February 4, 1970 Family Dog on The Great Highway, 660 Great Highway, San Francisco, CA: Jefferson Airplane/Grateful Dead/Santana/Kimberly "A Night At The Family Dog" [FDGH '70 III]

The Family Dog on The Great Highway, at 660 Great Highway, ca. 1969

The Family Dog on The Great Highway, 660 Great Highway, San Francisco, CA
The Family Dog was a foundation stone in the rise of San Francisco rock, and it was in operation in various forms from Fall 1965 through the Summer of 1970. For sound historical reasons, most of the focus on the Family Dog has been on the original 4-person collective who organized the first San Francisco Dance Concerts in late 1965, and on their successor Chet Helms. Helms took over the Family Dog in early 1966, and after a brief partnership with Bill Graham at the Fillmore, promoted memorable concerts at the Avalon Ballroom from Spring 1966 through December 1968. The posters, music and foggy memories of the Avalon are what made the Family Dog a legendary 60s rock icon.

In the Summer of 1969, however, with San Francisco as one of the fulcrums of the rock music explosion, Chet Helms opened another venue. The Family Dog on The Great Highway, at 660 Great Highway, on the Western edge of San Francisco, was only open for 14 months and was not a success. Yet numerous interesting bands played there, and remarkable events took place, and they are only documented in a scattered form. This series of posts will undertake a systematic review of every musical event at the Family Dog on The Great Highway. In general, each post will represent a week of musical events at the venue, although that may vary slightly depending on the bookings.

If anyone has memories, reflections, insights, corrections or flashbacks about shows at the Family Dog on the Great Highway, please post them in the Comments.

660 Great Highway in San Francisco in 1967, when it was the ModelCar Raceway, a slot car track

The Edgewater Ballroom, 660 Great Highway, San Francisco, CA
As early as 1913, there were rides and concessions at Ocean Beach in San Francisco, near the Richmond District. By 1926, they had been consolidated as Playland-At-The-Beach. The Ocean Beach area included attractions such as the Sutro Baths and the Cliff House. The San Francisco Zoo was just south of Playland, having opened in the 1930s. One of the attractions at Playland was a restaurant called Topsy's Roost. The restaurant had closed in 1930, and the room became the Edgewater Ballroom. The Ballroom eventually closed, and Playland went into decline when its owner died in 1958. By the 1960s, the former Edgewater was a slot car raceway. In early 1969, Chet Helms took over the lease of the old Edgewater.

One of the only photos of the interior of the Family Dog on The Great Highway (from a Stephen Gaskin "Monday Night Class" ca. October 1969)

The Family Dog On The Great Highway
The Great Highway was a four-lane road that ran along the Western edge of San Francisco, right next to Ocean Beach. Downtown San Francisco faced the Bay, but beyond Golden Gate Park was the Pacific Ocean. The aptly named Ocean Beach is dramatic and beautiful, but it is mostly windy and foggy. Much of the West Coast of San Francisco is not even a beach, but rocky cliffs. There are no roads in San Francisco West of the Great Highway, so "660 Great Highway" was ample for directions (for reference, it is near the intersection of Balboa Street and 48th Avenue). The tag-line "Edge Of The Western World" was not an exaggeration, at least in American terms.

The Family Dog on The Great Highway was smaller than the Bill Graham's old Fillmore Auditorium. It could hold up to 1500, but the official capacity was probably closer to 1000. Unlike the comparatively centrally located Fillmore West, the FDGH was far from downtown, far from the Peninsula suburbs, and not particularly easy to get to from the freeway. For East Bay or Marin residents, the Great Highway was a formidable trip. The little ballroom was very appealing, but if you didn't live way out in the Avenues, you had to drive. As a result, FDGH didn't get a huge number of casual drop-ins, and that didn't help its fortunes. Most of the locals referred to the venue as "Playland."

The Family Dog In 1969
Chet Helms had opened the Family Dog at 660 Great Highway to much fanfare on June 13, 1969, with a packed house seeing the Jefferson Airplane and The Charlatans. One of the goals was that the Dog would feature mostly San Francisco bands and a variety of smaller community events and groups. Since so many San Francisco bands were successful, and had record contracts, this didn't confine the venue to obscurity. A lot of great bands played the Family Dog in 1969, but the distant location and the gravitational pull of major rock events hosted elsewhere in the Bay Area kept the Family Dog isolated. We know only the most fragmentary bits about music played, events and audiences throughout the year.  Despite the half-year of struggle, Helms had kept the Family Dog on The Great Highway afloat. He had entered the new year of 1970 with a new plan.

• For a complete list of Family Dog shows (including FDGH), see here
• For the previous entry (January 30-31, 1970 Jefferson Airplane) see here
  
• For a summary and the link to the most recent entries in this series, see here

February 4, 1970 Family Dog on The Great Highway, San Francisco, CA:  Jefferson Airplane/Grateful Dead/Santana/Kimberly "A Night At The Family Dog" (Wednesday)
Most of the concrete information we have about the Family Dog on The Great Highway comes from Grateful Dead scholarship. Almost all of the surviving live tapes from the Dog are from the Grateful Dead or associated with them. Those non-Dead, non-Garcia tapes that exist were largely recorded by either Owsley or Alembic (Bob Matthews et al), each affiliated with the Dead. On top of that, what press coverage there was on the Family Dog was often anchored by reporting about the Dead or Jerry Garcia. 

For the wider audience of rock fans, and even of Deadheads, the most prominent knowledge of the Family Dog on The Great Highway was the Public Television special "A Night At The Family Dog," recorded at a special concert for an invited audience on Wednesday, February 4, 1970. The show was initially broadcast on NET (now PBS-tv) affiliate stations nationwide on April 27, 1970, and re-broadcast various times. With only three commercial networks and the occasional independent station, Public Television shows were widely watched in a way that would be unfathomable today. I assure you that the NET "Night At The Family Dog" special was watched by young people nationwide in large numbers, and was probably influential in suggesting that events like this went on in San Francisco all the time. Certainly, if you were in cold Des Moines or windy El Paso and saw Jefferson Airplane, The Grateful Dead and Santana sharing the stage, everybody dancing and a big jam afterwards, it would make you believe that San Francisco was the promised land indeed.

I have looked into this event at some length, starting a decade ago when I discovered a contemporary San Francisco Chronicle article about the Wednesday night filming of the KQED special by Ralph Gleason. Although Gleason was disingenuous about his role--he was co-producer of the TV special--it was a striking description, and our only source of information up until that time. It seems, however, that there was a lot more to the story. At least some of the music from the special may have been recorded the night before. There was a dress rehearsal the night before, with professional video and audio, some of it may  have been used in the TV special [for a more Grateful Dead-oriented version of this discussion, see my blog post here].

The Grateful Dead's performance at Chet Helms' Family Dog on The Great Highway on February 4, 1970 is fairly well known today. The hour-long video of concert highlights, originally broadcast on Public Television, has since been released in 2007 on DVD as A Night At The Family Dog. In 2005, the Grateful Dead released the recording of their entire set from that night. Thus both the audio and some video are available from the show, a rare and potent combination. However, while the music is well-covered, and video is available, very little has been recalled about the circumstances of the actual event itself. Even the Dead's cd release is scarce on details. Some years ago, I unearthed detailed coverage of the February 4 event itself, written by SF Chronicle critic Ralph Gleason. While Gleason was disingenuous about the fact that he was co-producer of the special, it was an informative blow-by-blow description of the event (you can read my detailed blog post here). You can watch the video, play the cd, light one up--legally, in most states--and get a feel for what it might have been like Back In The Day.

Grateful Dead scholarship never rests, however, and it seems that the video and cd may have been somewhat more of a pastiche than we originally thought. One of the best sources of the era has been Sally Mann Romano, the ex-wife of the late Jefferson Airplane drummer Spencer Dryden. Her 2018 book The Band's With Me is a must-read for anyone interested in California rock history in the late 60s and early 70s. In a Twitter exchange, Romano recalled that the filming of the TV special was actually two nights at the Family Dog, on Tuesday and Wednesday (February 3 and February 4). This memory was confirmed by an article published much later. The first was a rehearsal and sound check, prudent considering that filming live rock concerts was still in its infancy. I recently discussed the possibility that some of the released Grateful Dead material may have been from the rehearsal the day before.

Owsley Stanley's tape box for the recording at the Family Dog on February 3, 1970. The sticker says "Probably really 2/4/70"--I disagree.

What About Tuesday, February 3?
The Owsley Stanley Foundation has a long-term project of preserving Owsley's live recordings, even when the tapes themselves may not yet be released. Recently the Foundation announced that an Owsley 2-track recording of the February Family Dog had been preserved. The tape box itself says "See 16-track," an indicator that Owsley's recording was different than the Bob Matthews/Alembic recording that would have been the basis of the PBS video special. Owsley, always scrupulous about dates, has marked the box "Dead #2/Airplane #1, 3 Feb 70 Family Dog." A sticker on the box, in different handwriting, says "Probably really 2/4/70," since February 4 was the known date of the live recording of the special.

As I have documented in the previous post in this series, the Family Dog on The Great Highway had re-opened the previous weekend with a comparatively stealthy appearance by the Jefferson Airplane on Friday and Saturday, January 30 and 31. When I asked Sally Mann Romano about this on Twitter, however, she specifically did not recall that weekend's shows, and her recollections are uniformly precise. She plainly recalled going to the Family Dog for two days, presumably February 3 and 4 (Tuesday and Wednesday), and she understandably said that she surely would have remembered spending 4 out of 6 nights at the Dog. Mann Romano's recollection was my first indication of a rehearsal filming on the night before the official event. 

Now, the most-likely explanation for Mann and Dryden not going to the Dog on the weekend is an only-in-Jefferson-Airplane category. The most likely reason was that the Airplane were thinking about firing Dryden, and were trying out drummer Joey Covington, all without telling Spencer or his wife. Indeed, Dryden would be pushed out of the band a month later, and Covington took over the drum chair in March. The actual dating of Covington's arrival is confusing, and not a rabbit hole I will go down here, but suffice to say inviting Covington to a secret gig and not telling the current drummer was just another day in Jefferson Airplaneville. 

What we are left with, however, is the knowledge that there was a rehearsal the night before the official taping. Today, even small venues are set up for live video with synchronized sound--we can all do it ourselves on our phones now anyway--but this was new stuff in 1970. Video cameras were giant at the time, and needed their own locations. Separate trucks were needed for the video feed and the sound recording, and cable snakes would have been laid everywhere. It's not surprising that a full tech rehearsal was in order. And it's also likely that the entire rehearsal was filmed and the music recorded, if only to ensure that there was backup material in case the "official" event on Wednesday (Feb 4) had technical problems.

If there was a full rehearsal the night before, it would not be at all surprising to find out that the official video may have been a pastiche of both nights. At the time, the entire industry considered live recording another way to create product, not an historic record of an event. One track on the Woodstock movie soundtrack album, for example, was actually recorded at Fillmore East (CSNY's "Wooden Ships"). The Grateful Dead released the Family Dog show as part of their Download Series in 2005, but that series was poorly curated and had almost no recording information. The date was listed as February 4, but that was probably based on an assumption. The cd has 9 tracks. The final six are the same as the ones on Owsley's tape (above). I don't think the Dead repeated six songs--either there was only one show, or I think the Dead played better the first night rather than the second, and three of those tracks were used for the PBS video{see the Appendix below for track listings].

What About The Grateful Dead on February 4, 1970?
If in fact, the existing audio and video recordings of the Grateful Dead were from February 3, not February 4, and there were two nights, what did the Grateful Dead play on February 4? It raises the tantalizing possibility that there would have been existing professional recordings of the Dead from the "official" night that were never used. Since there was an invited crowd on Wednesday night, probably there were plenty of crowd shots, but the Dead's actual performance would have been different. My guess is that the Santana and Airplane sets were used from the 4th, as was the jam (opening act Kimberly, associated with Santana management, would not have been recorded).

Unfortunately, however, video tape and 16-track recording tape were expensive. If it was determined that the Dead's February 3 set was superior, then the Dead tapes for the 4th would simply have been erased. Owsley seems to have taped the rehearsal night, but it seems less likely he would have been allowed to tape the "official" performance, if only because space would have been at a premium. There remains the remote hope that some fragments exist, somewhere, or perhaps some production notes. Since no one asked Sally Mann Romano, the existing Owsley tape was casually indicated (by the sticker) as incorrectly dated, when it could have been accurate. Over in the Comments Thread on my Grateful Dead blog post, a careful review of the clothes band members were wearing points toward the February 4 date being accurate, and Owsley's tape box date being wrong.

The tantalizing part is that Owsley's label dates the show as February 3, but says "Grateful Dead #2" (and "Jefferson Airplane #1). Was there a "Grateful Dead" #1" box with material from February 3? Will we find an Owsley tape with more Airplane, or more Santana, or more Dead? If in fact the Owsley box above was just misdated--unlike Owsley, but very plausible--then it meant Owsley had his deck running. We can tell he got some extra Airplane. Maybe he got some Santana, or some of the big jam at the end, too? Now, sure, tech rehearsals usually have a lot of standing around, and bands idly jamming while they wait for something to be checked out or corrected. But with the Dead, that sounds like fun. Here's to hoping some musical fragments from February 3 and 4 come to light, thanks to Mr Owsley. 

Now, as for the video, video tape was very expensive in those days, and any video from February 3 is likely went to the cutting room floor, never to be seen again. Any Dead video from the 3rd has likely disappeared. Sic Transit Gloria Psychedelia.

Appendix 1: A Night At The Family Dog TV show
Broadcast on Public Television stations on or about April 27, 1970
Produced by Ralph J. Gleason and Bob Zagone for National Educational Television (NET)

A Night At The Family Dog DVD
with Grateful Dead/Jefferson Airplane/Santana
Eagle Vision: released 2007

• Incident At Neshabur - Santana
• Soul Sacrifice - Santana
• Hard To Handle - Grateful Dead
• China Cat Sunflower - Grateful Dead
• I Know You Rider - Grateful Dead
• The Ballad of You And Me And Pooneil - Jefferson Airplane
• Eskimo Blue Day - Jefferson Airplane
• Super jam featuring members of Santana, Grateful Dead and Jefferson Airplane

 A Night At The Family Dog audio
Grateful Dead Download Series
Grateful Dead Records: released 2005

• Hard To Handle
• Black Peter 
• Me and My Uncle 
• China Cat Sunflower > 
• I Know You Rider 
• St. Stephen > 
• Not Fade Away > 
• St. Stephen > 
• In The Midnight Hour
  

 (plus bonus tracks from other 1970 shows)

Appendix 2: Excerpts from Ralph Gleason's San Francisco Chronicle column, February 6, 1970

"Do you have a set schedule for what's going to happen?" the technician asked Bob Zagone of KQED. "We don't have a set schedule for anything, Zagone said. 'We have a loose schedule."

They were in the KQED mobile video tape recording truck outside the Family Dog. Several other trucks and a generator, roaring away like a power drill, were set up in the parking lot. Zagone and the KQED crew were getting ready to videotape a Jefferson Airplane party at the Family Dog for National Educational Television.

There's a young band called 'Kimberly' going on stage starting in a few minutes," Zagone said. "The it will be Santana. After that I don't know what's going to happen."

The cables were strung all along the sidewalk and into the hall and the huge TV cameras on dollies were rolling back and forth through the place in the wild assembly of San Francisco hip society.

On stage the musicians were plugging in their guitars and tuning. In a little while Kimberly, a neat, melodic band, began. Light men experimented with different combinations. Rock critics wandered through the hall. "It has the right feeling tonight," Mike Goodwin of Rolling Stone said. And poet Lew Welch pointed out that it was one of the few times in recent memories that you could actually get close to a band and not be jammed by the press of a crowd.

After Kimberly, Santana took over and the rhythms of the drums and the bass melded with the guitar and conga drum and rose to an incredible [something]. It ended with Santana almost leaning over backwards, hitting the guitar strings and bassist David Brown, his eyes squeezed shut, flailing away at the guitar. The crowd screamed. Out in the truck, Bob Zagone complained "we're not getting that audience noise" and Bob Matthews, who was doing the sound, whipped out a mike and set it up taping the audience.  

"We'll go dark as they start their set and bring the light up gradually," Zagone said and the Grateful Dead began. In the truck the multiple images on the little screens made a fascinating montage. Jerry Garcia's face silhouetted but still clear, approached the mike on the screen and he began to sing. The little screens that showed the pictures [of] the various cameras were registering, flicked from one to another. "Gimme a two shot," Zagone said, "Let's see both those guitars."

Out in the crowd, which was dancing or sitting on the floor and around the sides of the stage, John Carpenter of the L.A. Free Press said "when is it going to be aired?" and hoped a definite date could be set. The man from N.E.T said probably in April. "It's a good night," Carpenter said. "I had forgotten what San Francisco was really like. I've seen people I haven't seen in years."

On stage the sound was into those rhythmic phrases that make the Dead such groovy dance music and several guests were dancing behind the band and on the stage. Still photographers leaped up from the audience and shot pictures like the paparazzi in "Z."

Then the Airplane came on and Grace smiled and Marty sang "Do you want to know a secret, just between you and me," and the lights flickered off the sweat on his forehead as he sang and Spencer drove into the drums with a fierce concentration and Jorma sang "Good Shepherd" and the crowd gyrated and the cameras rolled back and forth.

It was a great evening. San Francisco within a week had two TV specials shot here. Both on rock. There will be more and if they end up on the screen as good as they are in person, the rest of the country will see something unique.

For the next post in this series (Feb 6-7 '70, Quicksilver Messenger Service), see here