» » The Deadhead's Taping Compendium, Volume 1: An In-Depth Guide to the Music of the Grateful Dead on Tape, 1959-1974

eBook The Deadhead's Taping Compendium, Volume 1: An In-Depth Guide to the Music of the Grateful Dead on Tape, 1959-1974 epub

by Michael Getz,John Dwork

eBook The Deadhead's Taping Compendium, Volume 1: An In-Depth Guide to the Music of the Grateful Dead on Tape, 1959-1974 epub
  • ISBN: 0805053980
  • Author: Michael Getz,John Dwork
  • Genre: Photography
  • Subcategory: Music
  • Language: English
  • Publisher: Holt Paperbacks; 1st edition (May 15, 1998)
  • Pages: 680 pages
  • ePUB size: 1977 kb
  • FB2 size 1863 kb
  • Formats doc lrf mobi docx


Michael Getz and John Dwork are serious deadheads

Michael Getz and John Dwork are serious deadheads. The two "passionately and relentlessly record and trade the Dead's music on tape. When I was just a kid in the Sixties, and I first saw The Grateful Dead, they just reminded me of a bunch of Indians! They appeared to be living in the tradition of Native Americans. It greatly influenced my mindset and outlook on life.

In: Billboard: The International Newsweekly of Music, Video and Home Entertainment, Vol. 110, No. 29, pp. 2. View it in the Music Periodicals Database.

View it in the Music Periodicals Database.

Michael Getz and John Dwork are serious deadheads.

Every entry The ultimate, must-own book to building a collection of tapes of the Grateful Dead in concert

Michael Getz; John Dwork. Published by Holt Paperbacks, 1999. AbeBooks has millions of books.

Michael Getz; John Dwork. We've listed similar copies below. Now, fans can continue their celebration. Volume 2 offers a complete guide to the more than seven hundred shows that the Dead played between 1975 and 1985. These are the exciting years when the band's following grew dramatically.

List Of Color Photos Preface Introduction By John R. Dwork Introduction By Michael M. Getz. Part One: Recording And Trading The Grateful Dead's Music: A Historical Overview 1. "Inside" The System: The Soundmen Cometh 2. "Outside" The System: Deadheads Hear The Call 3. The Interviews: Owsley Stanley (Bear), Dick Latvala.

100% money back guarantee. Brahms Piano Music (BBC Music Guides).

by Michael M. Getz, Michael Getz, John Dwork. Published August 1, 2000 by Owl Books.

The ultimate, must-own book to building a collection of tapes of the Grateful Dead in concert The Deadhead's Taping Compendium, Volume 1, offers Deadheads the most complete guide ever to the more than five hundred shows the Dead played between 1966 and 1974 that are available on tape (a few shows as far back as 1959 feature band members pre-Grateful Dead). Every entry includes: * the date and location of the show * a complete list of all the songs played and the tape length * the source of the tape and a rating of its quality * a comprehensive review of the show, often song-by-song, that captures the special moments of each concert Also featured are rare and exclusive interviews with legendary early Dead soundman Oswley ("Bear") Stanley and Dick Latvala, the official archivist of the Grateful Dead. More than seventy-five never-before-published photos of the Dead make this among the most lavish and indispensable books on the Dead yet--a bible for Deadheads for years to come.
Comments: (7)
Thetalune
As you can see, this review is from 2013... long after these tomes have gone out of print. I finally scraped together my money to buy all 3 volumes (yes... we are talking several hundred dollars these days) and I can honestly say it was worth every penny!

I've been a Head since Cobo '77 (my first show), and hardcore since Duke '78 (my first show that I taped). I have access to pretty much everything these days, as do most Heads. But the problem is that even after listening for 35 years, I still can't hear everything! I have 3 1TB drives filled with shows... it's absolutely insane. That's where these books come in...

No, they are not perfect. But they provide a great, 3rd party frame of reference for navigating the gigantic body of work that has been gathered together by the Deadhead community. I find myself discovering nuggets that I had either forgotten or somehow neglected the first time around. It's absolutely wonderful!

Between these volumes, my trusty Deadbase IX (still my favorite), deadlists.com, and archive.org I have pretty much everything a "GD Completist" could ever need. The best $300 I've spent in years!
Gavinrage
Love the vibes
Get on the bus
U won’t get off
Burisi
Deadhead required reading. Excellent source in understanding the bands place in the history of the Haight. Oh yeah, the show/tape reviews are deadhead catnip - many thanks to the authors and contributors - a true labor of love!
Anicasalar
Excellent book and great depth. Book was like brand new
Nekora
i have all 3 compendiums and with the 1500 plus tapes i have life would not be the same without the indepth knowledge of these books simply fantastic history
Best West
If you actively listen to GD, you must have this.
Fog
Will the Dead's music continue to be sought and traded a hundred years from now? Perhaps, but regardless of that possibility, this book and its two proceeding volumes will continue to stand as unique testaments to the art of the band. Currently marketed as resources for tape traders, these volumes will evolve into something much more vital as the members of the band and their fans fade into time.
Never has music been more thoroughly documented and described in the context of it composers. Unprecidented! Imagine a biography about John Coltrane that included descriptions of each performance of his career!
If future generations are curious about The Grateful Dead, they will be interested in the band's art, not the personal flaws or outside experiences of its individual members. I believe these volumes will outlive all the many conventional biographies about the band. They cover the things we should be allowed to know about The Grateful Dead. The rest is "better left unsung."
A Labor of Love of an Encyclopedic Book - by and for Dead Heads.

THE DEADHEAD'S TAPING COMPENDIUM - A Book Review by George Koumantzelis

There have been a lot of books written about the rock band, The Grateful Dead. Many of them are outstanding. Some are for fans, and others are for the general public at large. Some are more scholarly, researched, academic, and detailed, whereas others are more fun, filled with cool pictures, and not so full of facts and figures. This book is a little of both - but leaning on the heavily researched end of it. Don't let that last statement put you off from reading this excellent book! It is really easy to read, and once you sink your teeth into it, you will be chewing for a long time because it is 598 pages long - and this is just Volume One! Also, those are big, oversized pages. Thankfully, it is not small print. The color pictures inside are really beautiful, and there are also a number of other black and white pictures as well as notes, diagrams, et al. It took me over six months to read, and it was well worth the time invested in going through it meticulously, page to page, because the amount of information it contains is formidable and substantial.

When I was just a kid in the Sixties, and I first saw The Grateful Dead, they just reminded me of a bunch of Indians! They appeared to be living in the tradition of Native Americans. It greatly influenced my mindset and outlook on life. ... I know. I know. Let's not get too carried away with socio-political analogies and cultural commentary about a simple rock band. But the fact of the matter is, The Grateful Dead never were just a simple rock band - which is one reason why they really are one of the greatest group of musical performers that have ever lived in recorded history as far as we know - and we have the tapes to prove it; and we have this book to back-up what I just said about the tapes. They are unlike any band that I myself know of - and I know of a lot. I mean, because of The Dead, my whole outlook on life and attitude toward society and the world of man did a complete 180. Because of The Dead - and the whole culture around the Grateful Dead scene - I can truly make this statement about myself: We are all "Indians" now in the eyes of corporate America and international big business! I will be an aristocratic, egalitarian, psychedelic, organic, hippie, transcendental-monist, naturalist, ecologist, musical artist-poet-drummer until the day I die - and you can count on that!

It was not just the influence of The Dead, their music, and their scene that influenced my attitudes about life - but they sure had a lot to do with it. Everything from the intelligent, kind, compassionate, and cosmic lyrics of Robert Hunter to the slow and soulful guitar melodies and comforting vocals of Jerry Garcia had a role to play in my personal transformation from just a shy kid interested in music and nature to a full-fledged, bohemian-beat, hippie-dead head out to make music and heal the planet. Everything from Phil Lesh's adventurous and eclectic bass playing to Bobby Weir's off-beat jazz chordings and psychedelic mini-leads played a role. Everything from Pig Pen's lewd and boisterous rhythm and blues harmonica, keyboards and vocals to Tom Canstanten's elegant, psychedelic, classical, pointillistic piano playing played a role. Everything from Billy Kreutzmann's amazing, swing-feel, dancing-on-the skins, lively and upbeat drumming style to Mickey Hart's powerful and passionate, percolating and percussive, bold and beautiful drum beat / pulse / accents on the toms, native drums and cymbals played a role. Everything from Keith Godchaux's sensitive, soulful, classically-tinged, jazzy, avant-garde, real ivory keys, grand piano playing to his wife, Donna Jean Godchaux's classy and sexy, hippie-girl stage-presence and powerfully emotional, background and harmony vocals played a role. Everything from The Dead's connection to my Uncle Billy's good buddy, Jack Kerouac and his good buddy, Neal Cassady and his connection to Ken Kesey and The Merry Pranksters on the magical mystery cross-country bus called Furthur to the original San Francisco Beats, Flower Children, Happy Hippies, and Musical Freaks of the Avalon, Matrix, Fillmore, and Winterland scenes near the Haight-Ashbury neighborhood of that most beautiful of cities on the west coast - San Francisco, California played a role. We won't even get into all of those great, psychedelic concert posters and album covers by Rick Griffin, Kelly / Mouse, Victor Moscoso, and countless others. Then there are all of the other books about the band by people like Hank Harrison, Dennis McNally, and Blair Jackson - to name just a few. No, the Grateful Dead are no ordinary band. Like Tolkien did in The Hobbit and in The Lord of The Rings, they co-created with the accomplishments of countless other people who were all in love with this band and with each other a whole other world of their very own. I am happy and proud to be a part of it. All Is One - and The Grateful Dead, the Dead Heads, and all of the people who have been and still are a part of this beautiful world that we share know this. As Phil Lesh once said about the straight society: "Ignore them to death! ... Create your own scene!" If those are not some of the wisest words ever spoken by anyone - let alone a deep Pisces like Phil - then I am an idiot, and you should read no further!

This book covers every single performance that The Grateful Dead ever conducted - and more. It has two major authors: Michael M. Getz, and John R. Dwork - but there are dozens of other co-authors, and even dozens of more people who put some kind of input into the publication of this book as well as its subsequent revisions and later volumes covering the later years of the band after this book ends in October of 1974 - before the band took a break from the road for a while and worked on various "solo" projects and the formation of Round and Grateful Dead Records. Every concert review is written by a different person. So, just like the band and its rich music, there is a lot of variety in this book. It is never boring - if you are a Dead Head, that is. I want to thank my good buddy, Jane Litwin Taylor, for gracing me with this great tome as a miracle-gift-book. It made reading it all the more personal. We are all really like one big family, and it comes across loud and clear in this book.

There are so many wonderful passages in this book, it is impossible to mention even a few of them - let alone most of them. But on the heels of the final, major, motion-picture release of the long-sought after Grateful Dead movie, "Sunshine Daydream," I have to quote from the pages about the Kesey-run, Springfield Creamery, Benefit Concert that the band played on August 27, 1972 in Veneta, Oregon at the Old Renaissance Fairgrounds referred to as the Field Trip. It was a very hot day! The band were as hot as the air all around them, just back home from their famous Europe 72 tour immortalized on their triple-album record release later that year, and if you listen to the CDs recently released by the band that were worked on by Jeffrey Norman and David Lemieux of the Grateful Dead organization, you will feel like you were right there on that Oregon field with the band, dancing ecstatically with friends and family all around, as the magical music played and transported one and all off into a transcended state of bliss.

Thanks to the inspiration of John Dwork (who used to live in Northampton, MA where many of us have spent time in our lives), this music and film footage from this day has finally been re-mixed, re-mastered, and legally re-released as an official Grateful Dead work of art. Here is just a taste of what John said about this truly unique and well-loved Grateful Dead performance on page 405:

"The music of 8/27/72 is particularly powerful in that it affords those who encounter it in a focused setting the opportunity to experience the full spectrum of mental / physical / emotional being states available through taking visionary journeys. In his groundbreaking books Beyond the Brain and The Adventures of Self-Discovery, Stanislov Grof, one of the world's leading experts in altered states of consciousness, eloquently describes the more profound levels of heightened awareness one may experience during a visionary experience. The first level is the Sensory Barrier, in which there is an increased awareness of and within the five senses. The second is the Biographical / Recollective realm, in which one relives emotionally relevant memories. The third is the Perinatal realm, in which the unlocking of sensory, emotional, and physical experiences encountered during the birth process is experienced. The fourth level is the Transpersonal realm, in which one transcends individuality and becomes one with universal awareness, or cosmic consciousness. These are the more recognizable levels of awareness that one can move through when under the influence of psychedelics. The music of 8/27/72 is unique in that it has a tendency to bring the attuned listener to and through the deeper levels discussed here. ... The amazing thing about this music is that it affords the listener the opportunity to have such journeys repeatedly. On that day, with all the essential elements aligned, the band was able to function as a receiver and transmitter for universal consciousness. When people tune in to and resonate with this level of consciousness, they can access a holographic dimension that contains all of the archetypal energies, mythological images, and evolutionary history of the universe. Some might call this "god consciousness," or communion with The One. Regardless of what one chooses to call such a sacred communion, this is the sort of spiritual Experience that has nurtured and inspired many human souls since day on."

Indeed. ... It all started with The Acid Tests of Ken Kesey, and some would say that it came full-circle that eventful day in August of 1972 back on the farm with family and friends of the Kesey community - the ever-expanding Grateful Dead / Dead Head / Merry Prankster / Bohemian / Beat / Artist / Transcendentalist Community that holds a long tradition going back through Kerouac, Emerson, Thoreau, Muir, Whitman, and beyond - backwards and forwards through time and out of time. If you've never been "on the bus" then you probably have no idea what I'm talking about - but it all does go around "in a circle."

Yeah, I could quote about "Dark Star," "Saint Stephen," and "The Other One" - but why belabor the point? Like Zen, you either get it or you don't. If you love the music of The Grateful Dead, get this book! It's a truly communal labor of love.

George Nicholas Koumantzelis
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