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Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt
Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt

Grateful Dead - Old Dead Head 72Ā“ - Kids Sweatshirt

Regular price $42.77 Sale

If you are looking for cool kids sweatshirt designed by Grateful Dead "Store Your Face" you have come to the right place! The sweatshirt is available in 10 colors and five sizes from Extra Small to Extra Large. The print is on the back side of the sweatshirt. We are convinced that you will be satisfied with this purchase šŸ˜‰

About the product:

Ā  XS S M L XL
Width, in 14.17 15.35 17.32 19.29 21.26
Length, in 16.54 18.50 20.47 22.44 24.41
Sleeve length, in 13.39 15.35 17.32 19.29 21.26

A kids sweatshirt has quality construction - demonstrated by the tight seams, neck taping, and ribbed-knit collar. The fabric holds up to printing well. This makes for a solid year-round customization opportunity. These items are available in a variety of colors. The custom kids sweatshirt is a chance to display personalization at any time.

.: 80% Cotton 20% Polyester
.: Medium Heavy fabric (9.9 oz/ydĀ² (280 g/mĀ²))
.: Stylish Fit
.: Tear away label
.: Runs true to size

Three Essential Grateful Dead Shows

Winterland, San Francisco
March 18th, 1967
Warner Bros. Records released the Deadā€™s debut album,Ā The Grateful DeadĀ ā€“ a sonically brittle, high-speed version of the groupā€™s stage act and songbook ā€“ on March 17th, 1967. That evening and again on the 18th, the Dead opened forĀ Chuck BerryĀ at Winterland, performing much of that recordā€™s material on the second night with more natural vigor and plenty of room for Garcia to go long and bright on lead guitar. His fusion of folk guitar and bluegrass facility with blues language and Indian modality, shot forward in a clean, stinging treble, is on dynamic display in a rightly extended ā€œCream Puff Warā€ (cruelly faded out after two minutes on the LP), Martha and the Vandellasā€™ ā€œDancing in the Streetā€ and the Deadā€™s signature rave-up on ā€œViola Lee Blues,ā€ originally cut in 1928 by Cannonā€™s Jug Stompers. Also note the thrilling, slippery surge underneath ā€“ bassistĀ Phil LeshĀ and drummer Bill Kreutzmann pushing and tugging at the beat ā€“ as Garcia affirms his nickname, ā€œCaptain Trips,ā€ overhead.

Ā 

The Matrix, San Francisco
December 1st, 1966
In late 1966, more than a year into their evolution,Ā the Grateful DeadĀ were still in the early stages of their psychedelia: an acid-dance band with bar-band aggression, tripping in its jams but just starting to write and largely reliant on folk and blues covers. These three sets at the Matrix ā€“ a club founded byĀ Jefferson Airplaneā€˜s Marty Balin ā€“ catch the original quintet in primal, exuberant form, slipping early originals such as ā€œAlice D. Millionaireā€ (a pun on a newspaper headline after Owsley, the bandā€™s sound man and resident chemist, was busted) amid R&B-party favors (the Olympicsā€™ 1960 hit ā€œBig Boy Peteā€) and future cover staples including the traditional ā€œI Know You Riderā€ and John Phillipsā€™ ā€œMe and My Uncle.ā€ In a spirited thrashing of ā€œNew Minglewood Blues,ā€ guitaristĀ Bob WeirĀ sings like a hip, brash kid, which he was (Weir had recently turned 19). ā€œWelcome to another evening of confusion and high-frequency stimulation,ā€Ā Jerry GarciaĀ announces in the first set. The long, strange trip was under way.

Ā 

Dance Hall, Rio Nido, California
September 3rd, 1967
Time was an elastic concept on a Grateful Dead stage ā€“ a song ended only when every possibility embedded in the structure and set loose by the groupā€™s improvising empathy was tested and fulfilled. Lesh thought enough of this nightā€™s 31-minute stretching ofĀ Wilson Pickettā€˜s ā€œIn the Midnight Hourā€ ā€“ most of it given to Garcia and organist Ron ā€œPigpenā€ McKernanā€™s hard-lovinā€™ vocal charm ā€“ to include it on his 1997 live anthology,Ā Fallout From the Phil Zone. ā€œSongā€ is a loose word here: Choruses and chord progressions are departure points. ā€œViola Lee Bluesā€ is epic, rude hypnosis, twice the length of the version onĀ The Grateful Dead. The accelerating instrumental break is a glorious connected fury ā€“ five voices racing in parallel but jamming as one. The long, early roll on ā€œAlligator,ā€ a chugging, spaced-blues feature of 1968ā€™sĀ Anthem of the Sun, was further evidence that the Deadā€™s rapidly advancing idea of dance music on that album ā€“ a combination of acid, freed rhythm and no fear ā€“ was on its way.

Ā 

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