Music
The Phil & Friends concept takes the music of the Grateful Dead (and an ever-increasing number of other influences, including Bob Dylan, Traffic, The Beatles, Led Zeppelin, Warren Haynes' Gov't Mule, the Allman Brothers, etc.) and explores and interprets it in new ways. Through the period known as the Quintet years (see below), a Phil & Friends show was often focused on harder, faster rock than that which the Grateful Dead played, thanks in large part to Haynes' and Herring's talents at the Southern rock style. Lesh was fond of calling it "Dixieland-style rock." However, all of the incarnations of Phil & Friends have followed a trend of "updating" the Grateful Dead's massive body of work, and all have been extremely adept at the long, exploratory jams that were a trademark of the Dead. Phil & Friends has been acclaimed for giving new life to the Grateful Dead's material, bringing in new styles and innovations, while at the same time remaining loyal to the original music and the original fans. It is this melding of musical influences that has given them extremely wide appeal not only among old Deadheads, but the modern-day fans of other jam bands as well.
Phil & Friends has continued the Grateful Dead's tradition of allowing fans to record concerts, and trade these recordings freely. The Internet has been an invaluable source for these tapers to disseminate this music through various sources, including Archive.org, and the vast BitTorrent file-sharing network. Phil has also embraced the Internet by providing free soundboard recordings of many concerts through his website, even providing high-resolution CD covers for fans to print. For his Summer 2006 tour, Phil partnered with Instant Live, a company that was able to provide soundboard CDs of a concert immediately upon its finishing, as well as make these recordings available for fans to download online, though this service was not free.
Read more about this topic: Phil Lesh And Friends
Famous quotes containing the word music:
“I cannot say what poetry is; I know that our sufferings and our concentrated joy, our states of plunging far and dark and turning to come back to the world—so that the moment of intense turning seems still and universal—all are here, in a music like the music of our time, like the hero and like the anonymous forgotten; and there is an exchange here in which our lives are met, and created.”
—Muriel Rukeyser (1913–1980)
“If you really believe music is dangerous, you should let it go in one ear and out the other.”
—José Bergamín (1895–1983)
“And in the next instant, immediately behind them, Victor saw his former wife.
At once he lowered his gaze, automatically tapping his cigarette to dislodge the ash that had not yet had time to form. From somewhere low down his heart rose like a fist to deliver an uppercut, drew back, struck again, then went into a fast disorderly throb, contradicting the music and drowning it.”
—Vladimir Nabokov (1899–1977)