Monday, December 12, 2005

AUD Appreciation

Now that I'm almost a week immersed into my AUD binge, I've discovered an appreciation for these recordings that I've never had before. There was a comment on the last post which recommended the 5/5/81 show at Rutgers Univ, and how the crowd goes crazy because they can see the lighting through the skylights in the hall while listening to Looks Like Rain. I also think of the 9/10/90 show in Philly when they busted out Shakedown to start the show. I was there, and it just brought back the amazing memories of how electric that old arena was that night. The best AUDs really make you feel like you are right there in the middle of it all. The clean, sterile, crowdless SBDs just don't have that same feel to them. Kind of like a Sitcom without the studio audience/laugh track. Its still funny, but for some reason, not as funny, like you need the community of others to laugh "with" to truly enjoy the experience.

I miss being able to download those great sounding SBDs, the Matrix versions especially, because those offered the best of both worlds. AUDs is what we've got, so enjoy, like I am right now with the 10/27/80 Radio City show. Keep those contributions to the Best AUDs Catalogue coming as we continue to build up a nice resource for anyone who wants easy access to 'the best'.


At 8:17 AM, Blogger B said...

well said ben....

At 9:59 AM, Anonymous US Blues said...

Here are a few more. One is an early, magnificent recording from Winterland- 5.3.69. Only the first set circulates. This recording was made with the mics either on the stage or on the front rail, allowing you to hear the pre-show chatter on the stage. The boys open with "He Was A Friend of Mine" that is unspeakably beautiful and moving.

Also, I mentioned Jerry Moore's auds from 1974, the others available are: 6.22 Miami (great PITB, sick China>Rider), 6.26 Providence, 6.28 Boston, 6.30 Springfield, 7.29 Cap Center (Jerry did not run the deck at this show- sound is less stellar), 8.4 &5 Philly. All his WOS recordings are amazingly clear and ambient, and these shows are yummy.

At 10:32 AM, Blogger wildflower seed said...

Never told you, but I really appreciate your efforts to build this repository of knowledge. I know I am going to keep coming back to use it. Thanks for taking the trouble to do this.

At 11:17 AM, Anonymous westchesterdead said...


Thanks very much for your efforts as well. I have to take a look at the 74 shows that US Blues has pointed people towards. I'm more than a little curious. It amazes me that anyone is coming up with stellar audience recordings from shows that predate the eighties. When you consider the limitations of field recording technology in the sixties and seventies, it blows my mind that decent audience recordings exist.

Like I said before, I'm a soundboard snob - I have a hard time listening to audience recordings for that reason (it seems that, more often than not, the audience mics capture too much of the lousy acoustics of the room and not enough of the nuances of the instuments). This project that you initiated (and other people have generously contributed to) has really opened my eyes to shows that I would never have reached for in the past. Many thanks to all of the generous people for waking me up - it takes some doing to get me to change my viewpoint - you folks have succeeded in spades.

Thanks once again to everyone for contributing - it's nice to know that you're all out there, spilling that special brand of Grateful Dead weirdness into the atmosphere.

At 9:44 PM, Blogger Ben said...

US Blues - Mmmm, more candy! :-)

Other Ben, Ventilator, Westchester - Thank you for the kind words and your participation. The music is for all of us, I'm only doing my part to make some sense of the treasure that remains The Live Music Archive.

At 11:52 PM, Anonymous US Blues said...

westechesterdead- I understand your apprehension about early auds. I'm also a soundboard fan, though I have listened to what was vailable over the years. ;-)

The Wall of Sound auds are not up to 21st Century standards, but are very good for the era. They convey the clarity of the system, one can in essence hear that on the tapes. I've even had the experience of "hearing" the shape of the Wall on the recordings (vocals in the high center, Jerry on the left, Keith on the right, tall bass columns, etc.). The Miami 6.23 is the best known and is a crazy show, try it.

PS- the '69 Winterland is astonishing, however. :-)


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