Grateful Dead Dick's Picks Volume Six Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Grateful Dead Dick's Picks Volume Six mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues / Folk, World, & Country Album: Dick's Picks Volume Six Country: UK Released: 1996 Style: Blues Rock, Folk Rock, Psychedelic Rock, Classic Rock MP3 version RAR size: 1558 mb FLAC version RAR size: 1213 mb WMA version RAR size: 1360 mb Rating: 4.5 Votes: 911 Other Formats: VOX ASF DMF AHX ADX MOD VOC Tracklist Hide Credits Alabama Getaway 1-1 6:06 Written-By – J. Garcia*, R. Hunter* Greatest Story Ever Told 1-2 4:53 Written-By – B. Weir*, M. Hart*, R. Hunter* They Love Each Other 1-3 9:10 Written-By – J. Garcia*, R. Hunter* Mama Tried 1-4 2:49 Written-By – M. Haggard* Big River 1-5 6:31 Written-By – J. Cash* Althea 1-6 8:49 Written-By – J. Garcia*, R. Hunter* C.C. Rider 1-7 8:01 Arranged By – Grateful Dead*Written-By – Traditional Tennessee Jed 1-8 8:33 Written-By – J. Garcia*, R. Hunter* Hell In A Bucket 1-9 5:53 Written-By – B. Weir*, J. P. Barlow* Keep Your Day Job 1-10 5:57 Written-By – J. Garcia*, R. Hunter* Scarlet Begonias 2-1 14:20 Written-By – J. Garcia*, R. Hunter* Fire On The Mountain 2-2 16:36 Written-By – M. Hart*, R. Hunter* Estimated Prophet 2-3 13:11 Written-By – B. Weir*, J. P. Barlow* Eyes Of The World 2-4 17:54 Written-By – J. Garcia*, R. Hunter* Drums 3-1 5:25 Written-By – B. Kreutzmann*, M. Hart* Spinach Jam 3-2 13:06 Written-By – Grateful Dead* The Other One 3-3 6:10 Written-By – B. Kreutzmann*, B. Weir* Stella Blue 3-4 9:10 Written-By – J. Garcia*, R. Hunter* Sugar Magnolia 3-5 9:26 Written-By – B. Weir*, R. Hunter* U.S. Blues 3-6 5:41 Written-By – J. Garcia*, R. Hunter* Companies, etc. Recorded At – Civic Center, Hartford Credits Bass, Vocals – Phil Lesh Drums – Bill Kreutzmann, Mickey Hart Guitar, Vocals – Bob Weir Keyboards, Vocals – Brent Mydland Lead Guitar, Vocals – Jerry Garcia Mastered By – Jeffrey Norman Recorded By – Dan Healy Notes Recorded Live, 10/14/83 at Hartford Civic Center, Hartford, CT. Barcode and Other Identifiers Barcode: 029667892629 Other versions Category Artist Title (Format) Label Category Country Year Dick's Picks Volume Six Grateful Brookvale BRK-227 (5xLP, Album, Ltd, Num, BRK-227 US 2015 Dead* Records RE) Grateful Dick's Picks Volume Six RGM-0370 Real Gone Music RGM-0370 US 2015 Dead* (3xCD, Album, RE) Grateful Dick's Picks Volume Six Grateful Dead GDCD 4026 GDCD 4026 US 1996 Dead* (3xCD, Album) Records Related Music albums to Dick's Picks Volume Six by Grateful Dead The Grateful Dead - Shakedown Street Grateful Dead - Dick's Picks 30: Academy Of Music, New York, NY 3/25 & 28/72 The Grateful Dead - The Best Of The Grateful Dead: Skeletons From The Closet Grateful Dead - Nightfall Of Diamonds Grateful Dead - Wake Of The Flood The Grateful Dead - Europe '72 Grateful Dead - Shakedown Street Grateful Dead - American Beauty Grateful Dead - Built To Last Grateful Dead - Go To Heaven.

Copy Link

Recommended publications

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.
[Show full text]
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.
[Show full text]
Good Morning and Thank You for Joining Me. I'm Presenting Today On
[slide#1 displaying] Good morning and thank you for joining me. I’m presenting today on the dual recorded legacies of the Grateful Dead: the official legacy of studio and live albums, controlled by the band and their record companies, and the unofficial legacy of concert recordings, controlled by the fans. The Dead’s improvisations, juggling of the setlist, segues between songs, and rearrangement of songs gave birth to an entire new genre—the jam band. At the time, they were the only ones, their uniqueness summed up by the tagline “there is nothing like a Grateful Dead concert.” Because of the unique nature of the Grateful Dead’s show, the fans wanted recordings of every concert. Because of the nature of the record industry, especially during the band’s lifetime, that was never going to happen through official channels. Eventually the band officially sanctioned the practice with the creation of the taper’s section in 1984, but the conflict between official and unofficial legacies reared its head again with the Thanksgiving Day Massacre in 2005. On November 22, 2005, all Grateful Dead shows were removed from the Live Music Archive. There was a massive backlash from the fans and nine days later the recordings were reinstated, though soundboard recordings could only be streamed, not downloaded. The fallout was the result of poor communication between band members, and between the band and fans, as well as the grey legal area of live tapes. I have published a paper in Popular Music and Society covering the incident in depth, but today I’m going to focus more on what it meant in terms of the band/fan and official/unofficial recorded legacy cooperations and conflicts.
[Show full text]
COMPILED and PUBLISHED by BALLYMOTE HERITAGE GROUP ISSUE NO.43 2010/2011 PRICE €6.00 Lectures Ballymote Ballymote
The Corran Herald COMPILED AND PUBLISHED BY BALLYMOTE HERITAGE GROUP ISSUE NO.43 2010/2011 PRICE €6.00 21st Annual BallymoteBallymote HeritageHeritage WWeekendeekend Friday 30th July to Monday 2rd August 2010 In Coach House Hotel, Ballymote, Co. Sligo. FRIDAY 30st JULY 8.30 p.m OFFICIAL OPENING Michael Doyle Memorial in Ballymote Dr Bruce Arnold, writer and journalist, Chief Critic with the Irish Independent SUNDAY 1st AUGUST LECTURE 2.00 p.m OUTING “Derek Hill: Streedagh and Creevykeel English Painter in Ireland” Guide: Mark Keane, archaeologist Dr Bruce Arnold 8.30 p.m LECTURE “Selling Ballymote: Manuscripts SATURDAY 31st JULY and Society in Northwest Ireland 9.00 a.m OUTING 1500-1550” Co Cavan, including the grave of Professor Raymond Gillespie Bishop Bedell of Kilmore, Church History Department, of Ireland cathedral in Kilmore, NUI Maynooth Catholic cathedral in Cavan town, and Corravahan House. Guide: Frank Tivnan MA, Historian MONDAY 2nd AUGUST 9.00 a.m OUTING 8.30 p.m LECTURE Castletown House and Newbridge “Aspects of Ireland’s Cultural Silverware (including museum) Heritage” Michael Conry, 8.30 p.m LECTURE Soil scientist and agronomist. “Landscapes of Western Ireland: the Large-Scale Inﬂuence of Climate” Professor Peter Coxon, MRIA, FTCD, Geography Department, TCD d 071-9133409 t t L n i r P on Supported by c Sligo Co Council Community Heritage Grant Scheme 2010 Orbi Lectures €10.00 Transport available Further information from, for outings 071-9189275 or 071 9183380 The Corran Herald Annual Publication of Ballymote Heritage Group Compiled and Published by Ballymote Heritage Group Editor: James Flanagan Design, Typesetting and Printing: Orbicon Print, Collooney.
[Show full text]
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.
[Show full text]
On the Removal of Download Access to Grateful Dead Soundboards from the Live Music Archive Jeremy Berg Illinois State University, [email protected]
Illinois State University ISU ReD: Research and eData Faculty and Staff ubP lications – Milner Library Milner Library 8-2012 On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive Jeremy Berg Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/fpml Part of the Library and Information Science Commons, and the Music Commons Recommended Citation Berg, Jeremy, "On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive" (2012). Faculty and Staff Publications – Milner Library. 35. https://ir.library.illinoisstate.edu/fpml/35 This Article is brought to you for free and open access by the Milner Library at ISU ReD: Research and eData. It has been accepted for inclusion in Faculty and Staff ubP lications – Milner Library by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. 1 On The Removal of Download Access to Grateful Dead Soundboards From the Live Music Archive Abstract In November 2005, access to all recordings of Grateful Dead shows on the Internet Live Music Archive was abruptly discontinued. Over the next nine days, the band, their fans, and the Archive argued the matter on a nationwide stage, before a compromise on access was reached. The controversy touched on issues of copyright, ownership, and the effects of the internet on making fan projects more widespread and organized than ever before. This case study traces the history of the controversy and its implications through primary and secondary sources and an original interview.
[Show full text]
Grateful Dead Tapers
Station 1 - Grateful Dead Tapers Watch the clip “Grateful Dead Tapers” and read the article below. Then answer the following questions: What seemed to be the Grateful Dead’s reaction when fans started recording their live shows? What motivated people to tape Grateful Dead concerts? Why did allowing tapers into concerts prove to be an effective way of marketing? How might have taping expanded and strengthened the Grateful Dead’s fanbase? ‘Tapers’ at the Grateful Dead Concerts Spread the Audio Sacrament Joe Coscarelli, New York Times (07/05/2015) CHICAGO — Between his first Grateful Dead show in 1988, at the age of 15, and the death of Jerry Garcia in 1995, William Walker saw the band about 130 times, a modest number in the Deadhead universe. But Mr. Walker has experienced many, many more of the band’s concerts through his passion for live audience tap- ing, collecting thousands of cassettes and terabytes-worth of digital audio, while also contributing his own recordings to the seemingly endless archive. So when he scored passes earlier this year to be one of the few fans allowed to record the final shows at Soldier Field, culminating on Sunday, “I completely freaked out all the animals in my house — jumping, screaming and running around,” Mr. Walker said of his two dogs and two cats. A proud member of the increasingly obsolete jam-band fan contingent known as “tapers,” Mr. Walker drove 900 miles from New Orleans armed with equipment he would lug from show to show — an intricate rig he estimated to be worth least $8,500, including furry microphones, a hydra-headed stand, tangles of wires, a Tascam digital recorder and a plastic protractor straight out of a high school geometry class.
[Show full text]
209 Caledonia Street, 2Nd Floor, Sausalito, CA 94965 Dark Star Orchestra
Dark Star Orchestra: Celebrating the Grateful Dead Experience Performing to critical acclaim with nearly 3000 shows under their belt, Dark Star Orchestra continues the Grateful Dead concert experience. DSO shows are built off the Dead’s extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations. Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy... in short, it's about the complete experience and consistent quality performance that the fan receives when attending a Dark Star Orchestra show. Dark Star Orchestra has performed throughout the entire United States, plus Europe & the Caribbean touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues like Red Rocks Park & Amphitheater and Stone Pony Summer Stage as well as performing at major music festivals including Bonnaroo, Milwaukee’s SummerFest, SweetWater 420 Festival, The Peach Music Festival, Gathering of the Vibes, All Good Festival, Mountain Jam, and many more.
[Show full text]
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.
[Show full text]
What Open Access Practitioners Can Learn from Deadheads
“When We’re Done with It, We Don’t Care What Happens to It” What Open Access Practitioners Can Learn from Deadheads By Shannon Kipphut-Smith and Scott Carlson “See, we were the Grateful Dead, sir. We were something different. This was an experiment, so we didn’t—I didn’t—think of things the way you think of things.” —Steve Parish, 1997 (Fraser and Black 1999, 20) On August 28, 1984, the Grateful Dead convened for a band meeting. Consisting of band members, the road crew, and other Dead staffers, the group routinely met to discuss finances, touring schedules, legal issues, and other administrative issues. The August 28 agenda represented a similar mix of discussions, with one exception: sandwiched between an update on the status of remastered Dead albums and a search for a new travel agent was the topic “Tapester [sic] Section.” At that time, the Dead had toured for nearly twenty years, eagerly followed by Deadheads, their dedicated fanbase. Within that group—a subculture of a subculture, really—were the tapers, an amateur archival group that had perfected sneaking recording equipment into shows to surreptitiously document every second of the band’s performances. For a time, the band looked the other way on these activities, but the actions of a few thoughtless Deadhead tapers—behavior that the band’s longtime sound engineer described as “the very things that are most anti–Grateful Dead” (Barnes 2011, 77)—threatened the enjoyment of the many and brought the issue to a head. “Do we want to stop taping[?] Do we want to enforce the clause in our contract rider [forbidding fans from taping?],” the meeting’s minutes read.
[Show full text]
Note to Users
NOTE TO USERS Page(s) not included in the original manuscript and are unavailable from the author or university. The manuscript was microfilmed as received. This reproduction is the best copy available. Psychedelic Music in San Francisco: Style, Context, and Evolution Craig Morrison A Thesis in The Department of Humanities Presented in Partial Fulfillment d the Requirements for the Degree of Doctor of Philosophy at Concordia University Montreal, Quebec, Canada Septernber 2000 O Craig Morrison 2000 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KlAON4 Ottawa ON K1A ON4 Canada Canada Yovr lFie Votre réf8rmce Our lile Noire reftirence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seli reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author7s ou autrement reproduits sans son permission. autorisation. ..- III ABSTRACT Psychedelic Music in San Francisco: Style, Context, and Evolution Craig Momson, Ph-D Concordia University, 2000 Psychedelic rock began in 1965 and was popular until around 1970.
[Show full text]
Jamband Tape-Trading Culture
“When we’re finished with it, they can have it”: Jamband Tape-Trading Culture By Marc L. Whitman Monday, May 23, 2005 Advisor - Professor Travis A. Jackson Preceptor - Rebecca Reynolds Thesis submitted in partial fulfillment of the requirements for the degree of the Master of Arts Master of Arts Program in the Humanities University of Chicago Chicago, IL I. Origins of a Tape-Trading Network: The Legacy of the Grateful Dead The Grateful Dead informally allowed its audience members to record and trade “bootleg”1 copies of its concerts from the band’s inception in the late 1960s. But in October of 1984, the band announced a specific policy decision that not only formally permitted its audience members to record its concerts, but actually created a specific “taping section” for them to do so behind a venue’s soundboard (Pattacini, 2000:7). Steven Marcus, then manager of Grateful Dead Ticket Sales (GDTS, later re-formed for other bands as GDTS TOO) explains: The Taping Section was an idea that came of Dan Healy’s [soundman] constant complaints that the microphone stands were blocking his view of the stage. As manager and co- founder (with Danny Rifkin & Eddie Washington) of Grateful Dead Ticket Sales I suggested that there were usually about 100-200 seats directly behind the soundboard at every show that were never sold because they were “obstructed view.” I suggested that these tickets could be sold to tapers. Healy LOVED the idea and the “Taping Section” was formed. Grateful Dead was the first mainstream band to officially sanction taping of their shows.
[Show full text]