#70S GRATEFUL DEAD FONTS PROFESSIONAL#

Going in the forward-facing chronological direction from ‘95, with the right sound and lineup I also greatly enjoy AUDs from the post-Garcia projects as well. Still, with AUDs, there’s a clear correlation between my willingness to listen and how early in the band’s career the show in question occurred. Personally, I’m a little snobby in that if one is available, I usually go with soundboards for anything from ‘65-’95.

#70S GRATEFUL DEAD FONTS PROFESSIONAL#

You’ve also got soundboard snobs who seldom stray from the incredible purity of what Bear, Bob Matthews, and Betty Cantor-Jackson captured in the 60’s and 70’s, preferring the professional touch of official releases over anything snagged from the taper’s section. These folks swear by Jim Wise and the Oade brothers of early 80’s fame, as well as Keith Litzenberger’s admirable work from the 90’s. From a general standpoint, you’ll find old school cats who love, and sometimes even prefer AUDs, whether because of a lack of SBD alternatives for a specific performance/era (especially ‘67-’70 and ‘80-’83) or a soft spot for the tapers and their signature put-you-right-in-the-room effect. There are different schools of thought when it comes to audience tapes, and when it comes to ones like this, there are as many opinions as there are deadheads who’ve listened to the show. I’d call this very listenable! Would I use this show to introduce or summarize the Grateful Dead to a new listener like you might with Veneta ‘72 or Cornell ‘77? Probably not, but for conditioned fans with well-trained ears, Santa Monica ‘70 offers a headspace that the afore-mentioned shows simply can’t provide.

70s grateful dead fonts