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    jq171(document).ready(function (jq171) { var covertArtDownloadMarkup = 'Looking for the digital cover art? You can download it here.'; setTimeout(function() { jq171('#digital_cart').append(covertArtDownloadMarkup); }, 500); });

    What's Inside:
    •144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
    •A portfolio with three art prints by Jessica Dessner
    • Replica ticket stubs and backstage passes for all eight shows
    •8 complete shows on 23 discs
          •3/14/90 Capital Centre, Landover, MD
          •3/18/90 Civic Center, Hartford, CT
          •3/21/90 Copps Coliseum, Hamilton, Ontario
          •3/25/90 Knickerbocker Arena, Albany, NY
          •3/28/90 Nassau Coliseum, Uniondale, NY
          •3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
          •4/1/90 The Omni, Atlanta, GA
          •4/3/90 The Omni, Atlanta, GA
    Recorded by long-time Grateful Dead audio engineer John Cutler
    Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
    Mastered to HDCD specs by David Glasser
    Original Art by Jessica Dessner
    Individually Numbered, Limited Edition of 9,000

    Announcing Spring 1990 (The Other One)

    "If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether

    Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.

    With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”

    For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.

    Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...

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  • wjonjd
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    Fourwinds
    Hi four winds, Sorry, what compression??? There is no compression of any kind in a 16/44.1 file. I'm not sure what you are referring to. But that is literal. There is NO compression of ANY kind in a 16/44.1 file. These are not mp3's. A few (maybe more than a few) posts down, posted several links that explains the scientific basis behind digital audio files (not compressed digital audio files). I can't make you do this, but did you bother reading them at all? Several of these links make Reference to the scientific reasons there is no audible difference (LITERALLY) between 16/44.1 and 24/96 or 24/192. Except that in some not too common cases the higher "resolution" files actually can be inferior because the ultrasonic inaudible frequencies they can contain can in some cases cause audible and distortion in the audible range, although in all scientific studies to date no one can hear any difference at all. The 44.1 files don't have this problem, as they don't contain frequencies above 22khz - frequencies above human hearing level. Forgive me, I really do not mean to be insulting or condescending, but the nature of your statement referring to any kind of compression difference between standard def and hi def audio files leads me to believe you haven't bothered to look into how digital audio works and are buying into the most common fallacies. The statement literally makes no sense as there is no difference in compression level of any kind between so called standard definition and so called high resolution audio files. Standard def files are smaller because they use 16-bits to encode each volume level sample and take use 44,100 samples per second as opposed to using 24-bits and say 192,000 samples per second. The science and mathematics both state as fact, not opinion, that 44,100 samples per second is sufficient to encode and reproduce any frequencies up to half that number, 22,050hz which is well above your hearing level, and 16-bits is sufficient to encode the dynamic range of any recording you currently and are likely to own unless you envision at some point buying a recording with enough dynamic range to make your ears bleed if you had equipment that could reproduce it. Did you know that each of the "samples" taken either once every 44,100 times or 96,000 or 192,000 times a second, and stored in either a 16-bit or 24-bit binary number, contains a volume measurement AND NOTHING ELSE?? How can nothing but a stream of volume measurements of music represent the actual music??? Read and find out. If your ears are being fatigued by 16/44.1 files they will have the EXACT DUPLICATE experience with 24/192 files. Again, these are not MP3 or other lossy format. The ONLY difference between the 16/44.1 and the 24/96 files is the dynamic range and frequency range they contain, and the links I posted explain why 16 bits and 44.1khz files already hold all the dynamic range the music being recorded has, and already contains all the frequencies you can hear. You already understand how LP's work. Don't you think it would be a good idea to learn how digital audio works before you start paying more for files that all the science (not to mention the society of audio engineers) have no difference (literally) to what comes out of your speakers? We're not talking about MP3 or any other compression technology here. We're talking about the COMPLETETELU UNCOMPRESSED 16/44.1 and 24/192 files that will both produce identical sound waves out of your speakers even if you were to compare them visually with sound wave analysis software. Since I take it that you DO experience ear fatigue from E72 releases, I am sorry to tell you that this must be from how the masters sound that they are using to create the CD's and downloads. Getting 24/96 or 24/192 will do NOTHING to mitigate this, and will not help you connect on a deeper emotional level with it unless it is via placebo effect. The sound waves being represented by BOTH 16/44.1 and 24/192, being identical in all audible frequencies, both reproduce sound waves so far closer to being identical to what was input to create them compared to an analog medium that it's staggering if you haven't looked into it. These are not compressed files where if you were to look at them visually they hardly even resemble the originals. The sound waves produced by either 16/44.1 or 24/192 are BOTH virtually perfect representations of the sound that went in. The science of looking at in what ways they may be different from what went in is dealing with differences so much smaller than with previous music reproduction methods that it's like comparing molehills and mountains. Hi Res files are NOT being offered because they are in any way superior to your ears. They are being offered because there is a demand for them. And, there is a demand for them because people believe all sorts of things like 16/44.1 is somehow more compressed than 24/192 (it's not), or that greater bit-depth means greater music depth (it does not - it ONLY and ENIRELY determines the difference between the loudest and softest sounds that be contained, and 16-bits can go from a light bulb to a jackhammer), that higher sampling rate yields a smoother sound wave (it doesn't - that's not how digital audio works - when it's converted back to an analog wave it is as smooth as the wave the went in - and 44.1 samples per second can reproduce any frequencies of 22.05khz and below with literally 100% accuracy because of the mathematics behind how it works). The demand is there because many (most?) people do not know much about digital audio files, and there is a lot of money to be made by many people who are exploiting then (and in many cases don't know any more about how digital audio works and believe it themselves.) Truly scientifically done listening tests (not to mention visual analysis of the sound waves) will tell you what you need to know about so called "hi resolution" audio files. But, go ahead and buy the "hi resolution" files if they become available. It's not my money. But, it really is worth scrolling down and checking out those links (and the discussion up to this point) before you spend that money.
  • fourwindsblow
    Joined:
    In the end
    What you really want in the end is a recording that is non ear fatiguing so that you can listen for hours and connect on a deeper emotional level. Compressed files do not give you this option. E72 I can't listen at a nice volume level without ear fatigue. We really need those 24/96 files released.
  • wjonjd
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    If you're serious
    Hi Unkle Sam, If you're serious you can easily hear the difference in fidelity between LP and CD at a modest cost by purchasing a modern excellent classical orchestral recording where you can get both the CD and LP. I would suggest using Raphael Kubelick's recording of Dvorak's New World symphony because the LP should still be relatively available and the CD digital transfer is highly acclaimed by audiophiles. It isn't an accident that the first genre of music to start using digital technology for recording was classical orchestral recording; they generally require the higher dynamic range than other genres, and the classical musicians and their engineers were more keenly aware than others of the technical inability of LP technology to record this music without large dynamic range compression. Once CD tech had matured (it really didn't take very long), it was quickly clear that digital had overcome the limitations that had plagued the classical recording industry since its inception. Even though I love the "warm" sound of LP, and on much music the technical requirements are smaller than for classical, so LP technical deficiencies are outweighed by the "warmth" distortion, for classical which was losing so much more through LP's limitations, digital was a huge difference. Unlike the hi def vs standard def digital debate, you will IMMEDIATELY hear the difference when you compare that orchestral recording on CD with no dynamic range compression to the LP. I don't know how much further down the thread you read, but do not mistake my explaining how digital CD format is technically superior to analog, with the idea that I support so called "high resolution" digital because I dont. I posted several links that explains how digital audio works and why there is no real benefit to the listener using more than the stanard 16-bits and 44.1khz sampling rate. However, The superiority of CD is very often compromised, especially in rock, pop and hip-hop and other very popular radio music because for quite a few years they have been purposely compressing the dynamic range on the CD's so they will sound louder at a given volume setting on the radio, and so everything from the softest to the loudest sounds can be more easily heard in a noisy environment like a car. This willful lowering of the quality of the recorded music has no relation to the capabilities of the CD format; it is an intentional lowering of the quality to bring the dynamic range down, sometimes way down. This isn't universally the case though, obviously. I think it is unlikely, for instance, that the GD team uses this practice.
  • kemo
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    Congratulations!
    on your Grammy nomination. Well deserved, as is the award itself. Still lovin My # 5000.
  • unkle sam
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    wajonjd
    wow, that's a lot of technical stuff to write down, thanks for the explanation of how it's all suppose to work. Now, if I could just get my ears to hear it.
  • wjonjd
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    Definitely not great from the get go
    I agree, the early problems were a combination of both the early digital technology and its application by engineers steeped in the completely mature and largely perfected analog technology. These early efforts at digital audio helped sour many on the technology permanently (which is silly). Furtwangler, a conductor, and Huberman, a violinist, two of the most unique and revered musicians of their time both made so very few recordings compared to their peers because the early attempts to record them in the teens and twenties convinced them tha record disks were so bad they avoided the recording studio from then on, even though by the fifties the analog revording techniques had improved so much they were really quite excellent. History repeats itself.
  • One Man
    Joined:
    Hate to Argue (Not Really), But...
    I wouldn't say "not from any inherent problems in the technology itself." (!) From the very same article you quoted, there is this: "It is true that the very first generation of digital recorders, like the Sony F1 and early DAT machines, didn’t sound as good as the state-of-the-art analog machines. However, the low cost and ease-of-use of the new digital machines guaranteed their success. Luckily, pro audio and audiophile users pushed manufacturers to create better sounding converters and better tools to process the sound (now known as plugins)." And if I am not mistaken, you said yourself that some early AD-DA converters were an issue. So let's not paint digital audio as great from the get-go. It was deservedly reviled by many at first, partially due to technological issues.
  • wjonjd
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    Early digital recording
    Hi Marye, Yes, early digital recording was not very good, but not from any inherent problems in the technology itself. Here's a blurb from the following link: http://recordinghacks.com/2013/01/26/analog-tape-vs-digital/ "It is my belief that much of the pain of switching over to digital recording was due to the tools that engineers had mastered for analog recording. For instance, applying EQ and compression (or no compression) to tape to make up for the color that the tape added didn’t sound so great when recording to digital. Bright FET microphones and harsh transistor preamp tones became rounded off in a pleasing way on tape, and by the 100th mix pass, the high-end was rolled off and the transients smeared so much that the final mix sounded phat, warm and fuzzy. It took experienced engineers a minute (or years) to gather their thoughts, re-examine their tools and learn how to take advantage of the clarity, quiet, and unforgiving purity of digital recording." My problem with what Neil is doing is that the marketing accompanying the Pono to which he has lent his name is propagating some of the most common misunderstandings and misconceptions about what is being termed hi res audio. Regardless of how the debate ultimately turns out (I think it's already pretty much decided), there is no getting around the simple flat out falsehoods being stated. They take advantage of people not understanding digital audio in its most fundamental basics. For instance, if you ask most folks to describe what a single "sample" consists of in digital audio, what one sample of 16-bit or 24-bit audio contains, how many would answer that the only thing it contains is an amplitude (volume) level and nothing more. That each sample is just one single volume level. How many would then go on to try to find out how a whole series of such "volume" measurements can fully encode music? The Pono folks take advantage of this lack of technical knowledge to propagate ridiculous and false concepts like "smoother" sound with more samples. In fact, based on the difference between reality and what is in those marketing materials, and given my respect for Neil in general, I find it unlikely he has actually looked into the scientific mechanisms underlying how digital audio works, maybe because the idea that if 16-bit at 41,100 times per second is good then 24-bit at 192,000 times per second must be better seems so much like just common sense that he never saw the need to look into it farther beyond questioning why files at this resolution are not being made available (and making it his mission to do so), especially because I am sure he is aware that it is these higher resolution files that comprise the original recordings that the professionals use to mix/master his music. Why look further, when the common sense is so compelling?
  • marye
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    Neil
    Back in the day, he came to a tech conference I'm involved with to show off Lionel trains, for which he'd hired a friend of mine to go around the country recording different trains so the various Lionel models would have the right noises. Having seen Neil in rock star mode many times, I loved seeing him just geek out and have fun with a technically sophisticated bunch. As a result of this, we did an interview. In which he veered off at some length to deride the then-current state of digital recording (this circa 1994). This stuff's been on his mind for quite a while!
  • boblopes
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    Congrats on the Grammy Nomination for the sweet packaging
    Congrats on the Grammy Nomination for the sweet packaging. I know you guys and gals worked hard on it, nice to be recognized for material from 24 years ago!!!
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jq171(document).ready(function (jq171) { var covertArtDownloadMarkup = 'Looking for the digital cover art? You can download it here.'; setTimeout(function() { jq171('#digital_cart').append(covertArtDownloadMarkup); }, 500); });

What's Inside:
•144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
•A portfolio with three art prints by Jessica Dessner
• Replica ticket stubs and backstage passes for all eight shows
•8 complete shows on 23 discs
      •3/14/90 Capital Centre, Landover, MD
      •3/18/90 Civic Center, Hartford, CT
      •3/21/90 Copps Coliseum, Hamilton, Ontario
      •3/25/90 Knickerbocker Arena, Albany, NY
      •3/28/90 Nassau Coliseum, Uniondale, NY
      •3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
      •4/1/90 The Omni, Atlanta, GA
      •4/3/90 The Omni, Atlanta, GA
Recorded by long-time Grateful Dead audio engineer John Cutler
Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
Mastered to HDCD specs by David Glasser
Original Art by Jessica Dessner
Individually Numbered, Limited Edition of 9,000

Announcing Spring 1990 (The Other One)

"If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether

Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.

With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”

For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.

Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...

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I bet this sale's out in a week two at tops
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This was ordered immediately!! Here's hoping 6-30-85 or 7-1-85 for Dave's Picks 11!! Thank you Dave & the powers that be!!
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for the compiler /completionist in all of us.. if you want full 3/24/90 show.... Dozin at Knick has entire second set on disc 2 and 3. And Walkin Blues on Disc 1 "Playing in the Band" (Hunter, Hart, Weir) – 10:08 > "Uncle John's Band" (Hunter, Garcia) – 10:01 > "Lady With A Fan" (Hunter, Garcia) – 6:35 > "Terrapin Station" (Hunter, Garcia) – 6:45 > "Mud Love Buddy Jam" (Grateful Dead) – 7:53 > "Drums" (Hart, Kreutzman) – 9:41 > "Space" (Garcia, Lesh, Weir) – 9:39 Disc 3 "Space" (Garcia, Lesh, Weir) – 1:03 > "The Wheel" (Hunter, Garcia) – 4:45 > "All Along the Watchtower" (Dylan) – 7:45 > "Stella Blue" (Hunter, Garcia) – 8:32 > "Not Fade Away" (Holly, Petty) – 7:24 "We Bid You Goodnight" (trad., arr. Grateful Dead) – 2:21 Spring 90 first box on the end of 3/26/90 CD 3 Bonus Tracks From 3/24/90 Albany ( 1st set) 7. Let The Good Times Roll> [4:01] 8. Help On The Way> [4:05] 9. Slipknot!> [3:50] 10. Franklin's Tower [8:04] 11. Loser [7:30] 12. Tennessee Jed [7:53] and the final 2 tracks: Desolation Row on "Postcards from the hanging" One More Saturday Night is on "Without a net" make a itunes play list and burn it down....
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Smart and thoughtful to offer 3/29 separately. I shall get that, but this is the first box set I am going to give a miss..I have only listened to Spring 90 once and I need to start saving for the 2015 treasure trove. Happy though for all those who are looking forward to this one.
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I wonder what they are going to do in 2015 to top this.
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Love Spring '90. Bought the first box. In fact, I own every GD release. This is too much money for second-tier shows. I'll grab the 3/29/90 release though.
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It's been so long since I haven't purchased an official GOGD release that the omission seems counter-intuitive! Yet, the timing and nature of this set are budgetarily fortuitous, especially with conventional anticipation of some extraordinary debuts incident to the impending big L (five-oh)! To those ordering, enjoy!/Kate
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11 years 7 months
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I'm out. My box budget ends at $199.99 This looks grate though and I know I will regret not getting the physical copy. Definitely going to grab 3/29/90 though. Looks like an awesome show! Would be nice if they offer the digital downloads at some point. I bet they will.
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My guess is it sells out in 2 days.If Thelma sold out in 2 days, this won't take as long... considering it's 5000 less copies. Even at the higher price.
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The first Spring Box was also 9,000 copies, was cheaper, and frankly, contained better shows. It took over 4 weeks to sell out, if I remember correctly.
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I have the 1st Spring 1990 box, I have listened to every show about 6 times over the course of 13 months, lost interest, repacked everything. Almost ready to sell it, a definitely maybe, perhaps. The Dozin' At The Knick, released in 1996, is good enough for me. I also said here on dead.net, that if the rest of Spring 1990 Tour would be released, I'd wouldn't buy it. Do I really need every Grateful Dead show? I already have a fine copy of 3/29/90. I have better things to do with $250USD or what ever the price is with shipping costs.For those who have pre-ordered this set, fine, I KNOW that you enjoy it.
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Note to self. Duh WW read the description. Digital is going to be available on release date. Cool.
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Where's "Walkin Blues"?..It looks like this song cant be found..Has it ever been released?
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12 years 7 months
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...check you PMs, please.(love that screen name, btw!)
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17 years 6 months
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Today begins the countdown for the Spring 77 Conundrum
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If 3/29/90 isn't limited edition why would anyone pre-order and pay the shipping? I ordered limited SSDD the night of MUAM last year because I thought that was it. Next thing you know the show is in every store for sale. Didn't need the limited with bells and whistles just the music. Didn't know otherwise so I paid more for it and shipping. Still spicy.
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"3/24/90Where's "Walkin Blues"?..It looks like this song cant be found..Has it ever been released?" that's just rhino showing a spot of mercy to the fans...
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Just can't spend that kind of money. I hope they go back to more reasonably priced box sets. I'm also not a big fan of 90's Dead so it's not a major blow to me. If it had been a 70's or early 80's box it would really suck as I would love to buy but it's just too pricey. I'm happy for those scooping this up, though. Hope you guys enjoy it. I thought selling the Marsalis show on it's own was a nice touch but not something I'm interested in myself. Still going to grab JGB this up coming week, though. Can't miss out on that.
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Unless I'm mistaken, is on Dozin'. Long live the Queen.
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I would be willing to bet this doesn't sell out so fast. Other than the Branford show, these are the shows they left off the first box. Branford, I am sure, required negotiations with his business manager. But other than that, they chose the shows they thought were the best. These are the ones they left off. If they had planned on releasing the whole tour, they likely would have released the first half of the tour in one box, and the second half of the tour in another box. Secondly, they are selling unlimited digital downloads. This will diminish demand for the box and leave those who like limited editions and those who want the book and replica tickets. The good news is that if they can sell this out in two days, all those clamoring for '90s releases will get their wish going forward.
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Just curious as to your thoughts, but I thought the mix on the first Spring '90 box set was weak. I find this odd since "Without A Net" is one of the best live recordings I think I've ever heard, and these releases are culled from the same material. When I go back and listen to these shows, I prefer Healy's soundboard mix over the official releases. They're warmer, better balanced and not nearly as harsh and tinny. Jerry is more up front (vocals and guitar), each band member's placement in the mix is reflective of their position on stage, just the right amount of reverb to make it feel alive. I don't know, maybe I'm crazy. These releases have been normalized, so they're definitely louder but lack dynamic range. Anyhow, I'd like to hear what others are thinking about the way these "recent" shows are being mixed down. For me, I'm opting out and sticking with my SBD -> CASS -> DAT -> CD, I think they're mixed better. Chime in. JWB
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Spring '90 Volume One is from the two-track tapes that were mixed live by Cutler. Volume Two is mixed by Norman from the 24 track tapes. There should be little comparison in terms of the quality between Vol 1 and 2. Without A Net is mixed from the multi-track tapes, just like Volume 2 is.
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I didn't get the first volume since I wasn't thrilled with the sound. It's good to know this will sound different.
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I am in - VERY EXCITED, don't really care what the next DAP is at this point just got 8 shows of my favorite dead era - Space Bro I am sure is happy as a pig in Sh#t right now! I used my debit card and the charge is on there now, does anyone if they take the funds out now or when it ships?
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This is my favorite Dead and the time period that got my attention. Gonna love hearing it!
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Jayburg, Without a Net was mixed from multi-track tapes. The (first) Spring 1990 box was not. It was mastered from live-to-2-track mixes and it definitely suffers.
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I've never heard half these shows, so its going to be an exciting September in Grateful Dead land! And....there is also a new JGB album coming out from their tour in '78 - with Keith and Donna. Very exciting stuff. Wish the first box set was mastered from the 24 bit analog rather than the 2 channel mix. Can't wait to hear the upgrade!
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sonically speaking, of course, we all know it kills...anyways... during Jerry's 1st solo you notice the perfect balance between Weir's awesome rhythm playing in the left channel & Garcia in the right, playing his usual groovin' subtle, envelope-filtery tone solo... (the drums & keys ARE NOT OBNOXIOUSLY LOUD like the Boxset 90 #1 mixes are...) Brent kinda floats in the middle, as does Branford, who when he re-enters, he sounds amazing, mixed loud, i'd say, but not too loud, as he mimics the lines Brent is playing... sooooooo freakin good... Lesh right in the pocket, could even be a tad louder (NOT complaining) AND, you can almost feel the nod Branford gave to Jerry as he ends his solo & Garcia starts right into his... or maybe Jer shot him a look sayin " yo, it's my turn!" hehehe... Brian (& others who were there) could you see the stage?? great stuff, an early b-day gift... @ Deuce, debit card, cash gone immediately, holmes... sorry to be tbobn... btw, i'm a diehard Rangers fan, but 2 of my ALLTIME FAVOURITE players are: Ray Bourque & Cam Neely gotta say, i'd love to have Milan Lulic on my Rangers, as well... ♤
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11 years 4 months
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I ordered up a copy at about 12:30pm mountain time and then checked my account about a half hour later and it's already been taken. Bought & paid for.....now the happy wait. :) re:shipping-$14.95 isn't too bad for something that's probabaly gonna be pretty heavy,book rate style ya know?
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13 years 1 month
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..Thanks for correcting my dumbassness folks! "I see" said the blindman! Anyway I just picked up this set. Looks great! I broke out Terrapin Ltd. and 4/2 this past weekend so this tour is still in my rotation. Hartford(3/19) and Albany(3/26) were my first shows so this tour is special for me. I remember the cold, snow and ice on those days, so much for "Spring 90!" Dave's 11 and JGB will keep us entertained until this gem arrives! Take care folks! ;)
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12 years 7 months
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Interesting set. I'm on the fence. I've been buying these for a while and have no problem dropping $100 on it but the $239 will fry wife (I just bought a road bike and have to lay low for a bit...) and am not 100% sure I'd be into this one that much, based on the Estimated Demo. It's interested but extra syncopated. If I only have two days, it's not gonna happen anyway as I have to pack and clean the house and fly to Oklahoma after 1/2 day @ work tomorrow and will be at my cousin's lakehouse which, according to Mrs, has sketchy internet, which would usually be cool... Hmm, there about 8:40, it sounds better, along with grabbing headphones instead of my suckazz laptop speakers. Hmmm indeed....
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15 years 4 months
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Whilst I see many comments regarding the cost as well as the shipping, I don't see any recognizing this item as a collectible and everything that goes with collectibles...the good, the bad, etc.It was and is meant to be an appreciable (in every way) artifact. Thoughts?
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17 years 6 months
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That makes sense, I guess I just assumed that the 1st box set was from the 24 track tapes. Without a Net is beautiful, Dozin' is right up there with it. So why does the Warlocks box set suffer? According to the notes, it was mixed from the multi-track. Maybe my expectations are too high. Thanks for the response.
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15 years 9 months
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it's great to see all the chatter. love the action here. there has not been a buzzz like this for a while.. i,m feelin' it ! love to all the familiar names i have not seen lately ..
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17 years 6 months
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Personally, Spring 1990 (#1) was the best box set released, as far as presentation, etc. They do a great job as far as Europe 72, May 77, Warlocks.. but Spring 1990, to me, is a family heirloom. My son will get it one day, along with the early pre-order poster. I can't wait to get this one, and the early poster as well. It will sell out, and appreciate. The Europe 72 box had individual releases, a music only option.. and yet the trunk still sells between 700 and 1000 often. It's that collectible. This one looks beautiful, and I will treasure it always... It may only get a few listens, but hey, I am a completist, and I love my collection. It's my connection to the band now that they're gone (not counting ratdog, further, pl&f, etc). This is gonna be SWEET. 24 track masters, great book, great add-ons, great packaging... I'm all over it. I was on this tour, and it shaped my life. I loved the 3/29/90 show... It was magic. I've seen the video someone posted on youtube, at least a dozen times. I've owned an audience tape, burned to cd-r, for years... but I can't WAIT to get this. THANK YOU DAVE LEMIEUX!
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15 years 8 months
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blah. i still can't get the hang of the way these comments work. i was trying to reply to someone else's comment
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15 years 8 months
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I've been a Dead fan since 1965. I ordered this... then checked and canceled. If I had not already purchased the previous spring 1990 set, or if it had not previously been released, things would be different. Even if it is a new mix, it is not worth $250 for one new show. This should have been clearer in the email blast. When they start re-re-re-releasing the same material, at some point it is just crass commercialization... I would love to see the show I don't have released separately, and I would happily buy it in a minute.
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15 years 8 months
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I've been a Dead fan since 1965. I ordered this... then checked and canceled. If I had not already purchased the previous spring 1990 set, or if it had not previously been released, things would be different. Even if it is a new mix, it is not worth $250 for one new show. This should have been clearer in the email blast. When they start re-re-re-releasing the same material, at some point it is just crass commercialization... I would love to see the show I don't have released separately, and I would happily buy it in a minute.
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17 years 6 months
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This A*hole gives the rest of us who sell on ebay a bad name. http://www.ebay.com/itm/GRATEFUL-DEAD-SPRING-1990-THE-OTHER-ONE-8-SHOWS… Whoever this is, should be ashamed of themselves. I think it WILL appreciate to $399. But to post it for sale at that now, when it's available direct... is a disgusting act of in-human non-decency. This guy is as bad as springfromnight1989.
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17 years 3 months
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Hmmm...I can't get "Estimated" to play on Rolling Stone. All I see is the soundcloud icon, and nothing happens when I click on it. Any tips?
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17 years 6 months
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I don't understand what you mean....The shows aren't the same. They're from the same run, but no shows are duplicated. For example, 3/30/90 was on Spring box #1. Spring Box #2 has 3/28/90 and 3/29/90. Also, Spring 1990 (#1) had Copps at 3/22/90. This one has 3/21/90. Spring box #1 was basically the closing night of each run/city. This is the other nights... Spring 1990 was a different mix, different masters. This is the 24 track of the other nights.... not the same nights. Why do you say it's a re-release? Check again.

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10 years 7 months
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I decided to buy the Wake Up single show and then Dozin at the Knick CD rather than buy this new set. I have the 2CD set So Glad You Made It from the first box, and with the 2 above mentioned discs, I felt this would be a good collection from the period. The box with shipping is just more than I can dish out at the moment. Looks like a cool package with lots of good selections and coming from the 24 track source promises good sound. But I looked at some of the assessments and choose this route. Still looking for Daves 11 as I am a subscriber and plan to be in 2015 as well. Hope the vast majority are digging the news and are looking forward to all the new tunes soon to be with us.
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11 years 4 months
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I was wondering how fast it would show up with the "scalpers". I checked Amazon just outta curiosity at around 3 this afternoon and saw nothing yet and was actually happily surprised.But yeah,you're right,it is disgusting.
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17 years 6 months
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Scalpers is an accurate description here for this guy.I sometimes take offense when people bash everyone who sells on ebay, b/c I feel I do it fairly and I've helped a lot of people out. But this is beyond indecent. Can I suggest we all "contact buyer" on this guy and tell him he's disgusting? :-) Like I said, I think this WILL eventually sell for $399. It will sell out, it will be worth it. But this is just.. I dunno. I can't even believe I'm seeing it.
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10 years 8 months
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Debated in my head for a few hours and just placed my order. I was at the 3-29-90 and all the hartford shows, knick too. Brianhahane....thanks for posting that some jerk is already price gouging this on e-bay. That made me jump on it now. ....also its not only one new show! Tomorrow i hope for dap11 announcement.
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13 years 7 months
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Ok, I gotta admit they got me with the "mixed from multi-track" promise. Here's hoping they gave JN the full mixing budget he deserves. (I'm still sore over the E72 box rush.) We shall see... I celebrated with a blast of PITB>China Doll>UJB>Terrapin from 3/30/90, which actually sounds pretty good for live-to-2-track. And a big thanks for the standalone release of 3/29/90. Not everyone has the disposable dinero for the whole box and accoutrements, and it would have been cruel to hold that hostage as box-only. Maybe not the best move business-wise, but a bone for the masses.
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