Greatful Dead Will Rise Again Halloween Image
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Oct 26, 2012
https://www.expressionless.net/features/blairs-gold-road-blog/blair-due south-aureate-route-web log-owwoooo-halloween-expressionless
Blair'southward Gilt Road Web log - Owwoooo! Halloween with the Dead
The Grateful Dead and Halloween. Information technology was a match fabricated in heaven—or is that hell ?
Bwaa-ha-ha-haaaa!There's the name, of course, and the skeleton imagery. And in the early days of the Haight-Ashbury scene, it wasn't at all unusual for immature people to dress upward in colorful and at times outlandish outfits just in the course of their solar day-to-day lives. Almost every night at the Fillmore and the Avalon in '66-'67 had a bit of a Halloween feel. Halloween itself just provided some other excuse to dress upward. Later, Halloween Dead shows gave embrace to folks who wanted to go a little crazy.
The Dead played on Halloween thirteen times, and 9 of them exist on tape. They weren't all winners musically—in fact, I'd say the batting boilerplate is fairly depression—merely you can bet that the folks who were in that location withal had a blast.
I know I did at the few I went to. I had only i rule when it came to costumes—I had to exist able to dance in it! So no cardboard behemothic nitrous oxide tank for me! Simply I sure did love seeing those creative getups, along with the Jerry impersonators with bad false beards, Egyptian princes, Dancing Bears and all sorts of weird ones that were beyond comprehension—but totally cool!
Hither's a brief history of the Dead's Halloween shows:
10/31/66, California Hall, SF. The original plan was for the Dead to be amongst several groups playing what was billed equally the "Acrid Test Graduation" for Ken Kesey and the Merry Pranksters at Winterland in SF on Halloween. A few days before, however, Bill Graham abruptly cancelled the effect, claiming that he had heard that Kesey was planning a mass LSD dosing at the testify. Equally a result, Kesey and his crowd held a low-primal "graduation" at a small warehouse on Harriet Street in San Francisco, while the Dead joined Quicksilver Messenger Service for the Trip the light fantastic of Death Costume Ball one-half a mile away. SF Chronicle music critic Ralph Gleason wrote that the venue "was jammed all dark long, even though the six witches and Mimi Fariña [hyped in accelerate on handbills] never did announced. Or maybe the witches did. It was hard to tell. … The Quick and the Dead played for dancing … and they filled the hall with the wailing of guitars and the beat out of drums all night long. At midnight, when 'Death' was supposed to ride through the hall, a lanky, dark human being with long, stringy, black pilus and an opulent red brocade Louis Iv jacket, climbed into a rickety wheelchair and was pushed through the crowd past another man wearing a huge pumpkin for a headdress. Girls screamed in mock terror. … [Quicksilver] gave Death'southward wheelchair ride a wildly rhythmic accessory (the Bo Diddley riff at maximum volume) and the Grateful Expressionless did 'Viola Lee Dejection' and 'The LSD Millionaire' [sic] equally though they were playing for all time."
Kelley, Mouse and Griffin'southward famous Halloween '67 "Trip or Freak" affiche.
10/31/67, Winterland. A yr later, the Expressionless do get to play Winterland on Halloween, forth with Quicksilver and Large Blood brother & the Holding Company. The famous poster for this testify—dubbed "Trip or Freak"—is a rare collaboration between artists Alton Kelley, Stanley Mouse and Rick Griffin and features graceful psychedelic lettering and multiple images of Lon Chaney as the Phantom of the Opera. Contrary to Deadbase and other sources, we do non know what songs the Dead played at this prove.
ten/31/68, The Matrix, SF. Diverse sources list a Mickey & the Hartbeats bear witness for the tiny club on this appointment. That'due south the Dead, minus Bob and Pigpen—who were on the outs with the band at that time—commonly with other sit-in guests. No tapes or set up list be. OK, information technology'due south not truly the Dead. Sue me.
10/31/69, Loma Prieta Room, College Union of San Jose Land. I'm a sucker for shows from the autumn of '69, as the playing nevertheless has much of the ferocity and searching spirit of shows from earlier that twelvemonth, but also finds new songs from what would get Workingman's Dead beingness dropped into sets here and there. The show features an excellent 24-infinitesimal "That's It for the Other One," just the sixth version of "China Cat" > the recently reintroduced "I Know Y'all Passenger"; "Loftier Time," "Piece of cake Current of air" and a long, well-played "Lovelight" (which cuts before the finish on the rather hissy SBD up on Annal.org).
ten/31/lxx, Gymnasium, State University of New York at Stony Brook. No, it only seems equally though every other crumbling Dead Head you lot encounter is from Long Island. Simply ane reason for that may be that the Dead played at Stony Brook in '67, '68 and '70. On 10/xxx-31/70, the Expressionless and the New Riders (with Jerry on pedal steel) played both 8 p.thousand. and midnight shows. The Dead's early show on 10/31 opens with a rarity—a rather sloppy and out-of-tune "Till the Morning Comes"—but picks up nicely with a mesomorphic, deliberate "Hard to Handle." The tiresome, somewhat tame "Viola Lee Blues" turned out to exist the ring'southward final performance of that song. Its jam flows beautifully in "Cumberland Dejection" (without returning to "Viola Lee"), and then a fine "Uncle John'due south Band" closes the adequately sporadic set.
Affiche for 1969 show at San Jose State.
The folks who scored tickets for the late show (I'm guessing many went to both) got a meliorate—though still simply intermittently inspired—concert, with a much more interesting prepare list that included "That's It for the Other One," a shortish "Good Lovin'," an bloodless "Cosmic Charlie" and "St. Stephen" > "Non Fade Away" > "GDTRFB" > "NFA." Non the 'seventy Expressionless at their best, to say the least.
10/31/71, Ohio Theatre, Columbus, OH. This is the only Expressionless Halloween evidence to come up out commercially—the entire 2nd set became Dicks Picks, Vol. 2, the lone unmarried-disc release of the series. Information technology's a bully 1, too, with a lengthy "Dark Star" that goes into "Sugar Magnolia," the last "St. Stephen" for the next five years, "Non Fade Away" > "Goin' Down the Route" > "Not Fade Away," and a "Johnny B. Goode" encore. The fourteen-song start set featured many of the shorter tunes the band was playing in that era, from "Bertha" to "Playing in the Band" to a few that would popular up on Europe '72, such as "Jack Harbinger" and "Chocolate-brown-Eyed Women."
x/31/79, Nassau Coliseum, Uniondale, NY. Eight years after the Expressionless's last Halloween show, they return to Long Isle for a solid concert typical of the era. "Red china Cat" > "Rider" was always a treat as opener, and the remainder of the first prepare is fairly energetic, besides, with practiced versions of "Cassidy," "Loser" and "Lost Sailor" > "Saint of Circumstance." Best of show is the long, fantastic workout on "Shakedown Street" that opens the second ready, though there's too enough of hot jamming on "Estimated Prophet" > "Eyes of the World." The postal service-"drums" is just 2 numbers—"Wharf Rat" > "Truckin'"; both very strong. I highly recommend checking out the entire second set.
10/31/80, Radio City Music Hall, NYC. The concluding show of the group's celebrated eight-night 15th anniversary stand at the fine art deco landmark was telecast alive to select flick theaters in the East and Midwest, and circulates in widely bootlegged copies. It includes 3 Dead sets—one acoustic (opening with "Heaven Assist the Fool") and two electric—and a number of hilarious comedy bits featuring band members and GD crew, spearheaded by the one-act team of Al Franken and Tom Davis. If you've never seen it, search it out! The music is mostly top-notch, especially the second electric set, which includes "Lost Sailor" > "Saint of Circumstance" > "Franklin'due south Belfry" pre-"drums, and and so "Fire on the Mountain" > "Non Fade Away" coming out of "space," plus "Stella Blueish," "Goin' Down the Route" and an "Uncle John'due south" encore. Several songs appear on the superb alive video Dead Alee, and "space" > "Fire" fabricated it onto the Dead Set up anthology (both released in belatedly '81).
ten/31/83, Marin County Veterans Auditorium, San Rafael, CA. The get-go of three Grateful Dead Halloween shows I attended ('83, '84, '91), this is one of those concerts that looks meliorate on newspaper than information technology sounded. You lot'd think a second set that opened with "Help on the Fashion" > "Slipknot!" > "Franklin's Belfry" and also included the third (and last) version of the revived "St. Stephen" and an encore of "Revolution" would be a must-hear, but sadly it was not well executed for the most office, and the "St. Stephen" was a tremendous thwarting (to me; YMMV). Well, well, well, you can never tell.
One of the coolest parts of the bear witness is unquestionably "drums," which finds Brazilian percussionist Airto joining Mickey and Bill for a high-energy battle, as well as a deep tribal excursion directly out of the Amazon rainforest. (At the 9:20 mark of that jam, as well, Airto yells "Happy Halloweeeeeen" a couple of times, eliciting great thank you).
ten/31/84, Berkeley Community Theater. This testify has some seriously flawed moments, but information technology also has a few good performances. In the first set, standouts are the peppy "Shakedown" opener, the appearance of Weir'due south sometime Kingfish mate Matthew Kelly on harmonica for "Minglewood" and "Large Railroad Dejection" (both tunes credited to harmonica player Noah Lewis of the '20s jug ring Cannon's Jug Stompers), and a brisk "Lazy Lightning" > "Supplication." Though the 2nd set features very footling jamming and Garcia'south vocals are ofttimes strained and cracking, the version of "He's Gone" is good, and the dorsum office of "Morning Dew" is adequately constructive. Only it'southward Bob who provides the fireworks—the breakneck "One More Sat Dark" becomes "One More Halloween Night," and and then the "Satisfaction" encore is appropriately crunchy and actually delivers some much needed satisfaction to an up-and-down evening
x/31/85, Carolina Coliseum Arena, Columbia, SC. This i starts with a wonderful dissonant space freak-out filled with howls, screams and instruments wailing (and distorted by Dan Healy), then drops into the beginning "Werewolves of London" since seven/8/78. Yeah! That's what I'm talkin' about! Jerry gets a little confused late in the song, just it's notwithstanding pretty rippin', and imagine how shocked folks who were at that place must have been. I've always loved the second set, which opens with another beefy "Shakedown" (I think I'm seeing a tendency here!), moves on to "Playing in the Band," a passionate "Transport of Fools" (marred slightly by Jerry'southward hoarse vocals), then into a unique, imaginative jam before "drums." "Dearest Mr. Fantasy" out of "space" is some other care for in this underrated show.
10/31/xc, Wembley Arena, London. Poor Jerry. Battling a bad common cold as he arrived in London for the final two shows of the band'south fall 1990 Europe tour (with Bruce and Vince), his voice was shot, simply he still played with heart and gusto. Here, the "Assist-Slip-Frank" opener lives up its promise, and though he struggles mightily to go through the verses of "Bird Song," the jamming is fluid and y'all can hear the intimate communication between him and Bruce. He manages to croak through "Carmine-Fire," "He's Gone," even the frail "Stella Blue" in the 2nd set, while Bob charges through "Truckin'" and "Watchtower, "Around and Around" and "Adept Lovin'." Jerry has nearly no vocalism left for the "Werewolves" encore, just he still unleashes a few selection howls—what a pro! It'due south a pretty tough listen, only you gotta adore the spirit. Owwooooo!
10/31/91, Oakland Coliseum Arena. I've written about this show—the Expressionless'southward final Halloween concert—in a past weblog. It was the last of four shows that took place the week Neb Graham was killed in a helicopter crash, and so it didn't accept quite the festive Halloween vibe other Dead shows on ten/31 did. Simply it's a powerful couple of sets of music. This one, too, has a "Scarlet-Fire" to kicking off the 2d fix, just it gets really interesting a couple of songs later when Quicksilver guitarist Gary Duncan joins the band onstage for "Spoonful," and and then sticks effectually for a "Night Star" that finds Ken Kesey striding out to speak briefly about Bill Graham and then recite a short verse form by e.due east. cummings called "Buffalo Bill," which closes with the heavy line, "How do you like your blue-eyed male child, mister death?" Yikes! This show had a "Werewolves" encore, besides, and has much more to recommend it, besides.
Alton Kelley design for 1983 Marin Vets Halloween shirt.
(Lastly, I accept to at to the lowest degree mention a gaggle of Garcia Halloween shows: 10/31/74 at Memorial Gym at the University of San Francisco (Saunders-Garcia); x/31/75 at the Tower Theater in Philly (JGB with Nicky Hopkins); x/31/81 at the Tower (JGB with Melvin and Jimmy Warren); 10/31/86 at Kaiser Convention Center in Oakland (JGB); 10/31/87 at the Lunt-Fontanne Theater in NYC (the Jerry Garcia Acoustic Band and the JGB; this was released in total in the Pure Jerry CD release series); x/31/88, Kaiser in Oakland (JGB); 10/31/89 Concord (CA) Pavilion (JGB); 10/31/92 Oakland Coliseum Arena (JGB); and 10/31/93 Brendan Byrne Arena (NJ, JGB). Frankly, a lot of those are better than some of the Dead shows, but that's an argument for another fourth dimension and place … And, equal time for Bob—Bobby & the Midnites played at a club called The Bachanal in San Diego on 10/31/82, and a version of Kingfish opened for the JGB at Kaiser on x/31/86.
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The Grateful Dead and Halloween. It was a match fabricated in heaven—or is that hell ?
Bwaa-ha-ha-haaaa!
There's the name, of course, and the skeleton imagery. And in the early days of the Haight-Ashbury scene, it wasn't at all unusual for young people to wearing apparel upwards in colorful and at times outlandish outfits but in the course of their solar day-to-mean solar day lives. Nearly every night at the Fillmore and the Avalon in '66-'67 had a bit of a Halloween feel. Halloween itself only provided another alibi to dress up. Later, Halloween Dead shows gave embrace to folks who wanted to go a trivial crazy.
The Expressionless played on Halloween thirteen times, and 9 of them be on tape. They weren't all winners musically—in fact, I'd say the batting average is fairly low—but you can bet that the folks who were there even so had a blast.
I know I did at the few I went to. I had only ane rule when it came to costumes—I had to be able to dance in it! And so no cardboard giant nitrous oxide tank for me! But I sure did dear seeing those artistic getups, forth with the Jerry impersonators with bad simulated beards, Egyptian princes, Dancing Bears and all sorts of weird ones that were beyond comprehension—just totally cool!
Here's a brief history of the Expressionless's Halloween shows:
10/31/66, California Hall, SF. The original program was for the Expressionless to be amid several groups playing what was billed as the "Acid Exam Graduation" for Ken Kesey and the Merry Pranksters at Winterland in SF on Halloween. A few days before, however, Neb Graham abruptly cancelled the event, claiming that he had heard that Kesey was planning a mass LSD dosing at the bear witness. As a result, Kesey and his crowd held a easygoing "graduation" at a small-scale warehouse on Harriet Street in San Francisco, while the Dead joined Quicksilver Messenger Service for the Dance of Death Costume Ball half a mile away. SF Relate music critic Ralph Gleason wrote that the venue "was jammed all nighttime long, fifty-fifty though the half dozen witches and Mimi Fariña [hyped in advance on handbills] never did appear. Or possibly the witches did. It was hard to tell. … The Quick and the Expressionless played for dancing … and they filled the hall with the wailing of guitars and the beat of drums all night long. At midnight, when 'Death' was supposed to ride through the hall, a lanky, dark man with long, stringy, black pilus and an opulent ruby-red brocade Louis 4 jacket, climbed into a rickety wheelchair and was pushed through the oversupply by some other man wearing a huge pumpkin for a headdress. Girls screamed in mock terror. … [Quicksilver] gave Death's wheelchair ride a wildly rhythmic accompaniment (the Bo Diddley riff at maximum book) and the Grateful Dead did 'Viola Lee Blues' and 'The LSD Millionaire' [sic] every bit though they were playing for all time."
Kelley, Mouse and Griffin's famous Halloween '67 "Trip or Freak" poster.
10/31/67, Winterland. A twelvemonth later, the Expressionless practise become to play Winterland on Halloween, forth with Quicksilver and Large Brother & the Property Company. The famous poster for this bear witness—dubbed "Trip or Freak"—is a rare collaboration betwixt artists Alton Kelley, Stanley Mouse and Rick Griffin and features svelte psychedelic lettering and multiple images of Lon Chaney every bit the Phantom of the Opera. Contrary to Deadbase and other sources, we do not know what songs the Dead played at this show.
10/31/68, The Matrix, SF. Various sources list a Mickey & the Hartbeats evidence for the tiny order on this date. That'southward the Dead, minus Bob and Pigpen—who were on the outs with the band at that time—usually with other sit down-in guests. No tapes or set list exist. OK, information technology'southward not truly the Dead. Sue me.
10/31/69, Colina Prieta Room, Higher Marriage of San Jose State. I'm a sucker for shows from the autumn of '69, every bit the playing still has much of the ferocity and searching spirit of shows from earlier that year, merely besides finds new songs from what would become Workingman'south Dead being dropped into sets hither and there. The bear witness features an first-class 24-minute "That's It for the Other Ane," just the 6th version of "China Cat" > the recently reintroduced "I Know You Rider"; "High Time," "Piece of cake Wind" and a long, well-played "Lovelight" (which cuts before the end on the rather hissy SBD up on Archive.org).
ten/31/70, Gymnasium, Country University of New York at Stony Brook. No, it but seems equally though every other aging Dead Caput yous come across is from Long Island. Just 1 reason for that may be that the Dead played at Stony Brook in '67, '68 and '70. On 10/30-31/seventy, the Dead and the New Riders (with Jerry on pedal steel) played both 8 p.m. and midnight shows. The Dead'southward early evidence on ten/31 opens with a rarity—a rather sloppy and out-of-tune "Till the Morning Comes"—just picks up nicely with a chunky, deliberate "Difficult to Handle." The slow, somewhat tame "Viola Lee Dejection" turned out to be the band's concluding performance of that song. Its jam flows beautifully in "Cumberland Blues" (without returning to "Viola Lee"), and then a fine "Uncle John's Band" closes the adequately desultory set.
Affiche for 1969 prove at San Jose State.
The folks who scored tickets for the late show (I'thou guessing many went to both) got a better—though withal but intermittently inspired—concert, with a much more interesting set list that included "That's It for the Other One," a shortish "Good Lovin'," an bloodless "Cosmic Charlie" and "St. Stephen" > "Non Fade Away" > "GDTRFB" > "NFA." Not the '70 Dead at their best, to say the to the lowest degree.
10/31/71, Ohio Theatre, Columbus, OH. This is the simply Dead Halloween testify to come out commercially—the entire 2d set became Dicks Picks, Vol. ii, the solitary single-disc release of the series. It's a great ane, also, with a lengthy "Dark Star" that goes into "Carbohydrate Magnolia," the terminal "St. Stephen" for the next five years, "Not Fade Away" > "Goin' Downwardly the Route" > "Not Fade Abroad," and a "Johnny B. Goode" encore. The fourteen-song starting time set featured many of the shorter tunes the band was playing in that era, from "Bertha" to "Playing in the Ring" to a few that would pop up on Europe '72, such as "Jack Straw" and "Brown-Eyed Women."
10/31/79, Nassau Coliseum, Uniondale, NY. Viii years after the Dead's concluding Halloween show, they return to Long Island for a solid concert typical of the era. "Prc True cat" > "Rider" was always a treat as opener, and the balance of the beginning set is adequately energetic, besides, with good versions of "Cassidy," "Loser" and "Lost Sailor" > "Saint of Circumstance." All-time of show is the long, fantastic conditioning on "Shakedown Street" that opens the second set, though in that location's as well plenty of hot jamming on "Estimated Prophet" > "Eyes of the World." The post-"drums" is just two numbers—"Wharf Rat" > "Truckin'"; both very stiff. I highly recommend checking out the unabridged 2nd set.
10/31/80, Radio City Music Hall, NYC. The final show of the group's historic eight-nighttime 15th anniversary stand at the art deco landmark was telecast live to select movie theaters in the Due east and Midwest, and circulates in widely bootlegged copies. It includes iii Dead sets—one audio-visual (opening with "Heaven Help the Fool") and two electric—and a number of hilarious comedy bits featuring ring members and GD crew, spearheaded by the comedy team of Al Franken and Tom Davis. If you've never seen it, search information technology out! The music is mostly top-notch, especially the second electric set, which includes "Lost Sailor" > "Saint of Circumstance" > "Franklin'due south Belfry" pre-"drums, and and so "Fire on the Mountain" > "Not Fade Away" coming out of "space," plus "Stella Blueish," "Goin' Down the Road" and an "Uncle John'southward" encore. Several songs appear on the superb alive video Expressionless Ahead, and "space" > "Burn" fabricated information technology onto the Expressionless Set album (both released in late '81).
10/31/83, Marin County Veterans Auditorium, San Rafael, CA. The showtime of iii Grateful Dead Halloween shows I attended ('83, '84, '91), this is one of those concerts that looks meliorate on paper than it sounded. You'd recollect a second ready that opened with "Help on the Way" > "Slipknot!" > "Franklin'southward Tower" and also included the third (and final) version of the revived "St. Stephen" and an encore of "Revolution" would be a must-hear, but sadly information technology was non well executed for the most part, and the "St. Stephen" was a tremendous disappointment (to me; YMMV). Well, well, well, you tin can never tell.
One of the coolest parts of the show is unquestionably "drums," which finds Brazilian percussionist Airto joining Mickey and Bill for a high-energy battle, as well every bit a deep tribal excursion direct out of the Amazon rainforest. (At the ix:20 marker of that jam, likewise, Airto yells "Happy Halloweeeeeen" a couple of times, eliciting bully thank you).
10/31/84, Berkeley Community Theater. This show has some seriously flawed moments, but it also has a few skilful performances. In the beginning set, standouts are the peppy "Shakedown" opener, the appearance of Weir'south old Kingfish mate Matthew Kelly on harmonica for "Minglewood" and "Big Railroad Blues" (both tunes credited to harmonica player Noah Lewis of the '20s jug band Cannon'south Jug Stompers), and a brisk "Lazy Lightning" > "Supplication." Though the 2d set features very picayune jamming and Garcia'due south vocals are ofttimes strained and cracking, the version of "He's Gone" is skilful, and the back part of "Morning Dew" is fairly effective. But information technology'due south Bob who provides the fireworks—the breakneck "One More Sabbatum Dark" becomes "One More Halloween Nighttime," and so the "Satisfaction" encore is accordingly crunchy and really delivers some much needed satisfaction to an up-and-downwardly evening
10/31/85, Carolina Coliseum Arena, Columbia, SC. This 1 starts with a wonderful dissonant space freak-out filled with howls, screams and instruments wailing (and distorted past Dan Healy), then drops into the first "Werewolves of London" since 7/eight/78. Yep! That's what I'k talkin' almost! Jerry gets a little confused tardily in the vocal, but it'south withal pretty rippin', and imagine how shocked folks who were in that location must accept been. I've always loved the second set, which opens with another beefy "Shakedown" (I think I'grand seeing a trend here!), moves on to "Playing in the Band," a passionate "Transport of Fools" (marred slightly past Jerry's hoarse vocals), then into a unique, imaginative jam before "drums." "Beloved Mr. Fantasy" out of "infinite" is some other care for in this underrated bear witness.
10/31/90, Wembley Arena, London. Poor Jerry. Battling a bad cold equally he arrived in London for the final ii shows of the ring's fall 1990 Europe bout (with Bruce and Vince), his vox was shot, but he even so played with eye and gusto. Here, the "Help-Slip-Frank" opener lives up its promise, and though he struggles mightily to get through the verses of "Bird Song," the jamming is fluid and you can hear the intimate communication between him and Bruce. He manages to croak through "Scarlet-Fire," "He's Gone," even the fragile "Stella Blue" in the 2nd set, while Bob charges through "Truckin'" and "Watchtower, "Around and Around" and "Proficient Lovin'." Jerry has almost no voice left for the "Werewolves" encore, merely he however unleashes a few choice howls—what a pro! Information technology's a pretty tough listen, simply you gotta admire the spirit. Owwooooo!
10/31/91, Oakland Coliseum Arena. I've written about this evidence—the Dead's concluding Halloween concert—in a by blog. It was the last of four shows that took place the week Bill Graham was killed in a helicopter crash, then it didn't take quite the festive Halloween vibe other Dead shows on ten/31 did. Simply information technology'due south a powerful couple of sets of music. This ane, besides, has a "Scarlet-Fire" to boot off the second set, but information technology gets really interesting a couple of songs later when Quicksilver guitarist Gary Duncan joins the ring onstage for "Spoonful," and so sticks effectually for a "Nighttime Star" that finds Ken Kesey striding out to speak briefly most Bill Graham and and then recite a short poem by due east.due east. cummings called "Buffalo Bill," which closes with the heavy line, "How do you like your blue-eyed boy, mister death?" Yikes! This show had a "Werewolves" encore, also, and has much more to recommend information technology, also.
Alton Kelley design for 1983 Marin Vets Halloween shirt.
(Lastly, I have to at least mention a gaggle of Garcia Halloween shows: 10/31/74 at Memorial Gym at the Academy of San Francisco (Saunders-Garcia); 10/31/75 at the Tower Theater in Philly (JGB with Nicky Hopkins); 10/31/81 at the Belfry (JGB with Melvin and Jimmy Warren); 10/31/86 at Kaiser Convention Eye in Oakland (JGB); ten/31/87 at the Lunt-Fontanne Theater in NYC (the Jerry Garcia Acoustic Band and the JGB; this was released in full in the Pure Jerry CD release series); 10/31/88, Kaiser in Oakland (JGB); 10/31/89 Hold (CA) Pavilion (JGB); 10/31/92 Oakland Coliseum Loonshit (JGB); and ten/31/93 Brendan Byrne Loonshit (NJ, JGB). Frankly, a lot of those are better than some of the Expressionless shows, but that'due south an argument for another time and place … And, equal time for Bob—Bobby & the Midnites played at a society called The Bachanal in San Diego on 10/31/82, and a version of Kingfish opened for the JGB at Kaiser on x/31/86.
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Source: https://www.dead.net/features/blairs-golden-road-blog/blair-s-golden-road-blog-owwoooo-halloween-dead
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