Spring 1990 (The Other One) is a live album by the rock band the Grateful Dead. Packaged as a box set, it contains eight complete concerts on 23 CDs, recorded during the band's spring 1990 concert tour. It was produced as a limited edition of 9,000 numbered copies, and was released by Rhino Records on September 9, 2014.
Spring 1990 is a live album by the rock band the Grateful Dead. It contains six complete concerts, on 18 CDs—one concert from each venue of their spring 1990 tour. It was released on August 31, 2012.
July 1978: The Complete Recordings is a live album by the rock band the Grateful Dead. Packaged as a box set, and produced as a limited edition of 15,000 copies, it contains five complete concerts on twelve CDs. It was released on May 13, 2016.
This nine-disc box set gathers music from a trio of consecutive Grateful Dead gigs – November 9 – 11, 1973 at their hometown hockey rink Winterland Arena. At the time the band consisted of Jerry Garcia (lead guitar/vocals), Donna Jean Godchaux (vocals), Keith Godchaux (keyboards), Bill Kreutzmann (drums), Phil Lesh (electric bass/vocals), and Bob Weir (rhythm guitar/vocals). In 1973, they atypically played a mere handful of gigs in San Francisco. According to Dennis McNally's liner notes, the run represented within could be considered over half of their Bay Area appearances for the year. That shouldn't suggest that the combo weren't keeping a full calendar, as they played about every five days or so for a total of 72 live shows. As the overwhelming bounty of strong performances on 2008's Winterland 1973: The Complete Recordings substantiates, the combo were operating on all cylinders and – when applicable – at full velocity.
Perhaps the smartest move a non-singing guitar-playing virtuoso like Ronnie Earl could make was ditching the lame singers who permeate most of his earlier efforts and go with an all-instrumental program. On this outing, Grateful Heart: Blues and Ballads, he surrounds himself with an excellent quartet of players with David "Fathead" Newman on tenor sax, Per Hanson on drums, Rod Carey on bass, and Bruce Katz on keyboards, and the results are simply sublime. Instead of a bunch of Chicago retreads, we are treated to a heady mixture of blues, jazz, soul, swing, you name it, all of it infused with taste, tone and economy. When Earl burns, the results are jaw dropping; when he slows it down, his choice of notes is exquisite.