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"When we began discussing audio projects to commemorate the 50th anniversary of the Grateful Dead back in 2012, we knew we wanted to do something completely unprecedented. We could think of nothing more exciting or ambitious than a career-spanning overview of the band's live legacy focused on what best tells the story: complete concerts. Our first criterion was the very best live music to represent any given year in the band’s history. We wanted to make sure that there were not only the tent-pole shows that fans have been demanding for decades but also ones that are slightly more under the radar, but equally excellent. For those who listen to the entire box straight through, chronologically, the narrative of the Grateful Dead's live legacy will be seen as second to none in the pantheon of music history." - David Lemieux
We are more than pleased to announce the Grateful Dead's most ambitious release ever: 30 TRIPS AROUND THE SUN. Available as both an 80-disc boxed set and a custom lightning-bolt USB drive, the collection includes 30 unreleased live shows, one for each year the band was together from 1966 to 1995, along with one track from their earliest recording sessions in 1965. Packed with over 73 hours of music, both the boxed set and the USB drive will be individually numbered limited editions.
The 80-disc boxed set is individually numbered and limited to 6,500 copies, a nod to the band’s formation in 1965. Along with the CDs, it also includes a gold-colored 7-inch vinyl single which bookends the band’s career. The A-side is “Caution (Do Not Stop On Tracks)” from the band’s earliest recording session in 1965 with the B-side of the last song the band ever performed together live, “Box Of Rain” recorded during their final encore at Soldier Field in Chicago on July 9, 1995.
The box also comes with a 288-page book that features an extensive, career-spanning essay written by Nick Meriwether, who oversees the Dead archives at the University of California, Santa Cruz, along with special remembrances of the band submitted by fans. Also included is a scroll that offers a visual representation of how the band’s live repertoire has evolved through the years.
The USB drive version* will be shaped like a gold lightning bolt with the Grateful Dead 50th anniversary logo engraved on the side. The drive includes all of the music from the collection in both FLAC (96/24) and MP3 formats and is an individually numbered limited edition of 1,000 copies. Digital version of the book also included on USB.
Shows will NOT be sold individually on CD. This release is sure to sell out quickly so pre-order your copy today and stick around as we will be revealing a mighty fine selection of music, art, and much, much more right here.
(Looking for a smaller 50th Anniversary commemorative keepsake? September 18th will see the release of a four-CD version of the collection titled 30 TRIPS AROUND THE SUN: THE DEFINITIVE LIVE STORY 1965-1995. More on that here.)
ROLLINGSTONE.COM SONG PREMIERE AND EXCLUSIVE DAVID LEMIEUX INTERVIEW
Head on over to Rollingstone.com for the very first listen of "Morning Dew" 9/18/87 Madison Square Garden, David Fricke's exclusive interview with archivist David Lemieux, and the reveal of 30 TRIPS AROUND THE SUN's '69 and '84 shows.
*Helpful hints for using your USB:
Running the 30 Trips Player / Reader program:
On Windows – Navigate to the USB drive and double click the PCStart.exe file to run.
On MacOS – Open the GD 30 Trips drive, and double click the MacStart to run.
Viewing the digital book:
You can either view it within the program that comes on the drive, or by opening the PDF directly.
To view the PDF, open the PDF folder on the drive and the USB_bk_spreads_08-31 file within. Selecting the option within your PDF reading application to view as a “single page” might be preferable to viewing as a continuous document.
Importing music into iTunes and other library programs:
When you import the songs from the USB into your library, the information used to identify the track will likely leave them sorted incorrectly. Please use the song list found here to re-number the songs for each show so that they playback in the correct order.
PDF
Text
Yup. God bless the tapers!
The tapers. . ... There should be a memorial for the tapers. . .. Their names etched in granite.
The SBD & Matix makers should be on it too.
Thank you all for your work and kindness.
Not sure about digital
Not seeing the value. Same price but no packaging or buy the box make your own mp3s and have both. Digital shouldn't be more than 150.00 and that would be all profit
Deal....
....as I enjoy Bill's book, I really enjoy how he brings up YouTube videos at random times that coincide with the events on the page. It's like an audio companion. Nice. And I finally know what Bolo means!....not gonna talk about free vs paid music. Old topic. Move on....
6 of 30 Trips
Actually 6 of 14, cause you can’t really count the years before or after you were (1977-91’) seeing shows. I had a good friend who always would catch the “beast show”. We would be on the entire tour, and Frank would drop in for a 2 or 3 night run, Worchester & Augusta come to mind and he would see the best show of the tour. I did manage to drag him to a few far away shows, Summer 84’ using the adage “it’s closer to the next the next show then going back home” and caught Indy, which is also worthy of being the 84’ show represented in 30-Trips. Can’t argue with Augusta though, it was a wild weekend in Maine. But I digress; Read that someone was at one of the 72’ Waterbury show, who has seen the earliest show? Who has seen the most? I would guess 15 or so would be a very “Deadicated” fan.
@maestro63
The digital files on the USB drive are 24 bit files, so that's why the price is high. CDs are 16 bit. That's all I'm saying. Haha..not trying to argue about what is better.
Archive
"Someone on here inferred that the GD and Rhino were "playing games" and that they should make all the music available and for a fair price. I am merely pointing out that it is ALL available for free."
no sorry but this is untrue and misleading. If you can find complete sbds of everyshow in the box (without cuts, drops, etc) then you can get varying quality recordings of the shows the Dead played on those dates. But the product that is sold on this page is not available on archive. TPTB have made this available at their price, and I don't think any of it should be for free....that's why it isn't....
As for the bootleg vs official, I obviously would rather have the real deal for the upgrades in sound and also to get to hear the shows free of cuts, drops, and other taping malfunctions. Having said that, I would say 85% of what I listen to are bootlegs and I love/appreciate the archive.
Also I don't know if its illegal, but may be as I stated "prohibited".
Playing games
But the MUSIC is, in fact, available FREE! If the sound of what is freely traded out there (I have a copy of everything that circulates, and some of it isn't perfect) isn't good enough for you, fork over the money and get the A+ versions like I did. We have been handed so much, I don't mind the sacrifice. You need to choose between damn good at no cost and damn near perfect for $700. Not bad choices!
@ToddWCorey70
Exactly! I am glad someone understands. Maybe it's a generational thing. I don't know.
Bootlegs vs GDM Releases
I have never seen a hornets nest that I couldn't resist kickin. My apologies to those who don't like the buzzing noise.
My first show was Friday the13th in March '81. I may still have a few blurry photos from mid-floor in a box somewhere. I had a bootleg of the concert "soon" after. I was in awe of the folks who would go to the shows and record. What a lifestyle! What a privilege to be given the opportunity!
I was fortunate to trade for or be given boots from shows I attended that included 09-24-1982, 04-12-1983, 04-17-1984, 06-28-1985, etc.. I am forever thankful to those who could record the concerts and the band for letting them. For years it was all I had. A mirage of a golden moment. I am forever thankful!
But these recordings didn't come for free. Checking around for who had the "best" recording and was willing to trade took time to find and money to record. In the end I think I lost more money in tapes left at keg parties than I paid for the recent Spring 77 Box...but it was money and time well spent!
I view this box set similarly. If you want the good stuff you have to work for it. If that is not in the cards, be thankful that the band is generous to let you have the "free" stuff. But do not ever think that those boots on archive.org were ever free. They are there because of the generosity of the band, those who recorded, and those who painstakingly cleaned up the tapes I left behind at keg parties.
Looking forward to 07-03-1966 release, my birthdate.
Ohhhh, wmh {sigh}
This space is reserved for recycled viscera, diatribes, harangues, proselytizing, bombast, and indignation, as well as our very own home-spun brand of tie-dyed irrationality.
Thus, please take your intelligent editorializing and go home.
Errata-ically yours, Kate
Restraint [or, The Failure Thereof]
Having promised myself not to sample prodigiously from The Box prior to its arrival, I've been drawn by intrigue out of my comfort zone yet again with results that, at this point, could only be called "unexpected" with a large dash of disingenuousness on my part.
As with my review of the Fall 80 shows comprising D/L Series #7 over on The Eleven, Manor Downs is further evidence to my (admittedly Visigothic) tastes that strict denomination of "70's Dead" versus "80's Dead" beginning 1 January 1980 is an entirely specious convention.
Most strikingly, this is a Brent & Jerry show - in that order. The former's employment of a traditional piano sound throughout is a decided departure from the organ and tinkly Fisher Price xylophone play that's drawn the ire of so many Heads.
Early on, check out Jerry's intricate play during the BEW solo at 2:01 - 3:26, which, though not as robust as paradigmatic renditions like 5/14/78, is nonetheless representative of creative and energetic play that, even by 82, is beginning to occur with heretofore unprecedented sporadicity.
Also, listen to the fantastic separation of instruments in the wonderful - if palpably mellow (in comparison to benchmark versions like 6/7/77) - TMNS jam beginning at 3:20 - close, that helps distill not only the excellence of individual performances, but highly responsive group play as well.
Finally, for my favourite run of trax: A strong Scarlet with notable work by JG at 3:52 - 6:22 and a fantastically patient 7 minute outro jam beginning at 6:49 that segues sublimely into an equally fine Fire, then followed by a great Estimated that highlights the effectiveness of Brent's conventional piano sound. There's so much more here, but to close, let me mention the multifaceted brilliance of Eyes - first, intricate work by JG at 2:33 - 4:32, followed by Jerry & Brent positively stoking each other's fires from 5:35 - 8:23, with an outro jam that dissolves in a wind-chimey flurry to a truly remarkable and pure JAZZ jam from 11:40 - close that you'd swear was being led by Keith circa 1974!
https://archive.org/details/gd1982-07-31.112575.sbd.LATVALA.GEMS.flac16
peace, K
Rather than....
....take a peek at the 30 Trips shows, I prefer to dive into the neighbors. 8.1.82 is interesting. Jerry's 40th birthday at the Zoo Amphitheater does not embellish his landmark, but rather underscores it. Three Jer tunes in the second set. Iko, The Wheel and Black Peter (of all songs). That's it. No encore either. This band defies all logic, but that's why they attract me, and many others....that Wheel turns heavily btw....
Yesterday in GDHistory - 6.14.84 - Red Rocks
Debut of Dear Mr Fantasy and a little bit of confusion. Very interesting stuff
Space into Playin reprise is spectacular !!!!
agree Vguy72 neighbors are usually friendly
super friendly neighbor is 5.17.78 killer stuff from Uptown, as always
Mississippi Half-Step Uptown Toodeloo > Franklin's Tower
It Must Have Been The Roses ; Looks Like Rain ; Tennessee Jed
Funiculi Funicula ; Lazy Lightnin > Supplication
Samson And Delilah ; Friend Of The Devil ; Dancing In The Street > Drums > Space > Terrapin Station ; Not Fade Away ; Werewolves Of London
This day...
There's plenty of room for us to post our favorites on each date!
How 'bout April '82...
4/12/82 goes under the radar as my favorite.
Time To Kill......
And a whole lot to look forward to. So if I hear you correctly, and I think I do: Seems to be somewhat of a consensus, the strongest post 78' shows forthcoming in the box are 79', 82-84, and 89-91 (maybe post coma 87-88 as well) People? Am I getting warm. Will probably go chronological order from 66-79, then go from there... Let's don't forget we have Da 15 coming down the tracks. Maybe 76'?
Have a grateful day DeadLand!!!!!!!!
random
Just a few random observations. First time listening to the Manor Downs show, thanks for the link Kate. Sometimes I am just too lazy to browse the archive. Listening to it leaves me wondering why this show was not released over two previous 1982 releases (Alpine Dick's Picks and the Spectrum Road Trips)-- both suffer from poor recordings, very murky sound on those releases.
Weighing in late with my thoughts on Brent. My first show was 1988 and I was a big Brent fan at that time. I was devastated when he died and never took to Vince's sound. I am with other posters who think his death profoundly impacted Jerry and he got back into the junk. He is so happy and healthy looking in summer 1989 and 1990 videos. Jerry wasn't smiling onstage much post-Brent.
I was even a big Brent era fan into the early 2000s, but then GD started releasing more and more primo 1970s material and I had more disposable income to purchase said releases. If given the choice between reaching for a 1972 show or a 1980s show, sorry Brent, Pigpen and Keith win out most of the time. I still appreciate Brent and his contributions, especially that he got them back into the blues. Someone wrote that his songs didn't fit in and I tend to agree. His were deep "woman blues" heartache songs while the rest of the Dead canon focuses on storytelling.
Off topic, but fun nevertheless. On a thread of one of the Dave's Picks there was discussion about drummers-- in particular Keith Moon, Bonham and others. I watched the documentary "Beware of Mr. Baker" about Ginger Baker this weekend, which I highly recommend. Great interviews, especially with Clapton. So, the interviewer asks Clapton about how Baker is frequently compared to Bonham and Moon and Clapton is appalled-- essentially, just no-- those two weren't even in his league. EC cracked me up!! His reaction is priceless. Check that movie out on Netflix.
..Time to Kill is right..
I think we all have had time to digest DaP 14, 3/26/72, but likely not had time to fully digest the pending impact of BoxZilla.
I tend to get through shows in about the same time the band originally performed them, in other words, if I listen to a whole year of shows sequentially (averaging about 82 - 85 shows a year), it takes me the better of a year to listen to them.
So with 80 complete shows in this Box, and knowing that on or about the Fall solstice, a fork lift will drop this puppy on my front doorstep and power tools may or may not be required to penetrate the packaging... I should make the best of my free time this summer because it might be this time next year before I have made it through all these shows.
Imagine what this thread will look like once people start ripping into these shows with a good system and a critical ear? We have almost as many shows here as the entire Dicks Picks series all arriving on the same day. I imagine this page alone will explode with comments, stories, interest and replies. Wow.
Yes, time to kill.. for now.
Road Trips Spectrum 1982
Is one of my favorites from the series and I personally think the sound quality is great.
Re: Beware Mr. Baker
hey, Estimated-Eyes.. I have to second your shout-out to the Ginger Baker documentary. Its really good and I caught the body language in Clapton's reply about his chops vs. Moon and Bonham.
What's perhaps most amazing is, much like Keith Richards, Baker is still alive (albeit a bit loopy).
If you have Netflix, and your still hungry for a good music lesson after Weir's The Other One, check out Beware Mr. Baker. If nothing else, you will be adequately entertained.
..don't be afraid to check out the Levon Helm documentary Not In It For My Health or the Last Waltz either.
Edit: re - mustin' I think the Spectrum '82 sounds better than Alpine '82 also.. but Alpine does seem to sound muddy to my ears.
Re: Mr. Jack Straw and 1988
MJS, great last post. On 1988, while I love 7-3, IMO it may not be the best show of the two night stand in Oxford, the Summer East Coast tour, let alone the entire year.
I think 3-27-88 is probably the consensus show of the year, with 3-31 and 4-1 strong contenders. I am also a fan of 3-17, although start to finish it may not be as strong and I rate it high due to the paint-peeling Scarlet>Fire. Of the summer shows I would certainly rate 6/28 SPAC and 7-2 ahead of 7-3 and possibly 6-30 in the mix at least. I would also not argue with anyone who had 6/28 in the running for show of the year.
7/29 and 7/31 are also very strong shows from 88 that may eclipse 7/3.
All listed are worth a listen if inclined. I know you aren't a huge 80s guy, but that is a good primer IMO on the year's best shows. Fall really can't touch the above spring and summer shows, but there are some enjoyable Spectrum and Cap shows. MSG is a pretty uninspired run.
Archive
This is getting blazed, the guy you replied to said quote "Please stop the games and make the music readily available for a fair price.". He was obviously talking about the music contained in this 30 trips box, on this official 30 trips box Dead.net site page. I have been listening to bootlegs for 25+ years, so if you are "hearing" any negative tone in my writing LOL I assure you theres no inflection in what Ive written. I have most these shows on bootleg as well... am I in the club hahaha. BUt really that guy probably knows about the archive as well and the music contained in this box (Quality, and full/complete shows) is LITERALLY not on the archive. Still listen to cassettes also as my car doesn't have a cd player. Cool how we make assumptions from so little, I for one have found this to be a relatively mild discussion hardly worthy of being called a hornets nest buzzing hahaha.
mustin - I agree, Philly RT
mustin - I agree, Philly RT 1982 sounds very good to me, and it has my favorite Terrapin (I've raved too much about how great Jerry sings on that one, so I'll spare you now).
I've also droned on about the virtues of 1982, which Kate so wonderfully elucidates below. It is the most organic sounding year since the mid-seventies, what with Brent's organ and natural piano sounds. (Though I am among those who like the plinky keys from '79-81). I'm trying not to listen to the Boxzilla shows either, but Kate, you are not helping. Listening to the Scarlet>Fire now.
tmh - your post about what is free? Me like.
Beware of Mr. Baker, I'll second that. And, after that if you need something more uplifting, the documentary about Rush on Netflix is downright inspiring. A rock band that didn't descend into the morass of drugs; delightful nerds who stayed centered.
Archive Question
Does anyone know how to avoid the gaps between tracks on the Archive? Very annoying in the midst of a transition jam...
Thank you in advance brethren and sistren.
@claney
If you mean after downloading and burning to CD, your software should have an option to remove pauses/breaks between tracks when burning. Also, if you are downloading MP3's, there will still be a detectable break, even after removing breaks and especially during a transition. Using FLAC or SHN files, then converting them is your best option. You can download free converting software that is easy to use.
The Terrapin from RT 82
Is one of a pure dynamite. Find a uniqueness about this version with beauty and dark alley particulars. Jerry cradles a fine line throughout.
I find that second disc in general one of great reward. Deep & Althea side by side...c'mon settle back...easy jim.
Brent, 70s vs. 80s, etc.
Been reading much of this discussion with interest. I totally get the people who love Brent to the max (never saw them with Keith, he was my man, etc.) and those who can't stand him (cheesy keyboard sounds, don't like his voice, etc.)
I am firmly in the middle, so I will use my natural role as peacemaker (hahaha) to try to bridge the gap between both extremes, and, with luck, get both sides some understanding. I first saw a live performance of the Dead on TV in '78 when they did SNL. Keith was a non-factor by then, but Donna was dialed into the mix in '77-'78 in a way she NEVER was in the pre-hiatus days. I thought they sounded great, but didn't give them much thought.
Fast forward to '82, and my first Dead show. In those pre-internet days, we didn't get much info on band members, and of course, the Dead pretty much stopped introducing band members after Donna and Keith joined in late '71-early '72. So Brent was known as "new guy" for years - I mean years! - among many of us. The shows I saw, Brent sounded great, but let's be clear here: there is a big difference between the subjective audience experience and the experience of listening objectively to a crisp soundboard. Never noticed "cheesy" keyboard sounds until Touch of Grey was released officially. There's a reason many people prefer those AUD '80s tapes.
So, on the pro-Brent side, I think there are a few things to recommend him: for one, I actually liked his contributions to the band in his first couple years. Easy to Love You and Far From Me are kind of '70s cheese, but honestly, isn't Looks Like Rain? Even Jerry's Love in the Afternoon is hazardously close to that category. As I said, any real cheesy keyboard sounds were not really noticed, at least not by me. And then when Brent switched to the Hammond/B3 type sounds, I thought he was great. His background vocals kicked Jerry into overdrive. Think about how often Jer was grinning at Brent through his tenure...he didn't grin at anyone else like that, not in the '80s, anyway. Also, Brent's tenure coincided with both Jerry's decline AND Bobby's ascendance, so I think he was a good influence on the band musically. He was needed.
However - and here is the anti-Brent side - the cheese factor could sometimes be turned up to a very high level, as has been said already here. I found I Will Take You Home to be a totally non-Dead sound, and a real buzzkill in any setlist. We Can Run is a great message, but horribly delivered. And even Just a Little Light is marginal at best. Also, I have to blame Brent (and the band for letting him do it) for ruining Touch of Grey. Listen to those early versions of Touch in the fall of '82, then switch to an '87 version with that cheesy keyboard part. Execrable.
So those of you who love Brent and feel he's beyond criticism...well, you can easily see that he is at best a divisive figure...but those of you who can't stand him, you have to at least acknowledge that many people found his contributions to be very valuable. And once he was gone, that became much more, even painfully, obvious.
I never saw a '70s show, but I am a '70s guy, when it comes to the Dead. A big part of that is Jerry's decline, especially vocally. But also, the Jerry/Donna harmonies, when they worked, were sublime (or Bobby/Donna, for that matter). Brent did what he could to fill the roles of both Keith (keyboards) and Donna (vocals). Pretty big shoes, really. And just because he couldn't make the '80s model of the Dead better than the '70s model doesn't mean he didn't do a good job.
Fare Thee Wll Shows Santa Clara
Ticketmaster just released some more tix for both shows.Get them now if you are interested
Rock on
shopping cart
the shopping cart trick still works less than 1590 left.
1993
This morning, I found myself listening to the 1993 Expo show in Sacramento, and really enjoyed the show. I also heard the Ornette Coleman show from 93. Those are the only shows I've heard from that era. Is it me, or they sounded pretty good?
Does anybody have lossless versions of shows they like from 1993?
Brent, 70s vs. 80s, etc.
Excellent post. I am in a similar position, my first show was Brent's 6th show and i saw over 100 Brent shows, his keyboards and vocals only got better with age from my point of view in the audience.At the time i just never noticed the cheesey keyboard sound, i was focusing on Jerry and Phil, and first heard it on SBD tapes of the 1981 european tour and hated it.
When you were at the shows it sounded very little like the SBD tapes we have now that allow for microscopic examination of the playing, sound, feel of the music. this was not an option at the show, as for vocals, it was difficult to hear them over the hundred people around you all signing along too and that only got louder as Jerry's voice faded and mumbled through lyrics at the end.
what the band lacked in technical perfection at the time it made up for in spirit and the SBD tapes only capture a small part of what made the late era shows great, because much of the time it was the audience as much as the band.
with that in mind these releases allow the people that were there to hear what they were actually playing and what they missed the first time.
sfrank115,, Buckeye Lake 6.11.93
Check out the 1st set. Some quality stuff goin on with very nice song selection.
Ornette Coleman and The Grateful Dead,, jam on Mardi Gras 2.23.93 very cool to hear.
nuthin could be sweeter
than a stealie on my beemer,crusin 30 trips around,
crankin my crisp new sound,
cuz children i'm here to testify,
shakedown street done been gentrified,
nothin left to do but buy, buy, buy...
2 laughs for the price of 1
Get it while you can. GD tshirt now marked down from last months $14,000 to $6,000!Seller claims to have filled in for Jerry one night when he was so sick that he couldn't finish the show. So I asked him a bunch of questions. Unfortunately, he doesn't remember exactly where, nor does he remember exactly when. He doesn't remember what songs he played either. He chooses not to share his name (probably doesn't remember). Only that i should contact the Grateful Dead as they will surely have the info i'm looking for! Maybe some Q's from other folks will help jog his memory?
http://www.ebay.com/itm/261918408150?_trksid=p2055119.m1438.l2649&ssPag…
Reining in the flock....
....I've been seriously wondering about the national exposure the band is getting recently. I mean, yea, most ordinary American citizens are gonna shrug it off, but some of the darts will hit their targets. Someone out there in the suburbs of Cleveland, or the plains of Wyoming, will eventually click an audio/video link for shits & giggles, then maybe get their attention grabbed. Click another link, then another, then maybe sit back and think, "Who the hell are these guys?" Another joins the flock and talks to their friends, etc, etc....another blossom blooms.
I've said it before....
so I'll annoy ya again.My most favorite New Minglewood comes outta The Swing baby!
2-26-77
Get Some! :)
Spoilers
I for one shan't be previewing any more of the shows from 30 Trips before its glorious heft plonks onto my front porch in Cabbagetown. I made that mistake once already, having innocently clicked on a link in a Thoughts on the Dead post. Before I even knew what was happening, I was deep into Manor Downs '82 and couldn't stop. (Yes, the same show temptress Kate waved in front of us later on.) No, I am saving myself for September. I have plenty to keep me busy in the meantime as I am still writing up S90 TOO and DaP 14 with bonus.
In the official/bootleg debate, I don't see any argument. Each has its virtues (pro mastering and packaging vs. free tunes without frills) and, as always, there is an audience either way. Choose your poison. Although -- I am still burned that JN wasted the opportunity to patch the top of St. Stephen on RT 4.5. No excuse for that.
The Swing Baby!
Love that show! Is it in the vault? Show opens with the very first Terrapin. And it rocks. Fantastic Help/slip/tower. It's all good. To my ears, the boys are playing and singing in perfect harmony throughout. Get ya some indeed!
Sammy T
1Man
I've always admired your virginal fortitude - or is it fortitudinous virginity? Regardless, you're a staunch bulwark against the tide of instant gratification eroding the societal underpinnings of deadicated labour and hard earned pleasures, which rhetoric leads to my next response...
...Vguy - The commercial phenomenon makes for some bizarre episodes...I've a coworker and staunch Red Stater, 20+ yrs my elder, who could scarcely differ more with me philosophically on a categorical range of issues even were our tendencies scripted - and who enjoys a daily headpoke into my tapestry and poster mantled office to comment wryly on whatever show I'm playing that's-symptomatic-of-the-moral-decay-attendant-to-the-end-of-the-Western-world-as-we-know-it (odd how his appearance so frequently coincides w/ Space, with highly predictable reactions from a mere civilian :O (also, credit to REM)).
Anyway, to protract an already painfully long story in the Age of Digital ADHD, last Friday he approached me with an unusual bounce in his step and {gasp} smile on his face while pulling out a WRAPPED copy of the most recently reincarnated GOGD's Greatest Hits (still can't say it with a straight face! - "not that there's anything wrong with it") purchased the previous weekend.
*"A present?", I asked.
*"Nope", he replied with widening Cheshire grin.
*"But you hate the Dead", said I, always a mindful student of history.
*"They've been on FOX, figured I'd check out the fuss", said he (editorial comment: "fuss", really?)
*"Pretty much the same fuss you've heard daily in my office the last few years", countered I, thinking "zing!", while quickly adding in the pregnant pause that followed, "and it's a CD, so you'll have to listen..."
*To which he cryptically replied, "Well, I like the drawing"...
Knowing y'all are following with bated breath, I'll both work on my mastery of a traditional story arc and keep you posted on whether this potential recruit ever makes it through the packaging and past the cover art.../K
Grate Story
That was hilarious! I think you might be slowly turning him on to the Dead. These things take time in some cases. But he is through the looking glass now and has actually purchased some GD music. The studio versions are a gateway drug for a lot of people into a much larger world of music. Before they know it they start wondering what Estimated Prophet or Scarlet Begonias sounded like in concert and then BAM! the Dead have you and once that happens you are on the bus for life. Ha!
seen it on FOX
lmao so, if it's on Fox, it's ok? something wrong with that way of thinking, but one mans' pain is another man's pleasure? Fox had something good to say about the dead? no way, must be the money being made that attracted them to the topic, sure wasn't the lifestyle or the music.
Brent, 70s vs. 80s, etc.
I found this discussion very interesting and felt compelled to give my 2 cents. One of the things I love about our community is that there are as many different opinions as they are types of deadheads. That's what makes these debates so great. With that said, I admit to being very surprised at any discussion re: Brent vs. Keith. The subject 70's vs. 80's is a different discussion to me since they were very different stages in their careers. Honestly I love each era for it's own uniqueness and what their personalities and ages brought to it at that point in time.
I love Keith and the 70's shows. His piano playing throughout the years into 76/77 most times was nothing short of magical. I did, however, always want him to take a more active role in his lead playing instead of just adding to what Jer and the rest were doing. That never happened and Keith never forced the issue. Also, while the piano was his thing, his playing on other keys never came into its own.
As Keith slipped away, Brent was fresh air. I thought right from the start his vocals were clean and on the mark and his playing was very complimentary given the position he was in of catching up to what the band had been doing for 14years at that point. As the years went on both got better, but that is the story of any new member in a band. It takes time to work in. I disagree with the assessment of cheesy keys sounds also. Yes several were cheesey (the sound on Alabama was the one that always bothered me most) but that was also a sign of the times. Keys were making huge strides but also had a lot of growing pains in the 80's. Brent was a product of his time. As the 80's went on he refined his sounds and obviously the B3 and his Rhodes/piano sounds became critical (again to me) components of the music. I believe the SBD's in the 80's more than any other decade show what a technically proficient, dedicated, and soulful keyboard player the dead had.
Most importantly, Brent was a musician (singer and player) who was right in the pocket(save for a few bad shows in the later years that I will always forgive when taking into account his complete body of work). He challenged the band and especially Jerry (as someone pointed out the looks that those two shared sometimes on stage gave me huge smiles). Many many of those jams were completely driven by Brent and his raspy high harmonies (especially with Jerry) would always give me chills. Yes there were several songs that Donna sounded sweet on (Looks Like Rain, They Love Each Other, Row Jimmy) but there's also a difference how woman's backing vocals sound vs. a man's. In some ways you can't compare. Let's not forget also that Brent did both and as a keys player and singer I know that many times it is very difficult to do both well and at the same time. He rarely missed a beat.
In the end it was all great and thank god there were several people along the way who had the foresight to record all these shows so that we would have a chance to look back and debate.
Peace to all!
The Grateful Dead, sending Laser Beams to my Face
Turn On Your Lovelight - 4.5.71
Pigpen and Bobby let it shine
Keith vs. Brent
Looking back at my shows, they are split almost exactly 50-50. I saw Brent one time more then I saw Keith. (I missed Pigpen by 3 weeks, unfortunately for me and for him!)
I loved Keith & Donna very much. This is where I got on the bus and I have always felt that when you got on has a lot to do with your feelings. After all, once you attended a show would you have continued to go if you were not happy with what you saw?
Once Brent came on board I was very happy with the new energy & vitality he brought to the band. After all, as much as I loved Keith, it would be hard to argue that he was not slipping near the end, for a variety of reasons. He was always a very laid back dude and was never assertive. After all, it was Donna who told Jerry that Keith was going to be the Dead's new keyboard player! Keith put his head down on the table and did not even speak to Jerry until his audition a few days later for Jerry & Billy. They knew immediately he was THE guy. It was sad to see how he devolved, but when he & Donna left the band, it was by mutual agreement of all the band members. It was not a dismissal, it was an agreement. Donna now says that it was for the best of all involved.
As others have pointed out here, look at any video of the Brent years and you will see the connection between him & Jerry. They were locked in and Brent really did bring out the best of what Jerry had to offer on any given night. I think the death of Brent really affected Jerry in a very negative way. Not to diss Vince, but he was not any kind of Brent!
I love all 30 years of the Dead, warts and all. What other band can show you so many different faces? They are all good and on any given day I will reach for a release from any year and will find some really great music to brighten my day.
Rock on
Fox and the Dead
I did not catch the reported story. What makes me laugh is that the situation amused folks. There are lots of people branded many different ways that like this band.It's really funny to me. When I was in my 20's, I was an artist type liberal. I think it's natural as you age to have things morph in your perception and hence your reality. Now at 55 I am more conservative, but again I think that's to be understood.
At the same time, from the late 60's til today, I've witnessed great change in the platforms of our 2 party system. So now blue seems red and red seems blue etc.
At the development of networks designed to attract you to their programming, I knew that was a game changer. When I grew up, the news was reported, not made up by the networks. The news was reporting on events without subjective rant. So that's another huge change.
At the end of the day, Grateful Dead music appeals to people, and a wide range of people too.
Much more in commen than divides. Please don't forget we are all in this together right? If your brother, neighbor, or even a stranger needed your help, would you refuse them because of the perceived differences, or would you assist them because of our common humanity?
Just my take is all friends. But if you're in Florida with a flat tire, and a big redneck looking dude with PITB screaming out of his pickup offers help, it could be me!
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