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    Who's ready to boogie with a little Brent-era Grateful Dead from the Gateway to the West? DAVE'S PICKS VOLUME 47 features the complete unreleased show from Kiel Auditorium, St. Louis, MO, 12/9/79 and you're going to need stamina because this one is high energy from start to finish.


    By the time December 1979 rolled around, Brent Mydland had fully cemented his place in the Grateful Dead canon with his twinkling keys, harmonic tenor, and songwriting skills. No more is that evident than at this show boasting 25 songs including soon-to-be classics from GO TO HEAVEN like "Alabama Getaway," "Don't Ease Me In," "Lost Sailor," and the Brent-penned "Easy To Love You." It's also packed with whirling takes on fan-favorites like "Brown-Eyed Women," "Shakedown Street," and "Terrapin Station." And you've never heard a 2nd set quite like this with eight songs before "Drums" including an improvised "Jam" launching from the end of "Saint Of Circumstance." It doesn't stop there though, with a blazing finale of "Bertha>Good Lovin'" and perhaps one of the best versions of "Don't Ease Me In" the band ever did play. We've rounded out Disc Three with an extra nugget from '79.


    Limited to 25,000 numbered copies, this release was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

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  • JimInMD
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    Re:

    I'm with Oro on the snow, no bueno.. it's a terrible drug that ruined many a life of the people I grew up with. It seemed my high school friends that didn't go to college all got 'high paying' jobs (for our age) in contruction, landscaping, cable companies, UPS, whatever.. and all started doing blow... and all experienced serious problems. Going to school, we couldn't afford it that much. A friend in 87 or so turned me on to the idea that the stuff was no good.. stay away.. Danger Will Robinson. And pretty quickly I heeded his advice.

    As to Chucks comments.. well said. I saw a few shows where I walked away wondering what could have been or what happened. One was that last show at RFK in 86. Well.. they got much better after that, then they got worse but still had their moments.

    In the end we got what we got.. if I have one regret it's that I wish I would have gone to a few more shows. In hindsight, I probably went to as many as I could afford. A very positive experience on my life, I am grateful for that.. and grateful that I got to meet many of you here, and for those I have not met yet.. I at least get to read about your excellent stories, views on life and takes on music and all good things.

    Oh, I really liked that interview with Whiz on recording Europe 72 and the most excellent 5/26/72, which they played on SiriusXM last night at 9. Serendipitous it comes up on these threads today. I will listen to it in its entirety very soon...

    Be well people.. rock on. or as Mr. Burns said after his first dead show:
    Excellent!

  • Gary Farseer
    Joined:
    Wiz

    My memory fails as to his direct relationship. He was a technical type within the Organization. Now where placed I am not sure. Under Bear directly, maybe under Betty. In the documentary, he talks about the very last show of E72 and maybe some other things. He was the last tech in the recording truck, that is, recording switching tapes etc. This last show was pulling him in, blowing his mind. When Morning Dew came, he left and locked up the recording truck and went to go watch. He gives a deeply passionate discussion of that Morning Dew, that it was so incredibly emotive. That Jerry was crying, he began crying and was absolutely blown away with that version. He never went back to the truck and felt fortunate the remaining tape was able to record the whole show. That is my understanding, and from memory 4-5 years old, and my memory is not that great. May have to go back and watch Long Strange Trip, think it is still on Amazon. Might need to re-listen to that show as I became overwhelmed by the last years offerings and didn't make it through the whole E72 box this year. But can renew the listen as I am still digesting HCS and #47, and a lot of other stuff also. I also went thru the From the Vault 1-2.

    Here is a direct write up over at rick turner. Anyone want reference website, DM me or look up Grateful Dead's Wiz.

    May 12, 2020
    Dennis “Wiz” Leonard’s Notes on Europe ’72

    Here are my old friend, Dennis “Wiz” Leonard’s tech notes on the recording of the Grateful Dead’s great live album, “Europe ’72”. Most of my blog is my own writing, but I asked Wiz if I could share this, and he graciously said, “yes”. This is the clearest explanation of how Alembic did live recordings that I’ve ever seen. Wiz now works at Skywalker Sound…he went way big league!

    Dennis Wiz Leonard Europe ’72 Technical Liner Notes By Dennis Leonard
    “Less is more!” This was the motto of Alembic and many of the sound artists in the S.F. Bay Area’s growing community of folks trying to advance the state of the art in both “live” and “recorded” sound for rock ’n’ roll. One can hardly mention this philosophy to recording without touching on the Alembic PA system and its unique qualities.
    The new paradigm for live sound: the Alembic PA. In 1964 The Beatles played at Shea Stadium using a circular array of Vox Grenadier Column speakers, a box quite similar to the Shure Vocal Master Column. This approach to sound for a stadium was doomed even if all the girls did not scream. Fast-forward to ’67-70 and things were not much better.
    The Alembic PA was the first really hi-fi approach to a live system. It had direct radiator low-frequency elements rather than horn-loaded boxes, which were the standard. It was an electronically crossed-over three-way system using McIntosh MC-75, MC-275, and MC-3500 vacuum-tube amplifiers and Ampex MX-10 vacuum-tube mixers as the front-of- house console. It eventually evolved into the famous Wall of Sound. This was a philosophic approach, brainchild of The Bear, put together by some of the most talented engineers in the Bay Area, and the same philosophy was applied to the task of recording bands.
    Alembic Recording did not have a truck to pull up to a venue. We had gear, and we often built a studio at the venue in a room somewhere backstage. Sometimes we would haul the gear to the gig in a rental truck, then unpack and build the studio for the gig in the truck, take it apart when we were done, and take it back home.
    Recording Europe ’72 was a monumental task, and we came up with a great solution to building a truck which we could fly airfreight to and from Europe. A video-production company was letting go of a pair of cargo containers built for them to ship a portable video-production remote unit by airfreight. This was perfect—when set back-to-back, these two rode in the top of a 747 airfreighter. Each container was built around a reinforced floor, the sides and top latched on and off.
    We moved all of the components of our Ampex MM1000 16-track into a video chassis that put all 16 sets of AG-440 electronics down below the transport which was then on a 45 degree angle. This was not only more robust, but it was also going to allow us to run 14-inch reels. This took place in an all-night marathon. When we started, Ron Wickersham was not sure all of the original cabling would work. We were lucky it did! At around 5 am, the new machine was rolling; no cables needed to be cut or spliced from the original wiring loom!

    Another obstacle was that the capstan speed in an MM1000 was derived from line frequency. Ours was a 60-Hz machine and we were going to 50-Hz land. Ron came up with a solution which would also solve another problem down the road: He built a precision 60-Hz crystal oscillator; we drove a McIntosh 275 vacuum-tube amplifier and picked off a tap on the output transformer, which would give us 120 volts with enough current to run the capstan motor at our precise 60 Hz/15ips, also now immune to line-frequency fluctuation. The other problem arose when we tried to get Ampex to give us their 207 tape on 14-inch reels. Ampex 207 had a thinner backing; instead of the traditional 30 minutes one got out of a 10.5-inch roll, 207 would give us 45 minutes, so a 14-inch reel was going to run 90 minutes—very desirable when recording a band with long sets, like the Dead. Ampex would not build the reels; we had to do those ourselves. Remember, we were running the recorder’s capstan on an oscillator, so for building the reels we hooked up a variable-frequency oscillator. We would ramp the machine up to 60ips to pack the tape. Each of the 14-inch reels had a splice in it. Ron and Sue Wickersham and I spent a few nights at Alembic having a 14-inch- reel-building party.
    The recording rig was quite simple: “less is more.” We recorded the Dead quite often, so a lot of what we did for Europe ’72 had been tested and proven.
    We built the rig at Alembic. One of the newly procured containers had the 16-track and an outboard equipment rack, the other . . . a custom built cabinet which was our tape library, and this cabinet also had our monitor console, Revox two-track, cassette machine, and Orban reverb units mounted on top of it. A carpenter met us at Heathrow airfreight in London. When the gear arrived, we took the sides and tops off of the two containers (which were left there in storage for the tour) and had them forklifted into our rental truck for the tour. The container floors were about ten inches high, so after the two were in the truck, the carpenter secured them and built us a filler floor so that the recording truck would not have a split- level floor.
    We wired the truck up and hung drapes and the 4310 JBL monitors, as well as many other things at the first show venue, Wembley Arena.
    The flow of the rig, starting inside the venue, consisted of the following:
    Two nine-pair snakes plugged into a custom Alembic split. AC from the stage ran to the truck with the two nine-pairs. Once inside the truck, the AC power was conditioned in an automatic, motor-driven variac made by General Radio. This was to, hopefully, prevent severe voltage fluctuation. The split plugged into the rack, which held a patch bay and minimal gear. We had a couple of Ampex MX-10 tube mixers and some limiters. The limiters, by the way, were used only on vocals for our monitor mix; we did not want to do anything to the vocals on the 16-track record master.

    One of the big “less is more” philosophic bits of Alembic magic was the use of transformers in the input section of the MM1000. Ampex offered modules which plugged into an octal socket on the back of each 440 record amplifier. We used these sockets for the transformers, which would allow us to take microphone level right into the tape recorder, totally passive—no electronic noise added and no record console electronics to fail.
    The MM1000 fed a very small, 16-track Alembic monitoring console built by Ron. Janet Furman was our technical engineer and not only fixed things, but also set up the 16-track to the custom equalization we were using with the thinner-backed Ampex 207 tape. We could monitor, solo, and build a two-track mix on this. We recorded to a Revox B77 and a Sony cassette machine, and we also had some pretty simple spring reverbs for our two-track mixes.
    Shows seemed to generally fit on two 14-inch reels and a ten-inch reel or two. Tape changes were quite interesting: We did not have a lot of room and had practiced this quite a bit, and it took three of us to do this at high speed. In an effort to not run out of tape during a performance, we had an indicator-light system of communication. Under Jerry’s monitor wedge there were three small lamps mounted on a piece of wood. The lights could be lit from the truck. A green, yellow, and red light: Green = we are rolling and in record; yellow = if you can wind it down and stop, we need to change tape; red (if, in fact, the band did stop for us) = changing tape, not in record.
    This, of course, did not fit in with the way the Grateful Dead worked. There were not going to be any rules. Early in the tour, I tried a “yellow,” asking for a possible wind-down of the jam so that we could change tape. Even though this had been an idea we had discussed Stateside, Jerry was having no part of it! As I switched on the yellow light, I looked at Garcia on our 13-inch B&W TV monitor. He looked up at the camera, knowing I was watching, and simply smiled and nodded no in a very friendly way. Don’t fuck with the music!
    We did some tape changes while the band was playing. We really did not want to interfere with the flow of the music.
    I was in the truck for the tour, parked in front of the Ampex 16-track. Since we had no record console in the path to tape, the 16-track itself was actually the only place to make any level adjustments, so with our custom MM1000, all 16 of the AG440 record amplifiers were clustered together in two stacks of eight, easy to keep an eye on. Betty Cantor did our live two-track mix in the truck; she was around eight feet away. The band really had no set lists in those days, so as the show went down, I would write one on each of the tape boxes. Bob Matthews was at front of house. We would chat on our intercom after songs, and he, Betty, and I would decide how many stars to give a song: Three stars meant it was a really good performance! The star system was used when we got back home in order to focus on candidates for the Europe ’72 album.
    Twenty-two shows in two months (57 days) is a vacation tour. The current tour-booking standard is to average 4.5 shows a week, and the Grateful Dead Europe ’72 tour was booked at around 2.5 shows per week. It does not get much better! Although it was an amazing time, with many days off, we took recording this tour very seriously and there was no relaxation on a show day at all.
    It was a high time for everyone. The music was just amazing and for me not seeing any of it except on a small B&W TV was OK. I did, however, get inside on the last night. Due to circumstance, I was alone in the truck. We had, only minutes before, put a fresh 14-inch reel up and had 1.5 hours before the next tape change. A microphone onstage needed attention and I had to go inside. I did this with a bit of trepidation; I really did not want to simply leave the truck, but no one else was available and the mic needed to be fixed. The band was in a spacey jam and was very unlikely to produce levels which would be a problem on tape.
    I locked the truck, went inside, and quickly fixed the bad mic, which was just a bit loose on its stand. As I went for the stairs to leave, the band dropped into “Morning Dew,” which has always been a favorite tune of mine. I decided to stay. Dynamically, the levels in the truck—which was now “running itself”—were going to be fine, and I had to stay! I parked myself behind Jerry’s rig for the song, a time I will absolutely never forget.
    Fast-forward to Alembic Studios, 60 Brady Street, San Francisco. The band is choosing the final songs for the album. I am walking down the hall towards the control room. Jerry bursts out, very animated as he catches me, “Hey, Wiz. Guess what? ‘Morning Dew’ from the Lyceum is for sure going on the album.” (Big smile from Jerry.) He says, very emphatically, “And no one was in the truck!” (Bigger smile.) The Grateful Dead’s music was built on taking chances, embracing the unknown, letting serendipity have its hand. So the fact that, while no one was in the truck, a true pearl was recorded was not unusual at all! It was just an affirmation that we were letting the muse guide us in an invisible and mysterious way.
    The tour was a truly magical time. It changed my life forever! If I were to be marooned on an island with only one piece of music I could ever listen to, “Morning Dew” from Europe ’72 would be it. Jerry’s solo says it all!

    Oh… One more anecdote, I got back to SF after a quick trip to Vermont to get my dog Zach… Got back to Alembic in time to meet the gear, we were now at 60 Brady street… Big M (Bob Matthews) grabs me and says, “Hey remember we had to fast wind some tapes off, so I want you to play the tour, the whole tour, so all the reels are playback packed at “Tails out” the control room is yours” So I said, “hey I’ll just live here till it’s done, ok?” Big smile from Big M… What a drag, I had to play the whole tour, update thoughts (Star System) on quality and I put another pair of 4310’s in the back of the control room and played the room miss through them… (Surround sound) sat and did a live mix for I am not sure how long, I would play and sleep, sleep and play… But it was pretty constant… Stop every show to clean the heads….. Then I moved up to Fairfax and really slept..
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  • Gary Farseer
    Joined:
    Sixtus

    I have been dabbling in Goose's pool this year. Definitely very enjoyable stuff!

  • Gary Farseer
    Joined:
    Wow

    In the mid 80's we a had massive gak parties. Some lasting several days and going thru massive amounts of cocaine. My last dalliance was summer 1986, sort of lines up with other events of 1986. I was born with a heart condition, thought I should stop as the heart palpitations might lead to an arrhythmia. Just before that, Crack started to come out. Remember being in a friend's friends house that had turned into a Crack lab. Man were they a factory. Started to change my views about Coke. Trying to put puzzle together on 86. Only time I smoked crack was in Manhattan, August 86. My brother and I had just left the Blue Note watching Dizzy Gillespie. We were already high on white lightning (name for blotter - and yes there is that deeper connection to Bear and The Human Be-In). We were walking the streets around 2am and we come across a cat hanging out on the front of a brownstone. He was smoking and we started talking. We ended up buying bag of pot from him. He also pulled out another joint and fired it up and then passed to us. After smoking it he told us it was laced with crack. There was only one other time that I was that high and that is the show I wrote yesterday saying I would write about it next year on anniversary of show. We were so incredibly high, that at 3am on a packed subway, New Yorkers were freaking out watching us. It was a ball. I have posted about that night a couple of times here with a lot more detail. So somewhere summer/fall 86 was my last ride. Not sure of timing, remember the party but not the time. Know it was shorty after NYC August 86, but then when was the crack house event...timing of Jerry getting sick. It is all a big blur now. But dang, that feeling of doing two quarter gram lines up each nostril was absolutely amazing. That is, a buddy of mine took a gram divided into four lines and each took two.

    Hmmm, I do remember an ear nose and throat doctor soaking my throat with cocaine before she sent a camera up my nose and down my throat. That was 2004, so I guess that counts too.

    Everything has its purpose but all things in moderation. Guess that is why I never crossed the line and became an addict to anything.

  • Sixtus_
    Joined:
    Goose at the Boston Pavilion

    ...headed to Goose the next two nights at the seaside pavilion in Boston; looks iffy with thunder expected for most of this afternoon/evening, but tomorrow looks good. Will be the start of their Fall tour here before they head to Europe in November for the first time. I've been on this ride for the past 18 months or so, and I have to admit it's been amazing so far with no limits in sight. Each show is literally the best show you've seen, until the next one. Where have we heard that one before?? They are on a true roll. For any who may be skeptical, this is a full-hearted prompt to go and dip that toe into the waters to see what its all about. A lot of stuff on The Tube with a U, and Bandcamp has all of their shows and albums to listen for free (it's all also on Nugs).

    Also saw that Phish announced their first festival in many years, holding a spot for next summer already.
    In Delaware of all places!
    Hey Garth, we're in Delaware....

    Be Well People!
    Sixtus

  • Gary Farseer
    Joined:
    Proudfoot

    check DM.

  • Oroborous
    Joined:
    Toot toot totsie

    No Bueno!

    It was around, luckily we were too poor for that. (It was expensive then)
    Occasionally, maybe for special occasions, or weddings or NYE etc, but fortunately only rarely.
    If you’ve never, don’t bother.

  • Oroborous
    Joined:
    Sheik

    My understanding is the Fillmore 71 tapes were chopped up to use for Skull Fuck and other things.
    Supposedly that’s why they did Ladies and Gentlemen: to use the best of what was available…

  • daverock
    Joined:
    When your day is done..

    Cocaine never appeared in my orbit when I was young, so I never took it either. I'm sure if it had appeared during my teens I would have had a dabble - I believed in living adventurously. I suppose I could have had a go later in life, but I never felt it was worth it, all things considered. I am not sure what the characteristics of a coke inspired jam would be.

    I would watch a biopic of Jerry if it was on the telly. But I would have very, very low expectations.

  • sheik yerbones
    Joined:
    multitracks recordings

    Recently listening to Three from the vault, St Louis 71, and Europe 72, I am just asking about the multitracks recordings if there is anything about Fillmore East 71 (a full show 27 or 29) or the final run at winterland in 74 (full show) - St louis is a good show but the sound is not as shining as the others. I return to the capitol 71 shows, they are so good, great shows as a quintet.

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3 years 8 months

Who's ready to boogie with a little Brent-era Grateful Dead from the Gateway to the West? DAVE'S PICKS VOLUME 47 features the complete unreleased show from Kiel Auditorium, St. Louis, MO, 12/9/79 and you're going to need stamina because this one is high energy from start to finish.


By the time December 1979 rolled around, Brent Mydland had fully cemented his place in the Grateful Dead canon with his twinkling keys, harmonic tenor, and songwriting skills. No more is that evident than at this show boasting 25 songs including soon-to-be classics from GO TO HEAVEN like "Alabama Getaway," "Don't Ease Me In," "Lost Sailor," and the Brent-penned "Easy To Love You." It's also packed with whirling takes on fan-favorites like "Brown-Eyed Women," "Shakedown Street," and "Terrapin Station." And you've never heard a 2nd set quite like this with eight songs before "Drums" including an improvised "Jam" launching from the end of "Saint Of Circumstance." It doesn't stop there though, with a blazing finale of "Bertha>Good Lovin'" and perhaps one of the best versions of "Don't Ease Me In" the band ever did play. We've rounded out Disc Three with an extra nugget from '79.


Limited to 25,000 numbered copies, this release was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

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9 years 4 months

In reply to by icecrmcnkd

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back at cha!

Thanks!

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9 years 4 months

In reply to by itsburnsy

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Never been there, but in looking at pictures (over many years), it seemed like the design was off. Looks like a hard time seeing from lawn. Makes sense, used to have a small lawn where you can see. Now expanded into bad design. Why not upgrade the shed part of the property so that the whole lawn can see?

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7 years
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My favorite show in '79 was in Indy on 2/03.........have a poster from the show that I put dibs on at a local headshop........10 years later, Mouse signed it for me at an art show that was touring along with the band. It's a blue/orange day-glo of the back of Terrapin Station, which is his design........tix, as stated on the poster, were $6.50/$7.50 DOS................dem good 'ol days!!

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17 years 6 months

In reply to by rasta5ziggy

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I hear what you guys are saying, and yeah, sight lines could be a challenge. Now, I’ve only been for the Dead 84 & 85, and maybe things are different now, but seeing the dead there/then was amazing! Camping for a couple daze around those grounds etc, sweetness, and one of the best parties we ever went to!
We always went to lower lawn, not too close so we could catch PA, but we could see ok. But it wasn’t much about seeing back then, and man, what a dance party out on that lawn in the pouring rain! You really did have to be there!
No, it’s not the rocks, or the Gorge, or the Frost or Greek, but it will always be one of my favorite venues just because of the setting/place and vibe. And the band went as nuts as we did, and always kicked ass!

Fun Toga story: in 84 we went a day early and they let us park/hang in the main lot area. (We had some fun jams with some dude playing Tull on Flute!) By next morning, overwhelming insanity.
So, after lighting up like NY all night, my Bud (ole BOO469) and I decide we need to rest up a little for the show, and yet another all night high wattage affair. So we grab our sleeping bags and venture into the park itself, find a nice quiet picnic shelter, and proceed to get comfy on the picnic tables.
Well shortly thereafter, park ranger comes round “no camping in the park”!
Well old Boo gives em the “what if we’re not camping” which kinda throws the guy. Boo continues “yeah, what if we’re just having a picnic” Rangers like, picnics ok, no camping, so Boo goes “well what if while we’re having our picnic, we decide we want to lay down for a few minutes and digest our big meal etc” Rangers like, picnics ok, no camping. So of course we adamantly tell him we are most certainly having a picnic in spite of any evidence to the contrary and he goes away, and we both got the most necessary rest needed, on our picnic ; )
The rest is history! Pheeeew, summer 85 baby!

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16 years 2 months
Permalink

Got my shipping notice at 4:AM today. Left the UPS facility around 5:AM CA time. Says it’ll be here Tuesday, which is my day off! We’ll see…

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Member for

4 years 4 months

In reply to by Gary Farseer

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Fate made it possible for me to attend Phil Lesh and Friends in 2006 at SPAC.

Glad I went even though the show itself was...kind of...not...amazing.

The venue itself was like people are describing.

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4 years 4 months

In reply to by proudfoot

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A raise of the glass

Another one bites the dust

Wow

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9 years 3 months

In reply to by proudfoot

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That's a great story, Oro! Boo quick on his feet, so to speak, just like ole Neal.

Hard to believe a venue would sell seats on the lawn without a view of the stage but that sounds like corporate America for ya.

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9 years 2 months

In reply to by Gary Farseer

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Have seen photos and possibly even Dead & Co video, but those don’t show you the bad view lines.

I’ve bought obstructed view seats in the past.

6-22-91 I bought a ticket at the box office the day of the show and the ‘obstructed view’ was obstruction by the soundboard. The tix they were selling at the box office were seats in the tapers section. So we actually scored floor seats, but had to stand in the aisle to the side of the soundboard to see the stage.

Pink Floyd 94 saw them on the floor of the Silverdome. The next day I bought an obstructed view ticket for that night and used my stub from the night before to get on the floor. Went by myself because I had to see them again, and it was the right decision. The show I saw had the same set list as the show on Pulse, set 2 complete DSOTM.

For GD in basketball stadiums I’ve had side/behind stage tix from mail order. Was fine with me, I was inside and those areas were less crowded. There were also speakers pointed in that direction.

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17 years 5 months

In reply to by proudfoot

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....I fear the fear of the cause. Her son committed suicide in '21.
I hope I'm wrong, but my senses say otherwise. Stupid senses.
She was a year older than me.

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3 years 5 months
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Hell what about the shipping notice for the 8LP here comes sunshine release? This operation is pathetic. Phish and Garcia family provisions know what they are doing this crew is a ridiculous disaster.

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13 years 2 months
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Already up at Amazon. Also announced on the latest GOGD podcast about Watkins Glen. The cd version includes two discs, with two demos at the end of disc one ("Eyes of the World" and "Here Comes Sunshine") and a selection from the surviving reels of the 11/1/73 show in Evanston on disc two (WRS; Morning Dew > Playing in the Band > Uncle John's Band > Playing in the Band; Mississippi Half-Step).

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12 years 1 month

In reply to by onthebussince77

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Candace Brightman? :-)

Wake was hidden on the dead site, I would have expected under "Music", "new releases". But nooooo, it's under "special collections".

It was free shipping from them, but the bastards dug deep into the wallet. An exclusive "blue" lp AND a picture disc version!!!! You're killing me!! Double cd collection seems nice. Apparently getting the meat of what's available for 11/1/73,,, my copy of 11/1 doesn't have Weather Report Suite,,, so nice.

PS - I've gotten a notice of shipping for 47,,, i think,,,, they're never really clear on "what's coming". Doubt the glass will come with it!

Also got quick response from Garcia people on whether or not vinyl and cd shipping together for garcialive 20. They made it sound like both are in one box.

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10 years 1 month

In reply to by JoeyMC

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He's the 5th member of Phish, running the most stunning moving light rig I've ever seen - it is groundbreakingly amazing, totally choreographed with everything that band does.

It's unmatched genius and has enhanced their shows with a True X Factor.

Sixtus

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17 years 6 months

In reply to by Sixtus_

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Interesting choice! Sorry HF, no WG…YET
I was hoping for a horn show, and/or think the bonus disc should have more songs off the album, BUT…
That being said, this is a hot set! We hit it this year on POTDWD, and though only the second set is currently available, it was a real doozey! And if only the second is in the vault, well I guess this is as good a way to get it out as any?
BUT…but, perhaps the most interesting factor is that it’s another 50th bonus that’s only one disc…
Guess only the big dogs (AB & WMD) will get full shows?
So, what’s that mean for Mars, especially since there’s a lot of carcasses from 74 to pick at.
And Blues then will only be 3/23/75 instead of 6/17//75, which means 6/17//75 when? Perhaps another 30 trips for 60th anniversary in gulp, just two years!
Yeah, kinda a bummer, silly me, I had been going through and trying to figure out what shows would have made the best bonus picks partly based on most songs off the corresponding album lol. Oh well, it was fun and who knows, maybe we’ll get Gainsville for Go To Heaven ; )

Uncle Sixtus! How’s it? Good to see ya!

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17 years 6 months
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A lot of calls for a Gainesville release, which would be cool. An Anchorage box could be interesting as an Alaska Complete shows release. So many choices.

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15 years 3 months
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Take it to the Limit
Was he ever on of the reunion tours?

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15 years 3 months
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That would be a great mini-box, just like 10/9 & 10/10 82.
My guess for next DaP is 7-18/76, with its hard-to-beat set list.
Ideal 1976 choice would have been 10-15, but no tapes in the vault. One of the 2 best shows of the year, check it out on the Archive.

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3 years 1 month
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1968 Carousel Ballroom.

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7 years 7 months
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It was one of my most listened to tape back in the day. 11/6/77 broome was another one listened to at Davco farm in Southborough, Massachusetts keg parties in the 80's. Like anyone cares, but you could see Mt. Wachussett at the top of Davco hill. Sweet.

and raise ya a 9/26/76…

Love 7/18/76! Perhaps my favorite 76. But don’t want it released. Why not you rightly ask?
Because there’s only so many picks left and I already have such a good copy lol

47: starting its journey…I’m starting to get the anticipation “vibe”. Have listened to the shows around it and rehashed DaP 31 last week. Really not bad, just something…? Can’t explain?
Prolly just hung up on what should get released lol
Hell I even hit Bill Ricka last week

48: I’m guessing 9/26/91 or 10/31/91. He’s gotta do 91 sometime.
Though 6/22 could be wildcard…
There’s DATs right, so WTFN?

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10 years 3 months
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In yesterday's email.
UPS tracking says it left Fontana, CA at 4AM today.
Says expected Wednesday Aug. 2.
Glad UPS didn't have to strike. I hope they got what they needed.
Cheers

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I got my shipping notice for DaP 47 on 7/26. However I have no estimates as to when it will make its way to me. I am guessing I may get by Saturday of next week at the earliest. However sometimes I get surprised and things get here faster than expected.

I am looking forward to this one and it will be a nice change up from the HCS box. I am not complaining at all about those shows form that box, they are all awesome, but I like the variety. I still think 1979 is a under the radar year especially the early and late fall tours.

As for 48, Dave L said it going to be a really good one (I can't recall his exact words from his riverside chat), but I am curious. I feel like it is going to be a pre-hiatus based on Dave's excitement. Maybe we are getting the 7/28/73 show with the 7/27 soundcheck? I am not sure as we already are getting a healthy dose of 1973 this year. I know we all talk and speculate as to when the rest of the "big" and highly regarded shows will get released and 7/28/73 is certainly one of them. However I know that there is a lot of shows left in that category so it could be anything. I like the 1968 prospects, and of course 1970 has gems that are waiting to get out. Then there are more for 1972, 1973 and 1974. Everyone's opinions differ, but there is no shortage of long desired and overdue to be released shows.

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2/9/73

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17 years 5 months

In reply to by wissinomingdeadhead

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....hey! I know that show!
But another '73 show on top of the box and Wake 50th bonus disc?
It's gotta be 1970. It's gotta be!!

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3 years 5 months
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Really getting tired of Dave's picks shipping BS. Why is it so dam impossible to get these at the very least moving by release date? I have a shipping notice but the dam thing has gone nowhere. Getting old.

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14 years 1 month
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OK - I ordered 2023 Dave's Picks like I do every year. I was emailed a volume 47 ship confirmation but the tracking number I was given isn't found by USPS, UPS or FedEx. What gives? When I try to find more information on Dead.net I am told they are "migrating" their system (for about 5th time in 3 years) and they don't have past order history.

Like previous comments - WEA sucks. As much as I love the GD it might be time to stop ordering products from WEA because they can't do a darn thing right ... for such a big company.

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3 years 1 month
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My favorite 50th anniversary release so far is Aoxomoxoa. I really like that they released the original version and not the remixed version. I never cared for that remixed version, same for Anthem of the Sun, I never liked the remixed version compared to the original mix..

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9 years 2 months

In reply to by JoeyMC

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My UPS tracking says:
UPS Mail Innovations Expedited

So, mine has been expedited.
Sweet

I think that ‘expedited’ is why it didn’t sit in Fontana for 5 days before beginning to move.

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4 years 4 months

In reply to by icecrmcnkd

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Best album title ever

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16 years 2 months
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just got updated. It’s in the USPS’ hands and I should have it Monday. Not to jinx it though…

Yes, the original Aoxoxmoxoa is a great album. In the 70's, in England, you could ( or at least I could) only get the remixed version,which is nowhere near as good a sthe original. The remix always sounded de-psychedelicised to me.
The original mix of Anthem is better than the remixed version too - although the remix isn't too bad either in that case.

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17 years 5 months

In reply to by daverock

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....for St. Louis AND the Phish Lawn Boy vinyl.
Phish is streaming their MSG shows audio on LivePhish. $9.99/mo. Worth it.
They also have this NFL style overhead skycam on their video streams at The Garden this tour.
Fancy, fancy.
The OG AOXOMOXOA mix IS better. Agreed.

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14 years 1 month
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I will listen to it tonight then probably rip it tomorrow. It is in good physical condition.

I didn't get one either.
Order status doesn't say it has shipped! Same as in earlier shipments.
Poor service!
G.

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7 years 7 months

In reply to by gratefulgerd

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I wouldn’t worry about the shipping notice yet. I have received a number of Daves picks without one and sometimes the order status still shows that it hasn’t yet shipped after I received it. If another week or two and no CDs, ask for help. It only happened to me once, but there was one DaP that didn’t come after 5 weeks until I asked for help, and then I got it in a day or two.

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