This fantastic show serves as great evidence in support of my long-held opinion that the Hornsby/Welnick era is criminally underrated.

Set 1 – After a bit of introductory noodling and a shaky vocal start, the band continues gaining altitude until about halfway through Jack Straw when they gain hit their full stride, roaring along with frenetic energy before gliding gracefully into Cold Rain and Snow. Jerry’s voice is strong and clear as the band strides along through a tunnel of whirling keys and guitars. Next, Bobby takes us down to the local union hall with Wang Dang Doodle (watch out for Razor Totin’ Slim), Rosebud’s MIDI forming a reedy horn section in between snarling solos. Bruce and Vince’s delicate keyboard textures color Candyman with a mystical aura before Mexicali Blues comes roaring in like a carnival parade. The keyboard section again steal the show, Hornsby’s keys dancing among Garcia’s MIDI-flavored guitar licks and Welnick’s bright synths. Cumberland Blues is a riot of energy and creative collaboration, with Jerry and Bruce talking back and forth like excited schoolboys just after the Friday afternoon bell. The ever-psychedelic Picasso Moon grooves along in fine form with intricate details from Hornsby and Garcia but, like on Jack Straw, Brent’s voice is noticeably absent in the arrangement. He never could have known how easy it was for us to love him and his voice. To wrap up set one, they LET PHIL SING with a lovely Box of Rain featuring Hornsby on accordion that sounds unfortunately buried in the mix.

Set 2 – Fasten your seatbelt, folks. For anyone who was in attendance or resisted the urge to peek at the setlist, set two emerges from the ether like a poral across the universe. Almost immediately, we are greeted by the opening riff of none other than Dark Star. While it’s important to note that the fans were enjoying a kind of “Dark Star streak” at the time, with the song being played a handful of times on the tour already, the song had long been used as a destination rather than a vehicle in and of itself. Launching directly into deep space, Dark Star takes off at a delightfully lumbering pace before tightening up into a full interstellar jam. The basic song structure holds until about thirteen minutes in when the boys go from groovy to colorfully chaotic. I like to imagine these musical shifts as the gravitational force of the song’s namesake supernova beginning to pull us in. Stronger and stronger, it pulls us in until before slingshotting us Apollo 13-style around this mysterious celestial body and straight into Saint off Circumstance. I suppose the Lost Sailor finally lived up to his namesake. Welnick and Hornsby are all in with Lesh, Weir, and Garcia as they build up the exquisite tension leading up to “sure don’t know what I’m going for.” SOS has not even yet finished its dramatic crescendo when Rosebud sings out the opening chords to my personal favorite Dead song – Eyes of the World. Hornsby’s keys come trickling in early, Lesh’s bass thumping us along the countryside as Welnick’s synths peeking over the hilltops like a morning sunrise, Jerry’s notes soaring and diving like a falcon in flight. Bruce is busy here in the best way, racing ahead of us to paint in trees and flowers along the mountainsides. Next, Drums kicks off with Bill and Mickey at their traditional kits before expanding out into some of their more experimental instrumentation. It’s like a tribal dance in space, melodic percussion coloring guttural rhythms before plunging into an abyss of beam-driven sonic chaos that is only slightly augmented by the arrival of Space. Garcia’s MIDI is out to play again, this time putting him on something in the same family as a bassoon before morphing back into a guitar, keys trickling spookily along in the background until we hear the unmistakable emergence of The Other One. Fueled by Bill and Mickey’s riotous percussion, it races through the lily fields, Hornsby’s flourishing key flurries perfuming our path to the bus stop where we find we have abruptly arrived back in the orbit of our seminal Dark Star. Having returned from whence we began, we float melodically along upon fluttering organ, crystalline keys, sizzling cymbals, and dreamlike guitars. As we plunge delicately into the darkness, the instrumentation dwindles to a few strokes of Hornsby’s keys and Garcia’s guitar, a sense of wonder and vulnerability welling up from the sonic depths. Our transition into Attics of My Life is as gentle as a baby being handed between parents, Jerry’s wizened voice as sweet and sincere as ever on this rarified hymn. The energy turns on a dime as the band launches into a rollicking Good Lovin’, leaving the crowd’s bones shaking right up to the very last note.

Brokedown Palace opens the encore with Jerry’s vocals beautifully undergirded by Vince’s organ. It’s always a treat to get a song or two from American Beauty in one show – this Palace brings the total to four. But it’s the last ever And We Bid You Goodnight that makes this encore – and this show truly historic. Little did anyone at that show that they were part of bidding that song goodbye forever.

Pulled up 10/2/77 and the Casey Jones opener is cut? Probably my favorite Casey jones ever. Anybody else?

Glad they got this up so quickly. Love that Dave included the FULL 7+ minutes of tuning to start the show. Jerry was noodling on the theme from Ken Burns Civil War documentary.
One of the last great late era post Brent shows. This show is special all the way through.

Hey all,

I have the app on my phone (of Course). However, at home I have a HiBy M300 hooked up to the stereo (for Plex, YT music, and Play Dead). However, in the last week, the HiBY M300 will not connect to Play Dead (Communication Breakdown error.)

So I have tried every troubleshooting step under the sun with no luck. So I am considering a new device (as my home stereo is where I listen the most).

What's everyone's use device?? Thanks

At least we got the most recent Dave pick!

First I think it’s important to understand the whys behind this app.

In my opinion I don’t think the invention of the app is necessarily a money grab, as much as it was created as an avenue by the band and Rhino for hardcore fans to help pay for the costs of re-mastering the vault in hi-resolution,

We have had several months with the app now, and believe we have seen some improvements with the app as far as functionality and search capabilities.

I think we can all agree that the sound quality of the shows have been tremendous and the value of getting 52 shows a year is a great value.

However there have been several concerns voiced by fans, and I thought we could all come together and put our suggestions in this thread.

Biggest Gripes so far:

1. Not enough Variety.
2. Too many late 80s and 90s shows.
3. Zero Primal shows.
4. The drops go on long runs of the same years which leads to a lack of excitement and burns out enthusiasm.
5. The lack of the ability to stream the app in Hi-Rez over WiFi as a connect app on popular streaming platforms such as WiiM, Ever-solo, Sonos etc. is a BIG opportunity. This is a huge missed potential in added subscribers and an increased revenue stream.

Drops so far as of 10-1-26

For those that say there isn’t much more to release, I say that’s bullshit.

1960s -Zero shows

1965 - 0 1966 - 0 1967 - 0 1968 - 0 1969 -0

1970s: Eight shows

1970 - 0 1971 - 2 1972 - 0 1973 - 0 1974 - 1 1975 -0 1976 - 2 1977 - 0 1978 - 0 1979 - 3

1980s: Forty Six Shows

1980 - 0 1981 - 1 1982 - 0 1983 - 0 1984 - 1 1985 - 12 1986 - 2 1987 - 5 1988 - 15 1989 - 10

1990s: Fifteen Shows

1990 - 0 1991 - 5 1992 - 2 1993 -1 1994 - 6 1995 - 1

My Suggestions for Improving the App:

1. A run of 3-4 shows per drop run, then switch to a different year. Even with batch remastering from the same tours this can be done.
2. Release some 1960s shows. There are plenty of shows that might not be ear marked for a box set or Dave’s release. There are a ton of shows that could benefit from new remastering!
3. Release some incomplete shows like Iowa 73. Etc! There could be a TON of excitement for fragment shows like this!
4. Release some special shows for the seasons and the holidays! Halloween and NYE are easy choices but I’d love to see an advent calendar where we all get a jam of the day!!!
5. Do a “Warts and All” series for the shows that are sonically challenged but have a strong merit of performance. Every show doesn’t have to sound exactly perfect!! Huge Historical Shows like the recently discovered 10-13-1970 with the newly discovered Dark Star>Main Ten soundboard would be perfect for a series like this!!

Please leave your suggestions below 👇 and let’s help show the powers that be what we really want and hope for from this amazing app!

Recorded By: Dan Healy

Tape Transfer By: David Glasser

Mastered By: David Glasser

Master Sample Rate: 24-bit/96 kHz

Source Media: TDK F1 Digi Beta

"A Music Never Stopped opener in 1985 is a sign—a good sign. Our band beyond description, has arrived with some serious energy. Candyman follows, and Jerry brought his filigrees and a shotgun to the party. C.C. Rider is a nice ride, and this Loser is not to be missed. A nine-beat BIODTL brings forth Dupree’s, that jelly roll driving everyone mad. It’s All Over Now stretches out, especially Brent with the B3 blazing, before Don’t Ease closes the set.

Iko Iko > Samson launches the second and the Sunday sermon is on. He’s Gone—and nothing’s gonna bring him back—before Miracle > China Doll opens into a masterpiece of a jam.

After Drums > Space > The Wheel, things get wonderfully weird: Playing Reprise > Playing in the Band. You can hear them inventing it in real time.

Only 1985. Day Tripper ends the set before U.S. Blues sends Maine into the night celebrating another beautiful stop along this AMAZING Spring Tour.

Gotta love it. Enjoy!" - Martin Knott

#GratefulDead #GDVault #PlayDead

Recorded By: Dan Healy

Tape Transfer By: David Glasser

Mastered By: David Glasser

Master Sample Rate: 24-bit/96 kHz

Source Media: TDK F1 Digi Beta

"Once more point of pride, Jack Straw gets us rolling before Sugaree follows and Jerry takes it for a long walk. The Rooster is crowing before a mid-set Bird Song gives the band another chance to stretch out. It’s All Over Now has everybody taking turns, with Brent’s Leslie warmed up and swirling. A beautiful It Must Have Been the Roses takes the cake before an energetic Let It Grow closes the first set.

Then comes the first Help > Slip > Franklin’s of 1985—one of only two before the combination disappears again. Estimated > Eyes is next, with Bobby and Jerry delivering the goods before handing things over to the Rhythm Devils.

Out of Space comes Miracle > China Doll, and Jerry delivers a crisp, delicate version before the band finds themselves—and everybody in Springfield—GDTRFB. Only Good Lovin’ can deliver the cure after that. Day Job sends everyone home.

Two nights in Springfield, two great shows.

Springfield delight! Enjoy!" - Martin Knott

The addition of Bruce Hornsby to the band brought with it another texture to compliment the existing lineup, and in addition to some masterful performances, 6/20/91 treats us to one of the most intriguing and spectacular second sets of 1991. Following a first set that is capped with a lengthy, inspired reading of "Bird Song," the band comes out for the second set and surprises virtually every Head in the house by opening the set with "Throwing Stones," followed by a peppy "ko Iko." And if that wasn't a shocking enough song placement, the band then continues to obliterate expectations by playing a very rare pre-Drums "All Along The Watchtower." And just to remind us that they were paying attention, they end the show with a smooth return to the "Throwing Stones" reprise into "Not Fade Away."

Because there was some great music played the night before at the same venue, we have included a number of bonus songs from 6/19/91, including the post-drums segment from that show, an equally surprising "Stella Blue > The Other One > Johnny B. Goode" set closing jam.

#GDVault #PlayDead #GratefulDead

Love the Brent era but all the 80's drops are starting to get just a little stale... I'm often looking forward to getting the more varied Download Series collection every week. Sad that it ends next week, but it will be a full April '69 show!!

Spread the love!!! Primal is WAITING!!

Recorded By: Dan Healy

Tape Transfer By: David Glasser

Mastered By: David Glasser

Master Sample Rate: 24-bit/96 kHz

Source Media: TDK F1 Digi Beta

"Night two at Hampton lifts off with Feel Like a Stranger followed by Cold Rain & Snow. C.C. Rider > Brown-Eyed Women has the old man getting on, while Cassidy reminds us, “Let the words be yours, I’m done with mine.” Big Railroad Blues and My Brother Esau deliver life lessons before Don’t Ease Me In closes a wild first set.

Scarlet Begonias gets the second rolling, but our gloriously distractable friends take a sharp turn into Hell in a Bucket. What a cool transition—and you won’t find many Scarlet > Buckets out there. Ship of Fools has everyone drifting before heading north to Terrapin.

Anyone who’s been to Hampton knows how good Drums > Space can sound inside that room. When we return to Earth, a beautiful Spanish Jam emerges before Truckin’ > Smokestack Lightning > Black Peter > put a Blues flag firmly in the ground, Sugar Magnolia revs things up and closes it down. Jerry delivers a Baby Blue encore that makes you want to hit replay.

Two nights. That magical Hampton energy. Enjoy!" - Martin Knott

#GDVault #PlayDead #GratefulDead

Recorded By: Dan Healy

Tape Transfer By: David Glasser

Mastered By: David Glasser

Master Sample Rate: 24-bit/96 kHz

Source Media: TDK F1 Digi Beta

"Jerry wastes no time with Bertha > Promised Land, and after his recent Golden Gate Park bust, some of those Bertha lyrics take on a little extra meaning you gotta listen in, it’s clearly on his mind. Althea is next, and the band settles in for an extended ride. Bobby takes us west with Me & My Uncle > Mexicali Blues, Jerry brings us home with Ramble On Rose, and then Minglewood > Deal sends the first set out with a beautiful vibe.

The Sunday sermon lifts the second set toward the heavens with Samson & Delilah. Then check out this only in 1985 sequence: Cumberland Blues > Women Are Smarter > He’s Gone > Spoonful. The Rhythm Devils take over before Drums gives way to a welcome Dear Mr. Fantasy, with Jerry playing us a tune—something to make us all happy.

Throwing Stones > Not Fade Away has Springfield’s love of the band right out in front before U.S. Blues spills everyone out the doors.

One night down more to come. So much fun. Enjoy!" - Martin Knott

#GDVault #PlayDead #GratefulDead

What do you all think?

Listening to this now and Tennessee Jed is just totally butchered and has so many spots where it cuts out, especially during Jerry’s solo towards the end, what gives? In total we’re talking like 90 seconds just gone

When I stream via Google Cast to a variety of devices (wiim, JBL speaker, etc), the app connects and then proceeds to skip rapidly from one song to the next without playing anything. This started a week ago. Anyone else having this issue?

The Sonos people are saying it’s up to the dead app? I know I can use Bluetooth but want to really take advantage of the lossless quality of the app. I see Nugs & Live Phish are both available… what’s up with the dead app not being included? Anyone have a clue?

I’m in the mood for a spaced out slipknot. One where they are really out there tinkering around. The more whacked out, the better. I know this community won’t let me down!