Cuando la Sicodelia volvió al D.F.: -San Francisco

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Mona - Quicksilver Messanger Service


	Rola:	Mona
	Intérprete:	Quicksilver Messanger Service
	Compositor:	Bo Diddley
	Disco:	Happy Trails

HISTORIA

The song "Mona" was ranked number 88 on the list of the 100 Greatest Guitar Songs also of Rolling Stone.

DATOS DE LA GRABACIÓN

Duración:	07:01
Año:	1969
Formato:	L.P.
A la venta:	01/03/1969
Disquera:	Capitol

MÚSICOS

John Cipollina - guitarra y voz
Gary Duncan - guitarra y voz
Greg Elmore - batería
David Freiberg - bajo, voz y violín

ESCUCHA MONA

LETRA

Original	Traducción
Hey, Mona, hey hey hey hey, Mona, I'm gonna tell you what I'm gonna do, I'm gonna build my house next door to you, Can I make love to you once in a while? Maybe we could do a little kissing and tellin' lies. When I come out on the front, girl, You'll listen to my heart goin' bumpity bump. I need you baby and it ain't no lie, When I'm through lovin' I'll surely die.

MONA VIENE EN EL L.P. HAPPY TRAILS

LADO A
1. "Who Do You Love - Part 1"
2. "When You Love"
3. "Where You Love"
4. "How You Love"
5. "Which Do You Love"
6. "Who Do You Love - Part 2"

LADO B
1. "Mona"
2. "Maiden of the Cancer Moon"
3. "Calvary"
4. "Happy Trails"

Happy Trails is the second album of the American band Quicksilver Messenger Service.

Happy Trails consists mainly of a performance cover of Bo Diddley's - aka Ellas McDaniel - "Who Do You Love?" spread out over 25 minutes. The live portions of the album were recorded at the Fillmore East and at the Fillmore West.

The second half of the album consists of an almost continuous suite. Beginning with another Bo Diddley song ("Mona"), guitarist Gary Duncan's "Maiden of the Cancer Moon" follows and the album closes with "Calvary", which manifested itself during a studio acid trip. As a coda, the band sing the theme tune from Roy Rogers' western television show, which lends its title to the album.

The record was released by Capitol records in stereo.

In 2003, the album was ranked number 189 on Rolling Stone magazine's list of the 500 greatest albums of all time.

INTÉRPRETE

Quicksilver Messanger Service: San Francisco

Quicksilver Messenger Service is an American psychedelic rock band, formed in 1965 in San Francisco and is considered one of the leading acts on the city's psychedelic scene in the mid-to-late 1960s.

Quicksilver Messenger Service gained wide popularity in the Bay Area and, through their recordings, with psychedelic rock enthusiasts around the globe and several of their albums ranked in the Top 30 of the Billboard Pop charts. Although not as commercially successful as contemporaries Jefferson Airplane and The Grateful Dead, QMS was integral to the beginnings of their genre. With their jazz and classical influences, as well as a strong folk background, the band attempted to create a sound that was individual and innovative. Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swung rhythms and twanging guitar sounds.

David Freiberg, a folk-guitarist friend of Valente's, was recruited to the group. He had previously been in a band with Paul Kantner and David Crosby but like Cipollina he had been arrested and briefly jailed for marijuana possession and had just been released. "We were to take care of this guy Freiberg", Cipollina recalled, and though they had never met before, Freiberg was integrated into the group. The band also added Skip Spence on guitar and began to rehearse at Marty Balin's club, the Matrix. Balin, in search of a drummer for the band he was organizing (which became Jefferson Airplane) convinced Spence to switch instruments and groups.

To make up for his poaching of Spence, Balin suggested that they contact drummer Greg Elmore and guitarist–singer Gary Duncan, who had played together in a group called The Brogues. This new version of the group played its first concert performance in December 1965, playing for the Christmas party of the comedy troupe "The Committee". Drummer Greg Elmore and guitarist Jim Murray were added to fill out the original band.

It was a band without a name, Cipollina recalled: "Jim Murray and David Freiberg came up with the name. Me and Freiberg were born on the same day, and Gary and Greg were born on the same day, we were all Virgos and Murray was a Gemini. And Virgos and Geminis are all ruled by the planet Mercury. Another name for Mercury is Quicksilver. And then, Quicksilver is the messenger of the Gods, and Virgo is the servant, so Freiberg says 'Oh, Quicksilver Messenger Service'."

Jim Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band began a period of heavy touring on the West Coast of the United States where they built up a solid following and featured on many star-studded bills at the Avalon Ballroom and the Fillmore West. Sound engineer (and infamous LSD chemist) Owsley Stanley regularly recorded concerts at major San Francisco venues during this period, and his archive includes many QMS live performances from 1966–67, which were released on his Bear Recordings label in 2008-2009.

QMS initially held back from signing a record deal at the time but eventually signed to Capitol Records in late 1967, becoming the last of the top-ranked San Francisco bands to sign with a major label. Capitol was the only company that had missed out on signing a San Francisco “hippie” band during the first flurry of record company interest and, consequently, Quicksilver Messenger Service was able to negotiate a better deal than many of their peers. At the same time, Capitol signed the Steve Miller Band, with whom Quicksilver Messenger Service had appeared on the movie and soundtrack album Revolution, together with the group Mother Earth.

Quicksilver Messenger Service released their eponymous debut album in 1968. It was followed by Happy Trails, released in early 1969 and largely recorded live at the Fillmore East and the Fillmore West. According to David Freiberg, at least one of the live tracks was augmented with studio overdubs and the tracks "Calvary" and "Lady of the Cancer Moon" were recorded in the studio just before Gary Duncan left the band.

These albums, which have been hailed as "two of the best examples of the San Francisco sound at its purest" define the classic period in the group's career and showcase their distinctive sound, emphasizing extended arrangements and fluid twin-guitar improvisation. Cipollina's highly melodic, individualistic lead guitar style, combined with Gary Duncan's driving rhythm guitar, feature a clear jazz sound, a notable contrast to the heavily amplified and overdriven sound of contemporaries like Cream and Jimi Hendrix. In 2003 Happy Trails was rated at #189 in the Rolling Stone Top 500 albums survey, where it was described as "the definitive live recording of the mid-Sixties San Francisco psychedelic-ballroom experience". Archetypal QMS songs include the elongated, continually re-titled suite based on Bo Diddley's "Who Do You Love?", featured on Happy Trails.

Duncan left the group not long after the recording of Happy Trails; according to David Freiberg, this was largely because of his escalating problems with opiates and amphetamines. His 'farewell' performances were the studio recordings that ended up on Happy Trails and a final live performance with the band on New Year's Eve 1969. Duncan recalled 18 years later: "Well, let's put it this way, at the end of 1968, I was pretty burned out. We'd been on the road for, really, the first time in our lives. I just left for a year. I didn't want to have anything to do with music at all. And I left for a year and rode motorcycles and lived in New York and L.A. and just kind of went crazy for about a year."

Freiberg later recalled that Duncan's departure shook the core of the band: "Duncan was the "engine" man, it just didn’t WORK without him … for me. I was really … I was devastated … ".

For their 1969 album Shady Grove, Duncan did not participate, replaced by renowned English session keyboardist Nicky Hopkins, who had played on scores of hit albums and singles by acts like The Kinks, The Rolling Stones, The Who and Steve Miller, among many others. Hopkins' virtuoso piano boogie dominates the album, giving it a unique sound within the Quicksilver catalog.

Calvary - Quicksilver Messanger Service


	Rola:	Calvary
	Traducción:	Calvario
	Intérprete:	Quicksilver Messanger Service
	Compositor:	Gary Duncan
	Disco:	Happy Trails

DATOS DE LA GRABACIÓN

Duración:	13:21
Año:	1969
Formato:	L.P.
A la venta:	01/03/1969
Disquera:	Capitol

MÚSICOS

John Cipollina - guitarra y voz
Gary Duncan - guitarra y voz
Greg Elmore - batería
David Freiberg - bajo, voz y violín

ESCUCHA CALVARY

LETRA

Original	Traducción
Call It Whatever You Want!

CALVARY VIENE EN EL L.P. HAPPY TRAILS

LADO A
1. "Who Do You Love - Part 1"
2. "When You Love"
3. "Where You Love"
4. "How You Love"
5. "Which Do You Love"
6. "Who Do You Love - Part 2"

LADO B
1. "Mona"
2. "Maiden of the Cancer Moon"
3. "Calvary"
4. "Happy Trails"

INTÉRPRETE

Quicksilver Messanger Service: San Francisco

That's It For The Other One - The Grateful Dead


	Rola:	That's It For The Other One
	Traducción:	Esto por lo otro
	Intérprete:	The Grateful Dead
	Compositor:	Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir, Tom Constanten
	Disco:	Anthem of the Sun
	Productor:	Dave Hassinger

HISTORIA

Entre 1964 y 1965, el autor de Alguien voló sobre el nido del cucú y activista por la paz, Ken Kesey, que se había sometido voluntario a las pruebas con drogas psicotrópicas llevadas a cabo por el gobierno de Estados Unidos, decidió realizar su propio experimento; formó un grupo activista de las drogas psicodélicas y de la filosofía lúdica de la vida que se llamó los Merry Pranksters (los alegres bromistas), y a bordo del famoso autobús pintado con vivos colores, que tenía por destino en el cartel del autobús la palabra “Further” (más lejos, más allá), realizaron a lo largo del país una especie de actos, mitad experimentos, mitad fiesta, llamados Acid Tests (Pruebas de ácido), en el que tomaron parte varios personajes que comenzaban a configurar la contracultura que empezaría a hacerse famosa en los años siguientes: los Hell’s Angels, Keith Richard y Brian Jones de los Rolling Stones…, y el famoso modelo contracultural Neal Cassady. Todo ello amenizado por la música de un grupo de rock, pionero en el estilo acid rock, conocido por entonces como The Warlocks, pero que para su leyenda serían conocidos mundialmente dos años después como The Grateful Dead, para muchos, el mejor de las bandas de San Francisco. Estas experiencias fueron reflejadas por el novelista Tom Wolfe (otro habitual) en su libro The Electric Kool-Acid Test, editado en nuestro país como La gaseosa de ácido eléctrico, o también Ponche de ácido eléctrico (aunque, al parecer, a Kesey no le gustó demasiado el libro)

Neal Cassady era ya, poco antes de su muerte en 1968, una leyenda viva. Su vida representaba cierto romanticismo de forajido del Oeste, junto a una vida desordenada guiada por una filosofía vitalista: drogas, chicas, prostitutas, alcohol, robos de coches para pasar una noche… Una práctica y una visión de la vida que el convirtieron en la Musa del naciente movimiento literario llamada Generación Beat: aquella generación de escritores estadounidenses encabezados por el novelista Jack Kerouac, el poeta Allen Ginsberg y el también novelista William Burroughs (que se convertiría en el padrino del underground neoyorquino, mientras que Ginsberg lo sería del movimiento hippie), que venían a ser, en términos generales, una mezcla de existencialismo, misticismo oriental, vitalismo y socialismo. Así pues, Neal aparecía en muchas de las obras de sus amigos, siendo uno de estos personajes que, sin escribir una sola línea, habían generado por su modo de vida o pensamiento toda una generación literaria: en el libro fundacional del movimiento, la novela On the road (en el camino) de Kerouac, aparece como segundo protagonista bajo el nombre de Dean Moriarty, así como en otras obras del autor al que le gustaba meter a sus amigos con pseudónimos en sus novelas (Ginsberg aparece como Carlo Marx: conociendo las simpatías del gran poeta por el comunismo, esto no puede ser una casualidad); y en el poemario bandera de la Generación Beat, Howl (Aullido), Allen Ginsberg le dedica varias líneas.

The Grateful Dead, capitaneados por el gran Jerry García, fueron los auténticos pioneros del sonido de San Francisco (aunque fueran Jefferson Airplane los primeros en grabar un disco), comenzando hacia 1965 con el nombre de The Warlocks. Su estilo comenzó como una mezcla de temas tradicionales de blues y country con acid rock, evolucionando a un estilo de rock duro para, a finales de los 60, acabar practicando el country rock. Ellos amenizaron, y participaron, aquellas fiestas de Kesey, coincidiendo en el autobús con el mismísimo Neal Cassady. Y así, en 1968 quisieron honrar la memoria de aquel loco, gracias al cual, en parte, ellos estaban sobre los escenarios alucinando a un público que, parafraseando a nuestro mejor alcalde, si no estaba ya colocado ellos lo colocaban con sus riffs y largas melodías cósmicas; su disco Anthem of The Sun (Himno del Sol), se abría con esta especie de homenaje-epitafio, dividido en varias suites, a la memoria del “vaquero Neal”, “That’s it for the other one”, o “The other one”:

tomado de: http://albokari2.wordpress.com/2011/04/03/thats-it-for-the-other-one-el-tributo-de-grateful-dead-a-neal-cassady/

DATOS DE LA GRABACIÓN

Duración:	07:40
Año:	1968
Formato:	L.P.
A la venta:	18/07/1968
Disquera:	Warner Bros.

MÚSICOS

Jerry Garcia - guitarra líder y voz
Bob Weir - guitarras de acompañamiento y de 12 cuerdas y voz
Ron "Pigpen" McKernan - órgano y voz
Phil Lesh - bajo, trompeta y voz
Bill Kreutzmann - batería y percusión
Mickey Hart - batería y percusión
Tom Constanten - piano

ESCUCHA THAT'S IT FOR THE OTHER ONE

LETRA

Original

Traducción

["Cryptical Envelopment"]

The other day they waited, the sky was dark and faded,
Solemnly they stated, "He has to die, you know he has to die."
All the children learnin’, from books that they were burnin’,
Every leaf was turnin’, to watch him die, you know he had to die.

The summer sun looked down on him,
His mother could but frown on him,
And all the other sound on him,
But it doesn’t seem to matter.

["Quodlibet for tenderfeet": Instrumental]

["The Faster We Go The Rounder We Get: aka part 2]

Spanish lady come to me, she lays on me this rose.
It rainbow spirals round and round,
It trembles and explodes
It left a smoking crater of my mind,
I like to blow away.
But the heat came round and busted me
For smilin’ on a cloudy day

Comin’, comin’, comin’ around, comin’ around, comin’ around in a circle
Comin’, comin’, comin’ around, comin’ around, in a circle,
Comin’, comin’, comin’ around, comin’ around, in a circle.

Escapin’ through the lily fields
I came across an empty space
It trembled and exploded
Left a bus stop in its place
The bus came by and I got on
That’s when it all began
There was cowboy Neal
At the wheel
Of a bus to never-ever land

["We Leave the Castle"]

And when the day had ended, with rainbow colors blended,
Their minds remained unbended,
He had to die, oh, you know he had to die.

[Envoltura Críptica]

El otro día esperaron, el cielo estaba oscuro y descolorido,
solemnemente sentenciaron,“Ha de morir, sabes que ha de morir”.
Todos los niños aprendiendo, de libros que estaban quemando,
todas las hojas se volvían para verle morir, sabes que tenía que morir.

El sol veraniego le miró,
su madre sólo podía desaprobarle,
y todos los demás resonaban en él,
pero no parece importar.

[Quodlibet para pies delicados (instr.)]

[Cuanto más rápido vamos, más vueltas damos]

La dama española viene a mí,
deja sobre mí esta rosa.
Su arco-iris espiral gira y gira,
se estremece y explota,
dejó mi mente en un cráter humeante,
me gusta ser arrancado.
Pero la tira vino por ahí y me arrestó
por sonreír en un día nublado.

Dando, dando, dando vueltas en círculos…

Escapando por los campos de lirios
vine a través de un espacio vacío
que tembló y explotó
Dejé una parada de autobús en su lugar.
El autobús pasó y me subí a él
fue entonces cuando empezó todo.
Ahí estaba el vaquero Neal
en la rueda
de un autobús rumbo a la Tierra de Nunca Jamás…

[Abandonamos el castillo]

Y cuando el día llegó a su fin, con los colores del arco-iris mezclados,
sus mentes permanecieron desplegadas,
tenía que morir, oh, sabes que tenía que morir.

THAT'S IT FOR THE OTHER ONE VIENE EN EL L.P. ANTHEM OF THE SUN

LADO A
1. "That's It for the Other One"
* I. "Cryptical Envelopment"
* II. "Quadlibet for Tenderfeet"
* III. "The Faster We Go, The Rounder We Get"
* IV. "We Leave the Castle"
2. "New Potato Caboose"
3. "Born Cross-Eyed"

LADO B
1. "Alligator"
2. "Caution (Do Not Stop on Tracks)"

Anthem of the Sun is the second studio album by the Grateful Dead, released in 1968. It is the first album to feature second drummer Mickey Hart, who joined the band in September 1967.

The band had entered the American Studios in North Hollywood with the same producer, David Hassinger, as their eponymous debut album, in November 1967. However, the Dead were determined to make a more complicated recorded work than their debut release, as well as attempt to translate their live sound into the studio.

The band and Hassinger then changed locations to New York City in December of that year, where they found themselves going through two other studios, Century Sound and Olmstead Studios (both "highly regarded eight-track studios"). Eventually, Hassinger grew frustrated with the group's slow recording pace and quit the project entirely while the band was at Century Sound, with only a third of the album completed so far. It has been reported that he left after Guitarist Bob Weir requested to create the illusion of "thick air" in the studio. Hassinger commented that "Nobody could sing [the new tracks recorded in NYC], and at that point they were experimenting too much in my opinion. They didn't know what the hell they were looking for." Garcia noted that "we want[ed] to learn how the studio work[ed]. We [didn't] want somebody else doing it. It's our music, we want[ed] to do it."

The band then recruited their soundman, Dan Healy, to assist them in the studio for the rest of the album and they headed back to San Francisco's Coast Recorders studio. In between the Los Angeles and New York sessions, the band began playing live dates. Lesh commented that this was in part because the songs were not "road tested." Healy, Garcia, and Lesh then took these concert tapes (encompassing two Los Angeles shows from November 1967, a tour of the Pacific Northwest in January/early-February 1968, and a California tour from mid-February to mid-March 1968) and began interlacing them with existing studio tracks. Garcia called this "mix[ing] it for the hallucinations."

Adding to the psychedelic madness on the album was Tom Constanten, a friend of bassist Phil Lesh who joined the band in the studio to provide piano and prepared piano (influenced by John Cage) tracks; Constanten would formally join the band in November 1968. His contributions to the band's sound were always much more evident in the studio than in their live shows, and Anthem of the Sun was no exception. Constanten made it so that the piano pieces seemed like three gamelan orchestras were playing all at once. He even went so far as to use a gyroscope set spinning on the piano soundboard. All in all, the album turned out as psychedelic as intended. The band used a large assortment of instruments in the studio to augment the live tracks that were the base of each song, including kazoos, crotales, a harpsichord, timpani, guiro, and a trumpet. Garcia commented that parts of the album were "far out, even too far out … We weren't making a record in the normal sense; we were making a collage." In order to get more publishing royalty points on the album, the opening track "That's It For The Other One" was artificially divided into four other "songs" by the band. Robert Hunter, a longtime friend and then-future songwriting collaborator of Jerry Garcia, made his first lyrical contributions to the band, providing Lesh and Pigpen with the words to "Alligator".

Joe Smith, president of Warner Bros. At the time, was noted as calling Anthem of the Sun as "the most unreasonable project with which we have ever involved ourselves."

Early pressings of the album include the phrase "The faster we go, the rounder we get" inscribed on the vinyl in the matrix around the label area.

A remixed version of Anthem of the Sun was issued in 1972 (with the same product number, #WS-1749), and can be identified by the letters RE after the master numbers.

Although the chaos of the final product makes it difficult to tell where many of the live excerpts used in the creation of Anthem Of The Sun actually ended up, significant fragments of "Alligator" (e.g. the post-vocals "jam section") known to hail from a show at San Francisco's Carousel Ballroom on 2/14/68. Also the "Alligator" vocal reprise is taken from 11/10/67 at the Shine Exposition Center. Similarly, the skeletal framework of "Caution (Do Not Stop On Tracks)" dates from the Los Angeles Shrine Auditorium show on 11/10/67 and at the Carousel Ballroom on March 31st 1968. Extended excerpts from two shows at Kings Beach Bowl in Lake Tahoe, CA on 2/23-24/68 that provided music for the album (most notably the car horn heard at the end of "Caution (Do Not Stop On Tracks)") were later released on the live archival recording Dick's Picks Volume 22. A further show from this period further reveals portions used for the album such as the verse(s) section of "The Other One" portion of "That's It For The Other One" as well as the first half of the "New Potato Caboose" jam (after the vocals) were used on Anthem Of The Sun, hailing from 3/17/68, was released as the Grateful Dead Download Series Volume 6.

INTÉRPRETE

The Grateful Dead: San Francisco

The Grateful Dead were an American rock band formed in 1965 in the San Francisco Bay Area. The band was known for its unique and eclectic style, which fused elements of rock, folk, bluegrass, blues, reggae, country, improvisational jazz, psychedelia, and space roc]—and for live performances of long musical improvisation. "Their music," writes Lenny Kaye, "touches on ground that most other groups don't even know exists." These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world." They were ranked 55th in the issue The Greatest Artists of all Time by Rolling Stone magazine.

The fans of the Grateful Dead, some of whom followed the band from concert to concert for years, are known as "Deadheads" and are known for their dedication to the band's music. Many referred to the band simply as "the Dead."

Phil Lesh and Jerry Garcia were brought together by Gert Chiarito in 1964 to perform on The Midnight Special, her Saturday night radio program on KPFA, Berkeley.

The Grateful Dead began their career as the Warlocks, a group formed in early 1965 from the remnants of a Palo Alto jug band called Mother McCree's Uptown Jug Champions. The band's first show was at Magoo's Pizza in suburban Menlo Park, California on May 5, 1965. They were still known as the Warlocks although the Velvet Underground were also using that name on the east coast. The show was not recorded and not even the set list has been preserved. The band changed its name after finding out that another band of the same name had signed a recording contract (not The Velvet Underground who by then had also changed their name). The first show under the new name Grateful Dead was in San Jose, California on December 4, 1965, at one of Ken Kesey's Acid Tests. Earlier demo tapes have survived, but the first of over 2,000 concerts known to have been recorded by the band's fans was a show at the Fillmore Auditorium in San Francisco on January 8, 1966. Later on that month, the Grateful Dead played at the Trips Festival, an early psychedelic rock show.

The charter members of the Grateful Dead were: banjo and guitar player Jerry Garcia, guitarist Bob Weir, bluesman organist Ron "Pigpen" McKernan, the classically trained bassist Phil Lesh and drummer Bill Kreutzmann (who then used the stage name Bill Sommers.) Lesh was the last member to join the Warlocks before they became the Grateful Dead: he replaced Dana Morgan Jr. who had played bass for a few gigs. With the exception of McKernan, the core of the band stayed together for 30 years, until Garcia's death in 1995.

The name "Grateful Dead" was chosen from a dictionary. According to Phil Lesh, in his biography, "...[Jerry Garcia] picked up an old Britannica World Language Dictionary...[and]...In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'" The definition there was "the soul of a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial." According to Alan Trist, director of the Grateful Dead's music publisher company Ice Nine, Garcia found the name in the Funk & Wagnalls Folklore Dictionary, when his finger landed on that phrase while playing a game of "dictionary". In the Garcia biography, Captain Trips, author Sandy Troy states that the band was smoking the psychedelic DMT at the time. The term "grateful dead" appears in folktales of a variety of cultures. In the summer of '69, Phil Lesh told another version of the story to Carol Maw, a young Texan visiting with the band in Marin County who also ended up going on the road with them to the Fillmore East and Woodstock. In this version, Phil said, "Jerry found the name spontaneously when he picked up a dictionary and the pages fell open. The words 'grateful' and 'dead' appeared straight opposite each other across the crack between the pages in unrelated text."

Other supporting personnel who signed on early included Rock Scully, who heard of the band from Kesey and signed on as manager after meeting them at the Big Beat Acid Test; Stewart Brand, "with his side show of taped music and slides of Indian life, a multimedia presentation" at the Big Beat and then, expanded, at the Trips Festival; and Owsley Stanley, the "Acid King" whose LSD supplied the tests and who, in early 1966, became the band's financial backer, renting them a house on the fringes of Watts and buying them sound equipment. "We were living solely off of Owsley's good graces at that time.... [His] trip was he wanted to design equipment for us, and we were going to have to be in sort of a lab situation for him to do it," said Garcia.

One of the group's earliest major performances in 1967 was the Mantra-Rock Dance—a musical event held on January 29, 1967 at the Avalon Ballroom by the San Francisco Hare Krishna temple. The Grateful Dead performed at the event along with the Hare Krishna founder Bhaktivedanta Swami, poet Allen Ginsberg, bands Moby Grape and Big Brother and the Holding Company with Janis Joplin, donating proceeds to the Krishna temple. The band's first LP, The Grateful Dead, was released on Warner Brothers in 1967.

Classically trained trumpeter Phil Lesh played bass guitar. Bob Weir, the youngest original member of the group, played rhythm guitar. Ron "Pigpen" McKernan played keyboards and harmonica until shortly before his death in 1973 at the age of 27. Garcia, Weir and McKernan shared the lead vocal duties more or less equally; Lesh only sang a few leads but his tenor was a key part of the band's three-part vocal harmonies. Bill Kreutzmann played drums, and in September 1967 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments.

The year 1970 included tour dates in New Orleans, Louisiana, where the band performed at The Warehouse for two nights. On January 31, 1970, the local police raided their hotel on Bourbon Street in the French Quarter, and arrested and charged a total of 19 people with possession of various drugs. The second night's concert was performed as scheduled after bail was posted. Eventually the charges were dismissed, with the exception of those against sound engineer Owsley Stanley, who was already facing charges in California for manufacturing LSD. This event was later memorialized in the lyrics of the song "Truckin'", a single from American Beauty which reached number 64 on the charts.

China Cat Sunflower - The Grateful Dead


	Rola:	China Cat Sunflower
	Traducción:	China girasol gato
	Intérprete:	The Grateful Dead
	Compositor:	Robert Hunter, Jerry Garcia
	Disco:	Aoxomoxoa
	Productor:	Grateful Dead

HISTORIA

"China Cat Sunflower" is a song performed by the Grateful Dead which was first recorded for their third studio album Aoxomoxoa. The lyrics were written by Robert Hunter and the music composed by Jerry Garcia. The song is typically sung by Jerry Garcia. The first live recording of this song appeared on Europe '72, paired (as was typical) with "I Know You Rider". Lyrically, this song has many literary references, including Lewis Carroll's Alice in Wonderland, George Herriman's Krazy Kat, and Dame Edith Sitwell's "Polka".

1st mix 4:20 rmx 3:40 Dry drum ratatat and guitar noises, becomes china-lick and song..Jerry vocal phased and multiplies. Multiple background vocal “la-la-la’s”. 1:00 Tim piano licks start appearing and plays constant fills during next verse as vocal starts phasing and modulating. Nice organ fills at 2:05 and 2:20, last verse vocal very phased almost disappears at beginning. Last words ..”Queen of Chinee..”followed by buried “chuey” repeated at least a couple times on the beat. Outtro jam doesn’t fade; just keeps going like a Viola Lee type of thing with “China Cat Sunflower” vocals until band grinds to halt, followed by loose vocals, organ and guitar licks.

DATOS DE LA GRABACIÓN


	Duración:	04:15
	Año:	1969
	Formato:	L.P.
	A la venta:	20/06/1969
	Disquera:	Warner Bros.

MÚSICOS

Jerry Garcia - guitarra y voz
Bob Weir - guitarra y voz
Phil Lesh - bajo y voz
Mickey Hart - batería y percusión
Tom Constanten - teclados
Ron McKernan - Pigpen

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Look for awhile at the China Cat Sunflower
proud-walking jingle in the midnight sun
Copper-dome Bodhi drip a silver kimono
like a crazy-quilt stargown
through a dream night wind

Krazy Kat peeking through a lace bandana
like a one-eyed Cheshire
like a diamond-eye Jack
A leaf of all colors plays
a golden string fiddle
to a double-e waterfall over my back

Comic book colors on a violin river
crying Leonardo words
from out a silk trombone
I rang a silent bell
beneath a shower of pearls
in the eagle wing palace
of the Queen Chinee

EL L.P. QUE CONTIENE LA ROLA

LADO A
1. "St. Stephen"
2. "Dupree's Diamond Blues"
3. "Rosemary"
4. "Doin' That Rag"
5. "Mountains of the Moon"

LADO B
1. "China Cat Sunflower"
2. "What's Become of the Baby"
3. "Cosmic Charlie"

Aoxomoxoa is the third studio album by the Grateful Dead. It was originally titled Earthquake Country. Many Deadheads consider this era of the Dead to be the experimental apex of the band's history. It is also the first album with Tom Constanten as an official member of the band. Rolling Stone, upon reviewing the album, mentioned that "no other music sustains a lifestyle so delicate and loving and lifelike." The album was certified gold by the RIAA on May 13, 1997.

The title of the album is a palindrome created by cover artist Rick Griffin and lyricist Robert Hunter. According to the audio version of the Rock Scully memoir, Living with the Dead (read by the author and former Dead co-manager himself), the title is pronounced "ox-oh-mox-oh-ah". The words "Grateful Dead" on the front of the album, written in large, flowing capital letters, are an ambigram that can also be read "we ate the acid". The artwork around the bottom edge of the album cover depicts several phallic representations.

In 1991 Rolling Stone selected Aoxomoxoa as having the eighth best album cover of all time.A five-year-old Courtney Love appears on the album's back cover.

The group had already initiated recording sessions for the album when Ampex manufactured and released the first Multitrack recording machine offering 16 tracks of recording and playback (model number MM-1000). This doubled the number of tracks the band had available when they recorded Anthem of the Sun the previous year. As a direct consequence, the band spent eight months off-and-on in the studio not only recording the album but getting used to—and experimenting with—the new technology. Garcia commented that "it was our first adventure with sixteen-track and we tended to put too much on everything...A lot of the music was just lost in the mix, a lot of what was really there." As a result, Garcia and Lesh went back in the studio in 1971 to remix the album, removing whole sections of songs. The result, with the same catalog number, WS1790, but with much of the original's experimental character removed, can be identified by the legend on the back cover that reads, "Remixed September, 1971". The original mix was later planned for CD release, but the original master tapes could not be located. The master tapes were finally located for The Warner Bros. Studio Albums vinyl box set, marking the first time the 1969 mix has been available since the 1971 remix replaced it.

In Grateful Dead history, Aoxomoxoa had a number of firsts connected with it. It is the first album the band recorded in or near their hometown of San Francisco (at Pacific Recording Studio in nearby San Mateo, and at the similarly named Pacific High Recording Studio in San Francisco proper). It is the first studio release to include pianist Tom Constanten as a permanent member. It was also the first to have lyricist Robert Hunter as a full-time contributor to the band, thus initiating the Jerry Garcia/Robert Hunter songwriting partnership that endured for the rest of the band's existence. It was also the first time the band would put emphasis on acoustic songs, such as "Mountains of the Moon" and "Dupree's Diamond Blues." Lesh played acoustic bass for the first time, commenting that "the fun part of that was trying to play in tune with no frets to guide my fingers, just like a violin."

The lengthy sessions for the album would put the band deeper into debt with Warner Bros. Records—specifically, a total cost of $180,000 for Aoxomoxoa, it was their most ambitious and costly venture to that date. It would be the last time the band would ever run up such high studio bills.

INTÉRPRETE

The Grateful Dead: San Francisco

Truckin' - The Grateful Dead


	Rola:	Truckin'
	Traducción:	Rolando
	Intérprete:	The Grateful Dead
	Compositor:	Bob Weir, Jerry Garcia, Phil Lesh, Robert Hunter
	Disco:	American Beauty - The Golden Road (1965 - 1973)
	Productor:	Grateful Dead, Steve Barncard

HISTORIA

"Truckin'" is a song by the Grateful Dead, which first appeared on their 1970 album American Beauty. It was recognized by the United States Library of Congress in 1997 as a national treasure.

Written by band members Jerry Garcia, Bob Weir, Phil Lesh, and lyricist Robert Hunter, "Truckin'" molds classic Grateful Dead rhythms and instrumentation with lyrics that use the band's misfortunes on the road as a metaphor for getting through the constant changes in life. Its climactic refrain, "What a long, strange trip it's been," has achieved widespread cultural use in the years since the song's release.

* Key: E
* Time signature: 4/4 (12/8)
* Chords used: E, A, B, Bsus4, G, D, F#, Amaj7

"Truckin'" is associated with the blues and other early 20th century forms of folk music.

"Truckin'" was considered a "catchy shuffle" by the band members. Garcia himself commented that "the early stuff we wrote that we tried to set to music was stiff because it wasn't really meant to be sung ... the result of [lyricist Robert Hunter getting into our touring world], the better he could write ... and the better we could create music around it." The communal, shared-group-experience feel of the song is brought home by the participation of all four of the group's chief songwriters (Garcia, Weir, Lesh, and Hunter), since, in Phil Lesh's words, "we took our experiences on the road and made it poetry," lyrically and musically. He goes on to say that "the last chorus defines the band itself.

The song was taken from the American Beauty album and edited down in length from five to three minutes for release as a single. In addition to being shorter, the single version had some audible differences compared to the album version: it featured sections of lead guitar in places where it's faded down on the album version, and has a strongly processed verse vocal, different vocal track for the "Sometimes the lights…" portion, and is missing the album version's organ part.

The single reached number 64 on January 27, 1971 on the U.S. Pop Singles chart and stayed there for eight weeks. "Truckin'" was the highest-charting pop single the group would have until the surprise top-ten performance of "Touch of Grey" 17 years later.

DATOS DE LA GRABACIÓN


	Duración:	05:18
	Año:	1970
	Formato:	7"
	A la venta:	01/11/1970
	Lado B:	Ripple
	Disquera:	Warner Bros.

MÚSICOS

Jerry Garcia – guitarra y voz
Mickey Hart – percusión
Phil Lesh – bajo, piano y voz
Bill Kreutzmann – batería
Ron "Pigpen" McKernan – armónica y voz
Bob Weir – guitarra y voz
Howard Wales – órgano

POPULARIDAD POR VENTAS (BILLBOARD - HIT PARADE)

Lugar en 'Listas de popularidad'

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Traducción

Truckin' - got my chips cashed in
Keep Truckin - like the doodah man
Together - more or less in line
Just keep Truckin on

Arrows of neon and flashing marquees out on Main Street
Chicago, New York, Detroit it's all on the same street
Your typical city involved in a typical daydream
Hang it up and see what tomorrow brings

Dallas - got a soft machine
Houston - too close to New Orleans
New York - got the ways and means
but just won't let you be

Most of the cats you meet on the street speak of True Love
Most of the time they're sittin and cryin at home
One of these days they know they gotta get goin
out of the door and down to the street all alone

Truckin - like the doodah man
once told me you got to play your hand
sometime - the cards ain't worth a dime
if you don't lay em down

Sometimes the light's all shining on me
Other times I can barely see
Lately it occurs to me
What a long strange trip it's been

What in the world ever became of sweet Jane?
She lost her sparkle, you know she isn't the same
Living on reds, vitamin C and cocaine
all a friend can say is "ain't it a shame"

Truckin' -- up to Buffalo
Been thinkin - you got to mellow slow
Takes time - you pick a place to go
and just keep Truckin on

Sitting and staring out of a hotel window
Got a tip they're gonna kick the door in again
I'd like to get some sleep before I travel
but if you got a warrant I guess you're gonna come in

Busted - down on Bourbon Street
Set up - like a bowling pin
Knocked down - it gets to wearing thin
They just won't let you be

EL L.P. QUE CONTIENE LA ROLA

LADO A
1. "Box of Rain"
2. "Friend of the Devil"
3. "Sugar Magnolia"
4. "Operator"
5. "Candyman"

LADO B
1. "Ripple"
2. "Brokedown Palace"
3. "Till the Morning Comes"
4. "Attics of My Life"
5. "Truckin'"

American Beauty is the fifth album by the Grateful Dead. It was recorded between August and September 1970 and originally released in November 1970 by Warner Bros. Records. The album continued the folk rock and country music explored on Workingman's Dead and features the lyrics of Robert Hunter prominently.

In 2003, the album was ranked number 258 on Rolling Stone magazine's list of the 500 greatest albums of all time.

The band began recording American Beauty only a few months after the release of Workingman's Dead. An odd occurrence was that the band recorded the album without their sound crew, which was out on the road as part of the Medicine Ball Caravan tour (which the Dead were originally scheduled to join), and this led to staff engineer Stephen Barncard replacing Bob Matthews as producer -- "a move that irks Matthews to this day." Barncard mused that "I had heard bad stories about engineers' interactions with the Dead ... but what I found were a bunch of hardworking guys."

Both Workingman's Dead and American Beauty were innovative at the time for their fusion of bluegrass, rock and roll, folk music and, especially, country. Compared to Workingman's Dead, American Beauty had even less lead guitar work from Jerry Garcia, who instead filled the void with shimmering pedal steel guitar passages on both albums. It was during the recording of this album that Garcia would first collaborate with mandolinist David Grisman. "I just bumped into Jerry at a baseball game in Fairfax, and he said, 'Hey, you wanna play on this record we're doing?'" commented Grisman. Phil Lesh, in his autobiography, commented "the magnetism of the scene at Wally Heider's recording studio made it a lot easier for me to deal with Dad's loss and my new responsibilities. Some of the best musicians around were hanging there during that period; with Paul Kantner and Grace Slick from Jefferson Airplane, the Dead, Santana, Crosby, Nash, and Neil Young working there, the studio became jammer heaven ... Thank the Lord for music; it's a healing force beyond words to describe."

"Truckin'" and "Ripple" were released as a single, and the songs "Box of Rain", "Sugar Magnolia", and "Friend of the Devil" also received radio play. In his book on Garcia, Blair Jackson noted that "if you liked rock'n'roll in 1970, but didn't like the Dead, you were out of luck, because they were inescapable that summer and fall." American Beauty peaked at #30 on Billboard's Pop Albums chart (North America), while the single, "Truckin'", peaked at #64 on the Pop Singles chart and achieved considerable FM rock radio airplay. It is the final album with Mickey Hart until his return to the band four years later in 1975.

INTÉRPRETE

The Grateful Dead: San Francisco

Cuando la Sicodelia volvió al D.F.

Mona - Quicksilver Messanger Service

Mona - Quicksilver Messanger Service

Calvary - Quicksilver Messanger Service

Calvary - Quicksilver Messanger Service

That's It For The Other One - The Grateful Dead

That's It For The Other One - The Grateful Dead

China Cat Sunflower - The Grateful Dead

China Cat Sunflower - The Grateful Dead

Truckin' - The Grateful Dead

Truckin' - The Grateful Dead

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