In eras and scenes where leather, nihilism, “balls” and/or “intellect” prevailed in music, the Grateful Dead were perhaps the least cool name to drop in among your influences, but with their eclectic oeuvre now at everyone’s fingertips, their stock seems to have risen among even the hippest indie artists. As Jesse Jarnow wrote in Heads, his excellent book on the intertwined histories of LSD and the band, last year, “one can fully love the Dead without accepting every last bit of them.” Haight-Ashbury scenesters hated their folk albums, folkies hate the band’s jazz and prog albums, and nearly everyone who’s heard more than one Grateful Dead song hates “Touch of Grey.” Hell, even members of the Dead have disowned albums that some fans count as the band’s best. More casual fans, especially younger ones, tend to pick and choose albums and tracks that allow them to enjoy snapshots of the Dead while still staving off the aggressively uncool stench of the jam band scene. Most Deadheads (the band’s ride-or-die fans) will probably tell you that no studio album can capture the spontaneous glory of (insert concert from that particular fan’s teens or early 20s)- in other words, you had to be there. The original also mixed in classic covers (Not Fade Away and Mama Tried), a traditional (Goin’ Down The Road Feeling Bad), and an entire LP side dedicated to the epic jam vehicle, The Other One.For that reason, any attempt to corral the Dead’s discography into a neat “best of” list is a fool’s errand. For the shows, Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Phil Lesh and Bill Kreutzmann were armed with a batch of new songs, including Bertha, Playing In The Band, and Wharf Rat, which would all appear on Grateful Dead (Skull & Roses). After releasing the back-to-back classics Workingman’s Dead and American Beauty in 1970, the Dead were riding a hot streak when the group decided to hit the road in February 1971 to record its first live album since 1969’s Live/Dead. Known to many fans as “Skull & Roses” (a reference to the cover art by Alton Kelly and Stanley Mouse) the original double-LP included songs recorded in March and April 1971 in New York and, the band’s hometown, San Francisco. Grateful Dead earned the band’s first-ever gold record in 1971 with its self-titled live album. The Grateful Dead album featured in the promotion is celebrating its 50th anniversary this year. Crosley turntables and accessories will be 25% off for those looking to invest in a record player and those who purchase a Crosby Turntable will receive a free vinyl stand, while supplies last. It’s not just records themselves that are on offer. Also, as part of the Vinyl Weekend promotionn, customers can take 10% off all vinyl, which includes releases exclusive to Barnes & Noble, and LPs up for preorder online. Barnes & Noble has just announced the return of their Vinyl Weekend, offering dozens of limited-edition records and exclusive special offers, available to browse here.Įxclusive vinyl available this year includes Fleetwood Mac’s Fleetwood Mac Live on red vinyl Aretha Franklin’s new compilation Aretha on opaque purple vinyl Grateful Dead’s Grateful Dead (Skull & Roses) Live on neon orange vinyl Al Green’s Greatest Hits on clear vinyl with gold splatter Nina Simone’s Little Girl Blue on blue vinyl An Introduction To Elliott Smith on red and black vinyl and St Vincent’s latest album, Daddy’s Home in a B&N spcial edition featuring three trading cards.
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