Spring 1990, Volume One Box - SOLD OUT
• 60 page hardcover Smyth-Sewn book featuring essays by Dennis McNally, David Lemieux, and Blair Jackson and photos by Jim Anderson & Mike Laurentis
• 25th Anniversary Tour Program
• Official Band Letters
• 6 Ticket Stubs
• 6 Cloth Sticker Backstage Passes
• 1 Tour Laminate
• Official 1990 Band publicity shot
• 6 complete shows on 18 discs
• 3/16/90 Capital Center, Landover, MD
• 3/19/90 Civic Center, Hartford, CT
• 3/22/90 Copps Coliseum, Hamilton, ON, Canada
• 3/26/90 Knickerbocker Arena, Albany, NY
• 3/30/90 Nassau Coliseum, Uniondale, NY
• 4/2/90 The Omni, Atlanta, GA
Box Dimensions: 12-1/8" x 3-1/8" x 12-1/8"
Recorded and Mixed Live by John Cutler
Mastered by Jeffrey Norman in HDCD
Original art by Wes Lang
Individually Numbered, Limited Edition of 9,000
Introducing The Next Box: Spring 1990!
And now for something a little different. This year's box set - Grateful Dead: Spring 1990 - offers six complete shows from the epic spring '90 tour, one concert from each city the band played, personally selected by Dead vaultmeister and archival release producer David Lemieux. The sizzling six are: 3/16/90 Capital Centre (Landover , MD), 3/19/90 Hartford Civic Center, 3/22/90 Copps Coliseum (Hamilton, Ontario), 3/26/90 Knickerbocker Arena (Albany, NY), 3/30/90 Nassau Coliseum (Uniondale, NY) and 4/2/90 The Omni (Atlanta, GA).
In his "Producer's Note" in the beautiful book that is part of the box, Lemieux, who attended the first 10 shows on the tour, states, "To my ears this was the last tour that was consistently great, where every show is excellent, not a dud in the bunch." And Grateful Dead historian Dennis McNally's comprehensive and informative insider's essay in the box is titled "The Last Great Dead Tour." These guys know what they're talking about.
Basically, the band had been on an upward trajectory since Garcia's return to the road in the spring of '87, following his near-death the previous summer. Of course, 1987 was a trip in itself, what with the unexpected mega-success of In the Dark and their first hit single, "Touch of Grey." But the momentum just kept building with each subsequent tour, as Garcia got back up to full speed (and then some!) and the group as a whole was as unified as they had ever been since Brent joined the band in the spring of '79. New original tunes were popping up and the old favorites were imbued with a freshness and spirit that was so uplifting and inspiring. The band was having fun again, and it was downright infectious.
The group's fall 1989 shows-as documented two years ago on the Formerly the Warlocks box (two shows from Hampton, VA, 10/8-9/89) and on the 2001 release Nightfall of Diamonds (a single night in NJ, 10/16/89)- kicked the energy level up another couple of notches, as the band reintroduced such loved classics as "Help on the Way" > "Slipknot!," "Attics of My Life," "Death Don't Have No Mercy" and "Dark Star."
And when the band hit the road in mid-March 1990, they had a bunch of other cool tunes to lay on their unsuspecting crowds, including the return of "Loose Lucy" (last played in 1974; it's not on this box), Brent's "Easy to Love You" (missing since 1980), a rollicking cover of the Rolling Stones' "The Last Time," The Band's "The Weight" (with all four singers taking a verse each) and a lyrically retooled "Black-Throated Wind" (absent since 1974), which elicited huge cheers every time it was played.
Over these six shows, most of the cornerstones of the Dead's repertoire from the era appear-splendid versions of "Scarlet Begonias" > "Fire on the Mountain," "China Cat Sunflower" > "I Know You Rider," "Playing in the Band," "Uncle John's Band," "Eyes of the World," "Estimated Prophet," "Truckin'," "Sugar Magnolia," "The Other One," "Terrapin," "Stella Blue," "Feel Like a Stranger," "Bird Song," "Let It Grow," "China Doll," "Box of Rain," "Morning Dew"; you name it. From the fall '89 breakouts come "Help-Slip-Frank," "Attics of My Life" and "Death Don't Have No Mercy." Among the still newish tunes are "Picasso Moon," "Blow Away," "Foolish Heart," "Just a Little Light," "Victim or the Crime," "Standing on the Moon," "We Can Run" and a couple that would get their final plays from the Grateful Dead on this tour-"Built to Last" and "Believe It or Not." There are stirring renditions of "Dear Mr. Fantasy" and "Black Muddy River," rockin' takes on "Gimme Some Lovin'" and "Iko Iko" and the only version of the full "Hey Jude" the band attempted in the modern era. And the "Rhythm Devils" and "Space" jams at the heart of each second set are as noisy-beautiful-scary-funny-intense-mysterious-wild as you'd expect/hope for.
Of course, we understand that some of you may have other favorite shows from this tour you wish were included on this box. Really, you can't go wrong with any of them. But at 18 discs, this is still the second largest Grateful Dead box (after Europe '72: The Complete Recordings) that's been released, and the non-inclusion of any other shows from the tour definitely does not preclude their future release! But this seemed like a more manageable way to go, while still giving a sense of the tour's amazing depth and breadth.
Besides the discs themselves, Grateful Dead: Spring 1990 has much to offer, including: a gorgeous 60-page hardcover book containing copious color photos by Jim Anderson and Michael Laurentus, unique artwork by Brooklyn-based fine artist Wes Lang, fascinating business letters and communications related to the tour, a detailed historical essay by Dennis McNally, a Producer's Note by David Lemieux and individual show descriptions by Blair Jackson; a reproduction of the Dead's 1990 tour program (printed and sold later in '90, for the fall and Europe '90 tours); tickets and backstage passes of all six shows; a band publicity photo from 1990 by Ken Friedman; Dennis McNally's tour laminate; and reproductions of the colored 8x10 sheets GDTS sent out with hotel, food and other information for each city on the tour.
With recordings made by longtime Grateful Dead recordist and producer John Cutler, mastered by Jeffrey Norman in HDCD, you just know it's gonna sound great-and it does!
So, that's the skinny this time 'round. This box is limited to just 9,000 numbered copies - please note, this is the only time these shows will ever be officially available on CD. There will not be an All Music Edition and single shows will not be available physically. Due to ship out August 31st, we anticipate that this extraordinary set will sell-out, so order your copy today!
If you're looking for more of a bite-sized taste of the '90s, Spring 1990: So Glad You Made It, a 2-CD set featuring a handful of favorites, will be in stores on September 18th.
4/2/90, The Omni, Atlanta, GA
Looks Like Rain>
The Last Time
David Lemieux on What’s Inside Spring 1990
David Lemieux on 4/2/90
Shipping confirmation emails came this morning. Followed three hours later with email stating the extra shipping money I had paid had been refunded to my card.....the wheel turns
First, let me say that my favorite period of the GD is the 70's. But that may be due to the fact that I saw the bulk of my shows from '73 to '81.
Of course the band evolved over time. I would expect nothing less. As has been said before by others here, the whole is greater then the sum of the parts due to synergy. Of course Jerry was more prominent early on. After all, Bob had been his student when he was younger so I don't think anyone should expect him to be on Jerry's level as a guitar player. Both Pigpen & Bob both came very close to be fired from the band in the late '60's due to the fact that they were not providing the proper foundation for Jerry to play off of. By the spring of '90 of course Jerry had cut back a bit. But that was probably due to the fact that after 25 years, and 10 with Brent, he was happy & comfortable to do it since the band had evolved into a well oiled machine with a great deal of coheseivness. I think this 1990 box is the bomb! The band is stellar and hitting on all cylinders. I think each member contrubutes beautifully and produces a rich & full sound. I think Jerry was rejuvenated at this point and I think he was proud of the music they were all putting out at this time. Sure, he had cut back a bit but it was because he no longer had to carry the whole band by himself. I am loving this box an have listened to nothing but since it arrived a week ago. Rock on.
I had contact with both Dead net and Dr. Rhino about over a week ago about these cracked discs. Both parties returned my phone calls and E-mails. Once again, I noticed my voice-mail flashing. Dead net called back sometime last Friday or Sat. to let me know that replacements will be shipping this week. The person said I should recieve my replacement sometime after the 5th and to allow up to 10 days. I have to say that once the ball got rolling I did receive both e-mails and phone calls from Both Dead.net and Rhino. Here is hoping. Both parties seemed sincere so I believe they are trying to correct this situation.
Really loving this box. Cycling through the 3/26 Knickerbocker show again. The bulk of the shows I attended were from 76 to 93, with a few shows in 94 and fewer in 95, and my favorate years are from 69 to 74, but revisting these shows have given me a greater appreciation for some very strong later era Dead. Good Stuff.
Hopefully no one is offened by my update!
I think I've read the objective-subjective debate maybe fifty times on the internet. To paraphrase the last 30 years of feminist philosophy: It's really hard to prove what is or isn't objective, but we can still learn from each other.
So with that said, here's my take on my first real attempt to get into post-70s dead. The jamming is more restrained, but still great. Bobby is actually taking a lot of interesting risks, which work out more often than they should. Jerry is audibly more technically skilled if less engaged. The big thing for me was learning to like Brent. Here's my take on him. Brent is like Donna in that he brings something that doesn't always fit with the band when he's the focus, but he unquestionably does wonderful work in a supporting role that really adds to the overall sound. It took me a while to come around on his voice, the tone of his keyboard, and all the staccato chords. But once I got over it, I really started to appreciate this music. I think it's been said before, but CD's 2 and 3 of 3/19 are really exceptional.
Sound quality is very good (but not at the level of the 1977 Winterland set). Phil is a little quiet in the mix.
I appreciate your call for civilty, and I concede my Neil Young quote was harsh. Bottom line for me is, these threads are, by and large, just a drag to wade through anymore. I don't know who else remembers the previous website where discussions for each release were about the release, and the music therein. There was a glorious debate over Dick's 21/Richmond '85, two thirds of posters singing its glories and the other third decrying how overrated it was. Whatever side you were on, it was a healthy community discussion about the music.
Today, the posts are overwhelmingly a customer service complaint forum. Who wants to read it? If you're not being served by GD customer service, why not send Marye a PM and get on with your day? I've had a few issues over the years, and I dealt with them without burdening everyone else with my tale of woe. Ok, there are obviously issues, and maybe a post or two is warranted, to alert the rest of us to check our Landover discs for duplicate show dates, for example; but often the same people post the same thing every day ("still waiting in Abilene" ~ dated August 28, 29, 30, & 31). Or they revel in thumbing their nose at Rhino's or GD's incompetence, with intentional hyperbole and venom, as if they take pleasure in the failures.
Basta. If there's a forum where people actually want to trade stories and debate 1970 over 1990, or which shows in the box are the best or which boxes and Road trips are the best and why, please tell me where it is. This one's a drag anymore.
You are right. There is no comparison. The GD were best when they were young, no doubt in my mind.
"Was the fat elvis the equel of the young vibrant elvis or is it subjective"
Not subjective; objective, in my subjective opinion! Chew on that. ;)
We could just start over.
I think the antagonistic posts started for only one reason that I can think of - some people didn't want others posting what they were posting. What other possible reason?
So I vote for letting people say what ever they like except let's try to be civil.
If you don't like people complaining about the service, the shipping, or even the music, just don't pay attention to those posts but don't try to force them to shut up.
If people want to compare GD eras, let them. If you don't like that kind of thing, ignore it.
The "name calling" came out of people wanting others to shut up about these matters.
So the bottom line rule to make it more civil again might be this: don't like a post? Ignore it instead of replying to it. Simple.
the last two of three box sets are fromm the late brent era. Now there is talk that spring 90 is also a possiblility. People complain too much 70s. For the life of me I don't understand how anyone can compare the 70s ot spring 90. It is one of the greats jg in music leading the band as opposed to ensemble playing. All it took was one listen to some of the 73 bo for me to put spring 90 on the self. There is all this great music in the vault and why release medioce stuff. Brent is not that good and Jerry is without a doubt the heart and soul of the band. The release of so much late era stuff is not what the legacy of this band should be. Was the fat elvis the equel of the young vibrant elvis or is it subjective
There have been a number of comments and some name calling regarding people who are wondering about their order(s) or are having issues with quality. I think there is value with bringing these issues up in this forum. If someone simply states their case then others may be able to help them describe how they resolved a similar problem. For example: "A disc was cracked. I called customer support and they didn't know what to do". Someone else may have had success resolving the same problem and could therefore help others with their experiences . What I think is of lesser value is people "blowing off steam" by making disparaging remarks about Rhino, dead.net, or others who's comments don't agree with them. It's one thing to offer suggestions it's another to level insults that don't accomplish anything except perhaps to alleviate one's frustration. Then again, I'm not into control so if it's working for you ... enjoy. I've had four "pre-E72" issues with bad discs in the past. Mostly issues with blobs of glue. While, for the most part, these problems were resolved I understand the anxiety associated with purchasing these recent sets because they're limited editions. It's not easy to listen S90 or E72 quickly to locate quality issues with the discs. You've got to be quick because you never know when replacement discs may disappear! As a wise man once said "What a grind, the stress is killin' me" :)
My suggestion is that Rhino, Dead.net, or whoever is in charge have a clear policy regarding replacement discs, replacement sets, etc. so people can make a rational decision as to whether they want to buy the set or not. Sending back a limited edition set because of one cracked disc makes no sense IMHO.
All that being said. I'm very much enjoying the music S90. I'm indifferent to "the stuff". However, the shot of Bill and Micky in silhouette is wonderful.
I'll miss you the most, rbmunchkin. By the way, a ) I wasn't referring to actual musical criticisms such as yours (much as I mostly disagree with yours), and b) when you said "So I'll stop here" I just knew you wouldn't stop there.
Neil Young: "Youre the kind of man, you know, that likes what he says/ I wonder what it's like to be so far over my head"
I'm not a senior citizen - I'm just old !
Aw, what a shame.
"Geez, you people who were able to see these shows must be practically senior citizens by now! ;-)"
Hey, I resemble that remark!
How would you answer my example in my first post about this:
Do you seriously contend that Jerry isn't OBJECTIVELY a better guitarist than me?
Comparing Van Gogh vs. Monet is much more difficult of course. I'm trying to make the point by using an absurd example, but a valid one.
Personally I think we want to say quality is purely subjective because it's easier to say that. It's too difficult to show objective quality so we don't want to go there. But just because something is difficult doesn't mean it's not reality.
This reminds me of the joke:
A man is searching on the ground under a street lamp. Someone comes up and asks him if he lost something. He says yes, his keys. Did you lose them here? No, I lost them in the alley but it's too dark there.
When looking for objective quality, one must look in the dark alley even though it's easier to see in the subjective lighted area.
Who got screwed out of their order is back on topic? Do tell, Footbear, who got screwed out of their order?
What started out as a thread that was finally mostly about the music in the box has degenerated into another bile fest. Guess some people feel better having an audience. I'm about done with these boards, myself. Talk about disenchanted and disgusted...... Sheesh.
March 29, 1990 on VINYL, yes please.
In a vain effort to return the discussion to the excellent but somewhat inefficiently shipped box set --
I was only able to catch the boys from 85-95, so 89 and 90 stand out as the apex years,
with Jerry sounding fresh and not so ragged and tired, and inspired ensemble playing.
I am so glad to have this. It will be cherished for years.
Wish I was able to catch 5-2-70, but I was still only 4!
Geez, you people who were able to see these shows must be practically senior citizens by now! ;-)
Now, if only they'd ship my replacement for the cracked Disc 3 of 3/16/90?
See, I'm not bitter.
Quality _is_ subjective, no matter how you describe it. The idea of one artist being more talented than another is subjective. Is Monet better than Van Gogh? Quality is, for most people, subjective to the price at bidding that has been established by people claiming authority to declare it such. Objectively, something is "good" or "bad" because it has been granted a more desirable status in a given framework. Social capital, if you will. You place great cultural capital in Jerry's playing and thus, for you, he is the best. The value I place on his playing, though high, is not as valuable for me as it is to you. I'd pay more for someone else. (Much as I value/love/geek-out-over the Grateful Dead and Pink Floyd, VU is still, for me, minted from the most valuable coin music/art provides.)
You are correct about my mis-attribution of the "bold"-ness, that was someone else calling it that. My mistake. :)
But the comparison of Pigpen dying and the band continuing vs. Jerry dying and not continuing, isn't a fair one. The first, a member dies while everyone in the band is still under 30 years of age. When they're all around 50, another one dies after 30 years together. Economics and age played as much a role in that. And then, as you said and I agree, even when the "tribute" bands contained all members but Jerry, it wasn't the same. But neither was a JGB show anything like a GD concert.
I'm not attempting to convince you, or anyone, to alter their opinions. You've made a great case as to JG being your favorite guitarist, and that is a valid opinion and reasoning you have. Declare one better than another when you reach a level of quality and performance between Clapton (whom I think is not as favorable as JJ Cale), Hendrix, Garcia, and let's say... Carlos Santana. Who is better? Depends on the night, the performance, the song. Ask most musicians, especially of an age to have seen a taster's choice of Great Guitarist, and Hendrix will, for good reason, be often cited as the best. I think Hendrix was a Beethoven-level musician. Making Garcia a Liszt-level guitarist, doesn't take anything away from him at all. Two entirely different styles, backgrounds, and intentions from each in what they attempted to do musically. Hendrix deliberately complicated his music as he progressed, while Garcia often spoke of enjoying simpler-constructions because it enabled the ability to freely improvise upon it.
Personally, I think it's great that you are passionate about this. It's music, and musicians are people we turn to to share the most intimate aspects of our lives: when we're joyous, when we're depressed, when we're furious about blah, blah, or blah.
I personally don't think of the ears of the Dead as one being better than another. Nothin' gets me goin' like a scorching rampage through The Eleven (which didn't happen after 70-71), but paring Scarlet & Fire couldn't have happened before 77. Terrapin is easily the most often played live song for me, but that's because there was only a single version of, and terribly recorded, Rosemary.
Because they did what they did and continually evolved in their sound and performance, they've given us this huge palette from which we all, evidently, paint our own pictures of the past and what we want them to be for us, and some of these paintings we call masterpieces.
Quality is not purely subjective. No way to prove it to you in words. So I'll stop here.
"And without the GD, Jerry wouldn’t be known outside of some audiophiliac music fiends."
Nonsense! He was a musician extraordinare and his passion would move him toward notoriety one way or another. He didn't need the Dead, he CREATED the Dead. And he would have done something no matter who he worked with.
Hunter and Garcia met completely independent of the Dead.
"Jerry without the Dead mostly likely wouldn’t have had Hunter as a song-writing partner, thus none of these songs would have come about."
Of course the same exact songs wouldn't have come about, but I certainly wouldn't have cared. All I would care about is hearing Jerry, no matter what he did, because he was GREAT and would have been no matter what.
"Favorites are favorites for damn good reasons. But yours are no more objectively the best than mine,"
I never said that. I said art is not just subjective; that there is an objective component. I never said MY likes were any more objective than any one else's.
"You can congratulate yourself all you want for “bold statements” (Jerry is the greatest guitarist is hardly a bold statement on Dead.net."
I didn't call it "bold". Another poster did.
Anyway, we can agree to disagree. At least we agree about Donna!
One more thing:
With all the personell changes, the Grateful Dead were great, even after losing Pigpen, and all the other keyboardist they lost, as well as when Mickey was gone.
Then when Jerry was gone - poof. No good any more. They didn't continue because they couldn't. But anyone else they lost Jerry could have kept the band going.
The post Jerry band called "The Dead" and then "Further"; I'm sorry but they sucked compared to the Grateful Dead.
Jerry made the GD, he was the GD, and could have created a great band with any good musicians.
In the spirit of analytic debate, he's a response contrary to a number of your "bold" statements.
Your analyzing note-by-note and what-have-you, doesn’t mark you as any less subjective than Best Of polls by whomever.
Your liking Jerry's guitar work better than anyone else's is one thing, but no matter how much note-by-note comparisons you make, it doesn’t elevate your opinion to the level of objective.
“Without Jerry the phenomenon of the Grateful Dead never would have gotten past small clubs if that.”
And without the GD, Jerry wouldn’t be known outside of some audiophiliac music fiends. Considering they all talked about how essential each one of them was to the whole, and based their entire musical philosophy around that, you’re deconstructing the Dead is a great theoretic exercise, but one that misunderstands the overall point of the collective being more important aurally than the individual components.
“Robert Hunter was a great poet. He's my second favorite Dead.”
Absolutely a great poet. Also one who likely would have never written with Jerry without the GD. Hunter knew Kesey from the Menlo Park research. Kesey knew the Dead through Owsley. The Dead played through the Acid Tests. Without that connection, probably no song-writing team of Hunter/Garcia.
“Phil was a great musician in many ways but never would have gotten so popular without Jerry.”
Maybe. Is Brian Eno “popular”? Is John Cale? Robert Fripp? Phil would have likely progressed along those experimental lines without the GD.
“Bob, meh. Very good rhythm guitarist, taught largely by Jerry. Vocals, song writing, and personality - not my cup of tea. He was always jealous of Jerry being the front man. He wanted to be the front man but just plain old didn't have the talent or personality.”
Did he now? Good to know. I never thought he was a great guitar player, nor a great song writer, but he did pen the music of Sugar Mag, Looks Like Rain, and belt out a mean Minglewood. GD wouldn’t have been without this finger on the hand.
“Drummers - very good but the Dead could have gone on with different ones.”
And the sound of “rolling thunder” wouldn’t be. Thus, no Dead as we know it. No Scarlet>Fire, no PITB.
“Keyboards - Pigpen was the only GREAT one.”
Not so. But you can believe that all you wish. Pigpen had charisma and was a “stone jack baller and his heart was true” but he couldn’t play piano very well. He blew a mean nasty dirty mouth harp, but his musical ability didn’t span a great spectrum. Keith was quite proficient on piano but limited on organ and the encroaching diversity and array of keyboards. Any discussion of Brent is for another time.
“Donna - OMG why was she ever in the Dead?! Just horrible. Sounded like a bag full of cats being hit with a bat. Okay on a couple of studio albums but ruined many a live concert recording.”
I agree, but then there a couple of Eyes of the World and Sugar Mag she doesn’t sound bad on. I usually skip tunes if she gets gonna too much.
Jerry without the Dead mostly likely wouldn’t have had Hunter as a song-writing partner, thus none of these songs would have come about. Talented as he was, he would likely have been a bit like Ry Cooder, Al Di Meola, and such ilk. Infinitely talented and diverse, but without a band, they go through the ages being treasured by a few, liked by some more, and unknown to most.
As for “Hendrix to me was a bit one-sided. The overall sound always sounded a bit the same. Absolutely amazing but limited IMHO” … I think your lack of analyses is demonstrated lacking here. Y’know, cuz 1983 sounds sooooo much like Purple Haze. And Jimi with a 12-string acoustic is the same one-sided sound as when slaughtered ear drums at Monterey with the opening riff of Killing Floor.
Favorites are favorites for damn good reasons. But yours are no more objectively the best than mine, VH-1s, or Rolling Stones polls from readers who can’t remember back any further than last summer’s hot thing. You can congratulate yourself all you want for “bold statements” (Jerry is the greatest guitarist is hardly a bold statement on Dead.net. And your argument lacks anything beyond your talk of how awesome you feel when you listen to him play.
He’s great. But talk of the “best” is beyond the faculties at hand. Or… ehem… ear.
P.S. If anyone is interested in might-have-beens with music, check out a novel called Glimpses by Lewis Shiner. A guy puts on his headphones and hears records by his favorite bands that never were: a Doors album post-LA Woman, Beach Boys beyond Brian Wilson's mental collapse, another Beatles record... that kind of thing.
I don't have much money at all in this point in my life and it really stinks I can't take advantage of items like this. But all the T shirts are sold out and all the box sets. Is it fans or people who are going to sell them on eBay?
Isn't that the Bradford Marcalis show? Did I butcher his last names spelling . The eyes of the works from that 3-29 is so sick, but I think it's on Dozin at the Nick
Go to the store, scroll to the very bottom of the front page and click on "help/customer service". Scroll down until you come to the section on shipping and - particularly if you are outside the US - check the shipping rates. Personally, I was horrified by what I saw. If this is going to be the way it is in the future, then it suggests that they will sell almost nothing outside the US again, certainly no individual CDs. Possibly (hopefully) this only applies to the "Spring '90" store, but it is not clear to me.
...this at quarter to eight!!! (Aussie time) I empathise with your statements, and I'm in Australia, too; we Dead Noggins seem to be a rare animal here.
Anyway, just got the Formerly the Warlocks box for Father's Day and it goes far beyond my expectations: When I first became seduced by this band I figured I'd always be a seventies/sixties purist, but MY GOD, no! I still prefer those decades overall, but there are plenty of treasures from the later years as well. A continuous discovery!
I believe it's on Amazon, too. But probably much more expensive, maybe check though! Bless.
I have about every pure Jerry ever released, most of the dicks picks, multiple ransoms like the classic '97 terrapin station release, the trips CD's , the solo Jerry box set ect. Also I have 1500 collected live CD's , mostly soundboard. But these box sets with 6 shows and cost this much is just too much, I really don't think anything that comes with them is going to be collectible or anything, how about a nice 8 by 10 unreleased picture of jerry playing live, I but these releases for the remastering because I have a $3000 stereo and the remastered shows sound amazing on a nice system. And whoever complained about the MIDI era I don't get, my fav era is 77 to 90. 79-81 my fav specifically .
I received the Dave's Picks 3 from Redwood City Ca shipped 20 Aug USPS and arrived in Canada at my rural mailbox 29 Aug. Great Pick Dave!
I have order DPs, Box Sets, Road Trips and Dave's Picks using the Standard International US Postal Service, with no issues. Standard shipping delivery time 9 days on last shipment ... outstanding!
Globalware Solutions Standard shipping costs to Canada $5.99 US dollars ... a good value for a DP or Dave's Picks.
At the new and improved "Store", shipping is $21.95 (via DHL Global according to a Customer Service Rep email) for a $19.95 Road Trip CD with a 4 to 10 days delivery date. No Standard USPS option for Canadians at Dead Net.
What's going on?
Same thing happened to me. No idea what the "#" actually means. Honestly, they may have 10,000, or 20,000 actually for sale. Who verifies anyhow...
In my subjective opinion be was definately the best guitarist-the usual suspects all have their strengths but most of them couldn't go where Jerry went.
WIth some reluctance, I didn't order this set. I panicked when the numbers got low and nearly ordered it but resisted. I won't listen to it. The MIDI stuff just grinds my gears. I've pre-ordered the 2-cd set from Amazon.
Anyway, it seems like things are tough in the world of dead.net distribution. I live in Australia and haven't received my DP3. I got a shipping notice on 31 July and it states: Your order from Dead.net was shipped via Standard shipping on Jul 30, 2012. Please allow up to 12 days for delivery. 34 days and counting. The last two DPs came quite quickly but the final Road Trips was a nightmare. I ended up receiving it about 3 months after it was (supposedly) shipped.
It's such a mixed bag. I don't really understand how this can't be sorted by now and it is totally unacceptable that it continues to be an issue with every release. As someone pointed out sensibly, most people have no problems and we don't hear from all of them but it's ridiculous that it is more than one or two people with order problems. Putting out 10k or so packages is not a big deal. Every package gets the same thing. A computer prints out the labels. I don't see the big deal.
Anyway, I've got so much music that I'm not really that fussed at the moment about my DP3. Some people have missing or flawed $200 boxsets. I have a missing $30 odd package. It might be on its way. It might not be. I don't really feel like it should always be my responsibility to chase up products which I ordered and paid for months ago. If it never shows up, I'll just not bother ordering anything again. There's plenty of older Dead releases on Amazon I can get instead.
Thanks for the reassurance! I was born and brought up in England, too; So God Save The Queen!!!
Don't worry mate, we all got that email - they then sent one out correcting that and confirming that it would be sent by international airmail. Here in the UK we've been told to look out for it this week but it could take longer in my opinion.
Hi all you beautiful people with impeccable taste. I received an email saying my Box Set has shipped by UPS GROUND, but the confusing thing is, I live in Australia and ordered international postage. Of course I have rang and all that and have not yet been told why this is, so would anybody (Marye?) be able to tell me the deal here?
Thanks in advance and bless.
P.S. I'm sure many of you can relate to my anxiety around the shipping subject!
I also think DP 18 is a very, very strong show. It has been awhile since i listened to it but the solo in the Bertha opening is just flawless and the crowd burst out into applause in appreciation. The Eyes as you mentioned has a great lengthy intro. I also recall the Other One as frantically energized and big crescendos in Truckin,
Wish I could time travel . . ..
...that one is not to be overlooked...and your 'electric orgasm' description is apt...sweet, sweet intro...I just checked out the AUD on the archive and the crowd seems to hear it, too! Thanks for the reminder on how special that one is.
Has my favorite Eyes intro ever. 5 minutes of Garcia in peak form, a climax that could be best described as an electric orgasm. I've never heard anything like it. Amazing how the performance 2 nights later raises the bar even higher.
The other great "Eyes" you list, are they available on official releases? Or do I just check out the online archives?
Holy crap, I just can't believe this show.
I told you to listen to tracks 4 and 5 of disk 2.
Listen to the whole thing, but also I want to point out one minute of what I think is the greatest Jerry I've ever heard. I think his fingers might have burst into flames! But it's the subtlety that I like.
11:30 into The Other One. It literally gives me goose bumps.
And then a few tracks later check out Lovelight from about the 5:30 mark onward. OMG!
I've been listening to this show for nearly 4 decades. I had a bootleg cassette of part of it. Many many years later, I got a card in the mail asking me to vote for what the next Dick's Picks should be. I think it was from Relix Magazine. It had ten slots to fill in my top ten picks. I put this show in all ten slots because I thought it was the greatest Dead show ever, and still do.
The next Dick's Picks was #8 and I got a reply from them saying "you have good taste!"
Yes, and I was there! Yum :)
Absolutely! But it's not "easy listening". I don't listen to that disk when working or multi-tasking. I recommend just lying down and take it all in.
If you want me to narrow it down even more, check out tracks 4 and 5. Greatest Other One and Cryptical Envelopment EVER!
Please listen to these two tracks and let me know what you think. I'm listening now and as usual my mind is blown. Jerry is unbelievable here. I don't like to listen to this show too much though because I want to keep it "fresh", as I can.
I like Cobain also. But to compare him as a guitarist to Jerry or some others on the list is just plain stupid.
...3-19, 5-15 (wouldn't be surprised to see this show released), 5-18 (intro. jam approaches 5 minutes), 5-22 (first in a string of 4 consecutive Jerry tunes), 6-8 (long almost 20 min. with a 4 minute intro)...there are countless others as '77 was a banner Eyes year.
A little (approx. 3 min) intro. jam was surprisingly common in '77. But, I agree that Englishtown is a show for the ages - - and well worth picking up.
As for Red Rocks, I like that one for the raucous Jerry vocal especially the emphasis on the word 'time', in 'ya ain't got time to call your soul a critic, no.' In fact, the entire second set from 7-8 is burning start to end. 7-7, 7-8-78 is a little jewel box of a run that I wish would be released, but alas no master reels are extant.
I see what you are saying. I too like Jerry better than Hendrix and Clapton; et. , al.. Yes those readers polls are popularity contests. While I like Kurt Cobain as a song creator even Kurt would laugh at his high ranking on those silly lists.
Thanks for you take and now I have dust off my Dick's Picks # 8 Harpur college!!!
I'll check out 7/8/78 Eyes. Thanks.
Have you carefully listened to the Englishtown one? There's a whole added section of guitar jam before the vocals begin that isn't on ANY other Eyes I've ever heard, and it's fantastic.
Just listened to your 7/8/78 Eyes. Hot! I heard it here and the whole concert can be downloaded:
Is this show on any official release?
The intro (prior to vocals starting) is better on Englishtown, but as a whole they are both HOT!
"Hey rbmunkin. I like your bold statement that our Jerry was the best rock guitarist in the late 60s and early 70s.
Can you elaborate it bit more? I want to hear your take on this"
Not sure how to answer this but I'll try.
Listen to him note by note. When he's hot there is no beating him. NO ONE.
His subtlety is astonishing. Most people miss it because it's not obvious, loud, and up front the way most leads are. He's much more than a lead guitarist. Listen to disk 2 of Dicks' Pick's #8. No other guitarist can touch this with a 20 foot pole.
And who can improvise the way Jerry can?
And his breadth of talent also. Hendrix to me was a bit one-sided. The over all sound always sounded a bit the same. Absolutely amazing but limited IMHO.
It's only a "bold statement" because of the popular media. Those stupid "best guitarist" lists are NOT about quality. They are about subjective favorites. So they get a bunch of people to vote and they vote on what they LIKE without listening to the actual talent and attempt to objectively analyze the technique, uniqueness, and breadth.
You say it's all subjective? I disagree. On the surface of it, yes, it seems "obvious" that who is best in music (and any art) is totally subjective. You would almost think no one would argue with that point, right? Wrong. I would. As would Pirsig. Ever read Zen and the Art of Motorcycle Maintenance? It's about "QUALITY". Very interesting read.
To drive the point home that art has an objective component, here's an extreme example: is it subjective that Jerry is a better guitarist than me? After all, I might find one person in the world who would say I was better (my Mom!). So does that make me a better guitarist than Jerry to her? No. It makes her wrong!
How about Brittany Spears vs. Janis Joplin as singers? Since Brittany had a MUCH larger following does that make her a better singer? Of course not; that's absurd. See? So Janis is objectively a better singer than Briittany and Jerry is objectively a better guitarist than me (by about 800 zillion miles, no matter how many people I could find to say I'm better). It's just an objective fact.
So I contend that the whole notion that it's "all subjective" is a lie and only if you look at it superficially.
Come on, look at the guitarists that are put ahead of him and then ACTUALLY LISTEN to what they can do note by note, jam by jam.
Eric Clapton better than Jerry? You know that's just due to "popularity". LISTEN TO THEM AND COMPARE! It's absurd.
Jimmy Page, Keith Richards, KURT COBAIN???!!! The only explanation about these lists is that they are not about talent or quality but about SUBJECTIVE PREFERENCE. People are not putting their likes and dislikes aside to actually LISTEN.
...is 7-8-78 in my opinion. Although, the Englishtown show does have my favorite Mississippi Half-Step.
"I'm surprised how much I'm enjoying the jams on this set. I'm thinking they may be the best of any since 1976."
Check out Englishtown 77. Great show and BEST Eyes of the World EVER.
Hey rbmunkin. I like your bold statement that our Jerry was the best rock guitarist in the late 60s and early 70s.
Can you elaborate it bit more? I want to hear your take on this.
send me a PM with your details and I'll see if I can move things along. Sorry for the hassle.
I'm surprised how much I'm enjoying the jams on this set. I'm thinking they may be the best of any since 1976. Bob, Phil, and the drummers right up front with Jerry. But damn, they're short! I mean, you better not get distracted or you'll miss them. One sneeze and you have to start the jam over. I'm doing a lot of replays on this one. I know some people like that- it's "concise and to the point". Just a little hard for me to get used to. (and think, only 6 months later gave us the great Sept 90 "Road Trips" that has a fantastic 40 minute jam to open disc 2). I'm really liking the newer material -"Believe It or Not" is a gem. I always liked "Foolish Heart". I remember reading a scathing review of that song many years ago. It said it sounded like some "homeless haight ashbury acid casualty" singing on the streets. I thought "hey, no wonder I like it"! Keepin' it real!