Ace @ 50

Bob Weir has announced the impending special edition deluxe release of his beloved solo debut, "Ace", fittingly titled "Ace : 50th Anniversary Deluxe Edition", due on January 13th, 2023. Included in the 2 CD winter drop is a remastered new mix of the original 8 track album, as well as live recordings from Weir’s Radio City Music Hall performance on April 3rd, 2022.

On the same day as the CD drop, dead.net will offer the collection on custom high roller pearl white vinyl. Then, on February 3rd, 2023, they’ll provide a black vinyl version of the album. Weir’s updated collection was remixed by David Glasser and remastered through the work of Grammy award winning sound engineer Derek Featherstone.

Included in the upcoming drop is the 2023 remastered mix of Weir’s original 1972 material, which features beloved numbers such as “Greatest Story Ever Told”, “Black Throated Wind”, “Walk In The Sunshine”, “Playing In The Band”, “Looks Like Rain”, “Mexicali Blues”, “One More Saturday Night” and “Cassidy”.

Moreover, disc 2, "Live At Radio City Music Hall, New York", boasts the same tracking list as "Ace", only live and featuring Weir’s 50th anniversary concert guests from his April 3 stand at Radio City Music Hall in New York, with Tyler Childers assisting on “Black-Throated Wind”, and Brittney Spencer adding her vocals to the breakup epic and emotionally infused “Looks Like Rain”.

The new anniversary edition also includes liner notes written by Jesse Jarnow, co-host of The Good Ol’ Grateful Deadcast and author of 'Heads : A Biography of Psychedelic America'. In the notes, Jarnow looks back on the last 50 years of Weir’s career, which led to the imagined dream of integrating a strings and horns section into his live performances.

Jarnow offers, “By the time they played a pair of nights at New York’s Radio City Music Hall in April 2022 to celebrate the 50th anniversary of 'Ace', Bobby Weir & Wolf Bros featuring The Wolfpack had found their flow at the thrilling, porous border of improvisation and arrangement. In the eternal present tense of the Grateful Dead’s music, none of the songs had stopped evolving in the previous 50 years. At Radio City, everything was heard in its newest, and perhaps already outdated, incarnations, the evolutions acting as a progress report on the ensuing half century of Weir’s life, musical and otherwise”.