| Identifier | 5805294 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | DVD+R |
| Media Count | 1 |
| Note | The Grateful Dead
8/27/72 the Old Renaissance Fairgrounds Veneta OR "Sunshine Daydream" The Legendary (yet still unreleased) Concert Film by John Norris, Sam Field, and Phil DeGuere Source: "Sunshine Daydream" Video Source: 2nd Gen. VHS of original captured at 6000 bits/second. (NTSC) Audio: 16 track Master Reels > DAT (x3) > CDA > EAC > SHN digitally re-mastered using a custom built, Dual-DAW,nicknamed "Bertha",then spliced with audio from the original film soundtrack, and edited with Adobe Audition. DVD Layout 1-1. [Beginnings] 1-2. [Bring on Summer] 1-3. [Water] 1-4. Promised Land 1-5. [Crisis] 1-6. China Cat Sunflower 1-7. I Know You Rider 1-8. [The Truck] 1-9. Jack Straw 2-1. [Oregon Insanity] 2-2. Dark Star 2-3. El Paso 2-4. Greatest Story Ever Told Fingerprints: d176231dee16e8a2877ed6d749803109 *VIDEO_TS.BUP d176231dee16e8a2877ed6d749803109 *VIDEO_TS.IFO aecbc51d518cb7b4cc8f23624f78a01e *VIDEO_TS.VOB 4c030a7871acd9624a774601105fd658 *VTS_01_0.BUP 4c030a7871acd9624a774601105fd658 *VTS_01_0.IFO d473c3995140513dc113cb37c8177c57 *VTS_01_1.VOB f8d11903db30c81b743c726fb309f283 *VTS_01_2.VOB d1a857a22a3984636e86eb0ea0535dc0 *VTS_01_3.VOB 7cf2be5b1bd60cb11e52e067bc0412d4 *VTS_01_4.VOB a9c906df1af7db62a89c402733a6ae69 *VTS_01_5.VOB 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. Enjoy! THis is one of the best copies in out there today so if you dont have this upgrade then get it Quote: Originally Posted by Sam Field 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. |
| Source Info | "Sunshine Daydream"; The Legendary (yet still unreleased) Concert Film by John Norris, Sam Field, and Phil DeGuere |
| Trades Allowed |
Performance
| Grateful Dead 1972-08-27 Old Renaissance Faire Grounds, Veneta, OR | |
|---|---|
| Set 1 | Promised Land, Sugaree, Me & My Uncle, Deal, Black Throated Wind, China Cat Sunflower-> I Know You Rider, Mexicali Blues, Bertha |
| Set 2 | Playin' In The Band, He's Gone, Jack Straw, Bird Song, Greatest Story Ever Told |
| Set 3 | Dark Star-> El Paso, Sing Me Back Home, Sugar Magnolia, Casey Jones, One More Saturday Night |
| Comment | Springfield Creamery benefit - "Field Trip" - not 08-28-72 - Other artist(s): NRPS |