Rock and Roll

PINK FLOYD is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to


their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.


While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.


Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.


The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.


The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.


Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.


Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.


Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a film soundtrack) were erratic, each contained some extremely effective music.


By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals.


Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.


It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).


The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.


In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up -- for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.


Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius

AND MR. GIL PINI IS BACK ALSO.
As stated here many times my major music influence was Chicago Rock from the mid 70's to the present,And after working 100's and hundreds of concerts at the Rosemont Horizon (now the Allstate Arena) for the Teamsters Union for 18 trs I have seen my share of music, Now to some of the best of my era, 1st The Boyzz from Illinoizz were our forth right favorites,Honestly seeing at least 500-700 of there shows, which led to a friendship very close with these local heroes, Alomg with bands like The Hounds, Holland,Pezband, The Kind,Chicago was flooded with killer music, As the Boyzz disbanded they broke into some very awesome bands such as Deluxery,Dirts Raiders, The B'zz all of which had that hard Chicago rock sound so loved by this city, Now many years later the verrry talented Michael Tafoya,Who rocked like no other and truly one of the most underrated guitarist in the rock world, Now Mr Tafoya and his Lost Boyzz have unleased a new round of that rock and showmanship only a showman like mike Tafoya can provide!!!! Hope you enjoy this Bio and if in Chicago dont miss this Rock Legend live!!!!!!!!! Thanks Chicago Mike



With an old school, "now sound", a bump-and-grind feel, and a roadhouse zest Tafoya's Lost Boyzz captures and tickles the happy bone in everyone's heart.

Michael Tafoya - Guitar and Vocals

First gained international attention with Epic recording artists, "The Boyzz from Illinoizz", with Dirty Dan Buck and company, releasing their album "Too Wild To Tame" (Epic Records). In the search of greener, creative pastures, Michael forms "The B'zz", also Epic recording artists. "The B'zz", featuring Tommy Holland (Holland "Wake Up The Neighborhood"), Steve Riley, (W.A.S.P. and L.A. Guns), Dave Angel, (The Boyzz) and Anatoly Halincovich, (a.k.a. Tony Hall) (The Boyzz, "America's Most Wanted"), went on to make an appearance on Dick Clark's American Bandstand, making history being the only unsigned act to perform in the show's 35 year run. Then, filmed a video for MTV, "Get Up, Get Angry", toured the country, all while writing music prolifically.

Michael went on later to form his own "Tafoya" band, which evolved into "Raw Dogs" (again with Tommy Holland). He as been rock and rolling for decades with nothing in his bones to slow his creative flow!

Chis McCoy - Drums and Vocals

Chris' life is a true, made for T.V. rock and roll story.

Chris was conceived in the back seat of a '68 Chevy, near Notre Dame University, in LaPorte, Indiana. His father, Terry W., played drums and Uncle Al, played accordion and then guitar professionally for the "Rockin' Riveria's". They scored the MEGA-SURF hit "California Sun", (co-penned by Uncle Al).

Chris has been holding drum sticks since he was able to grab them and actually started learning the drums at 10 and then began rocking at 14 with his first "very own" drum kit from his pop. And, the rest you got itis history!

Erik Osland - Bass and Vocals

Erik started playing Bass at age 7 and by 12 he was playing in various Lake County clubs with his father. He eventually picked up drums and guitar as well.

Erik has played with various local bands, promoted teen concerts and has a recording and sound reinforcement business ("Gadjet Productions"),

This outfit is definitely a diverse bunch, just like the music they play. Also just like the music they converge into a single point of view. Big sound, hip shaking, visually formidable, and zesty old school "now" sound. Michael's search led to

The band has a sound that's been decribed as "two to the mule" like they have six members rather than three players.
DON'T MISS OUR DEBUT CD TITLED 'LIFE'
Due for release Soon!!!
Web site http://www.tafoyaslostboyzz.com
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=31030965

One of Britain's most consistently successful groups of the seventies and eighties began life as a glam rock unit in 1968, when Brian May and Tim Staffell, both students at Imperial College, decided they wanted to form a band. Brian placed an advertisement on the college notice board for a "Ginger Baker type" drummer, and a young medical student named Roger Taylor auditioned and got the job. They called the group "Smile". The band was signed to Mercury Records in 1969, and had their first experience in a recording studio in Trident Studios that year. Staffell had been at Ealing College of Art with Freddie Bulsara, and introduced him to the band.

When "Smile" decided to call it a day in 1970, Staffell went off to join a band called "Humpy Bong", (featuring former Bee Gees drummer Colin Petersen) and Freddie left his band "Wreckage" to join up with Brian and Roger. Freddie not only legally changed his name to "Mercury", he also changed the band's name to "Queen". John Deacon was asked to audition as their bass player (they had three temporary ones so far in their short history), and in February 1971, Deacon signed on as the fourth member of Queen.

The band rehearsed tirelessly and played several small gigs at Imperial College. Eventually, they were offered the chance to 'test' a new recording studio called "De Lane Lea". In return for trying out the new equipment, they could also make free demo tapes. The demos went well enough that they signed a recording contract and publishing and management agreements with Trident in 1972. They were paid a weekly salary of just £60, and were given time in the studio during off peak hours, to record.

Soon after the failed single, 'Keep Yourself Alive', they issued a self-titled album, which was an interesting fusion of 70s glam and late 60s heavy rock (it had been preceded by a Mercury 'solo' single, a cover of the Beach Boys' 'I Can Hear Music', credited to Larry Lurex). Queen toured extensively and recorded a second album, which fulfilled their early promise by reaching the UK Top 5. Soon afterwards, 'Seven Seas Of Rhye' gave them their first hit single (UK number 10), while "Sheer Heart Attack" consolidated their commercial standing by reaching number 2 in the UK album charts.

In January 1975, Queen left for the USA on their very first headlining tour. Quite a few shows on that tour had to be cancelled, as Freddie had developed a severe throat problem, but he soldiered on and performed as many as possible, although doctors had advised him against it. Also in January 1975, Queen engaged the services of a music business lawyer, Jim Beach, to negotiate them out of their Trident agreements, as Trident were no longer being as supportive and the band were unhappy with the situation.

As fan support grew, the concert scenes where reminiscent of Beatlemania in the sixties, as Queen's live act was embodied in the outrageous theatrics of the satin-clad Mercury, who was swiftly emerging as one of rock's most notable showmen. In May of '75, the single "Killer Queen" reached number five in the U.S. and number one in the U.K.

After touring the Far East, they entered the studio with their producer Roy Thomas Baker and completed the epic "Bohemian Rhapsody", in which Mercury succeeded in transforming a seven-minute single into a mini-opera. The track dominated the charts in the UK, remaining at number 1 for an astonishing nine weeks. The power of the single was reinforced by an elaborate video production, highly innovative for its period and later much copied by other acts.

The follow up album, "A Night At The Opera", was, at the time, one of the most expensive ever recorded, and when it was released in November 1975, it was a massive hit, and gave them their first platinum album. Freddie had designed a band logo for the "Queen" album, which was re-worked and used as the cover for "Night At The Opera". The now-famous 'crest' features the band's star signs - two fairies for Virgo, a crab for Cancer and two lions for the two Leos.

"A Day At The Races" continued the hit streak, while the catchy "Somebody To Love" and "We Are The Champions", both reached number 2 in the UK. Although Queen seemed in danger of being stereotyped as over-produced glam rockers, they successfully brought variety to their singles output with a '50s rock 'n' roll style single called "Crazy Little Thing Called Love" and the disco-influenced "Another One Bites The Dust" (both, U.S. number 1 hits). Despite this stylistic diversity, each Queen single seemed destined to become an anthem, as evidenced by the continued use of many of their songs at U.S. sporting venues, especially "We Are The Champions". Meanwhile, "The Game" gave Queen their first U.S. number 1 album in July, 1980. The group's soundtrack for the movie 'Flash Gordon' was another success, but was cited by many critics as typical of their pretentious approach. By the close of 1981, Queen were back at number 1 in the UK for the first time since 'Bohemian Rhapsody' with 'Under Pressure' (a collaboration with David Bowie ).

After a flurry of solo ventures, the group returned in 1984 with the satirical 'Radio Gaga' (UK number 2), followed by 'I Want To Break Free'. A performance at 1985's Live Aid displayed the group at their very best.

Queen's record output lessened during the late 80s, as the members concentrated on other interests. The band released their sixteenth album on May 22nd 1989, entitled "The Miracle". It entered the UK chart at Number One and went on to become a massive worldwide success, reaching Number One in most European countries.

The space between releases did not affect the group's popularity, as was proven in 1991 when 'Innuendo' gave them their third UK number one, and the album of the same name also topped the UK charts. By this time they had become an institution. Faultless musicianship, held together by May's guitar virtuosity and the spectacular Mercury, made Queen one of the great theatrical rock acts.

On November 23rd, 1991, Freddie announced to the world that he had AIDS. The very next day, his fight was over, and he died peacefully at his home surrounded by friends and family. The music world was in shock. Freddie had kept his illness very private, and only those closest to him had been aware of just how close to the end he really was. Fans from all over the world sent flowers and cards, and many even travelled to London to be at Freddie's house. A quiet family cremation service was held three days after his death, conducted in the Zoroastrian faith that Freddie's parents followed so strictly.

'Bohemian Rhapsody' was immediately re-issued to raise money for AIDS research projects, and soared to the top of the British charts. The song also climbed to U.S. number 2 in March 1992, after being featured in the movie "Wayne's World" (it had originally reached number 9 in January 1976). A memorial concert for Mercury took place at London's Wembley Stadium on May 20 1992, featuring an array of stars including Liza Minnelli, Elton John, Guns N'Roses, George Michael, David Bowie and Annie Lennox.

Even though Freddie was gone, Queen never announced an official break-up, so it was with nervous anticipation that a new Queen album called "Made In Heaven", was issued in 1995. Freddie Mercury's vocals were recorded during his last year while at home in Switzerland, and the rest of the band then filled in the instruments. While Mercury must be applauded for the way he carried his illness with great dignity, it is fair to say that May, Taylor and Deacon performed wonders in crafting an album from slightly inferior material. The album carries a dedication to the 'immortal spirit of Freddie Mercury', in recognition of his request that the material be completed and be heard by the public.

While "Made In Heaven" will be the last original Queen album, there is no doubt that the future will see further projects from Roger, John and Brian. To date, Brian May's solo career has enjoyed the highest profile, while Roger Taylor went on to work with his band called The Cross.

In November, 2006, The Official UK Charts Company released a list of the 100 best-selling albums of all time in the UK. Topping the list was the 1981 release, "Queen's Greatest Hits".

Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their


message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following -- the Deadheads, their numbers and devotion legendary in their own right -- they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.


The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, CA, in 1960, he soon befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh. By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup now additionally including Lesh on bass as well as Bill Kreutzmann on drums.


The Warlocks made their electric debut that July; Ken Kesey soon tapped them to become the house band at his notorious Acid Tests, a series of now-legendary public LSD parties and multimedia "happenings" mounted prior to the drug's criminalization. As 1965 drew to its close, the Warlocks rechristened themselves the Grateful Dead, the name taken from a folk tale discovered in a dictionary by Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the band members soon moved into a communal house situated at 710 Ashbury Street in San Francisco, becoming a fixture on the local music scene and building a large fan base on the strength of their many free concerts. Signing to MGM, in 1966 the Dead also recorded their first demos; the sessions proved disastrous, and the label dropped the group a short time later.


As 1967 mutated into the Summer of Love, the Dead emerged as one of the top draws on the Bay Area music scene, honing an eclectic repertoire influenced by folk, country, and the blues while regularly appearing at top local venues including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a disappointing effort which failed to recapture the cosmic sprawl of their live appearances; after performing at the Monterey Pop Festival, the group expanded to a six-piece with the addition of second drummer Mickey Hart. Their follow-up, 1968's Anthem of the Sun, fared better in documenting the free-form jam aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their penchant for time-consuming studio experimentation left them over 100,000 dollars in debt to the label.


The Dead's response to the situation was to bow to the demands of fans and record their first live album, 1969's Live/Dead; highlighted by a rendition of Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its studio predecessors failed in capturing the true essence of the group in all of their improvisational, psychedelicized glory. It was followed by a pair of classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in homage to the group's country and folk roots, the two albums remained the cornerstone of the Dead's live repertoire for years to follow, with its most popular songs -- "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and "Truckin'" among them -- becoming major favorites on FM radio.


Despite increasing radio airplay and respectable album sales, the Dead remained first and foremost a live act, and as their popularity grew across the world they expanded their touring schedule, taking to the road for much of each year. As more and more of their psychedelic-era contemporaries ceased to exist, the group continued attracting greater numbers of fans to their shows, many of them following the Dead across the country; dubbed "Deadheads," these fans became notorious for their adherence to tie-dyed fashions and excessive drug use, their traveling circus ultimately becoming as much the focal point of concert dates as the music itself. Shows were also extensively bootlegged, and not surprisingly the Dead closed out their Warners contract with back-to-back concert LPs -- a 1971 eponymous effort and 1972's Europe '72.


The latter release was the final Dead album to feature Pigpen McKernan, a heavy drinker who died of liver failure on March 8, 1973; his replacement was keyboardist Keith Godchaux, who brought with him wife Donna Jean to sing backing vocals. 1973's Wake of the Flood was the first release on the new Grateful Dead Records imprint; around the time of its follow-up, 1974's Grateful Dead From the Mars Hotel, the group took a hiatus from the road to allow its members the opportunity to pursue solo projects. After returning to the live arena with a 1976 tour, the Dead signed to Arista to release Terrapin Station, the first in a series of misguided studio efforts that culminated in 1980's Go to Heaven, widely considered the weakest record in the group's catalog -- so weak, in fact, that they did not re-enter the studio for another seven years.


The early '80s was a time of considerable upheaval for the Dead -- the Godchauxs had been dismissed from the lineup in 1979, with Keith dying in a car crash on July 23, 1980. (His replacement was keyboardist Brent Mydland.) After a pair of 1981 live LPs, Reckoning and Dead Set, the group released no new recordings until 1987, focusing instead on their touring schedule -- despite the dearth of new releases, the Dead continued selling out live dates, now playing to audiences which spanned generations. As much a cottage industry as a band, they traveled not only with an enormous road crew but also dozens of friends and family members, many of them Dead staffers complete with health insurance and other benefits.


Still, the Dead were widely regarded as little more than an enduring cult phenomenon prior to the release of 1987's In the Dark; their first studio LP since Go to Heaven, it became the year's most unlikely hit when the single "Touch of Grey" became the first-ever Dead track to reach the Top Ten on the pop charts. Suddenly their videos were in regular rotation on MTV, and virtually overnight the ranks of the Deadheads grew exponentially, with countless new fans flocking to the group's shows. Not only did concert tickets become increasingly tough to come by for longtime followers, but there were also more serious repercussions -- the influx of new fans shifted the crowd dynamic considerably, and once-mellow audiences became infamous not only for their excessive drug habits but also for their violent encounters with police.


Other troubles plagued the Dead as well: in July 1986, Garcia -- a year removed from a drug treatment program -- lapsed into near-fatal diabetic coma brought on by his continued substance abuse problems, regaining consciousness five days later. His health remained an issue in the years which followed, but the Dead spent more time on tour than ever, with a series of dates with Bob Dylan yielding the live album Dylan & the Dead. Their final studio effort, Built to Last, followed in 1989. Tragedy struck in October of that year when a fan died after breaking his neck outside of a show at the New Jersey Meadowlands; two months later, a 19-year-old fan on LSD also died while in police custody at the Los Angeles Forum.


As ever, the Dead themselves were also not immune to tragedy -- on July 26, 1990, Mydland suffered a fatal drug overdose, the third keyboardist in group history to perish; he was replaced not only by ex-Tubes keyboardist Vince Welnick but also by satellite member Bruce Hornsby, a longtime fan who frequently toured with the group. In the autumn of 1992 Garcia was again hospitalized with diabetes and an enlarged heart, forcing the Dead to postpone their upcoming tour until the year's end; he eventually returned to action looking more fit than he had in years. Still, few were surprised when it was announced on August 9, 1995, that Garcia had been found dead in his room at a substance abuse treatment facility in Forest Knolls, CA; the 53 year old's death was attributed to a heart attack.

While Garcia's death spelled the end of the Dead as a continuing creative entity, the story was far from over. As the surviving members disbanded to plot their next move, the band's merchandising arm went into overdrive -- in addition to Dick's Picks, a series of archival releases of classic live material, licensed products ranging from Dead T-shirts to sporting goods to toys flooded the market. Plans were also announced to build Terrapin Station, an interactive museum site. In 1996, Weir and Hart mounted the first Furthur Festival, a summer tour headlined by their respective bands RatDog and Mystery Box; in 1998, they also reunited with Lesh and Hornsby to tour as the Other Ones. In spirit if not in name, the Grateful Dead's trip continued on.