![]() SHIPPING RESTRICTIONSĬurrently, we ship throughout the U.S. On a rare occasion, these packages can arrive outside of the estimated timeframe. When selecting our 2-day express shipping option, please bear in mind that we are only provided with an estimated delivery date from our carriers. We do our best to ensure the timely delivery of all orders. You will receive a tracking number via email when your order is processed. Orders placed Friday-Sunday will ship out Mondays and Tuesdays. Holidays), orders may ship within two-three business days. Orders typically ship the next business day. If any of the items included in your order are "PRE-ORDER" items, then shipping will occur once the latest preorder date item is in stock. Shipping to Canada is $12.95 with no free shipping option. Orders should arrive within 3-5 business days after processing time. Standard Shipping ships via USPS First Class with tracking. Standard Shipping on orders under $59.99 is $6.95(AK & HI $7.95). It’s on Apple, Podomatic and I assume other places.Free shipping on orders over $59.99. Where’s that sound coming from-the Dead/Garcia seem to figure in half the episodes. Thanks for all your great work and looking forward to next season! I wonder if Bob Matthews would know if Jerry and Red ever crossed paths at Heider’s? I know that Steel players are a rare and weird bunch who seem to flock together-perhaps a pedal steel chat happened? And here’s a fun connection: Red Rhodes played his own version of Garcia’s pedal steel part on a 1973 cover of “Teach Your Children” by a So Cal country rocker named Garland Frady, on an album produced by Nesmith. At that time he’d played on albums by a ton of folks, from The Byrds, to The Ventures to James Taylor, but was mostly the right hand man of one of my faves, Michael Nesmith (I once wrote a blog post drawing connections between Nesmith and Garcia that inadvertently won me a job working for Nesmith for a short while). Anyway, 1) I’ve often wondered if the mystery bellowing voice during “Bird Song” was a subliminal “sample” of Janis Joplin, the song’s subject? And 2) if I’m thinking of the right Brewer and Shipley album, Red Rhodes plays pedal steel on it. CommentĮxcellent episode! When I began listening to Dead music again, after 15 years off of it, the first Garcia album was my way back in. Both, along with an additional Stoned Sunday Rap with Reich, became the excellent book, Garcia: A Signpost to New Space, available from Da Capo/Hachette wherever you get your books. The photo shoot, Garcia on Stinson Beach, was by Annie Leibovitz. The interview was with Jann Wenner and Yale Law professor Charles Reich. One of Jerry’s activities in July 1971-right between album sessions-was the long interview and photo session that became the cover of Rolling Stone issue #100. The vintage-styled coolers have returned with an edgy. For those hoping to linger a bit longer in Wally Heider’s this summer, check out the new season of Freak Flag Flying by Deadcast pals Steve Silberman and David Crosby, literally recorded at Heider’s. Keep your whole hippie vibe flowing all the way to the beach or the park with this cute Igloo collab. ![]() ![]() ![]() Using their handy search functions you can see just how busy Jerry Garcia really was in the summer of 1971. Joe’s vigilant research has combined with generations of other Dead historians to create. By going through San Francisco musicians’ union paperwork, Dead scholar Joe Jupille was able to determine what else was being tracked at Wally Heider’s during those weeks in July 1971. The result was Garcia’s classic self-titled debut, available (once again) on LP from Garcia Family Provisions.Ĭo-producer Bob Matthews placed a sign on the door, “Anita Bryant, closed session” in an effort to deter surprise guests. Except drums (by Bill Kreutzmann) and a few trumpets and radio samples (by Robert Hunter), Garcia made all the sounds, improvising most of the second side from the ground up. A few days after the Dead’s final Fillmore West performance (where Garcia also played with the New Riders of the Purple Sage and the Rowan Bros.), Garcia returned to Wally Heider’s San Francisco studio, site of the previous year’s American Beauty sessions, with a plan that was equally ambitious and laidback. After spending the spring of 1971 on the road with the Grateful Dead, and the early part of the summer putting together the live album that became Skull and Roses, Jerry Garcia kept right on truckin’.
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