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    clayv
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    "Welcome to the 10th year of the Dave's Picks series! We're amazed and humbled that this community of Dave's Picks fans keeps growing, and we just wanted to let you know how much we sincerely appreciate your support of and interest in the series. We started in 2012 with 12,000 of each release, and now we've more doubled that, with 25,000 in 2021. Wow! We keep working as hard as we possibly can to bring you the best, most exciting Grateful Dead shows in the vault. Our 2020 releases included music from 1977, 1974, 1984, and the latest, biggest release yet in the series, the two complete Hartford shows from 1987. Looking ahead, we've selected two exceptional, A+ Dead shows for Vol. 37 (more on that in the video below) and 38, as well as the Bonus Disc that will come with Vol. 38. Big year ahead! As we head into the 10th year of the series, there's no end in sight. We love what we do, and have loads of plans and ideas for the next few years. Onward to more great music!"

    David Lemieux
    October 2020

    Times may be trying but the music has never and will never stop! Keep the momentum going by doing the Dead all year long with a Dave's Picks 2021 subscription. We're taking the production run up one final time - to 25,000 - for each of the four Dave's Picks 2021 releases. We'll also be doing things a wee bit differently this year - subscribers will be the first to receive their Dave's Picks. A la carte sales will go up on street date (no more pre-orders) and if you don't subscribe - we highly encourage you to - you'll want to be ready and waiting because these releases sell out within hours. Hours - no hyperbole.

    In addition to the four releases in 2021, totaling 12 CDs, you’ll also get the subscription exclusive bonus disc, which has proven to be one of the most highly sought-after collectables we release, and free domestic shipping. Subscriber bonus discs will not be released outside of this offer. Early bird subscribers can nab a sub at $99.98 (regular pricing will be $115.92).

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  • #721
    hendrixfreak
    Joined:
    Need-a-new-release syndrome...

    If I recall correctly, the apogee of this syndrome occurred perhaps 5 years ago when the discussion veered toward whether to let the mashed potatoes touch the pork chops as one chowed down on dinner.

    Blew my mind. Yet, I'm still undecided on that point....

    Next up: the DaP 38 reveal, sometime in December, which starts Tuesday. I'm all ears. And looking forward to that flamethrower discussion... if we have weeks to go to word on DaP 38, I'm all flamethrower all the time.

    Whatever that means.

  • #722
    JimInMD
    Joined:
    Guitars Hand Grenades and Grateful Dead

    It's all about the aim, Oroborous.. When used properly and with good aim, hand grenades will cause no harm to the vermin that annoy you and will usually convince them to relocate to a different part of the county. The same can be said about deft usage of a high quality, accurate flamethrower (which gets considerably harder when the mice make it indoors..) perhaps a topic for another day perhaps.

    I knew you techies would have more to say on tone and style over the years. Interesting discussion, many thanks.

    A little more on the modifications made on the Nash Strat over the years.. the first guitar Jerry began to heavily modify.

    https://www.guitarworld.com/news/jerry-garcias-alligator-fender-strat-i….

    When vermin control takes center stage.. yes, we need a new release.. (or at least word of what the new release is going to be)

  • #723
    hendrixfreak
    Joined:
    I think I inadvertently dropped a grenade...

    Okay, a couple comments. Yes, Oroborous, the flip side of getting different sounds with different guitars is the way a player can sound like him or herself on different axes. True and good point.

    Um, Keef has 500 effin' guitars?! Okay, that's just ONE TOO MANY.... 499? Okay. But 500?? That's just over the top! (Confession: I have three useful acoustics; my fav is a Martin D-35. I have five electrics and have been playing the '64 Gretsch 6120 hollowbody a lot lately, and the aforementioned SG in open D.)

    Lastly, LedDed, I too -- if forced -- would pick Jer's Nash Strat on the Euro tour as my favorite sound, but you're right, one can't separate the Strat from the peak music and improvisation.

    I do own an American SG and an American Strat and love playing both (if crudely). I'd say, the Fender needs more power to achieve its signature tone, while the SG kinda needs to be restrained. The SG was more expensive and I feel the components are of higher quality. To me, the SG stays in tune better. I can tune from standard to, say, open D, on the SG for some fingerpicking and the SG holds the tuning more accurately than the Strat.

    Of course, Jer's choice of instrument -- as someone pointed out -- also must be evaluated/enjoyed in relation to the instrument choices of the rest of the band, particularly Bobby. And yes, I liked Bob's ES335 tone best in the Euro setting. Gawd, what a tour! Maybe time for another full show from that insane run. I still marvel that me and two pals took 2 1/2 years to work through that 22-show box. Some of those four-disc shows required sleep-overs, though I do recall a few moderately perilous drives home after a 3 1/2 hour Euro show.

    Good stuff. What's next? Oh yeah, DaP 38 (big '73 show) and that 2021 fall '72 box! (I need to get out and socialize, obviously....).

  • #724
    daverock
    Joined:
    Guitars

    I wonder if Jerry changed guitars at all during individual sets? He doesn't seem to have done, although as I write this, I do have a distant memory of him changing to a strat for Space in one of the late period dvds - maybe in the View From the Vaults series.

    I agree that Bob's guitar playing sounded much stronger when he was playing the Gibsons. Watching that Egypt show, one of the factors I am not so keen on is his sound. It looks as though he is playing an Ibanez. The sound is quite cheap and tinny. And if that wasnt bad enough, he also plays lot of slide on it.

    Imagine what Jerry could have done with a guitar like the one pictured to the left of this message. Big River etc could have really shone.

  • #725
    Oroborous
    Joined:
    UJB playing to the times

    LD, I agree with much of your post Sir, but feel I must respectfully disagree and provide rebuttal about the slanderous over generalization about JGs diminishing skills, sloppiness, and laziness in the eighties.
    I will fully agree that his personal issues and overindulgences could negatively impact his proficiency at times.
    But I believe he, like most that play that much for that long, continued to grow in versatility, ability, and knowledge.
    Yes the overall arrangements and cohesiveness of songs was affected due to lack of band rehearsal, they’ve all admitted to that, and yes this could be attributed to him, and yes he unarguably had occasions of terribleness, but even during his worst times he always had a guitar with him...name a era and his M.O. was always a tv, a guitar, a pack of smokes, and yes sometimes other more destructive things. But he always kept playing! His supposed only complaint about E72 was they didn’t play enough. He always played as much as possible, and when you did get the real deal I argue he was continually evolving.
    As far as gizmos and distortions;
    1) he always loved that sort of thing, there just was way less reliable stuff back then, and
    2) they always played to the times!
    Whether consciously or not, from sixties psychedelic, to early 70s “country” rock, disco, to yes, harder rock, they always tastefully reflected the times without selling out or over doing what was en Vogue. So I think his use of such was for these reasons rather than being “lazy and sloppy“.
    Personally, I argue they OVERALL became a more professional, including lights and sound, band. There were times in the seventies when they'd tune before almost every song, for longer then the song, and still be outta tune. That didn't happen much later on. They’d tune less often and in less time.
    Certainly everyone has preferences and is entitled to their opinions, I’ve just never liked generalizations, either pro or negative. No offense, for the sake of conversation just contesting that point.
    Peace!

  • #726
    LedDed
    Joined:
    Close Encounters

    Remember, close only counts in horseshoes and hand grenades.

    Chiming in on Jer's ever changing stable of axes, the best playing I ever hear out of him is on Europe 72. The whole tour, with Bickershaw Festival being to me the all-time high water mark for both he and the band. That cream colored Strat originally gifted him by Graham Nash is my all time favourite Jerry sound. But it goes hand in hand with his playing; he was then at the very height of his powers.

    Gibsons, to me, sound fuller and thicker than Fenders due to their humbucking pickups (sometimes P90's) which tend to be less trebly. The stock single coil bridge pickup on a Stratocaster will slice your head clean off. It's a nearly useless sound... got to at least get into one of the clucky positions between bridge and mid, or neck for a little more warmth. Unless of course you're playing surf guitar or country twang.

    Gibsons also generally prefer heavier strings, .010's at least due to their shorter scale length, whereas your typical Strat-style is usually set up for .009's. This is the gauge of the thinnest, high E-string for the uninitiated. The heavier strings also stay in tune better, along with the hardtail or stop-tailpiece/bridge on a Gibson. Fenders tend to be harder to keep in tune particularly if one uses the original tremolo bar mechanism (just listen to Hendrix live). Unless your name is Jeff Beck or David Gilmour, and you are a tone magician of the highest order.

    There are exceptions... Stevie Ray Vaughan played with very heavy strings on his Strats, got a fat tone and generally stayed in tune. Stretching your strings is also one of the most important things in keeping an axe in tune throughout the rigors of a live set.

    Jerry began putting a lot more gizmos into his signal path as time went on and his skills diminished, as well. He began to hide his sloppiness and lazy playing behind a wall of distortion and effects throughout the later 1980s and especially into the 1990s. Hell, Brent even began taking solos that used to be the exclusive territory of one Jerome John Garcia.

    I still love all the music, and I enjoy Jerry in his later years, but nothing tops the man on fire around E72 era for both tone and technique. I also like Bob backing him on on the ES335 before he went all trebly and transparent, a sound that he maintains to this day.

    \m/

  • #727
    Oroborous
    Joined:
    Guitars and Cadillacs and hippie music...

    Sorry Dwight lol.
    HF your both correct and not...
    What you said is true, but I’d argue that an instrument pared with the right player can plug into any rig and do there thing! Conversely, much of the sound/tone that we dissect is due to the technology. Like can you imagine what JG would of sounded like on Live Dead plugging that SG into his 1990 rig? And to those that hate the midi etc, do you really think they wouldn’t have used the technology in 1969 if it was available? So it’s a complicated interesting thing.
    I do like the biting sound of the SG in JGs hands, but it’s often too thin sounding to me via others use. That was another of his great qualities; getting awesome tone and finding ways to make what ever axe he was using sound better than the same one used by others.
    My only problem with the Gibson’s etc, was they were out of tune too much. Just like some folks can’t take his vocals after “x” (critics can fill in their date) It’s hard for me to listen to out of tune guitars and vocals. Now I’m not talking the occasional instance, but when I notice enough instances during a particular show that it colors my recollections it. Unfortunately, this is why I dont dig 70-71 as much as most. Great set lists, ultimate creative period, amazing versatility (acoustic, pedal steel, and electric all in one night...foe git about it!) but sorry to be a bummer but a lot of that era is outta a tune! The vocals are more noticeable on 2 trac only, as multitrack allows later manipulation and blending; just listen to the awesome new Capital theater releases! I wonder if they’ve used a touch of auto tune to clean em up too?

    Eventually, the advent of the electric tuner would help, but if instruments don’t stay in tune while your playing.....
    This was one of the big reasons Bob and Phil started using Modulus Graphite instruments; The carbon fiber wasn’t as susceptible to extreme temperature shifts etc so they stayed in better tune.
    So it’s a the ole yin yang again; you love the era but have trouble with the tuning etc, or you love the more professionalism, sound, and effects, (and yes I think they got way more professional as years went by) but you don’t dig the R&R Cocaine train energy etc....that’s our boys, never perfect, but always great! Lol
    Speaking of the Bean, I believe it’s more the equipment that your referring too as the purpose of the Bean with its metal neck was to facilitate huge sustain (density of wood does so too, but not as much as metal!) Reverb wouldn’t be a characteristic of an instrument but a product of a reverb unit or setting on the Fender Twin Reverb and ultimately the room. Both kinds would be affected somewhat by recording techniques.
    My understanding of the main reason he used the Beans was to supposedly have more reliability on the road. Not being fully customized you’d be able to carry replacement parts could be easily swapped out on the road, where as the Irwin would have to go to the shop. I don’t dig the Bean as much as I used to, but again, if you plugged it into later years it probably would not have the same issues...
    All that being said, I like the Tiger best! I loved the Wolf, but the Strat has really grown on me over the years, again more because of the hands it was in than it being a Fender. Totally dig the Gibson’s for the more hard rock 60s psychedelic sound, and with the extra distortion you don’t notice when outta tune as much, but as I say it’s hit or miss for me later on, but that’s just me...
    Didn’t dig his later years sound as much but that’s more a product of the tech involved than the instruments.
    I thought contrary to the company line that when they stopped using actual speakers on stage and ran direct even with the speaker simulators it didn’t sound right. I understand totally why they did it, and it did help to address those concerns, but I think it lost some of the naturalism and that perfect R&R blend of clean and dirty etc, but agin, that’s just me....I thought they started getting too convoluted near the end and sounded too plastic? or clean and not enough like a R&R band. I know this is why Doc and others love 71 so much. That hard slightly dirty, not so techie R&R sound that became too clean for some. The sound of a bar band pushing the timeless simple set up of a good tube amp slightly overdriven! Like the sound that sucked me in: Johnny B Goode from Skullfuck! Tasty !
    But my favorite everything GD wise will always be 89-90 because of the versatility to be able to get the whole sonic spectrum, but again, that’s just me...(Interestingly, JGs core infrastructure, unlike Phil and more so Bob, didn’t change that much after he started using the Twin/MC 2300/ JBL E120 set up, just the effects etc changed)
    Ultimately, the truest form of greatness is the ability to plug into anything, and immediately be recognizable because of the signature uniqueness, tone and style!
    JG of course, Hendrix, Page (usually), Clapton (usaully), Santana, Miles, hell even the edge and Slash. You can tell the great ones instantly!
    Lol, ok, sorry, too much coffee and nothing to do here too!

  • #728
    Oroborous
    Joined:
    Advice and Vermin

    Uncle Sammy is both humorous and right on about vacuuming being best, but I’m curious if you have a special device? I’ve only tried my household vac with the smallest attachment, which helps, but doesn't really do the job. That’s where I find using the air to blow out the hard to get stuff in conjunction with vacuuming is best, but I need to investigate some sort of small precision vacuum?

    CONEKID: wonder what kind of range it has? I need something like that for prairie dogs, moles and field mice, not to be mistaken with Mayor Field!
    I was looking into water guns but was disappointed by the inherent idiosyncrasies of most, and that the one that would of worked is no longer available except on the black market for too much...
    I don’t want to kill em for various reasons, but I’ve read that if you make them not welcome they will retreat a bit which is all I’m looking for: “damn kids, get off my lawn!”
    I need something quick; as the enemy is lightning fast!, versatile, most importantly accurate with enough range and power to get the job done but not so much I’m killing them? Currently I try and hose em but their so damn quick and smart that I don’t often get a good shot...“Remember, to kill the gofer you have to be the gofer!”

  • #729
    daverock
    Joined:
    Gibson SG

    That is my favourite Jerry Garcia tone-the one recorded on Live Dead. It seemed quite a popular choice on the West Coast in the late 60s-incredible tones on the same instrument by Barry Melton, and especially John Cippolina..
    The other ingredient in defining sound is the player, of course.
    One of the interesting things about watching a post 1989 Stones show is how often Keith Richards changes guitar within one set. He typically plays various telecasters-some in open G with only 5 strings, to Gibson 335s, to Les Paul Juniors to strats. I think he's got about 500 at home.

  • #730
    JimInMD
    Joined:
    Ok

    The SG is in, I had to sleep on this one.

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"Welcome to the 10th year of the Dave's Picks series! We're amazed and humbled that this community of Dave's Picks fans keeps growing, and we just wanted to let you know how much we sincerely appreciate your support of and interest in the series. We started in 2012 with 12,000 of each release, and now we've more doubled that, with 25,000 in 2021. Wow! We keep working as hard as we possibly can to bring you the best, most exciting Grateful Dead shows in the vault. Our 2020 releases included music from 1977, 1974, 1984, and the latest, biggest release yet in the series, the two complete Hartford shows from 1987. Looking ahead, we've selected two exceptional, A+ Dead shows for Vol. 37 (more on that in the video below) and 38, as well as the Bonus Disc that will come with Vol. 38. Big year ahead! As we head into the 10th year of the series, there's no end in sight. We love what we do, and have loads of plans and ideas for the next few years. Onward to more great music!"

David Lemieux
October 2020

Times may be trying but the music has never and will never stop! Keep the momentum going by doing the Dead all year long with a Dave's Picks 2021 subscription. We're taking the production run up one final time - to 25,000 - for each of the four Dave's Picks 2021 releases. We'll also be doing things a wee bit differently this year - subscribers will be the first to receive their Dave's Picks. A la carte sales will go up on street date (no more pre-orders) and if you don't subscribe - we highly encourage you to - you'll want to be ready and waiting because these releases sell out within hours. Hours - no hyperbole.

In addition to the four releases in 2021, totaling 12 CDs, you’ll also get the subscription exclusive bonus disc, which has proven to be one of the most highly sought-after collectables we release, and free domestic shipping. Subscriber bonus discs will not be released outside of this offer. Early bird subscribers can nab a sub at $99.98 (regular pricing will be $115.92).

How many Daves are releases of outdoor shows, and how many are indoor?

Perhaps Greek shows will released as 40th anniversary series.

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Submitted by deadmike on Sun, 10/25/2020 - 00:09

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Yes, I would love to see 6-9/10-73 released, as Dave's Picks or a box set it doesn't matter. The 6-10-73 show was one of my first tapes in early Spring 1985, after having my first tape traders ad in the fifth issue of The Golden Road fanzine. I listened to that show several times and it was actually the first time I heard a longer Playin' Inte The Band apart from that on Skull n Roses. I loved it and it totally blew my mind. I go back from time to time and re-listen to it. It still blows my mind a bit.

Other than that I don't have any special desires for releases that I can think of, except the usual about Fall 1966 to Fall 1968 bits and pieces thing. Well maybe some hot shows from Summer to Winter 1970 but I guess there aren't that many of those in the Vault or anyone could have been included with the 50th anniversary Workingman's Dead album.

As for those of you who requests more shows from 1980's and 90's, it feels like Dave has gotten a taste for those after this Summer's Shakedown Streams. I may be wrong but that's what I feel "in the air". Myself I'm not a big fan of about 1986-95 but I do appreciate really good inspired shows to a certain degree from that era.

Micke Östlund,
Växjö, Sweden

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Submitted by simonrob on Sun, 10/25/2020 - 04:11

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The subscription early bird price plus the International shipping charge that was necessarily added to my order came out to a sum that is 5 cents more than the regular subscription price. Just my 5 cents worth, I guess.

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Submitted by CaseyJanes on Sun, 10/25/2020 - 05:18

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Very cool...and looks like a good complete kit for 1 small batch of tie dyes. That said if you want more bang for your buck I would recommend going out to Grateful Dyes or Pro Chem and buying your own stuff. You can also buy Ts from Jiffy shirts for very low prices. Looks like this stuff is from Dharma which is great, however last time I checked they are out of a lot of inventory including many shades of Dye. I’ve spent the last 6 months learning this craft. I’m not an expert by any means, but if anyone wants any tips or has process questions, I’m happy to help. There are also some really great Facebook groups out there that are super informative and filled with other artists who not only share their creativity, but are also willing to share design tips and processes. You tube of course is also a great place to learn.

Did anyone participate in RSD yesterday? I picked up some great stuff...here are a few:

Miles Davis: Double Image From Bitches Brew Session.....fantastic - most definitely could have been released on its own and arguably would have done just as well as the original...If you like jazz make sure to pick this one up. You will not regret it. Also, so as not to pay scalpers prices, I heard they were still available on the Miles Davis website as of yesterday evening.

An Evening With The Allman Brothers Band (very nice pressing that sounds amazing from 91/92 era with Warren Haynes

And of course the crown jewel, GD 05/09/77 Buffalo. The packaging looks so beautiful, I don’t even want to remove the shrink wrap. The hype sticker states that it contains arguably the best recorded versions of Help>Slip>Franklins & Comes A Time...which I can’t help to agree with. If I had to pick just one Grateful Dead show as my favorite, I think this would be it! Will need to set aside some time to give this one my full enhanced attention!

Happy Sunday Funday!

KCJ

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Submitted by SPACEBROTHER on Sun, 10/25/2020 - 09:45

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I think there are still plenty left from most every era. The Arc, the 4/71 "Skull Fuck" run, July 72, RFK & Kezar 73, what I predict will be a Dave's Pick....12/18/73 Tampa with bonus disc filler from the rest of 12/19/73, jumping ahead to Warfield & Radio City Music Hall 80, Greek 82-84 & 85, Red Rocks 87, Laguna Seca 88, Alpine 89, Spectrum 89, Forum 89, Cal Expo-Shoreline & Eugene 90, Tempe & Denver 90, 4/1/91, 9/26/91, 6/23/93, Spectrum 9/13/93 and 3/30/94 Omni.

Incidentally my 1st show was 7/1/84 Pine Knob. A decent show in a strong run that started late June through Greek 84.

Not even on Dave's radar....yet....or maybe it is?....one could only wish.

For attended shows I would love to see 4/5-6\89 Crisler Arena released. Very epic experiences and performances. They truly live up to the memories!

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Submitted by nappyrags on Sun, 10/25/2020 - 11:38

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I'm in...I mean ya can't bitch otherwise, right???

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Submitted by Crow Told Me on Sun, 10/25/2020 - 13:33

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... not necessarily in that order. Both are firsts for me.

You can guess why I voted by mail. And you can maybe guess why I finally subscribed: it's gotten kind of expensive to buy Dave's Picks individually, especially if you have to go to eBay or whatever. But also I think my tastes are expanding. There was a time when I wasn't much interested in shows from the '80s (even though that's when I went to the bulk of the shows I saw) and certainly not the '90s, but comes a time when you start to see things differently. I'm still an early '70s guy, but I'll be pleased to add some '84 and '87 to the mix.

While I'm here, let me add my voice (croak? crowk?) to the chorus of people suggesting that a box set of the Winterland '74 stuff.

I can imagine some reasons why this hasn't happened yet. A lot of the material has been issued on Steal Your Face and the GD movie soundtrack. Neither of which seem to have the greatest of reputations, which is a bafflement to me. I was listening to the soundtrack last night, and was just blown away by the sound quality and the intense, interactive nature of the playing. Blown. A. Way. So please, the Winterland '74 box must BE.

I watched it last night and there was some grate playing. Add in the bonus DVD, and it confirms that we need the entire run released.
I set the audio on the new mix instead of the original theatrical mix and it sounded really nice, especially since the level of the bass drum was reduced relative to how loud it is on the movie soundtrack CD’s.

Dave,
Plangentize and Normanize the audio and make BluRays of all the video.

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Submitted by wilfredtjones on Sun, 10/25/2020 - 15:36

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I was going to ask if that critical review of 4/15 was a Brian Dyke joint. It turns out it is, so no surprise...that guy was so unsparing in his reviews!

There was a little chatter about this on the Hoffman forum. Mike S said, "That reviewer is objectively wrong. Go listen to the show on relisten.net."

So there's that.

Or you can trust the carefully chosen words from dead.net's own jungle trained Shaman, Proudfoot. "Fkthahtgueye." Not sure what means, clearly wise words spoken in an ancient Amazonian tribal language.

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6 years 10 months

Submitted by Maine Dave on Sun, 10/25/2020 - 19:20

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But for tonight's Sunday Night Football matchup between Seattle and Phoenix, I'm listening to 10/17/83 at Lake Placid NY. This is a great show!

Sweet Sugaree opener... nice Little Red Rooster... Hell, Deal, Touch are all solid... To Lay Me Down always gets to me, and this is no exception. 2nd set is solid if not spectacular, and they end with Revolution. Worth checking out IMO.

That is all... Stay safe everybody.

EDIT: That Deal to end the first set is SMOKIN'.

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Submitted by SPACEBROTHER on Mon, 10/26/2020 - 09:04

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Wish I would have known that was available.

I did receive my DaP 36 shipping notice.

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4 years 2 months

Submitted by InfiniteJest on Mon, 10/26/2020 - 10:59

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Looking forward to some good music discussion, im just going to jump in out of left field! I have a pretty deep physical collection and have subscribed for years now and blah blah... but i have to say the new dicks 26 on vinyl from RGM sounds incredible! Also , i scored the last copy of 5/9/77 vinyl box at one of my local Record storeS( wax trax in Denver);i got there about 9am with about 15 people out front , and i see 1...2...3....4...5.... people walk out with a copy and I finally get in and theres one copy left on the wall, score! But I unfortunately missed the Miles Davis double image record store day release, but 5/9/77 was my main focus, so i was thrilled anyway! And let me say it sounds amazing !

CaseyJanes and FLIP4333-I haven't bought this yet, but I am hovering. Very tempted by reports of the sound quality and it is my favourite show of 1977. The Mile s Davis outtakes from Bitches Brew look worth a punt, too. I would also like the vinyl Dicks Picks 26 - but not at that price!

I didn't buy a record for this RSD. For the last two I lashed out on Gong Live at Sheffield 1974, which is sky high, and Hawkwind Live at the BBC 1972 which is also good-although it would be better if you could hear the guitar.

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Submitted by Deadheadbrewer on Mon, 10/26/2020 - 12:55

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Jay, it looks like you joined this chat group four years ago today . . .

I looked at the then-available DaP print long and hard, knowing it would be gone in hours, but just couldn't pull the trigger.

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Submitted by Crow Told Me on Mon, 10/26/2020 - 13:15

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… that you have to get up too damn early in the morning to get the good stuff. Unless you’re rich.

What with the pandemic and all the business closures and whatnot, a lot of the places where I used to buy vinyl are no longer with us. The one place I can still go now draws people from all over the region, and every RSD there’s a line of guys waiting outside for 3-4 hours before they open at 10 am. As much as I would have liked to score a copy of the Buffalo ’77 show on vinyl, I’m not going to camp out on a sidewalk for the privilege of paying $140 (or whatever the list price was) for it. Especially not when I have the show on CD. Still, it would’ve been nice to have …

It’s a shame that so many copies of these limited edition sets seem to go to people who are just going to “flip” them for a profit. Looking at eBay this morning, there are about four dozen copies available, the cheapest of which are about $185 with shipping, with some listed at $250-300. I’ve got a hunch that a lot of those people who camp outside stores for RSD releases are just doing it to make money on eBay.

Crow told me, I totally agree with you! And just a clarification im not a big fan of " flippers" , my handle flip is for Phillip, your "flip" didnt go unnoticed, jeez man relax, lol.

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Submitted by Deadheadbrewer on Mon, 10/26/2020 - 13:52

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Proudfoot, not only did I heed your advice to check out the pre-Drumz second set of 10/08/84 without looking at the setlist, but I checked out the entire show! You were correct, sir--that pre-Drumz stretch is killer. The entire second set sounded very good to me, and the Deal to close out set one was fantastic!

So then I went and listened to the rest of 4/19/84, and then all of 04/21/84. This entire Philly run was pretty darn Grate, to my ears.

I've often wondered if folks would really treasure late 1983 and much of 1984 if Betty had been around with her magic reel-to-reel recorder? Once my brain adjusts to the sound quality (and a few extra flubs), some of 1983 and 1984 really floats my boat. I think that if we had great analog tapes from the 80s, many Heads would be whistling a different tune about that era.

Be kind. Rewind.

p.s. Here's a somewhat-newer upload for 04/21/84 that sounds (to my ear) a good deal better than some other versions I tried:
https://archive.org/details/gd1984-04-21.137273.5-1.tobin.flac1648/gd19…

You can get them on Amazon, for the same price they are in shops on the day in question from what I can make out. No need to camp out.

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Submitted by JackstrawJay on Mon, 10/26/2020 - 16:17

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I've been away from this site for awhile, until just the other day....getting pumped for that GS 1971 release. As we all know: Garcia made magic even better than the imagination. He helped us connect--connect the human spirit, over and over, again and again, through tabs and pages (of wisdom, rekindling reincarnated memories and passions), where we communicated and saw each other's thoughts written across the faces of crowded shorelines, into the sphere where the audience unites.... Today, decades after his transition, we continue to relive the endless dream. THANK YOU, JERRY "...but they should never have taken the very best..." (J. Baez)

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Submitted by SPACEBROTHER on Mon, 10/26/2020 - 20:10

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Just received shipping for that too. Dap 36 will probably arrive first.

Not really a big vinyl consumer, though have picked up a couple here and there. Regarding RSD I hold out hope that some of those come out on CD. The Miles Davis set in particular would be really nice.

Kind of surprised the 7 inch Singles subscription sold out. Havent ordered any of those but this last year was tempting. More bummed to miss out on the poster.

I have a pre-order out for the 50th Anniversary of the Bath Festival in England Box set. Looks as epic as Woodstock. Curious if any veyetan Euro DeadHeads from here were in attendance? That line-up is epic.

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Submitted by Deadheadbrewer on Mon, 10/26/2020 - 20:37

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I'm wondering if there is just something wrong with the page/item; it doesn't mention "Sold Out". I have subscribed every year, even though I don't have a turntable. The numbers on the singles I've received are always so low that I assumed that not that many subscriptions were sold. And some of the singles were on sale for months. I would be bummed if I missed out on the final year because I waited eleven days to sign up.

Horribly marketed.

I tried to get them.. got the first year or two.. then did not get the Ripple year for some reason, probably my fault, but I got two of the year before so thought the subscription covered my bases for all of them. My bad.

Then I realized I never gave a flying poop about the studio singles. You get discs you will likely never, ever listen to with some cool artwork and that's that. If they made it hard enough that I missed out to get essentially studio recordings released decades ago that I will honestly never.. ever.. play. Then screw them. I have no interest anymore.

Rant over.. at this point I don't see the big deal. My opinion, not to be confused with fact.

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Submitted by simonrob on Tue, 10/27/2020 - 02:50

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I was there and you are correct in your assertion that it was epic. Certainly there were more bands at Bath 1970 that I wanted to see than there were at Woodstock. People always rave about the Isle of Wight Festival 1970 but I reckon the line-up at Bath was better. I have seen the lowdown on the 3CD box set that you refer to and it looks pretty good. There were just so many wonderful moments - too many too list here - but, being in England the weather took a turn for the worse towards the end which was a shame. Naturally, we all got to participate in a Fish Cheer, courtesy of Country Joe McDonald. I got a second go at the Fish Cheer two years later at Bickershaw whilst waiting to see the Dead. Ah, nostalgia.

The bible of British Festivals can be found here: http://www.ukrockfestivals.com/

More specifically, the Bath Festival of Blues and Progressive Music 1970 can be found here: http://www.ukrockfestivals.com/bA1.html

For more on the upcoming box set, go here: https://www.musicglue.com/bath-festival-50th-anniversary-box-set/

Simonrob-interesting websites on British Festivals. As I have said before, I missed out on the golden years. I went to a couple of the Deeply Vale Free Festivals in the North of England in 1976 and 1977 and Glastonbury in 1978-which was the smallest one held there. It was quite miserable, not helped by the fact that I got busted while wandering about. It looks very impoverished on the photos-a gaggle of long hairs huddled together in a field.
Of the bigger ones, I saw Pink Floyd and The Stones at Knebworth in 1975 and 1976 and Reading 1977. I always liked the idea of festivals more than the reality.
Phun City 1970 looks like a blast-and seems to have been filmed, although apparently only the MC5's set has surfaced as a recording. Not that I have ever come across it.
That book mentioned on one of the sites by Andy Roberts-"Albion Dreaming" is a good book on the culture of that time.

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Submitted by CaseyJanes on Tue, 10/27/2020 - 06:32

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I had no problem adding these to my cart so I’m assuming just a tech glitch earlier. My disappointment is that they are ending the series. To your point Jim, I have collected them all and none of them are opened. I’ve secretly told myself that the only way I’ll ever open them will be if one day I get myself one of those old juke boxes that plays 7 inch records and have it all decked out and refurbished in full Grateful Dead regalia. But now, I guess my dreams are a dyin’. And again to Jim’s point about the listenability of these, they are mostly just a novelty. And the lack of heavy sales for these, especially as they mention there is still ala carte inventory on the shelf, probably spelled the end for the series.

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Submitted by docmarty on Tue, 10/27/2020 - 06:39

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Just be aware these will probably be audience recordings
I bought the 'Freddy Bannisters Festivals 69-79' boxset a few years ago which includes cds of all the 1974 Knebworth sets. These are all audience recordings of pretty variable quality.
Reading the blurb of the 1970 Bath box it says they are 'restored'
Perhaps if anyone knows more they could comment

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Submitted by simonrob on Tue, 10/27/2020 - 07:31

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A quick perusal of the website I linked earlier reveals that all recordings that are known to exist are indeed audience recordings. I have not heard any of the recordings myself but I can imagine that they are less than perfect given the technology of the day and the prevailing conditions. They may have been restored, but there are limits to what is possible (think Grateful Dead 1980's shows recorded on cassette tapes). Simply put, a turd remains a turd and cannot be polished. 💩

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Submitted by hendrixfreak on Tue, 10/27/2020 - 07:36

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Looked at that lineup ... and the audience shots of rain and mud. Bath had it all: tons of great bands, big scale, tons of mud and ... no doubt some misery amidst the joy.

Spells out the difference between a 15-16 year old wild kid who wanted to be "there" and my sense as a 60-something that I'd never engage in that sort of activity again. Not that there's the opportunity. Though it occurs to me that, "post-virus-world," whatever that will be, I might make a 20-band festival just to be out and about once again. On the other hand, naaahhhh!

But '68-'70, festivals really happened. My own experience was limited to a two-day Watkins Glen deep dive and that was enough. Still: the Bath Festival! Great stuff.

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Submitted by mcgrupp216 on Tue, 10/27/2020 - 07:42

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Two questions: We still on for November? How much productivity will be lost as a result?

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Submitted by billy the kid on Tue, 10/27/2020 - 08:00

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36 years ago today I was at the Berkeley Community Theatre for the start of a great run with the Dead. This was the best run the Dead did at the BCT in the eighties. This is where taping was first officially sacnctioned. Rick Griffin was selling a fantastic poster outside. Big fun.

singles? from the studio? not my thing, either. I'm sure some get wood over them, but...meh...

At this point, only live shows are worth my time and money.

I bought WD and AB 50th for the accompanying shows, not the albums themselves.

anyway...10/14/84 plays

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Submitted by Deadheadbrewer on Tue, 10/27/2020 - 08:41

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Not that Jim or Proudfoot is interested! :)

Casey, the reason the series is ending is that the GD released only 21 singles in their career, so after the 2021 batch, all will have been re-released.

I did not get them originally, but started collecting them because the art on them very much appeals to me. They are unopened, but look great in the GD Room on the GD Wall Unit. Someday my children can fetch a decent price for the singles on Discogs.

p.s. I've gone down the '84 rabbit hole, and am now enjoying 6/30/84!

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Submitted by direwulf on Tue, 10/27/2020 - 09:03

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Wanted this one bad. How in the hell do I get Dead.net emails in a timely manner?! I've subscribed since the first year and still get notified far after the fact when new items go up on site. Emails are not sent to spam folder just seem to arrive hours after the original announcement. How can emails not go out simultaneously to an entire mailing list? Lame.

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Submitted by Crow Told Me on Tue, 10/27/2020 - 09:21

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... because that kind of defeats the whole purpose of Record Store Day. Which was to provide special, limited edition products to small independent RECORD STORES as part of a way of getting people to visit and spend money in local RECORD STORES. If those special releases just wind up going to Jeff Bezos, then RSD has only brought us another step closer to the day when Amazon has wiped out all your local independent retail (while paying no taxes, I might add).

But one way or another, a fair number of GD RSD special releases do find their way onto Amazon. Often that's because some "flipper" bought it and posted it for sale at an enormously inflated price. Checking Amazon just now, I can see that if you want the July 2020 Winterland double lp, you can buy it on Amazon from "Bo Value" for a mere $645. You can buy the Warfield double lp, which I think was $29 from Dead.net, priced from $93-152, from various Amazon sellers. There are also a few supposed "RSD exclusive" releases available directly from Amazon Prime (which is weird because it's not exactly an "RSD exclusive" if it's being sold directly by Amazon) and you can buy them if you want to pay $194 for the PNE double lp or $247 for the Fillmore '69 thing. The Buffalo 77 set that I complained about missing out on is not on Amazon AFAIK.

Ah well. I suppose that flippers, kind of like ticket scalpers and dope dealers, are an inevitable part of the capitalist ecosystem, so I shouldn't let it piss me off.

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Submitted by simonrob on Tue, 10/27/2020 - 09:42

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It was not as bad as the pictures may suggest. As I recall the only seriously bad weather occurred on the last evening. Jefferson Airplane cut short their set because they were getting electric shocks because the rain soaked their mikes and guitars. Subsequently The Byrds played an acoustic set and The Moody Blues didn't play at all. Apart from that I don't recall any great degree of discomfort. Certainly Bickershaw had worse weather.

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