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    What's Inside:
    •144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
    •A portfolio with three art prints by Jessica Dessner
    • Replica ticket stubs and backstage passes for all eight shows
    •8 complete shows on 23 discs
          •3/14/90 Capital Centre, Landover, MD
          •3/18/90 Civic Center, Hartford, CT
          •3/21/90 Copps Coliseum, Hamilton, Ontario
          •3/25/90 Knickerbocker Arena, Albany, NY
          •3/28/90 Nassau Coliseum, Uniondale, NY
          •3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
          •4/1/90 The Omni, Atlanta, GA
          •4/3/90 The Omni, Atlanta, GA
    Recorded by long-time Grateful Dead audio engineer John Cutler
    Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
    Mastered to HDCD specs by David Glasser
    Original Art by Jessica Dessner
    Individually Numbered, Limited Edition of 9,000

    Announcing Spring 1990 (The Other One)

    "If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether

    Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.

    With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”

    For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.

    Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...

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  • wjonjd
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    One Man - Peaks
    Not really, no. When dynamic range compression is applied, not only do they reduce the difference between the loudest and softest amplitudes, they also then have room to increase the amplitude over the entire range, so that at a given volume setting on your volume knob the volume of the music is louder than it would have been - the loudest sound is louder, the softest sound is louder, and the average sound is louder, than it would have been compared to the same signals prior to dynamic compression and raising the amplitude. This is why dynamic range compression is important in the "loudness wars" in commercial releases for radio. They compress the range, and then have room to make the whole range louder without going over peak and clipping. When you look at the visual representation of the sound from the HD file compared to the 16-bit file, the HD file is "smaller" from top to bottom - it is not as loud, but if you were to analyze it, you would find that the DIFFERENCE between the highest peaks and smallest peaks are, relative to each other, greater. So, while the -10db peak of the CD is louder than the -15db peak of the HD file, it is the CD that has had dynamic range compression applied so that they can then raise the amplitude of the entire signal by some percentage, making the peak volume of the CD louder than the peak volume of the HD file (and the average, and the softest sound as well). When the dynamic range compression is applied the DIFFERENCES between the amplitudes of loud and soft are made smaller - the percentage change is not the same across the spectrum of amplitudes, as the "average" amplitude will not have a change applied (that's a simplification, not exact, and also I'm not sure if it would be the mean or the median or some other midway point that remains unchanged). When they subsequently make the entire signal louder, the amplitude increase is percentage-wise the same across the board. THAT transformation DOES raise the average amplitude. Does that make sense? Obviously, none of this is inherent to either 16-bit or HD 24-bit. It could be applied to either. For some reason they apply it to the 16-bit file, probably because a lot of people don't like it when a CD seems like the volume is too low compared to other CD's they have. In other words, I expect they have to cater to consumer expectations.
  • One Man
    Joined:
    Peaks
    Isn't a peak of -15 dB lower than -10 dB? Doesn't that suggest the HD file is more compressed than the CD? Actually, they probably both have some amount of light compression on them because that's just how it's typically done in the world. It's bizarre that one would be that different from the other. You can hear as little as 1 dB, maybe even less. The first S90 box had lots of audible compression, at least on the individual tracks. It sounds way too smooth to be au naturel, even if the mix of the various signal levels is not always great.
  • TN Dead
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    pono is a player
    Is it possible that a pono player has better components than another portable playback device ? It was designed with this in mind.Same files, different players, different playback results.
  • wjonjd
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    FourWinds - my apologies
    I did a comparison of the CD version of Wake Up To Find Out (actually the one from the full box) and the 24/192 download. I used the first 15 seconds of Estimated Prophet (the software I'm using only lets you start at the beginning, and I didn't take the time to lop off an equal amount from the beginning of both files in order to get to the middle of the file). I chose Estimated Prophet because it begins right away having been transitioned into from the Eyes. The results: The average levels (left/right) on the CD are -17.42db/-16.19db the average levels on the HD file are -17.96db/-16.72 the peak level on the CD is -10db the peak level on the HD file is -15db The Stereo Balance on the CD is -2.14db (diff between L and R) The Stereo Balance on the HD file is -2.43db And the peak frequency on the CD is 14,685Hz the peak frequency on the HD file is 14,109Hz (that's a surprise) So, it appears that they HAVE INDEED applied some dynamic range compression to the CD version, although not a lot. I have NO IDEA why they wouldn't just convert the 24/192 file to 16/44.1 using noise-shaped dithering. The resulting files would be VIRTUALLY INDISTINGUISHABLE from each other. This still says nothing about the inherent equivalency to the human ears of 16/44.1 versus 24/192, but THAT'S IF THEY'RE FROM THE SAME SOURCE. My humble apologies FourWinds as you are indeed correct that they created a master for the 16-bit file that has had some amount of dynamic range compression applied to it. WHY???? Who knows. There is NO (good) reason to do this!!! The 24/192 is not better because it 24/192. It's better because they didn't apply dynamic range compression to master used for it. However, FourWinds, in your original post you wished they would just release the HD 24/192 file already!! WHY NOT wish that they convert the 24/192 to 16/44.1 and LEAVE IT ALONE to create the CD and 16/44.1 files?? That would serve the SAME purpose. And here are the file sizes for that one file: CD: 153,035kb HD: 998,784kb And, they have the same POTENTIAL for audio fidelity. Why not just wish for 16/44.1 files/CD's made directly from the 24/192's? Wouldn't that make far more sense. In any case, you were right - they're not the same. I have no idea why they chose to do this. One Man - Yes, for driving in my car (where I do a LOT of listening) files with more dynamic range compression make it much easier to hear all the music. You don't have to keep turning the volume up and down - up because you can hardly hear it and then BAM you get hit with the LOUD so you have to turn it down again. It is true that the range compression can pretty much fix that problem. Since we would never get two versions of everything with one purchase, my preference would be to get CD's/files that have NO dynamic range compression applied, and then I could apply my to create a set of files for travel (car/plane/walking, etc.)
  • dantian
    Joined:
    Got to hand it to you, wjonjd
    You have a lot of patience ;)
  • One Man
    Joined:
    E72 Box
    I'm not sure what is fatiguing anyone's ears, but I hear some kind of pervasive audio distortion in about the first half of the E72 box mixes. It clears up on one of the Paris shows. I have no idea what caused it, but it is obvious to me and I'm sure the mix engineer noticed it eventually but no one bothered to go back and fix those first mixes. It could be inherent in just those first tapes (very doubtful), some kind of A-D transfer issue (can't imagine what), something to do with the Plangent Process (again, no idea), or something else. It still bugs me that these mixes were so rushed. Thank the gods they did not do the same with the '72 Veneta show or the new Spring 90 box. Also, let's not confuse file (data) compression with dynamic range compression. Dynamic range can be severely squashed on ANY recording format if the engineer chooses to do that. The GD archival releases are generally lightly compressed compared to many commercial releases, and I'm sure that is intentional. I actually wish they had a touch more dynamic compression on them sometimes, just to make them sound less jumpy.
  • wjonjd
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    down mix process
    There is no dynamic compression required when converting from 24-bit to 16-bit, and there is no reason to believe they just CHOSE to use any dynamic compression on the 16-bit file, but not on the 24-bit file. Your comment makes it clear (unless I'm mistaken, which I could be) that you believed that 16-bit is INHERENTLY more compressed than 24-bit, which is simply not the case in any way. Unless you have some reason to believe they just chose to compress the range of softest to loudest sounds on the 16-bit file and not on the 24-bit, I'd be interested to hear it. I think that's more than very very highly unlikely. Again, if you are experiencing ear fatigue from the 16-bit files, you have zero chance of improving that by buying the more expensive 24-bit ones except by placebo effect, unless they chose to reduce the dynamic range on the 16-bit files and not the 24-bit files for some reason. What possible reason do you have to suspect they would even consider going through the trouble of instituting dynamic range compression on the 16-bit files (CD's). They were NEVER going to be destined for mainstream radio play, and even if they were I don't believe Jeffrey Norman and his team do that even for releases that ARE destined for radio play. Of course, there is an easy way to answer this. Simply send DL an email to ask Jeffrey Norman (if you can't email Jeffrey Norman directly) if they compressed the dynamic range for the 16-bit release and CD's and not for the 24/192 (or 24/96) on any of their other archival releases where they have made hi-def available. I wouldn't promise my first-born, but I'd bet a lot that the answer will be no. In which case, as the links I posted point out pretty well, you will hear no difference between the two versions, nor experience a different level of ear fatigue or emotional connection - at least not due to the sound coming out of your loudspeakers. EDIT - I decided to purchase the Wake Up To Find Out hi def (24/192) download. I will rip from my CD version direct to 16-bit wav and compare them using a software audio package and should be able to easily tell if dynamic compression was used on one and not the other. I will let you know. I see no reason why they would treat the E72 release differently than the Wake Up To Find Out release as far as whether they chose to modify the dynamic range for the CD's. They both came from multi-track tape masters. Even if they didn't spend the time on the E72 releases that they did on the Wake Up To Find out release, I would still bet they treated the CD's the same in terms of how they transferred the original 24-bit files they mixed/mastered with to the 16-bit files they used to create the CD's. I will report back with the results.
  • fourwindsblow
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    Compression
    If dynamic compression was used in the down mix process no further compression is needed.
  • wjonjd
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    Grammy Nomination
    Yes, Congratulations to all involved. I also believe this box deserves the grammy nod - I believe it surpasses the music in the first box, and the package itself is simply exquisite (as was the first box).
  • SPACEBROTHER
    Joined:
    Grammy Nomination
    It's only fitting that a Brent era release got a Grammy nod. Congrats Bob, Phil, Mickey, Bill, Dave, Mark, Mary, Norman, Blair and everybody involved! This is the good stuff here.
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jq171(document).ready(function (jq171) { var covertArtDownloadMarkup = 'Looking for the digital cover art? You can download it here.'; setTimeout(function() { jq171('#digital_cart').append(covertArtDownloadMarkup); }, 500); });

What's Inside:
•144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
•A portfolio with three art prints by Jessica Dessner
• Replica ticket stubs and backstage passes for all eight shows
•8 complete shows on 23 discs
      •3/14/90 Capital Centre, Landover, MD
      •3/18/90 Civic Center, Hartford, CT
      •3/21/90 Copps Coliseum, Hamilton, Ontario
      •3/25/90 Knickerbocker Arena, Albany, NY
      •3/28/90 Nassau Coliseum, Uniondale, NY
      •3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
      •4/1/90 The Omni, Atlanta, GA
      •4/3/90 The Omni, Atlanta, GA
Recorded by long-time Grateful Dead audio engineer John Cutler
Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
Mastered to HDCD specs by David Glasser
Original Art by Jessica Dessner
Individually Numbered, Limited Edition of 9,000

Announcing Spring 1990 (The Other One)

"If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether

Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.

With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”

For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.

Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...

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LOVE the box. Nice Baltimore-centric art for Landover ; ) (Orioles are about to clinch the division, speaking of...) Being one who mostly loves the live feed sound on the first box, I can't argue that Jeffrey's mixes on this are just something to revel in as you listen. 3/14 never sounded so good--though I can't yet bring myself to listen to Memphis Blues. Quite the letdown song choice after Jerry busts out Loose Lucy (!) Jerry seemed to agree, and didn't sing many, if any, harmonies on the choruses (my favorite element) as I recall. All was forgiven two nights later with BTW, of course : ) The E72 box listed all the songs and how many times played, so since the new box doesn't have that, here it is, albeit horizontally so it fits on one post: All Along the Watchtower (2), And We Bid You Goodnight (2), Althea (2), Around and Around (3), Attics of My Life (1), Beat It On Down the Line (1), Believe It Or Not (1), Bertha (2), Big Railroad Blues (1), Big River (2), Bird Song (3), Black Muddy River (2), Black Peter (2), Black Throated Wind (2), Blow Away (2), Box of Rain (1), Brokedown Palace (2), Brown-Eyed Women (2), Built To Last (1), Candyman (1), Cassidy (2), China Cat Sunflower (3), China Doll (2), Cold Rain and Snow (2), Crazy Fingers (4), Cumberland Blues (2), Dark Star (1), Deal (2), Dear Mr. Fantasy (4), Death Don't Have No Mercy (1), Desolation Row (1), Dire Wolf (1), Don't Ease Me In (3), Dupree's Diamond Blues (1), Easy to Love You (4), Estimated Prophet (4), Eyes of the World (3), Far From Me (1), Feel Like a Stranger (3), Fire On the Mountain (1), Foolish Heart (3), Franklin's Tower (2), Friend of the Devil (1), Gimme Some Lovin (3), Goin Down the Road Feeling Bad (3), Good Lovin (2), Greatest Story Ever Told (1), He's Gone (3), Hell In a Bucket (3), Help On the Way (2), Hey Jude/verses (1), Hey Jude/finale (2), Hey Pocky Way (2), High Time (1), I Know You Rider (3), I Need a Miracle (4), I Will Take You Home (3), Iko Iko (2), It's All Over Now (2), It's All Over Now Baby Blue (2), It Must Have Been the Roses (1), Jack Straw (2), Jack-a-Roe (2), Just a Little Light (2), Just Like Tom Thumb's Blues (2), Knocking On Heaven's Door (2), The Last Time (3), Let It Grow (3), Let the Good Times Roll (2), Little Red Rooster (2), Looks Like Rain (3), Loose Lucy (3), Loser (2), Lovelight (3), Mama Tried (1), Man Smart Women Smarter (3), Me and My Uncle (2), Mexicali Blues (1), The Mighty Quinn (1), Mississippi Half-Step (2), Morning Dew (2), The Music Never Stopped (2), New Minglewood Blues (3), Never Trust a Woman (2), Not Fade Away (4), One More Saturday Night (1), The Other One (4), Peggy-O (1), Picasso Moon (5), Playing In the Band (5), The Promised Land (3), Queen Jane Approximately (4), Ramble On Rose (2), Revolution (2), Row Jimmy (3), Samson and Delilah (2), Scarlet Begonias (3), Shakedown Street (2), Ship Of Fools (2), Slipknot! (2), Spoonful (2), Stagger Lee (1), Stella Blue (3), Sugar Magnolia (3), Sugaree (2), Standing On the Moon (2), Stuck Inside of Mobile (1), Tennessee Jed (3), Terrapin Station (3), Throwing Stones (4), To Lay Me Down (1), Touch of Grey (3), Truckin' (4), Uncle John's Band (3), U.S. Blues (1), Victim Or the Crime (3), Walking Blues (3), Wang Dang Doodle (1), We Can Run (3), The Weight (2), West LA Fadeaway (1), Wharf Rat (3), The Wheel (3), When I Paint My Masterpiece (4) 16 shows 123 different songs (only counted Hey Jude once ; ) 3 breakouts after 10+ year hiatuses average 17 songs per show (+ jams, drums & spaces) 31 songs played just once each. 3 Scarlets, but only 1 Fire. 4 Crazy Fingers in one tour, previously unheard of. And 2 Jack-a-Roes! Just one US Blues and only 3 shows with Bob cowboy medleys--pretty surprising. All in all, quite a vast & tasty repertoire for one little tour. Some songs not played: Alabama Getaway, CC Rider (Walkin kind of stole its slot), Comes a Time, El Paso, Johnny B. Goode, Might As Well, Saint of Circumstance, Smokestack Lightning, They Love Each Other, Tons of Steel, When Push Comes to Shove. Dancing In the Streets & Brother Esau, like a few of the preceding MIAs, were gone for good, though that wasn't certain just yet. Currently enjoying the Knick show. Yes, the Eyes is sublime (even with requisite beaches/seasons flubs), and the first set is WONDERFUL. Gotta love a Greatest Story opener.
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16 years 11 months
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.....nice stats antonjo.....quite the tour indeed. Love that they only repeated an encore once. Getting ready to spin Copps 3/21, second set. So far, except for a flub during Ramble On in Hartford, I can't single out a sour note. So much music, so little time. Nice intro into Pocky Way BTW... Now, onto the artwork. Quite impressive Dressler. Top three covers... Omni 4/3....Terrapin Tambourine, plus a slot machine...go Vegas!!! Cap Center 3/14....love the yo-yo Nassau 3/28.....regal.... There's my 2 cents...feel free to reply...
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16 years 11 months
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...and into Drumz, Billy & Mickey break out those church bell samples that I remember so well...I refer to the Hamilton version of course....good times...
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10 years 9 months
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Only about 1/2 way through the set. Man does it bring vivid memories of days gone by.Thanks to all that made this happen again..... :) Who says time machines aren't real?!?
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10 years 9 months
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this deep into it and I keep going back to 3-29.:0)
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12 years 9 months
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There were at least two "Spoonful's"
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16 years 11 months
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and up to 3/28/90.... SOUNDS AWESOME. Almost as good as being there... and I was AT this show. Granted now that I'm listening at work, I was in a bit different mental state, being 18 at the time of this show... and 42 now... and my BAC was different during New Minglewood (playing now) than it is here at 8:35am today... but oh well... sounds great... what memories. This is STELLAR. and I stand by my statement that this may be the best box they've released. It' definitely comparable to the E72 trunk... personally I'm thinking I like it better. Can't wait to hear 3/29/90 later on... was at that one too.
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14 years
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Really bummed that both 3-25 and 3-26 from Dozin' got full show releases between the two boxes, but 3-24 (one of my favorites) is still spread across 4 releases with different mixes/mastering. Can we start a campaign to have Jeffrey Norman rework 3-24 from the multis and release it as a digital only in HD Flac to really complete the Spring 1990 tour?
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14 years 11 months
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YES! on 3-24. That is in most people's minds, one of the top five shows from this tour (I have it in the top 2), yet it has to be spliced together to enjoy. There was part of me hoping that it was going to be included as a secret part of this, or even a free download to those who purchased the box set. Alas. We have to go to the grass roots approach
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15 years 1 month
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This is a very classy release. I have to recommend it to anyone who might be on the fence. It is beautifully presented, and the music sounds unbelievable. The multi-track mixes added in my decision to purchase it! Sounds beautiful.
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10 years 4 months
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I agree on 3-24. They should re-do it as a stand alone release mixed from the multi-tracks. I would prefer buying it as a physical product, however it's hard to see them doing anything other than a download.
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13 years
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Y'all musta somehow read my mind today. When I got home from work I was all ready to compile 3/24/90 and insert it next to all the Spring '90 goodies in my iTunes. But then I realized how choppy it would be with so many fades and breaks. I do have the technology to knit it all back together, but it would be a ton of work and I'm not quite that obsessive. So, like you, I hope there is a full release of this show. I would buy it if reasonably priced (not like that Terrapin Limited b.s. that I paid way too much for, thinking the revenues were going toward a worthy cause).
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13 years 6 months
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And I am happily listening to 3/14, pretty hot Stranger. OMG all the tunes I have to listen to in this box! Unlike many of you, I heard some of this tour when it first happened, and now it's discovery time cause I haven't heard these shows in a while, so I am totally psyched! The SOUND is incredible!!
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14 years 2 months
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It's been said before, though still not enough. This Box is one of Norman's greatest achievements- A brillant illustration of his mastery. The sound quality achieved here sets the standard- the high water mark of live concert recordings. Thanks for all the efforts- Just exactly perfect is an understatement.
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15 years 4 months
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Just got back from the show, three drummers with full kits at the front of the stage and the rest of the band on risers behind - nice! Latest Crimson lineup (Mark VIII) – Fripp, bassist Tony Levin, singer-guitarist Jakko Jakszyk, saxophonist Mel Collins and drummers Gavin Harrison, Pat Mastelotto and Bill Rieflin. Here's the dates: Thu 18 Sep New York, NY Best Buy Fri 19 Sep New York, NY Best Buy Sat 20 Sep New York, NY Best Buy Tue 23 Sep Madison, WI Barrymore Theatre Thu 25 Sep Chicago, IL The Vic Theatre Fri 26 Sep Chicago, IL The Vic Theatre Tue 30 Sep Los Angeles, CA Orpheum Theatre Wed 01 Oct Los Angeles, CA Orpheum Theatre Fri 03 Oct San Francisco, CA The Warfield Sat 04 Oct San Francisco, CA The Warfield Mon 06 Oct Seattle, WA Moore Theater For the limited shows I've seen this year -> Better than Ratdog show 2nd nite in Boston (very good show) and the Jerry Garcia Symphonic also 2nd nite in Boston. And a lot of the music was first listens for me. Very good show - check out the RS review (set list spoiler alert)... (sorry for the duplicate post - posted on DaL11 page)...
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10 years 1 month
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This box sounds great! That first Loose Lucy is awesome. Just finished getting through all of it for the first time round, and I am happy with this release. It does make one wonder how the first box might have sounded, though I enjoy that ones mix also. Tried to order tickets to King CRimson in Seattle but was too late, sold out. Oh well the King Crimson I listen to the most was only together for like 2 years back in the 60s hahaha. Fripp is awesome though.
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14 years 3 months
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#494 in Saint Paul is wow. Just wow. What a treasure for the eyes, ears, and hands. I have realized just how special this tour was, even if it has made my 23 shows from 1991-1993 much less interesting. p.s. I thought that the first 1990 box set sounded great, too; that one is very warm and analog-sounding, and how it might have sounded in the auditoriums. The new one is crystal clear and sounds wonderful in a different way.
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16 years 3 months
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sound quality-maybe the best job to date? King Crimson-yes looks like something important is happening again with Fripp and new configuration-I am hoping some studio release or live release of this band ( studio may be out of question given Fripp's recent comments)-also The "lost" spring 90 show-release on vinyl for back to Black Friday record event? Out of thread-for those classical fans out there-big box coming out in a couple of months commemorating Vienna Philharmonic on Decca-this one to be done right unlike the previous DG box
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16 years 11 months
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After listening to this, is it any wonder that they wanted him to play the second set - I am surprised they didn't offer him every penny they had to stay in the band - wonderful. Can we have David Murray and Ornette Coleman collaborations next?
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11 years 9 months
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not because of the money (though it is a factor) but because i'm afraid i wont listen to it as much as i would all the 60's/70's stuff i have. y'all are making it hard to resist however. is the sound really that good?
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11 years 8 months
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...Yes it is really that good. I enjoy the older stuff too but it is definitely worth having in your collection. If you want the box id buy now but get the download you will be happy you did.
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16 years 11 months
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The sound is phenomenal, period. Worth every penny. I too would say I am primarily a '70's guy, but I love all Dead, and this is just pristine and amazing. Not to be missed.
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14 years 7 months
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David Murray of course has a world of non-Dead-related jazz worth checking out: "Home" -- an older one by his Octet -- is wonderful. But... If you haven't heard his disk "Dark Star" you have missed out; rectify that ASAP!!!
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16 years 1 month
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I saw King Crimson twice in 1995 during the double trio line-up with Mastelotto and Bruford on drums, Adrian Belew and Fripp on guitars, and Trey Gunn and Tony Levin on bass and stick. Man! The Cincinatti show at Taft (Belew's home town) was one of the best shows I've ever attended. I was 2nd row in Atlanta at the Fox Theatre. Had tix for Columbus, and realized when I was getting ready to leave, the show had been the night before. I was devastated. I was going to try to see them at the Vic in Chi Town, but the tix are steep and I haven't got the scratch. I would love to see Bill Rieflin (Ministry) with KC! Fripp says no dice on a studio release. High hopes for live downloads on the Discipline Global Mobile website.
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13 years
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I had the luxury of working from home today and my soundtrack was 3 complete shows from this new box. I am a GD 70s snob AND an audio nut, and I still was bowled over by these shows. Granted, I may not listen to these as much as my 70s collection, but I will certainly re-visit them pretty regularly. There is something about having the songs in context that helps the appreciation of them. The sets vary widely. And Jeff Norman hit it out of the park this time. I am critical of the E72 box (mixed by JN in a rush) and Formerly the Warlocks (mixed by some other guy at TRI), but this one is about perfect.
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13 years 11 months
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If you purchased the last box set and experienced some serious "wow" factor there, this release has the same amount and more that is indeed worth the additional price of admission. These two volumes are like yin and yang together, with TOO being more like the yang - laced with some ultra-pure White Lightning! All of these shows are just as good as the first Spring 1990 collection performance-wise. Major pluses of TOO have already been noted here: *Utterly fantastic 24-track mix by Jeffrey Norman *Two additional shows in the box, which includes the epic Branford Marsalis show on 3/29 *Very beautiful artwork and design that complements the other box well, with an individually numbered Tiger Coin! (#4501 here) If there have been any comments regarding what the box needs more of - as if there was not enough already - they have been around the sound not being as ambient or spacious as the first box. That being said, the mix is significantly better produced and sounds a lot nicer; there is much more clarity and separation between the instruments, with a very nice warmth to it. The results are stunning. Saying this is one of the best sounding GD releases ever is hardly an understatement, so there's nothing to be unhappy with or any reason to have buyer's remorse. My only quibble, if I had to have one, would be with the CD cases. Why not put the whole set list on one panel and use the extra panel for a great photo from the show itself or some other archived material? That little, flipping-over motion to read the whole set list is...wholly inconvenient. Unwholly. One All-TOO Satisfied Buyer
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16 years 11 months
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....it's minor, but I'm going to throw it out there. What is the blue ribbon/bookmark for? That's all.....otherwise, absolutely perfect...
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13 years
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Mine is attached at one end. It's to help pull the cardboard sleeves out of the box. Maybe yours came loose. That happened to mine on the first box.
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16 years 11 months
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.....I thought that too one man, but in the first box, each compartment for the cases had their own ribbon to help pull them out, but TOO only has one ribbon for all four. Not practical, at least to me....so what is the blue ribbon for? Oh yeah, first place...Winner, Winner, Chicken dinner.......
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13 years
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Not to belabor this, but the first box had one ribbon for each of the two disc wells. This box has only one ribbon for the cardboard stuff ABOVE the disc wells.
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16 years 11 months
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....and it came together like a thunderclap....ohhh, it lifts the cardboard inserts!!....(palm of hand smacking forehead motion). Disregard my last two posts. The set IS perfect!! Blue Ribbon Redux would be a cool name for a band...
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9 years 10 months
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This box is great. If only as much care had gone into the Europe '72 box (not complaining too much given how unbelievable the music is.) Yes, the mix is better than the first Spring 1990 box but it's like two sides of the same coin. I'm much more of a 60's/70's head but this box has made me appreciate later Dead a lot more. I will be coming back to these shows often in the coming years. Can you believe all the great shows released in the last 5 years alone? And never did I think I would own the FW '69 shows, E '72 complete tour, SSDD and Spring '90 tour all in outstanding fidelity. GRATE time to be a Deadhead!
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15 years 4 months
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I thought the ribbons were a pain in the butt on the first set. Liked how they cutout a slot to slide them up with a finger. Ribbon was good so you don't bend the prints on the second box...
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16 years 11 months
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As I listen to #2229 here in Mass. I have to Marvel at how Brent Mydland played and the justice that is done by the mix of this Box Set, to him. He simply is amazing on this set..the hot hand indeed. I even balanced the stereo far right just to hear more of him. His Hammond sounds beefy,and right in your face, even nuanced. What a player, they should have kissed his ass for being in the band. Overall this is the best box I have and I own most. Please do more like theis...AMEN
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10 years 6 months
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I have to put my 2 cents in as I have been reading this forum for a month and could not agree more with what people are saying. I am more of a 70s fan but my first show was not until Buckeye Lake on 6/25/88. This box set speaks to me as this is the Grateful Dead I saw in concert. It brought tears to my eyes listening to these shows. Damn how I miss seeing these guys! These were some of the best times in my life, hands down. This box sounds amazing and I echo what others have said, Brent is the man! The rest of the guys are in fine form as well, to say the least. What a sound. Please keep them coming.
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13 years 4 months
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I am in utter awe of this box set. Not only is it from one of my top 3 favorite tours (spring 77 and E72 being my other 2 faves), the sound is truly unparalleled in the embarrassment of riches of releases that we've enjoyed. I've only been through the first show, and despite what I'd normally chalk up as a pretty pedestrian set list, I'm FLOORED! I picked up moments that would normally be passed over with only mild interest - Brent oozing blues with his perfect Hammond/voice scatting on Never Trust a Woman. You can feel Brent's spit coming through the speakers - Phil's astonishing Bass lines in Crazy Fingers is among the best documents of his abilities I've heard - Jerry's poignancy in both Black Peter and Black Muddy River, heartfelt and heartbreaking - the interplay during the Jam... The mix is so damn IMMEDIATE and accessible, it makes the listening of the music a much more emotional experience for me. I feel like I'm on the stage with them, watching their eyes and intuiting their non-verbal communications. Really a whole new way to listen to the band. Anyone else having such a profound listening epiphany? That being said, I'm a greedy (but grateful) completist and having predicted this release on these boards a while back, I'm wondering if anyone else feels like spring '77 (or at least May '77) is next in line for the "fill in the gaps" box set treatment. I have this sneaky suspicion that TPTB finally negotiated for the missing Betty Boards, including Barton Hall, and will give them their due in 2015. After all, they need to dazzle us with something stunning for the 50th anniversary, and they're running out of high demand classics that all the masses want. Sure, they will continue to release surprising one off gems that none of us have heard before as DaP's, but really, what other tour is left that would command such attention... and sales? If they want to complete the May shows, that would be 9 full shows to release, which is pretty much in line with recent box sets. If they want to complete the spring tour (and wouldn't we all love it), it would be 15 more shows to release. So, if I were a Vegas odds-maker, I'd say the next box set will be the remaining 9 shows from May '77. It's within reach and it's high time. That would be 5/1-4 Palladium, 5/5 - New Haven, 5/7 - Boston, 5/8 - Barton f'in Hall, 5/9 - Buffalo, 5/18 Atlanta and 5/26 - Baltimore. In the meantime, bring on something REALLY rare for DaP 12, like from 79-81. Spring '77 4/22 - philly 4/23 - springfield 4/25 - passaic 4/26 - passaic 4/27 - passaic 4/29 - palladium - 3 songs, download series 1 4/30 - palladium - whole show, download series 1 5/1 - palladium 5/3 - palladium 5/4 - palladium 5/5 - new haven 5/7 - boston 5/8 - barton 5/9 - buffalo 5/11 - st. paul - '77 box set 5/12 - chicago - '77 box set 5/13 - chicago - '77 box set 5/15 - st. louis - '77 box set 5/17 - tuscaloosa - '77 box set 5/18 - atlanta 5/19 - atlanta - dp 29 5/21 - lakeland - dp 29 5/22 - pembroke - dp 3 5/25 - richmond - DaP 1 5/26 - baltimore 5/28 - hartford - To Terrapin
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15 years 4 months
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speaking of 77, I'd like them to put out the Swing Auditorium 2/26 show... Terrapin Station - First Play and starts the show - people in the crowd must have been blown away... Wonder what the people at the show called Estimated Prophet as they were writing down the set list - "California"???
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16 years 11 months
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...on this set sounds amazing. I can't think of enough adjectives to describe the sound, so I'll just stick with "sexy". Possibly the best Organ sound mix I've ever heard on any recording by any band, and I've heard many for many years. Dialed in perfectly. Just amazing!
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13 years 11 months
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I see, the CD cases are meant to be experienced fully opened, so it reads that way. The box is perfect. I suppose they broke up the setlists to different panels in the cases to accommodate the "hand-writing" size. It's just that every time I want to read the setlist on a case, I get faked out by reading only set two first on the back, which is taxing.
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15 years 9 months
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Good call / prediction on 50th anniversary. Nice list. I checked DP 3, because I knew there was something missing. That 'something' is: El Paso Peggy-O New Minglewood blues FotD Ramble on Rose BE Woman Good lovin' Sugar Magnolia There's a bonus disc for you, and the same problem as with 3/24/90...
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14 years 11 months
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So the band releases a 24-year old, 8 show box set that is mixed impeccably and sounds better than anything that could be recorded today, by any band, and, well to paraphrase Allen Iverson we're talking ribbons? Ribbons? We talkin Ribbons?? Ribbons?? Ribbons??!?!? Not even the shows, but Ribbons?!?!?! An odd lot are we Deadheads. And I love it!
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11 years 8 months
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...its been said that putting together the first spring 90' box, dozin, and without a net the entire 3/24 show has been released with OMSN from whithout a net and Desolation row from Postcards of the Hanging. What about Walkin Blues? was the version on Without a net taken from 3/24 too? Thanks all. lovin the box. I had to take a 90's break and im listing to Dave's 11 again, its good to be a HEAD!
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14 years 7 months
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Meh. Lots of DP shows were missing tunes. DP3 of 5/22/77 is really one of the least troubling examples -- that would be a mighty big disappointment to me as a bonus disc: no songs with any real jamming to them at all. We already got the cream from that show, without any question. The very first pick, 12/18/73 is missing much more material, but even a dyed-in-the-wool Fall-73-o-phile such as me would think that there are many, MANY, better things to do than revisit that pick to get the missing pieces, which are mostly first-set material that honestly differed quite little from one performance to another in that era. I really hope Barton Hall (and Buffalo, which is astounding in its own right) can get official release. It did almost sound as though something was cooking on those Bettys, sub rosa, so it would be great to get them for the band anniversary. My fingers are definitely crossed for luck. But at the risk of heresy, aren't we getting our fill of Spring '77 yet??? The fall of that year is relatively neglected in comparison -- in spite of gems like Colgate U. that just beg for release. And then there's everything that isn't 1977, too...
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13 years 11 months
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On second thought, no, they reduced the handwriting size for under the CD's and on them, so they were not adhering to "real-life" size standards for the CD cases. They really could have done something a little extra visually on one full panel that would have also taken care of the out-of-order setlist reading problem I have had. This is minus points in my book, but that does not mean it is no longer the best box set the GD have released.
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14 years 6 months
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We have one report so far of a "Miracle" coin - any others? Also, I'm wondering if the little cardboard square covering the coin has variations. Mine has a jewelled (and diced) crown with "The Golden Road To Unlimited Devotion" inscription. Any different ones?
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15 years 4 months
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I have the same cardboard message. The cover is very heavy - was wondering if there was hidden secret... I tried the dice on the cover, but all the rolls were random, so my thought that the cover would show the dice were loaded was wrong. Musically this release is awesome.
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9 years 8 months
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The music is awesome and the box is great, but I have no coin. Anyone else missing a coin? I'm assuming it would be under the crown tab in the cover.
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16 years 11 months
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....back in the day, I had a great source of tapes from a brother who has since passed on. (RIP Tom). There was a cool little clique of heads at UNLV back then, and good quality tapes abounded. This was before the Sam Boyd shows arrived. Anyway, 3/28 was a show that we all treasured. I remember playing that in my deck over and over. Especially the pre-drumz. That show got somewhat lost in my gray matter over time. But, now, in my relishing of the box, it rears it's majestic head. In all it's 24-track glory nonetheless. Bravo!! Atlanta is around the corner. Of all the Spring 90 shows, I never had any of the Omni. They look great on paper. I'm sure I won't be disappointed. Grate, grate box. As far as the coin, mine was there, has a tiger on one side, and the Golden Road quote w/ crown is on my cardboard flap as well... edit....The Atlanta Falcons are whipping Tampa Bay tonight. Ergo, bring on some ass-kicking Omni....
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16 years 11 months
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The 3/24 set can be cobbled together in the following order and from the indicated sources: Disc 1 1)Let The Good Times Roll -Spring 1990 2)Help on The Way -Spring 1990 3)Slipknot -Spring 1990 4)Franklin's Tower -Spring 1990 5)Walkin' Blues -Dozin' At The Knick 6)Loser -Spring 1990 7)Desolation Row -Postcards Of The Hanging 8)Tennessee Jed -Spring 1990 9)One More Saturday Night -Without A Net Disc 2 1)Playin' In The Band -Dozin' At The Knick 2)Uncle John's Band -Dozin' At The Knick 3)Lady With A Fan -Dozin' At The Knick 4)Terrapin Station -Dozin' At The Knick 5)Mud Love Buddy Jam -Dozin' At The Knick 6)Drums -Dozin' At The Knick 7)Space -Dozin' At The Knick Disc 3 1)Space -Dozin' At The Knick 2)The Wheel -Dozin' At The Knick 3)All Along The Watchtower -Dozin' At The Knick 4)Stella Blue -Dozin' At The Knick 5)Not Fade Away -Dozin' At The Knick 6)And We Bid You Goodnight -Dozin' At The Knick I put the first disc together with a little bit of editing, fading in and out, and volume adjustment. I also appended Bobby's "We'll be back in a little bit," from one of the Spring 1990 [The Other One] sets after One More Saturday Night, since the track from Without A Net ends rather abruptly. The disc flows together pretty good. The second and third discs can be directly copied from Dozin' At The Knick.
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16 years 11 months
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...when I was first getting into the Dead, I saw a lot of Nassau tapes. The only Nassau I knew back then was the capital of the Bahamas. I thought to myself, "man, they sure like playing that little island a lot". Seriously....I did....
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