July 1978: The Complete Recordings
download the cover art
• Five Complete Shows on 12 discs
• 7/1/78 Arrowhead Stadium: Kansas City, MO
• 7/3/78 St. Paul Civic Center Arena: St. Paul, MN
• 7/5/78 Omaha Civic Auditorium: Omaha, NE
• 7/7/78 Red Rocks Amphitheatre: Morrison, CO
• 7/8/78 Red Rocks Amphitheatre: Morrison, CO
Mastered in HDCD by Jeffrey Norman
Artwork by esteemed cartoonist Paul Pope
Intro and show-by-show liner notes by Nicholas Meriwether
Producer's Note by David Lemieux
Individually Numbered, Limited Edition of 15,000
Release Date: May 13, 2016
Announcing July 1978: The Complete Recordings
We’re pleased to announce JULY 1978: THE COMPLETE RECORDINGS, five incredible unreleased shows and the first official release from the long-lost tapes, recently returned to the Grateful Dead’s vault. Follow the Dead on a sonic journey through a superb selection of settings, an often epic adventure that finds them winning over Willie and Waylon fans in Kansas City, conjuring charisma in Omaha, and elevating the Red Rocks beyond their already spiritual planes. With five distinct performances painting the masterpiece of 1978, Betty Cantor-Jackson's always-pristine soundboard recordings, and the "hall-of-fame pedigree" of the Dead's first-ever shows at the legendary Red Rocks Amphitheatre, this is one release that far exceeds excellence in music, sound quality, and rarity.
Limited to 15,000 individually numbered copies, JULY 1978: THE COMPLETE RECORDINGS includes Arrowhead Stadium, Kansas City, MO (7/1/78), St. Paul Civic Center, St. Paul, MN (7/3/78), Omaha Civic Auditorium, Omaha, NE (7/5/78), and Red Rocks Amphitheater, Morrison CO (7/7/78 and 7/8/78) - all of the performances in this collection are drawn from the band’s master soundboard recordings, each newly mastered by Jeffrey Norman. The set also features original artwork by esteemed cartoonist Paul Pope (D.C. and Marvel comics) and in-depth liner notes written by Nick Meriwether (Grateful Dead Archives at the University of California, Santa Cruz), as well as a producer’s note from producer David Lemieux.
Due May 13th, we anticipate that this extraordinary box will sell out. Your best bet is to pre-order it now, then sit back, relax, and enjoy all the exclusive content we'll be rolling out over the next few weeks right here.
Looking for something a little more byte-sized? The collection will also be available for HD digital download in FLAC and ALAC, exclusively at dead.net, on release day.
Listening Party: July 1, 1978
"The Other One>"
"Around And Around"
First Listen: "Wharf Rat" 7/8/78
Head on over to Rollingstone.com for an exclusive sneak preview of "Wharf Rat" from the July 8th Red Rocks show.
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Was this show ever offered up digitally or do they have to sell out the boxset first? anybody know? Thx
"Not every show can be 5/25/77 or 8/27/72, which makes me love and respect the band even more." Very well said, and I totally agree. (Also, I love that you name drop 5/25 in that comment :)
I also agree with LedDead's point that slide is hard as hell, and that Bobby deserves respect for being so fearless. I will always have MAD respect for Bobby - - but KayakGuy also has a good point that he never really got any better at it, and 78 seems to suffer the most from it. That slide work on Sugaree just makes my soul sad...
I am steadily working my way through July 78 and mixing it up with DaP 22 and GSTL - - It's a fun mix of different era Dead. (Oh, I've been throwing some of the 82 Greek shows in for good measure - Lordy, there is some tremendous playing there too!)
So far, my favorite 78 discs are Arrowhead disc 2, St. Paul disc 1, and disc 2 of the second Red Rocks show. All of them are worthy shows, and I am very happy to have this set.
Hope everyone has a grand week! Just found out my wife was offered a job as a principal of a K-8 school here in the city! Down side, I will be seeing a lot less of her :( Up side, I usually have to turn off the music when she gets home, so more listening for me :)
This is a great show that is mixing quite well with the mood I have going right now. These shows have wonderful energy. Nothing is ever going to come close to the feeling of outdoor Dead at Red Rocks. Cool breezes under the stars in a pristine-sounding natural amphitheater. The sound bounces off those rocks in a way to make the music surround you. All captured beautifully on this recording and production.
I was lucky to have made a few pilgrimages to this special place during the 80s. Many of the details are fuzzy, or invented, or altered somehow. But there are a number of clear ones that stand out, the first being Chief Hosa campground, hitching a ride there from the show with a motorcycle dude for the rush of it, and drinking from a jug of electric kool-aid (or something that resembled kool-aid).
I also listened to Springfield 5/11/78 last night. I might venture to say one of the greatest Fire on the Mountains I've heard, or at least in a while. And that goofy Dancin' in the Street.....
Also 1978 brought us Egypt stories and Hamza El-Din, new rhythms, and Jerry pig tails.
I love how Bob "practiced" playing slide live on stage. In standard tuning... slide is hard as hell. Not everyone can be Joe Walsh or Duane Allman. John Mayer has said that Bob is fearless, and I admire it. He gives it a good shot, but when he misses the mark or flubs a lyric or two it just rolls like water off a duck's back. We should all be so stoic in failure.
Love, love the 1978 set. The artwork is the best ever. Only critique drums and bass a bit woofy/boomy but everything can't be just exactly perfect all the time.
Otis I wasn't insinuating it was you saying nothing good came out of 78, but I do hear a lot of flak about 78 shows around the 'hood. The Dead were peaks and valleys throughout their 30 years which is to be expected by such creative human beings. Not every show can be 5/25/77 or 8/27/72, which makes me love and respect the band even more. There is so much joy in the experimentation and just the act of being in the moment which makes them so freaking appealing.
Listen deeply, listen freely, listen often.
I'm looking forward to the documentary film release on Thursday. I'm going to be at the Jacob Burns Film Center in Pleasantville.
Blame it on Lowell George.
The thing about Bob's slide playing that always got me was after all that practice every show for 17 years, he never seemed to get any better at it ;)
Bob's new toy aside, this is still a great box set, great artwork, and the band seems to be having a great time. Listen to the growls in Werewolves and try not to laugh along with Donna as Bobby goes out of his way to bait her. These are fun shows of a band in transition while they were recording Shakedown St. and getting ready for the trip to Egypt.
... THIS is what kills 78 for me. He is terrible at slide guitar.
EDIT: He got better, but I usually don't like his slide playing... he's such a good guitar player, it hurts to hear him F' it up with that damn slide...
I just logged on to say how wonderful this box set is, and you already did it for me :)
I didn't intend to say that nothing good came out of 78... this box is a perfect example, and it is A BEAUTIFUL BOX SET!!!! Probably the most impressive looking I have seen!
Peace, and 78 LOVE all around :)
(Still hate Bobby's slide practice, on-stage...)
I understand about 1978 but I'm not of the opinion that nothing good came out of 1978. I see it as a gateway year. Having missed out on the May 1977 Box, this one is actually the first physical box I purchased and I was really pleased when it arrived. The design is beautiful, and the sound....a lot more refined than what I had been listening to for the past umpteen years. I don't think it's a mistake at all to own it. While some people love the Red Rocks, I really enjoy the St. Paul show. It sparkles in my opinion, and the Stella Blue speaks to me deeply. Happy listening.
...after a lot of chatter on these boards about this one still being available, and after seeing how gorgeous the GSTL box set is, I decided to pull the trigger before this one went the way of the dodo, (or Fillmore 69.)
I suppose I hesitated for the same reasons KF and HaGizMo mentioned. Also, I feel like 78 often leaves a lot to be desired. The two DaP from 78 are both in my personal bottom five, (though I recently ordered DiP 18, and I have heard nothing but good things about that release.)
All of that being said, this box is GORGEOUS! and unlike the GSTL, it is very sturdy. As many have mentioned, this is simply some of the best artwork the band has put out in a long time! The book has some good pictures, though the essay doesn't really have a lot to say (It seems N. Meriweather had to come to grips with his own ambivalent feelings towards 78 to write it...) But this artwork!....
I am on disc 2 of the Arrowhead show, and aside from a brief skip in Bertha (on the opening song of the box! C'mon!!!) this is sounding really great. I have known 7/8 for some time now, but I am excited to get through the rest of these shows and check out the upgraded sound. (I'll just be sure to skip a couple Werewolves... ouch!)
Happy Weekend, DeadLand!
No questions about it; this set put the "everybody already has it" issue for sales potential to rest! Of course the power that is already new that a long time ago.
Eskimos will always want their ice and the rest of the world outside of that hardcore 10,000 or so folks will just get the highlights/legends. Remember the Fillmore 69 release? There was a reason it was limited to 10,000. They just didn't account for the fact that those shows have legendary appeal!
Good guesses from KeithFan2112 on why not sold out. I'll add a couple in having purchased the box set:
1) I think Rhino is amassing a reputation for poor quality control. Like others, I have a disc that skipped. I followed the instructions on how to return it. About 6 weeks later, haven't heard a word on replacing it.
2) Perhaps by 1970's standards, recording quality is great. However, against today's standards for live CDs, it's not all that great.
3) Donna's vocals are grating for most of the materials she sings on. Would have been preferable to limit her singing to material that works for her limited range.
Hey this is that new cryptolock that's taking the world by storm.
don't click on the links.
Beware of the MALWARE.
Finally picked up this set on eBay for 125.00 brand new.
I have been on the fence on this set for a while. Now I'm really looking forward to it.
Kind of glad I skipped the new release though. Sounds like a disaster, and faulty product.
A few reasons this didn't sell out:
1) Even the original May 1977 took 8 months, and 1978 does not have the reputation of 1977. Definitely a factor.
2) The 7/8 standalone release, I think, KILLED sales for this. There is a percentage of casual fans out there, and they reached for the rumored best show of the lot, for much less money
3) The songs are repeats. There are oodles of versions of these songs from roughly the same period, so appeal is limited somewhat to the hardcore fans.
I'm confused as to why this box hasn't sold out at the increasingly rapid rate of comparable releases here. It's an amazing set.
I love the song lists, the packaging and artwork are through the roof awesome.
Anyway, this is a fantastic set and the box, book and slip covers are treasures. As I live in Denver and bask in the luxury of downing stellar margs at the Morrison Inn prior to annual Red Rocks invitations, I am over the moon with this.
Looking for the stuff some record shops got for the Red Rocks release 7.8.78
Rhino and Warner Bros had the same stuff. I got the wristband from local record shop when it came out , but he didn't have the shirt and water bottle available
Help Rhino / Warner Bros !!!
Heck I will even pay for it and the shipping cost ! Add on tax and let's call it a deal
Also missed out on the grab bag my local record shop had for Cornell release party on Cinco de Mayo. There was about 12 grab bags and around 20 people even though about half were toddlers Lol with parents that won. I wanted to buy Cornell LP to get free print like marketing sign said but apparently Rhino kept the vinyl stock , so it wasn't even possible.
I bought the big box set , so I didn't really need the cd version of Stand Alone Cornell show.
How do I get a print ?
Hmmm something GD related...
One of the few 1977 shows that doesn't circulate as a SBD and might be one of the few still missing SBDs from the Vault.
Grateful Dead Live at Robertson Gym, UC Santa Barbara on 1977-02-27
Minglewood Blues, Loser, El Paso, Ramble On Rose, Estimated Prophet, Peggy-O, Good Lovin', Mississippi Half Step, The Music Never Stopped, Scarlet Begonias Samson & Delilah, Saint Stephen-> Not Fade Away-> Drums-> Terrapin Station-> Morning Dew, Sugar Magnolia, E: Johnny B. Goode
Taped by Rob Bertrando, who if we made people Saints in the hobby would be one.
that is all
Here's the show before the box for some added motivation for giving the box a 2nd thought while it's still available.
Listen to Jerry's FAT tone on the Estimated Eyes and Ken Babbs adds some Prankster Wierdness.
Grateful Dead Live at Autzen Stadium, U. of Oregon on 1978-06-25
Promised Land, They Love Each Other, Me & My Uncle, Big River, Candyman, Passenger, Peggy-O, Minglewood Blues
Samson & Delilah, Friend Of The Devil, Estimated Prophet-> Eyes Of The World-> Drums*-> Not Fade Away-> Goin' Down The Road Feelin' Bad-> Around & Around, E: U.S. Blues *W Ken Babbs
Nice find Kayak Guy
She's right here.
I can only answer for myself, and it's very simple;
and, if i felt I needed any more than that, Red Rocks is available separately.
on a separate note; does anyone know, is Betty getting her dues; I and several others have asked, and I haven't seen any kind of response at all.
If not, surely a Pledge page would be good; or is there already one up? Anyone know?
"This should make Rhino happy, the release of widely circulated Betty shows does better than the Betty's that never circulated.
Maybe all those years of circulation gave people a taste of what they are willing to pay for now and the stuff that stayed hidden is too unknown to buy?"
This is very insightful indeed. I can see no other explanation for the disparity.
This page for a while was filled with hackers posting away. when i translated some of it through google before it was cleaned up, it was polish slang for "i like this place" and "these people are funny".
This set rocks BIGLY, you should consider yourselves lucky its still available for cost and still numbered editions. If you don't have it yet, it's worth the money and the artwork is fantastic, in the style of a graphic novel.
Compared to other recent boxes that feature Normanized versions of Betty's that have been in circulation for 30 years, This July 78 box has 4 unreleased Betty's, well 3 and a Stereo upgrade from the mono that circulated.
This should make Rhino happy, the release of widely circulated Betty shows does better than the Betty's that never circulated.
Maybe all those years of circulation gave people a taste of what they are willing to pay for now and the stuff that stayed hidden is too unknown to buy?
In any event if you haven't got it yet, you really should grab this box before it sells out and it becomes speculative on ebay, if just for the box and artwork.
Why has this not sold out, its fantastic.
Yes.. music today and the constant Russian Hackers is a big part of the reason, the other part is beyond an initial rollout strategy, they have no involvement. For the longest time this thread faded was not even prevalent from the home page of dead.net.
I'm not complaining, I have mine and love it.. I just come to this thread from time to time and think wtf?
You all have good guesses, as good as mine, which is.
The real reason this is still available is the meltdown of Music Today shortly after the release, the website going to comments only mode for months until the Dave's subscription was announced, when NOTHING was available for purchase, and the still cryptic hint above that at some point it will be available digitally "on release day". Its very likely there are 2000 people that would have bought the box if it was the only option, but waited for the digital version instead.
Add to that some short term memory loss and short attention spans and you have over 2000 copies left of this box set which I like much better than the Spring 77 box.
I love this artwork and would have spent lots of dead presidents on T shirts, posters, and other schwag if offered.
I also feel many people pay attention to their browsers and for months this site has been unsafe and I have to click through 2 browser warnings just to log in that say the site is bad for my internet security.
NO where else on the internet do i have to click the 2nd "Are you Sure?" dialog box.
What's up with that, someone saving IT money by waiting for a new interface, maybe ROAR as the core in the fall?
Meanwhile the site limps along on, unsecured until the next explosion when Dave's 22 goes on sale shortly before May 77 part 1 ships and people find out if they got a limited edition or music only version. I bet that will be fun times on the board ;)
I agree Dschian on each of your points. I think it is noteworthy, however that this one is dragging on with 17% of the inventory still left after a year. I think they planned on this one moving faster and I don't blame them. I would have thought that 3 totally uncirculated betty boards and two classics with one only circulating in mono would have generated more buzz. I suspect Rhino and Co. thought the same and thus the 15k.
It seems like each release gets core customer sales in the 10k range. That number represents those of us who are so pathetically obsessed that we buy everything no matter what. Then the remaining 5k in sales are the "investors" and occasional buyers. I think that dependable 10k in sales per release is pretty clearly indicated by the numbers set for the FW69 box, early DaPs etc. I think the DaP numbers have gone up only because of the demand created by the second hand market.
I do find the hue and cry over limited editions a bit exasperating as I think I understand the considerations being made here and the need to limit stock on hand and warehousing. Really, if we would dependably buy 100k per release they would gladly print it; I'm sure of it. We cant blame the manufacturer for trying to avoid inventory warehousing expenses. This release is a clear indication to me that they have the number set just about right to accomplish their goal of printing and moving releases on a continual release schedule.
Yup, 0ver 80% of the run sold in about a year; at this rate, the rest will probably sell in the next two to three years. Based upon what I've seen buying modern cd and lp releases, it's not unusual for a run to take a few years (and sometimes up to twice that time) to sell out, even for many popular releases. In that respect, wadeocu, yes, Rhino knows its customer base quite well. Nearly every other Dead limited edition/limited release has sold out relatively quickly (from a few days to several months), and even the slower ones, like the second Spring '90 box and the May '77 one, sold out within a few years or less. Believe it or not, Rhino's goal is probably not to make sure that these sell out in a heartbeat, but to sell the greatest number without multiple production runs or endless inventory. I for one am glad that people don't always have to rush to immediately buy one or have to otherwise search for it on ebay at inflated prices. Recently Rhino sold over $2 million dollars worth of the new box set (before the all-music release that followed) within three days, even with the first marked by technical difficulties- by any standard, that's pretty impressive nowadays for physical media.
As a follow-up to my recent post below, finally got a chance to hear my Winterland 1977 box again (I have a huge listening backlog) and came away much more impressed by it than by the first May 1977 box, with the exception of the latter's 5/13 show, which is excellent and the best of them. I still do think, though, that overall the Summer 1978 box outranks the May '77 box in quality of shows.
Rbmunkin, while in some respects 1977 WAS the last great year for the Dead- chiefly in the reliability of their musicianship, according to what I've heard from later years- it certainly wasn't their last great year for many listeners in terms of many, many great later performances. To put my bias in context, my favorite Dead years are 1969 and 1972-'74, so I'm not an '80's deadhead, though I attended the bulk of my shows during the earlier part of that decade and love many of the shows from its first half.
I have both the May 1977 box set and the July '78 one, and to my ears the 1978 one is substantially better. I say that because while the 1977 performances in that box are all reasonably strong, they're not always particularly exciting to me. The band, and Jerry in particular, strike me as being in a more predictable, professional mode at the shows in this earlier '77 box release (though I expect the new '77 box to be substantially better performances, based upon the bits I've heard). I find the improvisation more raw, energetic, and dynamic in the 1978 box, and to me that's what makes shows stand out. Also, the song selection is a bit more varied, which I appreciate. While 1978 may be weaker overall as a year (and I haven't heard most of either year), I find these performances to be better than much of what I've heard from '77. Similarly, according to what a listener likes, great boxes (if not great recordings) could be put together of performances from the early 80's or even the Spring/Summer 1985 tour, I believe. One slight drawback of the 1978 box is that the recordings have a bit less depth to the sound, but that goes with the territory of later 2-track soundboards.
If you like the '78 sound, definitely get this box while it's still around! I think that they're all (and not just the Red Rocks shows) excellent performances and better ones than the Dave's Picks releases from '78 so far.
My guess is because 1977 was the last great year for the Dead. But I haven't heard this set yet, so it's just my sense of it.
Lucky enough to finally order a copy of this. Can't believe it's almost been a year and this hasn't sold out yet. Got in quick for the Get shown the light box pre-order. May is going to be a excellent month to dance in the streets
Beat it spammer
Just got this the other day. Listening to the kc show currently and it is really really good
it appears Rhino knows the customer base well when setting the numbers on these "limited editions".
I'm not sure why this didn't sell out either. I'm digging in to the St. Paul show now, for the third time. Stella Blue just gets me every time throughout the years. I'm sitting here with tears in my breakfast.
they havnt gotten all the bugs worked out. Seriously. And to be perfectly honest i dont ever see them fixing it.
I dont think you can get any digital downloads right now of anything on the site.
Its a JOKE that this site functions as poorly as it does. Plenty of bands that dont earn nearly the money that GDM pulls in have FAR superior sites. Streaming live shows for free, instant downloads, downloads of their entire catalogs, apps that work with their live catalogs, subscription services.
Im happy with what i get, but they could be doing so much more.
You sold me on it! I just bought it!
to it's 'home stretch' and sell out so they can offer the digital download(s).
I can still remember that fabled summer of 1978, when the Dead did actually did circle back to Nebraska.........
They played the Omaha Civic Auditorium (in Nebraska), where the Dead played once before in 1973.. We got there and the venue was half full (about 4,000) but everyone was chomping at the bit in anticipation to hear them live. I took my Nak 550 into the venue and there was no hassle getting the deck in this time, but remember these were the days before ‘tapers sections’. And each venue or even staff may present a different challenge. But not here, thank goodness.
Out in the hallway, the Hell’s Angels wandered about sporting full colors and big grins. They may have been transporting ‘party favors’ and decided to take in a show. Or maybe the Angels were just road tripping with the band (although I didn't see them at the next few shows). My buddy even brought his 68 year old mother to the show. She sat up in the stands “It is just too loud down there!”
Anyway, I headed down to the floor with my Nak 550 to set up in front of the soundboard. When I started to get my gear set up and saw this guy beside me with a great rig. Luckily this kind stranger (I have since discovered he was famous taper Bob Wagner) then let me patch out of the back of his deck, which was wonderful as he had a great 8 ft. tall mike stand set-up. He had a Sony deck and mics, but with that high stand his mic’s were well above the crowd noise. We were about 15 to 20 feet in FOB. So Garcia treated us to a blistering Sugaree opener, the kind that drove the crowd wild. His leads mounted into a wave that crests, recedes, regroups, and comes back rolling in with such power and delight that adds a synergistic effect to our frenzied response as his rolling/soaring guitar work lift and subside with the band.
Then Beat In on Down the Line, TLEO and now it was Bob’s turn in the spotlight with a Look’s like Rain. About halfway through the song, I suddenly noticed something shimmering in the air between the band and me. I thought “what a fantastic light show! Or have I have shifted into fifth gear just a little early that I scheduled?” I staggered towards that disturbance in front of me to investigate. People were dancing wildly in the middle of the floor as a waterfall played over them. It was about 25 feet in circumference. I put my hand in, water…hand out, no rain..I am standing in front of an indoor waterfall. what to do? I jumped into pouring rain that was INSIDE the middle of the auditorium! Then I stepped back and was out of it. I shook my head and then lunged back into the deluge and danced through Looks Like Rain & then during Direwolf as well and a delightful All Over now. (Complete with Donna in perfect pitch!) Then Candyman and Lazy>Supplication before Bobby informed us “We’re going to take a short break”.
I staggered back to reload a new tape and then I did look for some validation of my experience. And I asked my friends if I was not in fact ‘soaking wet’ as I patted my soaked shirt. They grinned knowingly and affirmed that, yes, in fact I was “all wet”.
And then this unique show continued, (nice indoor water-feature, boys !) with a killer second set complete with a transportive Estimated> Eyes> drums> Wharf Rat> Truckin> Iko Iko> Around. And then after a lengthy absence from the stage the boys returned to play us ‘Promised Land” as an encore. As I left the auditorium I noticed the water standing on the ground outside, a summer storm? Was this a case of a leaky roof or didn't the Dead just conjure up the forces of nature as they were so prone to do?
But back to the important stuff, what were the Dead going to do next? Would Phil rev up his reverse gravity machine and pummel us with Phil-bombs at the next show? Would they levitate the crowd, and have us all dance while floating in the 'cool Colorado range'?
I HAD to follow them to those Red Rocks shows in 1978. So a road-trip to Colorado it was. This was the Dead’s first Red Rocks jaunt (and my first as well, although my girlfriend (now wife) had seen Joni Mitchell there previously and raved about the venue) so my anticipation was so ‘high’. (In many ways.) So I packed my taping and camping gear and off we went.
When we walked up to the Rocks entrance, the Feyline security crew (or were they the John Scher guys?) were stopping people and inspecting any 'carry in' bags. A security behemoth that I will call “BigBoy’ stopped me at the entrance to look through my Boy Scout backpack. He hefted my NAK 550 out of the pack and held it aloft with one beefy paw, exclaiming “Hey, you can’t take this in!” I gave him my best perplexed look and said “What? It’s just a tape player.” (first lie) Then the giant BigBoy instructs me to “take that back to your car”. I retorted “I can’t, I hitchhiked to the show” (second lie). Beefy Bruiser BigBoy points to my ticket and says “the ticket says no recorders on it, you can't take it in” and I tell him “look, I don’t have any microphones” (third lie) and hold up my arms to be searched (of course my comrades had the mics with them). Then I sighed loudly and popped open the back of the Nak deck and let eight D cell batteries drop onto the ground. “Look, I dumped out the batteries, it can't record”. (lie number four) BigBoy stood there with his arms crossed in front of me, but I could see a small crack in his resolve. So I pulled that thread “Look, I hitchhiked all the way here from Nebraska to see this show, would you hold onto this deck for me? It cost me $600 (which in ’78 was a lot of dough) but if you just hold it for me, and then I will find you after the show. You look like an honest guy.” (fifth lie, this guy didn't look trustworthy). I push the Nak towards him, and this deck is huge and weighs a ton, (a goddamn boat anchor). I really played my trump card here and was trying to hold my ‘gameface’, Suddenly all the heads waiting in line behind (and all my friends) erupt with yells at the BigBoy to 'hurry up' and started chanting “let us in”. BigBoy gives his mullet a shake and then he points into the venue and looks at me and exclaims “Go on, get out of here” and I dive headlong into my first Red Rocks show with a grin a mile wide(high)!
Followed by Mary with my mics and my buddies with my fresh batteries (re: lie number four) and my blank tapes. The batteries that I dumped out for BigBoy were already ‘dead’ (pun intended). I again ran into that ‘kind stranger’ (Dr. Bob Wagner, FOB right side)) to plug out of his Sony again.
Those two shows were stupefying, and the band obviously enjoyed playing there. Bobby's deer joke, and I remember Phil leading the boys through “Cold Rain & Snow” with his bass punching that tune into a triumphant ‘strut’ that evening.I recall Jerry broke a string during the Scarlet>Fire, which really didn't slow the pace of that perfect evening. On into Dancin' >NFA > Black Peter > Around & Around and then a dual encore of US Blues & Johnny B Goode.
The next night was much the same. Each night we would watch the clouds chase each other in the sky as the band serenaded us. Until it became dark and then we looked out ‘over’ the Dead to see the distant lights of Denver sparking in the background. Second night second half, we were treated to a tremendous Estimated > Other One> Eyes of the World > drums> Wharf Rat > Franklin's Tower > Sugar Mag. The crowd was especially raucous as Wharf Rat wound down to that tender quiet poignant pause, and then Phil (or was it Bobby) gave a "shhhhh" to quiet us in preparation for the wonderful 'launching' platform/crescendo that night..."I'll get up and fly away" and the band soared with all of us in tow.
Those evenings the Dead's aural wonders were matched with the Red Rocks astounding visuals as we were perched in between those massive stony slabs jutting into the sky (and the Dead had a good view as well looking back at us from the stage).
As the Dead those two evenings took us all on an astounding journey of Americana, myth, rock and roll, country, space, jam, fable, fun, roller coaster, and turn on a dime delights, it all 'rolled into one'. And then as the Dead finished us all off with “Werewolves of London” we were all crooning back to the dead with our own howl of “Aoooooo”. And Garcia was grinning ear to ear as he bid us all a “good night”.
Teachers open the door, but you must enter by yourself.
It's a crime that this box isn't sold out yet. The shows are all great and the sound is some of the best I've heard from the recent live releases.
I had to hit up email@example.com for some bad discs I got in the 50 Trips box. They sent me replacement discs quickly. That's definitely the way to go.
The best service is dealing directly with Rhino (Drrhino@rhino.com, I believe). If you give them your order # and describe the issue, they will help. I have found them to be much more responsive ( often the same day) than contacting dead.net. They helped with bad digital files, and even got me a replacement disc for the May 1977 box that had been out of print for a couple of years. Good folks.
Mine just arrived in the UK, ordered on jan 1st. Looks great. It's no. 14318, so for anybody still wondering whether to get it, now might be a good time to take the plunge.
So what's the status here? Will it actually be coming back digitally as I truly no longer own a CD player. I'm probably not alone here...