The majority of the primary song choices presented below come from the classic years of the ’60s and ’70s for many songs, Key Later Versions from the ’80s or ’90s highlight further developments for the discerning Dead freak. One can see long-running debates even among our contributors encapsulated in entries for beloved songs like “Jack Straw” and the “Scarlet Begonias”/”Fire on the Mountain” combo, with a contingent of heads here deeply digging the chaotic stadium psychedelia of the later band. While the Dead got more popular every year in their later decades-and continued to generate jam surprises and bold performances aplenty-new listeners will likely want to start with the band’s earlier epochs. It represents a divide between the tighter, more critically accepted earlier band and the beloved-by-Deadheads ’80s and ’90s incarnations, when they were beset by addiction, the technologies of the era, questionable aesthetic choices, and an evolving secret musical language that sometimes made more sense in sold-out stadiums of dancing fans. It’s the latter era that is most prone to cleave even Dead enthusiasts. Loosely, the 37 entries here chart a path from garage-prog (1966) to lysergic jam suites (1967-1969), alt-Americana (1970), barroom country & western (1971), space-jazz (1972-1975), and epic hippie disco (1976-1978), eventually arriving at the more slowly evolving band of the ’80s and ’90s, whose driving creative force sometimes seemed to be their own inertia. This list of recommended song versions-chronological, not ranked-serves as an introductory survey of the band’s different periods. Navigating the Grateful Dead’s shadow discography can be daunting, a tangle of different periods and idiosyncrasies. Simultaneously, the Dead produced dancing music, folklore, and lyrics to nourish an extended community that continues to thrive at shows by the band’s surviving members and a national scene of cover bands. Self-consciously apolitical and populist to a fault, the Dead built a diverse audience across the political spectrum while continuing to act as a catalyst for young and old seekers, music heads, counterculturalists, and psychonauts. Profoundly unslick, the Grateful Dead's anti-authoritarian creative tendencies remain palpable in the current era. Rather than killing music, as an infamous British music industry campaign claimed in ’80s, home taping actually propelled the Grateful Dead to stadiums, as the Dead themselves acknowledged. Part of the group’s staying power is due to the mysterious vastness that exists outside the bounds of their official studio recordings, a live canon shaped by generations of the still-active Deadhead music trading network.įlourishing in an extralegal sharing economy built around the exchange of concert tapes and psychedelics (the tapes were never to be sold), most of the Dead’s live recordings could only be accessed through profoundly anti-corporate means. Though the band has an epic narrative (told in Amir Bar-Lev’s rapturous four-hour Long, Strange Trip documentary ), much of the Dead’s story and significance remains purely musical. Performing from 1965 to 1995 with guitarist and songwriter Jerry Garcia, the Dead survive through a vast body of live recordings, originally traded by obsessive fans and now preserved on a long string of official releases. As avatars of San Francisco's ’60s-born counterculture, the Grateful Dead have served as an alternative to American reality for more than a half-century.
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