08-05-1967

O’Keefe Center

Toronto, Ontario

The Lovelight and Alligator together with a New Potato Caboose and Viola Lee from the night before are all we have of a tantalizing month for the Dead back in 1967. After playing the Straight Theater – and getting Neal Cassady to join them on stage – on July 23rd, the Dead headed out of the country, venturing north for a set of six shows at Toronto’s O’Keefe Center, including today’s. The Airplane topped the bill, with the Dead and Toronto’s own Luke and the Apostles playing the undercard for Bill Graham’s “The San Francisco Scene in Toronto.”

Recording info
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Identifier:
gd1967-08-05.sbd.vernon.9111.sbeok.shnf
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SBD>MR>R>DAT>CDR
Notes:
Notes: 1. shntool confirms tracks cut on sector boundaries 2. From www.deadlists.com COMMENTS Evening show. Bill Graham presents “The San Francisco Scene in Toronto”. Other artist(s): Jefferson Airplane ; Luke And The Apostles. One looking at the concert poster (which can be see at the following): can determine: There were shows from 31st July to 5th August according to the poster, (“evenings at 8.30, matinees on Wednesday and Saturday”) which would mean a total of 8 shows [Mon. 7/31, Tues. 8/1, Weds. 8/2 matinee, 8/2 evening, Thurs. 8/3, Fri. 8/4, Sat. 8/5 matinee, 8/5 evening]. Before Alligator Bobby says “We only have time for one more unfortunately and we’re gonna do a song we laughingly refer to as ‘Alligator’. Ha, Ha!” David Sorochty: “Alligator ends with one of the most dramatic endings ever for this song. It finishes with Jerry’s guitar cranking and screeching eeeeoowww!! It has a reverb type echo to it that adds to the cranking effect and its pretty stunning. You have to hear it to appreciate it.” 3. Commonly circulates with 8/4/67. I’ve created separate md5 and info text files for each. Part of The Music Never Stopped Project 2002 shn em up initiative 4/28/2002 Thanks to Raoul Duke for the disks!
Description:
Turn On Your Lovelight Alligator
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Matt Vernon
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Turn On Your Lovelight
07:22
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Alligator
11:13
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The Dead thought that their performance in Toronto had been pretty poor, and they complained that their sound system buzzed loudly. Meanwhile, a favorable reviewer suggested that the staid Toronto crowd had inhibited the Dead. From the small sample that we have on the recordings, it is tough to tell. While the music rages, there does seem to be a bit of a disconnect, the Dead taking the jams through their paces, but not truly unleashing. It could be, as the reviewer suggested, the tepid crowd response stifled the Dead. The Lovelight, in particular, seems to support the argument, as Pigpen attempts to work the crowd here and there, but meets with little response. But even though the Dead might not have been at the top of their game, these are still some fabulous primal nuggets from the band.

From Toronto, the Dead continued on with the Airplane to Montreal where they played two shows. The Dead then parted company with Graham and the Airplane, making their way to Timothy Leary’s place in Millbrook, New York, and a rooftop gig at NYC’s Chelsea Hotel. From there, they headed back west, stopping in Detroit for a pair of shows and playing a free concert in Ann Arbor. Back in California, they then played a series of dates in Lake Tahoe. Yet none of these shows, save the snippet from this day and the day before in Toronto, are preserved on tape. Finally back in the Bay Area, the Dead play Lindley Meadows in Golden Gate Park for Chocolate George’s funeral, and this is recorded, but just on video, not audio. It is not until September 3rd that we can finally get another listen to the Dead at the Rio Nido Dance Hall.

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Comments

One response to “08-05-1967”

  1. Scott Shlomo Krane Avatar
    Scott Shlomo Krane

    I got my hands on this cassette tape many years ago, as well as 7/16/66. I chose it from somebody’s tape list because my collection didn’t have anything from ‘67, and what’s more: 8/4 is my birthday. The two-song performance opens with a seven-minute ‘New Potato Caboose’, and closes with an upwards of 20-minute-long ‘Viola Lee Blues’. The whole performance is stellar from start to finish, despite its brevity. It must have been exciting for the boys to be playing so far from home, in a strange city, on another coast, in another country, so early on in their career as the Grateful Dead.Jerry introduces the first song, ‘New Potato Caboose’, which is obviously, in turn, sung by Bob Weir, but featuring some stellar electric lead guitar playing by Garcia, whose improvisation runs contrapuntally to Pigpen’s improvising on the organ. Weir’s rhythm guitar is wet and fresh sounding. The bass and drums roll along, driving the rhythm of the jam.The band launches immediately into ‘Viola Lee Blues’ without any introduction, like there was for ‘New Potato Caboose’. Everyone works together to suspend the funky vamp and keep the groove in motion. The vocal harmonizing starts at just shy of one-minute into the tune, and so the first verse is laid down. ‘Some got six months, some got one solid…’ comes in at 2:10, and at 2:35 we hear: ‘but me and my buddies, all got life-time, yeah!’ The next guitar solo, by Garcia, occurs around the 4:15 mark, and stretches on for a bit. At 6:16, in an interruption of the pentatonic improvisation, harmonic minor statements are made, but only a small few, for a measure or two only, and probably just for the purpose of sounding increasingly psychedelic for a moment. The jamming begins to build and build in tempo, especially starting at 10:00, by the time 11:00 rolls around, they are moving that much faster…13:30 finds the band at an all-but breakneck tempo. More harmonic minor statements are made by Jerry at 14 minutes, but only like one or two, before slipping back into a hybrid of the natural minor scale (dorian mode) and the minor pentatonic scale. At 15:40, everything goes berserk, and we get a screaming space for a series of measures until back to the original theme at 16:00, with Jerry still soloing over the rhythm-section vamp, and Pigpen just playing repetitive chords on his organ, instead of counterpoint improvising with the lead guitar. Harmonizing vocals, the boys repeat the first verse between 18:00 and 19:00, and the song comes grinding to a colorful yet conclusive halt, before, in addition to all this, providing a cadence of circus-sounding music, the melody of which I can’t identify.The set on 7/5 features only two, albeit, drawn-out tunes: First: ‘Turn on Your Lovelight’. Then, ‘Alligator’, to take the roof of the place! Look out! At 3:20 the jam begins. It is intense. Jerry is on fire. Bluesy minor exploring on the guitar, subdued rhythm guitar and chorus and Phil Lesh being Phil Lesh, you know after all those years the guy was the captain. In these days, Mickey might have followed Billy slightly on the skins, probably because he was a newcomer still, and he didn’t want to fall-off a now-world-touring a soon-to-be signed to Warner Brothers group. Bill Graham’s male heterosexual pets. Bill liked his rock ‘n’ roll and he liked it weird, but he probably came off as normal in his obviously punctilio-business-like demeanor. Jerry’s guitar get better and better, both on the ‘Alligator’ jam, as well as in general; going down in history as one of the great flatpickers of the rock idiom (not to mention his banjo playing and pedal-steel, both which would be put on display in the early ’70s). At 10:05, everyone steps to the mic and…”ALLIGATOR! ALLIGATOR! ALLIGATOR! ALLIGATOR!” and the song and the set and the show ends, but not before a playful and tripp(y), great-sounding cadence.

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