Rhino's double-disc Very Best of Jerry Garcia is arguably exactly that. Wake of the Flood also saw the introduction of the band’s operatic suites with Weir’s jazzy “Weather Report Suite” and the Garcia/Hunter triumph of “Mississippi Half-Step,” a funk-folk boogie that could’ve easily slid into The Band or Bob Dylan’s mid-’70s repertoire without anyone blinking an eye. The tight Americana songwriting of Workingman’s Dead was further polished with the addition of sublimely confident three-part harmonies that ultimately became responsible for decades of enduring folk-rock artists up to and including modern acts like Fleet Foxes. Where to start with live Dead? It eventually went gold. Essential tracks: “Help on the Way,” “Slipknot!,” and “Franklin’s Tower.”. Blues.”. Just months before entering their then-indefinite touring hiatus in 1974, the Dead entered the studio and laid down what I would describe as extraterrestrial folk music. First off, any ‘Greatest Guitarists of All Time’ list is pretty much just one (or a few) people’s opinion. We are not here to debate the Dead’s greatest album, live or otherwise (that would be Live/Dead); or the best live version of any song like, say, “Dark Star” (that would be 2/18/1971 at the Capitol Theater); or their greatest set ever (undecided, but I might venture to say 8/27/1972 at the County Fairgrounds in Veneta, Oregon). Nevertheless, Built to Last, which was the band’s second attempt at recording a studio album on a theater stage with no audience, sounds cohesive and tight in parts, perhaps aided by the springy but now dated production. The result: Fans and critics alike dismissed the album as supremely out of touch. Aside from some mediocre songwriting elsewhere on In the Dark, the biggest long-term knock against this late-period album is that its unexpected radio smash-hit phenomenon “Touch of Grey” created the reviled walking-stereotype, neo-hippie, gate-crashing poseurs known as “Touch Heads.”. As the title track’s porn-groove cheesiness made quite apparent, instead of embracing their perpetual outsider status, the Dead opted for light and bouncy. Essential tracks: “Brokedown Palace,” “Attics of My Life,” “Sugar Magnolia,” and every other song. Nearly all of the songs showcase the band’s penchant for folk-rock or R&B, but with a big heap of interstellar synths. Don't Let Go (Orpheum Theatre San Francisco May 21, 1976), Let It Rock: The Jerry Garcia Collection, Volume 2 - Keystone Berkeley, November 17 & 18, 1975, GarciaLive Volume One: March 1st, 1980, Capitol Theatre, GarciaLive Volume Two: August 5th 1990, Greek Theatre, GarciaLive Volume Four: March 22nd 1978, Veteran's Hall, GarciaLive Volume Seven: November 8th 1976, Sophie's, Palo Alto, GarciaLive Volume 11: November 11th 1993 Providence Civic Center, GarciaLive Volume 13: September 16th, 1989 Poplar Creek Music Theatre, All Good Things: Jerry Garcia Studio Sessions, Bands and Artists Who Were Lucky Enough to Have ME in Their Audience at One Time or Another, The perfunctory music I've seen live list, List six bands/artists that you've seen at a gig/concert and one lie. Send it to The Daily Beast here. Stephen,” “China Cat Sunflower,” and “Cosmic Charlie.”. The band recorded studio tracks and then mixed it together with live samples—“for the hallucinations,” as Jerry explained. Guitarist, singer, and songwriter Jerry Garcia was best known as a founding member of the Grateful Dead, the rock band for which he served as de facto leader for 30 years, If this album didn’t include the supremely cheesy disco-rock cover of “Dancin’ in the Streets,” it would probably shoot up a few rankings. Albums recorded by Jerry Garcia, including release dates and UK & US CD availability through Amazon. While their late-’60s rock ‘n’ roll peers avoided “the uncertainty of improvisation,” as Kreutzmann described it, the Dead “decided Anthem of the Sun was going to be our statement on the matter.”, Essential tracks: “Alligator,” “That’s It for the Other One,” and “Caution (Do Not Stop on Tracks).”. Compliments of Garcia (1974), Reflections (1976), Cats Under the Stars (1978) and Run for the Roses (1982). In hindsight, the Dead’s final studio album’s title has an ironic twist: The band was no longer built to last. But nothing here compares to the titular song suite, “Terrapin Station Part 1” (there never was a Part 2), a majestic achievement of both progressive folk balladry and orchestral ambitiousness. Hooteroll?, Jerry Garcia and Howard Wales, 1971 Garcia, Jerry Garcia, 1972 Live at the Keystone, Saunders/Garcia/Kahn/Vitt, 1973 Garcia (Compliments of Garcia), 1974 Old and In the Way, Old and In the Way, 1975 Reflections, Jerry Garcia, 1976 Cats Under the Stars, Jerry Garcia Band, 1978 Run for the Roses, Jerry Garcia Band, 1982 Keystone Encores Vol. The Hunter/Garcia pairing never again produced as perfectly crafted a poetic allegory as that song. It only took about twenty-nine years.”, Essential tracks: “St. Jerome John “Jerry” Garcia was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead, which came to prominence during the counterculture era. Rolling Stone rightly described this studio effort as at times “vacuous,” “terminally long-winded,” and “uninspired fluff.” For a band that made its bones in collectively unearthing the beauty of protracted vamping, descriptors like “long-winded” and “meandering” sure twist the knife in this album’s heart. Much like “Standing on the Moon,” the dirge-like ballad “Black Muddy River,” which closes the Dead’s first and only top 10 album, now feels like a bittersweet farewell letter from Jerry, nearly eight years before he died. Genres: Jam Band, Roots Rock, Folk Rock. Holiday Sale! Garcia Albums This lists albums by Jerry Garcia other than with the Grateful Dead. Drummer Mickey Hart later admitted in reissue liner notes that the album was an open effort by both band and label for the Dead to sell out. Kreutzmann later wrote that this album’s underlying concept was to “demonstrate how these songs were mirrors of infinity, even when they adhered to their established arrangements.” And that they did. But as with all the Dead’s more mediocre studio efforts, the great songs on this record became live staples, all without the slithery and misguided self-indulgence of their studio versions. Jerry Garcia Articles and Media. “Victim or the Crime” is arguably the most angsty song the Dead ever recorded, with Weir practically hissing the opening line “Patience runs out on the junkie.” The lyric caused consternation within the band because of Jerry’s, um, issues, but of course, the conflict was resolved when Jerry himself told Weir it was totally fine. ‘Knock Me Down’ (1989): I felt it was pretty important to include a song from Mother’s Milk as the record showed just how prodigiously talented Frusciante was. “We failed miserably,” he joked. Bob Dylan first comes to mind here, but the 2016 tribute album Day of the Dead—featuring indie luminaries like The National, The War on Drugs, and The Flaming Lips—demonstrated just how remarkable the Dead’s songs were. In honor of Jerry Garcia’s birthday, The Daily Beast grades perhaps the most underrated aspect of the Grateful Dead’s legacy: their studio albums. The deeply ambitious project and its circus-like studio environment (they recorded the album twice) put the Dead deep into debt with Warner Bros., resulting in tensions ultimately (and perhaps temporarily) solved by the successful release of Live/Dead (the band’s greatest triumph) later that year. But Garcia was in perilous health, and studio recording lapsed after 1980’s Go to Heaven. Unfortunately, except for the myriad of Garcia/Grisman and Garcia/Merle Saunders albums on CD, ALL of Garcia's albums are out of print again . The only track not limited for time by scrupulous record executives was “Viola Lee Blues,” a 10-minute enthralling odyssey that transforms a three-chord bluesy jugband melody into a multidimensional vamp that easily fit as a soundtrack to many Bay Area boomers’ acid-test experiences. Essential tracks: “Casey Jones,” “High Time,” “Dire Wolf,” or just every track—whatever. The obvious standout on The Grateful Dead is “Morning Dew,” which is heard here in its primitive stage, shortly before it was crafted into one of the band’s signature live songs with earth-shattering climaxes. ... Jerry Garcia Band (with Keith and Donna Godchaux and Merl Saunders) 28 Feb 1980 : After Midnight : Jerry Garcia Band (with Ozzie Ahlers) Hart Valley Drifters, Jerry Garcia Acoustic Band, Legion Of Mary, McGanahan Skjellyfetti, Mickey & The Hartbeats, Mother McCree's Uptown Jug Champions, New Riders Of The Purple Sage, Old & In The Way, Reconstruction (4), The Good Old Boys, The Grateful Dead, The Great American String Band, The Jerry Garcia Band, The Warlocks (4) It is ordered by when the tracks were recorded, rather than the date the album was issued. Jerry Garcia lamented that producer Keith Olsen “put the Grateful Dead in a dress.” But ignore those guys (kidding!). 100 Greatest Guitarists: David Fricke’s Picks From Jerry Garcia and Joan Jett to B.B. The true standout here is the ballad “Standing on the Moon,” which features Jerry and Robert Hunter taking stock of their lifelong success and concluding they’d rather be in a lover’s embrace. Non-Western time signatures, untraditional chord progressions, and Middle Eastern themes confronted the listener, as the band seemingly eschewed the standard blues or folk melodies that piloted their previous output. The result is a challenging but immensely rewarding experience, best highlighted by the opening triptych. Essential tracks: “Mississippi Half-Step Uptown Toodleloo,” “Row Jimmy,” and “Stella Blue.”. Explore releases from The Jerry Garcia Band at Discogs. Studio albums: 20: Live albums: 52: Compilation albums: 3: Singles: 3: As a guest musician: Jerry Garcia was an American musician. about. The Dead could write pop music, too, you know. Each and every member of the Dead shines on that song—from Jerry’s magical wah-wah to the chunky bass to those big fat tom hits—as the song bobs and weaves from its chilly verses to its blissed-out chorus (which cleverly juxtaposes Barlow’s apocalyptically biblical lyrics). Essential tracks: “Touch of Grey,” “Black Muddy River,” and “Hell in a Bucket.”. In 10 minutes or less, stunners like “That’s It for the Other One” and “Caution (Do Not Stop on Tracks)” seemingly open up portals to faraway universes—abridged versions of the otherworldly experiences such songs became during live Dead sets. Stephen” and “China Cat Sunflower”), the album is considered a milestone in psychedelic rock—one that influenced countless garage bands across the country into melding murder ballads, folk music, and acid rock into a blissful lifestyle. Shop for Vinyl, CDs and more from The Jerry Garcia Band at the Discogs Marketplace. In hindsight, the jangly rhythm and peppy tempo make for an obvious commercial and critical success. All Good Things: Jerry Garcia Studio Sessions is a six-CD box set by Jerry Garcia. While the Grateful Dead’s second album is drugs, pure and simple, you don’t need to trip on LSD to fully experience it. Everything about Blues for Allah represented a break from the Grateful Dead-as-usual. Albums include Cats Under the Stars, Jerry Garcia Band, and After Midnight: Kean College, 2/28/80. Speaking of Dylan, in 1969 the reclusive bard traveled to Music City to record Nashville Skyline with help from country sessions players and Johnny Cash. But ignore those guys (kidding!). Widely regarded as the Dead’s most reviled studio album, Shakedown Street has the infamous label of being “Disco Dead.” The late ’70s saw a mad rush for great American rock artists to stay relevant amid the commercial dominance of disco and airy soft rock. This is stoned and clever folk-rock that is more a forebear of Wilco or Ryan Adams than of the freak-folk stuff like Devendra Banhart or Grizzly Bear. With that album, Dylan proved that rock’s biggest legends could do wonders with just some good ol’ pedal steel and twang. Could write pop music, too, you know and critics alike dismissed the album as out. 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