Ron "Pigpen" McKernan
“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.
Studio album purists might have a sound argument when it comes to certain rock acts, but few Deadheads would ever argue that the quality of the Grateful Dead's studio work superseded their live recordings. Most of their studio albums we’re muddled down by the likes of Warner Brothers, big time L.A. record executives that wanted a four minute track, or just poor planning and execution. Only the Terrapin Station studio suite superseded its live performance.
Grateful Web recently had an opportunity to speak to musician, songwriter and music journalist, David Gans. David is the host of the weekly syndicated radio show The Grateful Dead Hour, co-authored the book Playing in the Band: An Oral and Visual Portrait of the Grateful Dead and this weekend David is preparing for the annual Berkeley based KPFA Dead Marathon, whi
When the Grateful Dead left Warner Bros. to form their own label in 1973, after six years and eight albums, they delivered their first live "best-of" anthology, HISTORY OF THE GRATEFUL DEAD VOL. 1 (BEAR'S CHOICE). The album, which will be reissued by Audio Fidelity on July 10 on 180-gram virgin vinyl, documents the band's February 13-14, 1970 stand at New York's Fillmore East as recorded by Dead sound manager (and creator of 'Owsley' LSD) Owsley "Bear" Stanley.
I'm over my wishy-washy indecision about which show to review up next for y'all.