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But with a subscription comes the chance of a Brent release.Just saying..... Don’t worry, you will be able to sell any Bent release you get.

Can see why you may not have warmed up to this show, Space. Didn't catch my ear at first either. But it's actually become one of my faves. Especially love the pseudo "Staying Alive" riff in the telegraph before and during "Me and My Uncle". And the "Scarlet/Fire" is smoking, one of my top fives. Billy and Mickey do seem to be off on their own respective trips during "Brown Eyed Women" though, something that still pulls me out of the song for a moment or two. That aside, it's become a repeat listen. Dig 4/22/78 too.

?But that question mark in the title is goofy.

Yep. Noticed that too.

The "new" Neil Young, Tonight's the Night Live, at the Roxy just arrived. It's certifiably garage-sloppy in Neil's inimitable way, and perfect. I can imagine most folks here enjoying it quite a lot. It just came out, I believe today or yesterday.

....my son came to me tonight and asked me if I've heard of Johnny Cash. Needless to say, The Man In Black is in the house tonight........multi posting on a few boards with this big news. At least for me. Font change. I don't like it. Hard to teach an old dog new tricks. MaryE!!!!

....And I woke up high over AlbuquerqueOn a jet to the promised land.

One of the albums I picked up at RSD. Looking forward to it Massey Hall is another keeper.

I've got an unopened copy of Hampton '79 vinyl from RSD 2014. 2 disk Rhino release, mastered by Jeffrey Norman. PM me if interested.

I never get any kind of notice that my Dave's Picks order has been shipped. It just shows up in my mail box. Am I not looking in the right place? Mr. Pete-----------> aging hippie

I have gotten a few, but mostly the CDs just show up unannounced. Perhaps it's better that way. It could be because my email address ends in .net instead of .com? But I am speculating.... Anyway.. excited about this one. Substantial upgrades to what circulates essentially means new music, an historical find. Sort of like finding a cache of lost Nazi gold or something.

Yes, the Scarlet Fire from 4/24/78 is among the best of 1978 (DP 18 & Closing of Winterland also up there). Even if Bobby accidentally scheduled one of his slide lessons during the show. But the song that caused me to buy my first inflated price CD set off of eBay was The Music Never Stopped. I read a Stellar review about this version, and sure enough there is an instrumental Passage from around 3:45 - 5:15 that is sedate and mesmerizing. Keith holds down a little piano rhythm, Bobby holds down a little guitar rhythm, Phil anchors it down on the base, and Jerry just picks away like magic - so smooth, so relaxing, just nitrous...er..rightous. They only come close to this short of perfection during this Jam between late 77 and into 1978. During the famed spring tour 77, they simply hadn't developed this part; it was 20 seconds at most. Road trips 77 comes close, and Dick's Picks 18 also comes close. But it's the real deal when we get Back To Normal. With all the releases we have now, it's saying something to have a song that flirts with BOAT. I'm also not aware of a better 1978 Terrapin Station. The pair on the July set sound kind of sloppy to me. And how about that werewolves sitting at Trader Vic's? His hair was perfect! So yeah, this was my first Daves picks, and the release that made me realize that if I was going to find the boat for every song, I was going to have to take the full Plunge into the world of the completist. There's almost no turning back from that sick obsession, but it can be done, maybe tomorrow.

...also noticed some changes in the font around here....last time I recall some cosmetic changes on this site it was a precursor to a big release (the May '77 trifecta if memory serves). Who knows, could just be a "cosmetic" update. Shipping notice also received - the past few times the correct sequence has actually been observed: Order -> Wait -> Email Heads up of shipping - > received at door via passenger pigeon. Eventually they'd get it just exactly perfect...then again, it could just be me. First taste of True Spring the past few days - got up almost to 70 yesterday. 'Bout time. Sixtus

Opened my door to take the dog out and there was a box there.Said box contained 11-10-67 Shrine. Looking forward to spinning that tonight.

Thanks, that blew a hole in my morning! Very nice,,, ended up watching about 3 of those "change the world" vids.

4/25/77. So glad this show was on 30 Trips box! Keith's playing is exceptional on this one. Seems like he's almost competing with Jerry on the Minglewood opener! Terrapin is very concise and vibrant. Highly recommend this one folks!!! Peace!

I jumped into the inflated price pool and purchased Dave's 7 for the same reason, KeithFan. One of the few instances I've justified paying double (at the time) for a release I missed out on. Glad I did though. "The Music Never Stops" wows me each time. The Dick's 18 "Scarlet/Fire" is also one of my top fives. And the "Brown Eyed Women" and "The Other One" from that pick are both gems too. Helped me appreciate '78 a lot more than I previously did.

So far those four are the high water marks of the year for me. DP18 is up there too.. perhaps because I have had it so long and it came out so many years ago. Certain songs are just burned into my memory and every time I hear them it transports me to a different time and place. As for 4/22 and 4/24.. the performances of both are extremely good and the recordings / Normanization are excellent. Perhaps they should have done a little Spring 78 mini box, but they are not the same as those listed above. '77 rightly gets all the praise for the period, but '78 has grown on me since all these new Betty Boards started getting released.. '77 to a great extent was a known entity and already well explored. It proves there are still some surprises to behold and new experiences to embrace. ..which reminds me, don't we have a sonic upgrade of epic proportion arriving soon at a mailbox near you? Betty Board upgrades, more fun than finding lost Nazi gold.

Love that Scarlet Fire!! Also check out RPI 5/7/78, my old cassette started with the Music Never Stopped and had the rest of Set II..awesome Iko out of Drums... Speaking of Gainseville did anyone watch the Simpsons on Sunday!!! bob t

From Egypt with Love-Road Trips Volume 1. Number 4. Its a compilation, primarily focussing on 21st and 22nd October 1978, and its got another great Other One from 21st. Amongst much other great music. On the bonus disc, its got more from these two nights, plus If I Had The World To Give and Around and Around from 17th. Pity they didn't include that bit where a girl from the audience asks Jerry if he still gives banjo lessons, and he politely explains he doesn't teach anymore, which was clearly audible on the tape just before If I Had The World To Give. Trivial, but I liked it.

Jimbo - you have made many / multi-references to Nazi Gold as of recent. Reminds me of Indiana Jones and his never ending quest for riches. Sort of parallels our collective never ending quest for Vault-Riches. Indy is one of my Heroes of All Time. Sixtus P.S. DP 18 BLEW MY SOCKS OFF the first time I heard it. I can still remember where I was when that TMNS goes off the rails in the jammy 2 part section at the end. It's THAT good. Still holds a top spot for me in that one. The Scarlet > fire as aforementioned is pretty sick too. The whole thing just rocks it. Carry On.

Just wanted to add Jimbo and Skull Trip and others into DP 18 - Jerry's solo on Bertha is fantastic. Howl of the Wolf. The guitar sings through the whole 3 disc set, but man, he really cooks on Bertha. The Wheel is also unbelievably good, and without hesitation, my favorite. Jerry's noodling around the beginning 90 seconds or so is pure bliss. wharfratwhitney - check out Peggy-O on that 4/25/77. Bobby's supporting licks come through loud as a bell, like I've never noticed him. Phil too. And the audio quality on the whole show might be the best from '77. For whatever reason, it's just loud and clear.

Sounds awesome!!! Limited to 6700 copies, can’t believe it has not sold out, but glad it didn’t or I wouldn’t have been able to get a copy. This vinyl rabbit hole has a hold of me now. Ordered Rush Exit Stage Left (200g) and Who Live At Leeds.

I think we tossed this beach ball around before, but agree wholeheartedly with KeithFan on the 4/25/77 recording quality. Crisp, clear, warm, and full. One of the best. Hard to throw stones at anything on Dick's 18, but Jerry's "Bertha" solo does fire on all cylinders. Sets the tone for everything that follows. 1/22/78 has become a fast favorite too since it showed up in the mailbox.

I'm a huge Rush fan, if the 2112 in my name didn't tip you off :D Do you know if they Remixed the tapes for the vinyl release of Exit...Stage Left? If ever there was a Rush album in need of a remix, it's this one. Very flat, and Alex is way too low. I had purchased the CD remaster years ago, but alas, it was more or less a volume tweak.

The Rush webpage offers no info but the description on Amazon says remastered on 200g vinyl at Abbey Road Studios. I also wanted All The Worlds A Stage but the 200g vinyl on Amazon is only for Prime Members which seems stupid. I’ll buy it elsewhere.

...your welcome. I’m a member of the org. A beautiful group of people all acting as one, love! :) ....I still can’t believe the shrine vinyl didn’t sell out as well. This record, from start to finish, art wise/sound/ect. Is A+++++ Grab one , you won’t regret it! ;)

Been a while since I heard DP 18, but I have recently listened to the Charlie Miller remaster of 2/3/78 and it might even sound better than the official release. Considering DP 18 is out of print, check out the archive. Maybe the best all time Music Never Stopped...

Been a while since I heard DP 18, but I have recently listened to the Charlie Miller remaster of 2/3/78 and it might even sound better than the official release. Considering DP 18 is out of print, check out the archive. Maybe the best all time Music Never Stopped...

I was shopping around a few weeks ago, and saw they have Signals available in 5.1 Surround mix, but only as part of the "Sector 3" box set (which also includes Signals regular, Grace Under Pressure, Power Windows, Hold Your Fire, and A Show Of Hands). Would love to get my hands on the Signals Surround mix, but I already have those other albums, so...no go. Wish they'd release them all in 5.1 a la carte. Steve Wilson did the remixing, and I'm impressed with his work on the early Yes records. Tales From Topographic Oceans never sounded so good. But what Rush really needs to do now, is start releasing shows from their archive. Let's have a show from the Moving Pictures Tour in its entirety. The 2112 anniversary edition in 5.1 Surround sound also had some bonus tracks, which included the opening of one of the shows off the Moving Pictures tour: Overture (Northland Coliseum, Edmonton, AB – June 25, 1981) The Temples of Syrinx (Northland Coliseum, Edmonton, AB – June 25, 1981) 80sFan - I'm intrigued by your comment about the Charlie Miller copy sounding better than the release. Must check it out....

sorry to bother people but does anyone have a SBD "scarlet Begonias" track for 7/2/95 Deer Creek? my copy is missing it.

o3 o3 92 omni from neil pearts book traveling music "In 1990, Mickey had co-written a book (with Jay Stevens) on the history of drums and rhythm, artfully interwoven with his own autobiography and some of the Grateful Dead’s history, called ‘Drumming at the Edge of Magic.’ When [Peart's daughter] Selena was looking for a topic for a junior high science project, I suggested something I had learned about from the book, the “Theory of Entrainment.” The theory held that any two mechanisms, including humans, tended to synchronize their rhythms, to “prefer” them, as compared to beating against each other. Thus two analog clocks placed in proximity would eventually begin to tick in sync with each other, neighboring heart cells tended to pulse together, women living together often synchronized their menstrual cycles. And thus, thought Mickey, he and the other Grateful Dead drummer, Bill Kreutzmann, should (and did) link their arms before a concert, to try to synchronize their biorhythms with the Theory of Entrainment. Selena put two old-fashioned alarm clocks, with keys and springs and bells, beside two digital bedside clocks, and made a poster to describe the principle. I think she got a good mark. "For my part, I was so impressed with the scholarship and artistry in the book that I wrote Mickey a letter of appreciation, and we began to correspond. "Later that year, in 1992 it happened that both our bands were playing at the Omni Arena in Atlanta on successive nights, the Dead one night and Rush the next, and Mickey and I invited each other to our shows. On our off night I went to see the Dead play, accompanied by our tour manager, Liam, and what an experience THAT turned out to be. "Liam and I arrived just as the show was starting, and gave our names at the backstage door. One of their production crew gave us our guest passes and escorted us to our seats – right behind the two drum risers, in the middle of the stage! Liam and I looked at each other with raised eyebrows as we sat down, and noticed that right behind us was the production office, with telephones, fax machines, and long-haired, bearded staff dealing with communications and logistics (presumably, though the production office is normally a room backstage, where such work can on APART from the concert), and we also heard there was a telephone line run through the crowd to the front-of-house mixing platform. Catering people walked across the oriental rugs that covered the stage, delivering salads and drinks to various musicians and technicians, even during songs, and meanwhile, the band played on. Lights swept the arena, reflecting off white, amorphous “sails” suspended above the stage, and clouds of marijuana smoke drifted through the beams and assailed our nostrils with pungent, spicy aroma. "My familiarity with the Grateful Dead’s music began with their first album, back in ’67, when my first band used to play several of their songs, “Morning Dew,” “New New Minglewood Blues,” and “Good Morning, Little Schoolgirl. "And they played and sang really well, too, augmented by the soulful keyboards and accordion of Bruce Hornsby. The drummers, Mickey and Bill, became an interlocking, mutually complementary rhythmic unit, right out of the Theory of Entrainment. "Liam and I couldn’t see much of the “front line” guys, the guitarists and vocalists, because of the wall of amplifiers, but occasionally, on the stage-left side, the spotlights caught an unmistakable bush of gray hair that could only have been the legendary Jerry Garcia. "During intermission, Mickey invited Liam and me to his dressing room in the familiar backstage corridors of the Omni (each band member had a separate room, which hinted at certain “divisions” among them; after Jerry Garcia’s tragic death, I read a story asserting that he hadn’t enjoyed touring very much, and when the others wanted to go on the road again, he responded, “What, they need MORE money?”). Mickey was a friendly, outgoing man, with an engaging smile and an intense, joyful enthusiasm for percussion. With all my African travels and interest in African percussion music, and Mickey’s musical explorations in print and on records, we shared a few things we knew and cared about, and had a good conversation until they were called to the stage to begin their second set. "Liam and I returned to our center-stage reserved seats, and I noticed that not only did the band members have separate dressing rooms, but the wings of the stage were lined with small tents of black cloth, one for each of the musicians to retire to during the songs on which they didn’t play, and have some privacy. During an acoustic number in the second part of the show, Mickey disappeared into his little tent, then motioned for me to join him. We talked for a few minutes about drums and drumming, and I told him how much I was enjoying their performance, then he went back up to the riser and started playing again. "Next night, the positions were reversed. That tour ('Roll The Bones'), we had a metal gridwork runway (dubbed the “chicken run” by the crew) about four feet high, running across the width of our stage behind my drum riser, where Geddy and Alex could wander while they played. During the show, I looked back and saw Mickey, under the chicken run, smiling out between its black curtains. He was just as close to me as I had been to him, and he seemed to be enjoying himself."

shirdeep. Thanks for sharing. Great story. I've never heard or read anything Rush/Dead related...

Ahhh, Terrapin... Deer Creek is a sensitive subject for me. My last show, and I knew it, walking out of the venue, that the scene had crashed and Jerry was gone. That being said, there is a crappy sounding monitor mix up on archive.org -https://archive.org/details/gd1995-07-02.monitor-sbd.unknown.74201.sbeo… its dubious sound quality, I find this recording really interesting, because you can hear the band members talking to each other, without being heard by the audience. During Desolation Row, you hear the crowd roaring and Phil (I think) saying "Check out the back wall," as the gate-crashing idiots stormed the venue. This was the beginning of the end of the Dead, unravelling in real time on the recording. Phil handled the situation with grace and humor. Coming out of space, Jerry pretty much falls asleep, and Phil casts the understatement of the evening, "shall we move on to something else?" only to segue into a cringeworthy Attics. During the show, I remember hearing the first notes of Scarlet and getting excited, only to see Jerry mangle the words and chords, while dicking around with his new Digitech whammy pitch bend pedal with little success. By the end of Fire, I was practically in tears with disappointment, but even more disturbed with Jerry's state of being. Yeah, I know, there was a death threat before the show, but that ain't an excuse to double up on the Persian. I've listened to recordings of this show a few times and it's always bittersweet for me. Good luck getting a real soundboard! It's an important recording in Dead history, but imho, for all the wrong reasons.

ever listen to an album for the first time in yyeeaarrss? Fleetwood Mac "Tusk" had the vinyl as a pre-GD teenager (sheetmon, still lived in Wisconsin) traded it in a couple years later after moving to California and discovering punk rock saw a flash about FM touring again decided to listen it's been decades, I tell ya.

https://youtu.be/MHo1fNnXFVU ;)

....dude. I've been listening to Tusk over the past couple of days for the first time in a couple decades as well. That is weird stolzfus. Dead minds think alike.

for the FM tour synchronicity

:)))

Just saying

...sorry for disappointing you. I’m on the opposite opionon, I think it’s quit moving... :)

Manners.. That song means a lot to a whole lot of people. "As the story goes, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform 'Ripple' at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. Ripple hadn’t been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City’s Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the Ripple bust out begins." I think Phil says something like "Goosebumps" when they play it on the documentary "Anthem to Beauty." "Hunter's Holy Grail" or something.. It's a classic tune. Be nice, grab a Scooby snack.. it's not Captain and Tennile or Donnie and Marie or anything.

I was fortunate enough to find the missing track at midnight café which is a close call cuz they have very little as well as my missing Picasso Moon to 6/25/95. and the last board I needed for 7/6/95. hopefully more SBDs will surface to trading. as far as the gate crashing shit. I was not into the band period in grade school and was too young to be let go to a grateful dead concert alone anyways. being from Indiana though I'm am terribly embarrassed that lame shit had to happen at our venue. I just don't know what the thought process in that was. hopefully grew the fuck up and if they didn't well I hope they didn't breed.

Your order is on the way etc etc expected delivery time is for April 26th between 10am-2pm. PLAY '71 Dead DeadLand

people bring up the heroin quite a bit when talking about '95. but I feel like jerry's diabetes probly played more of a part in the downward slide of his playing cuz diabetes can cause severe pain/numbness in one's extremities.

I got my shipping notice too.. they seem to be getting better about this (or perhaps they are just responding to my comments further down in this thread). The Neil Peart comments on Mickey Hart are interesting.. nice score, ShirD. I have a high opinion of both drummers, so it's fun to read.. but they are so different. I'm surprised to read such a deep observation, analysis, friendship and in sharp contrast to the shitty comments on PigPen by Ray Manzarek that came up within the last week.. this is a breath of fresh air. I've been thinking about the PigPen comments a bit.. Back when the GD played with the doors, what are odds that they were tripping that night? Pretty high.. so do you want some other band unplugging your stuff and plugging it back in knowing you waited to dose until after soundcheck? And poor Pig.. can you imagine the wrath he would get from the roadies if he gave someone permission to muck with the sound and something went wrong? I just think there is another side to this story that might better explain why Ray wasn't going to walk up and start playin on Pigs Vox that night. Anyway.. thanks for the uplifting story on two great drummers not letting ego get in the way.. two great bands too.

pigpen told manzarek nobody touches my organ but me

https://youtu.be/_CkWCnyeYUMZING!!....

I'm pretty sure Ray just overheard Pigpen working out the nights Lovelight Rap. Actually.. what Pigpen said was "Pigpen refused: “Nobody uses the Grateful Dead’s equipment.” Which is markedly different than nobody uses my organ. Sounds like the company line to me, and seems reasonable in the chance that everyone except Pigpen might have been tripping. I really don't think this is personal, it's more likely there was something else there just under the surface. [McNally's book also covers it, p.191.] Manzarek's account is considerably embellished and not entirely believable (hostile to the Dead, he exaggerates their "wall of amplifiers" and army of roadies and describes two drummers, none of which was the case at the time, and he may misrepresent Pigpen as well). There's some detail on this down the page on the following post: http://deadessays.blogspot.com/2016/02/the-vox-and-hammond-1967-1969.ht… VGuy.. nice score indeed.. We are in need of some help.. David D. must be on vacation or something. Hope all is well.