Grateful Dead

In terms of this release selling out (or not yet), I have a couple thoughts. First, remember the # of copies in the series got raised to 25k recently, so, in general, it takes a tad longer to sellout. Second, it is 1983, that ain't gonna send a lot of people jumping on the "I gotta have it" train. Third, I am a subscriber, and my copy is 24,675 out of 25,000. IDK is the # correlates to the amount sold, but it seems weird that they'd be shipping 24,675 if they have only sold 13k or some such. Point being, it pretty darn close to sold out. It sounds good. I don't think CDs are going away anytime soon.

Dennis - You and I are on the same page on Lee Morgan, and I’m pretty stoked for the Lighthouse box set release later this month. I’m sure you are also familiar with two guys in Morgan’s orbit - Freddie Hubbard, and Hank Mobley. I’m more a trumpet jazz fan, and I think some of Hubbard’s work (ex - Red Clay, which features Joe Henderson) is extraordinary. Mobley was a sax player, and put out some very worthy releases (ex - No Room For Squares; Workout). If you really want to travel down an interesting road, check out Eric Dolphy (a 3 CD release two years ago called “ Musical Prophet” was pretty neat) or a guy I’m digging into more - Ornette Coleman (whom Garcia played with).
You get started on this Jazz stuff, and pretty soon…

D: speachless, can’t even imagine, and your poor wife...perhaps it was the music?
Glad to hear your doing well and have kept a good attitude!

1stshow: I70 shutdowns in Glenwood due to last years big Grizzly Creek fire.
Got mine last night, 2 days later than scheduled. Surely due to closures as Dave’s always go to Denver, then back across the state to Grand Junction, then back half way again to here. So all mail has been delayed...
Glad you got yours!

Y'all be cool.

Sent you a pm
G.

First song I ever heard at a GD show.

Now when I hear the opening chords, I wince a bit. I am talking the versions after 76.

They tend to rock it, but I grow fatigued of phillies or is it fillies looking good and "knowing what to do." I'm sure Bobby did plenty of research on that (I would too if I were him), but in case you havent noticed, I am not him.

The old Minglewoods were good such 5 15 70 and 4 29 71 and.. And the newer ones are fine. Just a bit redundant.

Sigh.

Yep, I was there for both shows: the weaker 4/25th and the stronger 4/26 which are represented here in full and in part. It's like listening to the original cassettes, TDKs I believe, on the original cassette deck Healy had in the rack. 4/26/ was a great show and we were in much happier spirits as the Shakedown got underway.
These 2 shows transport me back to the early to mid 1980s, the old Spectrum - I miss the old concrete and steel and brick concert hell hole, traveling down to Philly, the fun and the hassles. Hey, wanna soft pretzel? Grilled cheese sandwich? Sweet smoke?
And the world at large - with the American political scene and many other international news events and local Philly area news and sports events.

I sure would like to thank Dave Lemieux for considering this 4/26/83 show and all the Heads who beg for more shows from the 80s and especially anyone who suggested this show in particular.
I received 10854/25000.

4 28 85

Do you think that they sound better in HDCD?

I’m going to do more research on the topic and may take on the project this winter.
Not sure if it is really worth the trouble. Also, the db power amp website says that it’s software only decodes HDCD on Windows PCs since Microsoft owns HDCD. I have Macs so I need to see if there is a work around.

Daroboce,
sounds like it wasn’t your time. There is still more GD music for you to listen to.

Frosted,
yes Jerry at the Gold Coast Bowl. I had the shows on cassette in the 90’s.
If my memory serves me correctly I think that it was Garcia/Grisman the first night and JGB the second night.
I have never walked up that service road but have skied down it many times.

My beloved Hartford 82' Shakedown has been dethroned by Philly 83' Shakedown.

Try Red Rocks 82' with Bobby going off with a Wang Dang Doodle in the middle of it . I believe this show also has John Cipollina playing or on another show from this run?

of The Hollywood Palladium shows I played 8/5 on my way to town today....very very loudly you might say...I was living in Silverlake at the time and the Palladium was the venue, open floor and usually a great PA....at the show 0n the 6th I ran into an old acquaintance from high school (we graduated '68) who was unable to talk much as he was enjoying his first dose, I'll never forget the look on his face and the depth in his eyes....in listening to this today two things cracked me up...in between tunes you can hear Jerry asking Pigpen if he wants to do "Mr Charlie"....Pig says yeah then Bobby says wait a minute wait a minute...cue drum roll...then Bobby says "And now here he is folks, the dog suckenest man in show biz...Pigpen!" and then on the intro to "El Paso" Bobby is introduced as "The prettiest and most compassionate drawing man in show biz...Mr Candy Weir!"

....you did good work sir.
Passed in the daze between.

My opinion is that little star should be called fluff. It seems to be kind of a practice session that they were preforming, and not realizing the Dat was recording. I do think it is interesting though.

This release does not have any HDCD features encoded. It will sound the same whether played back on an HDCD capable disc player (or DAC) or a standard player. To my knowledge, no Dave's Picks starting with Volume 6 have any HDCD features encoded. It is easy to hear the difference. For example, listen to Dave's Volume 3, switch off HDCD decoding, it sounds poor, compressed, in comparison with HDCD enabled, which provides a nice, relaxed, uncompressed (or less compressed) natural sound. There is no guess work involved. The difference is obvious.

The HDCD light will go on, because a Pacific Microsonics encoder was used in the mastering process, which embeds a header triggering the light, but there are no HDCD features. I assume that they did this because HDCD capable players and DACs are rare now, and the encoded discs do not sound as good as the unencoded discs via a standard player.

There are software decoders. I am not convinced that they provide fully accurate decoding, and I understand that they do not implement all features, in particular, transient filters. I have listened to software decoding via JRiver Media Center, it seems to identify peak extend, but the decoding does not persuade me. I listen to HDCD discs on a capable disc player. Of course, like everything else in the audiophile world, HDCD is controversial. YMMV.

Wharf - I believe you are referring to the 8/8/82 Alpine Valley show. The whole show is awesome stuff.

I have no idea if HDCD encoded discs sound better. I only have one CD player and that has no possibility to turn the HDCD on or off, so making a comparison is not possible. My player, like most, has the DAC built in. A comparison using my player and another with a different DAC and no HDCD would reveal the differences between the DACs as well as any differences with HDCD on or off, making such a comparison pointless. I can only read discussions on this by others, such as Ziffle, who are (or at least claim to be) better informed than me on the subject. I don't lose sleep over this as there is nothing I can do about it- I just put CDs in the player, hit 'Play' and the magic begins.

50 years ago today……

August 7, 1971
Golden Hall, San Diego, California

Set 1: Big Railroad Blues-El Paso-Mr. Charlie-Sugaree-Mama Tried-Bertha-Big Boss Man- Promised Land-Hard to Handle-Cumberland Blues Casey Jones

Set 2: Truckin'-China Cat Sunflower-I Know You Rider-Next Time You See Me-Sugar-Magnolia-Sing Me Back Home-Me & My Uncle-Not Fade Away>Goin' Down the Road Feelin' Bad>jam>Johnny B. Goode

Deadicated to Seth Hollander, Oxford 88, Mr_Heartbreak, gcdeadhead, Shafts Of Lavender, Gratefulpeds, Gbow22, frampton, jpdonn1, chilly1214, and deadyettipa, because nothing fixes a thing so intensely in the memory as the wish to forget it…..

Released as part of Dick’s Picks 35 in 2005, one of the so-called “houseboat tapes”, somewhat of a revelation at the time, as not all summer 71 shows circulated. Not the greatest show but I will always take whatever 71 is officially released!!

There’s not a “big jam”---although there is an interesting but short jam between GDTRFB and Johnny B Goode---but it’s OK. What I call “the three R’s of live Dead”----rockin’, rowdy, and raucous!! Needless to say, worth a listen!!!

Rock on!!

Doc
We are imprisoned in the realm of life, like a sailor on his tiny boat, on an infinite ocean……

Artist Grateful Dead
Title Let It Grow
Album 1983-04-26 - Dave's Picks Vol. 39 - The Spectrum, Philadelphia, PA
Track 10/10
Disc 1/3
Genre Rock
Year 1983
Rating
Composer
Size 79.88 MB (58% Compressed)
Original Size 189.63 MB
Length 12 minutes 31 seconds
Channels 2 (stereo)
Sample Rate 44.1 KHz;
Sample Size 24 bit
Bit Rate 2,116 kbps (DVD)
Encoder FLAC reference libFLAC 1.3.2 20170101
Encoder Settings
Audio Quality Perfect (Lossless)
Contains CRC, ID Tag [Vorbis Comments]
Channel Mapping
File 10 Grateful Dead - Let It Grow
Type FLAC Audio File (VLC) [.flac]

I dont think you will be disapointed when it arrives.
There is a rumour that a Lee Morgan 60s set is in the works, unfortunately you have missed the Hank Mobley 60s set, but keep your eyes open, it might turn up used, if it does, pounce!
Also in Japan a whole slew of Lee Morgan reissues are being released in conjunction with the Live at the Lighthouse box.
CD Japan is your friend, and if you were to order from them you will be surprised, after dealing with all the highs and lows of dealing with Deadnet, of the smoothness and efficiency of the transaction!
I always pay for shipment via DHL, a bit more expensive, but 2, max 3 days delivery from Tokyo to my door in Sweden.

Saw Ornette at Town Hall in NYC when he was doing the Song X tour with Methany.

Didn't understand one bit of it!!!

Arthur,
What you posted appears to be from VLC. If you used VLC to convert a 16 bit CD to 24 bit FLAC you just put 16 bits into a 24 bit container. That’s not the equivalent of playing a 720p DVD in a BluRay player that upconverts to 1080p.
If you used actual software that decodes HDCD please tell us what software that is.

Ziffle,
What you said is in line with what I’ve read online.

Simon,
I thought you had a CD player that let you toggle between CD and HDCD.

Since I can’t post a lynk, here’s the text.

Huge misconception regarding HDCD
Posted by Charles Hansen (M) on June 12, 2017 at 23:26:28
In Reply to: RE: MQA vs HDCD posted by Jeff Starr on June 9, 2017 at 02:03:01:

>> HDCD was a way to get 20 bit sound out of a redbook CD. <<
That is what Pacific Microsonics (PM) *claimed* for HDCD. The truth is that was simply marketing hyperbole. PM built an A/D converter designed by Keith Johnson, called the Model One. The later Model Two was similar but added support for both dual- and quad-sampling rates. There were three unique features of the PM A/D converters that comprised the HDCD system:

1) Peak Extend (PE) - was a compansion algorithm that compressed the top 9dB of audio signal during recording into the top 3dB of digital codes on the disc. When played back through an HDCD-enabled DAC or CD player, a "sub-code" that replaced some of the audio signal in the 16th bit (LSB) would instruct the DAC to expand the compressed signal and restore the full dynamic range.

2) Low-Level Extension (LLE) - was a method to automatically boost the gain as the audio signal dropped, starting when the signal level fell to -45dBFS. It was boosted in 0.5dB steps as the level fell, reaching a maximum gain shift of 4dB if the signal ever fell another -18dB to -63dBFS. Again when played back through an HDCD-equipped DAC or CD player, the instructions mixed in the LSB of the audio signal would instruct the DAC to lower the gain (and background noise) by the appropriate amount.

3) Transient Filter (TF) - was a method whereby the A/D converter measured the amount of high-frequency energy in the top octave. When it passed a certain threshold, the HDCD system would select from one of two available anti-aliasing filters (ie, "digital filters"). The original plan was apparently to have a complementary process during playback, but this never materialized. My best guess is that this was because Ed Meitner (then of Museatex) had beaten PM to the punch and already patented a DAC that switched reconstruction filters (ie, "digital filters) during playback, again by sensing the amount of high-frequency energy in the top octave.

The problem is that the claimed 20 bits of resolution is a horribly distorted representation of the truth.. It was one of the greatest marketing misrepresentations in the history of high-end audio. In actuality, both PE and LLE could be *optionally* applied by the mastering engineer, and the instruction manual warned that there were specific reasons for not doing so on certain types of music. Also there never was any way to decode for the TF feature (which was always engaged). However every single CD made with a PM A/D converter would light up the mandatory "HDCD" logo light on a licensed DAC - even when there was no decoding of the disc even possible - apparently in an attempt to scare people into purchasing a new CD player or DAC that had HDCD decoding (and from which PM received royalty payments).

The truth is that PE (*if* engaged by the mastering engineer) could only ever provide a maximum dynamic range increase of 6dB - and even then only if the recorded signal reached 0dBFS. In the very extreme case, this only adds 1 bit of resolution, to 17 bits.

The truth about LLE is even more underwhelming. *If* the mastering engineer chose to engage it, it only became active when the audio signal dropped below -45dBFS. I have analyzed scores of HDCD discs using the tools available in Foobar. For popular music LLE was *only* ever engaged during song fadeouts. It turns out that -45dBFS is an extremely low level, nearly 8 bits below the maximum. Even with classical music recorded using LLE, the gain-shifting only activates infrequently - specifically during very quiet passages when only 1 or 2 instruments are playing. I have never seen an HDCD track ever use the full 4dB range of level shifting, as the signal level would have to fall to -63dBFS, nearly 11 bits below the maximum. The *theoretical* maximum gain shift of 4dB amounts to about another 0.6 bits of dynamic range.

If *both* features were engaged by the mastering engineer, and everything completely optimized in an extremely unlikely real-world scenario, the most that HDCD could boost the dynamic range would be 1.6 bits to 17.6 bits. In more realistic situations, engaging both features would increase the effective bit depth between 0 and roughly 1.2 bits with classical music, and between 0 and roughly 0.9 bits with popular music.

At this date we have all had chances to hear the differences between 44/16 files and 44/24 files. The most common example was the 2009 remaster of The Beatles box set. The CDs were dithered down to 16 bits, while the "green apple" thumb drive contained the original 44/24 files (reduced from the 192/24 tape transfers made with Prism A/D converters). Yes there is a difference in sound, but it is hardly "jaw-dropping" or "transformational". So if adding 8 true bits of resolution only improves the sound slightly, one wonders how much improvement would be heard with only 1 extra bit of resolution - *if* the HDCD features were even engaged by the mastering engineer.

So where did PM come up with the "20 bits of resolution" claim? Simple - they added the extra bits as the A/D converter also had optional dither algorithms. This is where it gets weird. Prior to the PM converters, by far the most common alternative was the Sony PCM-1610. While it did not have any dither built into that converter, the incoming audio signal was always dithered anyway - by the tape hiss present on the analog tape that was being transferred to digital. There is no tape recorder on the planet that has an unweighted S/N ratio greater than 96dB, which is what would be required to create the need for external dither to be added.

The next question is why was HDCD so enthusiastically received by the audio press and many mastering studios? Again the answer is quite simple - it sounded far better than the competing Sony unit. *Not* because of the HDCD features but simply because it was designed to a far higher "audiophile" standard by Keith Johnson, an extremely talented designer.

The A/D converter is simply one box in the chain between the recording microphone and the playback speaker. We have all heard the difference made by replacing (say) a cheap preamplifier made with very old, low cost op-amps, electrolytic coupling capacitors, and low quality parts throughout with a mega-buck preamplifier made by one of the top designers on the planet using fully discrete circuitry, state-of-the art parts throughout, and designed for the absolute maximum performance.

A change like this can completely transform the sound of a home stereo system. And a similar change to the A/D converter can completely transform the sound quality of a CD.

That is the real story of HDCD - a superior sounding product that was sold through deliberately misleading marketing strategies and false comparison setups. For example at the 1997 CES, PM gave out free CDs with "comparison" tracks purporting to show the differences made by HDCD processing. The natural assumption was that the tracks were made with the same converter and simply engaging and disengaging the HDCD processing. But no, instead PM made three tracks with the PM A/D converter and three "comparison" tracks with a Sony PCM-1610 converter.

In addition HDCD was dreamed up to be a money-making machine. The converters were sold to the studios for $20,000 each (I'm unsure if there were licensing costs there.) On the playback side each manufacturer had to pay a $5,000 licensing fee up front (later raised to $10,000), plus purchase a special decoding IC from PM. The IC was priced artificially high so as to constitute an easy-to-track royalty payment for each player sold.

It fooled a lot of people for a long time. There were two separate events that led to the demise of HDCD. The first was that only a couple of years after HDCD was available to the public, both DVD-Audio and SACD offered true high-resolution formats, obviating the need to "hop up" the out-of-date Redbook CD format (by only a single bit of actual resolution). The second was that PM had paid roughly $500,000 to develop their custom decoding IC chip. It was made on a 600 micron process. (By comparison we are now down to the 12 to 16 micron range with semiconductor processes.) By 2002 or so that technology was so out of date that the fabrication house was dismantling the line and halted production. It would have cost another $500,000 to make a new version. There was an aborted attempt to fabricate it as a pre-programmed Motorola (?) DSP chip, but apparently there was only one sample batch ever made before PM sold the entire thing to Microsoft, where it died off fairly quickly.

The only positive note to the whole story is that there are still a good number of mastering houses that still use the PM A/D converters. Even though the Model Two is over 15 years old, there are only a handful of other brands that can compete with it sonically. It is still one of the best sounding A/D converters ever made, just as the Marantz 9 was one of the best sounding power amplifiers ever made. Good sound never goes out of fashion.

As far as any similarities between the 20-year old story of HDCD and the current story of MQA, I will leave that up to the reader to judge.

As always, strictly my own opinions and not necessarily those of my employer or guru.

EDIT: The above post was dashed off quickly and likely contains some minor errors. For example the units used in the discussion of semiconductor fabrication should have been "nanometers" and not "microns". Nevertheless I believe the overall arch is historically accurate. Corrections are highly welcomed.

I would have just posted the lynk if I could.

It came from a site called audio asylum.

Wow! First time I've heard this. I love it. Kind of Loose Lucy sounding. Will have to pay more attention to the lyrics but at first listen was most impressed with Jerry's chording like Chuck Berry. A special treat in a show where Jerry is hitting an amazing number of notes. Arpeggio maximus. How did he just keep getting faster even as his health was declining?
Cheers all!

What’s the scoop?
Is the HDCD logo on the releases just false advertising?

Have you considered doing a few releases of awesome sounding Plangentized reels as BluRay Audio, 24/192?
Led Zeppelin did that with the Song Remains The Same soundtrack.

Gather 'round chillun for a tale

Cassette of set 2 from 4 20 83
Hotel room in lysergia
199?
That song bubbled along nicely

For a real treat of a version of MYK, listen to 4 21 86

Brent sounds 25 sheets to the wind

"Maamee youou noaw hoaw ahhm fkn feeelinnn"

1984 in Seattle at The Bumbershoot Festival...Ornette & Prime Time played at the Opera House...stellar loud Weirdness...and to top if off, we were staying at the Edgewater Inn...but no mudsharks

All Mercury Years recordings to be released in a 8 CD package, pre order up now at Cherry Red Records. Future Games is up there as possibly my favorite Randy California release and the original demo tapes too, wow, always wanted to hear the original, they were so spaced out recording this one.

Love Spirit...looking forward to this...just checked the website...what I like about the Cherry Red releases are all the bonus live shows they add...

Dennis - I agree, Ornette is a definite “adult dose”, and it takes some patience to cut through the dissonance (see NappyRag’s note), but there is no question he did create some magic, so I’m kind of working my way through. The 1958-1962 period has some real gold.
I have also listened repeatedly to the “Virgin Beauty” disc multiple times trying to distinguish the songs Jerry Garcia is on, but his contributions are really swallowed up by the collective, which is kind of what Coleman seems to be about. (It’s certainly not like Jerry playing on Bruce Hornsby’s “Across the River” song, for example). Intriguing music, but I’m totally with you, I dig the hard bop (whatever that exactly is) sound of Lee Morgan and his contemporaries.

A shout out to my amigo in arms, Oro, out in the thin air of the high altitudes of Colorado! I hope all is good your way, my man.

A gorilla walks into a Colorado bar and says, “A scotch on the rocks, please.” The gorilla hands the bartender a $10 bill. The bartender thinks to himself, “This gorilla doesn’t know the prices of drinks,” and gives him 15 cents change.
The bartender says, “You know, we don’t get too many gorillas in here.” The gorilla replies, “Well, at $9.85 a drink, I ain’t coming back, either.”

You know it is going to be good when Jerry is ripping it from the get go. Great set! Despite minor failings with Bob's voice things flowed well. Classic ripping Uncle>Mexicali too. The Let it Grow was monumental. Should be a party tonight (after all hon, it IS Saturday) with the second set. Cheers

GratefulGerd: PM back at ya. And one more. Thanks

I've always preferred today's 8/7/71 version over the August 6th one. 8/6 gets an A+ for sure, but the soloing by Jerry accompanied by the Phil Bombs on the 7th is pure '71 Dead Rock.

From the Hoffman forums:

The Vault series are not true HDCD. Steppin’ Out, the E72 box and Dick’s Picks 15-36 are “true” HDCD. Road Trips and the Download Series are inconsistent. Dave’s Pick through the end of 2014 (I think) are true HDCD; definitely no HDCD from 2015 on. Not sure about Steal Your Face, but probably not; all the other albums originally released when Jerry was alive aren’t, Phil Zone is not, 2-11-69 is not. Fillmore West ‘69 box is.

———————————
I only decoded the CDs that had peak extend features so if I filter by that I get the following:

Jerry
Don't Let Go (2001)
Shining Star (2001)
Let It Rock (2009)

Dead
Fillmore West 1969 Box & 3 CD Compilation set
Europe 72 Box
Winterland 73 (incl. bonus disc)
1st Spring 1990 Box (but NOT the Other One Box)
Dozin' At The Knick
So Many Roads Box (1999)
Ladies And Gentlemen: The Grateful Dead Fillmore East '71
View From The Vault I
Nightfall Of Diamonds
View From The Vault II
Go To Nassau (2002)
Steppin' Out (2002)
View From The Vault III
Closing Of Winterland NYE '78 (Incl. Bonus Disc)
Rockin' The Rhein (Incl. Academy '72 Bonus Disc)
Grateful Dead Movie Soundtrack
Truckin' To Buffalo
Live At The Cow Palace (Incl. Spirit Of '76 Bonus Disc)
Rocking The Cradle (Egypt '78)
To Terrapin: May 28, 1977
Winterland 1977 Box (Incl. bonus disc)
Formerly The Warlocks Box
Europe '72 Vol. 2
Dave's Picks Vol 1-5 (Incl. 2012 Bonus Disc)
Dead Ahead Bonus Disc
Dick's Picks Vol 15-36
Download Series Vol. 5, 6, 8, 10
Road Trips (All* - I don't have Vol. 3 No. 4 Penn State-Cornell '80 but I assume it is)

The Other Ones
The Strange Remain

Dead w/No Peak Extension
Golden Road & Beyond Description Box Sets
From The Vault Box (1,2,3 from the Vault)
Fallout From The Phil Zone
Fillmore East 2-11-69
All live releases since ~2012

————————

And this is from audiophilestyle dotcom

Another thing to keep in mind is the GD stopped using peak extend on their releases; I can't remember exactly when but it has been a while. The mastering engineer realized there was a penalty being paid by those not able to decode the HDCDs. He still likes the Pacific Microsonics AD/DA converter so he still uses it, and it lights up the light, but there should be less of a difference with later releases than earlier releases. Now that I have cracked this finally, I plan to head to the earliest HDCD releases soon to see how they react to decoding; Europe 72 box and maybe the Fillmore '69 3 cd set comes to mind.

———————

So Norman,
How about giving us the facts?

4 28 85 is a winner

Ornette...gotta explore that

Captain Beefheart...some I like, some is just...not for me. TMR, Strictly Personal, Safe as Milk are great. Lickmydecalsoffbaby I will need to try again. Ice Cream for Crow song I dig. Other CB...uh...

Road trip tomorrow: discs 2 n 3 of daves39

Tech talk...I am a luddite

I use db Power Amp cd convertor with the HDCD plug in

HD HDCD

Auto detects HDCDs (20 bit High Definition Audio CDs) and decodes to 24 bit (only first 20 bits are used). It is safe to use this effect for non-HDCD Audio CDs (audio is left as 16 bit). There is a default option to align the 20 bit result in the upper 24 bits (apply +6dB amplification).

I use a FIIO external decoder/amp on my computer.

I use VLC as playback software.

Now the question is if I really want to go back through the whole collection and redo everything to 24 bit FLAC.

I’ve already started digitizing vinyl and that is going to take a lot of time to edit the files and put the shows together.

yup this release sounds as good or better than any other early 80s i can think of, phil is realy prominent, jer's voice is incredible, i saw my first show in 82 but the next 5 in 83 so its an important year for me, this release reminds me of my 2nd show (hampton 83) and my third (meriweather 6/20/83) which i discussed in detail recently, hampton had the satisfaction encore, that was after the second set and the house lights came on, the crowd booed ferociously, (not me though, first time on L and i wasnt making many sounds), anyway the lights go back down and we got i cant get no satisfaction, course meriweather had the little star before the other one, another interesting bit about meriweather... someone commented recently how that sugar mag was off the hook, it was, there was an intense thunder storm and so even the stage must have been slick cause during bob's crazy runnin around during sunshine daydream he slipped and fell on his butt, that was also the aborigine rap sunshine daydream, but what i really wanted to mention was that bob did little star at hampton 83 also!!!! you can barely hear it, i think his voice was in stage monitors but not mains, not sure if that was intentional or not, but if you listen real closely during the last 1.5 minutes of space leading in to throwin stones you can hear little star rap at hampton 83! i think you can hear better in aud versus soundboard

I might be prejudiced having seen 50 shows in ‘83 but I believe it was a good a year as the 80’s and 90’s produced., Hartford Philly Greek and so on. I’d buy a 30 show box.

I'm ready, GDM.

Wow.. I feel like we were probably in the same car travelling to a show at some point. My first show was 4/82 and I saw four (not five) shows in 83 (I think?) including the Merriweathers.. I did not know they played Bob Star at Hampton.. but I was there.

Nice conversation.. thanks folks..

Nice toast to the ghost of posters past by the good doctor. Enjoying it all.. alas, I regretfully am behind in the 50th of 71's. But I try.......

*

I'm not following the band throughout 1971 on a show by show basis, but I have dug out the official releases when the occasion has called for it. So I am sitting here next to Dicks Picks 35 and Road Trips Volume 1, number 3. I enjoyed the tracks from 7/31/71 on Road Trips, and 8/6/71 spread over both. I can remember the first time I heard the latter about 30 years ago, as a mate dubbed a tape for me, in his smoke filled little flat. The first time I had ever heard them slip Me and My Uncle into the middle of The Other One. I was dazed and amazed.

But I like the gnarly sound of these 71 shows, which contrasts nicely with the 1974 I have listened to recently. Bit cock rock at times. Quite a popular genre in 1971.

Late to the party and probably an impossible question to answer but... what sounds different if you compare the same HDCD side by side in an HDVD player and a non HDCD player? Do I need to rely less on an EQ to get "maximum" audio quality? Do I get more separation of instruments? Is it like comparing a normal bias cassette tape to high bias?

Looks like Dave's Picks Volume 39 is SOLD OUT.

[I'm afraid the difference between HDCD and non-HDCD is beyond my well-seasoned ears' ability to discern. Onward.]

That seems about right.. so from 12,000 in year one to 25,000 and selling out an 80's show in a little more than a week. Pretty good if you ask me. From my perspective it looks like they have this just about right at the moment.

I received my Dave’s picks 39 a couple of weeks ago and I have to say, not very good. Probably the worst of the Dave’s picks releases. Jerry sounds horrible health wise and vocally. I know people want more 80’s and so do I. How about 1980 through 82 and 1986 on. Dave, you can do better.

.......we all think we are right
So i played Dave's 39 today.....well as much of it as i could stand
It seems to me that the Grateful Dead turned into a 'rock' band after K&D left
Not my cuppa tea
After 3 80s picks out of the last 5 i'm beginning to wonder if it is worth continuing to subscribe
Shame cos i bought the very first Dick's Pick when it came out and have continued right through the downloads and Dave's series. I got the 69,73,74,76 and all 3 77 boxes. I got all of 72 and a couple of 30 trips separately.
And i've ordered the St Louis box
All the 80s stuff gets 1 listen, then goes on the shelf, never to be heard again
So, please Dave, if you're listening, no more 80s.......
Thanks for reading
To each their own eh?

Count Dooku, is that you?

The bells of heaven ring, but apparently not everyone can hear or feel them.

Das ist doch eine grosse Schade.

Ich sage, Daves39 schmeckt sehr gut!!!

No nose? How does he smell?

Bloomin' awful!

You should stop subscribing.
Sounds like you are running out of shelf space to store everything.
And considering that early 80’s releases account for maybe 1-2% of total releases, those could be the final straw that broke the camel’s back, or the final plastic that broke the CD storage shelf.