“This is one the most thrilling albums the Grateful Dead ever produced, mixing portions of live recordings from the first six months of Mickey's tenure with the band, along with studio experimentations that would hint at where the Dead would go when they started recording to 16-track tape the following year. The 1971 remix, produced in order to make the album more accessible to the newer fans who were brought on board with WORKINGMAN'S DEAD and AMERICAN BEAUTY, has been the most commonly heard version for the past 45+ years.
Mood and muse, two inexplicably intertwined elements of an ethereal nature, yet their power to move both body and mind know no bounds. Flowing throughout the in-between like gravity and wind, these forces are foundational and creative to the many worlds that arise out of the relationship of things, out of the happenings originated by togetherness; a place born betwixt seed and light, lung and tree, heart and rhythm, a place where all things come together to form each thing (each moment) throughout all size and time. And where all things come together—so too, does mood and muse.<
The unexpected return of the masters of the Grateful Dead's triumphant show at the Albuquerque Civic Auditorium, November 17, 1971, yields great rewards. The Dead came in HOT for their first New Mexico show. Aided by clarity and precision and abetted by confidence and focus, they finessed old standards with definitive takes. With Keith now blending in seamlessly on keys, the first set offered up a triple shot of electric Blues, an exceptional "You Win Again," and a stellar "One More Saturday Night" to wrap things up.
In this retrospective episode of The Light Side, legendary Grateful Dead lighting designer Candace Brightman discusses her 40+ year career lighting live music and explains her design process through four decades of technological evolution. She also reflects on being a woman in a male dominated industry and the role psychedelics played in her career.
The second annual Skull and Roses Festival brought Deadheads from all over California, to the Ventura Fairgrounds, for three days of music inspired by The Grateful Dead. The campground area was nearly full by the time the music started early on Friday afternoon, April 6th. Festival publicist Dennis McNally, who was the publicist for the Grateful Dead from 1984-95 choose the spot because of its significance in the history of the Dead.
Guitarist Tom Hamilton (Joe Russo’s Almost Dead, Ghost Light) and pianist Holly Bowling (Ghost Light) will delve into the legendary catalogue of the Grateful Dead at Port Chester’s The Capitol Theatre on Friday, June 1. Ushering in a new level of intimacy, Hamilton and Bowling will utilize acoustic instruments to explore the vast realms of the Dead’s music.
Every once in a while, an extraordinary being comes along who recognizes the obvious where no one else does. Working with a Nobel Prize winning astrophysicist and a cutting-edge neuroscientist, Mickey Hart continues to be an undeniable force within the human mind. Just as Newton brought gravity to sight, Hart brings sound to light; and while his achievements are mind-blowing, they’re not nearly as magnificent as the vision that drives them.
Multifarious guitar player Stephen Inglis is no stranger to the music of the Grateful Dead. A life-long Deadhead through and through, Stephen took his native Hawaiian guitar playing roots and mingled it with the band that changed his life. In conversation with Grateful Web, Stephen opened up about his ambitious solo Slack Key Guitar-centered album Cut The Dead Some Slack.
GW: Can you talk about your musical beginnings? Who are your influences?
As you entered the theater, you were given a postcard which had instructions for the “cue” for when to sing happy birthday to the birthday boy. Some of my fellow attendees were already wearing birthday hats and even giving them out to their friends. The theater was hoppin’, and the vibe was that of a celebration. It was a sold-out crowd (GA/LOGE/BALCONY). Of course, it really didn’t matter if you had a seat anyway when I looked around, people were standing and dancing everywhere.