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    heatherlew
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    "The Grateful Dead picked up their instruments and hit the first note with perfection. They never missed a note for the next three and one-half hours. People followed the flow of the tunes. Down on the floor in front of the stage was a sea of heads keeping time with the music. No one sat still. No one, except the youngsters behind us sat still. They were still and stunned." - The Power County Press

    And what a stunner it was, that show at the Boise State University Pavilion in Boise, ID on September 2, 1983. Dave's Picks Volume 27 contains every stitch of music from this mid-80s show (our first in this series), one that's as good as any other in Grateful Dead history. When the Dead were on, they were ON! Straight out the gate with a definitive take on the old standard "Wang Dang Doodle," the band swiftly switches back to a setlist of yore, firing off 70s staples like "Jack Straw" and "Brown-Eyed Women" and wrapping things up with a terrific trio of "Big Railroad Blues"/"Looks Like Rain"/"Deal" (don't you let that epic guitar solo go down without you). Primed for the second set, they tackle the complexities of "Help>Slipknot!>Franklin's" with heart and ease. It's clear there will be no stopping their flow - Bobby and Brent hanging in for a fantastic pre-Drums "Jam" and Jerry and Bobby in the zone on a not-to-be-missed melodic "Space." Not a skipper in the whole lot!

    Dave's Picks Volume 27 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.

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  • Vguy72
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    When you gotta, you gotta go....
    https://www.dw.com/en/elderly-men-escape-nursing-home-to-go-to-wacken-m….
  • dreading
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    Jason
    One thing I will say about your comparison is that you are correct there are many more 60s and 70s Dave's Picks in the series, plain for all to see. Not so long ago however, I believe it was thin who did a complete tally of total releases from each decade, and it came out pretty even between all of the official releases and all of the box sets and all of the series. The number of shows for each decade was roughly the same. We may need to revisit the math on that, since some time has passed, and we must consider each complete show as one tally mark for a decade, as well as each complete release for a given time period as being one tally mark for the decade ( in other words, the Road Trips October 77 release counts as one tally mark (one show) from the era it falls in. I think it's been found that it's all around even, or at least that any discrepancies are statistically marginal. So I would argue that no, there is not an appalling lack of diversity with overall total Vault releases When comparing the 70s and 80s. You can do the math yourself, just go through the discography on Wikipedia and start tallying them off. You should be happy with these numbers, actually. There is an even balance despite the difference in audio quality between the two eras. And also with regard to the Dave's Picks series, it almost has to be weighed heavily towards the 60s and 70s due to the quality of tapes available and some other factors, such as overall sellability of 70s vs 80s. You can't really go with Space Brothers logic that 80s sells just as good as 70s because the five extra Dave's Picks 27 sold out as quickly as the five extra Dave's Picks 26s. That's propaganda advertising. The first 17995 went to everyone with a subscription, and there is no way of knowing what was in people's heads as far as Eras are concerned when they ordered their subscription, but trust me, as a professional record store owner, the 70s picks go way faster and at much higher cost then the 80s. Fact.
  • Jason Wilder
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    Thoughts on DP 27 and a question
    As an 80's head, I often bemoan the lack of 80's releases. However, having said that, I have not been a fan of Dave's choices (RFK '89 were like the worst shows of the summer tour, for instance) and this release, while certainly fun in parts, is not one I would have selected. If you are going to go 80's, there are three places to look: a) Late 80's: '89, '87, and '88. (zero Dave Picks) b) Early 80's: '80 acoustic shows (0 Dave's), '80, '81, '82 = 2. c) 1985 (no Dave's Picks) Sometimes he seems more obsessed with picking shows from every state than the best shows. Still, I did enjoy the show, but thought it was not on par with Dick's Picks #6 (our only other individual '83 release). I also enjoy having a wide representation of all the years. On that note, 1970 seems woefully underrepresented to me. Still, all of 3/27 form the 80's on is a little light for me. An hardly cause for panic from 70's fans. The full accounting for Dave's Picks vs. Dicks by era: Dick's(36) 60's(3)/70's (26, 1 Brent )/80's(4)/90's(3, 0 Brent) Dave's(27) 60's (1.5), 70's (22.5), 80's (3), 90's (none) Overall, an appalling LACK of diversity from Dave in my view. The Thelma/69/70 was great, as was the other '69. But his 80's choices could have been better. For me, I'd like, per year: 1) at least 1 Pig show 2) one show from '79 on (usually Brent, but Bruce/Vince OK) 3) one early Keith show ('71-'74) 4) one late 70's K&D show ('76-'78) Of course, I have not been getting it, but that would be my structure. And I do not blow a gasket when I do not get it. I don't expect to. ----------------------------------- Question: is there somewhere that is releasing Road Trips (with Bonus discs) for cheap? I have a couple that I do not have, so I watch ebay now & then, and the prices are outrageous. But for some of the early Volume 1's, the prices are suddenly reasonable with the bonus disc included. I know Real Gone releases them (starting with Volume 4) but does not include the bonus discs. I cannot figure out why prices have dropped so suddenly on these? What gives? Does anyone know?
  • alvarhanso
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    Re: Oroborous
    When somebody says that Cornell is a 5/10 and DaP 27 is an 8.5/10, that will arouse a response from me criticizng that as hyperbole or trolling. That's not me debating the point it's me attempting to slap down a foolish or trollish assertion. And I responded to your point on multitracks because it was the most recent assertion of a canard that these releases are under a different standard. I have very carefully avoided debating the merits of sound and performance quality on this since making my initial points on here that I didn't like the mix. I just get tired of bad arguments. I get subjectivity, but no person who has heard both this and the Cornell release would honestly (key word) argue that DaP 27 sounds better. (And again, just sound quality, not a point about performance, which some people may just hate Cornell being contrarian or iconoclastic, but the sound of that tape versus this one is not debatable unless one participant in the debate is just screwing with you.) Healy was the sound mixer and recordist, he was actively mixing what went into the PA mix from as many channels as his board had, so what went into the tape was still being mixed in real time. Was he making the mix specifically for the tape? No, he was making it for the house, and it was his additions to the vocals on Mama Tried and Big River that I complained about initially, and part of what got him fired years later. (Screwing with Sting's house levels contributed as well.) It is still a multichannel feed mixed down to left and right, though. I think that quote of Bear's about Healy not being able to mix a cake from Betty Crocker may be harsh, but he wouldn't be the first soundman to believe his ears over anybody else's (Bear is just as guilty, though we can probably agree that Bear's ears are more trustworthy). I'm just trying to say, like you did, that expectations should be different for a cassette PA mix, but that shouldn't mean we're not allowed to criticize how it sounds compared to other releases, nor should we be prevented from criticizing the performance. There's not an apple to apple reference point in this series, as you say, but using Dick's as well, you can compare. This is not the worst sounding tape I've heard, but it ain't great. If other people want to love it, as I said I'm happy for them. But it is hard to read the hyperbolic statements on how good the sound is without the caveat "for a cassette PA mix", and Dilbert's comparison to Cornell was just gaslighting. The real subjectivity is on the performance itself, I think any argument on sound quality should be argued within that caveat, because it is objectively worse than almost every release in this series. I hope that every release is a worthy one, no matter the era. I fully recognize quality will lessen as box sets and other Dave's come out; diminishing returns will happen. Do we need to be placed in an Orwellian debate where we're told what we can hear is actually not as bad as our ears tell us, or can we be honest and say, "for a cassette PA mix, it's pretty good"? That's probably too much to ask given the way this larger discussion has gotten into personal insults in some cases. I just want it to be honest. I accept you saying you misspoke about multitracks, this long diatribe is mainly for anyone still thinking that that's what we, the detractors, are debating. Last night I was putting most of the DaP series on a USB for my car, which is a long overdue exercise as I only had from 17 on in mp3 on the flash drive. And I converted quite a lot of them, and reflected on how I don't listen to many of them that often, like DaP 9 I have largely avoided the past couple years because of a bad listening exercise of that Dark Star, even though the very idea of Weather Report Suite> Dark Star was why I was initially thrilled to get that show, I just pick something else to listen to. I did put it on the USB drive, so I may just give it another shot this coming week or so, but I use that to illustrate that even WoS show where the instruments are presented in clarity and definition doesn't automatically mean it goes into the queue. That, I think, speaks to the subjectivity part of things. I know this is overly long, and I'm not writing it to bash you or anything like that, just trying to explain my motivations and where I'm coming from. I'm trying to avoid the performance debate on this one because so many are happy with it, and it comes off as trolling to keep rehashing my own criticisms of the show; it's a decent show overall, just not one I would've picked for 27. But it's (obviously) much harder to keep my fingers quiet when the sound quality is hyperbolically charged as better than the Cornell sound quality. :)
  • JeffSmith
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    The Dyer's Tale, Part 4
    The (un?)Official Tie Dying Wizard of the Grateful Dead, Courtenay Pollock's saga continues:https://mailchi.mp/72a4480de0ab/episode-4-the-long-strange-golden-road?…
  • Oroborous
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    RE: Alvarhanso
    Sorry, not trying to beat a dead horse. Technically, your right, all the Dave’s/Dicks as you say are two track....(hell even the 89/90s stuff ends up as two track, Right/Left)......this goes back to like a week ago when people were comparing 80s House PA mixes to recordings that were made from a separate multi-channel feed that was then mixed down by a dedicated crew member to two track, with the intent for a balanced sounding mix to listen to later. I posted about point of reference and this intent then to be helpful since it seemed like some folks don’t understand how drastically different the mixes used are because of the intent of the MIX being utilized; multiple channels being mixed down by a dedicated crew member, versus Healy just poping in a cassette to use to critique PA mixes as they apply to different venues etc. The intent of these mixes is very different, so different that to compare the two is apples to oranges. Point of reference is another way to consider this. In audio, A point of reference is often used to compare. So when icecrmcnkd asked folks who really disliked versus those who really liked the sound of 27, what they were listening on, which could very well influence a persons opinion, I was just trying to reiterate this point, which I believe you also made a day or so ago. For example, If your point of reference for a good sounding show is a 70s separate multi-channel feed mixed down to two track by a dedicated mixer, then it’s easy to see how a House PA mix, mixed with a completely different intent, on totally different recording equipment, will sound inferior. Since you yourself as of 8/2/18 was debating with Dilbert I believe, about the rating of DaP 27 to 5/8/77, (i.e., “X” out of 10) to me that’s comparing apples to oranges. I believe somewhere you yourself also said something to this effect? So when I was trying to answer brother icecrmcnkd, I was only trying to state my humble opinion by comparing this recording to the different points of reference. But I was technically off by saying multi-track as you correctly pointed out. What I should of said was - Better than an old school show cassette. - good for an 83 PA house mix - but not comparable to a recording made with a separate multi-channel feed, mixed down to two track, for a completely different purpose or intent. The reason I’m rehashing all this is, like you, to try and enlighten those who don’t perhaps understand how completely different these sources are, so they can use the proper point of reference when critiquing recordings. Not apples to oranges! One can certainly have a overly positive or negative opinion about the sound of this release. I’m just suggesting that folks use the proper point of reference when doing so. Sorry, I know you get it, and I get it, but after weeks of this it still seems like some folks are continuing to do this....... Again, I’m only trying to help, not be difficult. “Pleeeeeeaaaaase don’t murder me...no, no no!....) Edit: perhaps this is better? MULTI-track has multiple channels, say one for each instrument and vocal. Every track is recorded live separately on to multi-track tape, these are called basic tracks. Since each instrument has its own track, its level can be raised/lowered, processed, or even redone or overdubbed if need be (like they did on E72 for example.) This done later, at a different studio, often by a different engineer, where all these tracks are mixed/balanced so that everything is “just exactly perfect” down to a two track stereo mix. Then it’s sent off for mastering for commercial release. BETTY Boards etc were usually multiple channels mixed via a separate/different feed than the front of house PA mix, by a dedicated crew member, say Betty, live on the fly, down to two track for the purpose of best possible later listening. So if say Phil is too loud in the mix, she can attenuate his level so that it is balanced well with the rest.... STEREO PA HOUSE MIX; this is usually just a direct output of the House PA mix, your old school “sound board” cassettes. Though there usually are different aux mixes on boards, so that the different levels can be somewhat balanced for the tape mix. Often though the Mixer is too busy working on making the sound good for the venue, the live mix if you will, not the recording. This is often affected via sub mixes or a combination of say all vocals controlled by one master volume of the combined vocals. This is used to easily boast the vocals (or the say the drums) relative to the instruments on the fly live. So depending on the characteristics of the hall, who’s playing loud or not, the mixer can use these tools to quickly mix/balance the sound to sound good in the hall. Unfortunately, as many of you notice, this can negatively effect the tape out mix. Sometimes Healy would/could mess with this more than other times. Even then though, he was probably briefly using headphones to monitor this tape mix, which adds another kind of variable that may color this stereo tape out to cassette mix. Also, the musicians effect the levels of the mix when they adjust their own volumes up and down, like say JG turning up for a solo. Since there is no way to go back and balance all these different channels once their down to two channel, you often have parts of recordings that don’t sound balanced. That’s is why some of you notice that sometimes Weir for instance is loud, and sometimes too quiet. The main thing to understand is the purpose of the PA mix is not intended for a later commercial release, or to sound like a studio recording. But Dan was perhaps one of the greatest, if not the greatest sound reinforcement tech ever, so even with these variables, there are many great sounding SB mixes/tapes as many of you know. But I think we all can agree that they can’t realky be compared to a full on multi-track commercial releaseiI.e., 90s Box, Live Dead, Europe 72, Skull Fuck etc. imho it’s the same with trying to compare a maticulous Betty type recording with a SB cassette. That does not mean that a PA stereo cassette can’t be good, just completely different, different point of reference.... Another variable that pertains to 83, is that they started to use (full time) the mighty new Ultra Sound PA utilizing John Meyers technology. In my opinion this was the best sounding system ever (no I did not have the pleasure of hearing the WOS live) but most of the people involved state that the ultra sound blew the wall away mostly due to technological advancements not possible in 1974. So in 83 they were trying to dial in not only the new PA, but the band had a lot of new gear, Phil’s Modulas Quantum bass and they had rearranged their positioning on stage. This all effects the overall sound, that in turn effects the recordings..... BASIC STEREO; live two track (Right/Left), like when folks used mics to record live to a cassette deck. Sometimes these units would have separate volume control for each channel, or perhaps a balance control, often not. Basically you’d have no control except to try and get the levels correct, and there were so many idiosyncratic variables to contend with it’s a kind of amazing we have as many great recordings as we do. Hopefully you can better understand how completely different these mixes are, and how they drastically effect the subsequent recordings. Thus, the apples to oranges analogy. Sorry, hopefully not too boring, we audio geeks forget not everyone is into this stuff like we are ; - )
  • UESNYC
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    WOW
    The complaining and nitpicking is crazy. Social media has invaded the Grateful Dead. But that is what social media has made itself or people have made social media into. Complaining and animal videos. No complaints here , the boys were on this night, just good old rock and rolland some nice jamming. See slipknot, deal , BRB and a nice version of Looks Like rain. Enjoy the summer , as a wise band once said. Its come and gone my oh my
  • stoltzfus
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    Shaggs and beer (or is it beer, then Shaggs?)
    I have heard the Shaggs'...compositions before. Truly awful stuff. Ben Franklin is the "beer" stater, according to what I have heard on that. Alcohol and I do not get along, so it doesn't make _me_ happy, but obviously it is a popular beverage.
  • Born Cross Eye…
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    Dave's Picks 27
    This show sounds like the band was having a grand old fun time this night. They were ON! This recording sounds like the almost perfect original master cassette. OK it has it's minor imperfect mix, in my own humble opinion. Thank you Dave & company for selecting this show. I LOVE IT! Dave's Picks 28: I really can't guess on the exact show, but my wish/hope would be for restored 9/20/70 Fillmore East, NYC, both the acoustic and electric GD sets.
  • Born Cross Eye…
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    Re: No multitracks in Dave's or Dick's Series
    I thought that Dick's Picks 15 (September 3, 1977, Englishtown NJ) was mixed down from the multi-tracks because the one or more of the 2-track reels were damaged or a reel or more was missing, or some other explanation.
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"The Grateful Dead picked up their instruments and hit the first note with perfection. They never missed a note for the next three and one-half hours. People followed the flow of the tunes. Down on the floor in front of the stage was a sea of heads keeping time with the music. No one sat still. No one, except the youngsters behind us sat still. They were still and stunned." - The Power County Press

And what a stunner it was, that show at the Boise State University Pavilion in Boise, ID on September 2, 1983. Dave's Picks Volume 27 contains every stitch of music from this mid-80s show (our first in this series), one that's as good as any other in Grateful Dead history. When the Dead were on, they were ON! Straight out the gate with a definitive take on the old standard "Wang Dang Doodle," the band swiftly switches back to a setlist of yore, firing off 70s staples like "Jack Straw" and "Brown-Eyed Women" and wrapping things up with a terrific trio of "Big Railroad Blues"/"Looks Like Rain"/"Deal" (don't you let that epic guitar solo go down without you). Primed for the second set, they tackle the complexities of "Help>Slipknot!>Franklin's" with heart and ease. It's clear there will be no stopping their flow - Bobby and Brent hanging in for a fantastic pre-Drums "Jam" and Jerry and Bobby in the zone on a not-to-be-missed melodic "Space." Not a skipper in the whole lot!

Dave's Picks Volume 27 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.

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WTF?? Couldn't you just have posted the link instead of the whole thing?
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Nothing like a little public self-therapy at the expense of others to build up an illusion of validity and relevance in otherwise pathetic, meaningless lives. So sorry for you brother(s). . .
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If only I could block Terrapin moon and shitderp. That's the real solution here, put a preference section that allows you to input usernames of people who's posts you don't want to see. JimInMD - f*** Terrapin Moon he IS shitderp. Correct me if I'm wrong dreading, but were you just shoving shitderps stupid video links to the bottom of the page? I noticed shitderp posted a couple this morning. Yesterday was nice when the f*** wad thought he was going to lose his account here and didn't post anything.
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This has been a public service message from Democracy Now.......Hopefully we can get back on course,I ignore EVERY troll. and just wait for the majority of folks who post fun, funny, interesting, demented, Etc. things. I'm pretty sure the government is not involved in the selection or release of ANY GD stuff. Peace......"Music is the Best"--FZ
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Not my scene, but it's hard not to feel bad for all involved in the Curveball fiasco. A lot of folks were really looking forward to that, and I have to say that if I, like so many folks, was already onsite waiting when the plug got pulled, AAAAGH! I'm sure something good will come of it all long term, if only in stories about where one was when the show got cancelled, but in the meantime, condolences to the Phish folks.
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8/22/93 8/21 and 22/93 was a whole lotta fun. I had "needed no rest" (wink wink, nudge nudge) the night of the 21st. In that state, I listened to Nirvana's Nevermind ("I'm on a plane, I can't complain", indeed), Led Zeppelin's Physical Graffiti, and other things, including Dead Set, which worked in that set and setting. the 22 started with a long Jack Straw due to Bobby's guitar malfunction during the tune. They vamped for quite a while. Help Slip Frank in set 2...yummy.
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saw a Netflix thing on TV last evening, a show with Steve Martin and Martin Short. very good entertainment. as I sat there, though, I realized my daughter must have thought we were like grandparents watching Lawrence Welk.
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Showitime has an EXCELLENT doc running now, If I Leave Here Tomorrow, about the history of the band HIGHLY recommended, even if you are not a big fan of theirs. These guys made some great music and were pretty down to earth. ALL they knew was music and they are not ashamed to admit it. Rock on
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For those arriving late, here's a quick summary of all forum members' opinions of Dave's Picks Volume 27.
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14 years 9 months
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I heartily encourage you to listen to this show. extremely strong, powerful playing. yet another energetic Big Railroad Blues :)))
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my dog has no nose. "no nose? how does he smell?" bloomin' awful.
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Don't let this gem become a Dave's, it needs the Plangent processing to fully bring out that Betty goodness. https://archive.org/details/gd1977-02-26.sbd.cantor.deibert.83283.flac16 Grateful Dead Live at Swing Auditorium on 1977-02-26 Set 1 Terrapin Station 1st ever New Minglewood Blues They Love Each Other Estimated Prophet 1st Ever Sugaree Mama Tried Deal Playing In The Band -> The Wheel -> Playing In The Band Set 2 Samson And Delilah Tennessee Jed The Music Never Stopped Help On The Way -> Slipknot! -> Franklin's Tower The Promised Land Eyes Of The World -> Jam -> Dancing In The Street -> Around And Around Encore U.S. Blues Identifier gd1977-02-26.sbd.cantor.deibert.83283.flac16 Lineage 7" Betty Board Reel @ 7 1/2 ips > PCM501ES > DBX Type 1 decoder > PCM501ES analog out > Fostex D5 @ 48kHz > Fostex D5 optical S/PDIF out (Jace's tape) > disk (Tim Deibert) Location San Bernardino, CA Source Betty Soundboard Taped by Betty Cantor Transferred by Jace and Tim Diebert
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This is not meant as a personal attack but maybe you should have read it and even acted on it. We, the US, got our ideas of the rights of man from the English but we went one step further and wrote it down. The British who have a long and proud history of a liberal constitution but with 2 major flaws. The Primacy of Parliament which givesthem the right to do anything. And a bill of rights that is ephemeral you can't see it therefor the official secrets act. That all said, on this side of the pond there are far too many people including judges willing to ignore Ben Franklin's warning. "Those who would trade liberty for security, deserve neither and will loose both. Me thinks we both need to study up on liberty we're losing it fast
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Not that grate of a song....But it sure got played a lot. They should have dropped Liberty and brought back Day Job. Seems Shirdipshit is trying to prove he’s the coolest kid on the playground. As a general rule of thumb, if you have to try that hard to prove how cool you are, you’re probably pretty much a douche.
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I actually like that song. "Ring that bell for whatever it's worth When Monday comes, don't forget about work By now you know that face on your dollar Got a thumb to its nose and a hand on your collar" those last two lines are so true
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don't feed (acknowledge) the trolls
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And so too, will this odd skirmish that's been going on around here lately. I would suggest, no one any longer antagonize anyone publicly, and, like a child, not getting the attention they crave they will just fade away. It's definitely not cool to hijack and spam these boards. How about, we offer amnesty, and you stop deliberately trying to hi-jack the page and annoy everyone. There must be a reason you were here in the first place - an interest in the Grateful Dead. So you do have some redeeming value as a human being. Why not revisit that, and give us some more classic, rare Jer photos. Something of value. Take my advice, and all is forgiven. \m/
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Pretty sad state of affairs for a man when he has to begin his remarks with "this is not meant to be a personal attack".
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....I would be on board 100% for that show. Plagent or not. Record it on Mayan stones. Just do it. Remember the days when we bantered about Jims time traveling John Deere? I do. I miss that lawn mower. I also recall sharing recipes. Because of food....because it was a beneficial topic.
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...the joyful namechecking of so many Paisley Underground/80s Americana bands. Thin White Rope, Mazzy Star/Opal, etc. Even in this internet/FB age, I don't read much recognition of my personal favorite bands (except the team we all gather here in shared adulation of...). Amidst the ugliness that has dominated these parts this week, another great band was brought up. I have been interested in posting a link to a mindblowing version of "Preaching The Blues". I couldn't find the recording as a YT vid, so I didn't. The band performing is is The Gun Club and their album Miami was linked to here recently.I HEARTILY endorse The Gun Club! Miami is their second album and far from their finest hour. Their first album, Fire Of Love is stunning and their later works are powerful records by a maturing singer/guitarist/songwriter (Jeffrey Lee Pierce) living a maverick life that killed him young. Great starting points are the live albums Dans Kalinda Boom (featuring the band's second major line up with Kid Congo/Congo Powers on the other guitar) or Live in Europe (featuring the band's main 90s line-up and a great song selection). and Daverock/Dogon/Simonrob: Julian Cope, quite good, eh? Favorite: Peggy Suicide or Interpreter? Or a different album? I don't normally bother with minor pleasantries here, but the times seem to call for them, so: Welcome back Dave Duryea and Doc. May Jfr's sabbatical be shorter than either of yours!
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....doh! Forgot about them. Seth knocked his knuckles on the side of my head and reminded me of them. So much music, so little time. And we ALL come here for the music. Psychotics besides....been on a female lead voice thing for a few days now. Fits like a glove. The fifty year olds of us appreciate the 80's. Chaffing the wheat. Big hair, coke, spandex and synth. I need Jim's mower.
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Fine.
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(is it too soon to say) "Get Off My Lawn You Damned Hippies"
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10 years 2 months
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I agree-a brilliant album. I got this when it came out, and it seemed a really refreshing take on the blues. Most white blues bands I had heard up to that point seemed to rely on the virtuosity of lead guitarists-but The Gun Club adopted an irreverent punk attitude which emphasised speed and drama. The whole album is like a catalogue of short sharp shocks. Unfortunately, Miami was a massive let down, and I only heard one after that-The Las Vegas Story. By then they seemed like just another ordinary band. Maybe I got that wrong, and they returned to form later on. It was also through reading interviews with Jeffrey Lee Pierce that I came across the names of Son House and Charley Patton-who I still listen to. And lest it be forgot - Kid Congo/Congo Powers played with The Cramps on their Psychedelic Jungle album. Also a thumbs up for mentioning Julian Cope. But again it tends to be the earlier stuff he cut that I have heard-with The Teardrop Explodes. Their two albums are well worth hearing-Kilimanjaro and Wilder are both great - especially Kilimanjaro. Of the solo albums, the only one I remember hearing is one called "Fried"-which I liked at the time, but haven't heard since about 1989. There were a few good bands in Britain in the 1980s. Echo and the Bunnymen were alright - lead singer Ian McCulloch was in the same band with Julian Cope initially -"Ocean" may be their best album.But the absolute classic from that era, for me, is "Underwater Moonlight" by The Soft Boys. A tremendous Syd Barret inspired album. Leader Robyn Hitchcock went on to develop a solo career inspired by Barret-but the best thing he ever did that I have heard was "Underwater Moonlight". Yet another great album is "Chips off the Chocolate Fireball" by The Dukes of Stratosphere. Its a compilation featuring all of their brilliant EP and all their slightly less brilliant album. They were actually another band-XTC-who pretended to be a group called The Dukes..in order to make a psychedelic album. It works on every level.
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10 years 2 months
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Having just read the posts on the other board about pressing charges, I wondered about the images which are shown down below on this board. Taken out of context, as the images are, they are a clear portrayal of child abuse. Which moves the whole debate into another, more serious area, in terms of breaking the law and the possible consequences of having done so.
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8 years 3 months
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Check your PMs Then your email "This message will self-destruct in *seven* days"
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8 years 6 months
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What happened to this musical messaage board?I don’t think we are in Kansas anymore Toto or is it the other way around :(
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10 years 2 months
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I'm not really one for anniversaries-but 50 years ago today has come to my attention. Incidentally, I got my copy of Two From The Vaults back when it first came out, in the early 1990s. I've only just noticed that it was re-released, with the bonus tracks originally served up as extras on the earlier version of Anthem, added. So-is this upgrade of Two From The Vaults much better than the original version? It probably is, but I'd be interested in finding out for sure.
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8 years 6 months
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...hope this helps you Grateful Dead: Jerry Garcia, Bob Weir (vocals, guitar); Ron "Pig Pen" McKernan (vocals, harmonica, keyboards); Phil Lesh (vocals, bass); Bill Kreutzmann, Mickey Hart (percussion). Engineers: Jeffery Norman, Don Pearson. Recorded live at The Shrine Auditorium, Los Angeles, California on August 23, 1968. Includes liner notes by Harper Barnes, "Maestro" Dan Healy and "Dr." Don Pearson. All tracks have been digitally remastered using HDCD technology. You want prime early Dead, you got it. The August '68 Shrine Auditorium concert captured on TWO FROM THE VAULT is the sort of gloriously extended jam-a-thon for which the Grateful Dead became famous. Multi-part pieces like "That's It for the Other One" are like miniature symphonies, with Garcia's guitar building devilish musical spirals around Phil Lesh's thunderous bass and the two-headed drum team's galloping poly-rhythms. The set's highlight, though, is when Ron "Pigpen" McKernan steps out front for easily the finest "Lovelight" the band's archives have officially released. Strutting like a jive-talking dandy, trading hollers with Bob Weir, and conducting the band's groove as though they were the JB's on acid, Pig demonstrates how he really was the Dead's original captain. As an encore to such raucous behaviour, the hall's custodians turn off the power just as the band starts hitting warp speed on "Morning Dew." Grateful Dead: Jerry Garcia, Bob Weir (vocals, guitar); Ron "Pig Pen" McKernan (vocals, harmonica, keyboards); Phil Lesh (vocals, bass); Bill Kreutzmann, Mickey Hart (percussion). Engineers: Jeffery Norman, Don Pearson. Recorded live at The Shrine Auditorium, Los Angeles, California on August 23, 1968. Includes liner notes by Harper Barnes, "Maestro" Dan Healy and "Dr." Don Pearson. All tracks have been digitally remastered using HDCD technology. You want prime early Dead, you got it. The August '68 Shrine Auditorium concert captured on TWO FROM THE VAULT is the sort of gloriously extended jam-a-thon for which the Grateful Dead became famous. Multi-part pieces like "That's It for the Other One" are like miniature symphonies, with Garcia's guitar building devilish musical spirals around Phil Lesh's thunderous bass and the two-headed drum team's galloping poly-rhythms. The set's highlight, though, is when Ron "Pigpen" McKernan steps out front for easily the finest "Lovelight" the band's archives have officially released. Strutting like a jive-talking dandy, trading hollers with Bob Weir, and conducting the band's groove as though they were the JB's on acid, Pig demonstrates how he really was the Dead's original captain. As an encore to such raucous behaviour, the hall's custodians turn off the power just as the band starts hitting warp speed on "Morning Dew." ...An expanded edition of the album, with a third CD, was released in 2007 featuring the three songs (from August 23, 1968) previously released as bonus tracks on the 2003 reissue of ‘Anthem of the Sun’ Two from the Vault was released by Light in the Attic Records as a four-disc vinyl LP on December 9, 2014 ..,I enjoy the 2007 CD mix very much. I would recommend this release to any Grateful Dead fan! Smile smile smile :) ..,same goes for the vinyl release... Grateful Dead: Jerry Garcia, Bob Weir (vocals, guitar); Ron "Pig Pen" McKernan (vocals, harmonica, keyboards); Phil Lesh (vocals, bass); Bill Kreutzmann, Mickey Hart (percussion). Engineers: Jeffery Norman, Don Pearson. Recorded live at The Shrine Auditorium, Los Angeles, California on August 23, 1968. Includes liner notes by Harper Barnes, "Maestro" Dan Healy and "Dr." Don Pearson. All tracks have been digitally remastered using HDCD technology. You want prime early Dead, you got it. The August '68 Shrine Auditorium concert captured on TWO FROM THE VAULT is the sort of gloriously extended jam-a-thon for which the Grateful Dead became famous. Multi-part pieces like "That's It for the Other One" are like miniature symphonies, with Garcia's guitar building devilish musical spirals around Phil Lesh's thunderous bass and the two-headed drum team's galloping poly-rhythms. The set's highlight, though, is when Ron "Pigpen" McKernan steps out front for easily the finest "Lovelight" the band's archives have officially released. Strutting like a jive-talking dandy, trading hollers with Bob Weir, and conducting the band's groove as though they were the JB's on acid, Pig demonstrates how he really was the Dead's original captain. As an encore to such raucous behaviour, the hall's custodians turn off the power just as the band starts hitting warp speed on "Morning Dew."
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12 years 7 months
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.......what the hell is going on here???
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13 years 5 months
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I had a dream last night that Dave's 28 was 12/5/79 Uptown Theater, and we FINALLY got a Shakedown Street in the series (I know, broken record... :) However, in the clear light of day, I now see that Dave's 28 will be Avalon Ballroom, 4/5/69, with all or the majority of 4/6/69 as bonus material in a wonderfully cleaned-up, pristine remastering. Finally, these past few days, my GD buddy and band-mate has encouraged me to jump ahead a little in This Day in GD History and play the 8/29 and 8/30/80 Philly Spectrum shows... Holy Frijoles, Batman! These shows are fantastic, and the SBDs available on LMA are great! I would love to see these taken, remastered, then released as a mini-box, a la RFK 89. 8/29/80 - https://archive.org/details/gd1980-08-29.sbd.miller.91694.flac16 (Great playing from all, a ton of passion! Rare 2nd set Let it Grow, great He's Gone>TOO>Drums>Space>Wharf Rat,... Check out Candyman, if nothing else...) 8/30/80 - https://archive.org/details/gd1980-08-30.sbd.munder.tetzeli.fix-8875-15… (Killer show top to bottom! One of the most rocking Cold Rains, Estimated jam is off the chain, and the post Space NFA>Black Peter, while commonplace, is exceptional! Jerry is on absolute FIRE!) If anyone is interested, PM me your email address and I can send one, or both, your way! Peace
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10 years 2 months
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I'll pay more attention to that Lovelight tonight. I've always thought of New Potato Caboose as being the highlight of this show. But its all good.
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17 years 4 months
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One was great, especially for its individual and historic natureThree is good, but not one off my favorite releases, but DOS has always rocked my boat! The songs, how they were played, sounds good, and yaasss, great Lovelight. But I’m with Daverock about that whole New Potatoe etc, still just blows me away. Phil on lead bass, phew, gives me chills just talkin bout it! I don’t have the rerelease. Is it worth the upgrade?
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10 years 3 months
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My other favorite Keith. The clip from 5:40 to 6:00 playing Christmas live is the darndest thing I've ever seen from a drummer.
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16 years 2 months
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He'd be a mere 72.The best professional Keith Moon type drummer there ever was. I liked Moonie's drumming on Pinball Wizard and the rest of the Tommy "rock opera." I was a Who fan before the Grateful Dead rammed their Truckin' single in my ears. The only time I saw The Who with Moon was at The Spectrum in December 1975.
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7 years 8 months
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I really appreciate the shout out to Moonie. What a nutter. Read a Keith Moon bio the next time you're bored. What an inspiration. I mean, what a damaged wasted life/amazing drummer rock legend. Reminds me of this great refrigerator magnet we have of like an early 1960s broad tossing her hair back, "I hate being bipolar. It's awesome!" I'm revisiting Steal Your Face. For all the shit thrown on it, I still hold it as one of the Grateful Dead's great performances. I'm not kidding, it's charming warts and overdubs and all. The backstory of how they had to throw this piece of shit together is great. Seriously, I love Steal Your Face. Beats the hell out of anything coming out from new bands today.
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13 years 11 months
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I gotta stick up for Steal Your Face, too. The first car I drove in high school just had an 8-track player and I only ever had 4 tapes for it: "Steal Your Face", Hunter's "Tiger Rose", "Cats Under the Stars", and Jefferson Airplane's "Bark". Those tapes were my driving soundtrack for a couple of years. I LOVED "Steal Your Face". It was the first I ever heard the mellow live sound of 74. The first I ever heard "Black Throated Wind" and "Sugaree". My first live "Stella Blue" and "Ship of Fools". It was the only live Dead I had from 73-74 and for me it was pure gold. "Steal Your Face", "Tiger Rose", and "Cats Under the Stars" all got heavy rotation, but "Bark", not so much, except for "Third Week in the Chelsea"- what a gem of a tune!
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