This show was actually at Springers Ballroom, which was outside the metro area, south of Gresham, Oregon. People called it the chicken farm, because that's what the warehouse had recently been (and after a performance space, a weekend flea market until it burned down in '87). Either it sold out or close because the band returned two days later (after a show at OSU) for a word-of-mouth show. This night is notable mainly for the Easy Wind, but sources are colored by erratic pitch problems, making it impossible to enjoy without pitch correction. The pitch change between Cumberland and M&MU indicates there were two sources at one point, and possibly a missing song here (perhaps a Big Boss Man). Either way we have 1h50mins of one of TC's final shows.

First Set. Casey Jones is marred by PA problems but is otherwise a standard start. Things finally gel with China>Rider, where Phil shines (most boots from this era are completely missing the bass frequencies). Good Lovin' isn't the best set-ender, but they make up for it with the version the next night in Corvallis.

Second Set. Dancing in the Street appears to be the start of a new set (a single, long set is not atypical for this period). It's a sour version with the drummers out of sync. Coming out of Drums, Jer doodles straight in to a The Eleven and the rest pick it up, catching some fire without resolving to the verses. It seems unlikely (though cool) to dissolve into Death Don't Have No Mercy. The drummers are still all over the place for Cumberland Blues. Jer played the fills on Me & My Uncle differently in early '70 and even then this isn't the usual. Dire Wolf is a sweet and embryonic version, nailed (though there are better examples from early '70). They hadn't found the starting chords yet for Uncle John's and nobody plays tight here (even with help from Mickey's gong), nor is anyone harmonizing on the same lyrics at the same time. Write it off as a work in progress (and see instead later in the year). Then the show erupts with a landmark Easy Wind and, as others have pointed out, the Cryptical>Other One is likewise a smoker.

1st Set:  C-
2nd Set: C+
Overall = 2½ Stars

Highlights:
Easy Wind – the one that put the show on the map
The Other One Suite – one of the year's best, w/great Crypticals

SOURCES: All sources have severe pitch problems, running helium fast (a whole key in places) to way too slow, as well as balance issues. The popi_7111 is preferable as the droncit-restore-7111 has EQ that makes it ringy (it's not compression tinny). Casey Jones is Mickey Mouse fast, needing -4.5% pitch correction. Mama Tried needs -3.5% correction. From Black Peter, the rest of the 1st set needs -3%. The 2nd set needs -2% until M&MU, which is slow and needs +1%. The next two need +2%, and from Easy Wind on needs +1%. The 140967_sbd_lubar has the same pitch errors for the first set, worse pitch errors for the second set, mislabeled tracks, and is missing half of the second set. A corrected Easy Wind is a bonus track on Workingman's

egeff – a couple people shout out for Morning Dew, Bobby/Phil say no, but they're playing UJB, which is musically similar (they're joking)
----------------------------------------------------------------------------------------
1/18/70
After a good turnout, they returned two nights later for a better show. However, with no promotion there was a thin turnout. This was the Dead, so that's not why they played a short show. Rather, a reel went missing long ago. The source is Download #2, which needs the channels switched through Dancing. We have 1hr20min [tunings were cut for a single CD], lacking an opener or two (remarks opening CR&S suggest they were already a couple songs in), and from the missing reel a M&MU plus whatever else. Since they played Dancing, Good Lovin' and Love Light, it's less likely a missing TOO or Dark Star and more likely a couple/few from Workingman's: High Time, Casey J or Dire Wolf. Given the channels switch, one reel must be a generation down.

The first few are a bit rickety, especially Mason's. Note Bobby, "You're probably wondering why we have so few of you here tonight". Someone (sounds like Mickey), "It's a hippie death cult!". Little of the Dancing jam is inspiring. When the tape runs out @11:31, the OFF switches to 12/31/69. Bobby mentions the curfew, but is then told they still have 35mins. Good Lovin' is where the show perks; the jam is basic but fine. The China Cat>Rider is what you came for. It's terrific, and note at the start of the jam into Rider, how much Jer lets Bobby take the lead [starting @3:15]. During Love Light, Pig tells Jer "Okay Mother McCree!". It has brief sparks, but when the tape runs out @17:50, the OFF switches to 1/2/70.
Show = 2⅔ stars

So just after dire wolf is over and before Uncle John's band starts there's a strange comment that I'm struggling to understand. It sounds like Phil saying that there's a connection between morning dew and Uncle John's band. It appears that there were several different things being discussed some of them having to do with the key that the song is played in and Bob makes a strange comment that I couldn't really understand. But I think the morning dew comment seems to be somewhat different and a little tangential to the discussion about the key that songs are being played in. It's a little bit peculiar because they definitely did not play morning dew. Would love to have a little discussion about this matter but I guess it doesn't really matter anyways now does it? Hahaha

Though lacking the great Dark Star of the following night, this is probably the better of the two Portland shows, and one of the best of Jan. 70.

In particular, The Good Lovin, Dancin, and DDHNM are all well played, but the highight of the set may be the Eleven jam following Alligator>Drums. This version is just flat out awesome, and very unique: Weir is higher than usual in the mix, allowing the rhythm section to stand out a bit more. Though somewhat ragged, it has a really interesting, dynamic, almost swinging/jazzy vibe compared to most other Elevens, and the jamming itself is white hot.

And speaking of white hot, the Other One suite from this show is a real barn burner!

Solid 1970 sound, nothing epic though.But beggars can't be choosers on January 16th!

A word regarding an earlier comment. Today after twenty five years of marriage my wife and myself are officially divorced. This is not reason to be happy or sad I'm just commenting that my wife is gone, my child are eighteen and sixteen and they will be leaving me soon but the Grateful Dead just kept on spinning on my tube jive amp of yesteryear either at Springer's Inn or MSG or The Frost or at the Capital Theater in Passaic, New Jersey. Wherever there is electricity and human will the Grateful Dead will live. The reason: they did so we can!

Alligator-> Drums-> The Eleven Jam-> Death Don't Have No Mercy.
Everything before and after is tight as well.
(use time machine recover rest of Cumberland.)
A smoking crater of my mind...indeed!

First of all, I have to say that Satori70 wrote just about exactly the biography of this show and anybody who listens to this show won't argue. Hat's off!

I just sent my old buddy on the other coast a late-night text message (listen and you'll do the same thing) that read:

"Ok, don't f--- around.
1/16/70 at Springer's Inn
at Portland has got
probably the best Dire Wolf
ever- there's like twenty
people in a pub in January
in Portland and a fireplace
-bobby talks about the
"relative sub-dominant"
then uncle johns. Ok?
Smith- the deeper into the
mines we go, the more
jems we find. Goddamn!
will I declare!"


Friends, this is a show. This is a show you might have as your soundtrack if you lived in some 'Lord of the Rings' world. Like if you were on a quest that took you through stinking, crowded, cobblestone markets, through endless dark forests, over high cold snow mountain passes and cast upon stormy seas. In these chapters of the journey there's not any elves or goblins, princesses or fairies- just the gruel of the road, the sweat of the horse, a tankard of ale at Springer's Inn. The salt of the Earth. Dig it? "...Every leaf was turning/to watch him die..."

Take a broad look at the reviews here- they span over ten years. Take a little bit deeper of a look- almost every year, on January 16, folks gather and write a review--Because there is ONLY SHOW on this day in the Archives>>> and that means this show, this campfire, this tavern round table, is strong magic. This here is some way station along the road to unlimited devotion. There's some really unique combinations at this show- like Easy Wind>>Cryptical and the bridges and little solos/riffs in the songs are just a little bit... different, it's a different key this night and I'm not necessarily talking musically, but skeleton-y.

"Go home, your mama's calling you..."

My buddy wrote back:

"Beyond the wishes of my
wife. I hope I never grow
out of the grateful dead. It
seems to just get better &
everything else gets
worse! I love my wife, my
children, and my dead!
Couldn't give a shit about
anything else!"

I'm just so happy shows like this exist. The sound quality is great for a 43 year old show. Jerry's voice is just so clear, tender, and emotional. I'm glad this in the archive.

This show is the beginning of a monster year for the Dead, and what we have here is a tasty 43 year old recording. Not only do they release Workingman's Dead & American Beauty in '70, but also record Bear's Choice one month later. Oregon has always played host to some organically great shows, and this night is no different.
As soon as we get those pesky monitors fixed, this show pulls out of the station on fire. White hot in the furnace! A glowing Casey winds down the track chugging through to an amazing H2H! Like another keen reviewer noted, no songs here are longer than nine minutes because these are just tight, well rehearsed numbers that fry! Listen to that China Rider sizzle like butter on a hot skillet! Everyone's firing on all cylinders, and there's plenty of coal on the fire when Dancin' bumps them up for a sleepy little Aligator > Drums > 11 > Death jam ! Outfreaking standing! A+
Pouring on the steam, Cumberland is shortened yes, but what's here is fabulous ! and then . . . tape flip ? Ahhh, remember the days of cassettes ? Anyone who has ever bootlegged a show back in the day has experienced the 'faster than light tape flip' :) Sometimes your so caught up in the moment, you don't notice until after the song that you need to flip, flip out !
Around the bend, the boys move us through what is to me, a stellar Wolf, and down the line to an incredible UJB ! I love listening between the songs, because I would never have imagined a relation with Dew. Then Pig pulls the locomotive a little further up the track with an Easy for the ages. Blowing some sweet harp through the mountain pass, then buckle your seat belts folks, 'cause this train's got to run today.
I don't remember much after this, Cryptical > TOO > Cryptical was a downhill blur. It's like interplanetary space travel and the senses were overloaded. I splashed back down during the Charlie closer, as though falling through clouds into a pillowy soft landing. This show is close to 5 stars, like maybe 4.5 but I feel I need to round up.

to have such late '80s SBD quality! ;-) Back then, when they played Dancin' in the Street, it might as well have been Dark Star. This Dancin' is very laid back and not very long, going with the rather businesslike treatment the Dead give songs in this performance. It's not a Dark Star kind of night. Everything is pretty professional, and though not as exciting as some shows, it's pretty great.

I used to trade tapes. I used to travel to reocrd shows at the local Ramada hotel, and I used to go to shops that sold bootleg cassettes. I never contacted anyone from magazines because I didn't know about all that stuff. Later when the internet started up I used to find lists and tapers in my area, call them and arrange a meeting. I got the bulk of my collection from a guy in Marietta, GA who I sadly lost touch with, but who was an amazing friend to let me come with a box and take about 20 tapes at a time, even though I was unable to give him much of anything. We did drive over to Alabama for a Ratdog show (I think the first tour after Garcia died). I used to look at the lists of the traders with the biggests list, and just marvel at all the wonderful shows they had (Jeff Tiedrich's list was my bible), knowing that I couldn't even begin to trade with these guys because I likely just had the more popular shows. Well, I can tell you how glad and grateful I was to find the IA and see all those shows that I wouldn't have been able to hear. I imagined what these shows must have been like for years and years, and now thanks to the digital age, I can finally hear them. For some reason, I remember something on Jeff's list: Cafe Au Go Go in 1967 and 1969. I read somewhere that the Dead were running through some songs during the day and that Zappa came from upstairs and complained that they were too loud. Not sure if that's apocryphal or not. A lot of Deadheads I know were turned on by tapes. Even those going to shows in the 70's and 80's, so there's nothing wrong with discovering the boys here on the internet. I'm sure a lot of things about the 60's were "had to be there" but I don't think Dead music suffers from not having been there. I remember some amazing shows though I can't really remember what the band played. I just remember a feeling of "wow, this is amazing" and maybe an image or two. Certainly I can't say to anyone, "you weren't there, so you don't get it and won't ever." Enjoy everything on offer here. Check them all out, the good and the bad. We might even get to turn a few more people on to the band.

Great show with great sound for the year. I'd say definitely a keeper!

all i can say is "GET A LIFE".

After listening to Black Peter, Mama Tried & Hard to Handle ... all 3 tunes are tracked all wrong(& have only listened to these tunes)!! Mama Tried only has 9 sec. of tuning before it changes tracks & 18 sec. of tuning after track change, Black Peter has 18 sec. of tuning before track change & 1:58 after track change before going into Hard To Handle & after HTH has 14 sec. of tuning before changing tracks & 18 sec. of tuning before going into Chinacat. If folk can't edit, shouldn't be posting shows. I guess that I'm going to have to start posting my shows, as I make seperate tracks for all tuning & banter, which I've noticed not 1 other person has done this except for occaisionally. I've just posted my 1st show here (Jan. 3, 1970 Fillmore East early show) get it!!! Search my name, Michael Katz, & will see how a show should be edited. I've got every show the Dead performed in the 60's ifn anyone wants to trade via ftp or Skype. For the lousy editing I only give 1 star. Musically, this show is a sweet representation of the Dead 1 week before T.C. ended his playing days with The Grateful Dead (Jan. 26, 1970 is when he left the group).

An argument could be made that Easy Wind is the maximum Grateful Dead song because of the above and beyond contributions of the four major GD personnel:

Hunter: words AND music
Pigpen: the only one who could believably sing these lyrics
Weir: plays the first lead amazingly
Garcia: always pulls out all the stops for the second lead

It's as if Garcia knows Weir has already set the bar for lead guitar very high, and as the Dead's lead guitar it's his responsibility to top it. And he always does.

God I miss Jerry.

still lovin' that alligator!!!!

I have been in and out on this show. I got so caught up in the history of travelled heads shedding or dare I say shredding each other I missed a few songs. Ha, well its cool to see people online doing their thing. In a way I see this as the Dead surviving in yet another way. Cheers to those who put in their good word(s). This show is a great raw selection of early era drums. The jams are packed and some of the sound falls of the charts. I like this, cause in years to come the sound sorta hits that infinite plane where it all sits due to the sheer volume of time the band has spent on the stage. Still though, Jerry does some pretty rad Allman style riffing. I like this time right before the wall of sound where you can hear that they are really straining to do the most they can with the equipment they have. Perhaps this touches on some of the sentiment for the tubular days of analog!?! They are ready to break the sound open and really get into space with the sound. This is like a new pair of shoes as far as I am concerned... a really nice pair of shoes. Just not the holy years worth of wear yet. The hits are worth the misses on this one and I think it is dense and real. Be well. going to see live music tonight!

awesome, great sound... .rock on


5 stars, everyone is in good health. what more could you ask for.

One of the better three-star performances archived here, but still it's a three-star show!

And I liked Meats review! (90 pts)

Individual87 I hear you man. I get such a thrill from this Easy Wind. The first time I ever listened to it it bothered me when he changed the lyrics but by the end of the song it doesn't matter, you can feel the energy all through your body.

Comparable to the Hard to Handle from 08-06-1971 in the way it climaxes. Gotta Love It!

this show is pretty good, a fun listen from a good period when they were turning out all kinds of new stuff all the time. and for the people below who are writing 7 - 8 pages worth of stuff in the review sections.......start a blog. this area is for reviews

the argument in question is over a year old, so please do not bring it up and ruin these lovely archives...they let it go, why not everyone else?

looking forward to more live shows and reliving the old ones!

muffin

Strange weirdness on the posts these days. You know what they say about assholes and opinions-that's the beauty of a free society. Very enjoyable show whether it's a soundboard or bootleg-I remember the days when tapes were all we had and somehow we survived. Let's all sit back and enjoy a listen to a show that took place over 39 years ago-what a treat!

Well said lost sailor!
I need the 12 steps for the GD, the wharf-rats just don't cut it! I have an obsession for music that I can't kick on my own will power! I'm powerless over music and my life is unmanagable! Sometimes I wish I had never heard of or listened to the Grateful Dead! Where would my life be now? I need a power grater than myself to restore me to sanity! LET GO AND LET JERRY!!!!
AHAHAALHAOIH!

Ladies and Gentlemen
thank you for sharing a common thread in the universe with me, and that is my passion for live music, specifically started for me by the Grateful Dead. since my first show in the early 80's, have been hopelessly hooked in a "joy" that has bordered on obsession, however, there has never been a 12 step meeting that I have walked into that addresses this addiction. to have archive provide a place for me, and for all of you to come, listen, stream, and download shows for your own little enjoyment, is truly a gift. Trading analog out of the back of Relix mag through the snail mail was, in retrospect, was like leaving cave paintings of the epic hunt. It served to chronical the event, but was not available to a widespread and broad range of listeners. A bit of the beauty back then, was receiving a brilliant show in the mail, and then springing it on your friends during a party, or out of the blue on a road trip. It could always make up for that time you (insert red-eyed hazy blunder here).
I appreciate the reviews, the hints, the words from some of the even earlier reel to reel guys out there, and from the later day digital "tapers". I continue to record shows, trade shows, and mixdown matrix recordings, some 25 years later, and have met a handful of you out there. You are family, and you are my brothers and sisters caught in the slipstream that still is, live dead.
Forgive me however, if I skip through the rants and bitch sessions that I am (argh) more frequently finding here. I am not into that, nor do I find it a very valuable way for archive to dedicate storage space on thier non-profit servers. Phish, Panic, DMB, moe. whatever floats your boat these days, and gets you outta the cubicle and into the venue in your comfortable dancing shoes, so be it, and GOOD ON YA! To each thier own, a beautiful thing that brings joy to me: "individualismisticnessability"

Peace my brothers and sisters, for whether we share the same opinions, tastes, views or language, we are still fellows in this universe. Dare I say, proud walkers of the jinglebell rainbow....

"A Happy Hour Hero", senior sound editor and founder of Lost Sailor Recordings.

This and the next 2 nights are both righteous early '70 shows. Pretty good month, with 1/2, 1/3, and 1/23, 1/24 all worth checking out.

uncle meat you are full of shit.

In your first paragraph you claim that I, being only 16 and therefore a member of the "digital age," have never experienced joy. go to hell. Music is not the only way to experience joy in the universe, and you are an ass for assuming you know enough to tell me something like that. I am just as much a human being and just as capable of feeling somehting like joy as you are.

In your second paragraph you forbid phish fans from listening the dead. I love the dead, and dislike phish, but as the below reviewer demonstrated, that does not mean every other dead fan must follow me.

Your third paragraph I have no problem with. That alone wouldve made a nice post. Your fourth returns to your pompous espousal of self righteous bullshit. Sure i love coltrane, miles, and (of course) the dead. do i hate phish and dave matthews too? yes. Do i presume to know who these "true music lovers" are and what they listen to and list myself as one? No.

great show, fantastic eleven jam, classic '70

That comment of yours is ridiculous buddy. I can honestly say that MORE so than most fans of both Phish and the Dead-and there are TONS of people who truly appreciate and love both-I have an unusual balance of affinity for each. I really am as much a deadhead when listening to the dead or in the mood for the dead, and the same goes for my listening of phish. I mean you sound like ignorant deadheads from the early nineties. Being on the current tour scene-last OTher Ones, two summer The Dead tours, Phil and Friends, tons of Ratdog etc...I have actually almost never encountered your kind of comment anymore and only hear about how people used to say stuff like that. the DAVE MATHEWS band dude??? get a life. Immediately after that commentI automatically have no respect and KNOW that u dont have the ear that I have nor the interaction with music that I have and when I say I it means the who PHAMILY of true music fans who dont make negative stereotypes about bands. After the Phil and Friends Warfield 99'shows with Trey and PAge, almost all deadheads who said negative stuff about Phish changed their minds. They didnt necessarily become phish phans, but they recognized that those guys DO carry the torch. That is the torch of counterculture off-mainstream live music experiences based on instrumental improv and technical proficiency from all band members combined with a very accessible base of eclectic rock based song material covering aspects at times of jazz, blues, folk, bluegrass, country, hard rock, gospel, classic covers,etc etc..... and to mention the DMB as an analogy with Phish is just proposterous. Phish is a highly technical band with every member being better musicians than the best musician in DMB. And Trey and Page in particular are modern prodigy's due to their musical training and classical background and are respected as such in the proper communities..Phish doesnt really sound anything like the Dead. Although Trey (who has many different types of sounds that are part of his style so its not appropriate to generalize but anyway/..)in his rhythm playing, solo rhythm leads while singing, and in certain cleaner tone songs, has a tremendous amount of obvious Garcia influence technically. The fret-board navigation based on triad figure chordcharts, and his use of chromatics and modes and as I said especially he is most influenced by Jerry with his "noodling" -as Jerry's was often called-rhythm leads while singing at the same time; all these things Trey has said in interviews and what not that he directly was influenced by Jerry with. Now as I said, Trey does a tremendous amount of stuff that is nothing like Jerry apart from those, but Phish wouldnt exist without the Dead, or at least wouldn have been popular. Its a two fold thing. First, Trey wouldnt have been motivated to do the live music band thing if he hadnt become infatuated with the dead during the 90's when he toured a bit. Also on the instrumental front, how can one not notice the similiarities with Mike Gordons unusual melodic almost second guitar (as phil was called a third guitar) approach to the Bass. Now like Trey, Mike does a lot of stuff Phil doesnt, but his general initial approach to playing the bass, with his pick for rhythms (not during solos or slap though), and the unique picking patter of cross-string bass lines and just odd octave approaches to hitting root notes and a very odd rhythm component at times for a bassist-that IS the essence of Phil people. And also on a less tangible note, just to my point, they both use modulus bass's .....coincidence? I think not...LOL. But anyway, Phish inherited the youthful aspect of the Dead scene and then matured into its own dead like group of generational fans now as the origianl teenage Phish fans have kids and familys like the original hippy dead heads in the seventies. And as I mentioned, without ever really sounding like the dead musically in their actual sound, on other fronts,they are extremely similar and clearly inherited/influenced by the Dead to develop and achieve: their extensive use of psychedelic improv, modal improv, and extremely layered and textured creation of "musical space" in their jams; the act of playing songs drastically differently during different years or moods etc; playing long songs with very ambient and dissonant jams, and songs that never made it to the radio yet being more popular that most the mainstream bands; one of the hugest items on this list, simply the act of touring everywhere and more than any other band of their time for almost 60-80% of every year they were a band except for the hiatus and post hiatus-and having a national audience that travelled with the band in an identical fashion of hippie fans going on the road and each show being a mini festival with a shakedown street and people supporting their travels with working at shows legal and illegal, and dancing at the shows, and people taping every show and memorizing setlists and guessing openers and closers, and playing certain songs together often....yea none of the stuff phish is or has done is Dead-like and they are more like the dave mathews band. That is the DUMBEST comment Ihave heard anyone make on a message board-and thats saying a lot. Also of note is that it is real funny that every member of the dead like phish, and has had phish members as guests in their bands, or longer term members (Mike Gordon in the Rhythm devils, Trey/page and mike being in Phil and Friends shows with Trey being in a ton, all members of phish being temp. one or two time guests of Ratdog, and the ultimate here; when deciding what to do not for the Other Ones, but when deciding to change back to the Dead, Phish had not yet announced their hiatus ending and Trey was solicited and approached many times to be asked to play Jerry's part-the ultimate sign of respect. You think Phil, bobby, mickey and billy had Dave Mathews on their list and asked him? NO. On a side note here, Steve Kimock is the guitarist who can most play the pure spirit and essence of Jerry, (while also being like Trey eclectic and able to do TONS of stuff that you wouldnt recognize at all if not a fan but that moot) and Trey is the second, and Mark Karan I believe third. However, as a member of THE DEAD and the way they were set up, I believe Trey to be the best choice because he is the only one who plays that commanding out in front of the mix fat tone sound and can riff like that WHILE singing the songs-something steve doesnt do at all (the singing...he can do anything with the guitar). To end this rant here man, your analogy to me is like (cause I am a huge jazz fan-what a shock, someone who listened to a ton of borderline jazzy and totalJazz with the Dead's modal improv(this is the fact, if you ever listened to a Dark Star, or a Slipknot, or the Weather Report Suite,and even the instrumental changes of Eyes of the World, and def. Terrapin, and you liked what you heard, than you are partially at least a jazz fan) or more obviously Phish's whole clean tone jazz era(89-92 especially with Giant Country Horns) and the Dead with Branford Marsalis, or jerry's reconstruction or Legion of Mary, or Phish's many non 89-92 simply jazzy songs and sounds (thats what you often get when 4 jazz trained musicians-Trey and Page were also jazz comp students in addition to classical training) of many of their shows/jams and general repetiore. Your analogy to me is like saying that you are a Charlie Parker fan, and dont like John Coltrane, and think that Coltrane was about as good as Kenny G and all of his fans should "relax and go get some easy to listen to Kenny G like maybe "Kenny G plays his interpretation of Jingle bells and Silver Bells, and other Christmas standards involving Bells in the title. That is basically about as dead on and accurate as you analogy of Phish and the Dave Mathews Band. meaning it sucks. Has no merit. you have no idea, not even a beginning of an idea about what your exactly saying. You have callously decided you dont like a band without listening to them much ( I can already guarentee that) and dismissed them in an extremely conservative, narrow minded, and inflexible assumption/generalization; a very UN DEADLIKE AND not very open to change or differences type of attitude. The exact opposite of what the Dead stand for and what their music and JErry represented to others. I know I am ultimately guilty of being a hippocrite by ranting negatively about you, but that comment was so abrasive unnecessary and annoying to me that I had to do this and vent sitting here all by myself with no one to talk to about your ignorance. this happens to be an oft discusseed subject by me and my like-minded friends. we refer to people like you as the "neo-intellectuall-elitist-narrowminded-superiority compex prone-too cool for school-clique creatin-negativity producin-not really about the music Deadhead, who are the group responsible for occasionally making new fans feel uncomfortable or ostricized for not knowing a song name, or what show in 1975 that Mickey Hart played drum set by himself and Jerry used a borrowed guitar and the band opened with a friggin elvis song for the only time. Your group thats like that, along with the similar holier than though stereotypical elitist Taper who is SOOOO cool they are...like ...practically part of the band because they run plug and play audio equipment slightly more complicated than using a stereo which makes them special....those two groups are the only groups of people I catagorize in the dead crowd and recognize that the dead community is like alittle microchosm of society, and you people (who were actually they nerds who got beat up in high school) are like the popular group on dead tour, who fabricated their hippy image and within the group they have chosen to associate, they are the conformiststs-equivalent to how the pop group in high school is. Its just pretentious man. You still have time to change. go download the AMAZING AND RIDICULOUS MIND BLOWING three Phil and Friends shows from 4/15,16, &17 from the Warfield in 1999 with Phil, John Molo, Page McConnell, Trey Anastasio, and Steve Kimock. Unreal stuff. Phil has had bands that have produced musice basically on par with this, but especially considering the 100% lack of rehearsal and the short time (3 days)of chemistry building, Phils band has essentially never produced music better than what they do their. The 15 min. slipknot from the 16th is nuts. Page's vocals are beautiful on Franklins Tower. And Terrapin Station, and the Kimock Tune Its up to you are out of this world on the last night, the 17th when just after two days you can notice that extra level of chemistry during the improv jams. Only musicians like Kimock, Trey, Page, Phil, and Molo could achieve a level of chemistry at that speed. ITs awesome and will make you at least respect Trey and Page and maybe not like Phish, but at least not make the stupid DMB comment. I promise. PEACE TO ALL

audiohead22...i shot you an email regarding your review.

my email will show as pmhall@spt.com or a variation of that.

Unless you're obssessive about sound quality, this tape is fine. All the instruments are present, and pretty evenly so. There's nothing on here that a good EQ or DSP program can't fix. And the music on here is WELL WORTH it.

I agree with the other users about analog sound being superior to digital. Analog sound isn't lost or gone forever, though. People I trade with often use analog modeling systems on digital platforms (Izotope Ozone, for instance). They tweak the sound with tube filters & valve equalizers and then they store the music in digital format, which is where digital makes the most sense (no wear & tear, warping, etc.)

btw uncle meatball, i happen to like phish. Like hendrix too. and coltrane. even like some early dave matthews. Enjoying different artists -- at any age -- shouldn't be a mutually exclusive experience. Each can touch you differently if you let 'em.

Uncle Meat I hear ya brother. I'm an analog person all the way myself. Give me a 1978 Pioneer tube amp over anything digital anyday. The warmth and deep rich sounds aren't tranfered over to the digital stage, it's just impossible.

With that said, I'm so happy for the digital age allowing me to obtain such gems as this one. In the old days, it be hell or high water before I got a decent copy of this show. And this is a fairly decent copy for being 35+ years old. Song selection is very nice and played well. Few Alligator's and Death's are for the taking and keeping, these are! Reason for my 4 stars, plus the rest of the show is very good. Download this show and keep it!

*Ripcurl*
If anyone wants a re-mastered version e-mail. I'll be doing that this week, so give me a few days to finish it. This show does need some work, but it's in good shape for the most part.

Thanks again guys for putting this gem up!

Peace,
Audiohead22
audiophilehead@hotmail.com

This is a great show, Jerry has it humming right along. Sound quality evens out, or maybe you get used to it, but it's worthy of listeneing too none the less. Some pops,glitches,cuts etc, like an old photo where the edges have worn, but the image is still VERY MUCH all there..
This is a memorable recording for me, it was my 1st "bootleg tape" as they were reffered to then. Even though taping was allowed, and to have these tapes was perfectly legal and Ok by the dead, everyone still called them bootlegs. My 1st live tape,cam from a friend of a friend who was Deadhead and I had heard he had some live Dead tapes. I begged my friend to hook me up. Eventually, probably weeks later, there was this cassette on my kitchen table. Springers 1970,I was like a kid at christmas when that tape came!! I Started listening and I was kind of dissapointed because the sound during the begining was rough and the mix was all screwed up, but I kept on keeping on with it.. Glad I did, Black Peter & High Time grew on me from this tape, but the big fun was Alligator>Eleven whew, I use to rewind and listen to that over and over!!Another story about this tape, a group of guys inour early 20's were ata lakeside cabin for a getaway weekend, I brought a bunch of doses and we all indulged for the weekend. being the only deadhead, there wasn't much Dead being listened too that weekend. How ever on the car ride home sunday moring, still all of us a little high and very tired, I popped this Springers 1970 tape in and for the next 90 mins. no one spoke a word and this tape bubbled and slid along as we ate up this miles on the road. When the tape ended my NON-DeadHeads friends were "Like wow" that was perfect road music, thats a great tape!! So I felt that was a fairly strong testimonial! Non- deahHeads who had a head full of acid over the weekend soaked that music up like kittens drinking milk! ....ahh, the crazy old days!! haha
What an age we live in now, music at our fingertips....no more waiting for the whim of someone who had and overblown ego and the tapes you were seeking, no more trading through the mail and waiting weeks.. Anyhow, I'm so glad this music is still out there and so many people still stoke the fires of passion for this music!!! I thank all of you for your efforts in archiving all of this, I only wish I knew how to get this streaming onto a disc so I can listen in the car!!!

Uncle Meat, why alienate the fans of other music? Do you not realize that you are alienating yourself thirty-some odd years ago? We are all here for the music, trading is very much still alive and well and if you have an ounce of intuition you would record what comes off here and archive it on your own machine. When I went to a GD show twenty years ago I expected the unexpected, but whatever it was I knew that I would be in the comfort of my own; just as I was three weeks ago at Lesh and Friends in Vegas which featured your favourite guitarist Trey Anastasio. I like apples and I also like pears, the same goes for music. If you need to alienate someone alienate the people who churn out shit in the form of singles on the top 100....but not yourself. Nice relaxed show, good quality for the time.

I find it remarkable how just within weeks of the Boston Tea Party the Grateful Dead was able to set a totally different sound for themselves marking the end of the sixties and beggining of the seventies.
Very intense slower jams. Very good show.

In Easy Wind you could almost call that a Sesame Street Jam.

Tape is a disaster and the music is pretty standard fare for that time. Easy Wind is great.

This (NON)-review is a convergence for me. The reason I bothered to read the most recent review was because of the date of the show, which I thought was the second edition of the Dead's Download Series. I wondered why this show (thinking what I thought) was still available here (not a complaint if it were the situation I thought it was). I thought of my gripes that the entire Albany '90 run is not available because of 6-10 songs from the other nights being part of Dozin', when other shows that are for sale can still be found on here. Then I went to compare what was available for sale-download and noticed the discrepancy in the dates, and discovered that they're two different shows!
Uncle Meat raises a good point about the trading era of yesteryear. Blank CD's and postage may still exist in some parts of this land, but trading circles and trees are now history. A building block of a community is no longer available at a time when it seems it's needed most. I got plenty of fulfillment from learning how to download these shows, but that can become mundane rather quick if you're like me and intend to pillage as much from this site as possible before it's all for-sale-only.
I believe this show was among my first dozen to 20 tapes. Summer of 1989. Wow, I'm old. It was crackling with intensity back then, and this source is probably a X 20 upgrade from the tape I had back then. It might still be floating around somewhere in my mom's house. This should have been the remastered and released show, but I imagine that will come in time as well.
IT'S FREE NOW!!! Get it while you can. You won't regret it.
Where's the convergence? Attention Deficit Disorder converged on me in a train wreck of statistics, philosophy, and sentiment. Where have the last two hours gone?

I realize that 95% of those seeing this will know nothing about trading. Of the remaining 5% only about 1% will know anything about analog tape. To anyone belonging to the digital age, you have my sympathy. You know nothing of joy. This is not your fault, it's a circumstance of your age. But finding a decent tape back in the analog trading days was a thing of joy, celebration. And this is one of those shows.

Rating a show is subjective, but here's my rating: it sounds like a bootleg. If you don't want anything like that, move on. If you listen to phish, for god's sake find something else. The Grateful Dead are not for you. Find a pleasant, inoffensive band like dave matthews or spend lots of time in elevators.

If on the other hand you are truly adventurous at heart, stream this show. Listen and decide for yourself. Then download it and keep it.

Hear something that was recorded in a time not intended for you (or me). Yet it persists. Remember that in 20 or 30 years when phish & dave matthews are answers in the last version of Trivial Pursuit, true music lovers will still listen to Miles, Coltrane, Hendrix, The Grateful Dead and the like.

Bob introduces Uncle John's Band by saying it has a "relative key relationship . . . called a relative subdominate." Phil helps out by adding, "What he means to say is that this song is related to Morning Dew."

Early primal DEAD. Sound quality is tops. This show gets 5 just because.

Havn't heard the whole show but the Easy Wind smokes. I get such a fat buzz from Easy Wind jams, am I the only one?

See review below for explanation of cuts and quality. I'm going to concern myself with a very select portion of this one.

If you don't decide to download this whole show, you should grab at least the Alligator > Drums > 11 > Death Don't. Pig's pretty off-key in the Gator. Drums > 11 features a real nice transition to the different time signature. Jerry really is on top of the whole tension-release jams in this 11 and sings the hell out of Death Don't.

I've always thought that Alligator would've been a great additon to the mid-80's dead. It's a bright song and would've gotten a good bounce from having Brent's playing and singing.

Pity, played only 6 more times after this Portland show.....

Show: B+
Sound: B+ (bad cuts in some of the hotter tracks, though)

Real good sound on this one. All instruments are clear in the mix. Nice Chinacat-Rider. It seems like the band is just starting to gel about this point.
The Dancin' is relatively short but good. Some Head in the audience yells out "Alligator" and the boys kick it off right on que. That guy must have been ecstatic. The 11 jam isn't as intense as it could sometimes get but it's real nice and Jerry sounds great in DDHNM.
It's really too bad the Cumberland beginning is cut. This is a great version, the band is really in sync and chugging along when the end gets cut too. Damn! The outro jam was probably great.
A good Easy Wind and a relatively short Other One but good Drums and a decent jam. (The drummers sound great in this show)
A nice Cosmic Charlie but it too gets cut in the second to last chorus of "Go On Home, Your Mama's Calling You" and comes back in the final chorus. Good version though.
I'd give this show 4 STARS if it wasn't for the cut's. The sound quality is damn good, so it's definately worth having.
I wish all the 1970 shows sounded like this.