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    clayv
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    "And with this incredibly tight batch of prime 1987 Grateful Dead, we’re thrilled to bring you Dave’s Picks Vol. 36, matching the number that will be forever tied to Dick’s legacy. Thanks for sticking around this long, and for joining us through these past nine years of archival live Grateful Dead releases." - David Lemieux

    We're doing things a bit different for this one - two complete shows on four CDs, bringing you one of Dave's faves and what very well could have been one of Dick's Picks. Yep, back-to-back nights from peak era 80s - the furthest we've gone into the decade, in fact - that will bring you to joyful tears. DAVE’S PICKS VOLUME 36: HARTFORD CIVIC CENTER, HARTFORD, CT (3/26/87 & 3/27/87) delivers emotional takes on tracks like "Row Jimmy," "Black Peter," Uncle John's Band," and serves up a hit list of covers ("In The Midnight Hour," "Good Lovin'," "Desolation Row," "Promised Land," "Little Red Rooster," "Morning Dew," Johnny B. Goode") that'll have you hootin' and hollerin'.

    Limited to 22,000 numbered copies, this one has been mastered to HDCD specs by Jeffrey Norman and is guaranteed to sell out.

    *2 per order. Very limited quantity available.

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  • proudfoot
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    clever, wilfred t jones

    one slight relocation of a letter, and you have a completely different meaning.

    united states
    untied states

    wait, is this the Jeopardy board?

    Are you now, or have you ever been a robot?

  • FiveBranch
    Joined:
    baked crispy with crisp-go

    Giving the release a first, casual listen. Using When Push Comes to Shove to get me mentally settled in for a date tonight.... been quite a few years since I've done this!

    So a closer listen will have to wait until the weekend (but I did catch a perfectly placed Phil bomb in Row Jimmy).

  • Sixtus_
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    re: Wilfred

    ....you make an excellent point; I see what you did there.

    We'll need to get Jimmy's word on this once he has consumed the sauce and reports back.

    Sixtus

  • wilfredtjones
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    Hot Sauce preference

    Rapids Run Hot Sauce>Rapid Runs Hot Sauce

  • eric22
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    Matrix

    So this is an audience recording made at the mixing board instead of the taper’s section?

  • Slow Dog Noodle
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    3-26-87 Review

    I had a chance to listen to the first show through my stereo system last night. Usually I listen through headphones, so it was harder to gauge the sound quality, but i still got a good handle on the show overall.

    Midnight Hour - Great surprise to open the show and the crowd loved it. According to Deadbase they played this about 30 times, with half from 66-71 and the other half scattered about from -'82-'93, but 7 times in '85. Bobby gets the vocal chords stretched out early.

    Cold Rain - The crowd is clearly pumped to see and hear Jerry and he gets a big cheer for his first tune and his first and second solos. This is one of my favorites and its well played.

    CC Rider - In the standard position. I can hear Phil's bass well and Brent has a nice solo about halfway in. The energy level is still up until

    Row Jimmy - kid of plods. I was never a huge fan of this tune, but its pretty well played.

    Esau/Push Comes to Shove - gets the crowd back into it. Two newer tunes both played well and the energy level rebounds. Jerry has to nail the lyrics on PCtS for a good version, and he does it pretty well here. Not as good a version as 7-12-87, which is the best i've heard them play the tune. Always great to hear Esau.

    Desolation Row - Well played and sung and it moves by pretty fast given how many words are in it. For my money, no version will ever touch the Dylan studio cut, with Bloomfield's fills and Dylan's delivery, but Bobby does the tune justice.

    Bird Song - Nice jamming here. Solid non-72 Bird Song.

    Promised Land - Promised Land is Promised Land.

    I got a beer and took a wiz during set break. No lines was nice. The dog was in my seat but I asked him nicely and he moved.

    China/Rider - Always welcome. I prefer '73-'74 but this was nice and smooth.

    LLR - I really like this tune and this version stood out to me. The pace was a little faster than usual and the song was very well played. Good solos. Good bobby vocal embellishments.

    He's Gone - Crowd was into this one. Nice placement and playing.

    Drums -> Space - Drums was pretty uneventful for the first half. I can get into a good drums but this one didn't really do it for me, at least until the second half. Space was perfunctory.

    Miracle - Well played. Short and to the point.

    Black Peter - Crowd was into this one, along with He's Gone the crowd was feeling this, given Jerry's comeback. Always nice to hear this tune in place of Warf Rat or Stella.

    Around/Good Lovin - Double dose of Bobby to close out the second set. Good energy and playing.

    Quinn - Great encore.

    I think the crowd noise really added to the good vibe of the show. The more I hear '87 the more i like it. I'm happy to have this show. Ill revisit along with the Giant's stadium show and the Sept 18 MSG 30 trips show.

    Show packaging is nice. The 4th disk has a proper home. They didn't try to jam the disc in the usual format Dave's picks - they redesigned it for 4 discs. One might expect this, but given some of the customer service snags we've seen over the years, it wasn't a guarantee. Solid late 80s Hartford hippy pics and a Lemieux narrative rounds out the accotrements. And I suppose i'd be remiss to not mention the pic of the 3-26 setlist at the end of the booklet, which I hope was scribbled by an offspring of the band or crew, but fear could be the handiwork of one of the band members themselves.

    On to 3-27!

  • Thin
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    Matrix recordings

    I do a lot of audio recording and post-show mixing for a live band, and I'd like to respond to a few comments about the audio. One person said with certainty that unrelated audience noise was patched-in (like a laugh track - LOL), others not happy that the audience noise is so high.

    I can tell you that it's not that easy to manipulate the audience noise itself. I haven't gotten the release so I haven't read the liner notes, but I'm guessing they "matrixed" this mix from the soundboard and a separate audience taper recording. "Matrix" means they sync up the two recordings so you get the best qualities of both recordings. Soundboards tend to have great vocals, keys and drums, but the recordings tend to be very bland, with keys and vocals much higher in the mix (since the guitars' stage amps are already blaring). But when you add in the audience recording to balance out the instruments (pulling the guitars forward in the mix and adding room ambience), you're necessarily adding audience noise as well... you can't suppress it.

    The exception to the "soundboards usually don't sound great" is, of course, Betty's mixes from the 70's, but that's because she was NOT mixing the room sound/PA. Her husband was doing that. Betty ran a parallel board and mixed to the headphones only, balancing the instruments perfectly and then adding reverb to make it sound like a big hall (listen to Cornell where she admits she was a little generous with the reverb - think Jerry's vocals on Scarlet>Fire).

    The 80's recordings didn't have the benefit of Betty's parallel board, which is why 80's sbd's by themselves generally sound, um.... "not as good as the 70's Betty shows". (Spacebro may disagree, which is fine - respect)

    So basically the point is that the audience is likely that loud because they were focused on balancing the sources to get the music (regardless of the audience bleed thru) sounding as presentable as possible. I agree that made the audience a little louder then I'd like - kinda distracting. This is why we should all say a little thank you to Betty Cantor Jackson every night before we go to bed.

    EDIT - I just re-read JimInMD's comment. He said Healy would use an audience mic and add that to the room mix DURING the show... I may be wrong Jim but my understanding is that the matrix (or "ultramix") recordings were created after the show so they didn't sound like sh__ on playback. I'd be shocked if they were feeding the audience mics back into the PA - that would invite feedback, echo, and time-blur headaches. But I could be wrong.

  • Vguy72
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    Shipping notice received...

    ....eta Monday.

  • Oroborous
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    Matrix

    A true matrix is using a soundboard recording and a mic recording and blending them to compensate for the inherent idiosyncrasies in both. If it’s done well it’s awesome, if not.....

  • DeadAreMyDealers
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    When you say a "PA recording…

    When you say a "PA recording" does that mean Healy recorded the sound coming over-the-air just like any taper? It does sound that way. Why would he do that if he was at the soundboard and could have just recorded the mix directly and then patch in the audience levels to his liking?

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"And with this incredibly tight batch of prime 1987 Grateful Dead, we’re thrilled to bring you Dave’s Picks Vol. 36, matching the number that will be forever tied to Dick’s legacy. Thanks for sticking around this long, and for joining us through these past nine years of archival live Grateful Dead releases." - David Lemieux

We're doing things a bit different for this one - two complete shows on four CDs, bringing you one of Dave's faves and what very well could have been one of Dick's Picks. Yep, back-to-back nights from peak era 80s - the furthest we've gone into the decade, in fact - that will bring you to joyful tears. DAVE’S PICKS VOLUME 36: HARTFORD CIVIC CENTER, HARTFORD, CT (3/26/87 & 3/27/87) delivers emotional takes on tracks like "Row Jimmy," "Black Peter," Uncle John's Band," and serves up a hit list of covers ("In The Midnight Hour," "Good Lovin'," "Desolation Row," "Promised Land," "Little Red Rooster," "Morning Dew," Johnny B. Goode") that'll have you hootin' and hollerin'.

Limited to 22,000 numbered copies, this one has been mastered to HDCD specs by Jeffrey Norman and is guaranteed to sell out.

*2 per order. Very limited quantity available.

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39 years ago today I was at Fiesta Hall for a really fun show with the Dead. High Noon opened the show with Mickey Hart & Merle Saunders , Bill Kreutzman also joined them. The Dead came on and backed Joan Baez with an acoustic set, opened the show with Me & Bobbie Magee. The electric Dead came on and did a great set, nice Dire Wolf, nice Cold Rain & Snow. It was a benefit show called Dance for Disarmament, it was a relatively small place and the Dead seemed like they were having fun. A great warm-up for the year end shows at the Oakland Auditorium.

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Was at the 12/12/81 benefit. It was a small venue. I don’t think it was a 100’ feet from the back wall to the stage. The New Years run was the best December Grateful Dead concerts I ever attended.

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Hey Strider, I'm glad you were at the show, I had alot of fun. Youre right about those 1981 year end shows at the Oakland Auditorium, they were a blast! I went to all of them, big fun! Have a great day.

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In reply to by Dennis

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Putting your brain into hyperspace sounds even better.
🛸
🤪
🤯

The show was a little mild as they started with other artists from around the country doing a seasonal tune...then when the 'Bos actually started they performed a lot old tunes from last year's Christmas album...after the song "Teresa" things picked up...Cesar was a no show (again) and they're breaking in a new drummer who isn't quite there yet but it was only his second gig I believe...and damn...the Crown Royal Cask No. 16 was good...

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In reply to by nappyrags

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....i figured it out. Fell asleep before it was over though. LOL. I'll revisit the rest tonight.

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.... but after the recent discussion about the Gretsch(sp?). I know Dave has one as his avatar. A lot of people like them, I know nothing about such thing. But found this video and this woman is playing one. It DOES have a nice sound!! I never heard of this woman but maybe someone will enjoy. Opening song is a bang up job.

https://www.bitchute.com/video/caSZX4OkAGzA/

On The Beatles...what gets me is that their recording years encompassed all of eight years...from "I Want To Hold Your Hand" to side two "Abbey Road" in eight years? Incredible...

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Yup you're right about the Yardbirds trying to snag writing credits from Tiny Bradshaw...Burnette and company did credit Bradshaw, had to dig up a photo of the Coral 45 for confirmation...so many bands tried to that and the Yardbirds were just as guilty as any of their peers...I've always been bugged about that concerning "Jeff's Boogie" which is just an amped up garage version of "Guitar Boogie" by Chuck Berry...also before I forget about Sister Rosetta Tharpe and the video that was posted here...that is part of a five DVD set of the American Folk Blues Festival tours in Germany and the UK in the early 60's, a must have set for anyone interested in the original Blues artists...lots and lots of good stuff ...highly recommended

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Hey Nappy, you're a 100% right on the American Folk Blues Festival DVDs, a must have for anybody whose into blues music. I have them, they are fantastic!

Gretsch. Brian Setzer is one of its finest exponents, and his Hot Rod models are things of beauty. The sound is amazing. The one I have always had an eye for, though, is the White Falcon . I try to trade a guitar in for every new one I buy these days. But don't know what I could trade in to afford a White Falcon. My car, probably.

They played it when I saw them in London on10/3/81, too. Spine tingling.
Old and In the Way playing as I type - a comparatively new album to me, and very nice too! This is the release from about 1976 that came out originally on Round Records.

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Christmas to all on here!! 2021 can't come soon enough. I think I will have to give Garcia Live Vol.15 my Fave of the year award. So ferocious(Primal!!) and full of joy.
DAVEROCK, have you considered asking Santa Claus for a White Falcon?? I hear he's loaded this year.
JIMINMD, I hope you get a Turbo-Booster for your lawn mower Time-Machine.
For everyone else, I hope you all get Tons of beer & buds!!

Music is the best!!

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9/8/73 Nassau. Wow!

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In reply to by carlo13

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Hey.. weren't we just talking about this tour somewhere? Pretty cool.. the vibe made it's way to Senor Sasquatch.

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If you enjoy that album, you may want to look into 'Live At The Boarding House' Box Set. They played 2 nights there: 10/1/73 & 10/8/73, 2 shows per night; from those performances there were 4 individual releases. An FYI if you'd like more.

Davestrang - thanks to a good friend of mine on here-Martin-I have copies of two cds from the Boarding House October 1973. I started playing one of these earlier on. Also great-an unexpected ( to me ) version of "The Great Pretender" two songs in, followed by "Catfish John".

Mr Ones-White Falcon-sounds like a hint that you have got one for me for Christmas!

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Has anyone else not received their Dave’s 36? I have a string of emails going back to early November with responses indicating a new order would be placed but still no delivery. My first go round with this, long term subscriber with no other issues. Any advice would be appreciated.

Still missing mine. I think they had to print more, likely the result of continuing warehouse fiascos.. but I haven't heard much either.

Time for Plan B. Effective immediately all warehouse functions are being transitioned to my basement. A fleet of highly trained, stoner bicycle messengers are being assembled to expedite shipping. Not only are these the worlds best bicycle messengers, they're fans too. For our overseas friends.. please be patient as our amphibious bikes have this problem where they sometimes sink.. but fear not, our crack technical support team has some promising ideas in the works.

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Sadly, when I went to the cash register to pay for your white falcon, it turned out that I was just a LITTLE bit short on funds. Good news however, I did put in a request to the North Pole, and I feel pretty good about your chances for 12/25 delivery. Check under the tree, next to the fireplace!!

Peace and love to all, stay safe and be well. Only 15 days until we can kiss 2020 goodbye.

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In reply to by Mr. Ones

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I have to advise you that kissing anything apart from, perhaps, your own well scrubbed wrist is not recommended at this time. I can guarantee that if I was kissing anything it wouldn’t be 2020.
Stay well, stay safe and let’s hope next year will get better eventually.

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Great show! Great recording! Thanks Dave!

Maybe some day Hampton or Philly.

ps. It's like a McDonnell Douglas DC-10 wide-body landing at Laguardia!

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Fantastic band that I learned about in college due to being introduced to Peter Rowan, Vassar Clements, and David Grisman. I thought it was a cool added bonus that Jerry Garcia was on banjo. The first time I'm aware of loving some Jerry Garcia music was actually from hearing Shady Grove, the one on the album named Shady Grove by Garcia and Grisman. A guy was playing it at his booth at a flea market, and I thought it was one of the best songs I'd ever heard. So, finding out Jerry played straight ahead bluegrass with OAITW a couple years later, and was playing banjo just blew my mind. Got to see Old & In the Gray at Merlefest in 2001 with Herb Pedersen on banjo and Bryn Bright on bass accompanying the originals Rowan, Grisman, and Vassar Clements. A few months later I got to talk to Vassar a little bit at a smaller fest called Brushy Mountain Jamboree, he was playing with Larry Keel, Curtis Burch, and Joe Craven. They did a Lonesome Fiddle Blues that was simply spectacular, Craven and Clements going back and forth on fiddle like Johnny and the Devil in the bastardization of Clements classic fiddle tune.

Anyway, you can't go wrong with any of their stuff. And I hope more of those reels exist at the Owsley Foundation and a release comes out next year. They alluded to hoping for four releases next year, including the biggest name in their vault. I'm not sure whether they can actually put out a Dead release through the OSF, so perhaps the biggest name they do have would be OAITW.

Also, was listening to DaP 5 11/17/73, and The Sequence hit me better this time for some reason, but as I pulled into my parking spot Eyes was dying away and Jerry was clearly playing it to segue into China Doll when Bob starts up Sugar Magnolia instead. Jerry immediately followed. In Bob's defense, they had just done Stella Blue and Morning Dew, so maybe he was ready for some hotel action.

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In reply to by Mr. Ones

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Good man! A white falcon was made to be propped up beside a tree on Christmas morning.

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In reply to by Sixtus_

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I saw that guitar the other day when I was out, but didn't go inspect it close up. I think it was at a Guitar Center, maybe another music shop I was in, but that looks pretty sweet. Like the semi-hollow and Les Paul kind of shape, but more of a PRS vibe. But as I am an awful guitarist, I can play it at the store and admire it, and settle for my Ovation.

And Daverock, the White Falcon may be prettier, but the Orange Gretsch that Joe Walsh gave Pete Townshend gave the world Who's Next and Quadrophenia. I like that crunchier sound.

Alvarhanso-yes, that's a great sound that Pete Townshend got with that orange Gretsch.

Gretsch's come fitted with various different pickups, but the main two would seem to be single coil dynasonics, or humbuckers-the modern ones styled by T.V.Jones. The choice of amplifier is obviously a massive component in producing the sound, but basically, the humbuckers seem more disposed to produce the crunch, and the single coils the twang. Personally, I go for the twang - so many greats - a favourite among many is Cliff Gallup who got a great glassy tone with Gene Vincent with his Gretsch Duo Jet. Which looked a bit like a Les Paul, but was hollow.

Perhaps I should also add that I too am a crap guitarist. If a thing is worth doing, and you can't do it well - it's still worth doing it badly in my books.

....hoping for better shipping updates and deliveries, but I think it will be bigger. And better. '69 Ark Box?
TPTB do listen to these boards.

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In reply to by daverock

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When I think of the Pete Townsend sound I think SG through a Marshall halfstack or 6.

A big orange Gretsch makes me thing Chet Atkins. I haven't played a lot of Gretsch guitars admittedly. I'd like to try out one of those Chet models. I know Setzer is known as a Gretsch player; he's closer to Townsend than Atkins.

I bought a PRS in May this year. Its my first and I get what eveyone is talking about. The attention to detail, quality and playability are stunning. I also get the point that they don't seem to have that distinct tone of a Lespaul or strat.

I'm planning on getting another PRS though, over anything else. I'm blown away by the craftsmanship.

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In reply to by Slow Dog Noodle

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The one Walsh gave him was used almost exclusively for recording from Who's Next on to apparently the present day according to a recent interview. Walsh, who is also not really known as a Gretsch guy, loved the guitar, but thought Townshend could make better use of it sonically, and he was right. That chambered body and his use of feedback create rich tones. The SG period was 1968-71, then numbered Les Pauls from 1972 until 1982, when a Telecaster was added. The Gretsch was used and smashed on a Top of the Pops "performance". I think it was 5:15. Most of his smashed guitars, he and Bobby Pridden would fix after the show. I think he did play the Gretsch at the Concert for Eric Clapton at the Rainbow in 1973 to get Clapton off heroin, at which Clapton oddly played a Les Paul.

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In reply to by Slow Dog Noodle

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He's actually quite versatile, Brian Setzer. He can finger pluck with the best of them. In a typical performance he throws in jazz, blues, blue grass, country, rock n' roll-everything but the kitchen sink, really. And sometimes that too. I have one live dvd where he plays "The Race is On"...on a banjo! I've only ever seen him play with The Stray Cats-I'd love to see The Brian Setzer Orchestra live. Not likely to happen!

I got into rock n' roll, as opposed to rock, in 1981 when I first saw The Stray Cats and The Cramps. Same year as I saw The Dead-but they seemed to disappear off the map shortly after I saw them. The Cramps came over at least once every other year throughout the 1980s. Up until then I had thought rock n' roll was a bit of a joke. Big fat Teddy Boys in their 40s. Which was old to me at the time. But The Cramps shone a different kind of light on the 1950s and early 60s, and as the 80s were a bit vapid, that was where I chose to go.

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I've owned over 100 guitars in the last 50 years(bought, sold, traded - it's a disease), and no matter what, I always go back to Telecasters; they're built like tanks, and I can get pretty much any sound(except metal.) My next favorite is the Les Paul Special TV yellow, these have the raunchiest P-90s ever created.
Martin made some nice archtops with Dynasonics in the 60s, they sound just like Gretsches and are cheaper. I love old Guilds too...had a '56 M75 Aristocrat, it was Guild's answer to the Les Paul; fantastic guitar, similar as a LP but the
body was chambered. Also had a Gretsch-made Bigsby repro of Billy Byrd's guitar that looked and sounded great.

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In reply to by Cousins Of The…

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Fantastic instruments. I have only bought budget ones apart from an entry level American model, a pink paisley Japanese model...and a few years ago I saw one of the original three pickup James Burton's from the 90s-going for a song as they have since been updated. Its a great guitar, but perhaps not the one to choose for classic tele tones.

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In reply to by daverock

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I had just finished reading a Brian Setzer interview in which he praises Gretsch Guitars when, lo and behold, up came the guitar discussion here. If anyone is interested there is a link to the article below. I always loved The Stray Cats!

https://www.guitarworld.com/artists/stray-cats-legend-brian-setzer-noth…

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mistakenly ordered two subscriptions this year and would like to offer Daves 35 and 36 as a package deal for cost plus shipping (around $65-$70 total). My only request (honor system) is that you don't buy to flip on eBay but rather listen and enjoy. For any or you who missed out, first one who PM's me gets them. I'll even try to get to you to get under your tree on 12/25 (but no guarantees).

Deadegad - thanks for including that interview with Brian Setzer. I was at that gig where they play "Rock This Town" in one of the film clips included - the one at The Hammersmith Odeon, London on 27th June last year - a great night. That album he refers to in the article"40" is well worth getting if you haven't got it yet. There is also a live album from that last tour which is on my radar.

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Your welcome. That's s a good interview and I liked the insight he gave on a Gretsch. I was streaming "40" via Amazon and will buy the physical cd because I like physical products and supporting the artists too. It would be great to a see a Stray Cats show at The Hammersmith Odeon or another band. I have an official Zappa show from that venue and bootlegs of other bands from Dimeadozen.

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In reply to by deadegad

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Yes, you can't beat good old live venues, and vinyl or cds for later on. I got "40" on silver- grey vinyl, and it kicks like a donkey.

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Keith Richards birthday today-77 in terms of linear time. If I drank I'd drunk.

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Lives here in the Twin Cities; puts on a Christmas show that I've heard great things about, but it's expensive and sells out right away (or close enough that one has to sit in the nose-bleed section for big bucks). The other issue is that he always BEGINS the Christmas tour here in Minnesota, so the show is the first week of November, when I'm NOT ready for Christmas music.

I was ready last year to pay attention and jump on tickets immediately, but then the poor guy's tinnitus got so bad that he had to cancel the entire tour of about twenty cities.

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