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  • Introduction in Their Thirty Years Together, the Grateful Dead Forever
    Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement.
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  • Bob Weir of Dead & Co. Plays D'angelico
    For Immediate Release: BOB WEIR OF DEAD & CO. PLAYS D’ANGELICO GUITAR ON STAGE TO HELP PROMOTE CHARITY AUCTION Weir Performed “Peggy-O” with the Signed, Customized Guitar in Worcester, MA Last Night WORCESTER, MA – With Dead & Company getting rave reviews across the Northeast, Bob Weir continued a relatively-new tradition of playing a signed guitar on stage to help boost a charity auction. Last night at the DCU Center in Worcester, MA, Weir played “Peggy-O” with a D’Angelico guitar signed by all the members of Dead & Company. The one-of-a-kind EX-SS guitar, which also features the Dead & Company logo on its pick guard, is being auctioned on the tour to benefit more than a half- dozen charities. Currently, the high bid sits at $11,500. The guitar will be “Truckin’, up to Buffalo, ”on display and open for bidding tonight on the concourse as the First Niagara Center, and then will continue across the country with stops in Columbus, OH, Greensboro, NC, Atlanta, GA and more. HeadCount, a non-profit organization that promotes civic engagement and voter registration through music, organized the auction and is bringing it to most cities on the Dead & Company tour. The person with the highest bid by the end of the tour – from any city – will become the guitar’s proud owner. Weir first played a D’Angelico guitar on stage during the Grateful Dead's Fare Thee Well shows last summer. That guitar sold at auction for $526,000, making it the 18th most expensive guitar ever sold and netting nearly $30,000 each for 17 different charities.
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  • Jerry Garcia from Wikipedia, the Free Encyclopedia
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  • Land of the Dead: San Francisco, Where It All Began by Ben Fong-Torres from Rolling Stone / September 21, 1995
    Land of the Dead: San Francisco, Where It All Began By Ben Fong-Torres From Rolling Stone / September 21, 1995 When in the mid-Sixties San Francisco came to represent nothing left to lose, there was a handful of identifiable pioneers that changed the face, the sound and the style of pop culture. The changers included the concert promoters Bill Graham and Chet Helms, poster and light-show artists, hosts and alchemists like Ken Kesey and Augustus Owsley Stanley, radio pioneer Tom Donahue, jazz critic Ralph J. Gleason and - yes - Rolling Stone. At the epicenter, of course, were the musicians. Early on, the Grateful Dead, along with a few others, played free concerts as often as paying gigs. Extending their songs into jazz-like improvisatory jams, they broke down the lines between artist and audience. Back then we -- Rolling Stone and the Grateful Dead -- were brothers in arms. The Dead did it onstage; we watched and listened, reported, ranted and raved. For our very first issue -- published in November 1967 -- we lucked into a story for the ages: the Grateful Dead getting busted at their Haight-Ashbury digs. The police had had it up to their badges with freaks flaunting various laws. Inviting local media along for the roust, they barged into the house at 710 Ashbury St., where most of the Dead and their old ladies lived, and arrested two band members and nine associates and friends on dope charges (Jerry Garcia wasn't one of them; he was out at the time). Baron Wolman, Rolling Stone's first photographer, snapped shots of Bob Weir walking down the front steps, cuffed to Phil Lesh's girlfriend, and Ron "Pigpen" McKernan and Lesh outside their bail bondsman's office across from the Hall of Justice.
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  • The Roamin' Tattler
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  • Light-Into-Ashes-Grateful-Dead-Music-Emotions
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  • The Dead's Own Magical Mystery Tour
    themselves. Considering his dual talents, Jerry Garcia with John Pizzarelli might need to watch his Travis Bean guitar back. – DF and Bob Weir during their May ’77 tour. DVD Iggy and the Stooges and Special Guests Tribute to Rob Asheton The Stooges’ influence on ’80s and early ’90s indie scenesters is unimpeach- able. For more than a quarter-century, cognoscenti have clamored to comprehend the quartet’s long shadow, THE DEAD’S OWN MAGICAL more often than not dubbing frontman Iggy Pop with sobriquets like “The Godfather of Punk.” Understandable, given Pop’s perfor- MySTery TOUR mance chops, but such assessments overlook the cornerstone of the band’s sublime scuzz: ver the decades, the ’74’s lackluster From the The five shows here founding guitarist Ron Asheton, who passed Grateful Dead played Mars Hotel, and a creative include stops at the St. away in January 2009. Omore than 2,000 rebirth with ’75’s Blues Paul Civic Center Arena, Shot in the band’s hometown of Ann concerts, but none are as for Allah. After losing their Chicago’s Auditorium Arbor, Michigan, in April 2011, Tribute at- fabled, as mythologized as finances and the dreary Theatre, St. Louis Arena, tempts to rectify this by presenting a set of their performances on the live album Steal Your Face, and the University Of Stooges classics with mixed results. Indeed, magical spring 1977 tour. they were standing on Alabama Coliseum. Each Pop proves he can still induce mayhem, This 14-disc box set col- the threshold of failure. night, the show included and classic Stooges riffs as laid down by lects five complete shows The Dead headed out Dead chestnuts from all Raw Power guitarist James Williamson and from that run, displaying on the road in ’77 with the eras.
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  • Bob Weir, Interview August 1981
    Bob Weir, Interview August 1981 Bob Weir merely 16 years old the first time he sat down to pick with Jerry Garcia in the back of a Palo Alto, California, music store on New Year's Eve, 1964. In the ensuing 17 years, he has provided a rhythmic and harmonic bridge between Garcia's melodic, eccentric lead lines and Phil Lesh's unique free- form bass stylings. Throw in the added rhythm contributions of two drummer/percussionists and a keyboardist and the band's penchant for playing "intuitive improvisational music" in odd time signatures, and it becomes clear that Weir has to develop a unique style in the often neglected art of rhythm guitar. As Jerry Garcia explained in his October '78 cover story: "We all feel Bob's the finest rhythm guitarist on wheels right now. He's like my left hand. We have a long, serious conversation going on musically, and the whole thing is of a complementary nature. We have fun, and we've designed our playing to work against and with each other. His playing, in a way, really puts my playing in the only kind of meaningful context it could enjoy. " Any serious analysis of the Dead's music, "Garcia goes on, "would make it apparent that things are designed really appropriately. There are some passages, some kinds of ideas that would really throw me if I had to create a harmonic bridge be- tween all the things going on rhythmically with two drums an Phil's innovative bass playing. Weir's ability to solve that sort of problem is extraordinary.
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  • This Is a Great Band, and I Had a Great Time” Bob Weir, Grateful Dead Founding Member (Guitar/Vocalist)
    “This is a great band, and I had a great time” Bob Weir, Grateful Dead founding member (guitar/vocalist) “Inspired and accomplished musical discourse at such a deep and serious level: I had no problem at all believing that this was what the Grateful Dead sounded like 40 years ago.” David Gans, Grateful Dead Hour “I've always been impressed by DSO, but the other night I thought they'd taken it to a new level. It was some of the best Grateful Dead music I've heard in the past 20 years, and that covers some ground. Somehow, Jeff Mattson manages to play Jerry's parts perfectly in the spirit, but without any sense of being imitative. And boy, does the band pick up on this energy. Big fun!” Dennis McNally, Grateful Dead publicist & biographer 1980 – 1995; Author “A Long Strange Trip: The History of the Grateful Dead” “As one who is classically trained, I actually always thought that DSO was very cool, treating Grateful Dead music as repertoire- much as I've tried to do in my various bands.” Phil Lesh, Grateful Dead founding member (bass/vocals) “Playing with Dark Star Orchestra is something that feels just exactly like it felt when I was playing with the Grateful Dead.” Donna Jean Godchaux, Grateful Dead vocalist, frequent DSO guest “There are moments where I can close my eyes and go back 30 years and have it be every bit as rewarding and satisfying. Dark Star is an amazingly legitimate representation of the Dead.” Dan Healy, Grateful Dead sound engineer 1966 -1994 “Thank you for a real good time.” Jon Fishman, Phish drummer after sitting in with DSO “The Dark Star Orchestra re-creates Grateful Dead shows with a flashback-inducing meticulousness.” The New Yorker “...recreates the Dead concert experience with uncanny verisimilitude.
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  • The Other Ones the Strange Remain (Arista)
    The Other Ones The Strange Remain (Arista) The recipe for a successful jam-band reunion reads something like this: three parts Grateful Dead, two parts Bruce Hornsby and the Range, a splash of sax, garnish with a couple of guitarists, serve chilled. As the Other Ones' performance at last year's Furthur Festival proved, you can't keep a good band down. Three years after the death of Jerry Garcia, founding members of the Grateful Dead–Phil Lesh, Bob Weir and Mickey Hart–put the act back on the road. Bruce Hornsby, who joined the band temporarily in 1990, played keyboards and brought along longtime drummer John Molo from the Range (and, recently, Hart's Planet Drum). John Ellis of Weir's Ratdog added some brass. Steve Kimock (who played with former Dead members Keith and Donna Godchaux) and Mark Karan filled in on guitars. This project is hardly a Dead rehash; the two-CD set collects recordings made at the Furthur Festival, spotlighting the new, the old and the different. Weir struts his stuff on "Jack Straw," and on the unreleased "Corrina." Hornsby's "White-Wheeled Limousine" and "Rainbow's Cadillac" get the full-out Dead jam treatment. "Only the Strange Remain," an eerie trip, is originally from Mickey Hart's Mystery Box. The bluesy "Banyan Tree," penned by Weir, Hart and Dead lyricist Robert Hunter, debuted just last year. Lesh shines vocally on "Mountains of the Moon," where fans insist his voice sounds better than it has in decades. Jerry is obviously not on this album, and on tunes such as "Friend of the Devil," "St.
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  • Olssonlsson - Listeninglistening Forfor Thethe Secret.Inddsecret.Indd 1313 116/02/176/02/17 8:428:42 PMPM 14 / Popular Avant-Garde?
    1. Popular Avant-Garde: Renegotiating Tradition When studying the Grateful Dead—both the band and the wider cultural phenomenon—one should not be surprised if the image discovered is mixed or even contradictory: Was the Grateful Dead a rock band at all? If not, what was it? Jerry Garcia early on could claim that the band was not for “cranking out rock and roll” but “to get high.”1 Bob Weir stated that “we’re a jazz band. I won’t say we’re nothing but a jazz band, because our basic premise is rock ‘n’ roll. We just approach it from a jazz point of view.”2 Phil Lesh talked about the music that the band played as “electric chamber music,”3 empha- sizing that the “Grateful Dead is more than music, but it has always been fundamentally music . this ongoing experiment in collective creativity.”4 The three band members apparently agree that they did not form your aver- age rock band, but at the same time they formulate rather different visions of what the band is about. Even within the band, opinions differ on what must have been a central issue—but that issue could not be settled outside of the music, it could only be worked out, resolved in music. In that practice, positions could shift, often in just a few bars—Garcia searching for an Apollonian exactness and clarity, the definitive CD version or interpretation of a song, and Lesh pushing the music into the ecstatic unknown, promoting improvisation and madness, the Dionysian version of the Dead.
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  • How the Watts Towers Inspired Grateful Dead's Jerry Garcia – Or Didn't?
    How the Watts Towers inspired Grateful Dead's Jerry Garcia – or didn't? scpr.org /news/2017/05/25/72185/how-the-watts-towers-inspired-grateful-dead-s-jerr/ 89.3 5/25/2017 KPCC The Grateful Dead backstage in 1977. Left to Right: Bill Kreutzmann, Jerry Garcia, Bob Weir, Keith Godchaux, Mickey Hart, Phil Lesh, Donna Jean Godchaux. Photographer: Peter Simon "Long Strange Trip" is a four-hour documentary that chronicles the rise of The Grateful Dead, one of history's most unique and iconic bands. It's playing at theaters throughout Southern California, including the ArcLight Hollywood and Laemmle's Playhouse, and it will be available early next month on Amazon. Amir Bar-Lev, the filmmaker who put together the documentary, talked to Morning Edition on Thursday about what it was like to measure the band's cultural impact and to wade through the mind of the band's most recognizable figure – guitarist and singer Jerry Garcia. Below are a couple of highlights from that interview. Amir Bar-Lev on the forces that drew him to the project: To me, it always felt like a utopian story, it’s a story of people with big dreams who had a collectivist 1/2 enterprise. Music was a huge part of it, but there was more to it than just music, and a culture grew up around these guys … and in some ways, the culture negatively impacted itself. On the surprising revelation that followed after Jerry Garcia talked about the Watts Towers in L.A., noting how the landmark showed that if one worked hard enough, you could build something huge and permanent.
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