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INFRARED ROSES

INFRARED ROSES

Regular price $28.86 USD
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Collector's Guide

Every collection tells a story.

Whether you're buying your first record or adding a rare pressing to your shelves, understanding editions, formats, and release details can help you make informed collecting decisions. At Vibin' Vinyl, we believe collecting is about more than just owning the music—it's about appreciating the artwork, packaging, mastering, and history behind every release.

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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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