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Friday, November 30, 2012

Paramount Northwest (Paramount Theatre), 911 Pine Street, Seattle, WA


Scottish-born Seattle resident Benjamin Marcus “Uncle Benny” Priteca, America’s most celebrated architect of movie palaces in the 1920s, designed the building’s adjacent apartments and office suites.
The Rapp brothers began with a substantial handicap: the land for the new theatre was situated on 9th Avenue, blocks from the center of Seattle’s theatre district, and the land was no more than a ravine with a creek flowing to nearby Lake Union. After filling in the land, Paramount Pictures compensated for its new theatre’s remote location by building the largest, most spectacular, most opulent movie palace Seattle had ever seen.


On March 1, 1928, the Seattle Theatre opened. The Seattle Times heralded the occasion with enthusiasm:

"Never has such a magnificent cathedral of entertainment been given over to the public. Indescribable beauty! Incomparable art! The stage productions will be of the most lavish design, brilliant in their lighting effects and gorgeous in their settings.
ALL SEATTLE WILL BE THERE! Show divine at 9th and Pine … an acre of seats in a palace of splendor. It’s yours . . . you’ll love it . . . Everybody’s welcome, everybody’s wanted . . . Every Washingtonian will be proud of its stately magnificence, its gorgeous decorations, its spacious foyers, its wide aisles, its commodious seats, its symphony of lights. See the Mammoth Show! In all the World no place like this!"

Eager customers responded on opening night, lining up eight abreast outside The Seattle. After paying the 50 cent admission fee, they entered the grand lobby. There patrons encountered a lavish interior decorated in the Beaux Arts (also called French Renaissance) style of the palace in Versailles. They were awed by the four-tiered lobby, French baroque plaster moldings, gold-leaf encrusted wall medallions, rich paint colors, beaded chandeliers, and lacy ironwork. Their feet sank into hand-loomed French carpeting as they walked past walls adorned with delicate tapestries and original paintings in gilded frames. Heavy, expensive draperies fell at the windows, and hand-carved furniture upholstered in the finest fabrics lined the first-floor lobby.

Before entering the auditorium, customers were entertained by the rare gold and ivory Knabe Ampico grand player piano in the lounge area just above the foyer.

Patrons were escorted to their places in the nearly 4,000 seat auditorium by what the program booklet praised as an “alert, tactful, well trained” corps of ushers who provided “courteous, unostentatious service.” The program promised “no fuss, no senseless genuflections, but . . . welcome, quiet, considerate and alert attention on the part of each of these ushers — in other words, a gracious host making you feel that his home is yours, suavely, expeditiously, sincerely and without affectation.”(1)

The house lights dimmed, and the Seattle Grand Concert Orchestra began to play selections from Faust. Then customers watched Memories, a silent film the program touted as a “Technicolor novelty.”  They viewed a newsreel, then enjoyed listening to Renaldo Baggot and Don Moore, “Ron and Don, The Organ Duo,” perform “brilliant organ interludes” from the giant “thousand throated,” custom-built Wurlitzer, “an instrument of enchantment” that could simulate many orchestral instruments, “now reverberating in harmonious thunder, now whispering in gentle melody.” The Wurlitzer performance was followed by “A Merry Widow Review,” a nationally acclaimed stage show from The Paramount Theatre in New York City, accompanied by Jules Buffano and The Seattle Theatre Stage Band. The show featured “catchy songs, tantalizing melody, and snappy and graceful dance steps by a bevy of girls.”
The program booklet explained that the stage show was made possible by an elaborate backstage area, which was equipped with “electric elevators, ample windows, and telephones,” and the “last word” in lighting and “advanced stage inventions and appliances” to produce “startling and beautiful stage effects, almost without limitation.”  These effects could include clouds, stars, rainbows and snow.
The booklet also assured satisfied customers, who typically spent four hours at the theatre, that they could look forward each week to new entertainment in a similar format, including stage shows and movies. The first few motion pictures would feature Lon Chaney, Joan Crawford, and Clara Bow.
The Seattle Theatre offered its first “talkie,” Varsity, in early December of 1928, and Seattle customers responded to the innovation with the same enthusiasm as the rest of the country. The movie industry produced almost no silent films after that time.(1)

On March 14, 1930, The Seattle Theatre changed its name to The Seattle Paramount Theatre, reflecting its connection to The Paramount Theatre chain. Vaudeville acts seen at The Seattle Paramount Theatre originated in New York and appeared at Paramount theatres in many other cities.
Performances at The Paramount followed the format of opening night, offering several shows and movies each day. However, as the Depression deepened, fewer patrons could afford theatre. Beset with financial woes, The Paramount temporarily closed in June 1931, and reopened on October 29, 1932.
Upon reopening, The Paramount hired Gaylord B. Carter as its chief organist. Carter’s performances brought him national acclaim, aided in large part by The Paramount’s outstanding organ. It was the biggest and most impressive orchestra-unit organ built in 1928, and included an entire grand piano and drum set built into the side panels of the auditorium, together with hundreds of pipes, bells, chimes, whistles, and horns. It cost over $100,000 to install (it would cost over $1 million today) – a good investment considering that it was used daily for years.(1)

During one memorable week in April 1935, the Marx Brothers performed their stage version of “A Night at the Opera,” testing jokes on Seattle’s audiences for possible use in the movie, released later that year. Tickets for the Marx Brothers show, which The Paramount presented three times a day, cost 25 to 55 cents. “It was the most delightful thing I ever saw,” says Seattle resident Ben Emerson.

Sometime between 1935 and 1937, the Fox Evergreen Corporation purchased The Paramount and continued to present first-run, full-length films.
The Paramount presented vaudeville shows less frequently as the decade progressed. Patron Mary Bassetti reports that by 1937, customers did not know whether a live show would contribute to an “afternoon of glorious make-believe.”
She tells of a visit to The Paramount one Saturday:
The movies finished, the light came up, and my pal Leona and I started to gather our things for the long trolley ride back to West Seattle.
Suddenly, the lights dimmed, a spotlight exploded center stage, and a flamboyant master of ceremonies announced a vaudeville show!  Oh, delicious surprise! We experienced a moment of unmitigated joy to realize we didn’t have to face reality quite yet. With pokes and giggles, we settled back into the plush seats to be transported by lively tap-dancing, glitzy satin, sappy songs, and high-flying Indian clubs – all dessert to our adolescent sensibilities.

Patricia Scott recalls going to The Theatre see Humphrey Bogart in To Have and Have Not on August 14, 1945. When the Japanese surrendered, the house manager stopped the movie to announce that World War II had ended. He distributed passes for everyone to see the show another time, and Ms. Scott joined downtown workers and shoppers as they rejoiced in the streets outside.

Some of the rare remaining live acts in the 1950s included familiar names. Danny Kaye performed at The Paramount in 1952. In 1953, The Theatre offered a production of “John Brown’s Body,” starring Tyrone Power, Anne Baxter and Raymond Massey. Betty Hutton appeared at The Theatre later that year. Danny Kaye returned in 1955, and Ella Fitzgerald sang there in 1958.

Unfortunately for The Paramount, the trend toward building suburban theatres accelerated during the 1950s, and The Theatre’s financial standing slipped. In an effort to make The Paramount’s entertainment more attractive, Fox Evergreen leased The Theatre to the Stanley Warner Cinerama Corporation. The Theatre began showing “Cinerama” films on September 1, 1956. Sixteen hundred seats were removed to accommodate three projection booths at the rear of the main floor, and The Paramount installed a curved, extra-wide screen to show a 1950s version of an IMAX production. By January 26, 1958, The Theatre had discarded the “Cinerama” format, perhaps because the wide screen tended to cut the movie into thirds, separated by shadows.

Mickey Rooney starred in a comedy show at The Theatre as late as 1961.

The Paramount resumed showing traditional full-length films, although by 1960 they were mostly second-run. Nevertheless, The Theatre tried to retain its dignity, continuing to hire ushers (including 20 year-old Bruce Lee, who later became a martial arts cinema star) and showing new releases whenever it could – notably Psycho in 1960 and all the James Bond adventures of the period. The Paramount closed for long periods in the 1960s, including a time in 1965 during which nine magnificent paintings, still in their original gilded frames, were stolen from the lobby. One Friday night in 1967, only 13 people came to see Gone with the Wind — a poignant demonstration of The Theatre’s decline. However, The Paramount limped along as a movie house until 1971.

In 1971, the Clise Corporation purchased The Paramount and began working with Pine Street, Inc., a production company. Pine Street believed that The Theatre’s acoustics would be perfect for rock, soul, and jazz concerts and brought live music back to The Paramount, renaming it Paramount Northwest.
A Seattle resident remembers that point in The Paramount’s history. “The first time I visited The Paramount was also the night of my first rock concert!  I saw The Guess Who there in 1972. Later I bought the record album, The Guess Who Live at The Paramount, and I could see myself in the crowd shot!”


Although The Paramount Northwest retained little of The Theatre’s original luster, the National Park Service and the United States Department of the Interior recognized the building’s architectural and historical significance, placing it on the National Register of Historic Places on October 9, 1974. A plaque attesting to this honor still hangs at the northwest corner of the façade.

In 1976, West Coast Theatres, Inc. began managing The Paramount and continued to offer live music, primarily geared toward the young people of Seattle. The ongoing concert boom in Seattle benefited The Theatre’s owners, but the building remained in disrepair. As Bruce Brown wrote in Argus Magazine in November 1977, “Electric guitars thunder while The Paramount fades.”

In mid-1981, Volotin Investment Company bought The Paramount.

The Paramount was busy, but touring companies found its facilities inadequate. In spite of the 1981 updates, the sound system and lighting remained deficient, and dressing rooms were dingy. The Theatre lacked simple amenities, such as an adequate number of restrooms, a functioning air conditioning system, and access for disabled patrons. The dilapidated backstage area was too small for storage and had no elevator for transporting equipment to the stage. Maneuvering props and equipment to the stage was dangerous. Crews had to use the steep “Kamikaze” ramp; heavy loads occasionally careened out of control, forcing crews to scatter.

The Theatre slid into debt during the 1980s, making repairs impossible. The Volotin Company began selling off The Paramount’s assets. For example, at one auction The Company sold a significant amount of The Theatre’s furniture and equipment, as well as the Knabe Ampico player piano. Dick Schrum, an accomplished musician who had played the Wurlitzer organ for The Paramount in the 1960s, bought the piano.
These fundraising efforts did not solve The Theater’s financial problems. Volotin therefore initiated a search for someone to buy The Paramount. When no buyer materialized, Volotin filed for bankruptcy protection in late 1987.
In early October 1990, a number of investors stepped forward, leaving Volotin with only a small interest in The Paramount. Despite the influx of cash, The Theatre continued to lose money.
Nevertheless, performances at The Theatre continued.

Ida Cole, then a Microsoft vice-president, heard of The Paramount’s financial difficulties from her friend Chip Wilson. Deeply impressed by The Theatre’s grandeur and concerned about its future, Ms. Cole established the non-profit Seattle Landmark Association in 1992 to save, restore and operate local historical theatres. In February 1993, she bought The Paramount for $9.6 million.

Once Ms. Cole owned The Paramount, she and Mr. Wilson, a former promoter and producer, began planning a major overhaul of the facility. By July of 1993, Ms. Cole had hired the international architectural firm of NBBJ to design the project and Sellen Construction of Seattle to implement it. She applied for the necessary city permits and acquired adjoining property to accommodate the expansion of the stage and backstage areas.

Ida Cole hoped to restore The Paramount to a “kissable” building, one where “everyone was welcome and felt comfortable, the people’s theatre.”  She promised that all work would “be done within the context of protecting the irreplaceable historical aspects of the building,” and she was true to her word.

The Paramount reopened on March 16, 1995, launching the new touring production of “Miss Saigon.” 

Then, in 2001, as a fitting tribute to The Paramount’s restored grandeur, the family of Dick Schrum agreed to display the Knabe Ampico player piano in its original location in the lounge area just above the foyer. The family still owns the piano, but Ida Cole refurbished and agreed to maintain it so long as it remains at The Theatre.

On Friday, December 20, 2002, Ida Cole transferred ownership of The Paramount Theatre to Seattle Theatre Group (STG), the new name for the Seattle Landmark Association. Ms. Cole told The Seattle Times that she had enjoyed restoring the building but wished to divest herself of the enormous responsibility of owning The Paramount. As a parting gift, she personally reduced the mortgage on the building from $14.5 million to a more manageable $8.5 million, bringing the total amount of money she had invested in The Paramount to $30 million. In recognition of her outstanding contribution, the auditorium was officially named after her at The Theatre’s 75th anniversary celebration on March 1, 2003.(1)

7/21/72 Grateful Dead (Paramount Northwest Theater)
7/22/72 Grateful Dead (Paramount Northwest Theater)
9/28/77 Grateful Dead (Paramount Northwest)
9/29/77 Grateful Dead (Paramount Northwest)
10/28/78 Early and late shows Jerry Garcia Band (Paramount Northwest Theater)
1/13/84 Jerry Garcia Band (Paramount Theater)
12/8/84 Jerry Garcia Band (Paramount Theater)

1.)^Peltin, Nina, The Paramount Theatre:"Show Divine at 9th and Pine", http://stgpresents.org/paramount/

Symphony Hall, 301 Massachusetts Avenue, Boston, MA




Capacity 2625
Symphony Hall in Boston, Massachusetts is widely considered to be one of the two or three finest concert halls in the world, alongside Amsterdam's Concertgebouw and Vienna's Großer Musikvereinssaal. All three concert halls are renowned for their exceptional acoustics.
The architects, McKim, Mead & White of New York, engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became one of the first auditoria designed in accordance with scientifically derived acoustical principles. Stage walls slope inward to help focus the sound. With the exception of its wooden floors, the Hall is built of brick, steel, and plaster, with modest decoration. Side balconies are very shallow to avoid trapping or muffling sound, and the coffered ceiling and statue-filled niches along three sides help provide excellent acoustics to essentially every seat.

Symphony Hall was inaugurated on October 15, 1900, with an inaugural gala led by music director Wilhelm Gericke, after the Orchestra's original home (the Old Boston Music Hall) was threatened by road-building and subway construction.

In 2006, due to wear and tear, the concert stage floor was replaced at a cost of $250,000. The process used original methods and materials, including hard maple, a compressed wool underlayment and hardened steel cut nails, hammered home by hand. The vertical grain fir subfloor from 1899 was in excellent shape and was left in place. The nails used in the new floor are made using the same equipment that produced the originals. Even the back chanelling on the original maple top boards was replicated to help preserve the acoustics of the Hall. The old floorboards were converted into handcrafted pens that are available to the public on a necessarily limited basis.
The 16 replicas of Greek and Roman statues are related in some way to music, art, or literature. They were placed in the niches as part of an appreciation of the frequently quoted words, "Boston, the Athens of America," written by Bostonian William Tudor in the early 19th century. The Symphony Hall organ, an Aeolian Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world.
The hall's leather seats are still original from 1900.

A couple of interesting points for observant concert-goers: Beethoven is the only composer whose name was inscribed on one of the plaques that trim the stage and balconies; the other plaques were left empty since it was felt that only Beethoven's popularity would remain unchanged. The initials "BMH" for "Boston Music Hall", as the building was originally to have been called, appear on the stairwell banisters at the Huntington Avenue side, originally planned as the main entrance. The old Boston Music Hall was gutted only after the new building, Symphony Hall, was opened.(1)

1/26/72 Howard Wales
1/27/72 Howard Wales

1.)^The History of Symphony Hall, http://www.bso.org/brands/symphony-hall/about-us/historyarchives/the-history-of-symphony-hall.aspx?sa=t&rct=j&q=&esrc=s&source=web&cd=5&ved=0CJsBEIwQMAQ&url=http%3A%2F%2Fwww.bso.org%2FHome%2FBranding%3Fbrand%3D6426%26linkForward%3D26645&ei=LEy8T8r2L6qFiALqx4GTDg&usg=AFQjCNFztbctt91JouTh4PlV5izCv9eWuA&sig2=F7WXxBYXP0ZGVJFEUHULsA

Wednesday, November 28, 2012

David McQueen's (David X) other house, Waverly at Channing, East Palo Alto, CA

Also see David McQueen's (David X) other house, Ramona Street, Palo Alto, CA.

Veteran's Memorial Auditorium, 1 Avenue Of The Arts, Providence, RI



Capacity 1931
Veterans Memorial Auditorium (VMA) is a performing arts theater in Providence, Rhode Island.
The Rhode Island Freemasons planned an ambitious complex designed by Osgood & Osgood, one of the era’s noted architectural firms. Work began in 1927, and foundations and building frames were constructed before economic times changed drastically in 1929. Work was halted, and the project lay dormant until the 1940′s.
The State of Rhode Island took over the project in the 1940′s. Near the end of World War II, the community pushed to complete the theater component as Rhode Island’s first professional performing arts venue.

On January 27, 1950 the theater officially opened.
Photo by Gerry D.

It is among the oldest arts venues in Rhode Island and is on the National Register of Historic Places.(1)
The ornately-designed concert hall houses the largest theater stage in Rhode Island and is considered to have some of the best acoustics in New England. The performance space features a gilded proscenium arch, allegorical and heraldic ceiling murals.

The protection of the auditorium's highly acclaimed acoustics, and sound separation of the ballroom from the auditorium above it, were a shared concern in the property development agreement between the non-profit VMA organization and Sage Hospitality Resources, the developers of the Masonic Temple site. Specifications for the acoustic isolation of the auditorium and ballroom were created by the noted acoustic firm Shen Milsom & Wilke, in conjunction with Odeh Engineers, Inc. Shen Milsom & Wilke are well regarded for the results of the sound separation between Carnegie Hall and the new Zankel Hall created beneath it.

Muddy Waters 1969, Vets Memorial

It was completely restored in 1990.

Veterans Memorial Auditorium is managed by Professional Facilities Management, the company that brings you the Providence Performing Arts Center (PPAC). Under the guidance of the Rhode Island Convention Center Authority and PPAC/PFM team, The Vets will undergo major renovations in the coming months/years to add more patron conveniences and improve the overall theater experience

Ceiling feature with display of flags of RI towns and cities, photo by Gerry D.

Since 1950, when the theater opened, it had begun to fall into disrepair and in the early 1980s the state of Rhode Island was thinking of closing the auditorium and the adjoining Masonic Temple and reducing the complex to a parking lot. In 1983, the Veterans Memorial Auditorium Preservation Association (VMAPA) was formed to try to save the auditorium. They rallied for five years and in 1988 Governor DiPrete awarded the VMAPA with $5 million for the VMA's renovation. Since that time it has been a center for the arts. The Renaissance Providence Hotel, formerly the Masonic Temple, is located directly adjacent to the VMA.(1)

11/29/83 Jerry Garcia Band

1.)^Fernandes, Paul, http://www.rirocks.net/Search/VeteransMemorialAuditorium.htm
2.)^Barbarisi, Daniel (May 20, 2007). "Temple Digs", Providence Journal.

Tuesday, November 27, 2012

Taft Auditorium, 317 East 5th Street, Cincinnati, OH



Capacity 2500
The building was completed in 1928 from plans by Harry Hake and Charles Kuck.  It replaced the Gothic structure that had been designed by Hamilton and McLaughlin in 1858.

The building is now named the Taft Theater but continues to have live shows including comedian acts, children's shows, musicians, and theater performances.

All seats are unobstructed, giving every seat a clear view of the stage. It is part of the Masonic Temple Building at Fifth and Sycamore streets.[1] It is home to the Cincinnati Children's Theatre. As of 2010, it is operated by Music & Event Management Inc., a subsidiary of Cincinnati Symphony Orchestra. Music & Event Management Inc. also operates Riverbend Music Center and PNC Pavilion. The theatre will undergo up to $3 million worth of upgrades and renovations for air conditioning, seating, restroom improvements and other amenities.
It is used for Broadway shows, concerts, comedy and other special events.

10/30/71 New Riders Of The Purple Sage and Grateful Dead

1.)^Singer 2005, p.70.

Monday, November 26, 2012

Swain's Music Store, 451 University Avenue, Palo Alto, CA

More and more, the band began borrowing their instruments from Swain's House of Music. Pauline Swain, who still works in the music store at 451 University Ave., says she and her husband, Robert, lent instruments to the band "because we liked to help young musicians." Sometimes the band would practice in the store. Other times, they would take the instruments up to La Honda, where they would hang out with Kesey and his Merry Pranksters. More often than not, "when the instruments were returned, they came back looking like they had been in a pig pen," says Swain, making reference to McKernan's nickname.
Swain, who keeps a file of newspaper clippings on the Dead, also remembers when Garcia asked her secretary how to spell "grateful." He didn't know if the word was "greatful" or "grateful."
"All my secretary could say was, 'Jerry, with a name like that, you'll never go anywhere.'"(1)

"Lorna Shashind's parents owned Swain's. Swain's might have been in the same location as Melody Lane in our store's first year or so of business."(2)

In 2012 it's now an Apple Computer Store.

1965

1.)^Palo Alto weekly, 1993-05-12, "Dawn of the Dead- A Tour of the Grateful Dead's Midpeninsula roots"
2.)^Shashinda, Lorna, 2009-01-11, http://www.mandolincafe.com/forum/archive/index.php/t-47030.html

Sunday, November 25, 2012

Frenchy's, 29097 Mission Blvd., Hayward, CA

Frenchy's dated back to at least 1962.(3)
It "was an oddity, the hippest club in an unhip area."

On May 21, 1966, The Mothers backed Neil Diamond here!

6/18/65 Warlocks (Phil Lesh's first gig)
and three other unknown dates in 1965
"Phil Lesh says, "My first gig was across the bay in Hayward. We had an oral deal for two or three nights, and the first night was my first night in the band.There was nobody there-I guess the guy had expected us to draw automatically or something.
We took all our equipment home with us that night because they wouldn't guarantee security for it, and when we came back the next night there was a saxaphone, accordian, and guitar trio playing. Either we were so bad-which was possible-or the club owner was just desperate, but we had to be replaced."(1)(2)
Phil's first show was at Frenchy's, in Hayward, on June 18, 1965. The band was not invited back.(1)

9/3/79 Reconstruction
"The Grateful Dead played Madison Square Garden from September 4-6, so it's unlikely Garcia was in town. This may have been a show with Jerry Miller. Incidentally, Frenchy's was the very same venue from which the Warlocks were hired for a three day booking and then fired, reputedly on June 18, 1965. A Monday night at Frenchy's would be a good place for the band to try out its "new look" without Garcia. The show was subtitled "Merl Saunders And Friends," I think as an indicator of fans as to what to expect."(4)

1.)^Gans, David, Playin' In The Band, pg. 37.
2.)^McNally, Dennis, Long Strange Trip, pg. 84.
3.)^Arnold, Corry, 2011-09-16, Summer 1965, http://lostlivedead.blogspot.com/2011/09/summer-1965-top-of-tangent-117.html
4.)^Arnold, Corry, 2012-11-01, Reconstructing Reconstruction, http://lostlivedead.blogspot.com/2012/11/reconstructing-reconstruction-january.html

Saturday, November 24, 2012

Ohio Theatre, 39 E. State Street, Columbus, Ohio

Capacity 2770
Originally known as Loew’s Ohio, the Ohio Theater is built atop the site of Columbus’s original city hall, destroyed in a 1921 fire.

The Ohio Theater was designed by the noted theater architect Thomas W. Lamb.

It was furnished by New York decorator Anne Dornan, one of the first women to graduate from the Columbia School of Architecture. Dornan traveled around the world to select art and furnishings, even going on a safari to find appropriate decorations for the "Africa Corner" in the lower lounge of the Ohio. Approximately $1,000,000 was spent on art and furnishings -- more than the cost of the building itself!

1928

Built by the Loew's and United Artists movie theater chains, the Spanish Baroque movie palace opened on March 17, 1928. The first film shown there was The Divine Woman, a silent film with Greta Garbo. Unfortunately, Loew did not get to see the grand opening, having died six months before.



It featured its own orchestra and Robert-Morton theater organ (still in use today). In addition to movies, deluxe variety shows graced the stage, with performers that included Milton Berle, Ray Bolger, Buddy Ebsen, Jean Harlow, Ginger Rogers, and Jack Benny.

Regular stage shows were discontinued in 1933 and the orchestra was disbanded. However organist Roger Garrett continued to perform daily at the "Mighty Morton" and occasional live appearances by stars including Judy Garland and Jean Harlow were featured on the stage.


In 1944, when Roger Garrett was inducted into the army, live organ music was discontinued.
In 1966, members of the American Theatre Organ Society began restoring the Robert Morton and playing the organ for shows again.[3]
The final event, other than "Play Dirty" to be held in the theater was to be this concert by Roger Garrett on the Morton. Roger was the second Resident Organist of the Ohio, holding the position from 1933-1942.
Here is an excerpt from the book "The Ohio Theatre Golden Jubilee" which describes in words better than I can come up with a bit about the event:

"... on Sunday, February 16, the final significant event in the theatre's long life as a Loew's movie palace took place: a farewell concert on the theatre's famed Morton organ. Roger Garrett, for years the regular organist for the Ohio and the last organist to appear regularly at a Downtown Columbus movie theatre, returned for what was to be a nostalgic farewell.
The event was indeed nostalgic, ending as Garrett and the Morton sank into the orchestra pit with the swelling sounds of "Auld Lang Syne" filling the vast spaces of the Ohio..."

 
Loew's closed the theater in 1969 and it was threatened with destruction before being saved and renovated by the Columbus Association for the Performing Arts (CAPA). The original building was completely restored during the 1970's.

The Ohio Theater was declared a National Historic Landmark in 1977.
There is also an Ohio Theater in Cleveland and Mansfield, Ohio.

10/31/71 New Riders Of The Purple Sage and Grateful Dead
3/14/76 Jerry Garcia Band

1.)^http://www.nps.gov/nhl/designations/Lists/OH01.pdf
2.)^Bishop, Mary; et. al. (1978). The Ohio Theatre: 1928- 1978. Columbus Association of Performing Arts.
3.)^http://nrhp.focus.nps.gov/natreg/docs/All_Data.html






    Friday, November 23, 2012

    Target Center, 600 First Avenue North, Minneapolis, MN



    Capacity 19,000
    Originally built in 1990. The City of Minneapolis purchased the arena in 1995.
    In 2004 Target Center underwent a major renovation that saw the replacement of all 19,006 of its original seats plus the addition of nearly 1,500 new seats as well as the reconfiguration of the lower bowl to make the arena more fan-friendly.

    11/24/91 Jerry Garcia Band

    Thursday, November 22, 2012

    Big Al's Gashouse, 4335 El Camino Real, Palo Alto, CA

    Big Al's Gashouse was a pizza-and-beer joint, affiliated with similarly named places in North Beach and around the Bay Area (there really was a "Big Al"). Big Al's was another pizza place, like The Tangent or Magoo's, but at least it was connected to the City, if not really part of it.
    The exact date of the Warlocks gig (or gigs) is unknown, but McNally and Jackson (in The Illustrated Trip) place it in August 1965.
    Big Al's Gashouse burned down in January 1966. It was eventually replaced by a suburban hipster bar called The Trip, which opened in November 1966, but by that time the Warlocks were very far past that road.(1)

    Ashtray:
    http://s286.beta.photobucket.com/user/THEMISTERSMILEY/media/ASHTRAYS%20-%20California%20SF%20Bay%20Area/DSCF0360.jpg.html

    8/65 Warlocks

    1.)^Arnold, Corry, Lost Live Dead, 2009-09-06, North To San Francisco, http://lostlivedead.blogspot.com/2009/09/north-to-san-francisco-warlocks-in.html

    Wednesday, November 21, 2012

    Ken Kesey's, 9 Perry Lane, Palo Alto, CA

    There is an area on the west side of Alameda and Foothill Expressway on Alpine Road. It borders the Stanford Golf Course. There used to be a bunch of small cottages there. It is near what is now called Stowe Lane. We were aware of the scene, and cruised back there on a few occasions, because we had heard that Kesey and others lived there. That is where there was a Perry Lane. They were not streets, they were just dirt drives with small signs on wooden posts.(1)

    Some of the most memorable gigs took place on Perry Lane, a little street located between Vine and Leland. This was Menlo Park's "little Bohemia." Author Thorstein Veblen lived there, and so did Ken Kesey, while he was writing "One Flew Over the Cuckoo's Nest."
    Kesey and his cohorts, known as the Merry Pranksters, would often close down the street for the festivities. Garcia and Lesh would come there to party and jam.
    "They were big block parties, starting around noon and going into the night. Musicians would often show up," remembers Vic Lovell, 58, a Menlo Park psychologist who was at several of them. "We used to have Afro-Cuban jazz jam sessions."
    The parties would often have a theme, like a Hawaiian Luau or the "Perry Lane Olympics" on the Fourth of July. "I remember Phil Lesh (the Dead's bassist) showing up to play the jazz trumpet. That's where I got the idea he wanted to be a serious musician," Lovell says. "He was tall and lean, playing modern jazz."
    Palo Alto resident Bob Cullenbine was also there for the Perry Lane Olympics. "We had treasure hunts, games, partying, smoking and drinking," he says.(2)

    1965

    1.)^Gunderson, Robert, 2010-05-21, comments, http://inmenlo.com/2010/02/07/menlo-parks-musical-lore-jerry-the-dead-vince-and-more/
    2.)^Palo Alto Weekly, 1993-05-12, "Dawn of the Dead- A Tour of the Grateful Dead's Midpeninsula roots"

    Tuesday, November 20, 2012

    The Orphanage, 807 Montgomery Street, San Francisco, CA



    Under the name Varni's Roaring Twenties, the club was known for "The Girl On The Swing", where comely young ladies would swing over the stairwell in the center of the room.
    Their calling card was a naked girl on a swing who, indeed, swung over the entire building. The club had briefly gone away from Topless in 1966, but had rapidly returned.
    Varni's Roaring Twenties, August 16, 1964


    San Francisco Chronicle May 6, 1967
    From looking at the ad (in the May 6, 1967 San Francisco Chronicle) its clear that they have borrowed the iconography of the Fillmore posters, with the wobbly letters and the promise of a light show.
    Their house band at the time was a group called The New Salvation Army Banned, a Haight Street group who had been playing there almost every night since at least March.(1)
    Michael Wilhelm of The Charlatans confirmed me that his band played there at Roaring 20s as house band for six weeks during circa March-April 1967, before The New Salvation Army Banned.(2)

    On Sunday, May 14, The Roaring 20s had a special event, promoted in that day's Chronicle (above), The Artists And Models Bal Masque. The blurb helpfully points out that tickets will be available to the public. Another listing says that the Jerry Hahn Trio (a jazz group) and Notes From The Underground (a Berkeley Folk-Rock group) would also be playing.

    As The Orphanage, however, the club became North Beach's premier rock spot for a hot minute during the early seventies.

    Mick Jagger and Keith Richards showed up during the wee hours to catch reggae greats Toots and the Maytalls one night in 1975, the same year that friends of deejay Tom Donahue gathered at the club to hold a wake. The Tubes played without costumes or makeup for the first time that night and Peter Yarrow (of Peter, Paul and Mary), of all people, opened the event, which lasted until the early morning hours of the next day.(excerpt from Joel Selvin's book)
    Now known as the Arnold Laub Building, it houses The Armstrong Law Firm.
    The building is in the heart of the historical Jackson Square district. It has 18' ceilings and lots of light with brick & timber construction.The property includes operable windows.

    2/6/73 Merl Saunders
    2/7/73 Merl Saunders
    4/23/73 Old And In Way[6]
    The Rowan Brothers opened.
    Jerry plays a RB-250 Gibson Mastertone banjo.[5]

    4/30/73 Old And In Way
    Jerry plays a RB-250 Gibson Mastertone banjo.[5]

    8/30/75 Keith and Donna Band
    Knock On Wood, Farewell Jack, I've Got Jesus, It Takes A Lot To Laugh It Takes A Train To Cry, I Can't Turn You Loose, Sweet Baby, Strange Man, Tough Mama, My Love For You, Showboat, Come See About Me
    Jerry's first public use of the TB1000A #51 guitar.
    "Garcia started using the Travis Bean in 1975 but not until after the summer. 9/28/75 is the first Dead show with the Bean (TB1000A). He started using it a couple of weeks before that with the Keith and Donna Band on 8/30/75. The Boogie at the time was a cut and dry Mark I 1x12" combo. They came wired with preamp out 1/4 inch jack underneath the chassis. Garcia could take the preamp signal and step it up to the volume he needed with an external power amp such as the McIntosh. Then he ran the speaker outs on the Mac to any number of extension cabinets loaded with his speaker du jour at the time. Between 1975 and 1976 he went through 3 different guitars before settling on the Travis Bean TB500 for the later half of 76."[4]

    Orphanage, San Francisco, CA
    1.)^Arnold, Corry, 2010-01-18, http://rockarchaeology101.blogspot.com/2010/01/807-montgomery-san-francisco-roaring.html
    2.)^Ceriotti, Bruno, 2011-05-02, http://rockarchaeology101.blogspot.com/2010/01/807-montgomery-san-francisco-roaring.html
    3.)^T., Stella, History Of Montgomery Street, 2010-11-28, http://goarticles.com/article/History-of-Montgomery-Street/3725928/
    4.)^http://www.thejerrysite.com/shows/show/1188
    5.)^Schoepf, Frank, 2014-04-16, email to author.
    6.)^Scenedrome, Berkeley Barb, 1973-04-20-26, pg. 18, Joseph Jupille Archives.

    Sunday, November 18, 2012

    Big Beat Club, 998 San Antonio Road, Palo Alto, CA

    Owner Yvonne Modica, quite an interesting figure in her own right, had been a successful restaurant and night club entrepreneur in the Bay Area since the 1950's.
    According to Yvonne Modica's obituary, one of the innovations of The Big Beat was a "breakfast show" from 2 to 6 am on Saturday and Sunday mornings, where no liquor was served. Apparently musicians would finish their other gigs, and come to jam and hang out until the early hours. Breakfast shows were a regular feature of Jazz clubs in San Francisco and later there were a number of rock or soul breakfast shows around the Bay Area, including at Winchester Cathedral in Redwood City, Frenchy's in Hayward or Modica's other club, The Trip in San Mateo, which opened later in 1966.

    While the well-kept building is now vacant, it still looks very much like the 1960s pizza parlor and dance club where the Dead played an acid test. The location of the club, in a then deserted industrial district near Highway 101.(1)
    Although The Big Beat continued to exist, it dropped completely off the psychedelic radar. The club was open at least until Spring 1968. Charlie Musselwhite performed here on March 24, 1968.

    12/18/65 Grateful Dead
    Seven days after they first performed as the Grateful Dead.
    Ironically enough, The Big Beat's lasting fame came the weekend before it opened, when Ken Kesey's crew rented the place for a party, and the Grateful Dead played at The Acid Test.(1)
    Held in a metal warehouse west of the railroad tracks, the event at the "Big Beat Club" was one of Kesey's Acid Tests.
    "There were lots of people with their faces painted and a real carnivalesque feeling," remembers Nelson, now a San Francisco songwriter. "It was like a burgeoning rave scene, a million raves thrown into one."
    "The Big Beat came out of nowhere. This is where everybody played, the next step from the coffeehouses," Williams says.
    But before the Pranksters got on their now-famous bus, they treated the Peninsula to public acid tests. Spencer, a Perry Lane resident, was at the first one, in a warehouse down by the mudflats off Bayshore Road. He said it was the Grateful Dead's first big public performance.
    "So was Neal Cassidy, among other soon to be infamous folks (the Dead, but they might have been the Warlocks at that point, and all the Pranksters). He and his girl-friend were having an argument at one point...very entertaining for the rest of us!"(2)
    Interestingly, someone who attended recalls two stages on opposite sides of the building (a common arrangement, making it easy to switch over to a new band) and an all-girl band who alternated with the Dead.

    1.)^Rock Prosopography 101, 2009-08-14, http://rockprosopography101.blogspot.com/2009/08/december-18-1965-big-beat-palo-alto.html
    2.)^ Bell, Margaret, 2009-09-01, http://www.paloaltoonline.com/square/index.php?i=3&t=551#add_comments

    Saturday, November 17, 2012

    Keystone (Sophie's), 260 S. California Ave., Palo Alto, CA

    Located in the block between Cambrige Ave/Birch St and California Ave./Park Blvd., the space itself has been in transition since it was built. It was about a mile away from downtown, in the old "Mayfield" downtown.
    The building housed the Purity Market, then a Natural Food Store, starting in the late 1960s.
    Then it was transformed into a German restaurant called the Zinzannati Oom Pah Pah Lounge.
    In the early 70's until late 1976 it was Sophie's, a club where Jerry played. By the mid-'70s, it had morphed into the Keystone Palo Alto, a music hall.
    Before its makeover in 1977, the Keystone Palo Alto (and Sophie's before it) had the stage at the opposite end of the hall and was all on one level. Clearly the Keystone crew invested heavily to give it a more upscale feel, with better sight lines for patrons.(3)
    Keystone Palo Alto had three levels, with a stainless steel dance floor in front of the stage and two raised levels of seating. There was no sawdust on the floor, and a full bar, setting it apart from the Keystone Berkeley. Also, while The Stone had a full bar and multiple levels, parking at both The Stone and Keystone Berkeley was difficult, and the neighborhoods were sketchy. Finally, The Stone and Keystone Berkeley competed with a variety of San Francisco and East Bay clubs that were very different than the Keystone Palo Alto.

    David Lindley and El Rayo-X's first stop on their first tour. Jackson Browne came out for three encores. They were staying at the Flamingo Hotel on El Camino and staked the place out. The night clerk actually confirmed they were staying there. Met DL and El Rayo along with Jackson. They all autographed the album cover promos we snatched from the gig. DL signed it "thanks for the drugs."(Dave Barber)  
    The Keystone Palo Alto was located on 260 S. California Ave in Palo Alto, about a mile South of Downtown. Parking in those days was easy, and the streets were quiet and safe (and dead as a doornail). Palo Alto was well within the range of a huge population of music fans in San Jose who would not have been as likely to come to San Francisco for all but the biggest shows. Conversely, while San Jose in those days--a place that manufactured silicon chips, rather than just designed them--was full of noisy pickup joints with danceable bands, there was very little in the way of serious, original music clubs. As a result, quite a few acts would play The Great American Music Hall in San Francisco but then play Keystone Palo Alto to cover the South Bay. (http://hooterollin.blogspot.com/search/label/Keystones)
    The Ramones at Keystone Palo Alto November 24, 1984


    • June 12, 1986
      Section: Local
      Page: 1B

      KEYSTONE PALO ALTO TO CLOSE JULY 6 
      ROCK MAY ROLL TO NEW HOME IN SAN JOSE
      S.L. Wykes, Mercury News Staff Writer

      It's a place where Huey Lewis could let loose and sing an unaccompanied version of the 1934 kitsch classic "Winter Wonderland" and get away with it. It's a place where Bruce Springsteen could bring his Mom and leap on stage for an impromptu set of Chuck Berry classics. It's a place that carried on a tradition in live rock 'n' roll.
      It's the famous Keystone Palo Alto, and it will close on July 6, perhaps to be reborn in San Jose.
      'There's a couple places we're talking to" in San Jose, Keystone owner Bobby Corona said Wednesday. He would not specify locations. At the Keystone, "we developed a very sleepy, small market into the most successful live venue in the South Bay," he said. But the time has come for larger space and less driving time for the club's fans in San Jose, he said. Corona sold the club's lease to a group of 30 investors known as Innovative Leisure.
      The Palo Alto club will be converted into a recorded-music dance club called The Vortex, Corona said. The stainless-steel floor, left over from the California Avenue building's previous life as a grocery store, will be pulled up and tiled over. By August, new carpeting and paint in gray, black and white will be in place for the transformation. Corona's company, Keystone Family Inc., also operates The Stone in San Francisco. And, he said Wednesday, he plans to reopen a Keystone club in Berkeley.
      Over the years, the club evolved into a special place for rock music, and according to one San Jose radio personality, Corona and his father made it happen. ''They always knew how to run it just right," KSJO-FM's Laurie Roberts said. "They always picked class acts and handled them in a classy way."
      The audience also got a fair shake in the Keystone's operations, she said. "Even when I was just a part-timer at the radio station, a peon, and went as a regular person, I liked it best. They had a great stage, and you could see real well." The Coronas "know talent and they know business," Roberts said. "And they can wheel and deal with the best of them." She said she was an "East Bay kidlet" when she began to read about Keystone events, and later, as a college student in Chico, she drooled over shows she couldn't get to.
      By then, the Keystone was booking groups on their way up -- such as Blondie, The Cars, The Tubes, John Lee Hooker, Tom Petty and The Talking Heads. And occasionally, someone like Neil Young or Bruce Springsteen would show up unannounced and play for stunned but grateful audiences. KSJO has sponsored several events at the Keystone. And the station's senior account executive, Jeff Siegel, is not happy about its demise.'' It's been one of the last live rock 'n' roll venues in the South Bay; a good way for young talent to showcase their group," he said. "Everybody's into the dance-club format, a cocktail-hour format."
      That's pretty much what will replace the Keystone, said David C. Siegel, one of two principal investors in Innovative Leisure. Siegel, 28, and a Stanford Business School graduate, had worked in management for high-tech start-up companies before forming the corporation in February. ''We want it to be a place where it will be comfortable for someone to come and not feel threatened," he said.
      Bob Brown, Palo Alto zoning administrator, said complaints from residential and commercial neighbors of the Keystone had made him come close to calling for a review of the Keystone's permit to operate as a nightclub. But the new management, catering to an older and more sedate crowd, pleases him. "I think it will be excellent."
      The Keystone Palo Alto was known as Sophie's until 1977 when a pair of managers long associated with Keystone Berkeley took over the nightclub and changed the name.


      It's a place where Huey Lewis could let loose and sing an unaccompanied version of the 1934 kitsch classic "Winter Wonderland" and get away with it. It's a place where Bruce Springsteen could bring his Mom and leap on stage for an impromptu set of Chuck Berry classics. It's a place that carried on a tradition in live rock 'n' roll.(2)
      When Bruce Springsteen showed up, they even charged him at the door!!... Clarence Clemmons was playing that night, and Bruce jumped up on stage and did several songs with him. It was very cool! and there was hardly anyone there that night. After the show, I got to hang out with Bruce backstage, he was very nice and I got his autograph on Clarence's program. (Kari Huggins Toro)
      Big Bob had a policy if any bands wrote on the walls of the "dressing room" he would lock up their gear until they cleaned it up. I remember Bobby used to run with a guy named Victor who managed Greg Khin and ran Bezerkley Records. (Adrienne Diane Dena Weisman)
    ...One time SLAYER drove up from LA to play at Palo Alto & during their soundcheck Bob told them they needed to turn down cause he thought it was too loud !!..AMAZINGLY, Slayer told him to FUCK OFF & they left & went home & didn't even play that night !!!(Harald Oimoen)
     The club would hire the offensive line from Standford to bounce big shows. She said she hired John Elway a couple of times. Probably, the only time he worked. (Robert Reynolds)
    After that, the club became the Vortex, a dance hall.Jacek and a partner (Cristoff) bought out the other Vortex partners, then it became The Edge in 1989. He still co-owns a number of nightclubs, including The Agenda in San Jose.

    Later on, some of the shows with older crowds meant everyone had money and were all buying drinks. VERY profitable nights. Jacek got greedy, thinking he could replicate that on a regular basis as a jazz club.There had been a succession of failed jazz clubs in downtown Palo Alto. Took a year to remodel. If failed, then reverted to The Edge.

    Then it was sold to an absentee owner, who disrespected the key employees; cut back on security, irking the neighbors; alienated their regular customers; attracted a massive gang clientele, resulting in massive gang riots, pissing off the police. It resulted in two major police deterrence actions after talks with the club didn't work. We're talking 100 officers from various regional department, street closings, a helicopter, SWAT sharpshooters on roofs, etc. The few customers that actually went through the gauntlet found a nearly empty club, which they promptly left. It didn't last much longer after that.
     
    The former site of Keystone Palo Alto and The Edge nightclubs may boast an impressive musical history but since November 2005, new hot spot Illusions Fayrouz has taken nightlife entertainment to the next level with the addition of a Lebanese-Mediterranean menu.

    The former Keystone Palo Alto
    Publication Date: Friday, August 13, 2004

    Shooting-suicide on Shoreline
    Mountain View police is investigating a shooting that seriously injured a woman on Tuesday and the apparent suicide of her ex-boyfriend, who is the suspect.
    Police got a call around 2:30 p.m. from the woman, reporting she had been shot in the parking lot behind the Gold's Gym at 1400 N. Shoreline Blvd.
    Responding to the scene, police found the woman seriously injured by a gunshot to her upper torso. She was subsequently transported to an area hospital for treatment, according to police spokesperson Jim Bennett.
    Preliminary investigation suggests that the suspect drove up in his vehicle while the victim was in hers, fired a handgun and hit her with at least one bullet, Bennett said.
    A short time later, Bennett said police found the suspect dead in his vehicle, parked in the A/B lot of the Shoreline Amphitheatre. His cause of death appeared to be a single, self-inflicted gunshot wound, Bennett said.
    The woman is said to be in her 40s. The ex-boyfriend and suspect was identified as Robert Corona, 73, of Redwood City, by the county medical examiner's office.

    -- Bay City News
    Freddie just had his 75th birthday party last February...http://www.facebook.com/photo.php?pid=723498&op=1&o=global&view=global&subj=1644565624&id=1644565624&ref=pf
    ...he & Sandy are still together.
    In 2011 it was called Illusions.
    The building was demolished in October 2013.
    1/23/75 Merl Saunders (Sophie's)
    Paul Pena opened.

    3/14/75 Merl Saunders (Sophie's)
    Gil Draper walked from his store, with the Travis Bean guitar, to Sophie's, where he knew Jerry was performing that night. He shows Jerry the guitar during soundcheck and Jerry says no. The drummer, Ron Tutt, says, "Robben Ford plays one". The next day Jerry was at the store to buy it.[24]

    9/18/75 Jerry Garcia Band (Sophie's)
    Jerry plays the guitar Wolf.
    Nicky Hopkins first performance with the Jerry Garcia Band.

    1/9/76 Jerry Garcia Band (Sophie's)
    I: All By Myself, Goodnight Irene, Fur Elise, Right Back Together, Please Send Me Someone To Love, It Takes A Lot To Laugh It Takes A Train To Cry, Tore Up Over You
    II: Neighbor Neighbor, United Our Thing Will Stand>Classified, Please Come Home, Fandango, Let It Rock, Road Runner
    James Booker on piano.
    "Thank you very much. This is my first appearance here, and I must say I feel flattered in being so well rec-- --accepted. I love you all from A to Z - I love you that much, and further beyond. As a matter of fact, I'd like to do a song I wrote, that contains those lyrics, named So Swell When You're Well This song was recorded by Aretha Franklin and Fats Domino." Stage talk. Booker: "Oh, we'll come back to that [laughs sheepishly]." They roll into Train To Cry. "I'd like to dedicate this whole set to one of my stronger influences, Mr. Ray Charles." After the song, can hear Jerry call "Hey Booker!"[23]

    1/10/76 Jerry Garcia Band (Sophie's)
    I: All By Myself>Classified>Right Place Wrong Time>United Our Thing Will Stand, You Are My Sunshine, Junco Partner, Drown In My Own Tears, Tore Up Over You
    II: It Takes A Lot To Laugh It Takes A Train To Cry, Goodnight Irene, Let It Rock, Right Back Together, Road Runner
    James Booker on piano.

    2/15/76 Jerry Garcia Band (Sophie's)
    I: The Harder They Come, Friend Of The Devil, Mission In The Rain, Who Was John, Knockin' On Heaven's Door, How Sweet It Is
    II: Catfish John, Tore Up Over You, My Sisters And Brothers, I Want To Tell You, Moonlight Mile, Talkin' Bout You

    11/8/76 Merl Saunders (Sophie's)

    11/16/76 Jerry Garcia Band (Sophie's)
    I: The Way You Do The Things You Do, Knockin' On Heaven's Door, After Midnight, Who Was John, Mission In The Rain, Stir It Up, Midnight Moonlight
    II: Tore Up Over You, Friend Of The Devil, Don't Let Go>Strange Man, Stop That Train, Ride Mighty High
    Jerry plays a Travis Bean guitar.
    "I bumped into Jerry as he left the stage at the end of the show. We hit chests, he had a Travis Bean guitar strapped to it. I said "Nice show." He said, "Thanks!"[6]

    "Jerry's last Sophie's gig...
    "Late in 1976 I went down to what once was Sophie's in Palo Alto- I rode my bike down to Palo Alto and had all day to hang around & be miserable waiting around, so I happened to be there when the truck rolled up, and Parrish and Kidd began loading in the amps & stuff. I got into a discussion (for lack of anything real to discuss?) with Steve, about the "fact" the roadies had had to become members of the Stagehands Union- oops, wrong thing to say: "Don't talk to me about Union Guys!" he sneered. So I asked who was drumming, and it was Ron Tutt, who I thought was probably the best match of any of the Garcia Band drummers.
    Anyway I wheeled my bike in and locked it in the back hall, as I had always done when the place was Sophie's and which they never gave me any crap about. Done with that, I was there in the hall, and Donna walked through & Steve introduces me- "This guy's been here all day!" Having the chance I got to talk with her for about half an hour over a margarita, with Richard Loren at the table with us, about my own musical ambitions, and all. When that time was up she excused herself and went backstage and the band came out, played and I had a wonderful time singing half-drunkenly along from the side of the stage, up in the front of the floor. And I had something of a harmonic resonance thing happening with Keith also- it was just one of those things.
    Anyway, when the gig was over, I am unlocking my bike in the hall and who walks through but Garcia, just as the Keystone security guy is trying to give me a hard time about leaving my bike there "is that your bike?" "Well, it had BETTER be!" As Jerry passes, about all I could manage was a "howsit going?" and he gives me a great beaming smile, reaches out and shakes my hand with an enthusiastic "ALL-RIGHT!" I got the bike unlocked and I'm wheeling it out after him into the parking lot, and there with their lights revolving eerily into the night are five Palo Alto cop cars. "Aw shit, man, THERE THEY ARE!", he said. It was at this point I seriously had to reconsider the halfhearted idea I had had of Jerry being my 'hero", after all, if this guy is as afraid of the cops as any of us on the street are, and he can't just make them disappear with a wave of his all-powerful hands, maybe it'd be better thinking of him as "friend" instead of "hero?"
    He heads over to his Corvair and gives me a "Well, see ya!" as he gets in and we go our separate ways into the insecure night time of Palo Alto under the gaze of the policia...I also noticed that this was the first time it had ever happened, meeting anyone, he seemed to absolutely RADIATE music from his being, as though it was a palpable part of his aura. "You could see the notes flying out of his head if you ran into him in the hall", said Hank Harrison once. Well, that was exactly the experience. I have had it only one other time (meeting Jorma's friend Tom Hobson) - I think there are folks in this life who really DO have such a gift of music that it really IS the essence of their being, and Jerry really was one of those special people."[5]

    1/23/77 Jerry Garcia Band (Formerly Sophie's)
    Michael DeJong opened.
    Freddie Herrera promoted all the shows from here on.

    1/28/77 Jerry Garcia Band
    This show was canceled.[8]

    2/6/77 Jerry Garcia Band (Formerly Sophie's)
    I: They Love Each Other, Stop That Train, Simple Twist Of Fate, That's What Love Will Make You Do, Stir It Up, Mystery Train, How Sweet It Is
    II: I'll Take A Melody, The Way You Do The Things You Do, Knockin' On Heaven's Door, Tore Up Over You, Tangled Up In Blue
    Promoter Freddie Herrera

    4/8/77 Jerry Garcia Band
    Terry Horn, Rogers and Burgin opened.

    4/9/77 Jerry Garcia Band
    I: They Love Each Other, That's What Love Will Make You Do, Stir It Up, Simple Twist Of Fate, Mystery Train, The Way You Do The Things You Do
    II: Midnight Moonlight, Tore Up Over You, Tangled Up In Blue
    Terry Horn, Rogers and Burgin opened.
    An unknown guitar player sits in for The Way You Do The Things You Do and Tore Up Over You.

    7/2/77 Jerry Garcia Band
    I: The Harder They Come, Knockin' On Heaven's Door, That's What Love Will Make You Do, Simple Twist Of Fate, Mystery Train
    II: Sitting In Limbo, Russian Lullaby, Tore Up Over You, Tangled Up In Blue

    7/3/77 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, Midnight Moonlight, The Night They Drove Old Dixie Down
    II: The Harder They Come, Simple Twist Of Fate, Mystery Train, Knockin' On Heaven's Door, Tangled Up In Blue

    7/23/77 Jerry Garcia Band
    I: Sugaree, Stop That Train, Mystery Train, Simple Twist Of Fate, The Way You Do The Things You Do
    II: They Love Each Other, Sitting In Limbo, Tore Up Over You, My Sisters And Brothers, Stir It Up, Tangled Up In Blue

    7/24/77 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, That's What Love Will Make You Do, The Night They Drove Old Dixie Down
    II: The Way You Do The Things You Do, Stir It Up, Mystery Train, Friend Of The Devil, Midnight Moonlight

    7/28/77 Jerry Garcia Band
    After Midnight, Tore Up Over You, Stir It Up, Mission In The Rain, Don't Let Go, The Way You Do The Things You Do, Stop That Train

    12/22/77 Jerry Garcia Band
    Comfort with Robert Hunter opened.

    12/23/77 Jerry Garcia Band
    I: Second That Emotion, Love In The Afternoon, Tore Up Over You, The Night They Drove Old Dixie Down
    II: Midnight Moonlight, They Love Each Other, Don't Let Go>Other One Jam>Don't Let Go
    Robert Hunter and Comfort opened (Billed as Comfort/Hunter).
    KZSU FM broadcasted the first set.
    "There is an interesting story about why only part of this show circulates on FM. KZSU (Stanford University radio station) arranged to broadcast this show live on their station. During the set break, the Stanford DJ played some punk rock music. He cut back during Midnight Moonlight that opened Set 2, but soon after came on the air and declared Jerry "boring" and switched back to playing punk rock music. Thus the rest of the show was never broadcast."[9]

    6/18/78 Jerry Garcia Band
    I: How Sweet It Is, Knockin' On Heaven's Door, They Love Each Other, Mystery Train, Tore Up Over You
    II: Mission In The Rain, Let Me Roll It, Gomorrah, I'll Be With Thee, Midnight Moonlight
    E: Rhapsody In Red
    Jerry plays the Ibanez MC500/SP Tree Of Life 1977 electric guitar.

    10/7/78 Jerry Garcia Band
    I: Second That Emotion, It Ain't No Use, Knockin' On Heaven's Door, Mystery Train, The Night They Drove Old Dixie Down
    II: Tore Up Over You, Let Me Roll It, Gomorrah, Love In The Afternoon, I'll Be With Thee, Rhapsody In Red
    "Garcia, Keith and Donna (GD) were working at Club Front on Shakedown Street during the day, gigging with JGB at night."[7]

    10/8/78 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, Simple Twist Of Fate, Mystery Train
    II: Love In The Afternoon, Mission In The Rain, Gomorrah, The Harder They Come, Midnight Moonlight
    "They were doing Simple Twist of Fate, when a young woman, late teens or early 20's, climbed up on Jerry's side of the stage. A stage hand was moving towards her, as she walked towards Jerry, when he turned to her, just as he was singing the last verse, and sang the line "She was born in spring, but I was born too late...Blame it on a simple twist of fate." and she was mesmerized, melted, and the stage hand gently took her hand and walked her off stage. It was so gentle, and amazing... I'll never forget that."[13]

    11/3/78 Jerry Garcia Band
    I: The Harder They Come, Mission In The Rain, Simple Twist Of Fate, Tore Up Over You, Love In The Afternoon
    II: So What?, That's Alright Mama, Gomorrah, I'll Be With Thee, Rhapsody In Red, Rubin And Cherise
    Keith and Donna's last show.

    11/4/78 Jerry Garcia Band
    This show may have been canceled.

    2/28/79 Reconstruction
    3/1/79 Reconstruction
    4/28/79 Reconstruction
    Tellin' My Friends, I'll Take A Melody, Nessa, Do I Move You, Struggling Man, Long Train Running

    5/30/79 Reconstruction
    I: Lovely Night For Dancing, Someday Baby, Lyinda, I Just Want To Stop, The Mohican And The Great Spirit
    II: That's What Love Will Make You Do, Tellin' My Friends, Make It Better, Fast Tone, I'll Take A Melody, Another Star, Dear Prudence

    6/16/79 Reconstruction
    I: Tellin' My Friends, That's What Love Will Make You Do, Nessa, Do I Move You, I'll Take A Melody
    II: Lovely Night For Dancing, What You Won't Do For Love, Welcome To The Basement, When The Hunter Gets Captured By The Game, Fast Tone, Dear Prudence

    6/17/79 Reconstruction
    I: Make It Better, I Just Want To Stop, Struggling Man, Another Star, That's What Love Will Make You Do
    II: Tellin' My Friends, Someday Baby, Lyinda, Ain't That Lovin' You, Sama Layuca

    6/22/79 Reconstruction
    Fast Tone, It Ain't No Use, Tellin' My Friends, The Jealous Kind, What You Won't Do For Love, Long Train Running, Struggling Man, Make It Better, That's What Love Will Make You Do, Dear Prudence

    7/7/79
    Reconstruction
    I: Tellin' My Friends, That's What Love Will Make You Do, Do I Move You, Another Star, Struggling Man, Make It Better
    II: Lovely Night For Dancing, I'll Take A Melody, Nessa, I Just Want To Stop, The Mohican And The Great Spirit, Dear Prudence
    Alice Stone opened.

    7/8/79 Reconstruction
    Make It Better, Someday Baby, Soul Roach, What You Won't Do For Love, Lyinda, It Ain't No Use, Tellin' My Friends, The Jealous Kind, That's What Love Will Make You Do, Fast Tone, Dear Prudence
    Chris Rowan opened.

    8/4/79 Reconstruction
    This show was canceled.

    8/5/79 Reconstruction
    This show was canceled.

    9/15/79 Reconstruction
    I: Tellin' My Friends, Struggling Man, Lovely Night For Dancing, Nessa, Make It Better, That's What Love Will Make You Do
    II: Another Star, What You Won't Do For Love, Someday Baby, Fast Tone, Ain't That Lovin' You>Dear Prudence

    9/29/79 Reconstruction
    Jerry didn't show up for this gig.
    "..there was a night when he didn't show up for a gig., which was done purposely, I think. It was sabotaged [Saunders won't say by whom]. They didn't tell him there was a gig to get to. And shortly after that he and John started a different group and I sort of lost touch with him."[14]

    According to John Kahn, the band "didn't seem to be headed anywhere for us. It was stuck in a bag. Without putting anybody down, it was just a period of non-growth musically, I thought, and Jerry thought so too. We dealt with it like Jerry dealt with a lot of things - we just sort of ditched it. We hid and just didn't have any gigs for a long time, and then we started another band. It wasn't very well done... Jerry was supposed to do that one himself, because I'd been the guy that fired Kreutzmann to get Tutt. So it was his turn, but of course he wouldn't do it."
    Martin Fierro: "Merl and I got dropped without as much as a fanfare or a warning. I went to Steve Parish and said, 'Hey man, when's our next gig?' ...And he's like, 'Didn't you hear? You got fired a month ago.' 'What?' 'Legion of Mary doesn't exist anymore.' I was so sad and disillusioned and it took me a few years to get over it... I didn't see [Jerry again] for maybe 15 years..."
    And what Saunders told Jackson:
    'Though Merl admits it hurt "to get thrown out of the group I started," he doesn't believe Garcia was the instigator of the change. "I think it was professional jealousy. And it had nothing to do with Jerry. It was the power that Jerry and I had together. It was a big force. And some people were threatened by it. Sometimes things happened and Jerry didn't even know about them. Sometimes something would happen and he'd know about it and just turn his head. In this case, I don't think he initiated it, but he let it happen."[15]

    10/14/79
    Jerry Garcia Band
    I: Sugaree, They Love Each Other, Let It Rock, Deal, After Midnight, I'll Take A Melody
    II: Money Honey, Love In The Afternoon, That's Alright Mama, Russian Lullaby, Positively 4th Street, The Harder They Come

    11/16/79 Jerry Garcia Band
    I: After Midnight, Catfish John, Simple Twist Of Fate, How Sweet It Is
    II: Sugaree, They Love Each Other, That's Alright Mama, Sitting In Limbo, Tore Up Over You

    12/20/79 Jerry Garcia Band
    Love In The Afternoon, Let It Rock, Simple Twist Of Fate, That's Alright Mama, How Sweet It Is, Catfish John, After Midnight, Tore Up Over You

    12/21/79 Jerry Garcia Band
    I: Sugaree, They Love Each Other, Russian Lullaby, After Midnight
    II: How Sweet It Is, Postively 4th Street, Deal
    E: The Harder They Come
    Bill Belger Band opened.

    1/20/80 Jerry Garcia Band
    I: Sitting In Limbo, That's Alright Mama, Friend Of The Devil, Tore Up Over You
    II: The Harder They Come, Russian Lullaby, When I Paint My Masterpiece, After Midnight>Eleanor Rigby>After Midnight

    8/9/80 Jerry Garcia Band[27]
    I: Sugaree, Catfish John, Money Honey, Tangled Up In Blue
    II: The Harder They Come, Mission In The Rain, Jam*, Dear Prudence, Midnight Moonlight

    8/10/80 Jerry Garcia Band[26]
    1/22/81 Jerry Garcia Band
    Let It Rock, Simple Twist Of Fate, Like A Road, Sitting In Limbo, I'll Take A Melody
    Melvin Seals debut.

    1/23/81 Jerry Garcia Band
    I: Sugaree, They Love Each Other, That's What Love Will Make You Do, Mississippi Moon, Deal
    II: The Harder They Come, When I Paint My Masterpiece, Russian Lullaby, Dear Prudence, Midnight Moonlight
    For both 1-22/23-81 "I was sitting at the table with Dick and his friend from Pahoa, HI. I don't remember exactly who was playing -- beside Jerry and John. What I do remember about many shows in the 1980 era was Ozzie Allers and Jimmy Warren, both playing at the same time. I remember the guy in front on stage right would be playing some smaller keyboard set up and the other guy who was more center stage and in the back by John Kahn was playing this really tiny keyboard. I don't remember who was who. I know I was glad that one of them departed and then glad when the other on departed -- and they had Melvin!"[10]

    4/24/81 Jerry Garcia Band
    I: After Midnight, They Love Each Other, It's No Use, Mississippi Moon, Tangled Up In Blue
    II: Mission In The Rain, The Harder They Come, Simple Twist Of Fate, Tore Up Over You, Midnight Moonlight

    5/27/81 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, Wonderful World, Simple Twist Of Fate, Tangled Up In Blue
    II: I'll Take A Melody, Tore Up Over You, Knockin' On Heaven's Door, Dear Prudence, Midnight Moonlight

    5/28/81 Jerry Garcia Band
    The Harder They Come, Mission In The Rain, Let It Rock, Midnight Moonlight, Russian Lullaby

    7/24/81 Jerry Garcia Band
    8/23/81 Jerry Garcia Band
    I: The Way You Do The Things You Do, They Love Each Other, Second That Emotion, Mississippi Moon, Roadrunner, Deal
    II: The Harder They Come, Don't Let Go, Simple Twist Of Fate, The Night They Drove Old Dixie Down, Tangled Up In Blue

    10/25/81 Jerry Garcia Band
    I: The Way You Do The Things You Do, I'll Take A Melody, Simple Twist Of Fate, Second That Emotion, Mystery Train, Tangled Up In Blue
    II: Sugaree, Catfish John, Mississippi Moon, Don't Let Go, Midnight Moonlight
    This tour was billed as "The Return Of Ron Tutt" on the Grateful Dead's telephone hotline at the time.[16]

    12/17/81 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, Simple Twist Of Fate, Second That Emotion, Tangled Up In Blue
    II: The Harder They Come, Don't Let Go, Valerie, The Night They Drove Old Dixie Down, Dear Prudence, Midnight Moonlight

    2/4/82 Jerry Garcia Band
    I: How Sweet It Is, Mississippi Moon, Mystery Train, Valerie, Deal
    II: Second That Emotion, Sugaree, The Night They Drove Old Dixie Down, Dear Prudence, Tangled Up In Blue
    "My first west coast JGB show was at the Keystone Palo Alto was on Feb. 4th, 1982. I left my spot front row at Jer's feet to go to the bar, and just to the left of where I bellied up was John Belushi talking to Al Franken. Wasn't about to interrupt them so I headed back to try and get close to my spot and was pleasantly surprised (for an east-coaster) to see that, despite the fact that I wasn't with anyone else that I knew, my spot on the rail was there waiting for me, as if I'd never left!"[22]

    2/5/82 Jerry Garcia Band
    I: The Way You Do The Things You Do, Sitting In Limbo, That's What Love Will Make You Do, Simple Twist Of Fate, Second That Emotion
    II: Mission In The Rain, Roadrunner, Valerie, Tore Up Over You, Tangled Up In Blue

    2/27/82 Jerry Garcia Band
    I: The Way You Do The Things You Do, I'll Take A Melody, Simple Twist Of Fate, Let It Rock, Deal
    II: The Harder They Come, Mission In The Rain, Valerie, Dear Prudence, Tangled Up In Blue

    5/14/82 Jerry Garcia Band
    I: Sugaree, I'll Take A Melody, That's What Love Will Make You Do, Love In The Afternoon, Run For The Roses
    II: Mission In The Rain, Valerie, Mystery Train, The Night They Drove Old Dixie Down, Dear Prudence, Tangled Up In Blue

    5/15/82 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, It's No Use, Mississippi Moon, Run For The Roses
    II: The Way You Do The Things You Do, Don't Let Go, Russian Lullaby, The Harder They Come, Midnight Moonlight

    6/12/82 Jerry Garcia Band
    I: I'll Take A Melody, The Way You Do The Things You Do, Knockin' On Heaven's Door, Valerie, Run For The Roses
    II: Second That Emotion, That's What Love Will Make You Do, Russian Lullaby, Tore Up Over You, Dear Prudence, Tangled Up In Blue

    10/22/82 Jerry Garcia Band
    I: Sugaree, I'll Take A Melody, That's What Love Will Make You Do, Simple Twist Of Fate, Deal
    II: They Love Each Other, Valerie, Love In The Afternoon, Tough Mama, Dear Prudence, Run For The Roses

    10/23/82 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, It's No Use, Second That Emotion, Run For The Roses
    II: Roadrunner, The Harder They Come, Valerie, Dear Prudence, Midnight Moonlight

    2/26/83 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, Valerie, Run For The Roses, Deal
    II: Sugaree, They Love Each Other, Let It Rock, Dear Prudence, Tangled Up In Blue

    2/27/83 Jerry Garcia Band
    I: Run For The Roses, Love In The Afternoon, Second That Emotion, Simple Twist Of Fate, Deal
    II: Mission In The Rain, The Harder They Come, The Night They Drove Old Dixie Down, Midnight Moonlight

    7/20/83 Jerry Garcia Band
    I: Cats Under The Stars, Catfish John, That's What Love Will Make You Do, Mississippi Moon, Run For The Roses
    II: Mission In The Rain, Love In The Afternoon, Dear Prudence, Tangled Up In Blue

    11/12/83 Jerry Garcia Band
    I: How Sweet It Is, Catfish John, Simple Twist Of Fate, Cats Under The Stars, Run For The Roses
    II: Rhapsody In Red, Knockin' On Heaven's Door, Don't Let Go, Deal

    3/2/84 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, Cats Under The Stars, Dear Prudence, Run For The Roses
    II: Mission In The Rain, The Harder They Come, Gomorrah, Rubin And Cherise, Tangled Up In Blue

    3/9/84 Jerry Garcia Band
    I: Second That Emotion, Love In The Afternoon, Valerie, Run For The Roses, Deal
    II: Cats Under The Stars, They Love Each Other, Russian Lullaby, Tore Up Over You, Midnight Moonlight

    5/11/84 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, Run For The Roses, When I Paint My Masterpiece, Cats Under The Stars
    II: Rhapsody In Red, Mission In The Rain, Love In The Afternoon, Dear Prudence, Tangled Up In Blue
    "Well, I couldn’t find my ticket stub, but I found the next best thing, a copy of the recording that Larry made that night. Mark me down for 5/11/84. There are places that I can clearly hear myself shouting over the music.  What a newbie!
    I was nineteen years old and most of my live music experience was arena rock and roll shows, such as Tom Petty, Def Leppard, Van Halen, etc.
    We arrived at the Keystone, which is a non-descript building in a slightly run-down area of town.  When we walked in, I remember thinking that the place was so small that there was no way that a band could make any money playing there.  I am not even sure the bar held 200 people.
    Well, the place was packed and Jerry and his band came out and played How Sweet It Is, and I was hooked.  I had never listened to any of Jerry’s non-Dead stuff, so I really didn’t know what to expect.
    The entire show was kind of surreal. It was such a small place to perform, Jerry and the band were clearly enjoying themselves, and there was a very strong sense of warmth and intimacy, which I had never experienced at a live performance.  Everyone was smiling and dancing and having a wonderful time.  It was a special evening which I will never forget. I remember the trip home, where Larry drove us over the San Mateo Bridge, going flat-out in his new Supra. Quite an evening."[21]

    7/28/84 Jerry Garcia Band
    I: I'll Take A Melody, Get Out Of My Life Woman, Run For The Roses, Love In The Afternoon, Deal
    II: Cats Under The Stars, Like A Road, Tore Up Over You, Gomorrah, Midnight Moonlight

    7/29/84 Jerry Garcia Band
    I: Sugaree, They Love Each Other, Second That Emotion, Tangled Up In Blue
    II: The Harder They Come, Mississippi Moon, Don't Let Go, Midnight Moonlight

    8/26/84 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, Run For The Roses, Get Out Of My Life Woman, Tangled Up In Blue
    II: Mission In The Rain, Love In The Afternoon, Dear Prudence, Don't Let Go, Midnight Moonlight

    8/27/84
    Jerry Garcia Band
    I: Cats Under The Stars, Catfish John, Simple Twist Of Fate, Run For The Roses, Deal
    II: I'll Take A Melody, The Harder They Come, Don't Let Go, Midnight Moonlight

    9/18/84 Jerry Garcia Band
    I: Sugaree, Cats Under The Stars, Knockin' On Heaven's Door, Tangled Up In Blue
    II: Rhapsody In Red, The Night They Drove Old Dixie Down, Get Out Of My Life Woman, Gomorrah, Midnight Moonlight

    9/19/84 Jerry Garcia Band
    I: Run For The Roses, Love In The Afternoon, Second That Emotion, Mississippi Moon, Deal
    II: Mission In The Rain, Dear Prudence, Rubin And Cherise, Midnight Moonlight

    12/10/84 Jerry Garcia Band
    "Michael Hedges opened and his guitar was stolen out of his van during Garcia's set...JJ: Your latest release "Oracle" was inspired by the return of a long lost or stolen guitar? MH: It was about 1982 , and I had just made "Breakfast In The Field", my first record. That album was recorded with a Somogyi guitar and another guitar made by Kenneth Dubourg from Baltimore. It was a nice guitar because it was the first real handmade instrument I had seen when I was at the Peabody Institute. The music stores in town carried nice Martin's and Gurian's but this Dubourg was a one of a kind, and in fact it was experimental in design with less bracing. It was kind of the classic story where the guy keeps returning to the guitar store to play the same instrument. I had no money because I was in school, but finally I got enough bucks to get it and when I went to the music store it wasn't there! I talked to the owner of the store who put me in touch with the luthier who helped me track down the woman who had purchased it. It turns out she wasn't that particular, she just liked the guitar . Kenneth Dubourg offered her another one of his instruments which she didn't mind trading for so I could have the guitar she had bought. I had played several of his guitars and there was definitely something about that one that was ringing like a bell for me, inside. I wrote several tunes from my first record on that instrument as well as some others that got lost when that guitar was stolen. I had made "Breakfast In The Field" and was on tour when it was stolen at a Jerry Garcia show at the Stone Club in Palo Alto. I was pretty heartbroken because I had written my wedding song, "Woman Of The World" on that guitar. We move to 1995 , and I got a note backstage at a show from someone who thought they had my guitar. It had changed hands several times, it was broken where the headstock meets the neck, and someone had been repaired it by wrapping dental floss around it. There were cracks as well, so I was glad to see it , but on the other hand I was heartbroken and I didn't want to look at the thing. A friend of mine was at that show in Ashland and he was on his way to Palo Alto , so I gave it to him and asked him to take it to Grypheon Guitars in Palo Alto figuring they would know what to do with it. I eventually got it back just like new! It rang , and everything was so nice that I even began remembering a few tunes I had written on it but had never recorded, as well as writing a few new things which gave me the tunes to fill out the "Oracle" record."[19]

    6/3/85 Jerry Garcia Band
    I: How Sweet It Is, They Love Each Other, When I Paint My Masterpiece, Mississippi Moon, Deal
    II: I'll Take A Melody, Simple Twist Of Fate, Midnight Moonlight
    Ron Price opened.
    Jerry plays a Modulus guitar.[17][18]

    8/10/85 Jerry Garcia Band
    I: Get Out Of My Life Woman, Like A Road, It's No Use, Run For The Roses, Deal
    II: Rhapsody In Red, Dear Prudence, Rubin And Cherise, Midnight Moonlight

    8/11/85 Jerry Garcia Band
    I: Cats Under The Stars, Knockin' On Heaven's Door, Run For The Roses, When I Paint My Masterpiece, How Sweet It Is
    II: Sugaree, They Love Each Other, Gomorrah, Midnight Moonlight
    "I heard a story about David Kemper. Apparently he brought a video camera backstage at a show and was filming everything. Parish told him to put the camera down, he kinda laughed it off and kept filming. Parish then slapped the camera out of his hands, breaking it. Shortly thereafter he was fired. Dang shame on that."[12]

    9/28/85 John Kahn (acoustic)
    I: Deep Elem Blues, Friend Of The Devil, Little Sadie, When I Paint My Masterpiece, Jack-A-Roe, Run For The Roses
    II: Rubin And Cherise, She Belongs To Me, I've Been All Around This World, Bird Song, Ripple, Goodnight Irene
    Jerry plays a Takamine guitar.

    10/7/85 Jerry Garcia Band
    I: Get Out Of My Life Woman, They Love Each Other, Run For The Roses, Love In The Afternoon, Tangled Up In Blue
    II: When I Paint My Masterpiece, Think, Rubin And Cherise, Gomorrah, Deal

    10/8/85 Jerry Garcia Band
    I: How Sweet It Is, Think, Simple Twist Of Fate, That's What Love Will Make You Do, Run For The Roses
    II: Cats Under The Stars, Mission In The Rain, Rubin And Cherise, Gomorrah, Midnight Moonlight

    12/21/85
    Jerry Garcia Band
    I: I'll Take A Melody, Get Out Of My Life Woman, Like A Road, Dear Prudence, Run For The Roses
    II: How Sweet It Is, When I Paint My Masterpiece, Rubin And Cherise, Gomorrah, Midnight Moonlight
    "I stood five feet from him the whole night. He didn't open his eyes once. He also stood at the mike, or one step back or at his amp. Not much movement. The show was great AND I got one of his guitar picks. I was very polite to a stagehand. He got the pick, looked at it and said "I haven't given one of these away in seven years" and handed it to me."[4]

    12/22/85 Jerry Garcia Band
    I: Cats Under The Stars, Knockin' On Heaven's Door, Think, Deal
    II: The Harder They Come, Sugaree, Run For The Roses, Mississippi Moon, Midnight Moonlight

    1/16/86 John Kahn (acoustic)
    II: Dire Wolf, Oh Babe, It Ain't No Lie, Bird Song, She Belongs To Me, Ripple, Goodnight Irene
    Jerry plays a Takamine guitar.

    3/9/86 Jerry Garcia Band
    I: I'll Take A Melody, Get Out Of My Life Woman, Like A Road, Run For The Roses, Deal
    II: Cats Under The Stars, Mississippi Moon, Gomorrah, Russian Lullaby, Midnight Moonlight

    5/18/86 Jerry Garcia Band
    I: I'll Take A Melody, Simple Twist Of Fate, Get Out Of My Life Woman, Mississippi Moon, Love In The Afternoon, Deal
    II: Cats Under The Stars, Mission In The Rain, Dear Prudence, Rubin And Cherise, Gomorrah, Midnight Moonlight

    5/19/86 Jerry Garcia Band
    I: Think, They Love Each Other, Like A Road, Run For The Roses
    II: How Sweet It Is, Knockin' On Heaven's Door, Cats Under The Stars, Rubin And Cherise, Midnight Moonlight

    Keystone Palo Alto, Palo Alto, CA
    1.)^http://hooterollin.blogspot.com/search/label/Keystones, Arnold, Corry, January 9-10, 1976: Sophie's, Palo Alto, CA: The Jerry Garcia Band with James Booker, http://lostlivedead.blogspot.com/2012/05/january-9-10-1976-sophies-palo-alto-ca.html
    2012-05-24, Lost Live Dead
    2.)^San Jose Mercury News, 1986-06-12, KEYSTONE PALO ALTO TO CLOSE JULY 6 ROCK MAY ROLL TO NEW HOME IN SAN JOSE
    3.)^crypdev, 2011-11-05, http://hooterollin.blogspot.com/2011/11/jerry-garcia-band-keystone-scheduling.html
    4.)^Rosman, Loren, comments, 2013-10-27, https://www.facebook.com/
    5.)^Immaculately Gone, comments, http://www.thejerrysite.com/shows/show/1205
    6.)^Angus, Harry, author, 2013-12-07.
    7.)^Jerry Garcia's Middle Finger, 2013-12-04, http://jgmf.blogspot.com/
    8.)^Garcia Tomorrow Only, Oakland Tribune, January 28, 1977, p. 30., http://www.thejerrysite.com/shows/show/2397
    9.)^http://www.thejerrysite.com/shows/show/1298
    10.)^Knudsen, Jeff, comments, 2011-12-11, LN jg1981-01-23.jgb.all.aud-latvala.97205.flac164, 2011-12-06, http://jgmf.blogspot.com/2011/12/ln-jg1981-01-23jgballaud.html
    11.)^Wykes, S.L.,  Mercury News Staff Writer, San Jose Mercury News (CA), June 12, 1986 Section: Local Page: 1B
12.)^frogdance, comments, 2014-01-14, Other Stuff, http://www.philzone.org/
    13.)^milobender, comments, 2008-04-01, General Discussion, http://www.rukind.com/forum/viewtopic.php?f=311&t=4309&start=15
    14.)^Saunders, Merl, Jackson, Blair, Garcia:An American Life, pg. 307, Reconstructing Reconstruction, January-February and August-September 1979, 2012-11-01, http://lostlivedead.blogspot.com/2012/11/reconstructing-reconstruction-january.html
    15.)^Light Into Ashes, comments, 2012-11-06, Reconstructing Reconstruction, January-February and August-September 1979, 2012-11-01, http://lostlivedead.blogspot.com/2012/11/reconstructing-reconstruction-january.html
    16.)^Corry342, comments, 2010-12-30, JGB: early 1980s drummers and backup singers, 2010-12-29, http://jgmf.blogspot.com/2010/12/jgb-early-1980s-drummers-and-backup.html?showComment=1296383994855#comment-c94905313472382853
    17.)^Waltah, comments, 2014-03-29, Garcia, http://www.deadnetcentral.com/webx?7@763.uf16aRtFmV5.6@.ee7b152/51308
    18.)^Jackson, Blair, Golden Road no. 7, Summer 1985, p. 9.
    19.)^http://www.solidairrecords.com/AMR_interviews/hedges.html, http://www.thejerrysite.com/shows/show/1731
    20.)^McDonough, Jack, Palo Alto Club Fights To Book Acts, 1978-01-07, Billboard 90, pg. 32, 36.
    21.)^Curry, Jeff, 2014-08-27, email to author.
    22.)^Robinson, Jonathan, comments, 2015-01-07, Grateful Dead Tour Veterans 1980's, facebook.com
    23.)^Booker, James, Flight Of The Bumblebee: LN jg1976-01-09.jgb.all.sbd-tjs.8386.shn2flac, 2015-01-18, http://jgmf.blogspot.com/

    24.)^Draper, Gil, 2015-04-01, telephone interview with author.