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Grateful Dead Records: Realia
http://oac.cdlib.org/findaid/ark:/13030/c8k64ggf No online items Guide to the Grateful Dead Records: Realia Wyatt Young, Maureen Carey University of California, Santa Cruz 2012 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Note Finding aid updated in 2018, 2020, 2021 Guide to the Grateful Dead MS.332.Ser.10 1 Records: Realia Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Realia Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser.10 Physical Description: 178 Linear Feet128 boxes, 21 oversize items Date (inclusive): 1966-2012 Stored in Special Collections and Archives. Language of Material: English Access Restrictions Collection open for research. Advance notice is required for access. Use Restrictions Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. Preferred Citation Grateful Dead Records: Realia. MS 332 Ser. 10. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Grateful Dead Productions, 2008. Accurals The first accrual was received in 2008. Second accrual was received in June 2012. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD. -
Jerry Garcia Song Book – Ver
JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106. -
Grateful Dead Shakedown Street Mp3, Flac, Wma
Grateful Dead Shakedown Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul Album: Shakedown Street Country: Australia Released: 1978 Style: Folk Rock, Country Rock, Funk, Disco MP3 version RAR size: 1920 mb FLAC version RAR size: 1889 mb WMA version RAR size: 1484 mb Rating: 4.1 Votes: 873 Other Formats: VQF MP3 MP2 AAC AIFF AUD MP4 Tracklist Hide Credits Good Lovin' A1 4:51 Written-By – A. Resnick*, R. Clark* France A2 4:03 Written By – Hart/Weir/HunterWritten-By – Bob Weir, Mickey Hart, Robert Hunter Shakedown Street A3 4:59 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter Serengetti A4 1:59 Written By – Hart/KreutzmannWritten-By – Bill Kreutzmann, Mickey Hart Fire On The Mountain A5 3:46 Written By – Hart/HunterWritten-By – Mickey Hart, Robert Hunter I Need A Miracle B1 3:36 Written By – Weir/BarlowWritten-By – Bob Weir, John Perry Barlow From The Heart Of Me B2 3:23 Horns – Steve SchusterWritten-By – D. Godchaux* Stagger Lee B3 3:25 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter B4 All New Minglewood Blues 4:12 If I Had The World To Give B5 4:50 Written By – Garcia/HunterWritten-By – Jerry Garcia, Robert Hunter Companies, etc. Manufactured By – EMI (Australia) Limited Credits Artwork By – Gilbert Shelton Co-producer – Dan Healy Engineer – Bob Matthews Harp – Matthew Kelly Mastered By – George Horn Percussion – Jordan Amarantha Producer – Lowell George Barcode and Other Identifiers Matrix / Runout (Runout Side A): AB.4198A Matrix / Runout (Runout Side B): AB.4198B-2 Other -
The Grateful Dead and the Long 1960S – Syllabus Department of Music, University of California – Santa Cruz, Spring Quarter 2018
Music 80N: The Grateful Dead and the Long 1960s – Syllabus Department of Music, University of California – Santa Cruz, Spring Quarter 2018 Instructor: Dr. Melvin Backstrom [email protected] Teaching Assistants: Marguerite Brown [email protected] Ike Minton [email protected] Class Schedule: MWF, 12pm-1:05pm, Music 101 (Recital Hall) OFFICE HOURS & LOCATION INSTRUCTOR Room 126 Mondays 2-3pm or by appointment TEACHING ASSISTANTS TBA Course Description This music history survey course uses the seminal Bay Area rock band/improvisational ensemble the Grateful Dead as a lens to understand the music and broader history of countercultural music from the 1950s to the present. It combines an extensive engagement with the music of the Grateful Dead, as well as other related musicians, along with a wide variety of readings from non- musical history, political science, philosophy and cultural studies in order to encourage a deep reflection on what the countercultures of the 1960s meant in their heyday, and what their descendants continue to mean today in both musical and non-musical realms. It aims to be both an introduction to those interested in the Grateful Dead, though largely born after the group’s disbandment in 1995, as well as to appeal to those with a broader interest in recent cultural history. Because the University of California – Santa Cruz is the home of the Grateful Dead Archive, students are encouraged to make use of it. However, given the number of students in the course and limitations of UCSC Special Collections its use will not be required. Readings All texts will be available through UCSC’s online system. -
Grateful Dead American Beauty Mp3, Flac, Wma
Grateful Dead American Beauty mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: American Beauty Country: US Released: 1970 Style: Folk Rock MP3 version RAR size: 1874 mb FLAC version RAR size: 1608 mb WMA version RAR size: 1104 mb Rating: 4.4 Votes: 786 Other Formats: MP1 AIFF DMF MPC DXD AC3 WMA Tracklist Hide Credits Box Of Rain A1 5:16 Bass – Dave TorbertGuitar – David NelsonWritten-By – Lesh*, Hunter* Friend Of The Devil A2 3:20 Mandolin – David GrismanWritten-By – Garcia*, Dawson*, Hunter* Sugar Magnolia A3 3:15 Written-By – Weir*, Hunter* Operator A4 2:21 Written-By – McKernan* Candyman A5 6:12 Organ – Howard WalesPiano – Ned Lagin Ripple B1 4:10 Mandolin – David Grisman Brokedown Palace B2 4:18 Piano – Howard Wales B3 Till The Morning Comes 3:13 B4 Attics Of My Life 5:09 Truckin B5 5:09 Organ – Howard WalesWritten-By – Weir*, Garcia*, Lesh*, Hunter* Companies, etc. Pressed By – Capitol Records Pressing Plant, Los Angeles Credits Artwork – Kelly*, Mouse Studios Bass, Guitar, Piano, Vocals – Phil Lesh Co-producer [Audio] – Steve Barncard* Drums – Bill Kreutzmann Guitar, Guitar [Pedal Steel], Piano, Vocals – Jerry Garcia Guitar, Vocals – Bob Weir Harmonica, Vocals – Ron "Pigpen" McKernan Percussion – Mickey Hart Photography By [Back] – George Conger Producer – The Grateful Dead Songwriter – Robert Hunter Written-By – Garcia* (tracks: A5 to B4), Hunter* (tracks: A5 to B4) Notes Capitol, Los Angeles pressing denoted by "LW" in runouts. Barcode and Other Identifiers Barcode: 0 7599-27190-1 Matrix / Runout (A): WS-1-1893 LW4 2 Matrix / Runout (B): WS-2-1893 LW6 Other versions Category Artist Title (Format) Label Category Country Year Warner Bros. -
A Long Strange Trip Through the Evolution of Fan Production, Fan
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2017 A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive Anna Richardson Eastern Illinois University This research is a product of the graduate program in Communication Studies at Eastern Illinois University. Find out more about the program. Recommended Citation Richardson, Anna, "A Long Strange Trip through the Evolution of Fan Production, Fan-Branding, and Historical Representation in the Grateful Dead Online Archive" (2017). Masters Theses. 2694. https://thekeep.eiu.edu/theses/2694 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� 8STER,."l [LLJNOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, and Distribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. -
Grateful Dead Marathon ‘Thank You’ Gift Description
2020 GRATEFUL DEAD MARATHON ‘THANK YOU’ GIFT DESCRIPTION Once again, in the essence of Time & Space, please peruse this document highlighting the modest sampling of Cosmic Artifacts we are offering as “Thank- You Gifts” from The Undisputed Psychedelic Kings of San Francisco and Company. As several Items are in extremely limited supply, please check the main “Marathon Thank-You Gifts” Listing on KKUP’s website to verify the minimum pledge needed to secure one of these Celestial Beauties as well as their availability. As we predict again that additional Sonic Artifacts will cosmically materialize in course of this celebration, please continue to check for the next Inter-Galactic Update!!! May the Unparalleled Legendary Status of the Grateful Dead in All Their Sonic Percolations Live and Prosper Forever … Table of Contents KKUP 2018 GRATEFUL DEAD THANK YOU GIFTS All Gifts include One KKUP Grateful Dead Marathon (available in both Women's & Men's Sizes) KKUP THANK YOU GIFT WITH KKUP MINIMUM ITEM PAGE YEAR ARTIST / DESCRIPTION TOTE BAG PLEDGE GDM20001 5 1966 Grateful Dead / The Grateful Dead 50th Anniversary 2-CD Limited Deluxe Edition Yes $ 100.00 GDM20002 7 1967 Grateful Dead / Anthem Of The Sun 50th Anniversary 2-CD Limited Deluxe Edition Yes $ 100.00 GDM20003 9 1970 Grateful Dead / Road Trips Vol. 3 No. 3 -- Fillmore East 5-15-70 Limited Edition 3-CD Set $ 100.00 GDM20004 9 1970 Grateful Dead / Road Trips Vol. 3 No. 3 -- Fillmore East 5-15-70 Limited Edition 3-CD Set $ 100.00 GDM20005 9 1970 Grateful Dead / Road Trips Vol. 3 No. -
Business with the Grateful Dead
Business with the Grateful Dead OVERVIEW ESSENTIAL QUESTION How did the Grateful Dead’s business practices create a dedicated fan culture and ensure the financial success of the group? OVERVIEW In this lesson, students discover some of the steps the Grateful Dead took to develop a robust and dedicated fanbase and maintain financial success. In the 1960s, popular American music transcended its limited role as mere entertainment to become an integral part of American identity. No longer merely fodder for variety television shows or FM/AM radio dials, music in the 1960s became a proxy for cultural identity amongst the changing landscapes of contemporary values and ideals. Music was not merely a passive activity to observe—it demanded active engagement and informed how people lived their lives, formed their communities, and found their place in society. Perhaps no band in the history of American Rock and Roll developed a more tight-knit community of fans than the Grateful Dead. The band formed in the 1960’s Bay Area—the epicenter of the burgeoning counter-cultural movement. The Bohemian neighborhood bestowed a sense of experimentation and spirituality to the band’s early development, and they developed a unique sound and repertoire that attracted fans eager to divorce themselves from the restraints of modern society. The combination of this counter-cultural zeitgeist and the band’s relentless touring and performing schedule created a massive fanbase for the Grateful Dead that ultimately gave birth to an entirely unique American identity: the Deadhead. Whether consciously or unconsciously, the Grateful Dead’s musical and business decisions helped cultivate this large and dedicated fanbase. -
Classified J
the other press page 11 IDUSIC- 'Steal Your Face ' · Grateful ] efferson Airplane I Starship, "Blues for Allah' is a wel- It was recorded during performance itself is sloppy Dead [Grateful Dead recor.d..r] New Riders of the Purple come sound. their goodbye week at the at times, this is due to their Sage, Howard Wales, Merle Robert Hunter was em- free-wheeling attitude and Roger Stomperud Winterland in San Francisco Saunders, Old and in the ployed in 1967 as chief lyric in October '74 , when they ability to have fun on stage. After eleven years to- Way and the Rowan Broth- writer and occasional song went into semi-retirement. ' Steal Your Face ' will not gether the Dead still have ers, as well as the sound writer and has done a fine All the original mateial has earn any new fans but it is a the same personnel in its track for Zabrisky Point; he job. His solo efforts., Tales of been done better (in most welcome addition to any nucleus as it has on their first has also been present on the Great Rum Runners and cases) on previous albums, "Dead Head's" collection. It Warner Brothers Record. recordings by his cohorts Tiger Rose (American re- and the covers don't touch is also not a starter for those There have been changes, Wier, Lesh, Hart, and Hunt- lease only), have proven he the original artists' hits. The that are willing to be turned both musically and in per- er. is not as fme an arranger or original material can all be on to the Dead. -
Music 203H: the Collective Improvisational Practices of the Grateful Dead – Syllabus
Music 203H: The Collective Improvisational Practices of the Grateful Dead – Syllabus Instructor: Dr. Melvin Backstrom [email protected] Class Schedule: Monday, 4-5:30PM Music Center 130 Monday, 5:30-7PM Music Center 114 Office Hours: Monday, 2-3 or by appointment Room #126 Course Description The goal of this performance-practice seminar-ensemble is to enable its participants to learn about and apply collective improvisational practices, such as those of the Grateful Dead (as well as of its jam-band progenitors), to their own musical activities. Each week will consist of 90 minutes focused on discussing assigned listenings and readings, as well as some theoretical instruction, followed by 90 minutes playing music as an ensemble in order to apply and develop the skills and practices previously discussed. A particular area of focus will be on expanding listening skills in order to facilitate in-the-moment engagement with musical sound. Another important concern will be encouraging an ecumenical stylistic repertoire in which the widest possible array of music—from popular song forms to the furthest reaches of the experimental avant-garde—are not only available for use, but can also be brought into dialogue. Music of the Grateful Dead will provide some of the material that will be used as “jumping off” material for the ensemble’s collective improvisations, but we will explore other music in a Grateful Dead-like manner as well. Grading Participation 20% 1st Response 10% 2nd Response 10% 3rd Response 10% Presentation/Conduction 10% Final Essay 40% Given that it counts for 20% of students’ final grade, participation is obviously highly valued and is intended to stress the importance of active involvement in the discussions and performances of which this course will consist. -
Grateful Dead Records: Media MS.332.Ser
http://oac.cdlib.org/findaid/ark:/13030/c8zc817k Online items available Grateful Dead Records: Media MS.332.Ser. 7 Special Collections and Archives Processing Staff University of California, Santa Cruz 2012 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Note Edited in 2018 to include inventory Grateful Dead Records: Media MS.332.Ser. 7 1 MS.332.Ser. 7 Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Media Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser. 7 Physical Description: 19.5 Linear Feet23 boxes Date (inclusive): 1967-2005 (bulk 1967-1995) Date (bulk): 1967-1995 Abstract: This series includes examples of non-commercial, and in some cases unofficial audio and video recordings, variant editions, and fan recordings. Language of Material: English . https://www.gdao.org/ Access This series is open for research. Due to format restrictions, cassette tapes and vinyl records may not be listed to or reproduced. CDs and DVDs are accessible via a listening station in the Special Collections and Archives reading room. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. For more information on copyright or to order a reproduction, please visit guides.library.ucsc.edu/speccoll/reproduction-publication. -
For Immediate Release June 2017 Jerry Garcia & Merl
FOR IMMEDIATE RELEASE JUNE 2017 JERRY GARCIA & MERL SAUNDERS FEATURED ON TWO-CD SET GARCIALIVE VOLUME NINE RECORDED AUGUST 11, 1974 AT KEYSTONE BERKELEY, CA ARCHIVAL SERIES RELEASE AND SPECIAL RED ROCKS CONCERT ANNOUNCED IN YEAR-LONG CELEBRATON OF GARCIA’S 75TH BIRTHDAY GARCIA’S LEGENDARY WOLF GUITAR BREAKS RECORD FOR CHARITY WITH MOST MONEY EVER GENERATED AT AUCTION FOR A GUITAR Nashville, TN — In the continued year-long celebration of the late Jerry Garcia’s 75th birthday, a special sold-out concert celebration has been announced for August 4 at the Red Rocks Amphitheatre, and GarciaLive Volume Nine: August 11, 1974 – Jerry Garcia & Merl Saunders (Round Records/ATO Records) is set for release on July 28. GarciaLive Volume Nine is the latest installment of the celebrated GarciaLive archival series. The two-CD set was recorded at the legendary Keystone in Berkeley, CA and features Jerry Garcia collaborating with revered keyboardist/vocalist Merl Saunders, who was as much a mentor as he was a dear friend to the iconic guitarist. The band lineup is filled out with Grateful Dead drummer Bill Kreutzmann, Martin Fierro on flute and saxophone and longtime Garcia collaborator John Kahn on bass. Relix just premiered “The Harder They Come” which can be heard HERE. Saunders had a profound influence on Garcia and, among many other things, inspired the legendary guitarist to interpret standards and covers. This had a powerful impact on Garcia’s approach to his repertoire outside of the Dead as well as inside. In an interview, Garcia once said about Saunders’ influence, “He filled me in on all those years of things I didn't do.