Grateful Dead – 'For Dead Heads Only' 1968 (1CD) (Vintage Used CD)
Live at The Looking Glass, Walnut Creek, CA (3/1/1968 - Friday)
= Unofficial Grateful Dead CD = very high quality bootleg sounds (Living Legend Records)
Price: ￥2,800円 (税抜き本体価格)
Item Number: GDBL-112025-003

Tracklist:
1 Dupree's Diamond Blues 3:58
2 Dark Star / St. Stephen / The Eleven 41:41
3 Turn On Your Lovelight 17:25
4 Hey Jude 7:25
5 Cosmic Charlie 5:35

Recorded Live In San Francisco , March, 1st, 1968
Vocals, Guitar – Jerry Garcia
Bass – Phil Lesh
Drums – Bill Kreutzmann
Guitar, Vocals – Bob Weir
Keyboards – Ron Pig Pen McKernan

THE GRATEFUL DEAD
"For Dead Heads Only"
As Huey Lewis says in just about every interview: The Grateful Dead introduced the concept of the "Jam Session" to Rock Music. Back in the days when Huey still answered to the name of Anthony, his mother took him along to a marathon Grateful Dead concert. An important experience and not just for Huey Lewis. The Gratetul Dead were tounded around 1965, and have, unlike any other group past or present, an absolutely loyal, or better, fanatical following running into thousands: the "Dead Heads". Being a Dead Head is a way of life, a philosophy. A band with such fascination must have something special about them, and yet they have never had a top ten hit, although their LPs regularly sell more than 250,000. They played free concerts and drove themselves almost to bankruptcy with their incredible live sound system. They led the way for the flower children, living a harmonious communal existence, experimenting with drugs, and beco-seriously. The Grateful Dead are something special, and in many ways, unique. After many name changes Mother McCree's Uptown Jug Champions, the Warlocks, and others) and line-up changes, the. Gratetul Dead came into being tollowing one of Ken Kersey's open LSD parties. The quintet, comprising of Jerry Garcia (guitar & vocals), Bob Weir (guitar & vocals), Bill Kreutzman (drums), Phil Lesh (bass), and Ron "Pigpen" McKernan (keyboards), lived together in a commune in San Francisco's Ashbury Street. Early recordings for MGM, not released until 1971, were considered as a kind of private warm up. The serious recording career began with a contract with Warner Bros. Their debut album con-tained, in contrast to their live program, a deep vein of three-minute chart material. It was not until "Anthem of the sun" and "Aoxomoxoa" that the typical Grateful Dead long improvised song suites were brought to vinyl, bringing with them the scorn of the record company. However, popularity with their weird hippy fan following remained at a peak. Their performances at the Monterey Pop Festival and at Woodstock confirmed their cult status.

Following the live recording "Live Dead" including "Working Man's Dead" and "American Beauty", the band also delivered song orientated albums with strong Country, Blues and Folk influences, not only demonstrating their musical flexibility, but also bringing them important and necessary record sales and radio plays. A particular feature of these dedicated musicians was always their live activity. Hardly a year went by without an extensive live tour. The sound system and the "our family" both grew ever larger. Relatives, friends, roadcrew, and not forgetting 25 tons of speakers and amplifiers, were set in motion for the live shows. A series of live albums, some of which are truly brilliant, are an undying testament to this. The period 1972-1973 saw a great deal of activify for the band; the founding of their own record label, Gratetul Dead Records; the tragic death of the alcoholic Pigpen, and the new arrivals Keith and Donna God-chaux. Some L's of erratic quality followed, including "Wake Of The Flood" "From The Mars Hotel" "Skeletons From The Closet" and "Blues For Allah"; and the individual band members persued solo careers. The live tours, however, brought the band members back together again every year. Outside producers Keith Olsen for "Terrapin Station" and Lowell George of the Little Feat for "Shakedown"

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