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    clayv
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    Hear ye, hear ye, hear ye! Gentle mistresses and most distinguished gentlemen, we have come upon the release of the DAVE'S PICKS VOLUME 37, from the Fifteenth of April in the year Nineteen Seventy-Eight, at ye olde College Of William & Mary in Williamsburg, Virginia. Cast your waistcoats and your bonnets aside, the Grateful Dead are on steady gallop from the opening high-kick of "Mississippi Half-Step" into a where are we going? where have we been? "Passenger," followed by full-on versions of "Friend Of The Devil," "El Paso," "Brown-Eyed Women," and a double-barreled "Let It Grow>Deal." Catch your breath and straighten out your tricorne because the 2nd set shows no bounds with delightful takes ("Bertha>Good Lovin'," "One More Saturday Night") and introspection ("Candyman," "Playing In The Band"). Then - great fifes and drums - it's 15 minutes of "Rhythm Devils," with band and crew gathered round to amplify the merriment before delivering a rare incantation of "Not Fade Away>Morning Dew" that sets the soul alight. Pure jollification!

    The town crier's addendum:

    Three bags full! Lest you feel 4/15/78 beginneth and endeth too quickly, we've selected highlights from Civic Arena, Pittsburgh, PA, 4/18/78 to satisfy your fancy.

    Limited to 25,000 numbered copies, DAVE'S PICKS VOLUME 37: WILLIAMSBURG, VIRGINIA 4/15/78 was recorded by Betty Cantor-Jackson and has been mastered to HDCD specs by Jeffrey Norman. It is guaranteed to sell out - often within hours.

    *2 per order. Very limited quantity available.

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  • daverock
    Joined:
    Goats Head-Rock n' Roll

    The two albums where Mick Taylor really shines for me, are the Keith lite Goats Head Soup and It's Only Rock n' Roll. Superb soloing by Mick T. on Time Waits For No One.

    I like Ron Wood, but he seemed to adopt a kind of court jester role with The Stones which I found a bit tiresome. I do like these archival Stones live releases though - the Taylor years are still the gold standard, but the last two I got-from The Steel Wheels tour 1989 and 1998 in Beunos Aires rock like the proverbial b......Specially the 1998 one.

  • Forensicdoceleven
    Joined:
    Maybe the universe will get tired of me…..

    50 years ago today………….

    April 25, 1971
    Fillmore East, New York City, New York

    Set 1: Truckin'-Loser-Hard To Handle-Me And Bobby McGee-Cold Rain And Snow-The Rub-Playing In The Band-Friend Of The Devil-China Cat Sunflower>I Know You Rider-Casey Jones

    Set 2: Morning Dew-Beat It On Down The Line-Next Time You See Me-Bertha-Sugar Magnolia-Second That Emotion-Good Lovin'-Sing Me Back Home-“Spanish jam tuning”-Not Fade Away>Goin' Down The Road Feeling Bad>Not Fade Away

    It’s long way from Durham to the Fillmore East. About 480 miles, give or take a little………

    Pinballing through New York, Massachusetts, Pennsylvania, New Jersey, New York, Rhode Island, Maine, North Carolina, and finally back once again to New York, you’d think the Dead would be tired by now…………

    On this evening of wonders, they sure don’t sound tired. As so often happened, it appears the Dead upped their game being back in the big apple. They start high, and then soar. The ultra crunchy Hard To Handle. The hyperkinetic Rub. The once-in-71 Friend Of The Devil. The fine China/Rider. The powerful Dew to open the second set. The greasy Good Lovin’. The typically fine NFA suite to close it all out. Maybe not so famous as other shows in this run, but oh so worthy!!

    This is classic Dead!!!

    Rock on!!!

    Doc
    Life is one long process of getting tired

  • SPACEBROTHER
    Joined:
    Shipping notice

    Received mine. #38 on the way. I actually forgot the show date other than the '73 part. Would be fun to receive it before the on-sale announcement for the surprise.

  • cmd
    Joined:
    Rollin' Stones proper

    Just wanted to chime in about my appreciation
    for the Mick Taylor era. As Daverock points out the real
    secret to the Stones true sound was the Jagger/Richard/Watts
    lock-down (Charlie comes in a nano-beat behind Keith).
    That said Mick Taylor played the sweetest leads for their
    material - by far. He was more instrumental in a few
    key songs than most people realize - Moonlight Mile - Keith
    passed out on the studio floor and Jagger, ever the economist
    demanded the sessions proceed and Taylor composed and played
    all guitars, Likewise with Goats Head Soup where he plays bass
    on several of the tracks as well as co-credited for Winter.
    Live by ’73 he was very frustrated with Keith’s erratic
    playing. One night MT was just expected to be the gun slinging
    guitarist while others he had to carry the show cause KR was
    checked out. The final straw came on It’s Only Rock and Roll
    when he and Jagger co-wrote “If You Really Want To Be My
    Friend”, yet when the album came out it was credited to the
    Glimmer Twins. Adios Stones …
    I always loved Ron Wood with the Faces, yet it seemed
    he really dumbed down his act when he joined the Stones.
    His best work was on Some Girls - otherwise he was all mod-rocker
    hairstyle and shades and no substance (probably just what Mick
    & Keith wanted).

  • Vguy72
    Joined:
    The Who's Pinball Wizard....

    http://pinballmuseum.org/
    I chipped in fifty bucks to help make the move happen.
    I've got a pocket full of quarters.

  • Exile On Main St.
    Joined:
    Giutar Weaving

    The Stones are the one band I know as well as the Grateful Dead. Right you are about Beggars and Bleed Daverock. Taylor was not involved much. He started with the Honky Tonk Women single, which for some odd reason they used as a single and went with Country Honk for the Let It Bleed album (certainly my least favorite on the record). Played on Live with Me from that record too.. Taylor contributed substantially to Sticky Fingers through Only Rock and Roll. He One of the reasons he quit was because he was not getting the writing credits he deserved. I was surprised by your comment crow told me, but I guess if you're not a Stone Head you may not know how involved he was in the writing and recording sessions. I am surprised too hear you found his live playing a distraction. His soloing was so smooth. Prime example is Dead Flowers at the Marquee '71 -OMG unbelievable how many notes he played "in time" on such a fast little diddy, and exits right when he needs to for the next verse after improvising a solo that had a proper beginning middle and end. As far as "weaving" the China cat example is cool yes, but not mahatma Keith is talking about. He means chord weaving, where, he'll play one thing and the other guy will fill in something in between (also chord playing) but the key is that they compliment each other's playing. I would emphasize that I do not mean they playing the same thing in a different octave (this is a different technique altogether that is used to fill out guitar sound). Check out Stray Cat Blues live at the Roundhouse 1971. Mick Taylor was so good he alternate modes within a song, he could play a different solo every time, or in some cases (Midnight Rambler) Keith would start a lick and Mick would finish it for several bars. To each his own is my philosophy I just couldn't figure out where the Taylor criticism made sense. I will say this, that one live song I am too keen on his playing is the Brussels Brown Sugar where he picks up the slide and does sound like he's overplaying. But that was the only time I've heard him play slide on Brown Sugar or sound distracting. Overall he was easily the best guitarist the Stones ever had. Brian Jones was easily the best multi-instrumentalist they had, but he added his touches to music that was already written. Taylor actually composed music in the writing phase (and to his credit he played bass on some tracks that Bill Wyman was not in the studio to play on like Tumbling Dice and Happy).

  • daverock
    Joined:
    guitar styles - Crow

    Yes, China Cat/Rider features wonderful complimentary guitar playing.

    I agree with what you say about The Stones to some extent. I think Mick Taylor happened to be in the band when they made some of their greatest recordings, without necessarily contributing to them being great. Both Beggars Banquet and Let It Bleed were based around Keith Richards playing, with embellishments on some songs by Brian Jones or Mick Taylor. But Keith is the only guitarist, I think, on many tracks on those two albums.

    In many ways, with The Stones, the rhythm is both that, and the lead. The riffs of so many of their songs define the songs -the solos are just the icing on the cake. It doesn't matter to me too much what the soloist is doing on tracks like Jumpin' Jack Flash - its the groove that counts.

    Live, the pulse is what I like most, and that is provided primarily by Keith and Charlie Watts. And again, the soloing is the secondary to the groove.

  • Crow Told Me
    Joined:
    Weir the Weaver

    You want to hear "the art of weaving," as Keith Richards sometimes call the two-guitar thing he supposedly loves? Listen to what Garcia and Weir do on pretty much any recording of China Cat. Or pretty much any recording, period. Because Weir is truly the master of being the Other One, playing jazzy chords and single note runs that complement Garcia's genius. And he can do it on the fly, spontaneously responding to whatever musical thoughts cross Jerry's mind.

    If I say that Weir is the most under-rated guitarist in rock, I doubt if anyone here will argue with me. What he does isn't "rhythm guitar." It's more like what a great jazz pianist does.

    The Stones? I mean, I love the Stones, but at least 90% of the time all that's going on with the guitarists is that one guy is playing lead and the other (almost always Keep) is playing "rhythm": ie, playing the same chords or riff over and over while the singer sings or the other guy solos. This was particularly true during the Mick Taylor years: people talk about how great he was for the band, but when I hear live recordings from that era, half the time Taylor's noodling without regard for anything anybody else is doing, and it's just a distraction. The Stones were much more interesting live with Brian Jones OR Ron Wood.

    Keith's a GREAT songwriter, a great RHYTHM guitar player, AND one of the all time GREAT bullshitters.

  • icecrmcnkd
    Joined:
    Shipping notice received

    Package last seen in Fontana.
    Hopefully it departs Fontana today and gets Truckin’ on.

  • Green Mtn Dead
    Joined:
    Shipping Notice

    Morning all! Good news - awoke to find a shipping notice for DaP 38 AND the tracking number works and shows the package was shipped yesterday and departed Fontana around 3 am today.

    So fingers cross we all get these soon. Always need a little ‘73.

    Hope folks are getting access to vaccines and getting prime to see shows again.

    Be well!

    Ps thanks to Doc for the daily write ups on the ‘71 tour.

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Hear ye, hear ye, hear ye! Gentle mistresses and most distinguished gentlemen, we have come upon the release of the DAVE'S PICKS VOLUME 37, from the Fifteenth of April in the year Nineteen Seventy-Eight, at ye olde College Of William & Mary in Williamsburg, Virginia. Cast your waistcoats and your bonnets aside, the Grateful Dead are on steady gallop from the opening high-kick of "Mississippi Half-Step" into a where are we going? where have we been? "Passenger," followed by full-on versions of "Friend Of The Devil," "El Paso," "Brown-Eyed Women," and a double-barreled "Let It Grow>Deal." Catch your breath and straighten out your tricorne because the 2nd set shows no bounds with delightful takes ("Bertha>Good Lovin'," "One More Saturday Night") and introspection ("Candyman," "Playing In The Band"). Then - great fifes and drums - it's 15 minutes of "Rhythm Devils," with band and crew gathered round to amplify the merriment before delivering a rare incantation of "Not Fade Away>Morning Dew" that sets the soul alight. Pure jollification!

The town crier's addendum:

Three bags full! Lest you feel 4/15/78 beginneth and endeth too quickly, we've selected highlights from Civic Arena, Pittsburgh, PA, 4/18/78 to satisfy your fancy.

Limited to 25,000 numbered copies, DAVE'S PICKS VOLUME 37: WILLIAMSBURG, VIRGINIA 4/15/78 was recorded by Betty Cantor-Jackson and has been mastered to HDCD specs by Jeffrey Norman. It is guaranteed to sell out - often within hours.

*2 per order. Very limited quantity available.

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16 years 8 months
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Regarding the posts on shipping issues for Dave's Picks, I was told my order shipped in January and here we are in March, stll no delivery. Informed overseas orders take longer, however I live in New York state, which last time I checked was still in the United States.
My advice, next time just order from Amazon (yes they sell Dave's Picks) you will have your merchandise in two days.

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I have to chime in here on a current conversation. One of the things that struck me when I was first seeing the Dead was they were so low key, tuning up between songs, cracking jokes with the audience. No showbiz here, and it was very appealing to this 17 year old at the time.

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In reply to by nitecat

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I was once channel-surfing and stopped when I saw; The E Channel True Hollywood Story of Jerry Garcia replete with scandalous voice over. Of course I thought Jerry Garcia Hollywood???!!! The man was the antithesis of Hollywood.

Sounds really nice.
On my first listen.

And to think, I got it from Uncle Bezos for less than from Rhino, and free shipping that only took 2 days and had tracking that worked.

If only Rhino valued its customers like Uncle Bezos does.
And let’s not forget that WMG let our personal info be stolen.

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Just recalled this anniversary just passed, made me recall it's still overdue for vinyl release. Not that it would be released smoothly and equitably. And, yes, foolhardy of me to even bother to ask about another release when there are still several of us who also passed the 4 month mark on no DaP 36, and my order for the glass and shirt and a la carte DaP 37 have yet to finish processing, but I really want that That's It For The Other One on vinyl. I remember downloading it at the library as a college freshman off the then lightning fast T3 connections. Whole show took 45 min to download while I knocked out a couple of papers. And then heard Bill Graham's, "The American version of the Japanese film, Magnificent Seven, the Grateful Dead." Needless to say the next 20 minutes left a smoking crater of my mind before my next class. That Cryptical Reprise is just ripping, and I do not know of one that powerful. There are better Other Ones by far, and better complete TIFTOOs, but I'd love to find a comparable Cryptical ending. And they opened the show with it!

There are those who will point out we need this vinyl like a hole in the head, but trepanning gets a bad rep. I definitely want this on vinyl more than I wanted the last few Dave's Picks and I already own this in the cd box set (thanks again Pierre!), but when they announced the vinyl releases of these I was more pumped because it meant down the line this show would be released on vinyl. So make with the brown vinyl box Dave. Pretty please.

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In reply to by alvarhanso

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mostly because they were so...theater.

I always liked the GD being so in the moment. no jumping around, no pyrotechnics, no "ARE YOU READY FOR THIIIIISSS?"

anyway

to those singing the Shipping Blues...my sympathies. I hope I never win that Frustration Lottery.

some receive a ship-ment
some receive a shit-ment

Uncle Bezos...lol

back when the Viaduct still operated in Seattle, there was a section of tunnel. At the entrance, someone graffiti'd, "FUCK BEZOS".

What blew my mind at my first show was how completely and effectively they destroyed my brain with their powerful brand of sonic sorcery, mind = blown, a full cranial Chernobyl. Then little by little after space it somehow magically rebuilt itself.. atom by atom, synapse by synapse starting with a calming and placid standout version of the wheel. Sometime right around dawn it was better, faster, stronger than it had ever been and all was fine with the world.

Or it could have been the acid. Hard to say. Let's call it a tie.

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All I know I could not leave it there. The thing I remember most vividly about my first show was that, to my amazement, somewhere there in the second set, I started dancing, Me, who never danced, anywhere, to anything! And I didn't even realize I was doing it. Just dancing out of pure joy to (I think) a Scar>Fire. This was back before taping was really much of a Thing, so I'd never heard that particular segue before, didn't even know they ever did that.

Mind = blown. Body = dancing.

And then I had this flash of self-consciousness, like, dude, you are a tall geeky white man, and you cannot dance without embarrassing everyone within 100 micrograms, what the fudge do you think you're doing? And then I looked up, and all around, and I saw that EVERYBODY in the theatre was dancing, from front to back, top to bottom. And smiling. Smiling! And I thought, I have seen the Stones, I have seen Zeppelin, I have seen the Who, but I have never seen this. What is it about this band? They're just standing there and playing, how can they do that?

Still trying to figure that out.

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50 years ago today………………

March 5, 1971
Oakland Auditorium Arena

Black Panther Benefit.

Not a lot is known about this show---either how it came about, or what the Dead played that night. I have never seen published full set lists for the show, and I have never heard of (or even heard rumor of) circulating audience or soundboard recordings of this show. According to first hand accounts, “Midnight Hour” and “Lovelight” were played. The rest currently remains shrouded in the fog of time…….

An enigma wrapped in a mystery.

See: http://lostlivedead.blogspot.com/2010/02/march-5-1971-oakland-auditoriu…

Rock on!!!

Doc
The true adventurer goes forth aimless and uncalculating to meet and greet unknown fate

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Hey DOC, they say it's was a short show not even an hour long.

ps, also looks like they stuck to cover songs, could have only been five or six songs played.

Starting with Anthem of the Sun in 1976. I had no idea how they presented themselves on stage, or the fact that they changed the set list every night until the 1980s. When they came to London in March 1981, it never occurred to me to see them more than once - and it amazed me when I heard the live broadcast of the show from Essen Germany in March that year, and realised they played a different set to the one I had seen. Its very different, following the Dead if you don't live in America. The music that turned me on initially was the music they recorded in the 1960s, and had nothing to do with me seeing them live.

Alvarhanso...I agree with every word you said. 3/1/69...I'd rather have that on vinyl and not get the rest of what comes out this year than the other way round.

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I like this game.

What blew my mind at my first show, July 16 1990, was the fact they opened the Second set with Sugar Magnolia, played the entire (awesome) set, they ended it with Sunshine Daydream. Not really having had too many tapes yet back then, I was totally unaware of the ubiquitousness of this sandwich technique which they had clearly pulled off god knows how many times before; however in my relative naiveté, I thought it was just the COOLEST thing ever...like, that whole set was JUST ONE GIANT SUGAR MAGNOLIA JAM!!!

The other thing that totally blew me away was just all of the friggin PEOPLE, all the the Deadheads EVERYWHERE. Like 100,000 of us. By far the biggest gathering I had ever been to in my existence at that point, and the sheer magnitude of the party was a true eye-opener. And everyone was just so god damn HAPPY.
I realized then, The Good Ole GD are Happiness Ambassadors.
The End.

Happy Friday DeadFreaks!
SIxtus

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...By the LSD, a particularly heavy dose. But I was so focused on the women twirl dancing in the aisles & concourse that the music seemed like a separate event, though happening at the same time. One More Saturday Night, for some strange reason, really jumped out at me. Bobby’s vocals can do that sometimes.

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In reply to by Mr. Ones

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....the way they segued songs too! Prior to the Dead, the only other concerts I attended had been heavy metal or punk shows, so these guys were a complete 180 from anything I had witnessed prior. The music, especially in the second sets, never seemed to stop. Then I discovered Phish in 1993. My segue appreciation learning curve by that point made them easy to slide into.

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First show: Pigpen? You may come to the vaccination clinic any time. The show from 3/18/67 will be playing in the waiting area to help calm those with needle anxiety.

First show: Keith? You may come in beginning in April. The show from 4/25/77 will be playing.

First show: Brent? You are welcome beginning May 1st. You will hear the show from 5/6/81 playing.

First show: Vince? We hope to be able to vaccinate you at your local outdoor amphitheater in June, and 6/14/91 will be playing to soothe you.

Never saw the GD live? You likely have immunity because you contracted Covid while continuing to hear live music this past year, figuring you were young and invincible. Your nerves will eventually relax on their own as you hit middle age.

You saw Mother McCree's Uptown Jug Champions? We should have seen you in January, except you don't know how this Interweb thing works, so you missed your window. Stay home and hit the bowl to calm your nerves.

Not planning on getting vaccinated? We don't want to see you at any Dead & Co. shows once the rest of us get our shots. :)

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In 7th grade, our social studies teacher, Mr. Mariano, had an after-school "Rock & Soul Club," where we took turns playing our records. I already had Jimi's Smash Hits and "Red House" was my number, along with "Along the Watchtower." Someone else's older siblings were into this "Grateful Dead" band, so I borrowed Live/Dead to check them out. I put on "Dark Star" and couldn't understand what came out of the speakers. Basically, a super low volume series of notes that I just couldn't "get." Whatever that was, I recognized that I was not yet ready for it.

Fast forward to a year or so later and my older brother brings home Skull & Roses, then American Beauty and we wore out both spinning them over and over. About that time, I got to my first concert, The Chambers Brothers. My mom drove me, then picked me up afterwards!

A year later, I turn 15 in August, then catch the Dead 9-19-72 at Roosevelt Stadium, a hellhole if there ever was one. The crowd is the biggest I've ever been in. I have a chunk of hash. I am determined not to lose my brother and his friends who gave me a ride. I lose them inadvertently, immediately. The music is loud, the crowd is huge, the band doesn't sound exactly like the Skull & Roses album we had been spinning. No recognizable songs. No recognizable people. And, yet, I had no fear, no trepidation, as the band rocked the crowd of maybe 15,000. Every single thing totally unfamiliar, yet I enjoyed myself. Okay, after 2-3 hours I was a little tuckered out. No food, no water, nothing but a toke or two to keep going. After about 3 hours, I was kinda thinking, "WTF? Great show! Probably about time to wrap it up about now!" After the show I stationed myself by the exit by the entrance where we came in, and succeeded (thank the gods!) in snagging my ride home. You did not want to be 15, lost in Jersey City, NJ, at any time of day or night. Or at any age...

Basically, in a nutshell, I had no idea what I was involved in. Not sure I had tripped yet. That was probably spring '73. I did notice the funny look in a lot of people's eyes, yet everyone was friendly, cool, fun. And I wanted to know more about this weird circus. The ABB played Madison Square Garden in May '73 and I caught one night. So when the GD came back around that June for a double-bill with the ABB at RFK, we were on it like white on rice. Tripped heavily at my second show, 6-9-73 and went up front for China Cat > Rider, guided by a non-tripping friend. Then back to a seat in the stands for the ABB's late show, popped another half tab. Holy crap! A month and a half later, we're up front at Watkins Glen, on Jerry's side, catching the soundcheck while stretched out on our sleeping bags, passing around this, that and some other things. We were snagged, hook, line and sinker.

And here I am, 49 years later, sucking up the vault releases and tellin' stories.

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..I woke up this morning with ‘three little birds’ on my ‘Doorstep’
* https://m.youtube.com/watch?v=HNBCVM4KbUM

... they told me, June Boxset this year?! 2021

My brother and sisters I welcome Also it Looks like RSD 2021 #1&#2 in June TWOo and more through out the year to come... 2021 is going to be a grateful year indeed! Nothen left to do but Smile Smile smile!
* this info came from a prankster so reader’s beware... peace be with you all on this grateful Friday! I’m knee deep in ‘1968’ the past two days so I’m taking a step forward this afternoon into 1971days & performances starting with the beautiful & soulful sound on 8/7/71 Dicks Picks #35
San Diego, at the ‘Convention Hall’ which this release includes a plethora of 1971 Bonus Songs/performances of 1971... A “5 star” release in my opinion. Rock On you beautiful people! 🙏❤️💀🌹
PS - primo post Hendrixfreak, thanks for sharing as well! :)

Hey LMG, are you saying the box set will be released in June this year?

Sweet, let's get it out.

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My DaP 37 was stuck an hour and a half away waiting to be accepted by USPS for a month. I finally contacted USPS customer service through email and two days later it showed up. I am pretty sure it was my email to USPS that finally got ti delivered since it doesn't look like it went to through the normal channels to get it delivered. 7842/25000 found it's way home!

Hope that this may help others to get their DaP37.

ps. I have to say that I did tell them that it was a rare "limited edition numbered and that it was sold out."

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16 years 9 months

In reply to by fourwindsblow

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and to the rest of you beyond frustrated souls who have yet to receive yours, hang in there!
This ones definitely worth the wait!

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3 years 11 months
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After observing (and participating a little on) this forum, it’s interesting to see that we have our own kind of ‘soap opera’ going on here.

We consistently have a little bit of drama, a good bit of fun and humor, a little intrigue (what is the next box…?), deception (is this for real?), and camaraderie. We have our fair share of steadfast participants, ’snobs’ (it’s all good), die-hards and bystanders.

Sometimes I feel like a teenager trying to figure out what it all means. Like attempting to understand, interpret the labyrinthine posts by LMG (again, it’s all good!), or trying to decipher the acronym of songs and albums. It seems like heiroglyphics, but I manage. It feels like learning a new language, or how to use SnapChat or Instagram. Wait. What?

Which means we all keep coming back for more.

Again. It’s all good. Thanks for allowing anyone to get on the bus.

Hey HendrixFreak, I live in DTC. Grew up in Rye. Saw many shows in '71 at Capital Theatre in Port Chester but not the GD. Catching up now.

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In reply to by DeadVikes

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Road Trips Download: Philadelphia, Nov 5, 1979
A download of the complete November 5, 1979 show from the Spectrum in Philadelphia.
Road Trips Download: Philadelphia, Nov 6, 1979
A download of the complete November 6, 1979 show from the Spectrum in Philadelphia.

Could anyone sell me a copy of these two performances from 1979, one of my favorite eras in band’s history. I would be very grateful for anyone’s help being able to provide CDs, I have no computer. Just internet on phone.
Can any one please help. I can pay money, or trade which ever you prefer. I’m hoping someone here can help this old DeadHead out. I never ask for anything on this website but I’m really looking forward to listening two these two performances & recordings on my home entertainment system.
Thank you for any help anyone... 🙏❤️💀🌹

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3 years 7 months

In reply to by JimInMD

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A fox box would rox
Go to a lake to listen on the dox
Watch a shell of rowing jox
Eat bagels with cream cheese (no lox)
Then a raven nox
innoculated against smallpox
Fuzzy white sox
Dance around on Tic Tox
Do you hear the populi vox?

Thank you; I have a whole collection of such poetry at the publisher. Order your copy today! Only $59.99....

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16 years 8 months

In reply to by proudfoot

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Fox
Socks
Box
Knox
Knox in box
Fox in socks
Knox on fox in socks in box
Socks on Knox and Knox in box
Fox in socks on box on Knox

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16 years 8 months

In reply to by icecrmcnkd

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....is not one of the Suess books that they are going to stop publishing. There are six, and I've only heard of one of them. They are relatively obscure.

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In reply to by Vguy72

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Actually have a copy of Mulberry Street that my father was given in 1938!
Unfortunately it has a few pages that are ripped and the binding is held with tape...
I used to love that book when I was a wee lad.

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My initial copy of Dave's Picks 37 was defective in discs 2 and 3. I contacted Warner Bros./Rhino, who sent me replacement discs 2 & 3. Replacement disc 2 was defective in the same place. This is the 3rd or 4th defective discs I have received. After this, I will no longer buy cds from dead.net. If they don't care any more for their customers than to cut quality control and REPEATEDLY ship defective discs, then they are not going to get any more of my business.

Have you tried playing them in a different CD player?

What type of player do you have?
Some people have previously reported that high-end players are less forgiving with minor disc scratches and dust.

On the other hand, replacing defective discs with defective discs has happened before with 6-17-76 CD3. Eventually Rhino figured out the issue and manufactured discs that weren’t defective.

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8 years 5 months

In reply to by icecrmcnkd

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Too risqué years ago, it’s acceptable in 2021.

Titled
“The cat in the hat and the grinch get caught together in a bathroom stall at a highway rest area”.

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16 years 9 months

In reply to by icecrmcnkd

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...do you think all those super high notes were enhanced by the tightness of those jump suites?

EDIT: I think Bob coulda used one of them jump suits ; )

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16 years 7 months
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I have noticed an “anomaly” at about the 6 minute mark of Not Fade Away. There is a sort of channel swapping. It’s kind of hard to describe but it is more detectable when I’m listening on headphones. I never really considered complaining to Rhino about it though since it just seems like a random occurrence. Remember the “caveat emptors” on Dicks Picks? That’s what I feel this falls under.......

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14 years 11 months
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Love ‘78 Dead, in many ways more so than ‘77. I just have to comment about this version of Brown Eyed Women...What were the drummers listening to? They are playing off-beat, the wrong beat, and playing to an entirely different song during this song, lol. What a train wreck! Everything else sounds great so far....

You hear that awkward drumming on browneyedwomen on a few april 78 shows. They were trying something different.

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12 years 9 months

In reply to by proudfoot

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There's a Jerry quote floating around there when he accosted the drummers on break or after a show somewhere and told them to get their act together, "you guys sound like a popcorn popper"

I like that they were adventurous and experimented. I like it more that with very few exceptions when the train jumped the tracks then knew it and either gently steered it back on course or abandoned ship.... (That whistle on 78-82 Truckin' and slide guitar mockery of cats in heat?) Gotta love the Good Ole Grateful Dead.

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9 years 7 months
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A few months back, as I was enjoying the two new Port Chester releases (and revisiting Ladies & Gentlemen and Three From The Vault) I had asked if anyone knew what guitar Jerry played during that period. It was clearly a thicker sound than the Stratocasters he played later in '71 through '72, and definitely not as mid-rangey as the SG. All of the sites I had found on his guitars had large gaps, and I had not found anything on the Peanut (I think Jim and a couple of others knew about the short stint of the Peanut, and the riddle was solved for me).

I just came across the most comprehensive accounting of Garcias guitars as I've ever seen (with pictures):

http://deadessays.blogspot.com/2019/08/jerry-garcia-instrument-history-…

Icecrmcnkd - I got a laugh out of your Dr. Seuss post. The irony...

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