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    heatherlew
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    "We left with our minds sufficiently blown and still peaking..."

    We're headed back to that peak with the newly returned tapes from Broome County Veterans Memorial Arena, Binghamton, 11/6/77. The Grateful Dead's last touring show of 1977 finds them going for broke, taking chances on fan favorites like "Jack Straw," "Friend Of The Devil," and "The Music Never Stopped," carving out righteous grooves on a one-of-kind "Scarlet>Fire" and a tremendous "Truckin'." An ultra high energy show, with a first set that rivals the second? Not unheard of, but definitely rare. Hear for yourself...

    DAVE'S PICKS VOLUME 25 features liner notes by Rob Bleetstein, photos by Bob Minkin, and original art by our 2018 Dave's Picks Artist-In-Residence Tim McDonagh. As always, it has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually numbered copies*.

    *Limited to 2 per order. Very limited quantity available.

    Get one before they are gone, gone, gone.

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  • Mr_Heartbreak
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    2018 Releases
    So, according to that article from Jambase, "Pinkus...confirmed a collection of 80 soundboard tapes recorded by the famed Betty Cantor-Jackson have been added to the vault." Also according to that article, "the Grateful Dead recently unveiled a 50th anniversary edition of their 1967 studio album [and] Pinkus confirms a similar set for Anthem Of The Sun is coming [in 2018]." That means a couple of things: 1) The upcoming releases will be Betty Boards, which range in date from 1971-1980 at the latest. That means there is no need to come on any thread on the Grateful Dead website and start bitching and moaning about the lack of representation of latter era Dead. You all already know that, for the foreseeable future, the embarrassment of riches known as the Betty Boards will largely be mined for releases. 2) There will be no '68 box in 2018. From a basic marketing standpoint, it makes absolutely no sense to re-release a '68 album with (most likely) '68 live material and THEN turn around and release a '68 box separately. Not going to happen. Whatever box they do release this year will be from some other year, and it's a pretty safe bet it's a year between 1971 and 1979. I say all this as someone who rarely posts but often reads the Dave's Picks threads, and who is often dismayed to see the same old complaints from the same tiny vocal minority. I"m not part of some mythical "70s mafia," I'm just telling it like it is. Please don't come on here and bum everyone out by bitching and moaning about not getting what you want. The Dead are just about the only classic rock act cranking out release after release of archival material like clockwork. We're lucky to have so much material to choose from, and in such frequent quantity. And there's always the archive site to satisfy the remainder of your listening desires.
  • David Duryea
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    3/31/68 Carousel Ballroom
    listen up at dead of the dayhttp://gratefuldeadoftheday.com/03-31-1968 load down at the midnight cafe Lossless Bootleg Bonanza: Grateful Dead – San Francisco, CA (03/31/68) 19_300a_lg Grateful Dead 68-03-31 Carousel Ballroom San Francisco, CA Download: FLAC/MP3 https://themidnightcafe.org/2017/03/21/lossless-bootleg-bonanza-gratefu… Recording Info: SBD -> (4 Track) Master Reels -> Dat (44.1k) This is a tagged version of shnid: 108995 Transfer Info: Dat (Sony R500) -> Adobe Audition v3.0 -> Samplitude Professional v11.03 -> FLAC (1 Disc Audio / 1 Disc FLAC) All Transfers and Mastering By Charlie Miller charliemiller87@earthlink.net June 13, 2010 Set 1: d1t01 – Turn On Your Lovelight d1t02 – Beat It On Down The Line d1t03 – Dancing In The Street d1t04 – Caution (Do Not Stop On Tracks) -> d1t05 – Feedback -> d1t06 – And We Bid You Good Night Notes: — There is a lot of audience mixed in with this soundboard — Date and song order are uncertain (I’m going with Dick’s notes on DAT) — This is the same Caution>Feedback>AWBYGN as I put on 1/22/68 (Per Dick’s notes) — Cut in the beginning of Turn On Your Lovelight — Severe mix changes during Dancing In The Street — Beginning of Caution is missing — Thanks to Rob Eaton for lending me his Dats — Thanks To Joe B. Jones for his help with the pitch correction
  • David Duryea
    Joined:
    3/31/73
    listen at dead of the day March 31, 1973 http://gratefuldeadoftheday.com/03-31-1973 Memorial Auditorium Buffalo, New York The night is tremendous from top to bottom, including everything from a perfectly rendered Box to a raging Playin’. However, the boys turn it up a notch further still in the latter portion of the second set. The He’s Gone leads the way, as the boys strut through, throwing all their emotion and verve into the playing and vocal vamping, before heading right into a boundless Truckin’. A plucky little jam after the Truckin’ - with some hints of Nobody’s Fault - provides a little change of pace. But then Billy takes us in a different direction altogether, thundering forward and powering through a segue into a monster Other One. TOO blisters out of the gate and then finds some slower, less traveled territory, summoning the bullfighters, paisanos, and flamenco of a Spanish Jam that they meld with the Other One theme for a while. Finally, TOO is left behind completely and they strike out into an extraterrestrial space, exploring distant galaxies before gathering into a bluesy country ramble that leads right to, quite unexpectedly, Rider. The Rider surges and soars, but holds on to a real bluegrassy feel throughout. After a pause, the band fires away with a full-bore Sugar Mags to put a rocking cap on the set.
  • kyleharmon
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    3/31/86 Providence Civic Center
    someone decided to huck a beer bottle at Bill's drum set that night during Comes A Time.
  • Vguy72
    Joined:
    Acid Test/Michael Schenker/Kidney Stones/Keystone....
    ....always look on the bright side of life. Never tried fentanyl. Not a fan, thanks to recent news. How was it?
  • LedDed
    Joined:
    In Through the Out Thread
    In a way, the old threads are more interesting and more like an acid test than new ones regarding recently announced product, where there is a bit more continuity to the posts. My last 72 hours have been surreal. Took the family up to Keystone Wednesday night for a Thursday day of tubing/skiing. Good times. Rocked Michael Schenker later that night at Cervante's Masterpiece Ballroom, a notable Dead-themed venue. Seeing Michael in there was a bit weird but not unpleasant. Went back to work Friday, and unexpectedly became ill and barfed into the wastebasket next to my desk. No one was around, fortunately I was able to change the bag and get it outside before grossing anyone out (except you, sorry). Took the rest of the day off, went home and was basically couch-bound until it was time for Davy Knowles, which I made it through. Was just a 24-hour stomach bug, I guess, my oldest son got it about 10 hours after I did. Davy Knowles is a young guitarist/singer from the Isle of Man over yonder 'cross the pond. He is amazing; just a mind-blowing talent. See him live if you get a chance. This morning, just after breakfast I experienced a massive attack of unbearable pain in my side and abdomen. Finally the wife drove me to hospital. Kidney stone. It took three shots of Fentanyl to take the edge off along with some other drugs. Eventually, they gave in and pumped me full of Dilaudid and sent me home. Couple of hours later, I passed it rather uneventfully. And now the Doc sent me home with a couple dozen more Dilaudid. I'm one of those people who can do just about anything without becoming dependent, so I think I'll save them for later, or, God forbid another kidney stone so I can ride the storm out without the trip to the E.R. Back in the saddle, just in time for an Easter gathering tomorrow here at the casa. Feel like I just came out the other side of the rabbit hole.
  • Vguy72
    Joined:
    Well, damn muleskinner....
    ....I felt pressured just reading that!
  • muleskinner_blues
    Joined:
    Since no one asked
    Buddy Cage on BOTT, from A Simple Twist of Fate by Andy Gill & Kevin Odegard (Odegard played on the Minneapolis sessions for the album): --- Which is how, one night late in September 1974, Buddy Cage found himself alone in the vastness of A&R’s Studio A, perched over his pedal steel guitar, listening to Bob Dylan’s amazing new songs. If working with Dylan wasn’t a daunting enough prospect on its own, Buddy was further impressed to find Phil Ramone, probably the hottest producer in the country at that time, working as the engineer. “The Blood on the Tracks session was the first time I met Bob, “says Cage. “We went in there, just the three of us, and Bob says, “Where are the tunes for him, Phil?” Phil just pops it into gear and, like, sixteen, seventeen, or eighteen, somewhere in that region, masterpieces come out! I was, like, What the f***!? Dylan says, ‘Well, can you do anything? Would you like to start with one?’ I said, ‘Bob, the best thing I can do to help you is to pack up my guitar and go home.’ He said, ‘Well, thanks, man, but don’t you think you could play on one?’ then turns to Phil and says, ‘Phil, roll ‘em again.’ “Phil played ‘em over, and more in exasperation than anything, I said, ‘Maybe this one, or that one.’ I guess I did about three or four of them – but in any case, ‘Meet Me in the Morning’ was the one he kept for Blood on the Tracks. I was way out in this huge studio that could hold a full orchestra, a really large room, and I’m in the middle of it – just me, my steel, and my amp. I’d been doing sessions as long as I can remember, and the way I saw it was that Phil was going to run this thing, ‘Meet Me in the Morning’, for me and I was going to do a few takes - I usually get the best hits in the first two or three times through. An old Grateful Dead thing is never to stop recording it, and try to record more than you erase; so that was my approach: Let me do it two or three times, and you’ll have it – I’m that quick – and he can plug them in wherever he wants, the choices would be up to him and Bob. But that’s not what Dylan wanted, apparently: He ended up flashing the light time after time after time, and I found myself having to do six or seven takes.” Worse still, there was little guidance as to what was wrong with the interrupted takes. “Not only was my wrist getting tired, but there was no conversation, no instructions, no nothing,” Cage recalls, “just ‘Do it again, do it again.’ I was getting really uncomfortable. Then finally the door to the control room opened, and Dylan comes striding out, walks straight up to my steel, and sticks the toes of his cowboy boots under my pedal bar. I don’t know why he did that – maybe for emphasis. Anyway, he does that and says, ‘The first five verses is singin’ – you don’t play; the last verse is playin’ – you play!” plunks his toes out from under my pedal bar, turns, and strides back into the control room.” During the evening, the control room had begun to fill up with well-wishers and hangers-on, and as the shock over Dylan’s rudeness turned into anger at the singer’s disrespectful treatment of his instrument, the public humiliation spurred Cage to the brink of rage. “At that point, in the control room, there was him and Phil Ramone, Mick Jagger, my road manager, my crew chief, my limo driver and bodyguard, and John Hammond Sr., had come in to hear what I was doing,” says Cage, “and at that very instance, for about ten seconds, I was embarrassed to the bone marrow. But as I mentioned before, I was a punk-ass, and that just kicks in; that’s always the way it’s been with me, and I thought, ‘Well, you little f***, I’m taller than you, and you’re not gonna get away with that!’ Phil came on the phones then – he was clearly uncomfortable too – and he said, ‘You wanna practice one?’ and I said, ‘No – print it!’ “So the red light came on and I just did one take. I played lightly over the five verses, but the one where he wanted me to get major was on the verse with ‘Look at that sun, sinking like a ship.’” And get major he did. Fired up with fury, Cage peeled off a searing break that uncoiled through the song’s closing stages like an angry snake, providing a piquant counterpoint to the number’s relaxed, bluesy tone. Buddy knew he’d nailed it, and without waiting for any further intervention or possible humiliation, he stood up from his instrument with an air of brusque finality. “I had the picks and the bar off my hands and I was walking away from the guitar before the track was finished, striding into the control room,” he recalls. “When I busted into the control room, he was laughin’ his ass off! I looked at Ramone, and he was shakin’ his head, sayin’, ‘That was beautiful!’ John Hammond said, ‘Man that was unbelievable!’ I just looked at Dylan and said ‘F*** you!’ and he just laughed – he said, ‘Well, we got it!’ ---
  • muleskinner_blues
    Joined:
    NRPS
    Thanks for posting the Glendale Train, LMG. I've been on a mini NRPS kick here, mostly listening to their Veneta set in the car. Felt like it was a necessary piece of history to accompany the Sunshine Daydream release. Here's a full concert from just a few months earlier: https://www.youtube.com/watch?v=MZWw87UgrwI I didn't realize Garcia was actually on their first album, I knew he started it but didn't know that made it to record. I do like Buddy Cage, there was a great story of how Dylan pissed him off to get that mean pedal solo on Meet Me In The Morning on Blood on the Tracks. It worked.
  • icecrmcnkd
    Joined:
    Bacon Box
    Extra greasy 7 CD release.Wait. 7 CD’s only constitutes a mini-Box. We’re due a full-size Box. Extra greasy 7 show Box. Oh yeah, that’s the stuff. PTB, please have a 1 Box order limit for the first 72 hours, and give us a (Dead) Heads up in advance of the on sale time. Please give everyone a chance to score a Box of thick-cut, smokey, extra greasy bacon.
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"We left with our minds sufficiently blown and still peaking..."

We're headed back to that peak with the newly returned tapes from Broome County Veterans Memorial Arena, Binghamton, 11/6/77. The Grateful Dead's last touring show of 1977 finds them going for broke, taking chances on fan favorites like "Jack Straw," "Friend Of The Devil," and "The Music Never Stopped," carving out righteous grooves on a one-of-kind "Scarlet>Fire" and a tremendous "Truckin'." An ultra high energy show, with a first set that rivals the second? Not unheard of, but definitely rare. Hear for yourself...

DAVE'S PICKS VOLUME 25 features liner notes by Rob Bleetstein, photos by Bob Minkin, and original art by our 2018 Dave's Picks Artist-In-Residence Tim McDonagh. As always, it has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually numbered copies*.

*Limited to 2 per order. Very limited quantity available.

Get one before they are gone, gone, gone.

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I can't wait to hear Dave's Picks 25...when is this gonna go on sale?
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Damn! That is a hard stop. I rarely listen past '78 myself, except for the occasional '89 or '90 show (Sorry, gang -- Brent still hurts my ears even after all these years). But drawing the line at the end of the E72 tour? 'Tis a bit flummoxing.
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I'm not an Irish bug...
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First off, I could not agree with KeithFan2112 any more: The Waterbury, CT 9/24/72 gig from the 30 Trips Boxset is an absolute gem and Garcia throws down some of the most explosive leads of his career! I believe that show is SO unbelievably mind blowing that I seriously consider the price of the WHOLE boxset worth it just for that show (of course thankfully it's filled with many other killer shows as well, especially the always classic Cape Cod gig from 10/27/79). The "Dark Star" from 9/24/72 is simply astounding and the show as a whole rivals ANY previously released show from the amazing month of September '72 (in my humble opinion). It is a show I did NOT have prior to 30 Trips and I am still in awe that a show of that level had previously existed in relative obscurity. However, the main thing I wanted to bring up is how fortunate the accidents of history can some times be. This pertains to the fact that until recently the soon to arrive Dave's Picks 25, the absolute monster rock-a-thon that is Binghamton, NY 11/6/77, was NOT in the vault. I am a rabid fan of 11/6/77 and I remember when Dick's Picks Vol. 34 was released (featuring the gig from the night before in Rochester, NY 11/5/77) I was truly kind of pissed off! It was like what the fuck? Why was this Rochester show chosen over Binghamton? Being much younger I was unaware that the masters for the 11/6 Binghamton show I'd loved so much (via my CDRs) was NOT in the Vault. In the end however, this was a HUGE stroke of luck for me, as HAD 11/6 been available and released as Dick's Vol. 34, I may have (though I doubt it, but one never knows for sure) somehow overlooked 11/5/77 in Rochester, a gig which over the years I've grown to greatly cherish (to basically an equal extent as 11/6 in Binghamton). Both shows are simply phenomenal! Like Dave brought up in his video intro for Dave's Vol. 25, had 11/6 been in the Vault years ago, there would have been all the makings for quite a ferocious boxset! Personally I'd start it with 11/1 at Cobo Hall in Detroit (just a fantastic gig and start to Nov. '77), then include the 11/2 Seneca College gig in Toronto (which is nearly complete if you own Dick's 34 and Dave's 12), and the already released 11/4 Colgate University-Hamilton, NY (Dave's 12), 11/5 Rochester, NY (Dicks Vol. 34), and the soon to be released Dave's Picks 25 featuring the blisteringly beautiful performance in Binghamton, NY from 11/6/77. Wow, what a boxset those 5 shows would've made!!!! I look forward to this November and listening to each show on the appropriate date! But again I go back to the bizarre vagaries of history. The quite well-known 11/6 Binghamton tapes weren't in the Vault, so the folks in charge wisely chose the slightly lesser known gig from the night before in Rochester (and tossed in a nice chunk of the 11/2 show from Toronto). Dick's Picks 34 is probably second ONLY to Dick's Picks Vol. 10 (one of my Top 10 favorite shows of all-time: the lysergic, powder-power that is "The Nine", 12/29/77 at Winterland) as my favorite Dick's Pick from 1977 (which is saying a lot when one considers the majesty present on Dick's Picks 29 particularly, but also found on Dick's Volumes 3 and 15). So the lack of tapes for 11/6 allowed me to be introduced to 11/5 in Rochester, a different (but in many great ways VERY similar) show which I at the time did not have a copy of. A show which I absolutely adore and listen to EVERY 11/5, just as I do with 11/6 in Binghamton. It's great that the imaginary boxset discussed above will now (with the exception of 11/1/77 in Detroit, a show which is certainly available with a bit of exploration or through the kind favor of a friend) be virtually complete (with the upcoming release of Dave's Picks Vol. 25, of course). It was well worth the wait and I'm glad that Binghamton's unavailability at the time may have played a role in introducing me (and likely many others) to another show that exhibits its own similar brand of magic sparks: 11/5 in Rochester (aka Dick's Picks 34)! Keep up the GREAT work Mr. Lemieux and Co., I'm super excited to retire my 11/6 Binghamton CDRs in favor of what I'm sure will be (as always) a major league upgrade! Thanks for bringing these amazing recordings back to life and to all who have a hand in making them available! Also for presenting them in the respectful manner they deserve... I am an obsessive heavy metal and hardcore punk (of the 70's-80's), as well as prog/post-psych/Krautrock/acid jazz (of the late-60's & 70's) collector who just happens to believe the Grateful Dead were the single greatest vessels of rock 'n' roll expression the human species has yet produced. I am not deifying them as individuals but rather crediting them for their efforts in their particular corner of time and space. They are the one rock 'n' roll group whom I feel transcend all genres, as their "genre" is the sound of their (and our) existence in all its emotive range. From a historical perspective they entered their time and fulfilled a tremendous task simply by a constant yearning for experience, a sufficient degree of musical skill and just enough ambition to steadily improve and grow, and a intense desire to be themselves and have fun while avoiding (to the extent reasonably possible) the pitfalls of ego caused by success. For me, and many others, they shall forever remain the most fascinating musical (or if you wish to be broad: artistic) phenomena of 20th Century American culture. P.S.: IF you're ever running short on ideas for DP releases (haha), it'd be amazing to have 7/18/72 restored, the intensity of 8/12/72 from Sacramento, 10/25/73 in Madison, WI, 6/23/74-Miami, 7/25/74-Chicago (a endlessly fascinating gig which has flown far too long beneath the average fan's radar), and the epic 9/11/74 final London Alexandra Palace gig in its entirety. A collection dealing strictly with Ned Lagin and "Seastones" would also be rad! Just a few suggestions, lord knows you don't get enough already I'm sure! Best of luck and best wishes...
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I have two balls and since I'm left handed I guess I'm a bit more partial to my left nut...Makes sense doesn't it?
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One should hang lower than the other.A psychologist I know claims that the side that hangs lower indicates that the opposite sided brain lobe is the dominant lobe. Quackery? Sounds like it to me. But what do I know, I rub ice cream on my forehead. On the other hand (nut), you’d be amazed at the clairvoyance one can obtain by rubbing ice cream on one’s head.
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It went on sale ... and it sold out.
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17 years 3 months
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My asian friend Wun Hung Loh thinks someone is taking the piss here.
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13 years 1 month
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Does anyone know where to find a time machine? ...McFly?
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9 years 10 months
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Talk with JimInMD...his wayback machine is currently set to 2/14/68 I believe, but it can go anywhen. If that is in use, try the flying mower with magical time travelling cartridges. Pick me up on the way please. Sixtus
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You may not be, but (ironically) I am.
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I can still remember my first listen of this show. Jerry Moore audience. Mind-blowing performance aside, I remember not getting over how hopped-up the audience was for this entire show. And we all know how much an act like The GD fed off of a crowd like this one! Bobby even throws out a "you're a good audience" just before the encore. I don't recall another show where that was acknowledged. How about the roar of the crowd at "vitamin C 'n cocaine" and Garcia responding with a wicked lick? Fuckin' Binghamton. :-)
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Back home after traveling to a funeral for a family friend (looks like I missed a lot of good chat)! Hope everyone out there is doing something right this minute that makes them happy. Life is too short for anything else. My plans tonight are to drink red wine, hang out with my family...and of course honor the dead by playing dead. have a great weekend everyone -
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13 years 2 months
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80sfan.. I'll be right there, what exit should I take?
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8 years 10 months
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Grateful Dead Highway
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I work as a teacher in special education. Some surly kids, even in elementary school. NO. NO. NO. Well, I don't wanna work. hmph. must...complete...week...
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I love this attitude from evilynn2003 (and I quote) "I believe that show is SO unbelievably mind blowing that I seriously consider the price of the WHOLE boxset worth it just for that show" Exactly how I felt about the Lindley Meadows 1975 show when I bought the box (although I have to admit, I was pretty stoked for '68 / '69 at the Greek and Dream Bowl). But yeah, I really do love that 1975 performance. Something weird was going on with their sound (I heard they had someone else's amps / rig due to their shit blowing up); but it sounded tremendous. The tone of it all sounds more like 1971 than 11 months post Wall Of Sound. Jerry's guitar is so distorted and fuzzy and loud - truly a one of a kind show recording. My only regret is that Franklin's Tower was separated from Help / Slipknot! but that's what home PC computer editing software is for. On my digital copy, the three are nicely married. I guess I'm also a little sad they didn't play longer, and maybe throw in an Eyes of the World, but we're fine, everything's fine here.. now...how are you? Sixtus, yeah lol, that's exactly how it looks. Then if you're not lucky enough to catch it and you get a roller, that 2 or 3 seconds when you don't know if it will land playing-surface up or down feels like an eternity. We've all done it right?
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"Hope everyone out there is doing something right this minute that makes them happy. " In AG Jeff Sessions' view I'm doing something wrong this minute and it makes me very happy.
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There is a uniqueness that comes with the songs not being together. Please don’t tell me you rearranged 10-9-76 too. As for CD-R backups, the first time I listened to Road Trips 74 Wall of Sound I dropped one of the CDs taking it out of the player and scratched it. I then made the decision to make CD-R copies of all the releases and store the originals.
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so good. I remember hearing it the way home from 7/19/87. it glowed. ;)
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http://www.dead.net/features/jam-week/january-19-january-25-2018?intcmp… Fillmore Auditorium 11/7/69 Dark Star -> Uncle John’s Band Jam -> Dark Star -> That’s It For The Other One -> Turn On Your Lovelight The whole show is available at the midnight cafe. https://themidnightcafe.org/2016/02/11/lossless-bootleg-bonanza-gratefu… Grateful Dead November 7, 1969 Fillmore Auditorium San Francisco, CA Download: FLAC/MP3 Recording Info: SBD -> Master Reel -> Dat This is a tagged version of shnid: 119628 Transfer Info: Dat -> Samplitude Professional v11.2 -> FLAC (2 Discs Audio / 1 DVD FLAC) All Transfers and Mastering By Charlie Miller charliemiller87@earthlink.net March 27, 2012 Notes: — Disc change is seamless — There are reel flips in High Time and UJB Jam — There are no pauses, cuts or edits between songs — iZotope Ozone was used to de-click the Master Reels –Setlist– 101-d1t01 – Morning Dew 102-d1t02 – Hard To Handle 103-d1t03 – Casey Jones 104-d1t04 – Mama Tried 105-d1t05 – Me & My Uncle 106-d1t06 – Tuning Ditties 107-d1t07 – Cold Rain & Snow 108-d1t08 – Next Time You See Me 109-d1t09 – High Time 110-d1t10 – Good Lovin’ 111-d1t11 – China Cat Sunflower -> 112-d1t12 – I Know You Rider 113-d2t01 – Dark Star -> 114-d2t02 – Uncle John’s Band Jam -> 115-d2t03 – Dark Star -> 116-d2t04 – That’s It For The Other One -> 117-d2t05 – Turn On Your Lovelight Two hour and 25 minute show. Definitely deserving of a Full Norman!
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Thanks very much for posting this cool show, in such great quality. Enjoying it immediately! Immensely! Really good. Thanks to Misters Dureya and Miller. Good on ya!
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Thanks icecrmcnkd. Unforutanately, I think DP 32 is the poorest quality recording I have heard in the Dick's Picks series. So poor foe me that I decided not to buy a copy of it. It would be a treat to hear a high quality dynamic recording of one good 1982 show from Dave's Picks. Dave has much better technology to transfer and clean up these recordings than Dick had available to him.
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In my reply to someone else, I provided the same feeling as you regarding the Alpine 1982 Dicks Picks. I agree that all years have good shows. I own shows from many different years and really love them. To me the performances in many of the 1982 shows are tremendous and many of my favorites. I'm curious how many deadheads have heard the 1982 shows because there have been almost no high-quality releases from that year?
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In my reply to someone else, I provided the same feeling as you regarding the Alpine 1982 Dicks Picks. I agree that all years have good shows. I own shows from many different years and really love them. To me the performances in many of the 1982 shows are tremendous and many of my favorites. I'm curious how many deadheads have heard the 1982 shows because there have been almost no high-quality releases from that year?
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Thanks for the reply claney. I played the shit out of my April 6 1982 Philly show back in the 1980s and 1990s. I know I have mulitple tape copies of that show so that I had a back=up in case the tape broke. Years ago, the Road Trips 4.4 CD sold out before I bought a copy. Currently, the digital download is not available. Garcia later
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....sounds pretty good to me. In fact, a lot of my tapes still sound good (except when it's in Dolby. Not a fan). I guess not being so picky is an advantage at times. Just Play Dead....
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What a scam.. I think Dolby even flucks up the remastering process. But what do I know.. except that dolby mucked up lots of what would have been great audience tapes (and perhaps a few soundboards). I bet it works just fine if all the equipment used through every step of the process is perfectly encoded using the exact same version of Dolby.. but so many years later, what are the chances that something is poorly labeled and some machine uses the wrong Dolby version (or none at all when it should have been used). Keep it simple.. right? The tapes I had that were recorded using dolby usually did not sound great by the time they got to me. On the bright side, bad dolby usage gave us the chipmunks. I am a fan of the good shows from 82. I think its an under-rated year and the inconsistency of the recording quality decades later is a big part of the perception mismatch. It was perhaps the last year Jerry's voice, on a good night, sounded 'fresh' or young. Frost, Alpine, so many others.. in total.. it was a mighty fine year.
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8 years 10 months
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Many new Miller/Clugston/Gans/Eaton’s uploaded to entree in the last 3 days.My dedicated torrent computer will be working hard while I sleep.
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8 years 7 months
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Yeah, it's sourced from cassette, but i think DiP 24 is worse. Prolly the only one in the series that i think should not have been retail released. The performance is sub-par too, imho. Not every swing can be a home run...or a base hit in some cases. I can envision a day when some DiPs get re-released with the Full Norman treatment and/or properly bias & speed corrected. But not a high priority. Def a back burner until all the amazing returned Bettys get out, of course!
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15 years 9 months
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Thanks for the reply claney. I played the shit out of my April 6 1982 Philly show back in the 1980s and 1990s. I know I have mulitple tape copies of that show so that I had a back=up in case the tape broke. Years ago, the Road Trips 4.4 CD sold out before I bought a copy. Currently, the digital download is not available. Garcia later
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17 years 2 months
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....you can do better than that. How about, "not every release can be a hat trick." More our style, right? Go Golden Knights....
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15 years 9 months
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Thanks for the info Liberty. I lost the comment I was going to post and inadvertently reposted a previous comment. Sorry, I could not find 10-10-82 on archive.org. So I am playing 10-9-82 Frost show. I had this tape somewhere... I love Throwing Stones. Really enjoying it. Not sure I have heard this on any Dave's releases? Have not heard it in very long time...
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15 years 9 months
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Thanks for the info Liberty. I lost the comment I was going to post and inadvertently reposted a previous comment. Sorry, I could not find 10-10-82 on archive.org. So I am playing 10-9-82 Frost show. I had this tape somewhere... I love Throwing Stones. Really enjoying it. Not sure I have heard this on any Dave's releases? Have not heard it in very long time...
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17 years 2 months
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....no complaints here. Solid. They ended the first set with China->Rider quite a bit that year. I'm a fan of that. Caddyshack is almost the perfect movie. I don't know where that came from.
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15 years 9 months
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Wow! They released someting that sounds worse than DP 32?!LOL. Seems Dick had good memories of that show and was maybe more concerned about perfomance regardless of the recording quality. There are probably 2000+ recordings to pick from. Because the selection is overwhelming, I assume he was just anxious to release the best tape out of a few of tapes he pulled from the vault each time, but I ti=hink he was still searching for particular shows that he had fond memories of. Who was the recording engineer in 1982? Dan Healy?
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15 years 9 months
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Where did you stream 10-10-82 frost from? I could not find it. I recommend listening to 10-9-82 Frost. Listening to it now. really enjoying "Throwing Stones" and "Space"!!
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15 years 9 months
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Caddyshack is my of my favorite movies? I'll take some of those naked-lady tees...
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15 years 9 months
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Thanks for info mbarilla. Check out the Greek Theatre 5-22-82. Phenomonal song selection, guitar playing and sound by Jerry on this recording. Very upbeat tempo. One of my fav tapes ever!!. Wish this was Dave pick 26!!
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16 years 4 months
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You are right. The only way dolby worked right was for the same machine to be used in recording and playback. Early on I went to an independent dbx nr machine found it worked a lot better
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16 years 4 months
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I have mentioned this before but while it may well be sentiment creeping in I saw every bay area show from late 70's 'til the end and there was something special about the greek shows and the tapes I have seem to bare this out. The 84 ones if memories are correct (It's been a while the downside of so many releases haha) were especially fine
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8 years
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Thanks for the good discussion on the returned tapes. Got me thinking about DaP16 and DaP21. Didn't Dave say they considered releasing 4/2/73 earlier but for one reason or another it didn't happen? I seem to recall that it was considered for release instead of 3/28/73 (maybe even earlier)? I went back to the seaside chat for DaP21 and it wasn't mentioned there. Maybe I caught it on Sirius around release date? I thought the tipping point for 3/28 over 4/2 was the Dark Star. I guess I'm brining this up to get a feel for when the tapes (at least some of them) started rolling back. DaP16 was released on Nov 1, 2015. So if that tape wasn't in the Vault then it would have been returned closer to summer 2015 (or earlier). I'm having a hard time putting my finger on some of these details (haven't gone back to the liner notes yet), but if memory serves 4/2 was also highly regarded by Dick and he mentioned several of the tunes (particularly in the first set) were definitive versions for the year/era. Dick certainly could have been listening to non-Vault soundboards, but are we sure that 4/2/73 hasn't been in the Vault for a while? To my ears the sound quality of DaP21 is better (slightly) than DaP16. Regardless, it's pretty awesome that we have such high quality shows available with great sound quality. Dave and Co are doing a great job; thank you! And would love to see 8/7/1972 and 8/12/1972 released. Edit: I meant 7/18/1972 not 8/7/1972. Oops. Roosevelt Rules!
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13 years 2 months
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"they considered releasing 4/2/73 earlier but for one reason or another it didn't happen.." Couldn't one of the reasons be that the masters were not in the vault (but the performance was certainly release worthy)? Also, I seem to recall some of these getting released perhaps before they had the masters in the vault. Maybe I am wrong.. For instance, what about Dave's Picks 14? But there is an older one where conversations evolved about the origin of the source file used for release. Again, perhaps I have this wrong.. but this topic has come up. Perhaps someone out there has a better memory than I.
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10 years 8 months
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Dave's 21 was definitely part of the returned tapes, Dave's 16 was not, one big distinction between them is that Kidd Candelario recorded 3/28, and Rex Jackson recorded 4/2 (on 10" reels, this being the firsttime I recall seeing a mention of a show recorded on 10" instead of 7" reels). Kidd may have been recording 4/2 as well, and Betty and/or Rex may have been recording as well. From what Dave has said on Kidd's role in recording, I believe most of his tapes were in the Vault as he was recording the shows for the band, where the Jacksons may have recorded some for the band, some for themselves. We know Betty did her own recordings, but that she also worked for the band on recordings, so some of her tapes aren't the reference tapes the band would have used. But this brings me to the most fascinating part of the whole ABCD/returned "Bettys" discussion: Dave's 24 was recorded by Bear, not Betty or Rex, yet was also part of the ABCD collection, and already we have nearly 3 Rex recordings as part of that collection Dave's 21, 22 and bonus, and 2 more are likely to be Rex recordings in Dave's 26 and bonus. Why Rex tapes are in the collection makes perfect sense as he was married to Betty. But why did she have a Bear tape? And did she have more of his tapes in her collection that was returned with the ABCD deal? They were astonished to get over 100 shows returned, the list of Bettys that circulated in the "What Happened to the Bettys" article wasn't nearly that many shows, so clearly they got shows they didn't expect because there are times she was known to have recorded and times she was known not to have recorded, but if you add in Rex tapes when she wasn't on tour, you get Fall 1971, Spring 1973 tapes popping up. Now add in the wildcard of what kind of Bear tapes did she have?! The guys clamoring for more 80s and 90s will be pissed at the possible treasures that will necessitate pushing 80s and 90s Picks down the road to put out legendary shows or under the radar gems that never attained a reputation due to lack of circulation. I think the compromise will be a small 80s box each year while these Bettys, Rexes, and Bears are used for Picks. I think that's a great compromise, because then the 80s and 90s choices can be multitrack and more listenable than a PA mix.
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