Grateful Dead

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Read on the Hoffman forums that the release will be the Canada shows released as the second CD of the 50th anniversary of "the Grateful Dead." Has anyone else gotten any word if this was true or found any other rumors?

pm if interested, SBDs and HD video of both SC shows here as well

hey Man , if you are looking for the first two FTW shows from Santa Clara, I can supply them to you - just PM me. I have all the others too if interested. Sixtus

I highly recommend the FTW Box.Considering that it hasn't sold out yet don't expect a reissue with all 5 shows.

Sign reads God Bless America guns and ammoI'm not sure that's what He means Sign reads repent the end is near I'm not sure that's what we need Get your heart beating in the right direction That's when you make a real connection We had dreams when the night was young We were believers when the night was young We could change the world stop the war Never seen nothing like this before But that was back when the night was young Now Andy Warhol's in the hotel lobby He's waiting for the late night muse But she won't be back before morning She's gone downtown to hear some blues Like the sun rising out of the sea It's how you embrace the mystery

I've always been partial to Freddy, don't know why, but he speaks to me the most. And you?

They say the axman's comingIn a long black car They said the axman's coming He plays a mean guitar... You got Duane and Stevie Ray All brothers of the blade Jimi James and RJ All brothers of the blade... You got T Bone and Link Wray All brothers of the blade Then there's Django and Elmore James All brothers of the blade... One-eyed jacks, King with the axe Like Albert or Freddy One-eyed jacks, King with the axe And of course BB was born ready Now when he goes from town to town He picks 'em up and lays 'em down People coming from miles around Just to dig that crazy sound -Robbie Robertson, "Axman"

Hard to believe no posts since this morning... I listened to Best of Fare Thee Well CD this weekend, and was pleasantly reminded of how good this band sounded a year and a half ago. Made me consider getting the 3 show box. Does it sound as good? Any downside, like maybe they will sell a box with all 5 shows? Santa Clara day one was awesome, even though Trey was holding back a little.

In the jazz recommendation article, Charles Lloyd's contribution to the Dead was mentioned, but nada from his discography. Just a few: Forest Flower/Soundtrack; Of Course, Of Course and the one that best reflects the Dark Star thing, Dream Weaver.

Glenn Miller's "In The Mood" was one of his favorites.My dad also used to play piano taught to him at an early age by older brothers ans sisters, and is the youngest and sole survivor of 10 older siblings. He's 91. From Wikipedia: Swing music began appearing in the early 1930s, distinguished by a more supple feel than the more literal 4/4 of earlier jazz and a walking bass - Walter Page is often credited with developing this, though isolated earlier examples exist (e.g. by Wellman Braud on Ellington's Washington Wabble from 1927). This type of music flourished through the early 1930s, although there was little mass audience for it until around 1936. Up until that time, it was viewed with ridicule and looked upon as a curiosity. After 1935, big bands rose to prominence playing Swing music and held a major role in defining swing as a distinctive style. Western swing musicians also formed very popular big bands during the same period. There was a considerable range of styles among the hundreds of popular bands. Many of the better known bands reflected the individuality of the bandleader, the lead arranger, and the personnel. Count Basie played a relaxed propulsive swing, Bob Crosby more of a dixieland style, Benny Goodman a hard driving swing, and Duke Ellington’s compositions were varied and sophisticated. Many bands featured strong instrumentalists, whose sounds dominated, such as the clarinets of Benny Goodman and Artie Shaw, the trombone of Jack Teagarden, the trumpet of Harry James, the drums of Gene Krupa, and the vibes of Lionel Hampton. The popularity of many of the major bands was amplified by star vocalists, such as Frank Sinatra with Tommy Dorsey, Helen O’Connell and Bob Eberly with Jimmy Dorsey, Ella Fitzgerald with Chick Webb, Billie Holiday and Jimmie Rushing with Count Basie, Dick Haymes and Helen Forrest with Harry James, Doris Day with Les Brown, and Peggy Lee with Benny Goodman. Some bands were "society bands" which relied on strong ensembles but little on soloists or vocalists, such as the bands of Guy Lombardo and Paul Whiteman. By this time the Big Band was such a dominant force in jazz that the older generation found they either had to adapt to it or simply retire - with no market for small-group recordings (made worse by a Depression-era industry reluctant to take risks), some musicians such as Louis Armstrong and Earl Hines fronted their own bands, while others, like Jelly Roll Morton and King Oliver, lapsed into obscurity. The major "black" bands of the 1930s included, apart from Ellington's, Hines' and Calloway's, those of Jimmie Lunceford, Chick Webb, and Count Basie. Ironically, the "white" bands of Benny Goodman, Artie Shaw, Tommy Dorsey, Shep Fields and, later, Glenn Miller far eclipsed their "black" inspirations in terms of popularity from the middle of the decade. Bridging the gap to white audiences in the mid-1930s was the Casa Loma Orchestra and Benny Goodman’s early band. White teenagers and young adults were the principal fans of the Big Bands in the late 1930s and early 1940s. They danced to recordings and the radio, and attended live concerts whenever they could. They were knowledgeable and often biased toward their favorite bands and songs, and sometimes worshipful of the famous soloists and vocalists. Many bands toured the country in grueling one-night stands to reach out to their fans. Traveling conditions and lodging were often difficult, in part due to segregation in most parts of the United States, and the personnel often had to perform on little sleep and food. Apart from the star soloists, many personnel received low wages and would abandon the tour and go home if bookings fell through. Personal problems and intra-band discord could affect the playing of the group. Drinking and addictions were common. Turnover was frequent in many bands, and top soloists were often lured away to better contracts. Sometimes bandstands were too small, public address systems inadequate, pianos out of tune. Successful bandleaders dealt with all these hazards of touring to hold their bands together—some with rigid discipline (Glenn Miller), some with canny psychology (Duke Ellington). Big Bands played a major role in lifting morale during World War II. Many band members served in the military and toured with USO troupes at the front, with Glenn Miller losing his life while traveling between troop shows. Many bands suffered from the loss of personnel and quality declined at home during the war years. An ill-timed recording strike in 1942 worsened the situation. Vocalists began to strike out on their own and by the end of the war, swing was giving way to less danceable music including bebop. Many of the great swing bands broke up, as the times and tastes changed.