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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).

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Submitted by hendrixfreak on Mon, 12/21/2020 - 22:05

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http://deadessays.blogspot.com/2018/10/1968-show-list.html

A curated list of '68 shows and tapes. Caution! You'll break out the sickles and pitchforks...

Just to echo ... was it Daverock? ... that a '66 to '68 collection ranging from multi-song segments to even just one surviving, unreleased track per show over even two discs would sell like hotcakes. (Just confessing I'm not 100% certain on the identity of "hot cakes," but I digress.)

If you read that blogspot biz for '66, '67 and '68, it's enough to get ye olde pitchforks sharpened up for the inevitable seige of The Vault.

Cue in the Monty Python visuals.

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Submitted by billy the kid on Tue, 12/22/2020 - 01:52

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Hendrixfreak, that's a great post, very informative. Looks like there are still a few complete shows that can be released. I guess there are 37 shows in the vault from 1968, not all complete, that exist. Looks like they have a complete copy of 10/12 & 10/13/68 in the vault, that would certainly make for a cool re!ease someday.

Great clip of T.Bone Walker. Beautiful tone. This was where Chuck Berry discovered some of his signature licks.

Good information on 1968 Dead, too. If we had a box set that focussed on the 60s it could be the most exciting release since Europe 72.

I listened to a Jefferson Airplane cd I haven't heard in ages last night-"Sweeping Up The Spotlight" from November 1969 at the Fillmore East. Nearly knocked me out of my chair. Diamond hard rock led more by Jorma Kaukonen and the rhythm section. More hokey cokey than Alice in Wonderland, as they rip through rhythm and blues and up tempo Marty Balin songs. Enough to make your speakers explode the way they attack "You and Me and Pooneil" and set closing "Other Side of This Life".

1968 or bust. Let's storm the vault, who's with me?

In the spirit of revolution I say, "Let them eat cake" (...and by cake I mean the cake with the dosed icing).

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Submitted by drpryan on Tue, 12/22/2020 - 05:35

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Im in. It is time for some '68 and Pig

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Submitted by drpryan on Tue, 12/22/2020 - 16:45

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Went looking for the 3-17-68 in my files and coudn't find it... so I went searching Deadlist but no copies there, then I remembered the old Download series. Been awhile since I dug into those and there it was. With all the bounty that is released, it is easy to forget what is already out there. Love that Cleveland Dark Star into the Philo Stomp. Hell I love all the Dark Starry nights

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Submitted by Mr. Ones on Wed, 12/23/2020 - 10:09

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I hear Jerry studied the Quran. C'mon folks, this BS should be weeded out automatically.

Merry Christmas to all of our Quran reading and studying friends!!

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Submitted by JimInMD on Wed, 12/23/2020 - 10:35

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Spam for Allah. Looks like they got rid of it.

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Submitted by proudfoot on Wed, 12/23/2020 - 12:23

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Fragment of soundboard available

Could the returned reels include this show?

Does of a list of the returned reels exist?

Or is Dave not tipping his hand?

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Submitted by Lovemygirl on Wed, 12/23/2020 - 15:48

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Star performed ...???? Man, I miss that grateful feeling!
Happy holidays to everyone, have a grateful blessed day my sisters and brother s! Peace be with you all!
🙏❤️💀🌹

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Submitted by Lovemygirl on Wed, 12/23/2020 - 19:11

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Grateful Dead Live at Starlight Theater on 1982-08-03
by Grateful Dead
1982-08-03
Soundboard, Charlie Miller*
Band/Artist Grateful Dead
Resource DeadLists Project
Set 1:
d1t01 - Mississippi Half-Step Uptown Toodeloo ->
d1t02 - Franklin's Tower ->
d1t03 - New Minglewood Blues
d1t04 - Peggy-O
d1t05 - El Paso ->
d1t06 - Cumberland Blues
d1t07 - Althea
d1t08 - Cassidy
d1t09 - Big Railroad Blues ->
d1t10 - Man Smart (Woman Smarter)
d1t11 - Might As Well

Set 2:
d2t01 - Shakedown Street ->********!!!!!WoW!
d2t02 - Samson And Delilah
d2t03 - To Lay Me Down
d3t01 - Let It Grow ->
d3t02 - Drums ->
d3t03 - Space ->
d3t04 - He's Gone ->
d3t05 - The Other One ->
d3t06 - Stella Blue ->
d3t07 - Sugar Magnolia

Encore
d3t08 - Casey Jones

....to me by the summer of 82’ the band is just playing a beautiful timed performances in the dead’s time frame. ‘The Stella Blue’ is a 5 star performance by Jerry & the rest of the band is really on ! The ‘He’s Gone’ is sung with heavenly voices ! Even the sound of the crowds singing is apart of the complete experience primo Audio quality captures the experience!
* https://archive.org/details/gd1982-08-03.sbd.miller.77196.sbeok.flac16/…

“**Some people only saw the beginning in the 60s, others the 70s, 80s or even the 90s. Many crossed decades. But every decade had its ups and downs (albeit more downs as time wore on.). But one thing holds true: When they were “on” it was “on” for sure, a musical and social event with no rivals. My heavy time was 1980-1989 and I am blessed for being at some truly incredible shows that I would rack up there with some of the best. True, I had to wade through some clunkers, but that just made the great ones that much sweeter.

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Submitted by hendrixfreak on Thu, 12/24/2020 - 08:14

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Proudfoot, I don't recall all details, but "the returned reels" actually comprise multiple sources.

There's the big batch of 100s of reels of Betty Boards rescued from the three purchasers of her abandoned locker stuff that Rob Eaton assisted with preservation and ABCD did legal work on. We've seen many releases in the '73-'78 timeframe from those. I'm not even sure that the "third" batch has been secured, cleaned and digitized yet.

There's a batch of tapes that Jerry possessed and Mtn Girl returned maybe 8 years ago that resulted in that sweet April 18, 1970 tape of acoustic GD with nice Pigpen set, released in 2013.

There's a reference in DaP 10 to returned reels that resulted in the Thelma '69 release.

I also know that the Owsley Stanley Foundation has located and digitized several reels of GD in their possession -- potential release TBD -- and that there may be more at OST. I inquired, so far without success, about the missing reel to 9-19-72, my first show.

There's another release that slips my mind that resulted when a late roadie's ex-girlfriend found reels in his former possessions and returned them, resulting in a ('69?) release that slips my mind right now.

That's five sources of returned tapes and probably there's more in that category.

Though it's frustrating to some degree, I can understand why Dave & Co. do not reveal all details of the Vault holdings. They've got the element of surprise, which, like it or not, maintains interest among the fans. Personally, if I knew they had recovered all reels from my first show, I'd be hammering them to release it. How tiresome! Although I/we do it anyway...

Enough details on the Vault's holdings have slipped out over the years -- yet generally without official confirmation -- that it's a giant mystery wrapped in a tortilla. As the most-recorded band in history, with the most aggressive archival release schedule, we've got a holy mother fantabulosity on our hands. And if that's not a word, it should be.

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Submitted by hendrixfreak on Thu, 12/24/2020 - 08:30

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resulted in DaP 6 (SF, 12-20-69, and maybe St Louis, 2-2-70).

I actually turned on the light over part of my collection and saw the only candidate was late '69 and boom, there it is.

The liner notes said that no complete shows were in this stash, but that the many reels completed multiple incomplete shows in the vault.

Having seen with amazement how tapes of Jimi Hendrix kept (and may keep) turning up over the past 50 years, one can still dream that long-lost tapes may find their way home. Certainly, one holy grail for me is the soundboard for June 17, 1975, which is said to have returned to the Vault. Someone pointed out that that's the only other live show from '75 yet to see release and, of course, is the logical companion to a 50th Blues for Allah.

Okay, now for a second cup of coffee here on a sunny day in Denver.

I know I am but one star in the Grateful Dead universe

and one orbiting the Dark Star in the center

But man, when you hear 10 28 72 and other "heaven on Earth" shows

a person lusts for more, preferably RIGHT NOW

it's in my nature

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Submitted by alvarhanso on Thu, 12/24/2020 - 10:05

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Hendrixfreak pretty much covered it, but I still feel it necessary to point out that in the batch of returned "Bettys" were also Rex Jackson tapes, which makes sense as they were married. But there was also at least one show released that was a tape by Owsley: DaP 24 8/25/72. How many of his reels ended up in her collection is a great mystery tome, and how many tapes did Rex make while Betty wasn't on tour? Did she also have any of Kidd's tapes? Kidd and Rex seem to be the primary tapers for the '73-'74 shows, so it will be interesting to see if 9/7-8/73 were also part of the return, or if they really sat on a show Dick was planning to release as far back as 1997.

I'd also really be interested to know exactly what the OSF has in regards to Dead material, because I'm just not sure they can put out a commercial Dead release through OSF alone, they would need permission and probably to team up with Rhino/WMG for a release.

I'm definitely with Hendrixfreak in wishing a Vault index was available, and I'm constantly amazed at the stuff that people already know is in there in complete form, which shows are missing a reel or two, etc. Most of the focus on the variables of what has returned seem to focus mainly on the Bettys because she was a fantastic recording engineer, and probably because there's no list of Rex Jackson tapes that are known to be missing, because I don't know of a list of shows he's known to have taped. He and Kidd knew how to get a damn good recording.

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Submitted by hendrixfreak on Thu, 12/24/2020 - 10:22

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I do not intend my comments to put any damper on any dreams, Proudfoot. Rather, that's why I used my own lust to hear my first show as an example. And to offer hope that everyone's dream show gets released someday.

However... tthe key word is "someday." You more sensibly call for "now"!

At age 63, with no serious health issues (at least from the neck down) but also 50 years into my live music 'career' and proud possessor of ... I dunno, thousands of CDs of archival music (my coffee table for new or re-listening probably has 30 releases on it) I would at least speculate that in years to come my interest may wane. It's a theory at this point. Example: Leslie West, guitarist for Mountain, just passed. I once interviewed him about his encounters with Hendrix for a Hendrix magazine. Upon the news of his passing, I immediately pulled the original Woodstock release off the (Jimi) shelf and played the two cuts by Mountain, then ordered "The Very Best of Mountain." I should add that I'm divorced and single -- not that the two subjects (music madness and single-ness) are related -- but with no constraints involved, they'll probably find me someday in my chair, covered in cobwebs, surrounded by CDs with rats nibbling on my toes....

Wow, third cup of coffee is the trick. Call it a cry for help... I think the topic was "how many more years will I eagerly await the next GD release?"

Well, got my 2021 subscription squared away (within minutes of the earliest pre-order announcement) and if the 2021 box is $200 or under and offers fall '72, check that one off as well. (Oh hell, you know I'm buying such a box regardless of price.) AND if they release Wake of the Flood 50th this year, with a 3-CD '73 show attached, I'm on that like white on rice. Between fall '72 and fall '73 I caught seven Dead shows and that Wake material, mixed with Euro '72 songs, was my baptism.

This is the longest post I've made lamely trying to question the longevity of my dead-ication, while affirming that I'm still fully in the grip of GD madness. Okay, time to take a walk, breathe....

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Submitted by hendrixfreak on Thu, 12/24/2020 - 10:31

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Check out the OSF Facebook page. They mention one specific GD show with an unbelievable setlist that their tape-preservation project has digitally archived. The preservation and archiving does not guarantee release, unless the GD org agrees. OSF did release an ABB set from the Feb '70 shows, so anything's possible. When feeling flush in 2019, I did contribute the requisite $400 to preserve a reel of the New Riders from spring '73, when I first saw them in a standalone format in a small theater. But OSF did just release a 5-CD set of proto- and early Riders, so another show release may take awhile.

If by chance the OSF finds the missing reel (who taped Sept 19, 1972???) to my first show I would expect in that case they would reunite it with the other reels in the GD Vault and yield to Dave & Co. on release plans.

But I should have prefaced all of my remarks today but acknowledging that, like Sgt. Schultz, in reality "I know NOTHING."

I'm not sure if that was just fortuitous timing on their part, as the ABB were now officially broken up, and only putting out archival material, and at some point set up Allman Brothers Band Records, which is now distributing the new releases of Duane material Fillmore West '71 and Owings Mill 10/17/71. The original release of that February 1970 Fillmore East stuff was in conjunction with GDP and Dick and Kirk West, the ABB archivist. My guess is they had settled on the rights on that, and OSF was able to re-release it with sonic upgrades, then the Deluxe Edition. I would love for the OSF to be able to release a Dead show, I just don't see how they can put out one of those tapes without WMG/Rhino getting some sort of compensation. The ABB situation seems to be one where, as with Hendrix, if they find a good sounding Duane tape, they will release it. The fanbase is there for any and all Duane material. The Dead have proven there is a tremendous market for their archival releases. Now exactly how big is that market is the question, because Rhino and Dave are putting out almost a dozen shows per year with the Dave's Picks, box sets, and 50th anniversary releases, and only the last are unlimited (or at least not limited to a published number). Sure, every Dave's is snapped up, and put on ebay for ridiculous prices, but that could also be people realizing the secondary market's value. Dave often hints at the nuts and bolts behind the scenes such as how many boxes to limit the box set to, PNW 73-74 still has some left, RFK 89, as well. Both were 15,000; June '76's 12,000 are gone. July '78 took four years to sell out. So, I'm curious as to whether OSF can justify the cost it would take to put out one Dead show, as they would probably need to sell 25-30,000 copies to make it a success. I really hope they do it, and are able to do it. I just wonder at the legal complications to it. I hope to sponsor a reel with OSF one day, they are doing a great thing. The Doc and Merle box is fantastic, the ABB release is a major upgrade to the 1996 release, and I'm planning to get the Ali Akhbar Khan release soon. I should get the NRPS and Hot Tuna releases, too, just haven't yet.

Oh, and I just ordered the OSF ABB vinyl. And I just looked it up to see if that was put out by OSF or ABB Records, and it's ABB Records, so maybe the licensing only goes so far for so long? I did see OSF has a 2LP 45 RPM show from Doc and Merle at the Boarding House on their label, too, so they apparently can get vinyl cut, but did not for the ABB release. So, like you, I'm left with more questions than answers. But that is absolutely par for the course.

Edited to add: Proudfoot, give me 2/9/73. Speaking of more questions than answers, why has that show not been released long ago?

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Submitted by proudfoot on Thu, 12/24/2020 - 13:14

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A looong time favorite

Got the cassettes early on. I remember the second set in a backyard....

Lysergic listening in my dorm room....

Eyes after that show in Ventura...

Yahoo!

2 9 73

Yes yes yes

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Submitted by billy the kid on Thu, 12/24/2020 - 21:09

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https://m.youtube.com/watch?v=UJu97xdUPDs. These shows at the Warfield in 91 & 92 were really special. Let's hope that Santa Claus brings us a nice box set next year from 1969, or a compilation 67'68'69 box set, or an October 1974 Winterland complete recordings audio and video box, which would sell out in minutes. Merry Christmas everybody, there is a light at the end of the tunnel, 2021 is almost here.

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Submitted by Co5mic Charlie on Fri, 12/25/2020 - 02:32

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Twas The Night Before a Dead Show...
’Twas the night before a Dead show and all through the place,All the heads were dosed - just trippin’ to space.The joints were all rolled with precision and care,With hopes that St. Stephen soon would be there.The freaks were nestled all stoned in their beds,While visions of Johanna danced in their heads.With me in my poncho and her in my hand,Just dyin to hear “Uncle John’s Band.”When out from the stage there arose such a clatter,I sprang to my feet to see what was the matter.O’ way to the stadium I flew with my stash,I kicked down the gate - it fell with a crash.the light from the orb, hanging so high.Blinded me like I was Born cross Eyed.And what to my red glossy eyes should appear,A shadowed figure, could it be Mr. Weir?No, too big to be Bob, too short to be Phil,Could it be Mickey, Vince, or maybe even Bill?He started to sing and the sound from his lips,Assured me at once that he was Captain Trips!His eyes how they twinkled, his dimples how merry,I exclaimed in excitement, “Oh Wow! It’s Jerry.”I couldn’t believe it - just Jerry and Me,“Play something” I said. “Play Sugaree.”The Fat man jammed - he was on a roll,With his sweet songs, he rocked my soul.Jerry spoke once, and his message was plain:“Gotta go now,” he said. “It looks Like Rain.”But I heard him exclaim as he walked out of sight,“Good Lovin’ to all, and I bid You Goodnight."

Wishing all friends and family a joyful holiday

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Submitted by wilfredtjones on Fri, 12/25/2020 - 16:50

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Right on. That's what I call some Christmas poetry! Thanks for the positive vibes... :-)

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Submitted by billy the kid on Sat, 12/26/2020 - 03:57

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38 & 39 years ago today, I was at the Oakland Auditorium for the start of two great runs of Grateful Dead shows. High fun times.

I wasn't there - but this date always reminds me of 12/26/79, swiftly followed by 12/28/79. Shows I have had since the taping days - great jams which are totally different from anything ( I have heard) that they did in earlier years. In a good way.

I am blown away by a new cd I bought myself called "Truckers, Kickers, Cowboy Angels" Volume 1 1966-1968,-a double cd of country rock records from the years in question, Its a Bear Family release, and sounds superb-the telecasters really ring out. Its a double, and there are releases in this series chronicling the progress of country rock from 1966 to 1975. I might get the lot.

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Submitted by Dennis on Sat, 12/26/2020 - 07:16

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No comment box on the page for this set, so I'm throwing it here.

Wife gave me this box set for Christmas.

It's a very nice box, weighs a ton! I got in on the first 2500 so it's "hand" number AND includes a "tetzoscope" slipmat. A tetzo-who? Just what I thought. It's a double side mat to put on your turntable that has a moving picture when the turntable is spinning. Pretty neat.

picture - https://ps-af.facebook.com/VinylMePlease/videos/301939414139782/

The lp's are on different color vinyl (180 gram), all in those plastic-no static-cushioned sleeves.

They really did a nice job on the collection.

I'm really going to have to get the turntable up and running!

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Submitted by Cousins Of The… on Sat, 12/26/2020 - 07:29

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Thanks for the Truckers series info, I'll probably get all of them at some point(still need the Bakersfield box though); I highly recommend the 1968 Everly Brothers' Roots LP, one of their best and a great mix of psych and country rock(coupla' tracks included on the BF box.)

going to El Monte Legion Stadium"

FOR THREE DAYS OF GRATEFUL DEAD

thank you for the reference, Nappyrags

Those three shows are spectacular

Nice box set idea, Dave and pals...

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Submitted by Mr. Ones on Sat, 12/26/2020 - 09:12

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A belated Merry Christmas to those who celebrate. A very Happy New Year to all.

I’m sure this doesn’t need to be said, but just in case......beware of links from posters who just signed on the day of their post!!

Music is the Best!!!!!!

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Submitted by hendrixfreak on Sat, 12/26/2020 - 09:49

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Wow, I had not thought of El Monte shows for a looong time. Not sure which night I had a tape of, but it featured a crushing "Other One." Good though not great sound on a Maxell cassette in, perhaps, 1980? I'll look it up. Wow -- the 12-26-70 setlist is killer. Holy mackerel -- 12-27-70 is also freaky good. So my tape was from 12-28-70 and probably partial, as I don't clearly remember (amazing, after 40 years, you'd think I'd remember this setlist...) the astonishing setlist on this night.

Just when I think my GD-mania will calm down, it's blazing up again. If they have these nights complete on good tape, by all means send this to the priority release list. Looks like plenty 'o grease on these nights as well.

Boy oh boy...

Edit: Does anyone have any insight into these tapes and the Vault's holdings? I see in the Taping Compendium that 12-26 may still exist as an intact soundboard of 110 minutes' length. 12-27 is not listed as a circulating tape. And 12-28 is listed only as an audience tape. Much as I've rattled the cage for a fall '72 box in 2021, I'd take the three nights in El Monte as a box in a heartbeat. Gawd, I'm easy.... AND "El Monte" achieved iconic status when some Cheech & Chong routine had "El Monte Slim" on it, if I remember correctly.

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