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    Srinivasan.Mut…
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    What's Inside:
    7 Previously Unreleased Complete Shows On 20 Discs
    Fox Theatre, St. Louis, MO 12/09/71
    Fox Theatre, St. Louis, MO 12/10/71
    Fox Theatre, St. Louis, MO 10/17/72
    Fox Theatre, St. Louis, MO 10/18/72
    Fox Theatre, St. Louis, MO 10/19/72
    Kiel Auditorium, St. Louis, MO 10/29/73
    Kiel Auditorium, St. Louis, MO 10/30/73
    Sourced from tapes recorded by Rex Jackson, Owsley "Bear" Stanley, and Kidd Candelario
    Mastered in HDCD by Jeffrey Norman
    Restoration and Speed Correction by Plangent Processes
     
    Individually Numbered, Limited Edition of 13,000

    Steamboats and BBQ, ice cream cones and Mardi Gras - are you ready to laissez les bons temps rouler with the "gateway" to the Grateful Dead? Meet us, won't you, in St. Louis for seven complete and previously unreleased Dead concerts that capture the heart of the band's affinity for the River City.
     
    LISTEN TO THE RIVER: ST. LOUIS ’71 ’72 ’73 is a 20CD set featuring five shows from the Fox Theatre - December 9 and 10, 1971; October 17-19, 1972; and two from the Kiel Auditorium - October 29 and 30, 1973. 
     
    The seven shows in the collection span slightly less than two years, but they represent some of the best shows the Grateful Dead played during some of its peak tours. The music tells the story of a band evolving, changing from one sound to another seamlessly, precipitated – in large part – by significant personnel changes in the Dead’s lineup.
     
    The two 1971 shows feature the original Grateful Dead lineup plus newcomer Keith Godchaux on piano. This version of the band would hold together for the next six months as the Dead embarked upon its Europe ’72 tour. By the time the Dead returned to the Fox Theatre less than a year later, they were without Pigpen, who’d played his final show with the Dead at the Hollywood Bowl on June 17, 1972. A year after the exceptional Fox 1972 shows, the Dead came back to St. Louis, but played the much larger Kiel Auditorium, touring behind the release of WAKE OF THE FLOOD, which came out just two weeks before.
     
    All told, the band played 60 different songs during these shows highlighted by blazing romps through “Beat It On Down The Line” and “One More Saturday Night” and wistful takes on “Row Jimmy” and “Brokedown Palace” (whose lyrics give the collection its name). Meanwhile, the copious jamming ebbed and flowed like the mighty Mississippi River on multiple voyages through “The Other One” and “Dark Star.” Naturally, the band paid tribute to one of its favorite rock and rollers and one of St. Louis’ biggest stars by playing Chuck Berry songs at every show in the collection, including Pigpen galloping through “Run Rudolph Run.”  
     
    Each show has been restored and speed corrected using Plangent Processes with mastering by Jeffrey Norman. The collection comes in a slipcase with artwork by Liane Plant and features an 84-page hardbound book as well as other Dead surprises. To set the stage for the music, the liner notes provide several essays about the shows, including one by Sam Cutler, the band’s tour manager during that era, and another by Grateful Dead scholar Nicholas G. Meriwether, among others. 
     
    Due October 1st, LISTEN TO THE RIVER: ST. LOUIS ’71 ’72 ’73, is limited to 13,000 individually numbered copies and available exclusively from Dead.net.

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  • #31
    daverock
    Joined:
    More art

    One of the most stunning experiences I had going to an art gallery was when I went to see "Sunflowers" by Van Gogh a few years ago. I eventually found the room it was in, and noticed a huddle of people in front of a painting on the far side of the room. One of them moved..and there it was. It had a spotlight on it so that the yellow of the flowers shone out into the room. Amazing...but as I got closer, I realised that it didn't have a light on it at all - the light was actually coming out from within the painting. Truly extraordinary.
    It's also quite an experience going to see his work in the Rijksmuseum in Amsterdam. I just wandered in there by chance about 30 years ago. Wow.

  • #32
    Oroborous
    Joined:
    Conekid in the know

    per usual!
    Thanks, lol, never knew that request page existed. Goes to show, just gotta poke around!
    Those will get utilized more now for sure…Smithers, release the hounds!

    Yeah that RFK was probably too many units for what it was? Good example of doing say one of these a year at lower unit count along with a more traditional box release at perhaps less units?
    But I liked RFK, (hell I think they’ve done a great job with most) because that stretch from summer through the next summer is prime time for moi, and it sounds great, but they certainly weren’t the best available, once again the ole he went to a great city and street, but picked the wrong house? ? Wasn’t it relatively pricey too?
    But as we’ve all been saying, there’s a whole lot of causal heads out there who might not buy anything UNLESS it was something they were at. Perhaps explains the Giants phenomenon some what?
    That was sorta my M.O. back around turn of the century: “I have more than I need so I’m only going to get shows I was at. That worked out sorta ok at first by sheer dumb luck, but I eventually realized
    A) I’m not going to get many of those any time soon, if at all, and
    B) I’m missing out on some killer shit!
    The E72 Dark Stars are what really brought me back. Didn’t get the trunk but picked up several of the Dark Star shows Ala cart.
    So started dabbling again, but mostly just wanted the music and not more stuff. Luckily or not, my cousin used to get a lot of the releases free through their business connections with GDP etc, but when that all changed with Rhino etc, they lost those relationships. So I was able for a while to get copies of stuff he had that I wanted.
    But then I started getting back into it, hanging with you junkies etc lol, and next thing you know I’m a “collector”, just the thing I was trying to avoid lol.
    So of course the down side of only getting copies is all the great collection stuff I missed out on!
    The biggest regrets were the FW box and Winterland 73. The FW I just wasn’t very in dead land at the time and because of the repetitive set lists figured “oh hell, I have live dead already” idiot!
    Luckily I have the mini version and you know who here tightened me up with copies of the box, so at least I have the music!
    The Winterland 73, being fall 73, which even then was one of the tours I had huge interest in, I contemplated getting it, and man, wasn’t it really cheap considering, but I cheap skated out and have been regretting it ever since!
    Some of the others I regret only as a “collector” now, though I should have grabbed that summer 78, wasn’t that another bargain box?

    So yeah Daverock, the scene was relatively small until later. When I started going in late seventies there were tour heads, but not anything like what would come. I think the whole multi show run factor contributed to this. It was now much easier to just plan on a three show run or two, especially day on weekends, then to catch 5 or 6 shows, one stop at a time up and down I 90 etc.
    Now I know old timers talk of how it changed throughout the seventies, especially that huge influx of kids like me in the mid and late seventies, but I don’t think it was near as dramatic as what we saw from late seventies up too 87 when it exploded, perhaps leveled off a bit, but continued at a steady pace that unfortunately just got too big to support it properly. Fame, the kiss of death…

    ART: not a active art participant, but sometimes you get shown the light!
    We had a great Albright Knox gallery back in the tundra, and on family vaca to Europe in late seventies, went to tge Louvre etc. Don’t recall a lot of specifics, Mono Lisa etc? But it definitely impacted my thick adolescent Beavis and Butthead dumb American skull. That whole trip would of been much more awesome if I’d only been older.
    That Hopper work is cool. I’ve seen that corner diner one but wouldn’t say I was familiar. Will have to burn a fat one and check him out. Yasss great light etc. And yes, I can only imagine how much more sharp and vivid his work would be live!
    Good sheet Mon,
    Party on Wayne!

  • #33
    That Mike
    Joined:
    E-mail Survey

    DaveRock - Awesome idea with the email to all the folks on the mailing list. Something that perhaps itemizes what is in the vaults (no use clamouring for reels that don’t exist), and survey to see what is in high demand. I know on the Neil Young site, as an example, he has a “Letters” column where he states he answers ALL the letters himself (I’ve sent a few, and always get a reply), and the bulk of requests are folks asking him to release this show, or this tour, etc, and he tells you if the request is even doable. I don’t expect the Core Four to answer Dead Head mail, but a quick email survey is interesting. Maybe it is as easy as Ice Cream Kid says, and we just hit up the request thread, but it doesn’t tell us what tapes are in the vault, and what condition, etc.

    PS - Dave, you are right about seeing the art “in person”, but of course, work of say a DaVinci is so limited, so rare, and will not ever tour, that it would be so hard to see in person, save visiting Paris or Venice. But, should a major show make the rounds, like Picasso, or Diego Rivera/Frida Khalo, I’ve made a point to see it, and you are right - seeing a picture of these works does not do them justice! There is something about seeing The One And Only of something, knowing the artist worked on this piece. I’ll paraphrase Mr Ones al a “Music is the best”: “Art - and sports - are a close second!”

  • #34
    daverock
    Joined:
    A new approach

    Crmcnkd - I hadn't noticed that section asking us to make recommendations, so thanks for pointing that out. Maybe, though, the only people likely to fill that out are the people who come on here-all the old faces-and we know what they (we, me) will say in advance. I like the idea of reaching people who may not come on here - maybe an email like we get telling us what is coming out- but asking us what we would like to see coming out instead. The key is, it has to be "them" wanting a survey - as much, if not more, than "us" wanting to fill one in.

    Oro - thinking of casual fans of different eras, it reminds me of the fact that Deadheads didn't actually exist in the 1960s. I can't imagine early fans travelling around the country to see them. I guess it started with the invite to "Deadfreaks" on "Skull and Roses", but I would think it took several years before the travelling circus developed.

    It's interesting watching a documentary on late 60's San Francisco bands called "Go Ride The Music-West Pole". The main bands on this are Jefferson Airplane and Quicksilver Messenger Service - but at one point an interviewer asks people queuing up outside a concert hall, who their favourite bands are. I was expecting them to say "The Dead" automatically-but they don't. They are mentioned but they were clearly perceived at that time as just being another band, along with the two mentioned, Steve Miller, Janis etc.

    Mike - one of the great things about going to art galleries is how much more alive the originals are compared to the prints and posters you can see anywhere. I would say that going to an art gallery to look at paintings is a bit like going out to hear live music. If you go to any gallery, look at the originals, and then go in the gift shop and look at a book reproducing the originals you have just seen, the difference between the two is shocking.

  • #35
    icecrmcnkd
    Joined:
    Rehashing past speculation

    Don’t forget that several people, including myself, have previously told stories about talking to other deadheads who are completely clueless or disinterested in the official releases.

    The RFK Box is 15,000 copies and not sold out, although the banner says “less than 750 left”.
    My Boxes are packed away so I can’t check what the production numbers are, but 15,000 seems to be the limit except for a few releases that need an AME.
    I think that the last few Boxes were in the 10,000-12,000 range.

    Dave’s Picks can sell 25,000 due to people buying more than one subscription and resellers.
    And if you subscribe early bird you get 13 or 14 CD’s for $100, which is a pretty good deal.

    For those wanting to take a survey, there is a page on this site called ‘Requests - Box Sets’.
    I posted on it this morning, so use the ‘recent posts’ button to get to it, or use the search box.

  • #36
    That Mike
    Joined:
    Boxes & Paintings

    I am enjoying the discussion, because I’m hoping the marketing folks, or even the interns working at Rhino, see that this is a very passionate group of dedicated fans. Oro, I really think you have made some great points, and it is hard to please everyone (personally I have never been a hardcore 60s Dead fan, because that was before they came along with jewels like Wake of The Flood, Mars Hotel, etc, and all the outstanding concert material those albums brought forth), but so much work goes into the sourcing and mixing of the music in these boxes, and the art work, and the history to the scene happening at the time, that most, if not all, are home runs.
    Oro, you definitely hit the mark on many points, as did others, but collectively, as a group of fans, our mantra is “Keep ‘Em Coming!”

    DR - I love a wide range of art, and even doodle a bit myself, but Hopper is definitely an artist I have held in the highest esteem, for his amazing use of light and open space to paradoxically create figures of loneliness and solitude. If I can ever get my butt to NYC, the Whitney Museum of American Art is where I plan to sleep; the guy was an American master, and really nice to hear you too see his immense talent.

    Last listen - McLaughlin/Corea - Five Peace Band Live
    On Deck - Ry Cooder - The UFO Has Landed

  • #37
    1stshow70878
    Joined:
    Great Discussion

    I think I fall into the category y'all are citing here. Not quite into it as much as the die-hards but wanting it all anyway. The LTTR box was more money than I was willing to put out at the time so I chose the LIA vinyl instead. A trade off decided by my having already pre-ordered Dave's #1 vinyl and simply wanting to get more vinyl. Interestingly, all the fantastic comments have me alternately regretting my choice and being satisfied with a taste of '72. DR said recently the chunk I have on Light Into Ashes is the crux of the biscuit of the box so today I feel satisfied. My collecting took a hiatus around the time the big Europe '72 trunk came out but kindly folks here are helping me fill that void. Thanks to all for keeping the fire alive. It's so nice to have reliable information from everyone here in our disinformation shrouded world.
    Cheers all!

  • #38
    Oroborous
    Joined:
    Great comments

    Mike, the 60s vibe, that’s a good example of what I’m saying. To “US”, the hardcore lunatics at deadnet, there appears to be an overwhelming unified consensus demanding a 60s box, but perhaps if you did a survey like DR suggests, our sample might be quite small comparatively? Just talking out me arse, but worth a thought?
    You’d think they’d be doing marketing , but maybe not? Maybe they have been so fortunate to have enough of a loyal, reliable, bankable demand that they could just go with whatever they felt was good?

    Personally, I think it’s good when things don’t sell out immediately. Gives some folks like P.T. etc a chance to decide or what not if they want to buy it. Or maybe you didn’t hear about it right a way, and as the bastard Murphy would have it, your busted after getting yet another of your kids braces, while the other kid smashed the car, and your washing machine broke. Like “Whaaaa???, you want $300 tomorrow morning, Dooaahh”
    But these are singular micro type scenarios and we’re talking macro level.
    Maybe DR is right and the nostalgia factor is bigger then I think, in that logistically, because of age, there are more casual fans from the later years than the early ones. Hell statistically, comparatively there weren’t that many causal fans in the early years. Let’s face it, for good or for ill, as time advanced there were way more causal “lets just go party and check it out folks” going to shows.
    So maybe that’s part of it, when/if something that this larger population feels more akin to comes round, their more likely to buy it, then yet another older moldy from a time they don’t know or care about because they’ve never been in that deep?
    I guess it’s probably a perfect storm of all the things we’ve been discussing? All these factors add up and the amount of units we’re talking about isn’t really that large, so…
    But!….that’s all the more reason to deliver more, but smaller batches of certain eras!

    Though I understand why a Giants type box would sell so fast, I still, do not understand fully how this box, by now, has not? Shifting market demographics and saturation is my guess though?
    Just goes to show…

  • #39
    daverock
    Joined:
    Tip of the hat

    ThatMike - my eyes lit up when you mentioned Edward Hopper. I really like his work too. About 20 years ago there was great exhibition on in London, and it was a real treat to be able to go from room to room and get drawn into his world. You can see his influence sometimes in films -"Deep Red" by Dario Argento features a scene that is clearly modelled on "The Nighthawks". And although I can't think of specific examples at the moment, Alfred Hitchcock and David Lynch feature scenes in some of their films that look to me to have been influenced by Hopper's way of seeing things.

  • #40
    PT Barnum
    Joined:
    format? sound quality? putting great shows with good shows?

    IMO there seems to be lots of reasons why this has not sold out. I did not buy it and I buy them all. After the so so patch jobs on the PNW box which I did not care for, I passed on this box. These are all good shows, with great shows mixed in. Call me a snob but I want all great shows with no cuts or patches. If that's not possible then I will just keep what I got from the archive or from etree, why spend that kind of scratch for shows I already have that only sound a bit better?
    The format could be the reason, some only want from the era they were a part of, mostly 80's from what I gather here. I like the progression of the band from psychedelic juggernaut to what they became, but not everyone's cup of tea.
    Perhaps it's the ploy of putting out most requested shows with shows that are not up to the great show that they are centered around? The original great box was a tough act to follow, seeings how the E72 tour was their best tour and it was the first one released with a massive 73 discs. With that great price. How to follow that? It's been what tptb have been asking themselves since.
    The spring 90 boxes are a good example of that also, a great tour with consistently great shows released at a great price, which sold out quickly.
    But what do I know? just the ramblings of an old deadhead on the first day of Spring.

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Submitted by Srinivasan.Mut… on
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Dead Store Products

What's Inside:
7 Previously Unreleased Complete Shows On 20 Discs
Fox Theatre, St. Louis, MO 12/09/71
Fox Theatre, St. Louis, MO 12/10/71
Fox Theatre, St. Louis, MO 10/17/72
Fox Theatre, St. Louis, MO 10/18/72
Fox Theatre, St. Louis, MO 10/19/72
Kiel Auditorium, St. Louis, MO 10/29/73
Kiel Auditorium, St. Louis, MO 10/30/73
Sourced from tapes recorded by Rex Jackson, Owsley "Bear" Stanley, and Kidd Candelario
Mastered in HDCD by Jeffrey Norman
Restoration and Speed Correction by Plangent Processes
 
Individually Numbered, Limited Edition of 13,000

Steamboats and BBQ, ice cream cones and Mardi Gras - are you ready to laissez les bons temps rouler with the "gateway" to the Grateful Dead? Meet us, won't you, in St. Louis for seven complete and previously unreleased Dead concerts that capture the heart of the band's affinity for the River City.
 
LISTEN TO THE RIVER: ST. LOUIS ’71 ’72 ’73 is a 20CD set featuring five shows from the Fox Theatre - December 9 and 10, 1971; October 17-19, 1972; and two from the Kiel Auditorium - October 29 and 30, 1973. 
 
The seven shows in the collection span slightly less than two years, but they represent some of the best shows the Grateful Dead played during some of its peak tours. The music tells the story of a band evolving, changing from one sound to another seamlessly, precipitated – in large part – by significant personnel changes in the Dead’s lineup.
 
The two 1971 shows feature the original Grateful Dead lineup plus newcomer Keith Godchaux on piano. This version of the band would hold together for the next six months as the Dead embarked upon its Europe ’72 tour. By the time the Dead returned to the Fox Theatre less than a year later, they were without Pigpen, who’d played his final show with the Dead at the Hollywood Bowl on June 17, 1972. A year after the exceptional Fox 1972 shows, the Dead came back to St. Louis, but played the much larger Kiel Auditorium, touring behind the release of WAKE OF THE FLOOD, which came out just two weeks before.
 
All told, the band played 60 different songs during these shows highlighted by blazing romps through “Beat It On Down The Line” and “One More Saturday Night” and wistful takes on “Row Jimmy” and “Brokedown Palace” (whose lyrics give the collection its name). Meanwhile, the copious jamming ebbed and flowed like the mighty Mississippi River on multiple voyages through “The Other One” and “Dark Star.” Naturally, the band paid tribute to one of its favorite rock and rollers and one of St. Louis’ biggest stars by playing Chuck Berry songs at every show in the collection, including Pigpen galloping through “Run Rudolph Run.”  
 
Each show has been restored and speed corrected using Plangent Processes with mastering by Jeffrey Norman. The collection comes in a slipcase with artwork by Liane Plant and features an 84-page hardbound book as well as other Dead surprises. To set the stage for the music, the liner notes provide several essays about the shows, including one by Sam Cutler, the band’s tour manager during that era, and another by Grateful Dead scholar Nicholas G. Meriwether, among others. 
 
Due October 1st, LISTEN TO THE RIVER: ST. LOUIS ’71 ’72 ’73, is limited to 13,000 individually numbered copies and available exclusively from Dead.net.

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Submitted by Dennis on Tue, 08/03/2021 - 08:37

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I'm always afraid to go there.

The gravitational pull on my wallet can yank me right out of my chair!

Also, I don't know how she did it, but Mrs DJ seems to have hooked up with Mosaic, every time I visit the site she gets a text I'm there!?!?

The woman has powers and abilities far beyond those of mortal wives.

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Submitted by Dogon on Tue, 08/03/2021 - 11:55

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Spooky!
Glad Mrs Dogon doesnt get the same mails!

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7 years 7 months

Submitted by carlo13 on Tue, 08/03/2021 - 12:41

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I felt the same way about the tinkling of Brent's keyboard sound and also his voice compared to the tapes of shows I had of the 70s with keith, but as I started going to lots of east coast shows, he started to sound better and better to my ears as the 80s wound down. It was just like when bon scott died and was replaced by brian Johnson. Even though back in black was a monumental album, you just could not shake that thirst for Bon every time you heard B+B and the ones to follow.

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Submitted by alvarhanso on Tue, 08/03/2021 - 15:50

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I can only imagine what dead.net in 1979 would have been like when he joined the band. If any of you are aware of Phantasy Tour's Phish Board, that's about the level of vitriol and hate I would imagine would have followed Dead shows and tours. I've never had much of a problem with his keyboard sounds, because he was using some of the best technology they had, it just wasn't that great, and he wasn't a Bernie Worrell that was going to wail on a Moog. Conversely, he's the best organ player the Dead had. As far as his voice, I can also see the reason for the dislike or hate, but for me, it's a unique voice, and why I think it fits is the passion and feeling you can hear in it. Funny enough, I often wish Bob was feeling it a little less on some of the Little Red Roosters, Looks Like Rains, Throwing Stones, Estimateds, etc...

Still awaiting 39, hoping it sounds as good as most of y'all seem to be saying! And good to know Plangent has a Process for tapes, too, though let's hope that's a last resort option.

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Submitted by SPACEBROTHER on Tue, 08/03/2021 - 22:05

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I was there for both shows. Also caught the 1st night at Soldier Field that summer. The Palace shows were usually well performed. Saw all of them.

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Submitted by Forensicdoceleven on Wed, 08/04/2021 - 02:38

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50 years ago today……

August 4, 1971
Terminal Island Correctional Facility, San Pedro, California

Truckin’-Yellow Dog Story-Bertha-Me And Bobby McGee-Hard To Handle-China Cat Sunflower>I Know You Rider-Loser-Playing In The Band-Next Time You See Me-Me And My Uncle-Casey Jones-Cumberland Blues-Big Boss Man-Sugaree-El Paso-Mr. Charlie-Not Fade Away>Going Down The Road Feeling Bad>Turn On Your Lovelight

Deadicated to Andy Dufresne…..

One of the most unusual venues the Dead ever played, Terminal Island is a “low security” federal prison that opened in 1938, located at the entrance to Los Angeles Harbor, that holds approximately 1,000 inmates. Dead sound man Owsley Stanley was held there from 1970-1972. Other “famous” inmates that have been held there include Al Capone, Henry Hill, Timothy Leary, Charles Manson, Anita O’Day, and Flora Purim. At this time, it is unknown exactly where within the facility the concert was held, or how many “guests” attended.

I must admit, this is one of my serious “1971 guilty pleasures”. Lean and mean and not much in between. If you prefer your 71 Dead smooth and creamy, this may not be the show for you. But if you like some Dead that’ll rattle your fillings, dig in!!

For excellent Owsley/taping info, check out deadessays blogspot, bear-at-board..........

Rock on!!!

Doc
We who live in prison, and in whose lives there is no event but sorrow, have to measure time by throbs of pain, and the record of bitter moments………..

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Submitted by daverock on Wed, 08/04/2021 - 04:06

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Alvarhanso-you prefer Brent's contributions to Tom Constanten's, then? Granted, Tom didn't exactly tear it up, but he added greatly to the mysterious backdrop. There's a lot to be said for understatement. I'm not so keen on over emoting in song, either. Some white soul singers can seem a bit ridiculous, sharing their assumed pain in reinterpretations of soul classics.

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Submitted by alvarhanso on Wed, 08/04/2021 - 15:13

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Yes, Sir Daverock, I go with Brent, specifically as a rock organist. TC is a great keyboardist (when you can hear him), but as far as a keyboardist pushing songs and allowing them to do songs like Dear Mr Fantasy, Brent brought an extra gear for the rockers. And for those that say his keyboard sounds are cheesey, check out T Lavitz in Jazz is Dead and Dixie Dregs. Granted he played what he had access to in the 70s with the Dregs, but in the late 90s-00s he still had those keyboard sounds. It's probably the biggest limiting factor for my periodic binges of JiD. Keith didn't play much organ, and his realm was obviously piano, with seemingly little intrest in synths. Vince is pretty good. Bruce I'm not sure I know organ playing from him. Great accordion player, though!

Also, I caught a Dark Star Orchestra show (or two) with TC sitting in the whole night. He was better in the mix for those, but it wasn't much better than an average DSO show at the time was, so I wasn't blown away by him. Which reminds me, I also met him briefly 20 years ago today at Phil and Friends in Charlotte with the ABB and Susan Tedeschi opening. Also, somewhat ironically, that show started Jam> Dear Mr Fantasy. Great show, Jimmy Herring was on fire from the jump. St Stephen> The Eleven> St Stephen> Inspiration> Golden Road closed out the set. The Inspiration was that section of Terrapin Station done over an Arabic sounding scale, terrifically good stuff! Would l i n k to it, but that ain't allowed... (nor is the l-word)

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Submitted by Forensicdoceleven on Thu, 08/05/2021 - 01:54

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50 years ago today…..

August 5, 1971
Hollywood Palladium, Los Angeles, California

Set 1: Bertha-Me And My Uncle-Mr. Charlie-Sugaree-El Paso-Cryptical Envelopment>drums>The Other One>Wharf Rat-Me And Bobby McGee-Casey Jones

Set 2: Truckin'-Loser-Sugar Magnolia-Bird Song-Not Fade Away>Goin' Down The Road Feeling Bad>jam>Not Fade Away-Johnny B. Goode

Deadicated to Ihopedonnajeanshowsup, Pozole, Joning, RJDMD, scullroses, galacticartist, Flew With The Dead, driscoll1313, Rmw, watteau, MAXROD, DonalKuhn, mdgonzo, and ja22252, because time moves in one direction, memory in another….

This hard rocking affair, featuring the dog suckingest man in show business and mister Candy Weir, may not be as famous as the following night but is still worthy of your consideration. And, it’s one of a handful of 1971 shows that features the “big jam” in the first set. So what are you waiting for??!!!

Rock on!!

Doc
If God doesn't destroy Hollywood Boulevard, he owes Sodom and Gomorrah an apology…..

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Submitted by daverock on Thu, 08/05/2021 - 03:54

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Alvarhanso-yes, I see. I have seen T.C. play live a couple of times, too-once with a latter day Jefferson Starship and once, more recently, with Live Dead 69. I can't honestly say I remember his contributions specifically. He played a short solo set before Jefferson Starship came on, and I remember his piano playing more than his organ. Nice Cold Rain and Snow, as I recall.
I also met him briefly, between sets at the Starship gig. I seemed more pleased to see him, than he did to see me, I think its fair to say. He didn't look too comfortable.

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Submitted by Dogon on Thu, 08/05/2021 - 05:30

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I am a little curious Dave, what had you done to make TC uncomfortable?(😉)

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Submitted by daverock on Thu, 08/05/2021 - 11:00

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I'm not sure. I was quite happy on the night in question, so maybe I was a bit in his face. I offered him my hand to shake, and he didn't seem to like the look of that much!

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Submitted by Dogon on Thu, 08/05/2021 - 12:58

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Dave, did I tell you about my uncomfortable meeting with Country Joe back in the early 70s?
I found myself next to him in the urinals at a college gig in Walthamstow. I asked him if he would play a request, surprised, he made a half turn, and urinated over my shoes.
Half an hour later, he dedicated the requested song to Dogon, whose shoes I just pissed on in the john.
All eyes turned on me as I excitedly explained loudly to my date, that the song was for me.
Um, the date never went out with me again...

for this box because:
- of the stuff that I know nothing about that will happily surprise me, and
- Discs 10 & 20! Those alone look worth it!

Dogon: THAT...is why I love R&R!
and “she never went out with me again”
CLASSIC!

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16 years 6 months

Submitted by Forensicdoceleven on Fri, 08/06/2021 - 02:25

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50 years ago today….

August 6, 1971
Hollywood Palladium, Los Angeles, California

Set 1: Bertha-Playing In The Band-Loser-Mr.Charlie-El Paso-Cumberland Blues-Brokedown Palace-Me And Bobby McGee-Hard To Handle-Casey Jones

Set 2: Saint Stephen-Truckin'>drums>The Other One>Me And My Uncle>The Other One-Deal-Sugar Magnolia-Morning Dew-Turn On Your Lovelight

Deadicated to WackaloonQ, antonjo, TheeAmazingAce333, mhammond12, Anders O, Borgmano, johnny361, Mr. Jack Straw, nirktwin2, Sun King, g1u2i3, wave-that-flag, and searchlightcasting, because if a line of poetry strays into my memory, my skin bristles so that the razor ceases to act……

Very unusual position for Saint Stephen----opening the second set. The band stops before the song is truly completed, after “What would be the answer to the answer man”, due to a broken string.

One of the best known shows from the Summer of 71, with a magnificent Hard To Handle, fine big jam, a cool late second set Morning Dew, and a Lovelight in the classic show closing position. Hard rocking and highly recommended.

Rock on!!

Doc
Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul……

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16 years 6 months

Submitted by Forensicdoceleven on Sat, 08/07/2021 - 02:01

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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……

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10 years 6 months

Submitted by JeffSmith on Sun, 08/08/2021 - 11:58

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Just wondering. . . Is the chest depicted in the lower right corner of the cover art for the 'Listen To The River' Box maybe a sketch of the yet-to-be-revealed box itself? Hmmm.

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10 years 4 months

Submitted by KeithFan2112 on Sun, 08/08/2021 - 13:50

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I think you may be on to something. You have a keen eye Mr. Smith.

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9 years 2 months

Submitted by icecrmcnkd on Sun, 08/08/2021 - 14:02

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That’s the description above.

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7 years 7 months

Submitted by carlo13 on Sun, 08/08/2021 - 14:11

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*

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10 years 9 months

Submitted by hendrixfreak on Mon, 08/09/2021 - 07:58

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As in, they haven't yet figured out how to prevent spammers, only managed to keep us from posting linqs.

But the last poster really has a point. I'll go for the dragon noodles.

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10 years 6 months

Submitted by JeffSmith on Mon, 08/09/2021 - 09:52

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Yup, Icecream, does say 'slip case', but also says 'custom boxed set'. . . Maybe during the next 7 weeks Dave or Doc R or somebody will do an unboxing or de-casing or whatever for us. However it's packaged, this is going to be a face-melter. Onward.

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12 years 1 month

Submitted by Dennis on Mon, 08/09/2021 - 11:45

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I'd love some sort of chest theme box. (sucker for that shit)

But I think it will be like the Spring box. I think that large SQUARE picture will adorn the side of the box.

But a fuckin' chest be way cooler!!!

If this is a slip case box set it could end up being about twice the depth of the Fillmore Box,or maybe it might resemble the last two Tangerine Box sets releases. I've got to admit that I prefer a box that has a removable cover or hinged opening with extra trinkets. But all being equal its the music inside that counts.

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9 years 1 month

Submitted by Ous on Wed, 08/11/2021 - 09:59

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I wonder if there more than 10,000 unsold boxes at this point.

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10 years 6 months

Submitted by JeffSmith on Wed, 08/11/2021 - 15:37

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Per today's GD Bulletin, Icecream was right – Listen to the River is coming via slip cases in a box. Nice and tidy and has a better chance of finding room on crowded shelves. And, as most have said, no matter the packaging, this is a treasure chest of Grateful Dead from a legendary and transformational couple of years. Onward.

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10 years 2 months

Submitted by FiveBranch on Wed, 08/11/2021 - 17:48

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Great read from the Liane Plant 'All in the Family' interview! The graphics with the June '76 Box are fantastic but returning to illustration really excites me. More personable, as in the Spring '90s and July '78 sets. Quote:

"....artwork combined the 1920s opulent interiors of the former movie theatre designed by C. Howard Crane. The Fox Theatre’s Asian ornamental motifs and painted interiors were incredibly beautiful, this informed the Box inner artwork as well, I based the framework shape from the box set inner sleeve from a pattern from the wall tiles in the theatre....."

Just read the rest!

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13 years 5 months

Submitted by JimInMD on Wed, 08/11/2021 - 18:46

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I have been calling for this one for years. It's really a peak peek at what's left in the vault to be released.

So thankful it will (should) get the plangent treatment. We are a spoiled bunch and I am very grateful.

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10 years 9 months

Submitted by hendrixfreak on Thu, 08/12/2021 - 07:42

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Was looking for something positive to say about anything at this point -- and saw JimInMD's positive post on the forthcoming box. So all I have to say is, YEAH! Way looking forward to enjoying these seven shows over the fall and winter. I always take my time, listen once, and shelve 'em. These days I can listen, solo, to a two-disc show, occasionally a three-disc-er. Then it's archived. Whenever that second listen comes, it's like a first-time listen. For example, three of us took 2 1/2 years to work through the Euro '72 box, perhaps an extreme example, but then again, I'm all about extreme examples.

Two back-to-back '71 shows with Captain Grease at the helm. Three consecutive fall '72 shows. And two winter '73 shows? Hard to see how they top this next year. As many have noted, however, there's no need to rank or choose shows or boxes because one night I might like mint chip ice cream, another night I favor chocolate.

And in October, it's gonna be a Seven Show Sandwich. Yum.

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12 years 1 month

Submitted by Dennis on Thu, 08/12/2021 - 08:28

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....... it is by standing upon the shoulders of giants.

I got my Bill Savory collection from Mosaic last night and after reading the book that came with it (which I almost never do!), I thought of that quote from Newton (sir, not fig) If Owsley was a brilliant recording/ sound engineer, then he was standing on the shoulders of Bill Savory. This guy sound checked a billion live radio shows and recorded a massive amount of them. There were always whispers of his collection, the width and depth of it, the mystery and hopes of what might be there. He was friends with Benny Goodman (fixed his mom's radio so she could listen to his shows) Everyone thought he had tons of Benny. Turns out he had tons of everyone!!! After his death they finally got in touch with son who was disposing of the estate, saved his records from the garbage can just before they cleaned out his house! There was apparently enough boxed up records they needed a uhaul to take them from Chicago to NY. Someone bought the entire collection from the son and donated them to National Jazz Museum in Harlem. There they are being cleaned and processed. Hopefully this is just the first volume of Bill Savory.

I love a happy ending!

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15 years 11 months

Submitted by estimated-eyes on Fri, 08/13/2021 - 07:46

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I like the design of the slipcase box as shown in the email. I reminds me of the Veneta box design, but this one will obviously be bigger. It appears to me that there is perhaps a hinged box that holds the seven shows that slides into the slipcase.

Regarding the shows, Jim is on point. This is going to be a stellar release. I don't buy all the boxes, just the ones that really grab me and this one does. I can't wait to get this one.

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10 years 11 months

Submitted by alvarhanso on Fri, 08/13/2021 - 13:49

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I'm curious if it's more Sunshine Daydream or Get Shown the Light slipcase, the pic in the email makes the object coming out appear more substantial than those thin, etched paper cases of GSTL, which was just 11cds. SSDD was just 3 plus DVD or BluRay, so that kind of slipcase was nice for that. This is the biggest box set cd wise since PacNW, which was 19cds. Other than 30 Trips's gargantuan 80cds in 2015, this the biggest since 2014 Spring '90 The Other One's 23cds. I'm expecting some heft to this thing. If you could do Europe in a steamtrunk, maybe taking a steamboat on the mighty Mississippi, one may need a valise or briefcase? Whatever it is, however large it is, it shall be adorning a spot on the shelves, but I simply can't wait for the goodness within. I'm pining for these shows like a Norwegian Blue parrot that's most definitely not pushing up the daisies. The plumage of the box may be lovely, but the glory is in the music of the Dead 1971-73.

Hoping somewhere along the way we get a Listening Party featuring at least one of the three Brokedowns giving the box its name.

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16 years 6 months

Submitted by Forensicdoceleven on Sat, 08/14/2021 - 02:00

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50 years ago today…..

August 14, 1971
Berkeley Community Theater, Berkeley, California

Set 1: Bertha-Me And My Uncle-Mr. Charlie-Sugaree-El Paso-Big Railroad Blues-Big Boss Man-Brokedown Palace-Playing In The Band-Hard To Handle-Cumberland Blues-Loser-Promised Land

Set 2: Truckin'>drums>The Other One>Me And Bobby McGee-Sugar Magnolia-Not Fade Away>Goin' Down The Road Feeling Bad>Not Fade Away

Encore: Johnny B. Goode-Uncle John's Band

Deadicated to Serpent of Dreams, droidmec, WhatsbecomeofRosemarysBaby, Fogle, MilesM, NWScarletFireGuy, Old Chief Smokem, mdboucher, Quodlibet, Thats_Otis, and Pancho Pantera, because memory is the treasure house of the mind wherein the monuments thereof are kept and preserved……

One of the better summer 71 shows, with a decent dose of first set Pigpen and a nice big jam to open the second set. Phil is very active. The second set seems to be dominated by Bobby, with four straight Weir songs to kick it off. One never hears a lot about the two Berkeley shows, but they are worth a listen!!

Rock on!!

Doc
Sometimes I can think of nothing more blissful than going to Berkeley and reading Byron for three years……………

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Submitted by Forensicdoceleven on Sun, 08/15/2021 - 02:00

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50 years ago today…..

August 15, 1971
Berkeley Community Theater, Berkeley, California

Set 1: Big Railroad Blues-Playing In The Band-Mr. Charlie-Cumberland Blues-Sugaree-Promised Land-Big Boss Man-China Cat Sunflower>I Know You Rider-Me And Bobby McGee-Casey Jones

Set 2: Truckin'>drums>The Other One>Me And My Uncle>The Other One>Wharf Rat-Turn On Your Love Light

Encore: Johnny B. Goode-And We Bid You Goodnight

Deadicated to the420bandito, MLavallee, blueboy714, Roguedeadguy, chilly1214, Moses Quasar, kevinbrandon, UncleBill'sBand, gruesom, skantor, Lightfoot510, JJJJJ, msmiranda, bchar, JackS, luis, clovett, and Dead Ahead, because memory is a complicated thing, a relative to truth, but not its twin…..

Requests for White Rabbit, and a critical envelope…………..

As with the previous evening, a show that doesn’t get a lot of attention. A little less grease, and a bit more jamming. A worthwhile trade-off? You decide………..

Rock on!!

Doc
So long as I confine my thoughts to my own ideas divested of words, I do not see how I can be easily mistaken……

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10 years 4 months

Submitted by KeithFan2112 on Tue, 08/17/2021 - 05:24

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Yeah Proudfoot, especially the 14th. As I mentioned on the other page, Jerry's playing a Gibson Les Paul at these shows, which gives them a completely different / unusual flavor than anything I've heard after they started playing songs from the WMD, AB, Ace, and Garcia records. I love this guitar from years of listening to hard rocker guitarist Ace Frehley play it (pretty much his trademark axe). Just listen to that thing sing while he's picking away under Weir's vocals on El Paso. I guess headphones help. And The Other One => Jam => Other One Reprise on the 14th is some top shelf jamming.

I don't recall any official releases from '71 forward with the Les Paul. I certainly don't recall hearing the unusual texture enough to look it up like I did with this one. I know he used it on and off prior to those above-mentioned records, but he primarily stuck with the SG when it came to Gibsons in this era. As best I can tell from the Jerry guitar site, the 30 Trips show from 11/10 1967 is the only official release featuring it from the '60s/'70s. It looks like he had been playing a few different Les Paul models throughout 1967-1968 and switched to the SG the very night of the famous show at the Greek on 10/20/68 (also in the 30 Trips box of course). So yeah Doc, these are special shows to this guitar geek.

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10 years 3 months

Submitted by daverock on Tue, 08/17/2021 - 08:10

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On some of the pictures in the booklet for Dicks Picks 35, chronicling shows in August 1971, it looks as though Jerry is playing a a Gibson Les Paul Special - in glorious TV yellow at that. I have always liked this guitar - it is one of the few Gibsons that has single coil pickups - P90s. Keith Richards used one live on Midnight Rambler for decades, and in England it seemed to be used more by rhythm players in hard rock - but not metal - mode. Humble Pie and Mott The Hoople used them sometimes, as well as various punk bands. I think Johnny Thunders played one.

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7 years 10 months

Submitted by LedDed on Tue, 08/17/2021 - 17:53

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El Posto Cinco

Concrete Blonde - Bloodletting
Los Lobos - Kiko Live
Kool & The Gang - Light of Worlds
Pink Floyd - Live At Knebworth 1990
Billy Gibbons - Hardware

Saw Guns N' Roses again last night in Denver. Nothing new, but a rowdy crowd loud and ready to party. Felt absolutely great to be back out on the tiles again!

Cheers everyone, be well.

\m/

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14 years 10 months

Submitted by Deadheadbrewer on Wed, 08/18/2021 - 12:25

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I was at a river picnic Sunday for someone's birthday; lots of swimming and Bocce . . .

Started talking to the husband of one of the invitees, and he mentioned living in S.F. for twenty years, from 1973-1993. I said, "Well, being a huge DeadHead, I HAVE to ask if you are into them . . . " His eyes lit up, and he enthusiastically said, "Yes! I saw them something like 150 times!" So we chatted.

Eventually I asked when his FIRST show was, and he started thinking, then told me it was in the winter of '72 in Michigan. I said, "Was it perhaps 12/14/71 at Hill Auditorium in Ann Arbor?" I thought he was going to swallow his tongue, he was so surprised! (partially because he could likely tell that I was one year old at the time) He decided that THAT was actually the year, NOT 1972, and then he shouted to his wife, "Honey, you're not going to believe this!"

I mentioned that he might want to check out a new box set that had music from the two shows just prior to his first . . . Now I'm getting his e-dress from the birthday friend, so that I can send him an amalgam of 12/14/71, from the official release and some high-quality boots.

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16 years 3 months

Submitted by Born Cross Eye… on Wed, 08/18/2021 - 18:27

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Years ago, it was possible to "order" a whole lot of these limited releases and if you ordered above a number of units, you'd get something like "unable to order the number you requested" or something like that. Then you start over with a lower figure and keep trying again and again until you came close to the correct number of boxes left. Or something like that.

With this current system, it appears that you cannot do that with this release.

However, I am patiently waiting for that shipping email to be sent and more importantly the box itself.

I have 12/10/71 a bootleg cd set;
10/18 & 19/72 as downloads (I think I still have them)

then remembered i am simply in upstate NY.

Mad respect to those of you who live east coast and can tolerate the humidity.

Yours truly,

Wussface Heatwimp

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