Review Summary: An outstanding work of the greatest assembly of artists to ever exist in the jam rock society.
Perhaps the note of jam rock has been made unclear to many of the people in the world’s attendance today. Many of thousands of people explain jam rock to their best effort, without ever really defining what it actually is. But what better way to truly understand the overall simple concept of jam rock, then to match its definition with the men who pioneered it, no, created it. The Grateful Dead not only revolutionized the jam rock and psychedelic influences of music in the world, but they ultimately mastered it, (and no band in this one’s time would succeed it) by putting in their styles with many other genres including country, folk, and even blues. The Grateful Dead have always in their long existence put out the most exemplified material in the genre even to this day. Since the band have been long since put to rest, sometimes, this legacy gets left behind in the post-modern musical era flooding today's society. But the jam rock influence didn’t just exist as past-time activity. As stated previously, this genre revolves around many types of genres and influences, and is kept to the best possible beat while ongoing guitars, and bass, and even drum rolls can go on for several minutes before breaking back into the real song.
If it isn’t the actual songs that bring forth those special moments when you feel as though something wonderful has happened inside of you, (like you find something you liked, and can stick with) than maybe it would have something to do with the overall "scene" implied by the men behind this. Though the scene has changed a lot, some of The Dead have remained constant all throughout the best and the worst (I’ve never heard it yet) of their act. Set on stage permanently till literally the sad day of his death, Jerry Garcia, a legendary musician, would forever stick with the group. Along with him the rhythm guitarist who is also a legend in many eyes (including mine) Bob Weir would also assist in making the most heartfelt music ever to exist in general. Not saying that The Grateful Dead have always been up their best, and though they've never exemplified any noticeable flaws, in the music anyway, the band was for its three-year decade successful in every way.
This combobulation of tracks from albums that hold high to many in the public face will remain treasures and the CD the treasure trove of the fabulous memories that overtake you whilst you listen on. Mainstream hits, radio classics, record player classics, or D. all of the above are pure definitions for all of these tracks. The Grateful Dead have never short-circuited any of their music by any means, so it seems as though no matter how many times you go along with this, it’ll never get old. If it weren’t for the structure of the albums from which these came from, than it could be in all realms of possibility that this would've never been created. Aside from the significant note that The Dead have their best on here, it's difficult what to imagine when all is said and done, what it would've looked like if things had come out differently. What if the Dead hadn’t staged the inevitable success? What if this monumental staging success was held prior too many of the downhill faults music would experience years later? Could this "Greatest Hits" album mean as much as it does already had the entire story been changed? Whatever the reason, this album holds much more than just some music, it holds history, it holds classical history that should previewed by everybody.
This album is composed of the greatest examples of jam influenced rock to ever exist. "Truckin'" first and foremost shows true jam experiences, with long solos, groovy bass lines, and superb drumming. On the side note of the "jamming" that is mostly the upfront texture to the material, is Garcia's vocals providing the softest and best sounding melodies ever to strike ears. "Touch of Grey" is no exception, and does an even slightly better job at employing status of jam rock into this huge mix. "Sugar Magnolia" only picks up the pace even more, until "Casey Jones", a parade of musical genius comes to play, and on and on and on and on. "Box of Rain" goes into even more detail of this whole instrumentation madness (in a good way) striking at every turn. "Hell in a Bucket" only solidifies my point to an even greater extent. But only until this is finally over, unlike other "Best of" albums, small feelings of wanting to listen again begin to grow inside. It might just be me, but this record could be spun a hundred times over without fail, and ultimately, day and night, never be succeeded by another jam rock, or any other kind of record.
The Grateful Dead to wrap up the whole point have created what is the world’s way of saying "Hallelujah". Perhaps it’s just my juvenile instinct getting the better of me in a distinct case different from any other I’ve attempted to promote before, but The Dead have never combined a greater use of their best songs to better potential than before, or after this. To combine the best of a band whose already proven worthy enough to shine bright even in the darkest of occasions, is a job partaken in rough standards beyond that which I cannot ascertain. The entire product overall, is a genius put-together of the best jam influences, only later to be succeeded by Phish, in any record I’ve ever laid ears on. Any attempt should be made to become friends, if not with the relative discography of The Dead, than at least this album of their truly, greatest hits.
