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I want one. Flamethrowers and hand grenades add a subtle touch.

When we start discussing the finer points and effectiveness of pest management techniques, it's time for a new release. Just saying. A nice stocking suffer for the holidaze? Baltimore '77 would be nice.

I decided to revisit June 76 today and last night. What great sound and a wonderful release. It does need some extra volume to fill the room, however.. you can't be timid with this one. The Travis Bean has such a clean, clear tone.. By the time he transitioned back to the Wolf, I really welcomed the extra reverb and sustain. Hopefully one of the gear heads out there can common on this, it must be the pickups?? Anyway, I am a big Wolf and Tiger fan, oh and add in Alligator. My three favorite Jerry guitars. Yes, I like the Gibson SG too, but it comes in #4 for me. Personal preference, I know.. it's all subjective.

Ok, done my bug, box and guitar rant. As you were.. We could talk about movies with bugs, Men in Black? #Lemieux-ChristmasReleasePlease

My Jimi in Maui is supposed to arrive tomorrow.

Garcia Live 15 ships next week, although I think that some people have already received their’s.

But yeah Dave, announce a new Box.

All sorts of dust removers out there - thanks for the advice. The one that also gets rid of monsters might be the one to go for.

The last Dead show for me was Egypt 9/16/78 - the dvd followed by the missing tracks on the cds. Features the Wolf in all its glory, and Jerry's playing is the highlight of the show. I haven't seen it for a while, and I enjoyed watching it. Its a bit laid back, though!

Just remember, the Live/Dead sessions were recorded with a Gibson SG...

To me, the amazing thing is what results when a great player uses different instruments. It's not just the electronic signal chain -- pick>strings>pickups>tone settings>output>amp>amp settings -- but how every guitar has a different neck radius, different materials, etc., and thus a different feel. That's as important to different eras of GD as setlist, timeframe, etc.

I actually have no idea what I'm talking about, but the coffee is strong this morning and I'm in need of social interaction after 8 months of isolation.

So, yeah, a hand grenade would be a handy diversion about now, though only applied to an empty field or certain politicians. I'll settle for a salt gun.....

The SG is in, I had to sleep on this one.

That is my favourite Jerry Garcia tone-the one recorded on Live Dead. It seemed quite a popular choice on the West Coast in the late 60s-incredible tones on the same instrument by Barry Melton, and especially John Cippolina..
The other ingredient in defining sound is the player, of course.
One of the interesting things about watching a post 1989 Stones show is how often Keith Richards changes guitar within one set. He typically plays various telecasters-some in open G with only 5 strings, to Gibson 335s, to Les Paul Juniors to strats. I think he's got about 500 at home.

Uncle Sammy is both humorous and right on about vacuuming being best, but I’m curious if you have a special device? I’ve only tried my household vac with the smallest attachment, which helps, but doesn't really do the job. That’s where I find using the air to blow out the hard to get stuff in conjunction with vacuuming is best, but I need to investigate some sort of small precision vacuum?

CONEKID: wonder what kind of range it has? I need something like that for prairie dogs, moles and field mice, not to be mistaken with Mayor Field!
I was looking into water guns but was disappointed by the inherent idiosyncrasies of most, and that the one that would of worked is no longer available except on the black market for too much...
I don’t want to kill em for various reasons, but I’ve read that if you make them not welcome they will retreat a bit which is all I’m looking for: “damn kids, get off my lawn!”
I need something quick; as the enemy is lightning fast!, versatile, most importantly accurate with enough range and power to get the job done but not so much I’m killing them? Currently I try and hose em but their so damn quick and smart that I don’t often get a good shot...“Remember, to kill the gofer you have to be the gofer!”

Sorry Dwight lol.
HF your both correct and not...
What you said is true, but I’d argue that an instrument pared with the right player can plug into any rig and do there thing! Conversely, much of the sound/tone that we dissect is due to the technology. Like can you imagine what JG would of sounded like on Live Dead plugging that SG into his 1990 rig? And to those that hate the midi etc, do you really think they wouldn’t have used the technology in 1969 if it was available? So it’s a complicated interesting thing.
I do like the biting sound of the SG in JGs hands, but it’s often too thin sounding to me via others use. That was another of his great qualities; getting awesome tone and finding ways to make what ever axe he was using sound better than the same one used by others.
My only problem with the Gibson’s etc, was they were out of tune too much. Just like some folks can’t take his vocals after “x” (critics can fill in their date) It’s hard for me to listen to out of tune guitars and vocals. Now I’m not talking the occasional instance, but when I notice enough instances during a particular show that it colors my recollections it. Unfortunately, this is why I dont dig 70-71 as much as most. Great set lists, ultimate creative period, amazing versatility (acoustic, pedal steel, and electric all in one night...foe git about it!) but sorry to be a bummer but a lot of that era is outta a tune! The vocals are more noticeable on 2 trac only, as multitrack allows later manipulation and blending; just listen to the awesome new Capital theater releases! I wonder if they’ve used a touch of auto tune to clean em up too?

Eventually, the advent of the electric tuner would help, but if instruments don’t stay in tune while your playing.....
This was one of the big reasons Bob and Phil started using Modulus Graphite instruments; The carbon fiber wasn’t as susceptible to extreme temperature shifts etc so they stayed in better tune.
So it’s a the ole yin yang again; you love the era but have trouble with the tuning etc, or you love the more professionalism, sound, and effects, (and yes I think they got way more professional as years went by) but you don’t dig the R&R Cocaine train energy etc....that’s our boys, never perfect, but always great! Lol
Speaking of the Bean, I believe it’s more the equipment that your referring too as the purpose of the Bean with its metal neck was to facilitate huge sustain (density of wood does so too, but not as much as metal!) Reverb wouldn’t be a characteristic of an instrument but a product of a reverb unit or setting on the Fender Twin Reverb and ultimately the room. Both kinds would be affected somewhat by recording techniques.
My understanding of the main reason he used the Beans was to supposedly have more reliability on the road. Not being fully customized you’d be able to carry replacement parts could be easily swapped out on the road, where as the Irwin would have to go to the shop. I don’t dig the Bean as much as I used to, but again, if you plugged it into later years it probably would not have the same issues...
All that being said, I like the Tiger best! I loved the Wolf, but the Strat has really grown on me over the years, again more because of the hands it was in than it being a Fender. Totally dig the Gibson’s for the more hard rock 60s psychedelic sound, and with the extra distortion you don’t notice when outta tune as much, but as I say it’s hit or miss for me later on, but that’s just me...
Didn’t dig his later years sound as much but that’s more a product of the tech involved than the instruments.
I thought contrary to the company line that when they stopped using actual speakers on stage and ran direct even with the speaker simulators it didn’t sound right. I understand totally why they did it, and it did help to address those concerns, but I think it lost some of the naturalism and that perfect R&R blend of clean and dirty etc, but agin, that’s just me....I thought they started getting too convoluted near the end and sounded too plastic? or clean and not enough like a R&R band. I know this is why Doc and others love 71 so much. That hard slightly dirty, not so techie R&R sound that became too clean for some. The sound of a bar band pushing the timeless simple set up of a good tube amp slightly overdriven! Like the sound that sucked me in: Johnny B Goode from Skullfuck! Tasty !
But my favorite everything GD wise will always be 89-90 because of the versatility to be able to get the whole sonic spectrum, but again, that’s just me...(Interestingly, JGs core infrastructure, unlike Phil and more so Bob, didn’t change that much after he started using the Twin/MC 2300/ JBL E120 set up, just the effects etc changed)
Ultimately, the truest form of greatness is the ability to plug into anything, and immediately be recognizable because of the signature uniqueness, tone and style!
JG of course, Hendrix, Page (usually), Clapton (usaully), Santana, Miles, hell even the edge and Slash. You can tell the great ones instantly!
Lol, ok, sorry, too much coffee and nothing to do here too!

Remember, close only counts in horseshoes and hand grenades.

Chiming in on Jer's ever changing stable of axes, the best playing I ever hear out of him is on Europe 72. The whole tour, with Bickershaw Festival being to me the all-time high water mark for both he and the band. That cream colored Strat originally gifted him by Graham Nash is my all time favourite Jerry sound. But it goes hand in hand with his playing; he was then at the very height of his powers.

Gibsons, to me, sound fuller and thicker than Fenders due to their humbucking pickups (sometimes P90's) which tend to be less trebly. The stock single coil bridge pickup on a Stratocaster will slice your head clean off. It's a nearly useless sound... got to at least get into one of the clucky positions between bridge and mid, or neck for a little more warmth. Unless of course you're playing surf guitar or country twang.

Gibsons also generally prefer heavier strings, .010's at least due to their shorter scale length, whereas your typical Strat-style is usually set up for .009's. This is the gauge of the thinnest, high E-string for the uninitiated. The heavier strings also stay in tune better, along with the hardtail or stop-tailpiece/bridge on a Gibson. Fenders tend to be harder to keep in tune particularly if one uses the original tremolo bar mechanism (just listen to Hendrix live). Unless your name is Jeff Beck or David Gilmour, and you are a tone magician of the highest order.

There are exceptions... Stevie Ray Vaughan played with very heavy strings on his Strats, got a fat tone and generally stayed in tune. Stretching your strings is also one of the most important things in keeping an axe in tune throughout the rigors of a live set.

Jerry began putting a lot more gizmos into his signal path as time went on and his skills diminished, as well. He began to hide his sloppiness and lazy playing behind a wall of distortion and effects throughout the later 1980s and especially into the 1990s. Hell, Brent even began taking solos that used to be the exclusive territory of one Jerome John Garcia.

I still love all the music, and I enjoy Jerry in his later years, but nothing tops the man on fire around E72 era for both tone and technique. I also like Bob backing him on on the ES335 before he went all trebly and transparent, a sound that he maintains to this day.

\m/

LD, I agree with much of your post Sir, but feel I must respectfully disagree and provide rebuttal about the slanderous over generalization about JGs diminishing skills, sloppiness, and laziness in the eighties.
I will fully agree that his personal issues and overindulgences could negatively impact his proficiency at times.
But I believe he, like most that play that much for that long, continued to grow in versatility, ability, and knowledge.
Yes the overall arrangements and cohesiveness of songs was affected due to lack of band rehearsal, they’ve all admitted to that, and yes this could be attributed to him, and yes he unarguably had occasions of terribleness, but even during his worst times he always had a guitar with him...name a era and his M.O. was always a tv, a guitar, a pack of smokes, and yes sometimes other more destructive things. But he always kept playing! His supposed only complaint about E72 was they didn’t play enough. He always played as much as possible, and when you did get the real deal I argue he was continually evolving.
As far as gizmos and distortions;
1) he always loved that sort of thing, there just was way less reliable stuff back then, and
2) they always played to the times!
Whether consciously or not, from sixties psychedelic, to early 70s “country” rock, disco, to yes, harder rock, they always tastefully reflected the times without selling out or over doing what was en Vogue. So I think his use of such was for these reasons rather than being “lazy and sloppy“.
Personally, I argue they OVERALL became a more professional, including lights and sound, band. There were times in the seventies when they'd tune before almost every song, for longer then the song, and still be outta tune. That didn't happen much later on. They’d tune less often and in less time.
Certainly everyone has preferences and is entitled to their opinions, I’ve just never liked generalizations, either pro or negative. No offense, for the sake of conversation just contesting that point.
Peace!

I wonder if Jerry changed guitars at all during individual sets? He doesn't seem to have done, although as I write this, I do have a distant memory of him changing to a strat for Space in one of the late period dvds - maybe in the View From the Vaults series.

I agree that Bob's guitar playing sounded much stronger when he was playing the Gibsons. Watching that Egypt show, one of the factors I am not so keen on is his sound. It looks as though he is playing an Ibanez. The sound is quite cheap and tinny. And if that wasnt bad enough, he also plays lot of slide on it.

Imagine what Jerry could have done with a guitar like the one pictured to the left of this message. Big River etc could have really shone.

Okay, a couple comments. Yes, Oroborous, the flip side of getting different sounds with different guitars is the way a player can sound like him or herself on different axes. True and good point.

Um, Keef has 500 effin' guitars?! Okay, that's just ONE TOO MANY.... 499? Okay. But 500?? That's just over the top! (Confession: I have three useful acoustics; my fav is a Martin D-35. I have five electrics and have been playing the '64 Gretsch 6120 hollowbody a lot lately, and the aforementioned SG in open D.)

Lastly, LedDed, I too -- if forced -- would pick Jer's Nash Strat on the Euro tour as my favorite sound, but you're right, one can't separate the Strat from the peak music and improvisation.

I do own an American SG and an American Strat and love playing both (if crudely). I'd say, the Fender needs more power to achieve its signature tone, while the SG kinda needs to be restrained. The SG was more expensive and I feel the components are of higher quality. To me, the SG stays in tune better. I can tune from standard to, say, open D, on the SG for some fingerpicking and the SG holds the tuning more accurately than the Strat.

Of course, Jer's choice of instrument -- as someone pointed out -- also must be evaluated/enjoyed in relation to the instrument choices of the rest of the band, particularly Bobby. And yes, I liked Bob's ES335 tone best in the Euro setting. Gawd, what a tour! Maybe time for another full show from that insane run. I still marvel that me and two pals took 2 1/2 years to work through that 22-show box. Some of those four-disc shows required sleep-overs, though I do recall a few moderately perilous drives home after a 3 1/2 hour Euro show.

Good stuff. What's next? Oh yeah, DaP 38 (big '73 show) and that 2021 fall '72 box! (I need to get out and socialize, obviously....).

It's all about the aim, Oroborous.. When used properly and with good aim, hand grenades will cause no harm to the vermin that annoy you and will usually convince them to relocate to a different part of the county. The same can be said about deft usage of a high quality, accurate flamethrower (which gets considerably harder when the mice make it indoors..) perhaps a topic for another day perhaps.

I knew you techies would have more to say on tone and style over the years. Interesting discussion, many thanks.

A little more on the modifications made on the Nash Strat over the years.. the first guitar Jerry began to heavily modify.

https://www.guitarworld.com/news/jerry-garcias-alligator-fender-strat-i….

When vermin control takes center stage.. yes, we need a new release.. (or at least word of what the new release is going to be)

If I recall correctly, the apogee of this syndrome occurred perhaps 5 years ago when the discussion veered toward whether to let the mashed potatoes touch the pork chops as one chowed down on dinner.

Blew my mind. Yet, I'm still undecided on that point....

Next up: the DaP 38 reveal, sometime in December, which starts Tuesday. I'm all ears. And looking forward to that flamethrower discussion... if we have weeks to go to word on DaP 38, I'm all flamethrower all the time.

Whatever that means.

Yaaasssss beerrryy interesting!
Just to be clear, I was only critiquing a certain statement, not what era someone considers best. I would never consider doing that. And forced to do so, I’d probably pick that tour as the pinnacle though I think they had several over the years.
I’m torn about his sound as those Alembic modified Tube only powered Twin Reverbs, slightly pushed into overdrive is pure, glorious, old school R&R at its finest. I can picture Doc drooling at the thought. But the same Twin with the pre out into the Mc2300 was a perfect paring with 3 or 4 JBL K then later E series speakers. I had this same set up BITD (unfortunately I couldn’t play for shit lol) you could get that shit loud and clean or just the right touch of distortion. Heavy ass rig to truck though, aaaaa the hubris of youth! Like who the fuck would do all that for bar gigs lol.
So I can’t pick a best JG sound, I like both a lot, but I agree that E72 was a top era for he and the band!

HF, I never liked or understood having to have so many axes on stage. I know Keef does a lot of weird tunings but still...that’s part of what I was saying was give JG damn near anything, and he still can get a good sound. Think of that video BTK showed us from the Sweetwater with Sammy Hagar et el. Or I saw some Latin music awards or show or something from probably the nineties? He has his guitar but plugs into like Los Lobos or ? but just a basic rig or something and he just rips! I never liked taking more than 1 axe, sometimes I’d have to take 2; one electric bass, one acoustic electric bass only cause the music needed it...

JIM; hhmmmmmmm the grenades definitely have potential, just not sure how the damn HOA would feel about it?
As much as I’d probably enjoy the flame thrower better, and it would be gentler on the old hearing than the explosives, I think we already get enough fire around these parts ; ) I can’t remember the name, but I researched the perfect water pistol; long, accurate range, with enough power to get their attention but not enough to kill em, with no leakage, something I guess that is a problem with many water guns.....but unfortunately it’s several hundred dollars for one on the black market....hey, just had a thought! Perhaps Bolo has access to some high end black ops gear? Aaaaa, of course then he’d probably have to kill us?

I’m still going with Kezar 73...probably lives near the top of many’s wish list, would probably fit right, and it’s a ABCD return...gotta say I’m down with a fall 72 box if/when we’re given the chance!

EDIT: mashed taters/pork chops?? Bummer, I missed out on that, that sounds like some Seinfeld shit!

You have an excellent memory HF. I do remember that conversation, it was hilarious. It's sort of got a religious spin to it, and I have never let my mashed potatoes touch my pork chops again.. why risk it, they could be right.

Hendrixfreak- but the 1964 6120 Gretsch would be the pick of the crop for me. Beautiful guitars - mine-I got a duo jet as well as the one pictured - sound superb. I am very ham fisted, but the response from the bass strings is amazing if I can put a run together using a thumb and finger pick. A fender champ and Memphis Sun Delay pedal completes the picture. I'm getting a quiff on just thinking about it.
The one I play most though is a steel bodied National tuned to Open G or D and played with a brass or glass bottleneck.

yesterday I stop to get gas while listening to 11/3/84

the pump stops at 19.84

I get in the car, and the clock reads 11:03

hmm...

You might well wonder what a poor boy like me is doing with a 1964 Gretsch 6120... if it was perfect, it'd be worth many thousands. Alas it is not, but the tone is so vintage and so cool that I ended up with the righteous end of a bargain. Here's the short story on how I came to possess it.

Co-worker sees me playing my acoustic on lunch break, as I picked up the guitar for the first time about a dozen years ago. She says her husband's brother passed away, left a closet of stuff, including a guitar. Could I find out what it is and what it's worth? Inside the original case sits this unplayable, heavily altered Gretsch. I look it up. Take it to a luthier. The original tuning pegs were swapped out. The original pickups replaced by Fender soapbars. The "kill" switch is disconnected. The scratch plate is missing. And the former owner had -- very carefully -- cut out the painted f-holes so that this beast had become a true hollow body. But the Bigsby tailpiece is intact and original. Neck in excellent shape. Not worth much in that state. Guesstimate of $1000 to make it playable but too expensive to fully restore and the f-holes could never be restored. Maybe worth $1000, as is.

I tell my co-worker the info I'd gleaned. I instinctively knew this guitar could sound killer, so I offered her $1000 and said I'd invest $1000 to make it playable. And that once it was playable, I'd treasure it til the end of my days. It was mine. I put in the $1000 and my luthier restored vintage/remake Gretsch pickups, ensured that tone and volume pots worked and reinstalled a new Gretsch pickguard. I traded the original case for most of that work. I didn't need or want a "collectible," I wanted that vintage tone!

Frankly, at first, it was a difficult guitar to play, as I'd just started developing technique. Over the past 10 years though, I've managed to get good enough to play rhythm, lead and fingerpick on that baby. The cut-out f-holes create a feedback hazard/opportunity. If one punches a boost pedal (I use a Tube Screamer) and/or add wah and turn the guitar and its open f-holes towards my Fender Hot Rod Deluxe tube amp, this thing starts to roar like a jet plane and that ... sound .... can be manipulated, of course. So this beast is fun and dangerous and a prized instrument to own and play.

I could care less what it might be "worth," because this Rube Goldberg-son-of-a-gun is as close as I'll ever get to a full-on Gretsch 6120. I've got the tone of a rare and otherwise unobtainable instrument.

Yeeeeeeeeeeehhhhhhhhhhhhiiiiiiiiiiiiiiiiiiiiiiiiiii!!!!!!!!!!!!!!!!!!!!!!!!!! If you catch my drift.

Taper's section has a few songs today from this unreleased show. I still have my hopes up for this to be let out of the vault someday.

Sounds like a humdinger ! Mine are Japanese reissues that I got second hand trading in other guitars. They sound tremendous-but they aren't easiest guitars to play either. Not for widdling at the 15th fret anyway. They do like to fight back. Even changing the strings is a work of art-I need both hands, a foot and my chin. Well worth the effort, though.

Lol

I think with the right writing we could turn this into a hit miniseries. We might have to clean up the language around the f-hole discussion.. or we could get the guys from South Park involved and just go with it.

Edit: Woody Harrelson as HendrixFreak? Vin Diesel??

.

You guys manage to turn "f-hole" into a Beavis and Butthead routine.

No wonder I love this forum...............................

You know, I may have to oil that Bigsby tailpiece to get some real, properly flanged vibrato.

Go ahead, gentlemen, I'm waiting.

what can I say...

heh heh...he said F holes...heh heh heh heh....

"Your mother showed me her f-hole last night, Trebek."

I suggested oiling the Bigsby tailpiece. Now, c'mon, I know y'all got some sick ass sh** up your sleeves, right next to those Ace of Spades.

Moving on to "Bigsby tailpiece," doin' my job here, settin' ya up.

Edit: And trust me, I'm way ready for any kinda Vault news. Otherwise, I'd wouldn't have said "OILING THE BIGSBY TAILPIECE." (Anyone???)

If the conversations continue to degrade, Rhino and Dead.net will have no choice but to reach deep in the vault and give us something in the R to PG13 range to talk about and get us out of the gutter to which us wharf rats seem to frequent.

They say they never read this.. but you know Dave checks in at least twice a day. All we have to do is keep this up and we are getting a little mini '68 show just to shut us up. Norman can crank one of these one disc wonders out over a long weekend. Solid strategy, full steam ahead. Anyone know any good fart jokes?

Actual Bob Dylan lyrics

Oiling my own Bigsby petard

Enumclaw Equestrian Appreciation Club (obscure but creeeeepy reference)

I'm done now. Promise.

Excellent show

All your f-hole talk brought in the spammers.
Seems that Tom likes it, he even commented “nice post”.
When you are getting accolades from a spammer you know you are doing good.

After subscribing since the beginning, Volume 36 is the first I've not received. UPS tracking shows it was handed over to USPS on October 28, and it has yet to show up. Emails to customer service have not been returned. Disappointing, and causing me to rethink the 2021 subscription.

but don’t you HAVE to oil the tailpiece in order to slide it in the f-hole, otherwise you’ll break it?
Hey, you asked ; )

And seeing how we've now officially reached rock bottom, thanks to my lack of class, I will cease and desist.

But, Oroborous, for the record, YOU ARE CORRECT, SIR!!

Drop a random CD issue of 8-21-68 on us, and I promise to go away forever. Or a facsimile thereof.

Arlo Guthrie Alice’s Restaurant.
I’m HF’s personal Rudy G, just point me in the right/wrong? direction!
WOOF!!

https://forums.stevehoffman.tv/threads/grateful-dead-daves-picks-2021-s…

Kind of thought Dave might go '78 as lots of bits from then were in the Taper's section lately. Full disclosure; check my user name. Could not be happier! Bought the subscription on day one.

...for what it's worth, aside from dead.net, I have noticed a whole lot of USPS shenanigans lately, by lately I mean post election. There is something foul going on with the US Postal Service right now..

In the last week I have gotten a final notice sticker pasted in my mail box when I was actively home waiting for the mail.. and they sent it back without delivering. I was literally six inches from my front door the entire day. My wife had a package she sent to Boston float around the system for a month and come back, no delivery attempt was ever made. ..and I had one that was never delivered but I saw it snagging up in tracking, went to my local post office, they had it and were ready to send it back claiming they had tried to deliver it. No delivery attempt was made, just a sticker in the box on another day where there were multiple people in the house home all day. There were not items you have to sign for, they typically leave packages on the porch.

In all my years I have only had one problem with USPS.. 35 years ago.

methinks the guy running the show is completely incompetent and US mail is a complete mess at the moment. Crippling blows to an institution we all use and need.

Bill and Mary, April 15, 78, was my first Dead show. Drove down in a bus to never ever land from Long Island with my Deadhead buddies, class of 79, very intrepid experience for sure. Great venue, great scene, but I've always gone back and forth about the quality of the show. I like it, don't get me wrong, but more for the crazy experience than the music. But yes, the Morning Dew was great. Also, Garcia was banging on a steel drum during the drum break, and I loved that. Lastly, the opening lyrics from Playing in the Band were muffled because Bob's mic or something needed to be switched on, and then in the second set of lyrics we could hear him and we all cheered, as if to say, oh good, someone at the soundboard was alert!

My Jimi in Maui was supposed to be delivered last Saturday.....
Apparently it got lost at a distribution center in Kentucky on 11/28.
They claim it’s still coming, they just aren’t quite sure exactly where it is at this moment.

I understand that shipping volumes have increased substantially during the pandemic, and it’s only going to get worse over the next few weeks.
So, since I don’t really need anything at this time, I probably won’t order anything online until January.

Doesn’t make sense why they didn’t even attempt to deliver Jim’s packages. Sounds a lot like what Oroborous went through. Probably also explains why some people have yet to receive their DaP 36’s.

Nice to see that 4/15/78 is gonna be the next Dave’s Picks. This show has the only Morning Dew from ‘78, and it’s really good. Spring ‘78 is a great tour. Also, they sent an email with the artwork for it. Looks great!

My brother informs me , that there is a record in the guys record collection by the 13th Floor Elevators called Easter Everywhere. nice artwork.

Easter Everywhere is the best 13th Floor Elevators LP!

Imma listen to that today

a few minutes later...

"Slip inside this house as you pass by"

Looking at the artwork, I don't see Easter Everywhere

but no matter

It's in the kids record box, look closely.

... in that kid's record collection. That looks like the cover the Elevators' first album, which was just called "The Psychedelic Sounds of the 13th Floor Elevators." You can see the red paisley eyeball of the that record's cover, kind of just barely. "Easter Everywhere," their second album, had kind of brown cover with a yellow sun on it.

That kid must've been a hipster, because hardly nobody knew about the Elevators in '78. Since then, the band (and singer Roky Erickson) have been the subject of several documentaries, and the records have all been reissued. The Elevators' one semi-hit, "You're Gonna Miss Me" had a prominent place in the semi-hit move "High Fidelity," which came out, I dunno, in the 90s? But in '78, a copy of "Psychedelic Sounds" would've been hard to find.

FWIW, I've always found the Elevators to be a little over-rated. A lot depends on whether you can dig Roky's vocal style, which is somewhere between Janis Joplin and a weasel in a blender. I find it a little too grating for anything other than the occasional micro dose. And then there's the jug: Tommy Hall, the band's lyricist and self-styled psychedelic prophet, can be heard on ALL their records making sounds that vaguely resemble a chipmunk at the bottom of a well. Might've been cool as an effect on one song, but come on, guys, not every song.

The Elevators deserve credit as psychedelic pioneers, for sure, and they sure had some balls to be doing their own mini Acid Tests down in Texas in '65. But if you want to listen to some classic garage psych rock, the Dead's debut album blows anything they did into the weeds.

Thank you Dave for the incredible shows - keep 'em coming - quick question - is there a reason none of the shows from Fall '73 the infamous horn shows have never seen release? it seems like those shows are terribly underrated. I was wondering after all these years why one night has never made it to a release? just curious and thanks for the music...

yes that jug...after a while it's like a fly or mosquito. But I have never listened to them psychedelically, if you know what I mean. Just green.

and his voice...like the GD, I don't listen for the vocals. The lyrics, yes, but not the quality of singing.

anyway...

currently listening to U2 Achtung Baby. 85% of a great album, in my opinion. (That title...kinda lame. When I lived in Germany for a while as a kid, my family had a phrase to watch out for doggie doo-doo: "achtung!" lol)

earlier today was EE, and then Daves 1/2/70 bonus disc