Family Dog at the Great Highway
San Francisco, CA
Add
Date
Artist
Sources
Set 1Greasy Heart
Fat Angel
Volunteers
House At Pooneil Corners
Ballad of You & Me & Pooneil
Good Shepard
The Other Side Of This Life
Fat Angel
Volunteers
House At Pooneil Corners
Ballad of You & Me & Pooneil
Good Shepard
The Other Side Of This Life
CommentJefferson Airplane: FM broadcast. Paul Kantner (vocals, guitars), Marty Balin (vocals), Jack Casady (Bass), Jorma Kaukonen (guitars, vocals), Spencer Dryden (percussion), Grace Slick (vocals).
Opening Of The 'Family Dog At The Great Highway', Formally The 'Edgewater Ballroom'. The Building Dated To The 1880s And Lasted Through The Mid '70s.
Opening Of The 'Family Dog At The Great Highway', Formally The 'Edgewater Ballroom'. The Building Dated To The 1880s And Lasted Through The Mid '70s.
Set 1
Set 2
Set 3
CommentJefferson Airplane: Paul Kantner (vocals, guitars), Marty Balin (vocals), Jack Casady (Bass), Jorma Kaukonen (guitars, vocals), Spencer Dryden (percussion), Grace Slick (vocals).
Set 1Tortoise Jam, The Ballad of You and Me and Pooneil, The Other Side Of This Life, Wooden Ships-> J. P. P. McStep B. Blues, Crown Of Creation, Greasy Heart, Good Shepard, Fat Angel, Volunteers, The House At Pooneil Corners
Set 2
Set 3
CommentJefferson Airplane: FM broadcast. Paul Kantner (vocals, guitars), Marty Balin (vocals), Jack Casady (Bass), Jorma Kaukonen (guitars, vocals), Spencer Dryden (percussion), Grace Slick (vocals).
Set 1
Set 2
Set 3
CommentAccording to deadessays shared stage blog (https://deadessays.blogspot.com/2017/11/the-shared-stage-1965-1975.html) the Dead played this show along with Ballet Afro-Haiti; Albert Collins.
Set 1Casey Jones, Hard To Handle, Mama Tried, High Time, Silver Threads, Slewfoot, I'm A King Bee, Cryptical Envelopement-> Drums-> The Other One-> Cryptical Envelopement-> Turn On Your Love Light
Set 1Hard To Handle, Beat It On Down The Line, Hi-Heel Sneakers, High Time, Mama Tried, Dark Star-> Alligator-> Drums-> Alligator-> Caution (Do Not Stop on Tracks)-> We Bid You Good Night
Set 2
Set 3
Comment
Set 1It's A Sin, Hi-Heeled Sneakers, Dark Star > The Eleven jam > Dark
Star
Star
Commentreportedly "Hartbeats": Garcia, Kreutzmann, Hart, Lesh, and Howard Wales (keyboards)
Set 1It's A Sin
Hi-Heel Sneakers
Dark Star ->
The Eleven
Hi-Heel Sneakers
Dark Star ->
The Eleven
CommentHartbeats. Setlist courtesy of <A HREF="http://www.deadlists.com/">Deadlists</A>, which gives additional information about this show.
Set 1It's A Sin High Heeled Sneakers Dark Star > Dark Star Jam #1 > Dark Star Jam #2 > The Eleven Jam > Dark Star
Set 1China Cat Sunflower-> Sitting On Top Of The World, Dark Star-> Saint Stephen-> The Eleven-> Drums-> High Time-> Cold Rain & Snow
Set 2Casey Jones, Easy Wind, Me And My Uncle > High Time, New Orleans > Searchin > Good Lovin' Jam > Good Lovin', Dire Wolf > King Bee, Turn On Your Love Light
Commentsetlist courtesy deadlists.com- see additional comments there. Other artist(s): NRPS; Commander Cody
Set 1China Cat Sunflower > Doin' That Rag, Morning Dew, Easy Wind, Dark Star > St. Stephen > The Eleven, High Time
CommentOther artist(s): NRPS; Commander Cody
Set 1Good Morning Little School Girl, Doin' That Rag, He Was A Friend Of Mine, Big Boy Pete, Good Lovin', It's All Over Now
Set 1Peggy Sue, That'll Be The Day, Johnny B. Goode, Peepin & Hidin, Wipe Out Jam > Big RR Blues, Louie Louie > Twist & Shout > Blue Moon
CommentGrateful Dead with members of Jefferson Airpane (definitely Jorma, Jack, and Joey Covington, who handles some vocals).
Set 1Morning Dew, Dire Wolf, Cold Rain & Snow, Hard To Handle, Mama Tried, High Time, Next Time You See Me, Casey Jones, He Was A Friend Of Mine, Good Lovin'-> Drums-> Good Lovin', Easy Wind, China Cat Sunflower-> I Know You Rider, Alligator-> Drums-> Turn On Your Love Light
Set 2
Set 3
CommentOther artist(s): Danny Cox, Golden Toad
Set 1Cold, Rain and Snow
In the Midnight Hour
Seasons of My Heart
Mama Tried
Next Time You See Me
Good Lovin'
Big Boss Man
Casey Jones
Dancing in the Street
Dark Star >
St. Stephen >
The Eleven >
Death Don't Have No Mercy
In the Midnight Hour
Seasons of My Heart
Mama Tried
Next Time You See Me
Good Lovin'
Big Boss Man
Casey Jones
Dancing in the Street
Dark Star >
St. Stephen >
The Eleven >
Death Don't Have No Mercy
CommentOther artist(s): Danny Cox, Golden Toad;
setlist courtesy deadlists.com
released as Dave's Picks Volume 43
setlist courtesy deadlists.com
released as Dave's Picks Volume 43
Set 1
Set 2
Set 3
CommentAccording to Deadessays blog, there was a rehearsal for the TV broadcast taped on this day. See http://deadessays.blogspot.com/2015/09/deadbase-corrections.html for more information.
Set 1Cold Rain & Snow, Hard To Handle, Black Peter, Me & My Uncle, China Cat Sunflower-> I Know You Rider, St. Stephen -> Not Fade Away -> St. Stephen -> In The Midnight Hour
CommentFilmed for PBS, broadcast 12-13-70: Hard To Handle, China Cat->I Know You Rider
Set 1The Ballad of You and Me and Pooneil, Eskimo Blue Day, Jam*
Set 2
Set 3
CommentJefferson Airplane: *=w/Jerry Garcia & Carlos Santana. TV broadcast "A Night At The Family Dog" filmed for PBS (aired 4/2/70 & 12/13/70). Paul Kantner (vocals, guitars), Marty Balin (vocals), Jack Casady (Bass), Jorma Kaukonen (guitars, vocals), Spencer Dryden (percussion), Grace Slick (vocals). Jerry performed with the Grateful Dead also at this same show. Other Artists: Grateful Dead
Set 1Cold Rain &Snow, Me And My Uncle, Dancin' In The Streets, Easy Wind, Black Peter, Good Lovin' > drums > Good Lovin', China Cat Sunflower > jam > I Know You Rider > High Time, Hard To Handle, Casey Jones, Cumberland Blues, drums > Not Fade Away > Turn On Your Lovelight > Two Trains Running > space > Turn On Your Lovelight
Commentsetlist courtesy deadlists.com- could be incomplete
Set 1Turn On Your Lovelight > Me And My Uncle; Cumberland Blues Monkey And The Engineer; Little Sadie > Black Peter ; China Cat Sunflower > I Know You Rider ; High Time > Dire Wolf Good Lovin' > drums > Good Lovin'; Big Boss Man ; Casey Jones ; Alligator > drums > The Other One > Mason's
Children > jam > Turn On Your Lovelight
ENCORE Uncle John's Band
Children > jam > Turn On Your Lovelight
ENCORE Uncle John's Band
CommentMonkey & the Engineer through Black Peter performed acoustic.
Setlist courtesy of www.deadlists.com
Other artist(s): Commander Cody
Setlist courtesy of www.deadlists.com
Other artist(s): Commander Cody
Set 1New Speedway Boogie, Casey Jones, Big Boy Pete, Morning Dew, Hard To Handle, Me & My Uncle, Cryptical Envelopement-> Drums-> The Other One-> Cryptical Envelopement-> Black Peter, Beat It On Down The Line
Set 2Dire Wolf, Good Lovin'-> Drums-> Good Lovin', Cumberland Blues, I'm A King Bee, China Cat Sunflower-> I Know You Rider, Uncle John's Band, Dancin' In The Streets, It's All Over Now Baby Blue
Set 3
CommentOther artist(s): Commander Cody
Set 1Don't Ease Me In, Long Black Limousine, Monkey & The Engineer, Deep Elem Blues, Candyman-> Cumberland Blues, Me & My Uncle, Mama Tried, Cathy's Clown, Wake Up Little Susie, New Speedway Boogie, Friend Of The Devil, Black Peter, Uncle John's Band
Set 2
Set 3
CommentMickey And The Hartbeats - Bobby Ace And The Cards From The Bottom
Set 1acoustic
I Know You Rider (Fades in)
Don’t Ease Me In
Silver Threads And Golden Needles
Friend of the Devil
Deep Elem Blues
Wake Up Little Susie>
Candyman
Cumberland Blues
New Speedway Boogie
Me and My Uncle
Mama Tried
solo Pigpen
Katie Mae (Incomplete)
/Ain’t it Crazy (The Rub)
Roberta
Bring Me My Shotgun
The Mighty Flood>
Black Snake
I Know You Rider (Fades in)
Don’t Ease Me In
Silver Threads And Golden Needles
Friend of the Devil
Deep Elem Blues
Wake Up Little Susie>
Candyman
Cumberland Blues
New Speedway Boogie
Me and My Uncle
Mama Tried
solo Pigpen
Katie Mae (Incomplete)
/Ain’t it Crazy (The Rub)
Roberta
Bring Me My Shotgun
The Mighty Flood>
Black Snake
Set 2
Set 3
CommentMickey And The Hartbeats - Bobby Ace And The Cards From The Bottom
Set 1I Know You Rider, Friend Of The Devil, Candyman, Saw Mill, Deep Elem Blues, The Rub, Katie Mae, Roberta, Big Breasa, She's Mine, Cumberland Blues, Wake Up Little Susie, Mama Tried, Me & My Uncle, The Race is On, Uncle John's Band
Set 2
Set 3
CommentMickey And The Hartboats - Bobby Ace And The Cards From The Bottom Other artist(s): NRPS: Charlie Musselwhite
Set 1Zila Kafi:
a) Alap
b) Gat In Rupak
c) Gat In Sitarkhani
Sindhu Bhairavi:
a) Alap
b) Gat In Jhaptal
c) Gat In Ektal
d) Jhala
e) Sawal Jawab
a) Alap
b) Gat In Rupak
c) Gat In Sitarkhani
Sindhu Bhairavi:
a) Alap
b) Gat In Jhaptal
c) Gat In Ektal
d) Jhala
e) Sawal Jawab
Set 2
Set 3
CommentAli Akbar Khan - sarod
Indranil Bhattacharya - sitar
Zakir Hussain - tabla
Recorded live at the soundboard by the legendary Grateful Dead soundman, Owsley Stanley, a/k/a Bear, who is known for the purity of his “Sonic Journals” recordings.
These tapes were transferred and mastered by Jeffrey Norman (Mockingbird Mastering), long-time collaborator with the Grateful Dead and Owsley Stanley.
It’s been said that Bear’s tapes are like a time machine; this release starts 50 years ago and will take you back 500 years in time, to the origins of a musical tradition that was believed to have the power to heal…or even to harm if misplayed. Come and take this magical trip with us!
As much as That Which Colors The Mind may present a test of listening patience, it offers ample rewards for the exercise. On this double CD, just two selections, Indian ragas both, comprise slightly more than one-hundred twenty-minutes of a sophisticated demonstration of musical dynamics.
Surprise of surprises perhaps, this exhibition isn’t altogether dissimilar from the most far-reaching exercises in musicianship any genuinely adventurous jazzers or rockers conduct (along those lines, see the ‘call and response’ reference on next to the last page of the twenty-eight in the enclosed twenty-eight-page booklet).
Such nuanced intricacy in play here is rare indeed, however, regardless of the genre. Odd as it might be to construe the forty-plus minutes of “Zila Kafi” as a table-setting of sorts, it does serve the purpose of introducing the threesome’s individual and collective agility: their grasp of melody is as sure as their grip on rhythm, even as the trio embellishes both elements in a proportionate complexity.
Inexorable as the progression may sound to (some) Western ears, the subtlety of the musicianship is nevertheless both musical and methodical, as Jeffrey Norman’s mastering reveals.
Like its predecessor, “Sindu Bahairavi,” refuses to become merely background sound. On the contrary, it compels close and repeated listening(s), together or apart from its companion piece. As such, it can be deeply mesmerizing just moments in and even more so as the playing continues to the point Khan on sarod, Bhattacharya on sitar and Hussain on tabla reach a peak of frenzy where there interaction(s) are most dense.
It would almost seem the three enter into a shared meditation wherein they allow themselves the freedom to follow the motion of the music even as they propel it, while at the same time surrendering themselves to be carried along with it.
On this second of a three-night run (and Owsley ‘Bear’ Stanley’s second attempt to record the group), Ali Akbar Khan, Indranil Bhattacharya and Zakir Hussain effectively enact a series of consummate acts of shared courage. Not the least of these stalwart actions is effectively starting all over again on that second piece, then building to a startling conclusion as they did on the first.
It is difficult not to rhapsodize about how the trio sustains the insinuating force of their performances as they unfold: the trio alternately lulls and stimulates (as do the copious liner notes plus Bob Minkin’s graphic design and layout of the package art).
Little wonder this dynamic found an audience like the one in the Family Dog of San Francisco in 1970. The multiple appearances were indicative of the cultural paradigm shifts of that time, so it was hardly a mere coincidence Grateful Dead mentor/soundman/entrepreneur Owsley Stanley would also record the concerts.
Such a decision indicates just how open were ‘Bear’s’ ears, an eclectic approach now maintained within his Foundation; in choosing to devote scrupulous time and effort to Sonic Journals spanning NRPS to Doc and Merle Watson, as well as the ones in action on That Which Colors the Mind, those curators suggest it’s much preferable to range wide and far from an established niche rather than simply rest in place, no matter how fertile (or comfortable) that space might be.
Indranil Bhattacharya - sitar
Zakir Hussain - tabla
Recorded live at the soundboard by the legendary Grateful Dead soundman, Owsley Stanley, a/k/a Bear, who is known for the purity of his “Sonic Journals” recordings.
These tapes were transferred and mastered by Jeffrey Norman (Mockingbird Mastering), long-time collaborator with the Grateful Dead and Owsley Stanley.
It’s been said that Bear’s tapes are like a time machine; this release starts 50 years ago and will take you back 500 years in time, to the origins of a musical tradition that was believed to have the power to heal…or even to harm if misplayed. Come and take this magical trip with us!
As much as That Which Colors The Mind may present a test of listening patience, it offers ample rewards for the exercise. On this double CD, just two selections, Indian ragas both, comprise slightly more than one-hundred twenty-minutes of a sophisticated demonstration of musical dynamics.
Surprise of surprises perhaps, this exhibition isn’t altogether dissimilar from the most far-reaching exercises in musicianship any genuinely adventurous jazzers or rockers conduct (along those lines, see the ‘call and response’ reference on next to the last page of the twenty-eight in the enclosed twenty-eight-page booklet).
Such nuanced intricacy in play here is rare indeed, however, regardless of the genre. Odd as it might be to construe the forty-plus minutes of “Zila Kafi” as a table-setting of sorts, it does serve the purpose of introducing the threesome’s individual and collective agility: their grasp of melody is as sure as their grip on rhythm, even as the trio embellishes both elements in a proportionate complexity.
Inexorable as the progression may sound to (some) Western ears, the subtlety of the musicianship is nevertheless both musical and methodical, as Jeffrey Norman’s mastering reveals.
Like its predecessor, “Sindu Bahairavi,” refuses to become merely background sound. On the contrary, it compels close and repeated listening(s), together or apart from its companion piece. As such, it can be deeply mesmerizing just moments in and even more so as the playing continues to the point Khan on sarod, Bhattacharya on sitar and Hussain on tabla reach a peak of frenzy where there interaction(s) are most dense.
It would almost seem the three enter into a shared meditation wherein they allow themselves the freedom to follow the motion of the music even as they propel it, while at the same time surrendering themselves to be carried along with it.
On this second of a three-night run (and Owsley ‘Bear’ Stanley’s second attempt to record the group), Ali Akbar Khan, Indranil Bhattacharya and Zakir Hussain effectively enact a series of consummate acts of shared courage. Not the least of these stalwart actions is effectively starting all over again on that second piece, then building to a startling conclusion as they did on the first.
It is difficult not to rhapsodize about how the trio sustains the insinuating force of their performances as they unfold: the trio alternately lulls and stimulates (as do the copious liner notes plus Bob Minkin’s graphic design and layout of the package art).
Little wonder this dynamic found an audience like the one in the Family Dog of San Francisco in 1970. The multiple appearances were indicative of the cultural paradigm shifts of that time, so it was hardly a mere coincidence Grateful Dead mentor/soundman/entrepreneur Owsley Stanley would also record the concerts.
Such a decision indicates just how open were ‘Bear’s’ ears, an eclectic approach now maintained within his Foundation; in choosing to devote scrupulous time and effort to Sonic Journals spanning NRPS to Doc and Merle Watson, as well as the ones in action on That Which Colors the Mind, those curators suggest it’s much preferable to range wide and far from an established niche rather than simply rest in place, no matter how fertile (or comfortable) that space might be.
Bold dates can be downloaded from the Internet Archive
Italic dates have been a featured show
Add Show
Venues in CA