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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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12 years 10 months
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1989

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4 years 3 months

In reply to by wissinomingdeadhead

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:)))))))))))))))))))))))))))
:)))))))))))))))))))))))))))
:)))))))))))))))))))))))))))

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4 years 3 months

In reply to by proudfoot

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What would yo mama think
Pretty Peggy-O

Acid Mothers Temple

"Pink Lady Lemonade"

I discovered this walking Green Lake yesterday after a snack

Veeeeerrry nice

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Did I beat BTK to the punch with this one?
Two great shows I was lucky to attend. 76 was just exactly perfect. 1982 is the last year I really enjoyed, just couldn't take Jerry's voice, health and appearance going downhill after that.

Last 5(all vinyl):
Caravan: For Girls who Grow Plump in the Night
Misfits: 12 Hits From Hell
Jefferson Airplane: 9-30-66 boot
GD: 10/9/76
Motown Chartbusters Vol 4

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10 years 2 months
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Good choice Cousin! I forgot that had been issued. RGM?
10-9-76 set 2 with a 10 song jam. And what a jam.
Cheers

It is indeed possible (and quite quick 'n easy) to download the JotW @ForensicDocEleven

However, I cannot seem to post instructions, nor even DM it to you; I tried my level best, removed all l1nks etc but it just kept saying that the site won't allow embeds or lnks and it even flagged me when I tried to send you my emial addr (misspellings deliberate). UPDATE: I finally got a DM sent w/ my contact info

Oro - what a great tape to get practicing on! I love to hear how 12/5/71 has stirred people, their hearts and minds or their souls or their ears or their hands. Or all of it. There's just some powerful magic radiating from that night's efforts. God Bless the Good ol' Grateful Dead

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2 years 11 months
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41 years ago today I was up at the Frost to see the Dead put on a fantastic show. This was the first time the Dead played at the Frost and it might have been my favorite. This one is a must release, if they ever release any shows from the Frost.

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16 years 4 months
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Mornin', rockers!!!

I was able to capture that 1/21/71, anybody who needs/wants, you know where to find me.............

Do not underestimate the determination of a quiet man................

Rock on!!!

Doc
Determination becomes obsession and then it becomes all that matters...............

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1 year 1 month
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10.22.83: Carrier Dome

Chet Atkins: Almost Alone

11.23.73: El Paso

Howlin' Wolf: The London Sessions

10.23.73: Bloomington, MN

...leave nothing but footprints; yet in a digital world, one man gathers what another man spills...

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1 year 1 month
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10.22.83: Carrier Dome

Chet Atkins: Almost Alone

11.23.73: El Paso

Howlin' Wolf: The London Sessions

10.23.73: Bloomington, MN

...leave nothing but footprints; yet in a digital world, one man gathers what another man spills...

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8 years 7 months
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Per Reddit, Dave's Picks 48 is 11/20/71.

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4 years 3 months

In reply to by viewtiful_alan

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I'll withhold judgement until I hear it in full processed form.

I listened to 11/17/71 over the past few days...it was OK, but no wood.

I hope 11/20/71 remedies that.

(I love ya Dave....1968....1968....1968....1968....1968....)

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15 years 1 month

In reply to by viewtiful_alan

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Alan I haven’t rechecked but looking at my subscription order a few days ago the date you mention was shown as DaP #48. Unless this is a cunning plot by deaddotnet to throw us off the scent it would seem that it is more than a rumour.

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2 years 11 months
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43 Years ago today, 2 rocking Grateful Dead shows! Casey Jones encore on 10/9, these 2 shows burned! I'm really glad that the acoustic sets for these 2 shows were released, hopefully we will see all these shows put out in one BIG BOX SET. Fun times !!!

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8 years 6 months
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… received my Grateful Dead vinyl box set,
Over 5 Lp’s recording of the Madison square garden concert from 3/9/81 and it sounds awesome! Great job on this first pressing. Really nice performance & audio quality is primo! Any one else purchase a Boxset??!

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12 years 1 month

In reply to by icecrmcnkd

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Enjoy hoisting the banner.

Connor Bedard initial thoughts. Young and skilled, but smaller than I expected.

Thoughts and prayers go out to Barry Melrose. Tough news. I wish him well.

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17 years 4 months

In reply to by Angry Jack Straw

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....the pre-game was extra over the top. Hey! It's Vegas!
Melrose. Ugh.
Not good news regarding Mary Lou Retton either. But I guess that's on her.

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10 years 8 months
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Where's forensicdoc when you need him?

Doc??

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10 years 2 months
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Around comment 62 or so when it first leaked.
Not a full review but it'll do.
We said his name 3 times fast and he appeared.
Good health to the Doc & wife.
Cheers

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12 years
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Anyone else order this disc? Was supposed to release over a week ago,,,, I've had no word, see no tracking on order receipt.

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17 years 4 months
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The 4th pick of the year is generally good but not grate, seems this year is no exception.

In Burlington, VT visiting my daughter for her 21st and leaf peeping, she's at UVM. Was at Nectar's last night for "Dead Night." It rocked, I was one of the oldest guys there, mostly 20's and 30's. Also, this town is FULL of Dead stuff, Phish music, flags, images, nowhere to be found. Cracking me up

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16 years 4 months
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Good morning to HF and all you other rockers!!!

I am here, but in serious lurker mode. One only has to ask............

IF 11/20/71 is the next Dave's, I think people will enjoy it. I'm guessing it's a returned tapes type of deal, if it's an upgrade I'm thinking of quality comparable to Albuquerque/Ann Arbor. Solid show, especially the second set. The question is, what to put on the third CD? Maybe the recently exhibited 1/21/71? Ah, one can only hope.........

Don't really wanna get into details about health issues just yet, but here's a clue.......H/O.............and I don't mean trains..........

You can find the entire cosmos lurking in its least remarkable objects.......

Rock on!

Doc
There's something about shadows because you make your own mind up about what's lurking in them.....

Maybe it would be as well to ignore the Keith era for the next couple of years. Unless something truly different can be found, like the Fall 73 shows with horns. Otherwise there's a risk we could be getting slightly inferior versions of shows we've already got.
And 10/12/68 would be brilliant way to start. No Dave's Picks released so far is remotely like it.

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8 years 6 months
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… on the subject of future Dave’s picks , how about the performance at Tacoma Dome 10//20/85 ?!

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17 years 5 months
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Billy's getting enough love and playing enough incredible stuff that we kinda thought he deserved his own thread.
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17 years 5 months
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I'll see what's up with that...
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17 years 5 months
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but hey, I'm a mod, so if you and/or others continue to have this difficulty I will pass it up the line. Sorry for the trouble! And if you have problems, describe the error messages you're getting and anything else that seems to be going on...thanks!
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4 years 3 months

In reply to by proudfoot

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10 8 81

From my Craig collection

Worth a listen

Also, another reason why I don't look at setlists: 9 25 81

A few nice surprises in that show

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2 years 3 months

In reply to by proudfoot

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I've been listening to a lot of October 83 and now I have Day Job stuck in my head... :(

Why hasn't 10/15/83 ever come out? Maybe Dave doesn't bother if there are already good boards around?

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I was at this show, lots of fun, th4e sun dome is a great place with a floating dome, place sucked you in and spat you out. Second set here is awesome, with a great Drums>Space into Jerry doing a great reading of "Comes a Time". Gimme some loving too, First time hearing the band doing that one. Good times had by all.

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9 years 3 months

In reply to by PT Barnum

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...30 seemed so old.

Just reflecting back over the last few weeks and posts I had not been able to post.

Someone posted about Hampton 1988, specifically 1988-03-27. I went to the Atlanta and then Hampton shows. They were all very good, but the March 27th shows was spectacular. It had the first Space to open a set since 1985-10-31. That one was space>Werewolves of London. Know everyone around here knows that but just thought I would post just in case.

Then was discussed the 1988 Cap. Center shows. We did that run, so I was extremely happy to see the Ripple. One of my favorite songs. Although, it was sad why they played that Ripple. Did those shows, then hit Miami, Tampa-St. Pete, and New Orleans.

Someone posted about Eric Clapton 24 nights. I have the dvd and cd's. Watched the dvd a couple of weeks back. It is very good but has its flaws also.

Seems like there was one more but it slips me.

I also in the last few weeks listened to Chicago's first 2 albums remastered on cd, both are great. The first album is still my favorite.

Oh well, enough for now.

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4 years 3 months

In reply to by daverock

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are relatively brief. But fun.

Ripple....they played that in 88 immediately after the two blechy shows in the Northwest, Tacoma (actually, kind of OK with Touch of Grey out of Space) and Eugene (still annoyed by that show in 2023)

I like the idea of it. I am half way through Paris 9/18/74, so I will be having my brain drilled by Seastones later tonight. That opens set 2, as it did for a few other 74 shows, so maybe that was a sort of precedent for the set opening Spaces.

Too busy lately, whats happened to our daylight. Thank goodness for GOGD. Have been trying to review much of E72, including the couple shows never heard before like Newcastle and loving every minute. As much as I have banged on the primal drum and would love to have more 1968, 71-73 is such peak period too, E72 monumental. Just had the extra fun and unlikely experience of running into John Scott of Deadbase fame a few minutes ago in a place so close to my home as to be almost next door. John is a friend of a friend but we had never met, a student at Dartmouth, where I later worked. Quickly traded stories, both at the 1980 Lewiston concert, recent music etc. Am certain I made him late for something. This crazy world can be such a small place, we must keep love friendship and peace in our hearts, madness and hatred out.

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11 years 9 months

In reply to by dmcvt

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I just received my email about Vol 48, on sale next Tuesday the 17th...it is 11/20/71 at Pauley Pavilion as we all knew...faintly remember it...they had two lines...one for the floor and one for the upper level seats...some fun...

product sku
081227834616
Product Magento URL
https://store.dead.net/en/grateful-dead/music/daves-picks/daves-picks-vol.-47-kiel-auditorium-st.-louis-mo-12979/081227834616.html