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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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  • #4641
    Chitown rider
    Joined:
    Cover Art
    Not sure if these are high enough resolution or not but I use them. https://plus.google.com/photos/106465427611350658328/albums/59784616720…
  • #4642
    Zuckfun
    Default Avatar
    Joined:
    Cover Art
    Not sure if these can be copied or downloaded, but here's a very complete selection: https://picasaweb.google.com/m/viewer#albumlist/titanarch
  • #4643
    yetibike
    Default Avatar
    Joined:
    comdata55 / album art
    I usually just run a search in Google Chrome under pics...moe often than not I find something in good resolution that I can use. Sometimes I will open them in Paint to resize or change the pixel resolution. I have found some good images on Wikipedia as well as the GD archive here too. Good luck :)
  • #4644
    comdata55
    Default Avatar
    Joined:
    A little off-topic
    All this talk about the box vs the USB and sounds quality has motivated me to revisit my digitized versions of the GD albums I own. I'm now trying to re-rip all my GD albums to FLAC to archive them. Does anyone know of a site/repository that has hi-res versions of all of the album covers, even box set album covers?
  • #4645
    floridabobaloo
    Joined:
    Recording. Just a couple points
    Multitrack tape in that period was usually a 2 inch wide reel. The cost was quite expensive. It would run typically at a high speed for the quality of the sound. A reel would go say 10-15 minutes.When we refer to a 8/16/24/32 or how many tracks, the concept is simple. The end result will be a stereo recording. That is L/R OR 2 track. The process begins with the multiple track recording. Yes every voice or instrument is given its own track which can be EQed, given any efx, or processing. Back then16-24 track was the norm. In today's digital world there's really no limit. Then it was limited by the size of the tape. Once a performance was tracked, you would make adjustments to each track, which usually was adjusting the equalization and position in the stereo field. If you want keyboards on the left and guitars more on the right, you dialed that in via the mixing console. The goal of this step was to mix down to a stereo 2 track tape machine. So in essence if you had 24 separate tracks, in the recording phase, you now had the tune mixed to stereo. this is the mixing phase. Finally that stereo tape would be run thru a console once again and those 2 tracks, would be equalized and in some cases, run thru noise reduction, or compression or other sound processing. This is called Mastering. So you have 3 steps in the process from the initial recording of the performance to the final product we buy as a stereo recording. Today the main difference is we use computers and a format of digitally recording as opposed to analog magnetic recorders back in the day. You still have to capture the best performance as cleanly as you can. And you still have to have very good ears! A live 2 track, as said, was simply a stereo copy of the mixing board at a live show to capture the sound of the performance. Most times that tape was used to listen to a performance to evaluate the quality of the performance. 2 track tape is 1/4 inch wide and runs from 7.5-15 inches per second. Called ips. So you will see notes of two track tape at 7.5 ips. Later in the career of the Dead they utilized cassette tapes or DAT ( digital audio tape ) to record the shows. And as stated these weren't recorded to be commercially released. Many bands recorded their shows simply to listen to afterward to see what they sounded like.
  • #4646
    KeithFan2112
    Joined:
    bohlint / Sound Quality
    Expense was a big reason they didn't do more recording with the multi-track in the 70s. I've read that it cost a lot more than two-track, because you have not only the mobile truck business as an added expense, but you also have more expensive tape feeding the multi-track recorders (and a lot more of it - keep in mind, it's like making 8x as many recordings of the same show if you're doing 16 tracks, compared to 2, AND they record faster, which means you go through much more tape per track in a minute than with a two-track machine). As far as comparing the two (two-track vs. multi-track) - There are some really good two-track recordings in the vaults. Everything they've released from 1977 is two-track, and it sounds really good; in fact, I would say most of the '77 stuff sounds better than at least one of the Dead's multi-track releases: Live at the Cow Palace New Year's Eve 1976. Cow Palace doesn't sound horrible, but the tape hiss level is extraordinarily higher than usual, and the fidelity extraordinarily lower (not necessarily due to the multi-track process itself, but probably for other reasons - in general, if done properly, you're going to get a better mix out of multi-track masters). Who knows, maybe they ran out of Maxell XLIIS tapes and put low bias tape in the machine that night ;-). Compared to the Winterland June 1977 box set, for example, Cow Palace does not sound as good, (subjectively speaking of course, but trust me on this one:)
  • #4647
    alvarhanso
    Joined:
    Sound quality redux
    One Man pretty well summed it up. The vast majority of tapes were made on from a 2 track mix at the soundboard, and multitrack was used for tours or shows where they were looking to make a live album. Back in the 60s or 70s multitrack recording usually meant using a mobile recording truck outside the venue to record the show and mix it. By the 80s & 90s, multi track recording was easier to accomplish without a mobile unit. Betty Cantor-Jackson is probably the most famous recording engineer the Dead had, she simply had excellent ears & did her mixing live with headphones. Bear was recording while also running sound, so his recordings can suffer from his primary job coming first and taping coming second, though he still made outstanding tapes. The Dead were the first or at least among the very first bands to use a 16 track recorder in the studio, much less for a live recording, so Fillmore West 69 is an aberration for the time, and we have what we have of that run because they specifically set out to record Live Dead and wanted to do it with the best possible fidelity, hence the 16 track. The use of multitrack allows for each member to have their own channel essentially, so that in mixing, if Bob is playing quietly on St Stephen, it can be boosted a bit, or if Pig's organ is a bit loud, it can be attenuated, and the instruments can be panned so that they don't occupy the same space and muddy the mix. The 2 tracks were made for listening the next day, with no real thought that one day 43 years later it might be released
  • #4648
    drshakedown74
    Default Avatar
    Joined:
    Listening party 74
    Not sure why not here, but there is the UJB from Dijon 74 on Jambase Why is this website so "old" when the Dead family is based in Silicon Valley , home of a million tech savvy deadheads that would build a killer site for fun and free? Weird
  • #4649
    boblopes
    Joined:
    Wall of Sound in Europe in 1974???
    Wow - I can't imagine taking WOS there and needing all the different power converters for just 7 shows. That would've cost big bucks... Couldn't find anything in deadbase or archive, but found this from archive: "Featuring what has to be considered among the very best first sets ever performed by the band, Dijon is clearly THE show of the tour. It's a brilliant performance, among the very best shows of 1974. Several songs are candidates for best ever renditions; most notably the extraordinarily jammed out show opener of Uncle Johns Band and the terrific stand-alone Scarlet Begonias. Playin' in the Band is also exceptionally well played. The solid second set includes a dynamite performance of Eyes of the World and a unique jam suite featuring the first Caution Jam performed since early 1969. This performance is the creme de la creme of the tour! (99 pts) " That sounds awesome...
  • #4650
    One Man
    Joined:
    Spring 1990
    They could have used the multi-tracks for the first Spring '90 box but shamefully cheaped out on us and did not. They went the extra mile on Spring '90 TOO, probably thinking it would help sales. That didn't work out, as the first box sold out quickly and the second hasn't yet. There is a big difference in sound quality between the two. I sold the bad one after spinning it once. The 30 Trips box is mostly 2-track, because shows were usually taped in multi-track only if they were being considered for release. So the vast majority of the vault is 2-track tapes. Some of them sound surprisingly good, but I can't think of one that holds a candle to the best of the multi-track mixes.
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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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9 years 2 months

Submitted by the420bandito on Mon, 12/28/2015 - 15:03

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favorite versions: Peggy-O - Dicks Picks 3 - 5/22/77 - I've never heard Jerry so forceful with his "step on down the stairs" A barn burner for me. Terrapin Station - Dicks Picks 10 - 12/29/77 - They never really switch up this song but Jerry sounds a little more plaintive than normal this night. Row Jimmy - 3/28/73 - soft and slow. Perfect. Ramble on Rose - 10/3/76 - 30 Trips box - I keep coming back to this song. Out of all 73 hours of music, this song has the most plays. It hits the right chord with me. Bird Song - 3/29/90 - Wake Up To Find Out - Branford?! Nuff said. China Cat - 8/8/72 - Sunshine Daydream box/Veneta OR concert - '72-'73 are pure fire. Dancin' in the Streets - 5/8/77 - Barton Hall - the centerpiece of an endlessly amazing show I am still on the fence with a few more of my favorites - The Dave's Picks 1 / Mississippi Half Step is pretty hot but I hate to crown it king just yet. The Dicks Picks 1 Halfstep is pretty damn hot as well. Still searching for the ultimate Touch of Grey. Ah well back to normal life. Peace and Love.
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17 years 5 months

Submitted by wilfredtjones on Mon, 12/28/2015 - 15:37

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I'd say give 9/3/77 a shot, it's among the top ones for me. You're right, 5/25/77 is a nice one too. BTW, a lot of people pick the Hampton '87 Touch of Grey as top of the heap for that song.
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9 years 9 months

Submitted by MinasMorgul on Mon, 12/28/2015 - 15:47

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bandito, I like your picks, many are also favorites of mine. I also like the Dave's Picks 1 - 5/25/77 version of Mississippi Half-Step. A lot of people gravitate to the 9/3/77 version (Dick's Picks 15 from Englishtown) for the solo / jamming, which is probably best here; however, for my money, the Rio Grandio section is what grabs me in this song, and it's nailed with a delicacy and uniqueness as nowhere else in this 5/25/77 version. Jerry's vocals, Donna's vocals, the instrumental nuances of the rest of the band - simply beautiful here. Twasn't power as killed the beast, twas beauty. Peggy-O isn't on Dick's Picks 3, but for me, I'm going again with 5/25/77 or the newly minted 4/25/77 that came out with 30 Trips. Bird Song - hmmmm. Tough for me to compare a 90s version with a 70s version. I would be interested to hear what your favorite 70s version is. I'm torn between Veneta, which is actually 8/27, and Baltimore from DP 23. The intro riff of 1972 reeled me in the first time I heard it, like an exotically beautiful woman who makes eye contact with you for the first time and doesn't let it go; and the climax is after Billy's drum fill, when everyone joins in at once on that main Bird Song riff at 5:25 in the Baltimore version from 9/17 and 6:55 in the Veneta version. I guess it's a tie. This song grew to fruition in '72 with that opening riff, Keith's piano, and extended duration. Terrapin Station - nice commentary, I will revisit DP 10. I've always had a tough time nailing a favorite, because it's so consistently solid. China Cat - yes, Veneta is incredible. Also check out 5/3/72, the one they used for Europe '72. Jerry's solo is so good it shatters glass. This song just grew and grew and grew through the years, and by '74 is double in length to the original China Cat Sunflower / I Know You Riders. Row Jimmy - I'll check out 3/28/73 thanks. It's one song I always fast forward but probably shouldn't. Dancing in the Streets - yep, definitely 5/8/77 Ramble On Rose - 30 Trips Cobo Hall - interesting, I'll check it out. I've always been partial to 5/25/72, as the intro riff goes on for nearly a minute. I always have trouble with this song in later versions, because I prefer it without Donna (even though I love Donna - weird eh?)
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Submitted by jrf68@hotmail.com on Fri, 01/01/2016 - 18:52

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Sad news.We lost Lemmy from MOTORHEAD today.Didn't listen to 'em much,but when the right occasion called for it there was no substitute.(A very loud motorcycle & the open road at 80 or 90 mph comes to mind.) Iron Horse/Born To Lose(No Sleep 'Till Hammersmith) was my favorite. :( & Medowlark Lemon from the Harlem Globetrotters...those guys were a special joy to watch when I was a kid in the 70's. :(
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13 years 5 months

Submitted by One Man on Tue, 12/29/2015 - 08:02

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Cryptically absent for a while at this point, Constanten comes back with funereal organ before Garcia finds his blues muse. This sets up unusually. With the start of this song it’s officially the death suite now, and we can’t be too careful. The devastating story is sung convincingly, as if the singer knows of what he’s singing. After one verse it is time to demonstrate very loudly the pain he’s experienced. This is accomplished in shiver-inducing fashion as a roaring guitar solo mourns the losses. Then we dial back to sadness and the gloomy quiet it brings. Death don’t take no vacation, no. Not in this land. The anger builds as we lose the whole family. It’s too much to process and the cacophony that follows proves it. End of set. Beautiful. Garcia describes the dynamics of the set break and it sounds quite wholesome (drinking Coke, talking amongst ourselves, etc.)
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12 years 2 months

Submitted by MilesM on Mon, 12/28/2015 - 18:45

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Help me I love the selections in this box from the 90's. Sound quality is superb and the tone in Jer's guitar is through the roof. Please help me find my way back to 1973 cause I can't stop listening to these 90's shows. The stella blues from this era are melting my face. What the hell is going on here.
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13 years 2 months

Submitted by mustin321 on Tue, 12/29/2015 - 08:54

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Parrish's book -- Really good. Basically a bunch of orgy stories! Just kidding. Kind of. I wonder if anyone else wishes he had name dropped a little more when talking of who is involved with what, but I guess it isn't too hard to narrow down to a few. Billy's book on the other hand. He may have been a little too honest (darn it) but it was a good book too, in my opinion. I will be picking up Jerry on Jerry soon, any reviews for that one? And speaking of Dylan. I don't hear much talk about his Chronicles VOl 1 book...that is one the best books I've ever read. Dylan is a lot funnier than people give him credit for. It's been a while since I've read that one but I remember laughing out load a lot. WHEN THE HELL IS CHRONICLES VOL 2 GONNA HIT THE SHELF??? I haven't read that many books other than autobiographies or biographies about musicians/artists. Some other notible ones in my opinion are Nick Mason's Inside Out, Clapton's book, John Densmore's Riders on the Storm, & Willie Nelson's Its a long story...just to name a few. A couple I want to read are Keith Richards life & Willie Nelson's Roll Me Up and Smoke Me When I Die. Any other suggestions?
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12 years 6 months

Submitted by Oxford 88 on Tue, 12/29/2015 - 08:58

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Just finished loading my 30 trips to Flac files and thankfully, not a single disc error or problem... To quote Colonel Kurtz... "the horrors!" I have been listening to these shows on MP3 since the release. Now, with a bit of a break for the next couple weeks, I can listen on a real stereo in (please don't start the debate again) real Hifi. First snow of the year... a mug of hot coffee and I am ready to roll. Time to put the box in the shipping box for safe storage and possible college fund sale down the road. It has been a wild ride in 2015 with the boys and their music. Thanks for everything and here is to a great 2016!
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9 years 1 month

Submitted by Serpent of Dreams on Tue, 12/29/2015 - 10:43

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I'm reading Parish's book now (it sits atop my 30 TATS box, in fact)...enjoyable if you want to read about the sex and drugs but only a few new insights into the band (so far as I've gotten). Others recommended: -Neil's "Waging Heavy Peace" -Pete Townshend's "Who I Am", probably the most literate rock star autobio I've read. -Grace Slick's "Somebody to Love?" is worthwhile, esp if you like the Airplane. -Keef's "Life" is good, if a bit scattered. Aside from Grace's, those are all big books, plan on getting comfy.
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10 years 11 months

Submitted by toddl on Tue, 12/29/2015 - 11:12

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I was at this show.Nice He's Gone For Marley. The year before (5/10/80) from Hartford is another great show.
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17 years 4 months

Submitted by Strider 808808 on Tue, 12/29/2015 - 11:19

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One of the more interesting anecdotes of the Steve Parrish book. Happy New Years one and all. I cant believe its coming right up on 40 years since my first Grateful Dead related New Years Eve. I had made my way down from Oregon to visit my brother and his wife who were living in the Mission District of the city. So its over to Bizerkeley for the Nicky Hopkins Garcia Band show at Keystone. Nicky was so shit faced but still held his own. I remember MG was there that night. Bob Weir and Mickey Hart showed up at midnight to jam. Weir had on some Uncle Sam tie. Remember it was the bi-centennial. Very happy to have made it that night. Was able to attend a few real New Years Eve Dead shows after that. 1981-82 was the most memorable. I cant believe I drove out of Oakland that early morning after it was over. Ah crazy youth. The Oakland Auditorium was a great place. But back to the Steve Parrish book, Jerry meets Frank. Or was I dreaming. So as Nicky Hopkins said 40 years ago, "Merry New Year". Oh yeah the 30 Trips thread. I've only listened to 1966 through 1974 so far. I'm trying not to overdo it. Will pick up the "big ball of string" again in the near future. Merry New Years!
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12 years 11 months

Submitted by DaveStrang on Tue, 12/29/2015 - 11:26

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Miles it's easy…go back to the beginning…start with 1967: 'That's It For The Other One' is a face-melter if ever there was one. The entire band are playing like their lives depend on it. From there I'd say 1970-1976 should help with the 90's withdraw. It's always great to re-discover why the Grateful Dead became the band they did.
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15 years 1 month

Submitted by Cousins Of The… on Tue, 12/29/2015 - 11:48

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Quite disappointing. A few insights, but a lot of it is about Steve bragging about his "specialty" of having sex with multiple girls at the same time.
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Submitted by One Man on Tue, 12/29/2015 - 18:29

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All in all, that is not really the greatest '69 show, is it? I mean, the song selection is of course fine, but did they really feel ready to record a live album (THE live album) only a few days later? I dunno. They sure stepped it up for the Fillmore West shows. I am so spoiled by that run that I don't even really like the Big Rock Pow Wow RT release or the Dick's Pick from April of that year. At least that one has China/Rider and Morning Dew going for it. Of course by later in the year things changed drastically and DP 16 is a big winner. Very much looking forward to 1970 after reading so many glowing reviews by y'all.
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13 years 4 months

Submitted by JimInMD on Tue, 12/29/2015 - 19:43

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I concur, One Man. ..but there's something truly special about DP 16. There's 90+ min in there that is sacred ground. ..almost to the point where comparisons to this show shouldn't be counted. In fact.. I listen to it very infrequently for the same reasons, only w/ proper mood enhancement. I bet if the Fillmore Auditorium was given the multi-track treatment that night, the FW shows would have some very worthy competition. ..anyway, great ear.. I had to chime in and give a little support to your opinion on this one. I do like the He Was A Friend of Mine from the Pow Wow though. I guess I have a soft spot for that one (and DDHNM). My true colors I guess.
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15 years 1 month

Submitted by David Duryea on Tue, 12/29/2015 - 21:32

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Big Rock Pow Wow sounds pretty damn good on Orange Sunshine. There's something to be said for getting in the mood.
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9 years 5 months

Submitted by purpleerik69 on Tue, 12/29/2015 - 21:51

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yep , you are right. I was caught by these shows too and there is even more to it - the knowledge that beloved Jerry is so fragile and soon to be gone. So that Dead is bitter-sweet Dead at its very best...
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12 years 3 months

Submitted by MilesM on Tue, 12/29/2015 - 22:26

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Ok out of the 90's and starting over deep into 66. What a drastic change in sound. The best thing about this box is it really puts into perspective what this band is all about. That is reinventing itself through the years. We all have are favorite eras. Mine being late 72 and all of 73 but every year is a complete change in sound. I think the reason for this is Jerry s drive to always keep pushing this music forward until the day he died. He never settled on one thing. He was always after something better. That's what made him who he was. It was like a compulsive thing. I'll bet he was a restless guy when he wasn't playing. His peace was creating. A true artist for the ages and probably the greatest musician to ever live.
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Submitted by jrf68@hotmail.com on Wed, 12/30/2015 - 00:31

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Miles,I couldn't have said it or felt it better.:) Oh yeah...4-3-90 Get some :)
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9 years 5 months

Submitted by Kayak Guy on Wed, 12/30/2015 - 06:22

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I agree with Cousins...One of the worst of the GD books, it reads more like a confession at a Sex Anonymous session. While some of the stories are good, most end with cheating on the loyal girl friend while on tour and then being sad about it when he goes home. If you like Hell Angel's stories and the bad aspects of life on the road it's a good book, but for insight into the band and respect for others it's at the bottom of the list of GD books I would recommend to to others. He really needed an editor, some of the stories are best left untold, and provide no insight into the band. No Simple Highway quotes most of the good parts of the Parrish book while steering clear of the groupie tales.
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17 years 4 months

Submitted by hbob1995 on Wed, 12/30/2015 - 07:21

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I don't want to dump on Steve Parrish, but of all of the books I have read about our favorite band, and I have read most of them, this is the only one I have not gone back to for a second reading. 'Nuff said. Rock on
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Submitted by marye on Wed, 12/30/2015 - 10:37

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It's been years since I read Parish's book, which chronicles an aspect of the scene that was pretty different from the one I inhabit(ed)--and I think that's kind of the point. To grossly paraphrase something Hunter said in a long-ago online journal, the Grateful Dead is much too huge to fit in any single person's head except maybe Ram Rod's, and Ram Rod is gone now. So I think it's a good thing for the band and family to write down their experiences, even, and maybe especially, because they may chronicle something pretty different from what we're used to and it matters to get it recorded. We may already have reached the tipping point of there being more Deadheads who never saw Jerry than Deadheads who did, and those people should have access to primary sources as well as the secondary sources based on interpretation and editing of the primary materials. In which vein, I would strongly recommend Rosie McGee's book. And also Blair and David's just-published oral history. And the just-released Jerry on Jerry, being mostly previously unpublished interviews with McNally, with an intro by Trixie. The notable thing about this one is that the audio version is the actual interviews, i.e., multiple CDs of Jerry talking.
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Submitted by marye on Wed, 12/30/2015 - 10:40

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as a wise man once said, if you get confused, listen to the music play.
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Submitted by DaveStrang on Wed, 12/30/2015 - 11:17

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Glad to hear you went back to the beginning. I'd like to hear what you think about 1970. Personally, I think it's a thing of beauty. Happy listening (and discovering).
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Submitted by nitecat on Wed, 12/30/2015 - 17:33

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I agree with Mary. I liked Steve's book for his own rare insiders viewpoint on the whole phenom. Sure it would have been nice if there was a more insiders view on the band and how they worked. Hopefully we will find that in some other's insider biagraphy. Bob still has to write his book...
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Submitted by MilesM on Wed, 12/30/2015 - 17:35

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Will do Dave. I've listened to it once and to tell you the truth I think the sheer size of this box is overwhelming. I think it's gonna take two or even three times through to let it all sink in. Just finished 66 and what really sticks out from this show is midnight hour. Pig really shines on this and Jer is on fire. Into 67 now and obviously the Viola Blues is just crazy.
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Submitted by One Man on Thu, 12/31/2015 - 02:52

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We are still in the early days of the reconstituted version of this song, and the groove is looser than it would become soon after. Weir plays a funny dance rhythm before hitting his trademark lick, adding bounce. I have to love it. The band is clearly on. Garcia sounds a little distracted as he sings the second verse, but hits the guitar licks hard right after that. The key change instrumental bridge is note-for-note great and it falls sparkling down to the original key and the last verse. It’s a psychedelic masterpiece in the making. The ending changes lead to the perpetual D-chord and Weir begins learning what to do in here. He has some good ideas already. I miss his little lead parts in later incarnations. This one is not bad, although it would grow to be a monster by 1972. A strange patch intrudes in the middle of this jam and the stereo field collapses somewhat, perhaps all the way to mono. Whenever something like this happens, I fear the patch is from a completely different show. It has happened before! And no one ever fessed up to it (see the May 1977 box). Garcia doesn’t get a solo here, the song simply transitions to I Know You Rider. The singing enters as soon as the groove settles, and the harmonies are damn good, considering. During the “sun” verse, our original mix returns and the instruments are spread out across two ears again. A small stumble gets us into the “train” verse and another full-band chorus before Jer majestically forms the lead part that dies into the a capella final refrain. Now sing it, boys. They keep it simple, and with a long, “yeahheeeh,” Jerry signals the crashing chord changes and the end comes amid a big electronic buzz. Hilarity follows in the Technical Difficulties segment.
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Submitted by DaveStrang on Thu, 12/31/2015 - 04:46

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I would like to wish everyone a Happy, Healthy, and Prosperous New Year To Your Peace Of Mind, Dave
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Submitted by purpleerik69 on Thu, 12/31/2015 - 06:10

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on Pigpen:yes, he shines on the 66trip. His voice is full of blues , his organ promises things to come and he carries the band even more than Jerry and Bobby-boy do. Wonder what he`d sound in the nineties if......yes, dreaming... heading back to the 7/3/15 FTW show right now..
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Submitted by Gary Farseer on Thu, 12/31/2015 - 07:42

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Hey folks, Happy New Years to you all! Thanks for the great posts this year. Thanks to the "Establishment" for a fantastic 50th celebration. I personally am looking forward to 2016 to give my wallet a break. I know it will take at least until this time next year to absorb all of the official releases I have procured for the 50th. On the the big boy box, I continue to listen to each show twice, I am through 1989. What an interesting time-line indeed. I am enjoying all of it, although I personally believe there are still some true nuggets to be released from the vault, more on this later. Why I am at my office on NYE is puzzling. Man, to be in Frisco this time of year...as Barbara would say "Memories." Raise a glass to Should Old Acquaintance be forgot, and never thought upon; The flames of Love extinguished, and fully past and gone: Is thy sweet Heart now grown so cold, that loving Breast of thine; That thou canst never once reflect On old long syne. CHORUS: On old long syne my Jo, On old long syne, That thou canst never once reflect, On old long syne. May 2016 be blessed. positive, Fantastic to all! G
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Submitted by mhammond12 on Thu, 12/31/2015 - 09:36

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Caught Dead and Company last night at Forum in Inglewood and it was a great show. Best Dead show post Grateful Dead I've seen bar none. John Mayer brought chops and an obvious love and respect for the music and the vibe. Great concert. Happy New Year y'all.
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Submitted by Kate_C. on Fri, 01/01/2016 - 07:08

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Indeed! An annum of RnR revelry no matter the branch of our family tree... (EPIC!)
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Submitted by brianhahne on Fri, 01/01/2016 - 08:27

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I've put all other Dead music on hold til I get through 30 trips... Still haven't listened to Dave's 16, or any of the other releases I've gotten. I got through 1991 and 1992... starting 1993 on monday. Getting scared though as I hear Jerry starting to fade. Hopefully they're tolerable. Happy New Year to all
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Submitted by marye on Fri, 01/01/2016 - 09:36

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I foresee a run on those coins...
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Submitted by wilfredtjones on Fri, 01/01/2016 - 10:21

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I stumbled across another fine version of Dancin' in the Streets from 2/26/77. Sometimes I forget how nice of a show this is. Unless this one is not in the vault I see little reason why this has not been released yet. One of the classic shows to be sure. Another one I like (quite different) is 1/13/78 because it gets really out there and eventually ends up in a space jam.
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Submitted by muleskinner_blues on Fri, 01/01/2016 - 10:32

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Here's to 2016 being better than 2015. I just want to tell you both good luck, we're all counting on you. And since you didn't ask..best Spring '90 show? 3/14. Arguements to prove me wrong welcome. Thank you very little.
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Submitted by DaveStrang on Fri, 01/01/2016 - 12:42

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Muleskinner I know you purchased the Dylan deluxe 18 CD Bootleg Series as I did - while I thoroughly enjoy the notating of "Take 6" "False Start" etc. I found it kind of odd that they didn't denote the 'Master Take' for each of the songs, unless you consider "Take 6 Complete" as that indication. Any thoughts on this? In either case I'm enjoying the set greatly. Again may the coming year be kind, joyful. and prosperous to you and yours.
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Submitted by DaveStrang on Fri, 01/01/2016 - 12:47

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Kate, I swear it looks like Bob Weir and a very young Joe Strummer from The Clash! Backstage at the US Festival? Were the Clash even on the bill?
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Submitted by Vguy72 on Fri, 01/01/2016 - 13:15

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....I made it to 12:10 last night. Woo-hoo!! Woke up Mrs. Vguy at 11:57. Gave me a dirty look. Lol. Hope this year brings you all grate times. Looking at the setlist, those at the Forum last night for Dead & Company got off to an awesome start. Looks rocking on paper. Wow... ....next week, I may be posting sparingly. Family is moving eight miles down the road. Packed up all my music yesterday. The lone soldier on the battlefield is my 30 Trips box. Always marching on. My highlight for 2015. Thanks Rhino, dead.net and Dave.... ....on a down note, the world lost Lemmy and Wayne Rogers the past couple days. Listened to Motorhead quite a bit back in the 80's when I was deep into the metal scene. The Dead popped my cherry in 86. Fast and loud. Born to lose, lived to win was Lemmy's motto. Cool motto. Rogers was Trapper John on MASH. One of my late father's favorite shows. He passed the torch to me. Interesting, since I've been Netflix binging MASH for the last few days. Strange coincidence....RIP gentlemen. Actually, Lemmy should rest in loud....
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Submitted by muleskinner_blues on Fri, 01/01/2016 - 14:00

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Dave - Agree on the tagging for sure. Alot of them you can tell the master when it get's there, since the phrasing, etc, is so recognizable, but many are very similar and it would also be very useful to know where the master take fits in the sequence when browsing. Not to rehash the whole USB / bolt discussion, but it's kind of sad how far behind meta-tagging is, given the prominence (dominance even?) of digital media nowadays. Kids.. I believe I read somewhere, either in the box or on an article about it, that they used the original mix of the masters or mixed them down so they did not stand out among the other takes. I agree with that for sure, but at least tagging them would have been nice. Vguy - RIP Trapper. Lemmy too, though I don't really know Motorhead at all. MASH was before my time but I got into it in 2014 and am a devotee now. I'm a Hawkeye guy but Trapper was fantastic, as were the rest. One of my favorites of the 'first wave'... Harpo Trapper. RIP https://www.youtube.com/watch?v=tzZ8gsN796A
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Submitted by Vguy72 on Fri, 01/01/2016 - 15:16

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....come to think of it, you should have booked the rest of the body as well". Classic muleskinner, classic....I'll miss you Trap.... ....that was from season two I think. Circa 1973. Think I'll spin the San Diego 30 Trips show later. That was a great year. The Miami Dolphins were the cream of the crop then too....that seems so long ago....sigh....
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Submitted by Vguy72 on Fri, 01/01/2016 - 16:23

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....that Natalie Cole, daughter of Nat King Cole, passed. There's three....
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