digital booklet

Transcription

digital booklet

1
(VOL.1)
THUNDER
2
“THUNDER” (VOL.1)
01. TOUCH OF GREY • THE WAR ON DRUGS
Adam Granduciel ∙ vocals, guitars, Juno 60, harmonica / Dave Hartley ∙
bass, tambourine, guitar / Robbie Bennett ∙ piano, arp quartet / Charlie
Hall ∙ drums
Produced by The War On Drugs
Recorded at a few different places by a few different friends: Jeff Zeigler
(Boulevard in Los Angeles, CA), Jonathan Low (Miner Street Recordings in
Philadelphia, PA) and Jon Ashley (Echo Mountain in Asheville, NC).
Mixed by Jonathan Low at Miner Street Recordings in Philadelphia, PA
Copyright Ice Nine Publishing/Universal Music Publishing Group; used by
permission. (Hunter / Garcia)
02. SUGAREE • PHOSPHORESCENT, JENNY LEWIS &
FRIENDS
Matthew Houck ∙ vocals / Jenny Lewis ∙ vocals / Jo Houck ∙ organ
Sam Cohen ∙ electric guitar / Aaron Dessner ∙piano / Bryan Devendorf ∙
drums / Scott Devendorf ∙bass / Conrad Doucette ∙ drums / Josh Kaufman
∙ electric guitar / Walter Martin ∙ organ
Produced by Matthew Houck, Aaron Dessner & Josh Kaufman
Recorded by Jonathan Low at Dreamland Recording Studios in West Hurley, NY
Phosphorescent appears courtesy of Dead Oceans
Jenny Lewis appears courtesy of Warner Music
03. CANDYMAN • JIM JAMES & FRIENDS
Jim James ∙ vocals, electric guitar
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ acoustic guitar, electric guitar / Bryan Devendorf ∙ drums / Scott Devendorf ∙ bass / Conrad Doucette
∙ drums / Josh Kaufman ∙ piano, lap steel / Walter Martin ∙ organ
Produced by Jim James, Aaron Dessner and Josh Kaufman
Jim James appears courtesy of ATO Records
permission. (Garcia / Hunter)
04. CASSIDY • MOSES SUMNEY,
JENNY LEWIS & FRIENDS
Moses Sumney ∙ vocals / Jenny Lewis ∙ vocals
Aaron Dessner ∙ electric guitar / Bryce Dessner ∙ electric guitar / Bryan
Devendorf ∙ drums / Scott Devendorf ∙ bass / Nick Lloyd ∙ wurlitzer 200A,
hammond B3, moog voyager / Josh Kaufman ∙ piano, acoustic guitar,
electric guitar
Produced by Aaron Dessner, Bryce Dessner and Josh Kaufman
Jenny Lewis appears courtesy of Warner Records
permission. (Weir / Barlow)
05. BLACK MUDDY RIVER • BRUCE HORNSBY
AND DEYARMOND EDISON
Brad Cook ∙ bass guitar / Phil Cook ∙ B3 Organ, electric guitar, vocals /
Bruce Hornsby ∙ vocals, Steinway, Vintage Vibes VV64 / Justin Vernon ∙
vocals, National Guitar / Joe Westerlund ∙ drums and percussion, tape
player, vocals
Arranged by Bruce Hornsby and DeYarmond Edison
Produced by Bruce Hornsby and DeYarmond Edison
Recorded by BJ Burton at April Base in Fall Creek, WI
Engineered by BJ Burton
Mixed by BJ Burton
Mastered by Huntley Miller
© 2016 Bruce Hornsby and DeYarmond Edison
Bruce Hornsby appears courtesy of Tossington Sound
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06. LOSER • ED DROSTE, BINKI SHAPIRO & FRIENDS
Ed Droste ∙ vocals / Binki Shapiro ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ acoustic and electric guitar /
Bryan Devendorf ∙ drums / Scott Devendorf ∙ bass / Nick Lloyd ∙ hammond
B3, wurlitzer 200A, moog voyager, vibraphone / Conrad Doucette
∙
drums / Josh Kaufman ∙ piano / Walter Martin ∙ organ
Produced by Aaron Dessner and Josh Kaufman
Ed Droste appears courtesy of Warp Records
07. PEGGY-O • THE NATIONAL
Matt Berninger ∙ vocals / Aaron Dessner ∙ acoustic guitar, hi string guitar,
electric guitar / Bryce Dessner ∙ electric guitar / Bryan Devendorf ∙drums
/ Scott Devendorf ∙ bass / Conrad Doucette ∙ drums / Josh Kaufman ∙
piano, synth, electric guitar / Sam Cohen ∙ electric mandolin / Walter
Martin ∙organ
The National appears courtesy of 4AD
permission. (Trad. Arr. by Grateful Dead)
08. BOX OF RAIN • KURT VILE AND THE VIOLATORS
(FEATURING J MASCIS)
Kurt Vile ∙ guitar, keys, vocals / Jesse Trbovich ∙ guitar / Rob Laakso ∙ bass,
lap steel / Kyle Spence ∙ drums / J Mascis ∙ lead guitar, backing vocals
Engineered and mixed by Rob Laakso and Kurt Vile at Vacation Island
Recording in Brooklyn, NY and Bisquiteen Studios in Amherst, MA
Additional Mixing by Jonathan Low at Miner Street Recordings in Philadelphia, PA
permission. (Lesh / Hunter)
09. RUBIN AND CHERISE •
BONNIE ‘PRINCE’ BILLY & FRIENDS
Will Oldham ∙ Vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ electric guitar, percussion /
Bryan Devendorf ∙ drums / Scott Devendorf ∙bass / Nick Lloyd ∙ hammond
B3, fender rhodes, moog voyager / Conrad Doucette ∙drums / Josh
Kaufman ∙ electric guitar, acoustic guitar / Walter Martin ∙organ / Dave
Nelson ∙ trumpet, trombone
Horn arrangements by Dave Nelson
Bonnie ‘Prince’ Billy appears courtesy of Drag City
10. TO LAY ME DOWN • PERFUME GENIUS,
SHARON VAN ETTEN & FRIENDS
Perfume Genius ∙ vocals / Sharon Van Etten ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ a
coustic guitar, electric guitar
/ Bryan Devendorf ∙ drums / Scott Devendorf ∙ bass / Conrad Doucette
∙ drums / Josh Kaufman ∙ piano, lap steel, synth / Walter Martin ∙ organ
Perfume Genius’ vocals recorded by Eric Corson at The Listening Room
in Seattle, WA
Sharon Van Etten’s vocals recorded at Aaron’s garage in Ditmas Park, Brooklyn
Perfume Genius appears courtesy of Matador
Sharon Van Etten appears courtesy of Jagjaguwar
4
11. NEW SPEEDWAY BOOGIE • COURTNEY BARNETT
Courtney Barnett ∙ guitar, vocals / Bones Sloane ∙ bass, backing vocals /
David Mudie ∙ drums, backing vocals
Arranged by Courtney Barnett
Produced by Anna Laverty
Recorded by Anna Laverty
Engineered by Anna Laverty
Mixed by Anna Laverty
Courtney Barnett appears courtesy of Mom+Pop Music
12. FRIEND OF THE DEVIL • MUMFORD & SONS
Marcus Mumford ∙ vocals, percussion, drums / Winston Marshall ∙ vocals,
electric guitar / Ted Dwane ∙ bass / Ben Lovett ∙ keyboards, piano, vocals
/ 88 Keys ∙ drum samples, programming / Aaron Dessner ∙ electric guitar,
keyboards
Produced by Aaron Dessner and Mumford & Sons
Recorded by Jonathan Low at Log Cabin Studios in New York, NY
permission. (Dawson / Garcia / Hunter)
13. UNCLE JOHN’S BAND • LUCIUS
Produced and performed by Lucius
Jess Wolfe ∙ vocals / Holly Laessig ∙ vocals / Dan Molad ∙ vocals, guitar,
bass / Peter Lalish ∙ bass, piano / Andrew Burri ∙ percussion, synth
Recorded at Sounds Like a Fire in Los Angeles, CA
Engineered and mixed by Dan Molad at Sounds Like a Fire in Los Angeles, CA
Lucius appears courtesy of Mom+Pop Music
14. ME AND MY UNCLE •
THE LONE BELLOW & FRIENDS
Kanene Donehey Pipkin ∙ vocals / Brian Elmquist ∙ lead vocals / Zach
Williams ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ acoustic guitar / Bryan
Devendorf ∙drums / Scott Devendorf ∙ bass / Conrad Doucette ∙drums /
Josh Kaufman ∙ electric guitar / Walter Martin ∙organ
Recorded by Jonathan Low at Dreamland Recording Studios in West
Hurley, NY and Future-Past in Hudson, NY
The Lone Bellow appears courtesy of Descendant Records
Spirit Two Music Publishing; used by permission.(Phillips)
15. MOUNTAINS OF THE MOON • LEE RANALDO,
LISA HANNIGAN & FRIENDS
Lee Ranaldo ∙ vocals, 12-string acoustic guitar / Lisa Hannigan ∙ vocals
Aaron Dessner
∙ nashville guitar / Bryan Devendorf ∙drums / Scott
Devendorf
∙ bass, backing vocals / Conrad Doucette ∙ drums / Josh
Kaufman ∙ acoustic guitar, backing vocals
Produced by Lee Ranaldo, Aaron Dessner and Josh Kaufman
Lee Ranaldo appears courtesy of Matador
16. BLACK PETER • ANOHNI AND YMUSIC
Anohni ∙ vocals / Rob Moose ∙ violin / Nadia Sirota ∙ viola / Gabriel Cabezas ∙
cello / Alex Sopp ∙ flute / Hideaki Aomori ∙ bass clarinet / CJ Camerieri ∙ trumpet
Arranged and produced by Rob Moose
Engineered by Alejandro Venguer at MSR Studio B
5
17. GARCIA COUNTERPOINT • BRYCE DESSNER
“For Jerry Garcia and Steve Reich”
Bryce Dessner ∙ electric guitar, acoustic guitar, keyboards, percussion /
Nick Lloyd ∙ Wurlitzer
‘Garcia Counterpoint’ was composed using fragments of Jerry Garcia’s live
guitar solo on “Althea” recorded at Capital Centre, Landover, Maryland on
March 15, 1990. Live solo originally transcribed by Stephen Feigenbaum.
Composed by Bryce Dessner
Produced and Recorded by Bryce Dessner at home in Paris, France.
Mixed by Nick Lloyd at Firehouse 12 in New Haven, CT.
Copyright Chester Music; used by permission. (Bryce Dessner)
18. TERRAPIN STATION (SUITE) • DANIEL ROSSEN,
CHRISTOPHER BEAR AND THE NATIONAL (FEATURING
JOSH KAUFMAN, CONRAD DOUCETTE, SO
PERCUSSION AND BROOKLYN YOUTH CHORUS)
Daniel Rossen ∙ vocals, guitar, synth, wurlitzer, piano / Christopher Bear ∙
drums, vocals, synth / Aaron Dessner ∙ electric guitar, OP1 / Scott Devendorf ∙ bass, vocals / Josh Kaufman ∙ electric guitar, juno, rhodes, vocals /
Conrad Doucette ∙ drums, vocals / Amelia Bauer ∙ vocals
Orchestration by Bryce Dessner
Orchestral percussion break composed by Bryce Dessner
Violin: Katie Hyun, Ben Russel, Emily Dagget Smith, Guillaume Pirard,
Emily Popham Gillins, Caleb Burhans
Viola: Caitlin Lynch, Max Mandel / Cello: Clarice Jensen, Paul Wianko
/ Bass: Logan Coale / French Horn: Mike Atkinson, David Byrd, Rachel
Drehmann / Trumpet: Brandon Ridenour / Trombone: Dave Nelson /
Oboe: Julia Derosa
Chorus: Brooklyn Youth Chorus;
Director, Dianne Berkun-Menaker
Chorus: Bella Nigro / Camille Johnson / Akiya Henry / Naomie Azor /
Maeve McNamara / Lily Pisano / Charlotte Knutsen / Mariana Weaver /
Julia Harbutt / Sarah Abramson / Aliyah Weiss / Ariel Binns / Jake Montagnino / Izzi Stevenson / Morgan Colton / Sarah Sotomayor / Katy Urda
/ Frost Martin
Sõ Percussion: Eric Cha-Beach ∙ percussion / Josh Quillen ∙ percussion /
Adam Sliwinski ∙ percussion / Jason Treuting ∙ percussion
Transcription of original orchestral parts by Stephen Feigenbaum
-
Produced by Daniel Rossen, Christopher Bear, Aaron Dessner, Bryce Dessner and Josh Kaufman
Recorded by Jonathan Low at Future-Past in Hudson, NY and Nick Lloyd at Avatar
Daniel Rossen and Christopher Bear appear courtesy of Warp Records
19. ATTICS OF MY LIFE • ANGEL OLSEN
Angel Olsen ∙ vocals / Seth Kauffman ∙ vocals, drums, bass, baritone
guitar, steel guitar
Recorded at Jah Bless Studios in Asheville, NC and Tropical Disease
Mobile in Black Mountain, NC
20. ST. STEPHEN • WILCO WITH BOB WEIR (LIVE)
Jeff Tweedy ∙ vocals, electric guitar / Bob Weir ∙ vocals, electric guitar
/ Nels Cline ∙ electric guitar / Patrick Sansone ∙ electric guitar / Mikael
Jorgensen ∙ keyboards / John Stirratt ∙ bass / Glenn Kotche ∙ drums
Recorded August 4, 2013 at the Shoreline Ampitheatre in Mountain View, CA
Live recording by Stan Doty and Warner Swain
permission. (Garcia / Lesh / Hunter)
6
(VOL.2)
LIGHTNING
7
“LIGHTNING” (VOL.2)
01. IF I HAD THE WORLD TO GIVE •
BONNIE ‘PRINCE’ BILLY
Will Oldham ∙ vocals / Josh Kaufman ∙ piano
02. STANDING ON THE MOON •
PHOSPHORESCENT & FRIENDS
Matthew Houck ∙ vocals/ Jo Schornikow ∙ vocals
Aaron Dessner ∙ drums, bass pedals, acoustic guitar, electric guitar / Bryce
Dessner ∙ slide guitar, acoustic guitar / Scott Devendorf ∙ bass / Nick Lloyd
∙ hammond B3, fender rhodes / Josh Kaufman ∙ piano, acoustic guitar,
ambient guitar
Produced by Matthew Houck, Aaron Dessner, Bryce Dessner and Josh Kaufman
Phosphorescent appears courtesy of Dead Oceans
03. CUMBERLAND BLUES • CHARLES BRADLEY AND
MENAHAN STREET BAND
Charles Bradley ∙ vocals / Thomas Brenneck ∙ rhythm and lead guitars,
mellotron / Nick Movshon ∙ drums and bass / Cochemea Gastellum ∙
flute / Alecia Chakour ∙ tambourine, background vocals / Maya Sharpe ∙
background vocals / Sasha Ortiz ∙ background vocals
Arranged by Brenneck and Movshon
Produced by Tommy TNT Brenneck
Recorded at The Diamond Mine in Queens, NY
Engineered by T. Brenneck and Joe Harrison
Mixed by T. Brenneck
-
Charles Bradley and Menahan Street Band appear courtesy of Dunham Records
Copyright Ice Nine Publishing/Universal Music Publishing Group; used by permission. (Garcia / Hunter / Lesh)
04. SHIP OF FOOLS •
THE TALLEST MAN ON EARTH & FRIENDS
Kristian Matsson ∙vocals / Lisa Hannigan ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙piano / Bryan Devendorf ∙
drums / Scott Devendorf ∙ bass / Conrad Doucette ∙ drums / Josh Kaufman
∙electric guitar, lap steel / Nick Lloyd ∙ hammond organ, fender rhodes,
chamberlin / Walter Martin ∙ organ / Dave Nelson - trombone, trumpet
Recorded by Jonathan Low and Aaron Dessner
Horn arrangements by Dave Nelson
The Tallest Man on Earth appears courtesy of Dead Oceans
05. BIRD SONG • BONNIE ‘PRINCE’ BILLY & FRIENDS
Will Oldham ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ acoustic “reckoning” guitar
/ Bryan Devendorf ∙ drums / Conrad Doucette ∙ drums / Josh Kaufman ∙
bass / Walter Martin ∙ organ
8
06. MORNING DEW • THE NATIONAL
Matt Berninger ∙ vocals / Aaron Dessner ∙ electric guitar / Bryce Dessner ∙
electric guitar / Bryan Devendorf ∙drums / Scott Devendorf ∙ bass / Sam
Cohen ∙electric guitar / Conrad Doucette ∙drums / Josh Kaufman ∙ piano,
synth, electric guitar / Walter Martin ∙organ
The National appear courtesy of 4AD
Copyright Warner-Tamerlane Publishing Corp. (BMI); used by permission.
(Dobson / Rose)
07. TRUCKIN’ • MARIJUANA DEATHSQUADS
Isaac Gale ∙ vocals / JT Bates ∙ vocals, drums / Le Michael Lewis ∙ vocals,
saxophone / Jerry Ylvisaker ∙ vocals, guitar / Ben Ivascu ∙ drums / Freddy
Votel ∙ drums / Corey Healey ∙ bullshit / Jason Power ∙ bullshit / Mark
McGee ∙ beats/sounds / James Buckley ∙ bass guitar / Jerry Nutzman ∙
keys / Ryan Olson ∙ midi downloading
Arranged by Marijuana Deathsquads
Produced by Marijuana Deathsquads
Recorded by Joe Mabbott
Recorded at The Hideaway
Engineered by Joe Mabbott
Mixed by Joe Mabbott
© appears courtesy of Totally Gross National Product
permission. (Garcia / Lesh / Weir / Hunter)
Cass McCombs appears courtesy of Domino Recording Company
permission. (Garcia / Hart / Hunter / Kreutzmann / Lesh / McKernan / Weir)
09. NIGHTFALL OF DIAMONDS •
NIGHTFALL OF DIAMONDS
Cass McCombs ∙ vocals, piano, tin whistle, percussion / Joe Russo ∙ drums,
vocals / Jon Shaw ∙ vocals
Aaron Dessner ∙ electric guitar / Scott Devendorf ∙ bass / Conrad Doucette
∙ percussion / Josh Kaufman
∙ acoustic guitar, electric guitar / Walter
Martin ∙ organ
Produced by Aaron Dessner, Josh Kaufman and Cass McCombs
Recorded by Jonathan Low at Dreamland Recording Studios in West
Hurley, NY
10. TRANSITIVE REFRACTION AXIS FOR JOHN
OSWALD • TIM HECKER
Keyboards by Kara Lis Coverdale
Arranged, Produced and Mixed by Tim Hecker
Recorded at Sunblind Studios in Los Angeles, CA
Published by Warp Publishing
Special thanks to John Oswald
08. DARK STAR • CASS MCCOMBS,
JOE RUSSO & FRIENDS
Studio Recording:
Cass McCombs ∙ vocals, piano, tin whistle / Joe Russo ∙ drums, vocals /
Jon Shaw ∙ vocals
Aaron Dessner ∙ electric guitar / Scott Devendorf ∙ bass / Conrad Doucette
∙ percussion / Josh Kaufman ∙ acoustic guitar / Walter Martin ∙ organ
Live recording from max fish bar, NYC
Cass McCombs ∙ guitar, vox, piano and tin whistle / Jon Shaw ∙ bass / Dan
Iead ∙ guitar / Ryan Sawyer ∙ congas / Walter Martin ∙ keyboards / Joe
Russo ∙ drum kit and vocals
Produced by Cass McCombs, Joe Russo, Josh Kaufman and Aaron Dessner
9
11. GOING DOWN THE ROAD FEELIN’ BAD •
LUCINDA WILLIAMS & FRIENDS
Lucinda Williams ∙ vocals
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ piano / Bryan Devendorf ∙ drums
/ Scott Devendorf ∙ bass, backing vocals / Conrad Doucette ∙ drums / Josh
Kaufman ∙acoustic guitar, electric guitar, backing vocals / Walter Martin ∙ organ
Lucinda Williams appears courtesy of Highway 20 Records
12. PLAYING IN THE BAND • TUNDE ADEBIMPE,
LEE RANALDO & FRIENDS
Tunde Adebimpe ∙ lead vocals / Lee Ranaldo ∙ electric guitar / Eric D.
Johnson ∙ backing vocals
Aaron Dessner ∙ electric guitar / Bryce Dessner ∙ electric guitar / Bryan
Devendorf ∙ drums / Scott Devendorf ∙ bass / Conrad Doucette ∙ drums /
Josh Kaufman ∙ electric guitar, piano, organ, acoustic guitar
Lead vocals recorded by Steve Hassett at Aaron’s garage
permission. (Hart / Weir / Hunter)
13. STELLA BLUE • LOCAL NATIVES
Kelcey Ayer ∙ vocals, programming, percussion / Nik Ewing ∙ programming,
bass, keys, backing vocals / Matthew Frazier ∙ drums / Ryan Hahn ∙ guitar,
bass, backing vocals / Taylor Rice ∙ vocals, guitar
Produced, performed and engineered by Local Natives
Recorded at Fountain of Youth in Los Angeles, CA
Mixed by Alex Pasco at Apartment 4 Studios in Los Angeles, CA
Local Natives appear courtesy of Frenchkiss Records
14. EYES OF THE WORLD • TAL NATIONAL
Omar ∙ drums / Essa ∙ bass / Almeida ∙ guitar / Boris ∙ keys and lead vocals
/ Sgt Maty ∙ percussion / Binta ∙ backing vocals / Dalik ∙ backing vocals /
Massaoudou ∙ backing vocals
Arranged by Almeida
Produced by Jamie Carter
Recorded by Jamie Carter Recorded at CFPM in Niamey, Niger
Engineered by Jamie Carter
Mixed by Jamie Carter at CarterCo Recording in Chicago, IL, assisted by
Shawn Wilson
Tal National appears courtesy of Fat Cat Records
15. HELP ON THE WAY • BÉLA FLECK
Béla Fleck ∙ banjo / Zakir Hussain ∙ tabla / Edgar Meyer ∙ bass / Oliver
Wood ∙ lead vocal / John Cowan ∙ backing vocals / Abigail Washburn ∙
backing vocals
Produced by Béla Fleck
Recorded by Jim Reitzel and Richard Battaglia at Tarpan and Sanctuary Studios
Mixed by Béla Fleck
Béla Fleck appears courtesy of Rounder Records
16. FRANKLIN’S TOWER • ORCHESTRA BAOBAB
Mr Sidibé Moussa Balla ∙ vocals / Mr Dieng Ndiogou ∙ vocals / Mr Barthelemy
Attisso ∙ guitare solo / Mr Seydou norou Koite ∙ saxo alto / Mr Mamadou
mountaga Koite ∙ batterie percussions / Mr Ndiaye Charles Antoine ∙
bass guitare / Mr Yahya Fall ∙ acc guitare / Mr Rudolphe Clement Gomis
∙ choeurs et chants
Les musiciens de L’Orchestra Baobab on tous été arrangeurs de la musique
Ingénieur: Mr Rane Diagne
Studio: LIBERTE 6 près boulangerie jaune Dakar Sénégal
Mr Christian Jean-Francois: Manager / Booking Agent
permission. (Hunter / Garcia / Kreutzmann)
10
17. TILL THE MORNING COMES •
LULUC WITH XYLOURIS WHITE
Zoe Randell ∙ vocals and nylon guitar / Steve Hassett ∙ harmonies and
electric guitar / George Xylouris ∙ lute / Jim White ∙ drums
Recorded by Jonathan Low and Steve Hassett at Aaron’s garage in
Ditmas Park, Brooklyn
Mixed by Steve Hassett
18. RIPPLE • THE WALKMEN
Hamilton Leithauser ∙ vocals, acoustic guitar / Lisa Hannigan ∙ vocals /
Walter Martin ∙ organ, piano / Peter Bauer ∙ bass / Matt Barrick ∙ drums
Produced by The Walkmen and Aaron Dessner
Recorded by Aaron Dessner and Jonathan Low at Aaron’s garage in
Ditmas Park, Brooklyn
19. BROKEDOWN PALACE • RICHARD REED
PARRY WITH CAROLINE SHAW AND LITTLE SCREAM
(FEATURING GARTH HUDSON)
Richard Reed Parry ∙ vocals, piano, double bass, drums / Laurel
Sprengelmeyer ∙ vocals / Caroline Adelaide ∙ vocals, violin / Garth
Hudson ∙ hammond organ, accordion / Aaron Dessner ∙ nashville guitar,
percussion / Bryce Dessner ∙ electric guitar
Produced by Richard Reed Parry, Aaron Dessner, Bryce Dessner
Recorded by Jonathan Low at Dreamland Recording Studios in West Hurley,
NY, Future-Past in Hudson, NY, and The Clubhouse in Rhinebeck, NY
11
(VOL.3)
SUNSHINE
12
“SUNSHINE” (VOL.3)
01. HERE COMES SUNSHINE • REAL ESTATE
Alex Bleeker ∙ bass / Martin Courtney ∙ guitar / Matt Kallman ∙ piano,
Synth / Matt Mondanile ∙ guitar / Jackson Pollis ∙ drums
Arranged by Real Estate
Produced by Jarvis Taveniere
Recorded by Jarvis Taveniere at Thump Studios in Brooklyn, NY
Real Estate appears courtesy of Domino Recording Company
02. SHAKEDOWN STREET •
UNKNOWN MORTAL ORCHESTRA
Ruban Nielson ∙ vocals, guitar, bass, keyboards / Kody Nielson ∙ drums
Produced, recorded, engineered and mixed by Ruban Nielson
Unknown Mortal Orchestra appears courtesy of Jagjaguwar
03. BROWN-EYED WOMEN •
HISS GOLDEN MESSENGER
MC Taylor ∙acoustic guitar, lead vocal / Phillip Cook ∙organ, background
vocal / Bradley Cook ∙bass, background vocal / William Tyler ∙lead guitar,
background vocal / Matthew McCaughan ∙drums, background vocal
Produced and performed by Hiss Golden Messenger
Recorded by Logan Matheny at Big Light Studio in Nashville, TN
04. JACK-A-ROE • THIS IS THE KIT
Kate Stables ∙ vocals, acoustic guitar / Olivier Marguerit ∙ bass, piano /
Bryce Dessner ∙ electric guitar, drums, piano
Produced by Bryce Dessner
Engineered by Angy Laperdrix
05. HIGH TIME • DANIEL ROSSEN AND
CHRISTOPHER BEAR
Daniel Rossen ∙ vocals, guitars, wurlitzer, bass / Josh Kaufman ∙ bass /
Christopher Bear ∙ drums, vocals / Philip Sterk ∙ pedal steel
Produced by Daniel Rossen
Recorded by Jonathan Low at Future-Past in Hudson, NY
Daniel Rossen and Christopher Bear appear courtesy of Warp Records
06. DIRE WOLF • THE LONE BELLOW & FRIENDS
Kanene Donehey Pipkin ∙vocals / Brian Elmquist ∙vocals / Zach Williams
∙lead vocals
Aaron Dessner ∙acoustic guitar / Josh Kaufman ∙ acoustic guitar, electric
guitar, bass / Otto Hauser ∙drums / Eric Heywood ∙ pedal steel guitar
Recorded by Jonathan Low at Future-Past in Huston, NY and Aaron’s
garage in Ditmas Park, Brooklyn
Pedal steel recorded by Nate Martinez
The Lone Bellow appears courtesy of Descendant Records
13
07. ALTHEA • WINSTON MARSHALL,
KODIAK BLUE AND SHURA
Winston Marshall ∙ vocals, electric guitar / Aleksandra Denton (Shura) ∙ vocals /
Harrison Cargill ∙ drum & synth programming, keyboards / Aaron Dessner ∙ Rhodes
Produced by Harrison Cargill and Aaron Dessner
Recorded by Jonathan Low and Harrison Cargill at Universal Studio in
London, UK and Aaron’s garage in Ditmas Park, Brooklyn
Engineered by Harrison Cargill and Jonathan Low
08. CLEMENTINE JAM • ORCHESTRA BAOBAB
Mr Sidibé Moussa Balla ∙ vocals / Mr Dieng Ndiogou ∙ vocals / Mr Barthelemy
Attisso ∙ guitare solo / Mr Seydou norou Koite ∙ saxo alto / Mr Mamadou
mountaga Koite ∙ batterie percussions / Mr Ndiaye Charles Antoine ∙
bass guitare / Mr Yahya Fall ∙ acc guitare / Mr Rudolphe Clement Gomis
∙ choeurs et chants
Les musiciens de L’Orchestra Baobab on tous été arrangeurs de la musique
Ingénieur: Mr Rane Diagne
Studio: LIBERTE 6 près boulangerie jaune Dakar Sénégal
Mr Christian Jean-Francois: Manager / Booking Agent
09. CHINA CAT SUNFLOWER / I KNOW YOU RIDER •
STEPHEN MALKMUS AND THE JICKS
Stephen Malkmus ∙ vocals, guitar / Joanna Bolme ∙ bass
Mike Clark ∙ guitar, keyboards / Jake Morris ∙ drums, backing vocals
Recorded and mixed by Gary Jarman at Tartan Hell in Portland, OR
Stephen Malkmus and the Jicks appear courtesy of Matador
China Cat Sunflower
I Know You Rider
10. EASY WIND • BILL CALLAHAN
BIll Callahan ∙ guitar, vocal / Adam Jones ∙ drums / Matt Kinsey ∙ guitar /
Jaime Zuverza ∙ bass / Brian Beattie ∙ Wurlitzer
Recorded and mixed by Brian Beattie at Wonder Chamber in Austin, TX
permission. (Hunter)
11. WHARF RAT • IRA KAPLAN & FRIENDS
Ira Kaplan ∙ vocals, electric guitar
Sam Cohen ∙ electric guitar / Aaron Dessner ∙ piano, electric guitar / Bryan
Devendorf ∙ drums / Scott Devendorf ∙ bass / Conrad Doucette ∙ drums /
Josh Kaufman ∙ electric guitar / Walter Martin ∙ organ
Produced by Ira Kaplan, Aaron Dessner and Josh Kaufman
Ira Kaplan appears courtesy of Matador
12. ESTIMATED PROPHET • THE RILEYS
Terry Riley ∙ voice, piano, melodica / Gyan Riley ∙ electric guitar
Arranged by Gyan Riley
Produced by Gyan Riley
Recorded and engineered by Alfred Owens at the Sri Moonshine Ranch in California
permission. (Weir / Barlow)
14
13. DRUMS / SPACE • MAN FOREVER /
SO PERCUSSION / ONEIDA
Drums performed by So Percussion and Man Forever / Jason Treuting ∙
Marimba, Drum Set, Percussion / Josh Quillin ∙ Marimba, Concert Bass,
Percussion / Adam Sliwinski ∙ Marimba, Percussion / Eric Cha-Beach ∙
Marimba, Percussion / Kid Millions ∙ Marimba, Drum Set, Percussion
Additional percussion performed by Brooks Frederickson
Recorded at So Percussion Studio in Brooklyn, NY
Engineered by Don Godwin
Space performed by Oneida / Bobby Matador ∙ bass / Baby Hanoi Jane ∙
guitar / Showtime ∙ guitar / Barry London ∙ synth / Kid Millions ∙ organ, cymbal
Recorded at the Ocropolis at Secret Project Robot in Brooklyn, NY
Engineered by Barry London
Mixed by Don Godwin with Kid Millions
Arranged and Produced by Kid Millions
permission. (Hart / Kreutzmann)
14. CREAM PUFF WAR • FUCKED UP
M Haliechuk ∙ guitar / Josh Zucker ∙ guitar / Sandy Miranda ∙ bass / Jonah
Falco ∙ drums, backing vocals / D Abraham ∙ lead vocal / Moshe Rozenberg ∙ synth / J Fair ∙ flute
Arranged by Haliechuk/Falco
Produced by Haliechuk/L Taheny
Recorded by Bill Skibbe (Key Club) and Leon Taheny (Dreamhouse)
Recorded at Key Club Recording Company in Benton Harbor, MI and
Dreamhouse Studios in Toronto, ON
Engineered by L Taheny
Mixed by L Taheny
© appears courtesy of Hidden World
permission. (Garcia)
16. WHAT’S BECOME OF THE BABY • S T A R G A Z E
Maaike van der Linde ∙ bass-flute, vocals / Marlies van Gangelen ∙ oboe,
cor anglais, delta-harp, vocals / Ausiàs Garrigós Morant ∙ bass-clarinet,
vocals / Lisa de Boos ∙ double-bass, vocals / André de Ridder ∙ violin,
vocals / Morris Kliphuis ∙ french horn, piano, vocals / Florian Juncker ∙
trombone, vocals / Aart Strootman ∙ guitar, vocals
Arranged by s t a r g a z e
Produced by s t a r g a z e and Andi Toma
Recorded by Andi Toma at P5, Funkhaus Nalepastrasse Berlin
Engineered by Andi Toma
Mixed by Andi Toma
© s t a r g a z e appears courtesy of Transgressive Records
17. KING SOLOMON’S MARBLES • VIJAY IYER
Vijay Iyer ∙ Piano
Arranged by Vijay Iyer
Produced by Vijay Iyer
Recorded by Chris Allen at Sear Sound in New York, NY
Mixed by Chris Allen and Vijay Iyer
© 2015 Multiplicity Musics
Vijay Iyer appears courtesy of ECM Records
permission. (Lesh)
15. DARK STAR • THE FLAMING LIPS
Wayne Coyne ∙ guitar / Steven Drozd ∙ vocals, drums, bass / Dennis Coyne
∙ programming
Performed by The Flaming Lips
Produced by The Flaming Lips
Engineered by Dennis Coyne
Recorded at Pink Floor Studios in Oklahoma City, OK
The Flaming Lips appear courtesy of Warner Records
15
18. ROSEMARY • MINA TINDLE & FRIENDS
Pauline De Lassus ∙vocals
Bryce Dessner ∙ Acoustic Guitar, mellotron / Aaron Dessner ∙ Nashville
guitar, synth / Josh Kaufman ∙ Acoustic guitar, lap steel, piano
Produced by Bryce Dessner
Vocals recorded by Julien Simand in Paris, France
19. AND WE BID YOU GOODNIGHT • SAM AMIDON
Sam Amidon ∙ Vocals, Guitar
Backup choir: Sam Cohen, Aaron Dessner, Bryan Devendorf, Scott Devendorf, Conrad Doucette, Josh Kaufman, Walter Martin, Kristian Matsson, Will Oldham
Sam Amidon appears courtesy of Nonesuch Records
20. I KNOW YOU RIDER • THE NATIONAL
WITH BOB WEIR (LIVE)
Matt Berninger ∙ vocals / Aaron Dessner ∙ guitar, backing vocals / Bryce
Dessner ∙ guitar, backing vocals / Bryan Devendorf ∙ drums, backing vocals /
Scott Devendorf ∙ bass, backing vocals / Ben Lanz ∙ piano, backing vocals /
Kyle Resnick ∙ trumpet, keyboards, backing vocals / Bob Weir ∙ vocals, guitar
Recorded April 27, 2014 at the Greek Theater at UC Berkeley, Berkeley, CA
Live Recording by Brandon Reid. Mixed by Jonathan Low
16
ALBUM CREDITS
17
DAY OF THE DEAD
Created and Curated by Aaron Dessner and Bryce Dessner
Produced by Aaron Dessner
Co-Produced by Bryce Dessner and Josh Kaufman
Co-Curated by Scott Devendorf, Bryan Devendorf, Conrad
Doucette
Project Manager: Tom Wironen
Co-Executive Producer: Dawn Barger
Executive Producer: John Carlin
Mastered by Joe Lambert
Art Credits:
Creative Direction: John Carlin and Scott Devendorf
Art Direction/Graphic Design: The Collected Works
(Justin Colt and Jose Fresneda)
Illustrations: Gary Panter
Lightshow imagery inspired by Joshua White, imaged by
Curtis Godino
© & ℗ The Red Hot Organization 2016. All individual recordings
© 2016 by the individual artists and their recording labels.
Dedication: For Alex and the Handler Family
This record would not have been possible without the
generous and special contributions of so many wonderful
artists. The work would never have been completed without
Scott Devendorf, Conrad Doucette and Josh Kaufman who
helped curate and creatively direct this compilation and play
on many tracks. We also owe much gratitude to the tireless
recording and mixing efforts of Jonathan Low who has been
with us throughout the entire process. John Carlin, Dawn
Barger and Tom Wironen have also worked far beyond the
call of duty to pull this record together with us.
Extra Special Thanks to:
Robert Hunter, John Perry Barlow and the Grateful Dead —
Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Phil Lesh, Bill
Kreutzmann, Mickey Hart, Tom Constanten, Keith Godchaux,
Donna Jean Godchaux, Bruce Hornsby, Ned Lagin, Brent
Mydland, Vince Welnick -- for 50+ years of music and
inspiration. And all of the visual artists who contributed to
the identity of the Grateful Dead over the years including:
Owsley Stanley, Stanley Mouse, Alton Kelley, Wes Wilson,
RIck Griffin, Victor Moscoso, R. Crumb, Joshua White, and
many others.
Special Thanks to:
Aaden Devendorf, Alan Trist and Ice Nine Music Publishing,
Ami Spishock, Anne Wengler, Annette Lee, Beco Dranoff,
Bella Blasko, Benjamin Levin, Bernie Cahill, Brandon Reid,
Brian Appel, Bryan Devendorf, Carrie Tolles, Charles Damga,
Chris Robbins, Christian Jean-Francois, Claire Taylor, Clubhouse
and Paul Antonell, Conrad Doucette, Dana Erickson, Dan
Gallo, Dave Nelson, David Bendett, David Grandison Jr.,
David Harrington, Diana Zinni, Donna Matthew, Dreamland
Recording Studios and Jerry Marotta, Ed Paparo, Erlend
Neumann, everyone at Universal Music Publishing Company
especially Jody Gerson and Evan Lansberg, Frank Veneestra,
Gabe Spierer, Gary Panter, Gill Graham and Chester Music,
Gillian Bar, Gwendolyn Bieniara, Helene Silverman, Jacob
Alsing, James Pegrum, Jamie Carter, Jason & Jill Duffy, Jesse
Du Bey, Jessica Dessner , Jonathan Eshak, Jonathon Alcindor,
Josh Kaufman, Joshua White, Justin Vernon, Kana Philip,
Kate Jackson, Katie Fallon, Kevin French, Kia Gram, Kim
Bucci, Leigh Blake, Lisa Gottheil, Liz Sliclen, Lucy Richards,
Mallory Carlin, Marc Allan, Mark Capon, Mark Pincus and
Rhino Records, Martin Mills, Martin Ping, Matt Berninger,
Matt Busch, Meg Helsel, Melody Rabe, Mike Martinovich,
Miwa Okumura, Morton Lorge, Nabil Ayers, Nadine May,
Naomi Scott, Nelson Ryland, Nick Lloyd, Nick O’Byrne, Niclas
Stenholm, Nicole David, Norman & Joanna Jean Roy, Ole
Sondresen, Olivier Marguerit, Pablo Douzoglou, Pauline de
Lassus, Paul Heck, Paul Sohn, Peter Shapiro, Peter Wengler,
Ray Applebee, Ray Pirkle, Rebekah Carver, Renee Dossick,
Reynold Jaffe, Richard Reed Parry, Rich Isaacson, Roger Trust,
Ryan Feerer, Sally Dessner, Sam Cohen, Samuel Strang, Scott
Booker, Shaun MacDonald, Simon Halliday, Stephen Cohen,
Stephen Dessner, Stephen Feigenbaum, Steve Hassett, Steve
Heller, Stine Wengler, Sufjan Stevens, Taylor Storms, Tom
Michelberger, Tom Overby, Tony Margherita, Walt Martin,
Wesley Golby, Zoe Kerrigan, & Zoe Randall.
18
THIS MUSIC IS FABRIC YOU
CAN REACH OUT WITH
YOUR HAND AND TOUCH
D
ay of the Dead has been an absolute joy for Bryce and I to make.
The idea for the record came about in 2011 after the success of Dark
Was The Night (2009), the first charity compilation we produced
for the Red Hot Organization, to which this record is intended in some
part as a sequel. Given the breadth of Dark Was the Night (31 tracks), we
felt the follow-up had to go deeper, and the idea dawned upon us that
our lives playing in bands and writing songs would never have taken the
course that it has without our early exposure to the Grateful Dead. It’s a
story we have heard from so many of our peers from different corners
of the music world. Somehow the Grateful Dead has seeped into the
consciousness of generations of musicians, inspiring ambitious songwriting
and experimentation and showing that music for music’s sake is enough.
The Grateful Dead has never been cool or glamorous, really—they were
always more substance than style—but their imprint on American musical
culture, and beyond, is undeniable.
legacy justice, considering the different eras of the Dead and the breadth
and diversity of their musical legacy, and the incredible musicianship and
adventurousness with which they played? What started as a simple idea
for the follow-up to Dark Was the Night evolved into something much
more, a cultural document and testament to the unique power and
inspiring ingenuity of a band that has meant so much to so many. This
music is fabric you can reach out with your hand and touch. Even before
trying to learn these songs note for note, we found we already knew
them—many of the people involved on this record grew up with this
music to the extent that it’s in our bones. The Dead’s music is in the ether
and has been for the last fifty years. We simply turned the faucet on,
and what resulted is a joyful celebration that we hope will raise as much
support as possible for the charitable efforts of Red Hot to fight the HIV/
AIDS epidemic around the world.
Our goal was to visit as many corners of the Dead’s expansive catalog
as we could, shining a light not just on the well known songs everyone
loves, but also some of the rarer material with which people may be less
familiar. As we went from 10 songs to 20, and from 20 on to 40, and
ultimately to almost 60 songs, we came to the realization that it’s simply
impossible to cover all the bases, so to speak. There are many important
songs in the Dead catalog which are not included in this record. We didn’t
record Scarlet Begonias > Fire on the Mountain or The Other One (though
So when it came to actually recording the songs for this record, songs it’s quoted in our Terrapin Station) or Cold Rain and Snow, to name just
which are almost sacred to those who know and love the Dead as a few. But we hope the depth and expansiveness of this collection will
we do, a leap of faith was required. How and with whom should we stand on its own as a document and celebration of what the Dead’s
endeavor to interpret these songs? How could we do this tremendous music has meant to us.
The first time Bryce and I gathered with Bryan Devendorf, the National’s
drummer, to play music was in 1990, and we played the Dead’s “Eyes
of the World” without stopping for several hours. It was the perfect way in
to collaborating with each other, an open and inviting canvas on which
to discover the possibilities of playing together. It’s an alchemy that’s
endured for over 25 years.
19
The scale of this effort, almost 6 hours of music, would never have been
possible without the absolutely essential contributions of our co-curators
and musicians, Josh Kaufman, Scott and Bryan Devendorf and Conrad
Doucette. Not only do all four of these amazing musicians know more
about the Dead and their music than we do, but they also helped us bring
the actual songs to life in the studio. Our goal was to shine a light on the
songwriting and on the avant-garde, experimental strain of the Grateful
Dead. Having gotten to know and play with Bob Weir, who is one of
the nicest, most genuine and hardworking musicians we have ever met,
we were amazed to hear him talk about how the band used to discuss
striving to achieve a deeper level of composition or classical depth in
their music, and how he appreciated that aspect of our own band the
National. Although slightly incredulous at receiving a compliment from
a member of the Grateful Dead, this idea stayed with us as we put the
record together, and we have explored the classical, composed strain in
the Dead’s music as much, if not more, than the jamming tradition.
To us, the Grateful Dead was always as much about jazz and the influence
of classical music as it was about roots and folk music. Jerry’s solos or
Phil’s bass playing, while always new, ever-changing and impossible to
emulate, can also have an almost classical, composed quality to them.
Overlaid on each other, as Bryce did with Jerry’s solos on Althea in
“Garcia Counterpoint”, they take on an a Reich-ian composed quality,
as if Jerry had some kind of esoteric road map in his mind all along. The
same could be said about each player in the band. This fusion of wild
improvisation and experimentation melded with serious composition set
the band apart from their contemporaries and runs counter to the trends
in pop music which has become ever more distilled and concise. The
Dead experimented ceaselessly and became America’s biggest band.
The “Terrapin Station” medley from 1977 is without a doubt one of the
most ambitious pieces the Dead ever wrote. Initially, we thought about
recording a version of similar length to how the Dead performed it live,
which would end after the “Terrapin ….and the Whistle is Screaming…
Terrapin” and the musical theme/jam which follows. However, the more
we thought about it, we decided to recreate the ENTIRE original studio
version which was through-composed and featured multiple movements
and elaborate orchestration and a chorus at the end. While the Dead
never played the full version live and only once played through the
“Terrapin Transit” section, we have recorded the entire medley for this
record with a new instrumental section inspired by the original and
featuring a quote from “The Other One”. Our version of Terrapin Station
brings together Bryce, Scott, Josh, Conrad and myself with Daniel Rossen
and Chris Bear from Grizzly Bear, the amazing percussion group So
Percussion and the Brooklyn Youth Chorus. We collectively realized that
taking Terrapin Station all the way would be the only way to lay this record
to rest in our minds finally. It was the last thing we finished and in a way
it is the centerpiece of Day of the Dead. There are, however, so many
highlights and special performances here, and we sincerely hope you will
take the time to listen to all of this music as a cycle, circling around on
itself and in the context of the Dead’s live and studio recordings as well.
The Dead’s music, as shown in this 50th anniversary year of the band, is
still very much alive. More than twenty years after Jerry Garcia’s passing,
his influence and spirit live on in the continued inspired playing of his
bandmates, and in all of us.
Not only has revisiting the music that was so much a part of our youth
brought our earliest memories of playing music back into focus, it’s
illuminated wonderfully the myriad ways in which the Dead have
impacted our culture and musical community. To hear stories of how
important the Dead were to heroes of ours like Lee Ranaldo, Ira Kaplan,
Stephen Malkmus and Will Oldham, and to hear the soul which talents as
disparate as Charles Bradley, Lucinda Williams, Jim James, Bruce Hornsby
and Anohni brought to these songs, reminded us all why we chose to be
musicians in the first place. It was hard not to smile through every session
for this record. We hope you’ll hear the fun we were having and enjoy
it as much as we do. Most of all, we hope with Day of the Dead we can
surpass the tremendous success of Dark Was the Night both in terms of
the amount of money raised and donated to AIDS charities (almost $3
million) and in terms of the relationships forged amongst musicians and
with all of you who listen to this music. The 50th Anniversary “Fare Thee
Well” shows were amazing and bittersweet to say the least, but let this
record stand as a harbinger of what the next fifty years of this incredible
music may bring.
Aaron Dessner
Producer, Day of the Dead
Stuyvesant, NY
December 2015
20
DAY OF THE DEAD IS
AN EPIC TRIBUTE TO THE
MUSIC AND ARTISTRY OF
THE GRATEFUL DEAD.
T
he Grateful Dead just celebrated their 50th anniversary
and Red Hot celebrated a quarter century since it
began fighting AIDS through music and pop culture.
This tribute to the Dead is the 20th album of original music
Red Hot has produced, beginning with a tribute to Cole
Porter (Red Hot + Blue), one of the composers who helped
define American music and culture during the heyday of the
1920s and ending with the Dead, the seminal American
band during the 1960s, the other great decade of creative
experimentation and social change during the 20th century.
Aaron and Bryce Dessner (and The National) picked the Dead
to explore on this follow up to the landmark album, Dark
Was The Night, they produced with Red Hot in 2009. But this
project is more than a compilation of tracks, it’s also cultural
curation of themes, songs, artists, arrangements and sounds.
In these grooves, the Dead emerge as artists, different from
the image most people have of intoxicated deadheads
dancing to endless jams. This album shows the Dead were
creative innovators at a seminal time in American music and
among the greatest songwriters of the 20th century.
They began in the mid-1960s in San Francisco as a mix of
American roots music, punk attitudes and group dynamics
that came from bebop jazz where each instrumental had
its own voice within an evolving structure. For most of their
career, the Dead were almost impossible to record properly
because their essence was this dynamic relation among
hear themselves on stage. Owsley and the Dead invented
their own elaborate sound system (stacks of amplifiers, quality
microphones, onstage monitors and mixing boards), which
they carried around and installed at every venue. Because
they needed to keep track of their own equipment, Owsley
stenciled the Dead logo on everything, which is how the
lightning bolt skull icon came about.
Owsley’s live recordings (and the archive he maintained)
transformed how bands control the ownership of their
performances and how fans experience and enjoy music.
It also allowed Deadheads to swap those recordings (and
ones they made themselves), which began file sharing, a
defining aspect of digital music in the 21st century.
Another aspect of the Dead’s concerts (and Owsley’s legacy)
is free love and recreational drug use, which the band and
its fans celebrated as a liberating aspect of the 1960s cultural
Jerry Garcia, Bob Weir, Phil Lesh, Pigpen, Bill Kreutzmann, and social revolution. Sadly, in retrospect some aspects of
Mickey Hart and other band members over the years such as that behavior has sexist overtones and showed the disparity
Tom Constanten, Keith and Donna Jean Godchaux as well as among the Dead’s largely white middle class audience
and their counterparts in communities of color, whose drug
lyricists Robert Hunter and John Perry Barlow.
use led to mass incarceration and destroyed large areas of
Another innovative aspect of the Dead’s music was their urban America.
unique lyrics, which distilled the best of American culture and
reinvented it as a series of mythic stories and poetic images 50 years on, this album celebrates the creative power of the
about beauty, longing, outlaws and heroes moving through Grateful Dead as well as their indelible legacy as songwriters
and innovative musicians. “Day Of The Dead” also stands
a distinctly American landscape.
as a reminder that some of the liberating freedoms of the
The Dead were also seminal innovators in three other 1960s led to health consequences, such as HIV/AIDS, which
important aspect of American culture: the technology of remains one of the largest pandemics in human history;
large-scale concerts, recreational drug use and file sharing. particularly in communities of color. There remain roughly
The key figure in all three is a remarkable engineer, Owsley 35 million people infected with HIV in 2016, most in the
Stanley, who was the underground chemist who ‘cooked’ the Global South who still don’t have access to drugs that could
LSD that many creative people experimented with in San allow them to live healthy lives and prevent the spread
Francisco including Ken Kesey and the Merry Pranksters and of the disease. The Grateful Dead and all of the artists on
the Dead, whom he met at a legendary “Acid Test” party. this album generously donated their music so that all net
Owsley became the Dead’s sound engineer (nicknamed proceeds will help organizations around the world prevent
“Bear”) and recorded live tapes through his mixing board the spread of HIV and fight related health and social issues.
as well as creating some of the Dead’s graphic iconography
such as the Lightning Bolt Skull logo.
John Carlin
He also devised what’s become standard sound design for Red Hot co-founder
touring bands . At that time groups played through existing Executive Producer, Day of the Dead
Public Address systems, which resulted in terrible sound
quality for the audience and made it difficult for bands to
21
22

digital booklet

Transcription

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