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    heatherlew
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    May 1977: Get Shown The Light (All Music Edition)

    WHAT'S INSIDE:
    Four Complete Shows on 11 discs
    Four folios housed in a slipcase
    5/5/77 Veterans Memorial Coliseum: New Haven, CT
    5/7/77 Boston Garden: Boston, MA
    5/8/77 Barton Hall, Cornell University: Ithaca, NY
    5/9/77 Buffalo Memorial Auditorium: Buffalo, NY
    50-page book of liners and photographs
    Sourced from the Betty Cantor-Jackson soundboard recordings, transferred by Plangent Processes
    Mastered in HDCD by Jeffrey Norman
    Artwork by Grammy-winning graphic artist Masaki Koike
    Release Date: May 5, 2017

    WHAT DEAD HEADS HAVE BEEN SAYING ABOUT...

    NEW HAVEN 5/5/77
    "Here is a prime example of the saying ‘the whole is greater than the sum of the parts’ … It’s called synergy and the Dead wrote the book on it.”

    BOSTON 5/7/77
    “The music they laid down brought me places I had not been before.”

    CORNELL 5/8/77
    “...the single best rock performance anywhere, anytime, by anyone.”

    “There was just some kind of magical connection this night between the band members and the band and the audience - some texture, or some type of cosmic or celestial force is in the room.”

    "This show is, was, and always will be Mecca.”

    BUFFALO 5/9/77
    "...an awesome display of the Dead’s captivating power"

    If you've been following this site for quite some time, then you will know we are often flush with hyperbole when it comes to our releases. We can't help it, really - for we, like you, are Grateful Dead fans above all else. Just like you, we've spent countless hours debating the merits of show over show, year over year. We've kept a watchful eye on your wish-lists and carefully considered how to make - excuse the cliché - your dreams come true. And once we've made our commitments, we are steadfast in our determination to conjure up those dreams fully-formed and nearly perfect. Sometimes these heights cannot be reached without physical and cosmic elements aligning, and that, dear friends, is why it has taken so long for us to bring you THE ONE and the epic shows that surrounded it. No need for even the slightest embellishment here, 5/8/77 Barton Hall, Cornell University: Ithaca, NY, has for decades, been THE resounding favorite; you've said it yourselves - the "holy grail" of Grateful Dead shows. Thanks to the passion and perseverance of Dead Heads like you, we are beyond pleased to finally be able to present this show and its brethren, the fabled four of Spring '77, in sonically pristine condition.

    MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry). But until now, you've never really heard them quite like this!

    The Dead is in the details... how serendipitous is it that the notorious Betty Cantor-Jackson soundboard recordings were returned to the archive just in time for the 40th anniversaries of these shows? Lovingly sourced from these well-reputed recordings, we invite you to experience four utopian shows just like they happened, to "be inside the music" as engineer Betty Cantor-Jackson intended. Whether you listen to each night on its own or imbibe the whole lot at once, we suspect you'll hear why every note mattered. Much like we were, you will be hard-pressed to determine which of these fine documents - will it be the understated but nuanced New Haven, Boston's festive fantasy vibes, the monumental catharsis of Ithaca, or Buffalo’s dreamy exuberance - is truly "the best." Does it really matter? We think not.

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  • Vguy72
    Joined:
    Speaking of Bertha->Good Lovin....
    ....just spun the pair from Colgate. Yea. It has chops....
  • Oroboros
    Joined:
    Heynow, I read 80sfan requested a Red Rocks Dead story?
    So I offer this retelling to clear the air on this forum (the stench of political flatulence?). Can't we blame the dog, like we can at home? “March winds will rumble all my troubles away.. wish I was headlight, on a northbound train.. I wish I was a head light on a northbound train… I’d shine my light through cool Colorado range..” So I will start at the real beginning of the story..Back in December of 1977… my girlfriend (now wife), myself, and two buddies decided to road-trip from Lincoln Nebraska to the Winterland for the New Year's Eve run of shows in San Francisco. I toted along with us a clay sculpture that I had made the prior year. It was a one and 1/2 foot (in circumference) dragon that was biting/consuming it's own tail. I had 'scraffitto' (carved designs) into the entire beast's 'hide' and then it was fired and stained. It was the biggest piece of clay sculpture that I have ever made. And I thought it would be fun to give it to the band on New Years. So away we go, get to the venue and secured tickets for the run (12/27-29-30-31-77). The shows were unbefuckinliveable and Winterland was such a great hall. But on the 31st, we were sitting on the sidewalk waiting for the doors to open, talking and watching the circus, ready to hurry and get in for the 'activities' ie. freak volleyball and Bill Graham was going to show us movies (Ray Bradbury's Illustrated Man and the original Beatles Magical Mystery tour) before that evening's show. I thought "I better try to unload the dragon aka 'Oroboros' now, it's heavy and I don't want to try to talk my way though the front gate with it." I spied a door that said 'Backstage' and began knocking on the door. No answer. The line of people on the side walk started getting up and moving toward the entrance. Banged even harder thinking "I've got to get this dragon in there so I can go in the front and join in before the show", and as I pounded harder, the door yanks open so hard that it pulls me into the doorway. This doorway is immediately filled with a gigantic black man in a red Winterland t-shirt. He puts his hand on my chest and leans forward and bellows "WHAT DO YOU WANT?" Startled, I held out the dragon with both hands and stuttered "to give this to the band". The giant took it in his immense hand and his face curls into a grin as he holds the Oroboros closer to inspect it. And I watched my dragon shrink to the size of a key chain. He exclaimed "Wow, what is this, I'd like one". And I explained "it's an oroboros and that is the only one there is." He grinned and said "Cool, who do you want me to give it to?" and I said "to Garcia, give it to Jerry Garcia." The giant disappeared as quickly as he appeared and the door slammed shut like the the first time Dorothy tried to get into the Emerald City in the Wizard of Oz. Vanished. So, I happily gain entrance to the show and needless to say, it was something, 'freak volleyball' followed by the movies, Graham's copy of Bradbury's 'Illustrated Man' followed by a 16 mm Beatles "Magical Mystery Tour". The colorful/wonderful crowd, 'rainbow' Rose with an eyedropper of liquid party favor "just one dollar per drop. On your tongue or for the adventurous, a drop in your eye". Oh, and when each person walked through the entrance the staff handed us a piece of paper that had a message about a "Good things come to those who wait, surprise at midnight" with steal your face logo. When you entered Winterland, you could go into the big 'hall' surrounded on all sides by an elevated balcony, (with theater seats). Or you could also go into a bar off the hallway, where they were played some black and white videos on one of the original 'big screen' projection TVs of the pro shots from the Winterland stage when Hendrix or Airplane or etc played. Very entertaining on many levels. Hey, the New Riders of the Purple Sage are starting to play, I got to get in there, the sound is loud and they are rocking the house. Anticipation was high and the Dead came out for the first set. Our party favors are now starting to engage..., things began to sparkle, and the old Winterland venue takes notice, and her walls start to sweat and, then to sway with the strains of familiar music as the Dead begin and coax this old hall to dance with us all. This is such a delight, I know the vista cruiser is engaging. And then I notice when the house lights went down, and the stage lights went dark in between songs, then I saw 'it'. Right on top of a monitor, in between Billy and Mickey, there was a flame, it was a white candle sitting in front of a dragon consuming it's tail. It was Oroboros, ON STAGE WITH THE DEAD! I watched as Jerry walked over and lit a cigarette off the candle by 'the beast'. They took a break and the surprise for the second half was Uncle BoBo (as Bobby liked to call Graham) dressed up as Uncle Sam on a motorcycle sliding down on a cable suspended high from the back of the hall to the stage. They put spotlights on him as he approached the stage and it was hilarious. Because as Graham came to the stage, the weight of the bike and BoBo was too much and the stage hands had to rush out and drag him onstage and then to the explosion of Sugar Mag, complete with dropping balloons, a 'new years' gal and a guy dressed in diapers dancing at the each edge of the stage. I was 'sittin' on top of the world (Dead reference intended). What a night!! AND if you pull up 'YouTube', NYE show 1977- Fire on the Mountain video, right at the end of Fire on the Mountain, you see camera zoom in on the 'Oroboros' for a couple of seconds. RDevil (from here on Deadnet) found that 'view' and he clued me into it. And from that moment on my 3 sons knew I wasn't bullshittin' them because I showed it to them as proof! Anyway, what a treat that run in 1977 was. At many levels, the return of China Cat-Rider, my being able to 'gift' our band, who poured out so much to us. But unknown to me, the best would be yet to come. We walked out into the cool San Francisco early morning and drove through the fog back to Nebraska. This is not the end of the tale. Fast forward to another road trip to Madison, Wisc. on 2-3-78. The Dead were on a roll and it was really a killer show. That Cold Rain and snow to start and the tremendous second half with Estimated>Eyes>Wheel (if I recall correctly). Those who question 1978 check out DP 18 as well as the new 1978 box set. I loved my 1977 sons and I still treasure those 78 shows I was lucky enough to attend. Back to the story........ The next morning before I left the hotel, I got a wild hair and called the front desk and asked "Could I have Jerry Garcia's room please?" and the phone rang and Jerry answered! I said "Hey, I'm the guy that brought the dragon to the New Year's show" and Garcia said "Meet you in the coffee shop in 20 minutes". I couldn't believe what was happening but stumbled into the coffee shop at the appointed time and looked around and saw Jerry Garcia seated at a table with a ravishingly beautiful raven-haired gypsy woman. I walked over and introduced myself, and 'shook the hand, that shook the hand, of PT Barnum and Charlie Chan'. Jerry beamed that smile and gestured and said "sit down, man". He asked me "How did you fire that dragon so that it didn't explode in the kiln?" and I explained how I had cut it in half and hollowed it out and then joined it back together. I told him how I had used a guitar string to 'halve it" and we locked eyes at that moment and he burst into laughter and I said "Ironic, huh?" and Jerry quipped "No, man that makes perfect sense." And then we laughed some more. Then the gypsy/beauty said "where are you from?" and I replied Nebraska. And she shot Garcia a glance and stated "he came all the way up here from Nebraska to see the band!" To which Jerry shrugged his shoulders and retorted "we didn't ask him to come" and looked at me and we both howled with laughter again. No deadhead was she. We talked more about art and the dragon and I didn't know at that time of Garcia's interest and practice in art (this kind anyway). He was completely engaged in the topic of art, but quick witted with 'turn on a dime' twists, turns, and little commentaries on a variety of topics. Jerry was also focused on listening, not acting like he was the important one, giving me time and locked in on our discussion and talking about our shared interests. The gypsy woman frowned in disbelief as she asked me "You went out to San Francisco for New Years and then came to Wisconsin" and I said 'yes' and then I turned to Garcia and asked him "Why don't you bring the circus back to Lincoln, Nebraska?" He quickly replied "You mean to Perishing Auditorium?" And I corrected him "No, it is Pershing Auditorium, after the army general" and he quickly retorted "No man, it was perishing, really!" And we both burst out laughing again. At that Lincoln, Ne. Dead show on 2-26-73, there were a bunch of drunk frat boys yelling 'boogie, boogie" at the top of their lungs.., but that show is top-notch! Anyway, I asked Garcia "could you bring the Dead back to Nebraska" and Jerry grinned that Cheshire cat grin and said "who knows?" I took my leave as I didn’t want to impose (and their breakfast had arrived) so I drove on home. Then that summer the Dead came back to Omaha, Ne. on 7-5-78, and I taped them with my NAK 550 in FOB, and followed them to their/my first Red Rocks shows. What a run! So that is my story, Jerry Garcia was totally gracious, engaging, enthusiastic, and kind to a deadhead who approached him at one moment in time. But THEN,that summer of 1978, when the Dead did actually did circle back to Nebraska......... And they played the Omaha Civic Auditorium, where the Dead played once before in 1973.. We got there and the venue was half full (about 4,000) but everyone was chomping at the bit in anticipation to hear them live. I took my Nak 550 into the venue and there was no hassle getting the deck in this time, but remember these were the days before ‘tapers sections’. And each venue or even staff may present a different challenge. But not here, thank goodness. Out in the hallway, the Hell’s Angels wandered about sporting full colors and big grins. They may have been transporting ‘party favors’ and decided to take in a show. Or maybe the Angels were just road tripping with the band (although I didn't see them at the next few shows). My buddy even brought his 68 year old mother to the show. She sat up in the stands “It is just too loud down there!” Anyway, I headed down to the floor with my Nak 550 to set up in front of the soundboard. When I started to get my gear set up and saw this guy beside me with a great rig. Luckily this kind stranger (I have since discovered he was famous taper Bob Wagner) then let me patch out of the back of his deck, which was wonderful as he had a great 8 ft. tall mike stand set-up. He had a Sony deck and mics, but with that high stand his mic’s were well above the crowd noise. We were about 15 to 20 feet in FOB. So Garcia treated us to a blistering Sugaree opener, the kind that drove the crowd wild. His leads mounted into a wave that crests, recedes, regroups, and comes back rolling in with such power and delight that adds a synergistic effect to our frenzied response as his rolling/soaring guitar work lift and subside with the band. Then Beat In on Down the Line, TLEO and now it was Bob’s turn in the spotlight with a Look’s like Rain. About halfway through the song, I suddenly noticed something shimmering in the air between the band and me. I thought “what a fantastic light show! Or have I have shifted into fifth gear just a little early that I scheduled?” I staggered towards that disturbance in front of me to investigate. People were dancing wildly in the middle of the floor as a waterfall played over them. It was about 25 feet in circumference. I put my hand in, water…hand out, no rain..I am standing in front of an indoor waterfall. what to do? I jumped into pouring rain that was INSIDE the middle of the auditorium! Then I stepped back and was out of it. I shook my head and then lunged back into the deluge and danced through Looks Like Rain & then during Direwolf as well and a delightful All Over now. (Complete with Donna in perfect pitch!) Then Candyman and Lazy>Supplication before Bobby informed us “We’re going to take a short break”. I staggered back to reload a new tape and then I did look for some validation of my experience. And I asked my friends if I was not in fact ‘soaking wet’ as I patted my soaked shirt. They grinned knowingly and affirmed that, yes, in fact I was “all wet”. And then this unique show continued, (nice indoor water-feature, boys !) with a killer second set complete with a transportive Estimated> Eyes> drums> Wharf Rat> Truckin> Iko Iko> Around. And then after a lengthy absence from the stage the boys returned to play us ‘Promised Land” as an encore. As I left the auditorium I noticed the water standing on the ground outside, a summer storm? Was this a case of a leaky roof or didn't the Dead just conjure up the forces of nature as they were so prone to do? But back to the important stuff, what were the Dead going to do next? Would Phil rev up his reverse gravity machine and pummel us with Phil-bombs at the next show? Would they levitate the crowd, and have us all dance while floating in the 'cool Colorado range'? I HAD to follow them to those Red Rocks shows in 1978. So a road-trip to Colorado it was. This was the Dead’s first Red Rocks jaunt (and my first as well, although my girlfriend (now wife) had seen Joni Mitchell there previously and raved about the venue) so my anticipation was so ‘high’. (In many ways.) So I packed my taping and camping gear and off we went. When we walked up to the Rocks entrance, the Feyline security crew (or were they the John Scher guys?) were stopping people and inspecting any 'carry in' bags. A security behemoth that I will call “BigBoy’ stopped me at the entrance to look through my Boy Scout backpack. He hefted my NAK 550 out of the pack and held it aloft with one beefy paw, exclaiming “Hey, you can’t take this in!” I gave him my best perplexed look and said “What? It’s just a tape player.” (first lie) Then the giant BigBoy instructs me to “take that back to your car”. I retorted “I can’t, I hitchhiked to the show” (second lie). Beefy Bruiser BigBoy points to my ticket and says “the ticket says no recorders on it, you can't take it in” and I tell him “look, I don’t have any microphones” (third lie) and hold up my arms to be searched (of course my comrades had the mics with them). Then I sighed loudly and popped open the back of the Nak deck and let eight D cell batteries drop onto the ground. “Look, I dumped out the batteries, it can't record”. (lie number four) BigBoy stood there with his arms crossed in front of me, but I could see a small crack in his resolve. So I pulled that thread “Look, I hitchhiked all the way here from Nebraska to see this show, would you hold onto this deck for me? It cost me $600 (which in ’78 was a lot of dough) but if you just hold it for me, and then I will find you after the show. You look like an honest guy.” (fifth lie, this guy didn't look trustworthy). I push the Nak towards him, and this deck is huge and weighs a ton, (a goddamn boat anchor). I really played my trump card here and was trying to hold my ‘gameface’, Suddenly all the heads waiting in line behind (and all my friends) erupt with yells at the BigBoy to 'hurry up' and started chanting “let us in”. BigBoy gives his mullet a shake and then he points into the venue and looks at me and exclaims “Go on, get out of here” and I dive headlong into my first Red Rocks show with a grin a mile wide(high)! Followed by Mary with my mics and my buddies with my fresh batteries (re: lie number four) and my blank tapes. The batteries that I dumped out for BigBoy were already ‘dead’ (pun intended). I again ran into that ‘kind stranger’ (Dr. Bob Wagner, FOB right side)) to plug out of his Sony again. Those two shows were stupefying, and the band obviously enjoyed playing there. Bobby's deer joke, and I remember Phil leading the boys through “Cold Rain & Snow” with his bass punching that tune into a triumphant ‘strut’ that evening.I recall Jerry broke a string during the Scarlet>Fire, which really didn't slow the pace of that perfect evening. On into Dancin' >NFA > Black Peter > Around & Around and then a dual encore of US Blues & Johnny B Goode. The next night was much the same. Each night we would watch the clouds chase each other in the sky as the band serenaded us. Until it became dark and then we looked out ‘over’ the Dead to see the distant lights of Denver sparking in the background. Second night second half, we were treated to a tremendous Estimated > Other One> Eyes of the World > drums> Wharf Rat > Franklin's Tower > Sugar Mag. The crowd was especially raucous as Wharf Rat wound to that tender quiet point and Phil (or was it Bobby) gave a "shhhhh" to quiet us in preparation for the wonderful 'launching' platform/crescendo that night. Those evenings the Dead's aural wonders were matched with the Red Rocks astounding visuals as we were perched in between those massive stony slabs jutting into the sky (and the Dead had a good view as well looking back at us from the stage). As the Dead those two evenings took us all on an astounding journey of Americana, myth, rock and roll, country, space, jam, fable, fun, roller coaster, and turn on a dime delights, it all 'rolled into one'. And then as the Dead finished us all off with “Werewolves of London” we were all crooning back to the dead with our own howl of “Aoooooo”. And Garcia was grinning ear to ear as he bid us all a “good night”. So now some of these wonderful runs are available for us in their deluxe sonic glory. Good daze for deadheads! And yes, I do repeat myself. Over and over. Maybe I can retell about the June 4, 1977 Forum show? Or the June 77 Winterland run after that bombshell? Or Red Rocks 79 run (and the exploding cabin in Evergreen)? Then again who knows? "Teachers open the door, but you must enter by yourself." Zen saying "It ain't what I don't know that gets me into trouble, it is what I know for sure, that ain't so". Mark Twain
  • icecrmcnkd
    Joined:
    Bertha
    Maybe I should do some comparisons this weekend.But I seem to like them from every year, even liked the one from 7-3-15. Always liked the Bertha>Good Lovin' combo.
  • KeithFan2112
    Joined:
    Ice cream cone kid / Bertha
    Post hiatus only :D I'm just kind of saying, you know, Bertha had a lttle bit more umph in the one-drummer configuration of the pre-hiatus days. And those Berthas are among my all time favorite tunes - I always open my 71 / 72 mixes with Bertha or Promised Land.
  • LedDed
    Joined:
    @ Oro
    Man, thanks for a great story and lightening the mood. Anyone in Colorado the new Westword has an awesome Dead inner/outer "souvenir" type cover. Check it out and can't wait to see them in Boulder!
  • Albany Head
    Joined:
    Feeling groovy and tighten up
    KJohn, check out this link. Describes and catalogs all the feeling groovy and tighten up jams on the dark stars. 10-31-71 is the tighten up jam I believe. http://deadessays.blogspot.com/2010/01/deads-early-thematic-jams.html
  • Charlie3
    Joined:
    Kjohnduff1
    The sweet jam in the 10/31/71 Darkstar sounds to me like an almost exact cover of the song Soulful Strut by Young-Holt Unlimited (1968). Check it out, you won't be disappointed.
  • 80sfan
    Default Avatar
    Joined:
    Oroboros
    Thank you. The stories and the experiences of the folks on this board are what it's all about. Smiling ear to ear thinking about your adventure. Ps-last time you posted that story I looked on YouTube and found it!
  • Kjohnduff1
    Joined:
    Question for you guys... need your help!
    I'm looking for some examples of Dark Stars that contain the melodic jam that was made famous in the 2/13/71 Port Chester show. (Thanks, Doc!)I think that some call it the "feelin' groovy jam". Anyway, some of my favorite Dark Stars have this awesome element. The ones that come to mind are 10/31/71 and 9/21/72. Any others out there?
  • icecrmcnkd
    Joined:
    Bertha a throw away?
    Keithfan how could you? Clearly you don't know what you are talking about because of your political views....:)
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May 1977: Get Shown The Light (All Music Edition)

WHAT'S INSIDE:
Four Complete Shows on 11 discs
Four folios housed in a slipcase
5/5/77 Veterans Memorial Coliseum: New Haven, CT
5/7/77 Boston Garden: Boston, MA
5/8/77 Barton Hall, Cornell University: Ithaca, NY
5/9/77 Buffalo Memorial Auditorium: Buffalo, NY
50-page book of liners and photographs
Sourced from the Betty Cantor-Jackson soundboard recordings, transferred by Plangent Processes
Mastered in HDCD by Jeffrey Norman
Artwork by Grammy-winning graphic artist Masaki Koike
Release Date: May 5, 2017

WHAT DEAD HEADS HAVE BEEN SAYING ABOUT...

NEW HAVEN 5/5/77
"Here is a prime example of the saying ‘the whole is greater than the sum of the parts’ … It’s called synergy and the Dead wrote the book on it.”

BOSTON 5/7/77
“The music they laid down brought me places I had not been before.”

CORNELL 5/8/77
“...the single best rock performance anywhere, anytime, by anyone.”

“There was just some kind of magical connection this night between the band members and the band and the audience - some texture, or some type of cosmic or celestial force is in the room.”

"This show is, was, and always will be Mecca.”

BUFFALO 5/9/77
"...an awesome display of the Dead’s captivating power"

If you've been following this site for quite some time, then you will know we are often flush with hyperbole when it comes to our releases. We can't help it, really - for we, like you, are Grateful Dead fans above all else. Just like you, we've spent countless hours debating the merits of show over show, year over year. We've kept a watchful eye on your wish-lists and carefully considered how to make - excuse the cliché - your dreams come true. And once we've made our commitments, we are steadfast in our determination to conjure up those dreams fully-formed and nearly perfect. Sometimes these heights cannot be reached without physical and cosmic elements aligning, and that, dear friends, is why it has taken so long for us to bring you THE ONE and the epic shows that surrounded it. No need for even the slightest embellishment here, 5/8/77 Barton Hall, Cornell University: Ithaca, NY, has for decades, been THE resounding favorite; you've said it yourselves - the "holy grail" of Grateful Dead shows. Thanks to the passion and perseverance of Dead Heads like you, we are beyond pleased to finally be able to present this show and its brethren, the fabled four of Spring '77, in sonically pristine condition.

MAY 1977: GET SHOWN THE LIGHT is a collection of what is unanimously believed to be the most sought-after previously unreleased complete shows the Grateful Dead ever played. Collected, traded, and debated for decades, "the beloved Golden Trinity" of Boston, Ithaca, and Buffalo, along with their New Haven prelude, have inspired fans to "get on the bus," converted critics, and even garnered national attention (Cornell was added to the Library of Congress’ National Recording Registry). But until now, you've never really heard them quite like this!

The Dead is in the details... how serendipitous is it that the notorious Betty Cantor-Jackson soundboard recordings were returned to the archive just in time for the 40th anniversaries of these shows? Lovingly sourced from these well-reputed recordings, we invite you to experience four utopian shows just like they happened, to "be inside the music" as engineer Betty Cantor-Jackson intended. Whether you listen to each night on its own or imbibe the whole lot at once, we suspect you'll hear why every note mattered. Much like we were, you will be hard-pressed to determine which of these fine documents - will it be the understated but nuanced New Haven, Boston's festive fantasy vibes, the monumental catharsis of Ithaca, or Buffalo’s dreamy exuberance - is truly "the best." Does it really matter? We think not.

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....that the drummers decided the count. But you all what they say about assuming....in the end, the boyz usually counted the beats correctly. That is amazing in itself....its rare when a member misses the cue
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usually I hear phil saying what the number is. he wanted the number really high on dave's 22 lol
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Thanks for that tip re: the free stream tonight, Phish. I'd like to take a look and have a listen. Something to fill the void as we all patiently await the next drop... Sixtus
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Thanks for the heads up. Found a copy better than the one I had in stock. I didn't use the seamon mix (I'm usually not hot on the matrix mixes), but there was a very nice soundboard there. I had a ok(?) copy in audience, but the new soundboard is wonderful. Thanks (note - the Peggy-O and Loser are very nice at this point, still waiting to get to It Must've Been the Roses :-) )
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thanks for sharing the link;Bob have many skills... it is "laid back" like an old JJ Cale.I miss JJ very much.
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Half a pound! what a serious Japan Tour...I totally agree with albums ranking; I always got Ram or Flaming Pie for hiking...Thanks for the link
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Yep, 28 years ago, one of the all great runs of the latter era and their 30 year career. Should have already been released in it's entirety. I attended only the 7/18/89 show out of the three and even that one was epic. Virtually every show from '89 is epic. One of the great years, right up there with '70, '72 and '77.
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I am All In on '89. I really enjoy the set lists; they sort of changed things up a bit during the year here and there; also of course the come-backs for several tunes. I also really like how many of the shows have a Stranger > Franklin's to open, or some variation on that with Franklin's up front. Plus the relatively new addition of the midi added different nuances and flavors that were otherwise nowhere to be found. I Know that can be a point of division for some, but I rather enjoyed the romping into that technology and the myriad doors it opened. I say, bring on some '89 then. Sixtus
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I don't listen to a lot of shows from 1989-but from what I have heard, I would say that their use of midi and new technology was one of the defining aspects of the era. It was great that they were willing to experiment with sounds at that stage in their career. There is a real sense of adventure during the space and drums sections from 1989 onwards. They were never going to jam, in 1989, like they had in 1974, but they utilised sounds in 1989 that simply hadn't been invented in the 70s. The other good thing about 1989-well, 1990 onwards perhaps, was their playing with guests, which worked better in this era than in any other.
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Isn't this a message forum for May 77? Back on to the subject, just need to ask where did that heavy reverb come from? May be the best concerts ever by GD but its such a shame the way its mixed.
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I'll Bring it back around to May '77: I'm loading May '77 into my Ipod....that's all I have to contribute.
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i have not yet bothered to listen to any of these or read the book, merely checked the disks for issues when that hysteria was in vogue. it would suck if the reverb ruined this but yours is the first mention. 71 to 76 in heavy rotation, then maybe the 78 box again before getting shown the light.
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17 years 5 months
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The book is pretty good reading. i'd much rather read people's stories of going to shows then actually reading about the band
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17 years 4 months
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....I haven't listened to the Spring '77 box in a couple of weeks. Been stuck in '69-'71 shows. But all good things in all good time....
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7 years 9 months
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I've been sipping Hornitos like a gentleman and cradling Charvel San Dimas Style 1 hardtail, noodling along giving Barton another listen, on shuffle, for interest. What I'm struck by is the intense focus by the drummers and Phil. I can't say the rhythm section was ever tighter, without any loss of the loose feel that defines the Dead. The "pulse" is omnipresent here. It's a pulse, that energy, when it is present and it is present as all hell here. 40 years later it draws the listener in. Talk about a shelf life. It's great, all of it. I could do without Lazy Lightning/Supplication but that's just me and you go on and love it if you wish. No phlegm on Jerry he sounds crystal as does everyone. It's all so subjective to say this is the best show or tour ever, but everything is really clicking here and this is a show where I can appreciate Donna. A beautiful moment caught in time.
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17 years 5 months
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some have been saying the first two phish Chicago shows have been been garbage. they cant be that bad. I liked Coventry so I know I wouldn't have a problem with em at all.
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12 years
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I bought all 3 Chicago shows, haven't even finished the labeling process yet,, a couple of pokes sounded good.
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10 years 2 months
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I agree, the reverb on these shows does detract from the basic sound. I think these May 1977 shows are great-maybe among the best....since their so called retirement in 1975. But they fall a long way short of the shows played during their peak years-which for me were 1968-1969 and late 1971-1974. The jams in those years knock the shows from 1977 into a cocked hat. Even ones played in May.
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Agree Dave, the gooey goodness years. The reverb comment is interesting.. I believe Betty added this at the time she recorded the shows. I suspect it was not blasted out of the PA that way.. makes the case for a well made Matrix as I believe there are some very good audience recordings from that year. I also believe this is one of the reasons for the legends surrounding these shows (and May 77 in general). For a band not necessarily known for their vocals and harmonies, this reverb smoothed out the rough edges and is pleasant sounding until you get into multiple listens and critiques. I liked it at first but it was a passing fancy.. I tend to prefer a little less of it was we saw later in the year. Anyway.. just a comment, no wrong or right answer, after all it is what it is and we can't change the way it was recorded. Just very happy Betty recorded as many shows as she did and it looks like we are finally seeing a bunch of them in their full glory.
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10 years 2 months
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While digging a bit back into the July 78 box set (which is fantastic and not sold out yet??), conversation led to 1978 Morning Dew and I learned that it was only performed once that year, 4/15/78 at William & Mary. Been listening to a matrix of that second set, this is a fantastic show and recording. I love the bit of audience, a perfectly mastered matrix, not that I'm any expert. Cool Morning Dew as well, love that he unloads during the first solo similar to what he would do for the end of the song normally. I downloaded the matrix so I'm not sure which version it is on Archive, but the high audio quality comes from a great Charlie Miller soundboard. https://archive.org/details/gd1978-04-15.sbd.miller.33683.sbeok.flac16/…
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15 years 6 months
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I just read what JiminMd said about the reverb. I agree and Betty says herself in the book about Cornell,77. Betty said she added reverb to the recording because Jerry liked reverb. But that recording is good, but it sounds a bit too smooth for a Dead recording, they played great, but there is a bit too much reverb.
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16 years 11 months
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I also like the Let me Sing Your Blues Away and the Weather Report Suite, (with the stag banter for yelling at them) and the Dark Star... thanks I am listening now because of your post!!
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17 years 5 months
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it's a good one so far. great choice for road trips. only acoustic dead I had was Reckoning. i'll always think of that moment where they totally nail it vocally on China Doll and the crowd roaring.
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11 years 3 months
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the crowd must have been soaring "Bird Song" ~ 7.26.87 "If you hear that same sweet song again, will you know why? Anyone who sings a tune so sweet is Passing By Laugh in the sunshine Sing, cry in the dark Fly through the Night ...
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15 years 6 months
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This next Dave's Pick should be out real soon, I would think. I have not hesitated to listen to lots of Dead. I think I like the last May box set better than this Cornell box set, Now I got this set differently, got the Cornell show by itself and a friend burnt me Buffalo, just listened to the other 2 on the web. Just don't have a lot of dough to buy CDs at this time. Would anyone like to trade a 3 disc Dead show for my Barton Hall show? Just not listening to it much, it is in grate shape. I would trade for a good Dick's Pick,Dave's Pick or maybe a JGB band release, just PM me. Thanks and have a great day,Jim
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Interesting comments on the sound of the shows in Get Shown The Light. Comments in the book about how Betty had added reverb had passed me by. I always assumed that the shows being officially released were being released as heard at the time, if you were at the show, without being tampered with after the show ended to modify it in some way. I feel as though the more attention I give 8/5/77, the more fallible it seems. Not only is the sound unsatisfactory-but the playing-exemplary though it is, is as guit30 says, just a little too smooth. it doesn't feel, to me, exploratory in anyway. Almost rehearsed in its "perfection". A great rock show-but it doesn't actually have the characteristics of what I have come to think of as a great Dead show. I can imagine it having appeal to someone who isnt into the Dead, more than someone who has heard a lot of shows and likes getting their head bent. By contrast, the last Dead show I listened to was the first show in Dicks Picks 20-25/9/76. On a conventional level, this show is nowhere near as good as Barton Hall. But scratch the surface...the jamming In Dancing in the Street goes places way above the jamming on the same song on 8/5/77. There is a great jammed out Scarlet Begonias, and another highlight is, after a painfully slow Not Fade Away and a perfunctory drums, a Phil led jam that seems to grow organically, with none of the players quite sure where they are going or what will happen from second to second. Magical stuff!
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9 years 7 months
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I agree in everything you say, I have difficulties listening to a lot of 77 contiguously. The playing and sound are very good, but it is missing the surprises you get from many other years. I have also decided I like the worts and better than perfect playing as well.
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17 years 5 months
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I think I could only listen may '77 back to back for so long till I get burned out on the dead as well. there's very little variety in setlists
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17 years 5 months
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I, too, must say I'm a fair-weather '77 listener, although I'm working my way through the June '77 box and it's 101. I can remember on my first San Francisco sojourn listening to these shows in my hotel after long days of exploring the city in late July in 65 degree weather. Bliss! Can't wait, however, to get back to my beloved '72, when the July and August shows ruled the earth!
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17 years 4 months
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....i never thought I would ever say that. Actually, I didn't. Others did. I had to read these last few posts twice to be sure I was seeing the words correctly....yeah, they played Estimated pretty much every night, but they played Dark Star->St. Stephen->The Eleven->Lovelight pretty much every night in '69 and Touch every night in '87, so there's that....
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9 years 1 month
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After listening through the box several times and just finishing Buffalo again I've got to say both shows are great but Cornell wins by a long shot. Why? Mainly because Buffalo contains a few duds, in my opinion and I'll probably get some shit for this but here it goes. First off, the Not Fade Away is much better in Ithaca and the older song mixed in, St Stephen is more of a treat than The Other One played in Buffalo. The Buffalo Comes a Time is great but the Ithaca Morning Dew is legendary and blows it away. Following these tracks I give the nod to Buffalo, Sugar Magnolia and Uncle Johns Band is a much stronger closer than One More Saturday Night. This is where Buffalo wins, at the end of the show it just keeps building and building where Ithaca peaks at Morning Dew and then is over, well other than the standard Saturday Night. Back to the duds, that Sunrise is pretty painful and I've never been a Ship of Fools Fan(runs and hides). Plus, Ithaca has a solid Scarlet > Fire which is always a plus in my book. Just my two cents, after reading people claiming Buffalo was the better show for awhile and having time to digest it all myself I just wanted to add my opinion. Rip away!
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7 years 9 months
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Sad but true. Went thru about 3-4 times. But its not getting spun as much as I thought it would when it showed up. Not the end of the world...........but its collecting dust.
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17 years 5 months
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but Loo, you know you'll roll away the dust next Spring, no?
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14 years 4 months
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Just finished listening to Buffalo again today for the second day in a row. Yes ...it is a great Comes a Time! A great show all together, as is Cornell ... But my vote goes to New Haven. I think this show is one of the best of the month.
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song titles are just a framework. Where the music goes within the song could be different each time. While shows could have similar setlists, each show could have a different feel. I remember before I "got shown the light", I remember Dead-Heads describing shows to me as "snowflakes ... no two are alike". I used to think that meant it was because they never had a setlist. The more I got into them, I realized it was much more than just being spontaneous with what to play, but how to play it. JMO
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7 years 9 months
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I just went back to Dick's Picks 12 (Providence, 6/74) for the superlative Spanish Jam. It never fails to deliver on enhanced spaciness.
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7 years 9 months
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I hope so. Im more than likely going thru a trough now. Might have to break out Dicks 19 or 28 to kick it back in gear.Been on a Genesis kick as of late. Second Out and then there were three. Im sure the rudder will turn for long.................. Be Well!!
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Can't rip away at anyone for liking Cornell the best out of the 4...These shows are all so good and it's so close. I'm with 'Frisco - I think that the New Haven show is highly underrated. It's hard to say because I flip-flop all the time but I think that New Haven might be my favorite of the four. I would definitely rank Boston as #4 on my list though. For what it's worth, my favorite May '77 show is 5/17 Tuscaloosa.
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17 years 5 months
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one my favorite things about may '77 is when jerry would do those pop chops in certain songs. what exactly am I talking about? well a good example is on the music Never Stopped on that Dicks Picks May 77 show.
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15 years 6 months
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Tonight, I got a new set of speakers for my laptop ,what a difference I thought I had the Wall on my computer. Still, nothing like my stereo system, I got them thru the mail.It was a nice surprise, they were not supposed to be here til Sat. Really sound good, had to make some adjustments on my realtec software, which can get so funky. I listened to Barton Hall first, half, Betty Cantor and the other half, a matrix with Hunter Seamons and Jerry Moore. The Cantor recording in the archives did not seem to have as much reverb as the box set. Maybe Jeffrey Norman added some reverb to the mix, remember, Rob Eaton had to do a lot of work into those tapes, they were in real bad shape. Then I watched The Beat Club on Youtube, was awesome, like the close footage on the stage. https://www.youtube.com/watch?v=H6Uu57h7H18&t=2101s
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17 years 5 months
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it has to be announced tonite. i'll be checking around here at 3am as most of the time is when things are announced for me. if not at all today I fear it will be another dave's picks 20 situation where it wasn't announced until the day before Halloween. that was a rough a month.
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17 years 5 months
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5/19/77 Atlanta (Dick's Picks 29) disc 3 may be the most perfect 65 some-odd minutes of music from the entire year to this listeners ear. Besides the Terrapin>Playin'>UJB>D>Wheel>China Doll>Playin' sandwich, that 16 and-a-half minute Sugaree is quite epic. Buffalo (my other favorite) and Tuscaloosa are definite honorable mentions. Speaking of Atlanta, 5/18 is an underrated gem of a show and not yet released. I could see that as a Dave's Pick with a bonus disc consisting of the remainder of Pembroke Pines show not included with Dicks Picks #3 5/22/77. ......here's to hoping the next Dave's Pick will be 9/26/91 or 4/1/91.....
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10 years 3 months
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LedDed, I also just took DP12 for a spin. I noticed the Mind Left Body jam isn't really the Mind Left Body Jam; it's the "unofficial" Feelin' Groovey jam that appeared sporadically in Dark Stars from '69ish to '72ish. Then they began incorporating it into the China Cat Sunflower jam. Strange... That DP 29 disc you speak of Space is pretty darn good. I like all of the preparation banter that precedes it. The one piece of 1977 I love best is disc one of Dave's Picks Volume 1, 5/25/77 at the Mosque in VA. I missed out on that one when it was initially released. By the summer of 2014, you could barely find a new one on eBay, and if you did, the price tag was between $300 - $400. I eventually got a burned copy of one that summer and then later found someone here who was selling his used one for a good price. I had not given 1977 much attention before hearing DaP 1. I'd had To Terrapin: Hartford 77 for many years, and considered it a decent showing. I had also downloaded May 1977 from dead.net around the same time. But it was the Mosque show that did it for me, particularly the first disc. I hadn't heard Mississippi Half-Step before, and I remember going out for a cool summer night walk with the headphones on, and giving the Dave's Picks with the Star Wars cover its first listen. I was totally blown away, first by the smooth sound, then by the flawless instrumentation, then by the spot-on vocals. The lead vocals were pretty much always good, but here the backing vocals were in perect unison and perfect harmony. And of course I was getting my first taste of Mississippi Half-Step, right out of the starting gate. The rest of disc one was as good as the opening. Jack Straw, Cassidy, Promised Land, Mexicali, and Lazy-Supplication from Bobby; and there was Peggy-O, They Love Each Other, Loser, & Brown-Eyed Women from Jerry (and these were all exceptional versions). The guitar solo in BEW is as good as it gets; Jerry rivaled it only a couple of times that I've heard (DP 29 & DaP 12). Discs 2 & 3 were just as good. But there is some magic in disc one that puts it above all else '77 for me. In hindsight, now that I've listened to all of Spring '77 many many times over, the Mosque still holds up. I prefer the sound of the later May shows, due to Keith moving away from the organ sound he employs up through this Cornell box, and just into the beginning of the first May 1977 box set. I prefer the piano / electric piano sound that he shifted back toward around mid-May. He didn't forsake the organ altogether, but it was featured less, and not so prominently in the mix. I think I would choose this show over Cornell (and everything else). Would be nice if it featured Help / Slip / Franklin, but I guess I cant have it all. I suppose I could tack on the 5/22 version to the end....But yeah, Dave's Picks, Volume 1, great show, disc one. Get some.
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17 years 4 months
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While we are waiting, Garcia Live Volume Nine: August 11th, 1974 Keystone Berkeley comes out next week. Dave's Pick should be announced today?
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17 years 3 months
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Hey FlaBob! I've been in a huge Genesis kick the last couple of weeks too. Started with Selling England by the Pound, then Lamb Lies Down, Trick of the Tail, Wind and Wuthering, detour to Supper's Ready from Foxtrot, then Seconds Out, then And Then there Were Three...(which is underrated). Only problem is, some of those reissues are compressed as hell. Also watched a video of the "Mama" Tour on YouTube the other night. It was the only time I saw them, 1984, I was 15. Kicked ASS, and it was nice to see confirmation in the video. Never wanted to see them after that as Invisible Touch and everything after that causes some nausea for me. Three Sides Live is a great live album too, especially the "In the Cage" medley. I don't share the antipathy felt by many toward the post-Gabriel Genesis, up through Mama anyway. I mean, Duke, Abacab, and Mama still have some pretty effing proggy stuff. It occurs to me that Genesis and the Grateful Dead have something in common - they're both "uncool" to a certain type of music fan. Bummer for them.
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