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    A sealed, unlabeled box sat undisturbed for decades on a shelf in the Grateful Dead’s San Rafael tape vault on Front Street, its contents an enduring mystery, even to those few with access to the vault. All David Lemieux knew about that box when he became the Dead’s archivist was that it contained tapes belonging to Bear—Owsley Stanley, the Dead’s first soundman and architect of the Wall of Sound. Even in the Dead Heads’ Holy of Holies, the taped-up box was tantalizing. But this was Bear’s personal property, and so he didn’t touch the box out of an abiding respect for the elder luminary of sound. Bear’s archive of Sonic Journal recordings had been kept safe for him for years within the Grateful Dead’s vault—over 1,300 reels of tape stored in heavy-duty cartons like old banana boxes. At any time, David could have popped the tops and explored them to his archivist heart's content. But they were off-limits without the nod from Bear. - Starfinder Stanley, Hawk, and Pete Bell, Owsley Stanley Foundation

     

    With a wink and a nod from Bear, we've peeled back those banana boxes to find some of the oldest and rarest of all recordings of the Dead including the double dose of shows that make up DAVE’S PICKS VOLUME 43. The two virtually complete performances from San Francisco 11/2/69, Live At Family Dog At The Great Highway, and from Dallas 12/26/69, McFarlin Auditorium, are complementary in their clarity and consistency thanks to Bear himself, and in their ability to foreshadow where the Dead were headed in the years to come. If the two killer 20-minute+ "Dark Stars" don't get ya, how about the Pigpen-centric sets featuring "Midnight Hour," "Next Time You See Me," "Big Boss Man," "Good Lovin'," and the once-lost-now-found complete rendition of "Dancing In The Streets," or the first full acoustic set ever performed? And we're certain you'll be fascinated to uncover the "Mystery Of Bear's Banana Boxes" as told by Starfinder Stanley, Hawk, and Pete Bell in the liners.

     

    Limited to 25,000 numbered copies, DAVE’S PICKS VOLUME 43 was recorded by Owlsey "Bear" Stanley and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

     

    *2 per order. Very limited quantity available.

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  • #1351
    Vguy72
    Joined:
    Meet up....

    ....I'm going early to try and get in the front GA section. Lot opens up at 4:30 I think???
    PM section is down? Says I'm not authorized to access.

  • #1352
    Deadheadbrewer
    Joined:
    I met #3230 accidentally, in Saint Paul, Minnesota!

    No notice, just a delivery a few minutes ago.

    I've told this to you all a million times, but a group in the Twin Cities has been recreating The Last Waltz on stage once per year for about 15 years. It's a very cool event.

    Be kind, rewind.

  • #1353
    bigbrownie
    Joined:
    Didn't Get a Notice

    ...but #23818 has arrived in sunny Southern California. Now if only that Little Feat box from Rhino would get its butt over here.

  • #1354
    hendrixfreak
    Joined:
    Vguy, I'll be lookin' for ya

    I'll hold or wear my Hamms beer hat, blue short sleeve shirt with very thin vertical stripes, gray pants, sandals, Fu Manchu with beard, short dirty blond/gray hair, goofy grin...

    I'm having trouble with my ankle, so I'm not climbing to the top in search of you, but maybe halfway between my Row 10 and your GA section up top. I told Nappyrags I'd be on the outside stairs, Row 10, between bands -- especially after Gabe Dixon but well before Los Lobos hits the stage.

    Try to come down for a brief hang. I'll have treats for ya! If I can make 2023 and 2024 shows, I'll have put in 50 years at the Rocks. Fortunately, not making little ones out of big ones, if you know your prison lore....

    HF

  • #1355
    proudfoot
    Joined:
    Went to get mail today

    Oooo, theres a package! New Daves!

    PSYCHE!

    Postal person misdelivered a delivery for my neighbor.

    >:(((

  • #1356
    proudfoot
    Joined:
    I go into a well-known coffee chain

    to chill while I get new tires.

    I give my name

    I sit down 10 feet away to wait and play the electronic crack game (phone ya know)

    10 seconds later some dude in line tells me my drink is ready

    Barista says she called my name

    She must have whispered it

  • #1357
    That Mike
    Joined:
    VGuy - RR sounds amazing,…

    VGuy - RR sounds amazing, and I’ll bet the band was fantastic! I just received Part 3 - The Fall yesterday, so after I finish this interminable Honey Do List, I’ll break it out. Glad you enjoyed the show.

    Dennis - Enjoyed reading the Last Waltz story, my favourite concert movie. When it was released in 1978, I knew I had to see the film, as I saw The Band on that, their last tour. Considering they got their start in Toronto, I thought it shitty the film got only limited release here at the time, but since I was in university then, I saw it repeatedly, even matinees, at a theatre no longer standing that was a block from where the Band (nee The Hawks) used to play at a long defunct club called Le Coq D’Or back in the early 60s with Ronnie Hawkins, and where Dylan came to hear them play. The rest was history. Great story, and Muddy’s performance was a highlight.

  • #1358
    Vguy72
    Joined:
    Red Rocks revue....

    ....I'll try. Let me get the bad out of the way. Lots and lots of stairs.
    Now for the good. One of the best food courts I've seen. They serve basically everything. And if you are near the top like I was, the constant smell of food pours down over you.
    If there was a police presence, they must be undercover, because I didn't see any.
    The sound there is top shelf. Wow. Towards the end of the show, the wind picked up and started bouncing the sound around the huge rocks and sounded even more amazing! (I was under the influence of psilocybin, so I may be compromised regarding that, but I don't think so).
    Getting around is easy. Getting in and out was easy. This place has it all.
    Now TTB. I literally cried a couple of times during the show. They are tight AF and brought it hard for 2+ hrs. When Susan really starts preaching, you better shut up and listen because she's got something to tell you. Members of Los Lobos came on and sat in for a couple of songs and that's some dream come true shit. At least to me.
    I have GA tix so a shout out to my neighbors Jessica and Ross and Susan and Alan for waving me over when I reached upper GA and yelled out if anyone had room by them for one person. You people were the best.
    I walked back to my car and drove to my hotel in stunned disbelief and didn't say a word.
    Didn't see anyone being busted for anything and pot smoke was definitely evident in the air. Crowd was chill. How can you not be at a place like that!!!
    I regret taking so long to finally visit the hollowed ground that is RR, but better late than never.
    You all have a great Saturday.
    I'll be wearing my Make America Grateful Again tee and my American Beauty brown bolt/roses cap tonight btw. Tall white dude with a white beard and glasses with a constant smile on my face. Can't miss me lol!

  • #1359
    billy the kiddd
    Joined:
    Alright, #43 has landed in the Bay Area!

    What a killer release, keep them coming Dave.

  • #1360
    Dennis
    Joined:
    may interest some

    My buddy sent me this in an email today,,, thought some might enjoy reading it....

    THE LAST WALTZ BLUES JAM
    by Bob Margolin
    The more blues-driven musicians commandeered the instruments at the jam, and played some old favorite songs together, mostly Robert Johnson’s. This sounds like a common scene at open-mic jams at blues clubs, where more experienced blues players sometimes conspire to sit in together. It happened at about 7 am, the morning after The Band’s Last Waltz concert on Thanksgiving, 1976. The Band had hired the entire Miyako Hotel in San Francisco to accommodate their guests. The banquet room which had been used for rehearsal before the show was now the party room, and musicians had been jamming in random combinations since after the concert, many hours before. But unlike your local blues jam, every blues player that morning was a Rock Star.
    Except me. I was there with Muddy Waters. who was invited to perform two songs at The Last Waltz. Muddy had recorded his Grammy-winning “Woodstock Album” the year before with Levon Helm and Garth Hudson from The Band, but The Band itself was an unknown quantity to him. He brought Pinetop Perkins and me from his own band to accompany him along with The Band and Paul Butterfield on harp, so that he would have something familiar to play with. Muddy also felt I was good at explaining what he wanted onstage to musicians he hadn’t worked with, though 25 years later, I still find myself wishing I knew more about what Muddy wanted.
    Muddy, Pinetop, and I checked into the hotel the day before the show and went to the restaurant. I saw a few familiar faces from the Rock World, and some came over to say hello and pay respects to Muddy.
    That night, Pinetop, Muddy, and I were scheduled to rehearse our songs for the show. I didn’t realize that some of those blues-oriented rock stars must have been in the room to watch Muddy.
    The next night, at the concert, Muddy, Pinetop, and I waited backstage to perform. Pinetop told me he heard one of The Beatles was there, not realizing that Ringo was sitting right next to him. Born in 1913, Pinetop knew as much about The Beatles as I know about The Backstreet Boys. Joni Mitchell, looking impossibly beautiful, introduced herself to Muddy. He didn’t know who she was, and just saw her as a young pretty woman. He flirted but she didn’t respond.
    I’m told that there was a backstage cocaine room, with a glass table and a “sniff-sniff” tape playing, but I never saw it. I did, however, see through Rolling Stone Ron Wood’s nearly-transparent prominent proboscis in profile. In the “green room,” Neil Young passed me a joint, smiling, “We’re all old hippies here.” Though I was 27, something about “old hippies” resonated with me for the future. Young was older than me by a few years and even had a couple of gray hairs then, but I remember thinking that nobody in that room was old yet except for Muddy and Pinetop. Now, I’m certainly an old hippie, though Pinetop, going strong at 88, is neither. As for Neil Young, film of his performance revealed a white rock up his nose, which was edited out frame-by-frame for the movie.
    California Governor Jerry Brown popped in and invited Bob Dylan to get together with him sometime. Dylan, relaxed and outgoing until The Governor arrived, instantly turned sullen and distracted, barely nodding without looking at Brown. The uncomfortable Governor soon left, and Dylan laughed just before he was out of earshot and reverted to his friendlier mode. Something is happening here, but I don’t know what it is.
    When it was our turn to play, Muddy and Pinetop sang the light, swinging “Caledonia” as they had for “The Woodstock Album.” In hindsight, I think Muddy could have presented himself more strongly with a deep slow blues like “Long Distance Call” which would feature his almighty slide guitar. But nobody could argue with his second song choice — “Mannish Boy” was always a show-stopper. It was preserved in full in The Last Waltz movie, which was released in ‘78. Harp player tip: Muddy loved the way Butterfield played on that song, setting up a warble that “holds my voice up” rather than just playing the song’s signature lick.
    Fatefully, only one camera was operating during our song, zooming on Muddy, but not changing angle. Standing close to Muddy, I was in every frame. Pinetop, at the piano way off to the side, unfortunately was never seen in the film. But as Muddy hollers “I’m a MAN” and we shout “Yeah” to answer, as we always did in that song, you can hear Pinetop also yelling, “Wahoo!” — which is a line from a politically incorrect joke that Pine had heard on the road, and was fond of telling over and over in 1976.
    Now, whenever The Last Waltz movie is shown on TV, a few people at my gigs tell me, “I saw you on TV!” and how I looked — happy or mad or scared or bored. I think they just project how they would feel. I was simply concentrating on playing, and particularly enjoying Muddy’s powerful shouting, Butterfield’s warbling-tension harp, Levon’s deep groove, and Robbie Robertson’s fiery guitar fills.
    Eric Clapton followed us, and as he began his first solo, his guitar strap unfastened, and he nearly dropped his Stratocaster. In the movie, his lips distinctly mouth, “Fuck!” and as he refastens the strap, Robbie picks up the solo and runs away with it.
    Muddy and Pinetop went right to their rooms after our set, but I went down to jam back at the hotel after the concert. This is where I realized that some of those blues-oriented rock stars had watched me rehearsing with Muddy and been impressed that I was playing Old School Chicago Blues in his road band and helping to arrange the songs for our performance. I also had a very cool blues guitar with me — my late-’50s Gibson ES-150 arch-top, which I also cradle on the cover of my latest album, “Hold Me To It.” Bob Dylan approached me and said he hoped we’d get to jam together. Then he disappeared. I did play “Hideaway” and some slow blues with Eric Clapton, whom I met that night. Dr. John sat at the piano for hours, and played along with everyone. My piano-playin’ sister Sherry, who lived nearby and was hanging out, sat near him, eyes glued to his funky fingers.
    Around dawn, I put my old guitar back in its case, and started to leave. Bob Dylan caught me in the hall and said, “I thought we were going to jam…” I decided to stay awake a little longer. We had Dr. John on piano, Ron Wood on bass, Levon on drums, Butterfield on harp, and Clapton, Dylan, and myself playing guitars. There were no vocal microphones, and we all played softly enough to hear Dylan sing “Kind Hearted Woman” and a few other well-known blues songs. His trademark vocal eccentricities sounded outlandish in the blues, but he did make them his own. Generally, the blues we played that morning were not remarkable, but I was honored to be jamming with these fine musicians, and I realize that they belong to the same “club” as you do — deep blues lovers.
    Recently, I read Levon Helm’s inside story of The Last Waltz in his autobiography, “This Wheel’s On Fire” (recommended!). I was shocked to find that because of time and budget constraints and Band politics, Muddy was nearly bumped from the show. Levon fought bitterly behind the scenes and prevailed to not only keep Muddy in but to indulge him with me and Pinetop too. We were treated as honored guests at The Last Waltz and I enjoyed the once-in-a-lifetime jam afterwards, but Levon never told us about making a stand for us. He just made us welcome. Ultimately, this gracious, classy, and tough gentleman was responsible for my good time there.

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A sealed, unlabeled box sat undisturbed for decades on a shelf in the Grateful Dead’s San Rafael tape vault on Front Street, its contents an enduring mystery, even to those few with access to the vault. All David Lemieux knew about that box when he became the Dead’s archivist was that it contained tapes belonging to Bear—Owsley Stanley, the Dead’s first soundman and architect of the Wall of Sound. Even in the Dead Heads’ Holy of Holies, the taped-up box was tantalizing. But this was Bear’s personal property, and so he didn’t touch the box out of an abiding respect for the elder luminary of sound. Bear’s archive of Sonic Journal recordings had been kept safe for him for years within the Grateful Dead’s vault—over 1,300 reels of tape stored in heavy-duty cartons like old banana boxes. At any time, David could have popped the tops and explored them to his archivist heart's content. But they were off-limits without the nod from Bear. - Starfinder Stanley, Hawk, and Pete Bell, Owsley Stanley Foundation

 

With a wink and a nod from Bear, we've peeled back those banana boxes to find some of the oldest and rarest of all recordings of the Dead including the double dose of shows that make up DAVE’S PICKS VOLUME 43. The two virtually complete performances from San Francisco 11/2/69, Live At Family Dog At The Great Highway, and from Dallas 12/26/69, McFarlin Auditorium, are complementary in their clarity and consistency thanks to Bear himself, and in their ability to foreshadow where the Dead were headed in the years to come. If the two killer 20-minute+ "Dark Stars" don't get ya, how about the Pigpen-centric sets featuring "Midnight Hour," "Next Time You See Me," "Big Boss Man," "Good Lovin'," and the once-lost-now-found complete rendition of "Dancing In The Streets," or the first full acoustic set ever performed? And we're certain you'll be fascinated to uncover the "Mystery Of Bear's Banana Boxes" as told by Starfinder Stanley, Hawk, and Pete Bell in the liners.

 

Limited to 25,000 numbered copies, DAVE’S PICKS VOLUME 43 was recorded by Owlsey "Bear" Stanley and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

 

*2 per order. Very limited quantity available.

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Submitted by Cousins Of The… on Tue, 10/18/2022 - 13:12

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Great rock and roll singer, always with a killer band(L!nk Wray, Chris Spedding, Danny Gatton)

Had to add "!" in Mr. Wray's first name...Dead.net barked.

Last 5:

Robert Gordon Are You Gonna' Be the One
Weyes Blood Titanic Rising
Beach Boys Live 1968 (8 soundboards in 1 box set)
GD 3-10-81 (Bob MIA in the mix - almost sounds like JGB at times)
Cactus Blossoms One Day

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10 years 11 months

Submitted by alvarhanso on Tue, 10/18/2022 - 18:28

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On UM, I've seen them about a dozen times over the last 20 years, mainly when they've been on a co-bill. They are incredibly proficient musicians, they kill killer covers, and take adventurous chances improvisationally. However, I don't really gel with them, never have. Too much prog in the jam for my tastes. Phish has prog out the wazoo, but they incoporate so much more groove.

Which brings me back to that Eleven search. That song is more like classical rock, since it's years before people thought of labeling prog as such, and Phil was classically trained along with that avant garde training. There's the weird waltzing rhythm, the dynamic ebbs and flows, and Jerry ripping a composed piece with increasing ferocity, all while Phil goes from rapid-fire eighth notes to huge counterpoint chords, and Mickey has the time of his life. A request had been made for where that list stood, a nice weekend up to Quebec put off an answer til now, but it also gave me a chance to relisten to a couple, which changed things a bit:
1 2/28/69 mainly ahead of the pack for the few minutes of Phil and Jerry bobbing and weaving around each other, for some of it by themselves very quietly, and this one is nearly flawless.
2 1/2/70 DaP 30 this one surprised me, did not recall it being this good. Of course, this is an A++ Dark Star sequence at that show anyway, but this is a really hot Eleven.
3 3/2/69 going into it, thought this would be easily the best based on previous listens where I was blown away, mainly by Phil's ability to improvise in 11 the way he does in this one that he doesn't do the rest of the Fillmore West run. Yet I still liked the FE one from 10 months later slightly better.
4 3/1/69 being the third best version of the Eleven out of four in four nights isn't that bad. Still well executed and a rousing version. I've long felt this show's wad was shot with That's It For The Other One opening, but it's still great primal Dead.
5 12/11/69 DaP Bonus Disc 2014 very nice, tight version that goes ridiculously into an early Cumberland Blues.
6 11/8/69 DiP 16 this show was just ridiculous, especially that dream continuous second set.
7 2/27/69 the Dark Star is on Live/Dead, but they skipped this Eleven because it's shaky from a few guys at a couple different spots. Phil is all over it, and the jam is great because Jerry gets over his initial stumbles and makes up for it with some fiery work. But since my goal was a really great version that is also nailed, I knocked it down a bit. Which leads to my last eighth note on The Eleven
8 11/2/69 DaP 43 the big thing that throws me on this one is the drum break by Mickey and re-entry bomb by Phil being uncharacteristically off. Some others aren't so smooth either, this one maybe was the most awkward. It's a small thing, but this guy is definitely going to be more impressed by one where they nail that bomb like the Fillmore West Run where they played it each night, and had it DOWN. But I do love this last Dave's Picks Dark Star sequence. The Dark Star, St Stephen are A+, The Eleven an A-, but that oh so deft segue into Death Don't Have No Mercy, maybe the best one I've heard (happy for suggestions to knock it from that personal perch), is just fantastic.

Sorry for the lengthy diversion. Dave's 44 looks promising. MSG not sounding so promising. If it's around in six months, I'll probably bite the bullet then. Dave's 2023 subs are right around the corner, that's the best hundred bucks I spend every year.

ETA: I unfortunately had to limit my choices to what I had on USB drives in my car, just moved a couple weeks ago, and the computer is still in a box, so the Download Series and other versions from 1968-69 weren't readily available. Dick's Picks 26 has 2 versions! I will need to set up that very computer for the creation of the disc, so may give them a spin whenever I get around to that :)

I finally got through the whole MSG box and gave a few shows a second listen. I enjoyed it and am glad I have it but it's just not the strongest box set they've ever put out. I think deadtony had one of the better one liners on the MSG thread, suffice for a review.. "Love me some dirty 80s." Pretty much sums it up.

I would consider getting the stand alone show (3/9/81) if the cost of the box and space issues are driving your decision. It's probably the strongest performance of the bunch and I think it sounds the best of what is in the box. Down and dirty Grateful Dead, Cliffs notes edition. You would be missing the pretty tripped out wild colored box art, but... that's all flare and flash, albiet trippy flare and flash.

Just something to consider.

Back to whatever it was you were doing or listening to, screwing up or making just exactly perfect.

I'd bet a buffalo nickel they play Viola Lee Blues. That song lends itself well to a full brass sound.

So Vegas odds we see a Viola over the weekend.

For what it's worth, the horns player Phil had for the first three nights was fantastic. An Energizer Bunny if I've ever seen one. Karl Denson. Check this guy out, he's the real deal.. funk and jazz, a perfect fit.

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Submitted by daverock on Wed, 10/19/2022 - 01:57

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Amen, Cousins. "The Humbler" and "The Real Humbler", with Danny Gatton, are two are my favourite rock n' roll albums. Robert Gordon was also a pretty good writer on Southern rock n' roll/blues/soul. Three on my book shelf are "It Came From Memphis", "Respect Your Self-Stax Records and The Soul Explosion" and "I Can't be Satisfied-the Life and Times of Muddy Waters"
Alvar - great post on "The Eleven"-cheers. I always think of "classic rock" as being a bit of a negative description though - an attempt to make rock music socially acceptable. It always seems to be attached to very successful bands at the very point that they have lost their edge. Music your dad would like. Or your kids, come to that. Not a description that fits Eleven era Dead exactly.

Last 5 - none of which are socially acceptable. Hopefully
Nasty Rockabilly Volume 1. Various
Dust On The Nettles cd 3 Various
Live at The Venue, London 4/19/80 The Cramps
Chasin' The Bird cd 1 Charlie Parker
Complete Motown Singles 1966 cd 2 Various ( damn. It's still really good though)

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11 years 8 months

Submitted by dmcvt on Wed, 10/19/2022 - 07:22

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Always appreciate hints to favorites/bests lists, was on a Viola Lee Blues quest a while back mice elf. Knowing at least one or two of my Dead loving friends would pick up the MSG big box and facing serious media overload/storage conditions, went for the 3CD package, am happy to have just it. Did stream much of the other shows before decision. Also thought the advance promo artwork at announcement was weird, now seeing part of it on the 3CD, also get it. Would suggest if any of y'all have a black light, check it out, those are florescent inks. Full disclosure, I held on to almost all my lighting effects from back in the day, makes me laugh still, thinking of UV posters and painted basement or attic hang outs. Recently picked up yet unheard Bruce Hornsby's Intersections, very nice extended foray into nooks and crannies of his great talent.

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15 years 3 months

Submitted by Cousins Of The… on Wed, 10/19/2022 - 09:53

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Going through the box one more time; listening to 9/21/82, what really bugs me is that the Charlie Miller on the archive sounds better in general, more crisp; box version almost sounds like some noise reduction was applied. Anyone else??

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Submitted by JeffSmith on Wed, 10/19/2022 - 13:35

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Thanks for the suggestion DMCVT: The MSG box does indeed go crazy(ier) under UV light!

Edit: Oh yeah, that was IceCream that suggested a 6 foot blacklight poster several days ago. Maybe TPTB are working on it right now? Black Light Friday? . . . Just in time for Christmas? . . . But can mail innovations handle mailing tubes?

I had previously suggested that dead net sell a 6-foot wide black light poster this holiday season.
We’ll see what Black (Light) Friday at dead net brings.
Hint, hint dead net.

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13 years 6 months

Submitted by JimInMD on Thu, 10/20/2022 - 20:40

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I will have to check it out. I did think casually that the early 80 Millers chosen for 30 trips sounded better than the official released versions, thinking especially 82 Manor Downs. I think Jeffrey has gotten better at working with the cassette masters, but for this subset of recordings there was not a huge bump between the good millers and the released versions. This is one of the first (if not the first) that received the Plangent treatment. 3/9 sounds great and 3/10 to a lesser extent, but to my ears they do not sustain this mark as the box continues.

Still I like it and am glad I purchased it, but this one will be a test. Not everyone is going to dig each and every show in this box.

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16 years 2 months

Submitted by fourwindsblow on Mon, 11/07/2022 - 05:18

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I'll bet the missing fall '72 reels are in there too!

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Submitted by JimInMD on Mon, 11/07/2022 - 08:12

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Good to see you Four Winds.

Regarding Fall '72 Reels, Google Dick Latvala Introduces The Philo Stomp

It will bring you to a radio broadcast with Latvala on the Grateful Seconds blog where he seems to introduce the term Philo Stomp. Philo Stomp is a whole other conversation totally worthy of exploration.. but back to the point, Dick suggests there is a cache of Bear Reels that seem to not be indexed or included as vault shows but do exist, many of these from Fall 1972.

To quote Latvala from the hijacked Gans radio broadcast:

"I did go into Bear's Secret Stash and I did find a lot of fall '72 shows...."

This one's for you, HendrixFreak.

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Submitted by fourwindsblow on Tue, 11/08/2022 - 02:06

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Hey Jim good to see you too!

That is awesome!

I have a feeling that 46 might just be 10/24 with over an hour of 10/23 or it could be from July '74.

Edited: This supposed to be Dave's Picks 46

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Submitted by Forensicdoceleven on Tue, 11/08/2022 - 04:48

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Mornin', rockers................

A box without hinges, key, or lid, yet golden treasure inside is hid..............

It appears that a hidden treasure has recently leaked out---the Carousel shows from June 8 and 9, 1968. OK, it's fragmented, and incomplete, but it's choice primal Dead. Anybody who needs/wants, you know where to find me...........

One of Bear's fall 1972 recordings is already out----one of the Boston Music Hall shows from September. Excellent quality. So yes, those appear to be in there. Let's all sign the HF petition and get that Fall 72 box put out...........

Our treasure lies in the beehive of our knowledge. We are perpetually on the way thither, being by nature winged insects and honey gatherers of the mind........

Rock on,

Doc
If love is the treasure, laughter is the key.........

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Submitted by fourwindsblow on Tue, 11/08/2022 - 05:49

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If they found the missing reels from the November Texas run that would make a great box.

To turn one of these dead threads into the most exciting thing happening at dead.net. 43 seems like it could harbor safe discussions well past the required three-month expiration date. What a great Dave's Pick, seems like a cool place to freak freely.

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Submitted by fourwindsblow on Wed, 11/09/2022 - 02:39

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Welcome to the underground!

2/19/73 A++

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13 years 6 months

Submitted by JimInMD on Thu, 11/10/2022 - 17:01

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I'm in. Short show, apparently no first set.

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Submitted by fourwindsblow on Fri, 11/11/2022 - 01:44

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Hi Jim

Apparently that is all that they played NRPS opened, but what is there is played perfectly. I don't know if they have reels of this set as I think Dick said he only found cassettes. If there looking for a live one disk companion for release with Wake of the Flood 50th this gets my vote. ;-)

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9 years 3 months

Submitted by bluecrow on Fri, 11/11/2022 - 04:45

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4 Winds, Yes - I think 2/19 is missing some reels(?) in the vault. What circulates is indeed an A++ fantastic sequence. Also, Dead wore their Nudie Suits and there are good photos. I've wanted a whole show release miracle for years, just like DaP 6 2/2/70, where the missing reels got returned decades later. In the end a cleaned up one disc release of this gem would be awesome also if that's all they've got.

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Submitted by fourwindsblow on Fri, 11/11/2022 - 09:16

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Hey Bluecrow, that would be great if they did have a whole show to release everyone just sounds fantastic!

What we have on the archive is from master cassette recorded by Bear and they really sound great I could only imagine what the sbd reels sound like. They say Bear always recorded on reel to reel and cassette so it could be that they are in the newly opened Bear boxes.

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Submitted by JimInMD on Fri, 11/11/2022 - 09:35

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I caught this yesterday, thanks 4winds..

Archive dt Org has a user comment of someone that claims to have been there. He said the New Riders opened and the the GD only played one set. Not sure if it's true or not.. Phil was on this night, however.

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Submitted by fourwindsblow on Fri, 11/11/2022 - 12:05

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From right here on dead net.

International Amphitheatre February 19, 1973

My best show ever!! Worst seat in the house. New Riders were fun, first set was OK. Second set involved numerous trips to edge city and back. They wore the Nudie suits, but who cared!

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Submitted by JimInMD on Fri, 11/11/2022 - 13:34

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Interesting. Much of the time for shows that either didn't circulate or only circulated as partials, the setlists are inaccurate or incomplete and when the source tapes surface the setlists are amended. In other words.. goes to show you don't never know.

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Submitted by JimInMD on Sat, 11/12/2022 - 21:26

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pfffft.. ahhh.

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Submitted by icecrmcnkd on Sun, 11/13/2022 - 09:05

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Not on the list of returned reels.
Check the banana boxes.

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Submitted by JimInMD on Tue, 11/15/2022 - 15:08

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Oh.. were you looking for those reels? Sorry.. forgot to put them back. Now where did I put them.. hold this thought.

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Submitted by 1stshow70878 on Tue, 11/15/2022 - 15:21

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Fill me in again. Why is a Feb.1970 Fillmore East box not possible? Something about the Allmans, others being there too? Or is it that there's already some of that out there on Bear's Choice, Dick's 4.
Just noticed Dave dabbling into this on last week's Tapers selection of 2-11-70b (which has a Cumberland), the first 5 songs before the Allmans and Peter Green come on stage. Thanks and sorry if this has been covered already.
Cheers

It's been discussed.. but it's a big fat head scratcher. If they released the whole thing, uncut in order it would get gobbled up. As for the guests.. I can't see anyone on either side putting up a fuss at this point. Most of them are dead now anyway... and the ones that are alive, at least on the GD side wouldn't get fussy about it.

It could be how to cut the pie and split the profits or perhaps incompetence? I don't know. ....or as Mr. Burns would say, "Smithers.. release the reels"

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Submitted by fourwindsblow on Wed, 11/16/2022 - 02:42

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I've been thinking for a while about a dueling West meets East, Fillmore box. February '70 would be great if the missing reels have been found.

Bear's taping run came to an end in 1970. After the New Orleans bust, the Fillmore East shows in February were the last ones Bear could tape out-of-state, as he was confined to California after that. The Dead apparently kept taping themselves until June - Bob Matthews became the soundman and taped several shows we know of that May (5/1, 5/2, 5/14, 5/15), and probably many of their other spring shows as well. Presumably the Fillmore West tapes up to June are Bear's work. The last shows he recorded were at San Rafael in July '70, before going off to prison.

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Submitted by fourwindsblow on Fri, 11/18/2022 - 05:12

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peel back those banana boxes I'm running low on potassium!

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Submitted by JimInMD on Sun, 11/20/2022 - 07:32

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I suspect lots of fall 72 and other early recorded stuff just might surface one day.

If so.. it's amazing to me that still, after 50 years, some of these ancient reels are finally making their way either back to the vault or into the hands of Lemieux, Norman and the folks at Plangent.

And before we cast off into subjects unknown, what ever became of the returned Mountain Girl reels? No one even knows what they are, no information is available on these other than we know they exist.

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Submitted by fourwindsblow on Tue, 11/22/2022 - 02:12

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On the end of Dave's 2023 sub's video he says "gotta go proof two shows" I think it's DaP 46 he was talking about he also said that the "Bonus disc will compliment the main part of the release." Two shows from fall '72 is my guess (10/23 and 24 would be great) no sbds of these two shows which would be great for subscription sales. These two shows have a lot of the same songs in the first set to me these songs are played better on the 24th so no need for the two full show's to be released.

Happy Thanksgiving!

I always wondered why (with two exceptions), the rest of this mini tour went unreleased. The same could be said with the same time of the year 1973.

I feel some of these shows are already queued or at least in the running.

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Submitted by daverock on Sat, 11/26/2022 - 04:20

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My normal practice these days is to play new releases once, and then put them on the shelf to be rediscovered at a later date. But that has gone out of the window with this release . I keep getting drawn back to it. This must mean that it is my favourite release of the last 5 years or so.

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Submitted by 1stshow70878 on Wed, 11/30/2022 - 07:13

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The Family Dog at the Great Highway, S.F., CA.
2-27-1970
2-28-1970
3-01-1970
Hmm... just thinkin'. Mini-box?
Cheers

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Submitted by 1stshow70878 on Wed, 11/30/2022 - 07:14

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Dbl. post.
But since I'm here,
30 days was fun this year.
Cheers

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Submitted by JimInMD on Wed, 11/30/2022 - 10:10

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We know Bear was able to and did tape shows in California for much of 1970. Prior to trial & sentencing etc., California was fair game.

Dave has played a few segments from the Fall 1979 tour lately in Today in GD History yesterday being 11/29/79 Cleveland Public Hall. He was hyping up the performances and recordings from this tour, commenting something to the effect that there were several of these shows considered for release, spelling out Pittsburgh in addition to the Cape Cod show included in 30 trips. He added there are a few in this tour that are releasable, and he wouldn't be surprised to see some of these get selected perhaps sooner rather than later.

All this seems in line with subscription picks in recent years. Life is good.

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Submitted by JimInMD on Mon, 01/16/2023 - 23:41

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Blooming Awful

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Submitted by jonathan918@GD on Sat, 04/01/2023 - 07:11

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When first released I only listened once or twice (life was busy at the time) However, I have spent some quality time with 43 the last couple of days. It's funny how sometimes you play a pick that's been on the shelf awhile only to realize, holy smokes, this baby is a keeper!!

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