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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 6 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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14 years
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Thanks for the reminder of the TAMI show. I had a VHS tape of it a long time ago, really enjoyed it. Just ordered the "collector's edition" from Amazon.

Dang might have to drop to take away fear of heights...

I couldnt go there if it has height and no hand rails.

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10 years 2 months

In reply to by icecrmcnkd

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One of the best things about the 50th Anniversary release of that David Bowie show from 1973 is that it is of the whole show. It includes the "Jean Genie" with Jeff Beck that has never officially been released before. I haven't bought this yet - but hopefully the picture will be a bit better than the dvd, which I thought was a bit grainy.
A good recent live concert on blu ray is "Meltdown" - King Crimson Live in Mexico a couple of years ago.

VGuy, the Chase Center in San Francisco is also very steep. We saw D&Co there for NYE and I was stunned at the height of the nosebleeds.

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17 years 4 months

In reply to by nitecat

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....the upper bowl at T-Mobile is also pretty steep. But after about ten minutes, I don't even notice.
The Miami Marlins can punch their ticket to the post-season today btw. October is a sports fans favorite month.
Plus, Halloween decorations are awesome.
Chase Center. Heard it's steep as hell with a three foot barrier apparently. A person at a Phish show there in 2021 jumped off it. A bunch of spun fans there witnessed it and decided to leave. Look it up.

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14 years

In reply to by proudfoot

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PFoot I am a big fan of SCTV. Recently bought most of their dvds. silly stuff, but really out there. John Candy.

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7 years 8 months
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When the world is running down, you make the best cup of stew around.
Police fans will know.
Loved the Dylan Farm Aid appearance! Mike and the lads were sublime in backing the Bard. He threw a few curveballs. Old ass Bob playing a lot of electric solos - the old bastard found his way around the fretboard and for a guitar player it was an absolute joy to see him get reacquainted with his instrument. I don't think he spent weeks shredding to prepare for this event. It was clumsy as fuck but so endearing. Like an elderly uncle who one cannot get enough of even if he does tell the same stories over and over and certain details change...

Bob is old. The Stones are old. Most of you are fucking old. I'm 54. I'll carry the torch for the Stones and Bob and U2 until the cows come home. Anyone see that U2 thing in Las Vegas at the Sphere? Jesus Christ. Christ himself may book a residency and Elvis and Frank Sinatra and the Stones and everyone else will - just watch. The Beatles were the guinea pig with "Love" and that didn't hold a candle although charming. Orb will be booked solid months in advance. This, my friends, is the future of the live concert experience.

It's not like artists of this caliber or genre are coming along again. It is what it is. Be glad you lived through the golden era of the finest rock musicians that have ever taken the stage.

And btw... what are the chances of a Jerry Garcia led Grateful Dead residency there?

\m/

....for the first time in twenty years.
2020 doesn't count. Shortened covid season.
Been a fan since 1993. Because I didn't have a favorite baseball team then. But I was a Dolphins fan.
Figured I'd get in from the ground floor.
Watching some more of Sphere videos. You want cameras and chompers? You got it. I get it though. Sign O' The Times.
There appears to not be a lighting truss.
At least for The Edge & Co.
The sound sounds good on cellphones though. I will reserve to pass judgment until I witness it firsthand.
It's only a matter of time. I will walk though. There's a secret parking lot less than a mile away that's free. I could use the exercise anyway.

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10 years
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The Jays just made the playoffs by their chinny chin chins.
We once saw a guy fall from the upper tier of the old Buffalo Aud at a Dead show. No idea how badly they were hurt. Help Is On The Way!
Eight more sleeps until puck drops, boys!
(Sorry DaveRock)

Very impressive. I think at first it will be a novelty. The vids from U2 were nice, but I don't need to see landscape shots while listening to music. This is gonna take someone with vision to show us what it can really do. Pink Floyd could do some wild stuff. The Dead could be awesome. If you could make a moving tie-dye that varies to the music that be way cool. A screen that big should have motion and NOT distract from the music.

The video for With or Without You was cool when it got the part of entering "the eye". The one for streets have no name, so so,,, very nice picture, but, a landscape?

What were tickets going for Vman?

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4 years 3 months

In reply to by That Mike

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Baseball....the perpetually cruelest mistress known to the sports world

Hockey....two statements: "Let's go Kraken" and "Oh no, not again"

Football....no hate on the Dolphins, but it would be wild if they got shut out today.

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7 years 3 months
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…and for what it’s worth (about 2 cents), I’ve been going to Orioles games since 1968, got ticket stubs to prove it. Go O’s!!
Got my first SERIOUS listen to WOTF bonus disc yesterday. Loved it, but I want to play it at least 8 more times!! I look at it as if it’s an appetizer. Sure , a meal would be great, but sometimes an appetizer is JUST right. Band & recording sound good!!
Let’s go Dead, Orioles, Ravens & Capitals, it’s Fall baby!!

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13 years 4 months

In reply to by Mr. Ones

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Looking forward to this one.

Mr. Ones, we cannot forget the Terrapins, my favorite mascot in all of sports - beware the turtle. A good year for MD all around. Was at the 7th game of the '71 World Series. Roberto Clemente and those damned Pirates; missed it by that much.

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11 years 4 months
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Went to The Sphere opening night. Phenomenal! Out of body experience with the the portal during with or without you. Get section 305 row 20. You have a wall behind you to get up and boogie without harshing anyone out. The sound is unmatched for any venue even upstairs. U2 did a fantastic show with amazing visuals. Going closing night too in December. A truly unmatched event. Took a taxi, but it was a pain getting one back to Mandalay Bay, but worth every second and every penny! Shout out to Raphael ushering that night. A really nice u2 fan who came out of retirement to apply and work in hopes to see these shows. A good story for a good guy and a real fan. Better than the Silicon Valley Posers in their special luxury level.

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17 years 4 months

In reply to by JimInMD

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Ummhhmmm, that’s what I’m takin about!
Can you Diggs it!!!
Go Bills!

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10 years 2 months

In reply to by That Mike

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ThatMike - hey, don't mind me- I'm just peeved cause I can't join in!

Sphere - is this recorded music played in a large venue with visuals projected on to a screen? If so, I'm not so sure it would appeal to me. I like random images on T.V. while I am listening to music - but I have never been too keen on images chosen by other people to go along with music. I was never too keen when they started imposing vaguely psychedelic images onto the screen during those films of Dead shows in the View From The Vault series. Light shows at gigs are another matter.

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17 years 4 months

In reply to by daverock

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....not worried.
There is this band called Goose playing tonight. Gonna see what all the hub-bub is about. Going in blind. I'll figure it out on the way.
Can you Diggs it. That's the fifth time I've heard that today.
KEMO was present and accounted for.
I do not doubt the sound. I search for it all the damn time. I saw that portal btw. Oh shit.
So many possibilities regarding what an artist/band can put up on that 360 degree screen. It's only just begun.

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16 years 6 months
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Someone mentioned the new British Blues collection here a while back can’t remember who. It came today quite nice. There could be a lot of why nots and how comes but I have most of them on old vinyl , The Anthology of BB from the late 60s is a favorite and plays great after 50+ years. Last century and beginning of this they released a lot of stuff on cd. Graham Bond Cyril Davies Tony McPhee JoAnn and Dave Kelly as well as the usual suspects TYA Animals. Anyway this 3cd set has a bunch I don’t have and a nice booklet. Good price and worth getting if you’re so inclined

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I just went to buy a coffee mug no PayPal? What’s up with that

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Jim, my Maryland brother, of COURSE I cannot forget U of MD. Over the last 50+ years, I have rooted for and enjoyed their men’s & women’s BB soccer & lacrosse teams. In addition to football, baseball & softball teams.
Got my 2nd listen of WOTF Disc 2 tonight (saving Disc 1 for tomorrow), and I’m liking it more than yesterday. Nothing negative to say. It’s a much welcomed snippet of ‘73 greatness.
I attended the 7th game of the 1979 World Series, which we ALSO lost to Pittsburgh, and I ALSO missed it by that much. Damn, only 1 series victory since then, but I’m feeling one this decade for sure, maybe this year, more likely ‘24 or ‘25.
Music is the Best!!
Sports isn’t too shabby either, especially if you love constant heartache!! 😭😱🤷🏼

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Experience vinyl (and others) are offering a 5 lp box of GRATEFUL DEAD - TRUCKIN UP TO BUFFALO: JULY 4 1989.

Looks like it originally came out in 2015,,,, but it's back again. Supposed to be limited and numbered.

Well see,,, coming in two weeks.

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1 year 2 months
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I think it would have to be; 26, Albuquerque - epic show - plus a disc with Pigpen.. 29: Swing - great, great 77 show with the possible greatest "Dew" of them all as bonus.. and (drumroll..) 37; William and Mary 78 - only "dew" of that year and some strong bonus - my farvorite Sugaree..

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having recently defected from the working world, I am beginning to appreciate the need to spend some time & space filling that void; I've spent many a year (lol decades) collecting "live dead", and appreciating the only band in American covering all american music genres: blues, country, disco, folk, jazz, ragtime, rap, rock...my friends always busted on me when I would tell them to listen to Pigpen's rap...so hey now, "the time is right" to join, and maybe share some interesting or laughable comments, remarks, or just utterances. Peace! PS always have enjoyed reading members "last 5"

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15 years 1 month
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I see 3/2/69 and Pure Jerry 8 are being vinylised for Black Friday release.

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6 years 11 months
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Not sure where else to put this, but I am looking forward to 30 Days of Dead almost more than Dave's 48. Let me smoke about it for a while, then I will decide. I've kept my records the past few years, and I usually average about 33%. I don't use enough of the available tools, but I just enjoy the ride.

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10 years 2 months

In reply to by Colin Gould

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Great news that 3/2/69 is coming out on vinyl.

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9 years 3 months

In reply to by rasta5ziggy

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Excellent catch on the when the world is running down...had to chase that rabbit.

I always thought (when I was a kid) that it was..."you make the best lover still around."

Dang now "Canary in a coal mine" in my head.

Havent listened to Zenyatta Mondatta in many years.

DR: when was the Police's first English Tour? 1976? or maybe 1977...

Sure the Cramps were full of piss and vinegar. We have something sort of similar: A Band Named Southern Culture on the Skids. They are touring east coast. I saw them several times in the most dive bar you can imagine. Basically a bar around here that I would say, reminds me of CBGB's. Fun as hell, nasty as sh!t.

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17 years 4 months

In reply to by Gary Farseer

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....the s comment make me laugh.
Goose? They are pretty good, but tend to noodle just a wee bit much. No offense Sixtus. The peaks, however, were very.....peaky and the bass player can drop some legit Bombs. I can appreciate that.
Was talking with a younger couple from SLC. Told them it was my first Goose show, however, I did manage to catch the Dead sixty times. Blew their minds. Older music fan telling tales. I felt like Galdalf. We talked until the start of the set. Hello Anthony & Jacqueline. Y'all cool as fuck.

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10 years 2 months

In reply to by Gary Farseer

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Gary - I think The Police formed towards the end of 1977. Curiously the three band members, together with Mike Howlett of Gong, played as Strontium 90, and supported Gong at their reunion gig May 1977. So I would think they chnged direction and renamed the band towards the end of '77.

The other day I was listening To Curved Air's excellent Live, from1974. Stewart Copeland was the drummer at this time, as well as being married to stunning vocalist, Sonja Christina. I don't know if Curved Air were well known in America - they were a prog band from the early 70's. A few great tracks-"Vivaldi-Everdance" from this live album is great.

Truth be told, I was more interested in The Cramps than The Police. I saw them in 1981 for the first time, and then about another 6 times after that. I remember the name of Southern Culture On The Skids, but never got round to checking them out. Maybe my job for this morning. It's great when you're retired !

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Hi Dave - first 6 songs from 3/10 - 87 were on VFTV 3.. when do we get the rest of that show.. ? BW

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12 years

In reply to by daverock

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AMEN!

Just a note - I have an extra copy of 3/1/69,,,, not so much for sale, but I trade for something good,,,,, Like 5/9/77 Buffalo!

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9 years

In reply to by Oroborous

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The remastered 50th Blu-ray looks and sounds great.
Haven’t listened to the CD’s yet.

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Elvis Costello-All This Useless Beauty
West Coast Pop Art Experimental Band-A Child’s Guide To Good And Evil
Grateful Dead-Wake Of The Flood-Disc 1 (see my enthusiastic review in WOTF thread)
Blind Melon-Nico (a fucking great album and artifact and loving tribute)
Miles Davis-Live Directions (boot of ‘71 Swiss concert)

And for the record, I also LOVE when y’all post your last 5’s-sometimes it gives me a direction to go in.

Music is the Best!!

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Last 5
Buddy & Julie Miller - In The Throes
Byrds - Byrd Parts Vol 1
Jesse Ed Davis - S/T
And some “live” music, because sometimes you gotta get your Ya Yas out:
Talking Heads - Stop Making Sense
Steve Miller Band - Live Breaking Ground 8-3-77
(Recorded in Landover, Mr Ones!)
On Deck: Wilco - Cousins
Reading random stuff about the El Mocambo nightclub, it’s history, past musicians who passed through in its history since it opened in the 1940s. U2, who recently wowed at the Sphere, played the El Mocambo in 1980 right after their first release - “Boy”. They were paid $500, and tickets were $3.50. I’ll bet tix at the Sphere were a touch more.

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17 years 4 months

In reply to by That Mike

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....are you sure about that Mr. Ones? I list a lot of metal.
Cheapest tix for U2 at the Sphere that I read about was $145 in a lottery. Average seems to be around $300.
Phillies are good. C'mon Marlins seeing as how the Dolphins came back down to earth after facing a legit defense.

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4 years 3 months

In reply to by Vguy72

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Rush 2112 side one (like, 4 times)

Black Sabbath Master of Reality (like, 6 times)

Black Sabbath Vol. 4

Motorhead Kiss of Death

David Bowie Diamond Dogs

I did Diamond Dogs at karaoke last month.

Rant

WHY DOES THE U.S. DO DATES 10/3/87 AND OTHER PARTS OF THE WORLD DO 3/10/87???

is it a metric thing or something? U.S. pride and smugness?

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10 years 9 months
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Pretty much since late afternoon on Saturday, all I've listened to is the first 6 discs of the Who's Next | Lifehouse box, mainly the 5th and 6th ones, the Olympic Sessions from May 1971 and the Singles and Sessions across 1970-72. I listened to the remastered album, then the two discs of Pete Townshend's amazing demos for Lifehouse songs. It is just astounding how fully realized his demos were. And the rare songs that were B sides, like Entwistle's When I Was a Boy, and even Daltrey's Here For More are as much a treat as legendary demos tracks like Mary and Greyhound Girl, but even ones I'd never heard of like There's A Fortune In Those Hills and Finally Over. The Olympic disc features a newly returned tape of Naked Eye with Nicky Hopkins and Pete on acoustic. Which reminds me, the acoustic driven songs and Keith Moon's thundering stampede throughout them is simply delightful. Entwistle's genius shines on his wonderful basslines, great horns arrangements and playing, and love the single tracked vocal versions of My Wife. Notably, the Record Plant Sessions of March 1971 have a lot of the chatter left, demonstrating the fraying relationship with Kit Lambert. After those sessions, he never actually produced the band again. There's also an April 1971 show at the London Vic, and December 1971 at San Francisco Civic Auditorium. The talk on the Steve Hoffman forums has me leery of diving into that. But I must say, the balance of the studio stuff and demos of the first 6 discs, I'm more pleased with the sound than their chatter on those led me to believe I would. But gonna approach the live recordings with open ears. Maybe their audiophile ears aren't as adaptable as mine, thanks to years of listening to the worst Duane Allman era ABB tapes (or Derek & the Dominos for that awful sounding Tampa recording), or even Who tapes (my dad's first in Charlotte November 1971 on this tour), so it sounds good to me. Moon sounds great, as does Entwistle. So, I'm loving it thus far.

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I'm so jealous you saw that. That must've been one of Entwistle's last performances. I have the dvd of the Mike Gordon film Rising Low about that album project and bass legend tribute to Allen Woody. Great stuff. Think there were deleted scenes that made it much better, could only interview that many bass players for so long in the movie. Not a huge Mule fan, but Warren is a great guy, and he's really been a bridge to different worlds of music for a long time, that project brought together guys nobody would ever think of playing together. Unbelievable that you got to see the culmination of all of that! Lucky dog!

GD didnt play Scarlet Fire in 76.

I also see how you put 76 at the front of the date. You clever....

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17 years 4 months

In reply to by proudfoot

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....habits man. Took out the political rant as well Butthead. Huh, huh, huh. Edited.
I'll shake your hand one day dude. We're in the same time zone ya dingus!

Here's my last 5

World Music - Goat

Real Men's Guts vs. The Smell of Female live 2/26/83 - The Cramps

Classic Early Recordings 1948-1951 - John Lee Hooker

Rubbles Vol. 18 Rainbow Thyme Wynders - Various

The Future Never Waits - Hawkwind

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9 years

In reply to by daverock

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The correct way to write dates is year-month-day.
1987-10-03.
That way a computer will keep the list of all the shows on your hard drive in chronological order.

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DaveRock- I saw AllMusic has a review for a newly released box set by Hawkwind, called “Space Ritual (50th Anniversary Edition)”. Per the write up: This massive 11-disc package offers exhaustive evidence of the band's early period, showcasing remastered sound and many bonus concerts.
I personally don’t know their music, had a Prog-loving buddy in high school all those years ago that liked them. Enjoy!

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