The Grateful Dead – Infrared Roses (CD)


The Grateful Dead ‎ –  Infrared Roses  (CD)


The Grateful Dead ‎ – Infrared Roses  (CD)

Label:  Grateful Dead Records ‎– GDCD4014
Format: CD, Album, Digipak
Barcode: 092874014924
Country: US
Released: 01 Nov 1991

1     Crowd Sculpture     2:21
2     Parallelogram     5:06
3     Little Nemo In Nightland     6:16
4     Riverside Rhapsody     3:55
5     Post-Modern Highrise Table Top Stomp     4:23
6     Infrared Roses     5:36
7     Silver Apples Of The Moon     5:41
8     Speaking In Swords     3:29
9     Magnesium Night Light     5:28
10     Sparrow Hawk Row     3:23
11     River Of Nine Sorrows     4:25
12     Apollo At The Ritz     8:15

Cover – Jerry Garcia
Text By [Titles Of The Music] – Robert Hunter

Catalog number on spine: GDCD 40142
Catalog number on disc: GDCD4014

This CD is an ADD recording. Multi-track analog tape was mixed to a digital format and then digitally mastered for the CD. The original multi-track recordings were all done on a twenty-four track analog machine using Dolby SR noise reduction. Two-track masters were used in “Crowd Sculpture,” Parallelogram,” “Speaking in Swords,” “Sparrow Hawk Row,” and “River of Nine Sorrows.” These masters were transferred to the twenty-four-track recordings, manipulated, and processed for the final result. “Silver Apples of the Moon” was recorded as MIDI data into a computer during several performances and was edited and orchestrated from the computer before being recorded as sound information on the multi-track tape.

Infrared Roses – GD (GDMerchandising GDCD 40142) released November 1, 1991. A ‘best of’ various “Space” and “Drums” segments put together by Bob Bralove. Portions of “Silver Apples Of The Moon” are from November 1,
1990. “Apollo At The Ritz” features Branford Marsalis from March 29, 1990. “Post Modern Hi-Rise Table Top Stomp” includes Willie Green from July 10, 1989. “Riverside Rhapsody” starts with the last few notes of “Uncle John’s Band”. “Sparrow Hawk Row” includes Dan Healy on effects. “Parallelogram” starts off with a double trap set and segues into a The Beast and timbales solo. “Little Nemo In Night Land” consists of Garcia, Weir, and Lesh, with Lesh’s parts coming from about a dozen different shows. The cover art was designed by Jerry Garcia.

Grateful Dead Records ®
℗ 1991 Grateful Dead Productions, Inc.
Distrib. by Grateful Dead Merchandising, Inc.
Issued in a gatefold Digipak case.

First issue. CD and Digipak/inlay in very fine condition.


+++++++++++++ SPACE is the place during every DeaD show where the band throws structure to the winds and dissolves into free improvisation. A collection of Space and Drums recordings, the Dead’s inter-set jams, are collected for this cd. The band’s famous impro sessions are characterised by the playing of twin drummers Hart and Kreutzman, using everything from basic percussion to the most comprehensive selection of hittable things known to man. Eventually Garcia, Weir, Lesh and co. raise the tension like the wizzards they are, until the whole thing explodes into a song. +++++++++++++

nr. 1  The Grateful Dead label is back in business with one beautiful release after another. This time it’s a collection of SPACE segments, put together by Bob Bralove. CROWD SCULPTURE is an ode to these loyal Deadheads that follow the group around the world. Next are Kreutzman and Hart who made an art-form of their drumming. LITTLE NEMO IN NIGHTLAND is a perfect title for the two-guitar and a bass work-out. RIVERSIDE RHAPSODY is a Dead jam and shows exactly why the band is still going strong, just because they are willin’ to take chances and explore new ways. INFRARED ROSES is an excursion into the darker outlands. SILVER APPLES is an (almost classical) piece of the two new Dead keyboardists that’s cut off too soon, because one can hear the first notes of what certainly would be another beautiful DARK STAR. SPEAKING IN SWORDS is a disturbing electric percussion section. MAGNESIUM NIGHT LIGHT is yet another example of the famous Dead players interplay. Dan Healy is processing on SPARROW HAWK ROW, just like I am em- fillerating at the moment… In APOLLO AT THE RITZ Branford Marsalis joins in and the band becomes a first rate jazz-experimental band. Fascinating stuff and in no way yet another New Age like release nor a bizarre non- melodic experimental album like the SEASTONES project of Phil Lesh. It deserves a much wider public than Deadheads only. And the artwork (of Mr. Garcia) is also a relief after the covers of IN THE DARK and BUILT TO LAST. * * * * ERIK SCHOTHANS, JULY 1992

nr. 2  Synth magician Jimmy Bralower has produced a fine compilation, taking the idea to a logical conclusion by pointing out who does what and itemising the effects. The pieces still delight, especially as you don’t often hear the Dead’s instrumental work in such stripped-down naked form. Certain sections, like RIVER OF NINE SORROWS, recall the drummers’ work on APOCALYPS NOW – not really for the faint of heart. Listeners can luxuriate in the duelling piano excursions of Vince Welnick and Bruce Hornsby on SILVER APPLES OF THE MOON, or marvel at APOLLO AT THE RITZ which features Branford Marsalis trading genres with the Dead’s own synth section. Long, strange and incredibly trippy. (8) MAX BELL, VOX, APRIL 1992

nr. 3  A striking collection of SPACE extracts edited into suitelike form. To hear them out of context is to miss the way the DeaD, onstage, deftly glide from song form to abstract jamming and back again. But the results are never less than intriguing and, more often than not, deliciously sublime. DAVID FRICKE, ROLLING STONE, March 5th, 1992

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