Shortlist: Nassau Coliseum, Uniondale, NY – March 1973

Cover art: Detail from Max Weber, “New York at Night”

For their first tour of 1973, The Dead were in the Midwest from the middle to the end of February. After two weeks off, they toured the Northeast from the middle of March through April 2.

The tour started with three shows at the Nassau Coliseum in Uniondale, New York on the 15th, 16th, and 19th, excerpts from which are combined here. These shows remain unreleased.

This run, and the 16th in particular, has numerous excellent “smaller songs,” but the mix posted here is a continuation of the jammy mashups I posted of the February shows

Aside from the edits that are obvious from the track list, the only things I’ve cut out that interrupt continuous Dead performances are two noodly-to-shrieky spaces that offered nothing special and broke the momentum. 

A pretty “Dark Star” that’s not sure how solid it wants to get nonetheless comes to a swelling climax, then gives way to an autonomous six-minute jam, which then slides back into a perfectly executed “Dark Star” verse. Several minutes of unorthodox, wandering around jamming ensues, leading into “Truckin.”

This is one of the earliest performances of “Truckin’” transitioning into the “Nobody’s Fault” jam. 

This 3/15 “Eyes” jam was the sonic rescue mission of this mix. It is easily one of the most involving and successful (and yet unique) of the early performances, but the soundboard of it has many dramatic volume fluctuations. I’ve fixed those pretty well and want to advise you that the performance overwhelms the sonic gremlins that remain. 

The other two 3/15 songs are likewise exceptional. “China Doll” has many exquisite details. “The Other One” is aggressively adventurous and almost becomes a separate jam. The 3/15 soundboard has the drums mixed way too loud, but on “The Other One” and the “Eyes” jam, this is a plus, and it doesn’t impact “China Doll.” 

77-minute mp3 mix here

  • Dark Star (3/16) >
  • Jam (3/16) >
  • Dark Star (3/16) >
  • Jamming Around (3/16) >
  • Truckin’ > Nobody’s Fault Jam (3/16 > 3/19) > 
  • Drums (3/19) >
  • The Other One (3/15) >
  • Eyes of the World (intro & jam 3/15) >
  • China Doll (3/15)
  • Morning Dew (3/16)

Shortlist: Midwest Tour, February 1973 (part two)

This post completes my jam-centric reduction of February 1973 Dead shows. Boy, they were playing great. 

I posted highlights of Palo Alto (2/9) here.

I posted a mashup of Madison, St. Paul, and Chicago (2/15, 2/17, 2/19) here.

This third installment presents material from Champaign-Urbana, IL (2/21 & 2/22) and Iowa City (2/24). 

The next two shows, the last of the February tour, are documented on Dick’s Picks #28 (Lincoln, NB & Salt Lake City on the 26th and 28th).

86-minute mp3 mix here

  • Truckin’ > Bass & Drums (2/21) > 
  • Eyes of the World (2/21 > 2/22) >
  • China Doll (2/22)
  • Playin’ in the Band (2/22)
  • Dark Star (2/22) >
  • Space (2/22) >
  • Bass > Feelin’ Groovy Jam (2/24) >
  • Sugar Magnolia (2/24) 

Shortlist: Midwest Tour, February 1973

This mix combines performances from The Dead’s 2nd, 3rd, and 4th shows of 1973, in Madison, WI, St. Paul, MN, and Chicago. If I do say so myself, the result is mighty. "Bertha" starts smoldering around :38 and ignites at 1:20. It doesn't let up after that for more than 100 minutes. 

After five weeks off, The Dead started 1973 with a stand-alone show in Palo Alto, CA on February 9th. On the 15th, they began an eight-show tour with concerts in the wintery, upper Midwest. Nothing from this tour earlier than the 26th, in Lincoln, Nebraska, seems to have been released.

This mix pulls from those initial Madison, St. Paul, and Chicago shows, but it is also a companion to the mix I made from the year-starting show in Palo Alto (which has the greatest early “Eyes”). Together, these two mixes are my early ’73 Road Trip – the first four shows of the year in digest form. 

From a historical documentary POV, these early ’73 shows look exciting because they unleash seven new Garcia songs and a fun cover sung by Donna. From an aesthetic POV, not many performances of those new songs are worth hearing repeatedly. The really amazing parts of these shows are elsewhere. If you look in the right places, the band was extremely hot out of the gate in '73.

107-minute mix here (source dates included in mp3 tags). 

  • Bertha (5:22)
  • Here Comes Sunshine (instr.) > China Cat Sunflower > I Know You Rider (16:45)
  • Not Fade Away > Goin’ Down the Road > Not Fade Away (14:06)
  • Dark Star (11:42)
  • He’s Gone (14:11)
  • The Other One (18:55)
  • Playin’ in the Band > China Doll (20:35)
  • Birdsong (instr. 6:24)

Steely Dan: Fauxcho (essential Gaucho outtakes)

This is a narrow slice of the available “Gaucho” outtakes designed for daily listening purposes. It includes only the songs that did not make the album, and in four cases I have edited out lengthy stretches of the rhythm section treading water in places where solos/elaborations were supposed to go, but never did. This makes these songs flow much more like songs, rather than sounding like what they were/are – unfinished recordings. 

If you’re a Steely Dan fan and these titles are unfamiliar to you, your mind will be blown that they exist and are solid, real songs. If you do know these recordings, you probably understand why editing some of them down makes sense. Anyway, 29 minutes of seven, unfinished Steely Dan recordings certainly could have turned into 40-45 minutes of finished songs and turned "Gaucho" into a two-LP set, if Becker and Fagan hadn't been grinding to a halt at this point. This is as close as I can get to a credible expansion of the released album.

29-minute “Gaucho” outtakes companion here:

(Sorry about the copy-and-paste link, but this blog platform is malfunctioning.)

  • Kulee Baba (edit)
  • The Bear
  • Kind Spirit (edit)
  • The Second Arrangement (edit)
  • Talkin’ ‘Bout My Home (edit)
  • Were You Blind That Day? ("Third World Man" with different lyrics)
  • I Can’t Write Home About You 
  • The Second Arrangement (Disco Coda)

Shortlist: February 9, 1973 – Palo Alto, CA

I can’t let the 45th anniversary of this show pass without paying tribute to the wonderful jamming it included. 

It’s the first show of 1973, and it’s famous because it featured debuts of seven new songs. But it’s mostly a messy, rusty show, the new songs not rehearsed enough, old songs not rehearsed at all. There were also a lot of technical difficulties with a new sound system.

Nonetheless, the band was clearly very excited to be doing this again, after five weeks off. The “Playin’” jam is wonderfully involved and never breaks stride, and the two new songs that were truly ready for prime time are superb. I think this is the best of the first three, exploratory “Eyes” jams,” and the execution of the song itself is exceptional. 

56-minute mix here

  • PA: Wavy Gravy
  • China Cat Sunflower > I Know You Rider
  • Uncle John’s Band (instrumental edit)
  • Playin’ in the Band (instrumental edit)
  • Eyes of the World (first time played) >
  • China Doll (first time played)

The Grateful Dead: To the Eagle Palace (January 1968)

Illustration by Victor Moscoso. Typography by Tom Ford.

A while back, Jesse Jarnow (@bourgwick & suggested to me that there might be a single mega-suite hiding in the fragmentary, unreleased live recordings from The Dead’s tour at the beginning of 1968. On the 50th anniversary of the end of that tour (February 4, 1968), we present our ideal set, based on the extant, unreleased recordings.


In late 1967 and early 1968, the Grateful Dead began linking their newest songs into extended suites, resulting in the experimental "Anthem of the Sun" and the double LP "Live/Dead." By the time those albums made it to stores, though, the song suite had already evolved. During the early 1968 winter tour of the northwest, the band brought a multitrack, making recordings that would be used for Anthem, and one can hear them piecing together different combinations of their newest songs, their most psychedelic material yet and – not coincidentally – their earliest collaborations with lyricist Robert Hunter.

"To the Eagle Palace" (title borrowed from Hunter's 1968-'69 "Eagle Mall Suite") posits a seamless path through the band's early 1968 repertoire. Highlighting early drafts (such as "Dark Star" with a call/response Garcia/Lesh intro and a drumless arrangement featuring only hand percussion), forgotten songs (like the lovely Lesh/Hunter psych-jazz "Clementine"), and a few shifting audio fidelities, with edits and crossfades occurring inside song performances as well as within many of the transitions. 

It is a fantasy set, perhaps played on a night tape wasn't rolling. As it happens, it would also fit onto two LPs with even side breaks. LATVALA!

86-minute composite suite here

To the Eagle Palace

  • That's It for the Other One >
  • Clementine >
  • New Potato Caboose >
  • Born Crosseyed >
  • Spanish Jam >
  • Feedback >
  • Spanish Return > Dark Star >
  • China Cat Sunflower >
  • The Eleven >
  • Alligator >
  • Caution >
  • Feedback

Source dates included in mp3 tags.


Thanks to @mr_completely for tipping us off that our preferred “Spanish Jam,” which is split between two different sources, required a channel-flip to make the merger of the two halves sound right. And thanks to Jesse for forcing me to cut and re-edit until the result was as just exactly perfect as we could manage. Beyond that, we’ll let our editorial process remain mysterious. Just enjoy this amazing, non-stop, 86-minute tour through the birth of the mature Dead. 

The Velvet Underground: Instant 1969 Bootleg Collection (Part 2)

If you think of the first half of my BOOTLEG1969 curation as the general release and of this sequel as the bonus material on “the deluxe edition,” you’ll have it about right.  

If you don’t have that first one, start there. It’s meant to be the one-stop companion to “The Complete Matrix Tapes.” 39 tracks; 36 different songs. 

In this three-part expansion pack, I’ve tried to capture everything else from the audience/bootleg tapes that I consider to be compelling listening. I count 18 hours of source tapes, which I’ve curated down to 6.75 hours with my two compilations.  

As with the main compilation, here I’ve endeavored to stack up performances in ways that push them as far out of the bootleg morass and as close to the old “1969 Live” album experience as possible. Nevertheless, the average fidelity of this second set is lower than the first one.

You can download the following three mixes here: 3h15m, 31 tracks, 440MB

Just Like Sister Ray Set (120 minutes)

Aside from “The Complete Matrix Tape” performance, 11 “Sister Rays” from the Reed/Morrison/Tucker/Yule period appear to have made it onto tape. I judge 5.3 of them to be essential. Two appeared on my initial mix, and these are the other 3.3.

Do you need this much Sister Ray? Yes, of course. I wish there were 50 soundboard recordings. 

  • The Story of Sister Ray (edit of 5-11-69 with 3-13-69 coda) (9:38)

This is a nearly all-vocal edit of the song that proceeds directly through the story of Duck and Sally, Rosie and Miss Rayon, Cecil and the sailor, the narrator and his ding-dong. It begins with Reed introducing the characters and their situation and concludes with a mutation into “The Murder Mystery,” in which “Sister Ray’s” murdered sailor gets moved from the carpet to the casket to the parapet, and so on. Two otherwise tedious/abrasive recordings of “Sister Ray” happened to contain the pieces to make this totally approachable version of the song – as a song

  • Sister Ray (12-12-68 Boston) (25:33)
  • Sister Ray (11-7-69 San Francisco – Quine) (24:03)
  • Sister Ray (1-10-69 Boston) (21:04)

Quiet Again (50 minutes)

In some cases, the audience recordings captured quieter songs quite beautifully, even though the same recordings might offer only terrible versions of loud songs. 

My initial curation included one version each of these songs; here are the other pleasing versions. You might like some of them better than the ones I initially picked.

Reed’s vocals on the 7-11-69 “Candy Says” and “Pale Blue Eyes” are fantastic. Both recordings begin rough, but they straighten out. 

  • Jesus (edit 10-68 Cleveland)
  • Candy Says (v. Reed 7-11-69 Boston)
  • Pale Blue Eyes (7-11-69 Boston)
  • Sunday Morning (11-9-69 San Francisco)
  • Jesus (3-13-69 Boston)
  • After Hours (11-8-69 San Francisco)
  • I’m Sticking with You (11-8-69 San Francisco)
  • PA: The texture of adultery (10-18-69 Dallas)
  • Pale Blue Eyes (10-18-69 Dallas)
  • PA: One of our says songs (10-18-69 Dallas)
  • Candy Says (v. Yule 10-18-69 Dallas)
  • I’m Set Free (1-10-69 Boston)
  • 3rd Album Radio Ad
  • Heroin (8-2-69 Rindge, NH)
  • Jesus (edit 3-15-69 Boston)

Underground: Lo-Fi Jams (72 minutes)

The Velvet Underground rocking out is one of the best sounds ever, but it’s also what typically threw audience tape recorders into the red, particularly during verses and choruses. As the “Rock Set” on my initial compilation sadly demonstrated, finding even one really good, end-to-end recording of a loud song on the audience tapes is sometimes a challenge. 

This collection includes all the additional minutes of fiercely-played material that I find exciting, even at low, or very low fidelity. 

A few tracks include the vocals; all the others are instrumental edits. Because of this, you can pretend that this is a lost jam session tape. 

I swear that this is the best remaining version of “Beginning to See the Light.” The song never (seems to have) had a jam, and there’s nothing in this performance that stands out, but somehow it seemed like the song/riff had to be on a low-fi jams mix.

  • I Can’t Stand It (edit 1-10-69 Boston)
  • What Goes On (edit 1-10-69 Boston)
  • Run Run Run (edit 1-10-69 Boston)
  • Foggy Notion (edit 10-68 Cleveland)
  • I Can’t Stand It (edit 10-18-69 Dallas)
  • What Goes On (8-2-69 Rindge, NH)
  • White Light White Heat (edit 3-15-69 Boston)
  • Ferryboat Bill (3-15-69 Boston)
  • I Can’t Stand It (edit 10-68 Cleveland)
  • What Goes On (11-69 San Francisco)
  • I Can’t Stand It (3-13-69 Boston)
  • Beginning to See the Light (1-10-69 Boston)

And that’s it. Everything from this period’s audience tapes that I recommend you take seriously and keep handy, polished and arranged to the best of my ability.  

The Velvet Underground: “Sister Ray” Single Edit (1967)

Given that The Velvet Underground were essentially a far-out R&B band, you can almost imagine “Sister Ray”as a single on Stax in 1968, the 17-minute album version cut down and split into Part 1 and Part 2. Instead, the single went out into instant oblivion on the Pickwick label, the organization Lou Reed was associated with before The Velvet Underground came to be. 

Of course, there was no “Sister Ray” single, but there could have been and maybe should have been. 

Here it is. 

Sister Ray (pt. 1): 3:04

Sister Ray (pt. 2): 3:21

The Velvet Underground: Instant 1969 Bootleg Collection

The first thing to say about this mix is that none of these performances appear on “The Complete Matrix Tapes” (November 26-27, 1969). 

This compilation is intended to be the second place to go for 1968-1969 live Velvet Underground, in the period when both Mo Tucker and Doug Yule were in the band. It contains a version of every composition that made it onto an audience tape, with one exception, and only three compositions are repeated: 39 tracks, 36 different songs.

Practically speaking, this compilation replaces “1969 Live,” the glorious, old, murky double-LP, which was whittled down to four unique tracks, when the release of “The Complete Matrix Tapes” provided upgrades of all the other performances. Likewise, it upgraded nearly a third of the performances on “The Quine Tapes.” 

So, the live VU universe lies in splinters around the amazing soundboard monolith of “The Complete Matrix Tapes.”

I’ve tried to fix that with these 3.5 hours of lovingly selected audience tape performances. The "Live 1969" leftovers are here in the context of their original show, some tracks are pulled from the Quine tapes, and all the rest are unreleased. 

Many of these selections are the only live recording of a song (at all), the only audience recording of it, or the only version in which the vocals are clear (enough) and the distortion low enough to deliver for real. That’s a sad truth about the poor quality of the few tapes that exist, but it’s also miraculous that so many songs actually exist in versions that you want to hear repeatedly. We got lucky in our unluckiness, I guess. 

I had good, known- or seemingly-uncompressed sources for most of this material, though some come from mp3s. I have applied no compression filters, and very, very little frequency-EQing. (i.e., No attempt has been make to make these diverse recordings "sound like" each other.) However, those who are familiar with VU recordings of this sort will find that I have significantly fixed the problem of wild volume variations between and within songs. It's nowhere near perfect, but it's not all over the place.

Corrected version: The three volumes outlined below are zipped up together here, as 320kbps mp3s - 500MB total.

The above is a CORRECTED VERSION. Please tell the person who sent you here that they need to download this corrected track, if they already grabbed the whole file before 1/21/18. It'll drop in where it belongs and show  which song to delete from my original file. Sorry to the people who've already downloaded and will never know!

A Complete Show: October 19, 1969 Dallas – 83 minutes

The leftover songs from “1969 Live” (*) came from this show, including the album's opening address to the audience and first song. It’s a great performance, and it is absolutely the best audience recording of the band in this period. It's the one, complete (non-Matrix) show that everyone should have. (If you already possess it in full, you might still appreciate some of the refinements I’ve made.)

  • Good Evening *
  • Waiting for the Man *
  • It’s Just Too Much
  • Band Intro *
  • Some Kinda Love
  • I’ll be Your Mirror *
  • Femme Fatale *
  • Beginning to See the Light
  • I’m Set Free
  • After Hours
  • I’m Sticking with You
  • One of These Days
  • Pale Blue Eyes *
  • Ocean
  • What Goes On
  • Heroin
  • Sister Ray

A Quiet Set (composite) – 56 minutes

Low-key VU – concentrated. More from the October Dallas stand, Lou Reed singing “Candy Says,” Doug and Mo singing “Rock and Roll,” “Lisa Says" with four improvised verses, a fast live version of “I Found a Reason,” and – yes, truly – a “Sister Ray” that belongs in something called “a quiet set.” This is the only non-Matrix 1969 “Sweet Jane” (another fun variation) and the only live recording of “Ride into the Sun.” The “Ride into the Sun” demo is one of four tracks that were presumably an acetate at some point, two of the others having been officially released on archival sets (“Countess from Hong Kong,” and “I Found a Reason”). 

Caveat: I did my best to moderate the defects on “Jesus” and “That’s the Story of My Life,” which seem to be on all my VU fan friends’ versions as well.

  • Candy Says (12-12-68 Boston)
  • Jesus (10-18-69 Dallas)
  • That’s the Story of My Life (10-18-69 Dallas)
  • I Found a Reason (10-18-69 Dallas)
  • Sunday Morning (10-18-69 Dallas)
  • Ride into the Sun (unreleased demo)
  • Sweet Jane (11-69 San Francisco – Quine outtake)
  • Rock & Roll (10-69 Dallas – “after hours jam”)
  • Lisa Says (10-69 Dallas – “after hours jam”)
  • Over You (11-69 San Francisco – Quine Tapes)
  • Sister Ray (10-18-69 Dallas)
  • Ride into the Sun (11-69 San Francisco – Quine Tapes)
A Loud Set (composite) – 65 minutes

This set leads with the other unreleased 1969 demo/acetate recording, then works its way through all the rockers not represented by the October 19th Dallas show. Sound quality gets a little rough as it proceeds, but in terms of a balance between exhilarating crunch and listenable songs, these are the ones. "Ferryboat Bill" is unlistenable, with only the delighted crowd response at the end to tell you how great it must have really been.

  • Real Good Time Together (unreleased demo)
  • It’s Just too Much (11-69 San Francisco – Quine Tapes)
  • Sweet Bonnie Brown (11-69 San Francisco – Quine Tapes)
  • I Can’t Stand It (11-69 San Francisco – Quine Tapes)
  • Move Right In (1-10-69 Boston)
  • Foggy Notion (11-69 San Francisco – Quine Tapes)
  • Run Run Run (8-2-69, Ringe, NH)
  • Follow the Leader (11-69 San Francisco – Quine Tapes)
  • White Light White Heat (12-12-68 Boston, MA)
  • Ferryboat Bill (3-13-69 Boston)

Follow-up to this compilation here.

Lost 4th album here. 

Grateful Dead: New Year’s ’77 (Jarnow Road Trip)

I’ve been neglecting The Grateful Dead, so I’m going to exploit a guest DJ.

Jesse Jarnow (@bourgwick) is the only person I know who has set out to listen to every Grateful Dead concert in chronological order. On his 40-year delay, he reached the end of 1977 a week ago. In a couple of decades, he will be the King Deadhead; no one else will be able to claim to have gone to every show, in order, and live-tweeted it. 

Jarnow shared his ideal setlist from the 1977 New Year’s Winterland run, and I’ve edited it together here. Thrilling. First "China > Rider" since October 1974.

100-minute mp3 mix here (source dates included in title tags)

  • Mississippi Half-Step
  • Dire Wolf
  • Passenger
  • Row Jimmy
  • Estimated Prophet >
  • Eyes of the World
  • China Cat Sunflower > I Know You Rider >
  • China Doll >
  • Playin’ Jam
  • Scarlet Begonias >
  • Fire on the Mountain
  • Terrapin Station

I think the cover photo is actually from the Dead New Year’s show exactly 10 years later. I just wanted a good balloon drop, and that's what the search engine handed me. Here's an actual photo from the run: