A Long Strange Trip: The Inside History of the Grateful Dead by Dennis McNally

By Dennis McNally

The entire background of 1 of the main long-lived and mythical bands in rock background, written by way of its legit historian and publicist–a must-have chronicle for all lifeless Heads, and for college kids of rock and the 1960s’ counterculture.

From 1965 to 1995, the thankful useless flourished as some of the most liked, strange, and complete musical entities to ever grace American tradition. The artistic synchronicity between Jerry Garcia, Bob Weir, Phil Lesh, invoice Kreutzmann, Mickey Hart, and Ron “Pigpen” McKernan exploded out of the creative ferment of the early sixties’ roots and folks scene, supplying the soundtrack for the Dionysian revels of the counterculture. to these within the recognize, the useless used to be an ongoing travel de strength: a band whose consistent dedication to exploring new nation-states lay on the heart of a thirty-year trip via an ever-shifting array of musical, cultural, and psychological landscapes.

Dennis McNally, the band’s historian and publicist for greater than two decades, takes readers again in the course of the Dead’s heritage in A lengthy unusual Trip. In a kaleidoscopic narrative, McNally not just chronicles their reports in a fascinatingly distinct type, yet veers off into facet journeys at the band’s difficult level setup, the magic of the thankful useless live performance event, or metaphysical musings excerpted from a talk between band individuals. He brings to shiny lifestyles the Dead’s early days in late-sixties San Francisco–an period of extraordinary creativity and alter that reverberates to this present day. right here we see the gang at its such a lot uncooked and robust, taking part in because the apartment band at Ken Kesey’s acid assessments, mingling with such mythical psychonauts as Neal Cassady and Owsley “Bear” Stanley, and appearing the alchemical experiments, either stay and within the studio, that produced a few of their such a lot searing and evocative tune. yet McNally contains the Dead’s saga throughout the seventies and into the newer years of continuing traveling and constant musical exploration, that have cemented a special bond among performers and viewers, and created the supplier that's even more a kin than a corporation.

Written with an identical zeal and spirit that the thankful useless delivered to its track for greater than thirty years, the publication takes readers on a private travel in the course of the band’s internal circle, highlighting its frenetic and intensely human faces. A lengthy unusual Trip isn't just a wide-ranging cultural historical past, it's a definitive musical biography.


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If still inchoate, he recognizes that his own journey draws him into a world in which world music reflects the subject formations of musicians and peoples who have spread across the world. The study of that music, by Herder and those who followed, would require agency and action, which, in turn, would produce the narratives of a new, more global music history. The history of world music, as envisioned by Herder, must put the music of the past “to good use” in the present. Hornbostel’s goals were indeed ambitious, dizzyingly so, as we witness in his celebration of the world-music history now possible because of the rapid advancement of recording technology (Hornbostel 1986).

The Men: Never again will the blood of the enemies turn his arm red. The Women: Never again will his lips kiss those of another. The Men: Never again will fruit ripen for him. The Women: Never again will his head rest on a tender bosom. The Men: Never again will he sing, resting under a tree thick with leaves. The Women: Never again will he whisper new enticements to his beloved. Introduction: world music’s histories 15 Ampanani: Cease, now, with your weeping over my son! Happiness should follow the mourning!

1 . On world music as a concept in the history of music scholarship BRUNO NETTL No publication can narrate, in the most comprehensive sense, the total history of the music of the world. There are, nevertheless, many works that endeavor, in one way or another, to do this, works that appear to claim such an accomplishment, or that engage this issue in various ways. And there are traditions of scholarship and thought that take the concept of a “world-music history” as a point of departure. In this opening chapter I contemplate from a historical perspective some of the concepts and processes that are suggested by the rubric “world music,” trying to examine certain fundamental issues suggested by this line of inquiry, and discussing a sampling of the relevant literature.

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