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    WHAT'S INSIDE:
    · 4 Complete Shows On Vinyl For The First Time Ever
    Lyceum Theatre, London, England (5/23/72)
    Lyceum Theatre, London, England (5/24/72)
    Lyceum Theatre, London, England (5/25/72)
    Lyceum Theatre, London, England (5/26/72)
    · New artwork by Brian Blomerth and classic designs from EUROPE ’72: THE COMPLETE RECORDINGS by Scott McDougall
    · 52-page book featuring an essay by noted Dead scholar Nicholas Meriwether
    · Sourced from recordings by Betty Cantor, Janet Furman, Bob Matthews, Rosie & Wizard
    Mixed by Jeffrey Norman
    · Mastered by GRAMMY® Award-winning engineer David Glasser
    · Restoration and Speed Correction by Plangent Processes
    · Individually Numbered, Limited Edition of 4,000

    "What fans heard in these four {Lyceum} shows was both a history of the Dead and a survey of their unique vision of American music, from folk to rock, with blues and R&B and country-and-western and Bakersfield all included, all melded together by the improvisational spirit of American jazz in a small-group format that owed much to European classical music.

    The repertoire made a statement: this is who we are. And while that honored their roots and surveyed their history and evolution, the overwhelming focus was on the present. At the Lyceum, showgoers heard a tapestry of music that knit together the disparate strands of the ’60s psychedelic baroque of AOXOMOXOA and LIVE/DEAD with the Americana turn epitomized by WORKINGMAN’S DEAD and AMERICAN BEAUTY, which in many ways both continued and culminated in Skull and Roses. English fans were especially delighted to hear the new songs — for fans accustomed to bands using concerts to promote their records, that kind of generosity was striking. Those songs showed a band that was consolidating and deepening its distinctive approach to American vernacular music while still expanding the range of what that could include. Pigpen’s two originals added a distinctive flourish, but the new tunes also made it clear that Weir had emerged in his own right as a singer and songwriter, as well as showing that the wellsprings that fed Garcia and Hunter’s music were drawing on ever deeper aquifers." - Nicholas Meriwether

    Imagine, if you will, being amongst the first to witness the merry band of misfits that had taken over the good ol' U.S. of A. conquer foreign lands. When the Grateful Dead first unleashed their magic on the cautiously optimistic patrons of Wembley of 4/7/72 and 4/8/72, it was with the idea they would have just these two nights to impress a traditionally reserved London crowd. It turned out to be a smashing success, and they set about locking in four dates at one of London’s most storied venues, the Lyceum Theatre, to wrap up what some consider one of the greatest tours in rock history.

    On these four nights, we find the band hell-bent on telling 'em "how it's gonna be," and boy, did they ever. Powered by what Jerry called "peak optimism," they delivered a steady dose of "primal Dead," - sometimes searing, sometimes soulful, sometimes serious, but always unwavering in focus. This willful determination moved them through transitive takes on "Dark Star," to majestic heights with "The Other One," through marathon runs of "Playing," another minute, another mile. It found Phil, philosophizing on how to "put our music into a place," Bob and Jerry masterfully dueling as two of the top songwriters of their time, Bill elegantly ferrying songs to new lengths, and new members Keith and Donna Jean Godchaux adding organic warmth. And Pigpen? Well, he dotted his beloved classics - "Good Lovin'," "Mr. Charlie," "Lovelight," "Two Souls In Communion" - through set after set, conjuring up more clarity and charisma than anyone would have expected for his final few shows.

    Due July 29th, LYCEUM 1972: THE COMPLETE RECORDINGS marks the Dead’s largest vinyl boxed set of all time, a 24-LP collection featuring these storied final four nights in their entirety on 180-gram vinyl for the first time ever. Limited to just 4,000 copies, the individually-numbered set comes in a colorful slipcase with new artwork by Brian Blomerth. The four shows are organized in individual clamshell boxes, each one featuring the cover art that Scott McDougall created for each concert in EUROPE ’72: THE COMPLETE RECORDINGS. The accompanying book includes a new in-depth look at the Lyceum shows by noted Dead scholar Nicholas Meriwether. And that all-important question of sound? Jeffrey Norman's luscious mixes are finally being heard in their full analog beauty. It all makes for a jolly good time, indeed!

    Due to the size ( 17 ¼” x 15 ¾” x 7 3/8”)  and weight (28lbs) of this boxed set, shipping fees for this item will vary.

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  • sknights
    Joined:
    This box is BIGGER

    "All of these shows are available on Apple music and thus my cell-phone for streaming anyway, anyhow, anywhere I choose." ... Comments like these mean little in terms of the vision and labor that went into making this vinyl sequence. I like streaming when that's all I've got at my disposal. But if I want to really experience the Dead, streaming doesn't hold a candle to vinyl. Why even bother "bragging" about streaming from your phone in a comment section connected to this dreamy box set? It's like comparing your ability to call up on a ride on Uber when the conversation is about buying a Cadillac. This box is BIGGER.

  • icecrmcnkd
    Joined:
    Only the vinyl is limited

    You can pre-order a digital download of Lyceum 72 right now.

    I’ll take a Box containing whatever exists in the Vault of BCT 72.

  • JimInMD
    Joined:
    1972 BCT Run

    Billy.. this run has been on my hit parade since my first listens long ago. I reached out to Lemieux and he indicated not all the reels are in the vault. I think we spoke of this both before and after Dave's Picks 24. Holy goodness.. this run reeks with gooey, drippy excellence.

    I have this sneaking suspicion if all the reels are not in the vault yet, they might very well be 'accessible.'

    You're my brother from another mother. Perhaps one day we will BBQ and talk GD one evening, tomorrow never knows. But here here for the BCT 1972 Mini Box Set.

    Edit: and hey, we did get the Fox fall 72 run this year, in the same league. Life is good, rejoice and be thankful or at least Grateful.

  • billy the kiddd
    Joined:
    Very nice box

    I think the box is fairly priced, but I already have all these shows on cds so there no reason to buy them. I wish that they would have also released the 1972 BCT run in August 1972 on cd s to commemorate this 50th anniversary, now that I would have gone for.

  • wave-that-flag
    Joined:
    Nice Vinyl Box, But…..

    All of these shows are available on Apple music and thus my cell-phone for streaming anyway, anyhow, anywhere I choose. Don’t own a turntable (since college days awhile back.). Had my original Europe 72 albums then of course!

    Very cool, but not for me.

  • Crow Told Me
    Joined:
    May I Have the Envelope, Please?

    I think there's definitely some logic at work here. Probably some marketing research, too.

    This is a release that definitely pushes the envelope. They've done vinyl reissues of individual shows, with 6-8 lps, for $200. They've done CD packages of multi-show runs with dozens of discs, for $200-300. All of 'em have sold out, eventually. And all have been sold for two or three or four times the original price on ebay and discogs. They know there's a large audience for this stuff, and they know that there's a subset who can and will pay hundreds per show. Why not try a 24-lp vinyl reissue of three shows for $600?

    In the immortal words of Homer Simpson, "we can't go this far and then not go farther!" This release pushes the price well beyond anything they've done before (AFAIK, anyway). It's too far for me, but I'd be willing to bet it sells out anyway. And if it does, there will be more like it.

  • JimInMD
    Joined:
    Lyceum LPs

    A luxury item to be sure. But how many heads are there? Or as Mr. Burns once said, "Ooh ! And I was going to buy that ivory back scratcher !"

  • Easywind54
    Joined:
    After further reflection, I…

    After further reflection, I think I understand the motives here on this 24 LP release. While I know it's expensive and for many, already owned on CD, many don't. Also, for many, on their particular systems, Vinyl is superior of a listening experience. So, the first offering to celebrate the 50th, with a nod to Europe 72, it makes total sense David and Company would select some of the most inspirational shows the dead performed on that tour, much less, ever; to be available on Vinyl. I just revisted this via CD and it is nothing less than amazing. Bravo ! Next year, please do the same for 11/30, 12/1 & 12/2/73, the blessed event at the music hall where Dick omitted 12/1 entirely and didn't include the entire show of Fri & Sunday.

  • sknights
    Joined:
    4000 copies per show

    ... is not very many. Dave's Picks Vol. 1 was only 5000 copies and that's already long gone. The forthcoming RSD Wembley 5-LP box was pressed at 10,000 copies. In the end, this is merely a spectacular slipcase that holds four individual shows pressed at very low numbers by any Dead standard. And it comes with a 52-page book? Boom. That shakes out to the standard $150 per show. I imagine these box sets will not only sell out, they will be coveted due to limited pressing numbers alone.

  • sheik yerbones
    Joined:
    europe 72 celebrating

    the finger at the moon and the sound of one hand clapping...I was expecting a Europe Volume 3 , and maybe a box set with Europe 72, vol 2 and 3 . I bought Europe 72 à la carte. Well it is a very beautiful vinyl box that doesn't suit me well. Most of the time I listen to the show on my bed for siesta, and I Like it very linear, even if i visit slumberland during drums or the other one, and get a big breath for the end of the show. if they get the same recording quality than Paris 05/3 this must be awesome.
    à la carte I would order the 05/24.
    I am very sastified with all my cd collection from Dick to Dave Picks and roadtrips Serie and expect something new, and I won't change my JGarcia Band vinyl with the whole Lyceum shows.
    Congratulations to all of you than can abide this beautiful gift.

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3 years 8 months

WHAT'S INSIDE:
· 4 Complete Shows On Vinyl For The First Time Ever
Lyceum Theatre, London, England (5/23/72)
Lyceum Theatre, London, England (5/24/72)
Lyceum Theatre, London, England (5/25/72)
Lyceum Theatre, London, England (5/26/72)
· New artwork by Brian Blomerth and classic designs from EUROPE ’72: THE COMPLETE RECORDINGS by Scott McDougall
· 52-page book featuring an essay by noted Dead scholar Nicholas Meriwether
· Sourced from recordings by Betty Cantor, Janet Furman, Bob Matthews, Rosie & Wizard
Mixed by Jeffrey Norman
· Mastered by GRAMMY® Award-winning engineer David Glasser
· Restoration and Speed Correction by Plangent Processes
· Individually Numbered, Limited Edition of 4,000

"What fans heard in these four {Lyceum} shows was both a history of the Dead and a survey of their unique vision of American music, from folk to rock, with blues and R&B and country-and-western and Bakersfield all included, all melded together by the improvisational spirit of American jazz in a small-group format that owed much to European classical music.

The repertoire made a statement: this is who we are. And while that honored their roots and surveyed their history and evolution, the overwhelming focus was on the present. At the Lyceum, showgoers heard a tapestry of music that knit together the disparate strands of the ’60s psychedelic baroque of AOXOMOXOA and LIVE/DEAD with the Americana turn epitomized by WORKINGMAN’S DEAD and AMERICAN BEAUTY, which in many ways both continued and culminated in Skull and Roses. English fans were especially delighted to hear the new songs — for fans accustomed to bands using concerts to promote their records, that kind of generosity was striking. Those songs showed a band that was consolidating and deepening its distinctive approach to American vernacular music while still expanding the range of what that could include. Pigpen’s two originals added a distinctive flourish, but the new tunes also made it clear that Weir had emerged in his own right as a singer and songwriter, as well as showing that the wellsprings that fed Garcia and Hunter’s music were drawing on ever deeper aquifers." - Nicholas Meriwether

Imagine, if you will, being amongst the first to witness the merry band of misfits that had taken over the good ol' U.S. of A. conquer foreign lands. When the Grateful Dead first unleashed their magic on the cautiously optimistic patrons of Wembley of 4/7/72 and 4/8/72, it was with the idea they would have just these two nights to impress a traditionally reserved London crowd. It turned out to be a smashing success, and they set about locking in four dates at one of London’s most storied venues, the Lyceum Theatre, to wrap up what some consider one of the greatest tours in rock history.

On these four nights, we find the band hell-bent on telling 'em "how it's gonna be," and boy, did they ever. Powered by what Jerry called "peak optimism," they delivered a steady dose of "primal Dead," - sometimes searing, sometimes soulful, sometimes serious, but always unwavering in focus. This willful determination moved them through transitive takes on "Dark Star," to majestic heights with "The Other One," through marathon runs of "Playing," another minute, another mile. It found Phil, philosophizing on how to "put our music into a place," Bob and Jerry masterfully dueling as two of the top songwriters of their time, Bill elegantly ferrying songs to new lengths, and new members Keith and Donna Jean Godchaux adding organic warmth. And Pigpen? Well, he dotted his beloved classics - "Good Lovin'," "Mr. Charlie," "Lovelight," "Two Souls In Communion" - through set after set, conjuring up more clarity and charisma than anyone would have expected for his final few shows.

Due July 29th, LYCEUM 1972: THE COMPLETE RECORDINGS marks the Dead’s largest vinyl boxed set of all time, a 24-LP collection featuring these storied final four nights in their entirety on 180-gram vinyl for the first time ever. Limited to just 4,000 copies, the individually-numbered set comes in a colorful slipcase with new artwork by Brian Blomerth. The four shows are organized in individual clamshell boxes, each one featuring the cover art that Scott McDougall created for each concert in EUROPE ’72: THE COMPLETE RECORDINGS. The accompanying book includes a new in-depth look at the Lyceum shows by noted Dead scholar Nicholas Meriwether. And that all-important question of sound? Jeffrey Norman's luscious mixes are finally being heard in their full analog beauty. It all makes for a jolly good time, indeed!

Due to the size ( 17 ¼” x 15 ¾” x 7 3/8”)  and weight (28lbs) of this boxed set, shipping fees for this item will vary.

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17 years 4 months

In reply to by icecrmcnkd

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What bonus?

Back in the 70's I didn't care much for Europe 72 either. It sounded a bit underpowered to me. Apart from the last two sides I didn't rate it that highly. I changed my views in the late 80' early 90's listening to tapes of shows and bootlegs, and now the Europe 72 box is probably my favourite box.
All the vinyl releases, especially this one, have also been excellent. I would but them all on vinyl if they released them.

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9 years 2 months

In reply to by egeffy

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I was responding to a bot.

I recently listened to all the E72 vinyl releases. Sounded grate.

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12 years 2 months

In reply to by egeffy

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The bonus is you got one :-)

That box was a big gulp, but if you want all the E72 on LP, well......

Like the old 4 seasons song, working my way to all of E72 babe, just need more money...

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9 years 2 months

In reply to by Dennis

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Getting it on sale is a score.

My general rule is that $20/LP is about right, maybe $25 considering inflation. So I often pass on releases that are overpriced and wait for them to go on sale. DP1 yesterday was something I had to grab because the resale prices of previous copies were ridiculous.

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