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.

9/21/82 Playin>Crazy Fingers, West LA, Tivoli film

I'm slowly making my way through this box, savoring the special moments. On 9/21/82 I've played the opening Playin>Crazy Fingers three times, love the playin jam and the CF jams. Brent has some sweet playing during the CF jams.

Anyone notice that West LA has another verse that I've never heard before? It's the last new verse before repeating the 'chateau' verse, and has some lyrics about the Golden Rule.

Tomorrow is your last chance to see the MUATM Tivoli film. I highly recommend going to see it.

Nitecat

“If you treat other people right, other people will probably treat you cool.”

Yes, that line is in the WLA Fadeaways in the early 80’s. Don’t when or why it was dropped.

West LA

It's a cool line that I wholeheartedly agree with, but it doesn't come off the tongue as smoothly as it could. The lyrical equivalent of bad feng shui. I can see why it got dropped.

Still, a cool line.. you could probably write an entirely new song about just that one concept and it would be fine.

that line

... maybe it's hard to beat -

My motto, As I live and learn, is: Dig And Be Dug In Return.

I’m going from memory here on WLA

“Here’s what Ginger says, she ain’t nobody’s fool,
Here’s what Ginger says, always plays by the Golden Rule,
You treat other people right, other people will probably treat you cool”

Edit:
I always liked WLA Fadeaway.

West LA alternate lyrics

Interestingly there are various versions, probably fostered by not being able to get em all in lol.

In Hunters lyric book Box of Rain the extra verse is:

Here’s what Ginger says,
she walks right, she ain’t nobodies fool
Hers what Ginger says,
She always tries to play by the golden rule,
She says if you treat other people right,
other folks probably treat you right too

In the 50th addition of David Dodds The Complete Annotated GD Lyrics in the notes for the song, the verse is:

Here’s what Ginger says, she talks like she ain’t nobodies fool
Here’s what Ginger says, she try’s to live by the golden rule
She says you treat people all right
other people will probably treat you cool

And I think I’ve heard JG try others too, which as I say, none seem like they’d be easy to sing!
Per usual, in the end the final version without that verse was probably best?
Always really liked West L.A.

Gotta Admit

Although I loathed the song at the time, I have grown to forgive Mr. Garcia and Mr. Hunter for Day Job. I have a whole new understanding of the song, it's meaning and the lyrics.. plus it's a bouncy fun groove song, not to dissimilar to tunes like Don't ease Me In. In hindsight I think it's more about shouldering the burden of the responsibilities we have accumulated while we figure out a way to proceed in some sort of graceful fashion. I no longer think it has anything to do with settling for that office job you never wanted.

Sort of like a hybrid of the song The Weight and Sugar Magnolia or something.

Still enjoying this box. I have a newfound respect for the 82 and 83 shows but 81 is still my happy place here. I think I'm moving on from it for a while.

Day Job

At first I loved it: fun lyrics, and that bouncy beat, like you say Jim, has that Doe Knees vibe.
Used to play it in my first band.
Then after awhile it got a little old, perhaps over played, then it went away and was sorta forgotten.
But with its resurgence via this box, I’ve grown found of it again!

Good bless the child who has his own stash, 9 to 5 and a place to crash lol.
I think part of what makes it so fun is that it’s so UN Jerry like.
Yep, back when we were trying to be musicians it was always in the back of your head, like a cautionary tale.
Have enjoyed the box the little I’ve been able to spend with it, especially been digging the early/alternative versions and these ole era specific chestnuts! I wouldn’t say these shows are best of year, for any of the 3 years, but it’s a nice sample and fun idea and what the hey more normanized Dead is always good!

Yes, yes, yes

More Normanized Dead is always good!
And when Plangentized too, even better.

Keep your day job,
Until the Powerball pays……

Unfortunately I wasn’t able to get a ticket that day, the lottery machine at the beer store I stopped at had run out of paper for printing the tickets because they had been printing so many.

My Day Job...

... right now is 30 Days of Dead.
At least 63 choices for today's Bucket>Sugaree.
And I think I looked at half of them on the archive!
Yesterday I picked the right one first thing then changed it. Doh!
I've always kinda liked Day Job. It does have that fun pace.
Cheers

Day job

Mine seems to be currently tilting at windmills aka fighting greedy ins companies!
I’d rather be at work, yeesshhkkk

Dude...

Hope that night job starts to pay.

12-31-80

Have not watched this on the ytube yet.
Any good? Anyone who attended?
Some NYEve shows can be overhyped a bit.
But after Radio City, Warfield, that 1 acoustic, 2 & 3 electric looks good.
Cheers

Grammys

I see the box set has got a Grammy nomination for something like best limited edition boxset.

Molly Tuttle got two nominations Best Bluegrass album for ‘Crooked Tree’ and Best Newcomer. I wonder how they decide who is a newcomer? She’s around 29 and recorded her first cd with her dad when she was about 13. IMO ‘Crooked Tree’ is a fantastic album.

Grammys

If E72 didn't win, I have no faith whatsoever in their little grammy efforts. Screw the friggin gram-ys the 1972 Steamer Truck deserves the Ounce-y award.

These people need some help.... sometimes I lose faith in humanity.

30 days

You got me to engage in it again, first time for a while.. but with To Lay Me Down.. from an era I immediately recognized, I had to give it a swing.

What is the prize again, a master reel of your choice from the Vault?

Edit: 30 Days is rigged. I guessed every entry correct and did not win. Another reason to storm the vault.

Useless Parcel Service

Agh , anyone else in the UK still missing their box ? Every time I call them I get please contact the sender as it’s currently showing as abandoned The import tax was paid months ago and it’s somewhere near London . Help . Sadly contacting rhino is no easier

Perithecat: check the alternate tracking number

If the UPS tracking indicates "On the way", click on VIEW DETAILS and find the alternate tracking number. You can then enter that number at the US Postal Service website (USPS.com). I've found their international tracking to be very reliable.

Hey MaryE

I don't know what is going on but I log in, I go to the Dave's 44 page, says I am not logged in, can not post on that page, Why? would love to join the conversation, but Deadnet won't let me. This has happened before and it resolved itself, now, it doesn't seem to want to. I am logged in on other pages, just not Dave's 44 page. Bummer

Well that's weird.

Thanks for the heads up.

Thanks

Mary what ever you did or didn't do worked so Thank you for that. Don't know what we would do without you to help us. Love ya.

PT blues

I've had that exact thing happen a few times over the years. Kind of frustrating but it usually goes away in a few hours, at most a day.
Cheers and thanks Marye for watching over us.

10/12/83

Wow. I'm a little late to this party, it's taken me a while to work my way through this box. I just listened to the first set of 10/12/83 and Jerry's on fire from the beginning of CRS. The mix is excellent, I can hear all players. I've made it through HSF of second set, I'm very impressed, in fact this show seems the most impressive of the box at this moment.

Speed correction

Exactly what parts are speed corrected on the MSG box set

Looks like rain

I hear the same noise on the audience recording too , I think it’s not a burn error but it actually happened over the PA live. Check out some other sources

Looks like rain

I hear the same noise on the audience recording too , I think it’s not a burn error but it actually happened over the PA live. Check out some other sources

MSG box

Love this set. All 6 shows rock.

I was away from "home" at…

I was away from "home" at the end of the year when this was delivered and am just now about to settle in an enjoy this set. I concur with others that the 'teaser' artwork did not do justice to the actual box but then maybe lowering expectations -> happier customers?

Probably a dumb question, but is there any way to know what *number* my box is without opening it? Reason I ask is that I sometimes get two of certain limited-run items and keep one sealed, as in this case. I like to open and use the one that is numbered lower.

Grammy Winner

This box has won a Grammy for the package design!
I notice that Molly Tuttle and Golden Highway won the best bluegrass album award for Crooked Tree

The only Grammy that matters

Now, time for a 4-foot black light poster of the album art.
Make it happen Dave/Rhino.

Molly Tuttle is the real deal

One of the best shows I saw last year was Molly and her band.

Her picking is extraordinary!

They ripped it up.

"Teachers open the door, you must enter by yourself."

It's not possible to see the…

It's not possible to see the box number without opening the shrink wrap. I originally had a hard time even finding the number once I opened the shrink wrap. Someone on this site guided me to the right place.

Hey You Fence Sitters

Get this box, you won't be disappointed at all. But it is on cassette, so, the line arrays make up a lot from the excellent sound-staging bear got from placing the mics individually on stage. Man it cranks awesome. I am going back for thirds soon!

Get It!

MSG Box Set

Hey Farseer, I agree, this box is one of
my favorites. Cassette masters with Plangent is a game changer. Sound quality is an A+. Just love these early versions of West LA Fadeaway, Touch of Gray, what was it called on tapes back then? Do you remember? Throwing Stones. Just a great rich full sound. Love it!

Bring on some more eighties, cassette masters are welcomed.

Can't wait to find out what Dave has in store for 2023?

Be well.

Help!

I'm like Abraham and Isaac again 'sitting on a fence' ... can anyone tell me how this one a grammy for package design and the 1st 1990 spring box set did not??
the one-eyed bears kind of freak me out honestly...
So .. the real question here is: How much better can this sound than the C Miller transfers on archive????
I want this for the collection, but i am hurting financially w/ this insane inflation...
if it isn't much of an improvement over what's out there ... I'll just go walking all morning, walking all night... day to day ... just letting it ride

Vikes and West

West: I would let this slide a while longer. We might be in for some very tumultuous times ahead, si I would keep my powder (money) dry to see how things pan out. It is a great box, but I have not heard the Miller transfers. I would imagine with official GD production it may be a 15% upgrade. It does have an impressive stereo sound stage but think more impressive sound staging will be forth coming as they move deeper into the 80's but who knows. I hope to write a little more on this box this weekend, as MSG has a huge influence on my life, but probably not as one would think.

Vikes, man I can't remember the early tapes labels. I would image, at first, it was called "We Will Survive."

Wow, the way out weather...Hope all in southern cali are getting better. It has been colder there than where I live, and that is upside down.

August West

The cassettes were Plangentized and sound better than the Millers.
But if money is tight you should stick with the Millers. You may need that money for this year’s Box.

thanks@!!

I'm gonna hold out and see what the big box brings (some think a 70 fillmore box may be in the works???...) listening to the Miller transfers again ... starting from 3/9/81 and that RIDER is hot! I can't imagine it sounding any better... but maybe the Norman treatment opens it up a bit. I'm up to 3/9 China rider... man ... that 'North Bound train' ... Jerry is really feeling it!!! GOOSEBGUMPS ... march Winds are blowing as I type this.
Here's an idea for Rhino: Offer this box as individual shows (not just 3/9/81) so us 'poors' can pick a few of our favorite shows w/o dropping $179

I gave 3/9 a spin last week…

I gave 3/9 a spin last week and yesterday, 3/10, so I thought I'd stop back in to see what other people are saying about the box six months out. Glad to hear others enjoy it as much as I do! Part of GD history that's been in need of more releases. Maybe time for a 1980 or two and then some '89?

Regarding the sound, Norman was able to create a lot more depth from what I recall on archive, which gives the recordings a sharp spontaneity. Like your listening live. But I will say that I have to adjust some settings on my system to make these shows really come to life. But typical for anything that's not multitrack. For example, with the late 70s Betty's, I have to turn off the surround sound simulation and go for an enhanced stereo, to keep it from being overly saturated with drums n bass. But with this release, the opposite. Enhanced stereo sounds disconnected while the neo-surround pulls it all together into a convincing stage presence. Dialing it in all part of the fun!

Second Listen

Kinda slow here in the box talk. I really liked the 83 shows, terrific mix. I decided to go back and give the 81 and 82 shows a second listen, thinking I might have been to harsh in my earlier review. Just finished 3/9/81 and very favorably impressed-had me dancing around the kitchen. On to 3/10, first set, a fine set also.

Nitecat, Five branch

Yes, I agree, love this box and the variety it gives us. But, you are correct, not much action on this thread. I can still see my comments on the same page from February.
Would love to see a 1980 Box. Not sure they will do it this year. I think Dave will be headed back to the 70's.....

There has been a lot of 89 released, but there is a lot left. Alpine, Cal Expo, Greek T. etc. Would love to see it.

Box set reviews

I like the positive box set reviews, I'm leaning towards buying it. I saw some fantastic Dead shows during these years

Other Box Ideas

Okay, so how about 10/31, 11/1/, 11/2/1979 Nassau, 11/4/79 Providence, 11/5 and 11/6/79 from the Spectrum?

Yes, I know there has been portions of these shows released as RT 1.1 and the spectrum shows as downloads, but I don't know if there is a better run in 79. I would be extremely pumped for a 79 box.

For 1980, how about the December Oakland run from 12/26-12/31, with the last night acoustic set? 5 shows.
Billy and Nitecat, you guys were at these shows, right? I think this would be a great box.
What do you think?

Deadvikes 1980 box set

I think the 1980 Oakland Dec run would make a great box set. I don't remember alot about it, like they say if you remember it you probably weren't there. I think they should have released the Dec. 1979 run as a box set, 2 of those shows have been released. People were dancing so hard during Trucking on 12/30/79 the floor broke. When they patched it they put a sign that said dedicated to Trucking 12/30/79. I wish they would release 12/28/83, one of my all-time favorite Dead shows I attended, check it out, its on You Tube and the Archive.

Billy 1979 and 1983

Billy, yes, I agree the 79 Oakland run is hot as well. Maybe they release the other shows at some point.

I will have to find that 12/83 show on the boob tube.
12/30/83 was my first tape in 1985. That Shakedown Street changed my life. I just don't know how much back then.

Does the package include…

Does the package include individual slipcases (the same size as a jewel box or digipak) that allow the discs to be put an a shelf with the rest of a cd collection?

MarkontheMoon

Yes, they do. I keep them in the box, however, the construction is more robust than the E72 Box or the 30 Trips Box slip cases. They are not digipak cases like the Spring 90 or PNW box sets.

The box is highly recommended.

3/10/81

The second set is pretty hot. Scarlet>Fire, Sailor Saint are really strong. I'm enjoying my second listen.

Hey Now Hey Now!So I have…

Hey Now Hey Now!

So I have made it to 9/20/82 on archive and all the sources have weird stuff going on in the beginning of shakedown (can hear mostly Brent and then volume levels get tweaked, etc....) so was that fixed/corrected for the box set or maybe was not an issue on the source tapes?
the 81 shows were stellar C Miller transfers, but the '82 on archive so far leaves something to be desired which is leading me to want to get this box before it sells out....

btw - How in the hell is the new 2 show dave's still in stock? I have never seen a dave's sit for more than a day or two.

toodeloo...

MSG 82

That Shakedown>Minglewood right out of the gate of the first set is pretty hot. I'm really enjoying this box!

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