Showing posts with label Psychedelia. Show all posts
Showing posts with label Psychedelia. Show all posts

Wednesday, May 8, 2024

The Good Ol’ Grateful Dead - Barton Hall Concert May 8, 1977



It was 47 years today, Sergeant Pepper taught the Grateful Dead played Barton Hall, at Cornell University, in Ithaca, NY.  Barton Hall is basically a sports facility with horrible acoustics for American children of privilege who can't get into Yale.

Barton Hall

If you ask Deadheads to name their all-time favorite Grateful Dead show, a resounding answer would likely be May 8, 1977, at Barton Hall. Of course, choosing a favorite Grateful Dead concert is remarkably subjective, ultimately swayed by personal experience more than any other factor. Yet, for many, May 8, 1977, stands alone.

By the middle of Spring in 1977, the Grateful Dead were in true peak form.  Their lineup was settled, and their catalog was packed with so many glorious songs. Semantically, what separates this show from similarly strong performances on adjacent days was its distribution.  A soundboard recording from Betty Cantor-Jackson made its way onto a tape, and magically wound up in the hands of Grateful Dead fans nationwide, in the form of a cassette tape.  Mine was on two Maxell UDXL-II cassettes with 5/8/77, written on the tag in red ink.  Because of the widespread access to these high-quality recordings, the show became a well-known go-to show among Deadheads in the know.

Fun Fact: I have an uncle (by marriage) whose name is Barton Hall.  He married my aunt Madeline, and they lived happily ever after in Québec City, Canada.


First Set

  1. New Minglewood Blues
  2. Loser
  3. El Paso
  4. They Love Each Other
  5. Jack Straw,
  6. Deal
  7. Lazy Lightning
  8. Supplication
  9. Brown Eyed Women
  10. Mama Tried
  11. Row Jimmy
  12. Dancing In The Streets

Second Set

  1. Scarlet Begonias
  2. Fire On The Mountain
  3. Estimated Prophet
  4. St. Stephen
  5. Not Fade Away
  6. St. Stephen
  7. Morning Dew

Encore: One More Saturday Night

For the freeload (trust me, it sounds better than the one you have), tell us about images you came across on "blotter paper".

Monday, April 22, 2024

The Good Ol’ Grateful Dead - 'Pacific Northwest 73-74: The Complete Recordings'

 




Here's a little Grateful Dead, and by little, I mean 19 CDs

This is 6 complete shows.




CDs 1 through 4 are from the P.N.E. Coliseum, Vancouver, B.C., on June 22, 1973.








CDs 5 through 7 are from Portland Memorial Coliseum, Portland, OR on June 24, 1973.







CDs 8 through 10 are from Seattle Center Arena, Seattle, WA on June 26, 1973.






CDs 11 through 13 are from P.N.E Coliseum - Vancouver, B.C., Canada on May 17, 1974.








CDs 14 through 16 are from Portland Memorial Coliseum - Portland, OR on May 19, 1974.







CDs 17 through 19 are from Hec Edmundson Pavilion, University of Washington - Seattle, WA on May 21, 1974.




Original Art by First Nations Artist Roy Henry Vickers




Mastered in HDCD from the original master tapes by Jeffrey Norman at Mockingbird Mastering. Masters transferred and restored by Plangent Processes. 

Jerry Garcia – lead guitar, vocals
Donna Jean Godchaux – vocals
Keith Godchaux – keyboards
Bill Kreutzmann – drums
Phil Lesh – bass, vocals
Bob Weir – rhythm guitar, vocals

In the interest of bandwidth, the files are
320 kbps, which due to the HDCD mastering sound just fine.
 
For the freeload, which artist or band have you seen live the most?










Friday, April 5, 2024

Donovan – 'Breezes Of Patchouli - His Studio Recordings: 1966-1969'

 

"The long gone breezes are blowing down the sky."


In 1968 at Caltech, there was a knock on my dorm room door.  It was my friend Sandy, who told me, “We are going to have a mini be-in in the common room, get high, and listen to Donovan’s new album, the ‘The Hurdy Gurdy Man’…you in?” I nodded my head and said, “Far-out, Sandy, I’ll be there in a few.”  When I got to the common room, everyone was sitting in a circle, and I took a place in the circle.  Joints were being passed around, one of which tasted odd, and the girl who passed it to me said, “That’s DMT, take another hit, and hold it in as long as you can” which I did. Three minutes later, I was “Joan of Arc,” as the needle dropped on Donovan’s ‘The Hurdy Gurdy Man’ and his words and music conveyed the Zeitgeist of the day.

In the mid-1960s, Scottish-born Donovan Leitch was viewed as both the epitome of hippiedom and unfairly as the UK’s answer to Bob Dylan.  Such perceptions (further enhanced by album titles such as Breezes of Patchouli) have followed him, often unkindly, ever since.  However, there was far more to Donovan than met the eye, as today's freeload will show.

'Breezes Of Patchouli' is a 4 CD set that contains 90 tracks, the 5 albums released during Donovan's heyday 1966-1969, and accompanied by essential related recordings.  The albums are: "Sunshine Superman" from 1966); "Mellow Yellow" from 1967; "The Hurdy Gurdy Man" from 1968; "Barabajagal" from 1969; and the double LP "A Gift From A Flower To A Garden".  The five aforementioned albums occupy the first 3 CDs, while CD4 contains "related recordings" ranging from the familiar extended stereo version of "Sunshine Superman" to alternate versions of "Superlungs" (perhaps best known for its cover version by British rocker Terry Reid) and "Epistle To Dippie."

All the hits are here: "Sunshine Superman", "Mellow Yellow", "Hurdy Gurdy Man" and "Jennifer Juniper" that represent high points in the 1960s pop/psychedelia.  As well, obscure album tracks such as "Writer in the Sun", "Sunny South Kensington" and "Mad John’s Escape" (to name but three) highlight Donovan’s classicist approach. Are there occasional moments of fey and whimsy? You bet, but there’s plenty of era-defining material here that also stands the test of time.  This impressive collection opens with the title track from Donovan's breakthrough LP "Sunshine Superman" which not only quickly climbed the Billboard album and single charts in the US, but began the short, yet incredible run of Mickie Most produced classics Donovan released between 1966 and 1969.

Represented are all the good qualities of "psychedelic rock" and is proof positive that music of this genre need not be filled with extended, heavy guitar riffs and solos, or shake the walls and shatter the windows.

Donovan fully embraced the wide-eyed optimism of the flower power movement, his dreamy, ornate songs radiating a mystical beauty and childlike wonder, and his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection.

The sound quality is excellent, and is the
best remastering to date.  I've included the
well annotated 24-page booklet written by Lorne Murdoch, which tracks through this collection quite rightly, and also includes rare photos as well as insightful information regarding Donovan's musical journey through 1966-69 and even beyond.

To qualify for the freeload, tell us what your favorite psychedelic album is.




Tuesday, April 2, 2024

The Doors - 'Infinite' (SACD Box Set)

 


In 1970, I was living in Boston, Massachusetts, and working on my PhD in
Itô calculus at M. I. T., and Jerry (my future husband) was working on his PhD in Applied Physics at Wellesley College.  Jerry and I were living together, which in 1970 was considered quite provocative.

One early March afternoon in the Stratton Student Center of M. I. T., I was thumbing through ‘Boston After Dark’, which was a weekly entertainment newspaper, and saw an advertisement for a Doors concert at the Boston Arena on April 10th.  Jerry and I saw The Doors the previous July at the Aquarius Theater in Hollywood, CA, and it was quite a show.  So I hurried to the Boston Sears Roebuck, where they had a Ticketron (a computerized event ticketing company) outlet.  At Sears, I scored two $6.50 tickets for the late show, which cost $14.30 with the 10% Ticketron fee.  Opening my purse, I realized that I had a ten and threes single dollars bills, I managed to find four quarters, but I was still 30 cents short!  Deep in a corner of my bag, I found two dimes, but I was still ten cents short.  A very strait-laced looking guy in a three-piece polyester suit behind me, who was there to get circus tickets for his family, gave me the extra 10 cents.

Later that day, Jerry came home and proclaimed “I scored two Doors tickets!” to which I replied “Me too, early or late show?” “Early show” said Jerry, I replied, “I’ve got late show tickets” We laughed, and Jerry said “It looks like we’re seeing the Doors twice!”

The day of the show

Neither Jerry nor myself had classes on Friday afternoons, so we went to see our “connection” Larry, a.k.a. “Lucky Larry” who played trombone, and was attending Berklee College of Music.  Larry was a fellow Brooklynite, and a friend of a friend.  He had hair that went halfway down his back, a long beard and always looked completely disheveled.  Larry wore a huge belt buckle that had “LUCKY 13” engraved on it.  He lived in a turn of the century tenement building that had a bathtub in the kitchen of his apartment.  We bought an ounce of Oaxacan buds, two Thai Sticks (Thai buds on bamboo sticks, and tied with hemp string), and four “hits” of “Clearlight Windowpane” acid, which was LSD on a very small triangular shaped piece of red gelatin.  Larry would go on to become an in-demand session musician, toured with Frank Sinatra and Tony Bennett, and played on countless television and radio commercials.  In 2024, Larry and I, are still in contact.

We left Larry’s, and went back to our apartment, smoked a joint, and had a bite to eat.  After we ate, while rolling joints for the show, we toyed with the idea of doing two hits of windowpane each.  We dropped a hit a windowpane, and as we were ready to leave, Jerry said “C’mon Babs, let's do the other hits!” I agreed, we ate the other two hits, and we headed for the bus stop.  On the bus, and halfway to the Boston Arena, we had an “acid shiver” and we were “off to the races” so to speak.

When we arrived at the arena, there was a carnival atmosphere of people selling tee shirts, rolling papers and pipes, weed, acid, uppers and downers - you name it.  We went inside, found our seats, smoked a joint and waited for the show to start.  The lights went down, and a band called “Axis”, an uninspiring blues trio, were introduced.  Next up was folk singer Gordon Lowe, who played solo with an acoustic guitar.  We couldn’t hear Gordon over all the heckling and booing, the poor man received.  Forty-five minutes later, the Doors came on stage to cameras flashing and the entire audience on its feet letting a roar.  Jim Morrison was clearly drunk, but in a jovial mood, and the early show was very cool.

After the early show, we were ushered outside, where it was pouring with rain.  We found a dry area under some scaffolding, smoked a joint and giggled in delight at our acid induced euphoria.  Jerry said he was thirsty, and asked if I was too, and told me “Wait here Babs, and I’ll run across the street, to the store”.  While Jerry was gone, two girls who were drinking beer a few yards away from us started screaming at each other; the next thing I knew, one hit the other one in the head with a beer bottle, and ran away!  People nearby thought that I hit her, and started shouting “That's not cool, why did you do that?” at me.  The girl who was hit, got up on her feet and told them “It wasn’t her” and then she took off with her head bleeding.  By now I was more than freaked out, I lit a cigarette, and noticed two cops getting out of their patrol car, and people pointing in my direction.  Both cops started walking quickly straight towards me, my heart starting pounding and my hands started shaking thinking they thought I did it.  One cop put his hand on my arm and said, “Excuse me, young lady” as they both hurried pass me.  A sense of relief came over me, and I started laughing and couldn’t stop.  Jerry came into view with two bottles of orange juice in his hand.  As we drank the juice, I related to Jerry what just happened, causing him to laugh and pass orange juice through his nose.  By now, it was time to go back inside the arena for the late show.
 
For the late show, scheduled to start at 10PM, we had better seats that were ten rows back from the stage.  It wasn’t until midnight before the Doors hit the stage again.  By midnight, Jim Morrison was an inebriated mess, but managed to keep it together. I remember Jerry commenting, "Jim should stick to pot and acid."  At 2AM due to Boston’s curfew laws, the power to the stage was cut except for Jim’s microphone, which was powered by a separate P.A.  Realizing he had a live mic, Jim quickly used it to rant and curse.  Ray Manzarek grabbed Jim and pulled him offstage, but lost his grip once the two reached the wings.  Running back to the mic, Jim told the crowd, screaming: "We all should get together and have some fun, because the assholes are gonna win if we let them".  The promoter, not wanting a riot on his hands, decided it was best to let the Doors perform one more song. The band came out with Manzarek on guitar and Robby Krieger on bass and did an early rendition of "Been Down So Long," which would appear on the ‘L.A. Woman’ album the following year.

After the show, there were no more buses running, and we couldn’t find a cab, so we walked the few miles home, singing Doors songs, still tripping our brains out.



Today's freeload is The Door's 'Infinite', a 6 SACD box set of their studio albums:
  • The Doors
  • Strange Days
  • Waiting For The Sun
  • The Soft Parade
  • Morrison Hotel
  • L.A. Woman 
The albums were remastered from the original analog source tapes by Doug Sax and original Doors engineer Bruce Botnick.  High frequencies, low frequencies, and those in between--they're all here, and make it seem as if the Doors are playing in six feet away from you.  This is the definitive digital audiophile edition.
 
 For the freeload, tell us about a concert you attended, that turned into a fiasco.

Wednesday, March 27, 2024

Cream


 
Formed in 1966 Cream was the first rock supergroup, with Eric Clapton on guitar, Jack Bruce on bass and Ginger Baker on drums, but you already knew that, so I'll cut to the chase.

Today's freeload is 6 CDs of the four studio Cream recorded: 'Fresh Cream', 'Disraeli Gears', 'Wheels Of Fire' and 'Goodbye'.

But these are not your garden variety, run-of-the-mill versions. They are Japanese limited edition remasters on Platinum SHM-CDs, from 2014.


 












 





Fresh Cream
This is a 2 CD set
CD 1 is the stereo album, with the bonus tracks:
Wrapping Paper
I Feel Free
The Coffee Song

CD2 is the mono version with the bonus tracks:
Wrapping Paper
I Feel Free
The Coffee Song
Wrapping Paper (French EP Version)
Sweet Wine (French EP Version)
I'm So Glad (French EP Version)
Cat's Squirrel (French EP Version)
Rollin' And Tumblin' (French EP Version)
Four Until Late (French EP Version)



 

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Disraeli Gears
Stereo and mono versions, plus the bonus tracks, in both stereo and mono:
Lawdy Mama (Version 1)
Lawdy Mama (Version 2)
Blue Condition (Alternate Version)


 













Wheels Of Fire
This is a 2CD set
CD1 is the stereo version with the bonus tracks:
Anyone For Tennis
Falstaff Beer Commercial

CD2 is Live At The Filmore, with the bonus tracks:
Sunshine Of Your Love
N.S.U. 

 















Goodbye Cream
This is the stereo version

Technical info:
Stereo and mono album tracks were DSD flat transferred from UK original analogue master tapes at Sterling Sound, NY, 2013.
Bonus tracks were DSD flat transferred from UK original analogue master tapes at FX Copyroom, London, 2013.
Edited in DSD at Universal Music Studios, Tokyo, 2013.
176.4kHz/24bit transferred from DSD at Universal Music Studios, Tokyo, 2013.
High-Resolution cutting from 176.4kHz/24bit at Victor Creative Media, 2013.

Needless to say, they sound wonderful, and make for a very nice upgrade.

For the freeload, tell us what's your favorite dairy product.



Wednesday, February 28, 2024

The Good Ol’ Grateful Dead


1977 was an epic year for Grateful Dead shows, they were full of energy and psychedelic adventurism.  The spring tour started on Saturday, February 26, 1977, at the Swing Auditorium, San Bernardino, CA., and is the subject of today's freeload.

Over the years, I've lost count of how many Dead shows my husband, Jerry, and I attended.   But in 1977, due to raising children, navigating the politics of being a woman on Wall Street, and Jerry teaching Physics at Columbia University, we only saw one show, which was at Raceway Park in Englishtown, New Jersey, on the Labor Day weekend.  You can read about it in the screed I wrote for False Memory foam here: https://falsememoryfoam.blogspot.com/search?q=scrolls

 

The San Bernardino show is one of my favorite dead shows, and debuts the songs 'Terrapin Station' and 'Estimated Prophet' from the album 'Terrapin Station', that wouldn't be released until late July. They also play 'Dancin' in the Streets' also from 'Terrapin', but it had been on and off in their set lists for many years prior. The transitions from one song to another of this show are flawless, approach psychic, and a typical highlight of the 1977 shows.

Here's the setlist:
Set One:
 Terrapin Station
 Minglewood Blues
 They Love Each Other
 Estimated Prophet
 Sugaree
 Mama Tried
 Deal
 Playin' In The Band -> The Wheel -> Playin' In The Band

Set Two:
 Samson & Delilah
 Tennessee Jed
 The Music Never Stopped
 Help on the Way -> Slipknot -> Franklin's Tower
 Promised Land
 Eyes Of The World -> Dancin' In The Streets ->  Around &   Around

Encore:
 U.S. Blues


Jerry Garcia – guitar, vocals
Bob Weir – guitar, vocals
Keith Godchaux – keyboards
Phil Lesh – bass guitar
Donna Jean Godchaux – vocals
Mickey Hart – drums and percussion
Bill Kreutzmann – drums and percussion

This show was officially released as 'Dave's Picks Volume 29' in 2019, but today's freeload is a "Betty Board" from a 7 1/2 ips reel to reel tape, with tuning/stage chatter preserved, and it has a, "You are There" kind of sound. 

"Betty Boards" are sound board recordings by Betty Cantor-Jackson (left), who worked as a sound engineer for the Dead, her live recordings are coveted by Dead Heads.

Back in my tape trading days, I corresponded with and met Betty on many occasions. Betty and I, bonded quickly, as we were pretty much the same age, and both female audiophiles. 

During the Brent Mydland era, (when Betty and Brent were sweethearts), she got Jerry and I backstage three times. The backstage shenanigans that took place will be the subject of forthcoming 'Good Ol’ Grateful Dead' features here.

To freeload the "San Bernardino '77" show, tell us, in your life, what was your favorite year or years.

Sunday, February 25, 2024

The 13th Floor Elevators - 'Sign Of The 3 Eyed Men'

 

 

This is a mammoth 10CD set of The 13th Floor Elevators, and has the original 3 studio albums, each of which has another disc of alternate takes and mixes. There are also two live CDs, and two albums of otherwise unreleased songs and versions, some of which is also live, some studio.

If 'Sign Of The 3-Eyed Men' stopped at simply rounding up mono and stereo versions of the band’s three seminal albums — 'The Psychedelic Sounds Of The Thirteenth Floor Elevators', 'Easter Everywhere' and 'Bull Of The Woods', and capturing their sonic glory with meticulously restored sound, courtesy of the Elevators’ original producer/engineer Walt Andrus, that would be a pretty cool collection.

Toss in all the original masters, all the group’s singles, a clutch of session outtakes, two lost albums of previously unreleased material and Stacy Sutherland’s work in progress — the acetates, the safety masters and the multi-track tapes — for the aborted Beauty & The Beast album. 

But wait, there's more! — an assortment of live rarities, some of which are being made available for the first time on record.


The 13th Floor Elevators played at a frenetic pace, always just a heartbeat away from utter anarchy. Their rock ‘n’ roll was primal and basic, the progeny of their ’50s forefathers like Jerry Lee Lewis and Buddy Holly, but the Elevators took it to places they never imagined, and this set provides the road map for their long, strange journey.
To get this set, post a verse of your favorite psychedelic song.