The perfect gift for those that live a bit too far away. This print will arrive in a 10x13 black frame with neutral matte to enhance, just beautiful. **PRINT WITH MATTE AND FRAME **FREE SHIPPING** Please note, these MUST go to the same address for the special price for two. (Simply write in your second choice in, "Note to Seller" if using drop down)
You may purchase TWO framed prints at a special price using the drop down menu, OR using code, RAINBOW. This option is sold below, "Print with Matte and Frame". It will look gorgeous in an 10x13 or 11x17 inch frame with an accompanying 8x10 inch matte. This illustration on this print is approximately 8x10, printed on a sheet which is 8.5x11 inches.Īll artwork is professionally printed at a local print shop on quality gloss card-stock. Please note, sometimes colors, tones as well as appearance of words vary on monitors. (Original music sheet will not be sent, sorry!) Compare to the 1939 Benny Goodman live Carnegie Hall recording or to many of the 1966 Dead recordings.This original art creation is unique blend of reproduced imagery, and the result is beautiful and one of a kind piece of art, for you or as a lovely gift. 1968 isn’t exactly the dawn of the age of recording. The bass is muddled and the buzz is annoying at times, and there’s a hiss. This is an exciting, historically notable show, but is not a great recording. Pigpen is in top form on vocals and harp, back to the Dead’s blues roots. It’s a dynamite jam resolving into Little Schoolgirl, another rare transition. The Other One is only a few months old here, and the lyrics are still evolving. Cross Eyed slips in to Spanish Jam, which may also be the first time they played it. A jamming New Potato precedes it, as on Anthem of the Sun. On the B-side was Born Cross Eyed, played here for the first time. This version is up-tempo and short, much like the studio single (as in 45 rpm vinal) they released at this time. The Dead had only played live it twice before at the end of 1967. This is the earliest Dark Star here at, a seed of what it would become. Robert Hunter said that the lyrics of the second half of the Eleven were originally intended for China Cat, so it’s interesting to hear the debuts done this way. This is also the first time they played Eleven. We then get a rare China Cat->Eleven transition, and it works well here. It’s a fast take, and Jerry's playing simply smokes throughout. The very first China Cat sounds like it it’s in a lower key than on Aoxomoxoa and later, and Jerry's reaching for notes at the bottom of his range. The new material is not as well formed as it became later, but it is well played. The Dead roll out a bunch of new material in this historically significant show. Alas! The beginning of a year! It arose in '65, onward it grew With unhindered passion as their feet, the music leads them onward into '68. if you are to see what is represented in such a transtive moment look no further- the lightning bolts of illumination shine quick! The sky bursts into a quick scene of color on January 17, 1968. When you pass through such a moment, you arise anew like the child of sound birthed by the Dead.
a quickened movement, a glimpse of progression, the transcendence of beauty. Why define a moment when it shall pass? This show is a blur. They arise from this and go in the myriad ways of beauty throughout '68. shining through the darkened stage is a light of pure noise. Awash in the transcendent passion of a show such as this, you begin to grasp an idea the Dead never really portrayed but more so manifested. The depth of sound is, so much like beauty, a vast sea through which we are. '68 is capturing the sound in an unfathomable way.
GRATEFUL DEAD LYRICS CHINA CAT SUNFLOWER FULL
full circle! Revolving around some deep inner truth released in fully achieved passion. The movements are ALIVE, the Grateful Dead becoming anew as they fully become (and transcend) conciousness going beyond individual thought in the flying ways of pure progression. A great awakening, as what once slept now awakens.
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