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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

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  • jrf68@hotmail.com
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    Off topic
    Moses GuestLive Stages Get some...it's good. :) ...Over The Car->Under The Stairs...
  • LoveJerry
    Joined:
    dharwin
    Somebody on the other thread, I forget who, brought up a point about the secondary market, which was basically that Rhino depends on it to ensure they sell x number of copies of each release in a very short amount of time. This guy who wrote the article worked for a record company or something, I wish I could find the post. But it totally makes sense. Basically, Rhino needs to sellout each release in 3 or 4 weeks to not only be profitable, but to extend the life of the series. By making it limited edition, they sellout immediately and actually rely on the secondary market to be there and buy out what the individuals don't buy. It amounts to free distribution for Rhino. They sell off their 16,500 Dave's Picks in a week, and never pay a dime in distribution costs. For Rhino this means more dollars per unit and less units sold to make both make a profit and re-invest in the next release (and making the next profit). So I get it. Rhino is a very unique position, in that they have a rare product with seemingly no end, and this thing called the internet. And in fact, these very message boards are a major source of advertisement. I'm just happy I'm ahead of the curve now. I spent a lot on eBay back-filling my Dead collection. What I would be interested in, is the legalities involved in re-issuing a product that they originally sold as a limited quantity item. Even if legal, I doubt they would do it, out of fear of ruining their current, buy it now, while it's hot sales model, which is undoubtedly working. One thing I feel confident in, is that if Rhino felt that re-releasing FW 69 Complete would be profitable in the long run, they would do it (and perhaps they will). But I imagine it's a tricky balance, as Morning Sun said - never underestimate the turmoil of breaking a promise to the original people who bought it (of whom I am not one - fucker cost me 400 bucks). Plus I'm sure they all have a dozen copies of all of them that they're saving for 10 years from now when they're going for a grand on eBay ;-)
  • Cousins Of The…
    Joined:
    FW 69 re-release
    Not sure what the exact wording was when they first released it, but some of the music included in the set has been available on the 3 disc compilation.Rhino could produce a set with all 4 FW 69 shows, add 2-11-69 Fillmore East release, change the name and add a disclaimer that would say something like "portions of this set was previously released as Ltd Edition FW box set, etc." Lots of "limited Edition only", and "promo only" music has been re-released that way.
  • mbarilla
    Joined:
    FW69 Box set
    if they want to re-release they would definetely need a new mix. I dont think packaging much to do with it
  • Roland Bruynesteyn
    Joined:
    re-release FW'69
    FWIW, let me echo SpaceBro's (and others) sentiment: I own FW'69, and enjoy it immensely.By all means, re-release it, so that more people can enjoy it. I do not mind scalping, or a secondary market. In general, I don't mind limited editions, bonus discs with first runs etc; companies can run their business as they see fit. But I'm a capitalist through and through: if more people want it, and Rhino can make more money, by all means let's do it. I know that the secondary market, at least in this particular case, exists bcause Rhino said that FW'69 would never be released (in any form?) again. Some people would feel cheated if, after paying a lot (NOT to Rhino though), it was re-released. But surely most Deadheads would want other Deadheads to be able to acquire this set, and there should be some way around it (cheaper packaging or whatever) to get past this?
  • Born Cross Eye…
    Joined:
    FW 69 box re-issue?
    Yes, reissue it as a limited edition of 16,000.$130 each + shipping and sales taxes where applicable. For that $130 you'll get the four shows - 2/27, 2/28, 3/1 & 3/2/1969 in 4 tye-dyed design artwork, thin cardboard type sleeves with a simple booklet with only the song titles, the track times, the songwriters credits and publishers credits with two or three photos, WITHOUT AN ESSAY, all enclosed in a lightweight cardboard case with artwork similar to the original 2005 issue.
  • Sun King
    Joined:
    shrine vinyl et al...
    glad to hear the 69 shrine vinyl release sounds so good. i plan on picking one up soon. as for the 69 box, and other limited releases, i think rhino needs to view their 'investment' in the grateful dead as being holders of something culturally significant. limited edition stuff should be just the initial physical product, but everything should be available via download. as i've said before, they should act like smithsonian/folkways, where nothing they have ever released goes out of print. you can't go to their site and order an original woody guthrie or leadbelly record, those have been out of print forever, but you can download it or order a custom burned cd. there is nothing you can not order. i believe rhino is just waiting for the last 150 usb's to sell, then they will offer all 30 shows via download. as for the 69box, i don't remember their wording, but a physical product probably can't, or shouldn't, be re-released that way, but all 4 shows should be put out via download, if the suits think they can legally do it. if not, lesson learned....
  • Charlie3
    Joined:
    Ramble On
    Dennis Wilmot, feel free to ramble on, you made some good points in a funny way. it sounds like I may have been one of the same two people seated next to you at shows;)For my two cents, I have the 30 trips box and it wouldn't bother me a bit if they made another production run in the future, with or without all the extras. I didn't buy it as an investment, I purchased it because I wanted to have the music and after missing out on FW69 I knew I would regret not having it more than I would regret spending the money. At some point I would like to pick up FW69, but there is a limit to what I can pay and feel OK about the purchase. I understand that the limited edition model is probably what makes the ongoing releases possible to this extent, so it is what it is, but it seems that they could set it up so that it would be possible to reissue things after some period of time. As far as copying limited edition releases, I guess the band makes their money when the original sale occurs and are unaffected by any subsequent transactions, so there's that.
  • Dennis
    Joined:
    Re-releases, Limited Editions, illegal copies, ebay prices
    I throw my 2 cents into this, I agree with those that say a release of limited edition stuff as maybe a digital download is just fine with me. As always if price is the limiting factor I can not believe you can't find someone to make you a copy. Some say "oh that's illegal", sounds like corporate lawyer talk to me. I agree you shouldn't be knocking out 1,000 copies of something and selling them at the local flea market, but to slip a buddy a copy, fuck no. I remember when people didn't even think twice about making a cassette copy for a friend. Of course the "industry" hated that, they even tried to get a "tax" on blank tapes to cover the "losses" they were suffering. What hogwash! The record companies seem to be doing fine! Ebay prices will disappear or come down if people stop buying them, just like tickets for sporting events (which sports fan seem to believe are way out of whack). Remember when FM first took off and stations would play a perfect album side, even told you when to start your tape. I'm sorry if the record industry makes a product that is easy to copy. Why didn't they just keep producing records? You couldn't copy them as easily as cd. Because they wanted to squeeze out the free music of radio, cd's people would buy more of because you could take them in your car. Did the industry ever return money for those shit 8 tracks that they sold? Or even the shit cassettes they sold? Those store bought tapes NEVER lasted long, but a good maxell made at home lasted forever? I still have cassettes I made from 1980 that play just fine. But the few store bought ones I got the cases always warped in the heat.I think I can most assuredly say that if you could shove a new caddy into a port of the computer and have it shit out a new caddy, everyone would have a new caddy and be saying fuck GM. (probably a lot of people already saying that) You don't see anyone making "illegal" copies of books and you could zerox a whole book. I'm surprise the corporate lawyers haven't tried to shut down public libraries, since they allow people to listen, read and view all copyright material without paying any fee to the owner of the copy right material. There was a point when Mickey Mouse was about to enter the public domain and Disney just couldn't let that happen, so they had congressman Sony Bono push thru a revision of the copyright laws that allowed them to keep the copyright. (see - https://en.wikipedia.org/wiki/Copyright_Term_Extension_Act ) Technically if you owned a bar, you couldn't play cd's you own there without a fee being paid to industry. CD's YOU OWN! Can you imagine if you bought a repair guide for a car you owned and you got a second car of the same make and being told you couldn't use that manual to fix the second car, that the use of the manual was only for the first car. You have that same thing with software you buy, you buy the package but can't use it where ever you want, only once (maybe 3 times for some) Sorry I've rambled a bit, but corporations piss me off. They want risk socialize and profits privatized. They want to be citizens with no one responsible for jail time. Fuck them! Record profits and the world still fights for crumbs. On the illegal front, I get a chuckle out of this. I thought it was illegal to bring "drugs" into shows or buy and sell them. Oh, I forgot nobody who went to dead shows did drugs. Like nobody in England watches Doctor Who. The show has been on for 50 years and nobody admits they watch it! Just like back in the .net days, nobody on net.dead did drugs! I must have always got seated next to the same other 2 people who did :-) Once again sorry for the excessive rambling.
  • dharwin
    Default Avatar
    Joined:
    Just to be clear...
    I am fully supportive of a re-release of the FW69 box. The whole reason I have the info that I have is that (being the anal retentive completist that I am) I emailed David Lemieux to ask why in the hell the box set hadn't been reissued. Any deadhead that has looked at eBay in the last 5 years can see that this box is in absurdly high demand. I hate the idea of limited releases and find it absurd that they would limit anything. The only thing that does is drive up the price on secondary markets (just look at the 30 trips box on eBay).
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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

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Jim: Like the analysis. Think the S>F and the harder edge were a direct result of Mickey rejoining? I am sure it has to be since he was a writer on Fire. Also Terrapin, much more muscle rock. My opinion, I believe they were trying to find a sweet spot of jamming, not as progressive as a St. Stephen>11 (meaning not having to stay so focused to not mess up a transition which I am sure was tuff at times being hi), or as light as a foot as some dark stars. Examples like Iko and Man Smart show they find a groove and let Jerry rip it as the others fade in and out. I guess sort of an example of what they called "phasing." Don't know but has me a ponderin
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Yes.. that and things were changing in the outside environment as well. Punk was beginning to rear its head, heavy metal was certainly in full bloom and perhaps Jerry was searching for an edgier sound. Also, psychedelic use was down and cocaine use was up, most notably by band members. The world was changing.. so yes, all of the above (I think), but clearly personnel changes in the band were a huge part of that.
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Jim forgot about the whole punk thing. It did not make it very far down south. Had a friend of a friend that had the ear, nose, cheek chain going with the green hair, but he is the only punk I remember seeing. Wonder if any of the fellas (or lady) owned any punk or metal? I know some do not like it, but I love the band's evolution. I know I read the guy talking midi saying, "why would I want to hear that crap." That is fine, have your opinion. I kinda got off the bus right as the midi was beginning so I still have not heard a ton of it. I have not even gotten a chance to open my Spring TOO box yet. My point here is the lack of respect for Jerry and the fellas in their quest to make the sound better. I am certain many people do not know how much homework went in to learning these systems. That is, from the design team all the way down to making sure all could interact with the systems in the performance. As I stated before, the Warlocks shows were my last shows and they melted the arena that night. I read the other day that people do not like the mix on the Warlocks box. I have only heard it once, our audience tapes are incredible. My first listen, I did not think it was a bad mix. Of course, I was grooving with my eyes closed so I will have to listen again. Some one commented that the cymbals were to high, from what I remember, everything sounded as it did that night, minus the intense quadraphonic sweeps. Can't wait for the Miami Meltdown and see how that was treated. I have not listened to that show in a couple of years. It is hard to recreate the quad sound as I prefer straight stereo. Does anyone have a system set up to deliver the sweeping quad sounds on their surround sound system? Again, my point is, I enjoy the different eras. Wonder would it would be like to have 500 shows of DS>Stephen>11?
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No charge yet for me or email about any problems. However my order is still active but says backordered still...with a shipping date of October 31?!?! What's up with that? Are they really charging us over a month before they claim to even be shipping?!
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Doesn't mean anything in terms of when the box will ship. It just means they don't have an exact date in October. I see lots of things on Amazon that are available for pre-order but I know won't be out until next year, and when that happens the release date is always December 31, 2015.
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14 years 7 months
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Yes, although they're emailing links to stream(/dl?) the full box set, as well as a pdf of the book, to all buyers tomorrow.
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9 years 2 months
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Was looking for a 77 fix. Turns out 4/26/77 + 4/27/77 are both available to watch in their entirety on youtube....and then I stumble upon this gem: Grateful Dead - Scarlet Begonias/Fire On The Mountain - 04/25/77 - Capitol Theatre https://www.youtube.com/watch?v=x-DVSFt7_Pg the excitement grows!
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17 years 4 months
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I listened to several of the suggested versions listed below. While they are all very enjoyable, I have to say I am still more of a China > Rider guy. It just rocks out more for me. And I do wish very much to be the headlight on a north bound train! Next I think I will do some comparisons on the Estimated > Eyes front Rock on
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Amen.. me too, brother. I'm right there with you.
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The one-drummer / two-drummer conversations always interest me. I played with multiple drummers in my high school ensemble band, and as the lone drummer in half a dozen ill-fated high school and college bands. It's fundamentally impossible to play with the improvisational style that the '71 - '74 Grateful Dead did on numbers like Dark Star, The Other One, Playing in the Band, and countless jams titled Jam, with two drummers. One of them would have to be relegated to an auxiliary role, or the parts would have to be well arranged and rehearsed ahead of time; no room for improv. Take Dark Star circa 1972, for example. Changes within a performance were typically directed by Jerry, Phil, or Bill, with Bobby and Keith following (I don't hear much of Pigpen on these '72 performances - I suspect he sat out or played light percussion). If Jerry or Phil want to head in a different direction (i.e. play louder, softer, faster, slower, or introduce a new melody), one has to take the lead, the other has to follow, and the leader has to communicate with the other and the drummer, either through auditory, visual, or telekinetic queues (some argue that telekinetic queues are a more advanced form of auditory queue, but they're usually not musicians:) All of this has to happen with speed and proficiency to sound good, which is what the one-drummer version of the Grateful Dead did with pinpoint precision; they made the unrehearsed sound rehearsed. When they were on their game, they interacted like pistons in a musical engine, and Dark Star moved along with uninterrupted grace. Not to take anything away from Keith and Bobby; they played as much as anyone on these performances, they just weren't facilitating the changes quite as often (a notable exception is when Bobby ENDs Dark Star, typically with a teaser line from Sugar Magnolia, or whatever else was to come next). And that's just Dark Star. I haven't listened nearly as closely to the 1972 performances of The Other One; Bobby may very well lead more here, as it's his song. The unpredictability and originality that typified the jams of this period isn't possible with two full-kit drummers (they would end up competing with each other, which would not only sound awful, but it would also close off a good deal of the open space where the melody and color of the non-percussion instruments dwell); so a change was in order when Mickey returned. I suppose there are two ways they could have done it: one drummer could stand down and take an auxiliary role (i.e. augment the percussion sound with maracas, bongos, floor toms); or, they could go back to how they did it pre-'71, which is what they did. So, if you compare Dark Star from The Closing of Winterland (or a pre-1971 performance) to just about any Dark Star between '71 and '74, you have more of the changes revolving around melody and volume, rather than tempo and meter. Effectively, they returned to more rehearsed, tighter arrangements, and less improvisation. Take it easy folks. Whoa, whoa, whoa, but wait a second here...didn't they have difficulty finding room for TC when they had the beefed up, busy two-drummer rhythm section of 1969? You bet they did, glad you mentioned it; because TC isn't a chord player, he's a note player. TC's challenge wasn't so much having another organ player onstage in Pigpen, as it was finding the open space to PLAY in (and Pigpen was a chord player anyway, so their styles were complimentary). And if TC was a note player, and KEITH is a note player, then wouldn't Keith..have...the same problem....oh boy, I see where this is going - where is my boy Godchaux going to play with two mother-f@#ken drummers in the band? In retrospect, the demise was certain. With the resignation of the jazz-fueled, acid-drenched monster and pin-drop finesse of the 70s, and the onset of the hard-rockin' cock-swingin' machine of the 80s, Keith Godchaux's role was slowly diminished. The man could play chords in his sleep (which he eventually demonstrated:-), but he didn't thrive as a rhythm player, which was essentially what he was relegated to as the 70s wore on. Within the Dead's sonic landscape, he went from having huge open fields to run the ball in, to getting one or two at-bats a night. No doubt, the return of Mickey Hart was the snowball that started rolling towards Keith, gathering size and momentum with each passing year, until finally it swallowed him up and buried him under. How's that for drama. But yeah, Keith Godchaux, great piano player...
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Brilliant analysis! The re-introduction of Mickey made it impossible to turn the corners they were navigating in 71-74. The speedboat had become a cargo ship. LOVE Mickey, but I always wonder what the band might have been like if they had stayed with the one-drummer set-up...
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10 years 3 months
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Great figurative language dude, "the speedboat became the cargo ship", "impossible to turn the corners". That's what I was trying to say! It's funny, I have two girls, 5 and 9, and they're at the point where they can sense a dissertation coming, and flee accordingly. Yeah, I also wonder how they would have turned out if Mickey hadn't returned. Not just for Keith's sake either; Billy had become a formidable drummer with a style of his own until things changed.

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10 years 6 months
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I too enjoyed your explanation KeithFan. As I hear more and more I find I like the single drums better as well. 73 being the fav year.Keith had a style that really worked in the Movie I thought. But as I see Brent and then later Bruce step into that position, it makes your point all so much clearer. Hornsby was a killer guy in that moment of the band too. I was watching VFTV 2 on DVD and appreciated his contribution as it appeared so did Jerry. I know Brent can be a dividing issue, but he was a great addition at that moment too. He reminds me of a guy that would play in a saloon in the old west. Interesting too how Bobs playing evolved some with the different keyboard guys. This band and all its twists and turns can take a very long time to explore and understand. A group of friends much more than a traditional band is what it reminds me of at times. Very loose and open. I spent the day with the Movie soundtrack listening to all 5 discs. That's a big undertaking in of itself. Very enjoyable.
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11 years 3 months
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The Mecca 4.16.89 ,, heard this one on lunch today.. One of the finer Scarlet Fires from 1989 and late 80s end of Mydland era.. Solid show and April 89 has a lot of good stuff.. Listen to this China > Rider this one sails and floats all at the same time 3.3.81 ... If anybody can recommend a finer China > Rider from Mydland era. Please I am searching for one. 3.3.81 China > Rider best of 80's Some of Ohio's finest 10.31.71 - Dark Star 9.30.76 - Scarlet Begonias 3.3.81 - China Cat Sunflower > I Know You Rider Honorable Mentions 4.3.70 - Dancin' in the Streets 6.11.93 - So Many Roads
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awesome right up. Never thought about how mickey might have impacted keith. i will definitely be scoping that situation, maybe as i go thru the box. a nice project for a year or more's worth of absorption. i think most heads would have preferred if it had just been billy. i am a big mickey fan as well, as mickey also spent a lot of home work time with new technology, poly rhythms etc which did make the drums space era come to real life. but as mickey was a rudimental drummer as opposed to flee flow jazz, the songs were going to be a bit more angular than gooey. https://www.youtube.com/watch?v=I7f_FpZz9lU the old fort ticonderoga. i got close to getting this one right in 8th grade. could not even hold the sticks today. also, here is an excellent example of differing styles with some masters, love these guys. have seen all 3 even more intense, but they are good here. https://www.youtube.com/watch?v=czOjnlvHrQU
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Jerry always said he was not the leader of the band. True? He was cpt trips, so of course he was. I always looked at it that it was 49% Jerry and 51% fellas. That is as they were improving and trying to signal and discuss the next move, that Jerry had a 49% say so and the others had 51%. The others could override Jerry but the team had to do it. If Jerry got one, he had the super majority.
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thanks for the link to the mixonline article, great stuff. Will definitely be passing that on to FOH sound guys I know. I am trying to get them to understand what is right and wrong with their approaches.
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9 years 3 months
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The old interview with Jerry. He stated what they were looking for with Brent was color. I know you have read that one. Piano is a percussion instrument so with Billy, Mickey and Keith you had 3 percussion instruments versus 3 harmonic instruments. When Brent came in with B3 and Moog, you get color. Long held notes, long sustain, bendable notes. It was now 4 harmonics with two percussion.
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16 years 4 months
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am curious that a couple of punters have been charged, and a few not. what's the word on this? i'm now imagining some lone figure at rhino given the job of individually checking 6,500 transactions and doing the deed. sounds dumb, but is that the reality? i wanna be charged before the aussie dollar slumps - can someone give that lone person a nudge!
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9 years 3 months
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one last one before i head to the house. Mickey called the music polyglot babbel music. great description. polyphonic means many sounds, which Brian May described Kansas as in "miracles out of nowhere." many sounds in structured alignments. the fellas were polyglot babbel music. Polyglot meaning many voices (or glocia meaning tongue or language). Each band member had to find his voice in the whole. the band had to be heard and dissected as a whole and the sum of its parts. babbel means confusion. to the outside world that is all they can hear. they complain "that is unrehearsed crap." wrong you just do not have the open mind to hear it. yeah, polyglot babbel music - many voices making confusing arrangements. sounds wonderful to me!
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17 years 5 months
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I listen to '60s and '70s Dead all the time and have all of those releases you listed except FW'69 (I missed out on it but can't justify paying the second hand price to acquire. Shame as it would probably be among my favorites), Winterland '77 (same situation as FW'69) and Ladies and Gentlemen (just never got around to purchasing it). For E'72, I revisit the Rotterdam show frequently. Other favorites are 4/16/72, 5/3-4/72, 5/7/72, 5/13/72 and 5/18/72. Closing of Winterland was one of the first of many tapes I collected starting back in the late-'80s. I actually used to listen to mostly '70s era tapes for many many years, to the point of over-saturation. That's why I kind of prefer '80s now-a-days. Telling me that the era that appeals to me is comparable to an opening band, well, that's one way to insult ones personal tastes. Those Mecca shows from 4/15-16/89 sure would make a nice two show mini box. Good call!
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9 years 2 months
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thanks for the recommendations folks 4/21/71 Rhode Island Auditorium Jerry starts catching fire around 4:30. He is almost fully engulfed by 5:30. Five alarmer at 6:50! I think there is smoke coming out of my ears after that. 8/6/71 at the Hollywood Palladium This is very "Sly and the family Stoned"....funky as can be. "Play yo guitar!!" Jerry mind melds with his guitar around the 3:20 mark. Flashes of brilliance around 6:00. On top of all this the aud recording on archive is mint. Phew! Verdict? They were both way better than 7/31 but the April 21 performance is the best Hard To Handle I've heard yet.
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16 years 3 months
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i think he or she has finished work for the day...
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13 years 5 months
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Weir hands off to Garcia AFTER 4:30 on that 4/21/71 version of Hard to Handle. He plays what could be considered lead guitar for the first part of the jam, as he typically did during this era. He also played the leads in the first part of the Easy Wind jams around the same time. Same goes for the China>Rider transitions. I never understood why he didn't make more of his obvious talent for driving the jams.
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9 years 5 months
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Well it's from 1990 but the 3/26/90 out of the Victim was ripping. After the show we talked more about the China Rider, than the Dew. There's a speck of feedback or that would have been the one for Without a Net.It benefited from being so late in the set, after the final Built to Last and a very spacey Victim it was a total surprise as it bubbled out of the transition from Victim.
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17 years 3 months
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punter. And I had a weirdly rough day. Almost turned to Jerry for comfort tonight, but back to Shintaro Sakamoto. Watch this and listen with headphones. http://youtu.be/Ho2LTuQBEV8 Have a good night all.
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17 years 4 months
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....was hit today for $750. Some of you will get that hint drop. And this box is a most definite emergency. Sold out again!? We'll see..... ....and to 420bandito, thanx for the 4/25 youtube link. Sweet stuff....
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9 years 7 months
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I said kind of like seeing a really good opening band at a show, meaning simply, yeah that was good, but just wait, the best is yet to come. That's not an insult. I worry about you Space.
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13 years 3 months
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Your CC should be 699 if you pre-ordered , which u would of had to do. If your in the continental US your bill should be 699.
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17 years 5 months
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No need to worry about me. You look at the era I like as a "really good" opening act. I disagree and look at is as the grand finale that was the culmination of 25 or 26 years of great music. I'll never fully understand the era debate stigma attached to the Grateful Dead. Everybody has their personal favorite eras/moments. There should be no right/wrong, lesser/greater label attached to personal taste. That's what politics are for.
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16 years 3 months
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just went to my order status and discovered a download of the book and bright sparkle streaming of the tunes. i felt compelled to quick scroll through the book, that looks just exactly perfect, and found my egypt story printed in full, along with so many many more. i had, sort of, told myself, i'll wait for the big box delivery to delve in deep, but these tunes just keep on playing, and i'm cock-a-hoop dancin' with joy!
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10 years 7 months
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I've got my download also,great to see the contents of the book,not sure that that I want to play the music as yet,think I will save that for the opening of the box in couple months time,not looking forward to the £100+ postal/import duties gulp!,at least with the delay in shipping, the expense won't be in one hit. Oh maybe I may have a few listens,drop in and out of the various years,really want to listen properly through the discs with the sleeve notes,plan being to listen all the way through the years from start to finish,bliss!
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9 years 3 months
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Just downloaded and scanning through the book. Truly a labor of love! I am restraining myself from the streaming music and will wait for the real thing (USB in my case). So great! If I could I'd buy the CD set as well!
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11 years 3 months
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Yes! They left the banter in, my prayers have been answered, and all is right with the world ;) Edit: Once I actually have this in hand, my neighbors are going to be taking an unplanned trip to Golden Gate Park, circa 1975! You see, I paid $762 for 9/28/75...the other 29 shows that come with it are a bonus.
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9 years 7 months
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lol - the irony is that you're the one creating the debate you say you don't understand. I simply suggested some shows from the earlier era, because you sounded like you hadn't heard much of it (considering 5/17/77 was a recent first-listen for you, as stated in your own post). I figured if 5/17/77 was a show you've only recently listened to, then you were in need of some recommendations. I made a harmless comment to try to stoke your enthusiasm, and whoa, somebody's got a case of the Mondays - Mr Sensitive. I certainly wouldn't take it the way you did if you said check out 3/15/90, it makes everything else sound like a good warm up band. So essentially, you're saying it's okay for you to express which era you prefer, but not for me to comment on which one I think is better - and then you question why there is a "debate". I shouldn't have tried to include you in the dialogue - it's not as if you don't have well documented issues with people here and at other message boards. The debate's on you pal, good day sir! Four Winds - don't PM with your profanity about business that is not yours. You also misunderstood my comment. If either of you bozos had half a brain, you would have seen that I actually chose a Brent era Scarlet/Fire as one of my favs. Couple of bad apples.
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15 years 10 months
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My credit card was finally dinged 30 minutes ago. Normally such a transaction would be depressing but I'm actually euphoric! Now I've done my part, and I anxiously await the culmination of this long-awaited transaction. So how do Boxilla buyers get access to the on-line book? Will I receive a link via e-mail?
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10 years 6 months
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Go to your order status page for the box order. There will be a link there to download the book and stream the shows.
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12 years 10 months
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Is a good day to listen to 9/18/87. Waited ALL summer for today, the original shipping date for, BOXZILLA well it's here & what do we have to show for it, a link & a download. Not complaining though as long as I know I'm getting one I'm OK. I've waited this long what's another month or two. COUNTDOWN starting October 1st I will restart the BOXZILLA countdown, I'll figure out a creative way to do it as we don't have a definite shipping date. Suggestions anyone? I see it's NOT SOLD OUT....again, I guess after running some credit/debit cards a few were unprepared or just outright cancelled, eventually it will SELL OUT. FOUND; the LINK I will do EVERYTHING in my power to wait for the "REAL" deal however I 'm tempted to just "sneak" a peak without getting to deep into it. Otherwise what did I pay $758.87 for? I'm going to wait for BOXZILLA after all I feel the "LINK" is a consolation prize it's not BOXZILLA. Plus I totally want that WOW factor without knowing what I'm wowing about. If I already know what to expect what am I looking forward to? I'll already know what to expect, I LOVE SURPRISES!!!! HAPPY SEPTEMBER 18th, DEADLAND!!!!!!
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13 years 11 months
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I've been billed but still have no link for the download or streams. Has this happened to anyone else?
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15 years 10 months
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Propogating Fennario's great advice, go to your order status page.
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9 years 5 months
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They are now up on the order status page. The book pdf is nice, the music is streams.
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13 years 11 months
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No links on my order status page either. Things that make you go hmmmm.
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17 years 3 months
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Stopped by the local record store and picked up their one and only copy of the 4cd 30 trips. Not packaged very well. CD 1 needs to be removed in order to remove CD 2 and CD 3 needs to be removed before CD 4 can be removed. The sleeve that somewhat holds the book is slick and the book wants to slide out when trying to juggle the removal of the CD's. I hope the box set is not packaged in this manner. Did not have time to listen to the music yet.
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11 years 11 months
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Got the link on my order status page and am listening now!! I've also downloaded the book but see no link to download the "scroll that offers a visual representation of how the band’s live repertoire has evolved through the years." Am I missing something here? I looked through the book and it doesn't seem to include this kind of feature.
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