The version of Attics during the early acoustic set has to be the finest one I have ever heard. Who *wouldn't* want to play their absolute best for such an appreciative and wild audience? To me, the audience is essentially a part of the performance here they are quiet when they should be and absolutely thunderous in applause during the many lysergic peaks and quiet, often dramatic segues into things both expected and unexpected. Everything is quite clear, and there's just enough of the boisterous, ravenous audience on this recording to easily bring one to the conclusion that they were a big reason for the Dead's powerful performance. The recording of this is outstanding given that it's an audience tape from 1970. It's definitely one of those nights that the music played the band. However, I have listened to this concert so many times over the years that I am quite aware of all the little (and big) things that make this such an amazing snapshot of Grateful Dead history. Firstly, I would like to tell all of you who actually were at this show how lucky you are! I wasn't quite born yet, so attendance was out for me. I don't know what I can really add to all the excellent previous reviews on here from the folks before me, but I will sure try. Ken, it was really great to read your entry below! What a jeweled relic! Hats off to Ken and Judy Lee! We are all so indebted to you. This show has an aura of timelessness about it. If anyone can confirm or dispute this with better, solid information, that would be great.
I think this was mentioned in Hank Harrison's first "Dead Book", but I can't be sure, and my copy is long gone. Regardless, I heard (or read) in the '70s and '80s that the reason there is a 9 or 10 month period in 1970 with mostly no soundboard tapes was NOT because the band wasn't recording the shows, but because the master tapes were stolen, or lost.or both.in late '70 or early '71. But he actually was out of jail for a month or so-June- ("Bear" page 134), yet still was probably not with the band on the east coast for this show, I'll speculate. Someone below mentions Owsley being unavailable, presumably because of serving time for his (more major) bust. But I wanted to comment of the lack of soundboard recordings for this era.
It's a truly special, powerful, awesome show. Not much to add beyond all the superlatives posted below by so many fans. Cap Theater 70 shows are the apex of the whole long strange trip to my ear.
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The one exception being the Fillmore East, where the local crew regularly made tape through their built in patch in the basement perhaps more of those tapes will surface. It is, sadly, unlikely that master soundboard recordings were made of most Port Chester shows in 1970, or for very many of the other "missing" shows of this fine and fascinating era. That is, if there was someone who felt like doing it, had patch access and a tape machine, and wasn't too dosed to get the job done. So through mid July we have Bear tapes of Cali shows he was able to attend but everywhere else, master soundboard reels were only recorded ad hoc.
I believe the February NYC trip was his last before jail. The San Rafael shows mid month are sometimes called his "going away party." However shortly after the New Orleans bust happened at the start of the year, Bear was unable to leave California as the terms of his release were changed and it became clear he would be sent to prison. Compare for yourself.ģ) It is correct that Bear didn't report to jail until July. Just kidding!*Ģ) This is the definitive source, certainly however, there is another one worth listening to, number 145261, which is a more recent mastering of the same wonderful Ken & Judy tape heard here. Anyone giving less than 5 stars here should have their account automatically deleted. 1) the show speaks for itself the late show electric set is as fine a performance as the band ever played.
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