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 historical past, written by means of its legit historian and publicist–a must-have chronicle for all useless Heads, and for college kids of rock and the 1960s’ counterculture.

From 1965 to 1995, the thankful lifeless flourished as some of the most loved, strange, and finished 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 inventive ferment of the early sixties’ roots and folks scene, delivering the soundtrack for the Dionysian revels of the counterculture. to these within the recognize, the lifeless was once an ongoing journey 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 20 years, 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 exact type, yet veers off into facet journeys at the band’s tricky degree setup, the magic of the thankful lifeless live performance adventure, or metaphysical musings excerpted from a talk between band participants. He brings to shiny lifestyles the Dead’s early days in late-sixties San Francisco–an period of stunning creativity and alter that reverberates to today. the following we see the gang at its such a lot uncooked and strong, enjoying because the residence 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 reside and within the studio, that produced a few of their such a lot searing and evocative song. yet McNally includes the Dead’s saga in the course of the seventies and into the more moderen years of continuous traveling and relentless musical exploration, that have cemented a special bond among performers and viewers, and created the employer that's even more a relations than a corporation.

Written with an identical zeal and spirit that the thankful lifeless delivered to its song for greater than thirty years, the publication takes readers on a private journey during 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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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

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19 One wonders how much later. In Orphee Eurydice's disappearance, when Orpheus looks back at her, is achieved slowly through an elaborate trick of lighting, which Cocteau insists on even in theatres with trapdoors. But in Cocteau's notes of March 1926 for Oedipus the only comparable use of lighting accompanies the appearance of Tiresias, at which the stage lights dim and the seer is picked out by a spotlight, exactly like the head of Orpheus when it is thrown on to the stage in the play. But even the preface in the score adds nothing more on lighting.

But we do not, in actual fact, know exactly how it arose. 16 One senses in all this a certain tension between the different sources of Stravinsky's inspiration. Meyerhold's idea of a statuesque, tableau-style treatment of Sophocles certainly would not have precluded stylistic collisions of the Cocteau type. But nor does it instantly suggest the modish boulevardier quips by which the author of Orphee may well have felt tempted. A chorus without a face Except possibly in The Soldier's Tale, with its intrusion of telephones and stock market reports into the fairytale world of Afanassiev, Stravinsky had always avoided anachronism within the frame of his stage works.

The text itself is based on Pushkin, and the music is self-consciously modelled on Glinka and Tchaikovsky. Mavra may not be one of Stravinsky's best works, but it is one of his most self-revealing. It suggests that in 1921 he was thinking hard about what it meant to be a Russian exile in western Europe. 5 Above all, it shows an already well-developed tendency to treat such models as a source not just of inspiration but of actual musical material. Strictly speaking, Stravinsky had been 'borrowing' material in this way for more than a decade.

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