Interview from the Vault

A Conversation with David Lemieux

(Part 3)

First Appeared at The Music Box, May 2002, Volume 9, #5

Written by Eric Levy


Alright, can we talk about the new box set?


The Golden Road (1965-1973). Very exciting.

Itís really good. And Iíve got to say that going into this originally I didnít 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.

Theyíre 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. Itís been just incredible. And itís a really good box set. It is expensive, I think itís 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 ó it really enhances the sound. And you get this terrific Rhino-produced booklet in a beautiful box, so overall itís a heck of a deal. Iím not trying to market the thing, Iím not making money off it ó 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. Itís an awesome box set.

So itís going to be all the Warner Bros. albums each with bonus tracks, plus a two-disc set of pre-first album unreleased songs.

Right. Thatís 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: Canít Come Down and Caution from the Autumn Records sessions.

So will the complete Warlocks sessions be on there?

Yes. Itís 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 canít believe that theyíre finally getting released.

Yeah, itís all six songs.

How about the Donít Ease Me In/Stealiní single?

Even better, weíve 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: Stealiní, Donít Ease Me In, You Donít Have to Ask, Tastebud, I Know You Rider, Cold Rain and Snow.

All studio versions?

All studio. Thatís all from the Scorpio Records sessions. And itís both the instrumental take and then the take with vocals. Itís really cool. Then as an extra track weíve got Fire in the City. Itís a terrific first CD, and CD Two is outstanding, itís live tracks from July í66.

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 didnít make the album are now included. Some people have asked, are they demos? No, itís a real mixed song. It was supposed to be on the album, but with a 37-minute limit they wouldnít fit. So Alice D. Millionaire is now on the first album, the full vocal version and itís awesome. The studio Lindy is on it, another studio Tastebud, a studio instrumental Death Donít 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. Iím 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 weíve changed it a little, and that was something we struggled with a bit, but I think weíve done the right thing. Listening to the album over and over the last few weeks, I can tell you we did the right thing.

Iíve always felt the Deadís first album was totally underrated and basically misunderstood, even by the band members.

Wait till you hear it now! Thereís some pretty incredible stuff going on in the remastering that is going to blow your mind, itís a better album. Then to get back to CD Two of Birth of the Dead, I wonít go through the entire track list, but it opens with a really terrific Viola Lee Blues, then Donít Ease Me In, He Was a Friend of Mine, Standing on the Corner, Nobodyís Fault but Mine, One Kind Favor, In the PinesÖ

Finally! Thatís from 7-16-66, right? Thatís 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". Weíre pretty sure itís from July. Thereís also a Pigpen tune called Keep Rolling By thatís really nice. Thereís a King Bee on there. Youíre going to love Birth of the Dead, itís outstanding.

Does anybody know the origin of Tastebud? It seems to be one of these elusive songs.

Itís a Pig tune, we think.

He wrote it?

Yeah. And as youíre going to hear, itís him playing piano on it. I brought Weir in the vault and I said, "Bobby, whoís playing this?" He said, "Thatís Pig. He could play piano, but he didnít like to."

Well letís jump into 1968 and í69. Which mixes of Anthem of the Sun 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 canít tell you what we went through to try and find the original mix of Aoxomoxoa.

So you would have included the original mix if youíd found it.

Absolutely. Weíve got tapes of it, and we have it on vinyl, but with this whole remastering project, the quality had to be good.

You donít want to master from an LP.

No. And the quality of the master tape of the remixed Aoxomoxoa is outstanding. Youíre 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 wasnít room because we ended up putting something even cooler. The 34-minute Alligator>Caution>Feedback from 8-23-68 ó 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 itís one of the best versions of Alligator>Caution, itís outstanding. So thatís the Anthem bonus track. And on Aoxomoxoa, man I donít even know if words can describe whatís on there, but suffice to say, itís 35 minutes of studio jamming that will dispel any notion that the Dead couldnít play in the studio. Itís a ten-minute Clementine Jam, a ten-minute blues jam, and a fifteen-minute Eleven Jam ó unbelievable. Better than a lot of live stuff from the era, and that says a lot.

Thereís 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 couldnít find a good master of it. We looked for it and itís got novelty value, but itís kind of annoying at times. We might have included it if weíd found the master, but we didnít, and then when you hear this 35 minutes if studio jamming, itís going to blow your mind. Then weíve got the fourth-ever live version of Cosmic Charlie from January í69.

Skipping ahead to 1970Ö

Workingmanís Dead has an alternate mix of New Speedway Boogie that was mixed at the time. We didnít go back and remix anything then put it on as a bonus track.

Itís 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 thatís different?

Thatís entirely changed. Bobby does this falsetto thatís on the alternate mix, which is one of the bonus tracks. Itís the identical take, but with all these changes in the background.

Mickey is currently working on the DVD-audio versions of Workingmanís 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 didnít take anything from Mickeyís DVDA project. And that wasnít a conscious decision, there was just so much other good material, there was no point in repeating, like the Masonís Children on the So Many Roads box set. We almost put that on Workingmanís, but that meant it would be five more minutes here thatís 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 didnít 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 Truckiní single, but not widely like Masonís and To Lay Me Down.

Is Pigpenís Two Souls in Communion a bonus track on Europe í72?

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 ó for you completists out there ó the version from Hundred Year Hall.

Well that leads right into my next question. The album Iím actually most curious about on the box set is Bearís Choice. Are the bonus tracks from the same shows and are they going to be songs that are not on Dickís Picks Volume Four?

They are songs that are not on Dickís 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 Johnís Band?

No. We didnít add any more acoustic songs, itís all electric, and itís all really good.

Whatís the one song from the Fillmore East?

Good Loviní from the early show on the 13th, and this Good Loviní is tight. Itís eight minutes, and itís not a Pigpen rap version like 4-14-72. Itís definitely a rock and roll Good Loviní. Thereís also an additional Smokestack Lightniní from 2-8-70 at the Fillmore West. We included that because itís just an incredible version. So the album has two versions of Smokestack now and theyíre both quite different, but very powerful. Then thereís a really nice Big Boss Man from 2-5-70, and then to end the last of the Warner albums is Sittiní on Top of the World, which gives us a nice little Jerry Rocker but also brings everything back to the first album. So thatís Bearís Choice.

We havenít talked about Skull and Roses. Anything exciting to reveal about that one?

Yeah! Are you kidding? Oh, Boy! and Iím a Hog for You from 4-6-71. Itís the only time those songs were played in í71.

I never would have guessed that.

Well, remember we only had seven or eight minutes to deal with ó 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 Iím a Hog for You are really strong versions. Jeffrey mixed those from the 16-track tapes and they sound as good as Ladies and GentlemenÖ

Are we getting mostly live tracks as bonus material on Workingmanís and American Beauty?

Yeah. Workingmanís has the New Speedway alternate version, plus six live songs. American Beauty has the Truckiní single plus five live 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 ó 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 itís over. So we put these together, and obviously Iíve 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 doesnít 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 donít change the essence of the albums.

Thatís great to hear. Itís a double-edged sword with bonus tracks. CDs are so expensive now. If you get an old album thatís only 35 minutes and full price, you kind of feel ripped off. On the other hand you wouldnít 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 Doiní That Rag and it just didnít work. You finish Feedback, you go into that short We Bid You Goodnight, fade to black, and itís perfect. And to be honest if bonus tracks didnít work on any of the other albums we wouldnít have added them, but I think they do work.

How did you divide Europe í72? 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 itís Sides One through Four as Disc One plus Two Souls in Communion. Incidentally, that is not the title of the song, itís called The Stranger, then in brackets it says Two Souls in Communion ó 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 í72. 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 didnít make, and Beat It on Down the Line, of all things. Those two songs were going to be included but didnít make it. On some of the tape boxes itís called Pigís Tune and on the rest of them itís 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 í72 is now Truckiní, Epilogue, Prelude, Morning Dew, and the bonus material is the Good Loviní>Caution>Who Do You Love>Caution>Good Loviní 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 wasnít already excited about this box set.

Iím telling you man, I get excited about things that I like, and I really like this. Tonight Iím going to bring one of the discs home, and I donít care which one. Sometimes you get to the point where you like a certain disc more than the others, itís not going to happen with this, Iím just really psyched by it. I will say this about Workingmanís Dead, we had originally put as a bonus track the studio Masonís Children thatís on So Many Roads and then a live Masonís, but then we took off the studio Masonís and it raised the question, where does a live Masonís fit on a studio album that doesnít even include it? So that debate came up and it was just too good to leave off. Itís the most astounding Masonís Children Iíve ever heard. The jam it goes into is just outrageous, as is Easy Wind. I think both of those will blow your mind. And weíve got Dire Wolf with Weir on lead vocals, which allowed Jerry to play pedal steel. Itís 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, youíll get surround sound, but you wonít 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 thatís 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 itís worth the surround sound investment.

Yeah, and DVD audio is even more so, which means purchasing a whole new player, but itís really incredible sound. I canít say enough about how good it sounds. Itís astounding.

I want to move into some general questions. I think that Ladies and GentlemenÖ The Grateful Dead is a particularly strong release. As a Deadhead whoís also a Beach Boys fanatic, I was hoping their set was going to be on it.

I think thereís 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, "Donít even bother, youíll never get it." So we didnít bother.

In general is it difficult to release shows with guests for those reasons? There are a couple already, but theyíve been rare.

It is difficult. Itís not as simple as just putting it out, there are special permissions and payments that have to be arranged. There are a few weíd like to release, like Duane Allman on Ladies and GentlemenÖ 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 didnít 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 thereís no point. With Ladies and GentlemenÖ 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 coming out someone had it down perfectly ó 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 itís as good as me doing it without having to type in that information. And Iím totally comfortable with that. Weíre not trying to hide information.

Iím glad to hear that, because that is not exactly the sense I got in the early days of the vault release project.

If thereís a song that isnít there, itís generally for a reason, or itís our way of havingÖ I wonít even say itís our way of having fun, because we havenít done anything thatís really been screwing with anyone ó itís 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 donít include the date itís for no other reason than we donít have it, like in the case of Dickís Picks Twenty-Two. Some people have said, "Why donít you just label Disc One the 23rd and Disc Two the 24th?" Well, weíre 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?

Iím sure they do. I donít. Well, I kind of know, but theyíre not here unfortunately, and nobodyís ever made an attempt to get them back to us.

My intention was to avoid the why-havenít-you-released-this-show-yet? type of questionÖ

No, you can ask. Tell me what show it is and I can probably give you the reason why.

One Iím curious about is 3-17-70, with the Dead jamming with the Buffalo Philharmonic Orchestra.

We donít have that. That doesnít exist here.

What about either of the shows with Janis Joplin?

We donít have 6-7-69 at the Fillmore West in good quality, and the other from San Rafael on 7-16-70 we do. Iíve got a feeling that someday there will be a Grateful Dead with special guests compilation ó maybe a three CD collection. If we had a terrific show that had a guest artist on a song weíd put it out, but I think those songs would typically be best for that compilation when it comes.

Dickís Picks Volume Eight is about as close to perfect as you can get, and I wonít complain about the Cold Rain and Snow being left off, but the one thing that would have made Dickís Picks Volume Eight completely perfect would have been a disc with the New Ridersí set on it.

I donít know if we have that. We do have some New Riders, but I donít know if we have that one specifically. We have some of their sets right up until when Jerry stopped playing with them in November í71.

When the Dickís Picks series began, the idea was that the Dickís 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?


So Nightfall of Diamonds was recorded on multi-track. Is that because they were recording shows for what would become Without a Net?

Absolutely. Thatís 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 weíve got multi-tracks for Without a Net, Downhill From Here, Doziní at the Knick, Terrapin Limited, and Nightfall of Diamonds. So that pattern is pretty much what weíre still following, and that goes for a few reasons. One, we donít 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 wouldnít 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 Dickís 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 whatís happening. With the Dickís Picks they pretty much trust us, they donít 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 ó 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 í65 and í66 material?


Even Phil?

I donít see Phil that much anymore. Philís happy with his own scene and heís doing incredibly well. Heís having such personal and emotional success, heís really happy doing what heís doing. And I think heís happy doing what heís doing because heís not doing this. Heís not involved with the day-to-day operations here, which makes him happy.

Well, you know, I love Phil. The music heís 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, Iím not complaining.

Do you know what Three From the Vault was supposed to be?

2-19-71, right? I love the show.

Yeah, itís really good, but that got nixed. And he nixed a lot of Dickís Picks too. He nixed Philadelphia, 9-21-72 ó that was supposed to be Dickís 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 theyíre pretty happy.

Iíve 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 itís whoever was a band member at the time.

Yeah, absolutely, and then of course thereís songwriter royalties too.

Have there been any songs that you havenít been able to get permission to release?

You donít need permission to release cover songs. Thereís a thing called the statutory rate for audio, so if youíre just covering somebodyís song you just have to give them credit. Thereís 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 werenít trying to hide it, it was very obvious, but they didnít 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 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 itís 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 weíve run into no problems with the View From the Vault series. Our print run is small enough ó itís not hundreds of thousands of copies, so they know weíre not getting rich off these. And as far as audio-only releases go, we donít need to ask permission.

And for public domain songs is it even an issue?

You mean "Traditional, arranged by Jerry" or whoever?


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 Deadís vault?

No. Grisman controls that. Theyíve got a new album coming out, the soundtrack to the documentary Grateful Dawg. I just heard it the other day and itís really amazing.

Are the other band members solo performances kept in the vault?

No. Weir didnít record much in the way of Kingfish or Bobby and the Midnites. RatDog has been recording the last four years, so thatís good. Mickey records like a maniac, so weíve got a lot of Mickey material. We have all the Other Ones concerts on multi-track from both tours. Weíve got some Hunter recordings, some Bob Bralove stuff from when he worked on the Infrared Roses album, weíve 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, "Letís listen to them." So we put some of it on. Itís old but itís good. An early Fire on the Mountain is one of the songs.

Iíve heard that both Pigpen and Brent were working on solo albums when they died.

I donít know how finished Brentís was. He was working on his in the early í80s. I donít know how far they got into finishing off recording, so it may just be basic tracks ó drums, bass, and keyboards. Pigpenís album ó I donít know what ever got done with it, it was just little bits and pieces that are out in trading circles. If thereís ever a Pigpen box set, thatís where some of that might end up. One tune Iíd love to see on there would be the Princeton 4-17-71 Good Loviní. Itís just so classic and famous. I donít know how much better it is than the one thatís on Ladies and GentlemenÖ

There was a postcard included in Dickís Picks Volume Three asking fans to submit their requests for future releases.

Iím looking at them right now, theyíre sitting right beside me. If you were to look at them right nowÖ I think we can all guess what number one is.


Yep. And number two?


Yep. And number three?


No thatís actually number five or six. Three was 12-31-78, the closing of Winterland. We look at the results quite frequently. We donít use it as our guide, but we definitely do look at it to confirm that weíre on the right track by, as they say, giving the people what they want. We actually tend to look at it after weíve 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 Iíve said this elsewhere, the audio and video are not synched, so itís not an easy project. But Iíve 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 í72 shows that Iím sure are going to come out some day, 3-1-69 is another.

So 3-1-69 is in the works for someday?

Itís not in the works but itís there, and itís so good I can pretty much say it will come out some day. Like I said, weíve 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 ó you can probably guess which one Iím talking about. Is 3-29-90 in its entirety a consideration?

I think so. With Doziní at the Knick and Terrapin Limited weíve already done two from that tour, plus a whole bunch of Without a Net from that tour, and Iím not saying thatís not a great show, that showís 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 theyíre not. I donít know where they are. Iíve seen about 45 minutes of the footage from those shows and itís outstanding. Iíve heard the same rumors you have, that somebody in England is working on a film of the whole tour and thatís all we know.

So no one taped those famous train jams.

They might have. I donít know. They were filmed I think, so who knows? I donít know whatís going to be in that film. Iím 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 donít think we have a single complete show. And I donít 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 itís a bummer.

Other than 8-27-72 Are there any pre-retirement shows that could be considered for video release?

Not one.

Whatís happening with digitizing the vault? If that happens, what impact would it have on the Dickís 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 donít get music from my computer. Most of my friends donít. I donít 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 canít see it impacting the releases, and if it does, I donít know how comfortable weíd be doing that. That would scare the heck out of me.


Of Further Interest...

An Interview with David Lemieux: Part One

An Interview with David Lemieux: Part Two


Golden Road (1965-1973) is available from Barnes & Noble.
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So Many Roads is available from Barnes & Noble.
To order, Click Here!

Nightfall of Diamonds is available from iTunes.
To order, please visit iTunes or Barnes & Noble!

Ladies & Gentlemen available from Barnes & Noble.
To order, Click Here!


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