2000 Downloaded from http://www.musicbox-online.com/dl-vault3.html Interview from the Vault: [Image] A Conversation with David Lemieux [Image] (Part 3) [Image] First Appeared at The Music Box, May 2002, Volume 9, #5 [Image] Written by Eric Levy [Image] [gif] [Image] How do you please 10 million deadheads, all of whom have radically different tastes? It's not an easy task, but Grateful Dead vault [Image] archivist David Lemieux has risen to the challenge with skill and tact. I spoke with David by phone this past summer. He has a warm, [Image] enthusiastic manner and an encyclopedic knowledge of the Dead's concert history as well as the contents of their legendary vault. [Image] In the following interview, we discuss the vault release process in general and talk specifically about some of the more recent [Image] releases. At the time of the interview, Nightfall of Diamonds and Dick's Pick's Volume 23 had not yet been released, nor had the [Image] massive box set The Golden Road (1965-1973). Therefore, discussion of those is limited, but the interview does answer some [Image] long-unknown questions and provides insight into the process of archiving the greatest American band in history. Alright, can we talk about the new box set? Absolutely. The Golden Road (1965-1973). Very exciting. It's really good. And I've got to say that going into this originally I didn't know what our involvement was going to be, and it turns out Rhino has been a great company to work with. They leave things up to people that they can trust to do the right thing, and I think with this project they really trusted us and we trusted them, so it turned into an excellent collaboration. They're a fabulous company. They are, and they do certain things incredibly well, and I think Grateful Dead Productions does certain things incredibly well too, so collaborating has been awesome. It's been just incredible. And it's a really good box set. It is expensive, I think it's going to be around $150, but if anybody spends thirty seconds thinking about it, you get twelve discs, you get seven and a half hours of previously unreleased music, you get all the albums remastered on high definition, and if anyone has HDCD at home they know what it does to music-it really enhances the sound. And you get this terrific Rhino-produced booklet in a beautiful box, so overall it's a heck of a deal. I'm not trying to market the thing, I'm not making money off it-I really am excited by it. The albums themselves are so incredible, and such a peak for the Dead that all the albums are equally exciting to listen to. It's an awesome box set. So it's going to be all the Warner Bros. albums each with bonus tracks, plus a two-disc set of pre-first album unreleased songs. Right. That's called Birth of the Dead. Dennis McNally and Lou Tambakos compiled that. There were a few tracks from that era on the So Many Roads box, are some songs going to be repeated? A couple: Can't Come Down and Caution from the Autumn Records sessions. So will the complete Warlocks sessions be on there? Yes. It's actually called the Emergency Crew. It was six songs. We thought about it for maybe two seconds I think that two of the songs had already been released, but the Autumn sessions were too important as a session. They sure were! I can't believe that they're finally getting released. Yeah, it's all six songs. How about the Don't Ease Me In/Stealin' single? Even better, we've got the entire Scorpio Records sessions. The first six songs on Birth of the Dead are the complete Autumn Records sessions and then the next bunch of tracks is: Stealin', Don't Ease Me In , You Don't Have to Ask, Tastebud, I Know You Rider, Cold Rain and Snow. All studio versions? All studio. That's all from the Scorpio Records sessions. And it's both the instrumental take and then the take with vocals. It's really cool. Then as an extra track we've got Fire in the City. It's a terrific first CD, and CD Two is outstanding, it's live tracks from July '66. Are we finally going to get Alice D. Millionaire? Even better, the studio version of Alice D. Millionaire is a bonus track on the first album. For that first album, all the songs that were recorded and mixed but didn't make the album are now included. Some people have asked, are they demos? No, it's a real mixed song. It was supposed to be on the album, but with a 37-minute limit they wouldn't fit. So Alice D. Millionaire is now on the first album, the full vocal version and it's awesome. The studio Lindy is on it, another studio Tastebud, a studio instrumental Death Don't Have No Mercy, the three-minute single version of Viola Lee Blues, plus a live 23-minute Viola Lee Blues. And five of the songs on the first album are extended versions. Cream Puff War is a whole minute longer. They just went off on this crazy jam on Cream Puff War and on the original album they faded out at 2:18. And five of the songs are longer. I'm telling you, this box set is awesome man. I think you can tell by my enthusiasm. So are the longer versions where they fell in the regular order, or are they bonus tracks? Where they fell, so we've changed it a little, and that was something we struggled with a bit, but I think we've done the right thing. Listening to the album over and over the last few weeks, I can tell you we did the right thing. I've always felt the Dead's first album was totally underrated and basically misunderstood, even by the band members. Wait till you hear it now! There's some pretty incredible stuff going on in the remastering that is going to blow your mind, it's a better album. Then to get back to CD Two of Birth of the Dead, I won't go through the entire track list, but it opens with a really terrific Viola Lee Blues, then Don't Ease Me In, He Was a Friend of Mine , Standing on the Corner , Nobody's Fault but Mine, One Kind Favor, In the Pines? Finally! That's from 7-16-66, right? That's the only known performance of In the Pines. We used a couple songs from 7-16 and a couple from 7-17 and then we had a reel that was labeled "location unknown". We're pretty sure it's from July. There's also a Pigpen tune called Keep Rolling By that's really nice. There's a King Bee on there. You're going to love Birth of the Dead, it's outstanding. Does anybody know the origin of Tastebud? It seems to be one of these elusive songs. It's a Pig tune, we think. He wrote it? Yeah. And as you're going to hear, it's him playing piano on it. I brought Weir in the vault and I said, "Bobby, who's playing this?" He said, "That's Pig. He could play piano, but he didn't like to." Well let's jump into 1968 and '69. Which mixes of Anthem of the Sun 2000 and Aoxomoxoa are included? Well, we used the original mix of Anthem of the Sun, but we never could find the original mix of Aoxomoxoa. We looked so hard. I can't tell you what we went through to try and find the original mix of Aoxomoxoa. So you would have included the original mix if you'd found it. Absolutely. We've got tapes of it, and we have it on vinyl, but with this whole remastering project, the quality had to be good. You don't want to master from an LP. No. And the quality of the master tape of the remixed Aoxomoxoa is outstanding. You're going to be blown away at how good it is. Can you drop any hints about bonus tracks on those two? Let me make some guesses before you tell me. I think I have an Anthem of the Sun outtakes tape with a studio Lovelight on it. Wrong. Not happening. We almost put it on there, but there wasn't room because we ended up putting something even cooler. The 34-minute Alligator > Caution> Feedback from 8-23-68-basically the third disc from Two From the Vault. At the time, they decided to do Two From the Vault as a two-CD set, so Healy got nixed on the third disc and that third disc would have been this Alligator >Caution, and it's one of the best versions of Alligator> Caution , it's outstanding. So that's the Anthem bonus track. And on Aoxomoxoa, man I don't even know if words can describe what's on there, but suffice to say, it's 35 minutes of studio jamming that will dispel any notion that the Dead couldn't play in the studio. It's a ten-minute Clementine Jam , a ten-minute blues jam, and a fifteen-minute Eleven Jam -unbelievable. Better than a lot of live stuff from the era, and that says a lot. There's a studio version of St. Stephen /The Eleven that circulates with that phone ringing during the St. Stephen bridge. Yeah, we thought about including that, but we couldn't find a good master of it. We looked for it and it's got novelty value, but it's kind of annoying at times. We might have included it if we'd found the master, but we didn't, and then when you hear this 35 minutes if studio jamming, it's going to blow your mind. Then we've got the fourth-ever live version of Cosmic Charlie from January '69. Skipping ahead to 1970? Workingman?s Dead has an alternate mix of New Speedway Boogie that was mixed at the time. We didn?t go back and remix anything then put it on as a bonus track. It?s funny you mention New Speedway, I always found it so curious that the background vocals are so low in the mix. Is that one of the things that?s different? That?s entirely changed. Bobby does this falsetto that's on the alternate mix, which is one of the bonus tracks. It's the identical take, but with all these changes in the background. Mickey is currently working on the DVD-audio versions of Workingman's Dead and American Beauty. He said in interviews that not only are the songs newly remixed, but in a few cases there are actually longer versions like we were just discussing about the first album. Are those longer versions going to be on the box set American Beauty? No. We didn't take anything from Mickey's DVDA project. And that wasn't a conscious decision, there was just so much other good material, there was no point in repeating, like the Mason's Children on the So Many Roads box set. We almost put that on Workingman's , but that meant it would be five more minutes here that's already available. Same deal with the studio To Lay Me Down? Right. We thought about it and then at the last minute there was too much strong stuff to choose from, so we got rid of that too. It was definitely going to be on there, but that was early in the process when we really didn't know what we were going to do. At the time I thought it was a Rhino project and I kind of left it up to them, but then they said, "You know we really prefer for there to be no repeats." And there are songs included that have technically been released before like the Truckin' single, but not widely like Mason's and To Lay Me Down. Is Pigpen's Two Souls in Communion a bonus track on Europe '72? Absolutely! How could it not be? I think there are eight versions from Europe and we listened to them all over and over, and we chose what we thought was the best, but it also turns out to be-for you completists out there-the version from Hundred Year Hall . Well that leads right into my next question. The album I'm actually most curious about on the box set is Bear's Choice. Are the bonus tracks from the same shows and are they going to be songs that are not on Dick's Picks Volume Four? They are songs that are not on Dick's Picks Four, and one of the songs is from the same shows and the other three are from shows the week before at the Fillmore West. They did a four-night run at the Fillmore West, February 5-8, 1970, and they flew east and did the famous three-night run at the Fillmore East. Are we going to get Little Sadie or an acoustic Uncle John's Band? No. We didn't add any more acoustic songs, it's all electric, and it's all really good. What's the one song from the Fillmore East? Good Lovin' from the early show on the 13th, and this Good Lovin' is tight. It's eight minutes, and it's not a Pigpen rap version like 4-14-72. It's definitely a rock and roll Good Lovin'. There's also an additional Smokestack Lightnin' from 2-8-70 at the Fillmore West. We included that because it's just an incredible version. So the album has two versions of Smokestack now and they're both quite different, but very powerful. Then there's a really nice Big Boss Man from 2-5-70, and then to end the last of the Warner albums is Sittin' on Top of the World, which gives us a nice little Jerry Rocker but also brings everything back to the first album. So that's Bear's Choice. We haven't talked about Skull and Roses. Anything exciting to reveal about that one? Yeah! Are you kidding? Oh, Boy! and I'm a Hog for You from 4-6-71. It's the only time those songs were played in '71. I never would have guessed that. Well, remember we only had seven or eight minutes to deal with-the album is already 70 minutes long. So putting on another seven-minute song would have meant a Loser or a Casey Jones or a Sugar Magnolia , and there were a few longer songs that we considered, there was an Easy Wind we looked at, but nothing that really stood out for its unique value that was also really good. Both Oh, Boy! and I'm a Hog for You are really strong versions. Jeffrey mixed those from the 16-track tapes and they sound as good as Ladies and Gentlemen' Are we getting mostly live tracks as bonus material on Workingman's and American Beauty? Yeah. Workingman's has the New Speedway alternate version, plus six live songs. American Beauty has the Truckin' single plus five live 2000 songs. If the box is a success, can we look forward to similar upgrades with bonus tracks for the post-Warner Bros. albums? I would definitely think so. The Grateful Dead Records and Arista material-I would love to see that happen. I was somewhat skeptical going into this project because I liked the albums as they were: 40 minutes, they end, and then it's over. So we put these together, and obviously I've been listening to them a lot lately, and I find that you finish listening to this forty-minute perfect album, then you get a ten-second fade-to-black and then up comes this bonus track and it doesn't hinder it at all, it completely enhances the experience of each album. Each album has its own personality, you know. And if you look at each album that way, they really do, all of those Warner albums have these incredible personalities that are really distinct from each other, and the bonus material enhances that personality as opposed to detracting from it, or more importantly, changing it. The bonus tracks really don't change the essence of the albums. That's great to hear. It's a double-edged sword with bonus tracks. CDs are so expensive now. If you get an old album that's only 35 minutes and full price, you kind of feel ripped off. On the other hand you wouldn't really want bonus tracks on Sgt. Peppers . Exactly. And we had the same feelings with one of these albums. We had five or six minutes to spare for Live/Dead , and we considered putting on a live Doin' That Rag and it just didn't work. You finish Feedback , you go into that short We Bid You Goodnight, fade to black, and it's perfect. And to be honest if bonus tracks didn't work on any of the other albums we wouldn't have added them, but I think they do work. How did you divide Europe '72? Are there bonus tracks on both discs? We changed it. It used to be Sides One, Two, and Three were Disc One, and Sides Four, Five, and Six were Disc Two. Now it's Sides One through Four as Disc One plus Two Souls in Communion . Incidentally, that is not the title of the song, it's called The Stranger, then in brackets it says Two Souls in Communion-written by Pigpen, words and music, if you were wondering. Really? Where was that title change discovered? On the original tape boxes and all the notes that surrounded it. That song was actually slated for inclusion on Europe '72 . The reason we know that is because everything that was originally going to be included on the album was put onto these sub-reels. That didn't make, and Beat It on Down the Line, of all things. Those two songs were going to be included but didn't make it. On some of the tape boxes it's called Pig's Tune and on the rest of them it's called The Stranger, so for the Deadheads who know it as Two Souls in Communion , the official title now is The Stranger [Two Souls in Communion] . Disc Two of Europe '72 is now Truckin' , Epilogue , Prelude , Morning Dew , and the bonus material is the Good Lovin' >Caution> Who Do You Love >Caution>Good Lovin' from 4-14-72, and a really beautiful Looks Like Rain with Jerry on pedal steel from London 4-8-72. Wow! As if I wasn't already excited about this box set. I'm telling you man, I get excited about things that I like, and I really like this. Tonight I'm going to bring one of the discs home, and I don't care which one. Sometimes you get to the point where you like a certain disc more than the others, it's not going to happen with this, I'm just really psyched by it. I will say this about Workingman's Dead, we had originally put as a bonus track the studio Mason's Children that's on So Many Roads and then a live Mason's, but then we took off the studio Mason's and it raised the question, where does a live Mason's fit on a studio album that doesn't even include it? So that debate came up and it was just too good to leave off. It's the most astounding Mason's Children I've ever heard. The jam it goes into is just outrageous, as is Easy Wind. I think both of those will blow your mind. And we've got Dire Wolf with Weir on lead vocals, which allowed Jerry to play pedal steel. It's only two-and-a-half minutes. For those of us who have DVD players, but not surround sound, how will the new DVDAs sound in straight stereo? Ideally, to get the full benefit of these you need surround sound and a DVD audio player. Barring that, if you have a DVD video player and surround sound, you'll get surround sound, but you won't get it in DVD audio 24-bit format, but you will get Dolby digital. Now if you only have DVD video and just stereo Mickey also remixed the albums in stereo, so you will get to listen to it in a stereo format that's still remixed. So it sounds significantly different than the original mixes and you will be able to hear it for sure. But for the full flavor it's worth the surround sound investment. Yeah, and DVD audio is even more so, which means purchasing a whole new player, but it's really incredible sound. I can't say enough about how good it sounds. It's astounding. I want to move into some general questions. I think that Ladies and Gentlemen' The Grateful Dead is a particularly strong release. As a Deadhead who's also a Beach Boys fanatic, I was hoping their set was going to be on it. I think there's some strange legal wrangling around the Beach Boys music right now and when we were considering it everybody involved, inside and outside the Grateful Dead said, "Don't even bother, you'll never get it." So we didn't bother. In general is it difficult to release shows with guests for those reasons' There are a couple already, but they've been rare. It is difficult. It's not as simple as just putting it out, there are special permissions and payments that have to be arranged. There are a few we'd like to release, like Duane Allman on Ladies and Gentlemen' We almost had that, we even had a song mixed for inclusion on there, and unfortunately we had to use a version of the same song that was not with him. People have said, "Why didn't you list the dates for the songs, are you stupid?" Well, the reason there are not dates on there is we finished the artwork before the final decisions were made on which versions of songs we were going to use. Specifically in this case it was Beat It on Down the Line, and if we had put down the date with a notation that said, "Featuring Duane Allman", we would have looked hugely stupid. It was after we had done the artwork and mastered the album with the Duane version that it got pulled. In cases like that are you comfortable putting that information online? Well, it ends up on there really quickly, so there's no point. With Ladies and Gentlemen' I was really curious how long it would take for people to figure out which songs were from which shows, and I think within a day of it comin 2000 g out someone had it down perfectly-all 42 songs were correct, every single one of them. So what am I going to do? I confirmed it obviously, if someone posts a guess and asks, "Is this it?" "Yep." So it's as good as me doing it without having to type in that information. And I'm totally comfortable with that. We're not trying to hide information. I'm glad to hear that, because that is not exactly the sense I got in the early days of the vault release project. If there's a song that isn't there, it's generally for a reason, or it's our way of having? I won't even say it's our way of having fun, because we haven't done anything that's really been screwing with anyone-it's just the way it is. We do what we can to keep people informed and if something needs to be known and people want to know it we tell them, but if we don't include the date it's for no other reason than we don't have it, like in the case of Dick's Picks Twenty-Two . Some people have said, "Why don't you just label Disc One the 23rd and Disc Two the 24th ?" Well, we're not 100% sure, so it would be historically inaccurate to do that. You said in your interview with Blair that the famous May 7th, 8th, and 9th, 1977 shows are not in the vault. Nor is the 5th. Does anyone know where they are? I'm sure they do. I don't. Well, I kind of know, but they're not here unfortunately, and nobody's ever made an attempt to get them back to us. My intention was to avoid the why-haven't-you-released-this-show-yet? type of question? No, you can ask. Tell me what show it is and I can probably give you the reason why. One I'm curious about is 3-17-70, with the Dead jamming with the Buffalo Philharmonic Orchestra. We don't have that. That doesn't exist here. What about either of the shows with Janis Joplin? We don't have 6-7-69 at the Fillmore West in good quality, and the other from San Rafael on 7-16-70 we do. I've got a feeling that someday there will be a Grateful Dead with special guests compilation-maybe a three CD collection. If we had a terrific show that had a guest artist on a song we'd put it out, but I think those songs would typically be best for that compilation when it comes. Dick's Picks Volume Eight is about as close to perfect as you can get, and I won't complain about the Cold Rain and Snow being left off, but the one thing that would have made Dick's Picks Volume Eight completely perfect would have been a disc with the New Riders? set on it. I don't know if we have that. We do have some New Riders, but I don't know if we have that one specifically. We have some of their sets right up until when Jerry stopped playing with them in November '71. When the Dick's Picks series began, the idea was that the Dick's Picks would be drawn from two-track source tapes, and what was then called the From the Vault series would be drawn from multi-tracks. Is this practice still followed? 100%. So Nightfall of Diamonds was recorded on multi-track. Is that because they were recording shows for what would become Without a Net? Absolutely. That's what happened with that one. Certain times and tours and runs of shows were recorded multi-track with the intention of producing an album from them, and fortunately in the case of Without a Net, the Dead happened to be playing really well those three tours. So we've got multi-tracks for Without a Net , Downhill From Here , Dozin' at the Knick , Terrapin Limited, and Nightfall of Diamonds. So that pattern is pretty much what we're still following, and that goes for a few reasons. One, we don't have very much multi-track, and what we do have is worth mixing to make proper albums out of, and at the same time, it takes so long to mix a multi-track down to two-track it wouldn't really be feasible. A two-track release generally takes about four weeks to do and a multi-track takes about eight weeks. Phil had a bass solo cut from Dick's Picks Volume One , and nixed what Dan Healy had planned to release as Three From the Vault. Phil seems to have mellowed quite a bit about that since then. Do you get any resistance from band members? No. No resistance. Do they have any input at all? No input, but they do like to be informed of what's happening. With the Dick's Picks they pretty much trust us, they don't want to hear it. But with the vault releases in particular, Nightfall of Diamonds for example, they do want to hear that, so we make them reference copies before we finalize the decision and let them listen, and then they give us the call with the approval of it-or not. The Golden Road box set especially was really hands-on by the band members, a lot of them did a lot of listening. And they were comfortable releasing all that '65 and '66 material? Yep. Even Phil? I don't see Phil that much anymore. Phil's happy with his own scene and he's doing incredibly well. He's having such personal and emotional success, he's really happy doing what he's doing. And I think he's happy doing what he's doing because he's not doing this. He's not involved with the day-to-day operations here, which makes him happy. Well, you know, I love Phil. The music he's doing now is absolutely incredible, but it sure bugged me when he would be so uptight about these vault releases, so if him not being involved with those is getting more released, I'm not complaining. Do you know what Three From the Vault was supposed to be? 2-19-71, right? I love the show. Yeah, it's really good, but that got nixed. And he nixed a lot of Dick's Picks too. He nixed Philadelphia, 9-21-72-that was supposed to be Dick's Picks Volume Two. So yeah, he vetoes things, or used to. Now I think they trust us. They see that Deadheads are pretty happy so they're pretty happy. I've been curious how royalties work with the archival releases. Like does Donna get paid if you release a show that she was a band member for? Yeah she does. And I think she does okay. So it's whoever was a band member at the time. Yeah, absolutely, and then of course there's songwriter royalties too. Have there been any songs that you haven't been able to get permission to release? You don't need permission to release cover songs. There's a thing called the statutory rate for audio, so if you're just covering somebody's song you just have to give them credit. There's a band called the Verve from England. They have a song called Bittersweet Symphony. They stole the riff from the Rolling Stones and everybody knew it, they weren't trying to hide it, it was very obvious, but they didn't give the Rolling Stones credit. If they had given them credit and it had said "Written by Richard Ashcroft/Mick Jagger/Keith Richards" they might have had to 2000 pay maybe five cents per album sold, but instead they had to give the Stones all the profits from that album, which was millions. Now it's the same with us. We have to give the songwriting royalties, and we give them whatever the statutory rate is. On video you need permission, but so far we've run into no problems with the View From the Vault series. Our print run is small enough-it's not hundreds of thousands of copies, so they know we're not getting rich off these. And as far as audio-only releases go, we don't need to ask permission. And for public domain songs is it even an issue? You mean "Traditional, arranged by Jerry" or whoever? Right. For that, I think Jerry becomes the songwriter on it. Samson and Delilah is listed as "Traditional, arranged by Bob Weir" so it becomes a Bob Weir song. Are the live Jerry Garcia/David Grisman recordings in the Dead's vault? No. Grisman controls that. They've got a new album coming out, the soundtrack to the documentary Grateful Dawg . I just heard it the other day and it's really amazing. Are the other band members solo performances kept in the vault? No. Weir didn't record much in the way of Kingfish or Bobby and the Midnites. RatDog has been recording the last four years, so that's good. Mickey records like a maniac, so we've got a lot of Mickey material. We have all the Other Ones concerts on multi-track from both tours. We've got some Hunter recordings, some Bob Bralove stuff from when he worked on the Infrared Roses album, we've got Wasserman. What about the unreleased solo albums by Mickey and Hunter? Yeah, those are cool. Mickey was in here one day and he said, "Hey do you know what these are?" And I said, "No." And he said, "Let's listen to them." So we put some of it on. It's old but it's good. An early Fire on the Mountain is one of the songs. I've heard that both Pigpen and Brent were working on solo albums when they died. I don't know how finished Brent's was. He was working on his in the early '80s. I don't know how far they got into finishing off recording, so it may just be basic tracks-drums, bass, and keyboards. Pigpen's album-I don't know what ever got done with it, it was just little bits and pieces that are out in trading circles. If there's ever a Pigpen box set, that's where some of that might end up. One tune I'd love to see on there would be the Princeton 4-17-71 Good Lovin'. It's just so classic and famous. I don't know how much better it is than the one that's on Ladies and Gentlemen' There was a postcard included in Dick's Picks Volume Three asking fans to submit their requests for future releases. I'm looking at them right now, they're sitting right beside me. If you were to look at them right now? I think we can all guess what number one is. 5-8-77. Yep. And number two? Veneta. Yep. And number three? 3-1-69? No that's actually number five or six. Three was 12-31-78, the closing of Winterland. We look at the results quite frequently. We don't use it as our guide, but we definitely do look at it to confirm that we're on the right track by, as they say, giving the people what they want. We actually tend to look at it after we've made a choice, just to see where it falls, and generally it falls pretty close to the list. You said closing of Winterland might be a simultaneous audio/video release. I hope so. I think that would be a really nice one. Unfortunately, and I know I've said this elsewhere, the audio and video are not synched, so it's not an easy project. But I've just started looking into the elements we have, getting lists together to see if we can do it. It would be another good one. There are a few big ones that are the obvious ones, The Grateful Dead Movie with bonus footage, Veneta, the closing of Winterland, there are a couple more Europe '72 shows that I'm sure are going to come out some day, 3-1-69 is another. So 3-1-69 is in the works for someday? It's not in the works but it's there, and it's so good I can pretty much say it will come out some day. Like I said, we've got a limited amount of multi-track and what we do have tends to be quite good. Parts of this show have already appeared on Without a Net, Infrared Roses , and So Many Roads - you can probably guess which one I'm talking about. Is 3-29-90 in its entirety a consideration? I think so. With Dozin' at the Knick and Terrapin Limited we've already done two from that tour, plus a whole bunch of Without a Net from that tour, and I'm not saying that's not a great show, that show's phenomenal, but there are some other really great concerts from that same tour. So I think if we ever released something from that tour again, it would definitely be up there with the top two or three under consideration. Are the June 22-July 3, 1970 Trans-Continental Pop Festival shows in the vault? No they're not. I don't know where they are. I've seen about 45 minutes of the footage from those shows and it's outstanding. I've heard the same rumors you have, that somebody in England is working on a film of the whole tour and that's all we know. So no one taped those famous train jams. They might have. I don't know. They were filmed I think, so who knows? I don't know what's going to be in that film. I'm as oblivious as anyone. You told Blair that most of the tapes from the 1980 acoustic/electric shows are unusable. A lot of them were erased for various reasons. Are any of them salvageable? I love Reckoning and Dead Set but a complete show from then would be fantastic. I agree, but I don't think we have a single complete show. And I don't think it was anything methodical, I think it was just, "Hey we need some tape, go grab one off the shelf." They just grabbed tapes, so it's a bummer. Other than 8-27-72 Are there any pre-retirement shows that could be considered for video release? Not one. What's happening with digitizing the vault? If that happens, what impact would it have on the Dick's Picks series? None as far as I can tell. I cannot see a day that will come when everybody who wants music gets it from their computer. I don't get music from my computer. Most of my friends don't. I don't think I know anyone where the computer is the only source for their music. People for the most part really like their CDs, so I can't see it impacting the releases, and if it does, I don't know how comfortable we'd be doing that. That would scare the heck out of me. PART ONE PART TWO Golden Road (1965-1973) is available from CD-NOW. To order, Click Here! This disc is also available from Amazon.com. T 481 o order, Click Here! For UK orders, please Click Here! So Many Roads is available from CD-NOW. To order, Click Here! This disc is available from Amazon.com. To order, Click Here! For UK orders, please Click Here! Nightfall of Diamonds is available from CD-NOW. To order, Click Here! This disc is also available from Amazon.com. To order, Click Here! For UK orders, please Click Here! Ladies & Gentlemen is available from CD-NOW. To order, Click Here! This disc is also available from Amazon.com. To order, Click Here! For UK orders, please Click Here! [gif] Copyright © 2002 The Music Box [Image] [1] . 0