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    heatherlew
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    The unexpected return of the masters of the Grateful Dead's triumphant show at the Albuquerque Civic Auditorium, November 17, 1971, yields great rewards. The Dead came in HOT for their first New Mexico show. Aided by clarity and precision and abetted by confidence and focus, they finessed old standards with definitive takes. With Keith now blending in seamlessly on keys, the first set offered up a triple shot of electric Blues, an exceptional "You Win Again," and a stellar "One More Saturday Night" to wrap things up. And the second set, well, it might just be unlike any you've ever heard. Archivist David Lemieux urges you to turn it up and do it loudly. We won't dare spoil all the surprises, but pay special attention to the rippin' "Sugar Magnolia," the aggressively monstrous "The Other One," and the highly-danceable "Not Fade>GDTRFB>Not Fade." Rounding out the 3CDs, you'll find selections from Pigpen's return tour at Ann Arbor, MI, 12/14/71. Subscribers will get nearly all of the complete show as this year's bonus disc.

    As always, Dave's Picks Volume 26 has been mastered to HDCD specs from the original analog tapes by Jeffrey Norman and is limited to 18,000 individually-numbered copies*.

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

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  • bohlint
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    Box set
    I have been a break from the dead lately. I tend to take a couple months off every so often to enjoy other music and to help keep fresh ears. Honestly the last few Dave’s Picks haven’t done much for me. I love it all but lately it has felt like more of the same when recieving them. While driving today I had a thought and I felt the GD juices beginning to flow again. That thought gentleman and Mary was some primal dead. That down and dirty mid to late 69 goodness. Then it all came into focus...... WE NEED THE ARC BOX! Now is the time Dave!
  • Born Cross Eye…
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    Dick's Picks 3 misprint
    Is it Mucic or Muclc? Until now, almost 23 years later, I was sure the mis-print was Muclc. Now I know and I used a magnifying lens to really see the "correct" mis-print. Thank you all for bringing this obscure detail to light. I remember calling the 1-800 number on the (printed) Grateful Dead Almanac and ordering this release. I was put on hold and Dark Star from Live/Dead was the on-hold Muzak playing in the background. When the operator got my call, I said to her after I placed my order, "I sorta wished I was kept on hold, I love that background music." We both laughed.
  • Oroborous
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    AJS vs Vguy/ RE: Daverock
    First, has anyone thought how fun this next week or so might be; not only do we get to WATCH the cup finals...we get a ring side seat for what I hope will be some amazingly entertaining “cup talk” between our very own Angry Jack Straw (Caps), and Vguy (Knights)..... Daverock, I think I was thinking lol, that musically, perhaps some of the bands then, could be considered to have been at their peaks?....I know crazy subjective nonsense, but just a thought. And of course we have recordings, as limited as they are comparatively, that influence this theory for many. So to see in cool venues at band peaks is I guess what I meant. i.e., 73 Winterland.....As lucky as I was to see/hear what I did, I’m sure shows like that would stand out? I think I have experienced and heard about enough of the venues/vibe thing to get that part. Perhaps one of the great parts of Phil and Bob getting back at it in the late 90s was everything was able to get small again. Seeing Further for the fist time at Broomfield made me think I was at a new, clean Rochester War Memorial. The place seemed half empty, everyone was on the floor, you could sit almost anywhere. The vibe was amazing. The venues, the tech, the vide, probably the stress etc, all got real small and laid back, so for us “youngin’s” Seeing say P&F at the Denver Philmore, gave us perhaps a glimpse of what it was like scene/venue wise waaay back. Obviously, “culturally”, ahem, there would be a big difference between 69 and 99.... And I saw enough and heard first hand about those old drafty 10k “war memorials” etc. To me, the ultimate vibe was portrayed in the Dead Movie....wanted to be that dude in the front row every night and have a intimate knowdlege of the music like that, not just some causal fan who came just to get high and dance. Not that there is anything wrong with that. It’s just we were young fans as well as budding musicians and sound techs etc, so getting in the front row was like going to college! “What pre amp is he using this tour?” ”Oh, that’s how he plays that.” Yeah know, that kind of stuff. It was on a whole different level for us, and of course I cannot begin to describe the connection with the band when you were up there.....phew, still gives me shivers.... The letting go, freaking out and dancing phase came later ; ) Hell, shows didn’t always sell out then, so often larger venues would be kinda empty. But to be at like winter land with 5k or what ever uncle Bilbo packed in, and just the lay out etc. And the vibe, seemed sooooo laid back. The band that era, and the Wall, to me that might of been up there at the top, well, let’s not go down the “favorite” dead end road again.... But it’s all Yin/Yang. Yeah the scene got too big etc, and general admission mostly became a thing of the past, and the crowds did change drastically, no offense to the Touchers etc., but it did. On the other hand they played some great venues, they got tight, the sound and lights got way better, they for a while became a tight knit, and dare I say professional working unit. Hell, for a while it was even cool/popular to be a Dead Head! So like everything else in the whole Dead equation, it constantly was changing for good or for ill....and one can find good and bad at any point, any era, any configuration. Luckily, with the right kind of eyes, there’s usually more of the former, than the latter! “In the strangest of places if you look at it right” Anyway, mostly just love R&R stories, so keep em coming all y’all.... Dave, love your insightful and detailed reviews/posts. How the hell do you have that kind of time to not only listen so intently, analyze and then write for us. You must be a lucky dog! Wuff!
  • Mr. Ones
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    You've nailed it, Daverock!!
    I've always felt EXACTLY the same!! Every concert from'74 back to '68 was better than the 1,000+ shows I've seen since '75!! It's crazy how that goes. Also, if I didn't start listening to a band until album 3 or 4, I was hopelessly out of touch & behind the times. Even if the artist now has 15 or 20 releases. Case in point, the first Springsteen album I bought was "Darkness on the Edge of Town', #4. I believed I was so out of touch because I missed the first 3 albums. And now it turns out that after album #6, I pretty much don't like anything else. We music nuts have a lot in common with weird little minutiae like this. It's the beauty of sharing with like minded people!!
  • daverock
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    Missing out-Oroborous
    From what you write, I get the impression that you started going to gigs in the late 1970s, and that you regard the early 70s as being a better period for seeing gigs. I started going to gigs in 1972, and I always felt that the same way about late 60s - that they were better, and that I had joined a party just as it was ending. I wonder if this is a bit of a mis-perception-that things were always better before we arrived, which is usually the opinion of those who were participants during the earlier era. If you stared going to gigs in the late 70s-that was probably the best time for going to gigs-for you.
  • Vguy72
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    Decided to check out 5.26.95 today....
    ....now I have never listened to this show before. Not bad for '95, but I'm scratching my head at the FOTM. I don't want to say it's the worst version I've ever heard, but it's up there. https://archive.org/details/gd1995-05-26.sbd.larson.35169.flac16/gd95-0… ....Jerry is plucking his magic twanger for sure, but I'm not a fan of this twang...the vocals during the final coda are also cringe worthy. Moving on.
  • daverock
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    Dicks 3 etc
    Its spelt Mucic on my copy, although I have only noticed, now since it has been pointed out. Just shows how we sometimes see what we expect to see-not what's actually there. I agree that its a great show. Help-Slipknot-Franklins is my favourite 1977 jam, although it didn't crop up that often. I have always considered the one played on 9th June at Winterland to be the greatest-but I haven't played it this year yet-and they are all good. You sure listened to 18th June 1974 in more favourable conditions than I did, Jim! Not that there's anything wrong with my front room-but it doesn't sound as expansive as where you heard it.
  • Oroborous
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    Uncle/10-26-89
    You are correct, 10-26-89 has been released, bummer. Sorry, not overly familiar, since I didn’t get Boxilla... I did happen to go through list of shows (Wikipedia?) last night since I’ve seen so much here about it.....cursing myself, though it was a lot of scratch for me at the time... Always been a tad obsessed with those Miami shows as I had tix, but had to sell since I went to Hampton instead...(went to Philly also, but that was planned). Enjoyed Fla. 88 shows, and saw more shows at Spectrum than any other venue (13 I t think?) so the plan was to do Philly/Miami, but then Hampton happened.......Glad to hear the first night of Miami was good too, perhaps that will end up on something? Always thought perhaps not all, but a nice representation/sample of remaining unreleased 89 fall shows would make a nice box, especially since there are multi-tracks etc...perhaps that 9/29/89 also if it’s as good as it looks? I will have to get 10-26 copy elsewhere.... Really enjoyed your Floyd comments, especially the 73 show stuff. It must of been amazing to see all these great bands in perhaps their primes..... Personally, I really enjoy the posts by you folks that were a bit ahead of the curve age wise regarding early 70s, and sixties shows that you were at etc. I know how I remeber how much things changed from late 70s when I became concert goer, over the ensuing years. So using comparitve analysis in reverse, can only imagine what it was like back then; probably even more laid back, smaller scenes, with bands in their prime? Thanks to all who recall here their early experiences for those of us to young to have been there, so we can use these visions to enhance our imaginations etc., At least we have much of the fantastic music made in those days to enjoy!
  • stoltzfus
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    a tip of the hat to those for whom Memorial Day was created
    braver, stronger people than me.
  • JimInMD
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    Re: daverock, bob t
    Bob t.. Couldn't agree more. daverock, funny you brought up 6/18/74 Louisville. I had a busy day planned.. needed to start my day early, change the oil in the truck and get on the river early. So just after reading your post I go to move my truck to the oil changing spot, the radio was last on SiriusXM 23, The Grateful Dead Channel and that remarkable eyes of the world was playing. I recognized it immediately.. and it gave me a chuckle. Seeing how serendipity was already interfering with my plans.. after I changed the oil I made sure to grab my waterproof shuffle that had 6/18/74 already loaded and enjoyed most of the show on what turned out be a spectacular sunny day carving turns through the beautiful mountain canyon just upstream of my home. 11 miles of Class IV and V whitewater.. didn't see another soul except the buddy I was paddling with and even spotted a bald eagle in the top part of the run, which doesn't happen every day. Thanks for that post, you tilted karma my way and set in play what turned out to be a most enjoyable Saturday morning. Happy holidays all. 5/25..yes, I think that's what I will listen to on my bike ride up to get my truck. It's a stunner and the ride will likely take almost a couple hours. Just enough for the second set. Nice ramble, unkle.. a few nice little bits of history you got to attend.
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The unexpected return of the masters of the Grateful Dead's triumphant show at the Albuquerque Civic Auditorium, November 17, 1971, yields great rewards. The Dead came in HOT for their first New Mexico show. Aided by clarity and precision and abetted by confidence and focus, they finessed old standards with definitive takes. With Keith now blending in seamlessly on keys, the first set offered up a triple shot of electric Blues, an exceptional "You Win Again," and a stellar "One More Saturday Night" to wrap things up. And the second set, well, it might just be unlike any you've ever heard. Archivist David Lemieux urges you to turn it up and do it loudly. We won't dare spoil all the surprises, but pay special attention to the rippin' "Sugar Magnolia," the aggressively monstrous "The Other One," and the highly-danceable "Not Fade>GDTRFB>Not Fade." Rounding out the 3CDs, you'll find selections from Pigpen's return tour at Ann Arbor, MI, 12/14/71. Subscribers will get nearly all of the complete show as this year's bonus disc.

As always, Dave's Picks Volume 26 has been mastered to HDCD specs from the original analog tapes by Jeffrey Norman and is limited to 18,000 individually-numbered copies*.

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

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would be great to get out 2/23/74, just missed by DaP 13, just thirteen picks ago
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Wouldn't that be fantastic? Although QRP seems to have the lock on 200g pressings and the Dead vinyl has been 180g from RTI. Either way it would be most appreciated if they cut it AAA as they did for the WB vinyl box at Grundman's. Now that sounds special. And a tip-on sleeve from Stoughton. So, how about either a 180g RTI cut AAA at BG's or....a 200g QRP cut AAA by Kevin Gray?
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David Lemieux's continued marketing of limited releases remains the most idiotic business model ever practiced by the Grateful Dead. He should retire and leave it to someone who cares more about the Deadheads. Byrd - with finger in the air
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Dave speaks highly for the NFA>GDTRFB>NFA on Dave's Picks 26. I have to agree, it's way up there, close to rivaling what has always been my favorite NFA>GDTRFB>NFA, Oct 31, 1971 (Dick's Picks 2), which has an awesome transition from GDTR to NFA. Both shows have similar styles with loads of energy; and it has always been among their best in my opinion.
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Byrd, I couldn't agree with you more - idiocy does run rampant once again, but you're the idiot. It doesn't take a rocket scientist or even a business major to understand why the Dave's Picks business model works. I suppose you have a plan that will increase sales by a third (as Rhino has done) without leaving stock on the shelf. If you're going to bad mouth someone in their own house, at least have a valid point to make. I suppose you're complaining because you missed out. Get a subscription jackazz.
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I think I see at least one bearded skeleton in those balloons....
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I'm usually the one who takes heat for pointing out the real world. As for those who were surprised how fast it sold out????? You're kidding right? I was surprised the sub didn't sell out. Bolo Doors v Who split decision. For a high energy live show the early Who for a quality catalogue for listen to on the home stereo Doors hands down
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Doors subscribe sell out in minutes, not hours Dave doesn't run the whole show...he is merely the face of the Rhino juggernaut subscribe "I willllll subscribe" speaking of Doors: "true a la carte is dead" subscribe I learned the hard way, too. subscribe.
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I really like the balloons... and the color scheme is nice too! Looking forward to this one, (though thanks to the good Doc, I am pretty familiar with Ann Arbor - not that hearing it again all Normanized is going to be any kind of problem.) On another note, an old head friend of mine turned me on to the April 84 Hampton shows (4/13 and 14). Both are on the shorter side, but the playing is HOT! 84 is a year I often overlook, but I am mending my ways. Peace
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And yet I bet the bitching still abounds. 'Cause, you know, it's all so damn unfair.
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i'll take the doors. the who has some certain song material that just makes me cringe, and barely contain the vomit that rises in my throat.
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I dont know, that one with the hat on in the lowest hanging balloon looks like it may have a beard. My guess is though, that the bonus disc will be covered with bearded clams - I mean skeletons!
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I took this as a clue to the upcoming Box Set contents myself.. but I can never figure Bolo out.. The Doors borrowed their name from Huxley's book The Doors of Perception about a Mescaline trip in 1954. Who opens doors? Mescaline Sulfate perhaps? The only Mescaline show I know of has already been released (5/11/78, Springfield on Dicks Picks 25). There's got to be more to this post then stirring up discussion... I bet it ties to the other two posts, '7 and bacon', 'No 14' and now this 'The Who or The Doors'??? mmmmmmmmm........ What, the bearded skeletons are back? Like the last release, I like the colors and I took a hot air balloon ride over a desert near Albuquerque at a company function, so it resonates with me...
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4/16/72 Get Some.
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Just finished it about an hour ago..
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....listening right now. Kinda in the background, but I'm listening. Cumberland just started. Boiiiiing!
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Hey Dave (if you read this) Any chance of releasing any of the NRPS sets when they opened for the Dead? Either with or without Garcia? Thanx.
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China Cat just started for me....
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Ha interesting reaction to the who. You might not have got it from my post but I was far from as big a fan as my friends were though I did like the early days who. What songs were most shall we say puke provoking to you. I started Townsend's auto a year ago. Serious vomit material. I read a lot, have a large library I not only stopped reading halfway which I rarely do I threw it away which I never do
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Very interesting hearing from Dave their policy on bonus discs and cover somgs. Somewhat limiting
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Got to admit outside a couple of songs always hated Tommy. Quad was ok
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I know some of you purposely avoid listening to these, so the whole experience is brand new. So, you can skip this post, or let it tantalize you at your own risk. The sound on the 11/17 tracks is just fantastic! What a great recording by Betty or Rex, and a great mix by Mr. Norman. The band sounds really fired up. I'm more excited for this release after checking this out and the video with Dave's usual overly effusive ebullience. Looking forward to 2 Other Ones, especially with that kind of talk of Bob and Phil playing aggressively. The whole thing about covers on the bonus disc makes sense, but those 2 examples from years back are definitely not public domain, Smokestack is credited to Howlin' Wolf, and Good Lovin' is credited to Rudy Clark and Arthur Resnick, maybe Rhino heard from a lawyer or two since then. Perusing a few of the Road Trips, they have Lovelight as a fairly popular bonus disc track, Not Fade Away shows up, Hard to Handle, a Sing Me Back Home, etc. This site allows one to quickly search the tracklists: https://www.whitegum.com/bonus.htm Also, The Who are, to me, the greatest rock band of them all. The Dead are my pick as the best American rock band, and their varied setlists make engaging in such recording hoarding a much more addictive venture, though I have about all The Who live recordings and studio stuff, outtakes, the Townshend demos (which if you don't know about them, his demos of him recording at his home studio are just astounding on their own, they are fully realized tracks with a straighter, more basic drum and bass playing, and Pete singing everything, and they've been officially released in the Scoop series, well worth getting), but their is a more finite amount of releases than with the Dead. With the Dead, I get at least 4 new shows, perhaps a box or two with some cool extras. And the ever changing setlists and ways of playing songs and the explorations of the Dead have me listening at work and in the car most of the time, but I could just as easily fall down a several week rabbit hole of Who, with lots of repetition, or go off on a Duane Allman listening excursion for a month, or split time with String Cheese and Dead, but the mainstay is Dead. So, shorter answer Who over Doors. Thus ends the rant. Carry on with fervor for Dave's 26, and SUBSCRIBE in November and avoid the pains of scrambling for 200 or 300 copies.
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I like both bands. Some deeper comparisons.... Robby Kreiger vs Pete Townsend Both are iconic guitar players. I think Pete Townsends strengths are with his theatrical presence, a riff master and coming from Europe, perhaps a more classical music sensibility, where Robby Kreiger comes from a background of blues, jazz, flamenco and soul. Might have to give Robby Kreiger the edge here. Keith Moon vs John Densmore Hands down, Keith Moon at his best was pretty phenominal. Sure, he had the famous incident where he got to high on pills to play, but at his best, right up there with the greatest rock drummers. Densmore is more of a finesse soft touch player, but still great. Roger Daltry vs Jim Morrison Daltry always seems like the consumate professional. Still belts it out. His lyrics tend to take themselves less seriously. Morrison the poet certainly had his merits as a lyracist and at his best, a decent vocalist, when he wasn't fried. Certainly unpredictable and by todays standards would have probably been considered bipolar. Still, both iconic. Probably give Daltry the overall props here. Entwisle vs Ray Manzarek's left hand Obviously Entwhistle, because, he was a bass player. Huge part of the Who's sound. Albums I suppose the Who has a more iconic catalogue. High production value. The Doors first three albums and LA Woman are iconic as well. Probably overall, The Who wins out for me, but I do like Waiting for the Sun and Strange Days a lot. Apples and oranges in many ways. Now if someone were to draw comparisons to Jimi Hendrix, it would be hard for me not to put him at the very top of the 60's rock and roll food chain. Electric Ladyland may be the best album by any artists from any era....ever....imho. Clapton vs Beck vs Page Jeff Beck all the way. BB King vs Freddie King vs Albert King No debate. All three are essential, especially for blues. Coltrane vs Miles At this point, why even compare?
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...it’s in a written clause, contract. It’s all about business...Like somebody once said, ‘Money beats soul’ ;)
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I don't hate The Who I didn't mean to give that impression. I just have a really hard time getting through "Fiddle About" on Tommy it grosses me the hell out. It always bothered me even when I first bought the album in 12th grade. and just recently I mean the whole line of "who is it? i'll rape it" or what not in Quadrophenia I was like what the good fuck?
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Hey snafu, I was never much of a Tommy fan, but had an extraordinary listening experience last week after hearing Keithfan's live track. Highly recommend it. Takes the best released performances and ties it all together in one track. The not so great songs are not there. There's a link on the Dave's 25 page.
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Imagine a who book around the fiddle about and you have Townsend's book. It was sick.
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I dig the cocktail jazz that was the Doors at the end. Pete Townshend is an artist, he interprets subject matter and possibly as a catharsis releases it in his material. He wrote all the lyrics Roger just belted them out. New Dead, I don't usually even queue up Lemieux rambling on about all the minutiae concerning a given recording. I'll listen, and fill in the blanks myself. It goes quicker that way, I mean, does the guy seriously fire up a fat one before blathering on endlessly? Current listen: The Strange Remain, The Other Ones. The Grateful Dead never really left us, what with all the incarnations over the years. Yes, when Jerry got on the elevator it was an immeasurable loss, but the music continues.
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Not at my computer at time of ordering, I speak English, Spanish Italian and Athabaskan, (My Mothers language,,,aka Apache)...But I just couldn't understand this Dude...Hence the Phone call....CRAZY HUH !...PEACE....TOMAS....
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I was not at my Computer Vato....And the Smart Phone wasn't smart enough to Translate from Swahili or whatever He was speaking into English....But...I FINALLY got thru to him...I believe it's on it's way....PEACE....TOMAS.
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You cannot petition the Lord with prayer. Alltime great lyric amid a very cool song. Riders on the Storm The End When the Music's Over The Crystal Ship Peace Frog The Changeling Five to One All better than anything the Who ever did. The Who were very cool live. But for the energy they delivered, not for the content. The Dead had both.
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It’s art after all so we can all agree to disagree. It’s like whose better Picasso or Van Gogh. I’ll take The Who every day of the week. I said in an earlier post that I really dig the L.A Woman album, and I do. But I agree with the sentiment posted earlier that Quadrophenia is an album that stands head and shoulders over most. Play it loud and marvel at Moon and Entwistle driving the music. Listen to the lyrics and marvel at Townshend’s description of an insecure kid’s growing pains and angst. Townshend wrote unique songs from day one. Go back and listen to the Who’s first album, My Generation, and compare it to the Stones or the Beatles at the time. Also listen to the track The Ox - I don’t know why that doesn’t seem to get credit for the first use of recorded feedback. Another classic album in the early canon is The Who Sell Out. Who else could write Mary-Ann with the Shaky Hands. Pete is a genius lyricist, composer and player. And he was accompanied by the most powerful rhythm section and a great front man. Long live The Who in the studio and live. The one downside to the Who in the studio is the missing Lifehouse album that should have followed Who’s Next and been before Quadrophenia. It’s kind of like the Dead not having a great studio album after American Beauty and instead having a bunch of awesome songs instead appear on Garcia Ace Skull and Roses and Europe 72. Listen to the extended Odds and Sods and you can hear a lot of those great Who songs that were never put on a proper album.
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I had two copies of Morrison Hotel. one was a standard like 1990 edition. and the other was an expanded edition. well one day I took the standard case to a used cd store and sold it not really needing it. years later I open the expanded edition jewel case to find out for some reason the standard edition was put in the expanded edition jewel case by mistake.
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Both bands were great but very one dimensional. It is really hard to listen either band for long periods.
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I've caught wind of some of Pete Townshend's issues, but haven't paid full attention to them, as I just want to enjoy his amazing music. Nothing against the Doors; I've never really listened to them. But the Who, with two good songwriters, and everyone an ace at whatever he did? Yes.
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"Lifehouse" wasn't intended to fall between "Who's Next" and "Quadrophenia". "Who's Next" was assembled from the remnants of "Lifehouse" after the project was abandoned. So essentially, it's "Lifehouse" condensed. And though it may only be bits and pieces of a bigger concept, it's still an amazing album. Hands down their best after "Quadrophenia".
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I give you Lifehouse: https://drive.google.com/open?id=1z9nXrpZ_5WxZfKW6pFc0YbQKXKuLXHoZ It only felt right to stick with studio versions, but truth be told, there's nothing that compares to the Isle of Wight 1970 performance of Heaven and Hell. Perhaps a bonus track one day :D P.S. - these are the best mixes of these songs. Like, Long Live Rock is the guitar mix, not the piano mix (if you're into such nuances); and Naked Eye is the original Odds 'N Sods version, not the Astley remaster where everything was all f***ed up.
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That's pretty fucking cool. Never knew the full list and order of songs.
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And for that brief moment, we were one...
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I have a subscription for Dave's Picks and glad I do. I have had to call about something, I ordered, and had someone on the phone that was "almost" impossible to understand. I agree with one of the people who, earlier, made a comment that you use to call the dead number and get a person who spoke....English.My nephew worked for Dell for years and said that when the company started using non-Engilish services to answer peoples questions about their computers it was the beginning of the end for Dell. Maybe it is time for us, as coustomers of Rhino, to start to complain about their phone service. I think, from the comments posted on this site, that it is VERY poor! If you have not had any issues that required a phone call consider yourself...lucky!! Mr. Pete---------> aging hippie
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Well at least I subscribe every year, I was going to get extras in hopes to sweeten trade for the new box/RSD, if I I miss out on those, the gentle sobbing and ghostly moaning you will hear on the evening wind...that's me. Im already anticipating a shit show on ordering. My baseline anxiety levels waiting for new boxes and the inevitable panic inducing ordering process grows every year. Did anyone have any ordering problems besides the fast sell-out. It would be nice if they fixed the server issues, or just put out on the Rhino site for ordering to start.
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I don't know about comparing The Who with The Doors-but both bands seemed to peak in their earlier years. The Who, to me, were far better in the 1960s than they were in the 1970s. In the 60s, there was nothing like them-and the songs they wrote were genuinely weird and transgressive. In the 1970s, they stopped being revolutionary-and started writing about being revolutionary. In the 60s they were the thing they wrote about being in the 1970s, when they just seemed to join the massive "rock" industry. High on professionalism and power and guitar solos, but lacking in inspiration. A lot of other bands were like that-great in the 60s, but a bit bloated in the 70s. You've only got to look at Pink Floyd. I'd take See Emily Play over any of their 1970s albums any day. To bring it back to The Dead, maybe they were one of the few bands around in the 60s who carried on developing in the 1970s. Maybe The Stones, too, for a couple of years.
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daverock I would agree with your statement about the Who, if you had said the change in their quality occurred after 1973; however, the Who of the 1970s produced Who's Next and Quadrophenia. The synths used on Baba O'Riley and Won't Get Fooled Again were the first of its kind, not only in sound (Townshend had to "invent" the tone of the synths on WGFA through creative experimentation, eventually feeding a Lowry organ through an ARP synthesizer); but in implementation as well (nobody had really used a synthesizer to create a rhythm backing track in a song before - pioneer type stuff). For that many can be thankful :D But yeah, things grew stale after Quadrophenia. I suspect even Pete would admit by 1978, they were singing the same old song (with a few new lines) ;-)
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