grateful dead road trips 1976

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Road Trips 1.1 Road Trips 1.2 Road Trips 1.3 Road Trips 1.4 Road Trips 2.1 Road Trips 2.2 Road Trips 2.3 Road Trips 2.4

Oakland, 12/28/79 The latest installment in our Road Trips series, now entering its third big year (and ninth release overall) is bound to become a favorite. Road Trips Vol. 3, No. 1 is the complete show from December 28, 1979, part of the sparkling run that has already given us the excellent Dick’s Picks: Vol. 5 (from 12/26/79). You’ll recall that these year-end concerts, held at the Oakland Auditorium because Winterland had closed down for good the previous New Year’s Eve, were the first holiday shows featuring new keyboardist Brent Mydland, who joined the band in April 1979.

—Blair Jackson

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Week of April 23, 2018

Now... where were we.

• Jerry Garcia
• Bill Kreutzmann
• Mickey Hart
• Robert Hunter
• Ron "Pigpen" McKernan
• Tom Constanten
• Keith Godchaux
• Donna Jean Godchaux
• Brent Mydland
• Vince Welnick
• John Perry Barlow

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Greatest show on earth, bad start..., price break..., perhaps i'm stupid, december 28th qakland 1979', good start..., subscription, easy to order versus winterland 1977, hey it wasn't me, keeps on coming, hey why no downloads , getting closer..., thanks marye, music is a higher revelation than all wisdom and philosophy, not that i want to bitch but..., allmost 80s, xenophobia still prevails at dead.net, oakland december 28, 1979, got my order confirmation after a few seconds..., smooth sailing, visualization state of my new order and chronology old orders, check out dick's volume 5 oakland 12/26/79, re: 2 passwords, i was told that all older, mato1949 said : "is getting, the good old days, re-read those comments i, marye - current and past order history, free shipping, official vs taper releases, mato, thanks for clarifying., inferior music formats, what's with the bonus disc, the bonus disc., marye, can you help, these european dead heads ....

We will keep fighting for all libraries - stand with us!

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Grateful Dead Live at Boston Music Hall on 1976-06-09

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FOB Sony 152 cassette deck with Sony ecm 99a stereo mic, taper Steve Hopkins; Audience Master Cassettes > DAT > DAT clone by Dave Minor; DAT clone > CDR by Dave Handrich; CDR > SHN conversion by Matt Vernon: CDR > WAV's (EAC secure with offsets enabled) > add fades with Cool Edit 2K > track boundaries CDWave > SHN's (mkwact seekable); see info file for flaw notes. [Note: Dolby decoded version created 7/12/03]

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Grateful Dead Road Trips Vol. 4 No. 5

The Grateful Dead Remain an American Phenomenon That Spans Decades and Generations

Having Released All 36 Volumes of the Band’s Groundbreaking Dick’s Picks Series of Live Recordings, Real Gone Music Now Brings Another Series of Grateful Dead Concert Performances to Music Retail for the First Time

Road Trips Was the Successor to Dick’s Picks and Was Only Sold Through the Dead’s Own Website

The First Volumes Assembled Tracks from Various Concerts on a Single Tour, While Later Volumes Presented Single Shows

Just Like the Label Did with Dick’s Picks , Real Gone Music Will Release the Last Volumes in the Road Trips Series First

The Original Designer of the Series, Steve Vance, Has Converted the Original Wallet Packaging to Customer-Friendly Triple-CD Jewel Cases

Road Trips Vol. 4 No. 5 Presents the Dead at the Beginning of Their Summer 1976 “Comeback Tour,” Fresh from a 20-Month Hiatus

This June 9, 1976 Show at Boston Music Hall Was Only the Third Show of the Tour and the First of a Four-Night Run

Captures the Band Truly Hitting Its Stride, with Exceptional Vocal Contributions by Jerry Garcia

Includes the Only Encore Performance of “Franklin’s Tower”

Also Features a Brilliant “Crazy Fingers” and a Long and Tight “St. Stephen”

Bonus Material from the Last Night of the Boston Run Includes a Rare Version of “Mission in the Rain”

One of the Greatest Shows from Perhaps the Dead’s Most Underrated Year of Touring

RELEASE TIMED TO COINCIDE WITH THE PREMIERE OF THE GRATEFUL DEAD DOCUMENTARY LONG STRANGE TRIP ON AMAZON PRIME

LONG OUT OF PRINT AND NEVER BEFORE AVAILABLE IN STORES 

It was our great honor at Real Gone Music to issue all 36 volumes of Dick’s Picks, the Grateful Dead’s landmark live concert series; over the four and a half years it took us to release all three dozen titles, we sometimes felt like we were on the greatest Dead tour ever, every single show a classic! Well, our diligence in releasing Dick’s Picks has had a “Ripple” effect, for now the band is entrusting us with releasing its subsequent live concert series, Road Trips! Unlike Dick’s Picks, which saw about two-thirds of its titles go to regular retail in their original incarnations, NONE of the entries in the Road Trips series were offered to retail outlets outside of the Dead’s own website. Since it worked so well with Dick’s Picks, we are reissuing the last titles first, and we have enlisted the series’ original designer, Steve Vance, to convert the original wallet packaging to customer-friendly triple-CD jewel cases. This volume, the last entry in the Road Trips series, revisits June 1976, when the Dead ended its 20-month hiatus from touring with two shows at the Paramount in Oregon, then headed to Boston and the acoustically friendly confines of its Music Hall for a four-night run. This show is from the first night and was hence the third show on the "comeback tour." The band is clearly settling back into a groove here; in particular, Jerry Garcia’s voice is as strong as it’s ever been, and the inclusion of some unusual material (like the only encore version of “Franklin’s Tower” ever performed) makes this a highly collectible show. Among the highlights are a dazzling “Crazy Fingers” from Blues for Allah (which had been released during the band’s hiatus, so new to set lists), and an exceptionally long and tight “St. Stephen” to lead off the second set. The third disc offers bonus gems, like a rare version of “Mission in the Rain,” from the last night of the run, too; excellent sound throughout, long out of print!

Disc : 1 1. Cold Rain and Snow 2. Cassidy 3. Scarlet Begonias 4. The Music Never Stopped 5. Crazy Fingers 6. Big River 7. They Love Each Other 8. Looks Like Rain 9. Ship of Fools 10. Promised Land Disc : 2 1. St. Stephen 2. Eyes of the World 3. Let It Grow 4. Brown-Eyed Woman 5. Lazy Lightning 6. Supplication 7. High Time 8. Samson and Delilah 9. It Must Have Been the Roses Disc : 3 1. Dancing in the Streets 2. Wharf Rat 3. Around and Around 4. Franklin's Tower 5. Mission in the Rain 6. The Wheel 7. Comes a Time 8. Sugar Magnolia 9. U.S. Blues 10. Sunshine Daydream

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Le Corbusier’s triumphant return to Moscow

The exhibition of French prominent architect Le Corbusier, held in The Pushkin Museum, brings together the different facets of his talent. Source: ITAR-TASS / Stanislav Krasilnikov

The largest Le Corbusier exhibition in a quarter of a century celebrates the modernist architect’s life and his connection with the city.

Given his affinity with Moscow, it is perhaps surprising that the city had never hosted a major examination of Le Corbusier’s work until now. However, the Pushkin Museum and the Le Corbusier Fund have redressed that discrepancy with the comprehensive exhibition “Secrets of Creation: Between Art and Architecture,” which runs until November 18.

Presenting over 400 exhibits, the exhibition charts Le Corbusier’s development from the young man eagerly sketching buildings on a trip around Europe, to his later years as a prolific and influential architect.

The exhibition brings together the different facets of his talent, showing his publications, artwork and furniture design alongside photographs, models and blueprints of his buildings.

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Irina Antonova, director of the Pushkin Museum, said, “It was important for us to also exhibit his art. People know Le Corbusier the architect, but what is less well know is that he was also an artist. Seeing his art and architecture together gives us an insight into his mind and his thought-processes.”

What becomes obvious to visitors of the exhibition is that Le Corbusier was a man driven by a single-minded vision of how form and lines should interact, a vision he was able to express across multiple genres.

The upper wings of the Pushkin Museum are separated by the central stairs and two long balconies. The organizers have exploited this space, allowing comparison of Le Corbusier’s different art forms. On one side there are large paintings in the Purist style he adapted from Cubism, while on the other wall there are panoramic photographs of his famous buildings.

Le Corbusier was a theorist, producing many pamphlets and manifestos which outlined his view that rigorous urban planning could make society more productive and raise the average standard of living.

It was his affinity with constructivism, and its accompanying vision of the way architecture could shape society, which drew him to visit the Soviet Union, where, as he saw it, there existed a “nation that is being organized in accordance with its new spirit.”

The exhibition’s curator Jean-Louis Cohen explains that Le Corbusier saw Moscow as “somewhere he could experiment.” Indeed, when the architect was commissioned to construct the famous Tsentrosoyuz Building, he responded by producing a plan for the entire city, based on his concept of geometric symmetry.

Falling foul of the political climate

He had misread the Soviet appetite for experimentation, and as Cohen relates in his book Le Corbusier, 1887-1965, drew stinging attacks from the likes of El Lissitsky, who called his design “a city on paper, extraneous to living nature, located in a desert through which not even a river must be allowed to pass (since a curve would contradict the style).”

Not to be deterred, Le Corbusier returned to Moscow in 1932 and entered the famous Palace of the Soviets competition, a skyscraper that was planned to be the tallest building in the world.

This time he fell foul of the changing political climate, as Stalin’s growing suspicion of the avant-garde led to the endorsement of neo-classical designs for the construction, which was ultimately never built due to the Second World War.

Situated opposite the proposed site for the Palace of the Soviets, the exhibition offers a tantalizing vision of what might have been, presenting scale models alongside Le Corbusier’s plans, and generating the feeling of an un-built masterpiece.

Despite Le Corbusier’s fluctuating fortunes in Soviet society, there was one architect who never wavered in his support . Constructivist luminary Alexander Vesnin declared that the Tsentrosoyuz building was the "the best building to arise in Moscow for over a century.”

The exhibition sheds light on their professional and personal relationship, showing sketches and letters they exchanged. In a radical break from the abstract nature of most of Le Corbusier’s art, this corner of the exhibition highlights the sometimes volatile architect’s softer side, as shown through nude sketches and classical still-life paintings he sent to Vesnin.

“He was a complex person” says Cohen. “It’s important to show his difficult elements; his connections with the USSR, with Mussolini. Now that relations between Russia and the West have improved, we can examine this. At the moment there is a new season in Le Corbusier interpretation.” To this end, the exhibition includes articles that have never previously been published in Russia, as well as Le Corbusier’s own literature.

Completing Le Corbusier’s triumphant return to Russia is a preview of a forthcoming statue, to be erected outside the Tsentrosoyuz building. Even if she couldn’t quite accept his vision of a planned city, Moscow is certainly welcoming him back.

All rights reserved by Rossiyskaya Gazeta.

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Road Trips, Vol. 4 No. 5: 6/9/76 & 6/12/76 Boston Music Hall, Boston, Ma

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