Grateful Dead
Date 1984-04-13
Hampton Rhodes Coliseum
Hampton VA

This is a 16 bit 44.1khz fileset

Set 1
d1t01 - tuning
d1t02 - Day Job >
d1t03 - Minglewood Blues /$
d1t04 - Dire Wolf /
d1t05 - Beat It On Down The Line
d1t06 - West L.A. Fadeaway /
d1t07 - It's All Over Now *
d1t08 - Bird Song
d1t09 - Hell In A Bucket >
d1t10 - Don't Ease Me In

Set 2
d2t01 - tuning
d2t02 - Scarlet Begonias > Fire On The Mountain # >
d2t03 - Estimated Prophet > //
d2t04 - Drums >
d2t05 - Space >
d2t06 - The Wheel >
d2t07 - Truckin' >     //
d2t08 - Goin' Down The Road Feelin' Bad >
d2t09 - Around & Around >
d2t10 - Good Lovin'
d2t11 - U.S. Blues

# Mickey Hart on Djimbe

This is from the legendary 1984 Spring Tour run the first time they sold tour booklets, one ticket to every show that tour- we bought several booklets. The second set Scarlet >Fire is considered one of the top ten ever performed. Listen to Mickey on "talking drum" during Fire; the space/drums/space following Estimated is far far out there.
$ "T right here in Norfolk or wherever we are" - Bobby
* Brent scat singing with Bobby in middle of tune
/ = stopped deck between tunes to save tape/batteries.
// Tape flip

Recording Notes:

This fileset is sourced from the master mic copy while shnid 132771 is from 1st gen copies (and is mislabeled)

1] The Sennheiser binaurals were pressure gradient "omni" type capsules designed to be worn on a human head or the supplied dummy head. This is one of the best representations of how they sounded in this type of live environment.
This will sound BEST through headphones; through a stereo you may choose to increase bass slightly.
2] First set tape was stopped between every song break; we must have been trying to conserve batteries. Second set same method until after drums.
+ Tape flip ~41.05
3] First minute has recording level variations; the Sound crew doesn't get it set for levels until start of second song.

Recording Information:

Source: MAUD CA: Sennheiser MKE2002 Binaurals mounted on dummy head 60 feet from stage >Sony TCD5M >Maxell Metal 100s No Dolby - Master copy from lead deck run by CK.
Transfer: Nakamichi MR-2 > Marantz PMD661|24/48 SD
Processing: SD| Audacity | cdwav editor | TLH | FLAC
Recorded by: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook)
Transferred by Kyle Holbrook

==================================================================
the tour story:
The saga of the dummy head begins[courtesy of Kidwell & Yacavone]
In these days, although the GD "allowed" taping, their security would not clear it in advance, so venue security would often attempt to stop tapers from getting gear in as per their regular event policy. I do not recall this venue stopping anyone at these shows. The dummy head's story is: we had put a lightning bolt sticker on the nose of the head, and a bandana over its head and gave it to one of our girls to bring in. When the security guard asked, "what's That?", she said, "a deadhead". He didn't skip a beat (or flip it upside down to see the mounting thread and SENNHEISER logo) and said, "OK, go on in". Once inside, we had the head on a stand set up DFC on the floor and were trying to conceal it for a while with a towel. Somehow Dan Healy noticed it and actually came down from his riser and spoke with us about it. He even asked for a copy of the tape which we provided him the next night. We named the head Butch and had a great experience hauling this dummy head around that year.

All true musical analyses  of this show are eclipsed by Mickey and the Talking drum, or Djimbe, during Fire on the Mountain and drums. Mickey came out and stood between Jerry and Brent striking the drum with a mallet while the entire band grooved with the added drum tones. The Good Lovin features serious Bobby vocal antics and the crowd was loving it!

Back in the motel I was wandering the halls when I met a person who was to become a great friend to me and a serious influence on several of the executive crew. Gordon Merrick was standing in the hallway at the entrance from the parking lot handing out pens which had "Let the Four Winds Blow You Safely Home" inscribed on them. I think he noticed we were tapers and asked how it went, then wound up partying with us that evening and I guess for the rest of our lives! Gordon's love of the Grateful Dead and his passion for the people of the scene was palpable. We wound up not seeing Gordon much on the second night, but the connection to Gordon as he lived near Portland Maine with Sean; plus Chris, Tom and Greg hailing from Maine instantly sealed all of our friendships. So many friendships, business partnerships, and awesome gatherings resulted from all of our interactions between Gordon, the Maine crew, and the Texas crew. He eventually spawned a rebirth of my acoustic research career in the late 1990's when we designed and marketed sound reduction doors for the high end recording studios which Gordon was installing phenomenal wood treatments in. Gordon Merrick, another giant crystal of a man, became part of the crew this night!
shntool:

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