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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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i finally checked out the listening party sampler, actually i have been somewhat familiar with the 7/13/89 show for a while having attended it, and i do have a downloaded copy, but with all the hoopla about brent's vox i had a listen this past weekend (for the first time since this release was announced), sometimes i'm in the mood for brent's vox and sometimes i'm not but i have always considered him a strong vocalist with probably better pitch than bob or even jerry, i thought most of the "but i'll get back on my feet" bridge section harmonies were about as strong as bob/jerry/brent get (which is pretty dern good), however during the i'll get up and fly away section it sounded a little funny, sounded to me like brent may have chose an unusual harmony note rather than he was missing the note he was going for i remember having a great time in the pouring rain at the show and i would love to own this release but its priced a wee bit too high for my comfort level, i passed on the warlocks set for the same reason although i attended the dark star nite of that little run also
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I'm wondering when and if there will be some sort of video reveal/unveiling? The packaging has been visually impressive as of late. I would expect this one to look pretty cool as well, but hopefully jewel cases instead of those slip sleeves (GSTL, May '77, July '78) where discs can come loose in transit, or those abrasive cardboard slipcases that scratch up discs.
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I’m also wondering about the packaging. I’m hoping that sizewise, it’s similar to the Warlocks release. Also wondering about shipping. Will they use UPS like they did with GSTL or regular USPS? The release date of 11/10 is a USPS holiday but not a UPS holiday.
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On the subject of Texas music, I was happily surprised to see a photo of the great Roky Erikson on here a few weeks ago. The 13th Floor Elevators are one of the all time greats when it comes to psychedelic rock music. Going off the few live recordings I have heard from 1966, they were the best live band in the world playing this type of music at that time. Sadly their time was not long, but those first two albums "Psychedelic Sounds Of.." and "Easter Everywhere" are amazing listens-even today. I actually saw the man himself live about 10 years ago when he came to London for a one off gig. Everyone wondered what sort of condition he would be in...but he seemed fine. He still had the most blood curdling scream I have ever heard. For the most part he steered clear of Elevators music, concentrating on his subsequent horror rock songs, like "I Walked With A Zombie" and "Night Of The Vampire". He encored with "You're Gonna Miss Me". A truly memorable night.
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Hey folks! I live. This box... I'm on the fence. Worth it?
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Where you in jail? ;)
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To each their own. I'll preface my comments by saying I'm a huge fan of the Brent era, and particularly the time frame of Summer 1989 through Spring 1990. That said, I believe the RFK shows were the worst two shows of the 1989 Summer tour. I still would have been in (even at an increased cost) had they included video. Sadly that is missing, so I see this boxed set as a lost opportunity. Is it worth it ? To me, no. But I can't speak for others.
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Including the video would have been ideal. Perhaps.... 1. the videos will still be released as part of a larger '89 box. 2. maybe they're planning some kind of paid streaming service like for Dead & Co. 3. holding off to see how well the audio release sells before committing to a video release (Dave mentioned video sales overall weren't particularly lucrative) 4. ? I haven't really listened to these two shows a lot. Not often enough to rate them as compared to others from this particular tour. From what I saw at this years "Meet Up at the Movies" and the sample provided, I'll probably get a lot of mileage out of this one. The Alpine '89 run on the other hand is the big one. Still bugs me that they cannibalized the first sets from the first and third nights for the DVD.
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Just heard the new, second SiriusXM special by David today regarding this release. I am even more excited than before! Even though the listening was in the car, over SiriusXM (not exactly audiophile quality) the mix and the mastering is stunning! If you are a fan of the 89'-90' era..this one is a monster. The Other One into Warf Rat is just bone rattling. Phil was not taking prisoners. This specimen of Jerry's tone is the answer to why we all put him up so high on that great player pedestal...just listen to the last 2 min of Warf Rat if you need an example. This will go down as a great release. In years to come, it will fetch the kind of silly money that the Road Trips series now gets (if you have a question of its value). I can not wait for the 89' Cal Expo box...sign me up! (hint for David!)
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Those words will make Spacebro drool.Looking forward to receiving my copy.
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I caught the show this morning. You're right on the money Frankie Lee, They nailed the mix.
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We went to these shows . When I heard the interplay of Bruce and Jerry at meet up at the movies A flashback of Jerry smiling ear to ear , the whole band dropping it into Overdrive I can't wait to hear the second night through my home stereo at the highest volume allowable . I guess the only way to understand how lucky we are to get Killer board mixes of shows. Brake out a third generation audience TAPE ,from 1989 , Then you will gladly pay to own the superb clarity of the perfect assembly of the band . We are so spoiled , We are so lucky Its all about your perspective ,how much you appreciate the music that is unavailable . THIS IS WHAT I KNOW I WILL HERE ,, AND I CANT WAIT ! Though , I can't wait to find out what's in Daves bag of tricks for # 24. Chris K

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17 years 5 months
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Hoping this surprises me. I was only at first day, and it was fun and there were moments, but wasn't one of "those" shows, didn't stick to my ribs. But then the Terrapin Limited show, for me, was the weak night of that Landover '90 run, and that release not only sounded great sonically but revealed more was going on musically than I'd been able to receive from our less than optimum seats that night. (Cool view of Brent, though.) Well, and, famously, the off show Jerry pushed Phil over turned out to be an Anthem-worthy tape.... I'm not sayin' RFK '89 is going to be Valentine's Day '68 ~ and I still prefer those other two nights of Landover '90 ~ but it's a classic GD dynamic that some tapes shine when liberated from their subjective immediate circumstances....
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Isn't it time to start debating Dave's Latest? Last one for 2017.
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17 years 5 months
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I wonder if this will be similar to the "Formerly The Warlocks" and Spring '90 boxes, including ticket stubs, backstage passes and the tour info handbill for this venue stop? Those were nice additions to include with the CDs. The mail order tickets had the Eye of Rah for one show and a rose for the other.
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Why must everyone always try and guess and debate what the next Dave's Picks or box set is gonna be? Who cares? We'll all know when it's actually announced. Am I an asshole for asking this? YES, but I'm an asshole that likes surprises and thinks that speculating is a waste of time.
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I'm gonna guess it's a show that they played between the years 1965 and 1995 and hasn't been released yet to the public. Wow, that was less fun than I thought it would be.
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9 years
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It’s like trying to guess the lottery numbers, but doesn't cost $1, or $2 if you prefer powerball.
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Well, i don't see any harm in having fun wondering what the next treat to come our way is. Coming from a different angle here...i really hope it's NOT one of the Berkeley shows from October/November '84 as I'd love the whole run to be released as a box set sometime. I've been on a 1980/81 kick recently and have been pretty impressed with what I've heard...05/09/81 up next. Let's hear the announcement Dave !.
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They're both well known shows that most serious Dead fans have, but I'd LOVE to have a remastered/restored version of 7/18/1972 at Roosevelt Stadium in Jersey City, NJ or 9/28/1972 from the Stanley Theatre in Jersey City, NJ. Then again 8/24/1972 from Berkeley Community Theatre, 10/25/1973 at Dane County Coliseum in Madison, WI, 6/23/1974-Jai Alai Fonton in Miami or the complete 9/11/1974 Alexandra Palace gig (of which a small portion is featured on Dick's Picks 7) would all be supreme as well. Hell, I'll be happy with whatever shows up at my door in November or in 2018.
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Yes, that 07/18/72 New Jersey show is a killer...i have a superb soundboard recording of that one and would love for it to be released...i may be wrong but it may be outside the realm of a DP selection as i recall it running to 4 discs...here's hoping though !.
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Has anyone else seen this RSD balck friday list? Its showing a 5xLP Dead release called "Grateful Dead Records Collection" by Rhino... Just wondering if this is another studio collection release... I also saw a Jerry Garcia x Howard Wales "Side Trips, Volume One" 2LP release on the list. https://s3.amazonaws.com/recordstoreday/2017/2017_BLACK_FRIDAY_PUBLIC.p…
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"5LP Box Set containing: Wake Of The Flood, From The Mars Hotel, Blues For Allah, Steal Your Face (2 LPs). Each album will be faithfully replicated, housed in a rigid slipcase, with a book containing liner notes and iconic photos of the band. Limited Edition of 5,000." http://recordstoreday.com/SpecialRelease/9844 Very nice!
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I too have been on a 80/81 kick lately. I love the Stella Blue release from my hometown 7/5/81 Zoo Amphitheater show that was on the Amazon exclusive version of the LST soundtrack. Would love to see that show released in full.
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11 years 5 months
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More Bruce...there's got to be another good one
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11 years 3 months
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That show is really special for me. Any word on price for vinyl box set ? I heard about that one a few days ago. I'm on the fence for that because I already have all three albums. The two studio I have are both the Mobile Fidelity pressings along with first pressings. Not sure it would be an upgrade over the MoFi copies I own ? Also Rhino !!! What's up with the Merch for RFK Summer 1989 box set ? How about a cool patch or pin or something , please no print \ poster
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7 years
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Haven’t seen any info on price for LPs. Certainly is tempting though.
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12 years
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I must be missing how and where to order this. Will this only be available in local record stores?
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11 years 3 months
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i think its limited to 5,000 at first on Black Friday and then they may have an edition that is not limited. but the LE will most likely be long gone by then. I am guessing it will be about $100 -120 in stores Heck $65-75 would be about the right price in my opinion Box Set of the Futuro haha Fox 1972 !!! Universal Amp 1973 !!! Philly Spectrum 1989 !!!
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7 years 9 months
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Very Nice indeed! save me one if you're down at GuestRoom please!
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7 years 8 months
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Very Nice indeed! save me one if you're down at GuestRoom please!
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17 years 5 months
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Love how that "Sugaree" just pops out of the speakers, and that's just on my laptop. This "Let It Grow" is truly epic. Worth getting this box just for that. Jerry and Brent are just ripping it up. The mix is phenomenal. Can't wait to hear it properly.
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Having listened to 9th October 1989 and 16th October 1989, I am having second thoughts about buying this. Those two shows are truly epic...although I wasn't so keen on 8th October, with its godawful version of Eyes. I wonder how this new release compares to the shows in October?
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10/8 and 10/9 were truly epic. As was 10/16. They are in a league by themselves. The playing in RFK Summer 1989 is very solid and well done. But the (entire) rest of the 1989 Summer Tour was better--before AND after. If this is a strict comparison of the Hampton shows + Weir's birthday 10/16/89 vs. RFK, the October shows win in a landslide vs. RFK.
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10 years 2 months
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Thanks for the feedback. I think I'll leave this release after all. I do like the October shows mentioned-and October 26th from 30 Trips-but overall, 1989 isn't a favourite year of mine. If these shows aren't even the highlight of the tour they were played on, maybe I'll leave them for someone else to get. Especially since I've been lucky enough to have bagged a subscription for Daves Picks this year. No doubt that this 1972 show is worth having!
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17 years 5 months
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I have mine ordered and looking forward to some more '89. plenty of people were clamoring for dave's 24 to be something from 89. but dave said in a video if a dave's picks and box set come out the same month both releases won't be from the same year. thanks for posting up some taper's sections photo. the Hampton Box set is great and has great sound. but I will say it seems to me Brents keys are on the low side during the Foolish Heart Opener. if you can get your hands on the Formerly Warlocks Box id recommend it. this box set is worth it to me cuz I love '89. I agree with bob weir I think its a peak year too. and also serves as a precursor to what Spring '90 could be. also Hampton is a great place for Phish and the Dead. I really like what two dead shows I have and every phish Hampton show. yeah if you're not a fan of 89 its probly not worth it to you. and yeah it might be pricey for two shows. I mean phish puts out a two show box set for under 40 bucks. but they also are pretty skimpy on packaging they don't do a booklet w/ essays. just a simple sleeve box set that holds individual cd paper sleevers but not like that rough ass cardboard for Road Trips.
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7 years
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Special show for me. had the chance to sit on the board second night. steady diet of espresso that night. Healy gave me the headphones and he had to pry them off me mid second set. Jer and Bruce and brent had unique bond, you could feel it whenever he played with them. great release and amazing mix.
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7 years 3 months
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I cancelled my order on this after the 2nd listening party sample. As a newcomer to the Dead scene, I've purchased over 20 shows from all eras, and while there are some bright spots on the late 80s music, the early 80s features much better performances with much better vocals from Brent Midland. His voice isn't all raspy and strained on my older 80s shows, such as Grateful Dead Go To Nassau, Dead Set, and 30 Trips Around The Sun from Cape Cod 1979 (I forget the date). It's a shame, because there is some great playing in there (Jerry and Brent in Wharf Rat from 6:00-8:00 are jamming nice!). I guess Brent's voice just degraded over time, which is only natural. It happens to the best of singers as their careers went on (Brian Johnson, Roger Daltrey, Steven Tyler, Mick Jagger, etc). But it's almost impossible to enjoy something like Cassidy from this listening party, with that raspy voice that is comparatively monotone to Donna's in the late '70s on Cassidy, which is a very beautiful duet, and what I would consider one of her strongest songs.

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17 years 5 months
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I hear you about the change in Brent's voice. I think of it as "gritty" rather than "raspy." And funny, I actually don't think he sounds like Brent until then!, his '79-'80 harmonies sound more generic to me. Like he's learned the parts put isn't infusing his own soul into them yet. He was surely capable of an off night, but to my ears the "grit" version doesn't correspond to a decline in singing ability, a la the veterans you listed. (You could add Bowie & Elton John, who fled to a lower octave relatively early in their careers ~ though their voices remained distinctive.) I truly hear it as more soulful, and him bringing his own personality to the party. Obviously I'm biased, having fallen in love with the Dead at just that moment, including the element of Brent's voice. To me, his harmony on "Know You Rider" and "Uncle John's" will always be classic.... I agree that "Cassidy" is one of Donna's lovelier harmony vehicles. "Looks Like Rain," too.
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7 years 3 months
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I guess I just don't dig his gritty blues voice and prefer a little more harmony in the backups over dual-leads. By that I mean what I've noticed with Brent is that he doesn't really harmonize (sing the line melodically different than the lead vocalist to achieve a different net effect). For example, someone recommended Ladies and Gentlemen this morning on the other thread, so I put it on since I happen to have that one. During Uncle John's Band, there's a lyric that goes "like the morning sun you come and like the wind you go". There are three people singing the line. Jerry is the lead, and then I guess Bob Weir sings the line with pretty much the same intonation, but the 3rd person (Phil Lesh? Pigpen?) sings the same line with a different melodic intonation. The net result is a breathtaking moment where two different, slightly different vocal melodies come together to make harmony. That doesn't happen that I've heard with Brent's backups. With the Brentster, it's typically him singing the same line with the same melodic intonation as the lead vocalist, which doesn't yield the harmonic effect. So that's what I mean when I say he doesn't really provide harmony vocals so much as dual lead. But that's cool, everyone likes their own toppings on their Sunday, you know?

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17 years 5 months
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Indeed they do. My old band was recording our album years ago and the engineer kept wanting to mix both the lead & harmony vocals in the middle, to create a single effect of the intertwined voices. We kept saying, no, pan them! "But then you'll get a dual lead vocal like Lennon and McCartney!" he complained. "Exactly!! That's what we want!" Drive My Car, You Know My Name.... You tipped me to crank "Go To Nassau" in my car this afternoon. Love that release, especially disc one, great performances and sweet sound. The hottest Lazy Lightning/Supplication? Some candidates: Go to Nassau (5/15/80), expanded Dead Set (10/13/80), Dick's 25 (5/11/78), 12/30/81 LOVE Jerry's half-rhythm/half-lead comping on Supplication...one of my favorite Dead jams.
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7 years 3 months
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You got to record an album?? That's awesome bro, I wish I'd done things differently and become a recording engineer. What kind of music? I have Nassau and Dead Set, and probably listem to them most after Sunshine Daydream. The Jack Straw into Franklin's Tower is stunning. I noticed in the 70's versions of Tower, Jerry passes the rhythm off to Keith and Bob, and then he solos for a good portion. But on Nassau, Jerry holds down the rhythm for a much longer period, and it sounds awesome!!! And it's up-tempo through the whole song, and then he tears through a solo, picking the main riff on one string, wow! Rocking version. The Playing is really hot too. Mr. Brent's Hammond sounds perfect. Personally, I think think this is his best sound, but it's largely absent from the later 80's shows. I love this band!
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I got into the Dead in the early 90s so I missed most of the great stuff. When I first heard Brent, I was like "who is this Michael McDonald knock off?" I didn't warm up to him for a long time, but the more I listened, the more he grew on me. There was a sweetness to his soul that came through his voice, and he did wonderful things on the keys. The way he and Jerry played off each other, and the obvious joy that Jerry showed when playing off of Brent, endeared me to Brent. If you can get your hands on a copy of Without a Net, I highly recommend it. If you only have one album from that era, that should be the one. Brent's vocals are spot on. Worth getting for its fantastic versions of Althea, Cassidy, Walking Blues, Help on the Way, and Eyes of the World (with Branford!). If you're going to critique the Dead for their vocals, there's certainly no dearth of material to choose from - in any era. Like everything else, when the vocals were on, they were great, but when they weren't, they were cringeworthy. Some of the live stuff I've heard from American Beauty (Attics of My Life, Brokedown Palace) is absolutely atrocious: pitch wavering all over the place trying to find the notes. Also keep in mind that they overdubbed their vocals on some of their live releases (I think Europe '72 and Without A Net), so what you might hear might be a lot better than what happened at the time. I don't have a choir background, but I do have musical experience, and what I've found is that generally Brent's vocals are solid. I feel like he was often the rock that kept the other vocal parts in line. What really impresses me is how he hits those high notes without going into falsetto. When I listen to the Dead, I don't listen to it for the vocals. I listen to it for how they listened to and played around each other. AND PHIL'S BASS. That's what got me on the bus. While the Dead might sometimes meander into a Pit of Despair, Phil's bass always brought everything back together. And man, his bass on Sugaree here is sweet! Anyway if you're still here, thanks for taking the time to read this long-winded rave. I'm excited about this release because these mixes from the 24 track masters make me feel like I'm right there at the show and at just the right location to hear everything the way it's supposed to be.
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9 years
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You should have kept your subscription and sold it later if you didn’t like it. Eventually, Brent might actually grow on you.
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9 years
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Give Brokedown Palace and Attics of My Life from any 89/90 shows a chance (highly recommend versions from the warlocks shows, 10/16/89, 3/19/90). Brent's great!
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