By Dennis McNally
The full historical past of 1 of the main long-lived and mythical bands in rock heritage, written by means of its authentic historian and publicist–a must-have chronicle for all useless Heads, and for college kids of rock and the 1960s’ counterculture.
From 1965 to 1995, the thankful lifeless flourished as some of the most loved, strange, and comprehensive musical entities to ever grace American tradition. The artistic synchronicity between Jerry Garcia, Bob Weir, Phil Lesh, invoice Kreutzmann, Mickey Hart, and Ron “Pigpen” McKernan exploded out of the inventive ferment of the early sixties’ roots and people scene, delivering the soundtrack for the Dionysian revels of the counterculture. to these within the understand, the lifeless was once an ongoing travel de strength: a band whose consistent dedication to exploring new nation-states lay on the middle of a thirty-year trip via an ever-shifting array of musical, cultural, and psychological landscapes.
Dennis McNally, the band’s historian and publicist for greater than two decades, takes readers again in the course of the Dead’s background in A lengthy unusual Trip. In a kaleidoscopic narrative, McNally not just chronicles their stories in a fascinatingly particular style, yet veers off into facet journeys at the band’s complex degree setup, the magic of the thankful lifeless live performance event, or metaphysical musings excerpted from a talk between band participants. He brings to shiny existence the Dead’s early days in late-sixties San Francisco–an period of fantastic creativity and alter that reverberates to at the present time. right here we see the crowd at its such a lot uncooked and robust, enjoying because the condominium band at Ken Kesey’s acid assessments, mingling with such mythical psychonauts as Neal Cassady and Owsley “Bear” Stanley, and appearing the alchemical experiments, either reside and within the studio, that produced a few of their so much searing and evocative song. yet McNally includes the Dead’s saga throughout the seventies and into the newer years of continuing traveling and constant musical exploration, that have cemented a different bond among performers and viewers, and created the service provider that's even more a relations than a corporation.
Written with an identical zeal and spirit that the thankful lifeless dropped at its track for greater than thirty years, the ebook takes readers on a private journey in the course of the band’s internal circle, highlighting its frenetic and intensely human faces. A lengthy unusual Trip is not just a wide-ranging cultural background, it's a definitive musical biography.
Good caliber, well-formatted. probably from retail.
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Additional resources for A Long Strange Trip: The Inside History of the Grateful Dead
I am afraid that in our own country today the musical experiences most widely shared are country music and rock—alas, not even good jazz anymore. But contrast certain European countries. In Vienna you can still choose the musical Mass you want to hear on Sunday in any one of several beautiful baroque churches: a shared experience of ritual, music, and architecture. Or consider the example of Berlioz, who was acutely aware of the role of his art as a source of shared experience. And he wanted the experiences to be widely shared—no chamber music for him!
5–8 E: I C: I 64 V7 I b. Otello, “Kiss” motif, 13 measures from end Other examples of the technique may be found in Scriabin’s late works. What I often hear there is a chain of constantly transferred quasidominants. Their tonics are never unambiguously stated; their ultimate resolutions are indefinitely—even perpetually—postponed. Transferal and postponement do not require the highly charged chromatics of the later nineteenth century; they can work equally well in the simpler environment of Schumann’s Dichterliebe.
Schumann’s words indicate that the design, musically convincing though it may be, is not purely musical in conception. It is partly determined by narrative or dramatic considerations. ”20 The listener who takes a composer’s intentions seriously must often come to terms with such extramusical references. Those who scorn specific verbal aids, even when supplied by the composer himself, must still “construct a metaphoric scenario or plot” if they are to appreciate the full import of his message. And in that respect there is little difference between explicit and implicit programs.
A Long Strange Trip: The Inside History of the Grateful Dead by Dennis McNally