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    FROM THE MARS HOTEL (50TH ANNIVERSARY DELUXE EDITION) features remastered audio by GRAMMY® Award-winning engineer David Glaser, with Plangent Processes tape restoration and speed correction. Produced for release by Grateful Dead Legacy Manager and Audio Archivist, David Lemieux, the DELUXE EDITION also includes demos of “China Doll” and “Wave That Flag” – the song that became “U.S. Blues” – as well as a previously unreleased live performance of the Grateful Dead at University of Nevada-Reno on 5/12/1974. As the band filled an outdoor football stadium with epic highs like huge “China Cat Sunflower” > “I Know You Rider,” Mars Hotel cuts including “U.S. Blues” and classics such as “Brown-Eyed Women,” “Tennessee Jed,” “Mississippi Half-Step,” “Truckin',” “Sugar Magnolia,” a massive wind storm was no match for the Wall of Sound. Designed to improve the listening and performance experience at what were becoming larger gigs and longer, more dynamic and varied sets, the Wall of Sound required 21 stage hands, and underlined the resounding effect the Grateful Dead were having on American audiences and culture at the time, even as the entire operation remained homespun and humble. 

    Recorded in San Francisco’s Coast Recorders studio, FROM THE MARS HOTEL finds Keith Godchaux particularly shining across a variety of keys, from the “China Doll” harpsichord to the pounding piano on Bob Weir’s “Money Money,” to the churchy organ that elevates “Ship Of Fools.” Lyricist Robert Hunter packs “U.S. Blues” with a barrage of imagery, pop-culture references and sardonic asides – as Canadian author Ray Robertson writes in the 50th Anniversary Edition’s liner notes, it “carries an undeniable whiff of late-capitalism ennui…it’s the most fun you’ll ever have dancing to the end of the American Empire.” Jerry Garcia’s jaunty lead guitar drives bouncing melodies across the LP, while guests include Ned Lagin’s unnerving synth effects on “Unbroken Chain,” Clover member John McFee’s country-rock pedal steel on “Pride Of Cucamonga,” and more.

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  • #11
    JeffSmith
    Joined:
    Maiden Voyage on the Wall of Sound

    Hey Oroborous, Crow, et al – Great discussion about the inner workings of the W.O.S. Lots more moving parts than some of us lightweights usually stop to think about. Thanks for jump-starting the conversation Oro.

  • #12
    Oroborous
    Joined:
    After several spins

    On various systems…

    There’s aaaaaaaalot going on here lol.
    I think it’s perhaps sonically one of the worst releases yet?
    Fortunately most won’t hear it.
    I’ll just touch on some of the more prevalent items.

    Since there was nobody really mixing the wall, and it was one of the first official wall shows, you can perhaps hear them adjusting volume etc more than usual.
    Best way to learn gear is to mess with it, and live is always different then elsewhere.
    And that’s why your hearing all that adjustment: because most of this system was controlled directly by the musicians. An interesting idea except for occasional volume wars lol.
    My first impression of this show was “sound check show” for the tour…
    They seem extra laid back and to be having fun, but definitely getting used to things, and I’m sure the wind effected that! Lots of opsies, and other weirdness too.
    It’s not bad, but I’d call it mediocre by high bar 74 standards.
    It’s interesting historically, checks the gap box, and there are some good moments, just perhaps not the most consistent outing.

    But the unfortunate thing I noticed a lot on first listen was distortion.
    All kinds…
    Sometimes guitars, which are less easy to detect, occasional bass when he pushes certain things, but most notable is the piano!
    Basically every time he really starts pounding from El Paso on…
    This isn’t necessarily an on common thing on these old tapes, but it just seems more noticeable on this one.
    Perhaps the gain settings on the tape mix board were up and combined by the direct instrument feeds, and I think KGs pre amp levels especially, and/or something to do with piano mics? I believe I read they had to basically invent something for that too, which maybe didn’t have set just right at this one!
    Maybe Kid was kinda busy with other things and didn’t get a good chance to properly monitor the tape, so as they continued to get louder and push direct levels etc, he didn’t have chance to readjust?
    All kinds of possibilities. Tape age, even with full treatment, an old oversaturated tape could be slightly over crispy.

    On less revealing systems it’s a tad harder to discern, but on the good system it reveals a whole lot of distortion, almost unlistenable at times…though you get used to it after initial surprise.

    I’ve tried it via my good server/DAC , which feeds to different zones, I’ve tried just the disc via an Oppo Blu-ray on one of those zones with different pre amp and no separate DAC etc, so it’s not the server, DAC or main pre amp, or second zone. Haven’t tried the car yet…
    I don’t think it will matter. Less noticeable perhaps, but once you hear it, it doesn’t go away lol Volume makes it more noticeable.
    That’s why I think it’s baked into the tape.
    I don’t think this is a defect.
    And I’m betting that 97% of folks out there won’t notice it for various reasons.

    I agree with Conekid, who I believe stated that though it’s not good enough for a Dave’s, and it would be kinda lame disappointment in a box, but for this “bonus” material it fills the gap, kinda goes with the theme, though 6/20 included more album songs and is a much better show ( Probably too long, and maybe saving it as the prime 74 shows are dwindling). I know he says he doesn’t have any lists, but come on, how could you net lol. It’s ok Dave, nobody will think poorly of ya lol ; )

    So what is left to ponder?
    Here’s my thoughts, of course your mmv!

    5/25 audio was subpar, but a good 74 show with nice jam sequence
    6/8 audio meh, mediocre show, nice playing sandwich!
    6/20 is more 74 caliber goodness!
    6/26 & 6/28 is it worth rehash if whole shows are usable in the vault?
    6/30 good but not RJ.
    7/21 better still? Except for Aud only?
    7/25 ahem, hear foot tapping…
    7/27 good show, big sequence light perhaps, but lil one outta US nice, and that Playin…oye!
    I need to go through the hacked up stuff, but not sure I’d prioritize any of this?
    9/14 and 9/20 are good, I’d call the 21st a step behind?
    Some of these suffer from jam light…
    That just leaves WL. Which lol, somehow I’ve not done the complete shows yet.
    So I’ll wait until I do so this fall…

  • #13
    nitecat
    Joined:
    FTMH Album

    I listened to the remastered MH for the second time last night. Very sweet sounding. The harmonies are lush. I was more aware of different instruments I'm hearing having been informed by the excellent series, Good Ol Grateful Podcast, which has been doing deep dives into each song on the album. I highly recommend the podcast.

    The Reno show recording takes a little time to get together. The second set is pretty hot especially the Truckin>TOO. I'm a little biased because Reno was my second official WOS show. I do remember the band taking a little time to get going.

  • #14
    Crow Told Me
    Joined:
    Who Here Hears Weir?

    I commented on the audio of this release some time ago after listening to the studio album and the first disc of the live set. The studio stuff sounded much, much better than my old lp, no surprise there. But I thought the live stuff pretty uneven, in terms of the audio quality. Couldn't hear Weir's guitar, vocals were up and down in the mix. Since I wrote that, others have responded to say they thought the audio was really good, so I guess it's a little subjective.

    Now, having heard the 3rd disc, I'd say the audio gets better in the second set, but it's still weird: the bass will suddenly get louder than everything else, or a vocal will, and then settle back to a more normal level.

    My theory is that this somehow has to do with the high winds that they were dealing with that day, and also maybe unfamiliarity with the WoS. Like maybe the wind would start blowing, and somebody couldn't hear something so they turned it up, and then the wind let up a little and they turned back down. Or something like that. Bottom line: I think the live audio is acceptable but not great.

    Now, do you need to buy this? Well, I'd say so. There are enough good songs on the studio album and the audio there is enough of an improvement to justify buying something you probably already have. I doubt if I will return very often to the Reno show, but it's still good to have. That's my take anyway, your results may vary.

  • #15
    JoeyMC
    Joined:
    My two cents.I didn't buy…

    My two cents.
    I didn't buy WOTF 50th or Europe 72' 50th, I was on the fence about this one. I have never heard (read) really anything good about this show but at least it came with a complete show. I'm not really impressed and probably didn't need to own it. While I'm sure this is an improvement, I feel like we can definitely tell there is something going on there that impacts both the sound and the playing. It makes perfect sense to me that no one ever spoke highly of this show, but i guess it bridges a gap or is historically important?

  • #16
    Oroborous
    Joined:
    Not the album…

    …the show.
    Listen closely to the piano whenever he turns up to solo…
    Give it a few songs…

  • #17
    DeadVikes
    Joined:
    Audio/OB

    Hey OB,

    I have one listen to the Reno show in my car. I was withholding comment until I listened on the home system. However, I will say the sound quality seems a little up and down.

    What are your thoughts?

    Oh, and I now own my fourth copy of Mars Hotel.

  • #18
    daverock
    Joined:
    It's a bit pricey!

    I keep meaning to buy it, but then opt for something else instead. I am sure it will get here eventually. It's not my favourite Dead album - but I have never heard it on cd, so I am interested to hear what this makeover sounds like.

  • #19
    Oroborous
    Joined:
    Crickets?

    Hmmm, kinda wondering why not many comments on this release?
    Especially about the audio…

  • #20
    Oroborous
    Joined:
    Off to the PO

    To pick up 5.0 🤞
    Once again UPS got er to D town muy rapidido only to have Dejoys angry lamesters not be bothered to scan it, so it could take four times as long to go a couple hundred miles within state.
    But hey, at least it’s here (supposedly) which is what really counts.
    I just feel it’s my patriotic duty to rail against the tyranny and corruption of incompetent dictators of any ilk lol 😝

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FROM THE MARS HOTEL (50TH ANNIVERSARY DELUXE EDITION) features remastered audio by GRAMMY® Award-winning engineer David Glaser, with Plangent Processes tape restoration and speed correction. Produced for release by Grateful Dead Legacy Manager and Audio Archivist, David Lemieux, the DELUXE EDITION also includes demos of “China Doll” and “Wave That Flag” – the song that became “U.S. Blues” – as well as a previously unreleased live performance of the Grateful Dead at University of Nevada-Reno on 5/12/1974. As the band filled an outdoor football stadium with epic highs like huge “China Cat Sunflower” > “I Know You Rider,” Mars Hotel cuts including “U.S. Blues” and classics such as “Brown-Eyed Women,” “Tennessee Jed,” “Mississippi Half-Step,” “Truckin',” “Sugar Magnolia,” a massive wind storm was no match for the Wall of Sound. Designed to improve the listening and performance experience at what were becoming larger gigs and longer, more dynamic and varied sets, the Wall of Sound required 21 stage hands, and underlined the resounding effect the Grateful Dead were having on American audiences and culture at the time, even as the entire operation remained homespun and humble. 

Recorded in San Francisco’s Coast Recorders studio, FROM THE MARS HOTEL finds Keith Godchaux particularly shining across a variety of keys, from the “China Doll” harpsichord to the pounding piano on Bob Weir’s “Money Money,” to the churchy organ that elevates “Ship Of Fools.” Lyricist Robert Hunter packs “U.S. Blues” with a barrage of imagery, pop-culture references and sardonic asides – as Canadian author Ray Robertson writes in the 50th Anniversary Edition’s liner notes, it “carries an undeniable whiff of late-capitalism ennui…it’s the most fun you’ll ever have dancing to the end of the American Empire.” Jerry Garcia’s jaunty lead guitar drives bouncing melodies across the LP, while guests include Ned Lagin’s unnerving synth effects on “Unbroken Chain,” Clover member John McFee’s country-rock pedal steel on “Pride Of Cucamonga,” and more.

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Submitted by DeadVikes on Fri, 03/29/2024 - 05:40

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Joey,

Yes, the full run was recorded in Multi Track.

So maybe at some point in the future, they will release the other shows. It is a great run.

I rank the Capitol run
2/19/71
2/21/71
2/18/71
2/24/71
2/20/71
2/23/71

Non are bad, all good, some great, but hey, that’s just me ; )
Multis are the shitlze! How bout fall 89!

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Submitted by hendrixfreak on Fri, 03/29/2024 - 10:52

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ForensicDoc magically appears! Love the dead-i-cation...

Count me in for the remaining Feb '71 Capitol shows. The thing is, every show has highlights and ordinary passages; isn't that why we take all the shows we can get??

Attended the Capitol in early '74 for a double bill of Roy Buchanan and Boz Scaggs, who had Les Dudek on slide for Loan Me a Dime. After both groups played two sets they jammed out and I only remember Roy and Les shaking the dirt from the ceiling. Dammit, that was 50 years ago NOW!

And yet, with a few more '71 shows, I might just cheat the devil for a few more years...

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Submitted by RyXs on Fri, 03/29/2024 - 12:54

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Presuming this will be available for download after the official release date? Can't Wait! Scarlet & Phil's songs in particular.

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Submitted by 1stshow70878 on Fri, 03/29/2024 - 19:47

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It's a hundred.
But it does glow.
A bargain!
Cheers

I like the tee but it's $45

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Submitted by billy the kiddd on Fri, 03/29/2024 - 21:38

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41 years ago today I was up in S.F. at the Warfield Theatre for a fun night with the Grateful Dead. I saw the Dead play allot of shows at the Warfield, this would be the last one. I saw Garcia play lots of shows after this one, but this was the last Dead show.

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Submitted by Forensicdoceleven on Sat, 03/30/2024 - 01:45

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Mornin', rockers!!!

When it comes to Port Chester, I favor the 20th and 21st. Exceptionally well played shows. Listen close, sometimes the strength is in the small songs..........

The 18th and 19th are historic, excellent shows that do get a lot of play around here. The 19th may be a bit stronger and more consistent, to me the second set intensity of the 18th drops a lot compared to the first set.

The 23rd is rough around the edges but powerful and very crunchy. Especially the second set.

So maybe the 24th is the "lesser" of the six shows, but that's on a relative scale. It does include a healthy dose of greasy Pigpen...........

This is why there's different flavors of ice cream. While clearly double dark chocolate peanut butter cup is the best, mysteriously some still prefer pistachio...

Rock on,

Doc
Yes, Manhattan Center would make a nice "mini-box", so bring it on!!!

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Submitted by Forensicdoceleven on Sat, 03/30/2024 - 03:41

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Is that not also a form of deception?

Next, we can discuss/debate what is the best April 1971 Fillmore East show. Allow me to pontificate..............

4/28: Supernova, desert island, classic show of the first rank. Best ever, blazing white heat Hard To Handle, super solid versions of Morning Dew, El Paso, Cumberland Blues, The Rub, and The Other One. Clearly the best of the run.....

4/26: Funky good old Grateful Dead. Slunky Hard To Handle, nice Star, jammiest Good Lovin' ever. Oh, did I forget Duane Allman??????

4/29: Can a show be underrated and overrated at the same time? OK, Alligator, I get it.........

4/25: Powerful. Especially the fierce Hard To Handle, where Garcia and Lesh battle it out, leaving the rest of the band in the dust.......

4/27: Well, something has to be ranked "last", even though this is a solid show. Nearly perfect first set, but I'm not sure the Beach Boys and the Lovelight have aged so well.

How much has to be explored and discarded before reaching the naked flesh of feeling????

Rock on,

Doc
Music is the expression of the movement of the waters, the play of curves described by changing breezes.....

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Submitted by proudfoot on Sat, 03/30/2024 - 07:01

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Someone in Relix years ago referred to April '71 as Acid Month

8 GD shows in New York

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Submitted by KeithFan2112 on Sat, 03/30/2024 - 08:57

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Agree with you on the 21st of February at Port Chester. Of the three shows that have been released, this is my favorite, and I don't say that lightly; there are a lot of outstanding performances on Three From the Vault and opening night. And it's always nice to have a great sounding multitrack and the sound of that Rick Turner Peanut guitar Jerry used for Port Chester through the April gigs in NY.

I have my pre-order in for Mars Hotel. Looking forward to the live 1974 show. I haven't heard this show before, so I'm hoping it's a good one compared to the 7/25 Chicago show with the final Dark Star from that year to yet be released.

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Submitted by 1stshow70878 on Sat, 03/30/2024 - 09:14

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You got me going on a Hard To Handle binge this AM. What fun! Really hard to pick a best between 4-25,26,28 and that good ole' 8-6-71where apparently, according to Phil, that crowd reaction was from Pig "doing a little dance or something".
Cheers

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Submitted by Oroborous on Sat, 03/30/2024 - 09:23

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And I’ll raise ya a April 69!
Hell, personally, I’d take April 78 over 71,
but that’s just me ; )

Edit: why I prefer 2/19/71 over the others, Smokestack O Lightning!
I double dog dare ya to find a better one in 71! ; )

I enjoy Port Chester '71 as one show, played over 7 nights.

I just can't rank them. Except 2/24/71. That one is the caboose of the train.

Dave's 35 is totally awesome

If you haven't heard 5/12/74 before, you are in for a real good time, Keithfan

That's a strange description of April 1971. Great shows for sure, but for the most part they don't sound that psychedelic to me. Maybe if you took some they would - but then so would everything else.

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Submitted by Deadicated on Sat, 03/30/2024 - 14:38

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Pontificate...ponTIficate - what a great word!!! Haven't heard that one in ages. Thanks, Doc.
BTW, TTB 3/13/24, Richmond, is somethin' else. Europe '72, for me, starts next Friday. SYF flag'll be wavin' wide and high!

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Submitted by Forensicdoceleven on Sat, 03/30/2024 - 15:58

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There were only 5 Smokestacks in 1971:

1/21/71 Unusual early first set placement
2/19/71 Late first set
12/2/71 Mid-to-late first set
12/4/71 Late first set
12/7/71 Mid second set
The 19th is probably the best of the bunch.................

The first Smokestack we ever heard was the one on Bear's Choice. I think that--along with that Hard To Handle----warped my brain. But of course, in a good way.....

We saw the return of the Smokestack in Worcester in 1984, that was a big treat for us.....

Rock on,

Doc
Sorry got Hey Now'ed

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Submitted by Forensicdoceleven on Sat, 03/30/2024 - 16:26

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FWIW, back in the day we almost always refered to April 1971 as "acid month". Seemed like second nature to us, especially since the town where we lived was saturated with LSD at that time....................

If you've never seen an elephant ski, you've never been on acid......

Rock on, and pass the 25!

Doc
I was raised a Christian and was a stone-faced acid head......

Mornin', rockers!!!

There actually is at least a partial SBD of that 1/21/71 show in the vault, about 46 minutes long, beginning of the show into Hard To Handle. Does include the Smokestack LIghtning lol. Decent quality and absolutely glad to have it. Was played on Jam Of The Week last October......

We try, we fail, we posture, we aspire, we pontificate - and then we age, shrink, die, and vanish.......

Rock on rockers!!

Doc
I am an old man and have known a great many troubles, but most of them never happened.

I liked that description by Jerry of "Skull and Roses " as presenting the band as" a regular shoot -em-up saloon band". That's how Spring 1971 sounds to me, and always has. That's just going off the recordings, though - maybe I would hear it differently if I had actually been there.

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Submitted by proudfoot on Sun, 03/31/2024 - 09:53

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On this Easter Sunday, I will follow Pigpen's advice and say

H O W D Y

name that show and W I N

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Submitted by hendrixfreak on Mon, 04/01/2024 - 07:27

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Test me, test me, why don't you H-N me?

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Submitted by Forensicdoceleven on Mon, 04/01/2024 - 08:09

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Hey HF!!!

I can't Hey Now you, so instead I will Now Hey you.

Now hey!!

Rock on & hope all is well,

Doc
I would fain grow old learning many things......
P.S. Hey everybody, go to traders den to fill in your 1971 gaps. You'll see why.......

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Submitted by hendrixfreak on Mon, 04/01/2024 - 14:12

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What are the odds this year's box is the five nights from Oct 74?

HF

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Submitted by Forensicdoceleven on Mon, 04/01/2024 - 15:56

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The odds that October 74 will be the box set this year are zero.

It will be a 1970, from the banana boxes.

Every time you go to the doctor and get a good report, the odds keep staking more in your favour.....

Rock on,

Doc
Even if we remember the past, odds are good we'll still repeat it.....

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Submitted by billy the kiddd on Mon, 04/01/2024 - 16:46

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1976, 1977, or 1978

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Submitted by proudfoot on Mon, 04/01/2024 - 19:06

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'70

Alpine '89

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Submitted by daverock on Tue, 04/02/2024 - 04:32

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Hopefully it will be an expansive set featuring multiple shows from the 1960's. A good title might be "Never Mind The Bollocks".
Failing that, a 1970 box would be most welcome too.

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Submitted by hendrixfreak on Tue, 04/02/2024 - 07:23

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I'd vote with Daverock for a 1966-70 box titled "The First Five." Could it get to Rhino's sweet spot of ~12-17 discs? Two from 66, two from 67, three from 68, six from 69, four from 70. I'd pounce. But how many others would?

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Submitted by Forensicdoceleven on Tue, 04/02/2024 - 08:42

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Hey rockers!!

Personally, I would prefer a box set containing the complete Fillmore West runs of February and April 1970. But hey, that's just me..................

We like our individuality, we like the mysteriousness of us, the essentialism of us, and it can be alarming to see the biological gears turning underneath......

Rock on,

Doc
We all want to be normal, but it's relative to individuality. My normal is not your normal.....

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Submitted by billy the kiddd on Tue, 04/02/2024 - 12:49

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What I would like, would be something from 1968, 1969, or 1970, or a combination of the 3 years. What I think we will get will be something from 1976, 1977, or 1978 and that will be cool too.

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