| J-Card Comment | The various sources for this composite recording make an accurate genealogy
impossible, but the bulk of the recording seems to be MAC>C>D>CD,
with a couple of mystery gens in there somewhere. The DAT>CD conversion was
done by one Miles Garrett, and CD>SHN by Morgan Evans. Enjoy.
The following discussion is from deadlists.com. After much listening,
it appears that our copy is a well-executed composite of 1AUD patched with 2AUD,
except for the last half of Dancin through the end of the show, which is patched with
a higher-gen copy of the last reel of 1AUD:
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Since no SBD survives in the vault of this alltime classic show we are
especially lucky that there are three AUD masters in circulation. The best
master as far as sound, reportedly 1AUD was recorded from the balcony. It
is recognizable by the following defects: it is missing the opening 1:46 of
Morning Dew, the 1st 9 seconds of Around & Around, 1:02 of jamming in Baby
Blue starting at 7:37, the first 3 seconds of Truckin, the first couple
seconds of Dark Star, and 4:19 of jamming from Dancin, starting at 2:06.
Some copies in circulation patch the beginning of Morning Dew with 2AUD;
some patch the middle of Dancin with 2AUD, and of these some return to 1AUD
for the last 3:56 of Dancin and others continue with 2AUD through to the end
of the song.
Also, many circulating tapes that start with 1AUD and patch through to the
end with 2AUD continue through to the end of the show with 2AUD's version of
the concluding sequence, NFA through Good Lovin, despite the fact that
2AUD's GDTRFB is missing fully 3 minutes of jamming starting at 4:12.
Besides this cut, which includes the brief Mountain jam, the 2AUD master of
this sequence is distinguished by a woman saying "hey, more" during the
opening NFA drums. 2AUD has more audience noise than 1AUD; it was probably
made on the floor from some ways back; it is not widely circulated except
fragmentarily as patches in Dew and Dancin on copies of 1AUD, but the
complete acoustic set and all of the electric set except New Orleans ?
Searchin and Truckin through Dancin can be found; there is no sign of the
NRPS set in 2AUD. Clearly on several occasions people have taken partial or
complete versions of 1AUD and 2AUD and assembled various combinations of the
two tapes to make more nearly complete versions of the show -- other
combinations besides those noted above.
3AUD has only recently come into circulation. It was made on a Sony
dictaphone; its sound quality improves as it progresses; probably the mic
was moved closer to the PA in the course of the performance. 3AUD contains
only the electric set; it is the only master that includes the opening 3
seconds of Truckin and the first bar of NFA; it is missing 0:47 of Good
Lovin starting 5:40 after drums [4:07]. Most circulating copies of 1AUD
require speed correction, whereas copies of 3AUD are more likely to be good
speed. There is also SBD in circulation of the last 5 NRPS tunes, although
there is no SBD of the Dead portions of this show in the vault or in
circulation.
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more info:
the person who is responsible for the bulk of the capitol theatre audience
recordings is a fellow by the name of ken lee (not sure of his last name
spelling). this is the guy who was employed by howard stein (local ny area
promoter of the time) my source is his brother in law, mark c (a long time
dead head & quite a nice & unassuming person) i owe mark a huge debt of
gratitude.
ken's port chester masters were recorded on a sony cassette deck (don't have
the 'model # or mic info) his positioning was generally center lodge with
mic's mounted on the rail. 3/21/70 had the mic's spaced at over 15 feet, and
the recording bears out that information. 6/24/70 set#2 was mastered on a
120-minute cassette.
ken is reported to be very un-friendly and intimidating (6 foot 5 inches
with a security guard attitude) he was at tompkins square park, nyc 6/67
and reported a ? hour dancin' in the street, fwiw. he recorded many local
shows (queens college, all 4 stands at port chester, Manhattan center.etc.
mark says he was doing this only for himself and never did much of anything
at all with his recordings. at port chester he had howard steins permission
to tape, with the footnote of never letting them out. so...marks older
sister is married to this guy & he would occasionally let mark have tapes &
mark was apparently pretty free with his copies over the years. most of what
circulates from gd @ port chester originated mainly from mark's 1st gen
copies, not ken's masters. as time went on their relationship deteriorated
(now they are estranged) and ken literally & figuratively shut the door on
mark.
marks last score from ken's tapes was back in 1986. when ken was out, mark &
an instigating friend went armed with sony tc d5m's and recorded as much
from the masters as they could get away with. ken arrived in the middle of
all this and was outraged and shut it all down & proceeded to take all the
copies (not all it turned out) mark told me that at that point in time, all
the tapes he witnessed were badly in need of restoration (and this was back
in 1986)
i am sad to relay that even though these master still exist, there are
rotting in un-kind hands it took me close to 2 years & many phone calls to
hook up with mark, and then only for one day. things were haphazard & i
taped what i could given the time i had on hand.
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for even further discussion of these great tapes see the Taper's Compendium.
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