INFRARED ROSESby Wikipedia
Live album by Grateful Dead
Released November 1, 1991
Genre Psychedelic rock, jam
Length 58:18
Label Grateful Dead GDCD40142
Producer Bob Bralove
Infrared Roses is a live compilation album by the Grateful Dead. It is a conglomeration of their famous improvisational segments "Drums" and "Space."
Somewhere in the middle of the second set of a Grateful Dead concert came a period of musical improvisation. This part of the concert is commonly referred to as "Space," and came right after a drum solo or duet. Infrared Roses is a compilation of these performances. There are no recognizable songs from the band's repertoire on this release. Robert Hunter, probably best known for his numerous collaborations with the Grateful Dead, created the names of the tracks for the album.
Music from Infrared Roses was used as the soundtrack for the 18 minute Grateful Dead video Infrared Sightings.
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TRACKS
(Musicians Listed in order of appearance on each track)
1. "Crowd Sculpture" (Bralove) – 2:21
Deadheads
2. "Parallelogram" (Hart, Kreutzman) – 5:06
Kreutzmann - trap drum left, Mickey Hart - trap drum right
Hart - Beast (Large Drums) and Beam
Kreutzmann - Timbales
3. "Little Nemo in Nightland" (Bralove, Garcia, Lesh, Weir) – 6:16
Garcia - Guitar, Weir - Guitar, Lesh - Bass
4. "Riverside Rhapsody" (Garcia, Hart, Kreutzmann, Lesh, Mydland, Weir) – 3:55
Garcia - Guitar, Weir - Guitar, Lesh - Bass, Mydland - Keyboards, Kreutzmann - Drums, Hart - Drums and Electronic Percussion
5. "Post-Modern Highrise Table Top Stomp" (Garcia, Green, Hart, Kreutzmann, Lesh, Mydland, Weir) – 4:23
Stereo Left ?, Stereo Center ?, Stereo Right?
Willie Green III - Kick Snare Hat ? Kreutzmann - roto Toms ? Hart - Talking Drums ?
Garcia - electronic Percussion (Cow Bells, Shakers, Drums) ?,?
Weir - Midi Guitar: Marimba ?,?
Lesh - Bass ?
Mydland - Midi Keyboard (Rattles, Shakers, Toms) ?
6. "Infrared Roses" (Bralove, Garcia, Lesh, Mydland, Weir) – 5:36
Mydland - Keys and Synth ("Outerspace FX", Voices, Piano)
Lesh - Bass and Synth(Trombone, FilterSweeps, French horn, Strings, Bells)
Weir - Guitar and Synths (Bells, Glockenspiel, Vibes)
Garcia Guitar and Synths (Trumpet, Mandolin, Voices, Strings)
7. "Silver Apples of the Moon" (Hornsby, Welnick) – 5:41
Bruce Hornsby - Piano and Synths(Strings, Vibes)
Steve Welnick - Synths (Voices, Strings, Rattles, Organ, Bells)
8. "Speaking in Swords" (Bralove, Hart, Kreutzman) – 3:29
Hart - Beam and Electronic Percussion
Kreutzmann - Electronic Percussion
9. "Magnesium Night Light" (Garcia, Lesh, Mydland, Weir) – 5:28
Garcia - Guitars and Synths (Trumpet, Strings)
Weir - Guitar and Synths ( Bells, Marimbas, Vibes)
Lesh - Bass and Synths (Bass Fuzz, Filter Sweep, Bells)
Mydland - Keys and Synths (FX, Piano, Electric Piano)
10. "Sparrow Hawk Row" (Bralove, Garcia, Healy, Hart, Kreutzmann, Lesh, Mydland, Weir) – 3:23
Don Healy - Processing
- In No Order: Garcia - Guitar, Wier - Guitar, Lesh - Bass, Mydland - Keys, Hart & Kreutzmann - Drums
11. "River of Nine Sorrows" (Bralove, Hart, Kreutzman) – 4:25
Hart - Electronic Percussion, Synths (Bird Whistles, Woodblocks, Log Drum)
Kreutzmann - Drums, Electronic Percussion, Synths (Gongs, Congas, Woodblocks, Electronic Toms)
Bob Bralove - Drum Machine Sequencing
12. "Apollo at the Ritz" (Garcia, Hart, Kreutzman, Lesh, Marsalis, Mydland, Weir) – 8:15
Garcia - Guitar and Synths(Church Bell, Flute, Double Reed and lots more)
Lesh - Bass and Synths(Bass Flute)
Branford Marsalis - Tenor and Soprano Sax
Weir - Guitar and Synths (Trumpet Section)
Mydland - Keys
Hart & Kreutzmann - Drums
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CREDITS
Jerry Garcia - drums, guitar, synthesizer
Bob Weir - guitar, marimba, synthesizer
Phil Lesh - bass guitar, synthesizer
Brent Mydland - keyboards, rattles, synthesizer, tom-tom
Vince Welnick - synthesizer
Bruce Hornsby - piano, keyboards
Bill Kreutzmann - drums
Mickey Hart - drums
ADITIONAL CREDITS
Deadheads - on "Crowd Sculpture"
Willie Green III - kick, snare, hat on "Post-Modern Highrise Table Top Stomp"
Dan Healy - processing on "Sparrow Hawk Row"
Bob Bralove - drum machine on "River of Nine Sorrows"
Branford Marsalis - saxophone on "Apollo At The Ritz"
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REVIEW
by Lindsay Planer
The nearly hour-long instrumental interplay on Infrared Roses (1991) came from a variety of concert performance excerpts circa 1989 and 1990. The audio was reconfigured and combined into four distinct multi-movement suites — all of which were named by Grateful Dead lyricist Robert Hunter. Opening the disc is the audience-participating "Crowd Sculpture," setting the communal pre-show scene with a mélange of sonic experiences starring the typical Grateful Dead parking lot denizens doing their respective thing. The roar of the expectant audience then leads into "Parallelogram" the first of several rhythm-intensive selections with Mickey Hart (trap drums/timbales/electronic percussion/toms/synthesizer) and Bill Kreutzmann (trap drums/beast/beam/electronic percussion/talking drum) at the helm. These excursions typically occurred during the second set and were followed by a few minutes of free-form exchanges from the band's co-founders Jerry Garcia (guitar/electronic percussion/synthesizer), Phil Lesh (bass/synthesizer), and Bob Weir (guitar/midi guitar/synthesizer). Through July of 1990, Brent Mydland (keyboards/Midi keyboard/synthesizer) was the primary ivory tickler. After his untimely passing, Vince Welnick (synthesizer) and (for a brief time) Bruce Hornsby (piano/synthesizer) were Mydland's replacements. Additionally, Bob Bralove — the CD's producer and one of the Grateful Dead's longtime audio engineers — is credited with electronic drumming. There are also appearances by the Neville Brothers' Willie Green III (kick/snare/hi hat) who submits a well-placed beat or two to "Post-Modern Highrise Table Top Stomp" from his December 28, 1990 guest shot. Branford Marsalis (tenor sax/soprano sax) is heard blowing strong counterpoint during the closer "Apollo at the Ritz." His contributions come from a March 29, 1990 confab in which Marsalis sat in for most of the second set. Caveat Emptor as Infrared Roses isn't a typical live Grateful Dead recording and potential consumers should not expect such. However, there is plenty for the adventurous listener, Deadheads longing for a good ol' "Drums/Space" freak-out, and even parties curious about the remarkable stylistic breadth that became a motif of the Grateful Dead's concerts for three decades.
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MEGAUPLOAD
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