Grateful Dead

Кстати о Грэйтфул Дэд - как вам тема скелета в розах? (Кстати если кто не знает Джерри Гарсия офигенно рисовал и где-то даже есть книжка с его рисунками) И если кто слушал альбом Blues For Allah - ваше мнение?

Если бы не последняя вещь,я бы его даже купил...

А по-моему первая и последняя вещь самые классные!

Ну если Вы поклонник изысканной психоделики,то это Ваше,меня же это уже не захватывает.

По моему, это лучший альбом Грейтфул, я его слушал, когда он вышел и с тех пор он не потерял своего очарования.

А по моему, ЛУЧШИЙ - это Terrapin Station! (повторяюсь :))

Ваше мнение совпадает со мнением многих англосаксонских критиков - я этот альбом не слышал, собирался купить, но не собрался. Расскажите почему он такой хороший, Лиз.

Я вот тоже не слышал :( Может и правда самый классный, где бы его найти

Да, классный! Купила наугад. Я всё покупаю наугад :) Так что покупайте!!! Не пожалеете...
Найти его можно... можно найти... ээ...ну в Тюмени, например! Извините, не знаю, где у вас это продаётся.
ЗЫ. Lis - это потомучто lisitsa, а не потому что Лиза. Меня Катя зовут... Это так, к сведению... :)

К странному совпадению, у меня тоже есть единственный диск в коллекции - Блюз для Аллаха. Слушал невнимательно, но в паре мест начинало глючить, вот думаю, прямо Пинк Флойд какой-то.
А еще, если не ошибаюсь, в саундтреке Забриски Пойнт тоже был Гарсия. Мне как-то так...

А какую фантастическую вещь - Me & My Uncle написал Джон Филлипс для What A Long Strange Trip It's Been (1977)

Сегодня исполняется 60 лет со дня рождения Jerry Garcia.

На вышедшем недавно "Dick's Picks Twenty-Seven" (Oakland, CA - 12/16/92) присутствует "terrific medley of The Who’s 'Baba O’Riley' and The Beatles’ 'Tomorrow Never Knows'". Интересно было бы послушать.

И уж до кучи - ссылка "The Grateful Dead resurrect name": http://www.canoe.ca/JamMusic/feb11_dead-can.html

Пришёл интересный диск группы Jazz Is Dead под названием "Blue Light Rain" 1998.Это джем-ансамбль,играющий только музыку Grateful Dead .В составе монстры джаз-рока во главе с великим ударником Billy Cobham.Играют довольно мягкий фьюжн в традициях 70-х,очень классно.Рекомендуется как поклонникам Grateful Dead ,так и любителям традиционного джаз-рока в стиле Return to Forever .:-)

Один из лучших бутлегов этих двух великих команд

The Beach Boys Meet The Grateful Dead

The Beach Boys/The Grateful Dead
(Title on the disc itself: "The Pendletones Meet the Warlocks")
Capricorn (CR-2046)
Sound Quality: B+
Value: C (higher if you're a Deadhead, lower if you can't stand 'em.)

Recorded live at the Fillmore East 4/27/71. The Beach Boys participate in about half of the tracks on the disc. (If you listen carefully, between "Good Vibrations" and "I Get Around" somebody yells from the crowd, "Bring back the Dead!" to which quick-witted Mike replies "Hmmph.")

1. Deal
2. Me & My Uncle
3. Birdsong
4. Playin' in the Band
5. Direwolf
6. Searchin'
7. Riot in Cell Block #9
8. Good Vibrations
9. I Get Around
10. Okie from Muskogee
11. Johnny B. Goode
12. Sing Me Back Home
13. Uncle John's Band

Вот, приятель спрашивает.
Дорогие знатоки музыки шестидесятых, не знаете ли вы, где достать полумифический первый альбом Gratеful Dead с одноименным названием??? Дело в том, что ни на Горбушке, ни в Зигзаге ничего нет, все эти места исхожены вдоль и поперек, а вы сами его слышали? Может его просто не существует? Может его для понта в дискографию приписали? В интернете тоже глухо.
А я и не в курсе, честно говоря (стыдливо покраснев)

J. Garcia Wine Sells Out in 30 Days

LOS ANGELES - The late Grateful Dead guitarist Jerry Garcia (news) was many things: musician, artist, writer, composer. Wine connoisseur wasn't really one of them, even though J. Garcia wine, released last year, sold out its first shipment of 22,000 cases in just 30 days, according to the Clos du Bois winery, which is producing it with the approval of Garcia's estate.

A second batch of wines, more than 30,000 cases of merlot, zinfandel and cabernet sauvignon, recently arrived in stores.

"Quite honestly, Jerry was not really a big drinker," said Grateful Dead biographer and longtime Garcia friend Dennis McNally. "But he did have his occasional glass of wine."

Garcia, who died of a heart attack in 1995, also had a somewhat tenuous relationship with Sonoma County, where the wine is produced.

"Sonoma County is where Jerry dropped out of high school," McNally said with a chuckle.

He surfaced fairly soon afterward in a jug band in Palo Alto that eventually changed its name, electrified its acoustic instruments and helped change popular music.

Renowned initially for his music, Garcia began to gain attention toward the end of his life for his abstract paintings, and examples of the latter are included on each bottle of wine.

Jerry Garcia Concert Archive Opens with CD Release
Wed Jun 16, 2004 08:11 AM ET

Highlights include a sweetly played "Russian Lullaby," written by Irving Berlin, and the Charles Johnson gospel tune "My Sisters and Brothers."

The rock centerpiece is a 27-minute "Don't Let Go," a rhythm-and-blues classic by Jesse Stone. Garcia's long solos over a loping rhythm dart and swoop like a swallow, then he takes off on a ferocious tear.

Songs seeing their first release by a Garcia band include Paul McCartney's "Let Me Roll It," and Bob Marley's "Stir it Up."

Garcia's bandmates at the time included former Elvis Presley drummer Ron Tutt, long-time bass sidekick John Kahn, and pianist Keith Godchaux, who was Garcia's melodic foil in the Grateful Dead. Godchaux's wife, Donna, sang vocals with Garcia.

For Garcia fans, the new recordings may help satisfy a musical thirst. Only a relative handful of live solo shows have previously been released, and bootlegs are harder to find than the widely traded Grateful Dead shows.

The "Pure Jerry" CDs are modeled after the "Dick's Picks" series of Grateful Dead concert recordings, of which 31 have been released since 1993, with some selling more than 50,000 copies. The Garcia recordings will be sold over the Internet. (www.jerrygarcia.com).

The series will feature mostly intact performances, usually derived from two-track soundboard tapes. The next release will be from an early 1974 show, followed by a large, two-part set of a multitrack recordings from Garcia's two-week run on Broadway in 1987, McNally said.

MARKETING GOLD

Nine years after his death, Garcia remains marketing gold. Rhino records released a 6-CD box set of Garcia studio recordings last month, and mandolin master David Grisman has recently put out a final installment of his collaborations with Garcia.

Also, Clos du Bois issued its second vintage of "J. Garcia" wines with his artwork on the label, and ties based on his paintings continue to sell widely.

The rest of the Grateful Dead members remain musically active, playing summer tours as The Dead and touring with side bands.

Bob Weir, the Grateful Dead's rhythm guitarist and leader of the group Ratdog, has issued a retrospective on his four-decade career entitled "Weir Here," and he plans a recording of new Ratdog material for next spring .

Weir said the new album probably will not be recorded in a studio. It will be made on the road, he said, where the Grateful Dead has always been at home.

The Dead is still kickin'
Legendary band keeps jamming
Saturday, July 17, 2004

MANCHESTER, Tennessee (AP) -- As the Bonnaroo Music Festival began its slow swing into a fever pitch, it was hard not to notice an anticipatory tension in the audience of some 90,000 sweat-soaked fans.

Warren Haynes was delivering a pummeling set with Government Mule, but it almost seemed that the crowd could sense The Dead -- Phil Lesh, Mickey Hart, Bill Kreutzmann and a slumbering Bob Weir -- lurking just yards behind the stage.

Just before kicking off a nationwide tour at last month's Bonnaroo, The Dead -- which carried on after Grateful Dead frontman Jerry Garcia died in 1995 -- spoke to The Associated Press about confounding expectations, jamming in no man's land and surfing their eternal musical current.

Q: A few weeks ago, in an interview with Charlie Rose, Trey Anastasio said that without The Grateful Dead, an event like Bonnaroo would never have happened. Do you find kicking off a new tour here particularly special?

LESH: It's neat that the whole thing hasn't just gone away, like so many things from the '60s. It's a no-brainer for us.

HART: It was a good idea then, and it's a good idea ...

LESH: It's a better idea ...

HART: It's a better idea now, it really is. When you get a lot of people together and a lot of bands together it creates this certain kind of vortex. It's exciting. It used to be like that when we were playing with Quicksilver and the Airplane and Big Brother, it wasn't really a competition but we were just kind of all egging each other on, and it's the same way here. It's just become a great venue for music for music's sake.

Q: Do you feel a more intense kind of familial or collaborative energy at something like this?

LESH: We always hope to have the same level of that whenever or wherever we play, even in rehearsal, and in fact, that's turned out to be very true of our rehearsals for this tour. It becomes, of course as well, a synergy from the audience. The larger the audience, the more the people are into the music. These people are obviously very into the music. They want to go to all those different places that we can take them, and we want them to go with us, we want them, in a way, to show us the way.

Q: When people talk about a "jamband" scene, one of the things that seems to get obscured is the balance between songwriting and jamming, a dichotomy you have always maintained better than anyone else. How do you feel about that balance?

LESH: You've got to have some place to start. You've got to have some place to go to. I mean we could just go out and play, but it might not be as meaningful ... it might not constitute as meaningful a journey if we didn't have some signposts along the way. I'd like to think of it as us surfing the current of that eternal music that's flowing through us, and along the way there are those little islands, (Hart smiles deeply, nodding in agreement) little archipelagos, which are songs, and we surf over to this one, and make a landfall, and live on that island, and then cast off again into the current. Sometimes we know where the next island is going to be and sometimes we don't.

HART: Well, in jamming, speaking metaphorically...

LESH: (Prodding) Oh, duuude!

HART: ... that's so true, we don't know exactly where we're going nor do we care so long as we all go there together, and that's the most important part of that voyage, if you're doing it right. The songs are really important to us, we really love the songs, but we also really like to go out in no man's land and discover new stuff, and even treat the songs differently every night, jamming within the song frame and the going way out of it.

LESH: We can go so far out that we forget where we were.

HART: And then we know we're there! (Laughter, congratulatory high fives.)

Q: Is being able to open yourself to change in that way part of the maturing process as a musician?

KREUTZMANN: You have to be just a vessel for the whole experience.

LESH: Exactly, because the best things happen when we're not there at all. It's such a cliche, but the music plays the band, it's the truest thing anyone's ever said about it.

KREUTZMANN: You have to be there will the skill, of course.

LESH: Chance favors the prepared mind.

HART: And there has to be a willingness, and a certain kind of expectancy, and you have to expect the unexpected ...

LESH: You have to crave it! Pray for it! And go looking for it.

HART: And (the audience) come with the same expectations. They come with expectations, we come with expectations, hopefully a creation will be made collectively, and they go home and do something with that, with the spirit that they get here, and that's really what any great music is about, it's not about the music as much as it is about what it does to you and what you do with that feeling after you leave, not only just being here for a few hours and clapping and having a good time, but going out in the world and doing some good with it. And that's really the experience of the transcendent nature of music. If you can do that, then you're really there.

KREUTZMANN: It's easier to take a journey when you don't have the expectancy, when you're not carrying that baggage. You can cruise easier because you don't have to follow rules out there.

LESH: Or you can just react to what you hear.

KREUTZMANN: That's right, it's in the now.

LESH: Part of the business of art is to confound expectations.

KREUTZMANN: And that's again, about getting out of self. I have an expectation about today, but it's about getting out in front of a lot of people and feeling really good playing music with my brothers.

HART: But there are ground rules, and we've had to define those ground rules over the years, about surrender and the moment. It's mainly about being able to listen really hard to what other people are playing, but not too hard where you don't make your own musical expression, so it's a real delicate chemistry you have to maintain. What makes a band is the specific inner workings of their chemistry, that's what makes the magic, and magic is what we're after. And it's something that only we do the way we do it, other people have their own chemistry, which is not, of course, to say no one else can jam. It's not just playing it right. If it was about playing it right we'd fail miserably. (Communal laughter.)

LESH: Speak for yourself.

HART: That's not the object of this music, to play it right, whatever that is.

KREUTZMANN: And what's right? It's more about having joy.

Q: How do you find that musical communication translates into your everyday interactions with each other?

LESH: Somehow, after a really good set, that communicative afterglow will last a long time into our interactions. I feel toward my brothers, in those moments, the way I feel about myself. We're becoming each other out there as much as we're becoming the music. And it lasts for a long time, it really does. I have feelings of warmth for you guys for days and days.

HART: The horror! The horror! And you can't bottle it, and it makes it so much rarer. It's the type of thing where it just crops up.

LESH: We can't even bottle it, we have to ask for it, we have to ask for it. It's a state of grace.

KREUTZMANN: It's sacred. We take it that seriously, really. It's our form of sacred.

HART: If there is a God, he comes down once in a while and blesses us through music.

KREUTZMANN: (Laughing) You know he speaks through music.

LESH: (In mock pulpit tone) Make a joyous noise unto the Lord!

Two Varieties of Jam
Warren Haynes' current stint touring with the Dead has given the guitar whiz a new perspective on his steady gig with the Allman Brothers Band. "The ingredients are similar, but the approach to the jam is different," says Haynes. "The Allmans are more about creating the intensity and making it happen, while the Dead are more about relaxing and waiting for the magic to happen."
http://www.boston.com/ae/music/articles/2004/07/30/with_haynes_on_board_the_dead_are_al...