The Complete Sunshine Daydream Concert (Live - 8/27/72 Veneta, Oregon) Grateful Dead
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- 2Promised Land03:24
- 4Me And My Uncle03:16
- 6Black-Throated Wind07:01
- 7China Cat Sunflower07:56
- 8I Know You Rider07:07
- 9Mexicali Blues03:47
- 11Playing In The Band19:57
- 12He's Gone09:32
- 13Jack Straw05:03
- 14Bird Song13:21
- 15Greatest Story Ever Told05:36
- 16Dark Star31:28
- 17El Paso04:48
- 18Sing Me Back Home11:07
- 19Sugar Magnolia08:45
- 20Casey Jones06:25
- 21One More Saturday Night05:02
Info for The Complete Sunshine Daydream Concert (Live - 8/27/72 Veneta, Oregon)
The rock music group Grateful Dead is scheduled to perform at a 'potluck picnic' Sunday, sponsored by the Springfield Creamery.' Eugene Register-Guard A 'rock picnic.' The Field Trip. Kesey's Creamery. August 27, 1972. The Springfield Creamery Benefit. Call it what you will, the sun was beating down hard and bright on that fateful day in Veneta, Oregon when the Grateful Dead heeded Ken Kesey's call to help save the family Creamery.
The 100-degree and rising temperatures did not deter the band who were still riding high from their adventures across the pond. It did not discourage filmmakers John Norris, Phil DeGuere, and Sam Field who gained entry into the Dead's tight-knit world with their promise to capture the culture and integrity of the scene. And it certainly didn't inhibit the estimated 20,000 Dead Heads who could not believe their, well, pot...luck.
In fact, this blistering day turned out to be a near-perfect little piece of the Grateful Dead experience and it is with great pleasure, that 41 years later we can present Sunshine Daydream to you the way it was meant to be heard. Cut from the flawlessly preserved 16-track master, this HighRes album set of the 'most requested' and 'most revered' Dead show of all time promises to transport you back to the epic scene with definitive versions of the band's most beloved songs like 'Bertha,' 'China Rider,' 'Playing In The Band,''Greatest Story Ever Told,''Dark Star,' and 'Sing Me Back Home.'
Jerry Garcia, guitar, vocals
Donna Jean Godchaux, vocals
Keith Godchaux, keyboards
Bill Kreutzmann, drums
Phil Lesh, bass, vocals
Bob Weir, guitar, vocals
Recorded from August 27, 1972 at Old Renaissance Faire Grounds in Veneta, Oregon
Recorded by Bob Matthews, Betty Cantor-Jackson, Wiz, Janet Furman, Ron Wickersham
Mixing, mastering by Jeffrey Norman
Produced by Grateful Dead
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: http://www.rollingstone.com/music/artists/the-grateful-dead/biography
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