Relix

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.Few pieces of Wall of Sound–era hardware carry provenance as direct and personal as this open-back JBL guitar speaker cabinet. Jerry Garcia gifted it to Monroe Grisman at The Club Front in San Rafael, CA — accompanied by a provenance letter from Grisman confirming that exchange. Configured with the signature flush-mount banana jacks characteristic of Garcia's Wall of Sound guitar rig, the 4-ohm cabinet reflects the custom, instrument-specific approach to amplification that defined the Dead's live sound in the early 1970s. Distinctive cigarette burns to the top surface and wear consistent with extended live and studio use speak to a working life at the center of one of rock's most ambitious sonic experiments. Circa early 1970s–mid-1980s. A tangible remnant of the Wall of Sound, with an unimpeachable chain of custody.

Jerry Garcia Owned Wall Of Sound Cabinet Gifted By Jerry Garcia to Monroe Grisman at The Club Front

The Grateful Dead did not simply perform concerts. They built a world, night after night, in which electricity, improvisation, and the collective will of thousands of listeners converged into something that resisted every attempt to contain or define it. No recording could fully capture it. No photograph could hold it. And so the band's crew — engineers and roadies and sonic architects working under names like Owsley Bear, Ram Rod, Kidd Candelario, and Sparky Raizene — built systems of ever-increasing ambition in pursuit of a simple, impossible goal: to make the sound as large as the experience. The Wall of Sound, deployed across the Dead's historic 1974 touring season, was the apotheosis of that pursuit: a 641-speaker, 26,400-watt apparatus so colossal it required its own trucks, its own structural engineering, and a full day of assembly before a single note was played. It remains the most ambitious live sound installation in the history of popular music.This auction, the fifty-second presented by ANALOGr in partnership with Relix, gathers that hardware — and much more — into a single historic sale. McIntosh MC 2300 amplifiers that carried Garcia's signal through the Wall's towering arrays sit alongside the 1967 Fender Twin Reverb he played at Newport Pop Festival '68, later passed to John Cipollina of Quicksilver Messenger Service. Phil Lesh's original Dual Showman bass head is here, still bearing fragments of Courtney Pollock's tie-dye. So are the Hard Truckers cabinets marked "CHEOPS" — believed to be the monitors the Dead brought to the base of the Great Pyramid in 1978 — and the original Wall of Sound diagram poster, hand-signed by the crew who built it. Beyond the gear, the sale encompasses psychedelic posters, signed memorabilia, original tickets and backstage passes, and an ultra-rare 1965 Scorpio Records 7" single that predates the Dead's mythology entirely. Each lot carries direct, documented provenance traced to the band's inner circle, their personal estates, and their storage lockers. For those who believe that history lives in objects, this is where to look.

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.Few amplifiers in rock history can claim such a storied dual provenance as this 1967 Fender Twin Reverb. Originally owned and played by Jerry Garcia, it served as his primary amplifier during the Grateful Dead's landmark performance at the 1968 Newport Pop Festival—one of the earliest large-scale music gatherings in the United States and a direct precursor to Woodstock. The amp bears unmistakable evidence of its origins: "Grateful Dead" is stenciled on the side, and the marking "J1"—designating Jerry's #1 amp—confirms its front-of-stage role in his rig. After Garcia, the amp passed to John Cipollina of Quicksilver Messenger Service, who added "Quicksilver" to the cabinet and incorporated it into his own touring setup, elements of which are now enshrined at the Rock &amp; Roll Hall of Fame. Most recently serviced by Danny Ghinn (of Dumble Amplifier fame) on November 11, 2025, this amp is in documented, playable condition. A singular artifact of the San Francisco psychedelic era.

Jerry Garcia & John Cipollina Owned 1967 Fender Twin Reverb

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A monument to the Wall of Sound era, this 1971 McIntosh MC 2300 amplifier (serial #1Y542) is presented in its original vintage case—a case that served a very specific and legendary function on the Grateful Dead's stage: it was the step Bill Kreutzmann used to climb up to his elevated drum riser. Together, the amp and its purpose-built road case represent the engineering ingenuity and sheer physical scale of the Dead's groundbreaking live sound system. Coveted by audiophiles for its sonic fidelity and by collectors for its historical significance, the MC 2300 remains one of the most respected power amplifiers ever produced. This example has passed through Grateful Dead hands and retains its original character.

Grateful Dead Black McIntosh MC 2300 UltraSound Amp & Kreutzmann Step-Case

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.This 1970s McIntosh MC 2300 power amplifier (serial #1Y423) was used by Jerry Garcia as part of the Grateful Dead's legendary Wall of Sound—the most ambitious live sound system ever assembled. The Dead modified the unit themselves, adding banana plug jacks to the rear output terminals for their custom speaker arrays. A Steal Your Face sticker graces the rear panel, and the channel labels are hand-written: "Jerry" over the Left channel output and "Mickey" over the Right, indicating that even after the Wall of Sound was dismantled in 1974, this amp continued to carry Garcia and Hart's signals in the band's ongoing live operation. Obtained directly from the Grateful Dead storage locker of Bill "Kidd" Candelario—one of the Dead's most trusted road crew veterans—its provenance is as solid as its build.Dimensions: 10.5 x 19 x 17 inches.

Grateful Dead Jerry Garcia-Used Wall of Sound McIntosh MC 2300 Power Amplifier

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.One of Phil Lesh's primary bass amplifier heads from his most formative years with the Grateful Dead, this Fender Dual Showman head (serial #A 02876) bears the designation "#5" on its cabinet top—a road-crew numbering system used to track equipment across tours. Modified extensively by the Grateful Dead and Alembic crew, the unit features two 1/4" direct preamp output jacks and a pair of banana plug jacks installed on the rear, routing Lesh's signal out to the bank of McIntosh MC 2300/3500 amplifiers that formed the Wall of Sound. Authentic fragments of tie-dye cloth by artist Courtney Pollock—which once draped the front of the cabinet in the early 1970s—remain visible in the corners, a delicate reminder of the era's visual exuberance. A rare opportunity to own a piece of Phil Lesh's original stage rig. As Deadheads say: Lesh is More!Dimensions: 24 x 9.5 x 8 inches.

Phil Lesh's 1960s–1970s Grateful Dead Fender Showman Bass Amplifier Head #5

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.Reclaimed directly from the storied Winterland Arena in San Francisco, these original wooden bench chairs are genuine artifacts of one of rock and roll's most hallowed venues. Constructed from heavy Northern California redwood with flip-up seats, the chairs date to Winterland's opening on June 29, 1928, making them nearly a century old. Tom Stack personally removed these benches from the building on September 24, 1985, as Winterland was being deconstructed prior to its eventual demolition. The chairs were situated in the four rows of seats just off the main floor—prime territory for many legendary shows, including the Grateful Dead's final Winterland performance on New Year's Eve, December 31, 1978. This lot includes a San Francisco Chronicle column by the legendary Herb Caen, multiple Winterland feature articles, and a zip drive containing 45 archival photographs.

Winterland Ballroom Bench Sets

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.This extraordinary pair of Hard Truckers stage monitors combines two significant chapters of Grateful Dead history in a single lot. The cabinets house 10" JBL speakers alongside EV tweeter horns pulled directly from the center cluster of the 1974 Wall of Sound. Grateful Dead roadie "Sparky" built the custom Hard Truckers enclosures and integrated crossovers specifically for these salvaged Wall of Sound components, as confirmed by legendary sound engineer Dan Healy. Most remarkably, one cabinet bears the word "CHEOPS" scratched into its wood—widely believed to indicate these were the very speakers the Dead brought to Egypt in September 1978, attempting to use the burial chamber of the Great Pyramid of Cheops as a natural echo chamber during their historic Pyramids concerts. Obtained from Merry Prankster Ken Babbs' Oregon farm via his son Simon Babbs. Includes an original 8x10 photograph of Phil Lesh with his Big Brown bass and Keith Godchaux on stage with these cabinets from a 1978 Grateful Dead show.Dimensions: 13 x 16 x 22 inches each.

Jerry Garcia Owned Wall Of Sound Cabinet Gifted By Jerry Garcia to Monroe Grisman at The Club Front

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