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    We're feelin' Philly 4/26/83 and its '80s highs. See what we're on about when you pick up DAVE'S PICKS VOLUME 39: THE SPECTRUM, PHILADELPHIA, PA, 4/26/83, the final show of a three-week tour, played at the venue that the Dead played more than Madison Square Garden (there's your daily dose of Dead trivia). This one fires on all cylinders, with extremely well-played, high-energy tight sets featuring newbies "West L.A. Fadeway," "My Brother Esau," rarities like Brent's tune "Maybe You Know," precise medleys "Help>Slip>Franklin's," an inspired new pairing "Throwing Stones>Not Fade Away," and the Dave's Picks debut of "Shakedown Street."  And before you come down, we've got a prime slice of bonus material from the previous Spectrum show 4/25/83 and an extra dollop of '83 from the War Memorial Auditorium, Rochester, NY 4/15/83 (featuring the Bobby rarity "Little Star").

    Limited to 25,000 numbered copies, DAVE'S PICKS VOLUME 39: THE SPECTRUM, PHILADELPHIA, PA, 4/26/83 was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman.

    *2 per order. Very limited quantity available.

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  • icecrmcnkd
    Joined:
    Lemieux and Norman

    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.

  • 1stshow70878
    Joined:
    Maybe You Know

    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!

  • icecrmcnkd
    Joined:
    Sorry that was so long

    I would have just posted the lynk if I could.

    It came from a site called audio asylum.

  • icecrmcnkd
    Joined:
    Thanks for the info

    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.

  • Dennis
    Joined:
    That Mike and Ornette

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

    Didn't understand one bit of it!!!

  • Dogon
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    Dennis, Joe and Lee

    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.

  • ArthurDent
    Joined:
    Encoding Info

    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]

  • Forensicdoceleven
    Joined:
    Only the guy who isn't rowing has time to rock the boat………….

    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……

  • simonrob
    Joined:
    HDCD...

    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.

  • Angry Jack Straw
    Joined:
    Satisfaction

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

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We're feelin' Philly 4/26/83 and its '80s highs. See what we're on about when you pick up DAVE'S PICKS VOLUME 39: THE SPECTRUM, PHILADELPHIA, PA, 4/26/83, the final show of a three-week tour, played at the venue that the Dead played more than Madison Square Garden (there's your daily dose of Dead trivia). This one fires on all cylinders, with extremely well-played, high-energy tight sets featuring newbies "West L.A. Fadeway," "My Brother Esau," rarities like Brent's tune "Maybe You Know," precise medleys "Help>Slip>Franklin's," an inspired new pairing "Throwing Stones>Not Fade Away," and the Dave's Picks debut of "Shakedown Street."  And before you come down, we've got a prime slice of bonus material from the previous Spectrum show 4/25/83 and an extra dollop of '83 from the War Memorial Auditorium, Rochester, NY 4/15/83 (featuring the Bobby rarity "Little Star").

Limited to 25,000 numbered copies, DAVE'S PICKS VOLUME 39: THE SPECTRUM, PHILADELPHIA, PA, 4/26/83 was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman.

*2 per order. Very limited quantity available.

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9 years 2 months

In reply to by Oroborous

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Multi-track and a BluRay.
We need more video!

80/90’s multi-tracks should all be released.
And the 2-track DAT Masters if they sound good and the performance doesn’t have any major meltdowns.

As for the 80’s cassettes, if they sound good and the band is on, then release them. Especially since Plangent can now do cassettes. I would support and 80’s cassette download series, but not until Rhino figures out how to run a download service.

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17 years 6 months

In reply to by Oroborous

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now that Plangent can be used on cassettes, wouldn’t they want to wait on digitization?
I agree that they should get digital back up ASAP for everything, starting with the best sounding good shows as ICCK suggests, but it seems like they wait to cover the production costs until they have the years submoney in hand?

Remember this was one of the big riffs that happened between band members: some wanted to “sell out” to some corporation who would have the financial resources to digitize the whole collection, so you could get any show ala carte, but Phil was like “I’m not turning on the TV and hear Truckin’ during a Chevy commercial” not an exact quote, but he wasn’t about just selling out, he wanted to maintain control and do it their way, well maintaining the respect the music deserved. Or remember the whole Terrapin Station debacle, where Mickey said there’d be a kiosk, so you could put your order in at arrival, and pick up your shows after you toured the museum etc,
So there has been talk at least of trying to make the vault more accessible. But now that Rhino has bought at least some level of control, I don’t think their in a hurry to do any of that, which sucks.

Now if there was any forethought, Rhino et el would of been reinvesting some of the profits from all these years of windfalls to build up enough scratch so if/when the Beatty well etc runs dry, they have the cash to fix up the better cassettes, properly!, and then start pushing them out en masse? Not sure if it’s true, but a reasonable theory, that they could be marketing to the “older” crowd currently, assuming that more of the 80/90s market is younger and thus will be around longer. That seems limiting to me, but what do I know?
Personally, I’m in the All The Years combined camp: let’s get all the multitracks from any year out first, or say one box of multi’s a year at premium rate, so they can milk it along, combined with say DaP series of Beatty’s and predominantly older stuff, (perhaps with some “normal” boxes mixed in), and also offer a no frills 80/90s outlet for everyone else to enjoy, you could call it Pedro’s Picks as I’m available ; )
Sure they might not sell as much of any particular individual format/series, but cumulatively they could be selling more total! And no offense, but their doing this to make money!

maybe that’s it Conekid, save up the working capital from profits now so they can afford to fix up and digitize, then add a DL series, but one that not only works, but excels. Ya know, something the Dead used to be known for: cutting edge, leading technology...

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Icecreamed I appreciate your logic. I'd agree that ABCDs will continue to come out, interspersed with what's in the Vault. Clearly, for this St Louis box, that one ABCD reel enabled the entire box. Frankly, the list of returned Bettys is rather stunning. I'm still panting for every release and that's 50+ years after hearing AB and Skull & Roses for the first time. (Actually, I borrowed Live-Dead from a friend when it came out -- I was only 12 and couldn't make sense out of the opening to Dark Star, so I took it off the stereo and returned the LP unheard!!) And I'll leap at any '80s shows that are hot, after all, I did attend my share. Agreed, cassettes of hot shows beat multi-tracks of lacklustre performances.

Here's a curveball: whatever happened to the tape stash that Mtn Grl turned over? Those were Jer's tapes and Dave did release that killer April '70 acoustic show with the Pigpen set. But I haven't heard anymore about them, nor ever seen a list. (That probably doesn't exist outside Dave's files.) Then there are the tapes that the roadie's ex turned in, which helped create the Fox Theater/FW 69-70 release (DaP 6) and an undisclosed source of returned tapes that enabled Thelma 12-69 (DaP 9). There's a bunch we simply don't know about. And primal stuff, too. I'd think they still have a fair amount of '69 suitable for release. (DaP 40???)

Though thinking about the Vault holdings can drive me a little crazy, I'm kinda glad that Dave doesn't release a list. It keeps the surprise factor going and my earlier posts about the Vault -- how many excellent shows remain unreleased -- run to the optimistic side because Dave has many aces up his sleeve and, as I surmised earlier, he's looking for commercial patterns that could lead to a box and one-offs that work for the DaP series. I must say, while I really don't want his job, it's gotta be mighty fun. A couple tokes and a tour of the Vault would probably leave me quite worn out.

As to preservation, it's not clear to me what the process or pace is. I did get the impression from Dave's description of his DaP process that he selects a show, and THEN it gets digitized and a technical once-over to see if will stand up to release quality. I'd love to hear Dave talk about his process, which shouldn't reveal anything he doesn't want to reveal.

Meanwhile, it's been established that the OSF still has reels of GD. I asked them to keep an eye out for 9-19-72, which is in the Vault, but missing a reel. Fingers crossed, that was my first show. I did sponsor a reel myself of 1973 NRPS. OSF told me that they had opened a box marked NRPS, only to find it empty -- disaster! Yet it seems they've recovered quite a few reels somehow (mislabeled, misplaced?) since then because, obviously, they did that early NRPS box and, presumably, more NRPS releases to come in the future. Johnny Cash at the Avalon is coming out soon! They must have feelers out to innumerable artists for permission to release and they've been careful to go outside the San Francisco bands to broaden our palate. I'm, grateful.

Man, I never tire of this stuff.

And Icecreamed, the new box is pretty sweet. The setlists are mindblowing. You're gonna love it, I'm sure. I'm gonna stretch it out into the early winter just so I savor every skull fuck.

Edit: P.S. Yeah, the demographic angle (Giants box sell-out) is a strong one. I suspect that each era has its fans. I didn't see any '60s shows, but I'm on 'em like white on rice. I caught one '91 and two '92 shows after leaving the GD concert scene in '87, and I'd love to have those properly restored. And I caught shows in every year, 1980-1987, which of course I'd love to hear again. Think of it this way: if you were 25 in 1985, you're ~61 now. Still rockin'. I kinda doubt that, except for Billy the Kid, that any of us did catch '60s shows, but we're hot for 'em. Crazy good stuff.

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17 years 6 months

In reply to by hendrixfreak

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It is puzzling that so few sixties have come out?
Yes their very repetitive, but look at this box, obviously that doesn’t stop em...
And yes many are short,
And there probably not as many good recordings,
but I’ll bet there’s still enough quality there to do something?
Been way too long fo sho!

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10 years 9 months
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At least here's a thought: what if they have one-hour sets from '66, '67, and '68? That's the magic, three-disc requirement for a Dave's Pick. What GD fan could resist??

Okay, perhaps not attracting the 25,000 purchasers needed to sell out a DaP.

Thought experiment over! But for a split second it was sweet! Hell, I'd buy two!

As far as market/demographic, FW box sold out quick!
I think there’s enough folks who would dig some primal dead as long as it’s not too repetitive.
I think your idea would help with that and the length issues...
Do something similar to PNW, Giants, and St Lous, only with 60s shows...

A three disc set from those years would be great. It occurred to me the other day that they must have good recordings of all the shows that were used as a basis for Anthem. If those were released, together with the studio recordings for the same album and you would have one hell of a box. Even less likely to happen than the 3 disc 66-67-68, unfortunately !

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In reply to by daverock

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Daverock, I believe I read that those shows got all chopped up to make Anthem?

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In reply to by Oroborous

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Think of it:
Cobble together a disc or 2 of 66, a one disc show or 2 from 67, say 3 or 4 68 single disc shows, and say three 69 shows!
I’m guessing they’ve got enough good stuff to do that and I’m sure it would sell. I just don’t think a 69 box for instance, of several shows with basically the same songs would do as well? (speaking general population, not personally) But if you get enough variety of songs, years, jams etc, in this box format that’s worked pretty well for them, who knows?

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39 years ago today, we were at the Frost for the 2nd show.. The Frost was a nice place to see the Dead. The Dead played a lot of nice places in the eighties, Frost, Greek , Warfield, Ventura, B.C.T. and Marin Civic Center.

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We have an idea you might want to consider, if you haven't already...................

I'd have to guess that Dave actively or periodically considers how to present the '66-'68 shows in the Vault. He's certainly capable of thinking big, re: E72, 30 Trips, etc.

Dave! Oh, D-a-a-a-a-v-e! We can "help" you!

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10 years 3 months

In reply to by Oroborous

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Oroborous - I wonder if they stiil have the Anthem shows, though. I was thinking about how both 11/10/67 and 2/14/68 have released as whole shows-and going off that, maybe they have the others available, too. But maybe they don't.

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In reply to by daverock

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Not sure DR? Just somewhere in the recesses of what’s left of my memory I thought I remember reading or seeing here etc that when they made the album they cut/spliced the tapes from those shows for the album?
But I most certainly could be wrong?
Perhaps someone else knows?
Where’s GOGD when ya need him! Lol

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12 years 1 month
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I know the Nappy Rag Man got the recent Dylan bootleg.

These things always have so much stuff on them, mostly throw away out takes, but boy everyone has something.

I am in love with the outtake of I & I. It is so much better than the album version (Infidels). I would have paid just for that!

What'd ya think?

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In reply to by Oroborous

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That was Anthem. They talk about it at great length on the documentary Anthem to Beauty, which you an stream for free on YouTube.

I don't think they were as disciplined as they could have been in doing this though.. so there was likely a lot of loss and unlabeled work along the way. I think for Aoxomoxoa they recorded the whole album on 8 track, then 16 track came out and they did it all over again. Those 8 tracks still exist, or did they re-release the as alternative takes last year, I honestly forget...

They certainly have been stingy on 1968 though, haven't they.

Don’t post much, but read often. Thanks for the entertainment everyone.I’m thinking 6-22-91 for the next show. Dave’s picks hasn’t given us a 90s show yet. Just as good as the D.C and N.Y shows that preceded it. I was lucky enough to see them all. I would rather have a 68 to 70 show, but if Dave wants to go 90s, 6-22- 91 is pretty good for the time. Lots of Bruce which I love.
I saw my shows from 83 to 95, but I find Dave’s 39 a struggle to listen to and haven’t been able to listen to the whole thing. The anniversary of my first show is later this week 10-15-83. Just my opinion, but that show blows away the two 80s releases we’ve gotten recently.
Hey Dennis, I agree that I and I from Dylan’s latest is the best song from what is a kind of disappointing release.

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4 years 4 months

In reply to by annalee10

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I wasn't there, but I sure remember hearing it for the first time on disc.

:)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

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In reply to by JimInMD

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I cannot remember where exactly, but I remember reading that some of the tapes they were "experimenting" on for Anthem made them unplayable/unusable for a release. Now, obviously, some of the Anthem stuff has been released (2/14/68, 11/10/67, 2/23-24/68, 3/17/68).

Aah, there it is! DeadBase says Reel 1 of 3/17/68 is unplayable due to experiments done on it during Anthem. Reel 2 was the Download release of 3/17/68.

So, I mean, some stuff was obviously still OK (11/10/67, 2/23/68, 2/24/68). Some stuff was partially OK (Reel 2 of 3/17/68 OK, reel 1 ruined). How the other stuff (11/11/67, 1/20/68, 1/26-27/68, 2/2-3/68, 2/22/68, 3/15-16/68, 3/29-31/68) fared? Who knows? Every tape I have ever seen of 11/10 & 11/11/67 has the exact same Alligator>Caution on them for both dates). Some of 2/2/68 was still OK because the Dark Star is on the Carousel Road Trips as a bonus track.

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It's a raucous, motley crew around here (speaking for myself, of course -- me and my multiple personalities), so we welcome one and all. Jump in anytime, we're not very serious.

Cheers, HF

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11 years 10 months

In reply to by hendrixfreak

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yes I do have it and I agree 100% on that version of "I & I"...been dealing with my Beisbol fanaticism mainly and sucking in all I can of the playoffs...I know quite a few here are chomping at the bit for the start of the NHL season but I'm a baseball guy...and don't forget that Oct 22nd the live Coltrane "Love Supreme Live In Seattle" releases and that The Beatles "Get Back" Super Duper Edition gets released this Friday...I've been busy filling holes in various old R&B collections I have, getting the missing volumes to complete them....also am going through my CD collection and ripping to various external HD's I have...as long as I'm dealing with music I'm happy...

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Howdy y'all. 10/15/83 was my second or third show. This WAS a great show! I do think the 10/14/83 equals the performance of the following night, though the song list for set 1 is MUCH better on the 15th. The Saint Stephen on the 15th is pretty ragged, it's but it's hard not to get caught up in the emotional outburst that accompanies it through the entire freaking song.

I just received the St. Louis box. Holy moly, this thing sounds great. But we knew it would.

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Either Dave will try to hit one out of the park with DaP 40 -- because otherwise it'll land in the shadow of the St Louis box -- or DaP 40 will be a relative dud, because it'll land in the shadow of the St Louis box. Or, obviously, it lands in between.

Dave also has the option to announce a killer DaP 41 as subscriptions open for 2022. So a killer show for DaP40 isn't a given, nor needed to stoke interest in next year's series.

With everyone gorging on the box, little wonder there's been no speculation with a show announcement due anytime.

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12 years 1 month

In reply to by hendrixfreak

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..... 1979-01-15 - Springfield Civic Center - Springfield, MA

No reason, but 1/15 is my birthday and I think it's the only time they played on it.

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In reply to by hendrixfreak

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Nice to see ya!
I was at those shows and always thought the first night was better.
It was one of those you had to be there nights: the sound, the lights, the band, everyone was on.
It’s unfortunate that the recording doesn’t really capture all that.
BITD, before I saw many more shows, I thought the 14th was the best show I’d seen.
Yes the Steve wasn’t super tight, but no one cared. It was an amazing thing to be present for.
Right up there with the first 86 Box O, and the 10/9/89 DS. To be there live with 15 or 20k of your close friends was as powerful as being at an 80K seat NFL playoff game. Gives me chills just to think about it!

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In reply to by Oroborous

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Not a bad guess Dennis as that one is on that possible list Dave put up early on that he’s been slowly chipping away at
Here’s that list:

Or not fucking captcha BS!
Won’t let me paste the list and I don’t have time to type it out, uugghh!

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of must releases: 3/18/67, 1/22/68, 10/12/68, 4/4,5,6/69, 10/31/69, 9/20/70, 2/17/79. That's fairly short.

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10 years 3 months

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I would think whatever is released will be in the shadow of the box-one of the best Dead releases ever. Consequently, I wouldn't be surprised if Dave's 40 is a bit of a clunker. Followed by an all guns blazing classic to kick the new year off.

Off the point - but I was thinking what a great box they could make in a similar fashion to the 71-73 box, but going from 1968 to 1970. With music spanning Anthem to Amercan Beauty it could feature and incredible span of styles, songs and jams. A 30 cd'er for sure.

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I saw a St.Stephen in my first show, Hartford 83. I was there for the Box of Rain breakout in Hampton 86. I saw all of Alpine 89, was there for all of the Albany 90 shows, all of the Boston 91 shows, saw the Here comes Sunshine modern debut in phoenix 92 and lots of other cool stuff. BUT, T I think the most intense GD energy I ever experienced was the Scarlet Fire at MSG on 10-14-94. One of the best half hours of my life!!!!!…… I think I will listen to it tonight. 94 and 95 weren’t that good, but a Road trips release would have worked to release some of the buried gems.
Absolutely love this new box, looking forward to the next Daves, peace.

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A 90s pick is long overdue for this series. Europe 90 has some nice shows. December 90 has some monsters. 91 was a solid year. The two big ones that stand out are 4/1/91 and 9/26/91.

Would love to see more Spring 89 released. Ann Arbor and Milwaukee for example. Two fine runs of two shows. That would make a sweet 4 show box actually.

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But I'm pessimistic on '68 getting included. Though I'd howl at the moon if it was included.

I'm feelin' '79, as in, you already know, 8-12-79 -- but Dave's holding back the hot Red Rocks shows for a possible box, I'd think.

On the 1991, I'd go for 6-22-91, Soldier Field. I enjoyed being there, but would LOVE to re-experience that show.

Okay, I guess our dibs are in........

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10 years 11 months

In reply to by daverock

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Hope not. That would be a waste of a 10th anniversary Pick. This year has probably been one of my least favorite so far for the DaPs, I'm hoping for a strong end with something like 7/25/74 or 8/4/76 or the multiple show Grease of Pigpen Pick. You're definitely right about the Box, though; so far, straight fire to mine ears.

Alvarhanso - me being a bit facetious. It's just that the box has hit such a peak that it seems impossible for the next release to sound anything more than an add on. I would imagine it will be a show from the later years, which will obviously please a lot of people. Which is good. I would prefer 1968, but as my friend often reminds me.."It's not all about you !"

Wouldn't that be sweet. I would say unlikely, but as predictable as Dave is.. he is somewhat hard to predict. I look at Dave's #8 as a risky step out of his comfort zone that turned out spectacular. Perhaps my favorite 1980 show (sorry Radio City and Warfield).

I think this is a complete wildcard. If the past is any indication on what's to come, an off the beaten path decent 80's show. ...but I just don't see this coming in this slot this year. I'm sticking my neck out and predicting 1969. There's still a lot of good sounding tapes from this period that have yet to be released and it just fits. Second guess 1991. As much as we would like to hold out and hope both the audio and video from these shows come out.. I haven't seen much success marketing shows this way. Which yields space to think about the real crown jewel #41, the season opener which will be announced sooner rather than later.

So 1968, I give an enthusiastic hell yes.. what we will actually get is a crapshoot.

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Jim makes sense about a '69 release, in that -- as daverock states -- this box really hits the sweet spot. I've only listened to 1 and 1/2 of the two '71 shows and they rock flawlessly or the flaws are musical, which reflects the forward energy of the band in performance. But with a huge glow around GD-fandom created by the box, Dave would really cement a lot of excitement for more by topping the box with what (at least Jim and I believe) is a fairly good stash of '69 shows still in the Vault. I don't think '80s. If Soldier Field June '91 is a multi-track, that's probably out for a DaP.

In a sense, a Halloween show would be welcome to explain the merch madness. I say that because if they're going "full merch" and every freakin' major holiday brings forth holiday-related merch, I'd be kinda sad. Yeah, maximize revenue, but everyone involved at the TPTB is doing fine. This was supposed to be about the music.

So, Dave, how 'bout a crisp '69 show to strenthen the faith factor? We'll know soon enough.

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17 years 6 months

In reply to by hendrixfreak

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Here’s a Breakdown of Dave’s Picks
(First #) = Year:
(2nd =)Total Releases from this year/
(3rd = )How Many Releases since last pick from this year../
(4th =)Release # of last pick from this year

80: 1 / 31 / #8
69: 2 / 29 / #10
81: 1 / 19 / #20
72: 3 / 15 / #24
71: 3 / 13 / #26
76: 3 / 11 / #28
70: 2 / 9 / #30
79: 1 / 8 / #31
77: 5 / 6 / #33
74: 5 / 5 / #34
84: 1 / 4 / #35
87: 1 / 3 / #36
78: 4 / 2 / #37
73: 5 / 1 / #38
83: 2 / - / #39

No Picks from:
66-68, 75
82, 85, 86,
88-95

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13 years 3 months

In reply to by JimInMD

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So, this year we've had:
Dave's: '78, '73, '83
Skull & Roses 50th + some 7/2/71 bonus.
LTtR: '71, '72, '73.

It screams for 60's or '90's. I'd be really surprised if we got more early 70's or Brent 80s. Though acoustic '70/'80/'81 would be welcome, though I fear the tapes may not be there.

On that front, we have gotten cassettes with the plangent treatment (Da39), so maybe more shows are now in consideration.

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I’d like to see a 91 show to be equatable to others who like more than just 5 years…it’s WAY past time Dave!
9/26, 4/1 or perhaps 10/31 would be logical choices, 6/22 would work but you have to wonder about some kinda GIANTS deal with video. 6/9 might fit?
81 would also be a great choice, since there’s so many hot shows there, but I don’t think he’ll go 2 80s in a row again.
I hear the haters T.P.ed his house, put sugar in his car, and kicked his dog after last year.

80 and 69 are most overdue. I don’t think he’d go 68 unless he uses 3 short shows, which would be nice!

I’d say wild cards could be 70, or 82, but again, I don’t see 2 80s in a row this time.

Something from the 90s is really really overdue!

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I was right and wrong, lol.
It’s technically a 90s, but really another 80s…
Let the whining begin ; = )

By my unofficial count, not counting the Bonus discs, Dave's by lineup:

J, B, B, Ph, K & D, M = 12.
J, B, B, Ph, K & D = 12.
J, B, B, Ph, M, Br = 7.
J, B, B, Ph, Pig, M, TC = 3.5
J, B, B, Ph, K, Pig = 2.33
J, B, B, Ph, K = 1.67
J, B, B, Ph, Pig, M = 0.5

No core 5. No Vince or Bruce. No Keith/Donna + Pig unless Donna is on that Academy of Music (not credited). Though with Europe '72 already released there isn't much to aim at (Hollywood Bowl + other Academy shows). No Dana Morgan Warlocks nor '73 horns shows.

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16 years 3 months

In reply to by Jason Wilder

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After listening to this show yet again, about 20 times after release, I find it, especially the 1st set after Shakedown, to be underwhelming. It just doesn't "do it" for me. Shakedown Street is the exception.
Others may get it, but this one burns out on me. 3 bolts (out of 6)

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