This is the highest-fidelity version of 3/19/66, the LA "Pico" test. Ignoring tunings, the set list is:
Viola Lee Blues
See that My Grave is Kept Clean
I Know You Rider
You See a Broken Broken Heart
I Know it's a Sin
Beat it On Down the Line
Heads Up
Next Time You See Me
[unknown blues instrumental]
Death Don't Have No Mercy
In the Midnight Hour

It's remarkable for being one of the earliest documents - a nearly-complete, Bear-recorded set. And also for being an Acid Test where music was actually played (barely, in Bobby's case). Ironically, they may have been less dosed at this Test than at any given early-'66 show. Pre-primal Dead gives historical glimpses of lexicographical import, rather than the X Factor thrills. These are early arrangements and basic R & B styles. That said, I Know You Rider was used by Jer to stretch out in the direction of '67, rather than purely blues-scaled. This may be the best example of Pig's You See a Broken Heart; better than the studio effort on Rare Cuts, though we only have a couple. The early arrangement of Beat it on Down the Line features an off-key teen named Bobby. Heads Up is the Freddie King cover (cut in the middle). It's the only example, but nothing special - bar-band stuff. Next Time You See Me is the short arrangement. The unknown blues instrumental may be a song Pig was working up. The last two are incomplete. Five mins in to Midnight Jer finds another future groove - momentarily. Check out the poster - Wavy when he was still called "Hugh", and genius musicologist Tiny Tim.

The entire source is pitched slow and needs +2%, except for the last two, which need +3%. The 3/12/66 Danish show, is actually at d1966-02-25_sbd_unknown_20346.

Read down to the 2007 entries. David Lemieux cleared up the confusion over 3/19 and 3/12 by publishing the complete setlist of 3/12. This is not that show. Cathay Studios was on Pico Blvd and this is the Pico Acid Test. 3/12 was at the Danish Center and was not the Pico Acid Test. The handbills also help.

Intersting idea putting this back to mono. If lilrichwhiteboy is willing to stream it, I like to give it a listen.

From my reading, it seems 3/12 may have been established. If it has been, it is quite plainly obvious this is 3/12. The last riff on Viola is distinct and Bobby coming in before Midnight Hour confirms it. Why there is the slightest question of what this is - is beyond me? (if 3/12 has been confirmed to a reasonable degree).

This SBD seeded by Scotton is interesting since it is very different from the existing ambient copy I streamed and recorded years ago, and the other more recent ones I just listened too. The one I copied from this site is much softer and more mono-theistic. This one is straight board - which is very stereo. In fact, Bear's deliberate vocal and instrament stereo division is so annoying with ear phones on, I'm going to work it back to mono in Soundforge. I do have to say it's a really, really clean and upfront soundboard too. Magnificent sound!

And yes, Jerry is a bit high in the mix. But my god, his playing on Heads Up, Stormy Monday Jam, and Midnight Hour is just so incredible, having him that high is absolutely no problem for me. I never thought any white man could play like Earl Hooker or Freddy King. But Jerry could (with apologies to Stevie, Duane, and Eric).
I almost want to cry its so fucking good. That Midnight Hour is simply five star organsmic!

And oh, I'll tell you why this is the greatest white blues band in history. Because Jerry and Ron were both in it! The Midnight Hour cements Pig as the greatest white blues man who ever lived. His riffing and scatting behind Jerry is so hilariously outrageous, Louis Armstrong could take a lesson (Well, maybe I'm being a little hyperbolic).
But that's saying something. Papa John Creach would have been proud (For you newbies, check out Papa's "Bumble Bee" on youtube for pure, unadulterated blues bliss.). One album I will bow my head to and give credit for coming close to Ron and Jerry's duo antics was Jorma and Jack's first album at the New Orleans House in Berkeley.

BTW, duping this download in Soundforge, flipping the channels, and mixing them together sounds a hell-of-a-lot better.

I listened to each BIODTL and was surprised at Weir's voice being slightly off key the same way on both. Then I listened to I Know You Rider. Jerry's solo ends with a standard lick slightly off tempo in a highly recognizable way in both this and the known 3/12 recording.

It was a totally amazing experience. My cousin Bob and I and our first of hundreds of GD shows. We grew up just a few blocks from the Carthay. We were on 16 at the time. Life goes on but The Grateful Dead and our memories last forever.

My neighbor was at this acid test and I just saw 2 different handbills confirming on 3-19 there was a show played...whether or not its this show is up for debate.

I'm a 3-19-66 model! Very cool & VERY groooooovvvyyyy. Thank you BigSur & Cathay Studios for preserving & sharing this! I always knew that there was a dead show going on while I was entering this dimension. Strangely, I just recently discovered that my son was also born during a Dead show (5-19-92) & that they played Tennessee Jed (his name is Jed, but not because of the song!). He made it to one show, 6 weeks later at Buckeye Lake in Ohio.
BTW, this is an excellent recording for being such an oldie! Great energy too. You know our love will not fade away . . . . ever.

I've been working for a screenwriter in the Carthay Studios building (now Hi-Point Studios) for a few months now, but I only discovered this awesome piece of history just the other day. Almost 45 years to the day and less than a month before the lease ends on the office. As a Deadhead, I feel obligated to take a few shots of the building and sound stage before we move out and post them online somewhere. There isn't much info about this test on the internet. Can anyone add anything interesting?

The comments at the bottom appear exactly like that in Deadlists but what's here stops just before:

"UPDATE 1/23/2007 from Paul Scotton ~
David Lemieux, keeper of the vault, has provided a complete set list for 3/12/66. It is:

[setlist]

I think this settles the debate. We should consider what was given to me as 3/19/66 as being 3/19/66."

Since 3/12 appears to be known, then my understanding is this show labeled 3/19 is, or at least is thought to be, 3/19.

Unfortunately the quality suffers a little here compared to a whole bunch of other '66 but it's very easily listenable!

3 stars for the Sound Quality.
4 stars for the show.
10 stars for the historicalness of 1966.

This one gets a five cause it's 66 and the recording is SUPERB weirdness, no real musical highlights to me but an interesting listen nonetheless.