Grateful Dead Live at Frost Amphitheatre on 1985-04-27


Grateful Dead, “Grateful Dead Live at Frost Amphitheatre on 1985-04-27,” Grateful Dead Archive Online, accessed February 10, 2016,


Disc 1 - Set 1

01 [02:56] Bill Graham Intro
02 [06:10] Dancing In The Streets >
03 [08:17] Bertha
04 [08:19] Little Red Rooster
05 [06:21] Brown Eyed Women
06 [04:51] My Brother Esau
07 [07:05] Ramble On Rose
08 [00:32] Let Phil Sing
09 [05:00] Tom Thumb's Blues >
10 [05:48] Cold Rain And Snow >
11 [07:05] The Music Never Stopped
TT [62:30]

Disc 2 - Set 2a

01 [12:32] Scarlet Begonias >
02 [09:04] Eyes Of The World >
03 [05:03] Goin' Down The Road Feeling Bad >
04 [06:51] Woman R Smarter >
05 [06:14] Drums >
TT [51:11]

Disc 3 - Set 2b

01 [06:14] Space >
02 [04:48] The Wheel >
03 [06:18] Truckin' >
04 [05:57] The Other One >
05 [05:57] Black Peter >
06 [03:39] Around And Around >
07 [05:25] One More Saturday Night
08 [04:44] Keep Your Day Job
09 [00:49] Bill Graham Outro
TT [46:21]


  • ---------------------------------------------------------

    Source Info

    SBD: Master Cassette > Dat (44.1k) (Sony R500) > SEK'D Prodif
    Plus > Samplitude v7.02 Professional -> CEPro v2.0 > SHN
    Transferred and Edited By Charlie Miller

    MAC: (FOB) Nak700 > Sony D5 > TDK MA90. Recorded by B.Koucky.
    MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96
    WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using
    Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.
    Transfer and mastering by C.Ladner.

    MAC: (FOB) Senn 421 > Sony D5 > TDK MA90 (Set I) & TDK MAR
    [aluminum core (Set II)] Mic Config: mics on T bar knee high
    pointed at the stacks MAC > Nakamichi Cassette Deck 2 (azimuth
    adjusted) > Audiophile 2496 > WinXP Pro > CEP 2.0 > CD Wave
    Editor > Flac Frontend (encoded@level 6) >FLAC16
    Location: on the lawn, 25 feet from the stage, DFC
    Taper: Adam, Justin & Monica - Mark McCue Masters
    All cuts, fades and edits made in CEP 2.0, normalized to 100%.
    Sector boundaries verified with TLH. Transfer, minor editing
    and conversion by Alex Ford 3/10 & 11/2006.

    Thanks to all the hard work from the folks mentioned above in
    their loving care getting these sources out. Thanks also to
    the Lossless Legs Community ( for getting me
    these 3 spectacular sources. Also a thanks for some of the
    images used in creation of the artwork. I found them years
    ago on the net and do not have anyway to properly credit.


    Tech Notes

    FLAC/SHNs were decoded to wave. Wavmerge was used to reassemble
    the tracks back to 1 long wave. CEP2.0 was used to align &
    synch all of the sources. SF8.0 was used for the EQ setting
    post mixdown. This is a 65% SBD, 20% AUD1, 15% AUD2 mix.
    - Mixed by
    - FLAC conversion done 28-SEPT-2006
    - Artwork at 300dpi by
    - For best results print at the highest resolution onto glossy
    photo paper. Design for use in a clear double jewel case.



    After spending several months and likely more than 150 hrs
    on this project I rushed my way through this text file and
    the artwork. I just want to be done with it. Hopefully it
    will be acceptable and without too many typos or errors.

    The SBD has a strange sound characteristic that can be heard
    through the first few songs and then disappears. As Charlie
    Miller noted in his text file "sounds keeps improving as show
    progresses". Which is indeed true. The sound keeps cycling
    from normal to "overly bright". Could it be a bad Dolby
    encode or decode scenario? Only when you listening very
    critically. It does not subtract from these really great
    recordings and great show IMO.

    Both AUD recordings are very good. The Nak700 sounds like it
    was on a stand and doesn't have the close crowd feeling of a
    typical FOB. Some post-processing was obviously done to
    maximize the levels, which does cut down a bit on the dynamic
    range. The Senn 421 has a much rowdier feel with closer
    crowd, clapping and a good feel for a live show.

    All 3 sources had different stoppages between songs in the
    first set, most notably was during "Let Phil Sing". Here
    we had missing "crowd" material with no overlap. I employ
    several techniques, fades, crossfades, volume changes and
    "borrowing" crowd cheer from different parts of the same
    recording to fill in the sound and make the new recording flow
    uninterrupted. Take a listen to the first set, the missing
    material now flows smooth and is most likely undetectable.

    d1t01 "Bill Graham Intro" The first 20 seconds is entirely
    from the NAK700 source, then the Senn 421 source fades in
    and then finally the SBD also joins the mix. No music was
    missing. This is smooth and is most likely undetectable.

    D2 and D3 can be assembled seamlessly on longer media.

    d2t01 "Scarlet Begonias" The first 10 seconds is just the
    SBD and the NAK700 source, then the Senn 421 source fades in
    and also joins the mix. This is smooth and is most likely

    d3t04 "The Other One" 36.334 seconds of "fake" patch was
    used to cover a missing part of the SBD source. Most likely
    a repeating musical portion from earlier in the song was used.
    In short, "The Other One" was patch with the very same "The
    Other One". This was a very tricky edit to find and remove.
    It is now patched with a matrix mix of AUD1 and AUD2 for
    1:00.119 with 2 second crossfade on each. B/c this is a
    change in source it is detectable by the listener.

    d1t09 "Bill Graham Intro" is entirely from the NAK700 source.


    Multitrack Mixdown Settings


    Stereo Matrix
    SBD -3
    AUD1 -7
    AUD2 -8.5


    Stereo Matrix
    SBD -3.5
    AUD1 -7
    AUD2 -8.5


    Editorial Comments

    This show is like a wearing my favorite slippers. Familiar
    and very comfortable. I first obtained this show in 1985
    about 2 weeks after the show. I was a new 16 yr. old driver
    and was giving a "friend of a friend" a ride in my car.
    This guy was a pretty hard core hippie and he produced the
    cassette of the second set. I was floored. At the time, and
    considering my age, I had no idea anyone could get a copy of
    a show THAT fast. And what a show it is. Needless to say
    the next five years or so were spent wearing out that cassette.

    This show is most notable for the only "Scarlet > Eyes" but
    is loaded with great renditions, sick jamming and inspired
    playing. The first set songs are all played really well.
    The final Tom Thumb > Cold Rain > Music is fantastic. Phil
    is just out-of-hand throughout. 'Nuff said.

    This Scarlet is my favorite, period. A bold statement but
    one I can stand tall behind. Great long intro, nice middle
    of the song solo, they come around twice (I LOVE THAT!) before
    the Wind in The Willows but the ensuing jam towards Fire is
    inspired. Brent chasing Jerry, Brent chasing Bob. Jerry is
    traveling 100 miles an hour and the band is right behind. A
    real nice Fire tease and Jerry picks his moment to lead the
    gang into Eyes. WOW!

    Eyes is also full of spit and fire with too many acid laced
    licks to count. Even GDTRFB is fast paced and fun, with Woman
    still keeping your interest. Isn't that a change? Not the
    longest pre-drums, 40+ mins, but understandable as clearly
    Garcia needed to soak his hand in ice.

    Normally topping an all Garcia tri-fecta to opened set two,
    Scarlet > Eyes > GDTRFB, would be hard to beat, beat it they
    do, beat it to death. The next 45+ mins is transcendental,
    perfect, seamless, inspired, rocking/soothing and any other
    accolade you can toss in for good measure. This time a new
    tri-fecta, Truckin' > Other One > Black Peter, takes center
    stage in the post drums part. Note by note, second by second
    the band just clicks. It reminds me of the type of playing
    they were capable of during 2/27-28, 3/1-2 when the band
    was just so in tune with each other and what they are doing.
    While clearly much different, take a listen. These guys
    are so tuned in to what each other is doing it is 6 as 1.


Donor and Provenance:

  • See info file

Accession Number:

  • gd1985-04-27.mtx.haugh.78504.flac16

Archival Resource Key:

  • ark:/38305/g47m093r


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