The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica
Donna Jean Godchaux
Donna Jean Thatcher Godchaux-MacKay is an American singer, best known for having been a member of the Grateful Dead from 1972 until 1979. Donna Jean Thatcher was born in Alabama. Prior to 1970, she had worked as a session singer in Muscle Shoals, Alabama singing with a group called Southern Comfort and appearing as a backup singer on at least two #1 hit songs: "When a Man Loves a Woman" by Percy Sledge in 1966 and "Suspicious Minds" by Elvis Presley in 1969, her vocals were featured on other classic recordings by Boz Scaggs and Duane Allman, Joe Tex, Neil Diamond and many others. She moved to California and met future fellow Grateful Dead member Keith Godchaux, whom she married in 1970. Donna introduced Keith to Jerry Garcia after Garcia's performance at San Francisco's Keystone Korner in September 1971. At the time, Donna Jean was not working as a musician, she joined the band shortly afterwards, remaining a member until February 1979. Donna Jean provided lead vocals in the group's music. During their membership in the Grateful Dead, the couple issued the self-written Keith & Donna album in 1975 with Jerry Garcia as a Keith and Donna Band member.
In turn, they performed as part of the Jerry Garcia Band. Keith and Donna's son, Zion "Rock" Godchaux of BoomBox, was born in 1974. After the Grateful Dead, the couple started the Heart of Gold Band. Donna did not perform again with any Grateful Dead band members until after the death of Jerry Garcia. Shortly after her husband's death in 1980, she married bassist David MacKay and the couple moved to her childhood town of Florence, Alabama, to record at the Muscle Shoals Sound Studio. In 2009, Donna Jean formed a brand new band, the Donna Jean Godchaux Band, with Jeff Mattson, after re-entering the music scene with Mattson and Mookie Siegel to form Kettle Joe's Psychedelic Swamp Revue known as Donna Jean & the Tricksters, she makes guest appearances with Bob Weir & RatDog, Zero & Steve Kimock, New Riders of the Purple Sage, Dark Star Orchestra and Dead & Company. In 1994, Donna Jean was inducted into the Rock and Roll Hall of Fame as a member of the Grateful Dead, she resides in Killen and remains an active member of the Muscle Shoals music scene when not touring with the Donna Jean Godchaux Band with Jeff Mattson.
Keith & Donna – Keith and Donna Godchaux – 1975 Playing in the Heart of Gold Band – The Ghosts – 1984 The Heart of Gold Band – The Heart of Gold Band – 1986 Donna Jean – The Donna Jean Band – 1998 At the Table – The Heart of Gold Band – 2004 Donna Jean and the Tricksters – Donna Jean and the Tricksters – 2008 Back Around – Donna Jean Godchaux Band with Jeff Mattson – 2014 Donna Godchaux was a member of the Grateful Dead from 1972 to 1979 and appears on many of the band's albums. Donna Godchaux has contributed lead vocals on many albums by different artists. Singles"When a Man Loves a Woman" / "Love Me Like You Mean It" – Percy Sledge – 1966 "Suspicious Minds" / "You'll Think of Me" – Elvis Presley – 1969VideosMuscle Shoals – various artists – 2013 Move Me Brightly – various artists – 2013AlbumsFrom Elvis in Memphis – Elvis Presley – 1969 From Memphis to Vegas/From Vegas to Memphis – Elvis Presley – 1969 3614 Jackson Highway – Cher – 1969 Boz Scaggs – Boz Scaggs – 1969 Ton-Ton Macoute! – Johnny Jenkins – 1970 Ace – Bob Weir – 1972 Demon in Disguise – David Bromberg – 1972 Gypsy Cowboy – New Riders of the Purple Sage – 1972 The Adventures of Panama Red – New Riders of the Purple Sage – 1973 Tales of the Great Rum Runners – Robert Hunter – 1974 Tiger Rose – Robert Hunter – 1975 Reflections – Jerry Garcia – 1976 Cats Under the Stars – Jerry Garcia Band – 1977 Here Goes Nothing – Zero – 1987 Laughing Water – Jazz Is Dead – 1999 Don't Let Go – Jerry Garcia Band – 2001 Worcester, MA, 4/4/73 – New Riders of the Purple Sage – 2003 Pure Jerry: Theatre 1839, San Francisco, July 29 & 30, 1977 – Jerry Garcia Band – 2004 Pure Jerry: Warner Theatre, March 18, 1978 – Jerry Garcia Band – 2005 For Rex: The Black Tie Dye Ball – The Zen Tricksters and various artists – 2006 Pure Jerry: Bay Area 1978 – Jerry Garcia Band – 2009 Garcia Live Volume Four – Jerry Garcia Band – 2014 Garcia Live Volume Seven – Jerry Garcia Band – 2016 Muscle Shoals, Alabama FAME Studios Muscle Shoals Sound Studios Donna Jean Godchaux Band with Jeff Mattson official website Grateful Dead official website The Music Never Stopped: The Musical Journey of Donna Jean Godcheaux-McKay From honesttune.com.
Donna Jean Godchaux Interview NAMM Oral History Library
Mickey Hart is an American percussionist and musicologist. He is best known as one of the two drummers of the rock band Grateful Dead, he was a member of the Grateful Dead from September 1967 until the group disbanded in August 1995. He and fellow Dead drummer Bill Kreutzmann earned the nickname "the rhythm devils". Michael Steven Hartman was born in Flatbush neighborhood of New York, he was raised in suburban Inwood, New York by his mother, Leah, a drummer, gown maker and bookkeeper. His father had abandoned his family. Although Hart became interested in percussion as a grade school student, his interest intensified after seeing his father's picture in a newsreel documenting the 1939 World's Fair. Shortly thereafter, he discovered a practice pad and a pair of snakewood sticks that belonged to his father. "From the age of ten," he recalled, "all I did was drum."He attended Lawrence High School in Cedarhurst, New York. Hart would recall that many champion rudimental drummers attended his high school.
While employed as a soda jerk at El Patio, a jazz club in Atlantic Beach, New York, he was influenced by Tito Puente's regular appearances. A few months out of high school, he discovered the work of Nigerian drummer Babatunde Olatunji, another formative influence. Olatunji taught and collaborated with Hart. Hart dropped out of high school as a senior. Impressed by its musical pedigree, he enlisted in the United States Air Force in 1961, he served as a drummer in The Airmen of Note, an elite big band unit in the United States Air Force Band modeled after Glenn Miller's celebrated Army Air Forces Band. For three and a half years, he was stationed throughout Europe, where he claimed to have taught "combative measures" to units of the Strategic Air Command and other units in Europe and Africa. During a tour in Spain, he sat in with a variety of notable jazz musicians in addition to performing in various ensembles and on recording sessions for local pop stars. Hart would intimate in a 1972 interview that his Airmen of Note assignment served as a "cover" for his instructive duties.
While in the Air Force, he co-founded Joe and the Jaguars with a fellow serviceman, guitarist Joe Bennett. Following his 1965 discharge, Hart returned to the New York metropolitan area, where he filled in for the regular drummer in a "staid fox-trot band" as a member of the local musician's union. While stationed in southern California, he had discovered that his father was still involved in the drumming community as an endorser for Remo. Founder Remo Belli facilitated an introduction before Hart was reassigned to Spain, but the elder Hart soon disappeared. A post-discharge reconciliation attempt proved to be more successful. Shortly thereafter and son established the Hart Music Center in San Carlos, California. In late 1965 or early 1966, Hart performed in an early iteration of William Penn and His Pals prior to Gregg Rolie's membership and the recording of the garage rock classic "Swami." In 1966, Hart and Bennett resumed their collaboration before the latter reenlisted for a tour of duty in Vietnam.
By the end of the year, he had moved in with Michael Hinton, a student and friend who would accompany him to a fateful Count Basie Orchestra performance at The Fillmore in mid-1967. At the concert, Hart fulfilled Grateful Dead drummer Bill Kreutzmann's request to meet Basie Orchestra drummer Sonny Payne, leading to an informal tutorial between Hart and Kreutzmann and thence his eventual introduction to the Grateful Dead. Hart joined the Grateful Dead in September 1967, his interests in polyrhythmic rudiments and exotic percussion were integral to the band's arrangements in the period that archivist Dick Latvala would subsequently characterize as the "primal Dead era" of 1968-1969. However, he left by mutual agreement in February 1971, extricating himself after his father embezzled $70,000 from the band. In his 2015 memoir, Kreutzmann divulged that Hart's use of heroin and other "dark drugs" had accelerated in the wake of the embezzlement and impacted his contributions to the group contributing to his departure: "Mickey wasn't able to play at the level he was capable of and it was beginning to affect our performances.
He was getting spacey and just getting so far out there that he wasn't able to deliver the music. It became impossible, it wasn't out of anger or meanness. So our brother Mickey left the band and retreated to his ranch in Novato and it strained our relationship for a while, sad to say."During his sabbatical, he released the album Rolling Thunder in 1972. Two additional solo albums were completed but rejected by Warner Brothers due to the label's strained relationship with the Grateful Dead. Hart's home recording studio proved to be a haven for the more idiosyncratic endeavors pursued by var
Philip Chapman Lesh is a musician and a founding member of the Grateful Dead, with whom he played bass guitar throughout their 30-year career. After the band's disbanding in 1995, Lesh continued the tradition of Grateful Dead family music with side project Phil Lesh and Friends, which paid homage to the Dead's music by playing their originals, common covers, the songs of the members of his band. Lesh operates, he scaled back his touring regimen in 2014 but continues to perform with Phil Lesh & Friends at select venues. From 2009 to 2014, he performed in Furthur alongside his former Grateful Dead bandmate Bob Weir. Lesh was born in Berkeley and started out as a violin player. While enrolled at Berkeley High School, he switched to trumpet and participated in all of the school's music-related extracurricular activities. Studying the instrument under Bob Hansen, conductor of the symphonic Golden Gate Park Band, he developed a keen interest in avant-garde classical music and free jazz. After attending San Francisco State University for a semester, Lesh was unable to secure a favorable position in the school's band or orchestra and determined that he was not ready to pursue a higher education.
Upon dropping out, he auditioned for the renowned Sixth Army Band with the assistance of Hansen but was determined to be unfit for military service. Shortly thereafter, he enrolled at the College of San Mateo, where he wrote charts for the community college's well-regarded big band and ascended to the first trumpet chair. After transferring with sophomore standing to the University of California, Berkeley in 1961, he befriended future Grateful Dead keyboardist Tom Constanten before dropping out again after less than a semester. At the behest of Constanten, he studied under the Italian modernist Luciano Berio in a graduate-level course at Mills College in the spring of 1962. While volunteering for KPFA as a recording engineer during this period, he met bluegrass banjo player Jerry Garcia. Despite opposite musical interests, they soon formed a friendship. Following a brief period as a Post Office Department employee and keno marker in Las Vegas; this was a peculiar turn of events. According to Lesh, the first song he rehearsed with the band was "I Know You Rider".
He stayed until the end. Since Lesh had never played bass, it meant that to a great extent he learned "on the job", yet it meant he had no preconceived attitudes about the instrument's traditional rhythm section role. In his autobiography, he credits Jack Casady as a confirming influence on the direction his instincts were leading him into. While he has said that his playing style was influenced more by Bach counterpoint than by contemporaneous rock and soul bass players, one can hear the fluidity and power of a jazz bassist such as Charles Mingus or Jimmy Garrison in Lesh's work, along with stylistic allusions to Casady. Lesh has cited Jack Bruce of Cream as an influence. Lesh was an innovator in the new role. Contemporaries such as Casady, James Jamerson and Paul McCartney adopted a more melodic, contrapuntal approach to the instrument. While not abandoning these aspects, Lesh took his own improvised excursions during a song or instrumental; this was a characteristic aspect of the so-called San Francisco Sound in the new rock music.
In many Dead jams, Lesh's bass is, as much a lead instrument as Garcia's guitar. Lesh was not a prolific composer or singer with the Grateful Dead, although some of the songs he did contribute are among the best known in the band's repertoire. Lesh's high tenor voice contributed to the Grateful Dead's three-part harmony sections in their group vocals in the early days of the band, until he relinquished singing high parts to Donna Godchaux in 1976 due to vocal cord damage from improper singing technique. In 1985, he resumed singing lead vocals on select songs as a baritone. Throughout the Grateful Dead's career, his interest in avant-garde music remained a crucial influence on the group. In 1994, he was inducted into The Roll Hall of Fame as a member of the Grateful Dead. After the disbanding of the Grateful Dead, Lesh continued to play with its offshoots The Other Ones and The Dead, as well as performing with his own band, Phil Lesh and Friends. In 1999, he co-headlined a tour with Bob Dylan.
Additionally and his wife Jill administer their charitable organization, the Unbroken Chain Foundation. The couple have two children together and Brian. Both Grahame and Brian follow in their father's musical foot
Workingman's Dead is the fourth Grateful Dead studio album. It was recorded in February 1970 and released on June 14, 1970; the album and its studio follow-up, American Beauty, were recorded back-to-back using a similar style, eschewing the psychedelic experimentation of previous albums in favor of Jerry Garcia and Robert Hunter's Americana-styled songcraft. In 2003, the album was ranked number 262 on Rolling Stone magazine's list of the 500 greatest albums of all time; the band again recorded at Pacific High Recording Studio in San Francisco, spending just nine days there. After the protracted sessions required for the previous two studio albums, Garcia suggested "Let's do it all in three weeks and get it the hell out of the way". Besides trying to avoid the debt that had accumulated while recording Aoxomoxoa, the band was dealing with the stress of a recent drug bust in New Orleans – which could have resulted in jail time. Additionally, they returned from a tour to find their soon-to-be-fired manager, Lenny Hart, refusing to show the books to anyone else in the organization.
"In midst of all this adverse stuff, happening... was an upper," said Garcia in an interview. Lyricist Robert Hunter had joined the band on the road for the first time, resulting in a period of faster song development. Unlike the psychedelic, electrified music for which the band had become known, the new songs took a new direction, reviving their folk-band roots. Bassist Phil Lesh stated "The song lyrics reflected an'old, weird' America that never was... The miraculous appearance of these new songs would generate a massive paradigm shift in our group mind: from the mind-munching frenzy of a seven-headed fire-breathing dragon to the warmth and serenity of a choir of chanting cherubim; the album cover reflects this new direction: The cover for Aoxomoxoa is colorful and psychedelic, that of Workingman’s Dead is monochromatic and sepia." Workingman's Dead and American Beauty, the companion album that followed months were, according to drummer Bill Kreutzmann, both influenced by the Bakersfield sound.
He explained "We tried to be like a Bakersfield band – but one that still sounded like we were from 300 miles north of that town... we held to our psychedelic roots. Workingman's Dead was all about discovering the song... American Beauty became all about having the harmonies to do that". While on tour in Boulder, the previous year, Garcia had purchased a steel guitar and was now keen to use it on the new batch of songs. Lesh explained, ``, he made it sing; the main impetus for this development was the nature of the new songs Hunter and Jerry had been writing. Bobby began bringing in covers of his favorite country tunes and some originals in that vein, so we were starting to see a trend developing. I was thrilled that the band could make such a complete musical about-face while still maintaining the flat-out weirdness that I’d come to know and love."Songs such as "Uncle John's Band", "High Time", "Cumberland Blues" were brought to life with soaring harmonies and layered vocal textures that had not been a part of the band's sound.
According to the 1992 Dead oral history, Aces Back to Back, in the summer of 1968, Stephen Stills vacationed at Mickey Hart's ranch in Novato. "Stills lived with me for three months around the time of CSN's first record", recalls Hart, "and he and David Crosby turned Jerry and Bobby onto the voice as the holy instrument. You know,'Hey, is this what a voice can do?' That turned us away from pure improvisation and more toward songs."Garcia commented that much of the sound of the album comes both from his pairing with Hunter, as well as the band's friendship with Crosby and Nash: "Hearing those guys sing and how nice they sounded together, we thought,'We can try that. Let's work on it a little'." The album title came about when Jerry Garcia commented to lyricist Robert Hunter that the album was "turning into the'workingman's Dead' version of the band". Having both worked on all of the album's songs and gone out on the road with the band, Hunter appears as a seventh member on the front cover photograph.
Warner Bros. released "Uncle John's Band" as a single to promote the album. It received limited airplay though it was edited to a radio-friendly three-minute length and the lyric "goddamn" removed. Readers of Rolling Stone voted Workingman's Dead the best album of 1970, followed by Crosby, Stills and Young's Déjà Vu and Van Morrison's Moondance; the album was expanded in 2001 as part of The Golden Road 12-CD box set. This version, given separate release in 2003, includes eight bonus tracks. A DVD-Audio version was released in 2001, without the bonus material. In 2014 it was issued as a two-LP set, mastered at 45 rpm by Mobile Fidelity Sound Lab. All songs written except where noted. Bonus track details"Dire Wolf" recorded June 27, 1969, at Santa Rosa Veteran's Memorial Hall, Santa Rosa, CA "Black Peter" recorded January 10, 1970, at Golden Hall Community Concourse, San Diego, CA "Easy Wind" recorded January 16, 1970, at Springer's Ballroom, Gresham, OR "Cumberland Blues" recorded January 17, 1970, at Oregon State University, Corvallis, OR "Mason's Children" recorded January 24, 1970 at Civic Auditorium, Honolulu, HI (later released with complete conce
Fillmore East was rock promoter Bill Graham's rock venue on Second Avenue near East 6th Street in the Lower East Side neighborhood, now called the East Village neighborhood of the borough of Manhattan of New York City. It was open from March 8, 1968, to June 27, 1971, featured some of the biggest acts in rock music at the time; the Fillmore East was a companion to Graham's Fillmore Auditorium, its successor, the Fillmore West, in San Francisco, Graham's home base. The theatre at 105 Second Avenue that became the Fillmore East was built as a Yiddish theater in 1925-26 – designed by Harrison Wiseman in the Medieval Revival style – at a time when the section of Second Avenue was known as the "Yiddish Theater District" and the "Jewish Rialto" because of the numerous theatres that catered to a Yiddish-speaking audience. Called the Commodore Theater, independently operated, it was taken over by Loews Inc. and became a movie theater, the Loews Commodore. It became the Village Theatre, owned by Roger Euster, with on-site management by Bill Barenholtz.
When Bill Graham took over the theatre in 1968, it had fallen into disrepair. Despite the deceptively small marquee and façade, the theater had a capacity of 2,700; the venue provided Graham with an East Coast counterpart to his existing Fillmore in San Francisco, California. Opening on March 8, 1968, the Fillmore East became known as "The Church of Rock and Roll," with two-show, triple-bill concerts several nights a week. Graham would alternate acts between the East and West Coast venues; until early 1971, bands were booked to play two shows per night, at 8 pm and 11 pm, on both Friday and Saturday nights. Among the notable acts to play the Fillmore East was Jimi Hendrix, his album Band of Gypsys was recorded live on New Year's Day 1970. However before Hendrix hit the stage, British blues-rock trio Cream played the Fillmore East when it was called the "Village Theater" on September 20 & 23 1967; the Kinks played October 17th and 18th, 1969, supported by the Bonzo Dog Band. John Lennon and Yoko Ono sat in with Frank Zappa and the Mothers of Invention at the theater on June 6, 1971.
The Allman Brothers Band played so many shows at Fillmore East that they were sometimes called "Bill Graham's house band". Jefferson Airplane performed six shows and Taj Mahal played eight shows at the venue, while Crosby, Stills and Young did four shows in September 1969 and six performances in June 1970. Led Zeppelin made four appearances in early 1969. Amateur film footage of their January 31 performance can be viewed at the Led Zeppelin website; the Joshua Light Show, headed by Joshua White, was an integral part of many performances, with its psychedelic art lighting on a backdrop behind many live bands. From the summer of 1970, the Pig Light Show under the direction of Marc L. Rubinstein performed at the theater from time to time trading duties until the venue's closing in 1971 with Joe's Lights, made up of former members of the Joshua Light Show which remained the de facto house light show. National Educational Television taped a show on September 1970, for broadcast, it featured Elvin Bishop Group, Albert King, Sha Na Na, Van Morrison and Joe's Lights.
The Allman Brothers were taped for broadcast but due to technical difficulties, the segment with them was not aired. The show, "Welcome To Fillmore East" was aired on WNET channel 13 in NYC and simulcast on WNEW-FM radio on October 10, 1970, at 10:00 pm in the NYC area. A thirty-minute clip from that show of the Allmans can be seen on YouTube; because of the auditorium's great acoustics, many live albums were recorded at the Fillmore East, including: The Allman Brothers Band – At Fillmore East The Allman Brothers Band – Fillmore East, February 1970 on Grateful Dead Records The Allman Brothers Band – The 1971 Fillmore East Recordings six CD set of both early and late shows from March 12 and 13, 1971, the complete closing show from June 27, 1971. Released by The Island Def Jam Music Group, 2014. Buffalo Bob Smith – Live at Bill Graham's Fillmore East. Six CD set released in 2006 on Hip-O Select. Crosby, Stills and Young – 4 Way Street Miles Davis – Live at the Fillmore East, March 7, 1970: It's About That Time.
Derek and the Dominos – In Concert. Y. N. Y. Late Show, Nov. 7, 1970 Virgil Fox/Heavy Organ – Bach Live at Fillmore East.
Veneta is a city in Lane County, United States. As of the 2010 census, the city population was 4,561. Veneta was established in 1912 by Edmund Eugene Hunter, who named the settlement after his five-year-old daughter. Veneta post office was established in 1914. Veneta Hunter Vincent, the city's namesake, died in 2000 at age 91, she had attended the city's 70th anniversary party in 1982. Veneta has been the site of the annual Oregon Country Fair called the Renaissance Faire, since 1970. On August 27, 1972, the Grateful Dead played a concert—the first "Field Trip"—at the Oregon Country Fair site; the concert, a benefit for Springfield Creamery, has become legendary to Deadheads and is documented in the film Sunshine Daydream. The city's name is used on Veneta, Oregon, a 2004 release by New Riders of the Purple Sage, a live recording of the group's opening performance at the 1972 Field Trip. According to the United States Census Bureau, the city has a total area of 2.57 square miles, all of it land.
This region experiences warm and dry summers, with no average monthly temperatures above 71.6 °F. According to the Köppen Climate Classification system, Veneta has a warm-summer Mediterranean climate, abbreviated "Csb" on climate maps; the city of Veneta gets its drinking water from three deep wells located within the city limits. In 2013, a 24-inch pipeline was completed which connected the city of Veneta to the Eugene Water & Electric Board, allowing the city to purchase surplus water from EWEB; the 10-mile pipeline supplies the city with an extra 200,000 US gallons of water per day and provides the city with 20% of its water supply. Veneta is located adjacent to Fern Ridge Reservoir; the reservoir is popular for water sports, sailing and swimming. Surrounding the reservoir is the Fern Ridge Wildlife Area, popular for bird watching and contains several parks with picnic areas, hiking trails, some canoe and kayak access to the wetlands. Inside the city is the outdoor, public swimming pool, open to swimmers during the summer months.
Located off Territorial Highway is Veneta's skate park. The 7,000-square-foot concrete park was constructed for local roller skating; the skate park is adjacent to a children's playground. Veneta provides outdoor sports fields at the Bolton Hill Sports Complex located off Bolton Hill Road; this is an 11-acre sports area with soccer fields. The Bolton Hill Sports Complex have been used by the Territorial Sports Program to provide baseball and soccer activities for local youth; as of the census of 2010, there were 4,561 people, 1,730 households, 1,241 families residing in the city. The population density was 1,774.7 inhabitants per square mile. There were 1,830 housing units at an average density of 712.1 per square mile. The racial makeup of the city was 91.8% White, 0.4% African American, 1.4% Native American, 0.8% Asian, 0.2% Pacific Islander, 1.9% from other races, 3.6% from two or more races. Hispanic or Latino of any race were 5.5% of the population. There were 1,730 households of which 36.3% had children under the age of 18 living with them, 52.9% were married couples living together, 13.0% had a female householder with no husband present, 5.8% had a male householder with no wife present, 28.3% were non-families.
20.5% of all households were made up of individuals and 6.2% had someone living alone, 65 years of age or older. The average household size was 2.62 and the average family size was 2.98. The median age in the city was 35.2 years. 25.4% of residents were under the age of 18. The gender makeup of the city was 49.3% male and 50.7% female. As of the census of 2000, there were 2,755 people, 966 households, 732 families residing in the city; the population density was 1,035.5 people per square mile. There were 1,015 housing units at an average density of 381.5 per square mile. The racial makeup of the city was 92.92% White, 0.25% African American, 1.38% Native American, 0.65% Asian, 0.04% Pacific Islander, 0.91% from other races, 3.85% from two or more races. Hispanic or Latino of any race were 4.17% of the population. There were 966 households out of which 43.7% had children under the age of 18 living with them, 56.7% were married couples living together, 13.3% had a female householder with no husband present, 24.2% were non-families.
18.4% of all households were made up of individuals and 6.3% had someone living alone, 65 years of age or older. The average household size was 2.85 and the average family size was 3.23. In the city, the population was spread out with 33.0% under the age of 18, 7.7% from 18 to 24, 30.5% from 25 to 44, 21.3% from 45 to 64, 7.5% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 95.9 males. For every 100 females age 18 and over, there were 93.2 males. The median income for a household in the city was $37,326, the median income for a family was $40,909. Males had a median income of $33,897 versus $18,730 for females; the per capita income for the city was $16,239. About 11.4% of families and 9.7% of the population were below the poverty line, including 16.2% of those under age 18 and 7.2% of those age 65 or over. Entry for Veneta in the Oregon Blue Book