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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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  • MinasMorgul
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    I could be wrong
    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.
  • Kayak Guy
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    We will find out on Nov 11
    or when they put the "Only 500 left" banner up ;)
  • Kayak Guy
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    This is a Limited Release?
    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.
  • JimInMD
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    July 78
    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.
  • Drifter's Escape
    Joined:
    Limited ? I don't care.
    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.
  • LedDed
    Joined:
    Whole Lotta Dead
    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.
  • MinasMorgul
    Joined:
    This is a Limited Release
    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.
  • MinasMorgul
    Joined:
    Space
    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.
  • SPACEBROTHER
    Joined:
    limited Edition
    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.
  • boblopes
    Joined:
    In preparation of this release...
    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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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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09 24 83 santa cruz fairgrounds Alabama Getaway Promised Land They Love Each Other Me and My Uncle Mexicali Blues Bird Song Hell in a Bucket Deep Elem Blues Looks Like Rain Day Job China Cat Sunflower I Know You Rider Man Smart/Woman Smarter Ship of Fools Truckin' drums Uncle John's Band Throwin' Stones Not Fade Away Brokedown Palace Funiculi Funicula One More Saturday Night https://archive.org/details/gd83-09-24.neumann.wiley.9200.sbeok.shnf/gd…
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FRANK ZAPPA'S LEGENDARY HALLOWEEN NYC 1977 RESIDENCY TO BE RELEASED AS MASSIVE HALLOWEEN 77 COSTUME BOX SET.FEATURING 158 TRACKS ON USB DRIVE IN 24-BIT AUDIO AND RETRO ZAPPA MASK AND COSTUME. AVAILABLE OCTOBER 20 VIA ZAPPA RECORDS/UMe TO CELEBRATE HISTORIC CONCERT RUN'S 40TH ANNIVERSARY.
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**
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Thanks for the heads up, I've ordered mine. I thought a pretty good deal, 100 bucks for 6 shows AND a Zappa Halloween costume!!
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I haven't ordered the Uncle Frank release yet. I'm a little paranoid about the USB drive. I seem to recall some problems with the USB for a box set on this site and the chaos. Not sure how a defective USB and/or files would be handled through the ZFT (broken USB's are for a-holes).I might just stick with the 3 CD set.
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Very cool Jerry pix shirdeep. Made my day. Thanks for posting.
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Nice, nice :) Looking forward to receiving this a couple months down the line!
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I listened to the Wharf Rat from this RFK show. Jerry Garcia sounds real good, but who is the backup vocalist at the fly away bridge? Phil Lesh? Very strained and out of tune. I hope there's not a lot of him featured!
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Is it me or that one of the strongest versions of Wharf Rat available? Jerry's solos (esp. the first one) are simply astounding!
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The old cliché, you all know it. "A picture is worth..." Someone on the other happening thread posted an Amazing pho of the band in Boulder, 1980 if memory serves. Just a beautiful snapshot. And there are a recent couple here... cool '83 photo of Jer if a bit ragged. But then that one below. The elephant in the room. What the band dealt with. What killed him. I ask anyone, anyone to look at that sad photograph of Jerry Garcia completely destroyed, posted by shirdeep (where did you find it?), of our guy, gone, stinking, 100 lbs. overweight, Persian stains all over his fingers, clothes and lips. Doing Eddie Van Halen lines "I'll just dump out a gram and cut it with my hand," to stay awake and stumble onto the stage. Fat and filthy and reeking in days-worn rumpled bum clothing, just the epitome of self-indulgence. Disgusting. Is everyone blind? Does no one cast a critical eye upon this? It destroyed this band. It's why 1972 remains a high point. It couldn't be reached any more. I'm not saying drugs are fundamentally bad. Most of the great art of the last 200 years is the result of such inspirations. But, when folks can smell you coming, it's time. It's time. This is what a man of such talents and gifts did to himself, and, oh yeah, the coma. Sad, just fucking sad. The Stones are still going - strong. So could be the Real Dead, not the Co., had Jerry not succumbed. I love Jerry Garcia, and I choose not to remember him stinking and bloated. At least the music remains. Why did you post this ungodly picture?
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Both Wharf Rat and Cassidy sound incredibly strong with some great jamming in them. The mix also sounds quite good even though my computer speakers aren't the best. Can't wait!
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I've just recently gotten into the Grateful Dead, so I'm listening from a clean slate with no concert memories or anything like that. Coming from that direcrion and speaking objectively, this Wharf Rat is not in the same ball park as the ones I've been enjoying from the Europe 72 releases and Ladies & Gentlemen. Like I said, Jerry sounds good enough, just older, but Mickey's backing vocals are just horrible (ruins the song). I listened to other stuff from 89 on youtube, and it's all pretty much the same. Hard to imagine people calling 89 in the same ballpark as 71/72, it's just not. I would encourage you to check out the 71/72 Dead to really catch these guys in top form.
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That's Brent doing the backup vocals and yes, some nights were better than others. That's what makes us keep on coming back. There is something to love about most shows.
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I've seen shows at the Santa Cruz County Fairgrounds. Remember seeing Joe Walsh for free there in 1983 or so. He was a bit ragged in those days but still good and FREE!
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Some people like the raspy voice of Brent, to others it's like finger nails on a chalkboard.Personally, finger nails on a chalkboard never bothered me. And I like Brent too. I also like '72 Dead. In fact, I listen to everything from 65-95, and toss in a litttle video of FTW and D&C too. LedDed, toughen up buttercup.
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Someone said it was Mickey. I'm just getting into these guys, thanks for the correction mtnhead and icecrmcnkd. Some great Jerry Garcia pictures, thanks to the posters.
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o9 29 94 boston garden Hell in a Bucket Peggy-O Wang Dang Doodle Ramble On Rose Masterpiece Borwn-Eyed Women Let It Grow Playing in the Band -> Eyes of the World -> Estimated Prophet -> He's Gone -> Drums -> Space -> Spanish Jam -> Other One -> Wharf Rat -> Sugar Magnolia I Fought the Law https://archive.org/details/gd94-09-29.sbd.larson.12100.sbeok.shnf/gd94…
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These sound awesome. The mix is spot on, and that's just the low resolution sample. couple points here... 1. The Wharf Rat vocal harmonies are spot on. 2. Mickey and Bill sound awesome together on this mix. 3. These two shows are phenomenal.
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Anyone else notice Bobby playing some of Wilson Pickett's Land of a Thousand Dances after the last pre jam verse of Cassidy?? Must of been a groovy crowd at RFK that night!
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Sorry for everyone doing cleanup right now. Also sorry about my question on the boxset construction. Everbody is right it's the music that matters. I asked that because this boxset costs more than Warlocks box which in my opinion is the coolest well priced well worth boxsets ever made. Because it's been quiet how about we start a current 5? list. With this set and the Dave's coming I decided for the first time before the release it's all non dead.1. Prophets of Rage 2. Dazed and Confused 1&2 3. The very best of Curtis Mayfield. He is such a bad man. I've been lost in his encyclopedia. 4. All the Light Above it Too. Jack Johnson 5. Dom & Roland:Through the Looking Glass Everybody be well. dAve
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long time since I have heard this show, sounds even better now
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The Chain. Fleetwood Mac. Brilliant. I felt like shit all day today about calling out shirdeep for that unflattering photo of Jer. I still don't know where he/she? got it, but I'd like to burn it. You later posted pics, esp. of Jer hanging with a fan in the VW - ! - have redeemed you a thousand times over my friend. It is I who must earn it back. I Maintain, (pun intended, freaks who can relate) an elegantly framed photograph of Jerry and Owsley in San Diego International Airport, 1968 (the year of my birth), Jerry Garcia at the height of his Powers in all of his glory standing, Defiant and Strong, with the solar wind of a thousand suns blowing out from his center, cigarette askew, black leather jacket. Our guy and the sincere Champion of fucking all of this was, shy, but capable of projecting himself as a Bad Ass only now and then. This was once. In a lovely frame in my home office, the center of my power. For now. https://www.bing.com/images/search?view=detailV2&ccid=jjd4k2jc&id=17866… Few can harness this. It has it's price. https://www.youtube.com/watch?v=ZzyhogPKV54 Later. \m/
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Spacebrother, that's some set of tuners you have on you there, if you think the gentleman who has been identified for me as Brent is providing properly pitched vocal harmonies. I'm not sure why they gave that man a microphone, but I teach chorus, and I assure you that no producer would ever let that Wharf Rat bridge on a studio album, it's THAT off. But it's apparent to me by the responses from multiple people that critical analysis has left the building, and all that's left is love for this version of the band, which is not a bad thing, but love is blind (and deaf in this case).
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....is that there are no Dead harmonies. We're here for the Playing of the instruments, which is why we love long jams with few vocals. But when we get vocals, they're usually well-written lyrical journeys. Which is why most of us can tolerate off key singing. If you think that '72 is better, well, find yourself an epic Playing in the Band that gets blown to pieces at the end by Donna.
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We're about the same age.White-haired grandpa/Santa Claus Jerry is the only Jerry I know. Gotta take the good with the bad. As you said, he was shy. But he was forced onto a pedestal by the fans and it took a heavy toll on him. I am soooo thankful that I got to see grandpa Jerry play, as well as uncle Brent.
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7-19-74 Playing in the Band, and with a perfectly placed Donna scream to cap it off!
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I know!!! Does she think she's Janis?? But I've found a couple Playin' in the Bands w/out her, 4/16/72, 3/22/72, 11/30/73, & 12/2/73. She seems to have it down by '76. She sings well most of the time, however, where Mickey sounds awful / offkey almost every time he opens his mouth. His range is so limited he can't support the lyric he's singing. He actually sounds better singing lead (Blown Away 7/7/89) than backup, I assume because he wrote the song in a key he can cover. I kind of disagree with you when you say the first rule with the Dead is that there are no harmonies. They're all over the place and damn good on most of the 60s and 70s shows I've heard. Check out High Time 7/16/76 on Dave's Picks 18 (which I just paid through the nose for on eBay), and there's a song called The Eleven on Two From The Vault 8/24/68 which is an excellent example, and I would also recommend if you have it, Candyman from 4/15/70. There are plenty more, but honestly, I don't know half the song names or albums yet. Uncle Johns Band is another good one, during the "like the morning sun" vocal, someone is in there providing some rich in-tune harmonies (Bob Weir?). I sense the knee jerk reaction of y'all in Mr. Brent's defense, so let's just call it love and move on. I thought I was commenting on a forum where musical quality was the theme, and this Wharf Rat lost its right when the backing vocals kicked in. Things like pitch and key are not subjective concepts, they're tangibles in which "spot-on" does not apply in this case.
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Sorry I wrote Mickey below when I meant Brent. Someone told me Mickey was the scratchy voice guy earlier and now I'm mixing them up.
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This Wharf Rat rocks and the vocals are excellent. Tinnitus perhaps?....or you just hate Brent?
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How much people's tastes can differ and how some are more critical than others.
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Butch, there have been discussions about Donna previously around here. Apparently, she couldn't hear herself very well on stage and didn't know how bad it sounded. Also, apparently she is louder on the recordings than she was at the show. She sounds great with the Jerry Garcia Band. Check out the album 'Don't Let Go' from 5-21-76. Also, the person that told you it was Mickey was screwing with you. Mickey is one of the drummers and doesn't sing with the Dead. He does sing Fire On The Mountain in The Mickey Hart Band.
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Been off exploring new vistas.But I’m back.........and dove deep into 73: fresh ears can help to hear things one might have overlooked. Hearing the tone of Jerry much clearer now. And the sweet delicacies of his touch. Sometimes being away can make you stay!
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Sometimes the challenge to the listener is when Brent's harmony is higher in the mix than Jerry's vocals are, which can grate a bit. Brent is laying down harmony, but for some reason the volume of his vocals over power Jerry's. I have heard this in some audience recordings as well as soundboard. I will have to listen to this again to the Listening 'tease' they provided for these shows. I heard an example this a couple years ago at one of the Meet up at the Movies during Mississippi Uptown Toodoloo. Jerry's vocals were almost buried due to Brent's harmony's being so prominent to the point it was difficult to hear Jerry at all. Actually, I blame that on Healy's mix. I would also state I don't recall that in the early days of Brent's stint. I am going to have to listen again to my first Brent show at the Portland Raceway in 1979. And I would offer, especially these days, so many want to hear Jerry's voice clearly. We miss him so much. It isn't always the "hate Brent" sentiment, sometimes it is the mix, which was more problematic in those Healy daze, it seems. My two cents worth. Believe it if you need it, if you don't just pass it on. "Teachers open the door, but you must enter by yourself"
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15 years 2 months
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Making space: giving away box and contents from 1990 The Other One, *MINUS* the CD's. You get the Dice, book, tickets, backstage passes, medal and drawings.Catch: you come pick it up in South San Francisco. PM if interested...
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7 years 3 months
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No, I don't hate Brent, I've only just gotten to know him. Just critically speaking about the music is all. He has pitch issues in all of the 1989 recordings I've listened to, including the samples here. I teach chorus, so believe me, I know when a singer is off-key. There's nothing wrong with it if it doesn't bother you, so enjoy! But trust me, it's there, and the only reason I brought it up is because it suprised me that an established band like the Grateful Dead could have someone as consistently off-key as Brent. But it's cute that you came running to his defense little fella, asking if I have tinnitus and all. You got a lotta spunk tiger, keep that fire in your belly ;-)
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9 years
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If you heard me sing you would probably have a nervous breakdown. I’m so bad it makes Brent sound great.Vince.....well, that’s another story. I also can’t play any instruments, which is why I think Bob plays slide pretty good...... Yeah, if you want to fire up Spacebro, say something negative about 89/90. I know where he’s coming from, my first 2 shows were in 89.
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15 years 2 months
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Especially her war cries in Playing In The Band. During my Grateful Dead concert going heyday (1972-1974) when me and my buddies would hear the opening notes to Playing In The Band we would push forward just to be under her (Fruedian slip?) to experience the glory of her wail. I know some people hate Donna and especially her PITB wail. Doesn't bother me in the least. Each to his own. Like what you like, dislike what you dislike. Don't get evangelical about your preferences. It's a big tent.
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11 years 3 months
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Quit being a dick Butch.:)
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7 years 3 months
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He asked if I had tinnitus and hated a man I never met, simply because I casually mentioned he sings off key. I was not the first to get personal, so where's your reprimand toward the other guy? But really, no need to drag anything out, I'm willing to let bygones be bygones. I'm professionally involved in music, so I tend to approach it with a critiacl ear. I was telling Kayak Guy, I enjoy The Who every time I see them, but I know Daltrey's voice isnt even close to what it was in his prime. Doesn't mean I won't discuss his vocal performance if it's below par, because all it is are words about quality of a guy who sings. I'll even pass this tip along - there's a great version of Blues For Allah on what I'm told is a rare bonus CD from Beyond Description box set. I was pointed to it by my buddy who took me to movie night. The guy's keyboards are absolutely amazing here, and singing discussions aside, he does play a mean Hammond. Also check out Grateful Dead Go To Nassau, where there's more great Hammond, and the best version of Franklin's Tower I've heard yet (and great pitch by Brent, probably due to being younger). So it's words, no need to say I've got tinnitus because I'm calling it like it is, about a performance from a guy nobody on this message board has ever met. My livelihood depends on having a good ear, so yeah, I'm insulted when someone makes off color remarks like that. Grateful day to all!
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11 years 3 months
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Because the other person didn't talk down to him using words such as cute & calling him little guy. :)
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7 years 9 months
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There aren’t enough tears or prayers for you. Heartbroken.
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17 years 5 months
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I too study music. In fact, I've been doing it for nearly 40 years. I've studied, taught, written countless charts, performed, arranged, recorded and even toured coast to coast and abroad for some of them. I've mixed sound, worked as a stagehand, as a guitar/bass tech, built/rebuilt amplifiers. I even know what 440 hertz is and so on and so forth.....but that's just me bragging about my background. Brent's vocals on this particular performance of Wharf Rat are the most in pitch of the three singers during the vocal bridge, at least to my ear. If anything, Jerry and Bob sound a tad flat here by maybe just a hertz or two (microtonal). Splitting hairs. What do you expect for human live performance? Some people like Brent's vocals and some don't. Initially I was apprehensive about him when I first stumbled on the Dead in the early '80's. He grew on me quickly and is now my favorite keyboardist/vocalist next to Pigpen. Keith and Bruce were also great. I warmed-up to Vince after the first couple of years....but that's just my opinion. Instrumentally, Jerry rips an inspired guitar solo on this Wharf Rat out of that vocal bridge that alone makes this set worth getting. The song grooves and Jerry and the band are on fire here and that's what matters to me.
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17 years 5 months
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On another subject....This is very sad news and send my thoughts and prayers to the victims. One way or another, this darkness has got to give.
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12 years 11 months
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Is still alive early reports of his untimely death were not confirmed.
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11 years 7 months
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An amazing talent! RIP
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