Grateful Dead
Jul 12, 1970 at Fillmore East
New York, NY
Setlist via JerryBase
Acoustic Set
Monkey And The Engineer, Don't Ease Me In, I've Been All Around This World, Dark Hollow, Black Peter, El Paso1, Friend Of The Devil, New Speedway Boogie, So Sad (To See Good Love Go Bad)2, Rosa Lee McFall3, A Voice From On High4, Cold Jordan4, Swing Low Sweet Chariot4
Writeups
- July 9-12, 1970: Fillmore East
GRATEFUL DEAD (FILLMORE EAST, N.Y.) For the second time within two months Bill Graham's Fillmore East, N.Y. presented an evening with the...
Related videos
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Tapes
- AUDTaper unknownaud > ??? > shn > wav > shnListenArchive.orgRelistenetree24663TransferSirMick
- AUDTaper unknownall transfers and work performed in the 24 bit realm Weiss-Saracon for 16 BIT 44.1kHz; SBE Free, Flac Level 8 with TLH, Meta Data with Tag & RenameListenArchive.orgRelistenetree108002Transferedited and mastered by Jamie Waddell with listening assistance by Jim Blackwood. Rel transfer by Matt Smith
- Source unknownFour-TrackTaper unknownMarty Weinberg's 5" 1/4 track Master Audience Reel>HHb CDR-850>CDR>EAC>CDR>EAC>.WAV>TLH>.FLACListenArchive.orgRelistenetree108156
- AUDTaper unknownCombination of the two audience recordings shnid 9379 and shnid 122707; edits were limited to volume, speed, cross-fades at the beginning and end of patches, and such elimination or reduction of drops, static, clicks, and bumps as I could obtain without losing any music; see info files for detailsListenArchive.orgRelistenetree130938TransferRob Darst;Jim Cooper;Jim Cotsman
- AUDCD-RTaper unknownJim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLACListenArchive.orgRelistenetree122707
Tape diagnostics
Every field Long Strange Click carries for each recording on this show: the normalized DB columns the tape lockup is composed from, the full served wire node, and - on demand - the rich archive.org /metadata envelope Long Strange Click stores for the recording.
API endpoint /api/v1/shows/1970-07-12-fillmore-east-new-york
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"description": "disc 1\nset 1 (acoustic)\n\n01 /1/Dire Wolf 5:01\n02 The Rub 3:23\n03 How Long Blues 3:57\n04 Dark Hollow 4:14\n05 Friend Of The Devil 4:53\n06 Candyman 6:44\n07 Katie Mae 4:02\n08 Bring Me My Shotgun > 1:46\n09 She's Mine 2:37\n10 Rosalie McFall 3:48\n11 Tell It To Me 2:55\n12 Wake Up Little Susie 2:35\n Cumberland Blues #\n\ntotal 44:55\ndisc 2\nset 2 (electric)\n\n01 Easy Wind 9:14\n02 Mama Tried 3:01\n03 Cold Rain And Snow 6:11\n04 Attics Of My Life 7:27\n05 China Cat Sunflower > 3:39\n06 jam > 1:27\n07 I Know You Rider > 5:08\n08 High Time 8:02\n \ntotal 44:09\ndisc 3\nset 2 (con't'd)\n\n01 It's A Man's, Man's, Man's World 12:12\n02 Bobby Sells The Brooklyn Bridge 00:52\n03 Cryptical Envelopment 02:09\n04 Drums /1/ > 06:39\n05 The Other One > 09:10\n06 Me & My Uncle > 03:13\n07 The Other One > 01:17\n08 Dancin In The Streets /4/ > 11:32\n09 Turn On Your Lovelight > 16:10\n10 St. Stephen Jam > 00:44\n11 Lovelight /2/ @ > 09:14\n\nencore\n Uncle John's Band #\n\ntotal 73:12",
"notes": "/1/ first few seconds are missing\n\n/2/ there appears to be a cut at 1:20\n\n/3/ there is a small dropout at 8:17\n\n/4/ cuts near end, unknown how much is missing\n\n@ cuts near end, unknown how much is missing\n\n# missing\n\nthere are small cuts between most tracks. It seems like the taper must have been hitting the pause button on a regular basis.\n\nthe volume on both sets fluctuated between channels and I have tried to adjust this as much as is possible\n\nthere were a few dropouts that I have been able to patch in from the other channel\n\nset 2 has quite a high level of hiss\n\n\ncomments:\n\nnot a great recording but it'll do until something better shows up\n\n\nSIRMick (thedarkstar@btinternet.com)",
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"notes": "These were midnite shows so the dates are confusing for hostorians as they line up for a concert on one day, and see the actual show on the next as far as official time goes. My research from reputable sources puts this as the show billed on the 11th, not the 12th. I re-ordered this source to the commonly accepted order of high time and cold rain and snow in set two. An image of the transferred order of the reel for set two is included, and it is different. All sorts of tape pauses and cut in parts smoothed tastefully.",
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Recording gd1970-07-12.Weinberg.MAR.108156.flac16
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Recording gd1970-07-12.aud.composite.130938.flac16
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"description": "Set 1\n\nDire Wolf, The Rub, How Long Blues, Dark Hollow, Friend Of The Devil, Candyman, Katie Mae, She's Mine, Rosalie McFall, Tell It To Me, Wake Up Little Susie\n\nSet 2\n\nEasy Wind, Mama Tried, Attics Of My Life, China Cat Sunflower-> I Know You Rider, It's A Man's World, Cold Rain & Snow, High Time, Cryptical Envelopement-> Drums-> The Other One-> Me & My Uncle-> The Other One-> Dancin' In The Streets, Turn On Your Love Light\n\nFirst set acoustic Midnight show billing' GD' NRPS",
"notes": "This is a combination of the two audience recordings available for this date: shnid 9379 (identity of taper not given) and shnid 122707 (taped by Jim Cooper). Since no soundboard circulates for this show, we are very fortunate indeed to have these two recordings. Thanks, guys!\n\nSource 1 (shnid 9379): AUD>MC>C>C>D>CD>EAC>SHN\nedits/encoding by J. Cotsman\n\nSource 2 (shnid 122707): Jim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC\nRecorded by Jim Cooper using a Hitachi TRQ-222 Cassette recorder and 2 Hitachi microphones from Row H, about the 30th row, center.\n\nEach source has advantages and disadvantages. 9379 is more complete and has less audience chatter during quiet passages, but it has more distortion during loud passages. Cooper's recording is generally clearer, especially during loud passages, but it is less complete and has more microphone noise and audience chatter. Happily, these two recordings complement each other more often than not. For details on which source is used when, see the notes below.\n\n\nNOTES\n\n(1) The dates for this show (July 12) and the one preceding it (July 11) were incorrectly reversed in most previous sources. Many attendees have pointed out the error, and one of the tapers of the previous night's show, Marty Weinberg, even announces helpfully, \"It's Saturday night, July 11, 1970.\" (This announcement can be heard on shnid 108156, just before Easy Wind.) Both were \"midnight shows,\" so technically this show was performed in the early morning of Monday, July 13, but it is the concert billed as \"July 12.\" \n\n(2) The provenance of the \"Night of the Living Dead\" introduction to the electric set is uncertain. \nThis music accompanied a film; some attendees remember this as a clip from \"The Night of the Living Dead,\" while reporter Tom Zito wrote afterwards of seeing \"spacemen wrapped in plastic bags emerge from graves.\" It has generally been assumed that the music was the film's audio track. However, I think it is more likely that the Grateful Dead accompanied the film with a live improvisation. I have reached this tentative conclusion for three reasons:\n\n(a) The music we hear is not from the soundtrack of The Night of the Living Dead.\n\n(b) The introduction sounds like the Grateful Dead playing scary-movie music.\n\n(c) On 9379, at a little over a minute into Morning Dew, a guy near the microphone says, \"...[inaudible] one of the most cosmic versions of this song that I've ever heard, opening up like that [inaudible]. It was really scary.\" Since the opening of Morning Dew itself is not unusual, he must have been referring to the \"introduction,\" and since he viewed the introduction as part of Morning Dew, he must have had reason to believe that the Grateful Dead performed it.\n\n(3) I did not apply EQ or high-frequency noise reduction to either source. My edits were limited to volume, speed, cross-fades at the beginning and end of patches, and such elimination or reduction of drops, static, clicks, and bumps as I could obtain without losing any music. 122707 runs 3-5 percent slower than 9379; I matched the speed of 122707 to 9379 in all cases. Edits were done in WaveLab Elements 7, with gentle use of the iZotope Ozone Declicker.\n\n(a) Acoustic Set: \n\nA mono version of the left channel of 9379 supplies most of the acoustic set. From Monkey and the Engineer until A Voice From On High, the right channel of 9379 is mostly hiss and does not add to the listening experience. The taper fixed the problem after Rosalie McFall, so the final three songs are in stereo.\n\nFriend of the Devil, missing in 9379, comes entirely from 122707. As luck would have it, this is the best-sounding recording of any acoustic tune captured in 122707. For the most part, the acoustic set in 122707 is plagued by mike noise, static, and loud audience chatter, but during FOTD, these problems are largely absent.\n\nGiven that this show includes the only known version of So Sad, I devoted special attention to this track. The performance is very delicate and hard to hear over the chattering of the audience. The version included here is a mono version of the left channel of 9379 until 1:18, at which point it becomes a matrix of the left channel of 9379 and the right channel of 122707. (The recording of So Sad on 122707 cuts in at this point, and the right channel is free of the static that plagues the left channel.) For the second half of the song, at least, this combination brings out more detail than any other approach that I could devise. (Many thanks to Light Into Ashes for the suggestion!) It is a beautiful performance; perhaps the band would have played the song again, if the audience had only shut up and listened.\n\n(b) NRPS Set:\n\nBy the time NPRS takes the stage, both tapers have solved most of their technical difficulties. As noted above, 122707 is generally clearer than 9379, but it is incomplete and more vulnerable to audience chatter. \n122707 supplies the first three songs and Lodi, and 9379 supplies the final four. Dirty Business and Last Lonely Eagle, the quieter songs, are composites. 9379 supplies the first 2:43 of Dirty Business, and 122707 supplies the rest. In 9379, Last Lonely Eagle is missing Garcia's entire solo: it seems to have been deliberately cut out, perhaps because it was partially damaged. 122707 supplies the missing passage at 2:01-2:44, and for once the audience is relatively quiet.\n\n(c) Electric Set:\n\n9379 supplies the Night of the Living Dead introduction. Morning Dew is a composite: 122707 supplies the beginning and end, and 9379 supplies 0:35-4:14. 122707 supplies the rest of the set through I Know You Rider, which is patched with 9379 at 1:30-2:41 and 3:58-3:59. 122707 ends at that point, so 9379 is the only source for the final two tunes, Viola Lee Blues and Uncle John's Band.\n\nIn several places, 122707 features protracted bursts of static in the right channel. I patched these with the left channel. This occurs in Casey Jones (1:05-1:51), Good Lovin' (1:22-1:38, 2:22-3:18, 9:57-12:34), and China Cat Sunflower (2:49-2:53).\n\nEnjoy!\nRob Darst\nAugust 11, 2014",
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Recording gd1970-07-12.aud.cooper.122707.flac16
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"isListable": true,
"sourceType": "Jim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC",
"lineageChain": "Jim Cooper's Hitachi TRQ-222 Cassette recording > CDR > WAV > FLAC",
"shnid": "122707",
"sourceMeta": {
"description": "Set 1\n\nDire Wolf, The Rub, How Long Blues, Dark Hollow, Friend Of The Devil, Candyman, Katie Mae, She's Mine, Rosalie McFall, Tell It To Me, Wake Up Little Susie\n\nSet 2\n\nEasy Wind, Mama Tried, Attics Of My Life, China Cat Sunflower-> I Know You Rider, It's A Man's World, Cold Rain & Snow, High Time, Cryptical Envelopement-> Drums-> The Other One-> Me & My Uncle-> The Other One-> Dancin' In The Streets, Turn On Your Love Light\n\nFirst set acoustic Midnight show billing' GD' NRPS",
"runtime": "142:14.48",
"taperText": "Jim Cooper"
}
},
"contentUrl": "https://archive.org/details/gd1970-07-12.aud.cooper.122707.flac16"
}Archive.org metadata (on the wire)
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