Grateful Dead - The Grateful Dead (50th Anniversary Deluxe Edition) '2017

Tracks list

	Tracklist
---------
CD1
01. The Golden Road (To Unlimited Devotion) [Remastered]
02. Beat It On Down The Line (Remastered)
03. Good Mornin' Little School Girl (Remastered)
04. Cold Rain And Snow (Remastered)
05. Sittin' On Top Of The World (Remastered)
06. Cream Puff War (Remastered)
07. Morning Dew (Remastered)
08. New, New Minglewood Blues (Remastered)
09. Viola Lee Blues (Remastered)

CD2
01. Standing On The Corner (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
02. I Know You Rider (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
03. Next Time You See Me (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
04. Sittin' On Top Of The World (Live at P.N.E. Garden Auditorium, Vancouver,
British Columbia, Canada 7/29/66)
05. You Don't Have To Ask (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
06. Big Boss Man (Live at P.N.E. Garden Auditorium, Vancouver, British Columbia,
Canada 7/29/66)
07. Stealin' (Live at P.N.E. Garden Auditorium, Vancouver, British Columbia,
Canada 7/29/66)
08. Cardboard Cowboy (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
09. It's All Over Now, Baby Blue (Live at P.N.E. Garden Auditorium, Vancouver,
British Columbia, Canada 7/29/66)
10. Cream Puff War (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/29/66)
11. Viola Lee Blues (Live at P.N.E. Garden Auditorium,Vancouver, British
Columbia, Canada 7/29/66)
12. Beat It On Down The Line (Live at P.N.E. Garden Auditorium, Vancouver,
British Columbia, Canada 7/29/66)
13. Good Mornin' Little Schoolgirl (Live at P.N.E. Garden Auditorium, Vancouver,
British Columbia, Canada 7/29/66)
14. Cold Rain And Snow (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/30/66)
15. One Kind Favor (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/30/66)
16. Hey Little One (Live at P.N.E. Garden Auditorium, Vancouver, British
Columbia, Canada 7/30/66)
17. New, New Minglewood Blues (Live at P.N.E. Garden Auditorium, Vancouver,
British Columbia, Canada 7/30/66)

Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's
most beloved musical ambassadors as well as its most enduring survivors,
spreading their message of peace, love, and mind expansion across the globe
throughout the better part of three decades. The object of adoration for popular
music's most fervent and celebrated fan following - the Deadheads, their numbers
and devotion legendary in their own right - they were the ultimate cult band,
creating a self-styled universe all their own; for the better part of their
career orbiting well outside of the mainstream, the Dead became superstars
solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows
were rites of passage for an extended family of listeners who knew no cultural
boundaries.

The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a
longtime bluegrass enthusiast who began playing the guitar at age 15. Upon
relocating to Palo Alto, California, in 1960, he befriended Robert Hunter, whose
lyrics later graced many of Garcia's most famous melodies; in time, he also came
into contact with aspiring electronic music composer Phil Lesh. By 1962, Garcia
was playing banjo in a variety of local folk and bluegrass outfits, two years
later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and
keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks,
their lineup by then including Lesh on bass as well as Bill Kreutzmann on drums.

The Warlocks made their electric debut that July; Ken Kesey soon tapped them to
become the house band at his notorious Acid Tests, a series of now-legendary
public LSD parties and multimedia "happenings" mounted prior to the drug's
criminalization. As 1965 drew to its close, the Warlocks rechristened themselves
the Grateful Dead, the name taken from a folk tale discovered in a dictionary by
Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the bandmembers
soon moved into a communal house situated at 710 Ashbury Street in San
Francisco, becoming a fixture on the local music scene and building a large fan
base on the strength of their many free concerts. Signing to MGM, in 1966 the
Dead also recorded their first demos; the sessions proved disastrous, and the
label dropped the group a short time later.

As 1967 mutated into the Summer of Love, the Dead emerged as one of the top
draws on the Bay Area music scene, honing an eclectic repertoire influenced by
folk, country, and the blues while regularly appearing at top local venues
including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In
March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a
disappointing effort which failed to recapture the cosmic sprawl of their live
appearances; after performing at the Monterey Pop Festival, the group expanded
to a six-piece with the addition of second drummer Mickey Hart. Their follow-up,
1968's Anthem of the Sun, fared better in documenting the free-form jam
aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their
penchant for time-consuming studio experimentation left them over 100,000
dollars in debt to the label.

The Dead's response to the situation was to bow to the demands of fans and
record their first live album, 1969's Live/Dead; highlighted by a rendition of
Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its
studio predecessors failed in capturing the true essence of the group in all of
their improvisational, psychedelicized glory. It was followed by a pair of
classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in
homage to the group's country and folk roots, the two albums remained the
cornerstone of the Dead's live repertoire for years to follow, with its most
popular songs - "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and
"Truckin'" among them - becoming major favorites on FM radio.

Despite increasing radio airplay and respectable album sales, the Dead remained
first and foremost a live act, and as their popularity grew across the world
they expanded their touring schedule, taking to the road for much of each year.
As more and more of their psychedelic-era contemporaries ceased to exist, the
group continued attracting greater numbers of fans to their shows, many of them
following the Dead across the country. Dubbed "Deadheads," these fans became
notorious for their adherence to tie-dyed fashions and excessive drug use, their
traveling circus ultimately becoming as much a focal point of concert dates as
the music itself. Shows were also extensively bootlegged, and not surprisingly
the Dead closed out their Warner contract with back-to-back concert LPs - a 1971
eponymous effort and 1972's Europe '72.

The latter release was the final Dead album to feature Pigpen McKernan, a heavy
drinker who died of liver failure on March 8, 1973; his replacement was
keyboardist Keith Godchaux, who brought with him wife Donna Jean to sing backing
vocals. Arriving in 1973, Wake of the Flood was the first release on the new
Grateful Dead Records imprint; around the time of its follow-up, 1974's From the
Mars Hotel, the group took a hiatus from the road to allow its members the
opportunity to pursue solo projects. After returning to the live arena with a
1976 tour, the Dead signed to Arista to release Terrapin Station, the first in a
series of misguided studio efforts that culminated in 1980's Go to Heaven,
widely considered the weakest record in the group's catalog - so weak, in fact,
that they did not reenter the studio for another seven years.

The early '80s were a time of considerable upheaval for the Dead - the Godchauxs
had been dismissed from the lineup in 1979, with Keith dying in a car crash on
July 23, 1980. (His replacement was keyboardist Brent Mydland.) After a pair of
1981 live LPs, Reckoning and Dead Set, the group released no new recordings
until 1987, focusing instead on their touring schedule - despite the dearth of
new releases, the Dead continued selling out live dates, playing to audiences
that spanned generations. As much a cottage industry as a band, they traveled
not only with an enormous road crew but also dozens of friends and family
members, many of them Dead staffers complete with health insurance and other
benefits.

Still, the Dead were widely regarded as little more than an enduring cult
phenomenon prior to the release of 1987's In the Dark; their first studio LP
since Go to Heaven, it became the year's most unlikely hit when the single
"Touch of Grey" became the first-ever Dead track to reach the Top Ten on the pop
charts. Suddenly their videos were in regular rotation on MTV, and virtually
overnight the ranks of the Deadheads grew exponentially, with countless new fans
flocking to the group's shows. Not only did concert tickets become increasingly
tough to come by for longtime followers, but there were also more serious
repercussions - the influx of new fans shifted the crowd dynamic considerably,
and once-mellow audiences became infamous not only for their excessive drug
habits but also for their violent encounters with police.

Other troubles plagued the Dead as well: in July 1986, Garcia - a year removed
from a drug treatment program - lapsed into near-fatal diabetic coma brought on
by his continued substance abuse problems, regaining consciousness five days
later. His health remained an issue in the years that followed, but the Dead
spent more time on tour than ever, with a series of dates with Bob Dylan
yielding the live album Dylan & the Dead. Their final studio effort, Built to
Last, followed in 1989. Tragedy struck in October of that year when a fan died
after breaking his neck outside of a show at the New Jersey Meadowlands; two
months later, a 19-year-old fan on LSD also died while in police custody at the
Los Angeles Forum.

As ever, the Dead themselves were also not immune to tragedy - on July 26, 1990,
Mydland suffered a fatal drug overdose, the third keyboardist in the group's
history to perish; he was replaced not only by ex-Tubes keyboardist Vince
Welnick but also by satellite member Bruce Hornsby, a longtime fan who
frequently toured with the group. In the autumn of 1992, Garcia was again
hospitalized with diabetes and an enlarged heart, forcing the Dead to postpone
their upcoming tour until the year's end; he eventually returned to action
looking more fit than he had in years. Still, few were surprised when it was
announced on August 9, 1995, that Garcia had been found dead in his room at a
substance abuse treatment facility in Forest Knolls, California; the
53-year-old's death was attributed to a heart attack.

While Garcia's death spelled the end of the Dead as a continuing creative
entity, the story was far from over. As the surviving members disbanded to plot
their next move, the band's merchandising arm went into overdrive - in addition
to Dick's Picks, a series of archival releases of classic live material,
licensed products ranging from Dead T-shirts to sporting goods to toys flooded
the market. Plans were also announced to build Terrapin Station, an interactive
museum site. In 1996, Weir and Hart mounted the first Furthur Festival, a summer
tour headlined by their respective bands RatDog and Mystery Box; in 1998, they
also reunited with Lesh and Hornsby to tour as the Other Ones.

The Other Ones toured again in 2000, this time without Lesh but with Kreutzmann,
but all the surviving Dead members reunited for a 2002 show, a move that
prompted the group to adopt the moniker "The Dead" for this tour and the ones
that followed in the 2000s. As the decade came to a close, the band fractured,
with Weir and Lesh forming Furthur, while Hart and Kreutzmann dedicated
themselves to their long-standing band, the Rhythm Devils. The two camps stayed
separated until 2015, when they reunited for two sets of goodbye concerts called
Fare Thee Well: Celebrating 50 Years of the Grateful Dead. Drafting Phish's Trey
Anastasio as Garcia's replacement and bringing back keyboardists Bruce Hornsby
and Jeff Chimenti, the Dead played a round of warm-up shows in Santa Clara,
California before a 4th of July weekend bash at Chicago's Soldier Field. The
Chicago shows appeared as a live album called Fare Thee Well in November,
preceded by the exhaustive 80-disc box 30 Trips Around the Sun, an archival
release showcasing one unreleased concert for every year the group was active.
30 Trips Around the Sun was also released as a distilled four-disc box
containing one live performance from every year of the Dead's life.

By the time these live albums appeared in late 2015, Weir, Kreutzmann, and Hart
announced a tour called Dead & Company, featuring John Mayer in the Jerry Garcia
role, Oteil Burbridge of the Allman Brothers Band on bass, and Ratdog's Jeff
Chimenti on keyboards. Dead & Company toured through the summer of 2016, and in
2017 the Grateful Dead released several noteworthy archival titles. First, the
band's 1967 debut saw a double-disc expanded reissue for its 50th anniversary,
then the group's celebrated May 8, 1977 show at Cornell University's Barton Hall
- a show that was included in the Library of Congress' National Recording
Registry in 2012 - saw its first official release, both on its own and as part
of Get Shown the Light, an 11-disc box set containing all the concerts from May
1977. Also in 2017, the Dead were the subject of a four-hour Martin
Scorsese-produced documentary called Long Strange Trip. 



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