• August 5, 2010
    https://www.dead.net/features/release-info/our-first-80s-box-complete-1989-hampton-warlocks-shows-6-cds
    Our First ’80s Box: The Complete 1989 Hampton “Warlocks” Shows on 6 CDs!

    It is a measure of the Grateful Dead’s confidence going into their fall 1989 East Coast tour that they decided to travel with the state-of-the-art Le Mobile remote recording truck so they could capture a bunch of their shows on 24-track tape, with an eye towards putting out a live album in the summer of 1990 in conjunction with a European tour that was already in the works. (Indeed the band recorded a number of shows on multi-track through the spring of 1990. The eventual album was Without a Net, released in September 1990.)

    There’s no question that the band had been on fire for quite a while. If you’re familiar with the CD/DVD releases Truckin’ Up to Buffalo from July 4, 1989, Crimson, White & Indigo from July 7 (Philly) and the video-only Downhill From Here from July 19 (Alpine Valley, Wis.) — not to mention the earlier nationwide telecast of the Summer Solstice show from Shoreline Amphitheater (Mountain View, Calif., June 21) — you know the group was playing at an exceptionally high level, arguably getting stronger each tour since Garcia’s remarkable resurrection following his Summer ’86 meltdown/near-death. The band had also been in the studio working on a new album, Built to Last (released Halloween ’89), and that newish material was starting to sharpen up on the road, too.

    When the first few dates of the October ’89 East Coast tour were announced, the Hampton (Virginia) Coliseum, long one of the band’s favorite places (and the site of many a fine Dead show) was not included on the list. You see, there had been some problems outside the last shows the band had played there — too many ticketless folks, too crazy a scene — and the powers-that-be in Hampton weren’t sure they wanted the Dead back at all. This is a problem the Dead encountered a lot during their post “Touch of Grey” renaissance, so the band got creative: Just ten days before the tour was to begin, the Dead suddenly announced a pair of “stealth” shows at Hampton set for October 8 and 9, 1989. There were no mail-order tickets sold for these gigs (as was common in those days); in fact, ducats were only sold in Southern Virginia through local ticket outlets, as a way to keep out the inevitable Dead Head invasion that followed the band everywhere. Instead of “Grateful Dead,” the tickets said “Formerly The Warlocks” on them, and when fans arrived at the gig those nights, the marquee read “The Warlocks.” Non-Deadheads passing the Coliseum must have been very confused seeing a band they’d probably never heard of headlining the arena. That, of course, was the point.

    The folks who were lucky enough to score tickets for the “Warlocks” shows in Hampton were treated to two of the most exciting shows of the year. Because not only was the group playing great, they had also taken the time to rehearse some old favorites they hadn’t tackled in a number of years, including “Dark Star,” the glorious triumvirate of “Help on the Way” > “Slipknot!” > “Franklin’s Tower,” “Death Don’t Have No Mercy” (played just once at Shoreline 11 days earlier), and perhaps most surprising of all, “Attics of My Life” (unplayed since 1972!). Not surprisingly, the crowd greeted these “revivals” with ecstasy bordering on hysteria. Can I get a “Woo-hooooo!”?

    Over the course of the two concerts, the band offered up what was practically a career retrospective, delving into crowd pleasing nuggets ranging from “Playing in the Band” to “Bird Song” to “Uncle John’s Band” to “Eyes of the World” to a spectacular “Morning Dew”; raucous rockers including “I Need a Miracle,” “Good Lovin’” and that incendiary Brent-Phil stomper “Gimme Some Lovin’”; and recent tunes such as “Foolish Heart,” “Victim or the Crime” and “Built to Last,” among many others (“Dear Mr. Fantasy”! “Stuck Inside of Mobile”! Lotsa good stuff, for sure.) You can find the complete set lists here.

    The Formerly The Warlocks box collects every note of the band’s two nights there, spread over six CDs. The concerts were originally recorded by Grateful Dead sound wizard John Cutler in the Le Mobile remote truck, and mixed recently by longtime Grateful Dead-associate and Bob Weir/RatDog studio engineer and front-of-house mixer Mike McGinn. As always, the discs have been mastered to HDCD specifications, so needless to say, it sounds like you’re there, in the best seats in the house.

    As this is the latest in a distinguished line of remarkable complete-run boxes (which includes Fillmore West 1969, and Winterland 1973 and Winterland June 1977), the folks at Rhino have gone above and beyond to design a package that’s (almost) as exciting as the music. This time out, they’ve packaged the CDs in a wooden replica of a cigar box (Virginia being a tobacco state dating back to colonial times), and filled it with all sorts of goodies, from a photo-laden historical essay by your humble narrator, to various pieces of cool memorabilia from the time/shows we won’t spoil for you by describing here.

    All in all, it’s a potent blast of the Dead at their late ’80s best that you won’t want to miss. To order your copy of the Formerly The Warlocks box, click here!

    NOTE: Now available for PRE-ORDER ONLY. Item is estimated to ship on September 7, 2010.

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It is a measure of the Grateful Dead’s confidence going into their fall 1989 East Coast tour that they decided to travel with the state-of-the-art Le Mobile remote recording truck so they could capture a bunch of their shows on 24-track tape, with an eye towards putting out a live album in the summer of 1990 in conjunction with a European tour that was already in the works. (Indeed the band recorded a number of shows on multi-track through the spring of 1990. The eventual album was Without a Net, released in September 1990.)

There’s no question that the band had been on fire for quite a while. If you’re familiar with the CD/DVD releases Truckin’ Up to Buffalo from July 4, 1989, Crimson, White & Indigo from July 7 (Philly) and the video-only Downhill From Here from July 19 (Alpine Valley, Wis.) — not to mention the earlier nationwide telecast of the Summer Solstice show from Shoreline Amphitheater (Mountain View, Calif., June 21) — you know the group was playing at an exceptionally high level, arguably getting stronger each tour since Garcia’s remarkable resurrection following his Summer ’86 meltdown/near-death. The band had also been in the studio working on a new album, Built to Last (released Halloween ’89), and that newish material was starting to sharpen up on the road, too.

When the first few dates of the October ’89 East Coast tour were announced, the Hampton (Virginia) Coliseum, long one of the band’s favorite places (and the site of many a fine Dead show) was not included on the list. You see, there had been some problems outside the last shows the band had played there — too many ticketless folks, too crazy a scene — and the powers-that-be in Hampton weren’t sure they wanted the Dead back at all. This is a problem the Dead encountered a lot during their post “Touch of Grey” renaissance, so the band got creative: Just ten days before the tour was to begin, the Dead suddenly announced a pair of “stealth” shows at Hampton set for October 8 and 9, 1989. There were no mail-order tickets sold for these gigs (as was common in those days); in fact, ducats were only sold in Southern Virginia through local ticket outlets, as a way to keep out the inevitable Dead Head invasion that followed the band everywhere. Instead of “Grateful Dead,” the tickets said “Formerly The Warlocks” on them, and when fans arrived at the gig those nights, the marquee read “The Warlocks.” Non-Deadheads passing the Coliseum must have been very confused seeing a band they’d probably never heard of headlining the arena. That, of course, was the point.

The folks who were lucky enough to score tickets for the “Warlocks” shows in Hampton were treated to two of the most exciting shows of the year. Because not only was the group playing great, they had also taken the time to rehearse some old favorites they hadn’t tackled in a number of years, including “Dark Star,” the glorious triumvirate of “Help on the Way” > “Slipknot!” > “Franklin’s Tower,” “Death Don’t Have No Mercy” (played just once at Shoreline 11 days earlier), and perhaps most surprising of all, “Attics of My Life” (unplayed since 1972!). Not surprisingly, the crowd greeted these “revivals” with ecstasy bordering on hysteria. Can I get a “Woo-hooooo!”?

Over the course of the two concerts, the band offered up what was practically a career retrospective, delving into crowd pleasing nuggets ranging from “Playing in the Band” to “Bird Song” to “Uncle John’s Band” to “Eyes of the World” to a spectacular “Morning Dew”; raucous rockers including “I Need a Miracle,” “Good Lovin’” and that incendiary Brent-Phil stomper “Gimme Some Lovin’”; and recent tunes such as “Foolish Heart,” “Victim or the Crime” and “Built to Last,” among many others (“Dear Mr. Fantasy”! “Stuck Inside of Mobile”! Lotsa good stuff, for sure.) You can find the complete set lists here.

The Formerly The Warlocks box collects every note of the band’s two nights there, spread over six CDs. The concerts were originally recorded by Grateful Dead sound wizard John Cutler in the Le Mobile remote truck, and mixed recently by longtime Grateful Dead-associate and Bob Weir/RatDog studio engineer and front-of-house mixer Mike McGinn. As always, the discs have been mastered to HDCD specifications, so needless to say, it sounds like you’re there, in the best seats in the house.

As this is the latest in a distinguished line of remarkable complete-run boxes (which includes Fillmore West 1969, and Winterland 1973 and Winterland June 1977), the folks at Rhino have gone above and beyond to design a package that’s (almost) as exciting as the music. This time out, they’ve packaged the CDs in a wooden replica of a cigar box (Virginia being a tobacco state dating back to colonial times), and filled it with all sorts of goodies, from a photo-laden historical essay by your humble narrator, to various pieces of cool memorabilia from the time/shows we won’t spoil for you by describing here.

All in all, it’s a potent blast of the Dead at their late ’80s best that you won’t want to miss. To order your copy of the Formerly The Warlocks box, click here!

NOTE: Now available for PRE-ORDER ONLY. Item is estimated to ship on September 7, 2010.

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It is a measure of the Grateful Dead’s confidence going into their fall 1989 East Coast tour that they decided to travel with the state-of-the-art Le Mobile remote recording truck so they could capture a bunch of their shows on 24-track tape, with an eye towards putting out a live album in the summer of 1990 in conjunction with a European tour that was already in the works. (Indeed the band recorded a number of shows on multi-track through the spring of 1990. Then eventual album was Without a Net, released in September 1990.)

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I ordered the Warlocks box & the Road Trips package - for the free of charge mailing, only saved a few dollars, not too much.I already have good boot soundboard cd-r's of both these shows. I am just wondering if the Warlocks box will be in wide release on the Rhino imprint? Or is this box in small release like the Winterland 73 first was, and the Winterland 77 still is?I have an audience recording of the Cornell 80 show, so this RT is an upgrade for me. Again, thank you very much to all who helped get these shows out there.
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why are some releases - crimson white and indigo, to terrapin - available as downloads on itunes and some such as the winterland box sets and I am assuming this release are not / will not be. I would certainly purchase the download but probably not the cd's. Thanks for all of the music you make available, even if I do not purchase all of it I know that you are making us all happy with the continued releases!
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...but I suspect that stuff that comes out under the Rhino imprimatur is available on iTunes, and stuff that is not distributed commercially in stores by Rhino is not. I've never understood the reticence to make more stuff available for download. There has to be a commercially viable way to do it, and I've always believed that many/most would still buy the nice boxes and CDs. The so-called premium CD packages that so many groups have been putting out for their hard core fans recently have done very well for everyone from Talking Heads to Tom Petty to the Rolling Stones. But there are more and more people who are not into CDs anymore, perhaps don't care about the art (or are content to download same), so to ignore that market seems short-sighted to me.
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Seems to be a program glitch, again. I tried to order both sets and should have got free shipping but did not. I suspect the problem is that I had ordered delivery to within continental USA (to my daughter's address) but had no real choice but to check off that I live in Norway (since that is the home to my credit card). Maybe this programming glitch can be fixed quickly so the preorder can be completed.
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The order form requires fillilng out "I live in". If you live abroad and want to send a gift, you have to ignore the "I live in " and substitute "The cds when received want to live in"... then the order sails thru.
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I placed my order for both The Warlocks Box Set and RT 3.4. Ordering has gotten smoother and I suspect that shipping will also go with fewer hitches. MaryE and Blair both need to be thanked for their hard work on behalf of all us out here in the wilds to make sure that we get the music we crave. I suspect also that there are folks at Rhino and Global Ware Solutions that monitor these conversations to get feedback on customer satisfaction. I'm not going to bitch about price, show selection, how many disks come with a release, or packaging. I remember the days when, if I could get a 4th or 5th generation partial audience recording of any show, I would be tickled pink. We have gotten so spoiled and jaded with all the fine "official" releases, and the high quality of first gen patched, pitch corrected and matrixed soundboards and audience recordings, that we forget how amazing it is that we get to have all this wonderful music shared with us. I've bitched in the past about some issues, but I will be forever Grateful that way back when, the guys decided to record as many of their shows as they could, and let their fans record shows as well. So thank you to everyone involved in these releases, thank you to all the tapers that are still out there recording shows, and most of all, thank you to greatest band that ever was, The Grateful Dead. On the BUS since 12-29-1968, and I'm never getting off. "When I die bury me deep, put two speakers at my feet, pair of ear phones on my head, and always play The Grateful Dead."
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I agree, that Blair and MaryE have gone to bat for the Deadheads to restore some order to some of the major issues fans had on snafu's they experienced while ordering merchandise at the store. The Dead Store also learned by charging 50% more than on-line stores and record shops as on Crimson White and Indigo your loyal fans are going to go the cheaper alternative and getting stuck with a lot of unsold merchandise is not profitable. The complaints were warranted and it looks like they have corrected some of them and hopefully they are a thing of the past. The fans wanted full shows and they have been delivered. People wanted no bonus discs and now a three disc RT with no bonus disc is coming. Some 80's shows were requested and here they are. I too ordered the new latest releases and of course things can be better and cheaper, but where could you get such good recordings and booklets with your purchase. Plus I would like to support the Dead Organization for all the enjoyment they have provided us for many years. I do agree the CD packages are pretty cheap and they rip really easy and it is difficult removing the discs. Maybe this is an area of improvement in the future.
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This is slightly off topic but seeing this release reminded me that I had wanted to purchase the Hampton 88 show that was once available on the digital download series. I was waiting to upgrade my computer but now it no longer seems to be available. What's the story on that?
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Given all the great recordings and mixes over the years from Bear, Healy, Garcia, Popick, Cutler et al. it appears to my ears that Garcia's vocal could have been brought forward just a tad in this 24 track mix. Perhaps a second ear opinion from Archive House Resident Expert (sir chowlie miller) in the future on any/all releases would prove beneficial to all parties. Did Cutler pass on this one? These performances are wide in circulation. It's well understood that Rhino needs more sell-through on the Dead Vault Release Program.
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I never got to see the Grateful Dead live, what an empty place in my life. Being younger I had other influences, older brother heavy metal and the doors. Sort of got into the Grateful Dead on my own. One only must listen to the music. But I discovered more live recordings over the years and at some point discovered Dead.net back in the day when it had the space background and the links where planets or others stars around a big steal your face in the middle. My first major release I purchased when it was actually being released was the Grateful Dead Movie, and the 5cds that came with it. I think it was preorders, or whatever it was they sent in a little envelope an actual clip from the film. Cool. My few frames were lucky to be close up of Jerry's hand and fret board playing his fine tune. Got home from work tonight and somehow put in the movie. This stuff is so good, again, what a goddamn scene it all must have been, everyone getting their groove on, Phil ripping his bass with the big shoulder support. Bill taping the Dead license plate on the front of his bass right before they stroll into Eyes. The crowd jumping and dancing in a fever during the going down the road, with the band giving it to 'em with power, Jerry's smile and Bob looks so young with the pink shirt on. Can the store get the regular Steal Your Face tapestry, the red white and blue one, would love to have that, seeing it draped across Keith's piano. The fan who says bottom line" There is nothing like a Grateful Dead Concert" I said younger, lets just say early, ok mid thirties, and I love the strange looks I get when I talk about Jerry Garcia and The Grateful Dead. To watch a band that was so locked in, making music no one else could, or can make today, playing as equal parts with everyone given the chance to solo, or sing and be a part of the real thing, the ripped off fan on right now sounded like some of the lunatics on here. I'm probably crazy too, but if there is a recording of Jerry playing I really can't resist. Biased and believe that his guitar playing had more feeeling ,love friendship, peace, fire, soul, power, emotion, darkness, light, inspiration than any I've ever heard. I can't wait to get this new stuff. I don't trade ,download or have bootlegs so I'm always very Grateful for any release these guys put together for us to continue to enjoy. No offense to anyone I'm just feeling the love tonight. I love it all too, so gimme the early stuff or gimme the later stuff, There is NOTHING like a Grateful Dead Concert! Thank You.
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~ They got a house on the corner, with the rug inside They got the drugs they need, all that money can buy They got the shapely bodys. They got the Grateful Dead t-shirts And for the coups-de-gras, they're outrageous With the Warlox stash box, oh honey let me tell you ~ (@) ; ~ }
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...to hop on the bus. I never saw Coltrane, nor Bach for that matter (!)...but that does not diminish my affection for either. What one gets to see and hear is so much a matter of luck, serendipity, who you know.... I had a hip older brother and friends who turned me on to most of the stuff I ended up loving... the same guy who turned me on to Gram Parsons in '73 turned me on to Bruce Springsteen the same fall... Ya never know. I could've gone to see my first Dead show that night back in March '70 and NOT liked it, and then 40 years later be writing about Justin Bieber instead. Uh, actually, I kinda doubt that could've happened.. ;-)
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count me in on this one, Oct. 89 was an epic month for the boys and I for one can't wait to hear this in 24 track splendor. I'm a little concerned that Jeffrey Norman isn't in on this one, and can only hope that Mike McGinn has a good ear. Now, will you please release those Miami shows from the end of the month, that would really make my holidays.
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Anyone getting an error message 'this sites security certificate has expired do not continue' when trying to go to checkout for the preorder???
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Blair J's promotional announcement mentions the following: "This time out, they’ve packaged the CDs in a wooden replica of a cigar box (Virginia being a tobacco state dating back to colonial times)" If this is anywhere remotely accurate as to the reason for a "cigar box", then I see a problem. The tobacco industry in this country was built on slave labor with all its ugliness and inhumanity. The tobacco industry to this day uses nicotine to addict people to its product which unequivocally causes cancers and heart disease. This is not what this community is supposed to be about.
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I think the cigar box is a great idea. I don't think it was intended as a nod to the past or in any way condoning tobacco use. Poor choice of words to describe it, but it's a cool idea. I was fortunate enough to be at these shows and I will be ordering this one!
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i have both full shows on my hard drive, and the sound isn't all that bad. i think the only reason i would purchase the box set is just to have the box and photos from the show and what not. but probably would wait until the price comes down like most everyone else.

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"This time out, they’ve packaged the CDs in a wooden replica of a cigar box (Virginia being a tobacco state dating back to colonial times)" Last time I checked tobacco is legal in this country. Since when have Deadheads been so sensitive about plants? The only place that slave labor has been touted recently was by Candyman, who seems to be trying to pick an unjust fight and stir up some bad vibes. Should Dead.net ban cotton shirts as well, considering the history of cotton manufacturing in this country? I don't think so. It's possible Jerry Garcia may have dug the "cigar box", being a near life-long tobacco user himself.
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To be honest, nobody ever told me why it was in a cigar box, so I just made that up to be cute. Maybe someone was thinkin' that; I don't know. Anyway, your point is well-taken. I'm sure nobody is endorsing tobacco, so calm down. As far as I know the discs are not smokeable. That said, my grandpa, Robert Reid Jackson, who was from a Virginia family, owned a tobacco farm right outside of Mount Airy, North Carolina, where my dad was from. Selling off the tobacco farm eventually helped put me through college. Love the smell of curing tobacco, though I've never been a ciggy man myself.
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"And it comes in an authentic replica stash box..."
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Please Stop Complaining!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! What has happened, everybody has a gripe with everything. We should be happy for all the music that has just been released. If you think the price is too high - then so be it don't buy it, last I looked the price s about right for a 6 CD set. As far as the person indicating that the box it comes in endorses slavery, OMG man, please go get a hobby. It's music - it's a box that it comes in - Thats All. I think it pretty cool. Blair - Just for the record I did not think at one time this was an endorsement of slavery - Jeez. People need to listen to the music and just chill out.
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It's FINE having a variety of opinions. And I don't take anything personally, even when it's directed at me! Just part of the territory... Shit, I'm used to worse from back in the days when I wrote really negative reviews in BAM and the Bay Guardian of bands that people loved! I have a very amusing file folder filled with poison pen letters from my "fans." The one thing that does annoy me is the amount of misplaced invective directed at Rhino, who really are basically NOT involved in the selection of what's going to come out, but still take a lot of heat for the choices people don't like, etc. Prices, marketing and that sort of stuff is their purview, and certainly that's all fair game for criticism. But the basic contour of the program, from boxes to RTs is not really their domain, and they have been nothing but extremely supportive of nearly every suggestion we've made. Rhino itself is not a giant monolithic corporation (they are a cog in one, it's true) --they're genuine music lovers--old school record company folks who got into because they love music--trying their best to survive in an extremely perilous time in the music business. Between the Grateful Dead being extinct for 15 years and probably 90 percent of what's in the vault out in trader's hands in SBD form already, it's an especially challenging time to be putting out Grateful Dead music. The fact that they'll listen to Lemieux (especially) and me and others who have some grasp of what's available and what might be cool to put out borders on the miraculous--this whole thing could be botched so badly at any stage! NONE of us is above criticism, but having seen this from the inside for so many years, I have a lot of sympathy and empathy for the well-meaning Rhinoids... So, keep the comments coming negative and positive, but do try to remember that at every step of the way, folks are at least TRYING to do right by you and offer you something cool.
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So you're not a 'ciggy man'; just what is that large cloud of smoke you are blowing (or seemingly admiring) in the bio picture in the back of Grateful Dead Gear (the book)? hmmm? Tell me it was some really good weed, please. Thought so.
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Good Lord! $70 ! Won`t be buying this one on principle alone!
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You say: "...Rhino, who really are basically NOT involved in the selection of what's going to come out..." and then you say: "The fact that they'll listen to Lemieux (especially) and me and others who have some grasp of what's available and what might be cool to put out borders on the miraculous." I found your comments enlightening and just wonder about this contradiction -- Are you saying Rhino decides or does NOT decide what GD music is going to come out? Just trying to get it straight. It would strike me as unusual if the band, as it survives, is not the final decision-maker as to what comes out. You are right, reading many threads in this site you would think the Rhinoids WERE the people who decided what shows would be packaged...
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What Blair J . says makes sense to me..this is not a untypical corporate line-up, and the real DEAD people should be considered the experts, and consultants in GD related matter. Rhino , of course, listens to what`s marketable or not...Would be interesting to know the sales figures for the different releases, but that`s probably a well kept secret at Rhino HQ.Be glad we can give a wee piece of input each and everyone of us.. .Dear Powers That Reside: August 27th 1972 on DVD, Please.... and a complete London Show from 72 as well. ( Audio Will do) Bowing, and scraping my way out, Oddleif
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Blair-thanks for the comment. I was thinking over the weekend that we are very lucky that the Dead taped as much as they did and had the foresight to preserve the tapes or belatedly preserve the tapes. I thought this as I listened to some blisteringly good music from Disc 4 of the Winterland '77 box. I thought-what a tragedy it would have been if this music was not available to be heard for posterity. We wouldn't have much to argue about either as the whole debate about releases and marketing would be moot. Also similar arg. if all we had was audience tapes with varying degrees of quality it would not be the same. Listening to Disc 4 the quality was so good that I could imagine I was actually there. This is what we want and as I have said before-there is a price for this quality and an expense to create it. I support it so it has a continuing chance of being made for us to enjoy. It almost strikes me as similar to lost jazz tapes reaching the light of day-as recently the Savory tapes-these are holy grail to jazz fans and to the world repository. I believe the Grateful Dead was an overwhelmingly unique phenomenon and should be enjoyed in the best sound possible.
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70 bucks for 2 shows?hmmm.... I can dig the price tag on the Road Trips Release but this seems a bit over the top...I hope Amazon works their magic shortly
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i love the dead and whatever they release i was kinda hopein for those miami shows.That dark star is the deepest with all these 89 releases will miami ever see the light of day i hope so.I cant wait to hear hampton just wish it was miami.
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I don't doubt the worthiness of the release...Rhino has been solid (in my eyes) as far as picking hot runs/shows/etc...my only issue is with the price.
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That ciggy in the photo of me with Jerry (in the Dead Gear book) is one of Jerry's, not mine, I assure you. I was called upon to blow some smoke behind him for a cool visual effect. My recollection is that Jerry eagerly smoked it down after I was done with it. The man enjoyed his smokes...
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Hey Rhino, Lemieux, Dead.net, everone involved with these releases. Why don't you just give it all up. No one appreciates what you do. THEY JUST BITCH. Never mind that in the past year you have given us a great 77 box set, four fantastic Road Trips releases, a dvd/cd release and a great pure jerry(the only thing I can truly complain about. More please). I don't really see why you even bother. Maybe if you stopped releasing all this great music, people would start to realize how lucky they have been. I am short of funds right now so I am glad there is no bonus disc I will be missing out on but this will become a part of my collection along with everything else I already have.
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so true. He went through quite a quantity in our interview, and after he left, I looked at the ashtray full of cigarette butts and toyed fleetingly with the idea of carrying them off. And then I decided that would not be cool at all, so I didn't. Perhaps I was overcautious. But ya know, in that situation one does try to behave oneself...
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Those cigarette butts would be worth a fortune on Ebay. ;)
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Ha, I don't remember anybody complaining in 1972 (OK, I was only 5 so I wouldn't remember if they did!) when the Jefferson Airplane released the Long John Silver LP in a "cigar" (yeah, right) box. On an unrelated note, the Grunt promo poster for that LP featured actor Rip Torn dressed as a pirate. Yes, the same Rip Torn who was recently arrested for breaking into a bank in a drunken stupor.
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Thanks for the insights, Blair. Rhino's cool in my book. Who remembers the rumors way back when that Microsoft was gonna buy the vault? Personally I like the bonus discs. Random release request: SPAC June 27, 1985. Random question: the New Years shows in the 80's were always huge events...why have none of those been released except for Ticket To New Years (1987)? Just because high-Q recordings circulate?
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10 years 7 months
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I think a realistic examination of these shows, based purely on merit, is in order. The timing of this release, so close on the heels of “Crimson, White, and Indigo,” is a little bit questionable. I completely understand why they will continue to release all the prime stuff from the 89-90 multitrack shows - it’s mostly excellent in both quality of performance and sound, and I've bought many of the releases. The aforementioned “Crimson, White, and Indigo” did raise some questions about the mixing going on, which were legitimate, although it was still a good release. Now, many people here debate the overall merits of late-era Dead. I’m sure that debate will rage on, and with good reason. As for myself, I can see both sides. I came to the Dead at a very young age in 1988, and I’m glad I got on board when I did, if for just a few brief moments. I'm also glad I caught the tail-end of the Brent era. I will always have a fondness for this time period, but I understand those who say it was really all downhill after 1974. Setting that aside for the moment, I wanted to comment on this release. Does it really merit such deluxe treatment? Maybe, maybe not. I was a little surprised to see these shows rated #3 and #1 on Deadbase for 1989, I really don’t think they’re worth that type of rating. I know it’s based on the epic revivals of “Help On The Way>Slipknot“ on the 8th and of course “Dark Star,” “Death Don’t Have No Mercy,” and “Attics of My Life” the next night. But how good are these shows, really? First of all, there’s no doubt in my mind that they should have done a best of, compilation 1st set disc, a la “Dozin’ At the Knick,” released quite a few years ago (which, incidentally, is one of the best releases of this period, in my opinion). The first sets of these 2 shows are simply not that great, and you’re going to end up with two discs right there that you essentially paid over $10 apiece for and you’ll rarely, if ever, listen to them. I think this was done to preempt the inevitable outcry that would’ve arisen if they’d chopped up these shows, but seriously there was good reason to do so. The first night, October 8th, gets off to a nice start with a good rendition of “Foolish Heart,” which in my opinion is a very good song and one of the best Hunter/Garcia collaborations of the later years. Then Bob throws in a decent “Walkin’ Blues.” But “Candyman” is badly botched by Jerry’s blown lyrics and a messed up MIDI transition that totally kills the whole thing. Bob then leads a pretty good “Me And My Uncle>Big River” which generates some sparks but starts to meander towards the end, then Jerry offers “Stagger Lee,” which isn’t nearly as good as the one from “Truckin’ Up To Buffalo.” Next, “Queen Jane” is fine, but nothing special. Now, the “Birdsong” is good. If this was a compilation 1st set, this would’ve definitely made the cut. A ho-hum “Promised Land” closes out a pretty mediocre 1st set. Kicking off the second set, “Help On The Way>Slipknot” had been missing for 5 years, and it makes a welcome return. It’s a pretty good version, but nothing spectacular, and the whole thing kind of gets off-kilter and threatens to pull apart at the seams before they ease into “Franklin’s Tower.” This performance of “Franklin’s” is actually quite good. Jerry gives a very inspired vocal performance, really nailing the lyrics. I know many fans found it endearing when they would blow the lyrics in concert, but in hindsight, and in listening back, it is cringe worthy at times. They simply blew the lyrics far too often to songs that they’d been singing for years, if not decades. I think this was due in part to the adventurous way they performed, making up setlists as they went along, and not entirely the result of apathy or drug-induced stupor (in Jerry’s case). However, it was pretty bad at times, especially during the later years. So, after a nice “Franklin’s,” they let the momentum die for some reason, perhaps due to technical problems, but too much time goes by and then they launch into “Victim Or The Crime,” and you can almost hear the collective groan out of the audience. This was a very dark, depressing, inexplicable song that Bob would force everyone to endure from time to time, and the question is, did anyone really enjoy it? But play it they did. There is almost a sigh of relief from the crowd when Jerry starts strumming “Eyes Of The World” after that, but to be totally objective, this is not a great version. It suffers somewhat from vocal lapses in the chorus and generally humdrum playing. Out of “Space,” we have a series of brief songs, all fairly concise and well-played, if a little choppily strung together: a fiery “I Need A Miracle” with kind of an abrupt transition into “The Wheel,” with another rough transition into “Gimme Some Lovin’,” and finally a rousing “Morning Dew” to close it out. In my opinion Jerry tended to cut off the buildup at the end of "Dew" too early in the later years, and nothing ever matched the performances of 1974 and earlier. The encore is the sweet lullaby, “And We Bid You Goodnight.” Overall, a decent show, but is it really the #3 show of 1989? I just can’t see it (or hear it). I will post my thoughts about the following night shortly.
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I live on the other side of the world, and so rely on Rhino and Dead for my life's pleasures (well, someof them!). I sure do understand when people cannot afford a box set or to buy these shows; but I also know there are folk like me who are so thankful great new releases keep coming out and those of us who could never make it to these shows can get them. Releases like the JFK, the Winterland box sets and the Raod Trips are brilliant. Think about how much live stuff Dylan or Neil Young have got out there? Very little, when you consider their 40 year careers and number of live shows performed. Dylan fans must look at the Dead catalogue with envy ... Despite a few shipping problems and sometimes money issues, I have nothing but hearty thanks to Blair, Rhino, Marye and everyone else involved. In the past decade, I got me a whole new shelf or two of great shows that I never thought I'd have outside of downloads. Undersatnd the complaints, but for some of us this is manor from heaven.
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9 years 3 months
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I am in the same situation living over the sea keep them coming.
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49 years 11 months
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...to your second review. I'm going to listen to both shows again to see how much I agree with.
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12 years 6 months
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Well, I know lots of people has been waiting for this release for many years, so on this basis..sales figures should be OK. I do agree with the earlier review of Day 1..some great moments, but also some weaknesses here and there. I have never been a huge 89 fan, but this is probably THE pick of the year so it should be a impressive sonic release.Looking forward to more 65 to 80 stuff..67 and 68 has been sadly neglected, so maybe a RTR, or a box set from some of those nights/runs...Pavlov` dog syndrome setting in. ;-)) Well timed release, aimed at Deadheads, and those who wanna give old , rockin`grandpa a special Yuletide gift.!!! Peace And Love Oddleif
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12 years 6 months
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It's never too late...On August 29th, 2010 blairj said: ...to hop on the bus. I never saw Coltrane, nor Bach // Man, those Bach shows.... :-)
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I heard he went downhill from 1735-50 and that the guy who played harpsichord in his band during that period was really lame... or at least not as good as Helmut van Huffelheim, but of course HvH was a drunk... Still, some epic Brandenburgs on the later tapes...
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12 years 5 months
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how about some frost shows or greek showscome on everybody peace wolff
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9 years 8 months
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trying to pre order - keeps telling me the site's security certificate has expired and not to continue ...can anyone advise???
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12 years 6 months
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Well, he went through keyboard players like nobody's business :-) gratefan35 - ignore the certificate message, will just be an over zealous security setting on your browser, am sure
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49 years 11 months
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,,,but there shouldn't be a problem, at least I have not have not read similar complaints anywhere on this site.
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49 years 11 months
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,,,but there shouldn't be a problem, at least I have not have not read similar complaints anywhere on this site.
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    GratefulTwinz
    7 years 5 months ago
    DEADFEAT 7/2/88 7/3/88
    My first shows were The Oxford Plains Speedway shows in 1988 with Littlefeat opening both shows.....And in my opinion,They would make an EXCELLENT box set...The band played well,& they were OBVIOUSLY in good moods proven by the non-stop grinning of Jerry and the RARE banter with the audience after the inevitable WE WANT PHIL chant....I know I have a bias opinion because I have a SERIOUS emotional attachment to these shows..(They actually changed my life forever) But I think most heads would agree with me that these shows were KILLER. I know at least 20 people that would order one IMMEDIATELY.....Thanks for your time and take care.Peace,George (/);}
  • Default Avatar
    David Le
    7 years 9 months ago
    This is a problem the Dead
    This is a problem the Dead encounter a lot during cheap south pacific tickets their post “Touch of Grey” new start, so the band got creative cheap sesame street live elmos super heroes tickets Just ten days earlier than the tour was to begin.
  • marye
    8 years 7 months ago
    almost by definition
    spam comes from a template. believe me, it's not a bunch of medieval monks sitting there illuminating manuscripts by hand...it's a bunch of computers belching the stuff out at the rate of bazillions per second in hopes that some of it gets through. Apparently there are enough innocents in the world who click on the links that this is a cost-effective approach and it keeps happening. Sigh. Why they think we're so interested in prom dresses I cannot say however.