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Grateful Dead

Finally found: The elusive WCF # 751 release:

 

Matrix : 751 SIDE I  /  751 SIDE II

This was the first of three times WCF would release this material, ca. 1972

Source:  Radio broadcast from the Winterland  in San Francisco on 04 October 1970, the night Janis Joplin dies. This was a joint Quadrophonic broadcast on two radio stations, KSAN and KQED, which also did a video feed on its TV channel. There are claims that the bootlegs contain only half the mix  as they only contain one of the two feeds but I did not find that to be the case (compare below).

SIDE 1>Sugar Magnolia/Good Lovin’
SIDE 2>end of China Cat>I Know You Rider/Casey Jones/Uncle John’s Band

http://deadsources.blogspot.com/2013/06/october-4-5-1970-winterland-sf.html

http://lostlivedead.blogspot.com/2013/09/grateful-dead-live-fm-broadcasts-1970.html

https://archive.org/details/gd70-10-04.fm.glassberg_winters.28363.sbeok.shnf/gd1970-10-04t02.shn

Bootleg needle drop: https://www.youtube.com/watch?v=uBvoBl7kN94

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TMOQ released this show ca. April of 1972 on colored vinyl and with 1 / 2 labels and the matrix MEL – 77 A / B:

For the early pressings, I have only seen it with two ringed 1 / 2 or blank white labels. The earliest version of the insert had an intricate background image that was not always present in subsequent versions. Also notice the other differences shown here: Just the drawing, with added text, or both plus TMOQ logo.

Below: Later versions.

 

This was the first time TMOQ used the sub label (?) mammary presentations that I have so far not been able to make heads or tails of due to the random nature of how it was used. This is a list of all TMOQ titles bearing that logo:

MM4 – GRATEFUL DEAD – RECORDED LIVE IN CONCERT (71037)
MM6 – JEFFERSON AIRPLANE- TAPES FROM THE MOTHERSHIP (71038)
MM8 – THE MOODY BLUES – ANSWER TO THE MYSTERY OF LIFE (71053, September 1972)
MM11 – THE KINKS – WINTER LAND 02/77
Un-numbered:

JETHRO TULL – NOTHING IS EASY (71030, September 1971)
BUFFALO SPRINGFIELD – “BLUEBIRD ROOTS” (first released January 1972, 71035, copy of the 5D Records title)
LED ZEPPELIN – GOING TO CALIFORNIA (72004)
PINK FLOYD – OMAY YAD (71049, April 1972)

 

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Contraband copied this title as well but unlike WCF they did care to brand the insert with their own (sub) label name. However, in order to cover all of TMOQ’s mammary productions logo they had to increase theirs in size. That, plus their decision not to clarify with an added ‘Records/Productions’, led to the album being called Shalom to this day.

Matrix: GD  1020 A / B

Based on that number, the release date would be mid-1974, sandwiched between the Beatles albums supertracks 2 (# 1018) and soldier of love (# 1022).

However, Contraband’s sole other Grateful Dead release high time in old town is also supposed to have a 1020 matrix. As this matrix seems to be confirmed, I am waiting for confirmation on what the actual matrix for high time in old town is. If you know, please leave a comment.

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In 1973, WCF re-issued this album as part of their 22XX Grateful Dead series from new pressing plates now marked 2266.

2222 GRATEFUL DEAD – Turn On Your Love Light
2233 GRATEFUL DEAD – “Central Park, Fillmore East, Action House”
2244 GRATEFUL DEAD – Sugaree
2255 GRATEFUL DEAD – DARK STAR
2266 GRATEFUL DEAD – “Sugar Magnolia”

 

 

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And a final time for WCF (I have not seen this reissued with a b&w cover) ca. 1974/5 in a printed folder-style cover and with blank white labels:

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  1. First insert version without a title:

Grateful Dead GD-2255Grateful Dead DS Rec

Released ca. 1972

Source: 1971 radio broadcast; even  the lostlivedead blog could not be bothered to research the exact source & date: “Dark Star is an Eastern bootleg, (…) It was an FM broadcast from Fall 71, with a great “Dark Star”>”Me And My Uncle”
The Dark Star bootleg included what appears to have been a late 71 “Dark Star,” with Keith Godchaux on piano. At this juncture, I have no interest in figuring out which show it was, but keep in mind that back in the mid-70s, it was literally impossible. There was no Deadbase, no Deadlists, no list of shows, much less setlists–we couldn’t even guess what it was. Unlike the Western “gatefold” albums, it had a conventional white cover with a pasted-on sheet.

Two comments from me: Re. “Eastern bootleg”, I would place WCF’s operations at this time somewhere in the vicinity of the state of Illinois.

Re. “Western “gatefold” albums”, which outfit on the West coast did gatefold covers in 1972? Dub & Ken/TMOQ sure did not. 

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2. Second insert version now titled DARK STAR:

I believe these all came with white labels as they fall into the period after WCF had given up creating individual ‘title labels’.

**

3. Reissued in a folder-style cover with an image of the artist on the back panel, ca. late 1973/4:

For some reason, the red version suffered from a significant loss of detail compared to the black one. Not the first time we have seen this in a WCF reissue.

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4. Reissued as a fake Impossible Recordworks label release (IMP 2255):

Grateful Dead Dark Star b&w w.r.

NROTPS NR 10 10 II

NROTPS NR 10 10

 

 

Released in 1972, as taped of a somewhat gritty FM radio broadcast taped at NYC’s Felt Forum on 5 December, 1971 (one of four nights at this venue) with NROTPS supporting the Grateful Dead.

Side A, track 2 is incorrectly titled. I don’t know the correct name but here is a link to listen to the full broadcast: https://archive.org/details/nrps1971-12-05.shnf

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Grateful Dead Felt Forum

Also exists with printed red “Laurie” labels, probably a nod to the 1950’s US record label (I don’t have a good image of this).

Grateful Dead Felt Forum yel lbl

Above, more incorrect track names, I guess the good folks at WCF weren’t hardcore Dead Heads.

The correct track list is:

A1 Brown Eyed Women
A2 Muddy Water
A3 Jack Straw
A4 Tennessee Jed
B1 Mr. Charlie
B2 El Paso
B3 Comes A Time
B4 One More Saturday Night
B5 Mexicali Blues

Strangely, HOT WACKS used to list this title under “CBMJ”. I have never seen a CBM copy of this title, in fact I know of only two GD titles on CBM: high time in old town (CBM 1020) and a Shalom labeled copy of the Mammary/TMOQ LP recorded LIVE in concert

Matrix: 101 A / B (shared with the Beatles – LAST LIVE SHOW release)

Link to the broadcast tape: https://archive.org/details/gd71-12-05.prefm.miller.3391.sbeok.shnf

For in depth reading: http://deadsources.blogspot.com/search?q=Felt+Forum

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Reissue of the NROTPS album 1973/4 in a folder style cover featuring an image of the performer(s) on the back:

NROTPS RE

NROTPS RE b

And the equivalent for the Dead album:

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This release became even more popular in the mid-70’s with this reissue ca. ’75/6 with a deluxe b&w cover :

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There is also a fake Impossible Recordworks version (IMP8101):

Grateful Dead Karma City

This and the next WCF release DARK STAR were reissued (copied?) in this format on Karma City labels.

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The Perfect Quality label seems to have copied WCF/Berkeley’s album as disc 2 of this double album in the mid-1970’s (matrix #’s: 401-A/B/C/D):

Grateful Dead Double Dead

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Finally, it was reissued as a picture disc by the same outfit that produced the Beatles Sweet Apple Trax volumes as picture discs, ca. 1979 (matrix: 101 A/B):

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All/most of the radio broadcast were made available in the late 1980’s on a European triple set

GD Felt 3

and on a 2015 unofficial 3 CD release. The shows from the 6th & 7th were officially released on CD in 2017.

 

 

Grateful Dead AICrazy

The return of the “COMPATABLE (sic) FOR   STEREO” slogan not seen since the 713 – 715 releases.

 

 

The number of different labels indicates that the producers at WCF must have felt a lot more confident about this new entry into the Dead bootleg pool compared to Live Dead Spring Tour 1971.

Mid-Western USA: Mid-1971 – early 1972

Source: Likely taken from one or several of the April 25 – 29 1971 Fillmore East shows in 1971 (a compilation of these shows was officially released in 2000 as Ladies and Gentlemen… the Grateful Dead. “Ain’t It Crazy” is also known as “The Rub”. Rated as “Exm” in HW.

Here’s a link to locate and listen (and perhaps compare if you own this album) to these recordings: https://archive.org/details/GratefulDead?and%5B%5D=%22Fillmore+East%22+1971&sin=&sort=titleSorter

Plus another link describing the band’s attitude towards bootlegs at the time of this release: http://deadsources.blogspot.de/2013/11/august-26-1971-bootleg-battle.html

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WCF reissued this title ca. 1973/4 in a folder style cover that featured an image of the performers or artist on the back, in this case a Jerry Garcia cartoon. Although now a deluxe printed cover there was a noticeable loss of detail compared to the original slip sheets:

Grateful Dead AIC RE

Grateful Dead AIC RE b

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While WCF’s master was in mono, the following version with the matrix K7201 was in stereo. Despite the similarities I don’t believe this was made by WCF.

Grateful Dead Ac D K7201

Thanks to doinker for the image & info.

 

 

 

Grateful Dead LDST 71

 

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

A “medium rare” release 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

 

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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.”

Grateful Dead H T

Grateful Dead Head Trip 4

 

Different colored slip sheets this time around. I only found one type of stamp and only the clear/red PVC version so far.

 

The only release by this label to come with dated sources. If you have better quality images for this title, please leave a comment.

USA: 1979

Although this release is usually described as excellent sounding, sides 1 and 2 sound OK at best. Instead of dedicating all four sides to one concert as before, they decided to feature short excerpt from four different shows, including one well known recording.

The tracks and supposed sources are:

Side 1: Scarlet Begonias – Fire on the Mountain – recorded at Portland’s Paramount Theater on 2 October 1977 (this date can be confirmed)

Side: 2: China Cat Sunflower – I Know You Rider / From the heart of me – an audience recording from the Kiel Auditorium in St. Louis, MO on 11 February 1979

Side 3: Jack Straw / Sugaree – from FM broadcast, Capitol Theater, Passaic, NJ on 24 November 1978 (already or soon to be featured on the multiple set FOR DEADHEADS ONLY (POOW PRODUCTIONS)

FDHO 2

and in part on DEAD A HEAD (ATT GD102680))

Side 4: Werewolves Of London / Bertha / Good Lovin’ – supposedly from the Red Rocks Amphitheater near Denver, CO on 7 July 1978 but the set list on archive.org proves it’s from next day’s concert.

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So what are “Betty boards” and how were they almost lost forever?

“Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead’s brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead’s Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman’s Dead).

While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.)

“My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed.” [source: relix.com]

If you have any interest in this topic at all – and some time – I can highly recommend the following article, which should answer all questions you have ever had about the Grateful Dead and the largest archive of live recordings by any band on the planet:

http://www.newyorker.com/magazine/2012/11/26/deadhead#ixzz2CilrjV1R

and as it’s specifically singled out in the article, this audio clip will come in handy: https://www.youtube.com/watch?v=vR2_JiwxdE8

Also, if you listen to Betty’s soundboard from the date featured here on side 1 – although probably from an audience source on the vinyl bootleg – it is a very sweet sounding recording:

https://archive.org/details/gd77-10-02.sbd.unknown.278.sbeok.shnf

“She mixed to her own taste. “It has my tonalities. My sound is beefy. My recordings are very stereo, very open, with a lot of air in them. You feel like you’re standing in the middle of the music. My feeling is everyone wants to play in the band.” “

Grateful Dead Good Lovin 2Grateful Dead Good Lovin lbl

Grateful Dead Good Lovin 3

raceway GD 77GD ticket Englishtown 77

Side 1: The Promised Land 4:33 / They Love Each Other 7:50 / Me And My Uncle 2:58 / New Minglewood Blues 4:43
Side 2:    Mississippi Half-Step Uptown Toodeloo 13:00 / Friend Of The Devil 7:34
Side 3:    The Music Never Stopped 6:46 / Bertha – Good Lovin’ 14:07
Side 4:    Loser 7:13 / Good Lovin’ 17:30**
Side 5:    Estimated Prophet – Eyes Of The World 23:11
Side 6:    Samson & Delilah 6:27 He’s Gone 12:54
Side 7:    He’s Gone – Not Fade Away 21:46
Side 8:    Tennessee Jed 8:23 / Terrapin Station 11:00

** recorded 2 July 1971 at the closing night of the Fillmore West in San Francisco

 

Date of release: 1978, available around the same time as the Led Zeppelin The Destroyer black box from Pied Piper and also offered for $22 (+ shipping).

Broadcast by WNEW New York. I assume that is the source for this box set, however several good sounding audience recordings exist as well. Smilin’ Ears’ master tape either didn’t come with source info or they tried to be coy about the date & location. This was later officially released on CD as Dick’s Pick’s Vol. 15.

http://rockindownthehighway.blogspot.de/2008/02/really-rockin-grateful-dead-concert-at.html

https://archive.org/details/gd1977-09-03.131317.mtx.dusborne.flac16

 

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From the Columbia University newspaper; showing an emphasis of Smilin’ Ears titles.

CollectingCollecting 2