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STARDATE 12-23-2012

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A Starquake is an astrophysical phenomenon that occurs when the crust of a neutron star undergoes a sudden adjustment, analogous to an earthquake on Earth. This is thought to be the source of the giant gamma ray flares that are produced approximately once per decade from soft gamma repeaters. Starquakes are thought to be caused by huge stresses exerted on the surface of the neutron star produced by twists in the ultra-strong interior magnetic fields.

The largest recorded starquake occurred on the ultracompact stellar corpse (magnetar) SGR 1806-20. It released gamma rays equivalent to 1036 kW in intensity. This starquake occurred 50,000 light years away; had it occurred within ten light years of Earth, it could have potentially caused a mass extinction.


(The "unfinished Album Studio Sessions")

This is a collection of songs which (if the Deadhead's Taping Compendium is to be believed) were to have formedthe basis for the first GD studio album of the 1990's. The material appears to be a mix of live SBD recordings (possiblywith some minor overdubs) and rehearsals; its doubtful if any of this represents actual studio recordings aimed at an album release.

This came into circulation in mid-1997: several sources (including the Compendium) indicate that this was intentionally put together - possibly by John Cutler and Phil Lesh - and seeded to trading circles to counteract several "last GD album"bootlegs that had been produced in 1995/1996 (all sourced from 1990 thru 1995 SBD or AUD recordings.

From Rolling Stone, Apr 20, 1998

Although it's common knowledge that the Grateful Dead were in the midst of recording when Jerry Garcia died almost threeyears ago, former keyboardist Vince Welnick shed more light on the unfinished album in a recent conversation with the Rolling Stone Network.

According to Welnick, the album was set to include such tour-tested songs as "Liberty,""So Many Roads,""Days Between,""Samba in the Rain,""Way To Go,""Corrina," and "Easy Answers," but Garcia passed away before the tracks could be completed. "We had just about finished the basics when Jerry checked out," Welnick said. "It's a shame, because we spent
a lot of time in there."

Although the studio tapes from the Grateful Dead's would-be swan song are still around, Welnick doubts that the album can be salvaged. "There weren't even working vocals on some of the songs. There was also very little guitar. If they wanted to make
something of it, they'd probably have to splice in something from one of the show tapes."

Grateful Dead spokesman Dennis McNally denied that anything will ever come of the album.
"Only Bob [Weir] ever thought that anything could be done, but it can't. Jerry didn't contribute to it. Everyone else contributed to it, but Jerry just wasn't with it. There's not even a title, to my knowledge."

ISAAC JOSEPHSON

SO...... here is STARQUAKE A combination of the unfinished LP sessions and the CD bootleg that circulates as "Earthquake Country" I added two tracks from the CD as bonus tracks while leaving the other sessions intact. Welnick in his interview stated the works had no title so my combination of the works I have called STARQUAKE
In OMO that sounds so much better than the moniker Earthquake Country


The track listing is:

From the Unfinished LP sessions

1. Lazy River Road (Garcia/Hunter) 6:01
2. Easy Answers (Hunter.Bralove/Weir/Welnick/Wasserman) 6:23
3. So Many Roads (Garcia/Hunter) 5:19
4. Wave To The Wind (Lesh/Hunter) 7:22
5. Eternity (Weir/Dixon) 7:20
6. The Days Between (Garcia/Hunter) 9:56
7. Way To Go Home (Welnick/Hunter/Bralove) 7:05
8. Corinna (Weir/Hart/Hunter) 9:33
9. Liberty (Garcia/Hunter) 6:00

* Bonus Tracks ( from the circulating bootleg LP )
10. If The Shoe Fits 7:14
11. Corinna>Days Between 22:12

http://mir.cr/1DNU7BNV


PIGPEN'S BLUES

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Considered by most (including Jerry) to be the center of the early band. Pig's attention to the blues gave the Dead a perspective and starting point in their early years. Ron would not partake of drugs but had a absolute addiction to alcohol which lead to his death early in life at the age of 27. He passed from liver cancer and as his gravestone reads he will always be one of the Grateful Dead. He was inducted into the rock and roll hall of fame as a member of the band. Here is a comp of Pigpen's performances with the band

set one

01  good morning little school girl   5-14-70
02  operator  9-18-70
03  easy wind  9-20-70
04  the midnight hour  2-14-68
05  it's a man's world  4-20-70
06  empty pages  8-26-71
07  alligator  1-22-68 

set two

01  she's mine  5-15-70
02  katie mae  5-15-70
03  hard to handle  4-21-71
04  good lovin'  4-17-71
05  the rub  4-5-71
06  i'm a hog for you baby  4-6-71
07  big boss man  7-16-66
08  king bee  2-24-71
09  pain in my heart  7-16-66
10  the rub(acoustic)  11-6-70

set three

01  turn on your lovelight  9-19-70
02  mr charlie  12-6-71
03  chinatown shuffle  5-13-72
04  it hurts me too  5-11-72
05  two souls in communion  3-23-72
06  good lovin'  unknown dates.......
07  caution(do not step on the tracks)
08  good lovin'
09  big boy pete
10  searchin'


http://mir.cr/0I46MVKN


GRATEFUL DAWGS

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Garcia / Grisman   12.8.91
Warfield Theater - San Francisco, CA

Jerry Garcia - Vocals, Guitar, Banjo
David Grisman - Mandolin, Vocals, Banjo
Jim Kerwin - Bass
Joe Craven - Percussion, Fiddle

-DISC/SET ONE- (63:13)
01  Shady Grove
02  Sitting In Limbo
03  Rosa Lee McFall
04  So What
05  I Ain't Never Seen Nobody Like You
06  The Thrill Is Gone
07  Dawg's Waltz
08  Dreadful Wind and Rain
09  Arabia

-DISC/SET TWO- (64:43)
01  Red Rockin' Chair*
02  Trouble In Mind*
03  Sweet Sunny South**
04  Walkin' Boss*
05  Jack-A-Roe
06  Friend Of The Devil
07  Louis Collins
08  Grateful Dawg
09  Russian Lullaby
10  God Rest Ye Merry Gentlemen
 (E)
11  Ripple

*Garcia/Grisman duet
**Garcia & Grisman Duet on Banjo

http://mir.cr/1MSHOA8O


ALL IN THE FAMILY

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In 1968, with Jerry Garcia in the Grateful Dead, David Nelson in an outfit called the New Delhi River Band, and John “Marmaduke” Dawson – who, along with a young Bob Weir, had been part of a pack of younger kids hanging around their scene (“We were like, “Get lost, kid!’”) – bugging Nelson to come down to hear some new country-tinged tunes he’d written. Meanwhile, Garcia had been getting the itch to play pedal steel. “He used that as a vehicle for “I’ll be your sideman,’” Nelson recalls, “and so we played at a pizza parlor, and then it got serious. There was enough attention and buzz about it that I thought, yeah, we might do well to try this.”

The idea simmered for the next few months while everyone pursued other interests – “It was, “As long as you’re in San Francisco, why don’t you come up to Jerry’s house and we’ll play in his living room?’ That’s how it started,” Nelson says. “It was right around the moon shot, where they actually walked on the moon. So we’d sit there and play, and watch that, and play some more. It was really great.

“Our first gig was the Bear’s Lair student union at Cal, and we didn’t know what to call the band, other than Murdering Punks,” Nelson laughs. “You get started on funny names and it won’t stop, you know? Hunter came up with the name ‘Riders of the Purple Sage,’ and I said there already was a Riders of the Purple Sage, Foy Willing and the Riders of the Purple Sage in the ’30s and ’40s. I said, how about ‘New’? John said, “You just like bands with the word “new” like “New Delhi River Band”.’ (laughs) That’s how it became New Riders of the Purple Sage.”

The initial lineup featured Dawson and Nelson, along with Garcia on pedal steel, Phil Lesh on bass, and Mickey Hart on drums. “Pretty soon we realized when the Dead go on a tour, all we have to bring is two guys, me and John, and we’ll have a whole nother band,” Nelson laughs. “So that was cost-effective. Phil played bass for a while, and then (New Delhi River Band bassist Dave) Torbert came back from Hawaii. Now it’s only three guys, still pretty good.”

The band caught the eye of record mogul-in-the-making, Clive Davis, and soon had an attractive record deal. They also had ongoing personnel shifts; when Garcia left to focus on the Dead and his other side bands, pedal steel player Buddy Cage took over and stayed for many years. Former Jefferson Airplane Spencer Dryden did a stint on the drums.

The core of Nelson and Dawson remained throughout. What also remained throughout was a growing body of great tunes, because Nelson, Torbert, and in particular Dawson were great songwriters, and Hunter was known to contribute a song or two from time to time. But, by the early ’80s, the New Riders had disbanded and their members were off pursuing other interests, though in the years that followed Dawson would periodically front a band under that name.

The New Riders continue to perform today with David Nelson and Buddy Cage as the bands frontrunners.
Write up from the Rex Foundation web site.

 New Riders of The Purple Sage
Grateful Dead
Capitol, Theatre , Port Chester NY
November 8, 1970

This show is a keystone of the Grateful Dead, one of those shows
that really  gives you pause and makes you wonder.  A show of firsts
and lasts,  when it was all said and done, it had laid to rest some
old lexicons, and created a new set of criteria by which the band
would be judged. This was truly  one of the legendary Grateful Dead
shows. The Dead had a way of continually redefining  themselves in
performance, and this show buries the sixties and propels them into
the seventies
This is the last official acoustic set of the 70's.  ( Other than, or
But for one Besides an) impromptu set in 1978, most of the songs performed
acoustically would not see the light of day again until the fall of 1980,
when they were showcased at the 10 night run at the Warfield in San
Francisco, and 8 nights at NY's Radio City Music Hall. The final "Operator",
and "Wake Up Little Suzie", Mystery Train > My Babe (only time played), New
Orleans > Searchin', Main Ten (last time played), all standout in this
performance, and then like a dream, are gone. Around and Around (first
time played), and a long stretch before you hear "Baby Blue" again.
This release also includes the complete New Riders set, known to
circulate only as a fragment.

Here's the complete  set list...

Disc One -  Acoustic Set  -
01) Tuning
02) Dire Wolf
03) I Know You Rider
04) Dark Hollow
05) Rosalie McFall
06) El Paso
07) Operator (Final time played)
08) Ripple
09) Friend Of The Devil
10) Wake Up, Little Suzie  (Final time played)
11) Uncle John's Band

Disc Two - NRPS -
01) Tuning
02) Six Days On The Road
03) Superman
04) Whatcha Gonna Do
05) Glendale Train
06) All I Ever Wanted
07) Fair Chance To Know
08) Portland Woman
09) Cecilia
10) Truck Drivin' Man
11) Last Lonely Eagle
12) Louisiana Lady
13) Honky Tonk Women

Disc Three - Electric Dead -
01) Tuning
02) Morning Dew
03) Me And My Uncle
04) Mystery Train  (Only time played)
05)>My Babe (Only time played)
06) Around And Around  (First time played)
07) New Orleans
08)>Searchin'
09) It's All Over Now, Baby Blue
10) Casey Jones

Disc Four - Electric Dead  -
01) Truckin'
02)>Dark Star (First verse only)
03)>The Main Ten  (Final time played)
04)>Dancin' In The Streets
05)>Not Fade Away
06)>Goin' Down The Road Feelin' Bad
07)>Not Fade Away
08)>Drums
09)>Good Lovin'
10)>Drums
11)>Good Lovin'

Info and write up from the circulating file.



http://mir.cr/0JFLSOYY

AT THE GREEK

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One from the 80's with an extra touch of guest stars. Never can go wrong with a bit of Cipollina

Grateful Dead - May 15, 1983
Greek Theatre - Berkeley, CA
University Of California

-- Drums and Space with Airto Moreira and Flora Purim
-- Not Fade Away with John Cipollina

Set 1:
d1t01 - Touch Of Grey
d1t02 - New Minglewood Blues
d1t03 - Ramble On Rose
d1t04 - Cassidy
d1t05 - Brown Eyed Women
d1t06 - Hell In A Bucket
d1t07 - Althea
d1t08 - Looks Like Rain ->
d1t09 - Deal

Set 2:
d2t01 - Happy Birthday Dan Healy
d2t02 - Help On The Way ->
d2t03 - Slipknot! ->
d2t04 - Franklin's Tower ->
d2t05 - Samson And Delilah
d2t06 - He's Gone ->
d2t07 - Drums ->
d3t01 - Space ->
d3t02 - Truckin' ->
d3t03 - Stella Blue ->
d3t04 - Throwing Stones ->
d3t05 - Not Fade Away

Encore:
d3t06 - It's All Over Now, Baby Blue 


                                                                        http://mir.cr/FE52EWMP

A VELVET PLASTIC PRODUCTION

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Found this short file a bit ago. It is interesting to me because it probably should have been my first show.
However as any young man at that time would be, I had other things on my mind and did not make it. I would see the dead the next Feb of 69 when they returned as opening act for the Iron Butterfly. This show has from sources the first playing of St Stephen live and it is said that they played Schoolgirl as their second song but it is absent from the taping. Remarkably this sounds pretty good for it's age and I wish I would have been there. The handbill is a shot of the original that was distributed prior to the event . Crude but historical at least for me  since I call St Louis home

 Grateful Dead
National Guard Armory
May 24-1968[
St Louis MO

First GD in St Louis with first St Stephen

01  Morning Dew
02  It Hurts Me Too
03  Dark Star
04  St Stephen
05  Turn on Your Lovelight

http://mir.cr/0UFUFZUZ
 

KING SIZED KEZAR

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Just a couple of more Dead related stuff then it's off for the Christmas(Yes! I said Christmas!) holiday. I might post during the week before New Year's if anyone is interested. so let me know. This is a big show I do believe this an early Betty Board show

Set 1

The Promised Land
Deal
Jack Straw
Tennessee Jed
The Race Is On
Sugaree
Mexicali Blues
Row Jimmy
Looks Like Rain
They Love Each Other
Playing In The Band

Set 2

Here Comes Sunshine
El Paso
Loser
Beat It On Down The Line
You Ain't Woman Enough
Box Of Rain
China Cat Sunflower ->
Jam I Know You Rider
Big River
Bertha
Around And Around

Set 3

Mississippi Half-Step Uptown Too de loo
Me And My Uncle
He's Gone ->
Truckin' ->
The Other One Jam ->
Phil And Billy ->
Bass Solo ->
Phil And Billy ->
The Other One ->
Eyes Of The World ->
China Doll
Sugar Magnolia

Encore

Casey Jones
                                                                       http://mir.cr/0B9IK9MR

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BOMBS AWAY

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disc 3
78:53

studio
01 - Ice Cream Phoenix
02 - Ice Cream Phoenix
03 - Frozen Noses
04 - Mexico
05 - Mexico
06 - Been So Long - instrumental
07 - Share A little Joke With The World
08 - Greasy Heart
09 - The Farm
10 - The Country
11 - Wooden Ships >
12 - JPP McStep B. Blues
13 - Good Shepherd
14 - We Can Be Together
15 - Hey Frederick
16 - The Farm
17 - Wooden Ships >
18 - JPP McStep B. Blues
19 - Volunteers
20 - Good Shepherd



BACK TO THE BAY

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Let's start the New Year right! Here's a QMS show that has recently surfaced on Dime and BigOZine'
It sounds excellent especially for such an early performance in their career. Thanks to Alan for the nod!

Line-up ::: Jim Murray - vocals, harmonica, tambourine // John Cipollina - electric guitar, vocals // Gary Duncan - electric guitar, vocals // David Freiberg - electric bass, vocals // Greg Elmore - drums, percussion. 

Quicksilver Messsenger Service
1966-08-xx(*) San Francisco, California  Matrix Coffeehouse
More than likely from a three night stand in early August but cannot be verified as fully accurate

01. Little Dandelion
02. All Night Worker
03. Hoochie Coochie Man
04. Duncan & Brady
05. Pride Of Man
06. You Don't Love Me
07. Dino's Song (->)
08. Hair Like Sunshine
09. Babe I'm Gonna Leave You
10. Mona//
11. Got My Mojo Working
12. Remember Me  
13. I Hear You Knocking
14. Runaway
15. Smokestack Lightning
16. Suzie-Q
17. You Don't Love Me (#2)
18. Dino's Song -> (#2)
19. Hair Like Sunshine (#2)   

http://mir.cr/61PF5INT

PSYCHEDELIC JUG FACTOR

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A group who mixed up elements of jug band, folk-rock, blues, and psychedelia, PH Phactor was based at various points in both Portland, OR, and San Francisco. During their lifetime they recorded just one single, "Minglewood Blues"/"Barefoot John," released in 1967 on the Piccadilly label. The A-side, an update of a blues song from the 1920s, was one of the best of the relatively few jug band/blues/folk-rock combinations to be released in the 1960s, while the B-side was raw, bluesy folk-rock. An entire album of material recorded by the band, Merryjuana was released in 1980 on Piccadilly. This LP (now very hard to find) showed more range than the single had, with excursions into good-time jug band music, Country Joe and the Fish-like psychedelia, and blues-rock.
On the evidence of this rare LP, PH Phactor were a band that, like the Lovin' Spoonful, Country Joe & the Fish, the Charlatans, and Kaleidoscope, linked jug band folk to psychedelic rock in their versatile repertoire. PH Phactor, alas, weren't as notable as any of those prior acts. But their music on this 1980 release (recorded during the 1960s, although only two tracks, the single "Minglewood Blues"/"Barefoot John," came out at the time) was respectably enjoyable. As was the case with all of those like-minded groups, they sounded worst when they were trying to do comic jug band material. At other points, though (as on "Suzy"), they had an engaging, ragged blues-rock-psychedelic looseness and quizzical humor reminiscent of San Francisco bands like Country Joe & the Fish and, less closely, the Charlatans. Strange as it might seem, one of the singers -- the guy who takes the lead on "Jelly Roll" and "Barefoot John" -- sounds a heck of a lot like Jonathan Richman, though there seems no way Richman could have been influenced by such an obscure group. They do a surprisingly good blues-rock cover of Howlin' Wolf's "Three Hundred Pounds of Joy" (here retitled "200 Pounds of Heavenly Joy"), and get into eastern-influenced jazzy psychedelic improvisations on the seven-minute "Rain Island." ~ Richie Unterberger, All Music Guide

Tracks
Love love love
Suzy
Eyes of love
Skin
Jerry roll
Minglewood blues

Barefoot John
200 pounds of heavenly joy
38 gun
Merryjuana
Rain island


Paul Bassett ~ Drums, Washboard
John Browne ~ Guitar, Harmonica
Davy Coffin ~ Guitar, Mandolin
John Hendricks ~ Mandolin, Mandola, Banjo, Guitar, Kazoo, Jug, Vocals
Dennis Long ~ Drums
Steve Mork ~ Bass, Jug
Nick Ogilvie ~ Guitar, Banjo, Harp, Vocals
Chris Robinson ~ Guitar
Mike Rush ~ Drums Album: Merryjuana


http://mir.cr/1EXURLLL

FUNKY BUT CLEAN

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A lot of requests for more Grootna. The biggest problem is there is not a whole lot out there.I did manage to come across this set from the closing nights at the Fillmore West in 71 Enjoy!

The band acquired well-known San Francisco concert promoter Bill Graham as its manager and signed a contract with Columbia Records. Its self-titled debut album was produced by former Jefferson Airplane member Marty Balin and released in December 1971. It did not chart. Grootna continued to perform around the Bay Area into the summer of 1972, then broke up, after which former members joined with Balin in another short-lived band, Bodacious D.F.

Jack Bonus - sax
Kelly Bryan - bass
Slim Chance - guitar, vocals
Dewey Dagreaze - drums, vocals
Anna Rizzo - lead vocals
Vic Smith - guitar, vocals
Richard Sussman - piano

1. That's What You Get (3:42) --abrupt start
2. Road Fever (5:36) --abrupt start
3. I'm Funky (5:59)
4. Crazy 'Bout You Baby (6:15)
5. You're Drivin Me Crazy (6:09) --abrupt start
6. I Can't Get No Nookie (4:43)
7. Tend To Your Business (6:09) --abrupt start
8. Live A Life Of Joy (3:48) --abrupt start

http://mir.cr/S4OOS1E0

GROOTNA LIVE

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GROOTNA
Fillmore East, New York, New York
1971-July-17

line-up:
Anna Rizzo - lead vocals
Vic Smith - guitar, vocals
Slim Chance - guitar, vocals
Richard Sussman - piano, vocals
Kelly Bryan - bass
Dewey DeGrease - drums


01 Intro (Bill Graham)
02 Live a Life of Joy
03 I'm Funky
04 Waitin' for My Ship
05 Road Fever
06 That's What You Get
07 Full Time Woman
08 You're Drivin' Me Crazy

Grootna was a group based in Berkeley, CA, formed in 1971 by singer Anna Rizzo, lead guitarist Vic Smith, pianist Richard Sussman, rhythm guitarist Slim Chance (a/k/a Austin DeLone), bassist Kelly Bryan, and drummer Dewey DaGrease (a/k/a Greg Dewey). The band acquired well-known San Francisco concert promoter Bill Graham as its manager and signed a contract with Columbia Records.
Grootna only played the Fillmore East twice, on two consecutive nights at the bottom of a bill that also included B.B. King andMoby Grape. This tape was recorded on the first of the two nights,
and was among the last concerts Bill Graham produced at this fabled venue.

http://mir.cr/U8S5OEDU

THE JOY OF FRISCO

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This one comes as a wonderful surprise! A true lost treasure from one of Frisco's ballroom groups.
I big thank you to the original up-loader for giving you and I a chance to hear one of those bands that had no known recordings . There are countless posters out there featuring the band. The most well known being from this very night when Allmen Joy was the opening act for the Doors 

Here are a few notes from the text that came with the file.

If Blue Cheer made cream cheese outta the air, then these guys must have crystallized the heavens on a good night .A  mix of Blue Cheer & Big Brother guitars, Country Joe & The Fish style ethereal moves & organ, & occasional Dead-like feedback & vocal insanity, mixed with 60s garage sounds & a nod to the Chambers Brothers... 60s West Coast manna from the vault.

This recording demands some real volume so hang out the freak flag & hope the neighbors are on vacation. A missing link in the 60s Bay Area music puzzle & undoubtedly one of the finest uploads ever offered so far . Not sure what might crawl out of the cave in the future, but this should shiver some timbers & shake some angel dust outta yr trees. Here's one from the depths of 1967 Haight Ashbury, where & when the love children were playing on the street & dancing in the park with rainbows in their eyes, flowers in their hair & the Allmen Joy filling their ears on many a night. 
 
 
 Allmen Joy
1967-12-xx  Denver, Colorado  Family Dog  1601 West Evans Avenue

 Line-up (unconfirmed) ::: Lu "Fist" Stephens - organ, vocals // Roger “Rog” Alan Saunders - lead electric guitar, vocals // Ken Zeidel - rhythm electric guitar, vocals // Dennis "Funky" Parker - electric bass, vocals // Rod Harper - drums.

01-[06:38]  Walk With Me
02-[11:02]. Funky Broadway
03-[09:58]. Funky Broadway (late set, or reprise)
04-[10:55]. You're Gonna Miss Me
05-[06:55]. Need Your Love
06-[07:01]. The// Merry Tripster
07-[06:43]. The Monkey Time
08-[04:22]. 'Freak Out' -> ? (instrumental)...

http://mir.cr/0S15K42L

BRUMMELS 75

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With the demise of Stoneground, Sal would become active in work with Ron Elliot from his days with the Beau Brummels. in 74 a reunion of that band would become reality with the help of original drummer John Peterson. A tour would happen and a great LP would be made . It was short lived however and the band would again move it;s separate ways. I highly recommend the official 75 reunion LP



A little less circulated show from the 75 club tour. Fairly good sound quality

Set List:

01 - SINGING COWBOY
02 - LAUGH LAUGH
03 - CHARLY CHAPLIN SONG
04 - FIRST IN LINE
05 - YOU TELL ME WHY
06 - LOVE CAN FALL A LONG WAY DOWN
07 - GOLDRUSH
08 - JUST A LITTLE
09 - MELODY
10 - RESTLESS SOUL
11 - ARE YOU HAPPY
12 - TENNESSEE WALKER
13 - WOLF


http://mir.cr/6W7UWSWN


MILLER BLUES

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I must confess to having never been a big Steve Miller fan. I kind of lost interest in Miller's work when he became a "pop" star instead of sticking tohis blues roots. I did enjoy his work from the San Francisco time frame. His albums from the psychedelic days were good and have some great classic songs. Here are three shows from the early days that features the original blues band lineup. I am pretty sure that they are not complete shows but they do reflect Steve Miller at a very creative time in his career. The original artwork above is by Victor Moscoso

Steve Miller was part of the great hippie season of San Francisco, but in reality he was a blues man who played elegant and refined blues-rock. When the acid-rock fashion died, Miller revealed his true mission: writing muzak that was both atmospheric and relaxing.
Raised in Texas, leader of a blues band in Chicago with Barry Goldberg, Miller arrived in San Francisco in 1966 and formed the Steve Miller Blues Band. At his side was singer, rhythm guitarist and childhood friend Boz Scaggs.
The sound of Children Of the Future (Capitol, 1968) is by all means hallucinogenic, but without sacrificing the structure of the song, and best of all, preserving all the aggressive boogie riffs of a well disciplined blues band. The album is stylistically divided in two sides. Side One is relatively traditional, the domain of the impeccable Scaggs, with blues cuts perturbed by solos a la Hendrix, ecstatic choruses and acid keyboard, as in Roll With It and Baby's Callin' Me Home. Side Two is experimental, as the times demanded, a multi-part suite for ecstatic voices, Jim Peterman's church organ and wild guitar. Fantastic melodies are enriched by cosmic overtones, with a spirited country flavor in Children Of The Future. Instrumentals, psychedelic and celestial, are placed in the middle of an epic and symphonic "Pink-Floydian" blues in the seven minute In My First Mind. Short intervals of turbulence and dissonance punctuate The Beauty Of Time, with its mantra-chorus grand finale.
Frequent use of electronic effects weakens the guitars' voice on Sailor (Capitol, 1968), albeit conferring to the music a wilder character. The opening song Song For Our Ancestors features a sustained organ in crescendo, mimicking the rhythm of an air raid siren. Living In The USA and Overdrive are catchy blues rock songs; Dime-a-dance Romance is Scaggs' best ballad.
Your Saving Grace (Capitol, 1969) and Brave New World (Capitol, 1969) are complementary albums. The first is a collection of soft rhythm and blues ballads like Your Saving Grace, Baby' s House, Feel So Glad. The second is a dynamic red-hot album, with a series of insistent blues rockers like Space Cowboy, My Dark Hour and Brave New World. After Scaggs and Peterman's departure the sound became progressively more manneristic and less bluesy.
Number Five (Capitol, 1970) is a roots-rock album, in a year when many were turning to country. More than anything, it is a pretext to span many stylistic fronts, from Going To Mexico, to Going To The Country, to Midnight Tango, always with grace and gentleness.



Steve Miller Blues Band
Carousel Ballroom, San Francisco, CA
April 26, 1968

Stereo soundboards

1. Blues Jam (with The Sons Of Champlin)
2. Baby What You Want Me To Do
3. Yonders Wall
4. Next Time You See Me
5. Roll With It

Total time 48:42

Carousel Ballroom, San Francisco, CA
April 28, 1968

CD 1:
1. I Got My Eyes On You
2. Born In Chicago
3. Highway Child
4. Fannie Mae
5. Got Love If You Want It
6. Steppin' Stone
7. Blues With A Feeling
8. I Worry About My Baby Too Much
9. Yonders Wall
10. Mercury Blues

CD 2:
1. Living In The USA
2. Blues For The Goldberg/Miller Blues Band a/k/a Song For Our     Ancestors
3. Key To The Highway

Total time 1:33:26


Carousel Ballroom, San Francisco, CA
May 10, 1968

1. Living In The USA (fades in) >
2. Mercury Blues
3. Steppin' Stone
4. Feel So Good
5. Junior Saw It Happen
6. Yonders Wall (cut)  

Total time 47:24
Steve Miller - guitar, vocals
Boz Scaggs - guitar, vocals
Jim Peterman - keyboards
Lonnie Turner - bass
Tim Davis - drums


                                                                                http://mir.cr/CWJMT3S5

MADE IN 68

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Freedom Highway came together during jam sessions run by Rod Albin at 1090 Page Street in San Francisco in early 1967. The first settled line-up of the band was probably Richi Ray Harris (guitar, vocals), Mike Lamb (vocals), Howie Lazzarini (organ), Scott Inglis (bass) and Kurt Eichstaedt (drums). The group performed in some of the major Bay Area venues during 1967 and early 1968. Sometime during this period the group became a trio with Richi Ray Harris, Scott Inglis and Bruce Brymer (drums, vocals). Later in 1968 Gary Philippet (guitar, vocals) joined the group. Toward the end of that year or early in 1969 Inglis left the band and was replaced by Dave Schallock. It is likely that there were other band members at certain periods in the bands existence.

 Tracks

  • Chico (Smoke el Ropo)
  • Give
  • Don't Look Back
  • The Waltz for Prime Tunas
  • New Connections
  • Heaven Train
  • Loretta
  • Real Eyes
  • Head in the Fire
  • Be My Friend
  • Black and White
  • Reese Returns
  • Spirit Passing 'Round

http://mir.cr/34JG1917

THE SPIRIT SOUND

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While the San Francisco bands flourished the Southern California bands would also represent  to the music world some very fine musicians. Here is one from the ever persevering band "Spirit". Randy and Ed would continue their music until the time of death of Randy. One of my all time favorite groups who have provided years of great sounds for our enjoyment.

Spirit
Live in Hamburg 1981


Randy California - Guitar/Vocals
Ed Cassidy - Drums
Larry "Fuzzy" Knight - Bass
George Valuck - Keyboard

This is a soundboard source

1 - Crowd
2 - Shattered Dreams
3 - So Little Time To Fly
4 - Hey Joe
5 - Nature's Way
6 - Turn To The Right
7 - All Along The Watchtower
8 - Like A Rolling Stone
9 - Five In The Morning
10- All the Same>
11- Drum Solo\ Potatoland Theme>
12 - All The Same
13 - I Got A Line On You
14 - Can't Wait Until Tomorrow
15 - Wild Thing


                                                                                http://mir.cr/1SJGUX12

LIVE MINT

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Mint Tattoo was born as an off-shoot of the legendary '60s proto-punk acid band Blue Cheer. Bruce Stevens and Ralph Burns Kellogg had played together in Blue Cheer on the band's self-titled album in 1969, but after that one album, Stevens left the band to pursue other interests. Kellogg stayed on with Blue Cheer until the demise of the band in 1971, but during his tenure with Blue Cheer he reunited with Stevens, along with drummer Greg Thomas to form the band Mint Tattoo. Produced by James William Guercio (Chicago) and engineered by Phil Ramone in New York, Mint Tattoo is a mixture of blues-styled original songs, a cover of classic blues numbers and some rather uninspired, typical-for-the-era hard rock tunes. Not an overly exciting album, compared to the early Blue Cheer material, but none the less a periodDot Records Keith Pettipas, Rovi
.Sound quality is rough but it's as good as it gets considering that Mint Tattoo was not recorded a lot

http://mir.cr/16YWVQPD


SILVER METRE

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Silver Metre was a short-lived, San Francisco-based outfit formed by Leigh Stevens, previously with Blue Cheer, and Mick Waller from the Jeff Beck Group. Together with Tom Cowan and Pete Sears, the band released one album in 1970. The album, recorded in England, is basic heavy rock with a spattering of psychedelia. A mix of originals and covers songs, it includes three Elton John/Bernie Taupin compositions: "Country Comforts,""Now They've Found Me," and "Sixty Years On." While the album did not make much impact upon its original release on the small National General label in the U.S., it is of interest to collectors because of the early Waller-Stephens connection. Stephens and Waller would later move on to the British-based band Pilot, a short-lived early-'70s outfit, while Pete Sears was later in Stoneground and Jefferson Starship.

Originally posted mid July 2009 Revamped the artwork
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