Grateful Dead 17CD Boxset

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July 13, 2022 - 8:45am

556 replies

Dead Admin

Joined:
April 28, 2021

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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August 14, 2022 - 5:58pm

#361

musicnow

Joined:
August 6, 2013

Oroborous on point

Well said and true in my book. I think Gainesville is a perfect example. Aud is all we got and it's smokin"!
August 14, 2022 - 3:34pm

#362

icecrmcnkd

Joined:
October 20, 2015

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.
August 14, 2022 - 2:04pm

#363

daverock

Joined:
September 1, 2014

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!
August 14, 2022 - 12:38pm

#364

PT Barnum

Joined:
December 2, 2009

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
August 14, 2022 - 12:01pm

#365

Charlie3

Joined:
September 21, 2015

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...
August 14, 2022 - 11:07am

#366

Oroborous

Joined:
June 19, 2007

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?
August 14, 2022 - 6:09am

#367

JoeyMC

Joined:
July 29, 2022

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!
August 14, 2022 - 2:32am

#368

Doingtheneedful

Joined:
June 11, 2007

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.
August 13, 2022 - 9:05pm

#369

JimInMD

Joined:
June 27, 2011

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.
August 13, 2022 - 4:16pm

#370

Doingtheneedful

Joined:
June 11, 2007

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.

John Perry Barlow

John Perry Barlow

Forums

Dead Store Products

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.

MSG Cover Art

Finally caught up with my MSG box and had a chance to scan and work on Dave Van Patten’s cover art. It’s definitely a trip. Way more out there than the first image we kept seeing on the website showing a hand reaching down for shrooms. . . First, I combined the art from all four sides of the box (front, back, flap & spine) into a long horizontal panorama. Be careful – it’s a face-melter. It’s also a big file, so there’s a HI-res and MED-res version.

The official artwork for the six individual shows was derived from the box’s cover, but they simplified it. The full-tilt art on the box is so insane, I couldn’t resist making alternate covers for each show that include more of the crazy, complex context that was edited out (they’re listed in Dropbox as “BOX Art”). For any purists who may prefer the simpler, but official artwork that’s actually on the CD’s, they’re included too (“CD Art”). Check ‘em out and share ‘em around while listening to some well-recorded and potent Dead from the early 80s!

Try this: dropbox dot com/scl/fo/dxzr09qeqy5er7xlnoq64/h?dl=0&rlkey=5uz42d6yp5i7eby44rcg0ln9u

or PM me with an email address and I'll send you the linque.

AND glad to hear many of you are patiently facing down serious health issues with a healthy dose of humor. An inspiration to us all. Onward!

@JEFFSMITH

GRATE job on the box art scans! Twill be fun for staring at :-) Jeff

Thanks Jeff

That artwork is screaming to be made into a black light poster.

Rhino store 2022 stocking stuffer, 6-foot wide black light poster.
3-foot version also available.

Hi Res covers

Can someone please help me on how to access these covers?
Rock on

High Res, etc.

Thanks Jeff,

I was sort of meh on the cover art from what I initially saw in the early dead.net reveals. I didn't give it much thought.. but it did little for me.

When I opened it I immediately got it and I think it's great. The colors, context, the swirling carnival atmosphere.. add in a touch of benevolent weirdos and what have here is what it feels and looks like when you are walking through the crowd dosed out of your mind.

I immediately saw and liked it for what it is.

HBob, all I did was turn what Jeff wrote into a lin k (sorry, they won't even let you write that word here). Remove the spaces, etc. and paste it into your browswer. It worked for me..

Pano cover and Jeff

Thanks for that scan Jeff. I had a moment I thought about doing it,,,, but now it's done!!!

Need to get it printed in the full length.

Will work on that later.

The art is fantastic....

....so is the music.

3 9 81

Soooooooo very good

10 10 82

40 years

I wasn't there but have heard it a bunch.

Frost us, Dave.

Good morning all - Box Number?

Good morning all, I am trying to find the number of my box. I can't seem to find it anywhere. I searched the box many times. Can someone point me in the right place? Is it hidden? Thanks in advance.

Box set number

When you open the box flap the number is there

Thank you

I did not see it there. Thanks again.

3-10-81

On my second listen:
Really liked the Lazy Lightning, Fire (towards the end when Jerry is really going for it I wonder if his head was up, smile on his face, swaying a bit, or if his head is down and he’s in a trance), now he’s tearing it up at the end of Saint…..

Good stuff!

Source change in Franklin's?

I think you should have told us, Dave.

Loving this set

Love me some dirty 80s. Box is beautiful and I don't mind the size. Bummed to have a little damage on the box flap(rips) where the number is printed. Had to have been from shipping even though it was well packed. I'm sure the mail handlers down the line threw it around some. On the fourth show of the set, and so far no damage to the discs which is a sigh of relief.

Where's Weir?

Not much action on this string, considering its a new box.

I started with 3/10/81 because it had rave reviews, and almost finished with the second set. Loved the Miss 1/2step > Franklin's opener, LLR, and Saint of circumstance.

I can't hear Weir's guitar. I really like his distinctive guitar playing- adds a lot to the sound. For those of you who have made their way through all six shows, is this the case with all six?

Problems with the store login

Anyone else having trouble with the store?
I was going to look at my old orders but the login for the store now has to be an email address whereas my login wasn’t. Using my email address means that the password is wrong. I’ve tried to use the non-logged in route that needs order number, email and zipcode. Previously I’ve used my post code since we don’t use zip codes over here but at least one of these three items is said to be incorrect. I am still connected to deaddotnet as I can post this but I cannot check my previous orders. So much for an improved website experience. I have tried to reset my password but clicking the ‘forgotten password’ option does nothing. I don’t get an email to allow me to reset the password.

Nitecat

I listened to 9-21-82 last night and I could hear Weir on my stereo system, turned up sort of loud, but he was faint.

I’ve listened to the whole Box but can’t actually tell you how Weir sounds on each show.

I believe that you can attribute Weir being low in the mix to Healy.

The artwork on this is SO cool!

I just sat and gave a serious listen to Disc 2 while thoroughly enjoying the artwork in front of me. So far, so good, even if things almost derail here and there. Jerry tried all kinds of new and unique licks in the early 80s, to my ears, licks that he never played with again.

And yes, as mentioned, Healy and Bobby had some kind of tiff going on in the 80s, so Healy reportedly would drop Bobby's guitar levels to almost nothing on the board mixes. I'm assuming that Bobby could be heard in the P.A. in person?

Is anyone going to USE the postcards? I can imagine the joy in some friends' hearts if they received one, but the perfectionist in me is horrified to even consider punching those out of the book! :) I'm very tempted to color the "coloring book" page . . .

Store Log In

So I finally figured out that you have to make a new separate account for the store. That's what I did anyway, because my Dead.net info and email were not recognized.

find the box no

you can find the box no on the booklet paper as well

For An Enhanced Experience. . .

On another thread Ice Cream and DMCVT suggested trying UV on the MSG box: It does indeed go crazy(ier) under blacklight!

Weir

I can hear him really clearly on the 10-12-83 show. He's doing some very cool stuff at the end of Truckin, especially.

Happy Customer

This has exceeded my expectations. Sound wise, I was familiar with all but two of the shows and generally I would go for the audience or matrix recordings on account of the all too common imbalance between the vocal and the instrumentation in 80's recordings. But these cleaned up beautifully. The '82 shows could use a little more high end, but when summoned with some upward volume, the sound comes through warm and with surprisingly good stage separation.

For the playing, if 60's GD is considered Primal Dead, I would say this period is Raw Dead. And I mean that every way positive. Like when they first started, it's loose, kinetic, spontaneous and, most importantly, just dang fun. They regained the primitive immediacy that seemed to have gotten lost in the various changes and phases the band explored in the 70s.

And there's quite a bit in the playing that's an improvement on 70's GD-- vocals harmonize better, the rhythm is tighter and bouncier, Jerry's tone is scarier, his solos are back to being downright spasmodic at times, the sets have a more arcing continuity rather than a hodgepodge of disconnected moods and styles. But most importantly, if you remove the comparison, its another facet of the band that can be enjoyed when the mood strikes. 'American reggae' or something along those lines Bobby called it. All there in a syncopated rhythm smoothed into a singular groovy flow of sonic shapes and textures.

Last five:
-Julian Lage, View with a Room
-Nels Cline, Lovers
-Elvis Costello, King of America
-Hendrix, Valleys of Neptune
-Sonic Youth, Daydream Nation

Well said Fivebranch!

I’ve been struggling with words for this one.
EDIT: mostly I’ve just been burned out and too busy lol.
I’ve only very superficially made it through twice: generally I likey, yass there’s imperfections, yaasss Bobs low on the 81s, etc, yaddy, yaddy, yadda, but all things considered, there are those GD moments fleeting and other that always have, and always will, make the cost benefit ratio of proper GOGD a bargain in my existential book!
Oh, lol, I think (so far) I like the 83s best. That first set from the last night is ripping!
And it’s got a Cumberland 😀

I spoke too soon

When I mentioned the box being delivered (3rd October) I said that I had no extra demand for payment. Today I have received an invoice from UPS for £44.51. I wonder why they delivered it before getting the cash? Even more unusually, there appears to be no way to pay it on-line. I’ve dusted off my cheque book and written my first cheque in a couple of years. The music is worth it though.

If Healy really did that to BW's sound

then that earns Healy the title of "asshole"

There's some show I heard where Weir disses Healy from the stage

The drama behind the scenes in the GD must have been hair raising.

Cover art scans

Big thanks to Jeff Smith for those fantastic cover art scans. They are even better than looking at the box

I've been laid up with covid for the last month so have not had any interest in any serious listening to these 6 shows yet but that's about to change as I'm feeling up to the task starting today. I did have a very quick scan of some tracks to check the quality when it arrived, and it was an improvement on the files I had so I'm looking forward to the full immersion experience. I don't particularly like the size/shape of the box but do love the cover art so that's a big plus. However, it's always the music that matters and the box art might help the band get nominated in the Grammy's and keep the name out there.

Import charges

Colin, I got my letter yesterday also. I don't mind paying the fee but wish it was easier to do so - will trying phoning tomorrow as I don't even know where my chequebook is.

listened to some of the box

yesterday, 9-21 82, ok so far, liked the He's Gone, Jerry doing it just fine. 83 show, not so much. I'm on the fence on this box. Love the early 80's hope they pick better shows for the next early 80's box. Not a fan of the "venue" theme, but I never saw a show at MSG. I guess you had to be there? In the future, past, the drums/space segments get much better. Check out Infared Roses for top notch drums/space.

Silver Apples of The Moon

PT - the above title on Infrared Roses was from the 11/1/90 show at Wembley that I went to. It was mind blowing on the night - loud, quadraphonic sound. Maybe the highlight of the whole show.

11-1-90

wow, what a show to see Daverock. I mean come on, Playin>Dark Star>Drums>Silver Apples of the Moon>space>Dark Star Reprise>Playin Reprise>STOM tease into Wharf Rat>Throwing Stones>NFA. That would put anyone's Apples on the Moon. Wasn't this an added show? Suppose to be only the 30th>31st? Always wondered why they didn't release this one in the 30 trips box instead of the Paris show. They put a lot of other great shows in that box. That Standing on the Moon tease that morphs into Wharf Rat is quite unique and must have been a trip to hear live.

I like Drums/Space

It got longer and longer as the years went on.
I think 30-40 minutes by 94 and 95.

Testing testing...

As you were.

11/1/90

PT - yes, I believe you are right about this date being added on. As to the Standing tease being a trip - it was all a trip to me. I took some mushrooms before leaving the hotel, safe in the knowledge that they wouldn't come on until I had arrived at Wembley. Unfortunately, my tube station was closed for repairs, so I had to wander about looking for another one. And so it was....half way to Wembley, sitting on a very packed train, things began to get very strange indeed. The things you do for love. Nowadays we are invited to tell a guard if we see anything strange, or that doesn't look right while we are travelling on the train. I don't think that applies to trippers, though.
But all three nights were great, to me, in their different ways. Are they better than that Paris show in 30 Trips? They obviously mean more to me - but that Paris show is pretty good to, form what I can remember.

Love

11/1/90!

Good Listening

I’m enjoying my first forays into MSG. Several mentions of low Weir. And I wouldn’t have tuned into this so deeply if I hadn’t got a new DAC and nice headphones for the purpose of listening to the band members. If they were gonna dropWeir how about that crazy Stanley ‘72 on China intro. Too crazy. I still flinch. I pulled out DP 32 and the China there was low for intro. Somebody! educate me on listening to late Dead Weir. I have hung out in the early 70s and grabbed this box to learn more about Brent and just the over scene. Suggestions?

Do you ever just spread your…

Do you ever just spread your discs on the floor and rearrange? For me it was from all my DPs and most official vault releases and a bunch of Road Trips and DaPs. 75 now in chronological order. And 11 boxes all about. Where was the break out room for “yes honey I do need more Dead” ?
I’ll be dead first before they all get a listen.
But it is my balm.

Balm indeed

God bless the Grateful Dead

I am loving this box.

I am loving this box. Was skeptical but home alone and listening over and over. One question. On the 3/10/81 disc 4 the Mississippi has a bad drop out in it. Does anyone else have this or is it a defect?

The Balm

You put the balm on?
Who told you to put the balm on?
I didn't tell you to put the balm on.
Why'd you put the balm on?
You haven't even been to see the doctor.
If you’re gonna put a balm on,
let a doctor put a balm on.

— Jackie Chiles, Seinfeld, Season 7: The Maestro; al la Sixtus

Jackie Chiles

Ha.. that's hilarious. I remember him.

Sixtus

But hey that coffee was a little hot!
Now if only Kramer hadn’t got burnt by Calvin Kline on the Beach thing, he’d of still had plenty of money!

CC3659: if your referring to the loud crash near the beginning, that’s on the original tape, if it’s something else…?
Perhaps give us more intel, like time it happens?

The more I get to know

The better I like!
Taken all together it’s a bit of a mish mash, but individually, slowly, one at a time I’m becoming one with the force

MSG 9/20/82 disc 9

I'm really liking 9/20/82. I listened to Shakedown twice, and I love the humorous guitar sound for Dupree's ( since it is a funny song and Hunter said he wrote it while drunk). I need to check out the Scarlet Fire again, but what sticks with me is the third disc, number 9. The space>Spanish jam>Truckin>Other One>Stella Blue is awesome, I just finished my third listen to just that segment.
Jerry sounds so soulful in Stella. Hairs on the back of my neck soulful.

The crash in half step...

is some blown speakers. Very audible on audience cassette

They recover nicely

Good ol' Grateful Dead

The crash

I respectfully, but highly disagree.
Speakers don’t make any noise when they fry. Trust me, I know : (
They can start on fire though…
Sounds like a good zen joke: what is the sound of speakers frying….(silence) lol
I think it sounds like an old spring reverb pan got bummed hard or knocked over?

Love how they play through it. R&R 101: no matter what happens, just keep playing!

Oro

Tech question for you. Check PM.
Thanks and cheers

Great box, but is there a burn error on cd 15?

Anyone finding a problem with "Looks like Rain" on CD 15? I notice a nagging almost tape lag like sound that comes across like a skip with about 1:33 remaining in the song as Bobby sings. Loving the box, but this is gnawing at me. Got a replacement in the mail, same issue, same spot. Doesn't matter which of my cd players I load it into, same skip in same location each player. Stikes me as a batch run error. Or is the disc capturing an error from the master tape?

Alien Abduction?

Hey DS BGE: Nice catch. Yup, at about 7:02 on the 10/12/83 Looks Like Rain there's some weirdness. For about a second and a half it sounds like a failed attempt at an alien abduction (or maybe it didn't fail). Guess it's the flaw in the "leather" that confirms its authenticity.

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