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User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
---|---|---|---|---|---|---|
John Connolly (1/5) | CDR / 3 | A | View | |||
Notes: | sbd | |||||
Cfoltron (1/5) | cdr / 3 | A+ | A+ | View | Set I and II SBD> re-mixed master RTR > DAT > SSSB Set III SBD > re-mixed maseter... | |
Notes: | Springfield creamery benefit | |||||
Tim (1/0) | CD-R / 3 | View | ||||
Notes: | TAO; killer Dark Star>El Paso! | |||||
Dennis Lausier (1/4.8) | CD / 3 | A | A | View | SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN | |
carl shoemaker (1/5) | cdr / 3 | View | nugs.net | |||
Notes: | missing casey j and sat.nite | |||||
mark burnell (1/5) | cdr / 3 | a+ | A | View | bettyboard | |
Notes: | bettyboard | |||||
Ken Mininger (1/5) | CD / 3 | View | ||||
Notes: | SHN | |||||
Pete Morin-Smith (1/5) | CDr / 3 | View | ||||
Pete Morin-Smith (1/5) | DVD / 1 | View | ||||
Notes: | The Grateful Dead had recently returned from a triumphal tour of Europe (?72) where the filmmakers purchased the then state of the art miniaturized equipment, a Swiss made Stellavox field recorder and an ?clair ACL 16mm camera. The plot was to develop a signature visual style of representing the band: a camera for each of the 16 channels (at least!) emphasizing the visual kinetics of the music making itself as well as the enormous open communication within the band. The first agreed upon project was to put together a thirty-minute replacement for the KQED tape the band had been using for promotion on tour. Pigpen had just retired from the road and Mickey was in self-imposed exile. Keith and Donna had just joined the band. The band was on a roll and in tight formation. The Alembic PA was churning out the ripest, highest amplitude primary colors ever hallucinated. Some say it was our apogee. Suddenly Chuck Kesey was camped out at the crossroads of the Grateful Dead office, obstructing all traffic until he got an answer: Would the band play a benefit for the Springfield Creamery? Fred, the Kesey paterfamilias, had passed away leaving an indebtedness to the Federal Milk Fund or some such, and Chuck and Sue were just tooling up the Nancy?s yogurt enterprise and they were in danger of losing the family farm and the Dead said yes. Sam Cutler called the filmmakers and suggested they join forces with Far West Action Picture Services, the then incarnation of the Pranksters film-making adventures. This was a much greater first project than originally contemplated, however, the filmmakers acceded with alacrity. Ron Wickersham of Alembic agreed to record in 16-track and to devise a method whereby all the different cameras could each find sync with the recording. From the get-go the benefit was a charmed event, emblematic of everything our tribe aspired to. In the meadow that was to become the home of the Oregon Country Fair, hippies pulled together, built a stage and threw themselves a party to celebrate and help out a neighbor, The Springfield Creamery. Perhaps the only bewildered guy on the scene was the straight piano tuner who brought Keith?s piano. On the day of the show, the temperature would rise to 105 degrees, everyone would get dosed, nobody would get hurt and the band would soldier through into territories seldom visited. The heat washed away any preconceptions and when the Sun stole the music, Jerry would fight back and haul it in, onto his frets again. The band played heroically. We were all suitably scrambled. Film magazines didn?t come fast enough because the changers had melted or become distracted, cameramen went off into enchanted but unintelligible directions of wobble and warp. By the time Jack Straw rolled around the earthquakes had slowed down and the camerawork improved. Much of the warpedness was considered unacceptable at the time but today it lends a certain authenticity. We didn?t, by any means, shoot every song. We shot what we thought would be good candidates for the thirty minute project. The band delivered a stellar thirty-minute (exactly!) Dark Star that would have made a fabulous if enigmatic release at the same time Watergate was breaking. That project was hijacked by the notion that what we had was far more than a few precious stones; we had an ornament. It?s taken over thirty years for the half-life of that notion to become true. In the intervening years the film spent most of its life in the pump house of the producer, Sam Field. **A couple of years ago, at the behest of Dennis McNally who wanted to screen it in conjunction with the release of his book, we brought it up to date, digitizing and adding two new songs to the original cut: a wonderfully emotive Bird Song and a twilight Sing Me Back Home that, because of it?s fading images, can?t help but move you.** Most of the rest of the film is as it was the day it was set aside including the animation sequences in Dark Star which, due to lack of band footage, were patched in pretty much willy-nilly from old work print provided by Dennis Pohl, a New York filmmaker. We had intended he would create original, syncopated work for the final film. There are still a few more miles to go, fine tuning the edit, remixing the sound, before we get to the final technical hurdle, conforming 1972 technology to current DVD standards, but with patience and perseverance this may someday, be available to all. [/quote] [b]Please Note: ** these comments do not refer to this version of the film, which is a painstakingly digitized remastering of a 2nd-gen. VHS (off the master), spliced with state of the art audio remastering of original reels. Despite perennial rumors of an official release, the film remains unavailable to the public outside a handful of screenings at small film festivals. Though rough in spots, this baby is a real collector's item that any Deadhead should not be without. Possibly the best Dark Star ever played. | |||||
Jude (1/0) | dvd / 1 | View | ||||
Daniel Cheatham (1/0) | / 0 | View | ||||
Jon (1/0) | CDR / 3 | View | ||||
Brandon Buser (1/5) | CDR / 3 | View | 8045 | (SET I and II) SBD > Re-Mixed Master RTR > DAT > SSSB; (SET III) SBD > Re-Mixed... | ||
M. Flory (1/0) | CDR / 3 | View | SBD | |||
Michael (1/5) | Flac / 3 | View | 16582 | 16582 - fixed flac version | ||
Notes: | SBD | |||||
HEDSPACE (1/5) | cdr / 3 | View | SBD | |||
Brian (1/5) | DVD+R / 1 | View | Video: Capture was performed by Dan Blank using Joe Estades vhs tape (2nd generation vhs of... | |||
Rich (1/0) | CD / 3 | A+ | A | View | from mp3 | |
Eric (1/5) | / 0 | View | ||||
Chris Stenger (1/5) | CDR,SHN(2) / 3 | View | ||||
Notes: | Lineage: SBD->two-track MR->DAT->Sonic Solutions->CDR->EAC-> Sound Forge Edit (analog pop removal using pencil tool)-> Sound Forge Pitch Shift (antialias filter followed by pitch shift of +19 cents) David Gans seeded the show (SBD->MR->DAT->Sonic Solutions->CDR). Adam Jerugim obtained a CDR copy, EAC'd and uploaded it to orf.cx. Leigh Orf did all the post-processing (Sound Forge stuff). Note: This is *not* the Betty Board source which has circulated before. This source came from a different two-track master reel (made by the folks filming the Sunshine Daydream movie) and is mixed differently. | |||||
Alfred E. Neuman (1/5) | DAT / 1 | View | SBD | |||
Mark Thompson (1/5) | CDR / 3 | A | View | |||
MB (1/5) | CDR / 3 | A | View | |||
Justin D. (1/5) | CDR / 4 | A++ | A++ | View | SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN>CDR | |
Notes: | 1st "Field Trip" | |||||
Cstanding (1/0) | / 0 | View | 16582 | |||
lovingstwin (1/0) | flac / 0 | View | 16582 | |||
Notes: | 16582 | |||||
Rev'd Dr. Long (1/5) | CD-R / 3 | A+ | A | View | Sbd>MR>?>CD-R | |
Bob McHugh (1/5) | DVD / 1 | A | A- | View | Pro shot>VHS>DVD | |
Notes: | Sunshine Daydream movie. Improved audio. Menu & chapters. | |||||
Alex Weiner (1/0) | CDR; SHN / 3 | A+ | A+ | View | 4682 | |
Notes: | 16-track MR | |||||
Robert Lundstrom (1/5) | CD-R / 3 | View |