Dead-Tunes-Covered.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Green Acres 03
I made these based on the notes and lyrics to these songs that I could nd on the web. Please feel free to distribute this for teaching purposes, but please don't sell it. Thanks! Kate Baldwin, www.K8Baldwin.com. Ukulele kaholo C y www.K8Bald Hula Travel Step h b win de Ukulele Music .c d7, d7, g7, g7, c, c, c, c a that fits in your case. o m o M r m d 7 6 5 A 7 6 5 A7 7 6 5 A 7 6 5 B 7 6 5 B 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 s m m 7 6 5 B 7 6 5 C 7 6 5 C7 7 6 5 D 7 6 5 D7 7 6 5 D 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 m 7 6 5 E 7 6 5 E7 7 6 5 E 7 6 5 E 7 6 5 E 7 6 5 F 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 m #m m 7 6 5 F 7 6 5 F 7 6 5 g 7 6 5 G7 7 6 5 G 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 Se 6 5 4 3 2 1 6 5 4 3 2 1 lf T un 6 5 4 3 2 1 ing allad of e B Gi Th ll ig By: Sherwood Schwartz a & George Wyle n M i n 's . -
FRED NEIL LYRICS Compiled by Robin Dunn & Chrissie Van Varik
FRED NEIL LYRICS Compiled by Robin Dunn & Chrissie van Varik. Fred Neil (16 th March 1936 –7th July 2001) was one of the most compelling folk singer-songwriters in the 1960s and early 1970s. His marvellously deep, rich and impossibly low baritone enchanted everyone who has ever heard a Fred Neil song - and continues to do so. Surely one of the most beautiful voices in music. Bob Dylan said, “Fred had a strong, powerful voice, almost a bass voice, and a powerful sense of rhythm. He used to play mostly the type of songs that Josh White might sing. I used to sing and play harmonica for him, and then once in a while get to sing a song.” Yet as performer success eluded Fred, mainly because it was the last thing he pursued. A reluctance to tour didn’t help much either (a trait he shared with Bobby Charles and Harry Nilsson). According to his producer, Nik Venet, Fred was “probably the most famous and financially successful ‘cult artist’ in the history of the world...and could have been even bigger if he’d wanted to be....but he just didn’t!” Fred Neil showed up unexpectedly and was gone before you knew it. A loner and somewhat of a recluse, he was exceedingly hard to get to know and thus remained an enigma to most. John Sebastian, who played on his two Elektra albums, describes his background as “sketchy”. He is best known to the world through other people’s recordings of his material, such as ‘Everybody’s Talkin’’, made famous by Harry Nilsson as the theme to the movie Midnight Cowboy (and earned a Grammy) and ‘Other Side of This Life’, recorded by several but most notably by Jefferson Airplane. -
Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library David Getz An Oral History Interview Conducted by Debra Schwartz in 2020 © 2020 by the Mill Valley Public Library TITLE: Oral History of David Getz INTERVIEWER: Debra Schwartz DESCRIPTION: Transcript, 60 pages INTERVIEW DATE: January 9, 2020 In this oral history, musician and artist David Getz discusses his life and musical career. Born in New York City in 1940, David grew up in a Jewish family in Brooklyn. David recounts how an interest in Native American cultures originally brought him to the drums and tells the story of how he acquired his first drum kit at the age of 15. David explains that as an adolescent he aspired to be an artist and consequently attended Cooper Union after graduating from high school. David recounts his decision to leave New York in 1960 and drive out to California, where he immediately enrolled at the San Francisco Art Institute and soon after started playing music with fellow artists. David explains how he became the drummer for Big Brother and the Holding Company in 1966 and reminisces about the legendary Monterey Pop Festival they performed at the following year. He shares numerous stories about Janis Joplin and speaks movingly about his grief upon hearing the news of her death. David discusses the various bands he played in after the dissolution of Big Brother and the Holding Company, as well as the many places he performed over the years in Marin County. He concludes his oral history with a discussion of his family: his daughters Alarza and Liz, both of whom are singer- songwriters, and his wife Joan Payne, an actress and singer. -
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. -
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. -
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. -
Scarlet Begonias 86Bpm
Scarlet Begonias 86bpm Tabbed by JDarks [email protected] |-B-7---------7---------------------------| |---7---------7---7-5----------9-9-9\-10--| |-----8-9-8-------8-6---8-9-11------------| |-----------9---9--------------6-6-6\--7--| |-9---------------------6-7--9------------| |--Intro--------------9----------------A--| E B A 1. As I was walkin' 'round Grosvenor Square |-------------------------------|--Riff 1------------------| |-----5-------5-------5-------4-|--------------------------| |---4---4---4---4---4-------4---|-------------4------------| |-6-------6-------6-----6-4-----|-------4-6p4---4-6p4-7----| |-------------------------------|---5h6-----------------7--| |-------------------------------|-7------------------------| E B A Not a chill to the winter but a nip to the air, Riff 1 A E B A E A E B A E B From the other direction, she was calling my eye, It could be an illusion, but I might as well try, might as well try. |------------|---------|-----|---------| |-------7---------------------------| |------------|---------|-----|---------| |-------7---7-5----------9-9-9\-10--| |-6--9--9--8-|--6---9--|--%--|-Riff 1--| |-9p8-------8-6---8-9-11------------| |-7--7--9--9-|--7---7--|--%--|---------| |-9---9---9-9-7----------6-6-6\--7--| |------------|---------|-----|---------| |-----------------6-7--9------------| |------------|---------|-----|---------| |-Riff 2----------------------------| Scarlet Begonias 1 2. She had rings on her fingers and bells on her shoes. 3. In the thick of the evening when the dealing got rough, And I knew without askin' she was into the blues. She was too pat to open and too cool to bluff. She wore scarlet begonias tucked into her curls, As I picked up my matches and was closing the door, I knew right away she was not like other girls, other girls. I had one of those flashes I'd been there |---7--------------|---| before, been there before. -
The Grateful Dead Parallax
THE GRATEFUL DEAD PARALLAX Jim Tuedio The Grateful Dead had an uncanny ability to bring dark to light and light to dark, to blend the voices of hope and honest despair, to sing on high from the depths of lost innocence, and through this to bring us home to ourselves in the most surprising, eye- opening ways. This paper explores the phenomenon of Grateful Dead performance as a “place” of growth and challenge, that is, as a place of translation exposing us to shifting perspectives and constellations of meaning, and to a heightened awareness of the shadowy, primordial side of human existence. This awareness was manifest in many forms, but perhaps the most intriguing was how a Grateful Dead show was so often experienced as a “coming home” to where we belong, as a “place” of belonging, and at the same time as a place of exploration, and of exposure before our own alterity. I will focus here on a fundamental dimension inherent in much of the Grateful Dead’s music, one that is best explained in postmodern terms. This dimension, experienced in what can be termed a mode of spontaneous arrival, helps to account for how engaged listeners can be so easily drawn to the “place” of the song, how they can arrive so spontaneously in a place of translation intrinsic to their own unfolding life; in other words, where universal or extrinsic experience becomes personal or even uniquely emblematic— and explanatory—of their own lives and circumstances. I will focus on how the band’s signature improvisational style, embodied in their jams and trademark, free-form “Space,” sustains this field of “home” which is at the crux of the Grateful Dead experience. -
U Writers / Gonna Guetta Stomp Two New House Influenced Tracks
Interpret Titel Info !!! (Chk Chk Chk) All U Writers / Gonna Guetta Stomp Two new house influenced tracks. (INTERNATIONAL) NOISE CONSPIRACY, 500 Stück - rotes Vinyl, ausführliche Linernotes, 2 exklusive THE Live At Oslo Jazz Festival 2002 non-Album-Tracks 16 Horsepower FOLKLORE 180-gram vinyl /special edition / one-time only 16 Horsepower OLDEN 180-gram vinyl /special edition / one-time only 2 Bears, The Bears In Space 12" with CD 4 Promille Vinyl 7" Single / Etched B-Side 4 Promille Vinyl 7" Single / Etched B-Side / Colored Vinyl A Coral Room I.o.T. RSD 2015 YOU'LL ALWAYS BE IN MY STYLE / THE BOY FROM Ad Libs, The NYC Two highly prized sides back-to-back for the first time A special pressing for the RECORD STORE DAY 2015 and is Agathocles MINCER (RSD 2015) limited to 100 hand numbered copies. It will come in clear Limited edition White colored version in 100 copies Ages Malefic Miasma worldwide. a-ha Take On Me Picture to be images from the classic video. Playground Love / Highschool Lover 7" from The Virgin Air Playground Love Suicides coloured vinyl Alex Harvey Midnight Moses / Jumping Jack Flash Issued7" in 1975, this is the articulation of Zambia's Zamrock Amanaz Africa ethos. Amon Tobin Dark Jovian Five brand new productions. Vinylauflage der neuen Ausgabe der Compilationserie "A Monstrous Psychedelic Bubble". 16 der insgesamt 33 Tracks von Künstlern wie Tame Impala, Cybotron oder Russell Amorphous Androgynous A Monstrous Psychedelic Bubble / The Wizards Of Oz Morris. Schwarzes Doppel-Vinyl. ANGELIC UPSTARTS LAST TANGO IN MOSCOW LP Animal Collective Prospect Hummer RSD 2015 Animals, The WE'RE GONNA HOWL TONIGHT LP Combines truly amazing song-craft with Victorian tragedy and Annabel (Lee) By The Sea And Other Solitary Places grainy folk roots.