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Editorial Reviews
From Publishers Weekly
When Scully first saw the Grateful Dead perform, in San Francisco in 1965, he thought they were the "world's ugliest band." He promptly signed on as their manager and lived with them for the next 20 years; in 1985, fresh from a heroin detox clinic, he quit or was fired amid charges (all false, says he) of misusing the band's money. His account of those years, written with the coauthor of Marianne Faithfull's autobiography, is not addressed exclusively to an audience of Deadheads. In fact, they may be disappointed by the low profile Jerry Garcia keeps in Scully's memories. He does remember the LSD and the drugs and the hazy high jinks: the souring Haight-Ashbury scene, Woodstock and Altamont, the "endless party rolling down the road." He describes Garcia as "magnetic, affable, inquisitive, approachable and infinitely benign," and that's about as deep as it gets. A few of the albums, especially early ones, get some attention, but Scully is more interested in the Dead as a social phenomenon. And after 20 years, with Garcia getting ever deeper into drugs and isolation, the group, he says, became both a self-parody and a "cash cow." Photos not seen by PW.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Scully's 20-year tenure as Grateful Dead manager ended on a sour note, and he is barely mentioned in other books on the band. Nonetheless, in this first in-depth biography of the group, he displays a vivid, unflinching eye for detail, which is surprising considering the prodigious amounts of drugs he (and they) ingested. Highlights include colorful descriptions of Ken Kesey's acid tests (for which the Dead were the house band) and life in the Haight-Ashbury scene of the late 1960s. The reverential depiction of the late Jerry Garcia dominates sketches of the other band members, but Scully's insider status gives readers a rare view into the Grateful Dead inner circle. Recommended for popular music collections. Not as essential but no less interesting is editor Ganz's (Playing in the Band, LJ 7/85) compilation of some of the heartfelt and eloquent Internet postings that started appearing within minutes of the announcement of Garcia's death on August 9, 1995. Lovingly assembled, this book is far more effective than Linda Kelly's recently published Deadheads (LJ 11/1/95) at helping the uninitiated understand the otherworldly bond between the Dead and their fans. Recommended for larger collections.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., Cal.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
When Scully first saw the Grateful Dead perform, in San Francisco in 1965, he thought they were the "world's ugliest band." He promptly signed on as their manager and lived with them for the next 20 years; in 1985, fresh from a heroin detox clinic, he quit or was fired amid charges (all false, says he) of misusing the band's money. His account of those years, written with the coauthor of Marianne Faithfull's autobiography, is not addressed exclusively to an audience of Deadheads. In fact, they may be disappointed by the low profile Jerry Garcia keeps in Scully's memories. He does remember the LSD and the drugs and the hazy high jinks: the souring Haight-Ashbury scene, Woodstock and Altamont, the "endless party rolling down the road." He describes Garcia as "magnetic, affable, inquisitive, approachable and infinitely benign," and that's about as deep as it gets. A few of the albums, especially early ones, get some attention, but Scully is more interested in the Dead as a social phenomenon. And after 20 years, with Garcia getting ever deeper into drugs and isolation, the group, he says, became both a self-parody and a "cash cow." Photos not seen by PW.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Scully's 20-year tenure as Grateful Dead manager ended on a sour note, and he is barely mentioned in other books on the band. Nonetheless, in this first in-depth biography of the group, he displays a vivid, unflinching eye for detail, which is surprising considering the prodigious amounts of drugs he (and they) ingested. Highlights include colorful descriptions of Ken Kesey's acid tests (for which the Dead were the house band) and life in the Haight-Ashbury scene of the late 1960s. The reverential depiction of the late Jerry Garcia dominates sketches of the other band members, but Scully's insider status gives readers a rare view into the Grateful Dead inner circle. Recommended for popular music collections. Not as essential but no less interesting is editor Ganz's (Playing in the Band, LJ 7/85) compilation of some of the heartfelt and eloquent Internet postings that started appearing within minutes of the announcement of Garcia's death on August 9, 1995. Lovingly assembled, this book is far more effective than Linda Kelly's recently published Deadheads (LJ 11/1/95) at helping the uninitiated understand the otherworldly bond between the Dead and their fans. Recommended for larger collections.?Lloyd Jansen, Stockton-San Joaquin Cty. P.L., Cal.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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