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    "When we began discussing audio projects to commemorate the 50th anniversary of the Grateful Dead back in 2012, we knew we wanted to do something completely unprecedented. We could think of nothing more exciting or ambitious than a career-spanning overview of the band's live legacy focused on what best tells the story: complete concerts. Our first criterion was the very best live music to represent any given year in the band’s history. We wanted to make sure that there were not only the tent-pole shows that fans have been demanding for decades but also ones that are slightly more under the radar, but equally excellent. For those who listen to the entire box straight through, chronologically, the narrative of the Grateful Dead's live legacy will be seen as second to none in the pantheon of music history." - David Lemieux

    We are more than pleased to announce the Grateful Dead's most ambitious release ever: 30 TRIPS AROUND THE SUN. Available as both an 80-disc boxed set and a custom lightning-bolt USB drive, the collection includes 30 unreleased live shows, one for each year the band was together from 1966 to 1995, along with one track from their earliest recording sessions in 1965. Packed with over 73 hours of music, both the boxed set and the USB drive will be individually numbered limited editions.

    The 80-disc boxed set is individually numbered and limited to 6,500 copies, a nod to the band’s formation in 1965. Along with the CDs, it also includes a gold-colored 7-inch vinyl single which bookends the band’s career. The A-side is “Caution (Do Not Stop On Tracks)” from the band’s earliest recording session in 1965 with the B-side of the last song the band ever performed together live, “Box Of Rain” recorded during their final encore at Soldier Field in Chicago on July 9, 1995.

    The box also comes with a 288-page book that features an extensive, career-spanning essay written by Nick Meriwether, who oversees the Dead archives at the University of California, Santa Cruz, along with special remembrances of the band submitted by fans. Also included is a scroll that offers a visual representation of how the band’s live repertoire has evolved through the years.

    The USB drive version* will be shaped like a gold lightning bolt with the Grateful Dead 50th anniversary logo engraved on the side. The drive includes all of the music from the collection in both FLAC (96/24) and MP3 formats and is an individually numbered limited edition of 1,000 copies. Digital version of the book also included on USB.

    Shows will NOT be sold individually on CD. This release is sure to sell out quickly so pre-order your copy today and stick around as we will be revealing a mighty fine selection of music, art, and much, much more right here.

    (Looking for a smaller 50th Anniversary commemorative keepsake? September 18th will see the release of a four-CD version of the collection titled 30 TRIPS AROUND THE SUN: THE DEFINITIVE LIVE STORY 1965-1995. More on that here.)

    ROLLINGSTONE.COM SONG PREMIERE AND EXCLUSIVE DAVID LEMIEUX INTERVIEW
    Head on over to Rollingstone.com for the very first listen of "Morning Dew" 9/18/87 Madison Square Garden, David Fricke's exclusive interview with archivist David Lemieux, and the reveal of 30 TRIPS AROUND THE SUN's '69 and '84 shows.

    *Helpful hints for using your USB:

    Running the 30 Trips Player / Reader program:
    On Windows – Navigate to the USB drive and double click the PCStart.exe file to run.
    On MacOS – Open the GD 30 Trips drive, and double click the MacStart to run.

    Viewing the digital book:
    You can either view it within the program that comes on the drive, or by opening the PDF directly.

    To view the PDF, open the PDF folder on the drive and the USB_bk_spreads_08-31 file within. Selecting the option within your PDF reading application to view as a “single page” might be preferable to viewing as a continuous document.

    Importing music into iTunes and other library programs:
    When you import the songs from the USB into your library, the information used to identify the track will likely leave them sorted incorrectly. Please use the song list found here to re-number the songs for each show so that they playback in the correct order.
    PDF
    Text

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  • #6791
    marye
    Joined:
    the thing about I Will Take You Home
    is that it's Barlow's lyric. In some interview somewhere he talks about how he and Brent, who were pretty good friends, both had daughters around the same age, and it kind of grew out of that experience. I had a number of conversations with him around that time; it was a heartfelt thing about a fairly universal and still always personal experience. Still, as with all Dead songs back in the day, some of us really loved it and some seized the moment for bathroom breaks.
  • #6792
    mustin321
    Joined:
    So much hate...
    One of the finest musicians to ever play the keys...whether its Piano, Organ, or Synth and doing it very well and often singing perfect harmonies at the same time. He definitely deserves more respect, especially by anyone that calls himself/herself a Deadhead. I'm going to assume that some of you that are making the negative comments aren't musicians. Maybe you don't like his voice or the sound of the keyboards, which is an opinion anyone is entitled to, but he was an incredible musician that played with the band for over a decade and could never be replaced or copied. When old "Clifton Hanger" checked out early, Vince had somewhere around 250 songs to learn in just a few months that the Dead could play at any time. (please correct me if that number is wrong). For those here that aren't musicians, at least try to understand how incredibly difficult that task would be. I don't care how good you are. That is a lot of songs. And obviously he got help from Bruce Hornsby from time to time. I am a Vince fan too but he (and Hornsby together) could never quite fill Brent's shoes, but he still did a pretty damn good job. Brent left a huge hole to fill, as did Jerry & Pigpen. And the other ones too when the next one goes. Don't forget, the blend of extremely unique and talented musicians is what made this band so sweet.
  • #6793
    80sfan
    Default Avatar
    Joined:
    Brent
    I think Brent's backup singing and his keyboard playing fit the band well - 1980-1983 represent some truly great shows and at times it's not heard to believe Jerry when he said they were just getting good. But man, his solo songs were not appealing at all. Just not my thing. Not sure why they let him or vince ever do anything other than play their instruments...
  • #6794
    stoltzfus
    Joined:
    Brent, Keith, Vince
    we are talking about people who are literally dead. Salute, Ornette Coleman. i often hear the riff from Virgin Beauty in my head. 15 days until Santa Clara!! I won't be there in body, but in spirit? You bet! Again: listen to Sleep: Dopesmoker. FUN.
  • #6795
    Dschian
    Default Avatar
    Joined:
    Re. Ornette Coleman- a beginner's guide
    http://www.nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxop… It took me a long time to appreciate Lonely Woman, which leads off Shape of Jazz to Come.. Listeners new to his music may want to start with Change of the Century or This is Our Music, which perhaps begin on more accessible notes.
  • #6796
    bliss
    Default Avatar
    Joined:
    stop making sense, etc.
    those extra musicians on stage with the TH during stop making sense are mostly ex-members of Parliament (George Clinton's band) - hence the increase in the funk quotient. The key (so to speak) in both of those bands was Bernie Worrell - child prodigy on the keyboards and unbelievably talented. as for the box, differing eras, count me as somebody who wants to hear it all. by way of context, i never saw the GD perform. when i was young, i didn't have the money (or the wherewithal to overcome that), and when i was older, i didn't have the time (or the inclination to make time), and then bam - it was over. I saw JGB in 92 and got deep into the Dead in about 2000, after i got bored with listening to Phish shows (still love the band - just don't think their shows hold a candle to the Dead). So, i have no horse in the race as far as eras go. I acknowledge the shortcomings of each, be it Donna's offkey yelling, or the chintzy sound of some of Brent and Vince's keyboards. I can find redemption in every era. When I listen, I'm either lining up my collection (all official releases) chronologically and making my way through it, or, the years i spot-listen to are 72, or spring 1990. those are the highlights for my ears, and I can't always explain why. really looking forward to this box.
  • #6797
    PalmerEldritch
    Joined:
    Brent
    I've seen that Garcia quote about Brent before: "he could have gotten better, but he just didn't see it. He couldn't see what was good about what he was doing, and he couldn't see himself fitting in. And no amount of effort on our part could make him more comfortable" I've always felt just the opposite. I thought Brent fit in well in the early years, but became overconfident in the later years. His playing in the late 80's seemed symptomatic of an oversized ego. He began to dominate the band's sound, in a bad way IMHO. Also, nearly half the songs on "Built to Last" were Brent's. Of course, Garcia had impeccable taste in music, but I don't really trust his opinions on Dead music. He often said in the early 80's that the Dead were playing their best music ever and they were just "starting to get good". I don't remember him ever complimenting Keith, now widely considered their finest keyboard player. Some of his choices for musicians in the JGB band were questionable, no point naming names. Sorry, don't mean to be negative. All I'm saying is I just really prefer Brent's early playing.
  • #6798
    allman
    Default Avatar
    Joined:
    long time gone
    Welcome back cosmicbadger
  • #6799
    Dschian
    Default Avatar
    Joined:
    A music colossus passes from the world
    This morning Ornette Coleman died in Manhattan. Deadheads may know him as a musician that the members of the Dead, especially Jerry, held in the highest regard, and jammed with, but he was so much more. He was one of a handful of figures who formed the foundation of modern jazz. He pioneered the use of melodic improvisation in jazz while managing (at least in his earlier work) to swing. Like Jerry, he was a humble iconoclast. Like the Dead, his musical contributions were often misunderstood and scorned. Along with Theonius Monk and John Coltrane (among others) he took jazz to a whole new level. Anyone here with any taste for jazz and offbeat improvization who hasn't heard his early works should check out albums like The Shape of Jazz To Come (a landmark of modern music, and his first advanced work), Change of the Century, This is our Music, and Free Jazz. His music may require a few listens before really clicking, and it's not always accessible (I'm a huge fan of his early work but only enjoy a tiny bit of what he recorded after the mid-60s, one exception being Virgin Beauty, some of which Jerry played on- but DON'T start with that album!!). What's so amazing about most of these works is the lyricism, the AWESOME musical relationship between all of the band members, the liveliness and unpredictability, and for that era- over 50 years ago- the excellent quality of the recordings, which hold up very well against current ones. If you like what you hear, you might want to pick up Beauty Is A Rare Thing, a box set of virtually all of his landmark recordings, including some fairly unreleased stuff- it lists for about $30 online (y'know, about $670 less than another box set I recently heard about).
  • #6800
    Mar-T
    Default Avatar
    Joined:
    The other heads and personal songs
    Owlshead, I'm a huge T-heads fan, too. I have a personal connection to them, since my brother is godfather to two of Jerry Harrison's kids. (He was best friends with his wife in high school). When my brother lived in Paris, he hung out for a ton of the recording sessions for Naked, witnessing the demise of the band. They each recorded their parts separately and Steve Lillywhite is really the guy that brought the sessions to life with some excellent musicians from Paris' African music scene. My brother just went to Jerry's for his (I think 30th) wedding anniversary and sent me a photo of Jonathan Richman playing guitar in the living room at the party. On another occasion in Milwaukee, I went out to bars with Jerry's latest protégés, who were in town recording with Jerry. It was the band Live, recording Throwing Copper. Nice, down to earth guys... Sorry, I digress and get way off topic! Stoltzfus, I think you hit on something really key. I Will Take You Home is way too damn PERSONAL. most of the Dead's songs are pretty universal, or at least third person story telling that is distanced enough not to associate the song with the singer. I think it also may have to do with the fact that in the 80s, most fans couldn't relate to the emotions of parenting. Yes, too personal indeed.
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"When we began discussing audio projects to commemorate the 50th anniversary of the Grateful Dead back in 2012, we knew we wanted to do something completely unprecedented. We could think of nothing more exciting or ambitious than a career-spanning overview of the band's live legacy focused on what best tells the story: complete concerts. Our first criterion was the very best live music to represent any given year in the band’s history. We wanted to make sure that there were not only the tent-pole shows that fans have been demanding for decades but also ones that are slightly more under the radar, but equally excellent. For those who listen to the entire box straight through, chronologically, the narrative of the Grateful Dead's live legacy will be seen as second to none in the pantheon of music history." - David Lemieux

We are more than pleased to announce the Grateful Dead's most ambitious release ever: 30 TRIPS AROUND THE SUN. Available as both an 80-disc boxed set and a custom lightning-bolt USB drive, the collection includes 30 unreleased live shows, one for each year the band was together from 1966 to 1995, along with one track from their earliest recording sessions in 1965. Packed with over 73 hours of music, both the boxed set and the USB drive will be individually numbered limited editions.

The 80-disc boxed set is individually numbered and limited to 6,500 copies, a nod to the band’s formation in 1965. Along with the CDs, it also includes a gold-colored 7-inch vinyl single which bookends the band’s career. The A-side is “Caution (Do Not Stop On Tracks)” from the band’s earliest recording session in 1965 with the B-side of the last song the band ever performed together live, “Box Of Rain” recorded during their final encore at Soldier Field in Chicago on July 9, 1995.

The box also comes with a 288-page book that features an extensive, career-spanning essay written by Nick Meriwether, who oversees the Dead archives at the University of California, Santa Cruz, along with special remembrances of the band submitted by fans. Also included is a scroll that offers a visual representation of how the band’s live repertoire has evolved through the years.

The USB drive version* will be shaped like a gold lightning bolt with the Grateful Dead 50th anniversary logo engraved on the side. The drive includes all of the music from the collection in both FLAC (96/24) and MP3 formats and is an individually numbered limited edition of 1,000 copies. Digital version of the book also included on USB.

Shows will NOT be sold individually on CD. This release is sure to sell out quickly so pre-order your copy today and stick around as we will be revealing a mighty fine selection of music, art, and much, much more right here.

(Looking for a smaller 50th Anniversary commemorative keepsake? September 18th will see the release of a four-CD version of the collection titled 30 TRIPS AROUND THE SUN: THE DEFINITIVE LIVE STORY 1965-1995. More on that here.)

ROLLINGSTONE.COM SONG PREMIERE AND EXCLUSIVE DAVID LEMIEUX INTERVIEW
Head on over to Rollingstone.com for the very first listen of "Morning Dew" 9/18/87 Madison Square Garden, David Fricke's exclusive interview with archivist David Lemieux, and the reveal of 30 TRIPS AROUND THE SUN's '69 and '84 shows.

*Helpful hints for using your USB:

Running the 30 Trips Player / Reader program:
On Windows – Navigate to the USB drive and double click the PCStart.exe file to run.
On MacOS – Open the GD 30 Trips drive, and double click the MacStart to run.

Viewing the digital book:
You can either view it within the program that comes on the drive, or by opening the PDF directly.

To view the PDF, open the PDF folder on the drive and the USB_bk_spreads_08-31 file within. Selecting the option within your PDF reading application to view as a “single page” might be preferable to viewing as a continuous document.

Importing music into iTunes and other library programs:
When you import the songs from the USB into your library, the information used to identify the track will likely leave them sorted incorrectly. Please use the song list found here to re-number the songs for each show so that they playback in the correct order.
PDF
Text

product sku
081227955892