Grateful Dead – Chicago, IL (01/31/78)

Grateful Dead
January 31, 1978
Uptown Theatre
Chicago, IL

Download FLAC: Amazon Drive

I have three sources for this show, you can read the info here.

–Set 1–
101-d1t01 – Mississippi Half-Step Uptown Toodeloo
102-d1t02 – Passenger
103-d1t03 – Tennessee Jed
104-d1t04 – El Paso
105-d1t05 – Candyman
106-d1t06 – New Minglewood Blues
107-d1t07 – They Love Each Other
108-d1t08 – Let It Grow

–Set 2–
201-d2t01 – Scarlet Begonias ->
202-d2t02 – Fire On The Mountain
203-d2t03 – Samson And Delilah
204-d3t01 – Terrapin Station ->
205-d3t02 – Playing In The Band ->
206-d3t03 – Drums -> Space ->
207-d3t04 – Black Peter ->
208-d3t05 – Truckin’ ->
209-d3t06 – Good Lovin’

Bruce Springsteen – Chicago, IL (10/11/80)

Bruce Springsteen & The E Street Band
Uptown Theatre
Chicago, Illinois
October 11, 1980

Download FLAC: Amazon Drive

01 Prove It All Night
02 Badlands
03 Tenth Avenue Freeze-Out
04 For You
05 Darkness On The Edge Of Town
06 Wreck On The Highway
07 Factory
08 Jackson Cage
09 Out In The Street
10 The Promised Land
11 The River
12 Racing In The Street
13 Thunder Road
14 Jungleland
15 Good Rockiní Tonight
16 Cadillac Ranch
17 Fire
18 Sherry Darling
19 Here She Comes > I Wanna Marry You
20 The Ties That Bind
21 Point Blank
22 Crush On You
23 Ramrod
24 You Can Look (But You Better Not Touch)
25 Because The Night
26 Stolen Car
27 Backstreets
28 Rosalita (Come Out Tonight)
29 Born To Run
30 Detroit Medley
31 Raise Your Hand

(1st Generation via the DS Archives)
Transfer: 1st Generation Tape > Nakamichi DR-1 (azimuth adjusted) > MacBook Pro > Audacity > Peak Pro XT (volume smoothing / tweak / edit / index) > xACT 2.21 > FLAC

From the original uploader:
This is the first in a series of potential upgrades from longtime taper/trader, Dan Scripsema. First, a little history behind Dan and his archives, Dan began taping & trading in the mid 1970ís after noticing a taper at a Bob Seger show in 1976. He decided heíd purchase a deck himself and give it a go but the cheap deck he bought at the time did not give him the desired results. So, in 1978 , he upgraded to an Aiwa deck with an external mic which improved his quality, however, this rig was short lived after being caught in Kalamazoo, MI and the deck was damaged in the ensuing, as Dan describes it ìconfrontationî. Around this same time he began making contact with other traders and amassing a collection.

In 1979 he invested in a Sony D5 with a shotgun mic but with Bruce off the road at that time it wasnít until 1980 he was really able to put the new rig to use. It was during this time that he and some of his fellow trading buddies organized a national tape traders directory, he obtained vital information from fellow tapers/traders, categorized it and an early version of the tape traders tree was born. This set the group up for the early October start of the River tour. As the River tour took off, Dan covered most of the shows within driving distance of his home in West Michigan. The band of tapers which included such legendary tapers well known here, think Persic, Kivak, JEMS, etc., continued into the summer of 1981.

Before the Detroit shows in July of 1981 there was a gathering of the group at Danís house. From a personal aspect this was a very important gathering for Dan, the group bussed down to Detroit for the shows and it was on this bus trip that Dan met his wife of 33 years. Incidentally, Danís friend and fellow taper Lou Hill met his future wife on this same bus trip.

The collaboration continued for the Born In The USA Tour but as Tunnel Of Love hit the stores the responsibilities of family and fatherhood took over so everything was packed up and put away.

We fast forward to 2005 with things unchanged until a water pipe burst in Danís basement and much of his collection was lost. Luckily for us though, most of the Bruce archives were stored separately and survived.

That brings us to the second night in Chicago 1980, having to miss the first night due to work responsibilities a friend in Chicago hooked him up with tickets for the second night. He decided due to the venue size, not knowing where his seats were located and the fact he already had a friend taping that he would not be taping this show. The friend taping is the source of this 1st generation tape.

The two sold out October Chicago shows in the 4800 seat Uptown Theatre were part of a handful of early River tour theatre shows. These two shows prompted the addition of an arena show on November 20th due to the large number of fans who werenít able to get in to either show.

The early River shows donít seem to suffer from the same sound issues as the early Darkness shows, Clair Brothers Audio didnít appear to have any problems going from arenas to theatres and the sound is dialed in pretty quickly on this night, being the second night in the same venue couldnít have hurt either.
The show itself follows the basic set list for the first leg of the tour and is heavy in River material, the LP having just been released the day before. One slight addition to this show was an early set tour debut of ëFor Youí followed by a songs of despair mini set of ëDarkness On The Edge Of Towní, ëWreck On The Highwayí and ëFactoryí. Two nights later ëWreck On The Highwayí would be moved to its’ permanent place in the second set. Another tour premiere opens the second set in the high energy ëGood Rockiní Tonightí. Any personal recollections of the show have faded with the years.

Not only is this a nice material upgrade in sound, though far from perfect and should not be considered a top tier River show quality wise, but the between song edits found on the circulating versions are completely in tack here making for a much more pleasant and accurate listening experience. This in combination with the theatre setting gives this one a real ìyou are thereî feel absent from the previous releases of this show. The richness of Bruceís vocals comes through nicely, particularly on the slower songs. Samples provided.

At this point there are a handful of people we need to give some thanks to for helping to bring this show to you. First, earlmv for making the initial contact with Dan through Jungleland in regards to this specific show, earlmv put the word out that Dan wanted to get his archives into general circulation but someone was needed in the states to cut down on the cost. Next, oats1jvo picked up the ball with a follow up contact with Dan on how the best way to proceed would be. Oats1jvo put Dan and I in contact with each other and we are off and running. As with all my non JEMS postings, a huge thanks to E from JEMS for the lending of his backup DR-1 so more shows can continue to get into circulation.

And lastly, the biggest thanks to Dan for hanging onto his archives for all those years and his generosity in wanting to share it with us all. Please show your appreciation to all these folks in your comments.

Iím not sure whatís in store down the road but this is a worthy addition and upgrade to Bruceís River Tour legacy.

Grateful Dead – Chicago, IL (02/28/81)

Grateful Dead
February 28, 1981
Uptown Theatre
Chicago, IL

Download FLAC: Amazon Drive

–Set 1–
01 – Jack Straw
02 – They Love Each Other
03 – Mama Tried ->
04 – Mexicali Blues
05 – Candyman ->
06 – Little Red Rooster
07 – Big RxR Blues
08 – Looks Like Rain
09 – Althea
10 – Let it Grow ->
11 – Deal

–Set 2–
01 – Cold Rain & Snow ->
02 – Greatest Story Ever Told
03 – Ship of Fools
04 – Lost Sailor ->
05 – Saint of Circumstance ->
06 – Terrapin Station ->
07 – Jam ->
08 – Drums ->
09 – Space ->
10 – The Other One ->
11 – Stella Blue ->
12 – Around & Around ->
13 – Good Lovin’
14 – One More Saturday Night

Source 1:

This is a flac encoded & tagged version of shnid: 4668
gd81-02-28.sbd.lutch.4668.sbeok.flac16

—-
NOTE Updated source info:
These shows were originally incorrectly labeled as SBD > 7 inch reel 7.5 ips
reel master.According to Rob Eaton the correct lineage is:
SBD > Cassette Master.

Source Info:
SBD > Cassette Master > DAT(0) (Reel>DAT transfer by Dick)

DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)> CD
Architect > CDR Master(by Jim Wise)

CDR Master > EAC in secure mode (see below) > Soundforge (minor editing and
crossfading) > CDWAV > SHNv3 w/seek tables appended (by Jamie Lutch)

–disc 1 total time–77:29–
–disc 2 total time–60:12–
–disc 3 total time–41:02–

Alternative tracking:
The show can be fit onto 3×74 minute discs by moving Deal (d1t11) to the
beginning of disc 2.

Known Flaws:
Beginning of Jack Straw abrupt start
Beginning of Althea abrupt start
Beginning of Ship of Fools abrupt start w/ reel warble
End of Good Lovin cuts, faded out

Source 2:

shnid: 20345

Source:
Master: Barry Glassberg: Nak700 > Sony TCD5M, Maxell UDXLII, Dolby B.

Lineage:
AUDMC > Tascam 112MKII > Sony R500 SBM (pass through) > Delta Dio 2496 > HD >
sound forge & CD wave by John Steinthal

Encoding: EAC(secure) > CDWAV > mkwact > SHN(seekable) by Matt Vernon

Thanks to Mark Cohen for the disks!

notes –
– tape flip after LLR
– tape flip after Ship of Fools
– d2t08 ~4:21 brief anomally
– d2t10 ~ 1:16 patch from sbd to cover tape flip

Source 3:

This is a tagged version of shnid: 28398

Sick Bits Vol. 2c

Source: Matrix:

SBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick) >
DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)>
CD Architect > Master CDR (by Jim Wise) > CDR Master > EAC in secure mode >
Soundforge (minor editing and crossfading) > CDWAV > SHNv3
w/seek tables appended (by Jamie Lutch)

AUD Master: Barry Glassberg: Nak700>Sony TCD5M, Maxell UDXLII, Dolby B.

Lineage: AUDMC> Tascam 112MKII > Sony R500 SBM (pass through) >
Delta Dio 2496 > HD > sound forge & CD wave by John Steinthal

Encoding: EAC(secure) > CDWAV > mkwact > SHN(seekable) by Matt Vernon

[complete text files for each source appended at end]

Transfer/Editing:
All sources were snh files downloaded from LMA and converted to
WAV > Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
2/28/05

General Notes:

Given the multiple sources available on the Llama, I decided to put the
effort into editing a matrix of all three nights from this wonderful run
at the Uptown. The Glassberg AUDs are very nice and full, standing on
their own as excellent representative recordings. The SBD sources of all
three nights have the reputation of being some of the crispiest boards
out there, and after a simple test on the Ship O’ from the 3rd night I was
motivated to dive into editing land. The result is a worthwile listen,
especially when you turn it up.

Timeline/Tracking Notes:

No much music is missing as both sources have excellent coverage, except
that the end of Good Lovin’ fades out on the SBD source. In order to fit
the first set on one 80 min. disc, I edited out some crowd in between
songs, crossfading so the transitions are smooth. The transition between
the disc 2 and 3 can be put together seemlessly.

Editing Notes:

– Pitch
Both sources were pitched differently, the SBD being the sharpest,
and the AUD being the flatest. I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
up about .03 (3 cents) to achieve pitch correction – 1.00 being
100 cents which is a semitone. I did not reference A=440 as I did not
desire to pitch adjust the SBD. It is very close though to A=440.

– Synch
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Because the SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

– Sonic Quality/Matrix ratio
I did choose to employ a slight amount of limiting to the SBD (Waves L2)
to give it a slight amount of punch and presence. Conceptually, all
I was trying to do here is to add some dimension to the SBD, which is
pretty dry but very crisp, by using the ambience of the AUD. The result
is a lively but clear recording, hopefully close to how it sounded at
the show. If I had to guess the SBD/AUD ratio would be somewhere between
3:1 and 4:1, leaning more towards the 4:1 end of things.

– Edits
The following are places where the SBD and AUD had holes or
incomplete coverage in reference to the final matrix timeline.

Source 4:

This is a tagged version of shnid: 142412

Recording Info:
Master Soundboard Cassette > Dat (Panasonic SV-3700 16/48k) > CDR > Dat (Sony PCM R-700 16/44.1k)

Transfer Info:
Dat (Sony PCM-R500) > Tascam DA-3000 > Adobe Audition 3.0 > TLH flac16

Notes:
– Thanks to Rob Eaton for the source Dat
– Thanks to Charlie Miller for the transfer
– First verifiable lineage in general circulation
– No noise reduction has been used in this transcription
– The beginnings of “Jack Straw”, “Althea” and “Ship Of Fools” are intact
– Thanks to Barry Glassberg, John Steinthal, Mark Cohen and Matt Vernon for the
shnid: 20345 Nakamichi 700 source which supplies
a few seconds of crowd before “Jack Straw”,
a 0:05 patch in “Drums”,
as well as the final 0:58 of “Good Lovin'”
– Other One space included in “The Other One”
– Between song transitions smoothed

Mastered by Scott Clugston
June 24, 2018

Grateful Dead – Chicago, IL (02/27/81)

grateful dead - chicago - illinois - 1981-02-27-Uptown-Theater

Grateful Dead
February 27, 1981
Uptown Theatre
Chicago, IL

Download FLAC: Amazon Drive

–Set 1–
Alabama Getaway
The Promised Land
Friend of the Devil
Cassidy
Loser
C. C. Rider
It Must Have Been the Roses ->
New Minglewood Blues

–Set 2–

Scarlet Begonias->
Fire on the Mountain ->
Estimated Prophet ->
Eyes of the World->
Drums ->
Space ->
Not Fade Away ->
Wharf Rat ->
Sugar Magnolia

–Encore–
Don’t Ease Me In

Source 1:

Missing Encore

Source Info:
SBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick)

This is a flac encoded & tagged version of shinid: 4598

DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)
> CD Architect > Master CDR (by Jim Wise)

CDR Master > EAC in secure mode > Soundforge (minor editing
and crossfading) > CDWAV > SHNv3 w/seek tables appended (by Jamie Lutch)

gd81-02-27.sbd.wise-lutch.4598.sbeok.flac16

–disc 1 total time–52:09–
–disc 2 total time–57:53–
–disc 3 total time–36:40–

Known Flaws:
reel flip in Wharf Rat> Sugar Magnolia segue, crossfaded slightly
All other edits and crossfades were between songs with no music disturbed

Source 2:

This is a tagged version of shnid: 28384

Sick Bits Vol. 2b

Source: Matrix:

SBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick) >
DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)>
CD Architect > Master CDR (by Jim Wise) > CDR Master > EAC in secure mode >
Soundforge (minor editing and crossfading) > CDWAV > SHNv3
w/seek tables appended (by Jamie Lutch)

AUD Master: Barry Glassberg: Nak700>Sony TCD5M, Maxell UDXLII, Dolby B
Lineage: AUDMC> Tascam 112MKII > Sony R500 SBM (pass through) >
Delta Dio 2496 > HD > sound forge & CD wave by John Steinthal
Encoding: EAC(secure) > CDWAV > mkwact > SHN(seekable) by Matt Vernon

[complete text files for each source appended at end]

Transfer/Editing:
All sources were snh files downloaded from LMA and converted to
WAV > Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
2/26/05

General Notes:

Given the multiple sources available on the Llama, I decided to put the
effort into editing a matrix of all three nights from this wonderful run
at the Uptown. The Glassberg AUDs are very nice and full, standing on
their own as excellent representative recordings. The SBD sources of all
three nights have the reputation of being some of the crispiest boards
out there, and after a simple test on the Ship O’ from the 3rd night I was
motivated to dive into editing land. The result is a worthwile listen,
especially when you turn it up.

Timeline/Tracking Notes:

The only music that is missing is the encore from the SBD source.
The transition between the disc 2 and 3 can be put together seemlessly.

Editing Notes:

– Pitch
Both sources were pitched differently, the AUD being the sharpest,
and the SBD being the flatest. I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
down about -.14 (14 cents) in the first set, and about -.03 (3 cents) in
the second set, to achieve pitch correction – 1.00 being 100 cents which
is a semitone. I did not reference A=440 as I did not desire to pitch
adjust the SBD. It is very close though to A=440.

– Synch
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Because the SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

– Sonic Quality/Matrix ratio
I did choose to employ a slight amount of limiting to the SBD (Waves L2)
to give it a slight amount of punch and presence. Conceptually, all
I was trying to do here is to add some dimension to the SBD, which is
pretty dry but very crisp, by using the ambience of the AUD. The result
is a lively but clear recording, hopefully close to how it sounded at
the show. If I had to guess the SBD/AUD ratio would be somewhere between
3:1 and 4:1, leaning more towards the 4:1 end of things.

– Edits
The following are places where the SBD and AUD had holes or
incomplete coverage in reference to the final matrix timeline.

Source 3:

SHNID: 127511

Recorded 1st row balcony Sony TCD-5M> Beyer M-160
MAC>Sony TCKA3ES>USBPre-2

24bit/96kHz file-set

Grateful Dead – Chicago, IL (02/26/81)

Grateful Dead
February 26, 1981
Uptown Theatre
Chicago, IL

Download FLAC: Amazon Drive

–Set 1–
Feel Like a Stranger
Althea ->
Little Red Rooster
Bird Song
Me & My Uncle ->
Big River
Tennessee Jed
Passenger
Peggy-O
Music Never Stopped

–Set 2–
China Cat Sunflower ->
I Know You Rider
Samson & Delilah
He’s Gone ->
Drums ->
Space ->
Truckin ->
Black Peter ->
Going Down the Road Feeling Bad ->
Johnny B. Goode

–Encore–
U.S. Blues

Source 1:

This is a flac encoded & tagged version of shnid: 4597

gd81-02-26.sbd.lutch.4597.sbeok.flac16

Source Info:
SBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick)

DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)>
CD Architect > Master CDR (by Jim Wise)

CDR Master > EAC in secure mode (see below) > Soundforge (minor editing
and crossfading) > CDWAV > SHNv3 w/seek tables appended (by Jamie Lutch)

Known Flaws:
reel splices at 5:04 & 8:40 in Stranger (untouched)
reel splice 11:52 into He’s Gone (untouched)
reel splice in Black Peter> GDTRFB segue (2 sec crossfade)

Source 2:

This is a flac encoded & tagged version of shnid: 20342

Source:
Master: Barry Glassberg: Nak700>Sony TCD5M, Maxell UDXLII, Dolby B.
Lineage: AUDMC> Tascam 112MKII > Sony R500 SBM (pass through) > Delta Dio 2496 >
HD > sound forge & CD wave by John Steinthal
Encoding: EAC(secure) > CDWAV > mkwact > SHN(seekable) by Matt Vernon

Thanks to Mark Cohen for the disks!

notes
– ~4:20 patch in drums from soundboard

Source 3:

This is a tagged version of shnid: 28383

Sick Bits Vol. 2a

Source: Matrix:

SBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick) >
DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)>
CD Architect > Master CDR (by Jim Wise) > CDR Master > EAC in secure mode >
Soundforge (minor editing and crossfading) > CDWAV > SHNv3
w/seek tables appended (by Jamie Lutch)

AUD Master: Barry Glassberg: Nak700>Sony TCD5M, Maxell UDXLII, Dolby B.
Lineage: AUDMC> Tascam 112MKII > Sony R500 SBM (pass through) >
Delta Dio 2496 > HD > sound forge & CD wave by John Steinthal

Encoding: EAC(secure) > CDWAV > mkwact > SHN(seekable) by Matt Vernon

Transfer/Editing:
All sources were snh files downloaded from LMA and converted to
WAV > Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
2/26/05

General Notes:

Given the multiple sources available on the Llama, I decided to put the
effort into editing a matrix of all three nights from this wonderful run
at the Uptown. The Glassberg AUDs are very nice and full, standing on
their own as excellent representative recordings. The SBD sources of all
three nights have the reputation of being some of the crispiest boards
out there, and after a simple test on the Ship O’ from the 3rd night I was
motivated to dive into editing land. The result is a worthwile listen,
especially when you turn it up.

Timeline/Tracking Notes:

No music is missing as both sources have excellent coverage. However,
in order to fit the first set on one 80 min. disc, I edited out some
crowd in between songs, crossfading so the transitions are smooth.
The transition between the disc 2 and 3 can be put together seemlessly.

Editing Notes:

– Pitch
Both sources were pitched differently, the AUD being the sharpest,
and the SBD being the flatest. I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
down about -.18 (18 cents) to achieve pitch correction – 1.00 being
100 cents which is a semitone. I did not reference A=440 as I did not
desire to pitch adjust the SBD. It is very close though to A=440.

– Synch
Even after pitch correcting the other two sources to the FOB AUD,
because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Because the SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

– Sonic Quality/Matrix ratio
I did choose to employ a slight amount of limiting to the SBD (Waves L2)
to give it a slight amount of punch and presence. Conceptually, all
I was trying to do here is to add some dimension to the SBD, which is
pretty dry but very crisp, by using the ambience of the AUD. The result
is a lively but clear recording, hopefully close to how it sounded at
the show. If I had to guess the SBD/AUD ratio would be somewhere between
3:1 and 4:1, leaning more towards the 4:1 end of things.

– Edits
The following are places where the SBD and AUD had holes or
incomplete coverage in reference to the final matrix timeline.

Source 4:

This is a tagged version of shnid: 140360

Recording Info:
Master Soundboard Cassette > Technics Reel To Reel > Panasonic SV-3800 Dat 16/44

Transfer Info:
Sony PCM-R500 > Tascam DA-3000 > Adobe Audition 3.0 > TLH flac16

Notes:
– Thanks to Rob Eaton for the source Dat
– Thanks to Charlie Miller for the transfer
– First verifiable lineage in general circulation
– No noise reduction has been used in this transcription
– Thanks to the folks responsible for the shnid4597 soundboard source which supplies a 0:02 patch in “Bird Song”
– Thanks to the folks responsible for the shnid20342 Nakamichi CM700 source which supplies an 0:11 patch in the Jam out of “He’s Gone”, as well as a 0:09 patch in the transition from “Black Peter” into “Goin’ Down The Road Feeling Bad”
– Mix fluctuations until about half way thru “Althea”
– No space per se, a 1:40 noodle into “Truckin'”
– Noodle into Truckin’ included in “Truckin'”
– Between song transitions smoothed

Mastered by Scott Clugston
12/23/2017