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Re: Hello More Billy Strings Magic. Nov 2, am Nov 2, am. Re: More Billy Strings Magic. Nov 4, am Nov 4, am. Nov 4, pm Nov 4, pm. Nov 1, am Nov 1, am. Looking For Grateful Dead Project reseeds at btetree. Nov 1, pm Nov 1, pm. Sarah Jarosz and Billy Strings. Oct 31, am Oct 31, am. Re: Sarah Jarosz and Billy Strings. Nov 2, pm Nov 2, pm. Oct 28, am Oct 28, am. Re: After Show Thoughts Oct 28, pm Oct 28, pm.

Oct 24, pm Oct 24, pm. RIP to another part of our musical universe. Oct 19, pm Oct 19, pm. Re: RIP to another part of our musical universe. Oct 20, am Oct 20, am. Oct 21, am Oct 21, am. Art by BluesforSallah. Jerry Garcia Jerry Garcia. Bob Weir Bob Weir. Bill Kreutzmann Bill Kreutzmann. Phil Lesh Phil Lesh. Mickey Hart Mickey Hart. Robert Hunter Robert Hunter. Tom Constanten Tom Constanten. Keith Godchaux Keith Godchaux.

Brent Mydland Brent Mydland. Vince Welnick Vince Welnick. Today's Song Peggy-O. Hint: A traditional song that debuted with the Grateful Dead in and was played in every year until , for a total of more than times. You cannot download this file directly onto your smartphone or tablet.

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Language Language. Goode setlist coutesy deadlists. Blues favorite favorite favorite favorite favorite 16 reviews Topic: Live concert Source: Soundboard. Goode, E: One More Saturday Disc 1 1. Easy Wind 2. Good Lovin? Dark Star Disc 2 1. And We Bid You Goodnight 8. Goode favorite favorite favorite favorite 11 reviews Topic: Live concert Source: Soundboard. Goode favorite favorite favorite favorite favorite 45 reviews Topic: Live concert Source: Soundboard. Disc 1 - 1st Set - 1. They Love Each Other 3.

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Bad behavior by angry teens caused the suspension of rock concerts at Kiel Opera House. Louis really only has two national colleges: Washington University Quadrangle and St. Louis University. U is considered an "Ivy League school that's located in the Mid-West. They have an outdoor venue the Quadrangle , and an indoor venue the Field House. The list of people that have played there is incredible:. Louis University obviously had concerts, but they are not documented as well as Wash U's.

Louis University is spread out over a several mile wide "campus" several campuses AND is just not as "rich" as Wash U. Wash U. I don't know of hardly any concerts that were held on the SLU campus. However The Byrds did play there in early in the facility that was a gym. Grand Avenue, the street that the Fox is located on, was the heart of the "theatre district. But the Fox was already going downhill by around The glory years of the Fox were over by the mid-to-late s.

If you look at the movie bookings at the Fox from , you'll see the material went from PG to some edgier material like Valley Of The Dolls.

By , they were showing spy flicks. Then in , it was biker flicks. They were desperate to try and turn around their business! Concerts were almost never held to my knowledge at the Fox, and at that point, the Fox had been left to somewhat decay, but at its core was a majestic theatre that was visually amazing, and had very good sound.

Slow decline into , but it was still mostly safe during the daytime because there were still businesses and SLU. But there was no "quality" nightlife. It was turning into a ghost town at night. But going down to the Fox in , and even thru was not an issue at all.

The Fox was never really a seedy neighborhood Business closed All gone. That used to be a serious theatre district. The most amount of theaters in ONE area. I went there starting around or so. I witnessed the initial decline in the late s until the late s. It really became the victim of white flight to the suburbs. Areas like that in St Louis went into decline.

It was perfect for us high schoolers who thought it was cool to go downtown. We always felt "gifted" about those shows.

It was the most trippy, ornate palace I don't even remember the "bomb scare" issue. I guess we didn't care. It was a wild era. New owners bought the Fox in , and then slowly it became a premiere concert venue to this day. The Fox survives and thrives today because of the massive resurgence in that area as the center for the arts. Louis was KSHE. Rock radio on FM didn't start in St.

I distinctly remember Morning Dew being played. Anything from Anthem was prohibitive in that each side represented a whole "commitment". The Born Cross-Eyed single got some airplay. China Cat Sunflower and St.

Stephen absolutely got a lot of airplay, but only on KSHE. And parties with big stereo systems. Straight people listened to AM radio. I remember very little advertising for the Dead. We didn't have a good "street paper. Word of mouth was "better. Louis was always a big town for local bands. Prior to the Beatles' arrival in , virtually all the bands that played in St. Louis on a regular basis were high-quality soul bands that played the most current hits.

Virtually every band had people in it. Full horn section, and generally Black singers fronting the band. Prior to the era of rock music, teens went to mixers, social dances, church dances, record spins, etc. Dancing was still very important as a social thing through the dawn of the hippie era.

Through , dances were a weekend thing in St Louis at dozens of churches every weekend. Learning to dance, or faking it, was essential. Even if you weren't any good, you at least were used to the feeling of being on a dance floor. I bring this up because if you were interested in socializing with other teens years old , you could find DOZENS of dances to go to. These "teen town" dances drew tons of kids who wanted to dance The attendance at all of the early rock shows was by music freaks The bigger the act, the more potential for crossover.

I think a lot of people were so young, they got their parents to take a car-full of teens down to the show. I think we sometimes think: "only music fans attend concerts" Going to the concert was like going to the fair or the carnival. It was "part of a date. At a Dead show, if you were tripping, most of the crowd wanted to hear the jams so they could dance. By "dance," I mean just shake it wildly.

Way before the "twirlers," we were all very well aware of the skills of dancing by watching the crowds dance the latest dances at the teen town. The guys who danced the best were dancing with the cutest girls, etc. So, dancing was a skill, and you had to at least minimally function on the dance floor. The Dead "freed us up" in that we didn't have to do a "proper" dance like the boogaloo, the African Twist, the Hitchhike, the Swim, etc.

By late , you didn't because the dance scene came to a crashing end with the advent of AM radio playing huge hits by the new rock bands. The "teen town" dance scene quickly became a thing of the past. Music tastes had shifted, and "formal" dancing had died, but the need to shake it was very much an important thing.

I bring up all of the above backstory because by , the old guard was fading away. By when I was 17 , people who were years younger than me had NO memories of ever attending "teen towns.

People who were born after had no need to EVER learn how to dance. Prior to the advent of SF music, bands focused on playing dance material. But once the concerts became more rock, the more people just sat in their seats I remember a lot of people sitting down at rock concerts, but also a lot of people "shaking it We were doing mostly top 40 type stuff but trying to find danceable songs from the new generation coming out of FM radio.

Sitting down and just watching started with the S. Seats were assigned in the big venues Kiel, Powell Symphony Hall, etc. I saw Canned Heat at Kiel Auditorium and seats were assigned. But when I saw them a second time at a union hall, it was standing or sitting only, no chairs even provided. But that was great for me as I always made my way to the band up close to try and learn stuff by watching the lead guitar player… [A venue like] Kiel Opera House was all assigned seating.

But at the Avalon Ballroom in S. The Armory show was promoted as a dance concert. In , there were no "hippie dance moves" twirling, etc. By , I had been going to Catholic dances with live soul bands for years. The pressure "to dance" was intense. Especially if you wanted to meet girls, and be considered cool.

Anyone who went to see soul bands play understood that dancing was "why we were there" I usually hung back and watched the bands, so there were plenty of us who were there to "see the band" versus going to meet girls and dance. However, the idea of people "moving" and shaking it to a live band was solidly in teens' "training.

To have attended the May Dead show at the Armory, you would have had to be a hipster It definitely means you weren't "looking to dance and meet chicks. I've talked to people who said they "moved" to the music The Dead came to St. Louis so often between — more than many other small Midwestern markets Memphis, Kansas City, Omaha, etc. We really got used to that as a normal thing.

I don't think they returned until Younger fans, especially those who got on board by the late s, had no awareness that the Dead had previously come so many times. Simply because they came here so often, the word spread very fast. The buzz on every show of theirs was so incredible that people became Dead Heads based on the buzz Scotty's was one of the only shops in town that had used instruments.

The smaller music shops only carried a few guitars. Music stores at the time primarily made their money off of teaching, renting instruments, sheet music, etc. Ed Seelig was the first guy in town who was selling guitars to rock bands, starting in when he was He opened Silver Strings, the first vintage guitar shop in St.

Louis, in fall The market for vintage used instruments didn't exist until around roughly But in , you could easily buy any of Jerry's Les Pauls, Strats, etc.

The "market" for vintage used instruments didn't "explode" until around or so. Up until , there were very few guitar salesmen in that game, and almost none of them had a shop of their own. So it was a cottage "industry" started by music fans, who were generally guitarists.

A variety of people helped out the Dead when they were in town. The local "support system" for the Dead was really: whoever made themselves available. The Dead regularly used locals as temporary roadies…they always had a supply of willing cheap labor on hand.

The Dead's equipment crew was still very small at the time, just a few people before '71 when they started expanding the crew. They probably learned early on that wherever they went, there would be kids eager to help drive or lug amps or whatnot, for free! They walk over and ask, if they help off-load could they get in free? Hard to imagine now, but those kinds of things happened back then. Ramrod said OK.

Tickets were 3. After a couple hours, they were just about done and Mickey calls them over. He reaches down and has a peanut butter glass jar. Opens it, takes his drum stick, dips it in, and tells them to open their mouths and taps a drop into both their mouths… They got in free and dosed… I tried the same thing next day.

They told me to get lost. Often people seemed to function "on the inside," but at the same time didn't know who other local "insiders" were. It's like the Dead had numerous support groups, in a way, as they spent time with many people in their visits. Ladue is the richest area in St Louis. Band manager Jon McIntire who had grown up in the area must have been involved with putting St.

Local young fans would track down the Dead at their hotel, and at times the Dead would hang out with the kids lucky enough to find them. Garcia was probably the one that young guys would want to meet most. When I met him on the stage at the NRPS show, he seemed relaxed and engaged, and was available to talk to. He was obviously nice to fans. People would visit him at the shows and hotel rooms bearing gifts, and Garcia was not one to turn them away.

Two examples:. He said no, went down to his room door, then turned around and gave them the "come on" arm wave, and they did. Such was life on the road…. Louis, indicating how long they could have spent time in the city. The pattern changes in though, as they start spending several days at a time in St. As a rule the Kiel shows had reserved seating while the other venues were mostly general-admission.

But attendance went way up! MAY , No tape known. Louis for two nights, traveling miles to sell fewer than tickets. The promoter, of course, lost his shirt. The promoter was Jorge Martinez, an artist who promoted a number of St. Louis rock shows in Martinez died in Included in this series was:. Steppenwolf on May 18, at the National Guard Armory.

Later in he also brought Dr. John, Mother Earth, and The Byrds. It was close to the St. Louis University campus and later on it was often used for frat parties and concerts as well as sports events. It was very poorly attended, less than people each night. Pictures not from the concert, but from historical online sites show that it was a gym.

Steppenwolf played there on May 18, …. So one reason why the attendance at the Armory was so low was because the "rock concert scene" was just starting. Also, people were totally unfamiliar with the Armory as a venue. Still, the Dead were almost completely a word of mouth experience.

Songs from the first album weren't played much at that time. Most people seeing the Dead then would have recognized very little since the Anthem album hadn't come out yet. If anyone even heard the Dark Star single, that would have been no preparation at all!

Louis to pick up all the equipment for the Grateful Dead and deliver it to the Armory. Also, members of Public Service were given boxes of the handbill to hand out and inform the public of this upcoming concert. Bob Schnieders was the lead singer for Public Service.

At the time he worked in a record store and was a serious collector of blues records. Bob was into "real" blues So when he was asked what he thought of the Dead several days after the Armory show, he said: "Oh, they were all right.

Pig Pen did a couple of good songs. He can be seen in some photos of the show peeking down at the Dead from behind the stage curtain. He recalls:. Actually, we never changed the band card to "Public Service Blues Band," and it was basically a musical transition more than anything - I had this burning desire to be a pure blues band, but I knew the other guys wouldn't go for a complete change in material, so it kind of "morphed. The Dead's first album came out prior to that show it came out in early , so I had heard it, and since they covered some blues stuff on the album, I was interested in seeing them, although I didn't care for the original tracks on their record.

Frankly, myself and the other guys in the band were probably the only non-fans in attendance at those Armory shows! I talked quite a bit with Jerry Garcia that weekend, as he had a keen interest in the blues guys who were from St. He was somewhat of a record collector, and I gave him some 78's that I had duplicates of.

I liked him - seemed like a good guy. For the Dead shows, Garcia asked us if we wouldn't mind playing just one set, so that they could play their usual single extended set. I was fine with that, as long as we would be paid the same as the contract called for, even though our one set would be far shorter than the standard two sets. Martinez was fine with that, so we played one set each night - probably 45 - 60 minutes. We used our own equipment, and tore down after the set both nights.

Despite the small audience, there are a number of memories from concertgoers. Craig Petty went on the first night at the Armory on May 24, and remembers that Public Service opened and then the Dead played one long set. What a trip! No chairs and like people, no one knew who they were. One comment on dead. I was able to walk in the dressing room, Jerry and Pigpen were walking around and I talked with Phil and he let my friend play his bass for a minute.

They were all just regular guys and that impressed me. While playing, Mickey's cymbal fell and hit someone in the small crowd. After repairs the show went on.

One person heard it was Billy's cymbal. Stuart Johnson of the band Alvin Pivil attended the first night, the 24 th. He thought the concert ended around 30 mins prior to midnight. So any fanciful recollections by people who said they played until 3am is just not true. Stuart said that most of the songs they played were unknown to him aside from the songs he was familiar with from their first album. That might not be true, but another witness also remembers the flag incident.

John Crouch writes on setlists. It was the 1st time the Dead played St. I sat on the floor directly in front of Garcia right in front of the stage. Contrary to other websites, they opened with "Morning Dew" which they did at all the shows I saw of them both in St. They took a break in playing about halfway thru the show and instead of going backstage, they just stepped off the stage into the audience. I got to talk to Phil Lesh for a short time. Up to that time only their 1st album was out. But that nite they played lots of stuff from "Anthem of the Sun" which nobody had yet heard and it was truly mind blowing.

There was nothing else out like it, mainly consisting of long jam songs. Somebody took the American flag that nite, and a National Guard officer came on stage and demanded it back or the show would be ended. It was returned. Everything else was new! I do have a clear recollection of Morning Dew ending with a band member grabbing a mic off of the mic stand and crashing it into the six foot tall gong, repeatedly and rotating the mic which still worked, around and around the face of the gong and the most incredible sounds coming out from this along with the guitars At that point, right then and there, I decided that I needed to leave St.

Another witness recalls being there on the "second night. They played in the big main room on a makeshift stage about a foot high, sparsely attended with no chairs.

I was sitting on the floor 10 feet from Garcia, amazed at the double drummers and the two equally-fine guitarists, with the audience sitting - dancing - freaking freely, including someone in a big cardboard box A local group, Public Service Blues Band, opened up each night. I seem to recall a lot of fluid music, a lot of Garcia in-flight, standing at the edge of the stage, and a few "songs" we recognized, including Schoolgirl, Viola Lee, Morning Dew - I think that's the one where he broke a string and changed it, standing up, in like a minute or so, pretty impressive.

And what was likely Alligator with everyone getting onto percussion - guiro "scraper" , vibraslap, etc. We were only familiar with the first album, so there was a lot of new music to digest. Bill Keithler attended the 25 th , sitting on the floor in front of the stage. I remember that they started Dew with a Chinese gong that built up to a crescendo from which they launched the power chord crashing into the song.

After Schoolgirl, they went into a long piece which went to the end of the first set, so it probably lasted for about 40 minutes. I do remember that Pig did not sing other than Schoolgirl so it was unlikely to have been Alligator or Caution… One unusual event that occurred during this long jammy piece was that Phil broke a string and it whacked him in the face.

The band did not stop playing and he got a new string on and rejoined the song. Public Service opened with an hour set, then the Dead played for about an hour. Public Service came back and then unfortunately my father showed up to bring me and my friend home, so I missed the second set. Bill had heard that the Dead had played late into the night at the previous show, so this was very disappointing.

They were still playing at around am and the police tried to get them to quit. Naturally they did not comply. The cops supposedly had someone turn off the power to the band which only had the effect of creating a drum duet with Billy and Mickey, with Pig on the vibraslap. Again, the story goes, the cops then fired a shot into the ceiling to impress upon the band that they were serious about stopping the show and they did quit after that. Not sure I believe it but that is what we were told.

I met Phil at the Armory show, and at the Quad we all got up on stage and talked to all the band members. It wasn't the typical 3 minute songs we'd been used to. We also picked up on Lovelight right away even though we'd only witnessed Pig Pen doing it, as it didn't appear on an album til Live Dead.

He liked the Dead partly because they were new and exciting, and they stretched out their songs. But also, like many early GD fans, Pig Pen was a big draw. Even on this first trip to St. Louis, Jerry Garcia met some familiar faces. Jerry had known John's brother and some of our other friends from back in Haight-Ashbury.

John and Brian struck up a conversation, and they all decided that Jerry would come back over to Belleville with them after the show to look for some of those people, and grab some after-hours food.