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Spoonful James — Saw's Juke Joint, 12 September 2025

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Part 2025255 of Spoonful James, 26 shows

1997144 Sigma Nu Barn, 24 May 1997

5.0 1 1

1999081 Smith's Olde Bar, 22 March 1999

1

2000349 The Brandy House, 14 December 2000

2001068 Crossroads, 9 March 2001

2001082 Zydeco, 23 March 2001

2003010 Workplay, 10 January 2003

5.0 1 1

2005301 Quixote's, 28 October 2005

2007243 The Supper Club, 31 August 2007

2008131 Ona's Music Room, 10 May 2008

5.0 1

2008131 Sloss Furnace, 10 May 2008

5.0 1

2008270 Bourbon Street, 26 September 2008

2009094 Gulf State Park Pavilion, 4 April 2009

2009136 Hudson Grill, 16 May 2009

2009156 Bama Slam Saloon, BamaJam, 5 June 2009

2009206 Mellow Mushroom, 25 July 2009

2009228 Smith's Olde Bar, 16 August 2009

5.0 2 1

2010141 The Depot, 21 May 2010

2010155 BamaJam, 4 June 2010

2010204 Rogue Tavern, 23 July 2010

2010352 Metro Bistro, 18 December 2010

2011203 Pale Eddie's Pour House, 22 July 2011

1

2011246 Flora-Bama, 3 September 2011

1

2012210 Smiths Olde Bar, 28 July 2012

2015241 The Ivy Buckhead, 29 August 2015

2021281 Midtown Auburn, 8 October 2021

2025255 Saw's Juke Joint, 12 September 2025

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From the performer and the date. Each recording here is one performance, gathered under whoever gave it and ordered by when it was given — so there is no part number, and the position is the date.

Description

A live concert recording from the Internet Archive's Live Music Archive, which holds only bands that have given permission to be recorded and traded. That permission is the whole basis of the collection. The Grateful Dead formally set aside a taper section behind the soundboard in 1984, legitimising what their audience was already doing, and the bands that inherited that audience inherited the policy with it — so these recordings exist because the artists wanted them to, not in spite of them. Spoonful James at Saw's Juke Joint, 12 September 2025. The archive holds 26 recordings of this band. The setlist, the taper and the recording chain are not in the file name, and for this kind of recording they are what listeners most want to know.

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