Grateful Dead

Blair’s Golden Road Blog—Vinyl Memories

By Blair Jackson

The recent release of Audio Fidelity limited edition vinyl versions of two more Grateful Dead albums—Blues for Allah and Shakedown Street—in beautiful gatefold editions (both were in conventional single-album sleeves when they came out in 1975 and 1978 respectively), got my mind wandering to memories of how much I loved buying, playing and sitting around staring endlessly at what we quaintly called “records.”

A few weeks ago, my Golden Road Blog headlined “Hello-o-o E-Bay” was “hijacked” (as one reader put it) by vinyl record junkies expounding on their love of the format with the fervor of true believers. I was, frankly, somewhat dismissive, noting that I didn’t miss the skips and pops, and that in general CDs sounded fine to me. However, CDs evidently don’t sound fine to a growing minority of music lovers. Vinyl is one of the few segments of the record industry that actually has been on the rise the past few years (even if it still represents a relatively infinitesimal portion of the biz), and the number of places devoted to manufacturing this ancient medium has increased tremendously.

Why? Well, vinyl devotees believe that tape or digital masters cut to lacquer and then pressed on high quality vinyl (180 gram “virgin” is now the minimum audiophile standard for new pressings) sound warmer, deeper and “truer” than CDs, because there is no conversion to binary digital code, where some of the mysterious audio “glue” that analog recording advocates say adds an indefinable je ne sais quoi can be lost. And there is that whole aesthetic matter of the larger packaging—the album cover as art form, which has been mostly lost in the CD age.

This past weekend, visiting my son in his apartment right off the UCLA campus, I was struck again by how cool it is to slap a disc on the turntable and sit there with a record cover in my lap, gazing at pictures or reading lyrics, having a tactile accompaniment to listening to vinyl, which is my son’s favorite format, by far. A lot of the records he has sitting around in bins and piles on his living room floor are ones that had been gathering dust in my garage in Oakland, and the turntable had been mine, too, before we refurbished it for him. But he’s picked up all sorts of cool old albums on his own, too—he loves record stores, just like his old man—and also managed to find the money to buy the more expensive modern vinyl pressings of some of his favorite current bands, such as Animal Collective.

Of course, in the era before I started collecting and trading concert tapes—which for me began in earnest in early 1977, after I befriended David Gans, who was already well-connected in that world—I was limited to listening to the Dead’s official vinyl releases and a few live bootleg records I’d bought through the years. And you know what? I loved them all (until Steal Your Face, which, to this day I dislike). I remember buying Live Dead at Korvette’s in the Bronx (right over the border from my hometown, Pelham, NY) for about $4 on sale, taking it home, plopping it onto what I later learned was a patently mediocre stereo setup (no separate amp; speakers were not fully detachable from the main unit) in my basement lair and being instantly transported by this band whose previous album, Aoxomoxoa, hadn’t earned much more than a “meh” from me, and as a result sat on a shelf largely ignored.

Blues for Allah and Shakedown Street are recent re-mastered vinyl re-issues.
Bear’s Choice and Go to Heaven are coming soon, and look for —
gasp! — a multi-disc Dick’s Picks vinyl release to come out down the line.

When night would fall, I’d switch on my crude self-made “light show,” consisting of a cardboard box full of independently flashing Christmas lights that projected onto a big white sheet on one wall, and imagine myself digging the Dead or Quicksilver or the Airplane or Cream or Jimi in some San Francisco ballroom. And when the light show wasn’t being used, chances are I was sitting around examining the covers of my albums — checking out the collage on Disreali Gears or the studio pics from Electric Ladyland, the crazy-stoned “newspaper” on the back of Volunteers, the beautiful calligraphy on the partial lyric insert of Live Dead : “Eight-sided whispering hallelujah hatrack”?!

The “Skull & Roses” album came out right around the time I arrived at Northwestern for my freshman year in college. I loved the cover so much I put it on the wall next to my desk in my dorm room and kept the discs themselves in just the paper sleeves they came in. I was a (perhaps annoyingly) proud Dead Head, and everyone in Elder Hall was gonna know it. That album got so many LOUD spins on my turntable that fall, just as Europe ’72 did the following autumn in a different dorm. I loved poring over the photos in the booklet that accompanied that album, wondering who the people were — “Ooh, look, that’s Robert Hunter! He’s almost never been photographed!”

A year after that, in the fall of 1973, I moved from New York to the Bay Area to go to UC Berkeley and I stopped at Northwestern on the way, to say hi to some of my friends there. There was a wild party in somebody’s apartment that night, partly in my honor, but my only memory from it is someone handing me a copy of Anthem of the Sun and my jaw hitting the floor when I saw that it had a white background instead of the purple one I had spent untold hours examining the past few years. I was even more amazed when I heard what was clearly a remix of the original album, so the next morning I went to downtown Evanston and bought a copy of this strange “new” version of the album. Alas, I lost it many moves ago. But it was great while it lasted!

Reckoning and Dead Set must have been the last vinyl Dead records I bought, because with In the Dark in 1987, we were already a few years into the CD age for new releases, and I wholeheartedly embraced that format. Needless to say, I purchased the entire Dead catalog on CD as it became available. What a thrill it was finally getting all four sides of Live Dead and “Skull & Roses” on single discs! Did the CDs sound better? Worse? Frankly, I couldn’t tell (unlike with some CD transfers, like Born to Run, the first version of which was clearly inferior to the vinyl version). But I dug the convenience, and when the first wave of amazing-sounding new CDs came out—remember hearing Brothers in Arms or Aja for the first time on a great system?—I was hooked, and there was no turning back for me.

But it also didn’t take long for me to start missing things about vinyl records, such as the larger artwork (and readable lyric sheets), and the sense that the artists and producers had put some thought into choosing the best 35 to 39 minutes of material they had, and then carefully selecting what was going to open and close each side of the album. Though I was at first thrilled by the larger capacity of a single CD, I quickly learned that many (most!) bands didn’t actually have enough good songs to warrant the longer available playing time, so I was often listening to more weak music, or tiring of an album much quicker than I did when there were sides that I loved (or didn’t care for).

I don’t currently own a turntable, but my 17-year-old daughter does, and like her brother, she listens more to vinyl at home than CDs. I suspect she might cart it off to college with her in the fall of 2012, carrying much of the rest of my old vinyl with her. Sniff, sniff. I’ll miss seeing those records lying around her room.

It might be too late for me to fully embrace vinyl again — I’d want to re-buy everything for a third or fourth or fifth time (a lot of CD remasterings keep coming down the pike; gotta save for the expanded Pink Floyds this fall!), but I’m happy to know that Vinyl Love is still a big part of the Jackson family.

Are you a vinyl record fan? What about it gets you off? Or is it all hype?

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sailbystars's picture
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San Rafael, CA
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Joined: Oct 27 2010
LP

Not hype. Rich and wonderful. I'm 41 and have been buying records since i was 13. They are gems, and I have laced the sleeves of my collection with concert tickets, band fliers, random photos, letters from friends, newpaper clippings about the band, birthday cards, and assorted ephemera to trigger memories and enrich the listening experience. (Hmm what do i have in here...pic of me and a bunch of buds seeing Jerry at the Eel River w Dr. John in 1989! Sweet!) Do you like to treasure hunt? Garage and estate sales, Goodwill, parents' attic...would you pay $16 for a 25 year old Miroslav Vitous CD? Probably not. What if it were .25 cents or free in an attic or a parental hand-me-down, and you discovered one of the great late bop jazz bassists? With liner notes! This isn't hype - this is a lifestyle! Sure there are the new wave of bands releasing records on LP, and this is sort of piling on to a newly energetic record fanclub. But hey! those lame jewel cases always crack, the cardboard ones scratch cds, that's no measure of Greatness. Keeping the LP alive is about about value and honoring the music you've collected through your life. Side two opener is the 'sweet spot' on an LP, like batting cleanup. Buying LPs from the new releases, make sure it was initially recorded in analog, as a general rule.

AAD – Analog tape recorder used during initial recording, mixing/editing, Digital mastering.
ADD – Analog tape recorder used during initial recording, Digital tape recorder used during mixing/editing and for mastering.
DDD – Digital tape recorder used during initial recording, mixing/editing and for mastering.
DAD – Digital tape recorder used during initial recording, Analog tape recorder used during mixing/editing, Digital mastering.

Releases (new, sorta old, and ancient) that sound especially sweet in the LP format:

Vetiver - Tight Knit (Bay Area)
Giant Sand - Chore of Enchantment (Best album of the 2000s for me)
Bear's Choice - (my old copy's pops and clicks truly enhance the 'let me make my mistakes on my own' sweetness of that LP)

Never say die! Its all streaming, iTunes and LP for me. CDs are dead! Which bums me out about the Pure Jerry CD releases - I own them all.. :)

augustwest's picture
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I don't miss them but,

First of all, with advances in, uh, agriculture, we don't need double albums anymore to clean the seeds out of our dope -- that more than anything else is probably what's killed the vinyl format. : )

That said, I don't think there is any question but that with the right album, and the right stereo, there is a depth and warmth to vinyl that a digital recording cannot match.

My dad is definitely an audiophile. He has tons of CDs, but all the essential stuff on vinyl too. I've done a few "a/b" comparisons of identical recordings played simultaneously and the difference is clear as day.

'Course, his turntable costs more than every component of my stereo system put together, and then some. With an average set up, I'd say the difference is negligible to non-detectable for most listeners (including myself).

acefromspace's picture
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Bobby says...

This interview with the original ACE says alot about that 'je ne sais quoi'

http://www.youtube.com/watch?v=aoyq1qGiP6I

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I saw where you mentioned

I saw where you mentioned the Pink Floyd remasters...between those and the Europe '72 box coming out this fall, its going to be an expensive year for me...LOL.

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Other than the cool artwork

Other than the cool artwork and extras (posters, etc) that came with LPs, I dont miss them at all.
Most of the new audiophile LPs I see now go for around $30.00 each...yikes. I still have the Wake Of The Flood LP on the Grateful Dead label...that was a favorite of mine. I also remember buying Reckoning as a cutout LP around 1983 for $1.00...man, those were the days!

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It's mostly hype. But if

It's mostly hype. But if that gets you off it's cool hype.

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