• 1,587 replies
    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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  • DeadVikes
    Joined:
    Adedhed68

    Hey, we are hoping..... Needs to happen at some point...

  • adedhed68
    Joined:
    Boxset 2022

    Deadvikes, is that a definite on the next boxset? Wow that would be something

  • DeadVikes
    Joined:
    Box Set

    We will resuscitate him after he hears the news of the 2022 box set:

    Alpine Valley, East Troy Wisconsin
    Three shows from 1987
    Four shows from 1988
    Three shows from 1989
    Video to boot.

  • JimInMD
    Joined:
    Interesting

    Well, interesting, but it puts a damper on the fall 72 box. Hopefully HF isn't on suicide watch. Quick.. take some anti-depressant fungal cure caps.

  • KeithFan2112
    Joined:
    One More Comment on Audio

    I found this article on dead essays blog spot a while back. It talks about Bear's recording history with the Dead, with quotes from the man himself from his site:

    Regarding post-jail-time:

    "I came back to a crew that was totally different when I left, and the job that I had been doing was split up amongst three other people, none of whom were willing to yield the territory. I met a lot of resistance in the scene, and after you spend a couple of years locked up, your social adaptability is not very good."
    And another comment on '72 in his site:
    "I was having some problems with the crew, many of whom had come to work after I had gone, and resented my drive to improve things onstage and with the equipment, which I decided was obsolete for the most part. They preferred to let things stay the same - an attitude I thought was due to simple laziness. The various problems, particularly the one of getting those who did my job while I was away to back off and allow me to return to my work, eventually inspired me to design the Wall of Sound... "

    *****************
    Also he said about late '72:

    Bear recounts a mishap at the Vanderbilt University show on 10/21/72, when Bob Matthews didn't show up: "I had to recruit some of the kids from this college to carry the stuff back. Two of them took half our PA and split. At the next show, there's no PA. I said, 'I sent it to the truck.' A roadie picked me up and threw me into a water cooler."
    Apparently some recording equipment was stolen as well, which may account for the rather poor mixes of many of the shows from 10/21 to the rest of the fall tour - either that, or personal squabbles & disputes at the board! (Did anybody listen to the 11/12 mix?) Some shows have missing or incomplete SBDs (from 10/21 to 11/13, though not everything could be in circulation). There are several shows where Bear actually resorted to "audience-taping", making nice room recordings of 10/27, 10/30, and 11/13.

    None of our tapes from '73/74 seem to be Bear's work - apparently after the hassles of fall '72, Bear became more a 'behind-the-scenes' equipment tech rather than the on-site sound mixer.

  • Oroborous
    Joined:
    Jim’s correct,

    But the mastering process can also change the overall sound.
    This is why so many of the original CDs released after that format came out sound terrible.
    It’s a stigma that has unfortunately continued even though they’ve made incredible advances in digital conversion, and stricter coherence to using original master tapes.
    They were mastered poorly, especially the A/D conversion, which coupled often with not using the original master tapes, made them sound horrible. Not just CDs, DVDs etc also can be all over the place depending on transfer and what source was used. I’ve seen DVDs that looked better than Blu-ray’s because of this.

    There’s a lot you can’t mess with in mastering, but there’s much that can be done too.
    I think that’s a lot of why some of the newer releases sound better: Mr Jeffery has had significant time to adjust and perfect the mastering of the recordings. Like Jim says, you can’t re-eq or re-attenuate individual instruments etc on a 2 track, but you can adjust the overall eq, so perhaps that’s why one show from the same run for instance can have different “flavor” like your describing.

    Multitracks, besides allowing for individual tweaks: (think Donna turned down to a normal volume with some auto tune) usually do have much more openness or spaciousness. Check out the 71 Capitol shows to see how big a difference there can be!
    Oh, tape size and speed make a big difference too. The faster the speed and/or the fatter the tape, the better the frequency response and spaciousness.

  • 1stshow70878
    Joined:
    Thanks Jim

    I thought it might be something like that. That may also explain why folks are discussing a re-release of Europe '72 or a box with some of the other shows from that tour. I've got Rockin' the Rhine and Hundred Year Hall but only on tape, so I'm all for that. I need to revisit some of my old vinyl now that I have improved my main system. I don't ever remember Europe '72 sounding this good through my old amp.
    Cheers and thank you.

  • JimInMD
    Joined:
    E72 vs. 10/18/72

    The obvious answer is E72 was recorded using a 16-track professional recording system inside a truck they carried with them from venue to venue and 10/18 was recorded to stereo via two-track reel to reels. So starting with a 16-track professional master tape allows one to change the mix vs. a stereo master where the mix was already condensed to stereo at the time the recording was made (so you can't change the output of the bass or any other instruments/vocals). You can't really alter anything on the two track masters except the volume and some wizardry like compression. With a multi-track you can completely change the mix and the output / location of every instrument, panning the sound, etc. The sky's the limit with a multi-track master.

    There's a good bit of low-level hiss on the 10/18 recording. This was recorded by Bear. I have a sneaking suspicion these master reels were played a few times over the years. They just have this flavor of being used a bit which weakens the quality of the master. I'm speculating, I am certainly not in the know here. To me, it still sounds very good and the performance so strong, I am not complaining. I will take the win.

    Sorry for the detail, I bet you already knew most of this and to be honest.. I am not a recording aficionado, so I reserve the right to be fall on my face wrong. But this is all I have. Where is One Man when you need him?

  • 1stshow70878
    Joined:
    Europe '72 vs. Light Into Ashes

    Listened to these two on vinyl today and the sound is very different. The LIA is way more bass and mid focused and noticeably a bit lacking in treble. The LIA thread talks about the sound quality at more length. Hadn't listened to Europe '72 in many years and the sound was startlingly good on my copy from around 1975. The high end was so spacious, clear, and well defined it really surprised me. Lacking in bass by comparison but I hope they reissue that vinyl this year and balance that out. Maybe some of the recording aficionados here can clue me in as to why the totally different sound from these recordings from the same era.
    Cheers!

  • bigbrownie
    Joined:
    Three is the Charm

    I've just completed my third go-round of this box set: once on the big JBLs, once on the house system with the HDCD player, and once with headphones on the Marantz player...a unique experience each time. Two thumbs up! For all those responsible for making "Listen to the River" happen, I say "Way to go"!
    And, yes, I can't believe this is not sold put.

    BTW, inside my 30 Trips book I found:
    ticket: 10/27/91 Oakland
    backstage pass: 6/16/93 Louisville

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Member for

6 years 4 months

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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Im just gonna order it from Deadnet, I imagine they will have it for sale.; If they don't I'll order it from Amazon. I can listen to these 4 shows over & over again and never get tired of them.

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10 years 2 months

In reply to by alvarhanso

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Perhaps not quite that, but I have found a copy on ebay -sold by someone almost within walking distance of where I live curiously. It all looks kosher, so fingers crossed.

Yes, it's been a favourite of mine since I first got a muddy sounding tape over 30 years ago. In my mind's eye I can still see the 8 year old daughter of my girlfriend at the time, writing the song list out for me on cassette box. She asked if she could do it - it wasn't child labour.

And will remain skeptical until I see an official announcement.

I’ve said before that maybe it is true but is delayed due to any of the various possibilities these days. Some retailers may have placed orders then leaked the info. Maybe it was supposed to be a past RSD release but got delayed, or maybe it’s the rumored ‘second 2020 Box’ that we never got.

It’s listed at some retailers as ‘SYEOR Exclusive’ which is a Rhino marketing campaign.

rhino-com/syeor

Replace the - with a .

That page doesn’t mention GD specifically but they could fall under the “and more!” statement.

So, I’ll remain skeptical until I see an official announcement, and then I’ll try to obtain a copy.

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A few days ago I received a mail from Rhino with a list of Start Your Ear Off Right 2022 releases and 3/1/1969 was certainly on the list. Release date was 28 January.
It can also be found by going to the Rhino website and searching for "Start Your Ear Off Right 2022"

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If I could pick one year to go back and follow the Grateful Dead playing live, it would be 1970. The Dead had all those great new songs that year from Workingmans Dead and American Beauty, they were playing the acoustic and electric shows. playing at cool small venues. Fillmore West & East, Colleges. Super jamming on Dark Star, The Other One and Viola Lee Blues. Yeah, 1970 would definitely be the year I would pick to follow live shows by the Dead.

Assuming you couldn't land in late 1968, watch some shows and then join the crew, or stay on following them in perpetuity, then I'd choose 1972, especially if it meant hitting Europe with them, getting burnt at Veneta and not turning into Pole Guy, seeing Folsom Field and then the September tour of the East and that magnificent Fall from St Louis to Texas and all points in between. Close second would be 1974 to witness the glory of the Wall of Sound and the wonderful music that helped generate.

If I was hitting other bands, too, I'd do 1970 as well. I would start out at Fillmore East 2/11-13 with the Allman Brothers opening for the Dead at the Fillmore East, then fly across the pond to witness The Who destroy Leeds and Hull, England on 2/14-15. I'd catch as much of those three bands as I could, while getting in Mad Dogs and Englishmen at the Fillmore East 3/27-28, which made up that live album. The Dead at Fillmore West 4/15 would be on the agenda, and that whole run, because I think they played with Miles Davis at that run. May would be the Dead college tour, June The Who's US tour starting June 7 at the Metropolitan Opera House for two shows complete with Tommy, July 4, I'd detour to the Atlanta Pop Fest, for The ABB opening and closing the fest, and Jimi Hendrix. Then up to Tanglewood, MA to see The Who's tour closer. Then I'd go back on ABB tour, which would be a logistical nightmare, but I'd get to see the Love Valley Festival July 17-19, then next show playing Central Park in NYC, then Boston Common, and back down for a bunch of shows in NC, including the one my dad went to at Joker's 3 in Greensboro. Last show I'd would be their Miami show August 26 where Tom Dowd brought Eric Clapton and the Dominoes to see the ABB, and stole Duane away from a few shows. Then across the pond to the Isle of Wight Festival for The Who with Entwistle debuting his famous leather skeleton outfit, Jimi Hendrix, The Doors, and many others among 600,000 people. Then back across to catch the Dead at the Fillmore East, where I make sure soundboard tapes are made, same for the Capitol Theatre 11/8/70. The rest of the time I might just hang out at the Fillmore East for a month, and Fillmore West for a month. I'd make sure to be there for just two other concerts 12/1 Derek and the Dominoes in Tampa with Duane, and the Allmans NYE at the Warehouse in New Orleans.

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Road Trips 2.3 Wall of Sound WOW Eyes>China Doll, WR Suite>Jam>TOO>It's a Sin Jam>Stella Blue
Linda Rondstadt Greatest hits 1 & 2 What a voice
Trio Complete Collection - Dolly, Emmylou and Linda Sweet harmonies
GD 3/29/90 with Branford Bird Song is amazing-to think he had never heard the song before that night
TTATS 2/22/69 WOW

Also finally able to watch Ray Davies' 1984 film-making debut as director, writer and composer of the hour-long "Return to Waterloo", a collaboration with Channel Four. I've been trying to track this down for years, and my sweetie gave it to me as a birthday present.

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If you read the fine print on that time machine, there is a disclaimer concerning the possibility that you ARE Pole Guy. This discovery could spoil your romp across 1972.

Just sayin'..................

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In reply to by hendrixfreak

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If you read the instructions, it says to avoid setting the dials to 8/27/72. Apparently, the pole in question was toxic, which would not have been a big deal if Pole Guy was wearing proper attire. A tragic moment in GD History. A raise of the glass to Pole Guy, careful with the wayback folks.

To state the obvious, is that the songs on "Workingman's Dead" and "American Beauty" had only just been written. I have read in various places that Altamont, the New Orleans bust, the death of Phil Lesh's father and Bob Weir's girlfiriend Frankie all directly inspired certain songs. So when they sang and played them, they were singing about their lives as they were being lived, in that moment. Inevitabley, with the passing of the time, the songs get more distanced from their source of inspiration. Some may suffer from this, and some may grow - but there is something special, for me, about the moment of creation - when something is being explored for the first time.

Other years have a similar quality - it must have been incredible to see them in 1968 when nothing remotley like it had ever been unleashed before

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To add a layer, consider that Robert Hunter wrote all the words (except 'Operator') that captured the emotions and thoughts to which you refer, experienced by individuals and the group -- that's a feat, considering the lyrical craft in evidence. Lyrics that live inside millions of people and, arguably, permeated generations.

Truckin's "What a long, strange trip it's been..." is obvious, but how about some of the lines and the tone of, say, Attics of My Life, "where all the print is blurred..."

Just wow. When Hunter died, hot tears caught me by surprise.

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I've always been curious about that time machine. Mr. Peabody and his boy Sherman travel as they are now. I was hoping we could go back with a Matrix style residual self image but without all the guns. (We're gonna need backup!) If it's 1970 I would be 13, but with what I know now? Or maybe you get the experience AND the memory of it when you get back. Ideally I would be 21 or so with my 64 year old experiences intact but without the forgetfulness. I never read the instructions until after I've screwed it up though, so this could go badly. But what the hell, I'm in!
Cheers
Edit: Jim, are there fees involved? A dress code? Snacks and drinks served, or is it too short a flight? I think I'll wait until the snow melts if it's at your place in MD.

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Very cool! They should just release whatever they have from 1970 as 1 big box set. That would be a knockout!

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10 years 8 months
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in the Vault. I finally looked up the show they released on vinyl only with the "Origins" comic book. It's a 30-minute slice (released) of a much longer show. And if they have it all in the Vault, then this will be my new mantra, bellowed at the top of my lungs as the Wayback Machine rattles and purrs prior to take-off:

08/21/68
Fillmore West - San Francisco, CA
Set 1:
Cryptical Envelopment
Drums
The Other One
Cryptical Envelopment
Good Morning Little School Girl
Alligator
Set 2:
Dark Star*
St. Stephen*
The Eleven*
Death Don't Have No Mercy*
Turn On Your Love Light
Encore:
Midnight Hour

*released on vinyl

Now that "Origins" has proved to be a pathetic flop, may we please have this '68 extravaganza in its entirety? I sense that this show would require buckling up or one risks the possibility of being thrown off the Wayback Machine. And who knows where you land when that happens....

I don't think Frankie Weir died until sometime later, perhaps in the early 2000's as a result of declining health perhaps related to Lupus? They broke up in 1975 I believe. I think her real name was Judy Azzara with Azzara being a married name.

I might not be 100% correct in the above, if anyone has any better detail please feel free to clarify.

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In reply to by hendrixfreak

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To add another layer, I knew absolutely nothing about the origin of any of the songs on "American Beauty" when I first heard it -and I still thought it was wonderful. And still do. That's another layer of Robert Hunter's skill- not only did he write lyrics that seemed to express the feelings of band members, in doing so, he also got through to people as far away as me-a teenager living in another country. I think I've just re-phrased something you already said! Anyway.

And, yes, they should definitley release 8/21/68 in it's entirety. I don't think too many people would complain if they dropped the comic this time around.

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All my "insights," in retrospect (that is, moments after I press "save") are painfully obvious, yet I post them anyway... Oh well, maybe that's how it goes in one's 60s... I'm only six months from 65 and still getting used to yelling "Get off my (shitty) lawn!" even when there's no one there. My hair and beard are getting long and I don't shower but every 4-5 days. Why bother?

Oh, my point. #41, which is 5-26-77 if memory serves (there I go again), seems to be generating zero excitement. I think this is because spring '77 is so well-represented by official releases that we all know what to expect. Sure, a real, reliably rockin show, but nothing we haven't heard before. Pleasure to be had? Certainly. But I'll bet they had this selected and mixed long ago, freeing up time and effort for this year's "projects" -- a box (apparently Rhino prefers 20-CD boxes, per Dave's Listen liner notes) and ... what else? Something else, as Dave said one project had to be bumped to 2023, they were so freakin' busy. So, perhaps, something related to the 50th of 1972? A six-show revisit of E72?? It's been out 11 years and individual shows are OOP.

Another amazingly obvious point: I'll bet there's a ton of film and audio left over from the GD Movie and 2024 would be the 50th and the time to release it. Okay, sonic issues could complicate matters (see Steal Your Face). I'm still not used to the heavy reverb-drenched 4-CD "movie soundtrack," but it established that they must have some audio in decent shape. I could see Dave & Co. dialing up all the complete audio that they have video for and putting it out, plus bonus audio. There's been total silence on this notion, indicating to me that a) it's possible, b) I'm laughably off the mark.

So, after PNW and Listen to the River, which delivered 13 full shows in my '71-'74 wheelhouse, I'm utterly without guesses as to the 2022 box. Still, I shamelessly say that it could be a location with shows over time (theme of aforementioned box sets) or a focus on an under-represented year such as '79. (Because it has a "7" in it and because they'll need 6-7 shows to hit Rhino's sweet spot. I'm less excited for the music (it's unknown), but will be fascinated by the choice. Oh yeah, it's January. Probably no news for 4-5 months...

29 days with a boot on my leg and 7 to go before I start rehab (on the ankle, that is). And I'm taking out my antsy-ness on my good brothers here. Oh cruel world!

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First up , Jimmy Reed. box set, the Vee Jay years. What time is it? 10am. Ribs & Chicken , first beer Old Rasputin, My brother was fortunate to see Jimmy Reeds last show, I wish I was 21 I would have been there. Last show Jimmy Reed & Charlie Muslewhite what a great bill. Time to put that chicken on and crack another beer.

It would be great if Fall 1972 could be the subject of the next box-even though it featured in the last one. The shows I have heard from this period are so uniformally excellent that it wouldn't matter if they went back there again. In fact, they could release all of them.
I can't say the same for May 1977, though. I think I have got all the ones that have been officially released so far, and we all know now how well they were playing then. But I don't listen to all the ones I have got in any one 12 month period-which suggests I don't need another one. They skim the surface a bit for me.

Billy - life sounds good!

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Slow morning...I keep listening to Attics of My Life, Brokedown Palace, and Stella Blue.

Next Box Set - well,.since my All Dark Star idea appears to have been ignored, I'll drop back to another monster box like E72. A group of 3 shows from each year, just the best sounding stuff, from 1968 through 1974. If each year features chronological shows just call it "The Runs".

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I had expressed my wish for one show from each year of the first ten years, 1966-1975, and I got my wish -- except with 20 extra shows I didn't need. Prior to LIsten to the River I had stumped for fall '72 and we got three killer fall '72 shows. Dave L. did say that a fall '72 box "has to happen sometime." (I paraphrase.) Why not 2022? I was thinking two nights in Paris and the Amsterdam/Rotterdam shows for a finely tuned mix remaster release. But if 1972 turns into a theme, then we're more likely getting an expanded Ace and the earliest '72 show and/or a fall '72 box. As DR mentioned, there is a ton of fall '72 and six shows would hardly dent it.

Otherwise Dave L. goes rogue and does 20 CDs of 1980s cassettes... and I don't see that selling. But I'm a notoriously bad salesman.

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In reply to by hendrixfreak

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Maybe the best way forward would be an expanded Ace, a couple of RSD vinyl releases from Europe 72 ( although I know not everyone goes for vinyl) and....a Fall 72 box.

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In reply to by hendrixfreak

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I don't see that happening. For the most part they have been restricting box sets to multi-track or good sounding, well recorded reel to reels. I don't see them breaking that precedent any time soon.

It's more likely if we see an 80's show make it's way into a box, it's either multi track or they could possibly stick with their tent pole model where they might surround a theme related box with some great recordings with a tangent cassette master or two that slightly missed the mark.

If there was ever pent-up demand for some of these cassettes being leaked en masse, it would probably be the Greeks, Alaska or the Frost.

I just do not see a box of cassette masters. I don't mean to burst anyone's bubble but if nothing else they have been consistent regarding this, the exception being the 80's shows in Boxzilla.

I could see a fall '72 but I am not sure the timing is great for this with the meat of the St. Louis box being the heart of Fall '72. One other nugget.. Lemieux is on record somewhere saying they are missing reels from the BCT 72 run. That may be true or might have been true at one point in time, but the reels do exist somewhere.. and as we all know the reels almost always seem to find their way back to the vault.

So what's in the next box? I think it will be a grand surprise. (then again the last time I said grand surprise we got a Giant(s) Box, which was a grand surprise).

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Jim, I agree with you about the box sets, as far as the Greek and Frost goes. They could put out box sets of some of the shows from these venues, but I doubt that they would put out a complete Greek or Frost , box of all the shows, not all the shows are knockouts. I feel the best shows at the Frost were 1982 & 1985, there are other good shows but I feel those are the best.

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15 years 1 month
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Frost 82 has always been on my wish list for official releases. Two very well played(and sung) shows from start to finish, with great set lists. Would make a perfect little square box release, just like the RFK 89 release.
Frost 85 is smoking, but Jerry's voice is pretty bad so I'm not sure we'll see that one anytime soon.
Greek Theatre 81 was the best in my opinion, but I don't believe the tapes are in the vault.
Then there's the Warfield for the Big Box, but who knows if they have the master tapes(cassettes?)

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10 years 3 months
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I agree with Jim - I cannot see them releasing an 80s box set mastered from cassettes. I recall all of the hub bub when some of those shows were released. All the talk was pretty much about how bad the audio was. It seems like too great a risk. I would think "bad" product would hurt the overall fan sponsorship more than "repetitive" product (and just to be clear, "bad" means the audio quality, not the performance).

It's been so long - maybe the Greek run everyone talks about to cover the first half of the year, and the 3 Boston Tea Party shows to end the year (the set lists are incredible). Safe to assume they're all in the Vault?

Not that I wouldn't be completely into a '72 box, it just seems unlikely since St. Louis just came out. But they could sure throw one in as DaP 43 or 44. I would enjoy any of these:

7/18/72
8/24/72
11/19/72
12/31/72

December 1972 would be a cool month to have a show from at last, and the NYE show is legendary. Or...we could have 3 Box Sets next year - 1969, 1972, and 89/90. Call it "End of the World with the Grateful Dead " Episodes I, II, and III. This would generate the urgency required to market 3 box sets in a calendar year.

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2 years 11 months
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Cousins, I agree with you, those 81 Greek shows were my favorite of all the Greek shows. Your right, Garcia's voice at the 85 Frost shows was rough, but the Dead played great at those shows. The 82 Frost shows were fantastic. Between the Greek , Frost and the Warfield it was a great time to be seeing the Grateful Dead in the Bay Area.

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13 years 4 months

In reply to by KeithFan2112

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So in addition to the 'standard' percentage of 80's in Dave's Picks, if they wanted to test the waters they could start with a mini Greek, the two show Frost or the three show Anchorage. Produce, market and let it rip.. then see how it did. Lather, rinse and either let it flow down the drain if sales were poor or repeat.

But a pragmatic mind might start there and see how it goes. At $8 to $10 disc, it would be worth the risk. Even if they are considering this, and one must think it has come up.. I still think they will continue as is for the next couple of years.

I also enjoy the 82 Frosts and agree with Cousins. I have to give the 81 Greek another listen. Agree on the 85 Greeks as well. The 87 Greeks were good but the tapes are not. The 88 Greeks are under-rated in my opinion. And then there is Anchorage. I need to look at the 89 shows again, and some of these might be multi-track, not sure.

If it's gonna happen these shows are a good place to test things out. I think we are going to get a multi-track release next. The documentation on these is not as tight as one would think.. for example, are there complete lists of the multi-tracks in the vault? If so I have not seen it.

.. I am going to smoke and think a while on this. Time will tell.

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15 years 1 month
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Some excellent shows; start with Boulder, end with Alaska and slip in Portland and Seattle in between. No idea if these are in the vault or cassette masters.

Last 5:

Misfits: Static Age
Misfits: Walk Among Us
Fleetwoods: Mr Blue
LaVern Baker: 1st Atlantic LP
Megadeth: Rust In Peace

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13 years 4 months

In reply to by Cousins Of The…

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I've heard Boulder but not Portland nor Seattle. Still, it's been a decade since I listened to Boulder. I'm gonna toss these in the pick of the day thread as soon as the queue clears up.

One of my all-time sleeper Dave's Picks is #8 because it simply kicks ass, oh and that recording.... I consider it a rarity.

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4 years 3 months

In reply to by JimInMD

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If any good recordings of Greek or Frost shows exist, they would have released them by now.

I like what we get, but don't expect G or F releases.

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13 years 4 months

In reply to by proudfoot

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..but some of these both are releasable and will get released one day.

I also think (perhaps it's a hope) that they are finally turning the corner on restoration/clean-up/improving the sound of some of these cassette master releases.

Time will tell.

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2 years 11 months
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34 years ago today, I was at the Oakland Auditorium for a benefit concert called Blues for Salvador which featured, Garcia, Weir, Santana, Tower of Power, Terry Hagerty, Boz Scaggs, Bonnie Raitt, Wayne Shorter. Garcia and Weir pretty much played with everybody. There will be a box set from the Frost , Greek , and Ventura one day . Great 49 ers game, Garcia was a huge 49 ers fan. I also heard the One More Saturday night before the commercial break, very cool.

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10 years 1 month
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just harder to get to. Go to Community, then Products, then Dead Store Products, then scroll down until you see it. Not in any particular order either it would seem. Same thing happened to DaP40. Just got my 41 this AM. Great sound!
Cheers.

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17 years 5 months

In reply to by 1stshow70878

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Top right corner of your screen, there's an down arrow/caret. Hover over that and click on recent posts.

That's what I always do. Hope this helps... :-)

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17 years 3 months
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This isn't a lead in to selling something. Just curious. I was going through a box of stuff that I had forgotten about and found a small cutting from a film reel. I think it's from the Grateful Dead movie. As I recall, it was a "bonus extra" that came with one of the official CD releases. I'm assuming it came with the Grateful Dead movie 5 cd release, but I honestly can't remember. I've searched "the Google" but can't find it mentioned anywhere. Does anyone remember getting that, and does anyone know what release it came with? Many thanks!

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13 years
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I've always just bookmarked the product page when it first appears.

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13 years 4 months

In reply to by MadDoc

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You are correct.. an extra from The Grateful Dead Movie Box Set. I believe they are cut up pieces of film from the actual film copies they send to movie theaters around the world that were returned after use. I think.. I am running on memory.

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17 years
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Hmmm, does anyone have any other contact info on getting replacement discs other than the DamageReport email address. Is there a way to get a hold of Dr Rhino directly? I contacted the email address about a week ago and was told to send pictures so I did the best I could and I haven't heard back. I'm getting a little nervous considering that this looks like it's close to selling out.

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13 years 4 months

In reply to by darkstartheoth…

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It's not uncommon for them to take more than a week to get back to you. If it would ease your mind, send a PM to MaryE.

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9 years 1 month

In reply to by JimInMD

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You're hunch is right, as Jim confirmed. It came with the GD Movie + 5 CD release as a bonus extra. One of the coolest and unusual things of that nature I can think of - I mean who thought of that? My clip was 4(?) frames tight focus on Jerry's hands jamming on Wolf. Took a bit of time to figure out what sequence it came from. In the end I concluded it was from the Eyes of the World jam, which is in that realm of about as cool as it gets. Back then I thought of getting prints made for a "quad-tych".

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17 years 3 months
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The film clip I have is six frames, and two half frames at each end. I think the frames are of the crowd at the Haight show. Not sure. Some of the stuff I found in that old box is just strange. For example a paper napkin with "Keystone" printed on it. I mean, huh?

Thank to the folks who helped me identify the film.

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13 years 4 months

In reply to by MadDoc

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My last GF (now my wife) threw away all my swag including my film clips and ticket stubs in my last move. Some call it a junk drawer, mine was quite orgainized, more like a treasure trove.. but alas its all gone. One man's treasure is another man's trash (or did I get that reversed). She also threw away all my frigging pictures because some contained ex-girlfriends. Ticket stubs, gone. It still hurts....

I guess it doesn't matter anyway.

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17 years 3 months
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That's tough especially if it was organized, but to forgive is .... how does that go? I just threw it all in a box and forgot about it. Now I'm trying how to figure out what went with what. I guess it doesn't matter. The music is what's important. The stuff is just more stuff.

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