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    clayv
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    During the mid-1970s, the Grateful Dead saga was unfolding like a Greek classic. The Sisyphean Wall Of Sound had nearly broken the band. From it spawned a Medusa head of countless side projects, all deliciously fruitful but woefully not the same as the whole. The chorus lay in wait, pondering the reemergence of their heroes, and wondering if "THE LAST ONE" had really been it...

    But in early 1976, Apollonian light and healing would shine upon our intrepid wanderers once again. No more epic battles for the people with cops and lines and tightness, the Dead would return triumphant in smallness, playing intimate theaters and renting equipment along the way. No more ticket scams and greedy promoters, they'd give back with first ever mail-order ticket program, one that had a few kinks to work out but eventually served the fans well.

    Musically, June 1976 signaled a Golden Age of harmony and prosperity for the Dead. It marked an Odysseusian-like return for Mickey Hart. Donna Jean was in lock-step with the sirens' call. Jerry and Bob delivered orphic delight with solo musings like "Mission In The Rain" (the only tour they ever played it on), "The Wheel," and "Cassidy," emboldened by group effort. There was fresh repertoire from Blues For Allah, breathing new life to the Dead's continually morphing sound - as Weir once said of the '76 tour, they wanted to play "a little bit of all of it." Old favorites were re-envisioned with cascading tempos and unique sequencing, making the crowd question if they'd ever heard these songs before. And there was comfort and joy in the familiarity of watching the band make it up as they went along. By all means, it was clear that the bacchanalia of live Dead would reign on.

    And now the revelry from this epoch, evidenced by the near-studio quality sound captured on two-track live recordings by Betty Cantor-Jackson, lives on, bolstered by Jeffrey Norman's HDCD mastering. It's housed for posterity in a handsome box featuring original art work by Justin Helton. It’s documented in liners by Jesse Jarnow and photos by Grant Gouldon. And it’s ready for a spot on your shelf. 

    As part of our pre-order for this Dead.net exclusive boxed set, we'll be delivering downloads of each listening party - one for each show included in JUNE 1976 - to purchasers from now until the March 20th release. Order at any time before release and you'll receive all the listening parties to date.

    Individually Numbered, Limited Edition of 12,000

    What's Inside:

    • 5 Previously Unreleased Complete Shows On 15 Discs
    • Boston Music Hall, Boston, MA 6/10/76
    • Boston Music Hall, Boston, MA 6/11/76
    • Beacon Theatre, New York, NY 6/14/76
    • Beacon Theatre, New York, NY 6/15/76
    • Capitol Theatre, Passaic, NJ 6/19/76
    • Sourced from Two-Track Master Tapes, Recorded By Betty Cantor-Jackson
    • Mastered in HDCD by Jeffrey Norman
    • Restoration and Speed Correction by Plangent Processes

     

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  • andoverdeadhead
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    # Box Sets Left

    Hi all. I hope everyone reading this is safe and well. I checked the number of box sets left and it looks to be 2,128 units at this writing. There also appears to be a 50% discount off all items including the June 1976 box and ancillary products such as the gold foil poster. I just ordered one of the posters yesterday without the discount. So this looks like a propitious time to order your box set now that its available at a deeply discount price of only $74.99 per unit.

  • Oroborous
    Joined:
    Wilfredt

    ...perhaps one of those “Hero Rips” as Jim would say 😆

  • wilfredtjones
    Joined:
    6/10/76 on headphones

    Anyone hear the dude coughing during PITB jam? Wonder what could have precipitated that spell...

  • nitecat
    Joined:
    Dead Cassettes and Reels Offered Free

    Hi I have a ton of Dead cassettes, soundboard and audience. I also have a ton of Dead reel to reel recordings.

    I live in San Francisco. These cassettes and reels can be yours.

    I also have 2 cool library file card catalogs ( think when you looked up a book in a card catalog at the library). These are perfect for storing cassettes, they fit great. Come pick them up!

    email gratecat@gmail.com

    thanks,
    Scott

  • Erikandjenn
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    Last 5 podcasts

    WTF
    Fresh Air
    Your Favorite Band Sucks
    The Band A History
    WTF

  • DaveStrang
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    MR. ONES

    Check your PM - Sorry for not getting back to you sooner.

  • Oroborous
    Joined:
    Congrats, and 76 so far

    to Deadheadbrewer, after 50 it’s just a matter of maintenance! Lol, just kidding hope you enjoy the milestone!

    and to SIMONROB: enjoy! 50 years is a crazy long time, you’ve earned it!

    I’m so jealous!...this being at home has made me contemplate retirement in a new way....like I want to start now, but can’t. Mostly because of Health Insurance.....if this country would pull its head outta its arse maybe we’d join the other top nations etc, sorry, I digress. Anyway, just ment to mention that I could really get used to this staying at home thing....

    9/11/81: Billy, you’ve got me intrigued? That was a bold pronouncement.

    McCoy Tyner: another great that’s slipped through the cracks, going to have to git some.

    Thanks again to Mr Smith for the awesome work.

    DOC: nice to see ya!

    JUNE 76: through first three shows so far. Was going to take notes and all that but about first or second song in decided to just let go and get Zen with the music. This shit is like Musical Valium, and I mean that in the best possible way. It’s the perfect anecdote to what’s going on these days.....spark one up, fire up the sonic blaster, and melt!
    I’ve been working through Spring 90 also, which is great in very different ways, but this box is a much needed tonic.
    I was trying to come up with the right word for the vibe/playing etc: relaxed or mellow can perhaps be seen as a negative,....eventually the one word that comes to mind is the band is in no hurry. It’s like they set up at a family gathering say at Mickeys ranch and decided to play a few tunes before dinner. I put one of these on and it’s like a drug that washes over me and brings calm for a while, something that’s been desperately needed after all that’s happened personally the last couple years and now this crazy new world we live in....aaaaaaaa, just what the Doctor ordered!
    So just off the top of my pointy little head I’d say 6/10 really seemed to resonate, 6/11 not so much, didn’t hold me the same way, though there was more “noise” going on that day. 6/14 seems like top dog so far, but again I’m just trying to groove first time through. Really surprised and loved the spacey parts.
    As some have mentioned overall perhaps not the tightest tour, and yes even a month later things are tighter, and yes there are repeats, which as has been said was often the case, especially when they were breaking out new material. Also there is a completely different feel and energy. So why pick these shows and this tour?
    Because of the huge historical relevance in the progression of the band, music, and logistics. This tour has to represent the biggest outwardly noticeable differences and changes the Dead ever did at once. Sure band members, songs, PA’s, etc changed, but I’d dare anyone to list one time in Dead history when so many different things changed all at once? There are so many variables that make this one of the most unique tours they ever did, and to me, that’s what makes this tour so special. That and because of the place some of these shows have in my early Dead development. The 12th and especially the 19th were some of my first big influences as these were some of the first tapes I had starting out, and of course back then you’d play em ad nauseum lol. Also 7/18 really seems to cut through the fog of memory.
    So the nostalgic, as well as the historical hugeness of this tour, combined with the ridiculous sound of these recordings, perhaps the best vocal harmonies of the “Mickey Godchaux” era, Phenomenal new material, aided by a bunch of new gear, and marinated in the intamate vibe of the tiny theatres, make this a slam dunk as far as archival box sets pertaining to the band beyond description!
    Sure another offering from later 76, say late June and/or July would be appropriate some day, but for the overall cosmic bang this release is a no brainer! In its own way, this tour is just as relevant as FW69, or GSTL, even if one opinions that the music pales.
    Ok, just got myself all worked up for show number four......see ya all on the other side! Happy Friday! It is Friday right? Dates/time etc another weird side affect of this new order...
    Stay safe, stay well, stay home!...
    And crank some Dead!

    EDIT: yasssss, !! What HF and Seventy-Sixtus said, that’ smore of what I’m trying to get at about THIS tour!

  • hbob1995
    Joined:
    Hartford 8/2/76

    While I missed these smaller theatre shows, I did see the first return of the band to a large, outdoor venue, Colt Park,
    and it was awesome! Lots of craziness here as I have relayed before. Suffice it to say that somehow I ended up with a Japanese flag on a long 10" pole which I waved high & wide as instructed during the encore of U.S. Blues.

    This was also the show where one of my buddies passed out on the ground for a couple of hours. As people stepped over him they kept asking if he was ok. I assured them he was fine and had just imbibed one too many capsules. Upon awakening, he began to shimmy up one of the guide ropes of the sound tower. The guys in the tower were none too happy and they began to shake the rope to get him off! Luckily we talked him down. Crisis averted. Nothing out of the norm for one of my Dead shows! Lol

    Rock on

  • cancar
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    otis, oh totally cool my…

    otis, oh totally cool my friend. i was slow as heck on that one!! head in my butt with everything going on. be safe and have a great weekend. we are on lockdown in pa, and taking care of those that need it.

  • Sixtus_
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    I'm with You HF...

    ...on your assessment of the early part of this '76 tour. I mean, I love it all, but the first two or three weeks of this tour definitely sound different to my ears than later in the year, even the end of the summer.

    As you've noted, the early shows have this languid, loping, utterly drippy feel to them. The slower tempos obviously allow for more breathing room; each beat is seemingly stretched to it's limit with both care and aplomb. Songs are explored in new ways, providing new auditory avenues that help to open our ears and minds. By the time they hit the end of June and early July, songs were already morphing, speeding up as the summer progressed (see Eyes of the World as a good example, or even Dancin' In The Street by the time we hit Dick's Picks 20 in September). Notably different sounds, and they are already well on their way to congealing into that '77 sound.

    I dunno, I've always been fond of this period for these exact reasons. Merely a snapshot in time, but it provides an extremely unique take on the band at a turning point in their bountiful history.

    Happy Friday DeadFreaks.

    Sixtus

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During the mid-1970s, the Grateful Dead saga was unfolding like a Greek classic. The Sisyphean Wall Of Sound had nearly broken the band. From it spawned a Medusa head of countless side projects, all deliciously fruitful but woefully not the same as the whole. The chorus lay in wait, pondering the reemergence of their heroes, and wondering if "THE LAST ONE" had really been it...

But in early 1976, Apollonian light and healing would shine upon our intrepid wanderers once again. No more epic battles for the people with cops and lines and tightness, the Dead would return triumphant in smallness, playing intimate theaters and renting equipment along the way. No more ticket scams and greedy promoters, they'd give back with first ever mail-order ticket program, one that had a few kinks to work out but eventually served the fans well.

Musically, June 1976 signaled a Golden Age of harmony and prosperity for the Dead. It marked an Odysseusian-like return for Mickey Hart. Donna Jean was in lock-step with the sirens' call. Jerry and Bob delivered orphic delight with solo musings like "Mission In The Rain" (the only tour they ever played it on), "The Wheel," and "Cassidy," emboldened by group effort. There was fresh repertoire from Blues For Allah, breathing new life to the Dead's continually morphing sound - as Weir once said of the '76 tour, they wanted to play "a little bit of all of it." Old favorites were re-envisioned with cascading tempos and unique sequencing, making the crowd question if they'd ever heard these songs before. And there was comfort and joy in the familiarity of watching the band make it up as they went along. By all means, it was clear that the bacchanalia of live Dead would reign on.

And now the revelry from this epoch, evidenced by the near-studio quality sound captured on two-track live recordings by Betty Cantor-Jackson, lives on, bolstered by Jeffrey Norman's HDCD mastering. It's housed for posterity in a handsome box featuring original art work by Justin Helton. It’s documented in liners by Jesse Jarnow and photos by Grant Gouldon. And it’s ready for a spot on your shelf. 

As part of our pre-order for this Dead.net exclusive boxed set, we'll be delivering downloads of each listening party - one for each show included in JUNE 1976 - to purchasers from now until the March 20th release. Order at any time before release and you'll receive all the listening parties to date.

Individually Numbered, Limited Edition of 12,000

What's Inside:

  • 5 Previously Unreleased Complete Shows On 15 Discs
  • Boston Music Hall, Boston, MA 6/10/76
  • Boston Music Hall, Boston, MA 6/11/76
  • Beacon Theatre, New York, NY 6/14/76
  • Beacon Theatre, New York, NY 6/15/76
  • Capitol Theatre, Passaic, NJ 6/19/76
  • Sourced from Two-Track Master Tapes, Recorded By Betty Cantor-Jackson
  • Mastered in HDCD by Jeffrey Norman
  • Restoration and Speed Correction by Plangent Processes

 

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It glazed over me when I read it, but now it's sunk in - you haven't listened to the E72 shows since the box set came out? That was ages ago. What Dead do you listen to alternatively?

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Keith...no, sorry, what I was trying to say was that I haven't played the stand alone releases since the box came out. By stand alone releases I mean 100 Year Hall, Rockin' at the Rhein and Steppin' Out. Those are the ones that have been gathering dust. I play the shows in the big box a lot. Wouldn't be without it.
I haven't played the original 3 L.P. as was, Europe 72 for over 10 years.

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And also to the keepers of the peace up on that building over there with their cameras and binoculars and all that good stuff. Looking out for your best interests.

One of my favorite tapes back in the day.

Holleder stadium was demolished back in 1985.

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Wow, THAT was a lot of reading. Also hard to hear the differences when you're reading. A real bummer, I buy these "official" releases because I assume they will be the BEST mix. Hard to imagine squeezing someone out. In general though I always thought Bob was the hardest to hear, he always seems to get lost in the cymbals. On the plus side,,,, for shit and giggles I checked ebay for the steamer trunk. If you bought when it first came out you've seen the price take a hike, huh? There was someone who wanted over 2G's. All were over a G-note!

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Just something about it.. I will never forget when i got it had to meet someone at Border Cafe in Cambridge and have drinks and just staring at CD cover!! That was back in the good old days when we could go to restaurants!! Snow in Rhode Island on April 18th!!! be safe everyone bobt

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Don't know how this got by me. Guess I thought I could always make from the steamer trunk. But if the mixes are different....

Anyone out there want to help a guy out? Anyone got a copy to slip me? Sure I could buy used for 20 bucks, but I've already spent more than I should this month for non essentials. Also need to pick up essentials like smoke. I need to get a job again! (boy that sucks, kinda. Gonna be hard to find another gig in a smoke shop!)

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KeithFan, I just popped in here to take a break from reading about which versions of the Stones' early albums I need, and your end-of-post musings have now given new meaning to the title of one of the albums I was researching! :)

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Yesterday sitting on my stoop
Listening to 4 4 71
Phone rings
Principal from my school calls (spring break this week)
Shares news that son of a coteacher (kid also an 8th grade student at our school) died in his sleep thursday night
:___(((

I hang up, absorbing that.

From a full stop, the GD play GDTRFB.

completely true.

Here's a raise of the glass, and a fountain of tears, to you, Giacomo.

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In reply to by stoltzfus

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Sad news, hang in there.

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Condolences, Stoltzfus.

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Sad news indeed. R.I.P. to this child. Love & healing to the family.

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In reply to by stoltzfus

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Sent you a PM, brother.

Peace

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My favorite will always be when Garcia steps up and says, “Here is where Weir gets his wish, at the expense of everybody” right before they break into El Paso.

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Feels like all I do anymore is walk and eat cereal soaked in protein shakes. It's all good Dead time though.

Stoltzie, sorry to hear about your colleague's son. So young, so tragic.

Dead Head Brewer - I was up at 4am to let the dog out and couldn't get back to sleep. So naturally the headphones went on and fortunately there was a recommendation from the July 78 box set, so I indulged in it and some '72 Playing in the Bands. I have no idea where that concluding comment came from, other than I wanted another cup of coffee and was thinking about breasts (neither of which is uncommon, so I don't know why I found it fit for publication today).

Bobby T - Hundred Year Hall is one of my favorite album covers too. In hindsight it is strange that they didn't release the whole show. On the one hand it was a standard international release, early in the life of the Vault releases, so maybe they weren't confident they could sell a four disc set. On the other hand, if sales and marketing played into it, you would think that the 35-minute version of The Other One would have been excluded in lieu of several more shorter songs. We could speculate a while but what's the point. I love how it's mislabeled as Cryptical Envelopment. I never bothered to change it on my digital copy.

Daverock - thanks for the clarification. Something definitely seemed off. I pretty much only listen to the box set versions too. There are a couple from Steppin' Out that I put on the end of my digital folder for their respective concerts: Brokedown Palace from the April 11th show at Newcastle is one of them. It has this beautiful little piano twinkle that Keith plays right at the beginning that is much higher in the mix on Steppin' Out. I may give it a full listen today at some point. I compared the Dark Star with the April 8th box set version this morning, which I've never done before; in this instance Keith is much louder on Steppin' Out, but he's not completely left out of the mix on the box set version like he is on the example I cited yesterday on Greatest Story Ever Told / Bickershaw. Well some trivia since we're talking about the difference in mixes - you can hear Bobby cough during the lyrics on El Paso on the opening night at Wembley Empire Pool in the box set. You don't get the cough on Steppin' Out. It's these kinds of little nuances that I started picking up after I began purchasing the box set shows a la cart. Then I was just like whoa, where is Keith on some of these??? Anyway this horse has been flogged.

I'm currently revisiting the Pacific Northwest shows from 1974 to see if I really do prefer the Selland '74 Coattail Skeletons show I raved about like a looney bird last week. Cuckoo bird not Looney bird. Looney Tunes, Cuckoo bird. I should Tweety that. I can feel the glares.... trust me it's the runner's high talkin'.

I like 1974 Peggy-Os.

If I were a multi billionaire I would buy the Vault and a team of software Engineers to figure out how to isolate all of the vocals and instruments from a two track recording, so I could make multitrack mixes of all the Dead shows. It can be done I'm sure, it's just not a cost-effective endeavor, so nobody's motivated to do it. Then I would make hologram Dead and have them play to my new multitrack mixes. Then I'd take my show on the road. Oh wait wait wait wait WAIT. I forgot..... I already promised a buddy I'd hire a team of scientists to build him a lightsaber if I ever became a billionaire. Hologram Dead will have to wait.

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In reply to by stoltzfus

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....warm hugs to your colleague Stoltzie from across the internet.
My Keychain bottle openers I ordered from dead.net is scheduled to be delivered today. One for me and one for caseyjanes to fulfill my super bowl bet. (God. That seems so long ago and from a different age, doesn't it?). Sending it off next week with some regional beers. I didn't forget you casey.
Checked out that ebay Warehouse listing Dennis. I cant afford to piss away a hundred bucks either, but looks cool. In fact, that ebay seller has a few interesting listings. That Talking Heads one looks neat.

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Labor Day in Rochester, NY.
I know 'cause I was there! The Good Rats opened

Rock on

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Oops, 1979 not 1978

Rock on

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After listening to a little 2/15/73... (you know where i was)... 12/18/73 such a good show... sorry about over posting today. just bored. bob t

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Awesome post!! I cant think about Zoom without singing in the back of my head Boston Mass 02134!!

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Stoltzy, poor kid. Its horrible for any kid to be forever young. Sorry. --- Bob t.- "02134, send it to zoom!"

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....is all about timing. I was a victim. Now I'm better for it.
https://www.justgivemepositivenews.com/
"In this world of trouble, we have to love one another."
edit. That Washington Examiner commentor brought up Bucknell U. In Lewiston Pa. That exact show was brought up a couple of days ago on these boards. His post was from a couple of days ago. I still dont believe in coincidences, but that just blew my mind.
Amazing.

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I don't know a whole lot about Roky Erickson's music, but a late friend of mine Steve Burgess played bass in his band Roky Erickson and the Aliens. Steve played bass on an album called the Evil One that was released 1981.

I liked the 13th Floor Elevators a lot. Sort of a tragic tale ala Syd Barrett and Peter Green.

Still, a distinctive style all his own.

There's a great documentary floating around about his life and music, I forget the name but certainly worth checking out.

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In reply to by JimInMD

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Oh yeah

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In reply to by stoltzfus

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Watched the French Connection tonight for the first time in a long while. Great movie.

1971 was a good year

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In reply to by Angry Jack Straw

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Gene Hackman at his best. Classic flick...

To this day, I always hide my smuggled heroin underneath the sideboard of my 1970 Lincoln Continental Mark III, and I've never been busted for smuggling heroin, so trust me.. it works, pretty much bulletproof..

Interesting fact.. The French Connection was (of course) based on a true story. The real crime was committed in 1961 and the car they used to smuggle the smack was a 1960 Buick Invicta.

https://www.google.com/search?q=1960+Buick+Invicta&ie=&oe=
(I bet you could smuggle a lot of smack in this beauty as well, though.. regretfully.. this model is almost exclusively used by Pimps in the East Village these days.. sad)

Great flick, a bit dated.. but Doc would be proud, as mentioned, released in 1971 - the year of my favorite Going Down the Road Feeling Bad. But I digress, OK.. back to your regularly scheduled Drums and Space.

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"I think we're going to need a bigger boat."

Roy Scheider, Gene Hackman... real men and fantastic actors, not these bullshit lightweights they trot out there these days.

French Connection is an all-timer, as is French Connection II. And the Godfathers. I could go on...

Best,

Francis Ford Scorsese

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Don't forget goodfellas and Das boat.

Billy...to me the Elevators were one of the truly great bands of the early psychedelic era. Roky Erikson is one of the greatest rock n' roll singers I have heard-head and shoulders above singers from other white American bands of the time Their sound is primitive - their seminal recordings were made in 1966 and 1967. The Elevators live sound is quite tinny . But the few live recordings of them, from 1966 capture a fleeting moment, and for a few months during that year they were possibly the most exciting live band in America. Live they performed a lot of standards by people like Chuck Berry, Buddy Holly, but also by the Kinks and The Beatles. Their version of "The Word" on "Live in California" is my favourite cover version of a Beatles song. There was a great box set that came out about 10 years ago called "Sign of the Three Eyed Men" which gathered together all their essential recordings and included a superb hard backed book.

I actually remember the name Steve Burgess from playing on "The Evil One"-bizarre what you remember.

Jim - I have never seen that documentary you referred to. It was one of those that would only play if you had region1 on your dvd player, which I didn't and don't have. I should get that sorted out. I have a documentary here on The Charlatans that I have never seen for the same reasons.

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I took a listen to 13th Floor Elevators on youtube. Hard to hear his true voice through the mixes. I wasn't hip on the screams, but I like their sound. Reminded me of Sky Pilot. Best singer in American white band is a bold statement. Before my time so I can't comment really, other to say he had contemporaries like the Beach Boys and Jim Morrison. Best Morrison compliment I heard from a guy in the business (possibly Paul Rothchild) was that he could have sung the phone book and it would have sounded good. Just realized Rothchild wen to my mother's High School. How bout that.

LedDed it's a while since they've grabbed me, but I was a hard core Zeppelin devotee for a few years in high school and beyond (missed a college exam after being too hungover after Page / Plant show). That bastard professor didn't let me make up the exam - gave a zero. Forced me to have to get an A on the Final to pass the class. This was my last semester, so I nearly missed walking with my class. He was a young prick, maybe mid 30s. A few years lator I received a letter from the University indicating he died. I'm not usually vindictive, but I LOL'd when I read it. Zep should have toured after Celebration Day. I get Plant's rationale, but why bother with the O2 tease. I know it was a benefit show and all, but still.

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Morning all... something guided me to start my day with this... anyone know who Bob Fried was??? Just curious.. bob t
Ok... I haven't listened to this show in a long time.... If you get a chance listen to the first Franklin's Tower. the Roll Away part at the end is the most unique you will ever hear!!! Thanks Bob t

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In reply to by KeithFan2112

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Yes, saying anyone is the best at anything is a bit over the top. I specified "one" of the best, though-not the actual best. And "rock n' roll" singer, too. I am not sure Jim Morrison would pass as one. Wasn't he more of a crooner? More Frank Sinatra than Little Richard.

Probably a coincidence, but after writing about Roky Erikson, you went on to mention Robert Plant. Plant has mentioned many times that Roky was a seminal influence on his vocal style.

The Elevators were actually before my time, too-I was 15 in 1972 when I started going to gigs. But I like an enormous quantity of music from the 1920s-1971.

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In reply to by daverock

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I think it was called You're Gonna Miss Me and I think it's available on Netflix DVD (not streaming). There is a documentary on YouTube that's chopped up into three segments, but that's not it, the one I saw was professionally shot, edited, etc.

It had it it's bright moments, but he spent most of his life in poverty living with his mom, not that dissimilar to Syd Barrett except David Gilmour saw to it Syd got royalty checks to the very end. They certainly did not know how to treat mental illness in the 60's and did much more harm than good, most of it not easily reversible.

Great little documentary, IMDB gave it 7.6 out of 10. Well worth the watch.

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Bob Fried, was a poster artist. I was at that show it was alot of fun. I hope they can find the tape of it , so it can be released

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All we knew in 1975 was that the band had "gone fishing" -- maybe forever. So that summer, a friend of ours who'd been living in California showed up with a large reel of (I'm guessing 1/2") tape. Said it was a copy of an extremely good audience tape of a GD show played in June. Somehow, we rounded up a reel-to-reel machine, hooked it up to a stereo at a friend's house, plugged in a cassette machine and sparked up. It was the 6-17-75 show and it smoked, still does. It would be hard to believe that my friend's reel was a first gen copy but it sure sounded clean. It's on par performance-wise with the August show released as One From the Vault (egads, I just looked, that was released 29 years ago). Track it down if you can. It's a good time. I believe it's been "verified" that there is no soundboard, but you never really know, given recent discoveries.

Huh, nearly 30 years of vault releases. In my head, in five minutes, I counted perhaps 175 shows (partial or all) have been released in 30 years. That may be a low count. Average of one show per 60 days for 30 years. I probably have three-quarters of them. And I just realized that self-reflection on this fact (and more shows eagerly awaited) is probably not healthy.

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13 years 7 months
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Another French Connection fan here!! Man there were some really good Cops and Robber movies back then including both the more true to life like the aforementioned French Connection and the more-of-a-stretch Dirty Harry series. Heck even John Wayne traded in his horse for his own take on Bad-To-The-Bone-Tough-As-Nails-Cops with McQ. Sometimes an actor did one of each with Al Pacino starring in Serpico and Dog Day Afternoon ( of course The Godfather 1 & 2). We could include the late 60s too.

Steve McQueen in Bullit as dedicated cop on the case and later in 1972 as a Robber in The Getaway. I think perhaps Bullit may have inspired The Dirty Harry series and I read that McQueen was offered the role. Dirty Harry is like Bullit with the action kicked-up a big notch and cool one liners added in. There are too many movies to mention from back then.

Someone mentioned Roy Scheider from Spielberg's Jaws. Schneider also did a cool but lesser known N.Y.C. Cop movie called The 7Ups. Of course he was also in The French Connection.

From Jaws: I really liked Robert Shaw as Quint! Shaw created a really memorable supporting character with Quint. God bless Sidney Lumet and all of those directors from back then.

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16 years 9 months
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What a show to be at!!! Had to be awesome!!! Thanks for the info.. Bob T

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13 years 4 months
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Keithfan is 100 percent correct about the E72 mixes being different (worse) on the steamer trunk box set vs. the earlier compilation releases. Jeff Norman even weighed in on it at one point. He didn't have the budget to do a carefully considered mix on the big box, which is a crime. Those ancient tapes will never be mixed properly unless there is some kind of populist revolt (not happening). And it's not just the piano, although Keith gets the worst of it. The box mixes sound more like live-to-2-track recordings, a la Dick's and Dave's Picks. They were probably just put up on the board and mixed in real time. But don't get me started! It's my biggest GD beef. The earlier releases are worth seeking out for this reason alone. Mysteriously, as Keithfan says, a handful of the earlier mixes do appear on the box. See if you can find them.

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