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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...
Listening party fun
Had a nice time listening to the party but still not sold on 90's Dead. The mix is solid, but just can't get past the non organic midi sound. The Drums are just not there and the entire sound is just too digital for my tastes, get the fact that Bobby thinks this was a great period for the band as they all sound engaged and into it, but the sound does nothing for me. Not a hater of those that enjoy it and am really excited about the enjoyment lots will get from this release. I do find it ironic though that having seen the and followed many of the band projects the last number of years they have all gone back to the tube amp sound from the earlier years and stayed far away from the midi sound that the 90's were. They have also been very vocal about returning to that sound, including Bobby that is so fond of the 90's era. Again not trying to debate the eras, but has to kinda make you think if this stuff was so good, why do they not play it? Have fun folks that enjoy it, but simply don't agree with some that state all Dead is Grate. All Grate might be better than a lot of other stuff, by other bands, but there was a lot of music from that 90's era that was a lot more enjoyable than this sound for my tastes.
Listening party fun
Had a nice time listening to the party but still not sold on 90's Dead. The mix is solid, but just can't get past the non organic midi sound. The Drums are just not there and the entire sound is just too digital for my tastes, get the fact that Bobby thinks this was a great period for the band as they all sound engaged and into it, but the sound does nothing for me. Not a hater of those that enjoy it and am really excited about the enjoyment lots will get from this release. I do find it ironic though that having seen the and followed many of the band projects the last number of years they have all gone back to the tube amp sound from the earlier years and stayed far away from the midi sound that the 90's were. They have also been very vocal about returning to that sound, including Bobby that is so fond of the 90's era. Again not trying to debate the eras, but has to kinda make you think if this stuff was so good, why do they not play it? Have fun folks that enjoy it, but simply don't agree with some that state all Dead is Grate. All Grate might be better than a lot of other stuff, by other bands, but there was a lot of music from that 90's era that was a lot more enjoyable than this sound for my tastes.
SanFranWanabe
I hear what you are saying on the MIDI but that's what we're hearing now, and what you and whoever else heard live back then...it might take away from your experience then and now at that's totally fine but the interaction between the band was still there, the energy, the excitement. I'm sure you can imagine how good these shows would have been if they had used the organic instruments/equipment of the past. But its impossible to know how much Bobby was enjoying it at the time and the memories he has from it, regardless of the equipment used.
Hear ya mustin
Not tryin to debate what the band or Bobby were feeling at the time. They were obviously in a good place and enjoying the music they were playing. I can feel that and get the fact they were moving in a great direction. The energy is not in question, it's just that that sound simply doesn't get me excited. If they had played with equip and the quality of sound they had earlier I'm sure I would love this, but the Casio digi sound, that lacks bottom and thick sound seems processed or computerized to me. In my view this was a real down time for a lot of music from this time period and one that has thankfully been left behind for most bands. If anything, it's exciting to hear a lot of music moving backwards to a much richer analog style of music. Caught Bobby and RatDog a month or so back and their sound was,a,step back in time and light years better than the 90's sound to my ears. Nothing against those that enjoy the new release, but it simply doesn't sustain my interest after a short time.
Garcia's Rig Rundown
Found an interesting sight with a chronology of Jerry's gear.
According to... http://wald-electronics.com/preampmods.html
...Jerry played Fender Twin Reverbs for pre amps and Mcintosh tube power amps to drive JBL's through most of his career. He stuck with the Twins until '93 where he switched to a analogue and digital set-up using a Groove Tubes Trio preamp into a Tube Reverb direct into the soundboard but still used Mcintosh tube power amps to drive JBLs.
Technically, Garcia was using an analogue system at the time of the Spring '90 tour, even though he had digital effects boxes.
I think that by the time of the Spring '90 tour, the band members had a better grasp at utilizing the MIDI sounds. Some of my favorite Garcia guitar tones from this era can be heard on the Atlanta shows from this tour in particular where he would use his classic single coil tones with a subtle hint of MIDI flute at times and Synth at other times mixed in. Probably most noticeable from the 4/3/90 show in particular.
Speaking of which, I think when more people hear 4/3/90 who may not be particularly familiar with it, they will be pleasantly surprised that this a true giant performance amongst giant performances. Right out of the gate, the Shakedown>Bucket>Sugaree opener alone is worth the price of admission. From a nice funky jammie groove, into a spirited rocker then into a Sugaree that for several minutes, features a rare quintet version of the band with Billy stepping off the drums to change his shirt or something. It was a "Mickey and the Hartbeats" moment. Every song in this show is played to perfection and would have made a great stand alone release.
@SanFranWanabee
> there was a lot of music from that 90's era that was a lot more enjoyable than this sound for my tastes.
Hey now, I would sincerely appreciate seeing a list of your top 10 or 20 musical artists that you dig more than the above mentioned era. I do not mean to put you on the spot here on the board to give others a chance to disparage your tastes -- I am genuinely interested in finding new music to love. If you don't want to post here, feel free to send me a PM!
Peace,
Neb
Space are we communicating?
Space, not sure your post was a response to mine? Thanks for the history of Jerry's rig if it was, if so, let me respond. Never been to interested in stats, as they are usually easily manipulated. If your point of Jerry using tubes thru out his career didn't effect the sound it's missing the mark as his sound changed dramatically. The point of him a better grasp of midi might be valid, but the midi grasp is the problem. Grasp or no grasp, it wasn't a good sound for my tastes. I know you enjoy this era and am happy for you, myself, I have a hard time truly getting excited after Keith and Donna. Having grown up in that era might have something to do with it, but the key for me is getting excited. I like some of the later Dead, but it doesn't excite me. Get the fact that there a lot of folks that caught the band latter on and they were excited. Happy that was the case. Have heard a number of releases from live shows that I caught and upon reflection really wasn't that interesting years later. We are all lucky that the Dead were able to excite fans for so many years and generations. There's not many groups that are able to pull that off.
Space
Thanks for the info on 4/3/90. I've never heard this show. Shakedown Street & Sugaree are two of my favorites and now you got me more pumped up. I know this is the Tour closer but I've heard Dave say several times that when the band played a really good show, there was a good chance they would end with "we bid you goodnight." And if I'm correct, this is only one of the tour. And only 1 of 2 Sugaree's and Shakedown's. Its amazing how mixed up these shows are. That's actually what got me on board with the first box at a time when I was really broke.
I agree with Bob and Spacebrother
The mix and sound quality is Stellar !!! The band was at a new peak. For those who experienced this era live, in person, the tour PA was in a class all by itself. The Autzen Stadium shows I saw later that year were mind bending. Can't wait to crank all those Drumspaces !!!
Excitement
Having had my first experiences with Grateful Dead in the late 70s, I would not equate my excitement to Keith and Donna. They were the least exciting elements for me. 1978 in particular gets me yawning. Again just an opinion here. Good thing there is something for every Deadhead to get excited about. Some can't get past Tom or Pigpen.For me, I like it all. I get excited about a lot.
Especially Late era live Grateful Dead in all its 24 track glory !!!
Midi
I'm with you SanFran though my era of shows was 85-94. I've beaten to death how badly I think the midi and digital guitar sounds have aged. I compared it to the mullet. Perhaps a good idea at the time, but now something else. And yes thankfully all the Dead offshoots have gone back to the warm natural sounding amps. And also natural sounding keyboards. I noticed on box 1 how bad Bobby's guitar effect killed UJB on 3/30/90. I am sure back then at the show I did not notice it. Since then I've been spoiled by all the 71-78 releases. Thankfully those midi sounds do not dominate the entire late era shows. The truckin to Buffalo video first set makes me smile seeing how much fun jerry is having just straight out rocking. I am still definitely excited for this box and yes the 90's was the last great rock era. A plethora of great bands from Nirvana to dinosaur jr to smashing pumpkins to meat puppets to pixies to ween to Tortoise to Black Crowes to Phish to Blur. I could go on and on.
More
Great post Space on the jerry gear. I would never have thought he was still using tube amps. Also I would be remiss in not mentioning how truly great was the interaction between the band in 89-90. Despite adding some processed sound tones, the energy and professionalism was top notch. Those 2 years never disappointed me.
4/3/90
Thanks for the recommendation, Spacebrother. I'm happy to hear that this was, indeed, a monster of a show. I scanned through the set lists of all the shows and this one definitely caught my eye. Hey, it's got three of my favorite songs in "Shakedown," "Estimated," and "Scarlet." I am hoping, hoping, hoping that the "Powers That Be" decide to break open some boxes and sell individual shows (a la Europe '72) and/or allow for downloads of individual shows.
MIDI
I can do without it.
The song that got killed the most, in my opinion, was The Other One. This song was a psychedelic hurricane for 20 years, but by the mid-80s it got progressively shorter and shorter. Leads that were formerly played by Jerry came from Brent's keys.
But worst of all were Jerry's "trumpet" sounds.
midi, etc..
I have long equated the change in the band's overall sound to Jerry's switch from Tiger to Rosebud in Fall 1989. Rosebud was set up out of the gate for the midi technology and that is when Jerry really started utilizing it. As reijo posted, watch Truckin' Up To Buffalo or Downhill From Here and Jerry almost always has an organic guitar sound, not a digitized flute or trumpet. Compare the sound of those shows or Crimson, White and Indigo to the Hampton 89 box.
The setlists look great on this box, but I did the listening party and the digital sound just doesn't do it for me. In particular, Spacebrother, that Shakedown/Bucket/Sugaree caught my eye, too. Dave needs to pick out a solid Shakedown show for one of his upcoming releases. I am happy many will enjoy this, so enjoy.
My two cents on the eTree issue-- I have no problem with the band restricting soundboard access, especially for shows they are releasing. It is business and these guys need to protect their assets-- and the vault is an asset for them. They don't owe us a darn thing-- they played amazing concerts that we enjoyed for many years, they can do with their music as they please.
Midi
I like the fact that they were willing to experiment with a new box of paints. Push forward and try the technology of the day. I admit I dig it when used properly. That was really the dawn of Midi and everyone was getting used to it...Sometimes your the pigeon, other times your the statue.
MIDI
I always liked the MIDI and considered it one of the saving graces of the latter years. It's hard for me to listen to 80's Dead without making comparisons to 70's Dead. The sound was colder, the jams shorter, and usually less inspired (IMO). The MIDI adds another dimension that makes it exciting for me. Jerry seemed to really be having fun with it. He seemed to love making different sounds. Look how successful his banjo and pedal steel excursions were. I do sorta agree that MIDI sucks, in general, but hearing Garcia and the Dead do it is another matter. Some songs, like "Blow Away", I wouldn't be interested in at all, except for the MIDI Jerry played. You gotta admit he had a knack for it.
Mix, MIDI
Interesting comments about the people not into 1990 and specifically the MIDI. I love the MIDI. I think it has aged fine - sounds contemporary and "right now" for me. (I think the only time MIDI did not work for me was Vince's hideous "Sax" part on Estimated Prophet. Ruined that song for me every single time. )
Part of what made the group so endlessly fascinating was the change in sound, literally with each year, sometimes each tour.
One note about the mixes for these releases. Interesting decision to go back and remix the shows based on the 24 track masters vs. the first 90 box which was just mastering the mobile truck tapes that were mixed on the fly while recording the shows.
In this way they are offering truly "new" versions of 3/29/90 and some of the other shows. Good move from a marketing perspective. So many people have the "truck tape" mixes of 3/29 and 3/30 etc.
Landover 3/15/90
I suspect the audio for this package sounds like that of the Terrapin Station 3/15/90 Landover "limited edition" CD set released years ago. I find that release clear and bright, but a bit thin, especially on the lower registers. Not too dissimilar from Road Trips, Sept 90, V.2,N. 1. Jerry's playing well on both, but his voice is weak and a bit buried in the mix.
Suspect
There is no reason to assume the mix, sound and mastering will sound like Terrapin Limited. This new box was mixed at TRI Studios, and mastered with an entirely different process. Spring 1990 (The Other One) is a labor of love for Jeff.This release will prove to be one of the finest SQ. releases for Grateful Dead.
Give the Listening Party a go.
Purchase some audiophile stereo gear, then buy the box.
While you still can.
Un Momento; Back to Midi
Just checked out RFK 6-14-91 View from the Vault and that Help>Slip>Frank>Estimated>Dark Star is a good example of some tasty Midi....as such.
listening party
Mid way through Wharf Rat, wow!! I think I understand Bobby's crackling best remark
S'90 (TOO) Sampler
There are a bunch of different songs than the listening party to preview here, and also one from each show. ---> http://on.beatsmusic.com/albums/al108451641
Nassau 28th
Was at this show and the Cumberland was a smoker.....followed by the Weight and when the first few notes of that song started the place went bananas..and when phil sang his verse the crowd erupted again. A great time indeed
random musings about
Dave's prior statement/tease about big plans for 50th Anniver. year. I would like to see a great unreleased show from each year of the band's history along with appropriate documentation of the year, venue, scene, etc. and maybe some of those ever-entertaining essays by some of our Dead scribes. I kiddingly posted a few days ago in the Dave Pick thread about a mammoth box with one show from each tour over the entire history plus the 1975 unreleased hiatus shows. Fun to speculate. What are you'all thinking of?
50th Speculation
I work at a local record shop, boss loves GD as well. We've been talking a lot about the 50th and what we are gonna see from TPTB. I'm thinking some sort of reunion tour will be the big thing. Bobby already said he wants to "bury the hatchet" and I really think a tour of some sort with Bob, Phil, Bill, Mickey, and Donna or some collaboration of these nice folks would be very cool. As far as releases go I mean what can they really do that would be new for us fans? Dave's Picks will continue. I think we will see a couple thousand more next year instead of just a thousand more copies. The demand will be there. But what else? Cow Palace is coming out on vinyl in September or October. All the Dick's Picks are already being given the vinyl treatment and they have also re-released about half of the Dick's Picks on CD. We'll get our yearly box set too of course. So what else is there that they can do to surprise dead fans? A second box set next year? I know there are lots of shows in the vault so how they are going to go about deciding what to release for the 50th should be very interesting!
I hope everyone has a grate weekend. Happy Friday and Happy Birthday Jerry!
50th
I'm aware of what already exists for documentaries on the band. Given the amount of history, size of the fan base, etc., I'm very surprised there hasn't been a Ken Burns-esque documentary on the band. If you look at all the different eras, highs lows ups downs this thing easily could be three hours plus. Where is it?
Books & Tull
As I have posted before, check out abebooks.com, a used book seller. Most of the books that have been mentioned here can be had there for $4.00 or less, including shipping. I use them all the time. Sometimes the book you get is brand new. I have never bought one that was in really rough shape.Another good read one is Skeleton Key by David Shenk. Lots of fun for us Heads.
In the autumn of '72 we made our way up to the Buffalo Memorial Aud to see Tull. Ian Anderson told us all to get comfortable as the first song was rather long. They then proceeded to play Thick As A Brick in its entirety! Talk about awesome. Several months later we went back and I saw my first Dead show with NRPS opening. Needless to say, I have VERY fond memories of the old Aud.
Rock on
50th anniv reunion - JK vs Warren
I hadn't thought of bringing Donna and TC back in for any 50th reunion - would be cool if it were to happen. But the I think the biggest obstacle to a reunion is the Jerry slot. Bill Kreutzman has stated very publicly that his disdain for Kadlecik/Furthur In 2010: “I haven’t really got much interest in them. They [Furthur] sound just like the other bands out there doing it. What do you call those bands that copy other bands—” Kreutzmann said. “Anyways, I don’t feel they’re doing anything really new with their music.”Kreutzmann went on to say, “The saddest thing is that they (Furthur) hired a guitar player that’s not Warren Haynes. It’s too bad. They should have hired a great solo guitar player.” DOH!!! Down goes Frazier!!!
However Bobby and Phil have indicated they think JK is the closest to the "real thing". And I completely agree - I think it;s no contest. Although Warren has great tone and presence overall, I never was sold on him in the Jerry slot - saw them many times. In general, his stye and approach are different from Jerry's style - he plays quick bluesy riffs with pregnant pauses everywhere, or he glues riffs together, whereas JK just flows like a stream of consciousness. It's just no contest - JK is hands down the guy who makes them sound like the Grateful Dead. Anyone who's seen JK live knows he's the guy that makes them sound like the Grateful Dead, whereas with Warren they sound good but it's not really Grateful Dead - they sound like what they are: members of the GD jamming with a guy from the Allman Brothers. No disrespect to Warren, but he just doesn't do it for me with these songs.
So I think the lead guitar slot would be a major point of contention. If they do a reunion, I do hope they give it to JK and not Warren, but it sure would be hard for JK to walk into a rehearsal with Billy having read the above quote!!!! And Billy can be a real gruff dude - awkward….. Given Warren seems to be on great terms with everybody, I think Vegas is putting their bets on Warren in any reunion, which would be a missed opportunity IMO.
Other considerations are the Drums/Space slot which I think Phil and Bobby didn't want in Furthur, though for a reunion you kinda have to do D/S.
Warrens a better fit in my
Warrens a better fit in my estimation. Soulful comes to mind. Kadlecik does sound like a guy desperately trying to reproduce jerry's licks. Warren rears back and let's it flow. Kreutzman's right on.
Warren, JK & 50th
I tend to agree with Thin -- bet on Warren -- but JK fits better.
Something that I have dreamed of since Furthur's rise is Billy and Mickey joining Russo for a three-man drum-percussion line-up. Now that would be fantastic. Of course there would be Drums-Space.
With Billy's, comments in mind, however, I would not bet on it.
Ahhh to dream . . ..
Flowing guitars
While JK's stock and trade with DSO was reproducing Jerry, with Furthur, however, Jk does have Jerry's tone, he put his own stamp on it. Meaning JK is not simply aping Jerry, but rather, he sounds tonally like Jerry yet brings in his own notes or notes of other influence.
When Warren plays with The Dead his guitar tone is Jerryesque as well but it sounds more effort-full compared to JK.
I love Warren, seriously, and he would probably edge out JK if rated by other guitar players.
Warren with The Dead will be fine either way. One small criticism, however, when you had the three man guitar line-up Bob, Warren and Jimmy H, it made me miss Jerry more. Why? It seemed like there was less lead guitar virtuoso despite there being three guitars. I wondered about that and thought that Jimmy H and Warren avoided, perhaps, 'upstaging' each other with who has got the most powerful lead solo. Still I enjoyed the shows back then.
JK WH
I have always felt that JK fit in and doesn't have to try very hard
(The Furthur shows I saw were awesome and I think he has his own style that is not a replacement but a good fit)
whereas Warren Haynes always seems very stiff, and like he had to try very hard not to sound like an allman bros southern blues man. Like others have said Hope for Jon, but expect Warren. Really just seeing BOB-PHIL-BILL-MICKEY-Tom Constanten together would be the best, and if they get Donna in there it would be even better. Hopefully Robert hunter decides to stop by some West Coast spots as well.
50th
Please, no Warren or Donna or Jimmy. Bring back Tom and Bruce too. Agree with Thin, JK's my pick too. Jeff Matheson now playing with DSO is also very good at channeling Jerry. But I believe that Billy will come along for one more tour, there's just too much history between these guys not to do it once more. Could be their last opportunity.
The Jerry Collective....
...thread on this site has some eye-watering posts. The Days Between indeed. Too bad it's Facebook posts only. (I don't FB). I miss him more every year....that smirk is ingrained in my conscienceness for all time. A great man, who fought his demons, and unfortunately, lost the battle. I still admire him. I've fought my demons too...as have some/all of us....If your cup is full, may it be again...
Here comes the rain....
Gents, as long as you conceive of a reunion tour with someone in the "Jerry slot," it's going to collapse under its own weight. No one ever has filled that "slot," no one ever will. In fact, it would be a disservice to the music to go out and do what's been done before.
Should the remaining members get together, I'd like to see them select very carefully from the GD songbook and rework the music so it's not a rehash. Do something new and different. Forget the old format of first set, second set, space, etc. Geez, that ran outta gas 25 years ago. A blend of acoustic/electric, with Robert Hunter singing Jer's songs, would bring me out to the ballgame.
Get two guitarists who know when to step out and when not to play and be creative with the choices. We've heard Warren, Jimmy and JK in this context and that's just plain old. Anyone who has Jer's tone or style should be off the list. Get someone young and different and pair him with an established player, like Kimock.
A reunion tour, in fact, sounds like a horrible idea. Just because "50" is a magic number?
I'm positive it's a negative. Lay the real thing on us from the vault. Unless they have ideas for making something old into something new.
50th Speculation
The Band and Rhino seem to be doing a lot with Beats Music/Apple lately (Spring 1990:TOO compilation and the compilation for Jerry's b-day).
I'm thinking something more may be in the works? All the official releases available for streaming perhaps? Or the vault open for streaming?
Yes??
Hey bro, I was expecting darts and they may still come. But thanks for your open mind.
To take it one step, uh, further, why not do an electric/acoustic thing in select theaters and forget the big electric hoo-haa with mass numbers of people.
Put my man Bob Hunter on Jer's tunes and let him earn some $$ while putting the finishing touches on the live legacy. They can do more harmonizing if the volume is lower. We've all absorbed the big electric blow-outs. Why not go out with acoustic harmonies blazing?!
Move Me Brightly
Bob Weir's TRI Studios is streaming Jerry's 70th Birthday Celebration "Move Me Brightly".http://www.tristudios.com/watch
Airs every night August 1- August 9 at 7PM Pacific/10PM Eastern
Disappointed with Warren playing Garcia Symphonic
I was disappointed with Warren playing Garcia Symphonic this winter. He had Wolf with him, but did not let him run wild. Thought he slowed down the Boston Symphony Orchestra, figured it might be the other way around...
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