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    WHAT'S INSIDE:
    Madison Square Garden 3/9/81
    Madison Square Garden 3/10/81
    Madison Square Garden 9/20/82
    Madison Square Garden 9/21/82
    Madison Square Garden 10/11/83
    Madison Square Garden 10/12/83
    Newly restored and speed-corrected audio by Plangent Processes
    Mastered by Jeffrey Norman
    Liners by award-winning music journalist David Fricke
    Artwork by Dave Van Patten
    Individually Numbered, Limited Edition Of 12,500

    “Welcome to the unique, enduring phenomenon of the Grateful Dead in New York City, a mutual devotion, forged in concert, that ran for nearly as long as the band itself—from June 1, 1967, a free show in Tompkins Square Park on the Lower East Side (ahead of the band’s official, local bow at the Cafe Au Go Go), to the Dead’s last Garden run, six nights in October 1994…the Dead’s affinity for New York City…was instant and arguably their most profound with any city aside from San Francisco.” - David Fricke

    They got on the bus to the Port Authority, rode in on the Long Island Railroad and the New Jersey Transit line. They traveled North, South, and West on the 1, 2, and 3 subway lines, their numbers growing as they descended upon Penn Station. Some rolled up in those iconic New York yellows. Some walked excitedly through the bright lights of Broadway and Times Square, meeting up with old friends on the way and picking up a few new ones too as they ascended The Garden's stairs. Maybe you were among them - lightly buzzed on the way in, fully aglow on the way home. New York City was in its prime and damn if the Grateful Dead wasn't going to rise up to meet it! If you were there, we call on you to join us as we recapture that MSG magic and if you weren't, we invite you along on the epic journey that is IN AND OUT OF THE GARDEN: MADISON SQUARE GARDEN '81 '82 '83.

    Numbered and limited-edition to 12,500, this 17CD set celebrates the band’s rich history at “the world’s most famous arena,” introducing six previously unreleased shows recorded at MSG between 1981 and 1983. It offers a front-row seat to the Dead in the early 1980s, an overlooked and underestimated era of rebirth for the band. At the time of the recordings, the group featured Brent Mydland. Mydland’s vocal power and colorful keyboard palette energized the band, invigorating older material like “The Wheel,” “Truckin’” and “Eyes of The World.” He also gave the band more musical flexibility, which encouraged them to dust off rarely aired treasures like “Dupree’s Diamond Blues” and “Crazy Fingers.”

    IN AND OUT OF THE GARDEN touches on the three-year period after 1980’s GO TO HEAVEN was released, a time when the Dead were constantly on the road, playing more than 200 dates. While they were in no rush to return to the studio during this time, they continued to write new music. In 1982 and ’83, the band performed most of the songs that would appear on 1987’s IN THE DARK. The new collection includes performances of four songs from that album – “Touch Of Grey,” “Hell In A Bucket,” “Throwing Stones,” and “West L.A. Fadeaway” – plus the B-side, “My Brother Esau.”

    Due September 23rd, IN AND OUT OF THE GARDEN comes in a custom box featuring new artwork by Dave Van Patten celebrating the band’s eclectic fanbase, with a cavalcade of illustrated Dead Heads. The collection also includes detailed liner notes by award-winning music journalist David Fricke, who explores the band’s connection to the Big Apple. It features newly restored and speed-corrected audio by Plangent Processes, mastered by Jeffrey Norman.

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  • #361
    icecrmcnkd
    Joined:
    I like Drums/Space

    84 and 85 were good years for D/S to my ears.
    Also like the modern midi versions since those were the years I was going and so I know, from a visual perspective, what the lights looked like while all the sounds were happening.

    I’m looking forward to this Box. I had a good sounding copy of 3-9-81 on cassette, and later upgraded to CD-R, but I expect that it will sound far superior in this Box.
    A lot of my early-80’s shows that I had on cassette often sounded sped up a bit, from a tape deck running at the wrong speed. Don’t know if that was from the master deck or later in the generations.
    These shows say speed corrected and Plangentized, so they should be cleaned up pretty nice.

  • #362
    daverock
    Joined:
    This is better than that

    Oro-that makes sense what you say about how some shows get to be regarded as classic, while others get passed by. Both 8/27/72 and 5/8/77 have suffered from reduced status in my ears since I have heard other shows from the same timespan. It surprises me looking back at the first Taping Compendium how some of the Europe 72 shows are dismissed - yet to me, every time I play any one of them, I love it. Maybe the people who wrote the book just didn't have very good tapes. Paradoxically, they go on for pages about how great 8/27/72 is.

    I like to think that the reason I now like some years a lot more than others is because I listened to so many tapes from all years between about 1987 and 2004, and gradually found I liked some a lot more than others. I didn't plan it that way. The official releases added to that a bit too. 1972 just seems to get better and better. Some years don't though! Just for me - that's not an objective view.

    As a rule of thumb, maybe......if someone disses a year or show-ignore them and find out for yourself. If they overload a show or year with praise - give it a listen-they may be right!

  • #363
    PT Barnum
    Joined:
    Dead Set

    Charlie3 that Space>Fire on the Mountain from that lp is in a class by itself. That also is the one that got me really interested in what the Dead were doing. I like Drums>Space alot too, reason why I went to a lot of shows, to see what they were doing during those segments, Infared Roses for sure.
    The Drums>Space in later years 93-94 were also very good, and long. I always look for "The Last Time" after Space in those later years, it's was like this could be the last time your ever hear such sounds. Space is the Place

  • #364
    Charlie3
    Joined:
    Good Analysis

    Good post Oro, I would pretty much agree with your analysis of the issues regarding recording quality vs. show quality. All else being equal, I prefer a high quality recording, but, having said that, I find that if a show is good the impact of the recording quality fades into the background pretty quickly as my ears adjust.

    As far as the early '80s stuff, there is a lot of great stuff there, I particularly dig some of the Scarlet Begonia's > Fire On The Mountain sequences from that era, for example on DP 6, the secret tracks on DP 13, and of course that Space>Fire On The Mountain transition from Dead Set, which was one of the things that hooked me on the Dead in the first place. I used to have a cassette of a JGB show from Music Mountain in NY in 1982 with a smokin' Don't Let Go, so there are plenty of times that Jerry was on fire in the early '80s, with the Dead and otherwise. And while not everyone digs the Drums > Space sequences, I do, a lot, and there are plenty of good ones in the early '80s. But, it doesn't affect my enjoyment at all if there are folks who don't like this, or other eras. I dig what I dig, and others are free to do the same, it's no skin off my back.

    Starting todays listening with Electriclarryland by the Butthole Surfers. Cinnamon and sugary and softly spoken lies, you never know just how you look through other people's eyes...

  • #365
    Oroborous
    Joined:
    RE: Been Wondering

    First no offense to anyone as I’m sure my opinion will not be shared by many, but he did ask.

    I think the whole culture has been suffering from the over influence of taper bias all along. Dave is a prime example. How many times have we wondered if he picked the right city and street, but ended up going to the wrong house. Conjecture to be sure, but a plausible argument by some.)
    So What’s this taper bias that you say!
    Way back when, when there were very few tapes: taping was verboten so harder to do, the equipment to make tapes was mostly lousy, so it was harder to get a great recording.
    So BITD, with Sound board tapes, (though not accurate in any way), you could often get a much better, listenable recording, comparatively. So though they aren’t accurate (they don’t sound like what the actual sound of the instruments are in the room it’s performed in etc), they became the go to standard. Plus no one likes to listen to THAT guy yell in the most heavy NY city accent “Dddddaaaaaaaaakkkk Sssssssttttttaaaaaaaarrrrrrr Jjjjjjjjjj-rrrrrrrrreeeeeeeee” every three minutes the whole night!
    Now add to the above, the increased frequency response provided by using reel to reel, and most importantly, having a somewhat dedicated individual utilizing a separate mix just for the recording versus using the afterthought house mix, and the mythical status of such tapes was enhanced.

    So when you had very few good tapes, shows that were good, versus great, started getting mythical status since there weren’t many other shows to compare too. To me, that’s how certain shows have become significantly overrated over the years. If a ridiculously good sounding tape of what is arguably only a “B” show, was the only reference and the tapes from “A” shows were not good, the B show, through tape traders WOM, like some ancient cultural tribe passing secrets and knowledge around the camp fires, was elevated to a status it may not relatively deserve.

    But today, via the archive and so many official releases, if one takes the time to listen to a variety of shows from all eras etc, you will notice that much of what has become thought of as common assumptions about certain shows/eras etc, (the music itself) are not fully accurate, thus perhaps robbing some of the pleasure and enjoyment of these dismissed out of hand shows, because of some of these bias’s that were planted long ago.
    Interestingly, as recording and other related technology has improved significantly, aud recordings often became better than SBs. But the bias that SBs were the only way to go had become so ingrained in the culture to the point that the majority of folks never check out Auds, unless it’s the only source available, or the SB is unlistenable. And yes, there are perhaps more lousy sounding Auds than great ones, but when done well, they can be spectacular and a much more accurate representation! Personally, nothing beats a properly done matrix!
    Ironically, while technology improved, the later era SB recordings were often diminished. But this is not because the band is “ragged” or the music is lessor, or not good! (Yes one can argue the mid eighties suffered some of that, but I feel there was a trade off there)
    No, once again, much of the stigma that came from the fact that many of the tapes were now produced as an afterthought, and for the mixer to use as a tool, a secondary concern, by Dan Healy who’s main concern was live sound reinforcement, not making a recording, combined with the lower fidelity of cassettes.
    That’s not to say that sometimes those SBs are still pretty damn fine for what they are: we have ample proof from several official releases! But no matter how excellent, they aren’t going to sound THE SAME, or as good as a recording by a dedicated mixer using reel to reel tape.

    So to me, the problem then isn’t so much the sound/music/band, it’s more personal, psychological, based on bias’, assumptions, and personal preferences, often stemming from recordings, not personal experience. And hey, I’m not trying to sway anyone from their pleasure zone etc. Just saying you might be surprised at how good other stuff can be, given the right ears and attitude.
    I just find personally, the quality of the show, the playing, the set list, and most of all, the effort and X factor are just as important or more so, than the recoding. I’ll take an ok recording of a ridiculously hot show over a pristine Betty reel of a so so show any day! In other words, I’m more interested in what goes in the container, versus what kind of container is used. But many people have become so biased that if it’s not a Betty board it’s not worth listening to, which is certainly their choice, it just seems so limiting and i feel bad that folks may be missing out on so much good stuff for what may not be an accurate reason?

    The other thing that allows me to be open to all eras, is not to compare apples to oranges etc. I only compare shows within a tour, or perhaps a year. The Dead was so fluid, and thus different, on many levels that to compare say, anything from 68 to 78, is futile. So by not getting hung up on those incomparable comparisons, it allows me to take each show as it is, on its own merits and failures, which every show has both, imho.

    Just to be clear, I am not trying to argue that one era is better than another, (everyone is certainly entitled to their opinions and preferences) only that perhaps SOME folks may be biased about such, due to taper bias, or cultural stereotypes, instead of first hand empirical knowledge.
    As one who has spent a fair amount of time the last several years trying to go furthur (check out Pick of the Day with discussion) adventuring into many of these “fly over tours” I have come to realize just how good and often consistent the band was more often, and during times, that many would never consider, out of hand, because of negatives biases passed down through the years etc. I’ve found very enjoyable GOGD from every year, it’s just some years/shows have higher batting averages. Just gotta poke around!
    So I’m sure the shows in the upcoming box will not sound the same as a pristine Betty, and via the constant evolution of the band/music, may sound different than your favorite year, but that doesn’t mean that it’s bad, or lessor, or not worthy, just different, so what?
    I think this box is going to rock because of the quality of the shows, and the impressive audio improvements provided via plangent and full Norman etc. comparatively, if you compare to the comparable.
    If your a big Deadhead, and there were no Betty’s, or multitrack masterpieces, and all you had to compare was similar material, I’d bet many would think much more highly of this release, and of this era!
    Obviously, not everyone’s going to like everything or in the same way.
    But I think most folks who give this a proper consideration will be pleasantly surprised.
    So yeah, I think recordings have had a big influence, but not in a good way.
    Anyway, hopefully that at least makes sense, and again, not trying to sway anyones preferences, just suggesting perhaps a different perspective?

  • #366
    JoeyMC
    Joined:
    Hey Campaign,

    So, yes, definitely. I've thought about that a few times myself and I think the overall quality of the recordings is one reason why people don't go for the early 80s that much. It's amazing how with 15-20 years of technology and the soundboards got worse. Ha!

  • #367
    Doingtheneedful
    Joined:
    Good tip Jim!

    I actually made a backup of the entire local iTunes library and did a clean fresh install of iTunes.

    The cloud then pulled down everything “as was, prior” - the version with the original screw ups whose correction led to the larger problem.

    I carefully went through and corrected those, and bizarrely noticed a lot of other duplicate tracks and errors in a load of earlier rips “corrected themselves”.

    I can only conclude that my pre-cloud and post-cloud libraries were clashing and iTunes Match couldn’t handle certain releases.

    For instance, Nightfall of Diamonds and Crimson, White and Indigo both had three copies of each track under one Album title, with each track being slightly differently named. Whatever I did cured that, making those playable again.

    I will go a redo the original Dick’s as a matter of course using newer encoding and better bitrates. Otherwise, touch wood, whatever I did to phuck it all up, I managed not to repeat. Note: do not rip Dave’s to iTunes when suffering confusion due to toxin build up in the brain! Lol. As I said, all sorted with that now, and it’s so much easier to handle the little details. A month ago, I couldn’t remember my age or phone number and was a bit of a babbling imbecile. I just didn’t notice at the time.

    I don’t know about y’all, but I like my shows to run in order, so if a Dave’s comes with another half show as filler over two discs, I’ll call that disc 3 and rehash the track info to get the playing order to my liking. That’s where I screwed up. I think.

    Anyway, all seems good now, and I see what you mean about the physical library and how iTunes orders / makes its media folders. Good tip!

    But above all, I now have a backup scheduled!

    Thanks again!

    S.

  • #368
    JimInMD
    Joined:
    Re: DOINGTHENEEDFUL

    Your Metadata for the most part should still be intact. I think your cleanest way put is to import your library folder by folder. The song names, album names, etc. should come through exactly like you had before.

    I think..

    Good luck. We've all had something like this happen at least once.

    Edit: It pays to clean up your metadata after you rip a show and put all the songs in the same folder, i.e. 1969-11-02 Family Dog. These CD sets often create a new folder(directory) for each CD using lord knows what name... the better it's organized the easier it is to recover.

  • #369
    Doingtheneedful
    Joined:
    It’s all under one roof now!

    Guess who’s iTunes decided to interpret a change of album art for one GD track?

    Yup, you got it!

    Just turned my entire GD iTunes library into one massive album (Dave’s Picks 36)! Well done Apple! No undo button… no pre-process prompt. Just Bam!

    So, that’s everything GD Store from DP1 and GrayFolded to now, minus a medium hiatus owing to grumpiness on my part…Including a few cheeky Boots’ including 1/11/90, all of the Download series of which the original files are god knows where…

    So, do we make lemonade and use this an excuse to start again from scratch? Better bitrate lossless rips etc. reacquaint myself with some of the original Dick’s gold? Fix a few buggered files and odd names etc?

    Or do I try and fix the metadata and somehow manually rebuild the titles? I have the file created dates and the actual library has retained the folder structure at least, so physically, I have a skeleton to work from.

    One seems like a lot of effort but perhaps quicker, the other seems like a long long project, but maybe worth it it in the long run…

    Answers on a postcard? Bummer is that I can’t listen to Dave’s 43 until I commit one way or the other, because so far nothing has synced to the cloud version. As soon as I go online with that broken list, I just know the cloud version will also become “embuggered”. Serves me right for having the brain fade (literally, I had a mild brain cognitive function issue that led to the original screw up that I was trying to fix… I’m all good now though! :-) )

    I work in IT and never made backups. What a loser!

    There is another option, the nuclear option. I’m sure I installed iTunes from scratch and then it populated from the cloud version last time I got a new laptop. Maybe that’s a way forward? But where’s the fun in that?

    Love you all! And thanks again to Dr Rhino for going above and way beyond to help with a busted disc issue recently... Means the world to me, and I can’t say thank you too many times.

  • #370
    campaignshoutin
    Joined:
    Folks! Been wondering about…

    Folks! Been wondering about something in advance of the MSG 81-83 box and wanted to solicit some crowd thoughts.

    Obviously there are some Heads who are first-half-80s super fans. I haven't been one of them, nor are my Dead friends. I think part of that has been assumptions about how ragged the band was in the first half of the decade.

    And I'm wondering if assumptions about those years are in part down to just not having as good tapes of that era.

    That is, while the era was objectively rougher, fewer people know about how many highs and gems there were simply because the years are lesser heard, and they're lesser heard because non-aud tapes -- soundboards from cassettes -- aren't as good.

    Any truth to that idea in your humble opinions?

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WHAT'S INSIDE:
Madison Square Garden 3/9/81
Madison Square Garden 3/10/81
Madison Square Garden 9/20/82
Madison Square Garden 9/21/82
Madison Square Garden 10/11/83
Madison Square Garden 10/12/83
Newly restored and speed-corrected audio by Plangent Processes
Mastered by Jeffrey Norman
Liners by award-winning music journalist David Fricke
Artwork by Dave Van Patten
Individually Numbered, Limited Edition Of 12,500

“Welcome to the unique, enduring phenomenon of the Grateful Dead in New York City, a mutual devotion, forged in concert, that ran for nearly as long as the band itself—from June 1, 1967, a free show in Tompkins Square Park on the Lower East Side (ahead of the band’s official, local bow at the Cafe Au Go Go), to the Dead’s last Garden run, six nights in October 1994…the Dead’s affinity for New York City…was instant and arguably their most profound with any city aside from San Francisco.” - David Fricke

They got on the bus to the Port Authority, rode in on the Long Island Railroad and the New Jersey Transit line. They traveled North, South, and West on the 1, 2, and 3 subway lines, their numbers growing as they descended upon Penn Station. Some rolled up in those iconic New York yellows. Some walked excitedly through the bright lights of Broadway and Times Square, meeting up with old friends on the way and picking up a few new ones too as they ascended The Garden's stairs. Maybe you were among them - lightly buzzed on the way in, fully aglow on the way home. New York City was in its prime and damn if the Grateful Dead wasn't going to rise up to meet it! If you were there, we call on you to join us as we recapture that MSG magic and if you weren't, we invite you along on the epic journey that is IN AND OUT OF THE GARDEN: MADISON SQUARE GARDEN '81 '82 '83.

Numbered and limited-edition to 12,500, this 17CD set celebrates the band’s rich history at “the world’s most famous arena,” introducing six previously unreleased shows recorded at MSG between 1981 and 1983. It offers a front-row seat to the Dead in the early 1980s, an overlooked and underestimated era of rebirth for the band. At the time of the recordings, the group featured Brent Mydland. Mydland’s vocal power and colorful keyboard palette energized the band, invigorating older material like “The Wheel,” “Truckin’” and “Eyes of The World.” He also gave the band more musical flexibility, which encouraged them to dust off rarely aired treasures like “Dupree’s Diamond Blues” and “Crazy Fingers.”

IN AND OUT OF THE GARDEN touches on the three-year period after 1980’s GO TO HEAVEN was released, a time when the Dead were constantly on the road, playing more than 200 dates. While they were in no rush to return to the studio during this time, they continued to write new music. In 1982 and ’83, the band performed most of the songs that would appear on 1987’s IN THE DARK. The new collection includes performances of four songs from that album – “Touch Of Grey,” “Hell In A Bucket,” “Throwing Stones,” and “West L.A. Fadeaway” – plus the B-side, “My Brother Esau.”

Due September 23rd, IN AND OUT OF THE GARDEN comes in a custom box featuring new artwork by Dave Van Patten celebrating the band’s eclectic fanbase, with a cavalcade of illustrated Dead Heads. The collection also includes detailed liner notes by award-winning music journalist David Fricke, who explores the band’s connection to the Big Apple. It features newly restored and speed-corrected audio by Plangent Processes, mastered by Jeffrey Norman.

3 9 81 is awesome
3 10 81 is awesome
Not that familiar with the 82s
10 11 83 is awesome
10 12 83 i have never heard

Youll be glad to have this box. If the 81s and 10 11 83 dont do anything for you...I would be quite surprised

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Submitted by campaignshoutin on Mon, 08/15/2022 - 10:42

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Thanks all, for such thoughtful commentary on the tapes, and bias, and eras, and tours, and years, and, and, and, and....I knew this was the place to drop the question. Can't wait for the new box to arrive!

The marketing of Box Sets has definitely varied through the years, but I don't think they have ever been marketed like Dicks Picks, which were all two track recordings or cassette masters. Some had the old caveat emptor, while others talked up how good the recordings were (see Dick's #33).

Box Sets to Date:

2005-Filmore West 69-Multi Track. $79.99
2007-Winterland 73-Two Track. First use of Plangent. $99.99
2009-Winterland 77-Two Track. $99.99
2010-The Warlocks-Multi Track. $68.99
2011-Eurpoe 72-Multi Track. $450.
2012-Spring 1990. Recorded in Multi Track. They used the Cutler two track down mix.$199
2013-Spring 1977-Two Track. $139
2014-Spring 1990 The Other One-Multi-Track. $229
2015-30 Trips-Two-Track, cassette masters and Multi Track.$699
2016-July 1978-Two Track. $139
2017-GSTL 1977-Two Track. $139
2017-RFK Stadium-Multi-Track. $64.99
2018-PNW-Two Track. $189
2019-Giants Stadium-Multi Track for the 89 and 91 shows. I am not sure about the 87 show. $159 for Blu Ray edition.
2020-June 1976-Two Track. $149
2021-LTTR-Two Track. $199
2022-MSG 81-83. We are all assuming Cassette masters, but I don't know if they disclosed this. "Newly restored and speed corrected audio. "$179.

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Submitted by Charlie3 on Mon, 08/15/2022 - 14:28

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Nice source tape information for the box sets DeadVikes, I was curious, but not enough to check them all and see.

Currently spinning DP 6 for a little taste of '83 in anticipation of this box.

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Submitted by Oroborous on Mon, 08/15/2022 - 14:58

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Appreciate this, going to copy and save.
Now for extra credit, lol, how bout tape type (reel, cassette, dat etc), size and speed lol, for the truly anal!
(Ya know, most of us! ; )

Oh, and good job to all!
Great posts, nice variety of angles and I think I agreed with all!
Yep, like the Bromberg song, “don’t let the glasses fool ya”
Dares gooey gold in dum thar tapes!

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Submitted by icecrmcnkd on Tue, 08/16/2022 - 16:42

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Movie trailer -
Camera pans over to a VW Bus, doors open, smoke billows out, Neo falls to the parking lot (Fast Times At Ridgemont High style) and gets up.

Neo: “Whoooah” (looks at watch) “Morpheus, it’s 4:20 pm on 11-29-80 and I’m in the parking lot of Alligator Alley Gym in Gainesville. What’s the mission?”

Morpheus: “Neo, you need to find the Oracle.”

Neo: “What does the Oracle look like?”

Morpheus: “Look for a guy with long hair wearing a tie dye shirt.”

Neo: “Seriously? There’s a couple of thousand guys here that look like that. How will I know which one is the Oracle?”

Morpheus: “He will say the password as the two of you pass by each other.”

Neo: “What’s the password?”

Morpheus: “Doses.”

Neo: “Doses?!”

Morpheus: “Yes, doses. Just walk around the parking lot with a smile on your face and he will find you.”

Neo wanders around the parking lot, checking out all the wares that are for sale, the drum circle, buys a kynd veggie burrito from a hippie chick named Trinity, then encounters one of the many Oracles working the lot that day.

Neo: “Morpheus, I found a dude who claimed he was an Oracle, he sold me a sheet for $50 and advised me to eat 2 because they were small. I’m starting to feel tingly and my peripheral vision is getting distorted. Do you think that it’s a disturbance in the Matrix? Could it be Agent Smith coming to bust me?”

Morpheus: “No Neo, not a disturbance in the Matrix, you’re doing just fine. When all the people start walking into the building just follow them in, you already have a ticket for GA floor in your pocket. Have a good time, for it is in there that you will find enlightenment.”

Neo: “Thanks Morpheus.”

Morpheus: “No need to thank me Neo, for you will thank yourself when you exit the building after the show. And then you will see coolers full of beer and ice, riding around on skateboards. Make sure to buy one, for it will taste great.”

—————-

Coming soon (hopefully) to a CD player near you:
Gainesville: The Matrix Edition

——-

Dave, you have to do it now.

Soundboard for the second set only.. So I guess someone needs to find the soundboard for the first set. You know they made one and it must exist somewhere... Otherwise we get a killer audience first set and a matrix second set ala Dave's Picks 8? I assume that's the hold-up with this.

Great story btw Cone Kid. Don't tell me this town aint got no heart

We found that same Oracle guy at my first show. I guess I will have to rewatch the Matrix and look for him.

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Submitted by Oroborous on Wed, 08/17/2022 - 09:49

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until he got popped by the feds : (

Great story Conekid, made me feel like I was there again!

But it begs the point: What aaaa-bout GAINSVILLE, tap tap tap (sound of foot taping!)

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Submitted by Charlie3 on Wed, 08/17/2022 - 11:35

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Just saw there was new research recently published in Experimental Neurology that "provides some inititial evidence that the psychedelic substance known as LSD has nootropic properties. The study found that LSD increased markers of neuroplasticity in human brain organoids, increased novelty preference in rats, and improved memory performance in humans." Generally, the researchers seem to have found several positive effects from LSD in the days after the trip. I'm sure a number of us have done our own extensive research on the subject.

Given the increasing volume of research showing tremendous potential benefits from psychedelics in the treatment of PTSD, anxiety, and intractable depression, the modern prohibition regime looks worse and worse.

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Submitted by JimInMD on Wed, 08/17/2022 - 11:38

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I read that article too.

My new favorite word, neuroplasticity. Great name for a band.

Instant Classic.

Indeed, the elusive Gainesville.
I in all honesty enjoy the killer aud over the soundboard for this one.

I wonder how many times Gainesville has been uttered on these here boards over the years....

Be Well People!
Sixtus

P.S. Totally agree on The Research

Well PF, he got into the dead a little too much (hey stop throwing things!) which led to swinging sheets, and eventually got perhaps too known? Anywho ended up selling to the feds in a hotel room on camera etc. Not sure what his sentence was, but he did a few years in federal prison I believe up your way one where? Oregon maybe?
Haven’t spoke to him in at least 15 years.
My cousin let him stay at his house, when he got out, but not sure what or where he’s up too these days?
Maybe back WNY, I know he was pretty bummed, actually, the dude was always kinda pissed off lol, I know he really wanted to go back to the NW but couldn’t leave NY, which is weird, because I think he got snagged in Cali.
Me, nope, 99% of the time I never did any illicit things of THAT nature on tour.
Mmmmmaaaayyyybbbeee ? that one time at a rest stop on Thruway before 10/20/84 carrier dome show, call it community service ; ) many people were smiling!

would offer such specialized wares for sale to complete strangers in a very public place.

THAT guy was in a hotel, but still...some people take bigass risks.

I have taken a few risks in my time, but nothing bigass like being an "oracle" wink wink nudge nudge. More like "ok, you got that part covered, so let's go for it".

Use your imaginations, folks...

Come to think of it, that was a bigass risk

Sometimes I start thinking bout things, and well, a testimony I guess on how relatively cool things were much of the time, and how lucky most of us were. There were definitely a handful of times that things could of gone completely sideways. 🫣

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Submitted by Charlie3 on Wed, 08/17/2022 - 17:25

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Sometimes it's hard to really appreciate the nature or gravity of the risk until it's too late and you are reaping the consequences or escaping catastrophic consequences by the proverbial skin of your teeth. And other times, you just say fuck it, and live your life without regard to the potential consequences, but that is far easier when you are young and unencumbered.

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Submitted by Born Cross Eye… on Thu, 08/18/2022 - 05:29

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Thanks, Dead Vikes for the list of box sets, their tape sources, AND their original GD Store prices. I had forgotten the price I paid for the Fillmore West 1969 box.
I have most of the except both Spring 1990 boxes and the RFK 1989 & Giants 1987-88-89 boxes.

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Submitted by That Mike on Tue, 08/23/2022 - 09:00

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Neither here nor there, but I post this only because WB/Rhino/deadnet finally responded today to my inquiry about international shipping. Basically, the new higher fee is correct, they stated it was supposed to be brought in with the St Lou box. After converting Cdn pesos into USD$$, it is beyond reasonable to pay the international shipping fee on top off the merchandise, especially when door to door delivery is easily 15-16 calendar days, like it went from California to the Sea of Tranquility.

When I receive DaP 44 per subscription, I will be folding my tent. Them is the breaks. Just thought all the international customers might like to know for fact what we always assumed was right.

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Submitted by Alan57 on Thu, 08/25/2022 - 04:30

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I worked out a while ago they weren’t going to fix this.Never mind it is several multiples of what every other retailer ,including associated businesses such as Rhino and Neil Young’s Greedy Hand store,charge for international shipping on similar sized items.
No matter I already have plenty of Dead to listen to and some other business will get my money.I wish Dead.net falling sales and a limited future.Goodbye.

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Submitted by JimInMD on Thu, 08/25/2022 - 10:13

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I think Rhino either didn't think this through completely or made a calculated business decision understanding it might tank international sales. Too bad, a big mistake.

More Dead is a good thing, it hurts to see people denied access because of where they purchase.

A travesty. Rant over, as you were.

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Submitted by Oroborous on Thu, 08/25/2022 - 12:46

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The part that I think is most telling and lame is that Rhino ships similar items by other artists overseas still at normal pricing? Seems like they don’t want to deal with our DH friends across the water?
Dammit Daverock ya scared then off (just teasing of course!)

And if that’s not bad enough, it will probably hurt sales of this box, which will lead some to blame it on “the 80s”, which sucks now that we actually got some : (

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Submitted by simonrob on Thu, 08/25/2022 - 15:07

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I imagine that dead.net don't give a shit if they lose all their international customers. They know exactly the percentage of international customers who subscribe to Dave's Picks for instance. It will be a very small number, almost certainly less than 5%. All Dave's Picks releases sell out within days. Without international customers they would probably take just a few days more to sell out. They wouldn't lose any revenue, not a cent. With box sets they may decide to produce a few percent less copies and increase the price by a few percent to offset the loss of international customers. Would US customers then stop buying the box sets? Would they even notice? Probably not, with no disrespect to our American friends. Rhino and dead.net exist to make money, not to be nice to people.

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Submitted by Sydney Prentice on Fri, 08/26/2022 - 01:37

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I will wait and see how big a box set this and how heavy it weighs when I have received it and then work out the postage charges for shipping the same size package back,this will then be a fair estimation of if I have been overcharged.
On the Discogs site for sometime now the increased postage charges have made it a no go for me at least when importing from the USA. The most painful part of all of this is the dreaded the import taxes that always increase, we need a UK based business to ease the pain of the postage and taxes.

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Submitted by Alan57 on Fri, 08/26/2022 - 02:40

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For the person below the international postage charge is $70US.
I calculated that for that amount I have had 18 different packages sent from Importcds the US to Australia in the past years including 5 box sets.
I had 2 box sets weighing in total considerably more than Listen To The River sent from Germany to Australia for under $20US.
This is a scam by someone but Dead.net don’t care.

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Submitted by That Mike on Fri, 08/26/2022 - 07:08

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I feel for fellow posters in European jurisdictions where VAT +++ comes in to play. Here in Canada, due to the USMC Free Trade Agreement (aka NAFTA 2), I thankfully don’t get the onerous duty fees and taxes on importing the box. However, I’ll still get stuck with a $70 USD delivery fee, and for my friends in the US who don’t have to concern themselves with converting their local currency into USD$$, the delivery charge becomes out of this world inflated. Ridiculous, too, because I’m a short drive to the border in a populous urban area, not an outback, and delivery speed from There To Here is beyond ridiculous due to…just sheer phucing laziness of the mail services. For $70, you’d expect it hand delivered with a smile and a tip of the cap.
Anyway, I accept it for what it is. The international buyer is likely a very small percentage of the dead.not customer base, and let’s be honest, why would they care? There are lots of musical acts and artists in the sea.
What I will miss most, however, are the great bunch of posters on this site, people I really would hit it off with well were we neighbours; a good bunch of folks.
A pox on WB/Rhino/dead.not

I get not paying exorbitant fees, but it sounds like your not going to hang with us anymore : (
Just because one doesn’t buy the products, doesn’t mean ya can’t hang out and make us laugh and smile, and hey, where else will be a source for all things MacGyver; )
I think I can speak for others and say that we truly hope you stick around!
Two wrongs don’t make a right, so withholding your fine contributions is only making the unfortunate situation worse!
Besides, who’s going to keep up with Angry Jack about in the know NHL info!
Who’s going to be my personal Jazz concierge?
So perhaps phuc the man, but not us ; )

Amen DR!

(Blushing) You! You Oro! How can I say no?
I guess you’re right, I can still stick around for that! It’s like a fraternity here, no matter where you live, we all attended Dead U, and humbly wear our Stealie colours proudly! Hell ya!
Still, a big pox on The Man!

Fun jazz fact I just learned: Jazz guitarist Mike Stern (who has some pretty decent solo releases, plus will be heard on the upcoming Miles Davis Bootleg Volume 7) is a something-something cousin to the infamous and original “It Girl” Edie Sedgwick, who made her bones as Andy Warhol’ s muse, and was Dylan’s supposed squeeze for awhile (“Leopard Skin Pillbox Hat” was written for her). The Sedgwicks, of course, including Kevin Bacon’s wife, are one very intriguing old New England family rife with money, suicide, mental breakdowns, drug and alcohol issues (see Edie), and general bad behaviour. It turns out Mike Stern’s father was a member of this ignominious family.

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Submitted by dmcvt on Fri, 08/26/2022 - 10:47

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excellent stories about people and music. Edie and Andy, yes, there's lots more dark, twisted and juicy stuff there. Now I have to go pull Mike Stern CDs out, he's been around, up and down, he can play mean and sweet. Good music for this afternoons thunderstorm. The ridiculous international shipping charges piss me off enough, no soup for me... have checked out these shows on the various resonant frequencies. This is far from the music company I returned to support 30 years ago, getting back on the bus with Dicks Picks, but at least they allow us this board to voice our thoughts.

That’s the spirit Mike!
Like my old departed Booze brother Keeko used to say, “ joke em if they can’t take a #$*(‘jfdg! “
Fraternity, I like that, the Loyal Order of WaterBuffalo DH chapter.
With special guests Anne Margrock and Jimmie Onielstone.

Oooo, Sedgwick’s sound like fun lol. Something to get high and google ; )

Now name that quote and “upon your deathbed you will receive divine continuousness”

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Submitted by Dennis on Sat, 08/27/2022 - 07:36

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original “It Girl” Edie Sedgwick,

Sorry but I think you need to look at Clara Bow for the original "it" girl! :-)

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Submitted by That Mike on Sat, 08/27/2022 - 10:00

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Dennis - Touché, Sir (bowing). I stand corrected.

Perhaps Edie was the “contemporary” It Girl? (Until Twiggy came along…)

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Submitted by Nick1234 on Sat, 08/27/2022 - 11:54

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Can you get your box delivered to someone in the US and then they forward it on to you? Postage costs will be less and if they mark the customs label 'gift' and value $5 say then there's no taxes to pay. It's worked for me many times.

I have to think something went wrong with international shipping to justify the bump in price. Tariffs, Vat charges, perhaps a fine? This just doesn't make sense..

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Submitted by davie mcm on Thu, 09/01/2022 - 13:46

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Nice

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Submitted by chilly1214 on Thu, 09/01/2022 - 14:47

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The odd thing is I just looked on Rhino for comparable size box sets and international shipping was $15.99. I always thought shipping costs were to low here. But $70 seems excessive. Plus as noted below shipping costs have increased across the board but not as much as here.

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Submitted by simonrob on Thu, 09/01/2022 - 15:15

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On July 19 I sent a mail to customer service querying the $70 international shipping charge. I finally got this reply on August 4:

"Your email has come to my attention and I apologize for the tardiness of this response.
I am so sorry this issue has not been resolved yet.
We are looking into the increased shipping and handling charges on your order and will update you again as soon as possible.
Thank you for your continued patience."

Now, 4 weeks later I replied to this non-answer to see if they had finally come up with a proper answer and got an instant response that said:

"Thank you for your email.
This is an automated message.
The email address you sent your recent message to is no longer being monitored."

Really I cannot be arsed to pursue this any further.

It's ironic that all this shipping nonsense came up on this box. I bought it, of course, but I live in the land of USPS dysfunction. It's ironic that the shipping blues presented itself on perhaps the one box set many can do without. And I say that as a person that bought it and am looking forward to it.

Something is awry.

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Submitted by daverock on Fri, 09/02/2022 - 03:03

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...it seems as though everything is going awry, not just the shipping costs with deadnet. Brexit, Covid, climate change, the war in Ukraine.... consequences are being felt. If I was to list them all, this would be a very long post indeed.

And I'm sure you would agree with this, going off your past posts - lend a helping hand.

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Submitted by proudfoot on Sun, 09/04/2022 - 12:28

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Lily Tomlin plays a telephone operator (old days operator). She is talking to the camera just like in the commercials.

She randomly unplugs a connection plug. Non chalantly and smiling she says, "Oops. We just lost Peoria."

I always think of that when I hear tales of "your call is imoortant to us" and then the crickets choir starts. And keeps on going

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Submitted by 1stshow70878 on Sun, 09/04/2022 - 13:56

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The telephone operator was one of her best skits. A stock number that she had down to a science. May have seen it even earlier than Laugh In. She is a genius of comedy. The punch line at the end was appropriate for this comment section currently. "We're the phone company. (there was only ONE back then) We don't care. We don't have to."
Cheers
Edit: A little positive vibe, or prayer if you will, for her buddy Jane F. who announced her cancer last week. Good odds on that one though. I had a low grade of it for 11 years and it has been gone or dormant for 11 years now. Sure focuses one on appreciating what you have or just being thankful more often.

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