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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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  • daverock
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    infintejest3

    Now might be the time to get a turntable! I missed out on the Fillmore West 1969 box, and I always hoped that it would be re-released at some point. While they haven't done that as such, they have released the first three shows from the box on vinyl. Hopefully with 3/2/69 to follow at some point. So, looking at other posts on here, and following on from this earlier example, maybe all Europe 72 will come out on vinyl, too.

  • Infinitejest3
    Joined:
    Europe 72 50th anniversary

    I’m trying to help the cause and get the message to Dave & co. Please release all of the Europe 72 run of shows individually for those of us that missed out! I was really hoping for the 50th anniversary they would do this, but hopefully it’s not over and they will… 🍻

  • JoeSteven101
    Joined:
    I’d much rather they reissue…

    I’d much rather they reissue the Complete Recordings box set. It’s a fitting a time as any

  • proudfoot
    Joined:
    Awesome analogy

    Daverock

  • daverock
    Joined:
    trunk - finger - moon

    I played the first two Lyceum shows as well this weekend to see how the sound has held up. They seem slightly more muted than the Paris on vinyl, but I think I will keep with the cds for now. Exceptional shows, of course.

    Seems a bit odd to me that when you come into the deadnet site, the first thing you see is that they are celebrating the 50th anniversary of the album Europe 72- not the tour. To me that's a bit like celebrating the finger that's pointing at the moon, rather than the moon itself.

  • Easywind54
    Joined:
    Well.....

    I'm sure like most, I would of preferred unreleased shows. I planned to listen to the Lyceum shows over the weekend on CD from the trunk I purchased at release, to convince myself I don't need to spend this large sum of money for the 24 LP Box. Instead, I listened to the Paris show on Vinyl and was reminded how on "my" system, vinyl actually sounds a lot better. Now I'm really in a pickle. I'll likely let my order go through and enjoy every second of it, but..... While I understand there is more to come this year, I feel bad that for those that don't prefer vinyl and those who already have this show, there's not much here to get excited about. I really don't get why previously released shows are being rehashed when there is still so much left unreleased. It may feel to some making these decisions that a lot needs to be held back to ensure years of sales, but try looking at this from an old deadheads point of view. Many, like myself that are in our late sixties and 70's, don't know how much time we even have. I think you should select releases that are a win/win and stop reissuing what has already been, despite how amazing it will sound for those of us that prefer Vinyl, except for one off's like record store day, etc. While I'm on a soap box, I'll also say, please give us more video. I know there's a ton of it and it would be nice to not only listen to the dead, but also to see more of them while doing so. Thanks

  • rhopping5
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    Joined:
    Final Pigpen Run or Bust!

    Is this 24LP box big enough for me to live in once my wife throws me out of the house for buying it?

  • CaseyJanes
    Joined:
    Europe72 Vinyl

    Except for the $500 it’s a no brainer...I’m in!

  • eric18966
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    Joined:
    It would take me a long time…

    It would take me a long time to get through all 24 records…definitely an advantageous box set

  • FiveBranch
    Joined:
    there's no place like home

    I see this more like purchasing a work of art than a set of music. Something that becomes a permanent addition to your home, to help create the sort of 'space' you enjoying living in. Like purchasing a painting, a rug, a stained glass, whatever it is you might value. And from that sort of view point, $550 is not completely unreasonable. But, for me, not now. If copies are around for a while, once I have some other expenses taken care of, who knows. It looks like a beaut though!

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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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