LASTLY -The Grateful Dead Birth Of The Dead: Volume Two (The Live Sides) 180 GRAM LIMITED EDITION 2 LP SET AND THIS PRESSING IS FOR COLLECTORS THE 1ST TIME EVER ON VINYL.
10 TITLES WITH 14 PIECES OF VINYL
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The nicest thing you can do for your stylus and your ears. The ultimate record -- the way music was meant to be heard and of superior quality for any Audiophile.
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What a Long Strange Trip It's Been: The Best of The Gratefuld Dead 1977 WARNER BROTHERS DOUBLE LP SET 2W-3091 ISSUE
The Grateful Dead recorded their first 8 albums for Warner Brothers before leaving to form their own record label in 1972. This era of the Dead produced most of their most well known songs, including "Truckin'", "Sugar Magnolia", "Casey Jones", "Dark Star", etc. Warners' initial attempt to compile the best songs from this period resulted in the greatest hits album "Skeletons From The Closet". Then in 1977 they put out this 2 record set (now 2 CDs), which makes an ideal companion to the earlier hits album. Only one song, "Truckin', is repeated from "Skeletons...". They also include a live version of "St. Stephen", the studio version of which had appeared on the earlier collection. It was certainly misleading of them to subtitle this "The Best Of The Grateful Dead". In reality, most of the best songs got put on the first hits album, and this album has the best of what's left over. But what wonderful leftovers! "Ripple" is fantastic, it certainly would have made the cut for the first hits collection if I had compiled it. Other standouts include "Jack Straw", "Me And My Uncle", "Cumberland Blues", "Brown-Eyed Woman", and "Playing In The Band". The previously-mentioned "Dark Star", which has long been a concert favorite of the deadheads (although it doesn't really do much for me), is also here. This album also includes more live recordings than "Skeletons...", so it begins to paint a more accurate portrait of what the Dead were all about than that collection did. If you own "Skeletons..." and are looking for the logical next step, this is it. If you don't already have "Skeletons...", then start there, not here. Of course, many hard-core deadheads would advise skipping the compilations altogether and just going with all the original albums, but for those of us who don't really feel the need to own 15-20 Dead LPs, the compilations work quite nicely
Disc: 1 1. New, New Minglewood Blues 2. Cosmic Charlie 3. Truckin' 4. Black Peter 5. Born Cross-Eyed 6. Ripple 7. Doin' That Rag 8. Dark Star 9. High Time 10. New Speedway Boogie Disc: 2 1. St. Stephen 2. Jack Straw 3. Me & My Uncle 4. Tennessee Jed 5. Cumberland Blues 6. Playing in the Band 7. Brown-Eyed Woman 8. Ramble on Rose
SHAKEDOWN STREET - JAPAN OBI ISSUE
Shakedown Street is a fascinating listen - classic sounds from a classic band. Even the jacket artwork is classic.
The Grateful Dead led by Jerry Garcia were one of the cornerstones of '60s counterculture - the band had lots of members from diverse musical backgrounds, each lending a different facet to the band's sound and approach to music. 1978's Shakedown Street is their tenth studio album and is definitive Dead - essential to any serious rock collection, a fusion of rock, funk, blues, reggae, country and improvisational jam. Produced by Lowell George of Little Feat - the union between George and the Grateful Dead was certainly intriguing.
The album features Garcia and Bog Weir on vocals and guitars, Phil Lesh on bass and vocals, Keith Godchaux on vocals and keyboards, Donna Jean Godchaux on vocals and Bill Kreutzmann and Mickey Hart on percussion.
Fire On The Mountain
I Need A Miracle
From The Heart Of Me
All New Minglewood Blues
If I Had The World To Give
AMERICANBEAUTY - This is a 1970 companion album to Workingman's Dead. It features the Dead's best-known songs like "Sugar Magnolia," "Friend Of The Devil," "Truckin'" and "Ripple." This is the album that would remain as the Dead's studio masterpiece.
1. Box of Rain 2. Friend of the Devil 3. Sugar Magnolia 4. Operator 5. Candyman 6. Ripple 7. Brokedown Palace 8. Till The Morning Comes 9. Attics of My Life 10. Truckin'
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The Grateful Dead Birth Of The Dead: Volume Two (The Live Sides) 180 GRAM LIMITED EDITION 2 LP SET -180g Audiophile Vinyl Mastered by Friday Music's Joe Reagoso! Features Photos By Herb Greene Exclusive To This LP!
Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st!
The legendary Bay area rock superstars the Grateful Dead scored for over four decades a plethora of wonderful recordings throughout their incredible career. Spearheaded originally by the late great Jerry Garcia, Bob Weir, Phil Lesh, Bill Kruetzmann and the late Ron "Pigpen" McKernan, these five gentlement set the world on fire with their magnificent artistry and musicianship unparalleled to this day.
With their very first San Francisco live gigs and when they were locally known as The Warlocks, the historical importance of these debut concert recordings would soon become a blueprint for the music world as the Grateful Dead would become one of the biggest concert attractions of all time.
Over a decade ago, the Grateful Dead unearthed 14 super rare live recordings from the mid-sixties. None of these recordings were ever previously released at the time. Recorded in San Francisco from a July 1966 performance, when they were signed to the Scorpio Records label, this ultra rare concert tape simply became manna for the fans and was truly a find for any collector of fine rock and roll and early psych and garage rock fare.
Dead fan favorite Viola Lee Blues kicks off the rare collection, and then the fireworks light up as future Grateful Dead classics like Don't Ease Me In and the stellar Jimmy Reed classic Big Boss Man truly become a very important and interesting listen to any fan of the Dead or classic rock in general.
Known for their jams in concert, you will get to hear stellar takes on rare blues tracks like One Kind Favor, Next Time You See Me and of course their super rare Bob Dylan interpretation of It's All Over Now Baby Blue, which would be an interesting choice not knowing there would be future collaborations with Dylan in both of their important later careers.
Even superlative covers of Otis Redding's Pain In My Heart and the Slim Harpo blues champion I'm A King Bee are included in this amazingly important and historic rock release from this much loved band.
These Grateful Dead recordings have never been released on the vinyl format that is until now...
Friday Music is very pleased to announce for the very first time on 180 Gram Audiophile Vinyl - The Grateful Dead's Birth Of The Dead Volume Two - The Live Sides. This deluxe 2 LP set not only has the original 14 live performances unearthed by the Dead themselves, but it also includes for the very first time anywhere several unearthed photos from the lens of the legendary Herb Greene. These first time issued photos show the very first sittings of the Grateful Dead and will make your listening hours that much more enjoyable as you stare at the brilliant pictures of your favorite rockers in this very special era.
As a further installment in the exclusive and authorized Grateful Dead Friday Music 180 Gram Audiophile Vinyl Series, this fine album is part of a historical two part audiophile vinyl series along with the Birth Of The Dead Volume One - The Studio Sessions which was released in late 2013.
Mastered impeccably for vinyl by Joe Reagoso (Grateful Dead) at Friday Music Studios and at Capitol Records, Hollywood, CA, this limited edition audiophile version of Birth Of The Dead Volume Two - The Live Sides will truly be a welcome addition to your Dead collection.
Grateful Dead...Birth Of The Dead Volume Two - The Live Sides...a historic album...first time release in the audiophile domain...only from your friends at Friday Music...Don't Ease Me In
• Limited Edition
• 180g Audiophile Vinyl
• Mastered by Joe Reagoso at Friday Music Studios & Capitol Records, Hollywood, CA
• First time on vinyl
• Exclusive to this LP: First time sitting photos of The Dead by the legendary Herb Greene
• Gatefold cover
Jerry Garcia, lead guitar, vocals
Ron "Pigpen" McKernan, organ, harmonica, vocals
Bill Kreutzmann, drums
Bob Weir, rhythm guitar, vocals
Phil Lesh, bass, vocals
LP 1 - Side 1:
1. Viola Lee Blues
2. Don't Ease Me In
3. Pain In My Heart
LP 1 - Side 2:
1. Sitting on Top of the World
2. It's All Over Now, Baby Blue
3. I'm a King Bee
LP 2 - Side 3:
1. Big Boss Man
2. Standing on the Corner
3. In the Pines
4. Nobody's Fault But Mine
LP 2 - Side 4:
1. Next Time You See Me
2. One Kind Favor
3. He Was a Friend of Mine
4. Keep Rolling By
Numbered, Limited Edition! Half-Speed Mastered from the Original Tapes: Ultra-Quiet Pressing Features Spacious, Transparent, Illuminating, and Organic Sound!
Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st!
1971 Double Live Album Presents Legendary Band’s Expansion Into Country Rock, Traditional Rock and Roll, and Roots Folk
Prototype Document of the Dead’s Second-Era Sound and Lineup: More Accessible, Concise, and Stripped-Down Performances
Includes Many Longtime Staples of the Band’s Live Repertoire: “Playing in the Band,” “The Other One,” “Me and My Uncle,” “Bertha,” “Wharf Rat,” and More!
TheGrateful Deadtook to the start of the 1970s as a different albeit equally thrilling and eminently broader-reaching band than the ensemble that revolutionized psychedelia in the late 1960s. Made evident in the back-to-back studio releasesWorkingman’s DeadandAmerican Beauty, the group increased its mastery of harmony-driven roots songs distinguished by catchy signatures, more concise arrangements, and impossibly organic textures.Captured live in spring 1971 and featuring not a single repeated song from Live/Dead, the expressive performances on Skull & Roses document this stylistic expansion in unsurpassed fashion. The double-LP constitutes the no-limits sound of an iconic band coming in to its own.
Half-speed mastered from the original master tapeswith the utmost care, and part of the label’s unprecedented Grateful Dead reissue series,Mobile Fidelity’s numbered limited edition 180g 2LP version of Skull and Roses presents the downsized Dead lineup’s most memorable songs in previously unimaginable fidelity.From the momentJerry Garcia’sguitar pick touches a string at the outset of the scampering “Bertha,” the improvements are palpable: Life-size images, airy vocals, subterranean bass lines, incredibly spacious separation, tube-amp warmth, faithful tones, and balanced dynamicslead a crystal clear path to the music and the Dead’s extraordinary collective spark.
Originally captured on a 16-track recorder, the songs brim with rarified levels of you-are-there realism and reach-out-and-touch immediacy.Notorious for its exacting sound demands, theDeadachieves the kind of instrumental and frequency-range transparency that many dedicated audiophiles spend their entire lives dreaming about.Skull and Rosesis a kernel of sonic truth.Such is the pressing’s degree of detail and insight that listeners will be able to debate what gauge guitar strings the members are using as they savor every last breath, riff, and snare hit.
Thankfully, the band’s perfectionist attitude toward sound doesn’t literally transfer over to its music approach. Loose, lively, playful yet earthy, focused, and committed, theDeadcrackles with boogie-based moxie, greasy soulfulness, and swaggering bravado, each note seemingly exploding like tiny pieces of magic that hover in the air and cast hypnotic spells. The group’s embrace of leaner, tighter, more melodically incisive songs and the swaying rhythms that accompany the approach directly relate to two key lineup changes: the temporary departure of drummerMickey Hartand permanent leave of keyboardistTom Constanten. As a result, theDeadtoured as a quintet, withBill Kreutzmannthe sole percussionist andGarcia, bassist Phil Lesh, guitarist/singer Bob Weir, and keyboardist/vocalist Ron “Pigpen” McKernanrounding out the barer-bone cast.
Not only doGarcia, Lesh, and Weirshow tremendous growth as singers, theDeadas a whole further invest in folk, country, R&B, rock, and blues traditions—viaGarcia’ssweeter tones and Bakersfield picking,Weir’scowboy twang and increasingly confident counterpoints,Kreutzmann’shang-fire beats and scurrying grooves,Lesh’sweighty sway,McKernan’sforeshadowing spiritual timbres. Inspired covers of tunes byMerle Haggard(a frisky and defiant “Mama Tried”),Willie Dixon(the comfortably rumbling, boozy honky tonk “Big Boss Man”),Kris Kristofferson(the dusty, peaceable tale “Me and Bobby McGee”),Chuck Berry(a supercharged romping “Johnny B. Goode”), andBuddy Holly(“Not Fade Away,” segued into “Goin’ Down the Road Feeling Bad”) announce theDead’s intent to make practically every style of contemporary American music their own, and in the process — to paraphrase the greatBill Graham— be the only ones that did what they did.
A similar attitude informed the record’s genesis. The group originally lobbied to call the albumSkullfuckbefore the record label, at an allegedly chaotic meeting at the infamous Hyatt Hotel, dissuaded the humorous ploy. While technically named Grateful Dead, the album is commonly known asSkull and Rosesdue toAlton Kelly and Stanley Mouse’s now-iconic cover art. Trivia buffs might know the latter is based on an illustration for an antique edition of theRubaiyat of Omar Khayyam.
The 1971 effort also has another huge claim to fame: It included the message “DEAD FREAKS UNITE. Who are you? Where are you? How are you?” Those simple lines, and the invitation to respond, created of theDeadheadsubculture and biggest fan list in history, utterly pioneering the industry overnight.
Get it all—the dazzling graphics, dizzying performances, deft sonics—by ordering your prized collectable edition ofSkull and Rosestoday!
• Numbered, Limited Edition
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
LP 1 - Side One:
2. Mama Tried
3. Big Railroad Blues
4. Playing In the Band
LP1 - Side Two:
1. The Other One
LP 2 - Side Three:
1. Me and My Uncle
2. Big Boss Man
3. Me and Bobby McGee
4. Johnny B. Goode
LP2 - Side Four:
1. Wharf Rat
2. Not Fade Away / Goin' Down the Road Feeling Bad
Numbered, limited edition 180-gram LP from Mobile Fidelity. The Dead will survive: 1987 album gave band new lease on life, best studio effort in more than a decade
Half-speed mastered from the original master tapes: Jerry Garcia and Bob Weir's dynamic magnified, bluesy riffs properly textured
In the Darkcontains "Touch of Grey": Dead's only Top 40 hit, entire album boasts continuity, flow, and cheer of a memorable live show: After more than a decade, group finally tallied another studio masterwork
In the Darkwill forever be known as the Grateful Dead record that propelled the iconic band into the mainstream conscious more than two decades after its career began. Thanks to undeniable hooks, sing-a-long refrains, and shrug-it-off sentiments on the survivalist anthem "Touch of Grey," the Dead was exposed to new generations of listeners and, in the process, became celebrity figures that packed football stadiums with fans. But In the Dark remains significant for many other, more important reasons-Jerry Garcia's stunning recovery from a coma, Garcia and Bob Weir's compelling dynamic, and an impeccable batch of tunes. It also stands bar-none as the sextet's finest output since 1975.
Half-speed mastered from the original master tapes and part of the label's unprecedented Grateful Dead reissue series, Mobile Fidelity's numbered limited edition 180g LP of In the Dark presents the Dead's long-overdue breakthrough in attention-grabbing fidelity. Even in an era in which the most revered artists succumbed to the day's prevailing sound (namely, slick textures and artificial keyboard-heavy production that evoked the feel of Saran-Wrap) the band remained obstinate in its allegiance to revealing fidelity. As it happened, the Dead recorded most of the record live onstage at Marin Civic Auditorium using the then-newly introduced Dolby SR-a technology that permitted astounding instrumental separation, even when playing live. The group's inimitable blend now sounds better, more immediate, and natural than ever.
Everything including the clip-clop of cowbells, Mickey Hart and Billy Kreutzmann's rhythm-devil grooves, Phil Lesh's supple bass lines, Garcia's sweetened timbre, and Brent Mydland's pastel-shaded keyboard melodies converges into a delightfully balanced, animate entity. The music possesses tube-like warmth and glow, and the band's renewed vigor and, particularly, Garcia's mellifluous guitar tones and rippling passages, come across with irresistible immediacy, heft, and vitality.
1. Touch of Grey2. Hell in a Bucket3. When Push Comes to Shove