The stories behind the shows.
With the receipts.
The people, shows, stories, and recordings behind the music. Each note links to somewhere you can check it yourself.
22 research dossiers shown
The Allman Brothers Band
1969–2014 · The evolving ensemble
A group defined by two-guitar conversation, dual drummers, and a performance archive that spans distinct eras. Its lineups and live releases shou
Artists & projects · 6 source-backed notesGrateful Dead
1965 origins · A recording culture
The Dead’s performance history is best explored through individual nights and tape lineages, not through a simple list of famous dates. Official
Artists & projects · 7 source-backed notesPhish
1983 onward · The setlist as a map
Phish’s own concert archive and LivePhish releases make it possible to distinguish performed material, archival recordings, and fan annotations.
Artists & projects · 6 source-backed notesGoose
Modern improvisation · Current roster is time-sensitive
Goose illustrates why contemporary band profiles require a dated editorial snapshot. The band’s own biography establishes its current public rost
Artists & projects · 5 source-backed notesOysterhead
A collaboration with a traceable origin
Oysterhead offers an unusually clear link between the Phish and Primus/Police worlds, documented by the participating guitarist’s project archive
Artists & projects · 6 source-backed notesDuane Allman
Slide guitar · 1969–1971 ABB era
Duane Allman’s documented studio collaborations and short touring career are critical to connecting blues, soul, and live improvisation histories
Artists & projects · 6 source-backed notesTrey Anastasio
Phish · Oysterhead · Cross-generational appearances
Trey’s official project history provides a source-backed bridge between bands without implying every collaboration was a concert sit-in.
Artists & projects · 5 source-backed notesDerek Trucks
Allman Brothers · Guitar lineage
Derek Trucks is a particularly valuable bridge for musician genealogy because his career crosses generations of the Allman Brothers Band.
Artists & projects · 5 source-backed notesWarren Haynes
Allmans · Gov’t Mule · Ensemble transitions
Warren’s career is a useful test of time-aware network links: band membership changed, and a simple graph edge hides the sequence.
Artists & projects · 4 source-backed notesRick Mitarotonda
Goose · Improvisation and songwriting
Rick Mitarotonda’s public profile currently has verified core-role information, but our archive does not yet have enough corroborated session his
Concerts & recordings · 4 source-backed notesAllmans · Fillmore East, March 12 early
March 12, 1971 · Early show
The expanded 2014 box set distinguishes this opening March 12 performance from the second show that night. They must never be collapsed into a si
Concerts & recordings · 4 source-backed notesAllmans · Fillmore East, March 12 late
March 12, 1971 · Second show
The second March 12 performance was separately documented on Disc 2 of the later archival edition, including material not on the corresponding fi
Concerts & recordings · 4 source-backed notesAllmans · Fillmore East, March 13 late
March 13, 1971 · Second show
The second March 13 concert occupies parts of two discs in the expanded archival release. Its treatment illustrates why one show may correspond t
Concerts & recordings · 4 source-backed notesAllmans · Fillmore East closing night
June 27, 1971 · Closing performance
Official show records and later box-set releases document the performance from the venue’s closing weekend. The date is not one of the original M
Concerts & recordings · 4 source-backed notesAllmans · Atlanta Pop Festival second appearance
Billed July 5, 1970 · Recorded after midnight
This show exposes a classic archival pitfall: the marketed date and the actual clock date differ. The original release liner notes are unusually
Concerts & recordings · 5 source-backed notesAllmans · Ludlow Garage
April 4, 1970 · Archive-date discrepancy
The band’s concert archive and the commercial release point to related music, but the recording date has competing documentary labels. Both shoul
Concerts & recordings · 4 source-backed notesAllmans · Painters Mill, October 17
October 17, 1971 · Duane’s final show
The official archival release describes both the significance and limitations of this audience tape, including its unusual origin.
Concerts & recordings · 5 source-backed notesGrateful Dead · Cornell
May 8, 1977 · Barton Hall
Cornell is a prime example of three separate archival objects: the original concert, circulating recorded sources, and later official commercial
Concerts & recordings · 4 source-backed notesGrateful Dead · Buffalo
May 9, 1977 · War Memorial Auditorium
The night after Cornell has its own canonical show, setlist, and performance sequence—valuable context for exploring how recurring songs changed.
Concerts & recordings · 5 source-backed notesPhish · Madison Square Garden NYE
December 31, 1995 · New Year’s Eve
This show offers exceptionally strong dual-source documentation: a first-party concert setlist and the later official release credits.
Concerts & recordings · 5 source-backed notesPhish · Magnaball
August 22, 2015 · Watkins Glen
Official setlist and community annotations supply different levels of detail. The extra Drive-In Jam deserves its own context without pretending
Concerts & recordings · 4 source-backed notesAllmans · The final Beacon concert
October 28, 2014 · Farewell
The official database preserves multiple set segments and a commercial recording reference from the band’s final public concert.
What we're still establishing
The strongest archive is willing to say what it does not yet know.
- Whether a tape documents a whole concert, a set, or only part of it.
- Which recording lineage, mix, transfer, or release a link represents.
- Whether contradictory calendar dates indicate a late-night performance or a metadata error.
- Who played at each specific show, rather than assuming a timeless band roster.
- Which claims originate with the artists, record labels, researchers, or fans.