Vinyl Me Please Anthology

Calling it now, a fake sellout announcement within the next 48 hours followed by it being listed again on some other affiliates website in the next 6 months or so. Announcing fake sellouts is buying themselves new customers, which is more important to them right now than actually selling out.
 
Brotha52 said:
Imagine if this was a RSD item instead of VMP still with 7500 made. This would sell immediately.
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I doubt it at this price point. I remember seeing the 4 LP box set of studio albums from a RSD 2017 in stores for months after, and that sold for less than 100
 
MikeH said:
I'm confused about the demographic tho and who this box set is for. It's not for people getting into the Dead for the first time because it's too expensive but it doesn't have enough exclusive content for Dead Heads to drop $450. Do Dead Heads love the bands in the liner notes?
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Yeah, it's a little sloppy and I think it misses the mark, but here's kind of how I'm seeing it.

It's for people with money that want VMP to curate their record collection for them. They listen to indie bands and have "eclectic" tastes, but really just hover within the same parameters of what is played on non-commercial radio stations like KEXP. It's kind of like how SUB POP is considered a indie label, but Warner Bros owns 49% of the company. They only go so far off the grid and are still fairly tethered.

Even by looking over that Day Of The Dead box, I could pick more names of artists whose takes I'd be interested in hearing about regarding the Dead. Having some dude from Dirty Projectors or someone from the Decemberists talk about them is not a selling point.

I remember 15 years ago, when the psych rock revival was really starting to gain some traction and talking about how ridiculous it was to me that there was still so much aversion to the Grateful Dead. People were starting to embrace this throwback sound, but continuing to completely dismiss some of the primary architects. It seems like a lot of people can't remember that the Dead were still considered "uncool" and something to run from. But, shortly after, their legacy started to infiltrate that scene and then, almost overnight, they were given props. Even if you didn't listen to them, it was a good idea to wear a shirt. I saw images of some high fashion runway show recently where they all had on tour Tees.

Even now, when some people are explaining that they dismissed the Dead it was because they knew people that also liked Phish. The Dead's stigma was the same as the one with Phish, if not worse Phish actually took on some of it that they still retain, after the Dead has shaken it. That's because, prior to recently, people who listened to the Dead were considered a certain type of person. Once you start to see that the music reaches beyond that small stereotype, it's harder to argue that case.

So, now there is an acknowledgement that they overlooked the Dead for whatever reason, but for a lot of us, that still feels relatively new. That same blank dismissal that Phish gets was applied to the Grateful Dead FOREVER. They represented some hippie bullshit that nobody wanted to be associated with. All of that "When the drugs run out, people realize they are listening to a shitty band" rhetoric was standard. So, now all the same demographic of kids who 15-20 years ago wouldn't be caught "dead" even admitting that they liked a GD song are existing in a time period where the world has embraced them, and I'm sure some of that comes over time with their own heroes signaling to them that it's okay now.

For that reason, the Day Of The Dead box was probably a better introduction to the group than this thing, because it broke down those barriers in a way that showed a lot more reverence and care than I may have otherwise expected from it. You could tell that the people behind it really cared. The VMP release seems like it's targeting the same crowd, but with a less effective delivery. The price is obviously a huge difference and the Day Of The Dead box actually delivered something new. This is old stuff and most of it fairly easy to acquire. Then, you just have Jim James showing up to tell you why it's cool. Oh, and Hunter from Soundtribe, who most people won't even know who the fuck he is.
 
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See, these color choices actually make sense! And basically $20/disc...
 
4080 said:
Get while it's hot!

Code: M9J5ZV

Am I missing something, they seem very confident that this is a no brainer and will sell out rather quickly and easily, like overconfident! I remember they talked about being worried pressing 1000 Blue Note boxes and thinking that was a big risk, times have changed!
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That's how they talk. Either they believe it or it's a bluff. Meanwhile, they're still sitting on a stack of anoraks and Woodstock boxes.

I guess we'll see.
 
A little late in the "guess whats in the box" posts, but if I was limited to 4 live and 4 studio, I'd go with:

Live:
Live/Dead
Europe '72
Cornell '77
Wake Up To Find Out

Studio:
American Beauty
Wake of the Flood
Go To Heaven
In The Dark

The biggest crime here (in my opinion) is that they're giving the same weight to the studio material as they are the live material. I think cutting all of the studio albums and adding in Stanford 82 and Berkeley 84 (or at least some 78-90 retrospective live collection) would've improved the collection massively.

Still looking forward to the podcast and liner notes and everything.
 
mitchwagz said:
I get why they chose the albums they did too, but they definitely could have chosen either Workingman’s Dead or American Beauty and included something from pre Live Dead. Also, Blues for Allah is a stronger album than Wake of the Flood, and Reckoning is just an all acoustic live compilation from fall 1980 shows which is good but they could have done a full show too or mixed recordings from that and Dead Set. Maybe they should have included In the Dark too.
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Same. I get it, and expected it, but I don't like it. I'm looking at Working Man AND American Beauty as if they were afraid that picking one would result in people complaining that they didn't pick the other, but it's definitely lazy. The Reckoning acoustic element is kind of essential to me, but I agree they could have approached it differently. Without a Net is them covering later era without over focusing on it or releasing a spotty album. I love Wake Of The Flood, but you have to pick a lane. If you're viewing "essential" as WD and AB, then Blues For Allah should be in there.
 
guitwiz said:
A little late in the "guess whats in the box" posts, but if I was limited to 4 live and 4 studio, I'd go with:

Live:
Live/Dead
Europe '72
Cornell '77
Wake Up To Find Out

Studio:
American Beauty
Wake of the Flood
Go To Heaven
In The Dark

The biggest crime here (in my opinion) is that they're giving the same weight to the studio material as they are the live material. I think cutting all of the studio albums and adding in Stanford 82 and Berkeley 84 (or at least some 78-90 retrospective live collection) would've improved the collection massively.

Still looking forward to the podcast and liner notes and everything.
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That would be a big box.
 
Brotha52 said:
Imagine if this was a RSD item instead of VMP still with 7500 made. This would sell immediately.
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You can still find Dead RSD releases for retail or cheaper that were a lower number than this. Even Dick’s Picks vinyl releases aren’t over 2,000. At the end of the day, the Dead wasn’t really made for vinyl listening.
 
Y'all stop complaining! They are graciously allowing you to purchase this boxset with 4 interest-free payments of $112.50.

We have entered a new era for vinyl! Shit is so expensive you have to pay for it over a 4 month period.

Just get the MOFIs and the Rhino reissues. That is all you need. Dead albums are so ubiquitous (with a few exceptions).

I bought all the Rhino reissues on Amazon for$12 each. They all sound fantastic. Live Dead was $17. Europe 72 reissue was $37.

These prices are nuts for some colored PVC pellets.
 
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