Grateful Dead

The Grateful Dead was an American psychedelia-influenced rock band. Formed in 1965 in San Francisco from the remnants of another band, "Mother McCree's Uptown Jug Champions," the Grateful Dead were known for their unique and eclectic songwriting style—which fused elements of rock, folk music, bluegrass, blues, country, and jazz—and for live performances of long modal jams.

Some of the band's fans followed the band from concert to concert for years. These so-called Deadheads were renowned for their dedication to the band's music. Many followers referred to the band simply as The Dead.

The Grateful Dead's career began under the name "The Warlocks" in Palo Alto, California, but as another band was already recording under that name (interestingly, it was the future Velvet Underground), the band had to change its name in order to get a recording contract. Eventually, they moved to the Haight-Ashbury section of San Francisco. Many bands from this area, such as Jefferson Airplane, Big Brother & the Holding Company, and Santana, went on to national fame, giving San Francisco an image as a center for the hippie counterculture of the era. (Also see entry for the San Francisco Sound.) Of these bands, the Grateful Dead had members with arguably the highest level of musicianship, including banjo and guitar player Jerry Garcia, blues musician "Pigpen" McKernan, the classically trained Phil Lesh and drummer Bill Kreutzmann [1]. The Grateful Dead most embodied "all the elements of the San Francisco scene and came, therefore, to represent the counterculture to the rest of the country" [2].

The name "Grateful Dead" was chosen at random from a dictionary. Some claim it was a Funk & Wagnalls, others an Oxford Dictionary, but according to Phil Lesh, in his biography (pp. 62), "...Jer (Garcia) picked up an old Britannica World Language Dictionary...(and)...In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'"

The Grateful Dead became the de facto resident band of Ken Kesey's Merry Pranksters, with the early sound heavily influenced by Kesey's LSD-soaked Acid Tests, as well as R&B. Their musical influences varied widely with input from the psychedelic music of the era, combined with blues, jazz, rock and roll, and bluegrass. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world." [3].

Membership

De facto bandleader Jerry Garcia was the lead guitarist for the band—-although he was often seen both by the public and the media as 'leader' or a primary spokesperson for the Grateful Dead, he was reluctant to be seen that way, especially since Garcia and the other group members saw themselves as equal participants and contributors to their collective musical and creative output. Jerry was a native of San Francisco and grew up in the Excelsior District. One of the main influences on his musical style was bluegrass music, and Garcia also performed-—on banjo, his other great instrumental love-—in the bluegrass band Old and in the Way with mandolinist David Grisman. Classically-trained trumpeter Phil Lesh played bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards, harmonica and was also a group vocalist until shortly before his death in 1973 at the age of 27. All of the previously mentioned Grateful Dead members shared in vocal performance of songs, although none of them had a particularly strong or tuneful voice. Bill Kreutzmann played drums, and in 1968 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments. Hart quit the Grateful Dead in 1971, embarrassed by the financial misdealings of his father, Dead money manager Lenny Hart, and leaving Kreutzmann once again as the sole percussionist. Hart rejoined the Dead for good in 1975. Tom "TC" Constanten played keyboards alongside Pigpen from 1968 to 1970. Two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Dead as a backing vocalist. Keith and Donna left the band in 1979, and Brent Mydland joined as keyboardist and vocalist. Keith Godchaux died in a car accident in 1980. Brent Mydland was the keyboardist for the Dead for 11 years until his death in 1990. He became the third Dead keyboardist to die. Almost immediately, former Tubes keyboardist Vince Welnick joined on keyboards and vocals. For a year and a half, Welnick was often joined by special guest Bruce Hornsby on piano. Robert Hunter and John Perry Barlow were the band's primary lyricists. Owsley "Bear" Stanley was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.

Touring

Early photo of the band at their communal home in the Haight-Ashbury district of San Francisco, late 60's.

The Grateful Dead are well-known for their near constant touring throughout their long career in music. They promoted a sense of community among their fans, who became known as Deadheads, many of whom followed their tours for months or years on end. In their early years, the band was also dedicated to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music and health care to all comers; they were the "first among equals in giving unselfishly of themselves to hippie culture, performing 'more free concerts than any band in the history of music'" [4].

Original lineup of The Grateful Dead, 1971.

With the exception of 1975, when the band was on "hiatus" and played only four concerts together, the Grateful Dead toured regularly around the USA from the winter of 1965 until July 9, 1995—with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978. (They also appeared at the legendary Monterey Pop Festival in 1967 and the even more famous Woodstock Festival in 1969; their largest concert audience came in 1973 when they played, along with The Allman Brothers Band and The Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.)

Their numerous studio albums were generally collections of new songs that had been initially played in concert. The band was famous for its extended jams, which showcased both individual improvisation as well as a distinctive "group-mind" improvisation where each of the band members improvised individually, while still blending together as a cohesive musical unit, often engaging in extended improvisational flights of fancy. A hallmark of their concert sets were continuous sets of music where each song would blend into the next (a segue). Musically this may be illustrated in that the band not only improvised within the form of a song, yet also improvised with the forms.

Wall of Sound

The Wall of Sound was an enormous sound system designed specifically for the Grateful Dead. The band were never satisfied with the house system anywhere they played, so in their early days, soundman Owsley "Bear" Stanley designed a PA and monitor system for them. Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical issues. After Stanley was placed in jail for LSD production in 1970, the group briefly used house PAs, but ultimately found them to be less reliable than the systems conceived by their former soundman. In 1971, the band purchased their first solid sound system from Alembic Inc Studios. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. The band also welcomed Dan Healy into the fold on a permanent basis that year; Healy was a more superior engineer than Stanley and would mix the Grateful Dead's live sound until 1993.

The desire driving the development of the Wall of Sound was for a distortion-free sound system that could serve as its own monitor system. After Owsley Stanley was released from prison in late 1972, he, along with Dan Healey, Mark Raizene of the Grateful Dead's sound crew, and Ron Wickersham, Rick Turner, and John Curl of Alembic Inc accomplished this by essentially combining eleven separate sound systems. Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. Phil Lesh's bass was quadraphonic, each of the four strings having its own channel and set of speakers. One channel amplified the bass drum, and two channels amplified the other drums and cymbals in stereo. Because each speaker was producing the sound of just one instrument or vocalist, the sound was exceptionally clear and intermodulation distortion between instruments was nonexistent.

The Wall of Sound was designed to act as its own monitor system, and it was therefore assembled behind the band so the members could hear exactly what their audience was hearing. Because of this, a special microphone system had to be designed to prevent feedback. The Dead used matched pairs of condenser microphones spaced 60mm apart and run out-of-phase. The vocalist sang into the top microphone, and the lower mic picked up whatever other sound was present in the stage environment. The signals were summed, the sound that was common to both mics (the sound from the Wall) was cancelled, and only the vocals were amplified.

The Wall of Sound used 89 300-Watt solid state and three 350-Watt tube amplifiers to produce 26,400 total Watts RMS of audio power. It was capable of producing acceptable sound at a quarter mile, and excellent sound for up to six hundred feet, when the sound began to be distorted by wind. It was the largest portable sound system ever built (although "portable" is a relative term). Four semi trucks and 21 crew members were required to haul and set up the 75-ton Wall.

Though the initial framework and a rudimentary form of the system was unveiled in February 1973 (ominously, every speaker tweeter blew as the band began their first number), the Grateful Dead did not begin to tour with the full system until a year later in 1974. The Wall of Sound was very efficient for its day, but it did have its pitfalls in addition to its sheer size. Synthesist Ned Lagin, who toured with the group throughout much of 1974, never received his own dedicated input into the system, and was forced to use the vocal subsystem for amplification. Because this was often switched to the vocal mikes, many of Lagin's parts were lost in the mix. The Wall's quadraphonic format never translated well to soundboard tapes made during the period, as the sound was compressed into an unnatural stereo format and suffers from a pronounced tinniness.

The rising cost of fuel and personnel, as well as friction among many of the newer crew members (and associated hangers-on), contributed to the band's 1974 "retirement." The Wall of Sound was disassembled, and when the Dead began touring again in 1976, it was with a more logistically practical sound system.

'

Two Grateful Dead icons rolled into one

Steal Your Face

The band's skull-and-lightning-bolt icon is called Steal Your Face, a sanitized version of the icon's original name, Skull Fuck, which was a direct reflection both of the anti-establishment sensibilities of the times and of the Grateful Dead's role as a voice for the "hippies." Garcia and McKernan are said to have been tripping on ancient icons from the Aztec or Mayan visual lexicon, particularly the celebration of Dia de los Muertos (Day of the Dead) and to have exclaimed, "Fuck they're all skulls... Bitchin'!!" Kelly/Mouse Studios then began including the icon in most of the band's posters and graphics.

Deadheads

Many of their fans, commonly referred to as Deadheads, would follow the band on tour. In contrast to many other bands, the Grateful Dead encouraged their fans to tape their shows. For many years, almost all of their shows would have dedicated taping sections. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes. In the 1980s, the band scored a top 40 hit with the song "Touch of Grey" (from In the Dark), which garnered a much younger and more mainstream fandom that was considered sharply different from the traditional Deadheads. These new followers were deemed "Touchheads" by the more established fans, a reference to their relative inexperience with the band. The late 1980s and 90s saw the Grateful Dead attracting a huge following that left many long time deadheads in doubt as to whether people were coming out for shows to see the band, or simply to be part of the atmosphere. Whatever their differences, the deadheads are often considered to be the most devoted fans in the rock world.

The parking lot of a Grateful Dead concert was as much a part of the event as the concert itself. One could find items for sale at many cars in the lot, from grilled cheese sandwiches to "kind" brews and nitrous balloons. (Some deadheads would earn their entire touring budget selling such items.) Concertgoers typically congregated in the lot for hours before a show, playing guitar, hacky sacking and getting high. After the show, a deadhead with the post-show munchies could probably find a grilled cheese sandwich made on a camping stove at the door of a VW bus by a friendly hippie.

Live releases

Late lineup of The Grateful Dead, mid-90s.

Starting in 1991, the Grateful Dead released numerous live concerts from their archives in two concurrent series: the From the Vault releases are multi-track remixes, whereas the Dick's Picks series (named for the band's late archivist, Dick Latvala) are based on two-track mixes made at the time of the recording. There have been at least 36 Dick's Picks releases as of November 2005. A series of videos began to trickle out of "The Vault", starting with View From the Vault (recorded in Pittsburgh on July 8, 1990 at Three Rivers Stadium) and View from the Vault II (recorded in Washington, DC on June 14, 1991 at RFK Stadium); these releases are accompanied by the simultaneous release of multi-disc soundtrack CDs of the same shows represented on the videos. All three series of releases continue to this day.

In the summer of 2005 the Dead began offering downloadable versions of both their existing live releases, and a new internet-only series, The Grateful Dead Download Series, that is available exclusively through both their own GDStore.com (which offers the albums in both 256 kbit/s mp3 files and FLAC files -- a preferred audio standard for those who archive Dead and other fan-made live recordings on the Internet) and the iTunes Music Store (which offers them in their 128 kbit/s AAC format). Not surprisingly, these Internet-only albums have met with the same success as their CD-based brethren.

In November of 2005, the Dead's management outraged fans by asking the operators of the popular Internet Archive (archive.org) to stop making concerts available for download, and to offer only streamcast recordings instead. The band's spokesman, Dennis McNally, claimed such a repository "doesn't represent Grateful Dead values" because it doesn't foster one-to-one connections between fans. However, David Gans, host of a syndicated radio program, "The Grateful Dead Hour," speculates that the band is motivated by money, noting "when they were making $50 million a year on the road, there wasn't a lot of pressure to monetize their archives."[5]

The removal of the Dead's concerts from Archive.org created a storm of protest, in addition to a rapidly spreading boycott of the band's remaining commercial products. Several days after the announcement that the concerts had been removed, Brewster Kahle of Archive.Org made a cryptic announcement that audience tapes of the concerts would again become available, though so-called board tapes would only be available as streaming audio. Kahle claimed that the whole affair had been a "misunderstanding," but John Perry Barlow, one of the band's lyricists, claimed that concerts had been restored after several members of the band had backed away from their earlier opposition after realizing they had created a public relations "catastrophe."

History

The Grateful Dead formed during the era when bands like the Beatles and Rolling Stones were dominating the airwaves. Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. Grateful Dead members have said that it was after attending a concert by the touring New York "folk-rock" band The Lovin' Spoonful that they decided to "go electric." Gradually, many of the East-Coast American folk musicians, formerly luminaries of the coffee-house scene, were moving in the electric direction. It was natural for Jerry Garcia and Bob Weir, each of whom had been immersed in the American folk-music revival of the late 1950s and early '60s, to be open-minded toward electric guitars. But the new Dead music was also naturally different from bands like Dylan's or the Spoonful, partly because their fellow musician Phil Lesh came out of a schooled classical and electronic-music background, while Ron "Pigpen" McKernan was a no-nonsense deep blues lover and drummer Bill Kreutzmann had a jazz background. Listening to their first LP (The Grateful Dead, Warner Brothers, 1967), one is also reminded that it was recorded only a few years after the big "surfing music" craze; that California rock-music sound seeped in, to some degree, as well.

The cover of the 1970 album American Beauty

The Grateful Dead’s early music (in the mid 1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. This was natural, because they played psychedelic dances, open-air park events, and closed-street Haight-Ashbury block parties. The Dead were not inclined to fit their music to an established category such as pop rock, blues, folk rock, or country/western. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and more, frequently melding several of them. Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes—a form of psychedelia that might run the gamut from strange to exotically beautiful. Most connoisseurs believe that the Grateful Dead's true spirit was rarely well captured in studio performance.

The early records reflected the Dead's live repertoire — lengthy instrumental jams with guitar solos by Garcia, best exemplified by "Dark Star" — but, lacking the energy of the shows, did not sell well. The 1969 live album Live/Dead did capture more of their essence, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures.

Dissolution and Continuation of the band

Following Garcia's death in 1995, the remaining members formally decided to disband. Though some of them occasionally toured through the late 1990s under the name "The Other Ones", they mainly chose to pursue various solo projects, most notably Bob Weir's Ratdog, Phil Lesh and Friends and Mickey Hart's music for the 1996 Olympics. The remaining members occasionally got together under the pseudonym Crusader Rabbit Stealth Band during the late 1990s, infrequently playing unannounced shows. The mid-2002 fall tour of The Other Ones, with Bob, Bill, Phil and Mickey, was so successful and satisfying that the band decided the name was no longer appropriate. On February 14, 2003, (as they said) "reflecting the reality that [was]," they renamed themselves The Dead, reflecting the abbreviated form of the band name that fans had long used and keeping "Grateful" retired out of respect for Garcia. The members would continue to tour on and off through the end of their 2004 Summer Tour, the "Wave That Flag" tour, named after a lyric from the song, "U.S. Blues." The band accepted Warren Haynes as their new lead guitarist. Haynes is best known for his work with Gov't Mule and the Allman Brothers Band. The band did not tour in 2005, due to a fight between Bob Weir and Phil Lesh over how they believe certain things happened in the history of the band. Their inability to reconcile these differences kept Deadheads from seeing a tour to celebrate the 40th anniversary of the Grateful Dead, and also made the annual celebration honoring Jerry Garcia seem a little flat, as his own bandmates couldn't put aside their differences to take the stage together in his honor. As of now, any future plans are unknown, and are largely contingent on Weir and Lesh making up.

Bandmembers

  • Jerry Garcia - lead guitar, vocals (1965 - 1995)
  • Bob Weir - rhythm guitar, vocals (1965 - 1995)
  • Phil Lesh - bass, vocals (1965 - 1995)
  • Bill Kreutzmann - drums (1965 - 1995)
  • Mickey Hart - drums (1967 - 1971, 1975 - 1995)
  • Ron "Pigpen" McKernan - keyboards, vocals, harmonica, percussion (1965 - 1973)
  • Tom Constanten - keyboards (1968 - 1970)
  • Keith Godchaux - keyboards (1971 - 1979)
  • Donna Jean Godchaux - vocals (1972 - 1979)
  • Brent Mydland - keyboards, vocals (1979 - 1990)
  • Vince Welnick - keyboards, vocals (1990 - 1995)


Discography

  • The Grateful Dead (1967: Garcia/Weir/Lesh/Kreutzmann/McKernan)
  • Anthem of the Sun (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan)
  • Two from the Vault (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan)
  • Aoxomoxoa (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten)
  • Live/Dead (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten)
  • History of the Grateful Dead, Volume One (Bear's Choice) (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan)
  • Workingman's Dead (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan)
  • American Beauty (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan)
  • Grateful Dead (aka Skull & Roses) (1971: Garcia/Weir/Lesh/Kreutzmann/McKernan)
  • Hundred Year Hall (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Godchaux/D. Godchaux)
  • Europe '72 (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Godchaux/D. Godchaux)
  • Skeletons from the Closet (Best of the Grateful Dead) (1973: compilation)
  • Wake of the Flood (1973: Garcia/Weir/Lesh/Kreutzmann/K. Godchaux/D. Godchaux)
  • Grateful Dead From the Mars Hotel (1974: Garcia/Weir/Lesh/Kreutzmann/K. Godchaux/D. Godchaux)
  • Steal Your Face (1974: Garcia/Weir/Lesh/Kreutzmann/K. Godchaux/D. Godchaux)
  • One From the Vault (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux/D. Godchaux)
  • Blues for Allah (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux/D. Godchaux)
  • Terrapin Station (1977: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux/D. Godchaux)
  • What a Long Strange Trip It's Been (1977: compilation)
  • Shakedown Street (1978: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux/D. Godchaux)
  • Go to Heaven (1980: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Reckoning (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Dead Set (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • In the Dark (1987: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Built to Last (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Dylan & The Dead (live, with Bob Dylan) (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Dozin' at the Knick (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Without a Net (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland)
  • Infrared Roses (1991: live compilation)
  • Grayfolded (1996: live compilation)
  • Grateful Dead 1977-1995 (1996: compilation)
  • The Arista Years (1996: compilation)
  • Fallout from the Phil Zone (1997: live compilation)
  • So Many Roads 1965-1995 (1999: boxed set)
  • The Golden Road (2001: boxed set, consisting of the Dead's years with Warner Brothers Records, 1967-1972)
  • Postcards of the Hanging (2002: live compilation)
  • The Very Best of The Grateful Dead (2003: compilation)
  • Beyond Description (2004: boxed set, consisting of the Dead's years with Grateful Dead Records and Arista Records, 1973-1989)
  • Rare Cuts and Oddities 1966 (2005)
  • The Complete Fillmore West 1969 (2005: boxed set, live)

Dick's Picks

The above list does not include the Dick's Picks series of concert recordings taken from the band's archives, selected by archivist Dick Latvala and, after his death, David Lemieux. Started in 1993, as of January 14, 2006 there are thirty-six volumes in the series, each covering a part or all of one or more concerts. About three new volumes were being released each year.

  • Vol. 1: December 19, 1973 from Tampa, Florida
  • Vol. 2: October 31, 1971 from the Ohio Theatre, Columbus, Ohio
  • Vol. 3: May 22, 1977 from the Hollywood Sportatorium, Hollywood, Florida
  • Vol. 4: February 13 and 14, 1970 from the Fillmore East, New York City
  • Vol. 5: December 26, 1979 from the Oakland Arena, Oakland, California
  • Vol. 6: October 14, 1983 from the Hartford Civic Center, Hartford, Connecticut
  • Vol. 7: September 1974 from the Alexandra Palace, London, England
  • Vol. 8: May 2, 1970 from Harpur College, Binghamton, New York
  • Vol. 9: September 16, 1990 from Madison Square Garden, New York City
  • Vol. 10: December 29 and 30, 1977 from the Winterland, San Francisco, California
  • Vol. 11: September 27, 1972 from the Stanley Theater, Jersey City, New Jersey
  • Vol. 12: June 26, 1974 from the Providence Civic Center, Providence, Rhode Island and June 28, 1974 from the Boston Garden, Boston, Massachusetts
  • Vol. 13: May 6, 1981 from the Nassau Coliseum, Long Island, New York
  • Vol. 14: November 30 and December 2, 1973 from the Boston Music Hall (now Symphony Hall), Boston, Massachusetts
  • Vol. 15: September 3, 1977 from the Raceway Park, Englishtown, New Jersey
  • Vol. 16: November 8, 1969 from the Fillmore, San Francisco, California
  • Vol. 17: September 25, 1991 from the Boston Garden, Boston, Massachusetts with two songs from March 31, 1991
  • Vol. 18: February 3, 1978 from the Dane County Coliseum, Madison, Wisconsin and February 5, 1978 from the Uni-Dome, Cedar Falls, Iowa
  • Vol. 19: October 19, 1973 from the Fairgrounds Arena, Oklahoma City, Oklahoma
  • Vol. 20: September 25, 1976 from the Capital Center, Landover, Maryland and September 28, 1976 from the Onondaga County War Memorial, Syracuse, New York
  • Vol. 21: November 1, 1985, from the Richmond Coliseum, Richmond, Virginia and some tracks from September 2, 1980
  • Vol. 22: February 23 and 24, 1968 from the Kings Beach Bowl, Lake Tahoe, California
  • Vol. 23: September 17, 1972 from the Baltimore Civic Center, Baltimore, Maryland
  • Vol. 24: March 23, 1974 from the Cow Palace, Daly City, California
  • Vol. 25: May 10, 1978 from the Veterans Memorial Coliseum, New Haven, Connecticut and May 11, 1978 from the Springfield Civic Center, Springfield, Massachusetts
  • Vol. 26: April 26, 1969 from the Electric Theater, Chicago, Illinois and April 27, 1969 from the Labor Temple, Minneapolis, Minnesota
  • Vol. 27: December 16, 1992 from the Oakland Coliseum Arena, Oakland, California
  • Vol. 28: February 26, 1973 from the Pershing Municipal Auditorium, Lincoln, Nebraska and February 28, 1973 from the Salt Palace, Salt Lake City, Utah
  • Vol. 29: May 19, 1977 from the Fox Theatre, Atlanta, Georgia and May 21, 1977 from the Lakeland Civic Arena, Lakeland, Florida
  • Vol. 30: March 28, 1972 from the Academy of Music, New York City and March 25, 1972 (including five songs with Bo Diddley)
  • Vol. 31: August 4 and 5, 1974 from the Philadelphia Civic Center, Philadelphia, Pennsylvania and August 6, 1974 from the Roosevelt Stadium, Jersey City, New Jersey
  • Vol. 32: August 7, 1982 from the Alpine Valley, East Troy, Wisconsin
  • Vol. 33: October 9 and 10, 1976 from the Oakland Stadium, Oakland, California (one of Bill Graham's Days on the Green)
  • Vol. 34: November 5, 1977 from the Community War Memorial, Rochester, New York with bonus tracks of November 2, 1977 from the Seneca College Field House, Toronto, Ontario
  • Vol. 35: August 7, 1971 from San Diego, California and August 24, 1971 from Chicago, Illinois with bonus tracks of August 6, 1971 from the Palladium, Hollywood, California
  • Vol. 36: September 21, 1972 from the Spectrum, Philadelphia, Pennsylvania

Volume 15 and later are released in the HDCD format.


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Volume 15 and later are released in the HDCD format. Hilfiger has also released True Star Gold. About three new volumes were being released each year. True Star is a fragrance created by Tommy Hilfiger along with spokesperson Beyoncé Knowles. Started in 1993, as of January 14, 2006 there are thirty-six volumes in the series, each covering a part or all of one or more concerts. [2] Despite this being proven false, continued negative perceptions of Hilfiger as a fashion profiteer are reflected by his being unflatteringly portrayed as "Timmi Hilnigger" in the Spike Lee feature film Bamboozled. The above list does not include the Dick's Picks series of concert recordings taken from the band's archives, selected by archivist Dick Latvala and, after his death, David Lemieux. In 2000, a false rumour circulated on the internet that Hilfiger had made a racist remark on The Oprah Winfrey Show along the lines that he didn't want Asians wearing his clothing.


. [1]. As of now, any future plans are unknown, and are largely contingent on Weir and Lesh making up. In March 2000, the company (along with other defendants) settled a class action suit brought by Saipan garment workers which had alleged that their working conditions amounted to indentured servitude. Their inability to reconcile these differences kept Deadheads from seeing a tour to celebrate the 40th anniversary of the Grateful Dead, and also made the annual celebration honoring Jerry Garcia seem a little flat, as his own bandmates couldn't put aside their differences to take the stage together in his honor. As a US Commonwealth, clothes made there can be labeled "Made in the USA" but federal labor laws including the minimum wage do not apply. The band did not tour in 2005, due to a fight between Bob Weir and Phil Lesh over how they believe certain things happened in the history of the band. Hilfiger has been criticised for manufacturing clothes in sweatshop conditions in the US territory of Saipan, Northern Mariana Islands.

Haynes is best known for his work with Gov't Mule and the Allman Brothers Band. His daughter Ally Hilfiger was featured in the MTV reality show Rich Girls. Blues." The band accepted Warren Haynes as their new lead guitarist. Hilfiger is married and has four children. The members would continue to tour on and off through the end of their 2004 Summer Tour, the "Wave That Flag" tour, named after a lyric from the song, "U.S. In the end Hilfiger chose Chris Cortez. On February 14, 2003, (as they said) "reflecting the reality that [was]," they renamed themselves The Dead, reflecting the abbreviated form of the band name that fans had long used and keeping "Grateful" retired out of respect for Garcia. In 2005, a CBS TV reality show called The Cut tracked the progress of sixteen contestants as they competed for a design job with Hilfiger in similar fashion to Donald Trump's The Apprentice.

The mid-2002 fall tour of The Other Ones, with Bob, Bill, Phil and Mickey, was so successful and satisfying that the band decided the name was no longer appropriate. The company was purchased by Apax Partners for $1.6 billion, or $16.80 a share, all in cash. The remaining members occasionally got together under the pseudonym Crusader Rabbit Stealth Band during the late 1990s, infrequently playing unannounced shows. In August 2005 Hilfiger announced he was selling his company. Though some of them occasionally toured through the late 1990s under the name "The Other Ones", they mainly chose to pursue various solo projects, most notably Bob Weir's Ratdog, Phil Lesh and Friends and Mickey Hart's music for the 1996 Olympics. Hilfiger was named Menswear Designer of the Year by the Council of Fashion Designers of America in 1995. Following Garcia's death in 1995, the remaining members formally decided to disband. By 2004 the company had 5,400 employees and revenues in excess of $1.8 billion.

These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. In 1984, he founded the Tommy Hilfiger Corporation (NYSE:TOM), introducing his signature menswear collection. The 1969 live album Live/Dead did capture more of their essence, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. Hilfiger reportedly contributed funding to the building of the arena, but declined to have it named after him, according to news reports from the time of construction. The early records reflected the Dead's live repertoire — lengthy instrumental jams with guitar solos by Garcia, best exemplified by "Dark Star" — but, lacking the energy of the shows, did not sell well. The building in which The People's Place was located was torn down in the late 1990s to make way for First Arena, home to the United Hockey League's Elmira Jackals. Most connoisseurs believe that the Grateful Dead's true spirit was rarely well captured in studio performance. After the business went bankrupt, Hilfiger moved to New York City in 1979 to pursue a career as a fashion designer.

Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes—a form of psychedelia that might run the gamut from strange to exotically beautiful. The store was a big draw for the local teen crowd in Elmira because it often held live broadcasts from local radio personalities, sold rock and roll related clothing including Kiss and Aerosmith belt buckles, and had a discreet head shop upstairs which sold drug related paraphernalia such as bongs, roach clips, and incense. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and more, frequently melding several of them. His initial foray into fashion was a store, The People's Place. The Dead were not inclined to fit their music to an established category such as pop rock, blues, folk rock, or country/western. He is a graduate of Elmira Free Academy. This was natural, because they played psychedelic dances, open-air park events, and closed-street Haight-Ashbury block parties. Hilfiger grew up one of nine children in an Irish Catholic family in Elmira, a small town close to Cornell University.

The Grateful Dead’s early music (in the mid 1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. Thomas Jacob "Tommy" Hilfiger (born in Elmira, New York, on March 24, 1951) is a world-famous fashion designer best known for his eponymous "Tommy Hilfiger" and "Tommy" brands. Listening to their first LP (The Grateful Dead, Warner Brothers, 1967), one is also reminded that it was recorded only a few years after the big "surfing music" craze; that California rock-music sound seeped in, to some degree, as well. But the new Dead music was also naturally different from bands like Dylan's or the Spoonful, partly because their fellow musician Phil Lesh came out of a schooled classical and electronic-music background, while Ron "Pigpen" McKernan was a no-nonsense deep blues lover and drummer Bill Kreutzmann had a jazz background. It was natural for Jerry Garcia and Bob Weir, each of whom had been immersed in the American folk-music revival of the late 1950s and early '60s, to be open-minded toward electric guitars.

Grateful Dead members have said that it was after attending a concert by the touring New York "folk-rock" band The Lovin' Spoonful that they decided to "go electric." Gradually, many of the East-Coast American folk musicians, formerly luminaries of the coffee-house scene, were moving in the electric direction. Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. The Grateful Dead formed during the era when bands like the Beatles and Rolling Stones were dominating the airwaves. Kahle claimed that the whole affair had been a "misunderstanding," but John Perry Barlow, one of the band's lyricists, claimed that concerts had been restored after several members of the band had backed away from their earlier opposition after realizing they had created a public relations "catastrophe.".

Several days after the announcement that the concerts had been removed, Brewster Kahle of Archive.Org made a cryptic announcement that audience tapes of the concerts would again become available, though so-called board tapes would only be available as streaming audio. The removal of the Dead's concerts from Archive.org created a storm of protest, in addition to a rapidly spreading boycott of the band's remaining commercial products. However, David Gans, host of a syndicated radio program, "The Grateful Dead Hour," speculates that the band is motivated by money, noting "when they were making $50 million a year on the road, there wasn't a lot of pressure to monetize their archives."[5]. The band's spokesman, Dennis McNally, claimed such a repository "doesn't represent Grateful Dead values" because it doesn't foster one-to-one connections between fans.

In November of 2005, the Dead's management outraged fans by asking the operators of the popular Internet Archive (archive.org) to stop making concerts available for download, and to offer only streamcast recordings instead. Not surprisingly, these Internet-only albums have met with the same success as their CD-based brethren. In the summer of 2005 the Dead began offering downloadable versions of both their existing live releases, and a new internet-only series, The Grateful Dead Download Series, that is available exclusively through both their own GDStore.com (which offers the albums in both 256 kbit/s mp3 files and FLAC files -- a preferred audio standard for those who archive Dead and other fan-made live recordings on the Internet) and the iTunes Music Store (which offers them in their 128 kbit/s AAC format). All three series of releases continue to this day.

A series of videos began to trickle out of "The Vault", starting with View From the Vault (recorded in Pittsburgh on July 8, 1990 at Three Rivers Stadium) and View from the Vault II (recorded in Washington, DC on June 14, 1991 at RFK Stadium); these releases are accompanied by the simultaneous release of multi-disc soundtrack CDs of the same shows represented on the videos. There have been at least 36 Dick's Picks releases as of November 2005. Starting in 1991, the Grateful Dead released numerous live concerts from their archives in two concurrent series: the From the Vault releases are multi-track remixes, whereas the Dick's Picks series (named for the band's late archivist, Dick Latvala) are based on two-track mixes made at the time of the recording. After the show, a deadhead with the post-show munchies could probably find a grilled cheese sandwich made on a camping stove at the door of a VW bus by a friendly hippie.

(Some deadheads would earn their entire touring budget selling such items.) Concertgoers typically congregated in the lot for hours before a show, playing guitar, hacky sacking and getting high. One could find items for sale at many cars in the lot, from grilled cheese sandwiches to "kind" brews and nitrous balloons. The parking lot of a Grateful Dead concert was as much a part of the event as the concert itself. Whatever their differences, the deadheads are often considered to be the most devoted fans in the rock world.

The late 1980s and 90s saw the Grateful Dead attracting a huge following that left many long time deadheads in doubt as to whether people were coming out for shows to see the band, or simply to be part of the atmosphere. These new followers were deemed "Touchheads" by the more established fans, a reference to their relative inexperience with the band. In the 1980s, the band scored a top 40 hit with the song "Touch of Grey" (from In the Dark), which garnered a much younger and more mainstream fandom that was considered sharply different from the traditional Deadheads. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes.

For many years, almost all of their shows would have dedicated taping sections. In contrast to many other bands, the Grateful Dead encouraged their fans to tape their shows. Many of their fans, commonly referred to as Deadheads, would follow the band on tour. Bitchin'!!" Kelly/Mouse Studios then began including the icon in most of the band's posters and graphics.

The band's skull-and-lightning-bolt icon is called Steal Your Face, a sanitized version of the icon's original name, Skull Fuck, which was a direct reflection both of the anti-establishment sensibilities of the times and of the Grateful Dead's role as a voice for the "hippies." Garcia and McKernan are said to have been tripping on ancient icons from the Aztec or Mayan visual lexicon, particularly the celebration of Dia de los Muertos (Day of the Dead) and to have exclaimed, "Fuck they're all skulls.. '. The rising cost of fuel and personnel, as well as friction among many of the newer crew members (and associated hangers-on), contributed to the band's 1974 "retirement." The Wall of Sound was disassembled, and when the Dead began touring again in 1976, it was with a more logistically practical sound system. The Wall's quadraphonic format never translated well to soundboard tapes made during the period, as the sound was compressed into an unnatural stereo format and suffers from a pronounced tinniness.

Because this was often switched to the vocal mikes, many of Lagin's parts were lost in the mix. Synthesist Ned Lagin, who toured with the group throughout much of 1974, never received his own dedicated input into the system, and was forced to use the vocal subsystem for amplification. The Wall of Sound was very efficient for its day, but it did have its pitfalls in addition to its sheer size. Though the initial framework and a rudimentary form of the system was unveiled in February 1973 (ominously, every speaker tweeter blew as the band began their first number), the Grateful Dead did not begin to tour with the full system until a year later in 1974.

Four semi trucks and 21 crew members were required to haul and set up the 75-ton Wall. It was the largest portable sound system ever built (although "portable" is a relative term). It was capable of producing acceptable sound at a quarter mile, and excellent sound for up to six hundred feet, when the sound began to be distorted by wind. The Wall of Sound used 89 300-Watt solid state and three 350-Watt tube amplifiers to produce 26,400 total Watts RMS of audio power.

The signals were summed, the sound that was common to both mics (the sound from the Wall) was cancelled, and only the vocals were amplified. The vocalist sang into the top microphone, and the lower mic picked up whatever other sound was present in the stage environment. The Dead used matched pairs of condenser microphones spaced 60mm apart and run out-of-phase. Because of this, a special microphone system had to be designed to prevent feedback.

The Wall of Sound was designed to act as its own monitor system, and it was therefore assembled behind the band so the members could hear exactly what their audience was hearing. Because each speaker was producing the sound of just one instrument or vocalist, the sound was exceptionally clear and intermodulation distortion between instruments was nonexistent. One channel amplified the bass drum, and two channels amplified the other drums and cymbals in stereo. Phil Lesh's bass was quadraphonic, each of the four strings having its own channel and set of speakers.

Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. After Owsley Stanley was released from prison in late 1972, he, along with Dan Healey, Mark Raizene of the Grateful Dead's sound crew, and Ron Wickersham, Rick Turner, and John Curl of Alembic Inc accomplished this by essentially combining eleven separate sound systems. The desire driving the development of the Wall of Sound was for a distortion-free sound system that could serve as its own monitor system. The band also welcomed Dan Healy into the fold on a permanent basis that year; Healy was a more superior engineer than Stanley and would mix the Grateful Dead's live sound until 1993.

Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. In 1971, the band purchased their first solid sound system from Alembic Inc Studios. After Stanley was placed in jail for LSD production in 1970, the group briefly used house PAs, but ultimately found them to be less reliable than the systems conceived by their former soundman. Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical issues.

The band were never satisfied with the house system anywhere they played, so in their early days, soundman Owsley "Bear" Stanley designed a PA and monitor system for them. The Wall of Sound was an enormous sound system designed specifically for the Grateful Dead. Musically this may be illustrated in that the band not only improvised within the form of a song, yet also improvised with the forms. A hallmark of their concert sets were continuous sets of music where each song would blend into the next (a segue).

The band was famous for its extended jams, which showcased both individual improvisation as well as a distinctive "group-mind" improvisation where each of the band members improvised individually, while still blending together as a cohesive musical unit, often engaging in extended improvisational flights of fancy. Their numerous studio albums were generally collections of new songs that had been initially played in concert. (They also appeared at the legendary Monterey Pop Festival in 1967 and the even more famous Woodstock Festival in 1969; their largest concert audience came in 1973 when they played, along with The Allman Brothers Band and The Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.). With the exception of 1975, when the band was on "hiatus" and played only four concerts together, the Grateful Dead toured regularly around the USA from the winter of 1965 until July 9, 1995—with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978.

In their early years, the band was also dedicated to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music and health care to all comers; they were the "first among equals in giving unselfishly of themselves to hippie culture, performing 'more free concerts than any band in the history of music'" [4]. They promoted a sense of community among their fans, who became known as Deadheads, many of whom followed their tours for months or years on end. The Grateful Dead are well-known for their near constant touring throughout their long career in music. Owsley "Bear" Stanley was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.

Robert Hunter and John Perry Barlow were the band's primary lyricists. For a year and a half, Welnick was often joined by special guest Bruce Hornsby on piano. Almost immediately, former Tubes keyboardist Vince Welnick joined on keyboards and vocals. He became the third Dead keyboardist to die.

Brent Mydland was the keyboardist for the Dead for 11 years until his death in 1990. Keith Godchaux died in a car accident in 1980. Keith and Donna left the band in 1979, and Brent Mydland joined as keyboardist and vocalist. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Dead as a backing vocalist.

Two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. Tom "TC" Constanten played keyboards alongside Pigpen from 1968 to 1970. Hart rejoined the Dead for good in 1975. Hart quit the Grateful Dead in 1971, embarrassed by the financial misdealings of his father, Dead money manager Lenny Hart, and leaving Kreutzmann once again as the sole percussionist.

Bill Kreutzmann played drums, and in 1968 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments. All of the previously mentioned Grateful Dead members shared in vocal performance of songs, although none of them had a particularly strong or tuneful voice. Ron "Pigpen" McKernan played keyboards, harmonica and was also a group vocalist until shortly before his death in 1973 at the age of 27. Bob Weir, the youngest original member of the group, played rhythm guitar.

Classically-trained trumpeter Phil Lesh played bass guitar. One of the main influences on his musical style was bluegrass music, and Garcia also performed-—on banjo, his other great instrumental love-—in the bluegrass band Old and in the Way with mandolinist David Grisman. Jerry was a native of San Francisco and grew up in the Excelsior District. De facto bandleader Jerry Garcia was the lead guitarist for the band—-although he was often seen both by the public and the media as 'leader' or a primary spokesperson for the Grateful Dead, he was reluctant to be seen that way, especially since Garcia and the other group members saw themselves as equal participants and contributors to their collective musical and creative output.

. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world." [3]. Their musical influences varied widely with input from the psychedelic music of the era, combined with blues, jazz, rock and roll, and bluegrass. The Grateful Dead became the de facto resident band of Ken Kesey's Merry Pranksters, with the early sound heavily influenced by Kesey's LSD-soaked Acid Tests, as well as R&B.

62), "...Jer (Garcia) picked up an old Britannica World Language Dictionary...(and)...In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'". Some claim it was a Funk & Wagnalls, others an Oxford Dictionary, but according to Phil Lesh, in his biography (pp. The name "Grateful Dead" was chosen at random from a dictionary. The Grateful Dead most embodied "all the elements of the San Francisco scene and came, therefore, to represent the counterculture to the rest of the country" [2].

(Also see entry for the San Francisco Sound.) Of these bands, the Grateful Dead had members with arguably the highest level of musicianship, including banjo and guitar player Jerry Garcia, blues musician "Pigpen" McKernan, the classically trained Phil Lesh and drummer Bill Kreutzmann [1]. Many bands from this area, such as Jefferson Airplane, Big Brother & the Holding Company, and Santana, went on to national fame, giving San Francisco an image as a center for the hippie counterculture of the era. Eventually, they moved to the Haight-Ashbury section of San Francisco. The Grateful Dead's career began under the name "The Warlocks" in Palo Alto, California, but as another band was already recording under that name (interestingly, it was the future Velvet Underground), the band had to change its name in order to get a recording contract.

Many followers referred to the band simply as The Dead. These so-called Deadheads were renowned for their dedication to the band's music. Some of the band's fans followed the band from concert to concert for years. Formed in 1965 in San Francisco from the remnants of another band, "Mother McCree's Uptown Jug Champions," the Grateful Dead were known for their unique and eclectic songwriting style—which fused elements of rock, folk music, bluegrass, blues, country, and jazz—and for live performances of long modal jams.

The Grateful Dead was an American psychedelia-influenced rock band. 36: September 21, 1972 from the Spectrum, Philadelphia, Pennsylvania. Vol. 35: August 7, 1971 from San Diego, California and August 24, 1971 from Chicago, Illinois with bonus tracks of August 6, 1971 from the Palladium, Hollywood, California.

Vol. 34: November 5, 1977 from the Community War Memorial, Rochester, New York with bonus tracks of November 2, 1977 from the Seneca College Field House, Toronto, Ontario. Vol. 33: October 9 and 10, 1976 from the Oakland Stadium, Oakland, California (one of Bill Graham's Days on the Green).

Vol. 32: August 7, 1982 from the Alpine Valley, East Troy, Wisconsin. Vol. 31: August 4 and 5, 1974 from the Philadelphia Civic Center, Philadelphia, Pennsylvania and August 6, 1974 from the Roosevelt Stadium, Jersey City, New Jersey.

Vol. 30: March 28, 1972 from the Academy of Music, New York City and March 25, 1972 (including five songs with Bo Diddley). Vol. 29: May 19, 1977 from the Fox Theatre, Atlanta, Georgia and May 21, 1977 from the Lakeland Civic Arena, Lakeland, Florida.

Vol. 28: February 26, 1973 from the Pershing Municipal Auditorium, Lincoln, Nebraska and February 28, 1973 from the Salt Palace, Salt Lake City, Utah. Vol. 27: December 16, 1992 from the Oakland Coliseum Arena, Oakland, California.

Vol. 26: April 26, 1969 from the Electric Theater, Chicago, Illinois and April 27, 1969 from the Labor Temple, Minneapolis, Minnesota. Vol. 25: May 10, 1978 from the Veterans Memorial Coliseum, New Haven, Connecticut and May 11, 1978 from the Springfield Civic Center, Springfield, Massachusetts.

Vol. 24: March 23, 1974 from the Cow Palace, Daly City, California. Vol. 23: September 17, 1972 from the Baltimore Civic Center, Baltimore, Maryland.

Vol. 22: February 23 and 24, 1968 from the Kings Beach Bowl, Lake Tahoe, California. Vol. 21: November 1, 1985, from the Richmond Coliseum, Richmond, Virginia and some tracks from September 2, 1980.

Vol. 20: September 25, 1976 from the Capital Center, Landover, Maryland and September 28, 1976 from the Onondaga County War Memorial, Syracuse, New York. Vol. 19: October 19, 1973 from the Fairgrounds Arena, Oklahoma City, Oklahoma.

Vol. 18: February 3, 1978 from the Dane County Coliseum, Madison, Wisconsin and February 5, 1978 from the Uni-Dome, Cedar Falls, Iowa. Vol. 17: September 25, 1991 from the Boston Garden, Boston, Massachusetts with two songs from March 31, 1991.

Vol. 16: November 8, 1969 from the Fillmore, San Francisco, California. Vol. 15: September 3, 1977 from the Raceway Park, Englishtown, New Jersey.

Vol. 14: November 30 and December 2, 1973 from the Boston Music Hall (now Symphony Hall), Boston, Massachusetts. Vol. 13: May 6, 1981 from the Nassau Coliseum, Long Island, New York.

Vol. 12: June 26, 1974 from the Providence Civic Center, Providence, Rhode Island and June 28, 1974 from the Boston Garden, Boston, Massachusetts. Vol. 11: September 27, 1972 from the Stanley Theater, Jersey City, New Jersey.

Vol. 10: December 29 and 30, 1977 from the Winterland, San Francisco, California. Vol. 9: September 16, 1990 from Madison Square Garden, New York City.

Vol. 8: May 2, 1970 from Harpur College, Binghamton, New York. Vol. 7: September 1974 from the Alexandra Palace, London, England.

Vol. 6: October 14, 1983 from the Hartford Civic Center, Hartford, Connecticut. Vol. 5: December 26, 1979 from the Oakland Arena, Oakland, California.

Vol. 4: February 13 and 14, 1970 from the Fillmore East, New York City. Vol. 3: May 22, 1977 from the Hollywood Sportatorium, Hollywood, Florida.

Vol. 2: October 31, 1971 from the Ohio Theatre, Columbus, Ohio. Vol. 1: December 19, 1973 from Tampa, Florida.

Vol. The Complete Fillmore West 1969 (2005: boxed set, live). Rare Cuts and Oddities 1966 (2005). Beyond Description (2004: boxed set, consisting of the Dead's years with Grateful Dead Records and Arista Records, 1973-1989).

The Very Best of The Grateful Dead (2003: compilation). Postcards of the Hanging (2002: live compilation). The Golden Road (2001: boxed set, consisting of the Dead's years with Warner Brothers Records, 1967-1972). So Many Roads 1965-1995 (1999: boxed set).

Fallout from the Phil Zone (1997: live compilation). The Arista Years (1996: compilation). Grateful Dead 1977-1995 (1996: compilation). Grayfolded (1996: live compilation).

Infrared Roses (1991: live compilation). Without a Net (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dozin' at the Knick (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dylan & The Dead (live, with Bob Dylan) (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland).

Built to Last (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). In the Dark (1987: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dead Set (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Reckoning (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland).

Go to Heaven (1980: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Godchaux). Godchaux/D. Shakedown Street (1978: Garcia/Weir/Lesh/Kreutzmann/Hart/K.

What a Long Strange Trip It's Been (1977: compilation). Godchaux). Godchaux/D. Terrapin Station (1977: Garcia/Weir/Lesh/Kreutzmann/Hart/K.

Godchaux). Godchaux/D. Blues for Allah (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux).

Godchaux/D. One From the Vault (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux). Godchaux/D.

Steal Your Face (1974: Garcia/Weir/Lesh/Kreutzmann/K. Godchaux). Godchaux/D. Grateful Dead From the Mars Hotel (1974: Garcia/Weir/Lesh/Kreutzmann/K.

Godchaux). Godchaux/D. Wake of the Flood (1973: Garcia/Weir/Lesh/Kreutzmann/K. Skeletons from the Closet (Best of the Grateful Dead) (1973: compilation).

Godchaux). Godchaux/D. Europe '72 (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Godchaux).

Godchaux/D. Hundred Year Hall (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Grateful Dead (aka Skull & Roses) (1971: Garcia/Weir/Lesh/Kreutzmann/McKernan). American Beauty (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan).

Workingman's Dead (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). History of the Grateful Dead, Volume One (Bear's Choice) (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). Live/Dead (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten). Aoxomoxoa (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten).

Two from the Vault (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). Anthem of the Sun (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). The Grateful Dead (1967: Garcia/Weir/Lesh/Kreutzmann/McKernan). Vince Welnick - keyboards, vocals (1990 - 1995).

Brent Mydland - keyboards, vocals (1979 - 1990). Donna Jean Godchaux - vocals (1972 - 1979). Keith Godchaux - keyboards (1971 - 1979). Tom Constanten - keyboards (1968 - 1970).

Ron "Pigpen" McKernan - keyboards, vocals, harmonica, percussion (1965 - 1973). Mickey Hart - drums (1967 - 1971, 1975 - 1995). Bill Kreutzmann - drums (1965 - 1995). Phil Lesh - bass, vocals (1965 - 1995).

Bob Weir - rhythm guitar, vocals (1965 - 1995). Jerry Garcia - lead guitar, vocals (1965 - 1995).

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