Margaret and I are excited to get a new episode out after our unintended hiatus. And we are even more pumped because in this episode we sit down with Max Wiener, a long-time contributor to Grateful Dead of the Day. Max has written over ninety reviews for the site, though he is a young Head at just 23 years old. And while he has only been on the bus for five years, coming in by way of John Mayer and Dead and Co., Max’s tale of falling in love with the Dead by listening to countless hours of shows and hearing stories from wizened Heads will be familiar to any Deadhead. Max also provides a primer and roadmap to anyone who wants to take a dive into the band beyond description. Enjoy!
You can follow Max’s stand-up comedy and over-the-top track-suited lifestyle on Instagram: @maxisawiener.
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As we discuss with Max, we have added well over a thousand videos to Grateful Dead of the Day. Some of Max’s favorites that he references in the episode include July 8, 1990 at Three Rivers Stadium, March 22, 1987 at Hampton Coliseum, and April 26, 1977 at the Capitol Theater in Passaic. And there is remastered video, courtesy of Christopher Hazard, of the 1995 breakout of Unbroken Chain at the Spectrum that Max discusses.
Some of the shows mentioned in this episode:
June 16, 2018 – Dead and Co. – Citi Field – The Sugar Magnolia is from an audience recording made by Z-Man.
January 7, 1979 – Madison Square Garden – The Shakedown Street is from a recording via Raoul Duke, which was encoded by Matt Vernon.
January 11, 1979 – Nassau Coliseum – The Truckin’ and Jack Straw are from a front of the board recording made and transferred by Dr. Keith J. Gatto with some additional processing by Jim Wise.
March 29, 1990 – Nassau Coliseum – The Eyes of the World with Branford Marsalis comes to us from a another FOB recording, this one recorded by Ted Mattes and made even more lovely by Charlie Miller and Joe Noel.
September 18, 1987 – Madison Square Garden – The Morning Dew clips are both from Michael Hessberg’s audience recording, which was transferred by Charlie Miller and mastered by Scott Clugston.
May 8, 1977 – Barton Hall, Cornell University – The Morning Dew is from an audience tape recorded by the late great Jerry Moore and transferred by Rob Berger and Chris Larson.
May 9, 1977 – War Memorial Auditorium – The Help on the Way and Estimated Prophet are both from a recording taped by Steve Maizner and helped along by Jack Warner and Matt Vernon.
October 9, 1989 – Hampton Coliseum – The Dark Star breakout is comes from Ted Mattes’s master FOB DAT, which was transferred by Charlie Miller and mastered by Scott Clugston.
November 8, 1969 – Fillmore Auditorium – The Dark Star comes from a rough audience recording, which is expected given the age; this is one of very few (less than a dozen?) audience tapes from pre-1970. Marty Weinberg made the original recording and Jack Warner transferred it.
September 3, 1977 – Raceway Park – The Mississippi Half-Step is from Tim Stiegler’s recording, transferred by Dennis C. and Andrew F.
June 23, 2019 – Dead and Co. – Citi Field – The Saint Stephen is from Jeff Travitz’s recording, which was processed by Keith Litzenberger.
April 26, 1977 – Capitol Theater – The Friend of the Devil is from an audience recording transferred by Teddy Goodbear.
August 7, 1982– Alpine Valley – The Althea is from a Matt Fielding recording that was transferred by Tony Suraci.
March 9, 1981 – Madison Square Garden – The Deep Elem Blues is from a Steve Rolfe recording that Charlie Miller transferred.
Other music in this episode:
Blow Away from March 16, 1990 at the Capital Centre is from an audience recording originally made by Gene Juteau then transferred by Jeff Bowen and extracted by Brad Foster.
Touch of Grey from July 4, 1987 at Sullivan Stadium is from a Bruce Fried DAT that Mike Lai converted.
Playin’ in the Band from August 4, 1974 at the Philadelphia Civic Center was recorded by Jerry Moore and transferred by Mark Cohen and Noah Weiner.
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