Oil Well Bootlegs - RSC CD: Grateful Dead - Turn On Your Lovelight

Grateful Dead - Turn On Your Lovelight
Oil Well RSC 083 CD

1 Casey Jones 4:44 2 Me And My Uncle 3:23 3 Hard To Handle 7:58 4 Bertha 5:45 5 Playin' In The Band 5:09 6 Birdsong 7:05 7 Big Boss Man 5:07 8 Medley: Cryptical/ Drum 2/ Other One/ Whart Raf 23:57 9 Sugar Magnolia 5:59

Note
All songs by Hunter/Lesh/Garcia/Weir
Live in Port Chester, NY, February 20, 1971 - Vol.1

Lineup:
Jerry Garcia - lead guitar, vocals
Phil Lesh - bass, vocals
Ron "Pigpen" McKernan – keyboards, harmonica, percussion, vocals
Bill Kreutzmann - drums
Bob Weir - rhythm guitar, vocals

This album is a digital clone of: Daybreak On The Land - CD1 - Vigotone ‎– VT-126/7 (1994).
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
On the front cover Bob Weir playing live in concert.
A very hot Other One featured in a well-played, typical 1971 set. As is often the case in this era, a superlative live audio system exposes the slightest warts and tuning problems.
Due to its rarity and good quality, this disc is recommended. Sounboard quality.
Please note that this bootleg is one of the rarest from this italian bootleg label!

Audio quality:

Quality content:

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February 20, 1971 Port Chester

The February 19, 1971 Port Chester concert marked the beginning of Mickey Hart's temporary departure from the band. The previous night's show would be his last with the Grateful Dead until his return on October 20, 1974. The February 19 concert included the first live performances of the songs "Bird Song" and "Deal", and the second performances of "Loser", "Bertha", "Playing in the Band", "Greatest Story Ever Told", and "Wharf Rat". The concert, which was on a Friday night, was the second of a series of six shows in seven days at the Capitol Theatre.

The opening act for this series of concerts, and for many other shows of that era, was the New Riders of the Purple Sage. At that time the lineup of the New Riders

featured Jerry Garcia of the Grateful Dead playing pedal steel guitar. The band also included John Dawson, David Nelson, Dave Torbert, and Spencer Dryden. Songs that they recorded at the February 21 and February 23, 1971 shows at the Capitol Theatre were released as an album called Vintage NRPS.

Other live Grateful Dead albums recorded in early to mid 1971 with the same band membership as on Three from the Vault are Skull and Roses, Ladies and Gentlemen...the Grateful Dead, Dick's Picks Volume 35, and Road Trips Volume 1 Number 3.

Rock's longest, strangest trip, the Grateful Dead

Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following -- the Deadheads, their numbers and devotion legendary in their own right -- they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries. The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, CA, in 1960, he soon befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh.

By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup now additionally including Lesh on bass as well as Bill Kreutzmann on drums. The Warlocks made their electric debut that July; Ken Kesey soon tapped them to become the house band at his notorious Acid Tests, a series of now-legendary public LSD parties and multimedia "happenings" mounted prior to the drug's criminalization. As 1965 drew to its close, the Warlocks rechristened themselves the Grateful Dead, the name taken from a folk tale discovered in a dictionary by Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the band members soon moved into a communal house situated at 710 Ashbury Street in San Francisco, becoming a fixture on the local music scene and building a large fan base on the strength of their many free concerts.

Signing to MGM, in 1966 the Dead also recorded their first demos; the sessions proved disastrous, and the label dropped the group a short time later. As 1967 mutated into the Summer of Love, the Dead emerged as one of the top draws on the Bay Area music scene, honing an eclectic repertoire influenced by folk, country, and the blues while regularly appearing at top local venues including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a disappointing effort which failed to recapture the cosmic sprawl of their live appearances; after performing at the Monterey Pop Festival, the group expanded to a six- piece with the addition of second drummer Mickey Hart. Their follow-up, 1968's Anthem of the Sun, fared better in documenting the free-form jam aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their penchant for time-consuming studio experimentation left them over 100,000 dollars in debt to the label. The Dead's response to the situation was to bow to the demands of fans and record their first live album, 1969's Live/Dead; highlighted by a rendition of Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its studio predecessors failed in capturing the true essence of the group in all of their improvisational, psychedelicized glory. It was followed by a pair of classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in homage to the group's country and folk roots, the two albums remained the cornerstone of the Dead's live repertoire for years to follow, with its most popular songs -- "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and "Truckin'" among them -- becoming major favorites on FM radio.

Despite increasing radio airplay and respectable album sales, the Dead remained first and foremost a live act, and as their popularity grew across the world they expanded their touring schedule, taking to the road for much of each year. As more and more of their psychedelic-era contemporaries ceased to exist, the group continued attracting greater numbers of fans to their shows, many of them following the Dead across the country; dubbed "Deadheads," these fans became notorious for their adherence to tie-dyed fashions and excessive drug use, their traveling circus ultimately becoming as much the focal point of concert dates as the music itself. Shows were also extensively bootlegged, and not surprisingly the Dead closed out their Warner's contract with back-to-back concert LPs -- a 1971 eponymous effort and 1972's Europe '72

February 20, 1971 Port Chester among GD's best 20 shows ever
Choosing and justifying a list of essential Grateful Dead shows – 20, 200 or even 2,000 – is treacherous work. Passionate challenge from fans, especially hardcore Deadheads and veteran tape traders, is guaranteed. Endless debate over set-list minutiae is inevitable. In fact, there is only one definitive list of the Dead’s greatest concerts – and it includes every show they played, in every lineup, from their pizza-parlor-gig days as the Warlocks in 1965 until guitarist Jerry Garcia‘s death in 1995. That long, strange trip was a continually unfolding tale of highs and trials, dedicated evolution and surrender to the moment, often caught vividly in the recording studio but told most immediately each night (or day) onstage.

This list jumps and dances through the story, but it’s not a bad place to start, if you’re not in deep already: more than 40 hours of performance from key runs and one-nighters in every decade, drawn from archival releases, the vast amount of circulating recordings and my own good times with the music. These 20 shows are genuinely essential in at least one way: If I had no other live Dead in my collection, I would be happy and fulfilled with this. Luckily, there is more. I already have lots of it. I will never have enough.
https://www.rollingstone.com/music/music-news/20-essential-grateful-dead-shows-247878/