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| Artist | Grateful Dead |
| Show | {DttC020} 1971-04-06, 04-17, 04-18: Manhatten, Princeton, and SUNY Cortland [SHINDs 18735, 88760, and 7112] |
Report this as
non-Trade-Friendly | Email us |
| Torrent | DttC020.torrent (click to download) |
| Downloads as | DttC020 |
| Info hash | 573ad3be95d0eedc48d7a028cbdbdd7e8a15b5e2 |
| db link | http://db.etree.org/shn/104805 | Show | Source |
| Description | Grateful Dead
Manhattan Center
New York, NY
April 6, 1971
Source: 7" 2-track BBD reel w/dolby A @ 7.5 ips > PCM501ES@ 44.055 kHz
; PCM501ES analog out > dolby A decoder > analog in PCMF1 (Beta HiFi)
; PCM501ES analog out > Fostex D5 @ 48 kHz > DATx4
DAT > WAV > SHN: Dan Stephens (dms@well.com)
Tascam DA-20mkII > M Audio Delta Audiophile 2496 > SoundForge 6.0 build 132
(48-44.1,highest accuracy with anti-alias filter) > CDWav v1.71 > MKW Audio
Compression Tool v0.96f (no DAE ; 48k FLAC archived and available by request)
Disc 1: Set I
01 - Bertha - 09:28.34
02 - Beat It On Down The Line - 04:27.44
03 - It Hurts Me Too - 07:07.43
04 - Me & Bobby McGee - 08:24.72
05 - Dire Wolf - 05:26.46
06 - Oh Boy* - 03:04.66
07 - I'm A Hog For You Baby** - 05:42.11
08 - Playin' In//The Band - 07:46.35
09 - In The Midnight Hour - 10:22.44
10 - Mama Tried - 03:19.54
11 - Cumberland Blues - 05:29.29
12 - Casey Jones - 05:13.68
Total: 75:56.21
Disc 2: Set II
01 - Tuning > - 06:03.31
02 - Greatest Story Ever Told > - 02:53.39
03 - Johnny B. Goode - 06:54.50
04 - //Loser - 09:39.09
05 - Good Lovin' > - 02:18.68
06 - Drums > - 05:45.52
07 - Good Lovin' - 17:12.48
08 - Sugar Magnolia - 07:44.32
09 - Not Fade Away > - 02:49.45
10 - Goin' Down The//Road Feelin' Bad > - 06:54.31
11 - Not Fade Away > - 02:24.26
12 - Truckin' - 08:38.42
Total: 79:21.23
* first "Oh Boy"
** last "I'm A Hog For You Baby": 03/25/66 [634 shows]
Notes:
This seed is a direct copy from a DAT WBOTB (11/1996) source.
No whine removal, no noise reduction, no remastering, no fades,
jarring reel flips left intact.
compiled by Dan Stephens
08/02/2003
> shntool len *.shn
length expanded size cdr WAVE problems fmt ratio filename
9:28.34 100275212 B --- -- ---xx shn 0.4953 gd1971-04-06d1t01.shn
4:27.44 47202332 B --- -- ---xx shn 0.5274 gd1971-04-06d1t02.shn
7:07.43 75423980 B --- -- ---xx shn 0.4940 gd1971-04-06d1t03.shn
8:24.72 89074988 B --- -- ---xx shn 0.4801 gd1971-04-06d1t04.shn
5:26.46 57614636 B --- -- ---xx shn 0.4978 gd1971-04-06d1t05.shn
3:04.66 32612876 B --- -- ---xx shn 0.5000 gd1971-04-06d1t06.shn
5:42.11 60354716 B --- -- ---xx shn 0.4810 gd1971-04-06d1t07.shn
7:46.35 82284764 B --- -- ---xx shn 0.4711 gd1971-04-06d1t08.shn
10:22.44 109824332 B --- -- ---xx shn 0.5189 gd1971-04-06d1t09.shn
3:19.54 35230652 B --- -- ---xx shn 0.5179 gd1971-04-06d1t10.shn
5:29.29 58103852 B --- -- ---xx shn 0.5488 gd1971-04-06d1t11.shn
5:13.68 55373180 B --- -- ---xx shn 0.6114 gd1971-04-06d1t12.shn
6:03.31 64106156 B --- -- ---xx shn 0.3587 gd1971-04-06d2t01.shn
2:53.39 30608972 B --- -- ---xx shn 0.6055 gd1971-04-06d2t02.shn
6:54.50 73147244 B --- -- ---xx shn 0.5169 gd1971-04-06d2t03.shn
9:39.09 102156812 B --- -- ---xx shn 0.4644 gd1971-04-06d2t04.shn
2:18.68 24503180 B --- -- ---xx shn 0.5537 gd1971-04-06d2t05.shn
5:45.52 60980348 B --- -- ---xx shn 0.5544 gd1971-04-06d2t06.shn
17:12.48 182157740 B --- -- ---xx shn 0.5075 gd1971-04-06d2t07.shn
7:44.32 81924908 B --- -- ---xx shn 0.5414 gd1971-04-06d2t08.shn
2:49.45 29917484 B --- -- ---xx shn 0.5220 gd1971-04-06d2t09.shn
6:54.31 73102556 B --- -- ---xx shn 0.5163 gd1971-04-06d2t10.shn
2:24.26 25462796 B --- -- ---xx shn 0.5353 gd1971-04-06d2t11.shn
8:38.42 91474028 B --- -- ---xx shn 0.6347 gd1971-04-06d2t12.shn
155:13.44 1642917744 B 0.5139 (24 files)
==========
Grateful Dead
Dillon Gym, Princeton University
Princeton, NJ
04/17/1971
source : soundboard
lineage : MSR> R1? > R2 MAXELL UD35-90 3.75 IPS (Dick Latvala) Technics RS-1506 > R3 TANDBERG TD20A 7.5IPS
Transfer : R3 > Technics RS-1506 > TEAC AN-300 DOLBY DECODE > GRACE DESIGN LUNATEC V3 PRE ONLY > KORG MR-1000 > DSD DDF 1BIT 5.644mhZ > AUDIO GATE SW DISEMINATION > 24BIT wav
Disc One
Set I
01 Truckin'
02 Big Railroad Blues
03 Big Boss Man
04 Bird Song
05 Playing In The Band
06 Hard To Handle
07 Loser
08 Mama Tried
09 Casey Jones
10 Sugar Magnolia (aborted due to technical problems))
11 Sugar Magnolia
Disc Two
Set II
01 Good Lovin' >
02 Drums >
03 Good Lovin'
04 Me And Bobby McGee
05 Deal
06 Beat It On Down The Line
07 I'm A King Bee
08 Bertha
09 Sing Me Back Home
Disc Three
01 Goin' Down The Road Feeling Bad >
02 jam >
03 Turn On Your Love Light
notes:
- pitch correction +24 cents
- right channel gain reduced by 2 decibels
- quite a number of small dropouts have been repaired, a few clicks removed and a little surplus material
trimmed out.
- there is possibly a splice in Mama Tried with two different sources used, sound quality changes around 0:30
to the end of the song on the raw file. There was noticeably more hiss in the first part.
- Good Lovin'(part 1) fades in.
- there appears to be a cut in Lovelight around 12:16, hardly anything missing though! This is also present in
the other circulating source.
- downsampled with Voxengo R8brain and dithered with iZotope Ozone (MBIT+)
* ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
*Pigpen is the star of this show, may his Love Light forever shine*
* ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Thanks for getting this source to me, you know who YOU are.
edited & mastered by
SIRMick
November 2007
> shntool len *.flac
length expanded size cdr WAVE problems filename
8:53.48 94134140 --- -- ---xx gd1971-04-17d1t01.flac
4:04.62 43187468 --- -- ---xx gd1971-04-17d1t02.flac
5:16.59 55881212 --- -- ---xx gd1971-04-17d1t03.flac
7:58.48 84432140 --- -- ---xx gd1971-04-17d1t04.flac
4:31.22 47856188 --- -- ---xx gd1971-04-17d1t05.flac
8:26.46 89366636 --- -- ---xx gd1971-04-17d1t06.flac
6:51.65 72653324 --- -- ---xx gd1971-04-17d1t07.flac
2:56.70 31211084 --- -- ---xx gd1971-04-17d1t08.flac
5:33.02 58745948 --- -- ---xx gd1971-04-17d1t09.flac
0:46.25 8173244 --- -- ---xx gd1971-04-17d1t10.flac
6:39.34 70463612 --- -- ---xx gd1971-04-17d1t11.flac
2:10.02 22936748 --- -- ---xx gd1971-04-17d2t01.flac
6:07.47 64849388 --- -- ---xx gd1971-04-17d2t02.flac
19:02.03 201455900 --- -- ---xx gd1971-04-17d2t03.flac
6:13.15 65832524 --- -- ---xx gd1971-04-17d2t04.flac
5:10.74 54858092 --- -- ---xx gd1971-04-17d2t05.flac
3:05.73 32805740 --- -- ---xx gd1971-04-17d2t06.flac
7:36.59 80577212 --- -- ---xx gd1971-04-17d2t07.flac
6:02.31 63929756 --- -- ---xx gd1971-04-17d2t08.flac
7:59.45 84601484 --- -- ---xx gd1971-04-17d2t09.flac
6:07.36 64823516 --- -- ---xx gd1971-04-17d3t01.flac
1:52.00 19756844 --- -- ---xx gd1971-04-17d3t02.flac
16:55.34 179126012 --- -- ---xx gd1971-04-17d3t03.flac
150:23.00 1591658212 B (totals for 23 files, 0.5721 overall compression ratio)
==========
Grateful Dead
Lusk Field House, State University Of New York, Cortland, NY
4/18/71
SBD : MR > RR > DAT > CD
From: John Valter
(Extraction and .shn encoding by "Alan J. Fink, MCP" )
Disc 1
SET 1
1. Cold Rain And Snow [6:44]
2. "Fred Burns, come up here to the stage..." [0:20]
3. Me And My Uncle [3:28]
4. Bertha [5:51]
5. Me And Bobby McGee [7:41]
6. "You want the lights off, is that it...?" [1:24]
7. Next Time You See Me [5:02]
8. "I see you're creepin' back up with the lights..." [1:24]
9. China Cat Sunflower > [5:30]
10. I Know You Rider > [4:58]
11. Casey Jones [5:36]
12. "We're gonna take a five minute break..." [0:26]
SET 2
13. / Sugar Magnolia [6:17]
Disc 2
1. I Second That Emotion [5:54]
2. Truckin' [9:15]
3. Hard To Handle [8:18]
4. Loser [7:44]
5. Playing In The Band [4:50]
6. Around & Around [4:34]
7. Good Lovin' [24:32]
8. Uncle John's Band [6:32]
Notes:
d1t11 Casey Jones splice at 4:20, missing a couple seconds
d1t13 Sugar Magnolia missing the opening notes
d2t8 Uncle John's Band 3:20 - 6:32
patched using Cool Edit 96 from higher gen cassette and
increased 86 hz by 14.9
increased 172 hz by 8.5
increased 344 hz by 6.1
increased 689 hz by 4.1
increased 1.3 K by 6.1
increased 2.9 K by 8
increased 7.3 K by 10.5
increased 22K by 12.9
by "Alan J. Fink, MCP"
> shntool len *.shn
length expanded size cdr WAVE problems fmt ratio filename
6:24.09 67758812 B --- -- ---xx shn 0.6478 gd71-04-18d1t01.shn
0:20.44 3631532 B --- -- ---xx shn 0.5617 gd71-04-18d1t02.shn
3:28.39 36782972 B --- -- ---xx shn 0.6777 gd71-04-18d1t03.shn
5:51.72 62085788 B --- -- ---xx shn 0.6881 gd71-04-18d1t04.shn
6:17.29 66571052 B --- -- ---xx shn 0.6419 gd71-04-18d1t05.shn
1:24.03 14824700 B --- -- ---xx shn 0.5488 gd71-04-18d1t06.shn
3:38.10 38478764 B --- -- ---xx shn 0.6681 gd71-04-18d1t07.shn
1:24.44 14921132 B --- -- ---xx shn 0.5697 gd71-04-18d1t08.shn
5:30.18 58254380 B --- -- ---xx shn 0.6591 gd71-04-18d1t09.shn
4:58.63 52715420 B --- -- ---xx shn 0.6582 gd71-04-18d1t10.shn
5:10.42 54782828 B --- -- ---xx shn 0.6561 gd71-04-18d1t11.shn
0:26.03 4593500 B --- -- ---xx shn 0.5637 gd71-04-18d1t12.shn
6:17.58 66639260 B --- -- ---xx shn 0.6590 gd71-04-18d1t13.shn
5:54.46 62553836 B --- -- ---xx shn 0.6163 gd71-04-18d2t01.shn
9:15.00 97902044 B --- -- ---xx shn 0.6599 gd71-04-18d2t02.shn
8:18.13 87877820 B --- -- ---xx shn 0.6540 gd71-04-18d2t03.shn
7:44.61 81993116 B --- -- ---xx shn 0.5993 gd71-04-18d2t04.shn
4:50.04 51165452 B --- -- ---xx shn 0.6419 gd71-04-18d2t05.shn
4:34.65 48486524 B --- -- ---xx shn 0.6836 gd71-04-18d2t06.shn
24:32.06 259674956 B --- -- ---xx shn 0.6702 gd71-04-18d2t07.shn
6:32.58 69285376 B --- -e ---xx shn 0.6641 gd71-04-18d2t08.shn
122:55.12 1300979264 B 0.6534 (21 files)
|
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|
| Type | Grateful Dead |
| Last seeder | Last activity 20:41 ago |
| Size | 2.426 GB (2604995306 Bytes) |
| Added | 2008-07-15 18:00:06 |
| Views | 0 |
| Hits | 1410 |
| Snatched | 380 times |
| Upped by | SteveSw |
Num files
[See full list] | 76 files |
Seeders
[Hide list] | 1 Seeder(s)
| ip:port | client
version | ul
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| 81.151.250.xxx:49012 |
μtorrent 1.8.2.0 |
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2:40:48 |
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9:37 |
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[Hide list] | 1 Leecher(s)
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| 99.114.228.xxx:34005 |
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Add a comment
| SteveSw |
2008-07-15 18:07:29 |
April, 1971 is another great month in the Grateful Dead's history. The April 25-29 run at the Fillmore East is classic of course, but the whole month is filled with great shows. Eric argues that this is also Pigpen's last great tour: certainly some of his greatest raps happen during this period. If we had more of the Summer of '71 we might think different, but this is also a prime time to hear "garage band" Dead at its finest, the four-piece band having at it in all its glory. Keith joined the band in the fall, and then things changed again.
Eric picks four shows from April. The first, April 6, is distinguished to his ears by a really fine first set. Notable songs include the Me and Bobby McGee, the Dire Wolf, The Oh Boy, and the Hog For You. Eric, a lover of banter, calls out the confusion following Playin'. While the Midnight Hour is a long way from the monsters from the mid-60s, Eric sees it and the rest of the Pigpen songs in this show as a harbinger of his fine work during the rest of the month. After the good Cumberland and Casey Jones, we get an early "Take A Step Back" shows Phil offering a strange "Baaaack, baaaaaaaack" that was dropped from the song later on. And the second set isn't so bad, either.
Eric thinks of April 17th as on of Pigpen's most epic nights: he starts the second set with the famous "Sold -- the Brooklyn Bridge" rap, and then he gets a couple of couples to hug during a very sweet "Lovelight" rap. Pig also sings a great King Bee. Pigpen lovers should definitely have this show.
Eric's inclusion of April 18th gives us a view into his wacky side. He admits that this is probably among the weakest shows of the month, but he recommends it because of the amusing banter where Pigpen threatens to hog-tie the local light people, and because of the sense of fun that permeates all the technical and musical difficulties.
Finally, Eric recommends April 29th as his favorite from amongst the Fillmore East shows. You should probably go out and buy the four-disc set if you like this period of music. This particular show is available on a good audience tape for download, right here:
http://www.archive.org/details/gd71-04-29.weinberg.warner.26568.sbeok.flacf
The show itself is really excellent. There's a great Hard to Handle and a great Me and Bobby McGee. There's a 25-beat BIODTL following a wacky Phil's-bass-is-busted moment. There's a truly remarkable Alligator -> GDTRFB -> Cold Rain. All in all, it's a fine send-off to a place where the band played some remarkable shows.
==========
This project is a music adjunct to and a book review of Eric Wybenga's _Dead To The Core_. I'm going to seed a copy of all the music mentioned in the book except for the stuff that has been commercially released. You might want to pick up a copy of the book and read along with me while I'm seeding -- I think it'll be worth your while. Here are some of the many places you can find one:
POWELLS: http://tinyurl.com/5vv7k6
ABEBOOKS: http://tinyurl.com/5jbejx
AMAZON: http://tinyurl.com/5hbq36
B&N: http://tinyurl.com/5gyxpl
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| TexasSkeptic |
2008-07-15 23:41:53 |
| Thanks for sharing, SteveSw. The Cortland show has been a favorite since I got the cassette 18 years ago, just because of the "band-ter", as I wrote on my tape label, and because of this "China Cat Sunflower > I Know You Rider". In "Rider", near the end, someone--don't recall if Phil or Bob--messes up the words and you can hear them burst out laughing, barely making it through to the end. Maybe not the sharpest performance, but the band was having a good time that night. |
| lanewbie2003 |
2008-07-15 23:53:10 |
Steve, this effort of yours is simply remarkable. Thank you.
I have a dresser in the garage full of many cassettes I obtained in the early 80s. 4/17/71 was always a favorite. But I haven't listened to it in many many years. Getting high quality shows this way, digitally, is such a joy. I'm looking forward to hearing that great show again, and I always wondered what the other shows just before and after were like, with Pigpen being the way he was on 4/17. This will answer that question! Thank you. |
| SteveSw |
2008-07-16 18:26:54 |
well, thank you guys!
it's interesting how much more conversation happens in torrents of collections than in torrents of shows. i wonder what that's all about?
looking back at the interesting comments towards the end of the bird song torrent... spekaing personally, i am not so consternated by the commercialism of the dead, because ever since i have known about them, i have experienced them as a commercial enterprise. my wallet could sure feel the money flowing from me towards them when i was seeing 10-20 shows a year, and later when i was buying Dick's Picks. i think that everything is more commercial these days, not just the Dead. why, i remember back when the only advertisements you heard during a radio broadcast of a baseball game came between the half innings! :lol: and while there are individual shows that can be more difficult to get hold of because of one policy or another, there is so much music available today of such high quality that it's difficult for me to be grumpy.
when i was mentioning the change in the mp3 policy in the Trader's Corner, i wasn't begrudging the record company their right to try to make money off the vault, i was just reacting to a policy change that seemed un-adroit to me. i don't think they owed me the mp3's, i didn't think i deserved them, i just lost interest in going there because of how it felt. it wasn't so much a bad as a lack of good, if that makes any sense.
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| dourwolves |
2008-07-16 20:19:41 |
You're right Steve, while they do have every right to not give you the songs in the Taper's Section, it is plain old miserly not to, and lazy. Why not slap a 99 cent button on those songs if they want some dosh? Lazy.
And thanks again for your hard work. I enjoyed listening to the Bird Song compilation right up through 1980 but now I have some questions for you hardcores. I was a big fan of the Grateful Dead as a teenager in the '80s, I had most of the Warner Bros albums, but I believe the self-released albums were out of print and the other stoners (er, Deadheads) warned me to stay away from the Arista ones so I didn't ever really listen to them. And then In the Dark came out (I imagine I bought it on release day, I was at the record counter after school almost every day back then) and I hated it. I thought it was neat that the Dead had a hit on the radio, but these weren't the amazing cats that played China Cat Sunflower or Black Peter, it was crap to me and completely uncool. It's probably why I never went to a Dead show, and I never got my ears adjusted to the '80s and '90s Dead.
So here I am today, after discovering that all those Grateful Dead concert tapes are nothing like the usual pop band Live Albums (unlistenable and badly played versions of songs that sounded good in the studio) and that they were every bit as good as jazz and classical musicians, making it well worth while to listen to a live show. They could easily out-do the studio versions on a hot night. But you all know this!
Anyway, I'm trying to word this carefully so as not to get the Deadhead jihad after me, but what is the deal with Brent Mydland? His super-phony singing voice and wall of cheezy sounding keyboard tones are making me cringe. I know he has fans, everyone talks about him "coming into his own" in the early '80s but tell me, did you have to be there to get it? I always thought his understated playing on China Doll on Reckoning was brilliant, but he's like a pack of wild Donna's in other '80s stuff I've been trying to listen too!
I think the rest of the band sort of drifted off into cheese land too, the tones are so bright and soul-less, and the poor bastards sound so worn out. But on the other hand I love the Garcia albums and SBDs from the same period and the Garcia/Grisman albums are absolutely first rate, my second favorite thing after 69-72 era Dead.
So can someone please tell me what I'm missing? Or recommend a show that might open my ears? Does the emperor have no clothes or am I a dummy?
Cheers,
Donovan |
| SteveSw |
2008-07-16 21:36:19 |
If you find it hard to work you way into the Brent sound, I would recommend starting at the other end and working your way back. So get a few of the best shows from 1990 and 1989. Focus on the interplay between Brent and Jerry, the way the two of them would pay attention to one another and talk back and forth while playing. In many songs, Brent is filling a rhythm role that would more normally be filled by a second guitarist in a normal five-piece band, while Bobby is playing a kind of "second lead" or more specific thing that would more frequently show up on the keyboard in said band. I think those shows would be the easiest place to figure out what he was doing in the context of the band; once you see it, then you can work your way back to the earlier years where he was figuring out how to play. When he first started playing in the band I think he was just thinking of it as a gig, but I think by the early 80s that is all gone.
I don't think that was a "phoney" singing voice, that was just the way his voice sounded. None of the guys in the band are C, S, or N in the vocals way, you know? Brent had a voice that really fitted what the band wanted from him, filling the same harmonic place that Donna filled in the 70s. They liked a tenor....
For a lot of those years, the guys really were worn out: too much touring, too much alcohol, too much drugs, not enough new and different. That probably explains why there were more down nights in those years compared to before. But you want to separate out that "exhaustion" thing from your aesthetic reaction to the change in style. Maybe you just like acoustic piano and don't like organ/synth? That's allowed ;) |
| dourwolves |
2008-07-16 22:13:22 |
I probably am a dummy with all those typos and unnecessary apostrophes.
Funny you mention that they were not CSNY, that's one of the things I love about them. It sounds to me like they jumped on the "let's all harmonize" bandwagon in the early '70s, but they had such whacky voices that they couldn't come close to the smooth hippie sound and ended up creating something entirely different that is really wonderful to hear. I don't have perfect pitch, but I believe they are using more than just the official 12 notes (and it works for them). Even when they were wildly off in the 70-71 period, there was still something endearing about them happily singing away with awful voices.
I will give Mr Brent a rest and come back to him later, I still say that you can't sing that way without trying.
-D |
| wanx |
2008-07-17 17:39:20 |
This is one of my favorite periods of the Dead: that lean, mean, rock machine. One of my favorites tapes is from a few months later: the classic 8-6-71 Hollywood show. There's a certain joy at being just a rock band that seems to come across in that tape anyway--they had blown minds, and had theirs blown as the consummate music to take drugs to, had experimented with incorporating the acoustic side, and by 1971, it sounds to me like they are just happy to be putting on a great party. Things could still get "beyond the pale" from time to time, no doubt, but the weirdness is largely being channeled into more established pathways, as I hear it.
As far as the last conversation re: commercialization. You're absolutely right, Steve, that the amount and availability of exceptionally high quality material is wide enough so that it's not like someone who doesn't shell out the dough for a commercial release can't hear something equally mind-blowing for free. That's important to remember and to keep it in perspective. Of course, I still wish there were another solution than slapping a price tag on everything in the Vault--but that hasn't happened yet.
peace |
| furthur67 |
2008-07-17 20:57:51 |
Dourwolves, I echo Steve completly about trying the '89-90 Brent shows, particularly I think summer '90. Maybe 7/18 or 7/14 for starters. The band had great energy for those shows and many others. I still struggle with alot of the 80's but would probably put 90 (pre-Brent passing) at about top 7 or 8 in terms of year rankings. There are some real jewels there! Don't miss it!
Thanks Steve for continuing to be creative with torrents and all the kind, insightful dialogue. This is great stuff. |
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