Spring 1990 (The Other One) Box - SOLD OUT
•144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
•A portfolio with three art prints by Jessica Dessner
• Replica ticket stubs and backstage passes for all eight shows
•8 complete shows on 23 discs
•3/14/90 Capital Centre, Landover, MD
•3/18/90 Civic Center, Hartford, CT
•3/21/90 Copps Coliseum, Hamilton, Ontario
•3/25/90 Knickerbocker Arena, Albany, NY
•3/28/90 Nassau Coliseum, Uniondale, NY
•3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
•4/1/90 The Omni, Atlanta, GA
•4/3/90 The Omni, Atlanta, GA
Recorded by long-time Grateful Dead audio engineer John Cutler
Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
Mastered to HDCD specs by David Glasser
Original Art by Jessica Dessner
Individually Numbered, Limited Edition of 9,000
Announcing Spring 1990 (The Other One)
"If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether
Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.
With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”
For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.
Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...
Listening Party: 3/29/90, Nassau Coliseum With Branford Marsalis, Set 2
Enjoy the 2nd set of 3/29/90!
We have a Facebook page: Grateful Dead Society. We discuss many topics with enthusiasm. The last few days (The Band) was a great discussion. The page is free of whiners, haters, chronic complainers, and folks bringing bad vibes.
Please come join us if you wish, you are welcome. We have a great network system going, we have helped each other out many times.
Hope to see you there. Just request to join, and you will be added. I'm the administrator. All spammers are booted quickly.
Your comment aligns with my own thoughts, in that using a full year to reference periods in the band's history and development is too broad a brush. There are pivot points, as you've identified for fall 1972, that sometimes align with specific tours, when certain songs were retired and others debuted. Or the band's evolving style stands out in relief. Sometimes those pivots are rather distinct.
Then there's the point you allude to that each vault release enables one to appreciate another performance in the continuum and in context, for a fuller appreciation of the band.
Case in point: when the 1990 box was just announced, I demurred. It's more the sound of the instruments and the effects that make this a period of less interest, plus my main interest in the earlier periods. But I hauled out So Many Roads for the Bird Song with Branford and decided, based on what I heard, to go for the 3-29-90 set. And I did catch a good June '92 performance in Albany and have heard at least one smokin' show from '94. So I know they still had it, on a rare but good night.
Thus, whatever Dave puts out, it is done thoughtfully and I remain open to appreciating eras I otherwise might have glossed over.
re: early/late 1972 - I posted this on the DaP10 page, but it merits review based on Clancy's comment.
I'm excited for the DaP11 release despite already owning 30~ 1972 releases, because the '72 shows are clustered: No official releases between 9/27/72 and 2/26/73! That's 5 months! And in that period they completely changed gears from ragtime/bluesy rock band to jazzy rock band. Only 2~ months after this 11/17/72 DaP11 show, they burst onto the scene with two amazing jazzy originals; HC Sunshine and Eyes of the World, fully formed and mature and 10/19 minutes long respectively! This is our first official glimpse into that transition period.
So in this 11/17/72 show, you have elements you have the band playing without Pig and without any of his songs (like in Sept.) which changes the energy. Plus they must have been realizing the "nothin's gonna bring him back" and wondered "what musical direction are we going to go now?" Listening to 11/19 (2 nights later), the music seems very heavy (in a good way) and thoughtful - like they are slowing it down a bit and measuring every note. It's relaxed and patient - jazzy and chill. This release will likely sound different that anything you own in '72 or '73 - it's a peak into a transition period that we haven't heard.
It's interesting that with ALL the 40+ shows they have released from '72 and '73, such clusters exist - there'e a 5 month gap from 9/27/72 to 2/26/73 with no official releases until now. Then after 2/26&28/73 (DP28) there's a 6 month gap to 10/19/73! So, NOTHING from Spring/summer '73, then suddenly TEN~ shows from Fall '73. So despite releasing 40+ shows from '72-73, there are huge gaps between releases. This closes one of those gaps. Now we need some Spring/Summer '73 to close that 6 month (!) gap.
Hi everyone, have not posted here in a long time. First read, seems like a lot of hate and name calling.
Lots of different opinions, some good, some lame, some right on, some way off base. But it's ok to have a different opinion. I think.
Boy, I hope that the negative vibes don't spill over into other threads, this is depressing.
As I read several posts here, I think there is a complete misunderstanding of what is said by some, and I also think that there are some on this site that are here just to stir up trouble.
Just like the lot in the late eighties and nineties.
Hope the releases keep coming. I think it is a great thing that these releases are still coming out, we can always pick and choose what we like. If you don't like a release, don't buy it or listen to it or, for heaven's sake, comment about it.
Love the band, don't really care for the name calling and the hate.
Thank you SimonT - There's nothing more boring than someone who whines about 1) how entitled they are to blah blah show/year/era/type of release/packaging/songs, 2) how the PTB "couldn't pick a pumpkin" as someone once famously complained about Dick, 3) they should release some random show from 1986 despite the fact the show and the recording are weak simply because "I went to with my buddy and took 3 doses and it was epic, dude - EVERY GD show is amazing!!", or my favorite: 4) "this is just another example of the greedy corporate money-grabbing machine the Grateful Dead trying to siphon our money".
All those Pigpen songs
Keith tapes his foot to the echo pedal on the piano and leaves it there for entire Dark Stars.
Not as much Donna yet
No Pigpen songs
Keith steps out more - starts using the Fender Rhodes at times, in very trippy ways.
Jazz influence increases - building into '73.
Donna role increases
I have a five-year old girl. She never stops talking to me. I know this is a good thing, but I'm totally incapable of finishing a coherent thought. Agh. My coffee is done, so I'm going to go play with her now!
Great find Fennario - I have never seen that interview with Billy before.... For some reason it warms my cockles to know that at least one of them actually listens to this stuff. Uh, I've subscribed to RS for years, but I'm belatedly realizing that the best stuff is on the RS website. "Justin Bieber and Iraq and the Drug War in the paper issue, and on the website, interviews with musicians who matter..."
Hey Fennario ill bet Billy was talking about the other one played at the centennial hall show its almost 40 minutes long and in my opinion one of the greatest jams ever played by anybody anywhere. 72 gets so much love because it is so great. That Europe box has some of the most mind melding jams i ever heard. What the dead did in 72 was write the book on how to create music on stage in a live setting. Thats what makes it so unique It wasnt one guy soloing while the rest of the band played the same thing. It was a whole band feeding off each other creating pure art on stage. The music takes you on a journey. There would be none of these great bands like phish today if it wasnt for the dead. They were the first to do it. They started the whole damn thing.
SimonT: Well done!
Dear Rhino / Dave
I write to complain about [Box Set/Dave's Picks/packing material/audio quality/Fox news/male pattern baldness].
I have been on the bus since [1967/1977/1987/1997/I'm a troll/what's the bus?].
This latest release is [too expensive/too cheap/has fake tickets/is a dud show/not what i demand/wasn't recorded by Michelle Obama].
IMHO, [Jerry/Phil/Bob] are [out of tune/in tune/too loud/too soft/wearing shorts]and I have a tape from a gig I can't remember that sounds much better.
You guys are [oddly trying to make a profit/a business/releasing dozens of Dead shows/satisfying a never ended buying public/aliens from planet Lady Gaga] and should be [consulting me first/hand delivering this for free/letting me run Rhino].
Why don't you release [the soundcheck from 11/5/72/the really crap show from 1993 that I went to/Jerry in the shower] instead of whatever you've released.
I only have [50/75/100/150] Grateful Dead CDs that you have prepared and released and I am [not happy/so grateful/a complainer about everything/bald/friggin' over the moon at the 4-5 shows I get each year from you].
This is a few years old but interesting:
Interviewer: In talking about the new Dave's Picks live release series, Grateful Dead archivist David Lemieux recently told Rolling Stone that he informs everyone in the band what the next live release will be. He sends them advance copies, but he's not sure any of the band members actually ever put them on. When a new live Grateful Dead release comes out, do you listen to it?
Bill Kreutzmann: I do. And the one that comes to mind right away is the new Europe '72 [The Complete Recordings] release. I went back and listened and on a couple of the CDs in that set – there's one that has "The Other One" into some kind of jam back into "The Other One" – the music is just fantastic. It blows my mind to this moment. I like that music, the looser music like "Bird Song" or "The Other One," because they're really heavily jam-oriented. The Garcia songs are always my favorite, but the jam parts are really my favorite.
Read more: http://www.rollingstone.com/music/news/bill-kreutzmann-jerry-garcia-wasn...
Follow us: @rollingstone on Twitter | RollingStone on Facebook
i hate to break it to you, but you're the one with the negative tone. people hold different opinions. get used to it. for some reason i keep buying the stuff, but i personally don't need any more grateful dead. especially, if its from a period thats been done to death, so i feel for those who choose to spend their hard earned money on the annual subscription, hoping for something new, only to be disappointed time and time again.
even if the grateful dead is the best band there ever was (a ridiculous concept), its still the same old shit. i'll never understand how anyone who is cash-strapped can shell out money for these albums when there is so much free stuff available, not to mention all the other great music thats just waiting to be discovered.
Just got home from 3 days of being ignored by every trout imaginable in NW Wyo.Sneaky bastards.....
Happy with the '72 comin" our way.
P.S.-While on the road today we picked up 2 folks from the recent Rainbow gathering in Utah and gave 'em a lift.
Felt some old days coming back as we barreled down the highway.Fun memories.Then & now...... :)
1) The new Garcia release is awesome! I have listened to it in its entirety 3 times already. FWIW, I listened to the first '90 Box once. I think that is partly due to the fact that Garcia releases are pretty sporadic, whereas the Dead have probably released 500+ hours of music.
2) Claims of an instant sell out of the new '90 Box have proven false. Perhaps 1990 doesn't have the unbelievable, unquenchable fan base that some people are led to believe. It's not really my cup of tea, so I just won't buy it. But I don't begrudge TPTB from releasing it, and other fans from scooping it up and enjoying it. Like many things in this world, I will just not buy it without being angry about its existence.
3) There are a heck of a lot of GD releases, so if you don't particularly care for what is released, perhaps just don't buy it. There will be more coming soon and perhaps you will like them better.
4) There is so much live GD available on line, that if you really want to hear a particular year, just find it and listen to it! It's not that hard! C'mon, you can do it! Do you really need the Official Stamp of Approval of your first show being released officially?
5) There are certain characters on here who you just have to ignore. We all know who they are, as they pop up every now and then just to antagonize everyone else. Like an obnoxious 8 year old kid, the best way to shut them up is to ignore them.
6) Given how much nice quality music has been released by our Grateful Dead, you should either feel pretty darn lucky that you get the chance to buy all this stuff if you want it, or pass if it doesn't interest you. Having that choice is a good thing! Do you complain every time you pass an ugly shirt in a store? No (hopefully). You just choose not to buy it and you continue on with your life.
That is all.
@ Rednow Glad to hear CSN put on a great show. My bros and I are going to two shows next month in SC. I have been listening to the 1974 Tour set that just came out. Really great music, so glad they released it. I hope more will come out in the future.
I'm looking forward to Dave's 11 arriving, can't beat a HDCD 1972 show. This years box set will be well received at my place. I'm like many others, glad to get it. I think 2015 is going to be a great year for releases. I do hope we see some shows on Bluray come out.
Well said Oxford. And also a big thanks to dantian for posting the previous thoughts from DL and others. It's all for the love and admiration of a truly magical group of guys and gal. I really understand the love of a certain "era" of the band and the passion that comes with that, but geesh the hating on and name calling really doesn't seem necessary. It is all subjective to an individuals tastes. I can't stand black licorice, but others LOVE it. Don't berate them for loving it. Also don't think its necessary to berate others if they want something different. Just saying, everyone has their tastes and let's keep the back and forth banter civil. Love the passion that everyone has for a group of musicians that have truly changed my life for the better. But great art does that, right?
dantian - nice work finding those interviews, thanks for sharing.
For digging up the calm and concise thoughts from Dave.... from 2005! This info and the band's philosophy have been pretty darned consistent. They know they have a tremendous financial resource in the vault, yet they are allowing it to be handled by great professionals who are experts in their fields. This board is really starting to read like a transcript of bad sports radio with all the usual suspects getting wound up in all directions over and over again. Let's consider the alternatives to our current bounty of 4 subscription releases, 2 record store releases, 1 major box and at least 1 wide release per year, 52 weeks of live highlight in the Jams and Tapers Sections, 30 days of the Dead every November:
CSNY takes 40 years to release tinkered with highlights of their most famous tour-no full shows and brutally overpriced.
The Allmans churn out yet another Fillmore set, granted this is everything until they find the sound checks and Duane noodling in his dressing room. Somewhat related-the sound quality of their archive releases has been pretty spotty.
Dylan puts out his bootleg series which has had some great live shows, but that is once or twice every five years.
The Band's Academy of Music release was an excellent show, but the pricing, pompous packaging and self-congratulatory write-up made me want to hurl.
The Who or Stones? Forget I even brought them up.
Phish comes the closest in terms of quality, quantity and fair pricing for their shows, but really there is no other band or performer that simmers the stew of profitability, legacy and caring about their fans as well as the Dead.
Yes indeed it is about the money. Amazing to think that after all these years, these people who played for us long and hard, have come upon a formula to steadily provide for their families. Right now, this scenario feels like a well curated audio museum; we like some exhibits, others, not so much. The band, Dave and Rhino don't owe us a thing. Vote with your wallets if you want. After five days of house painting, cranking great show after great show, I am pretty damned grateful for what we have. Not sure my neighbors feel the same way. Peace and Happiness!
....a negative bitch grind about a hot Fall '72 show to be released, that's all you need to know about the discussion tone that has resurfaced here. Totally fucked. I likes me some croaking, wheezing 80s Dead as much as the next 50-something. But IT IS second or third class shit, let's agree on that, ok?
Keep the apex shit coming Dave, thanks!
They have made some pretty good choices in Latvala and Lemieux. As far as I can see, both Dick and Dave were/are as informed as anyone could want about the Dead's performance history.
But equally important, they were/are both very interested in What Other People Think.
Dick definitely was open to learning more from anyone -- and if you go back and look at the comments of his that people quote about this or that show, in their complete context (he published basically a laundry list of shows with his comments in a few big blasts), you'll see that he was constantly asking "show me" "what do you folks think?" etc. We know he peeked in at dead.net forums and sometimes posted.
Dave L is in some ways very similar. He says he doesn't look in at any of the goings-on here (who could blame him!), but you could easily email him and ask about anything, like what he thought about releasing something from the Spring '87 Hartford Civic Center or Worcester, MA runs? And I'm sure he'd have a thoughtful reply, based on knowing the performances, what other venues had hot shows in that time period, and what was actually in the vault (we did hear the 3/26/87 He's Gone in 2010's 30 Days of Dead...).
I don't at all believe that Dave is biased against particular eras. He's got a 20-70 minute radio show every day of the week, where he plays something from the approximate calendar date. Anyone who's listened to that show over any length of time will tell you that Lemieux plays music from, and seems excited about, every facet of the band's career.
Looking at Dave's Pick's early days also seems a lot like Dick's Picks early days. There were complaints about every single one of the early Dick's Picks: not whole shows, significant audio shortcomings, too well-known &/or not enough of an "upgrade" over what already circulated, etc. (Naturally, 99% of folks who own those picks today wouldn't want to give them up!) But none of the early Dick's (or Dave's) picks got the drubbing of Dick's 6, ironically from a time period that would now be greeted with joy, or at least relief, from all quarters: the mid-80s.
Meanwhile, the actual situation with releases in audio and video, is quite literally an embarrassment of riches. Who the %^&! would've believed, 5 years ago, that we'd soon see the entire Spring 1972 AND Spring 1990 tours released? And that there'd be f^(ng VENETA in our living rooms??! Shit, even if you don't especially love every bit of one (or the other) (or all), you can at least be happy that it means those particular silver mines are sealed! Now on to other rich veins!!!
Hold on people, we are getting where we are going faster than we ever believed.
....with a new release, was if was a re-release of an already official release. There, that should settle it......
Bring on the 1983 or 1984 show !!! I would be very pleased to hear a top of the line show in great audio remastered from the hands of Norman and picked by Dave from either of those years.
I may not get my wish for those two years, but I do think 9-18-87 is coming very soon. For the community to quench their thirst for more 80's.
I also anticipate another release for Black Friday, hopefully in both formats (vinyl and CD.) RSD is like an early Christmas for me.
Norman should have plenty of time to work on those 1971 tapes that were returned, since it was revealed the Spring 90' project was finished in May.
I Would love to know what they got their hands on. Anybody with any info about Hawaii June 1970 ?? I mentioned before and know Dave has got something from June 12, 1970.
I am pumped for any release, so keep em coming for those who are responsible. All good things in All good time. So many roads to ease my soul, so many roads to tease my soul.
Man there some mad anger goin on on this site today. All i know is that if i dont like something being released um i just dont buy it. I dont go on some internet site and lash out on the band and there affiliates because they didnt cater to my every need. Relax and respect the dead
re: Rhino, band member's input, integrity, etc.
"All four Dead members and Garcia's estate have to approve new entries...
"Hart did not preview the remastered concerts. "I don't listen to the [old] music, because it's kind of like eating the same meal, and all I hear is the mistakes," he says. Like the other members, he's far too busy concentrating on making new music to focus on the past. That's what they have Pinkus for.
"I go to sleep at night and know our legacy is not being plundered by some evil corporation," Hart says. "It doesn't make me cringe, and I think they're doing good business, as opposed to being evildoers."
Im excited, for both the Daves Picks and the Spring 90 too box set, 1972 may not have been my first pick, but I'm not the picker and was 1972 bad, definitely not. Im just happy that someone is still taking all the time to remaster recordings, put together awesome art, and then sell it to us. If I was so picky that I only wanted releases from a few years of the Deads career I'd go on archive and suck up whatever sound quality was there just so I could here the years I want. So I think i like every year right up to the last show in 1995. I don't see any reason to disrespect people that are excited for the releases that are coming out, or to be mean to the people who don't like the releases.
why not more 80's...
DL: We just don't have outstanding quality tapes of every year. When we do, we don't necessarily have more than maybe two to five great tapes of a certain year. Whereas 77, we have two-thirds of the year in outstanding, really good quality. 73, 74, we've got 90% of both of those years in great quality. In addition to having great quality performances and really unique shows every night, we've also got these amazing tapes.
We do try to bounce around a fair amount. We do pay attention. We do have this 89 DVD and soundtrack [coming out]. We do have this big box set (_Beyond Description_) that was 73 to 89 that was very heavy on 80 to 89 on the bonus material that went on Dead Set and Reckoning and Go to Heaven. We consciously looked at that and did the 66 thing. We're hoping to do some 69 later this year, something substantial. We did an 82 Dick's Picks quite recently.
We don't group the 80s Dick's Picks together too much because we just don't have great tapes of a lot of em. But we do have a lot of good multi-track from 89, 90, so we consider that to be very much 80s releases, whether their Dick's Picks or not. We've got Nightfall of Diamonds. We’ve got Go to Nassau out. We do try to get out a good representation, but I agree that it's definitely weighted towards the 70s but it's twofold, based on performance, first of all, and the kind of tapes we have.
JPG: I’m just surprised that the 80s don’t have good quality tapes.
DL: Well, they're mostly PA tapes. A PA tape is a board tape that's exactly what came out of the PA, that mix. If the hall didn't sound good, the PA didn't sound good. Whereas a Betty Board or something "Kid" [Candelario] recorded or Rex [Jackson] or any of those people in the 70s, those tapes were actually mixed by somebody offstage specifically mixed to tape. Those were mixed in order to be specifically listened to by somebody dedicated to mixing a proper tape as opposed to a guy, Dan Healy, whose main job is to make it sound good for 20,000 people. As a side note of that, he hits record on a cassette deck. So, you're getting a cassette tape of a PA mix vs. a reel-to-reel of a properly mixed tape by a professional recording engineer. That's why something like Alpine sounds as it does, which sounds fine, but it doesn't have the fullness of the stature of a Betty Board from 77. You listen to Dick’s Picks 29, (5/19/77, Fox Theatre, Atlanta, GA and 5/21/77, Lakeland Civic Arena, Lakeland, FL) versus an 80s cassette board. It's like a professionally mixed album versus a good quality PA tape. It really is largely weighed on that. If we had Betty Boards, if we had reel-to-reel properly recorded tapes of every show in the 80s, believe me, we would be seeing a lot more 80s releases, equal amount as there is from the 70s.
JPG: Yeah, the 80s. Makes me think of the Brent Mydland era. I’m a big fan.
DL: Me too.
Thanks Ace, I feel the same way... (it's the way I felt for Spacebro when the Spring 90 TOO box was announced - like "yeay for Spacebro")
Bluekind - first - welcome to the site! I think you're saying that my reply to Unkle Sam (a long time poster whose opinions I respect) was exemplifying "mobbishness." Since you are new and don't have the context of my earlier posts, I might explain that my favorite eras are 1968, 1971-77, 1979-85, and 1988 (pre-midi). So, I don't feel like I'm part of some 70s mob or something. And in fact I've often called for / hoped for a relase from 1983-84 especially .
My point to Unkle Sam was regarding one statement, that because it took this long to release Wichita, it must not be good. I did not attack him personally, and the lame little smiley face was just to try to make that even more clear. I was, however, trying to find a pithy way of commenting on the need to label one show "Good" and another "bad" - when it seems to me that we're talking about two very good shows, and whether one LIKES them is subjective. So my point remains, with what I hope is respect and a spirit of non-agressiveness - if Wichita is bad because it is released now, doesn't that mean a show released after it is worse? (I'm NOT saying 3/29 is worse, I'm saying that the above logic would dictate that). Wouldn't it mean that Dick's Picks 1 was the best, and every release since is a little worse? I believe it is okay for us to debate points of logic about the music, is it not?
Anyway, peace - and welcome (seriously, no sarcasm - that's why I tend to rely on the dumb smileys)
This is the only band in the universe where 20 years after they ended we could get new releases. quit the bitching. any dead is good dead...
no record contract is one sentence long. if the grateful dead have surrendered all control to rhino then they obviously don't care. if they still have some input as to what is released, and they choose not to release anything from the '80s then they should probably explain why. if its truly a matter of money then they are sellouts. i have nothing against capitalism. i like money too, but at some point it can't be your primary objective if you value your integrity.
PatagonianFox, "rhino = profits
if rhino is the only entity making decisions on what to release then the grateful dead have truly sold out.
what about the band's voice? don't they care?"
I know, right? I once approached the Grateful Dead and tried to sign them to my own not-for-profit record label, but they didn't seem all that interested. It's like they didn't even care. Go figure.
unkle sam, "just listened to the bird song from 3-29-90, beautiful. Then I listened to the bird song from 11-17-72, not bad but really no comparison."
Branford is so low in the mix on the '72 show, I can't even hear him! So on that basis alone, I would agree that there really is no comparison to be made between the two.
if rhino is the only entity making decisions on what to release then the grateful dead have truly sold out.
what about the band's voice? don't they care?
The second Spring '90 had many comments about people passing on the release due to the price AND because many felt that the shows are inferior to those in the first box, excepting 3/29. I had some of those concerns myself, but pre-ordered the box anyway, since I try to support the band that brings me a lot of joy and because the 1990 tour is a fine one. It's not my favorite tour, or in my top 10 even, but at the end of the day, it does have Jerry.
uv1 said, "I don't remember reading any complaints -- other than the price -- about the Spring 1990 (TOO) box. Or about the stand-alone 3/29/90 release. Or Dave's Picks 8. So maybe there's something to be said for more Brent/80's releases."
Or perhaps there's something to be said about those fans who prefer 70's, that they choose not to complain about another Spring 1990 box.
And perhaps there is also something to be said about those fans who prefer 80's/90's, that they do chose to complain about a 70's release (in a thread about another Spring 1990 box).
I enjoy these differences of opinion, keeps the site interesting and entertaining. But remember folks, the content of our statements often times carry less weight than the WAY in which it is said. Arguing is fun, but should be respectful and creative, not childish and abusive.
Ahhh, I feel better now.
The irony is this:
-it is true, mid 80s shows are not equally represented as official releases.
-it is true, 11/17/1972 is a good show and will bring many of us joy.
Myself, can't wait to get Daves11! And if it was a show 1983, I would feel the same way.
I'm pretty easy to please when it comes to Dead music! And glad for it I suppose.
Seaside chat, any day now.
Love the burrito analogy, except of course Rhino is not deliberately making sickening burritos. They are just putting cheese in a few of them and some of us are lactose-intolerant. Personally, I enjoy cheese in moderation but on a typical day I prefer the vegan variety. It's all taste. Why is anyone trying to account for it?
I fully agree. The first set is the BOMB!
check your pm's please...
ps... totally psyched for you, Claney...
dig it when one of the best people on this thread get one of their personal
favourites of alltime... love that...
also, speaking of the Berkshires, lived in Charlemont for a year & a half about 15 yrs ago... moved from nyc... & went back fast!
BEAUTIFUL place, just a lil, ummm, slow for me...
had some amazing days fishing those rivers though, miss those days for sure...caught lotsa BIG, delicious trout :~]
I agree with a lot of these different opinions. And yes rhino is about making a profit here. But the bottom line is that for the most part they are releasing shows that are well recorded & Well sounding & well played. And as much as I would also like another Vince era mid 90's MPACE nails it when he concludes thin Sounding Phil, really bad digitally distorted metallic guitar tones, and bad midi. Listen to all furthur and other reincarnations of the modern Jerryless Dead, you can easily notice they have gone back to the warmer sounding, less processed instrument tones. So for nostalgiac reasons it would be nice for another late era release but there are still a lot of way better played and better sounding unreleased options from the 70's. So yes for the sake of representation and diversity Dave should seek out a great 80's or even 90's pick. Also, I think the first set from Dave's 78 rocks really hard. Give it a spin!
One potential (if admittedly imperfect) resolution to some of the expressed "era aggravation:" Dave could reveal each subscription's lineup before sales commence. Yes, this would require some planning. But so what? The only other reason to keep subscribers in the dark would be to bump sales to fans uninterested in all four shows.
While this doesn't resolve the underlying issue of era representation, it WOULD provide Dave with a better idea of true demand and allow uninterested Heads to "tune out" until their number comes up.
@ Chris Grand: Years, rather than lineups, seem to be the issue. But I think you know that. Funny, though... no one will call you a troll!
folks lamenting the lack of releases of a certain line up of the band, in a thread promoting the simultaneous release of EIGHT shows featuring that line up
Of course Rhino is in it for the money. What else would they be in it for? None of this would exist if they didn't make a profit. The 70s get more love from them because they sell better, simple as that. It is pointless to argue about which era is best. TPTB care about what is popular, just like all merchants. They are working inside a tight niche market and are managing their risks very well -- the success of their stewardship of the vault is testament to that. I think it's awesome. Who would have thought that this business model would succeed? I am amazed. And why does anyone thank Dave for "giving" us anything (other than 30 Days of Dead)? He is selling us stuff, not giving it, and that works great for everyone -- Dave, Rhino, and Heads.
While I'm here, can we stop calling people trolls? I don't think we hear from actual trolls on this site. Mary squashes them before they get published. People with opinions that don't match yours do not deserve the abuse they get around here.
"They sold these subscriptions for dave's picks and they all but sold out this time, so they can release what ever they please, even if it ain't that good, it's a captive audience and I for one feel let down again by the powers that be."
So by this "logic", Rhino is run by a bunch of sadists who derive pleasure from tricking mindless Deadheads into buying subscriptions, and releasing the opposite of what they want?
That's not a business model. It's also borderline insane to think it is a business model. It's also not sustainable. For example, if I started selling...oh, I dunno...burritos that weren't very good and gave people terrible gastroenteritis, eventually people would stop buying my terrible burritos and go to the stand next door (ie archive.org) that was giving away supposedly better burritos for free. You certainly wouldn't expect my burritos to sell out every day to the point where I was having to work longer and longer hours every day just to get the burritos out there.
And yet, all of the releases sell out...and the subscriptions increase every year.
I've had this conversation with others here before. No one cares if you really love 1986 Jerry and can't stand 1970. That's wonderful for you. Also, no one is saying that no one has the right to express an opinion. The problem is when people erroneously assume that Rhino/DL2/TBTB have some weird agenda to mess with Deadheads or release inferior product.
But anyways, this argument is old, tired, and boring. I think I'm going to start resisting the urge to engage. Some people might like that anyway.
(The Smiley face means nothing.)
unkle sam wrote: "So Dick wrote a note about the 11-17 show being off the hook, if it was so good, why was it not released before now? I'll tell you why, cause it's just not that good."
According to that logic, 3/29/90 is an even worse show, since it is being released *after** 11/17/72.
just listened to the bird song from 3-29-90, beautiful. Then I listened to the bird song from 11-17-72, not bad but really no comparison. Then I listened to the Dark Star from 3-29, wow. Then I listened to the other one from 11-17, once again, no comparison.
The 11-17 show has Donna singing that mussel shoals sound and I can't stand it, Sorry Donna but for me you did not fit in. So just go and listen to the two and you can hear the difference, one is a great show, almost perfect, the other is just ok, barely.
So Dick wrote a note about the 11-17 show being off the hook, if it was so good, why was it not released before now? I'll tell you why, cause it's just not that good. Think about it, 500 people in attendance, very laid back crowd and this is what you get, the dead sounding like they were just going thru the motions and trying to get thru another show. Once again it's just an opinion and my opinion is 3-29-90 is head over heels a better show.
What I see here is a total lack of respect for the later years the band performed, even when they themselves stated that after 25 years, it was like opening a bottle of fine wine. So I stand by my last post, 11-17-72, yawn, nothing here to really shout about, move along now.
There were a lot of great shows in the 80's and 90's, I saw a few myself, and the total dismissal of these shows says to me that rhino is in it for the money. They sold these subscriptions for dave's picks and they all but sold out this time, so they can release what ever they please, even if it ain't that good, it's a captive audience and I for one feel let down again by the powers that be.
After taking in a few of these recent comments, I've been compelled to quit lurking.
Why is it that anyone who disagrees with the majority here is branded either a "troll" or "too stupid to realize that the '70s were the Dead's peak years?" The counterargument seems pretty straightforward: other years are underrepresented, even given the quality differential. So why all the mob-like foot stomping?
There was really no need for the line "I realize that I likely just fed the troll" I love The Dead and would not waste my time here starting trouble.
I read a lot of comments here but hardly ever comment myself, and when I do I get your rude replies?
Look, I understand there are going to be more releases from certain years and era's than others, but the amount of official live material from the 80's (apart from '80 & '89) is very thin to the point of being ridiculous. Correct me if I am wrong but isn't there just one cd release from 1987? None from 1986 and 1984 and just one from 1985?
Releases from the prime Dead years will always form the bulk, and that is fine. Just do not like the fact that an era of Dead has been ignored for decades. Dick's Picks and Road Trips both went through all 4 decades the Dead were in and I hope David will do the same. D.P 17 (9.25.91) and D.P 27 (12.16.92) are also a taste of how great the 90's could be.