‘LIVE DEAD SPRING TOUR 1971’ (a WCF original, # 739)

Grateful Dead LDST 71

 

Upper mid-Western USA: 2nd half of 1971 / early ’72

A “medium rare” title that seems to have been pushed to the side by superior titles taken from radio broadcasts. It only seems to exist with a red slip sheet and b&w labels as shown.

Source: New Expo Convention Center, Milwaukee, WI on  21 March, 1971

https://archive.org/details/gd71-03-21.aud.cotsman.12074.sbeok.shnf

 

***

For deeper reading on the topic of Dead live shows/taping/bootlegs there is no better place than this blog: 

http://lostlivedead.blogspot.de/2016/03/bootleg-grateful-dead-lps-east-and-west.html

Here’s an excerpt that is of particular interest:

“It seems like Dead bootleg LPs started popping up on the east coast in 1970 and 1971, probably after the Great White Wonder got written about in Rolling Stone in late 1969. But Dead bootlegs seemed to really start taking off in 1971, which is not coincidentally when the band themselves moved from being primarily an underground phenomenon into a band that played arenas in most parts of the country. I’m really fascinated by this period in Dead fandom, as the band was exploding but before the term “Deadhead” came into common use with the release of Skullfuck in October ’71 and before all the Deadhead norms of tape-trading and folklore became fixed parts of the world around the band. When Dead freaks were Dead freaks

Going by coverage in the [NYC underground newspaper] East Village Other, it seems like Dead bootlegs really exploded on the east coast the summer right before that. One show that was especially popular was from the KSAN broadcast of the October 4th, 1970 show at Winterland, the night Janis Joplin died. That sold especially well, since it came from an FM recording and sounded great, which was a pretty standard bootleg procedure even today with the new wave of bootleg LPs that have appeared with the so-called vinyl revival. Since the Dead and their friends really pioneered the act of live concert broadcasts (as you’ve pointed out!), you can maybe blame that aspect of bootlegging on them, too, sorta. A lot of the early bootlegs were totally white label, with no identifying information at all, so it’s only later that we’ve been able to identify them.

And the spring or summer of ’71 was when Marty Weinberg put out his first bootleg LP, too. Marty was the inventor of really high quality Dead concert taping. He was a brainiac boy genius who went to Bronx High School of Science and was a teenage member of the Audio Engineering Society, among other cool things. But he’d sneak a mono Uher into the Fillmore East and position himself on Garcia side. His techniques were actually pretty different from what tapers developed later, but his tapes became legendary among east coast Deadheads. The guitarist in the earliest Dead cover band I know about (John Zias from Cavalry) told me Marty’s tapes sounded dosed. But most of Marty’s friends didn’t own reel-to-reels, so he made an LP of his favorite jams from the fall of 1970, mostly from the Capitol Theater in Port Chester and some from the Fillmore East, and pressed up 500 copies, gave half away, and sold the other half. He never repressed it, but Marty’s LP got play on New York radio stations, and he was invited to appear as a guest on Bob Fass’s Radio Unnameable on WBAI, the hippest radio show in the city, where the Yippies first came together and Bob Dylan took calls on the air a few times.”

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4 comments
  1. Doinker said:

    Some notes about this bootleg: This is the rare occurrence where no other source for this date exists other than this piece of vinyl. The original source tape has never surfaced for this show and there appears to have been no soundboard or taper’s section available. The first track is by the New Riders Of The Purple Sage, who opened for the band. There are two separate pressings of this material. The so-called WCF version never did have an insert, just a handwriting in green ink on the blank cover. Pressings of the WCF are about as bad as they come. There is a separate issue with the black and white reversed (black lettering on white label), which has marginally better acoustics, a different matrix numbering, and a better but still bad pressing. It’s Milwaukee from March of 1971. The performance is quite good on the Dead material, not as much for the sole NRPS track.

    • YesDays said:

      Interesting. It appears the Garcia insert cover was on many copies. Since that wasn’t by the manufacturer, I wonder who did it on multiple copies of the pressing?

    • I am confused by this statement “The so-called WCF version never did have an insert.” Are you saying there was another (first?) WCF issue without an insert?
      The font and appearance definitely identify this as a genuine WCF insert, I’d say.

  2. Doinker said:

    I also have the Marty LP.

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