This was part of the Trips Festival at Hastings Park, and their first show out of the U.S. (ultimately there were 32 to 35 shows in Canada). The festival was based not on the bands so much as a concurrent 52-projector light & film show. Phil later said this show was "one of the worst performances I can remember." Jer said the festival was badly run, worsened by the reserved and quiet audience and the one-set slot, and commented that the next weekend was much better [a tape we don't have]. It's funny that Jer thought this gig was horrible and Phil thought they stunk. They were their own worst enemies. Bear's tapes at the time put all vox in one channel and recorded little to no audience. Previously, the tapes for the 29th & 30th were switched, but the banter and announcements [as well as the OFF release] show the 29th setlist as:
Standing on the Corner
I Know You Rider
Next Time You See Me
Sittin’ On Top of the World
Otis on a Shakedown Cruise (don't have to ask)
Big Boss Man
Stealin'
The Monster (cardboard cowboy)
It's All Over Now, Baby Blue
Cream Puff War
Viola Lee Blues
Beat it On Down the Line
Good Morning, School Girl

First Set. Standing on the Corner is the best of the three we have, as well as the final one. "I'm just trying to save some face" isn't a phrase you hear anymore. I Know You Rider is one of the best examples of the earliest arrangement. I gotta wonder what people thought of Jer's playing here; was it recognized as unique? Some of the picking you hear in Sittin’ on Top would later turn up in Cumberland. Note that before You Don't Have to Ask, the band calls it Otis (the sixth of seven we have and also the best). Sit on a potato pan, Otis! Big Boss Man probably has the tightest playing of the set. Stealin' was a set piece in '66, though we only have five. This and the Historic Dead version (from Nov./Dec.) are best. According to Phil's book (and occasional mic chatter), the next one is titled The Monster, but tape collectors jotted down "Cardboard Cowboy" (from the opening verse). Again, the best of three we have and the last one. Bobby liked to introduce it as No Left Turn Unstoned (sounds like this isn't the first time), and they discuss whether that's an anagram, calliope, spoonerism or palindrome. It's none of those things. It's a pun or a pseudoprofundity. A spoonerism would be Leave no turn unstoned. Anagrams are: Tenfold neutron stun; Lost nun rented futon; TNT unroofed tunnels; Teflon donut stunner. Calliope is a Greek goddess (and a muse). I hid a palindrome a dozen sentences ago. Baby Blue is solid enough but lacking shine. Cream Puff War is the set's big jam, and is already different than the beginning of the month. This was the big vehicle for the second half of '66 (along with earlier jam, Viola Lee). We only have 7 from '66 and one from Mar. '67, but this is an especially good early version from Jer. His second solo is over 5mins and Billy is already in '68. Even if it's not quite as advanced as the one on the reels labeled 12/1, it's a better recording.

Second Set. Viola Lee is the last we have of this exact arrangement, though it's pretty standard; not quite 7/3 but still evolving. After a Beat it on Down the Line-7 is the third Good Morning, School Girl that we have (of 6 in '66). It's solid enough, so too bad we don't have the ending [it's missing about 4mins]. Here we are likely missing a Minglewood or a Dancing.

1st Set:  B
2nd Set: C+
Overall = 3½ stars

Highlights:
Standing on the Corner – best of three we have
I Know You Rider – great early arrangement, Jer's playing an indicator of '69+
Otis on a Shakedown Cruise (You Don't Have to Ask) – historical interest; best we have
Stealin' – '66 set piece
The Monster (Cardboard Cowboy) – see Otis

SOURCES: The sbd_2243 has the 1st set. The vernon_9051 has all but the last two and has been pitch corrected. The GEMS_94631 has the entire show, including the last two, but is marked 7/30 and runs slightly slow, needing +1% pitch correction. The 50th anniversary edition of The Grateful Dead has the show as does the vinyl July 29, 1966. These releases need +1% pitch.

I can’t for the life of me understand how these 66 recordings are so crisp. But I love it. Pig pen is ripping back there. Love it

uplifting and competitive, its a rockabilly to jam transition EXPLORING FORWARD,,must of been a WILD RIDE ,

Amazing sound on this one!!!! Jerry cracking himself up on Baby Blue! Young and Dumb and full of Acid!!

I seriously wonder who had the presence of mind to record this and in THIS high a quality.There are barely any other recordings that I have found by any other band that sound this good from this period in time.

5

I am Canadian and this show was part of the Trips Festival at the Pacific Coliseum in Vancouver. The dates of that festival were the Friday Saturday Sunday July 29, 30, 31. It was a most amazing festival and the first time they played a gig here that they were paid for.

Excellent sound, a little hiss but everything's clear. The Dead go through much of their standard repetoire for this time but do it very well. Bob may be low in the mix, but the other guys, especially Pigpen and Jerry are tearing it up. Pig's early organ playing is a delight, he was really good and with Jerry is the main instrumental voice in the band. The real surprise here tho are two songs I'm not that familiar with: You Don't Have To Ask and Cardboard Cowboy. Both are excellently played examples of mid sixties psychedelic rock. I think Cardboard Cowboy may have been played at one other show. The crowd are either lame or not miked as they're barely audible and it sounds like there may be 10 people in attendance. For example the band do a great ripping version of You Don't Have To Ask that stops on a dime after a great Jerry solo and there's… silence, well one clapper anyway. WTF?!

I just heard the opening notes of Cream Puff War. Fantastic! But if you're a Dead Head, it's not even necessary to listen to this to rate it. Dead? Yes. Live? Yes. 1966? Yes. Six stars out of five? Yes!

This is a great recording. Its interesting to see how they mixed these older sets. This was (obviously) a huge growth period and they were really pushing the envelope as for as what they could do eltronically. Interesting how they distribute the different tracks to right and left speakers. I can tell the vocals are where most of the hiss is coming from. Probably could write a thesis on this stuff. Kinda moot once you figure that a ton of our "modern" sound technology was coming from these early ventures. Its alive! Also, if you listen to the cream puff war ( and then go check on any of Phil & Friends jams of late, you can tell Phil is really trying emulate this period. Quite well too!

fuck yea, this recording kicks ass. i love the early dead when you hear pigpens organ just cranked. trips me out. this recording is great tho the quality is awesome and from 66. these recordings and live recordings from 65 got me stuck to the dead. Stealin rules

You gotta love this recording, nice sound quality, Jerry and Pig Pen, what more could a guy or gal!) ask for. Enjoy this one while you can!

Garcia's tone during "Next Time You See Me" is perfect, and so is his playing.

Pigpen's organ skills really show, especially during "Stealin'".

fuckin cool early BC show!!
ill bet the boys got their hands on some sweet BC bud..

what a great intro line, is the pace fast enough, they just rip through the songs, rider is barely recognisable, i love this 60's sound. recording is awesome for the era. thanks for the flashback

Im a huge fan of this era from 66..Viola lee blues is so great..Liste to the 3-part harmonies with Phil singing the high part!!awesome

I am blown away by the sound quality and performance on this recording, 40 years to the day (if the date is correct). Standing on the Corner ... Cardboard Cowboy ... Big Boss Man ... Baby Blue ... Viola Lee ... wow, the boys really spun Vancouver's heads with this one ... and whatever became of Captain Consciousness?
Anyway, onward to '74 (Cap Center) in my never-ending quest to listen to the best of each day in Dead history. (This was a good one: check out "Wet Rocks" '82) Thank you GD and the Archive, for 30 years worth of great memories and music ...

"Good Evening from Captain Conciousness"....This was the first Live Dead "tape" i was ever given/made (i think i may of got it from GD Hour on radio) Baby Blue is fantastic here, really stuck with me from that moment on...This entire show made me a fiend for all the shows I could get my hands on, the earlier the better...The use of the guitars and organ all over this reminded me of the 60's a-go-go, surf music sound...can't wait to hear the next night

Sound is a 3.75-4. A little fuzzy but who cares! It is definitely great for a 60's recording...all is audible and palatable!
I was first introduced to the boys with some early tapes. They were of this time frame...and it was summer time. So today, deep in summer of 05, I am searching for some of that great organ sound that was part of my youth, so to speek. I will burn this one deep and take it for a ride 2 nite on what is promising to be a great summer night on the south shore of bean town. Thanks yet again boys.

If Im not mistaken this is the only live cardboard cowboy ever done. it comes with phils book threw his web site autographed, I got a copy with the disc.

Turning point for viola lee blues, compared to all earlier 1966 shows on the archive.The segueways have now been extended, and the jam is much harder and experimental. Unbelievably hot for 1966.

This early, rare recording of Cardboard Cowboy is hot.