30 Trips Around The Sun Box & Digital USB

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September 4, 2015 - 10:38am

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admin

Joined:
March 9, 2007

"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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June 16, 2015 - 2:28pm

#6631

KeithFan2112

Joined:
August 6, 2014

Speaking of Decline

Yeah Palmer, you bring up a good point. What happened to Bob Weir's guitar sound in the late 70s? I want to call it choppy flamenco, but I don't know why I want to call it that. It's something in the tone of his guitar that changed a whole bunch. I may be morphing into pre-hiatus guy....I've always maintained that they were better with just Billy on drums, and that almost anything they played on the Europe '72 tour sounded better in '72 than it did after the hiatus (Bertha, Cold Rain, New Minglewood ((Ladies & Gentlemen - wow)), Ramble On, Sugar Magnolia, Promised Land, Deal, the list goes on. But there was so much good stuff I like in 77/78 - Scarlet Fire, Music Never Stopped, Estimated Eyes, Help-Slipknot-Franklin, The Wheel, Samson, the list goes on.
June 16, 2015 - 2:27pm

#6632

JimInMD

Joined:
June 27, 2011

DearJerry

For the Shakedown Sessions, I don't think it was that he wasn't welcome to the studio, its that there were days that he didn't even show up, especially towards the end. Jerry, in particular, was pissed and asked John Kahn to finish. He even has keyboard credits on the album. Wouldn't that qualify to some of the comments at least? I also think Keith's playing is brilliant for most of his career with the Dead, and I often spend large amounts of time listening to the Keith Years. I also think band members opinions count. So there's a lot to this, but most importantly I don't recall any significant volume of people bashing Keith's playing on this thread. ..and if there are some comments you might not like, they are almost always in response to someone stirring the pot with Brent bashing, which certainly offends people. I was just highlighting that for a host of reasons Feb '17th was their last show, so lets be thankful for what we have instead of dwelling on what we cannot impact. It is what it is. That's all, nothing personal.
June 16, 2015 - 2:26pm

#6633

Cousins Of The…

Joined:
September 10, 2009

Mo' Keith

Just finished listening Row Jimmy from 3/20/77. Keith sounds great backing up Jerry's fine, lyrical solo, but is clobbered by every hit of Mickey's bass drum. I think this was mentioned a few weeks ago; very apparent to me on this track. To my ears, it sounds like there was a change in the mix from 76 to 77; more emphasis on the drums(esp. bass drum), and a less "crispy" bass, making the overall sound a little muddier than it was.
June 16, 2015 - 2:25pm

#6634

PalmerEldritch

Joined:
July 25, 2011

I love the keyboard/era debates!

I don't agree that "old" topics, such as era- and keyboard debates should be retired. This day's posts has been the most interesting here to me in weeks: from floridabobs culture reflections all through the Keith decline discussion. Almost anything that generates a flurry of thoughtful posts seems cool to me as long as it's civil. As a lifelong Deadhead, I think the era/keyboard debate is perfectly relevant and (for me) endlessly fascinating (well, nearly endlessly). I'm extemely conflicted and ambivalent about most of the Dead's post-hiatus music and have been that way for >35 years. Where else can we talk about these things? If we only stuck to the forum topic, we all know these threads dry up quickly and become boring as all hell. My guess is that,era/keyboard discussions generate the most interest here, despite complaints about "old, well worn" topics. Anyone really bored can just scroll though topics that don't interest them. I did draft a long post to contribute to the Keith decline discussion but lost the draft. Basically, I agree with LoveJerry. Keith sounds fine to me in the late 70's but as someone pointed out, he seems very low in the mix. Yes, there is a huge difference in Keith's playing E72 and May 77; but the same could be said for Phil and Bobby's playing. How could anyone not notice a similar decline in their playing? Listen to any of Bob and Phil's playing from the late 70's compared to, say Fillmore 2/69, E72, or WInterland 73. Night and day.
June 16, 2015 - 2:11pm

#6635

KeithFan2112

Joined:
August 6, 2014

hahahaha What?? He stole Jerry's stash??

No wonder he wasn't welcome (and no wonder he couldn't finish the Shakedown Street session). Hey hey, Jerrylover, don't drag my name in the mud lol. I only said he was a fair pilot. No but really Keith Moon was like the tazmanian devil with drumsticks. If anyone has heard his live stuff from Tommy and Live at leads, in that '69 - '70 zone, you know what I'm talking about. I can understand why Clapton or Baker (I forget which one) would have given that snide expression when asked about Moon's talent compared to Baker, because Ginger was great, a time keeper, an arranger, and so much more than a drummer when it came to making music, but Moon was off the rails excellent, and completely untouchable from '68 - '73. But if you compiled the best live 2 hours of Moon with the best live 2 hours of Baker, Moon is a step or two ahead. What Baker brought to music composition, Moon brought to live performance.
June 16, 2015 - 1:55pm

#6636

LoveJerry

Joined:
March 19, 2015

Jim In MD

I am asking "us" because "us" are the folks who frequently say Keith's playing declined without a lick of evidence to substantiate that assertion. Forget what you've read on Wikipedia or wherever, since it's not exactly a well documented topic, and listen to the music - where is it? Did Phil really say that? If he said it, is it true? In a court of law it's nothing more than hearsay. Give me a song or just recognize that every time someone comments that his playing declined is probably going off the Wiki quote or the comment from Blair Jackson's book (thanks for sharing, never saw it before), but a couple of off-handed subjective remarks do not make it true, and they don't hold up to scrutiny, which is my main point. People are regurgitating hearsay that does not hold up to scrutiny - no wonder politicians lie so much - it's so easy to pass lies off as truth to the masses. It's actually kind of scary. It would be interesting to scan this site for the past several months to see how often this unsubstantiated rubbish was repeated. I kind of feel bad for Donna. And the reason I didn't bring up anything like drug use or marital problems is because it has nothing to do with my argument, which is simply that his playing did not suffer on the stage, and I have the tapes to prove it :-) Or maybe I don't - I am willing to admit I was wrong or uninformed, which is why I posted in the first place - to find out if anyone can point to a performance where his playing was off. Keithfan mentioned Keith Moon - at least when his playing was said to have declined before his death, you can hear it in recordings (Kilburn 1977, Who Are You). That I believe, because it's well documented and easy to hear.
June 16, 2015 - 1:39pm

#6637

KeithFan2112

Joined:
August 6, 2014

You Know a Rumble Ain't a Rumble Without Me

Of course I agree with LoveJerry - not because I'm a Keith fan, but because it's true - there is really very little primary source evidence that Keith's playing deteriorated. Wikipedia? Even if Phil said it, ex-bandmates deride each other all of the time, it's the single most predictable type of slander they throw at one another. I'm sure he nodded off at the wheel a few times, but that's hardly a deterioration in skills. Not that it's a good thing. But I get LoveJerry's sentiment, which I might also add was not an argument about the reasons he left the band so much as a defense of his playing. So while yeah, some folks have pointed out that there was drug use and whatever, the main point is that folks comment about Keith's deterioration of skill on here all the time, presumably because they read a Wiki quote or Blair Jackson comment - yet the evidence, the music betrays the notion that there was anything substandard in his playing. If I'm reading her post accurately she's just asking someone to point out which songs/shows/period demonstrates this decreased ability to play, and indignant (correct me if I'm wrong JerryLover) that when the topic of his departure comes up, everyone always says he couldn't play, he couldn't play, he couldn't play. I have, myself tried to substantiate that claim that he could no longer play, but just can't find it. The proof should be in the pudding, but it's not. Long live Keith. Both of them - Keith Moon drummed circles around Ginger - he just colored out of the lines a lot.
June 16, 2015 - 1:12pm

#6638

JimInMD

Joined:
June 27, 2011

Re: DearJerry/Keith

Why ask us? We didn't kick him out of the band. There's a few factors you are not bringing up besides his playing. I don't think any of us question he was a brilliant piano player loaded with talent. But.. First there was his escalating drug use. By late '78 Keith had a heroin addiction (and for that matter so did Jerry). Towards the end of Shakedown Street, Keith couldn't even be found to finish the keyboard tracks on some of the unfinished songs, so John Kahn of all people filled in and did them. In Rock Skully's book, Rock states Keith was rumored to have stolen Jerry's stash once, which really pissed off Jerry. Shortly after that, Keith wasn't part of the JGB. Can't ask any of them if its true because they've all passed by now.. but I don't think there's much doubt about their drug use and drug of choice in these years. There was also the relationship trauma. There were regular fireworks between Keith and Donna on a regular basis. Violent fights, trashed hotels, smash up derby's in the parking lots, ...drama.. tension.. yuk. And then there was his playing. I think his playing had diminished or at the very least was not consistent by late '78, early '79 and, well, the sad truth is.. you can't get rid of Jerry and I'm not sure if having two junkies in the band was something they wanted or could continue with. Keith and Donna wanted to leave too. I think she left a few shows early in one of the last tours because she couldn't take it either. Remember, they were trying to raise small kids at the time. So its well documented that the parting was mutual. I'm not sure what is to be accomplished by going down that rabbit hole. They left and they got a new piano player. We weren't there, but I imagine if we were and if we were privy to all the facts and details.. well, my guess is one way or another, that darkness had to give. One Edit: I read cousins reply (which was classic). Yes, amateur slide guitar hour. aaaack! Love ya Bobby... but on this one, I agree with my cousin. He supposedly started playing more slide to get the sounds he (they) wanted they keys. ..and yes, Donna in particular was drinking a lot, but Keith was chasing the dragon.
June 16, 2015 - 1:02pm

#6639

JimInMD

Joined:
June 27, 2011

Re: Brokedown

I agree with your post. I think most people's minds on this are 'set like concrete'. The back and forth is usually non-productive, and I can't say I learn a ton from it.. especially when the posts come with barbs or put down another's tastes or preferences. I actually don't see the debate, I like the Keith years.. but spring '79 was their last hurrah, and enter the '80's and they got a new keyboard player. It is what it is. I am thankful someone pressed "record" on the tape deck, sit back and enjoy (or press skip if there's out there that doesn't tickle your pleasure bone).
June 16, 2015 - 12:54pm

#6640

mbarilla

Joined:
August 8, 2013

Check out JGB live shows from 1978

Some great stops along the way from Keith in 1978. And another vote for Red Rocks July 7-8, 1978. Tennesse Jed ; Passenger ; Peggy-O ; The Music Never Stopped Killer four piece combo to end first night 1st set

John Perry Barlow

John Perry Barlow

Forums

Dead Store Products

"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

Anniversary

Today is ours... or I should say.. it's the anniversary of the '68 show from this box. Wish I could celebrate.

In Donna's defense

Exhibit A: Comes A Time, 5/12/1977 (May 77 box set). Sublime harmony by Donna backing up Jerry's soulful singing (and playing). Interestingly, this selection falls within a Playin' sandwich, and her 2 "wails" sound just fine. She definitely had her moments, both good and not so hot. Edit: I noticed several folks started doing this "edit" thing a few weeks ago, as opposed to actually editing the original text. I just didn't want to feel left out.

Still waiting in ATL

I guess I feel a little better that I'm not the only one dealing with this. Called customer service last week - nice people, but totally clueless about the situation. Emailed both dead.net customer service and Dr. Rhino last Friday, both wrote back that they're looking into the delay. Still no word on what the hold up is. I love that folks in Europe and Australia have already gotten theirs, but it's driving me crazy that we're still waiting here, completely in the dark. On the bright side, the frustration has led me to finally join up and create a username, just to be able to vent. Thanks.

Thanks Donna

I would like to comment on how much Donna's singing went so well with the Dead at the time. Donna was no Joplin but neither was the Dead. One exception her final show she sang a note way off key I don't know what she was loaded on.

The Wait

Mags, thanks for the info. I just called customer service and was told that international orders shipped first. She then told me that domestic were being shipped in the order that they were originally ordered. I mentioned that there were several southerners on the forum who had not received theirs and she said "well maybe they are shipping them geographically". I then asked if she knew when the total order was set to be completed and she said that they weren't even supposed to ship until Halloween and that the boxes that have already gone out went out early (even though this is contrary to the info we received saying that shipping was scheduled for mid October).

Where's my box?!?!

Just called Dead.net minutes ago and was told something completely different than you were yonderdawg. I was, however, also told that they were shipped in the order in which they were purchased, which isn't true - I ordered mine on the first day. I was also told this time that the delay had to do with packaging the item for shipping. This hasn't happened before with any of the other releases and it is getting ridiculous. Just glad that I have already received a bill from the credit card company for payment on this thing when I don't even have it.

2-Track

Yeah, I know that after the tape is recorded, the 2-track mix is baked in -- like ingredients in a cake -- no way to unbake it and put in fewer eggs. I was talking about WHILE it was being recorded Kidd Candelario or whomever could have lowered her vocal signal. Surely they heard the results, but never compensated on subsequent shows.

Boxless in ATL

I ordered within an hour or two of receiving the email announcement but, yet, I also do not have a box in ATL. Not even an email saying that there is Help On The Way (in the form of a 30-year box set).But, a friend in MI got his yesterday. Guess they're busy stuffing miracles in mine......

Donna and the Scene

I hate to go all geezer on the forum, but back in the day Donna was referred to in the most reverent and respectful tone from the MA,NJ and NY heads I was around. It seemed to me Donna's presence on stage and status in the band humanized what appeared to be a bunch of drug addled crazies. With Donna came a whole bunch of hippie chicks, something I didn't hear allot of complaints about. In some ways I think the family thing started with Donna showing up on the scene. I have the greatest respect for her, putting up with inadequate vocal monitor systems of the day, and the grinding touring machine of the Grateful Dead. I assure you Donna has never "ruined" one second of music for me, and absolutely never will. The Grateful Dead has accepted me as I am, I do the same for them.

I like the Donna years. I

I like the Donna years. I have no problem with her.Think she was great in the JGB.

Donna and replacement disc

I have to admit that my favorite period of the whole long strange trip were the years that Keith and Donna were with the group, especially before the two year hiatus mid-decade. Was she the right fit for the group? Not really. Was she a great singer? No, but she did have the ability to sing, given the right songs. Anyone who recorded with Elvis at least has to be able to carry a note or two. Did she hit every song pitch perfect every night? No, but, hey, Bobby still has issues remembering the words to "Truckin' ". I'm just grateful (no pun intended.....well, maybe) for the contributions she made to the band over their 50+ years of making the best damn music anywhere. I look at the band's music, and I see a wine cellar of vintage products. Some age better than others, some are a little drier, some a little sweeter. Everyone has different tastes, and I can respect that. One of the guiding lights of being a Deadhead is respect for each other, even if we have different concepts and opinions. One another note, I got a duplicate disc 1 on my '78 Providence set. I just got an email from Dr. Rhino that a replacement was being sent today. Gotta love the Dead......

My 2¢

So now that I've joined this forum, guess I'll make some posts.Question: Why is Charlie Miller better than David Lemieux? Answer: Because he understands the concept of a seamless transition between discs. Seriously David, these aren't cassette tapes. Not trying to piss anyone off, just trying to get David to stop doing overlap transitions. It just sounds better.

appreciation...

Donna totally rocked it in Egypt, and was in beautiful song. I love the Keith and Donna years!

Donna

Donna brought the family vibe, listen to pretty much any Mississippi Half Step. I really enjoy most of her vocals. There have been a couple times where I thought her volume was too much, but other than that I don't have any complaints I can think of at the moment.

Donna, Cher

Not sure what happened to my attempted post earlier, but to g1u2i3 & lowspark ~ give 9/18/74 a spin from the new box. Donna's spot-on all night, both in pitch and in knowing where she is in the mix (raucously in key on BIODTL, nice and soft on Ship of Fools), and spaces out just right on Scarlet. ivhs72, thanks for the historical perspective on her aesthetic. In any event, she was indispensable (like it or not) once Phil stopped singing high harmony. As someone said, she was really nice on Cassidy & Looks Like Rain in the later 70s, and generally nailed the Let It Grow choruses with Bob. "Lights Went Out In Georgia" was offered to Cher first?? That would totally have been another "Gypsies Tramps & Thieves" for her, I can hear it in my mind's ear....

Donna

I get it man.. I don't expect my distaste for some of her contributions to be popular on a forum of people who are here because of their enthusiasm for everything Grateful Dead. It's just my personal taste and what sounds good to my ears. There are probably elements/phases/eras for nearly every band or artist I love which I don't care for. Religious Dylan? No thanks. Recent Neil Young? No thanks. Rolling Stones Undercover and Dirty Work? Don't love it. There are classic Van Morrison albums I don't care for... and I freaking LOVE Van the Man. And on and on. But other people might be enthusiastic enough about any of those artists to think everything they put out or did was golden. And that's fine. It's also fine to not like some of Donna's vocals... or to love ALL of Donna's vocals. That's what forums are about.. expressing your thoughts and opinions. Just so you aren't attacking someone personally for their views.

Side Notes

Coincidentally... I actually AM listening to the first disc of the '74 show right now before I get ready for work. Funny. Also, I do want to reiterate that there are some of those examples I agree with. Sometimes Donna sounds just fine or even enhances a song. BUT.. I absolutely do not enjoy her singing on Playing In The Band or Scarlet Begonias.. And I'm entitled to that.

RE: My 2¢

It would be a wonderful thing if the CDs from Rhino came seamless, hopefully they will go the seamless route in the future.Until then we have to fix our own backups by deleting the overlap. CM was also slow to come around the seamless transition until about 2007 when someone started "fixing" his seeds as soon as he'd seed them, by making them seamless and CM's name got bumped from the new SHNID by Tetzelli, who made 2nd sets seamless but messed up the mastering in doing so.

the list grows

I have been listening to a lot of shows but it is still overwhelming. These shows are rising to the top of my list: 1991 - 9/10, Madison Square Garden, NY, NY - Branford. Nuff Said. 1972 - 9/24, Palace Theater, Waterbury, CT - great all-around show 1979 - 10/27, Cape Cod Coliseum, South Yarmouth, MA - Impeccable show 1967 - 11/10, Shrine Auditorium, Los Angeles, CA - even hotter than '66 1966 - 7/3, Fillmore Auditorium, San Francisco, CA - still cant get over how hot this show is 1982 - 7/31, Manor Downs, Austin, TX - if the hiss wasn't there this would be incredible what do your lists look like?

I apologize

I apologize to lowspark75. I'm in a foul mood, and could have stated my thoughts better. I did the same thing at work today also, I am so gol-darn grouchy as I age. I need to follow my own advice, and respect my fellow travelers. Again, I apologize for my remarks.

It's totally fine, Zooks

I wasn't getting flustered. I just wanted to make sure I was understood. And I listed only examples of things I DON'T like by certain artists. Other examples where I am actually on the supportive side would include.. Pink Floyd: There are many who think they were crap after Roger Waters left. I strongly disagree and enjoy the albums released in his absence. The Beatles: Many consider John Lennon the most important Beatle and view McCartney as a dick. I also strongly disagree there. I consider both Lennon and McCartney's contributions equally important and enjoyable and they both had their egos.. then you'll also get the George Harrison supporters. It's great that the Dead had a long and varied enough career to nurture these differing opinions of the different elements that came and went with their music and performances. Can't really say the same for... The Doors.. for example. Unfortunately.

lowspark

You're not entitled. If you don't agree with the majority, you're WRONG, man! Honestly, I thought I was in the minority enjoying Donna. And she really has grown on me in recent years ~ during my show-going years, I really didn't want to know.... As for recent Neil.... Dude. If the current Promise of the Real tour hasn't hit your town yet; will hit your town yet; you haven't bought tickets; and you still can.... GO. This tour is one of the great ones...however you feel about Monsanto Years (I think it rocks, but no matter). Didn't see Neil in the 70's, but this was the 9th time since mid-80s(including four times with Crazy Horse)...and I didn't remotely expect to be saying this: this was the most powerful Neil performance I've ever seen. Tremendous setlist, but that alone doesn't tell the tale. He out-Welded Weld with the finale, Love and Only Love, blowing past mere extended feedback outros into much more dynamic Dead & Floyd territory (he even did a little Crazy Diamond riff at one point). Jaw-dropping, especially from a 70-year-old! Ok, gush over. Back to the GO'GD.

Still going in order, on '74

Starting to get more tempting to pull stuff I was really looking forward to (MSG 87 and 91, Cape Cod) or to start pulling discs with the same songs on them from different years to do comparisons. Still, I think the '67 Shrine and '69 Dream Bowl are still my favorites so far. '72 also really good and so is '68, I wish there was more than 1 disc! Hot = '66, '74. Smokin' = '70, '73. Incendiary = '67, '69, '72, '68. Hard to call '73 and '74 incendiary, just a bit more laid back and swing to them, for most of the tunes, in any case. Still nice. Wish that '74 didn't have the two songs with the vocal drops, was psyched for Loose Lucy. :( Edit: I get where people are coming from on Donna, but you just have to embrace it. It's not like Jerry or Phil haven't had some vocal issues. Lot's of sweet stuff from her: Weather Report, Sunrise, St. Stephen, Cosmic Charlie, Passenger, Dancin', Looks Like Rain, etc. And no one can ruin Scarlet Begonias when the Dead are playing it. ;) EMBRACE THE DONNA! Screams and all.

Edit : Donna is sweet, top notch

and I would take her over any one of you guys :) Lol 5.4.77 - "Looks Like Rain" !! the Dave's Picks 15 is primo Donna and is sweet on Jack Straw among the many.

Lowspark support

Yes I do agree, especially about playing ITB...and a lot of Scarlet begonias, especially in DP7 is quite a nightmare. However Donna adds nice harmonies on slow songs (row jimmy-Cassidy-Looks Like Rain...)I enjoy very much Sunrise on DP3 and the may77 Boxset. Fortunately she improves a lot after Hiatus and her best contribution stay with the JGband (77-78)

Did Mr. Norman get some new AUDIO EQUIPMENT......

I am up to 1975 and I am amazed at the "CRISPY " beautiful "MELTING BUTTER" sound of these shows so far. I started in at 1966 and each show is just so Exquisite. Between my Sennheiser headphones and plain Jane HONDA FACTORY radio I just keep getting blown away by how great these shows are sounding. There is definitely a difference I am hearing than any other past recordings...anyone else feeling that???... Or hearing that??

Florida Delivery

Sorry to hear so many in the south are still box less...I live in the Orlando, FL area and received mine on October 12th...keep the faith brothers...

Re: K. Brandon & J. Norman

I have been very pleased w/ his work lately.. but I am not up to the '80's shows yet. If I were to wager.. I think he is staring to become a deadhead. I have this image of his progression: .. when he first started engineering and mastering GD, Steely Dan was in the car CD Player and he was the geek in the sound booth wearing the kaki's and polo shirt, glasses and a pocket protector. The pocket protector was the first to go moments after his first Playin' in the Band. Years go by.. he drops the loafers for comfy shoes, unbuttons the polo. A little facial scruff fills in. By E-72 he show's up in a t-shirt, shorts and Birkenstocks and he sometimes spends days in the studio without a break. By Spring '90 TOO he's let his hair grow out, he's sporting a raggedy die often for several days at a stretch. By the time he began mixing Boxzilla a never ending drum circle has formed outside the studio. And his mixes do seem to have a special sound. Its possible I have a couple details wrong.. but it sounds plausible, doesn't it? Go back and listen to Dicks Picks 3 and compare it to one of the modern releases from the same year (Spring '77 comes to mind). I think he has improved also. Lets see if I still feel this way after '82.

Playing in the Band

A huge Thanks to drshakedown74...We swapped the tickets/passes from 30 Trips and he returned the favor in an incredibly generous way- A concert ticket to see David Gilmour at Chicago's Auditorium Theatre in April. Amazing kind gesture on his part- hope this kindness finds a way back to him. Thanks again.

Donna

Love her. When she would slowly and rhythmically groove her way to the microphone, smilingly looking down at us, the Grateful Dead idiot fan base, and prepare herself to wail the return of the Playin In The Band theme, well, well, it was really good. Seriously good.

Re: Dr. Shakedown

My ticket was Magoo's Pizza Parlor, backstage pass Gaza Egypt. Wanna trade and got anything near ZuckFun? Just kidding.. wow.. I'm not particularly religious, but that's a miracle worthy of canonization. Saint Shake. Has a nice ring to it. Holy cow, congrats Zuck, thanks Dr. Shake. Those are hot tickets, Gilmour puts on an incredible show, and this will surely be his last trip to the states.

Donna support

I hear both sides of the Donna thing. She could lighten things sweetly, or come in too hard. I agree with Jason, these guys were weak vocally, and blew things in front of us on a regular basis. Their messin up was one of their fun qualities. I cut her some slack like I did for everyone else in the band. And I must speak up for her presence in the band. I enjoyed how she added a feminine element to the stage, so it wasn't just the guys. I do think she really could do sweet harmony with Bobby, and she could rock it with him, too in their Sunshine Daydream duets. I started with 1975, kinda loose show with some nice jammin. Next up was 1982, this is a grate show, I wish it wasn't so muddy and thin, the sound improves in CD3. Come on, UJB>Truckin'>Dew? Now I'm starting from the beginning, listening to 1965. First impression: man Billy was quite the drummer early on... Thanks to all for your great comments!

On vocals, MIIIIIZ Donna Jean Godchaux

I love Donna, but I understand your point, Lowspark. When I first started listening to tapes (mostly 80s shows) I didn't like her much at all but eventually, after the light came on and I "got" 70s GD, I came to accept her. At first it was a case of classical conditioning; the years that excited me most included Donna so I got used to her. Eventually I came to LOVE Donna and even now when I listen to the post Godchaux era, I really miss her contributions on most songs she sang. MNS, Half Step (acrosssss the Rio GrandiOOOH!), LIG, Estimated, Scarlet, Cassidy...well, pretty much all of them. Maybe someday you'll change your mind, Lowspark. But if not you're certainly entitled to your opinion. And I would highly recommend DiP14--she was on maternity leave.

Re: Donna Jean

I always liked Donna, but I also know how an off key screech when I hear one. Still I chose to notice her good harmonies and touch. I used to find myself defending her to friends who were skeptical. I don't anymore, I think people have already made up their minds.. minds can change but that's not my place. She was an integral part of the band during what many call their golden era. There's something to be said for that. Worthy is a good word. Yea.. she flubbed up many a good song, but who didn't in this band. Funny how as fans we are both infinitely forgiving yet relentlessly critical. Not the best example of yin and yang. I bet jerry flubbed up more shows than she did. We forgave him.

Cal Expo '86....

....I played it back to back....yeah, I said it.... ....regarding Donna, I prefer the 76-79 version over the 72-75 version hands down. Both in voice, and in appearance. I believe the JGB experience benefited her grately....Disco Donna was quite the stunner.... ...MIIIIIZ Donna Jean Godchaux. Shout out to Grahams band intro before the Great American Music Hall show. Yeah rdevil, I caught that....

Donna . . . again

lowspark75, right on with so many of your comments. I share many of your perspectives. And I'm assuming your username is a reference to Traffic's "Low Spark of High-heeled Boys"? Great band. One of my favorites. My problem is that I have too many favorites. Anyway, I just signed on and caught up on all the "Donna" comments after I posted this afternoon. I had to respond before I hit the sack, and fly to Tulsa, OK for business, in the morning. It's good to read so many different perspectives on how people see Donna. Especially, the people that experienced the 70's Dead in real time. Something I did not. Even though my favorite studio album is "Aoxomoxoa", followed by "Anthem of The Sun", the Keith and Donna period is, ironically, my favorite GD period. That period is also my favorite band "lineup". To clarify, there are shows I actually enjoy and appreciate what she adds to the music. I'm not saying she wasn't capable of it, she just didn't manifest it often enough for me, a lover of great music and musicianship. I totally appreciate and actually agree with the "girl in the band", "family" and "humanizing" perspective and the hippie chicks comments. I dig that, totally. And God knows I've loved me a hippie chick or two, three, four . . . oh . . . excuse me . . . where was I. Oh, right!. Accepting the Dead as they are (were), like Deacon Zooks said, is totally understandable as a fan and lover of this band. I love this band. It's that very sentiment that allows me to still enjoy Jerry when he sings off key. For a moment, though, hitting the pause button on . . . peace and love . . . and hugs and kisses. I am speaking purely objectively and strictly on a musical level. Many of the praises for Donna were non-musical comments. Musically, though, I'm sorry folks, Donna does not possess, in equal measures, what any of the other members did. Not anywhere near the rest of the band. Not even in the same stratosphere. If you think otherwise, I have to wonder how you measure high level musicianship. Jerry, Bobby, Bill, Phil, Mickey . . . all absolute geniuses in their respective instruments. Truly unique players. Donna? There is no way, anyone here, in all seriousness, can extend that to her. However, I will continue to accept Donna in the band, because she was. My comment about removing her from GD history, vocally, was probably a little strong. You know, I love what she did on the Terrapin Station album. And couldn't imagine that album without her. Though, I f*cking hate the studio version of "Dancing in The Streets" and have skipped it every single time I've listened to it since the first time I heard it 35 years ago. Not her fault. Terrible disco infected arrangement. "Dancin' . . . Dancin' . . . Dancin' in the streets." Anyway, let peace and love . . . and hugs and kisses, resume. Good night, all! :-)

Donna again

Sometimes I support Donna but most of the time I do not support it. For me it is not a singer, she does not have the qualities. She screams, she bellowed, she did not know to puts her voice. She was part of the group remains a mystery to me too. But, unlike low spark 75, I appreciate the singing of Donna on Scarlet, including the fabulous version of the May 8, 1977. She did give a little extra color to the music during the 70s, and I got used. I know that the Dead were fully accepted it or you do not accept.

re: Donna - St Stephen - post Hiatus

I hear everyone's comments on the wail during PITB, could be cringeworthy at times. But what she brought to St Stephen when they brought it back was beautiful.

Home from Work

@antonjo - I think Neil came and went through Portland before I even knew it was happening. I saw his own posts on Facebook saying "Thanks Portland". I didn't even know he was coming. @zuckfun - David Gilmour?!? That's awesome!!!! Totally jealous. I still need to get ahold of his new album. I listened to the rest of '74 and all of '75 at work tonight. The '74 Loose Lucy did sound super funky and cool. It is too bad about the vocal glitch. '75 was fairly impressive. I don't know why, but I didn't expect much from this show. The Big River was smoking' and It Must Have Been The Roses was possibly my favorite version I've heard so far. With the exception of 1977, I intend to only have one show per year on my phone. It only has so much room. After I get through the '70s Trips, I am going to have to decide which shows make the cut. Like a lot of people are saying, I think DaP13 might end up being my '74 show. Hard to say.. but I don't think the '74 Trip is going to win that one. But for me, the only choices are DaP9, DaP13, DP12, or the 30 Trips selection. Those are the only '74 shows I own. I'll have to give the latter another spin before deciding... but many of you probably know what the obvious choice will be. '72 will probably be a tough call as well... since I don't have ANY of the E72 shows.. *GASP* I need to pick up one and get started on my ala cart E72 collecting. Which one should be first? The first one? Sorry... still high from all of the caffein required to get through 3rd shift behind the wheel.... lots of random info above.

Re: LowSpark - '72

No E-72. Another Travesty! I think the best way to get through E-72 is, surprise, sequentially. Dr. Keithfan will have lots to say on what, where, how, what shows, mood stimulus, etc. Trust him.. he is a doctor. That being said.. if you don't want to put the scratch into getting the whole set at once and you want to cherry pick shows.. I have one suggestion. Don't just dive into 4/8 first, savor that one for a couple to a half dozen shows. Certainly buy it, but don't just dive right in, especially if you have a heart condition. Its a gem. I will say one more thing. Don't be surprised if this tour ultimately gets you, I have seen several try and piecemeal their way through the tour only to ultimately bite the bullet and get every show. Its cheaper to just get them all, and yes.. we are an excessive bunch of OCD freaks. I think Dr. Keithfan has an accounting on how much it costs both piecemeal and as a whole package. You save more than you think..

Donna? Seriously...

Is Donna wailing really worse than Bob's screaming on Estimated, or his out of tune slide playing?I don't think so...

Neil...Donna

I first saw Neil when I was 14 at MSG for the Trans tour. He was solo and blew me away. Last saw him at Carnegie Hall also solo, amazing. His all out rock shows with the Horse & others are really special. After reading these posts I feel bad I passed on his recent east coast summer visit. Donna works for me. Even the wails are fine. And yes I much rather take that then Bob's slide playing circa 78. Sounds like an amateur player on those shows. The other thing Dead related that sometimes bothers me is the overuse of Midi and those plinky Brent processed keyboard sounds. But warts & all I can live with most any Dead. I guess 68-77 Dead is about as perfect as it gets for me

Donna

I'm a fan of Donna, PITB re-entry notwithstanding. In fact, it still leaves a foul taste in my mouth that she was not included in some way for the Fare Thee Well performances. She was at Jerry's 70th TRI celebration, why not Fare Thee Well?

Re: Segan63

yea I get what you are saying.. I'm still a little miffed I lost the Bolo guess the special guests at Fare Thee Well original artwork giveaway.. I had Donna as a shoe in for a special guest, along with Grisman, David Nelson and I forget who else. I was sure I won that one. Donna is an interesting topic. I will say this, when I play GD to a general crowd (not on the bus people), if its in the '70's, Donna's screeches get the raised eyebrow, if its in the 80's its Jerry's cameled, scratchy voice that gets the raised eyebrow. To me, the bad slide guitar is what gets me to hit skip. Go figure. Since I just slammed Bobby, I will follow w/ a compliment. My favorite Bob work is his early to mid 70's contributions where he plays his wide body Gibsons, notably his ES 335 and SG. He got such a wonderful tone back then and it took me years to figure out how integral it was to their sound in those days. He wrote his best songs in that period to, in my humble opinion. Not a fan of the amateur slide guitar hour though, hope that's fair.

Gary Farseer Congats....

no problem , i sometimes have troubles to decide what`s real and what´s not.For example i never have been to a Dead-show as i live in Austrai , started my " Dead-habit " at the age of 12 back in 81 and unfortunately had no chance to catch them on stage in the early nineties in Germany or France. Nowadays it would be easy but yep.... i close my eyes while listening to the 74 show which indeed has a very european touch an i am there , i do relive that gig.......

Donna.....

is important for the mellow flow oft the 70ies , there is a female quality that was lost afterwards though it was not easy for here to sing with the boys - some voices harmonice and some do not , i know this quite well as i play and sing myself.

Vocals

I find most people I play Lovelight around start being not down when Bob does the falsetto "shine on me" hahaha much more than the PITB screams.

I Think It's Time...

...to let the Donna Debate go. Obviously we all have some opinion about what she brought to, or took away from, the shows, but the fact of the matter is, for better or worse, she was there and will always be there. She had her great moments and her not-so-great moments, just like, as several have observed, the rest of the boys. (Personally, Bobby's screaming on LLR and Lovelight is on par with Donna's PITB). All in all, her good notes outweigh her not-so-good notes. No doubt there are more interesting debates to be had about topics that the box compiler(s) had arguable control over...such as the omission of shows with certain tunes (Easy Wind, Cosmic Charlie, West LA Fadeway...) versus the inclusion of shows with numerous repeats (Hell in a Bucket, TOO, NFA...).

Donna

is great.

scream dream

Sorry, bros 'n sisters, but being an 80's kid, I LOVE the Bobby screams on Estimated, Lovelight, Sailor/Saint, etc, etc. Listen to Estimated from Hampton 3-20-86 ~ that scream-scatting is a work of art. (His screaming on It's All Over Now in the first set, less so, I'll concede ; ) I was thrilled 2nd night Santa Clara when he screamed the big "HEY"s on the Sugar Mag finale till he had nothing left. Would've loved a Donna appearance there. reijo29, I remember that Trans tour, but couldn't convince my older brother to get us tickets -- so I had to wait till '86, with Crazy Horse. (They did play Sample & Hold that time, though.) lowspark, I spaced that you're in Portland. So am I. Maybe we should organize a listening party for one of these trips around the sun. And, yes, Neil did kind of sneak into town. Once in awhile, those otherwise annoying Ticketmaster e-mails land me a hot tip.

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