The Youngbloods August 5, 1972
The Lenox Arts Center at The Music Inn, Lenox, MA
Alan Bershaw�s 2 source composite master (7/2016)
TRT: 02:06:18

Sources:
1) Audience cassette masters taped by Rich Elliott

Equipment: Single external condenser microphone that came with the deck elevated on an aluminum pole-> unknown model Sony portable cassette deck

Lineage: R.Elliott�s cassette masters-> ? -> Dave Tamarkin�s reel-> M-Audio Transit-> Cool Edit-> CD Wav Editor->Flac (DIME)-> AIFF-> Logic (each song individually speed corrected to match source 2 transfer)-> wav -> xAct (sbe fix)-> wav (speed correction - Alan Bershaw 7/2016)

2) Audience cassette masters taped by Jimmy & Laurie Cooper

Equipment: Hitachi microphones > Hitachi TRQ-222

Lineage: J.Cooper�s cassette masters-> Nakamichi Dragon -> Benchmark ADC1 24/96- > MAC-> Adobe Audition CC -> Fission > 16/44.1 -> xACT flac (transfer & mastering - Rob Berger 7/2016)

Personnel:
Jesse Colin Young - guitar, vocals
Lowell �Banana� Levinger - guitar, piano, banjo, mandolin, vocals
Michael Kane - bass, vocals
Joe Bauer - drums
Richard �Earthquake� Anderson - harmonica

CD1 (TRT: 01:02:48)
01 Grizzly Bear 03:44 E
02 Country Home 04:05 E
03 Moonshine Is The Sunshine 04:02 E
04 Darkness Darkness 04:10 E
05 Faster All The Time 06:55 composite
06 Sunlight 07:15 C
07 On Beautiful Lake Spenard 04:56 C
08 I Shall Be Released 05:38 E
09 Quicksand 03:13 E
10 Sugar Babe 03:36 E
11 Lafayette Waltz-> Jumbalaya 07:57 E
12 Josianne 07:54 E

CD2 (TRT: 01:03:30)
13 Lucas Valley Breakdown 01:39 C
14 When The Bees Are In The Hive 03:17 C
15 I've Just Seen A Face 02:39 E
16 Circus Face 03:23 C
17 Hippie From Olema 02:51 E
18 Six Days On The Road 04:09 E
19 Speedo 03:42 E
20 Donna 03:54 E
21 Stagger Lee 04:04 composite
22 Get Together 04:04 E
23 Take Me Back 05:07 E
24 She Caught The Katy & Left Me A Mule To Ride 3:51 E
25 Misty Roses 04:47 E
26 Pontiac Blues 05:56 E
encore:
27 Beautiful 07:10 composite
28 Bye Bye Johnny 02:07 C

Notes:
Despite using inferior equipment, the Elliott recordings are the superior recordings, as he was much closer to the P.A. system and his mic was elevated most of the time. His recording lacks low end, but has much greater clarity overall. Thankfully, Cooper�s recording captured all 6 of the songs not recorded by Elliott (including 3 found on no other live recordings!) and the songs that were only partially captured on Elliott�s masters. The Cooper recording has far greater low end (to a boomy extent at times as his mics were not elevated) and was recorded some distance from the P.A. Both recordings have some audible talking and laughing nearby, but its not prevelent during songs and adds to the happy outdoor atmosphere.

After track timings, an �E� indicates that the Elliott recording was primarily used for the song, a �C� indicates the Cooper recording was primarily used for the song, and �composite� indicates the Cooper source was used to patch an incomplete song recording from the Elliott source. Two songs (tracks 23 & 26) began in progress on both sources (with only a few seconds missing). The show is now otherwise complete for the first time.

For many years, Dave Tamarkin�s reel transfer has been the best available copy of the Elliott source and presently remains so. Status of the original Elliott masters is unknown (but I�m investigating!). Tamarkin�s reel transfer was running slow (by approx 2.7% on most songs). Each song has now been speed corrected individually to match the speed of the Cooper master transfer. These adjustments have it sounding better than any previously circulating copy. No EQ, noise reduction or signal processing was used on either recording.

As far as I know, this is now the longest known live Youngbloods recording and the group�s second to last concert ever, prior to the reunion gigs in 1985. Big thanks to Rich Elliott and Jimmy Cooper for their intrepid recordings! And to Dave Tamarkin and my old buddy Rob Berger for preserving these vintage recordings so well!

- Alan Bershaw July 2016