly. The monsters are goofy, and the ending somewhat anti-climatic. Yet I love the film through and through.

Carpenter is the master of creating a mood and The Fog finds him at his moodiest. Since time immemorial (or at least the time in which films have existed) movies have used fog to create a spooky, eerie mood. Fog was made for cinema. It is both opaque and translucent. It obfuscates your vision and yet seem to reveal. It crawls in and moves with the wind. And it looks great when lit up.

One hundred years ago, on a dark foggy night the founders of Antonio Bay, a small coastal town in Northern California murdered a group of lepers for their gold. Now as the town celebrates its centennial anniversary the fog is back, as are the lepers and they are looking for revenge.

Our heroes are Stevie Wayne (Adrienne Barbeau) who owns and DJs the coolest looking lo-fi radio station inside a lighthouse, fisherman Nick Castle (Tom Atkins), and Elizabeth Solley (Jamie Lee Curtis) the hitchhiker Nick picked up one foggy night.

Stevie spends most of her time in the lighthouse talking to her listeners (and us) whilst playing light jazz records. She acts almost like a narrator, feeding her listeners (and us) information. Nick and Elizabeth run around trying to figure out what is happening.

The monsters apparently only appear between the hours of 12 midnight and 1 AM. They show up the first night mostly messing with electronic equipment and freaking everybody out, and then on the second night, the night of the actual anniversary they start killing people.

Whatever, the story takes second chair to the general creepiness Carpenter is creating. As usual, Carpenter wrote his own score and it is terrific. The film looks terrific and there is an enormous amount of creepy fog drifting into town across the bay, floating across streets and into rooms. The film lights it up giving it a hypnotic look.

It isn’t particularly scary and there are just a few scenes of genuine violence (although none of it is bloody) but the general vibe is excellent.

The Friday Night Horror Movie: The Girl In Room 2A (1974)

the girl in 2A poster

I watched The Girl in Room 2A via my Forgotten Gialli Blu-ray collection from Severin Films. “Forgotten” makes them sound like some overlooked classics or some incredible bits of cinema that were lost to time. But in reality, they were forgotten for a reason. That reason being they are mostly rubbish.

That’s not entirely fair to The Girl in Room 2A. It isn’t complete rubbish, it has a few moments that make it sort-of interesting. Or at least worth a watch if you are digging into the deep well of Giallo.

It starts out with a bang. A woman is kidnapped as she leaves a building. She’s grabbed, tossed into the back of a car, and taken to some dungeon. There she is stripped and punctured with these spikey metal rods. Then she’s driven to a cliff and dumped overboard. And all of that occurs during the opening credits.

Then we meet our heroine Margaret Bradley (Daniela Giordano). She’s just been released from prison and she sets herself up in the titular Room 2A in a sort-of halfway house.

The owner of the house is nice, but a bit nosey. The room is comfortable but there is a strange red spot on the floor. She’ll clean it up, but later it will reappear. At night she hears strange noises and she keeps having strange dreams about queer-looking people dressed in red robes doing…things to her.

I quite liked this part of the film. I love a good haunted house mystery. But then the film decides to show us what’s going on. In detail. They don’t just let us see the killers but it explains who they are and what their purpose is. In detail. I won’t bother with it, but all the explanations bog the film down. The mystery is lost and it becomes rather dull.

There is also a love interest which is dull in its own way, but at least that makes sense. I can accept a love interest in this sort of film, but there is no reason to spend so much time with the death cult explaining their motivations.

There is a final action sequence that’s pretty great, but it isn’t enough to make the film interesting.

The Boy and the Heron (2024)

image host

Hayao Miyazaki came out of retirement and made one of his best films. The Boy and the Heron is everything you want a Studio Ghibli film to be – exciting, adventurous, weird, funny, and ultimately moving. I love it. You can read my review of the 4K UHD disc over at Cinema Sentries.