Comments
Add Comment
Source Collectors
Add to Collection
Add to Want List
History| Source # | 9191 |
| Entered by | dr.unclear |
| Checksums | shn-md5 , st5 |
| Disc Counts | 1 / 1 |
| Media Size | |
| Date Circulated
Date Added |
10/30/01 09/22/2004 |
Source Summary
reportedly early show, though the shns have been circulated as reported 2/12/70 (see alternate entry); SBD > 2-track RTR @ 15 i.p.s. > PCM > ? > D > SSSB , via Jay Serafin, Patrick Murphy
reportedly early show, though the shns have been circulated as reported 2/12/70 (see alternate entry); SBD > 2-track RTR @ 15 i.p.s. > PCM > ? > D > SSSB , via Jay Serafin, Patrick Murphy
Grateful Dead
possibly 2/13/70 Fillmore East NY NY, early show
[has been seeded as February 12, 1970
Ungano's Night Club
New York, NY]
Source: SBD > 2-track RTR @ 15 i.p.s. > PCM > ? > D > SSSB
Thanks to Jay Serafin for the disks!
Audio Rating: AR-2
Any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction, jitter elimination, and +/-2 dB max. EQ were performed using 100% digital-only processing (24-bit/96 kHz data stream) at Serafin Station Studio B
EAC (High, Secure) > WAV > SHNv3 by Patrick Murphy
Disk 1 [56:18]
1. Cold Rain & Snow [5:30]
2. Beat It On Down The Line (5 beats) [2:43]
3. Good Lovin'-> [1:46]
4. Drums-> [2:06]
5. Good Lovin' [5:00]
6. Mama Tried-> [2:38]
7. Black Peter [9:12]
8. Hard To Handle [6:37]
9. Saint Stephen-> [6:50]
10.Not Fade Away [9:07]
11.Casey Jones [4:49]
>From Jay Serafin:
All of the information about this show was obtained/confirmed by my Marin County source. This person is as close to being "inside the organization itself" as anyone can be, and this person has NEVER given me bad or erroneous information for the past 5 years!
And what a show this is, too! It was actually an unannounced impromptu show in the middle of the Dead's Fillmore East run. The venue only held approximately 500 people, and it was a first-come, first-served show. Most of the seats were removed to allow some additional "SRO" concertgoers. The NYC Fire Department was on hand to enforce the "maximum number of patrons"
restrictions, just to play it safe.
"We" were lucky that the Dead's audio people brought along one of the spare 2-track RTR decks. "We" were also lucky from the standpoint of having a 95% hiss-free recording to begin with, as the deck was running at twice the normal "regular show" taping speed. This translates into lower levels of analog tape hiss, as well as having more high frequency recording
capabilities. This show, for being set up in a hurry, was very well mixed. Jerry and Bobby each had their own channel for their guitars, and listening to how well Weir blended into the entire mix is very well "documented" with this recording. About the only negative I can say about this show's audio quality was that being in the small club, and most likely with the time frame the audio people had to set up, the drums are just a little buried in the mix, especially the cymbals. But, you still are going to get blown away by the audio quality of the show.
DeadBase states a few things about this show that are inaccurate, such as "actual date and location unknown". This is not true, according to my source. This show did happen on this date at this venue.
Sadly, because of the license and insurance the night club held, the show only lasted a little over an hour an 30 minutes. There are no "breaks" or "tape flips", as the band simply was given a "signal" to cut a song off, so that the RTR could have a new tape put on. All the songs are complete and unedited. The only "exception" to this was my decision to cut off the very
opening 20 seconds of the first song, "Cold Rain & Snow", simply because of the fade-in of the copy I received wasn't right. Since the volume levels on the recording I received were very low, when I went to bring everything up to the correct level, the CR&S fade-in would have sounded pretty bad. I opted to just cut off the bare minimum of the opening riff to make things
sound "correct".
I guess the "topper" to this show, besides the fantastic sound, the good mix, and everything else, is that Phil was just going off into the ozone on a couple of the songs. He wasn't "way out there", but he definitely was trying to travel down that road that made him such an integral part of the "Sound Of The Dead". He's got some very good riffs going, especially during "Good Lovin'" and "Saint Stephen". Garcia and Weir were playing off each other, and you can tell they were in their groove this night. Sometimes it's subtle, sometimes it is quite noticeable, but they just "clicked".
The audience, although they weren't "recorded" for ambience, could be heard in the distance between songs, and you can tell that they definitely got their money's worth. I imagine the closeness, proximity-wise, along with the small-club atmosphere, is what brought out the best in everyone's playing for this show. I've seen my fair share of Dead shows over the 30 years they played, and I personally felt that they played their best when they were either being simulcast over the radio, or when they played smaller venues. I've been everywhere in the audience at shows, from the front row at the '94 Soldier Field show to the soundboard at the Rosemont, to back of the Fillmore West, to the front of the crowd at Loyola. Again, I felt the
smaller the venue, or any time they were on the FM dial, the shows were better, tighter yet looser, and definitely they seemed to have more fun on stage.
Sorry for going off on that little tangent there, but I felt that bit of info may make you deciding to get this show a little easier. I would recommend it to anyone, from a "newbie" to someone with 4,000 hours in their library. This is a pristine copy, and I think that everyone should have this as part of their collection.
Seeded by Patrick Murphy. Any flaws, questions, or comments write me at patrick_e_murphy@yahoo.com
possibly 2/13/70 Fillmore East NY NY, early show
[has been seeded as February 12, 1970
Ungano's Night Club
New York, NY]
Source: SBD > 2-track RTR @ 15 i.p.s. > PCM > ? > D > SSSB
Thanks to Jay Serafin for the disks!
Audio Rating: AR-2
Any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction, jitter elimination, and +/-2 dB max. EQ were performed using 100% digital-only processing (24-bit/96 kHz data stream) at Serafin Station Studio B
EAC (High, Secure) > WAV > SHNv3 by Patrick Murphy
Disk 1 [56:18]
1. Cold Rain & Snow [5:30]
2. Beat It On Down The Line (5 beats) [2:43]
3. Good Lovin'-> [1:46]
4. Drums-> [2:06]
5. Good Lovin' [5:00]
6. Mama Tried-> [2:38]
7. Black Peter [9:12]
8. Hard To Handle [6:37]
9. Saint Stephen-> [6:50]
10.Not Fade Away [9:07]
11.Casey Jones [4:49]
>From Jay Serafin:
All of the information about this show was obtained/confirmed by my Marin County source. This person is as close to being "inside the organization itself" as anyone can be, and this person has NEVER given me bad or erroneous information for the past 5 years!
And what a show this is, too! It was actually an unannounced impromptu show in the middle of the Dead's Fillmore East run. The venue only held approximately 500 people, and it was a first-come, first-served show. Most of the seats were removed to allow some additional "SRO" concertgoers. The NYC Fire Department was on hand to enforce the "maximum number of patrons"
restrictions, just to play it safe.
"We" were lucky that the Dead's audio people brought along one of the spare 2-track RTR decks. "We" were also lucky from the standpoint of having a 95% hiss-free recording to begin with, as the deck was running at twice the normal "regular show" taping speed. This translates into lower levels of analog tape hiss, as well as having more high frequency recording
capabilities. This show, for being set up in a hurry, was very well mixed. Jerry and Bobby each had their own channel for their guitars, and listening to how well Weir blended into the entire mix is very well "documented" with this recording. About the only negative I can say about this show's audio quality was that being in the small club, and most likely with the time frame the audio people had to set up, the drums are just a little buried in the mix, especially the cymbals. But, you still are going to get blown away by the audio quality of the show.
DeadBase states a few things about this show that are inaccurate, such as "actual date and location unknown". This is not true, according to my source. This show did happen on this date at this venue.
Sadly, because of the license and insurance the night club held, the show only lasted a little over an hour an 30 minutes. There are no "breaks" or "tape flips", as the band simply was given a "signal" to cut a song off, so that the RTR could have a new tape put on. All the songs are complete and unedited. The only "exception" to this was my decision to cut off the very
opening 20 seconds of the first song, "Cold Rain & Snow", simply because of the fade-in of the copy I received wasn't right. Since the volume levels on the recording I received were very low, when I went to bring everything up to the correct level, the CR&S fade-in would have sounded pretty bad. I opted to just cut off the bare minimum of the opening riff to make things
sound "correct".
I guess the "topper" to this show, besides the fantastic sound, the good mix, and everything else, is that Phil was just going off into the ozone on a couple of the songs. He wasn't "way out there", but he definitely was trying to travel down that road that made him such an integral part of the "Sound Of The Dead". He's got some very good riffs going, especially during "Good Lovin'" and "Saint Stephen". Garcia and Weir were playing off each other, and you can tell they were in their groove this night. Sometimes it's subtle, sometimes it is quite noticeable, but they just "clicked".
The audience, although they weren't "recorded" for ambience, could be heard in the distance between songs, and you can tell that they definitely got their money's worth. I imagine the closeness, proximity-wise, along with the small-club atmosphere, is what brought out the best in everyone's playing for this show. I've seen my fair share of Dead shows over the 30 years they played, and I personally felt that they played their best when they were either being simulcast over the radio, or when they played smaller venues. I've been everywhere in the audience at shows, from the front row at the '94 Soldier Field show to the soundboard at the Rosemont, to back of the Fillmore West, to the front of the crowd at Loyola. Again, I felt the
smaller the venue, or any time they were on the FM dial, the shows were better, tighter yet looser, and definitely they seemed to have more fun on stage.
Sorry for going off on that little tangent there, but I felt that bit of info may make you deciding to get this show a little easier. I would recommend it to anyone, from a "newbie" to someone with 4,000 hours in their library. This is a pristine copy, and I think that everyone should have this as part of their collection.
Seeded by Patrick Murphy. Any flaws, questions, or comments write me at patrick_e_murphy@yahoo.com
c7066f310938cc01b168c54a744d1cf5 *gd70-02-12SSSBt05.shn
3cf8a1d1b5dfcebb7645e5e26fea863a *gd70-02-12SSSBt02.shn
ce7bef7dbd8e57e14d616eb9c66b02c5 *gd70-02-12SSSBt03.shn
aeb8e46c4ca3de51a61337d2fc317e84 *gd70-02-12SSSBt04.shn
a03322c89189f70539d511338842e399 *gd70-02-12SSSBt01.shn
3d26f161e5b2315a1a5f9d69ea3d8c28 *gd70-02-12SSSBt06.shn
ee7272615e1715e4516567102553622b *gd70-02-12SSSBt07.shn
16e40c95fa449f7d9a7330f22ff799a6 *gd70-02-12SSSBt08.shn
6e6e1f1059e1e3ca992ae38fc9fd1afc *gd70-02-12SSSBt09.shn
0cd67a8d837507b4fbf852a61d48905b *gd70-02-12SSSBt10.shn
bf379ce47c5fe4c3decefec87b6368f0 *gd70-02-12SSSBt11.shn
3cf8a1d1b5dfcebb7645e5e26fea863a *gd70-02-12SSSBt02.shn
ce7bef7dbd8e57e14d616eb9c66b02c5 *gd70-02-12SSSBt03.shn
aeb8e46c4ca3de51a61337d2fc317e84 *gd70-02-12SSSBt04.shn
a03322c89189f70539d511338842e399 *gd70-02-12SSSBt01.shn
3d26f161e5b2315a1a5f9d69ea3d8c28 *gd70-02-12SSSBt06.shn
ee7272615e1715e4516567102553622b *gd70-02-12SSSBt07.shn
16e40c95fa449f7d9a7330f22ff799a6 *gd70-02-12SSSBt08.shn
6e6e1f1059e1e3ca992ae38fc9fd1afc *gd70-02-12SSSBt09.shn
0cd67a8d837507b4fbf852a61d48905b *gd70-02-12SSSBt10.shn
bf379ce47c5fe4c3decefec87b6368f0 *gd70-02-12SSSBt11.shn
9fef700a301ceebb22e9dc6271cbb6dd [shntool] gd70-02-12SSSBt01.shn
ce914060aac85098008882acc1d49ff4 [shntool] gd70-02-12SSSBt02.shn
3609a6ba70106d2bc21d8843e691a93f [shntool] gd70-02-12SSSBt03.shn
4512cc23d007e52c37a29fff15394e16 [shntool] gd70-02-12SSSBt04.shn
381fe1d4e2944e4cd0f6b1f7f1495c53 [shntool] gd70-02-12SSSBt05.shn
536bb8bf142ec92b169f185f1575827c [shntool] gd70-02-12SSSBt06.shn
e7e5673ec0726ef1eb37617738818164 [shntool] gd70-02-12SSSBt07.shn
def5ec438d4253238c3807fad10a775c [shntool] gd70-02-12SSSBt08.shn
a8f12f4fcb08bcbbfeef5b0ef40bef8a [shntool] gd70-02-12SSSBt09.shn
ee95e72c8f509565c5c8aeaa33b4c775 [shntool] gd70-02-12SSSBt10.shn
c7e122aa2dc210525b108103f41a8d35 [shntool] gd70-02-12SSSBt11.shn
ce914060aac85098008882acc1d49ff4 [shntool] gd70-02-12SSSBt02.shn
3609a6ba70106d2bc21d8843e691a93f [shntool] gd70-02-12SSSBt03.shn
4512cc23d007e52c37a29fff15394e16 [shntool] gd70-02-12SSSBt04.shn
381fe1d4e2944e4cd0f6b1f7f1495c53 [shntool] gd70-02-12SSSBt05.shn
536bb8bf142ec92b169f185f1575827c [shntool] gd70-02-12SSSBt06.shn
e7e5673ec0726ef1eb37617738818164 [shntool] gd70-02-12SSSBt07.shn
def5ec438d4253238c3807fad10a775c [shntool] gd70-02-12SSSBt08.shn
a8f12f4fcb08bcbbfeef5b0ef40bef8a [shntool] gd70-02-12SSSBt09.shn
ee95e72c8f509565c5c8aeaa33b4c775 [shntool] gd70-02-12SSSBt10.shn
c7e122aa2dc210525b108103f41a8d35 [shntool] gd70-02-12SSSBt11.shn
Comments
Other Sources (comments) early show; Sbd > Master... (4)
flac16 ; 5th gen aud... (0)
|
|||
| Date | User | Comment | |
|---|---|---|---|
| 05/03/2002 | Diana Hamilton |
I created this secondary entry for this disputed shn set, for those who wish to list it under 2/13/70 instead of the seeded-date of 2/12/70. I have added a note to the top of the info file, but did not change the filenames in the checksums. Due to a quirk of the db though, it gets listed under the late show gig entry! See workaround for that if you care. Confused yet? ;) |
|
| 09/22/2004 | Diana | This shn has now been moved to its correct gig. | |
| 10/16/2006 | bhairava |
FWIW: no one in this debate has handled the evidence in a scientific manner. It's very simple: Bear asserts that though there were usually two shows nightly (see the original BGP program, available on Deadlists, that lists many other bands also) the nights the Dead played there was one show (with three bands) starting at 8pm, due to the length of the Dead's shows and the amount of their equipment. Why should we believe him? Several specific reasons: even if he was flying high, he would no doubt remember the total nightmare involved in setting ALL the Dead's equipment, tearing it down again, setting it up AGAIN, and tearing it down again. He also rightly points out that 3 bands times 2 shows equals six sets, and there simply isn't time in the night for that plus set-up and tear-down. Do the math, as he says. I am not a disciple of Bear but his writing shows that though a bit eccentric, he has not yet lost his marbles. Furthermore, we are utterly lacking the one clinching piece of evidence: a ticket stub for a late show on these dates. There is then no evidence to suggest that the early and late shows are not, instead, FIRST and SECOND SETS, and that those who remember attending a 'late show' do so because the Dead went on at about 11pm (normal time for a late show), because they followed TWO OTHER bands, who started after 8pm. NO-ONE remembers seeing the Dead at 9pm, for an early show. AND, if the early/late theory was correct, where are the tapes of ABB late shows? Three bands on the bill, so no chance of BGP having just one of them play a show. Make sense? |
|
| 02/26/2009 | mvernon | bhairawa - though I do not have your "ticket stub" I did attend many shows at both Fillmore East and West (but not this run). It was common to have 3 bands playing two sets each night. In fact, that was almost standard. The different band's equipment (drums) were on platforms that were rolled in place so the setup time is not an onerous as you imply. Also, the two Fillmore's had excellent house PA systems so that part was the in place and the connection to it was very smooth since that in fact was the business of the Fillmore, to put on these shows efficiently. What did result from having 3 bands play two sets was many late nights, especially when when bands like the Allman Brothers or the GD played. Sometimes the 1st show may not end until 12 PM so the second show would not start until 1 to 1:30AM and not end until 6Am! One of the most delightful moments in my life was exiting at 6:30AM and walking toward midtown on a Saturday morning after an epic show. My vote lies with the 2 shows each night on these dates. | |
etreedb.org
For administrative requests email contact@etreedb.org
This website written by Tom H Anderson and maintained by the etreedb.org community.
For administrative requests email contact@etreedb.org
This website written by Tom H Anderson and maintained by the etreedb.org community.
Cached: Thu, 25 Apr 2024 02:26:26 EDT