Grateful Dead Infrared Roses (Live)
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- Released: August 31, 2004
- Originally Released: 2004
- Label: Grateful Dead / WEA
Down Beat - 5/92, p.433.5 Stars - Good Plus - "...a surreal collage from the Dead's instrumental improvisations and solos....You sense that these experiments are the band's favorite part of the show..."
- 1.Crowd Sculpture
- 3.Little Nemo In Nightland
- 4.Riverside Rhapsody
- 5.Post-Modern Highrise Table Top Stomp
- 6.Infrared Roses
- 7.Silver Apples Of The Moon
- 8.Speaking In Swords
- 9.Magnesium Night Light
- 10.Sparrow Hawk Row
- 11.River Of Nine Sorrows
- 12.Apollo At The Ritz
Grateful Dead: Jerry Garcia (guitar, synthesizer, electronic percussion); Bob Weir (guitar, synthesizer); Bruce Hornsby (piano, synthesizer); Brent Mydland (keyboards, synthesizer); Phil Lesh (synthesizer, bass); Bill Kreutzman, Mickey Hart (synthesizer, drums, percussion, electronic percussion); Vince Welnick (synthesizer).
Additional personnel: Branford Marsalis (saxophone); Willie Green III (drums); Bob Bralove, Dan Healy (programming).
Engineers: John Cutler, Dan Healy, Bob Bralove.
INFRARED ROSES is an album of "Drums" and "Space" sections from various concerts. In some cases recordings are presented as played; in other cases pieces of sound from different concerts were edited together. The tracks are arranged in 4 sections.
Grateful Dead: Jerry Garcia (guitar, synthesizer, electronic percussion); Bob Weir (guitar, synthesizer); Brent Mydland (keyboards, synthesizer); Phil Lesh (synthesizer, bass guitar); Vince Welnick (synthesizer); Bill Kreutzmann (drums, timbales, percussion, electronic percussion); Mickey Hart (drums, electronic percussion).
Additional personnel: Branford Marsalis (soprano saxophone, tenor saxophone); Bruce Hornsby (piano, synthesizer); Willie Green III (drums).
This is definitely not your average Grateful Dead live album. Producer Bob Bralove (normally the band's soundman) took excerpted instrumental sections from various Dead jams (including some that were all percussion) and then went at them in the studio, processing them to a fare-thee-well (for example, synthesizing trumpet parts out of guitar lines), playing with structure, and generally creating aural soundscapes that often have only a tenuous connection with the original music. It's mostly fascinating stuff, and it's somewhat heartening that some of the various participants particular musical styles can still be detected; on "Silver Apples of the Moon," for example, guest keyboardist Bruce Hornsby's trademark Copland-esque chromaticism can still be heard underneath all the electronic frippery.
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