Grateful Dead

https://youtu.be/MHo1fNnXFVU ;)

Ahhh, Terrapin... Deer Creek is a sensitive subject for me. My last show, and I knew it, walking out of the venue, that the scene had crashed and Jerry was gone. That being said, there is a crappy sounding monitor mix up on archive.org -https://archive.org/details/gd1995-07-02.monitor-sbd.unknown.74201.sbeo… its dubious sound quality, I find this recording really interesting, because you can hear the band members talking to each other, without being heard by the audience. During Desolation Row, you hear the crowd roaring and Phil (I think) saying "Check out the back wall," as the gate-crashing idiots stormed the venue. This was the beginning of the end of the Dead, unravelling in real time on the recording. Phil handled the situation with grace and humor. Coming out of space, Jerry pretty much falls asleep, and Phil casts the understatement of the evening, "shall we move on to something else?" only to segue into a cringeworthy Attics. During the show, I remember hearing the first notes of Scarlet and getting excited, only to see Jerry mangle the words and chords, while dicking around with his new Digitech whammy pitch bend pedal with little success. By the end of Fire, I was practically in tears with disappointment, but even more disturbed with Jerry's state of being. Yeah, I know, there was a death threat before the show, but that ain't an excuse to double up on the Persian. I've listened to recordings of this show a few times and it's always bittersweet for me. Good luck getting a real soundboard! It's an important recording in Dead history, but imho, for all the wrong reasons.

shirdeep. Thanks for sharing. Great story. I've never heard or read anything Rush/Dead related...

o3 o3 92 omni from neil pearts book traveling music "In 1990, Mickey had co-written a book (with Jay Stevens) on the history of drums and rhythm, artfully interwoven with his own autobiography and some of the Grateful Dead’s history, called ‘Drumming at the Edge of Magic.’ When [Peart's daughter] Selena was looking for a topic for a junior high science project, I suggested something I had learned about from the book, the “Theory of Entrainment.” The theory held that any two mechanisms, including humans, tended to synchronize their rhythms, to “prefer” them, as compared to beating against each other. Thus two analog clocks placed in proximity would eventually begin to tick in sync with each other, neighboring heart cells tended to pulse together, women living together often synchronized their menstrual cycles. And thus, thought Mickey, he and the other Grateful Dead drummer, Bill Kreutzmann, should (and did) link their arms before a concert, to try to synchronize their biorhythms with the Theory of Entrainment. Selena put two old-fashioned alarm clocks, with keys and springs and bells, beside two digital bedside clocks, and made a poster to describe the principle. I think she got a good mark. "For my part, I was so impressed with the scholarship and artistry in the book that I wrote Mickey a letter of appreciation, and we began to correspond. "Later that year, in 1992 it happened that both our bands were playing at the Omni Arena in Atlanta on successive nights, the Dead one night and Rush the next, and Mickey and I invited each other to our shows. On our off night I went to see the Dead play, accompanied by our tour manager, Liam, and what an experience THAT turned out to be. "Liam and I arrived just as the show was starting, and gave our names at the backstage door. One of their production crew gave us our guest passes and escorted us to our seats – right behind the two drum risers, in the middle of the stage! Liam and I looked at each other with raised eyebrows as we sat down, and noticed that right behind us was the production office, with telephones, fax machines, and long-haired, bearded staff dealing with communications and logistics (presumably, though the production office is normally a room backstage, where such work can on APART from the concert), and we also heard there was a telephone line run through the crowd to the front-of-house mixing platform. Catering people walked across the oriental rugs that covered the stage, delivering salads and drinks to various musicians and technicians, even during songs, and meanwhile, the band played on. Lights swept the arena, reflecting off white, amorphous “sails” suspended above the stage, and clouds of marijuana smoke drifted through the beams and assailed our nostrils with pungent, spicy aroma. "My familiarity with the Grateful Dead’s music began with their first album, back in ’67, when my first band used to play several of their songs, “Morning Dew,” “New New Minglewood Blues,” and “Good Morning, Little Schoolgirl. "And they played and sang really well, too, augmented by the soulful keyboards and accordion of Bruce Hornsby. The drummers, Mickey and Bill, became an interlocking, mutually complementary rhythmic unit, right out of the Theory of Entrainment. "Liam and I couldn’t see much of the “front line” guys, the guitarists and vocalists, because of the wall of amplifiers, but occasionally, on the stage-left side, the spotlights caught an unmistakable bush of gray hair that could only have been the legendary Jerry Garcia. "During intermission, Mickey invited Liam and me to his dressing room in the familiar backstage corridors of the Omni (each band member had a separate room, which hinted at certain “divisions” among them; after Jerry Garcia’s tragic death, I read a story asserting that he hadn’t enjoyed touring very much, and when the others wanted to go on the road again, he responded, “What, they need MORE money?”). Mickey was a friendly, outgoing man, with an engaging smile and an intense, joyful enthusiasm for percussion. With all my African travels and interest in African percussion music, and Mickey’s musical explorations in print and on records, we shared a few things we knew and cared about, and had a good conversation until they were called to the stage to begin their second set. "Liam and I returned to our center-stage reserved seats, and I noticed that not only did the band members have separate dressing rooms, but the wings of the stage were lined with small tents of black cloth, one for each of the musicians to retire to during the songs on which they didn’t play, and have some privacy. During an acoustic number in the second part of the show, Mickey disappeared into his little tent, then motioned for me to join him. We talked for a few minutes about drums and drumming, and I told him how much I was enjoying their performance, then he went back up to the riser and started playing again. "Next night, the positions were reversed. That tour ('Roll The Bones'), we had a metal gridwork runway (dubbed the “chicken run” by the crew) about four feet high, running across the width of our stage behind my drum riser, where Geddy and Alex could wander while they played. During the show, I looked back and saw Mickey, under the chicken run, smiling out between its black curtains. He was just as close to me as I had been to him, and he seemed to be enjoying himself."

sorry to bother people but does anyone have a SBD "scarlet Begonias" track for 7/2/95 Deer Creek? my copy is missing it.

I was shopping around a few weeks ago, and saw they have Signals available in 5.1 Surround mix, but only as part of the "Sector 3" box set (which also includes Signals regular, Grace Under Pressure, Power Windows, Hold Your Fire, and A Show Of Hands). Would love to get my hands on the Signals Surround mix, but I already have those other albums, so...no go. Wish they'd release them all in 5.1 a la carte. Steve Wilson did the remixing, and I'm impressed with his work on the early Yes records. Tales From Topographic Oceans never sounded so good. But what Rush really needs to do now, is start releasing shows from their archive. Let's have a show from the Moving Pictures Tour in its entirety. The 2112 anniversary edition in 5.1 Surround sound also had some bonus tracks, which included the opening of one of the shows off the Moving Pictures tour: Overture (Northland Coliseum, Edmonton, AB – June 25, 1981) The Temples of Syrinx (Northland Coliseum, Edmonton, AB – June 25, 1981) 80sFan - I'm intrigued by your comment about the Charlie Miller copy sounding better than the release. Must check it out....

Been a while since I heard DP 18, but I have recently listened to the Charlie Miller remaster of 2/3/78 and it might even sound better than the official release. Considering DP 18 is out of print, check out the archive. Maybe the best all time Music Never Stopped...

Been a while since I heard DP 18, but I have recently listened to the Charlie Miller remaster of 2/3/78 and it might even sound better than the official release. Considering DP 18 is out of print, check out the archive. Maybe the best all time Music Never Stopped...

...your welcome. I’m a member of the org. A beautiful group of people all acting as one, love! :) ....I still can’t believe the shrine vinyl didn’t sell out as well. This record, from start to finish, art wise/sound/ect. Is A+++++ Grab one , you won’t regret it! ;)

The Rush webpage offers no info but the description on Amazon says remastered on 200g vinyl at Abbey Road Studios. I also wanted All The Worlds A Stage but the 200g vinyl on Amazon is only for Prime Members which seems stupid. I’ll buy it elsewhere.