New record pressing! Grateful Dead: Dick’s Picks Vol. 12–Providence Civic Center 6/26/74 & Boston Garden 6/28/74 (6LP Set)
Combining the second sets of two different nights is not standard operating procedure for the Dick’s Picks series of live Dead shows, but this volume is the exception that proves the rule-the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist on Vol. 12. The first disc picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show-which appears here complete, beginning on CD two after a superb encore performance of “Eyes of the World” from Providence-is the one that has passed into legend among Dead fans (that it begins with a rare performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” gives you an idea of what an adventurous night this was). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far-ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy.
New Record Pressing — Shawn James – Honor & Vengeance. Thanks Shawn – it’s the third album pressed at GGR for you! This is a wild western concept album telling a tale of gunslingers and outlaws.
New record pressing – Rumskib – Previously Unreleased.
The Rumskib story as told by Keith and Tine:
Keith: Cocteau Twins, Stereolab, Ivy and Massive Attack were constantly on repeat back in 2000. I had to do something about my passion for these music styles. Just across the street from where I lived there was a local music library. I went there to put up a note.
Tine Louise: The library was my favorite spot. They had a small Pro Tools Studio that you could book for free. I often went there to record my own music for my art projects.
One day a handwritten note, “Looking for a singer. Cocteau Twins”, caught my attention, because my art school girl friend had just intrigued my ears with “Heaven or Las Vegas” from her record collection. I called the number.
Keith: I had a couple of singers over for a talk and a demo audition, which were good, but it was when Tine came by and sang, that I thought WTF here is the singer I have been looking for. She could work on a track and be creative and I would leave the room and stick my head in once in a while to hear how it was going. She sang so beautifully and hit my original idea right on target.
Tine Louise: One day I came to Keith’s basement apartment. A good friend of mine got me so furious … And from this anger the song “Where are the Flowers” grew. I think Keith felt my anger and disappeared. A couple of hours later when he returned this was what I had recorded on the timeline. youtu.be/56fcwdx6KWY
In the beginning the set-up was real low-fi. Sometimes the window was open and you could hear footsteps of people walking by and car engines accompanied my voice recordings.
Keith: In those early days I had a 8 track Zip disk recorder, some of the tracks from that machine made it to this album. Later on we used the studio at the music library, which was a notch up. Tine was busy with her art projects and I was studying Literature science. Without me being overly busy … sometimes we didn’t see each other for six months or even a year.
It wasn’t until around 2004 that we really got things going, putting various material up on Danish music sites and meeting up with each other more frequently.
Tine Louise: Often Keith had recorded a bunch of real nice soundscapes of guitars, beats and drums. And I went on board. He was really productive … wow I just felt happiness listening to his crunchy guitar melodies. I took a pile of secret notes from my drawer … and the words formed into melodies climbing Keith’s mountains of guitar sounds.
Sometimes Keith had already recorded his own voice. Sometimes I put my voice on top. Sometimes I just started up another melody. Sometimes I mixed english and danish lyrics. It was kind of rock’n’roll. No rules!
Keith: We just liked making music. We didn’t think we were even that good I remember. I was shocked by the comments we got on the Danish sites in the beginning of our online adventure. Some people really liked our stuff. We got better and better and got more attention, which suddenly led to Quince Records and then Darla Records for our debut release.
We got a lot of attention on that first record in 2007-2009. We started up a live band and went on small tours. But then it kind of stopped. I was moving to Copenhagen and was eager to do something on my own and Tine was busy with all her art projects. So, it’s nice to be back again. We hope you will enjoy this trip down memory lane with us.
The Standard and Numbered Editions both feature AAA 180g Vinyl, cut by Bernie Grundman and pressed at Gotta Groove. The numbered version is limited to 500 foil stamped copies.
Over the last few years, Jerome Sabbagh has been playing trio with bassist Joe Martin, and legendary drummer Al Foster. The trio’s performances have drawn an enthusiastic crowd, bridging generations and captivating audiences with their exceptional musicianship and collective spirit.
They recently recorded the upcoming album, Heart, an all analog album recorded by James Farber at Power Station that will the first Analog Tone Factory release. The album will be available on August 30, 2024.
Thirty years just flew by – thirty incredible years.
In 1993, the band started playing Monday nights at Visiones in Greenwich Village, a moment that publicly launched the Maria Schneider Orchestra.
In 1994, only one year later, our first album, Evanescence, would be released. That launched another beginning to a long and beautiful recording career that has brought the band eight albums, multiple Grammy Awards, oodles more awards and many beautiful collaborations.
While I deeply treasure our many accolades, what has always most motivated me is human connection: firstly, connections made with my musicians, who despite the countless solitary hours spent honing their individual artistry, always open themselves to be completely vulnerable to one another in every performance as they await the unexpected. That unexpected magic is largely found because of you. You are the deep motivator, and your presence has been key to us developing our music over the years.
An image was just recently brought to my attention by potter, Jack Troy. Many of you will recall that Jack’s work inspired “Stone Song” and his pottery is even “played” on the recording by Johnathan Blake. Anyway, Jack’s email described the effect of robins singing at sunrise in a long succession of song, traveling from the east coast to the west coast as the sun slowly rises along a moving horizon. It got me thinking about recording and how unique it is. When a recording resonates with listeners around the world, it has the potential to form a continuous stream of resonance, perhaps even vibrating continuously around the whole planet. It made me wonder if it’s possible that our recordings have at any time over the years rung continuously for a magically vibrating 24-hour orbit around our whole earth? It’s certainly a wonderful thing to imagine.
Those of us who thrive on vibrational sound, audiophiles and casual listeners alike, generally agree that no recorded sound magically vibrates like vinyl. If I were to wish for my music to make that 24-hour trip around the globe, I’d want those vibrations to start with a phonograph needle moving along the grooves of vinyl. Just one problem: none of my albums have ever been on vinyl.
So, in contemplating how to celebrate these past thirty years in the most special way I can imagine, I’ve decided to release three LPs, each representing some of my favorite music from each respective decade. I’ve been searching my heart for music especially meaningful to me; whether it’s a piece that I feel represents an experience of mine particularly well, or whether it’s a piece that simply makes me look back with satisfaction and say, “Damn, that’s good!”
My next thought was this: I want that these 3 LPs to be beautifully packaged. I knew who to call. Beauty is assured with the artistry of Cheri Dorr who designed The Thompson Fields and Data Lords.
The remastered LPs will come from the following recordings:
Decade I: Evanescence, Coming About and Allégresse
Decade II: Concert in the Garden and Sky Blue
Decade III: The Thompson Fields and Data Lords
For me personally, I’ve found there has been deep value in me looking back on these decades in a way that I’ve not done before. So, I’ll want to share a lot about those newfound perspectives through ArtistShare. And, I will of course include interviews with many of the masterful musicians that have played this music.
I couldn’t be more excited. I sincerely hope you’ll want to be a part of this project as we mark nearly a third of a century and forge ahead into the next unknown.
New record pressing! Albums don’t get much more intimate than the ones made by Stina Nordenstam. The Swedish singer layers her delicate voice over minimal, ambient soundscapes, and her lyrics are impressionistic, personal, and poetic. It’s like you’re swimming in her stream of consciousness, which is a pretty nice place to be, especially on this 2001 album, which presents Stina at her dreamiest and poppiest.
It’s record store day every day here at GGR, but for the official Record Store Day, we recommend you make an added trip to your local independent record store to celebrate! Here are some RSD titles pressed by GGR for RSD 2024:
The Dead Milkmen – Bucky Fellini (only the handmade variants and Wax Mage edition)
Not many of our record pressing customers have their own music festival, but our long-time San Pedro, CA based customer Nomad Eel Records is having a showcase of LA-based bands (all with records pressed by Gotta Groove) on Saturday April 13 at the Grand Annex Music Hall in San Pedro.
Music cut and pressed into this vinyl record is the culmination of 1000+ steps all skillfully crafted and produced to capture T.vic’s best original, heavy and dynamic soundscapes recorded to date. The mesmerizing artwork was created by Brittany Bindrim. Dave McNair Mastering produced the vinyl audio masters.
