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    heatherlew
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    RFK Stadium 1989 Box

    LESS THAN 5000 LEFT

    The Grateful Dead battled the elements in July 1989, enduring drenching rains and stifling humidity during back-to-back shows at Robert F. Kennedy Stadium in the nation’s capital. In spite of the bleak weather, the band thrilled the massive crowds both nights with triumphant performances that rank among the very best of a busy year that included 74 shows and the release of the group’s final studio album, BUILT TO LAST.

    ROBERT F. KENNEDY STADIUM, WASHINGTON, D.C., JULY 12 & 13, 1989 includes two previously unreleased concerts taken from the band’s master 24-track analog recordings, which have been mixed by Jeffrey Norman at TRI Studios and mastered in HDCD by David Glasser. The collection’s colorful slip case features original artwork by Justin Helton and a perfect-bound book with in-depth liner notes written by Dean Budnick, editor-in-chief of Relix magazine. The set will also be available as a digital download in Apple Lossless and FLAC 192/24.

    When Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Brent Mydland, and Bob Weir rolled into D.C. in July 1989 for the Dead’s two-night stand at RFK, the band hit the stage running with a stellar rendition of “Touch Of Grey,” the group’s biggest hit from its only Top 10 album In The Dark, which was released in 1987. The following night, the band returned to its double-platinum commercial breakthrough when it opened the show with a fiery version of “Hell In A Bucket.”

    “RFK Stadium '89 fell right in the middle of one of the best tours of the last 15 years of Grateful Dead performances, with these shows being the sixth and seventh of an 11-show tour. This tour is widely considered the start of a nine month period of sustained excellence, which ran from Summer '89 through Spring '90. The RFK shows are as good as any of the more famous shows from this period, including July 4 in Buffalo, July 7 in Philadelphia, and the Alpine run,” says David Lemieux, Grateful Dead archivist and the set’s producer. “When Bob Weir has asked me to provide copies of Grateful Dead songs to give to his bandmates to learn and rehearse, he almost always requests Summer '89, and I've often drawn upon the RFK shows for this purpose. It's really that good!”

    Both shows feature standout moments, but the July 12 show is notable for a few reasons. Perhaps the biggest is that the first set featured at least one song sung by each of the band’s four lead singers – Garcia, Weir, Lesh and Mydland – something that rarely happened. Another surprise came when the band opened the second set with “Sugaree,” a song that almost always appeared during the first set.

    Pianist Bruce Hornsby — who briefly joined the band between 1990 and 1992 — is featured on both shows. He played accordion during “Sugaree” and “Man Smart (Woman Smarter),” with a touch of keyboard-tinkling, on July 12, and then played more accordion the following night for “Tennessee Jed” and “Stuck Inside Of Mobile With The Memphis Blues Again.”

    For fans of Mydland’s tenure with the Dead – which began in 1979 and ended in 1990 with the keyboardist’s tragic death – these stellar shows capture that incarnation in peak form. Among the long list of highlights are performances of live staples such as “Eyes Of The World,” “Wharf Rat” and “I Need A Miracle,” along with rarities like “To Lay Me Down,” which was played only a few times in 1989. The July 13 show also features the band road-testing “I Will Take You Home,” a track Mydland wrote with Dead lyricist John Perry Barlow that would appear later that fall on Built To Last.

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  • #151
    Cousins Of The…
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    variation on a theme
    Take Promised Land: Chuck Berry took credit for the melody, yet it's basically a rewrite of the Carter Family's Wabash Cannonball; AP Carter took credit for it, though it was written by J. A. Roff in the late 1890's.There's a lot of similar examples within the Blues genre as well; Carl Perkins took credit for his Sun recording of Matchbox, which started as Matchbox Blues by Blind Lemon Jefferson.
  • #152
    Thin
    Joined:
    plagiarism plagiarism, DaP Boulder 1981
    daverock - Agreed that there's nothing wrong with honoring the past by covering something to "make it your own". But LedZep didn't honor the music and the songwriters when they did covers - they (likely the manager) simply claimed LedZep wrote it - stole the credit and royalties as if the original author never existed. That's the most disrespectful thing you can do... Bonnie Raitt, contrast, took every opportunity to shine a light on her musical heroes like Sippy Wallace (sp?) and others, even pulling them up on stage with her during TV performances despite producers' protests.... LedZep PRAYED no one would remember the artists whose music they covered. Nobody's perfect, but this little maneuver was shameful. Even worse is Bob Dylan who covers songs people KNOW aren't his, and still brazenly puts himself down as the author! I'm amazed he hasn't had legal issues over this - actually he probably has. I love his music, but he's a really odd dude. Listened to the DaP from Boulder 1981 on a long drive today. Love the occasional 80's show, and this is a goodie. Far from perfect - 80's Dead creaks and wheezes a little, but this one rings the bell - a great listen.
  • #153
    snafu
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    A variation on a theme
    Ask Bonnie Dobson how she feels about allowing Tim Rose to add some lyrics to Morning Dew. Hint not to happy it will forever read Dobson-Rose and he/his estate gets 25 %. As for the blues ripoffs there is one point not mentioned so far. As much as Zep The Stoned etc did rip off many bluesmen some of them recognized that they also brought attention, record sales and concert sales to those old artists. Not trying to justify what was done but as in so many things things are more complicated than at 1st blush
  • #154
    daverock
    Joined:
    Blues plagiarists and Dylan-Thin
    Yes, I agree, that sounds totally different how Bonnie Rait respected her blues sources compared to the way Led Zep simply plundered them. I also like Bob Dylan, and I am also amazed at how he has used other peoples songs, changed the lyrics and claimed them as his own. He does this right up to his last few supposedly self penned albums. On "Modern Times" for example, he takes credit for having written "Rollin' and Tumblin'-he doesn't even change the title. Its an exact replica of the old blues song-with new lyrics. There are plenty more like this-especially on this album. There was an interesting book on Dylan that came out last year, called "Why Dylan Matters" written by Richard Thomas. Its a bit pretentious, arguing that Dylan only matters because he was influenced by Ancient Greek and Roman poets. To me, whether he was or wasn't is entirely beside the point. But Thomas also tackles the topic of plagiarism, and uses the phrase "intertextuality" to describe a process whereby one artist incorporates the work of a previous artist, embellishes it and develops it and so can then legitimately lay claim to authorship. He reckons this is what Dylan did. I don't buy this for a minute. To me, it can only be true-and then debatably so-if the later artist lives within the culture of the art which he is appropriating. Bob Dylan was not a bluesman. When he uses the riffs of bluesmen he is playing music from a culture which he does not belong to-as opposed to someone like, say, Howlin' Wolf, who lived within the blues world and could lay claim to ownership as a consequence.
  • #155
    JimInMD
    Joined:
    Sit In Drummers
    To the Who's credit.. the Pete selected an excellent drummer from the audience to sit in and thus launched another long career.
  • #156
    daverock
    Joined:
    Blues plagiarists
    Within the blues culture there is an established pattern of development of songs. Lyrics, riffs, melodies and rhythms are adapted and reused in different contexts within this culture to great effect. Robert Johnson, for example, used earlier songs as the basis for his amazing recordings in the late 1930s. This doesn't mean, however that musicians outside this culture can legitimately take earlier ideas from within it for development/exploitation. Led Zeppelin had no connection with the world of the Delta blues outside their L.P. collection. I can remember a great review of a blues festival from around 1969 in Rolling Stone, by Stanley Booth. After hearing Furry Lewis, he marvelled at what an amazing life he must have led. After hearing Johnny Winter he marvelled at what an amazing record collection he must have had. Bands like Led Zep are okay until you have heard the real thing-after that they seem a bit...
  • #157
    icecrmcnkd
    Joined:
    Intoxicated Bohnam
    Rather than end the show they should have done what The Who did and get a drummer out of the audience. I made it to the 10-15-95 Page and Plant show at The Palace. As close as I got to Led Zep. Thought it was great although I was a bit disappointed that they had reworked No Quarter and I didn’t think that it was nearly as good as the version on Song Remains The Same.
  • #158
    SPACEBROTHER
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    Zeppelin
    I can still remember my early exposure to Led Zeppelin II as a teenager growing up in the early '80's and how gloriuous it was to hear in front of a stereo between the speakers and with the old Walkman with headphones. Just a brilliant album and stereo experimentations from the mixing standpoint. Sure, much of the music from this album was plagierized from blues artists, but the twist they put on it was pretty cool. My personal favorite Zeppelin album would have to be Presence. I believe it to be their performance, creative and songwriting peak. Achille's last Stand is epic. Interesting how it wasn't as well recieved in rock critic circles as their earlier albums. Never got to see Zeppelin live, but did see two Page and Plant shows on their first outing with a symphony orchestra and a group called The Egytian Pharoes. I believe '94 or '95. It was a two show run at The Palace of Auburn Hills. Even scored taper tickets for the second show, which was a surprise that they even offered them. The first of the two nights had an incident where some guy with a knife somehow got onto the stage and charged Jimmy Page. He was tackled before he got past the drum riser. It even made national news. I remember the first night being the better of the two, but did tape the second show, which was also good.
  • #159
    LedDed
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    Ded Zeppelin
    As huge a music fan as can be, I love scores of bands from the Beatles on... somehow, RollingDed or GratefulHalen just doesn't have the ring to it... Certainly, Led Zeppelin were not the brightest of shining stars in the ethics department. From hotel vandalism, extreme drug ingestion, physical violence, consorting with underage groupies, etc., this was a band of savages on the road in the 1970s. Their manager, ex-pro wrestler Peter Grant, was a bear of a man with a horrible temper and fierce intimidation tactics. People cowered before him, road manager Richard Cole as well as others in the entourage. Led Zeppelin were shrewdly and brutally managed into one of the most lucrative and artistically successful entertainment acts of their era. Robert Plant did shamelessly nick wordly passages from old blues records - primarily in the early days before he found his muse as a lyricist. Jimmy Page, no doubt, put a heavy spin on several established blues riffs that went uncredited. The blues, however, as any student of the genre knows contains many traditional songs and forms that have been handed down, modified and outright plagiarized for decades. It is part of the history of the style and Led Zeppelin were hardly the only ones to get over. How Zeppelin rolled in their heyday was not tremendously different nor more excessive than several rock and roll bands of that age (The Who, Rolling Stones, etc.) What really matters and stands the test of time to me is the fine body of work they left behind. Led Zeppelin III, IV, and Physical Graffiti are just monster albums and Houses of the Holy is no slouch either. Some think only of the heavy bombast and banshee-like wailing of Led Zep, but anyone who's gone deep into their catalogue is well aware of the wide range of styles of which they were masters. I feel their 2007 tribute to Ahmet Ertegun concert is a gem that shows them still able to reach the height of their glory all those years later. What a way to go out, indeed, a Celebration Day. Drummer John Bonham, owing to immense intoxication, forced the end of a single concert after only three songs in Nuremberg, Germany in June 1980, three months prior to his death. Generally, they were known for playing marathon shows including many over four hours that included both acoustic and electric sets.
  • #160
    simonrob
    Joined:
    Shorts
    I once saw a Kinks show that lasted for less than 2 songs. During the second song Ray Davies smacked himself in the mouth with the microphone and broke a tooth. End of show. He was probably drunk - which brings us to Bickershaw (think Europe '72) which was the other time I saw the Kinks and they were horribly drunk and it was a sloppy performance which is probably being too kind to them. Banana Boat Song ? Do me a favour! As for Peter Grant, a musician friend of mine met him and didn't have a good word to say about him.
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Submitted by heatherlew on
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Dead Store Products

RFK Stadium 1989 Box

LESS THAN 5000 LEFT

The Grateful Dead battled the elements in July 1989, enduring drenching rains and stifling humidity during back-to-back shows at Robert F. Kennedy Stadium in the nation’s capital. In spite of the bleak weather, the band thrilled the massive crowds both nights with triumphant performances that rank among the very best of a busy year that included 74 shows and the release of the group’s final studio album, BUILT TO LAST.

ROBERT F. KENNEDY STADIUM, WASHINGTON, D.C., JULY 12 & 13, 1989 includes two previously unreleased concerts taken from the band’s master 24-track analog recordings, which have been mixed by Jeffrey Norman at TRI Studios and mastered in HDCD by David Glasser. The collection’s colorful slip case features original artwork by Justin Helton and a perfect-bound book with in-depth liner notes written by Dean Budnick, editor-in-chief of Relix magazine. The set will also be available as a digital download in Apple Lossless and FLAC 192/24.

When Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Brent Mydland, and Bob Weir rolled into D.C. in July 1989 for the Dead’s two-night stand at RFK, the band hit the stage running with a stellar rendition of “Touch Of Grey,” the group’s biggest hit from its only Top 10 album In The Dark, which was released in 1987. The following night, the band returned to its double-platinum commercial breakthrough when it opened the show with a fiery version of “Hell In A Bucket.”

“RFK Stadium '89 fell right in the middle of one of the best tours of the last 15 years of Grateful Dead performances, with these shows being the sixth and seventh of an 11-show tour. This tour is widely considered the start of a nine month period of sustained excellence, which ran from Summer '89 through Spring '90. The RFK shows are as good as any of the more famous shows from this period, including July 4 in Buffalo, July 7 in Philadelphia, and the Alpine run,” says David Lemieux, Grateful Dead archivist and the set’s producer. “When Bob Weir has asked me to provide copies of Grateful Dead songs to give to his bandmates to learn and rehearse, he almost always requests Summer '89, and I've often drawn upon the RFK shows for this purpose. It's really that good!”

Both shows feature standout moments, but the July 12 show is notable for a few reasons. Perhaps the biggest is that the first set featured at least one song sung by each of the band’s four lead singers – Garcia, Weir, Lesh and Mydland – something that rarely happened. Another surprise came when the band opened the second set with “Sugaree,” a song that almost always appeared during the first set.

Pianist Bruce Hornsby — who briefly joined the band between 1990 and 1992 — is featured on both shows. He played accordion during “Sugaree” and “Man Smart (Woman Smarter),” with a touch of keyboard-tinkling, on July 12, and then played more accordion the following night for “Tennessee Jed” and “Stuck Inside Of Mobile With The Memphis Blues Again.”

For fans of Mydland’s tenure with the Dead – which began in 1979 and ended in 1990 with the keyboardist’s tragic death – these stellar shows capture that incarnation in peak form. Among the long list of highlights are performances of live staples such as “Eyes Of The World,” “Wharf Rat” and “I Need A Miracle,” along with rarities like “To Lay Me Down,” which was played only a few times in 1989. The July 13 show also features the band road-testing “I Will Take You Home,” a track Mydland wrote with Dead lyricist John Perry Barlow that would appear later that fall on Built To Last.

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Submitted by marye on Tue, 08/22/2017 - 11:59

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please send me a PM with the details and I'll pursue this. Thanks and sorry!
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12 years

Submitted by johnny361 on Tue, 08/22/2017 - 13:48

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Nice to see some love for this one. The first set is decent, but the second set could be best of the year! Also check out 6/28/92 for another gem from summer 92
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Submitted by Vguy72 on Tue, 08/22/2017 - 18:49

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....better slap some Dead stickers on it before you get your plates Flabobaloo. That's a priority....
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Submitted by stoltzfus on Tue, 08/22/2017 - 21:40

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i had set two of 10/9/89 on cassette for years now I have the Warlocks box. 10/8/89 set one is excellent. I am up to Big River. they sound very ON.
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7 years 8 months

Submitted by FloridaBobalooToo on Wed, 08/23/2017 - 04:07

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Hahahha. yeah that would be the proper break-in right? Kinda sad to go back to an import, but if the quality can't be found in US made, well I tried!!!!Starting the day off with Tusk from the Mac this AM. I always liked it better than Rumours. Fact is Tusk is kinda like the White Album what with following Rumours which was their Pepper if you will. From there after the morning 4 mile walk ( yep still at it gang, 223ibs and holding ) Im sure to break out some Dicks or GSTL box. Damn sure over summer weather now! So hot and humid everyday. Im waiting for a cooler morning that will signal Summers demise. Until then, its Dead by the pool I guess. Happy Mid-Week ya'll..................
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9 years 1 month

Submitted by Lost in San Antonio on Wed, 08/23/2017 - 05:01

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Not only is the lack of cds in cars annoying but the number of discs that they hold as well. I have a 2011 toyota tacoma and it can hold 6 cds which is nice when listening to shows. I bought a second vehicle (2017 mazda miata rf) and it has just a one disc cd player, so annoying
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9 years 3 months

Submitted by Gary Farseer on Wed, 08/23/2017 - 05:41

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Been sneakin around Shakedown Street. Just got in from driving around. My first time driving since Christmas Eve. Got up early and snuck out onto the streets before the Rush started. Man was that fun. Next step grocery store. I can stop eating the same thing every day for almost 8 months. Ohhh restaurant! G
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Submitted by Sixtus_ on Wed, 08/23/2017 - 06:54

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...small world man. Just missed paths crossing on a random island in the middle of the Atlantic. Hope you enjoyed your brief visit to BDA! We had a blast. Sixtus
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13 years 4 months

Submitted by JimInMD on Wed, 08/23/2017 - 07:52

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In your absence.. we got on a heady 1976 tangent. Sorry you missed it.
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10 years

Submitted by Sixtus_ on Wed, 08/23/2017 - 09:06

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ahhhhh...i may have caught the very start of that...I had offered up my fav 6/11/76 one of these here boards....looking back I do see the subsequent banter and it makes me happy for the '76 love. it was a wonderful time of transitioning, ooozy goodness, and that '76 tone. I always hold true this final thought on the year: From every magnificent plateau, there is almost always a nearly identically magnificent climb to reach it That's my take on '76. - '76'tus
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15 years 9 months

Submitted by boblopes on Wed, 08/23/2017 - 09:32

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Love Bermuda - we had our honeymoon there, hoping to get back next summer. GaryF glad to hear you're on the mend and you got great advice from the collective. Bummed I missed the eclipse in the center of Totality. Wanted to go, but realized the traffic post eclipse would be a nightmare turning a 20 hour drive into a much longer return trip with a four year old asking every five minutes - "Are we there yet?". Got to watch from my backyard Wearing my "Space Your Face" T-shirt. Got some great shots with my camera with a solar filter.
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Submitted by Gary Farseer on Wed, 08/23/2017 - 11:55

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Thanks for the support. The universal cosmic mind is a sight to behold.
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13 years 4 months

Submitted by JimInMD on Wed, 08/23/2017 - 15:53

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Razel Frazen Smrzen Spammers. Hey Wadeocu.. what happened when you clicked on the link? A simple phishing scam or something more nefarious? For what its worth.. if someone has been a user for like 7 years.. they are probably legit. If they have been a user for like 7 minutes and they are already posting links.. Don't click it unless your PC is wearing a glove and you have some hard-drive penicillin handy.
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Submitted by icecrmcnkd on Wed, 08/23/2017 - 16:29

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Has been a member for a whole 5 minutes.Wonder what their price is for a sheet?
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Submitted by icecrmcnkd on Wed, 08/23/2017 - 16:32

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Has been a member for about 8 minutes. His interests are ice hockey and origami.Didn't seem to mention an interest in GD.
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Submitted by JimInMD on Wed, 08/23/2017 - 17:15

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Too funny.. It half temps me to click the link and find out. :D There's a rabid battle cry for our first 1968 Dave's Picks on the other thread. Might as well echo that here.
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Submitted by Mikkelsen1977 on Thu, 08/24/2017 - 05:43

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Does anyone know if the RFK box will be an exclusive item from here? I work a record shop in Denmark and don't see this listed at Rhino's/Warners.
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17 years 4 months

Submitted by allman on Thu, 08/24/2017 - 08:02

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2-15-1973 - Dane County Coliseum, need I say more(Dark Star).
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Submitted by daveswayne on Thu, 08/24/2017 - 11:28

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Which is really weird as it's already advertised here by our friends at Spin in UK. maybe they are just going to buy up half the stock from Dead.net & re-sell ;)
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15 years 10 months

Submitted by boblopes on Fri, 08/25/2017 - 16:08

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I just picked up Crimson, White and Indigo. Looking forward to checking it out this weekend. BTW, Real Gone is releasing Road Trips 4.4 1982 Philly Spectrum show. I have that pre-ordered from Amazon for a couple bucks more than Real Gone website, but free shipping...
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Submitted by MinasMorgul on Fri, 08/25/2017 - 19:08

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This release is limited, it's just a question of what the final number produced is going to be, 10K or less (a few weeks ago, Thin posted an accurate description of the sales model that's in play here). At this point, they've clearly ballparked it at 10K with the door open for more or less, depending on the results of the pre-sale. We know they ballparked it to 10K because of the number that were initially made available. The only way they would have considered producing more than 10K, is if it had exceeded 10K in sales the first couple of weeks, which it obviously did not. This is how we ended up with the Cornell numbered set, and the Cornell all music edition. Initial demand of the Cornell box set far exceeded the number produced, obviously because it sold out so quickly and everyone was pissed they missed out on it. If they had sold 10K in the first week on this RFK mini-box, they would have added more available in the system. They have not added more available at any point, so you can be sure, the pre-sale numbers are fewer than 5K at this point, as wadeocu provided a number remaining of roughly 5200. The reason it's not being marketed as a numbered / limited release is because they did not have a clear idea of the demand, and you have to commit to a number when you market something as a limited / numbered release. Why? Well, if they said it was limited to 15K, they would have to have produced 15K, and then been stuck with the remainder if it didn't come close. But if they announced it as a limited / numbered set of 15K, and then they got the huge turnout they did for Cornell, there's no way to drop back and produce more without pissing people off and losing the power of the "limited edition" sales technique that they rely on very heavily for Dave's Picks and other major box sets. They got away with producing more than the limited 15K for the Cornell box set, because they had the wiggle room to produce an "inferior" set that had no "extras" to differentiate it from the numbered / limited edition. I say "got away with", but I doubt they did. I guarantee the eBay flippers were pissed off at what happened with Cornell, and will be extremely reserved in their future purchases. Because eBay flippers are such a huge percentage of the market, I say Rhino may not have, in the long run, gotten away with it. But this is a tangent, let's talk about why it wasn't a numbered / limited release. By not numbering it and not calling it limited release, they can just sit back and gather pre-sale data to determine how many to order (this is what Thin was saying in his brilliant post a few weeks ago). So that's the real story here - they didn't know the demand for a couple of '89 shows, so they dipped their toes in the water with a 3 month pre-sale to help them figure out if they're going 10K or more (or less - read on). It's feasible that the final number may be fewer than 10K, but now you're talking about contractual commitments with manufacturers, and that sort of thing. For example, does their contract with their manufacturers who actually produce the CDs and cases and booklets require them to order x amount? If not, and if the pre-sale goes horribly bad, they may only decide to have their manufacturers produce 7 or 8K. I think the pre-sale has provided them with sufficient data to guarantee there will not be any more than 10K produced. What this release is not going to be, is a Crimson White and Indigo that is mass marketed and available for 10 years plus. We know this because it's only available on dead.net, and has no widespread distribution plan, like the Long Strange Trip CD, which can be purchased in stores. The only question at this point, is how long it will take them to sell 10K units, or possibly less. That's exactly how limited this release is. Once the initial batch is sold and gone, that's all she wrote. This is guaranteed limited release, just not numbered. I did my part, I bought one for myself and one for my uncle.
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Submitted by SPACEBROTHER on Fri, 08/25/2017 - 18:48

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On the other hand, the "July 1978" box was advertised as "limited" and is still available to buy close to a year-and-a-half later.
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Submitted by MinasMorgul on Fri, 08/25/2017 - 18:53

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No, it's not on the other hand, it's exactly the point - July '78 was overproduced and they're stuck with overstock. They should have employed the RFK model. But I appreciate the support nonetheless. I'm just clarifying it's not a converse relationship, it's a parallel one.
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Submitted by LedDed on Fri, 08/25/2017 - 20:47

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To keep it simple, I plan to stay subscribed and just buy one of everything for my personal consumption. I can't imagine these people putting out a pant load, ever, so even if not my fave year/lineup etc. there's always a nugget or two in there. I don't care how many they sell, if it's in FLAC/KNAC/DUCK, lossless, just plain lost, or numbered. All I care about is listening to the tunes. God bless everyone.
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Submitted by JimInMD on Fri, 08/25/2017 - 23:01

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I don't think July 78 was over produced.. keep in mind Music Today went bankrupt right while the drum beat of sales was kicking in.. and it was listed as 'unavailable' for months thereafter. I am sure July 78 will sell out at some point.. Spring 90 too took forever to sell out.. and the warehousing/distribution network was intact the whole time. Spring 90 was also killer, I am glad they did not artificially restrict supply on either... there are enough of us and it is that good. It doesn't look like they are going to limit the # of this release.. but they will surely decide the quantity to print in advance, which determines their unit price per CD. Whether they decide to print more at a later date remains to be seen but doing so will cost them. My guess is once it's gone, it's gone whether it's a limited release or not. I ordered mine, so it matters not to me. Oh.. and I'm sure the #s left in inventory mean nothing at this point.. they haven't even finished re-mastering and mixing yet. Or perhaps I'm full of shit.. but that's my best guess.
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Submitted by Drifter's Escape on Fri, 08/25/2017 - 21:35

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I ordered my one copy. I'm not seeing this release as an investment opportunity. Yes, $80 (+tax +shipping) for two shows is a bit steep. But 5 years from now I won't care.These two shows definitely wouldn't make my 'Top 100 list' of back-to-back's needing release. But I think they'll be good quality recordings. And I'll play a good quality recording of an average show as often as I'll play an average recording of a good show. Although I'll respect a different opinion there.
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Submitted by Kayak Guy on Sat, 08/26/2017 - 05:59

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I respectfully disagree that any release with a digital download option is limited. In Dave's seaside chat he never mentions limited availability or a need to rush to grab a copy to make sure you don't miss out like he usually does for the limited releases. Dave's our buddy why wouldn't he tell us if he thought we might miss out by waiting? This box seems like the same sort of roll out as the Formerly the Warlocks box, which only recently sold out at the same price point with lots of schwag in a real wood box. This set being taken from the mutitracks requires a lot more copies to make the efforts worthwhile compared to a 2 track release, like July 78. Only the packaging and schwag of the CD and/or Vinyl copies are limited or exclusive in a mutliformat release. The details of the packaging is conspicuously missing in the description of what comes in this box, so there's still hope for the exclusive bonus DVD from the meet up at the movie ;) Once WB/Rhino solve the digital store issue they are having, more people will take the download option and not have to worry about bad disks, poor packaging, where to put it or having it stolen in the mail. To make that choice easier in the future, the CDs are using the same 16/44 mix as the ALAC download version with the "premium" HiDef mix only available as a download in FLAC. I'm not a download fan and want the CDs, but more people out there just want the digital versions all the time, and the digital downloads will never sell out as long as WB has a server online to sell them. The real problem is that server has been unavailable since shortly after Musictoday disappeared last fall, so the digital option is a non option.
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Submitted by MinasMorgul on Sat, 08/26/2017 - 09:14

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Lots of informed opinions, always a good discussion. Who would have thought we all would have studied the Internet CD Sales market. That's what happens when there's not a release a month. We shall see, of course. If they don't sell more than the 5200 left, however, I'm expecting at least a "well thought out essay on Rhino Sales Model Minas, you were right" ;-) Kayak Guy - I'm speaking of physical product only. That is what I am postulating is limited. Jim - your comment confused me, when you said "My guess is once it's gone, it's gone whether it's a limited release or not." Edit: I felt like I wasn't splaining myself good. If it ever gows to "gone" status, and is not made available again at any point after that, then it was a limited release. In other words, if it's gone, then it was indeed a limited release. To elaborate - Clearly it's not numbered and it's not being advertised as "only x number of copies available". What I am saying is that this release will not have multiple pressings, and is not going to be produced in mass quantity. The final number will be determined by pre-sale projections, which at this point in time looks low enough to not warrant any more produced than the 10K presently available in the system. As I said, and you're on the same page with, they most likely have not been manufactured yet, because they're still monitoring the presale. There will come a day during the presale that they have to decide on a number. That number will either be 10K, in which case the number available in the system remains what it is and has been, or they will bump it up or down by a small percentage, depending on the number sold during the presale. Once THAT number is decided on, be it 8K or 15K, that will be all they ever produce of it, and when it's gone it's gone, making it a limited release. Operational definition of "limited release": a set number of copies will be produced and will be decided on by release date (8K, 10K, 12K, 15K, etc, it's irrelevant), and no more copies will be produced once that number is sold. I think we're all getting a little tripped up on the symantics. Agree, this is not labeled "Limited Release". Disagree, it won't be available for an unlimited time. They will produce a number that is fewer than 15K for sure, and as Jim said, once it's gone it's gone. So get em while they're hot folks! I also have mine (2). The real take away here is that if I am correct, then they've "fixed" the issue in which some people do not get an opportunity to obtain a copy at retail price, and that's a positive for all of us! Everyone have an awesome weekend.
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Submitted by icecrmcnkd on Sat, 08/26/2017 - 10:10

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.....until Real Gone Music does another production run..... Something becomes 'limited' once it becomes 'out of print'. Agree that it costs money to store unsold product, so getting an idea of demand before setting production numbers is a good business decision. Probably hard to make a guess on numbers when you don't know how many people are part of the anti-Brent mafia..... But, I would dare speculate that GD product takes up less than 1% of space in the Warner/Rhino warehouse. But still, space is money.
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Submitted by diw on Sun, 08/27/2017 - 12:01

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Is it in fact verified that there were 10000 available when the presale started? If so, it's pretty impressive that 4800 have already been sold.
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Submitted by American Reality on Sat, 08/26/2017 - 17:51

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Not sure why someone from Dead.net or Dave himself doesn't come on here and clear this up for everyone who is interested. Maybe he does mention it in the chat after it gets cut short? And in my opinion a 6 cd set without a DVD is steep. $49.95 sounds better and would have sold me.
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Submitted by darkstartheoth… on Sun, 08/27/2017 - 01:06

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Someone on here did post that they heard David say on the GD Channel that David did say that these are limited and that the cd sets will sell out. Just my thinking on this release: The "Formerly The Warlocks" set went for about the same price with the same amount of discs and that wasn't listed as a limited edition but it's gone as are the Winterland boxes. When you consider what each Dave's Picks costs when it goes up for sale, this really isn't any more. This is mixed in a high end studio which runs up the cost quite a lot. I'm sure that they've spent more in studio costs on this release than they have on a lot of the Dave's Picks releases. I miss the days when everything wasn't limited edition stuff. I've been fortunate so far and I have pretty much everything but I'm always a bit worried that something will drop at the worst possible time.
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Submitted by Vguy72 on Sun, 08/27/2017 - 10:32

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....top notch horror director. Guess I need to watch Texas Chainsaw Massacre tonight. Not that I really want to, but because I feel I have to. That movie requires some pre-viewing deep breath exercises. So perfect in a twisted way....
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Submitted by MiracleMan1982 on Sun, 08/27/2017 - 12:45

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Not sure if it was Vguy or Jim who mentioned Innerspace being on Netflix, but wow I forgot how funny that movie is. Martin Short is just on throughout the whole thing lol. Thanks for the heads up. Also, is there anything better than a 1973 Playing in the Band jam? They really put those jams into fifth gear IMO. I'm a huge PITB fan from any year, but lately the 73-74 jams have had me popping in shows from those years a lot. Anyone need a sealed DaP 19? Bought an extra and it's collecting dust. Open to trade or free to a cool person :)
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Submitted by Vguy72 on Sun, 08/27/2017 - 13:15

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....someone needs to Normanize these Ed Grimley videos. https://youtu.be/A-4b8AjPl1I. His story is really interesting. His wife passed at an early age. He hung up his acting to raise his kids full time. Cheers to you Mr. Short....
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Submitted by FloridaBobalooToo on Tue, 08/29/2017 - 03:55

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.
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Submitted by brianhahne on Mon, 08/28/2017 - 06:11

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Dave did not say it was limited or will sell out, in the seaside chat.I heard him say it on the XM broadcast... I think it may have been habit, but he did say it.
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Submitted by Slow Dog Noodle on Mon, 08/28/2017 - 11:02

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A nice version of this show just hit the archive, with the full Charlie treatment. I've been listening to the 1st set at work to day and wow, this show absolutely smokes. I've been listening to a lot of 77-78 lately, for obvious reasons, and this one sounds like it could have slotted in with the July 78 box. Tons of energy and really heavy rock n roll. I dont remember listening to this show before. Does anyone know if this has been released as part of Road Trips or Dick's Picks? If not, this would make a great Dave's at some point. Especially notable is the Mexacali -> MAMU transition, and the opening Mississippi just smokes. https://archive.org/details/gd1977-11-06.139055.SBD.Miller.Noel.t-flac1… Lastly, I hope everyone in and around Houston has safely evacuated and is in higher ground. Its going to be a long couple of months, and even years til folks can get back to normal there.
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Submitted by itsburnsy on Mon, 08/28/2017 - 12:01

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These are good shows, but probably not for everyone. 7.12 was my first show, so I am excited for this release, and it has never circulated as a SBD, I've had a HORRIBLE AUD copy for years. I had graduated high-school about 3 weeks earlier, and knew very little about the band. In fact, I only recognized two songs the entire show, the Touch operner and the Black Muddy River encore. I actually thought Women was a hallucination after the show! Regardless, I was hooked, and it was on to Spring of '90 and about 50 more shows until June of '95. Thanks Dave for mixing it up a bit, looking forward to this one...
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Submitted by bob t on Wed, 08/30/2017 - 07:36

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So I am listening to 5/21/74 HEC Edmundson Pavilion and just got to Playing in the Band which clocks in at 46 minutes, and I remember tape trading days not being able to fit it on one side until the 100 minute cassette was launched. Anything else longer? I know the Dark Star from 12/6/73 clocks in close... Just curious
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Submitted by wadeocu on Wed, 08/30/2017 - 08:29

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6-6-69 lovelight clocks in at about the same 46-47 minutes. Depending on how you count the drum solo break 5-11-72 dark star is about a minute longer. Interesting ABB parallel (in my mind): Ive been on a mtn jam binge and previously thought the 45 minute version on ludlow garage was among the longest but word on the hittin the note forum is that a 54 minute version has come into circulation. Ive not heard it yet. I think that likely includes a drums segment too as that is really a part of mtn jam.
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