Lyceum '72: The Complete Recordings Digital Download

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April 7, 2022 - 5:43am

224 replies
Dead Admin

Joined:
April 28, 2021
WHAT'S INCLUDED:

Lyceum Theatre, London, England (5/23/72)

Lyceum Theatre, London, England (5/24/72)

Lyceum Theatre, London, England (5/25/72)

Lyceum Theatre, London, England (5/26/72)

Sourced from recordings by Betty Cantor, Janet Furman, Bob Matthews, Rosie & Wizard

Mastered by GRAMMY® Award-winning engineer David Glasser

Restoration and Speed Correction by Plangent Processes

"What fans heard in these four {Lyceum} shows was both a history of the Dead and a survey of their unique vision of American music, from folk to rock, with blues and R&B and country-and-western and Bakersfield all included, all melded together by the improvisational spirit of American jazz in a small-group format that owed much to European classical music.

The repertoire made a statement: this is who we are. And while that honored their roots and surveyed their history and evolution, the overwhelming focus was on the present. At the Lyceum, showgoers heard a tapestry of music that knit together the disparate strands of the ’60s psychedelic baroque of AOXOMOXOA and LIVE/DEAD with the Americana turn epitomized by WORKINGMAN’S DEAD and AMERICAN BEAUTY, which in many ways both continued and culminated in Skull and Roses. English fans were especially delighted to hear the new songs — for fans accustomed to bands using concerts to promote their records, that kind of generosity was striking. Those songs showed a band that was consolidating and deepening its distinctive approach to American vernacular music while still expanding the range of what that could include. Pigpen’s two originals added a distinctive flourish, but the new tunes also made it clear that Weir had emerged in his own right as a singer and songwriter, as well as showing that the wellsprings that fed Garcia and Hunter’s music were drawing on ever deeper aquifers." - Nicholas Meriwether

Imagine, if you will, being amongst the first to witness the merry band of misfits that had taken over the good ol' U.S. of A. conquer foreign lands. When the Grateful Dead first unleashed their magic on the cautiously optimistic patrons of Wembley on 4/7/72 and 4/8/72, it was with the idea they would have just these two nights to impress a traditionally reserved London crowd. It turned out to be a smashing success, and they set about locking in four dates at one of London’s most storied venues, the Lyceum Theatre, to wrap up what some consider one of the greatest tours in rock history.

On these four nights, we find the band hell-bent on telling 'em "how it's gonna be," and boy, did they ever. Powered by what Jerry called "peak optimism," they delivered a steady dose of "primal Dead," - sometimes searing, sometimes soulful, sometimes serious, but always unwavering in focus. This willful determination moved them through transitive takes on "Dark Star," to majestic heights with "The Other One," through marathon runs of "Playing," another minute, another mile. It found Phil, philosophizing on how to "put our music into a place," Bob and Jerry masterfully dueling as two of the top songwriters of their time, Bill elegantly ferrying songs to new lengths, and new members Keith and Donna Jean Godchaux adding organic warmth. And Pigpen? Well, he dotted his beloved classics - "Good Lovin'," "Mr. Charlie," "Lovelight," "Two Souls In Communion" - through set after set, conjuring up more clarity and charisma than anyone would have expected for his final few shows.

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August 18, 2022 - 9:54am

#51

dtuck90

Joined:
September 15, 2015

It’s always Warner

Warner have always been the problem. Guaranteed every Neil Young release would have download problems until he launched NYA and started doing downloads through OraStream.

The Dead just need to stop making these digital boxsets dead.net exclusives and allow them to be sold elsewhere
August 18, 2022 - 8:18am

#52

Dennis

Joined:
November 1, 2012

It must be Warner

The digital has been screwed for the Joni Mitchell stuff also!
August 18, 2022 - 7:49am

#53

RBert

Joined:
September 12, 2014

Almost 3 weeks out, still…

Almost 3 weeks out, still not a peep from anyone involved
August 18, 2022 - 7:28am

#54

JoeyMC

Joined:
July 29, 2022

This may be poor etiquette,…

This may be poor etiquette, but Ill pay someone for a rip of the box set.
Heck, Id buy the box for not eBay prices if i could.
August 18, 2022 - 5:03am

#55

JoeyMC

Joined:
July 29, 2022

Is it safe now?

Is it safe now?
August 18, 2022 - 4:58am

#56

fourwindsblow

Joined:
October 13, 2008

Lyceum '72 DD

These downloads are the original raw transfers from 2011 @24/96 remastered. The downloads should be in 24/96 rez and until it says that in the product details I would not purchase.
August 17, 2022 - 12:20pm

#57

Randall RIES

Joined:
October 4, 2021

RBERT

Nice to see you again, Rob.

I am only going on what I can remember, of course. I was fairly certain these were never mastered at 24/96. You would know better than I.

And I think you nailed it. EQ is of course way different than an honest to God remix from the masters. EQ is something any one of us (almost) could have done or HAVE done with what we already have.

So, I still believe this is just a lipsticked pig. A giant milk job. The same basic recordings we have had for 11 years. I have always been fine with the sound quality. But 24/96 by EQ'ing the 16 bit recordings? Dirty pool and nothing new under the sun.

My question then is if the things exist in actual 24/96, then why sell a charade? "Keep the price low"? When had Rhino ever concerned itself with low prices? Grateful Dead shows are among the most - if not THE most - consistently expensive digital downloads being offered across all platforms.

I think I speak for a good deal of us when I say "I would buy every single show in real 24/96 from those sets of masters". Fuck an EQ'ed version. It's still a fraud.

And yeah, The other problem here is the unavailability of the purchase. The overall high pricing, the fake bit rate and depth, the fake "enhanced" sound quality PLUS unavailability all equals contempt toward the customer base. They can't even manage to get their charade product to their customers. Bunch of mutes.

Ah, well. I guess that'll be enough about it. I'll know when the real deal happens. I'll save my money until then.
August 17, 2022 - 5:47am

#58

RBert

Joined:
September 12, 2014

Randall, these shows were…

Randall, these shows were mixed and mastered in 24/96 back in 2011. They are now remastered at that same resolution, though not remixed. The EQ of the new 5/26 CD’s is different from the HDCD-decoded originals; iZotope’s Ozone program has a “match EQ” function which can clearly demonstrate this.

It seems to me that if these shows will ever be able to be downloaded in remastered (not remixed, no new A>D) 24/96 there will be a slight (yes, very slight but real) improvement over what has been available. There is no reasonable excuse, though, for them not being available RIGHT NOW when they have been available for pre-order for months and the files have already been used to cut LP’s that have been in customers’ hands for weeks.
August 16, 2022 - 1:57pm

#59

Randall RIES

Joined:
October 4, 2021

HDCD

Funny thing, those. When we compare via spectral analysis, they are exactly the same as the 16 bit and the HDCD part is 20 bits compared to 16 bits. Both are 44.1 The word to use is "negligible". Also, "hype". And since the vast majority of players don't/didn't have HDCD decoders, another word that applies is "pointless" and yet another "obsolescence". And so whatever. Very little value for the vendor to hassle with or the purchaser/listener. When I listened to both versions, there wasn't a lick of difference in the sound. Just a little light came on the player when the HDCD layer was played. The little light coming on didn't improve the sound, either.

From what I remember from 2011, these E72 shows were mastered AS 16/44.1, then pressed to cd and there was no plan to release them in HD and there was no digital download option either when the boxes were being offered. As I recall, the question almost immediately came up as "Will there be digital downloads available and if so, will they be 24/96?" The answer in 2011 was the former. These were mastered as 16/44.1.

The time to release these shows as true 24/96 was in 2014 when the DD were released but those were 16 bit as well. They would have needed to go back to the original multi-track tapes and master to PCM, then 24/192 then 24/96. Basically redo the entire release. That would have given them the opportunity to improve the sound that everyone was (for some reason) bitching about at the time as well. But that would have meant more work and more $$$ to redo the entire tour.

And so the 2014 releases were 16/44.1. The same masters used to create the discs were used to create the DD. Or it's entirely possible they ripped their own discs. Why go through the hassle of cutting each individual track on their own sector boundary again?

Theoretically, they could do the same with Dick's Picks. But guess what? The DD of those are complete with disc fades in the same place as the discs are. As are The Download Series. It's cost prohibitive to go back to the master tapes those releases are culled from and go through the same process again but this time in hi-rez W/O the cursed disc fades.

A friend went through ALL of the Dick's, Dave's Download Series and even some of the latter day digital releases and got rid of the fades and they are a nice, linear, digital listen now with no music missing. And NOT hi-rez because they weren't created in hi-rez to begin with. Because if you want things done well, leave it to the fans who have the know-how and most importantly, they care enough to do it right.
August 16, 2022 - 12:15pm

#60

stevem2

Joined:
July 29, 2022

44-16 FLAC Files are Not HDCD Encoded

Just for the heck of it I checked the FLAC files I downloaded last night and none of them are HDCD encoded. The suitcase CD set discs were HDCD encoded, although in a few cases no-HDCD features (peak extend being the only one that mattered) were actually used. For example, the first two 5-25-72 discs used peak extend and discs 3-4 did not. The inconsistency is another example of Rhino's sloppiness. No idea what they are claiming re HDCD these days (if they haven't already dropped it, they should; the last Dave's Picks release that actually used peak extend was volume 5 even though subsequent releases are marked HDCD and trigger the HDCD flag in players). This has nothing to do with the current download fiasco, of course, except maybe to demonstrate that they didn't just rip the files they tried to stick us with from the old CDs.

John Perry Barlow

John Perry Barlow

Forums

Dead Store Products

WHAT'S INCLUDED:

Lyceum Theatre, London, England (5/23/72)
Lyceum Theatre, London, England (5/24/72)
Lyceum Theatre, London, England (5/25/72)
Lyceum Theatre, London, England (5/26/72)
Sourced from recordings by Betty Cantor, Janet Furman, Bob Matthews, Rosie & Wizard
Mastered by GRAMMY® Award-winning engineer David Glasser
Restoration and Speed Correction by Plangent Processes

"What fans heard in these four {Lyceum} shows was both a history of the Dead and a survey of their unique vision of American music, from folk to rock, with blues and R&B and country-and-western and Bakersfield all included, all melded together by the improvisational spirit of American jazz in a small-group format that owed much to European classical music.

The repertoire made a statement: this is who we are. And while that honored their roots and surveyed their history and evolution, the overwhelming focus was on the present. At the Lyceum, showgoers heard a tapestry of music that knit together the disparate strands of the ’60s psychedelic baroque of AOXOMOXOA and LIVE/DEAD with the Americana turn epitomized by WORKINGMAN’S DEAD and AMERICAN BEAUTY, which in many ways both continued and culminated in Skull and Roses. English fans were especially delighted to hear the new songs — for fans accustomed to bands using concerts to promote their records, that kind of generosity was striking. Those songs showed a band that was consolidating and deepening its distinctive approach to American vernacular music while still expanding the range of what that could include. Pigpen’s two originals added a distinctive flourish, but the new tunes also made it clear that Weir had emerged in his own right as a singer and songwriter, as well as showing that the wellsprings that fed Garcia and Hunter’s music were drawing on ever deeper aquifers." - Nicholas Meriwether

Imagine, if you will, being amongst the first to witness the merry band of misfits that had taken over the good ol' U.S. of A. conquer foreign lands. When the Grateful Dead first unleashed their magic on the cautiously optimistic patrons of Wembley on 4/7/72 and 4/8/72, it was with the idea they would have just these two nights to impress a traditionally reserved London crowd. It turned out to be a smashing success, and they set about locking in four dates at one of London’s most storied venues, the Lyceum Theatre, to wrap up what some consider one of the greatest tours in rock history.

On these four nights, we find the band hell-bent on telling 'em "how it's gonna be," and boy, did they ever. Powered by what Jerry called "peak optimism," they delivered a steady dose of "primal Dead," - sometimes searing, sometimes soulful, sometimes serious, but always unwavering in focus. This willful determination moved them through transitive takes on "Dark Star," to majestic heights with "The Other One," through marathon runs of "Playing," another minute, another mile. It found Phil, philosophizing on how to "put our music into a place," Bob and Jerry masterfully dueling as two of the top songwriters of their time, Bill elegantly ferrying songs to new lengths, and new members Keith and Donna Jean Godchaux adding organic warmth. And Pigpen? Well, he dotted his beloved classics - "Good Lovin'," "Mr. Charlie," "Lovelight," "Two Souls In Communion" - through set after set, conjuring up more clarity and charisma than anyone would have expected for his final few shows.

I rename all my files

Even the torrents.

That way they will be displayed chronologically by a computer or music player:
GD 1969-11-02 T01 Cold Rain and Snow
GD 1969-11-02 T02 etc…..

All songs for a given show go into a folder, named with the band and date.

No artwork included, need to use all available space for audio files (my music players use microSDXC cards, my car stereo will play mp3 files from a USB flash drive - I use AAC 320 kbps).

When importing CD’s to a computer I don’t have the computer connected to the internet. That way it can’t search and find the track names, which wouldn’t be how I wanted them and I would have to retype them anyway.

Although the tagging is…

Although the tagging is bizarre (as usual, so I guess it isn't really bizarre in the GD universe, and fortunately there are batch tag editors), the sound quality (of the 24/96 FLAC) and editing is welcome. If one doesn't care about hi-res digital and have already edited and EQ'ed your older copies of these shows, the FLACs may not be worth it. For those who do appreciate the sonic benefits of 24/96 compared to 16/44.1 I think the FLACs are worthwhile.

Latest FLAC Downloads

Just got an email with download code. Still not right. 5/26 show is missing songs. Should have been obvious since that show had the smallest size but is the longest by far. Eventually they will get this right but no telling when….

Curious about how this happened...

I'm curious about the difficulty of getting this right, from a project management/quality control perspective. I've bought three large sets' DLs prior to this one and aside from the time it took to DL them and not being able to easily merge some tracks* they were fine. I hope they find the cookbook they used for those three and reinstitute the QC in time for the MSG release.

*Issuing China Cat Sunflower and I Know You Rider as two separate tracks is the kind of thing which in prior centuries would get your name knitted, in code, by a lady sitting by a fire. Thou shalt not.

Still not right?

Maybe they should put everyone out of their misery and just send thumb drives.

No Good

I just downloaded the FLAC, 5/26 is missing songs, 7 I think. This is crazy.

Song missing from 05.26.72

C'mon folks. You are getting close. You almost made this work.

But alas...there's the issue of the missing songs from 5.26. My set is missing tracks 18 and 19.

Please try again.

Missing Tracks Flac

Finally was able to download the flac files but like others my download was missing tracks for 5/26. I was missing: 5, 6, 13, 18, 19, 26, 29. I really think they are trying to make this right, so hopefully there is Help on the WAY :)

Tracks missing from 5/26 show

Mine are also missing those 7 tracks--5, 6, 13, 18, 19, 26 and 29

The Fails Never Stop

It's a lot of material to listen through (if you got all the songs from each night.) During the weeks we all had only 5/26 to listen to it became rapidly apparent that Truckin had a huge whole in the middle.
So does The Other One on 5/24. What is really annoying is that it is a remarkable rendtion.
Another email off to the folks at Rhino or wherever our complaints go. Really quite pathetic.

PM

I will provide passage to anyone who wants the thing. I retagged tastefully and most importantly it is complete. What the suits can't get right the fans always do.

Sigh!

I got all happy for a minute. Then I discovered my 5/26 was missing the 7 songs.

Tech

Larg Hub of Tech info computer tricks tutorials and Best Tips of How to Seo,Facebook Tricks and Youtube Tricks and also Get Crack Software and Learn How to Make Money in Pakistan from Techly Hub.techlyhub.com

Are these files worth an upgrade from the 2011 box set?

So, I'd be interested in knowing whether the problem with these files has been resolved and whether the improved 24/96 quality is worth the upgrade from the 2011 CDs, which were long ago ripped to my digital files? I'm still on the fence about buying the downloads, assuming that they are finally fully available. Thanks for anyone's thoughts.

RE: DFBWM

IMO, they are not worth the money. I have been ranting about the fact that - while these are "remastered" - they are not "remixed". A "remix" AND "Remaster" would be where the gold would be. In fact, if these were right from the alleged 24/96 files from the 2011 release, they would not even be "remastered". I still believe these shows were mastered in 16/44 but I can't confirm that.

I think whatever someone wishes to "hear" from this release, they will "hear". I didn't detect any noticeable difference between the cd's or the 16 bit DD files available since 2011, 2014 respectively.

I would save my money. No wait. I DID save my money. The only gripe I have with this set is the complete botch job Rhino handed out to those who did spend their $100 in good faith.

I don't think it's safe to…

I don't think it's safe to buy the FLAC, I think there are still songs missing.

Funny

The spam post below has been there for 4 days.
And it’s advertising “Larg Hub of Tech info computer tricks tutorials” to a website that can’t even run a competent download service.
I think that spambot is the VP of IT that WMG/Rhino needs.

I Prefer the 96-24 files

I have only compared a few of the 96-24 files to their equivalents from the suitcase release but, to my aging ears, the 96-24 files sound cleaner, clearer, and perhaps less dynamically compressed. Whether you would hear a difference depends on a lot of factors, including how resolving your system is. In any event, I suggest waiting until Rhino gets the fourth show fixed, unless you just can't wait and are willing to take a risk on the 7 missing tracks.

Has anyone got the complete set downloaded yet?

I am comfortable with the 96-24 issues, but don't want to purchase until the downloads for all shows are complete i.e. all songs and the middle-minutes of Truckin'. Can someone let us know when this point is reached.

missing tracks

I compared the tracks I managed to download with the listing of the LPs of 5/26

The tracks I have are numbered 85-115 consecutively

The only difference is there is a break in the other one- morning dew on the LP (22 side B)

These were downloaded before I got the email saying they were fixed. They are FLAC not Apple Lossless

I have yet to listen to everything to see if there are gaps

A month on and still people haven't got what they ordered is not exactly impressive, but completely expected based on the past performance of these folks

Finally - Success

Ok - after keeping up on the threads and the last note from Arthur, I tool the plunge and purchased the Flac download. Everything worked smoothly and they were all labeled correctly. I compared the tracks to the LP's and they were all there. Finally, I listened to the 5/26 Truckin' and can confirm that the entire 17 minutes were there - no blank space. So it looks like after some drama -Rhino finally got it right.

As far as sound, they sound really good to me. I have not done a direct comparison to the 2011 stuff, but this sounds crisp and clear - or maybe I just want to believe that and be happy. There are bigger problems in the world.

Anyway, all's well that end's well. Fare thee well.

All Sorted

Support emailed me a new download code overnight and now I have the full 26/5 show in 24/96.

I'll see you all in the MSG comments in a few weeks for the same fun again!

Still no response to my…

Still no response to my notification of the receipt of the four shows with tracks missing.

Stuff 'em. I'll go elsewhere. Last time deadnet gets a penny of me. EVERY download is a problem. EVERY time,

FLAC 94/24 files are an incremental and not revalatory upgrade

So now that the download problems are finally resolved, I took the plunge and bought the hi-res FLAC files. They do sound great, but when I A/B'd them against EAC rips of the 2011 CDs, I found that the sound was slightly better, but only at the margins. (I played them back on a system with McIntosh power (separates), B&W 702 signatures with a Cambridge Audio Azur 851n streamer connected to an external hard drive.)

Yes, there was a bit more clarity in the drums/symbols and piano, and Phil's bass packed a tad more punch. The most distinctive increase in fidelity IMHO is in the sharpness of the vocals, particularly Jerry on his ballads (and Donna too when she signs Sing Me Back Home with Jerry). On the other hand, the 2011 mixes have 98-99% of what you hear on the hi-res versions.

If you don't have these shows, then by all means buy the FLAC files. If you have them, then these files are for those audiophiles out there who have to have the best sounding version of every show. Cheers!

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