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Almost Acoustic
''Almost Acoustic'' is a live album by the Jerry Garcia Acoustic Band. Held in high esteem by fans for superb sound quality and fine musical selection, it contains songs that were recorded from late November to early December 1987 at the Warfield Theatre in San Francisco and the Wiltern Theatre in Los Angeles. It was released on December 6, 1988. The Jerry Garcia Acoustic Band was a short-lived musical ensemble that played folk and bluegrass music, using acoustic instruments. The members of the band were Jerry Garcia on guitar and vocals, David Nelson on guitar and vocals, Sandy Rothman on mandolin, dobro, and vocals, John Kahn on double bass, Kenny Kosek on fiddle, and, on some songs, David Kemper on snare drum. A second album by the Jerry Garcia Acoustic Band, also recorded live in 1987, is '' Ragged but Right'', which was released in 2010. Additionally, three live albums from the 1987 Lunt-Fontanne shows that were released in some years later include music by the Jerry ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jerry Garcia Acoustic Band
The Jerry Garcia Acoustic Band (JGAB) was a band (music), band formed by Jerry Garcia of the Grateful Dead. They played a number of concerts in 1987 and 1988, and subsequently released two live album, live albums. Band members *Jerry Garcia - guitar, vocals *David Nelson (musician), David Nelson - guitar, vocals *Sandy Rothman - mandolin, dobro, banjo, vocals *John Kahn - bass *Kenny Kosek - fiddle *David Kemper - drums History Garcia and Rothman had played together in The Black Mountain Boys, a Bluegrass music, bluegrass band. The JGAB formed in 1987 and made their first public appearance at The Fillmore on March 18, 1987 at a benefit concert for Artist Rights Today. The JGAB played the Lunt-Fontanne Theatre for a two-week Broadway theatre, Broadway run, then continued with appearances at The Warfield in San Francisco and the Wiltern Theatre in Los Angeles. Other performances included the Electric on the Eel concert, the Creating a Better Future benefit in Marin County, Cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragged But Right (album)
''Ragged but Right'' is the second live album by the Jerry Garcia Acoustic Band. It was recorded in October and December 1987 at the Lunt-Fontanne Theatre in New York City, the Wiltern Theatre in Los Angeles, and the Warfield Theatre in San Francisco. It was released on November 16, 2010, twenty-two years after the band's first album, ''Almost Acoustic''. The Jerry Garcia Acoustic Band existed from the summer of 1987 to the summer of 1988, and played fewer than 30 concerts. Led by Jerry Garcia of the Grateful Dead, the band included three members of the 1964 bluegrass band the Black Mountain Boys — Garcia on guitar and vocals, David Nelson of the New Riders of the Purple Sage on guitar and vocals, and Sandy Rothman on mandolin, dobro, banjo, and vocals — plus long-time Garcia collaborator John Kahn on acoustic bass, Kenny Kosek on fiddle, and David Kemper on snare drum. Three other albums contain music by the Jerry Garcia Acoustic Band as well as by the electric Jerry Ga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Hunter (lyricist)
Robert C. Christie Hunter (born Robert Burns; June 23, 1941 – September 23, 2019) was an American lyricist, singer-songwriter, translator, and poet, best known for his work with the Grateful Dead. Born near San Luis Obispo, California, Hunter spent some time in his childhood in foster homes, as a result of his father's abandoning his family, and took refuge in reading and writing. He attended the University of Connecticut for a year before returning to Palo Alto, where he became friends with Jerry Garcia. Garcia and Hunter began a collaboration that lasted through the remainder of Garcia's life. Garcia and others formed the Grateful Dead in 1965, and some time later began working with lyrics that Hunter had written. Garcia invited him to join the band as a lyricist, and Hunter contributed substantially to many of their albums, beginning with ''Aoxomoxoa'' in 1969. Over the years Hunter wrote lyrics to a number of the band's signature pieces, including " Dark Star", "Ripple" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ripple (song)
"Ripple" is the sixth song on the Grateful Dead album '' American Beauty''. It was released as the B-side to the single "Truckin'". Background Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process ). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song. "Ripple" has a similar melody to the gospel hymn "Because He Lives," which was published a year later. Both songs are similar to " Any Dream Will Do" from the Andrew Lloyd Webber-Tim Rice musical ''Joseph and the Amazing Technicolor Dreamcoat''. However, in his book ''The Grateful Dead FAQ'', writer Tony Sclafani points out that even though "Any Dream Will Do" was written in 1968, Garcia is unlikely to have heard it, because no recording was released until 1970. In popular culture A number of essays have been written analyzing and annotating this so ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tex Logan
Benjamin Franklin "Tex" Logan, Jr. (June 6, 1927 – April 24, 2015) was an American electrical engineer and bluegrass music fiddler. Born in Coahoma, Texas, Logan earned a B.Sc. in electrical engineering at Texas Tech University, then Texas Technological College, in Lubbock, Texas, studied for a B.Sc. in engineering at Massachusetts Institute of Technology (1946–51), and completed a M.Sc. (1956). He then moved to New Jersey where he joined Bell Labs (1956) and started his doctoral studies at Columbia University. There he earned a Ph.D. in electrical engineering with his dissertation "Properties of High-Pass Signals" (1965). Logan joined the communication theory department at Bell Labs (1956) where he and others demonstrated the use of computer simulation in the study of reverberation in digital audio, and did joint work with Manfred R. Schroeder who later pioneered MP3 audio (1961). He was with the mathematics center (1963–93) where he contributed to the theory of signals. As ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elizabeth Cotten
Elizabeth "Libba" Cotten ( Nevills; January 5, 1893 – June 29, 1987) was an American folk and blues musician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down. This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking". Early life Cotten was born in 1893U.S. Federal Census, Chapel Hill. 1870, 1880, 1900. to a musical family near Chapel Hill, North Carolina, in an area that would later be incorporated as Carrboro. Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. She named herself on her first day of school, when the teacher asked her name, because at home she was only called "Li'l Sis". By the age of eight, she was playing songs. At age nine, she was forced to quit school and began work as a domestic wo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mississippi John Hurt
John Smith Hurt (March 8, 1893 – November 2, 1966), better known as Mississippi John Hurt, was an American country blues singer and guitarist. Raised in Avalon, Mississippi, Hurt taught himself to play the guitar around the age of nine. He worked as a sharecropper and began playing at dances and parties, singing to a melodious fingerpicked accompaniment. His first recordings, made for Okeh Records in 1928, were commercial failures, and he continued to work as a farmer. Dick Spottswood and Tom Hoskins, a blues enthusiast, located Hurt in 1963 and persuaded him to move to Washington, D.C. He was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which led to the rediscovery of many other bluesmen of Hurt's era. Hurt performed on the university and coffeehouse concert circuit with other Delta blues musicians who were brought out of retirement. He also recorded several albums for Vanguard Records. Hurt returned to Grenada in 1966, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jimmie Rodgers (country Singer)
James Charles Rodgers (September 8, 1897 – May 26, 1933) was an American singer-songwriter and musician who rose to popularity in the late 1920s. Widely regarded as "the Father of Country Music", he is best known for his distinctive rhythmic yodeling, unusual for a music star of his era. Rodgers rose to prominence based upon his recordings, among country music's earliest, rather than concert performances. He has been cited as an inspiration by many artists and inductees into various halls of fame across both country music and the blues, in which he was also a pioneer. Among his other popular nicknames are "The Singing Brakeman" and "The Blue Yodeler". Early life According to tradition, Rodgers' birthplace is usually listed as Meridian, Mississippi; however, in documents Rodgers signed later in life, his birthplace was listed as Geiger, Alabama, the home of his paternal grandparents. Yet historians who have researched the circumstances of that document, including Nolan P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Standing On The Corner (Blue Yodel No
Standing on the Corner may refer to: * "Standing on the Corner" (show tune), 1956 song written by Frank Loesser * " Standing on the Corner (Blue Yodel No. 9)", 1930 song by Jimmie Rodgers, featuring Louis Armstrong *Standing on the Corner (band) Standing on the Corner is an American avant-garde music collective led by Gio Escobar. Emerging from the New York underground art and music scene, they have been referred to as a post-genre band and praised for their use and blends of different ..., an American experimental Jazz band See also * Standin' on the Corner Park, a public park in Winslow, Arizona {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Deep Elm Blues
The "Deep Elm Blues" (also spelled "Deep Elem Blues" or "Deep Ellum Blues"Pask, Kevin.Deep Ellum Blues ''Southern Spaces'', 30 October 2007.) is an American traditional song. The title of the tune refers to the historical African-American neighborhood in downtown Dallas, Texas known as Deep Ellum, which was home to music legends Blind Lemon Jefferson, Blind Willie Johnson, Lead Belly, and Bill Neely. The first known recording was made by the Cofer Brothers in 1923 under the band name the Georgia Crackers with the title The Georgia Black Bottom on OKeh Records (OKeh 45111). The song alluded to the dance craze called Black Bottom of the 1920s which in part referenced the community of Black Bottom, Detroit. The change from Black Bottom to Deep Elm occurred sometime between 1926 and 1933. The Shelton Brothers recorded various versions of this song, the first being cut in 1933 with Leon Chappelear under the pseudonym of Lone Star Cowboys for Bluebird Records. They recorded it again ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swing Low, Sweet Chariot
"Swing Low, Sweet Chariot" is an African-American spiritual song and one of the best-known Christian hymns. Originating in early oral and musical African-American traditions, the date it was composed is unknown. Performances by the Hampton Singers and the Fisk Jubilee Singers brought the song to the attention of wider audiences in the late 19th century. J. B. T. Marsh includes an early version of text and tune in his 1876 publication ''The Story of the Jubilee Singers, with their Songs''. The earliest known recording of "Swing Low, Sweet Chariot" was recorded in 1894, by the Standard Quartette. The song uses the theme of death to remind the audience of the glory that awaits in Heaven, when Christians believe they will transcend the earthly world of suffering and come to rest in their final home. Specifically, the text refers to the Old Testament account of the Prophet Elijah's ascent into Heaven by chariot. The stylistic elements and thematic content are highly typical to those o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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