Ian Scuffling
Well-known member
These are exactly the sort of books I'm looking for thanks!
Is that folder just all the studio albums with a few shows mixed in?
Is that folder just all the studio albums with a few shows mixed in?
The Grateful Thread
- Thread starter vershy versh
- Start date
william_kent
Well-known member
Owsley and Me: My LSD Family - Rhoney Gissen Stanley
the real chemist tells of her experiences being treated like shit by the Dead
kid charlemagne
Well-known member
JOOOOOOOOOOOOOOEEEEEEEEEYYYYYYYYYYY
Ian Scuffling
Well-known member
Sometimes does make me sad Phil or Bobby (I can't remember) didn't let Dylan join them in full; something about Jerry's guitar and Dylan's text, alchemical
Murphy
cat malogen
Bloke talking at a bored person meme post imminent .. late late lunch amid work chaos
Lesh had really good ears despite being a bedrock to an act that consistently copped so much shit. My favourite bassist for avoiding easy root octaves without chugging out Primus style overkill fiddly-ness. You have to be picky ffs, life is short but when they’re bad there’s few worse
A musician who could have pushed more into abstract electronic works, had the playing and theory background chops for it, had the gift of inspiration to be able to go beyond the norms hence a true bass pioneer capable of lifting chords and notes with uncommon fluency
All the r&r Deadhead permastoned or perma-inebriated bs distractions aside, all the jam band roman shower fests where noodle and dreads and patchouli oil coalesced aside too, here’s 3 Lesh side projects worth a listen to prove the point to both non-listeners and the few here who indulge @jenks and @the ig
Not Xenakis but this show has something my ears find seriously alluring. 1975, sabbatical period with JGB and Legion of Mary (with Tower of Power) on the road, ie minus usual lead guitar anchor and a less typical live showcase highlighting the sheer range of sounds created
Less flow but Seastones with NL frequently gets overlooked for collaborative works, as the latter asked for every single performance he played to be edited out of releases for whatever reason. Its various brief live appearances on digitised soundboard tapes, recorded by Betty Cantor-Jackson, is one reason the Seastones mythos stayed alive
Can def be incoherent noodle bollocks yet they stride valiantly into crisp synth and under appreciated molten sub bass work crackling and alive yet somehow off-world and dislocated too. Worth headphones even with YT quality for an act with an intermittently short lifespan blitzed into oblivion by too many interludes and narrow minded audiences with short attention spans. Sits well alongside more recognised experimental electronic music from the US
Lastly, the stand out track off The Apocalypse Now Sessions. I don’t know who’s making which sounds but who cares, a cacophonous medley sliding into the uncanny
Lesh had really good ears despite being a bedrock to an act that consistently copped so much shit. My favourite bassist for avoiding easy root octaves without chugging out Primus style overkill fiddly-ness. You have to be picky ffs, life is short but when they’re bad there’s few worse
A musician who could have pushed more into abstract electronic works, had the playing and theory background chops for it, had the gift of inspiration to be able to go beyond the norms hence a true bass pioneer capable of lifting chords and notes with uncommon fluency
All the r&r Deadhead permastoned or perma-inebriated bs distractions aside, all the jam band roman shower fests where noodle and dreads and patchouli oil coalesced aside too, here’s 3 Lesh side projects worth a listen to prove the point to both non-listeners and the few here who indulge @jenks and @the ig
Not Xenakis but this show has something my ears find seriously alluring. 1975, sabbatical period with JGB and Legion of Mary (with Tower of Power) on the road, ie minus usual lead guitar anchor and a less typical live showcase highlighting the sheer range of sounds created
Less flow but Seastones with NL frequently gets overlooked for collaborative works, as the latter asked for every single performance he played to be edited out of releases for whatever reason. Its various brief live appearances on digitised soundboard tapes, recorded by Betty Cantor-Jackson, is one reason the Seastones mythos stayed alive
Can def be incoherent noodle bollocks yet they stride valiantly into crisp synth and under appreciated molten sub bass work crackling and alive yet somehow off-world and dislocated too. Worth headphones even with YT quality for an act with an intermittently short lifespan blitzed into oblivion by too many interludes and narrow minded audiences with short attention spans. Sits well alongside more recognised experimental electronic music from the US
Lastly, the stand out track off The Apocalypse Now Sessions. I don’t know who’s making which sounds but who cares, a cacophonous medley sliding into the uncanny
dispatch from an intimate utopia / bass tones plant warm stones in your belly / hello tatty consonants, hello weary pleasures already / bliss: i’m maybe the marbling on soap bubbles / Jerry swings us impromptu, each bent note like a tipped chalice / tension of joy, so sprung and fragile / gliding the nestled homelands now, Miyazaki-blue / sandy winds roll the wide horizon / soft-step down to the early hours, gladness…no one knows gladness like the Dead
Murphy
cat malogen
Searching for the Sound: My Life with the Grateful Dead
Right in time for the Grateful Dead's 40th anniversary,…