Red Rocks Amphitheatre, Morrison, CO 7/8/78 (Live) Grateful Dead

Album info



Label: Grateful Dead/Rhino

Genre: Rock

Subgenre: Classic Rock

Album including Album cover

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  • 1Bertha (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)06:43
  • 2Good Lovin' (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)06:40
  • 3Dire Wolf (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)04:06
  • 4El Paso (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)04:25
  • 5It Must Have Been The Roses (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)07:16
  • 6New Minglewood Blues (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)06:08
  • 7Ramble On Rose (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)08:34
  • 8Promised Land (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)04:37
  • 9Deal (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)06:29
  • 10Samson and Delilah (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)07:44
  • 11Ship Of Fools (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)07:28
  • 12Estimated Prophet (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)13:07
  • 13The Other One (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)08:50
  • 14Eyes Of The World (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)10:33
  • 15Rhythm Devils (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)10:29
  • 16Space (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)05:03
  • 17Wharf Rat (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)08:43
  • 18Franklin's Tower (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)10:38
  • 19Sugar Magnolia (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)09:30
  • 20Terrapin Station (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)10:54
  • 21One More Saturday Night (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)05:12
  • 22Werewolves Of London (Live at Red Rocks Amphitheatre, Morrison, CO 7/8/78)06:43
  • Total Runtime02:49:52

Info for Red Rocks Amphitheatre, Morrison, CO 7/8/78 (Live)

In the history of Grateful Dead performances, 1978 is widely praised as one of the group's finest years. It was certainly one of the busiest with the band playing more than 80 shows, including a trio of historic dates at the Gizah pyramids in Egypt, as well as releasing its tenth studio album, Shakedown Street. This three album-set set marks the official debut of the Dead's first-ever performances at the legendary Red Rocks Amphitheatre, two shows that are also highly sought-after by Dead Heads. The performance is drawn from the band's master soundboard recordings each newly mixed and mastered by Jeffrey Norman, and include many of the songs that define this era of the band; such as the classics 'Berta', 'Dire Wolf' and 'Sugar Magnolia'. The band also showcase a rare cover the Warren Zevon classic 'Werewolves of London'.

Digitally remastered

Please Note: we do not offer the 192 kHz version of this album, because there is no considerable or audible difference to the 96 kHz version!

From the 1960s until the 1995 death of guitarist, singer-songwriter Jerry Garcia, the Grateful Dead played roughly 2,300 long, freeform concerts that touched down on their own country-, blues and folk –tinged songs, and on a similarly wide range of cover versions. Along the way, they popularized the concept of the jam band, influencing thousands of songwriters and basement improvisers and earning themselves maybe the most loyal fans a rock band have ever had.

Nearly as famous as the band itself were its legions of "Deadheads" — predominantly white men who have lovingly preserved the era that spawned the Dead by emulating their Summer of Love predecessors' philosophy and that period's accoutrements: tie-dye clothing, hallucinogenic drugs, and the Dead's music. These fans supported the band with an almost religious fervor, following the group around the country, trading tapes of live concerts (something the band allowed as long as it wasn't for profit, providing prime spots for tapers at shows), and providing a synergy between band and audience that was unique in rock. In true psychedelic style, the Grateful Dead preferred the moment to the artifact — but to keep those moments coming, the Dead evolved into a far-flung and smoothly run corporate enterprise that, for all its hippie trimmings, drew admiring profiles in the financial and mainstream press.

Lead guitarist Jerry Garcia took up guitar at 15, spent nine months in the Army in 1959, then moved to Palo Alto, where he began his long-standing friendship with Robert Hunter, who late became the Dead's lyricist. In 1962 he bought a banjo and began playing in folk and bluegrass bands, and by 1964 he was a member of Mother McCree's Uptown Jug Champions, along with Bob Weir, Ron "Pigpen" McKernan, and longtime associates Bob Matthews (who engineered Dead albums and formed the Alembic Electronics equipment company) and John Dawson (later of New Riders of the Purple Sage).

In 1965 the band became the Warlocks: Garcia, Weir, Pigpen, Bill Kreutzmann, and Phil Lesh, a former electronic-music composer. With electric instruments, the Warlocks debuted in July 1965 and soon became the house band at Ken Kesey's Acid Tests, a series of public LSD parties and multimedia events held before the drug had been outlawed. LSD chemist Owsley Stanley bankrolled the Grateful Dead — a name from an Egyptian prayer that Garcia spotted in a dictionary — and later supervised construction of the band's massive, state-of-the-art sound system. The Dead lived communally at 710 Ashbury Street in San Francisco in 1966–67 and played numerous free concerts; by 1967's Summer of Love, they were regulars at the Avalon and Carousel ballrooms and the Fillmore West. MGM signed the band in 1966, and it made some mediocre recordings. The Dead's legitimate recording career began when Warner Bros. signed the band. While its self-titled 1967 debut album featured zippy three-minute songs, Anthem of the Sun (Number 87, 1968) and Aoxomoxoa (Number 73, 1969) featured extended suites and studio experiments that left the band $100,000 in debt to Warner Bros., mostly for studio time, by the end of the 1960s. Meanwhile, the Dead's reputation had spread, and they appeared at the Monterey Pop Festival in 1967 and Woodstock in 1969.

As the Seventies began, the Dead recouped its Warner debt with three comparatively inexpensive albums — Live/Dead (Number 64, 1969) (recorded in concert at San Francisco's Fillmore West in February and March of 1969), Workingman's Dead (Number 27, 1970), and American Beauty (Number 30, 1970). The former featured extended psychedelic explorations, such as the classic "Dark Star," while in sharp contrast the latter two found the Dead writing concise country-ish songs and working out clear-cut, well-rehearsed arrangements. Workingman's Dead (including "Uncle John's Band" [Number 69, 1970] and "Casey Jones") and American Beauty (including "Truckin'" [Number 64, 1971], "Ripple," and "Box of Rain") received considerable FM radio airplay, sold respectably, and provided much of the Dead's concert repertoire.

With a nationwide following, the Dead expanded its touring schedule and started various solo and side projects (aside from the band members' own works, many Dead members also appeared on the half-dozen-plus albums Dead lyricist Robert Hunter began releasing in 1973). The group worked its way up to a 23-ton sound system and a large traveling entourage of road crew, family, friends, and hangers-on — most of whom would later become staff employees complete with health-insurance and other benefits, as the Dead evolved into an efficient and highly profitable corporation. The Dead finished out its Warners contract with a string of live albums including 1971's Grateful Dead, a.k.a. "Skull and Roses" (Number 25), which introduced more concert staples such as "Bertha" and "Wharf Rat." In 1973 the Dead played for over half a million people in Watkins Glen, New York, on a bill with the Band and the Allman Brothers. By then the group had formed its own Grateful Dead Records and a subsidiary, Round, for non-band efforts. Read more:

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