Bill Graham had to keep the security people from It describes everybody in the Fillmore getting naked and crazy at about two in the morning, among themĭon McCoy from Olompali, who took the stage and started rapping. What clinched the date was reading the Rolling Stone review of the Celestial Synapse in the booklet that came with theįillmore box set. Plus, it includes both Not FadeĪway and The Main Ten, which started appearing on a more/less regular basis in April of ‘69. You can hear TC poking out of the murk from time to time. I listened to it not long ago and thought “no way this is June of ‘68.” It sounded real close in time to the Live Dead stuff, and It’s actually 2/19/69 - the Celestial Synapse at the Fillmore West. The show that circulates as 6/19/68 is misdated. Tracks on the Dime site, this is actually the Celestial Synapse at the Fillmore West on February 19, 1969.
Though this show has circulated as Jat the Carousel, as Tom Shyman explained when he shared the lossless Live at Fillmore West, San Francisco, CA, February 19, 1969. The following info was taken from a comment on for 2/19/29 Fillmore West: The goods come in spades when the boys come back out a solid 45-50 minutes of pure jam - that Other One stuff during the final ten-fifteen minutes is sheer, shredding madness! There is another guitarist onstage - Jorma, Duncan, someone or other.awesome stuff, so unique you can't possibly pass this up! The kids that get a hold of the microphone during the droning pretty much sum it up with that "Scooby-Doo dum dum" :) Got to hand it to those little guys they seem like the most intelligent beings in the room for a while there.
If you want to really hear how audience participation can enhance and actually uplift the Dead's sound, check out Mike Martin's AUD of 10/22/78, during the Ollin Arageed - *that*, my friends, is transcendence in music - not all this pseudo-Indian, post-acid-test, we're-so-enlightened-whatchamacallit. And how about that Pigpen singing a very, VERY hard-driven Not Fade Away on his own!Īll that "celestial synapse"-Jam stuff in the middle, the chanting and whatnot, is interesting, certainly different, but ultimately kind of hippie-ridiculous. A lot through this early part of the set Mickey and Billy's percussion simply takes over, and the jam drifts and wafts and fades 'on' and 'off' at almost sheer random intervals. And even this one comes to us via a mislabeling that doesn't seem to have kept anyone from finding it, but I think the evidence is pretty clear even by simply listening to the show this is absolutely '69 Dead.ĭon't be put off by the sound problems Lovelight goes through initially - the sound eventually gets all its bugs out - while it's hardly crystal-clear, it will certainly do. THIS is one of those shows you feel privileged to be able to hear, like so many "lost" shows you read about and drool (Mickey's first show, for instance), but know in your heart that you'll never get to hear it. Here you go - thanks LiA for your continually invaluable blog. Garcia was a very fortunate man for a while. Getting a thick, smooth scream like that out of a Twin Reverb is basically impossible, generally speaking you've got to have extremely strong, sensitive fingers and an absolutely insane mad scientist of a modification engineer. No band that small has ever sported a guitar-amp combo that powerful and clean with just the right amount of headroom for any guitarist, before or since! And it wouldn't have worked for anybody but Garcia. It's interesting to me how comparatively huge and powerful Garcia's rig was at this point: Duncan and Cips had great amps (Cips' was, in particular, a monster of crazy innovative homemade engineering), but when Garcia takes the stage here they are both instantly dominated by the Owsley Stanley-modded Fender Twin Reverb in both volume and tone and the rewound Gibson Les Paul P90s. That second bass player is not Jack Casady, and is most likely David Freiburg.whose high tenor voice I'm pretty sure I can hear during the chant.
This is probably a joint Dead/QMS show (aka the Quick and the Dead): both Gary Duncan AND John Cipollina are playing in the post-chant set: Cips is recognizable instantly by his unique trembling right hand vibrato style, and Duncan is also identifiable to Quicksilver fans such as myself. Wow! Very weird show indeed, but the musical parts are incredible.
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