So, back to Garcia, who just started using the "Unity Gain" effects loop into his volume knob on his guitar five months prior to this, at the show the day before my first show ( i.e. Santa Barbara, an electric "Fender Rhodes" piano), as well as an organ on a few tunes during his first rehearsals in '71. Other evidence for this is a show a Texas later this same year, but I wasn't in attendance so I can't say for sure yet Keith seems to have left the stage after very briefly playing an "electric" during the beginning of "Playin' in the Band"? (Perhaps it's not appropriate to characterize Keith in this way since at least the following year he played for example, at the outdoor show at my alma mater when I was a freshman, at U.C. How much did this have to do or not with Keith's eventual exit from the band? I did hear something when Brent came in the band, that they were looking for "more sustain", as can be produced with electric keyboards. magazine around the time of Brent's first show, stating there was room for improvement in the technology which came since obviously they used them extensively later on. This is understandable given how primitive synthesizers were at this early time! Moreover Billy K. One gets the distinct impression that Keith apparently disliked electric keyboards.
That is, here Steve Parish was rigging Garcia into a Moog synthesizer which Keith played ever so briefly! What's more significant but not readily apparent, is the mention of "technical difficulties" by Bob Weir early in the first set (not that equipment delays were very unusual but this one was unique). So, I was relieved that it's been patched here! So consequentially, I lost the intact audience "Franklin's Tower" having been recorded over with the board which was cut in "Franklin's Tower". Hence, the audience tape I had before the "Betty Board" came out, sounded very lopsided! Despite this, it had an uncut "Franklin's Tower" unlike the first board I got! However, unfortunately the fellow from whom I got my first board copy, was unwilling to let me do the dub it myself, yet he didn't pay enough attention to the contents of recordings were prior to copying it.
it's width was much longer than it's length from the stage towards the audience. The Swing on the other hand, was at a 90 degree angle to more common configuration, i.e. Those had their long axis running to and from the stage. Why I saw "a" balcony is because, there were only balconies on either side, yet not in the back like most rectangular buildings, such as, for example, Winterland or the Oakland Aud. Starting with what is simply weird about the Swing but of lesser significance, since it's only noticeably on the audience tape I got from a fellow who recorded from "a" balcony. The following if you'll bare with me, is some historical context of this show and as you know, it started a new era for the band, in addition to simply the new compositions that is, also new devices facilitating the new compositions etc. have to do with it, nothing other than the coincidence which I explain below). '80 (which was also a great show, and the only one I ever passed out at, but that's another story)! (What the hell does E.L.P. The Swing was a strangely built building for a concert! (By the way it no longer exists because apparently a plane crashed into it after E.L.P., being the last band to play there shortly after Grateful Dead played there in Dec. The other two being the second of each of following the pairs: with "The Who" at Oakland Stadium 0 and at L.A.'s Shrine Auditorium 5! just prior to the more well known Winterland shows in June. that's how great the other three were in my opinion! The best of these I think was the fourth one, namely at The Forum i.e. This is my third show, and believe it or not I actually think this was the weakest of my amazing first four, i.e. Those of you who saw them in '73-'74 may have, but after this, he pretty much stopped that. Also, this is the only time I ever saw Phil do a distinct bass solo during "Eyes of the World", of course.
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