Garcia said “We were great for seconds on end.” I was lucky to see Jerry play for about 1,000,000 seconds exactly. Thanks for your 1,000,000 views here . Dave Davis wrote this blog for 500 posts and 5 years from 2015 to 2019. Contact me at twitter @gratefulseconds
This was the first full Grateful Dead concert I ever saw in San Francisco, less than six years after I started seeing the band. It was also my first $25 ticket to benefit SEVA.
You could still see the Grateful Dead in San Francisco with only about 3,000 friends, but by now, you had to pay up.
There was a pretty nifty setlist, a mighty Shakedown ending in Might As Well set one.
And a fluid continuous set two with a big Playin in the Band sandwich.
Shakedown Street-> Greatest Story Ever Told, Friend Of The Devil-> Little Red Rooster, Peggy-O-> Me & My Uncle-> Big River, Althea, Looks Like Rain, Might As Well
China Cat Sunflower-> I Know You Rider-> Playin' In The Band-> Terrapin Station-> Drums-> Truckin'-> Nobody's Fault But Mine-> Black Peter-> Playin' In The Band-> Around & Around-> Good Lovin', E: Don't Ease Me In
pg 500, volume 2, Taping Compendium, Adam MacConnell
The shows were announced three weeks after the monster New Year's show on January 23
It was a tragic case of reverse geography . I'm in the Bay Area late September 1982 and the Dead hit Boston, MSG and New Haven and Syracuse. Then two weeks later on Otober 9-10, I'm at Jimmy and Liza's wedding in Connecticut and the Dead hit Stanford. What's a 23 year old dude to do?
Luckily for them Craig, Michelle, Ralphie and Cormac represent at two of the top shows of the year (some say of the decade) 10-10 would be my wedding day to the lovely Nancy 27 years later too.
These shows have some great reviews from the likes of Blair Jackson, Mike Dolgushkin, Dead Listening and songmango. There is a remarkable audience by Rango, SBD by Charlie Miller (many versions) and matrix by Hunter and more.
Saturday we get A Dupree's, a Dew, and Sunday we get a must listen we get a reverse Playing in the Band>Crazy Fingers>Lost Sailor>Saint. Stop Look Listen now. You also get all this, the music, a million pages from the Stanford Daily, a little family man Bill Walton, an accusation of Monopoly on Bill Graham and more.
Awesome Discovered in 2018 Jay Photo
Demon and Jimmy October 9, 1982: Wedding Yes, Frost No
My Pals Cormac and Michelle
Bill Walton Was Here!
21 Year old version of my brother Ralph, in his 7th year of going to shows
Both of those ’82 Frost shows were killer. The beginning of the second set of 10/9 marked the West Coast debut of both “Throwing Stones” and “Touch of Grey”—finally, some new tunes! Jerry didn’t quite have a handle on the lyrics to “Touch” yet, but that song’s bright, anthemic qualities were apparent from the get-go. That 10/9 concert also included my first live version of “Dupree’s Diamond Blues” (reintroduced at Field Trip II in Oregon on 8/28/82) and my introduction to a third new tune, “West L.A. Fadeaway,” which I loved instantly. The superb post-“Drums” at that show featured “Truckin’” > “The Other One” > “Morning Dew” > “Saturday Night”; all powerful.
The Sunday 10/10 show is high on my list of all-time favorites I attended, and one I’ve listened to hundreds of times on tape. (I always preferred the aud. version to the chopped-up SBD that emerged many years after the show.) Both sets were incredible, with no real weak spots. The first included “Sugaree,” “Cassidy,” the best “Far From Me” I ever heard (who knew?), and a sparkly “China Cat” >“Rider” closer. The first half of the second set was sublime: It kicked off with a “Playing in the Band” that felt perfect for late afternoon in that amazing natural environment, cruised smoothly into “Crazy Fingers” (which had been reintroduced at Ventura in July), followed with “Lost Sailor” > “Saint of Circumstance” (possibly my favorite versions), and then slammed into “Touch of Grey”—much better than the previous day’s—right before “Drums.”
Pound for pound – song for song – October 10, 1982, could very well be The Grateful Dead’s best-played show of the early-’80s. There’s no doubt that it needs to be in the conversation when discussing these types of accolades and rankings.
It was the “Bobby Show” as Weir delivered staggering versions of “Little Red Rooster,” “Cassidy” (possibly the best ever), “Lost Sailor” into “Saint Of Circumstance” (considered by many to be the greatest of all time), “Looks Like Rain” (legend has it Weir literally cried during this one) and a top-notch performance of The Rolling Stones’ “Satisfaction” (as the first of two encores).
Jerry rose to occasion as well laying down some precious gems of his own, including a bouncy, uptempo “Sugaree,” a flawless performance of “Tennessee Jed” (possibly the very best ever), “Loser,” a smoking “China Cat> Rider,” the best “Crazy Fingers” of the ’80s, “The Wheel” and as previously mentioned, a massive “Baby Blue.”
Amidst the backdrop of a jaw-droppingly sensational outdoor audience recording and a blisteringly clear representation of exactly what 1982 sounded like, here we are treated to something of a legendary performance by the Grateful Dead out of this all-too-often forgotten corner of the early 80's. The little two night stand at the Frost Amphitheatre in October 1982 has always been a pretty popular go-to set of shows from this year. Interestingly, as I return to this particular show after nearly a decade I am struck less by the way the band brings the roof down with some colossal psychedelic force, and much more by the way in which this performance exceeds expectation through intricate subtleties that may pass unnoticed by a less attentive ear.
In this quality, I think this show exudes something of the inherent intoxicating power of the early 80's altogether. I wonder if it might take a more travelled set of ears down the Grateful Dead road to truly hear this substratum of musical magic. Is it something akin to an advanced calculus class that would go completely over the head of someone yet to learn basic algebra? Is it fair to compare more classic Grateful Dead from the 60's and 70's to a basic level math class? I may be treading into dangerous waters with this analogy. Suffice it to say I will take it on as the duty of the Grateful Dead Listening Guide to draw your attention to this show specifically in an effort to make sure you come face to face with this potent yet infinitely subtle psychedelic tapestry. The night is alive with Technicolor sun streams and rivers of floating fractals, elements sitting just below the normally unassuming air. In the same way that 1976 tends to hide an infinite world of swirling detail just beyond the obvious scene before you, this show reveals riches hidden behind trees others may have neglected to peer around.
Set 1: Alabama Getaway > Greatest Story Ever Told, They Love Each Other, On The Road Again > Beat It On Down The Line, West L. A. Fade Away, Me & My Uncle > Big River, Dupree's Diamond Blues, The Music Never Stopped > Deal Set 2: Throwing Stones > Touch Of Grey, Estimated Prophet > Eyes Of The World > Drums > Space > Truckin' > Other One > Morning Dew, One More Saturday Night E: U. S. Blues
Grateful Dead
VenueFrost Amphitheatre - Stanford University
LocationPalo Alto, CA
Date10/9/82 - Saturdayposterstickets, passes & laminates
OneAlabama Getaway [4:58] > Greatest Story Ever Told [4:02] ; They Love Each Other [7:34] ; On The Road Again [3:32] > Beat It On Down The Line [3:22] ; West L.A. Fadeaway [7:17] ; Me And My Uncle [3:15] > Big River [5:39] ; Dupree's Diamond Blues [5:27] ; The Music Never Stopped [7:22] > Deal [6:32]
TwoThrowing Stones [6:57] > Touch Of Grey [6:07] ; Estimated Prophet [11:34] > Eyes Of The World [10:03] > Drums [7:45] > Space [6:56] > Truckin' [6:54] > The Other One [8:22] > Morning Dew [9:44] > One More Saturday Night [4:43]
EncoreU.S. Blues [5:04]
New Minglewood Blues [7:23] > Sugaree [10:11] > Little Red Rooster [7:35] ; Tennessee Jed [8:10] ; Cassidy [5:54] ; Loser [7:00] ; Far From Me [3:59] > Looks Like Rain [8:45] ; China Cat Sunflower [6:17] > I Know You Rider [5:32]
Two
Playing In The Band > Crazy Fingers > Lost Sailor > Saint Of Circumstance > Touch Of Grey > Drums > Space > The Wheel > Throwing Stones > Not Fade Away > Black Peter > Sugar Magnolia
Encore
(I Can't Get No) Satisfaction [6:12] > It's All Over Now, Baby Blue
Thanks Deadlists.com
from Between the Dark and Light (i own three copies Jay!)
So the boys went back to Veneta on August 28, 1982 which was exactly ten years (and one day) after the Field Trip. Summer 1982 was filled with outdoor Dead shows starting with the second season of the Greek at Berkeley (where I saw all three), Ventura Fairgrounds in July followed by Compton in Tempe, Red Rocks, Manor Downs, the Zoo, Alpine (as well as few indoors in the Mid West section finishing with a little rehersal of some new tunes on Front Street, six days before Oregon.
In the Taping Compendium, John Dwork gives an excellent analysis of this show, and how it fits with the seminal 1972 performance which he calls the most important in Grateful Dead history.
For the 1982 show, he uses words like disappointing and mediocre for the first set until the end.
"Then something positively remarkable happened. Jerry lauched into "China Cat Sunflower." Now those of you intimately familiar with the '72 Field Trip tapes know that the magic of that show began to unfold during "China Cat". Incredibly, as Bobby started to okay, we all clearly noticed that he had a very unusual reverb effect in his guitar--the same exact effect that can be heard on the '72 Field Trip tapes, which was the only other time we're heard this effect. (Compare the tapes: it's uncanny.)"
Set two contains the first Day Job and West LA Fadeaway performances as well as a nice larger Playin' in the Band sandwich containing Drums, The Wheel, The Other One, Truckin' and Black Peter. Happy 35th Anniversary this month.
There seems to be alot of interest in 1982 latelt, it being 35 years ago and the release of a throve of never before heard audience tapes. This one from 10-17-82 is not from that batch but deserves to be heard nevertheless. Here's a rare New Mexico show with lots of your favorites and a nice rare Goin Down the Road>The Wheel as the late second set downshifter. Please read some local comments about the show and bobs your uncle. Anne Van Arsdal Poore great photos of this show
Greeks always started 7PM Friday, 5PM Saturday and 3PM Sunday so you would always get a different mood settting over the Golden Gate, depending on your location and the night of the weekend. At the Greek, you would typically get about 60 different songs and amazing playing of what the Dead were doing at the time. While Deadbase barely lists any of these shows in the top-20 of the year, I say BS, the Greek is where you wanted to see shows in the early and mid-1980s, no hands down. The feeling, the atmosphere, the view, the fans, the walk from my house, the Sunday afternoon 3pm Shakedown, it had it all.
Make sure to check out the Playin>Uncle John's>Remarkable Jam on Friday. But, just explore it all. I will always love the Greek the most
My super 8 footage was accepted into the new Grateful Dead documentary, but I couldn't find the original super 8. Drat! But you can see Cormac and Rick Sullivan here and maybe yourself and they ended up using two different one second segments
Jim McDonnell<jim>
10/4/16
to Annie, me
Hi David,
I hope that this finds you well and I apologize for the long silence regarding the forthcoming Grateful Dead documentary project. We are finally in the home stretch and we will hopefully be using a small portion of your footage in this project. We would be very interested in obtaining your original Super 8 film elements for a new HD scan transfer for our usage. Per our original conversations, we will be licensing at the rate of $25/second for footage and additionally we will supply you with a new HD transfer of your footage on a drive when we return your film(s) to you. I've looped in Annie Salsich from the production who can give you all the shipping information in regards to sending your film elements. I look forward to hearing back from you soon.
1982 was my third New Year's Eve set of shows and we were waiting for the surprise. 1980 had the surprise acoustic set. 1981 had the Joan Baez acoustic set and my only Dark Star. And in 1982, we had Etta and the return of the Pigpen tunes. On December 30, we got Etta's theme Tell Mama and the first Hard to Handle since August 26, 1971!
On New Year's Eve, we got Matt Kelly on CC Rider on the second song of the show, the regular holiday visit of John Cipolina on the unusual second set closing of Not Fade Away>Deal>Sunshine Daydream (after Sugar>Sugaree opened the set earlier), and then we got a five song 35 minute third set (which remarkably is on YouTube per the link below) which featured:
1. Turn On Your Lovelight (last played at an official show show in the US at the Academy of Music in March 1972 (and then played three times during Europe 72 tour, at the surprise Amsterdam in 1981, and once at a Moscone Center show earlier in 1982 ok coldrain108, it was broken out at the moscone )
2. Tell Mama (which debuted the night before)
3. Baby What You Want Me to Do (last played in September 7, 1969)
4. Hard To Handle (these two were the only Hard To Handles played after 1971)
5. In the Midnight Hour (last played close of Fillmore East show April 29, 1971)
The Grateful Dead System At The Oakland Auditorium, December 1982
According to Howard Danchik of Ultra Sound, ‘‘The Dead’s system, as always, was run in stereo. The main speakers were flown, and comprised 12 MSL3s at each side of stage, plus a center cluster of eight (four lelt and four right channel), also above band.
“Suspended from the side clusters are three Meyer Sound Labs UPA cabinets, angled downward to fill in for those at the front of the audience. There are also four UPAs below the lip of the stage at the center (two left and two right) for the spectators at the very front-center, plus one UPA at the rear of each main cluster, pointed up and back for spectators in the balcony directly to the sides of the stage.
“Each MSL3 is driven by 650 watts RMS of amplification—225 to each 12-inch speaker (two per cabinet), and 200 to the four piezo tweeters. One MSL processor is used to drive all the MSL3s on each side; two (one per channel) to drive the center cluster; and two (one per channel) for the front and sidefill UP1As.
Diagram of the system in Oakland, 1982.
“The subwoofers were made up from eight MSL 652-R2 subwoofer road cabinets (two 18-inch drivers, front-mounted) on each side, stacked on their sides, four wide and two high. Each speaker is driven by 225 watts of Crest amplification. The processor takes a full bandwidth signal from the house mix, and extracts 80Hz and below for the subwoofers.
“Additional speaker systems included: for the lobby four UPAs (stereo, via Meyer processors); for the bars one UPA in each bar (mono, one processor each); the kitchen one UPA (mono, one processor); and the kids’ room a pair of Hard Truckers five inch cubes (mono, no processor).
“All power was provided by Crest amps, 225 W RMS per channel into 8 ohms. House mixer was a Jim Gamble custom board, 40-in/8 stereo submasters, wtth automatic built-in mono output The monitor mixer was a Gamble custom 40/16 console. House effects included a Lexicon 22/lX digital reverb and Super Prime Time; dbx Boom Box subharmonic synthesizer; a collection of vocal gates; and an autopanner, homemade by Dan Healy & company. Microphones included Shure SM78s for vocals, plus a new Neumann mike for Jerry Garcia, and Sennheiser 42ls, AKG C451s and C414s.’’
Editor’s Note: This is a series of articles from Recording Engineer/Producer (RE/P) magazine, which began publishing in 1970 under the direction of Publisher/Editor Martin Gallay. After a great run, RE/P ceased publishing in the early 1990s, yet its content is still much revered in the professional audio community. RE/P also published the first issues of Live Sound International magazine as a quarterly supplement, beginning in the late 1980s, and LSI has grown to a monthly publication that continues to thrive to this day.
Our sincere thanks to Mark Gander of JBL Professional for his considerable support on this archive project.
