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Spring '73. When you finish dosing on DaP 16 & 21, don't forget this old gem, Dick's Picks 28th. IMHO this duo will stand toe-to-toe with just about anything from 1973.

The Dark Star is obvious, but The Greatest Story Ever Told will take you by surprise. The sleeper is The Other One => Eyes of the World from the Salt Lake City show.

February 26, 1973 – Pershing Municipal Auditorium, Lincoln, Nebraska

"The Promised Land" (Chuck Berry) – 3:36
"Loser" (Robert Hunter, Jerry Garcia) – 6:58
"Jack Straw" (Hunter, Bob Weir) – 5:17
"Don't Ease Me In" (traditional, arr. Grateful Dead) – 4:01
"Looks Like Rain" (John Barlow, Weir) – 7:24
"Loose Lucy" (Hunter, Garcia) – 7:04
"Beer Barrel Polka" (Lew Brown, Wladimir Timm, Jaromir Vejvoda, Vaclav Zeman) – 1:07
"Big Railroad Blues" (Noah Lewis) – 4:00
"Playing in the Band" (Hunter, Mickey Hart, Weir) – 17:23
"They Love Each Other" (Hunter, Garcia) – 5:51
"Big River" (Johnny Cash) – 4:36
"Tennessee Jed" (Hunter, Garcia) – 8:03
"Greatest Story Ever Told" (Hunter, Hart, Weir) – 5:26
"Dark Star" > (Hunter, Garcia, Hart, Bill Kreutzmann, Phil Lesh, Pigpen, Weir) – 25:23
"Eyes of the World" > (Hunter, Garcia) – 19:09[a]
"Mississippi Half-Step Uptown Toodleloo" (Hunter, Garcia) – 8:00
"Me and My Uncle" (John Phillips) – 3:26
"Not Fade Away" > (Buddy Holly, Norman Petty) – 6:34
"Goin' Down the Road Feelin' Bad" > (trad., arr. Grateful Dead) – 7:52
"Not Fade Away" (Holly, Petty) – 3:02

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February 28, 1973 – Salt Palace, Salt Lake City, Utah

"Cold Rain and Snow" (trad., arr. Grateful Dead) – 6:30
"Beat it On Down the Line" (Jesse Fuller) – 3:23
"They Love Each Other" (Hunter, Garcia) – 5:54
"Mexicali Blues" (Barlow, Weir) – 4:03
"Sugaree" (Hunter, Garcia) – 8:03
"Box of Rain" (Hunter, Lesh) – 5:18
"El Paso" (Marty Robbins) – 4:42
"He's Gone" (Hunter, Garcia) – 12:06
"Jack Straw" (Hunter, Weir) – 4:48
"China Cat Sunflower" > (Hunter, Garcia) – 7:20
"I Know You Rider" (trad., arr. Grateful Dead) – 5:46
"Big River" (Cash) – 4:26
"Row Jimmy" (Hunter, Garcia) – 8:27
"Truckin'" > (Hunter, Garcia, Lesh, Weir) – 12:02
"The Other One" > (Kreutzmann, Weir) – 15:07
"Eyes of the World" > (Hunter, Garcia) – 17:02
"Morning Dew" (Bonnie Dobson, Tim Rose) – 12:40
"Sugar Magnolia" (Hunter, Weir) – 9:11
"We Bid You Goodnight" (trad., arr. Grateful Dead) – 3:05

And I thought I was cool at age 15 jumping my BMX bike.
If I took off hitch hiking at that age my parents would have enrolled me in military school.

Thanks for the stories, sounds like fun.
Your shows should be released as a Box - Hendrixfreak’s Travels Box 72/73.
Fully Plangentized and Normanized.

Thanks Dr. Jim or Jim in Maryland or whoever you REALLY are........!!

Hope you're right, we've booked Sat, Nov 2, to crank this new one. If it doesn't appear, our fall-back plan is 3-2-69 FW, where the good Mr. Grease delivers a few hot ones. So we'll rock regardless.

I hope that they've worked out the kinks and deliver early or right on time for most everybody. Good luck to our long-suffering bros in Europe.

I did break out 3-28-73 in anticipation and I've been mining the PNW box and, man, that whole year was huge.

I know this is wrong, big time, but I'm already thinking about #33. Though I won't venture a guess as to content. (Okay, it's gonna be 1969...) Though I'm going to go out on a limb and repeat my box prediction for 2020: fall '72. If I keep it up, someday I'll be correct. In fact, if I remember correctly, that's what my ex-wife said to me when she gave me the heave-ho... [rimshot!]

Okay, gents (and I hope a few ladies). Good luck on delivery. This one's gonna rock.

Hola HF.

I expect this either leaning against the inside of my mailbox or on the front porch before 11/1. except for the last one, they have been delivered on or before the due date the better part of the last year, year and a half.

So the "release date" is stated as Friday, Nov. 1.

Does anyone recall whether pkgs -- for the lucky few for whom the system works -- actually show up on that date? Seems I remembered receiving a DaP on the "release date" in the past. (Tho not the last one.)

Stoked to deliver this to my buddy living in the foothills here, without Internet (or women, but that's another story). The old man of the mountain has a monster old-school stereo that delivers WoS type impact.

1973 holds a special place in my heart. Having attended 9-19-72, with Pigpen absent but alive, and the boys still sounding like E72, they turned a corner by early '73 and through evolving musicianship, instruments and sound system, they had a new sound. I got on a roll that year, two months after this show.

In May, I saw the ABB at MSG -- I had a bong under my shirt. Cop stops me. What's that? An older cop tells the younger cop: "That's a bong. Let the kid go." Off we went. I was age 15.

In June we jumped on a ride to DC, caught GD opening for ABB on 6-9-73; the Dead were good, but the ABB stole that one. I swear the extra half-tab to "top off" for the ABB had NOTHING to do with our impressions. But the day had cooled and the purple lights helped. EDIT: Yes, we missed 6-10-73 -- we were 15-year-old kids! No money, no food, due back in school...

End of July '73, we jump on a ride to Watkins Glen and caught the whole two-day enchilada -- the afternoon/evening soundchecks for ABB, The Band and the extra-long evening GD warm-up, lying on sleeping bags in front of the stage, puffing fatties. Woke up the next day, right off snorted mescaline off a mini-cereal box and dropped a blotter as Jer & Co. came onstage at NOON. Etc. We hitched home and 48 hours later decamped to the lovely Roosevelt Stadium for two back-to-back shows with the GD and The Band (and Jer's b-day). Then one GD show at Nassau Coliseum in October. In 1974 I was hitchhiking across the country, turned 17 on the road, ended up in San Francisco in September, when the GD was overseas. I couldn't possibly hang for the October "farewell" shows -- no money, due back in school, had to cover 3,000 miles by thumb, blah blah blah.

1973 ... a fine, welcome vintage. We will crank this one.

If it wasn’t for capitalism, there would not have been people standing outside the venue with a cooler waiting to sell you an ice cold beer as you exited the show.
Those beers were awesome, even though I now think that Sammy Smiths is crap. But they were exactly what I needed after a show. I didn’t start drinking alcohol until after the show, when it was time to slide into the post-show state of mind.

I believe for most GD sources there is usually one common source especially for this show... I could be wrong about this but during 1973 many shows were recorded by Kid Canderlero who really was not a bona fide sound engineer per se.. he simply was assigned or volunteered to take on the responsibility of recording concerts. I also believe during this time it was rather a PA mix / soundboard recording. The GD was one of the 1st rock bands to capitalize on live recordings, Live Dead, Skull and Roses, Europe 72, Steal your Face 74 (which is the worst sounding LP ever produces by the GD), Dead Set, Rekoning, Without a Net; and numerous others. It's astounding to consider how much commercial live material they produced, probably more than any rock band. Off my head, I don't know any other group has released this much on major labels; I'm not counting the Dick's Picks type stuff. If you do count the other formats; the GD certainly have the record. As for most of the recordings, the GD never thought they would be releasing regular old soundboard "document" recordings but they have capitalized that market. They do a great job of restoration for the most part but sometimes you can't make a silk purse out of sow's ear like they say... some of the releases have been sub par in my opinion, April 6th 1982 is a good example ... it wasn't a upgrade at all really.

As for reel sizes, usually it's all from the same sound source or mix. The idea is to never miss a second of music since analog format has a finite amount of space because of tape length. The recordist would have multiple tape machines and would stagger their start times so there was always music captured, sometimes they would even run cassette machines, it's called "interleave" recordings. Now with the advent of digital workstations they can seam different reels with out any real detection of an edit. However, Betty Cantor had her own reel deck on the side as well; like many of us here we believed that she had the actual masters, maybe she did on some shows, but we now know that that's not the case. (Betty Boards were obtained when she had a storage locker that went unpaid and some "collectors" paid off that debt and acquired those tapes ... that's where the infamous Cornell 77 came from)

Overall, the GD have done a great job of marketing their live music and let's face it, some folks believe they have sold out but I will be the 1st to say and admit - that the Grateful Dead's whole scene was a fury of capitalism, right down the grilled cheese sandwiches in the parking lot

Can't wait for this one, the entire 3rd disc is a real face melter. Jerry in ultra fine form, vocals like butter, honey butter, just fantastic, miss you Jerry.

‘Bill Harris’ must be John Williams’ stage name.

Don't forget the laughing guy in hat with glasses and mustache disguise, a young OROBOROUS*?

And you are right about Dave's 21, Mr. Charlie62, if the sound quality is anything like this will be an awesome show!