The Grateful Dead Audience Tape Archive.

Please repost, share, and tell everyone you know, especially Dead Heads. Because even if you don’t know someone, Ill bet you know someone who knows someone.

And I know this is more a philosophy blog and most of you heavy thinkers don’t really listen to good music (lol) so please, repost it anyways. Maybe someone who follows a blog who follows a blog who follows your blog would be stoked.

or Maybe just post the link, because then that way you won’t have to worry about people judging you for the music you listen to that you don’t really listen to:

https://www.gofundme.com/GratefulDeadAudienceTapeArchive

(I am setting up a permanent page in the menu also.)

AURAL FIXATION.

Spread the word!

We are making an archive for Grateful Dead audience taped recordings. We want to gather as many show recordings as possible, of any quality or condition so long as they play, many versions of the same shows, and many recordings of all the various shows.

By now, everyone who loves the Grateful Dead knows they can go online and listen to as many high quality, pristine, often very little audience, soundboard recordings as they want. This effort, by contrast, is not about the gratification of listening to great shows, making money off of remastrering shows or making copies of them or anything like that.

The Grateful Dead was a phenomenon; some would say it still is. It is worth having vast amounts of information as is possible about this phenomenon we have loved so much over the years, and to be able to have something for the future which tells us something of ourselves in a slightly different way than perhaps we are used to. We propose to do research on them, about them, but mainly about us, us and them, the phenomenon, analyses of all sorts, to what the audience was doing, to perhaps essays that people can write who were at various shows. There is so much that could come out of it.

We are asking for money because many people are not so keen on giving up their cherished tapes for free; many people are selling thier orignials. And we want them. Also, there are shipping charges. We would like to be able to offer to pay for shipping if people want to contribute their tapes. $500 to start should get us going. We will probably need more later; we will see how it goes. In general, $1 buys one tape.

This plan may change as we move forward, but this should be good enough to show you what we have in mind.

The Task:

Phase 1: gather as many audiece tapes of shows as possible. I am thinking of tapes. Not necessarily 1 of each show, nor the best version. We want All the tapes we can get. Multiple tapes of the same show. Crappy reocrdings, good recordings, thrashed tapes. The point is to gather a massive amount of recordings, but mainly the tapes themsevles. This is an archive of an era, of a people, an audience. of a moment, of the shows themselves, which were not all about just the guys on stage.

With each submission or donation, we ask that the person give us as much information as they can about each tape. It can be annonymous, but we want to get as much info about each individual tape. How did you come by it? What do you know about it? When did you get it? Did you attend this show? What does it mean to you? and whatever other info the person may want to offer about that show tape. any and everything a person whats to offer.

Phase 2: categorize the objective data. How many of each show do I have? what quality? what kind of cassette is it on? TDK ? Memorex? 60 minute or 90 ? Where did this particular tape come from? Did it pass through more than 2 hands to get to us? Is there anything particular to the physical cassette itself ? What is the label? Printed? handwritten? Is there a set list on it?

Phase 3: cateogorize audio data of the show itself. Was this a Phil side recording or a Keith/Brent/Vince side? Was it Bobby heavy? Did anyone in the audience yell something that we could hear better one one tape? Is there anything particular we can notice of the audio of the audience ? Is there random cheering or audience sounds that seems does not fit the music that is playing? Can we make anything of conversations that we can hear in the tape?

Phase 4: organize associated information. People will hopefully have submitted much information about each show, both subjective experiences and observations as well as memories and perhaps other, more concrete observations. Such as,how the venue was in general? Was there a police presence? How was Shakedown Street? What kind of acid was going around? Did anything momentous or significznt happen at this venue?

Phase 5: analyize all the data. Is there any thing we can say that we have not noticed before? Can we come to any conclusions about what we have?

Phase 6: secure the tapes. Hopefiully we will come upon a way to keep these tapes intact for a longer durration. It is an archive, afterall, ike a museum.

Thats the plan to start. Its going to take some time.

We hope people will consider this a worthy endeavor.

Please donate your tape, or donate some money. Or both!

So much can come of it, we feel.

For actual tape donations, please leave me a comment and we will figure it out from there.

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