“It is said that, if you lined up all those who have ever been to a Grateful Dead concert head-to-toe, the line would stretch around the moon, and about halfway back. And nobody would complain!”
WSLR is slowly coming back with a very sparse number of live studio programmers, albeit with very specific instructions as to how to protect both ourselves and our fellow WSLR volunteers.
WSLR is slowly coming back with a very sparse number of live studio programmers, albeit with very specificinstructions as to how to protect both ourselves and our fellow WSLR volunteers.
MOTB Release:Grateful DeadLindley Meadows, Golden Gate Park, San Francisco, CASeptember 28, 1975Taped by Bob Menke and Louis FalangaTransfer by Bob Menke, mastering by Derek McCabe
In the interest of full and fair disclosure:One of my hard-and-fast rules is that I never broadcast Grateful Dead material that has been commerciallyreleased. Usually meaning soundboards. That being said, I am not above to broadcasting a recording fromanother source, such as FM or, in this case an audience recording.
Here is a webpage with many details about the day, and the event:http://www.deadlistening.com/2008/06/1975-09-28-lindley-meadows-golden-gate.html
That being said, tonight’s show has been released as part of the 80-cd collection, “30 Trips Around The Sun”:https://en.wikipedia.org/wiki/30_Trips_Around_the_Sunand here is a fine, fine “Mouth Of The Beast” remaster of a superb aud. Scroll down to read about “Mouth OfThe Beast”.
According to Bob Menke:“It was an overcast day and we got there early. About 8:30 in the morning. That is how we ended up about10-15 feet from the stage. The mics were mounted on broom sticks (handheld) and they were split about 20 feetapart. The upfront vocals I believe are the product of a small (relative to PA speakers) speaker on the floor ofthe stage next to the right PA column. The vocals seem to be blasting from that speaker. Another very interstingpoint is the fact that the Jefferson Starship opened and their sound from the same PA absolutely sucked.Nothing approaching the clarity and sound quality the Dead got from the same system.”
REVIEW: Incredible audience recording!WOW, Five big stars for this one! I noticed an unpatched glitch in Big River, but it’s not enough to cost this astar! Excellent performance, excellent sound, funny stage banter, a baby being born, and one of only 4performances of the band from 1975! *!!!!!
REVIEW: THE BEST!!!This recording is AMAZING.THANK YOU!!!!! YOU ROCK!!!!
REVIEW: One year....and many listens later this has become one of my top two favorite shows (8/27/72 is the other). Definitely oneto play for friends who don’t think they like the Grateful Dead. The sound quality is absolutely fantastic,especially considering it’s an AUD. The band is super tight, playing with a telepathy and exuberance that thecrowd obviously shares. Jerry’s sweet vocals are right up front for a change and Phil is dancing on that bass likenobody’s business. This recording, more than any other I’ve heard, captures the effervescent vibe of a happycrowd digging a beautiful day of awesome music in Good ‘Ol Golden Gate Park in Good’ Ol San Francisco. BobMenke & Louis Falanga have captured magic and put it into this nugget of a recording. When it exits yourspeakers it reemerges as sparkling at the day it entered those microphones. Imagine the bragging rights that kidwho was born during the show has! I hope he/she has had a chance to listen to this recording and hear their birthannounced to the world from the stage by Phil Lesh during one of the best Grateful Dead shows ever. Assomeone who didn’t appreciate the Grateful Dead until decades later, to think I was an adolescent kid runningaround the streets of San Francisco somewhere while this show was going on just blows my mind. I can’t helpbut wonder how my life would have been different if I had stumbled upon this concert.. Thanks to the tapers.
REVIEW: Great!This was a pleasure to listen to!
REVIEW: LsdThe band later said everyone on stage was tripping, fun to know how well they do this show.
REVIEW: Golden!Far out, baby! …Far Out!
REVIEW: excellent showOne of my favorites only for that Slipknot jam, the only downside is the cut Franklins, and the band split up theHelp>slip>franks in the set, instead of playing it in it’s entirety. Still an amazing show and I’m listening to thison linear KRK studio monitors and the quality is top notch for an audience recording. The band sounds tight,everything is spot on!
REVIEW: Big FunWow. I was at the show but I had not listened to it since. So much better and longer than I remembered. Wewere all so happy to see them play again. Fantastic quality for an AUD.
REVIEW: —A classic aud recording – everything from ’75 is so instantly identifiable, so precious….Big River still has needof a patch; the rest of this sounds just gorgeous. A well-known electric Kool-Aid-laced afternoon in the park.
What is the “Mouth of the Beast”?If you have ever listened to live recordings you will probably have noticed that not all recordings have the samequality. It all depends on the gear used, the location of the mics and of course the band’s groove. Back behindthe soundboard, the taper section was not the ideal location for recording. And those crisp soundboard tapes,they leave out the full experience of the show. The missing sound is the dynamics of being up close to the stagewhile the band performed. Up front, dead center in the first fifteen rows is where “the sound” was ideal. Thetapers knew this was the spot. They braved security and the bands’ roadies to make these tapes. This project hasbeen started to preserve, archive and distribute these rare recordings. This project is for the fans — who wantto experience recordings made in the “Mouth of the Beast”. We refer to this project as MOTB.
Tuesday, November 28, 2023
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