jerry garcia band tour 1993

Wednesday, July 31, 2019

Jerry garcia band 15-show east coast november 1993 tour grabs $4 million.

Garcia Live Volume 11

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‘GarciaLive Volume 11’ To Feature Jerry Garcia Band’s 1993 Performance At Providence Civic Center

On Thursday, Round Records and the  Jerry Garcia  estate announced  that GarciaLive Volume 11 will arrive next month on July 12th, and will feature the Jerry Garcia Band ‘s November 11th, 1993 performance at the Providence Civic Center in Providence, Rhode Island.

Related: Grateful Dead ‘All The Years Live’ Video Series: “Reuben & Cherise” From Buckeye Lake 1991

The latest addition to the  GarciaLive album series will showcase what was the last-ever east coast run for the Jerry Garcia Band, and final show in Providence, RI for Garcia, who died less than two years later in August 1995. The 1993 tour from the main side project for the late Grateful Dead  co-founder featured a lineup that included keyboardist Melvin Seals , bassist John Kahn , drummer David Kemper , and backing vocalists  Jacklyn LaBranch and the late Gloria Jones .

The 13-track live album is set to feature performances of a mix of Jerry Garcia/ Robert Hunter originals including “Cats Under The Stars” and “Deal”, in addition to a mix of covers ranging from Bob Dylan ‘s “Simple Twist of Fate”, Van Morrison ‘s “He Ain’t Give You None”, The Beatles ‘ “Dear Prudence”, and Jesse Stone ‘s “Don’t Let Go”, to name a few.

One of the highlight live recordings to be featured on the album is the band’s rendition of Smokey Robinson ’s “When The Hunter Gets Captured By The Game”, which was only performed 13 times by the JCB in their 20-year career.

Listen to the recording of JCB performing Van Morrison’s “He Ain’t Give You None” as it appears on the forthcoming album below.

Jerry Garcia Band – “He Ain’t Give You None” – 11/11/1993

[Video: Jerry Garcia ]

Head to the Jerry Garcia website to pre-order the two-disc album prior to its arrival next month.

GarciaLive Vol. 11 Tracklisting

Disc One/Set One 1. “Cats Under the Stars” 2. “Mission in the Rain” 3. “That’s What Love Will Make You Do” 4. “Simple Twist Of Fate” 5. “Ain’t No Bread In The Breadbox” 6. “My Sisters And Brothers” 7. “Deal”

Disc Two/Set Two 1. “The Way You Do the Things You Do” 2. “He Ain’t Give You None” 3. “Dear Prudence” > 4. “When the Hunter Gets Captured by the Game” 5. “Don’t Let Go” 6. “Midnight Moonlight”

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Jerry Garcia Band - New York 1993

Jerry Garcia Band Madison Square Garden, New York, NY, USA - November 12, 1993

Todd Morrissey | Sunday, February 26th, 2023

Great show! Was a nightmare getting into the lot, as a Giants/Jets NFL game was letting out at the stadium!

Todd Morrissey | Thursday, November 10th, 2022

Boy was it hell getting into the lot that evening! There was a Giants Vs Jets game that day and traffic was fuuuuuuucked. Worth every white knuckled minute on the steering wheel though.

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Jerry Garcia: The Rolling Stone Interview

By Anthony DeCurtis

Anthony DeCurtis

T hey make an unlikely pair  — one portly, in a rumpled windbreaker, black T-shirt and jeans, the other painfully fit, impeccably turned out in an elegant silk jacket — but Jerry Garcia and Sting seem to have hit it off quite nicely. Not that they had exactly memorized each other’s musical catalog before Sting agreed to open a run of dates for the Grateful Dead during their summer stadium tour.

“I listened to American Beauty last night for the first time in 10 years,” Sting tells Garcia as the two men relax one evening in the bar of the Four Seasons Ritz Carlton Hotel in Chicago. “It was quite good. I liked ‘Friend of the Devil.’ And ‘Box of Rain.'” For his part, Garcia, after a stunning jam with Sting’s group during sound check at Soldier Field two days later, asks a bystander the title of one of the songs the band had played (“Walking on the Moon”) and which album it was on.

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An album of traditional children’s songs, Not for Kids Only , with mandolinist David Grisman is set to appear in September on Grisman’s label, Acoustic Disc. For a collaboration with the Redwood Symphony, with which his eldest daughter plays violin, Garcia is commissioning works for orchestra and guitar. Of course, the Jerry Garcia Band is a going concern, with an East Coast tour planned for November. And Garcia also hopes at some point to pull together another band, featuring Edie Brickell on vocals, for shows of entirely improvised music and lyrics.

Clearly, this is not a man who has run out of either energy, ideas or passion. But Garcia’s collapse from exhaustion in August of ’92 — and the consequent cancellation of a number of Dead shows — raised the specter of the diabetic coma that had nearly taken his life in 1986. Now he is back and leading the Dead through some of their best shows in years. He is also trying to change his life — cutting down on cigarettes, eating better, exercising some — motivated by his desire, eventually, to do everything . “I feel that I can honestly contribute something,” he says. And as you’ll see, he’s looking ahead well into the next century.

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Still? [ Laughs ] Really, still , in a way. It’s like I’m still sort of surprised by it. My older brother was a big influence — he was like four years older than me, so I listened to the music he listened to.

What kind of stuff? He was into very early rock & roll and rhythm & blues. I remember, like, the Crows, you know, “Gee.” Very early, before it actually started to become rock & roll. That tune, “Gee,” was sort of the borderline. It was basically black music, the early doo-wop groups. I love that stuff. Hank Ballard and the Midnighters were a big early influence for me. My brother would learn the tunes, we would try to sing them, and he would make me learn harmony parts. In a way I learned a lot of my ear training from my older brother.

What about bluegrass? When did you come to that? My grandmother was a big Grand Ole Opry fan. Now this is in San Francisco, a long way from Tennessee, but they used to have the Opry on the radio every Saturday night all over the United States. My grandmother listened to it religiously. I probably heard Bill Monroe hundreds of times without knowing who it was. When I got turned on to bluegrass in about 1960, the first time I really heard it, it was like “ Whoa , what is this music?” The banjo just . . . it just made me crazy. It was like the way rock & roll affected me when I was 15. When I was 15, I fell madly in love with rock & roll. Chuck Berry was happening big, Elvis Presley — not so much Elvis Presley, but I really liked Gene Vincent, you know, the other rock guys, the guys that played guitar good: Eddie Cochran, Buddy Holly, Bo Diddley. And at that time, the R&B stations still were playing stuff like Lightnin’ Hopkins and Frankie Lee Sims, these funky blues guys. Jimmy McCracklin, the Chicago-style blues guys, the T-Bone Walker-influenced guys, that older style, pre-B.B. King stuff. Jimmy Reed — Jimmy Reed actually had hits back in those days. You listen to that, and it’s so funky. It’s just a beautiful sound, but I had no idea how to go about learning it. When I first heard electric guitar, when I was 15, that’s what I wanted to play. I petitioned my mom to get me one, so she finally did for my birthday. Actually, she got me an accordion , and I went nuts — Aggghhh, no, no, no! I railed and raved, and she finally turned it in, and I got a pawnshop electric guitar and an amplifier. I was just beside myself with joy. I started banging away on it without having the slightest idea of . . . anything . I didn’t know how to tune it up, I had no idea. My stepfather tuned it in some kind of weird way, like an open chord. I thought: “Well, that’s the way it’s tuned. OK.” I played it that way for about a year before I finally ran into some kid at school who actually could play a little. He showed me a few basic chords, and that was it. I never took any lessons. I don’t even think there was anybody teaching around the Bay area. I mean electric guitar was like from Mars , you know. You didn’t see ’em even. During this time, too, I was going to the art institute on Saturdays and summer sessions — they had this program for high-school kids. So I was picking up that head. This was also when the beatniks were happening in San Francisco, so I was, like, in that culture. I was a high-school kid and a wanna-be beatnik! Rock & roll at that time was not respectable. I mean, beatniks didn’t like rock & roll.

You consciously thought that? Oh, yeah, even back then. I used to try to think of ways to make that work. I wanted to do something that fit in with the art institute, that kind of self-conscious art — “art” as opposed to “popular culture.” Back then, they didn’t even talk about popular culture — I mean, rock & roll was so not legit , you know. It was completely out of the picture. I don’t know what they thought it was, like white-trash music or kids’ music.

The Beats, though, not only played a role in opposing the dominant culture of the ’50s, but they helped in the transition from the ’50s to the ’60s, as you did with Ken Kesey and the acid tests and all that. Well, it was very resonant for me. The arts school I went to was in North Beach, and in those days the old Coexistence Bagel Shop was open and the Place, notorious beatnik places where these guys — Lawrence Ferlinghetti, Kenneth Rexroth — would get up and read their poetry. As soon as On the Road came out, I read it and fell in love with it, the adventure, the romance of it, everything. You’ve said that one of the reasons for the traveling culture surrounding the Grateful Dead is that it offers the possibility for the same kind of adventure that “On the Road” represents. I think it does. It is this time-frame’s version of the archetypal American adventure. It used to be that you could run away and join the circus, say, or ride the freight trains. One of the things that was fun about the early hippie scene was, all of a sudden all those people were around and you could meet them. I mean, Neal Cassady, meeting him was tremendously thrilling. He was a huge influence on me in ways I can’t really describe.

Like an attitude or . . .  Yeah, lots of things, though, kind of musical things in a way — rhythm, you know, motion, timing. I mean Neal was a master of timing. He was like a 12th-dimensional Lenny Bruce in a way, some kind of cross between a great stand-up comedian like Lenny Bruce and somebody like Buster Keaton. He had this great combination of physical poetry and an incredible mind. He was a model for the idea that a person can become art by himself, that you don’t necessarily even need a forum.

Did you ever get to meet Lenny Bruce? Yeah, very briefly. I worked for a secretary transcribing tapes of his performances for his trials. I learned so much about Lenny Bruce’s mind, because sometimes he was so methed out that he would condense like a paragraph into one word. This is after he stopped doing routines — he would just sit down and blow. He’d have like a Newsweek or a Time magazine, and he’d thumb through them, and whenever something caught his eye, he would just start riffing. I used to have to try to find the Newsweek . . . you know, go to the library — and sometimes it was so amazingly far-out, the way he would condense the whole sense of an article. I wasn’t close to him at all, but I did meet him some. A remarkable person.

One thing that’s coming up is a new Dead studio album that you’re writing songs for. How does your relationship with Robert Hunter work? Do you say to him, “These are the things that are on my mind,” or does he just give you lyrics? I don’t usually discuss content with Hunter — I discuss stuff like energy. Like I say, “We really need something that’s like a strong medium-tempo rock & roll feeling, a big idea.” Or sometimes I’ll say, “I’d like to do something that’s very intimate and personal.” Hunter knows me well enough that he can write me as good as I could ever hope to write myself. He knows the way my mind works. He knows what I’ll accept, that I have thresholds — like “This lyric is too silly, I can’t sing it.”

You’ll flat-out say that? Yeah, or, “This lyric exposes too much of something, and I don’t feel I can do that.”

Could you give me an example? One of the songs we wrote recently is called “The Days Between.” I had an idea there, it had to do with the length of the phrases and how I wanted the phrases to work. I had a hard time communicating it. But with Hunter, it’s a matter of finding the key. I’ll sort of scat-sing the way I want it to work . . .

Like a melody? Yeah. I always have the melody first. Well, that’s not true, but the melody is the first thing I try to evolve. Sometimes it starts with the lyrics. I’ll say, “I want these lines to rhyme and these lines not to rhyme.” I tell him where I want the stresses to be, where I want vowels to be, and so forth.

It’s that technical? You can’t hold a note if it’s a consonant, so if you’re going to have this long note in the melody, it has to be a vowel. You have to be that specific. Hunter and I have been doing this for a long time. We’ve discovered that — in the first three years — we wrote a lot of songs that you can’t sing. [ Laughs ] They were too rangy, and there was no room to breathe in them. And sometimes you accent things in a way that’s non-English, you know what I mean? Part of it is making it so that the musical syntax is the same as the linguistic syntax.

In “The Days Between,” there’s a lot of repetition of words — like “phantom” and “days” — that really adds to the song’s spooky, melancholic feel. The phantom thing was funny, because first that line went, “When ships with phantom sails set to sea on phantom tides.” I said, “I want it to be, ‘When something ships with phantom sails set to sea on phantom tides’ — I want another two syllables.” So Hunter came up with a bunch of things, but then he said: “What about phantom ? Use phantom again.” Yeah, right : “When phantom ships with phantom sails set to sea on phantom tides.” It worked perfectly. It has this ghostly, hollow quality — it’s skeletal. So singing that song is like, oooh , it works for me. I get chills. It’s that happy marriage of setting and sense. Hunter — he’s so good at that. We’re really hitting some nice spaces lately.

The other two new songs you’re been playing, “Lazy River Road” and “Liberty,” both also have a real distinctive feel. We have a few more on the rails that are not ready to be performed. I’d like to spit out another five or six tunes this year, and hopefully that’ll happen. Really, it’s pretty easy — all Hunter and I have to do is get together. I find it hard to write without being in his presence, but when we’re together, it starts snapping. But it’s also the hardest thing to do, because writing music is probably my least favorite thing in the world. I mean I’d rather … you know, throw cards in a hat. Anything. Anything is more interesting than the idea of writing.

That makes sense, because live performance has been so much more important than recording for the Dead. Real important.

So what does a studio album mean for the band now? I can’t encompass it with my point of view, because it usually isn’t made up of just my material — it’s made up of all of our material. The material has to speak to us, you know — “This album seems to be going in this direction, or it contains these elements,” and then you try to see if you can sew it together. The basic odyssey format or variety show, you know. Something rubbery like that usually is best because it’s tough to get everything under the same umbrella. Sometimes the sound of it will be the unifying feature. Sometimes it’s not there at all.

Are all of you in compatible spaces as far as this upcoming particular album is concerned? I think so. It used to be wildly different. If you checked on each of us about what our version of Grateful Dead music was, it used to be way different from each other. We’re all sort of looking at the same thing now — kind of. I mean, each person still sees it through his own frame of reference, but that’s what Grateful Dead music is, you know: Grateful Dead music is a holographic experience. It’s made up of the points of view of all of the members of the band; consequently, every angle that you look at it from, it’s different. And a lot of times, it’s unpredictable. That’s one of the things that makes it interesting to keep doing. The way we’re approaching this album, and we’ve done it in the past, too, with our better albums, is to let the material live onstage for about a year. It starts to evolve into something different. I mean, it’s probably a way of saying, “This is a collaborative effort.” Even though, say, Hunter and I write some of the actual songs, the way they end up and the whole presentation is really a collaborative effort. The whole Grateful Dead makes the music, you know. The writers don’t do arrangements. The Grateful Dead is kind of an arrangement machine, and the arrangements are, by their nature, surprising. I almost never can predict what the band’s going to do in any given situation. And it took a long, long time to realize that I’m not always right , you know [ laughs ].

Is this possible? It’s a tough thing to admit. My point of view really is, musically speaking, sort of conservative. I’m like a little on the . . . maybe a little stodgy, you know. Slightly.

How do you perceive your various musical relationships — the Dead, your band, your projects with David Grisman? Do they merge, or are they clearly compartmentalized in your mind? They do bleed into each other, but that’s OK. I don’t prevent that from happening. But I do try to keep them separate, because I love them for reasons of their own. I like their identities to be clear.

What are the differences? The Garcia Band really reflects my musical personality. The people in that band think — musically, conceptually — the way I do. Their notion of the way the instruments should speak to each other — I don’t have to show anybody anything. When we work out a tune, all I have to do is say: “Here’s the tune. Here’s the changes. Here’s the chords” — and it just happens. And it happens perfectly . It happens better than if I told everybody, “This is exactly what I want you to play.” I mean, that band, to me, is total resonance. It’s consonance. It’s like — yes, yes , that’s my version of music! The Grateful Dead has more dissonance in it. It has more variables and more wild cards and more oddness. And it has more tension, too. I mean, to Grateful Dead fans, my band might be a little bit too agreeable. Grisman is a very rigorous musician. He likes to rehearse and get things down perfectly. He’s a master of detail. I’m not those things, but we balance each other out. I’m loose enough to loosen him up, and he’s tight enough to tighten me up. We also share a love for American traditional music, for bluegrass and for acoustic music. And for swing. Me and David are working on a children’s album right now. It’s something I never would have thought to do. It’s kind of a reaction to the revisionist approach to children’s songs.

Like what? Well, there are these shows that have the old children’s songs, but they’ve rewritten the lyrics to make them tamer or more gentle. It’s infuriating because these songs are part of the oral tradition of America. A lot of them are perfectly lovely. Some of them have teeth, but, hey, so what? I mean, kids get enough mindless, senseless stuff. So we’ve gone poking around in some mountain music and traditional stuff for children’s songs that don’t want to be changed. We’d like to introduce them to the kids the way they are and let them be. We’ve been taking a real simple and spontaneous approach — just picking and singing, you know. This music should be heard. It’s part of our heritage.

A friend mentioned to me that he had discovered Merle Haggard through the Dead, and on your solo albums you’ll cover everyone from Smokey Robinson to Irving Berlin. It’s all good shit. I believe that a good song is a good song. My great experience in these last couple of years was Steve Parish, my road guy, his second cousin was Mitchell Parish, the guy that wrote the lyrics to “Stardust.”

Oh, you’re kidding. I got to hang out with him, 92 years old. I hung out with him like five or six times — good hangouts, you know. He was so fun. He was like the book , you know. He wrote “Deep Purple,” “Sweet Lorraine,” some of the most incredible songs that were written in this century. “ Stardust ,” for Christ’s sake! “Sophisticated Lady,” I mean, God — what a guy. Getting to know him was an incredible experience. When he died this last year, it was a crusher. I really wanted to write a song with him.

With your health problems, were you concerned that you might never get to do all the things you’ve been talking about wanting to do? Absolutely. I was getting to the place where I had a hard time playing a show. I was in terrible fucking shape. I mean I was just exhausted, totally exhausted. I could barely walk up a flight of stairs without panting and wheezing. I just let my physical self slide as far as I possibly could.

Did you deny to yourself what was happening? Oh, yeah, because I’m basically a lazy fuck. Things have to get to the point where they’re screaming before I’ll do anything. I could see it coming, and I kept saying to myself: “Well, as soon as I get myself together, I’m going to start working out. I’m going on that diet.” Quit smoking — ayiiiiii [ waves lit cigarette ]. In a way I was lucky, insofar as I had an iron constitution. But time naturally gets you, and finally your body just doesn’t spring back the way it did. I think it had to get as bad as it did before I would get serious about it. I mean, it’s a powerful incentive, the possibility that, hey, if you keep going the way you are, in two years you’re going to be dead. But I definitely have a component in my personality which is not exactly self-destructive, but it’s certainly ornery. There’s a part of me that has a bad attitude . It’s like “ Fuck you,” you know? [ Laughs ] “Try to get healthy” — “Fuck you, man.” And I mean, part of this whole process has been coming to terms with my bad-attitude self, trying to figure out “What does this part of me want?”

What about in terms of the Dead? Were there times when the band was discouraged about its future? Well, there were times when we were really in chaotic spaces, but I don’t think we’ve ever been totally discouraged. It just has never happened. There have been times everybody was off on their own trip to the extent that we barely communicated with each other. But it’s pulses, you know? And right now everybody’s relating pretty nicely to each other, and everybody’s feeling very good, too. There’s a kind of healthy glow through the whole Grateful Dead scene. We’re gearing up for the millennium.

Oh, yeah? What’s the plan? Well, our plan is to get through the millennium [ laughs ]. Apart from that, it’s totally amorphous.

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Are you concerned about what you’d leave behind? No. I’m hoping to leave a clean field — nothing, not a thing. I’m hoping they burn it all with me. I don’t feel like there’s this body of work that must exist. I’d just as soon take it all with me. There’s enough stuff — who needs the clutter, you know? I’d rather have my immortality here while I’m alive. I don’t care if it lasts beyond me at all. I’d just as soon it didn’t.

Maybe it will just scorch in 2012. Yeah, I’m hoping that the transformations will make all that — everything  — irrelevant. We’ll all just go to the next universe as pure thought forms — wowwwnnnng . Yeah.

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Jerry Garcia Band, Spectrum, Philadelphia (US) - Nov 16, 1993

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Jerry garcia posthumously returns to the charts.

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Jerry Garcia of the Grateful Dead performs at Cal Expo Amphitheatre on August 14, 1991 in ... [+] Sacramento, California. (Photo by Tim Mosenfelder/Getty Images)

It’s been almost 30 years since Jerry Garcia’s passing. The rocker’s following remains dedicated to him and the music he recorded during his lifetime–and there is certainly a lot of it. Just like the Grateful Dead, of which he was a member, the group’s archives are massive, and new projects from the band are released fairly regularly.

Yet another live recording from Garcia–this time via his Jerry Garcia Band–dropped recently, and fans snapped it up, as they always do. Their love brings Garcia and his namesake group back to at least one Billboard chart, adding yet another posthumous win to the musician’s legacy.

GarciaLive, Volume 21: February 13th, 1975, Keystone, Berkeley, CA debuts at No. 43 on this week’s Top Album Sales chart. The set sold just over 3,100 copies in the past tracking period, according to numbers shared by Luminate.

The Jerry Garcia Band earns their first new win on the Top Album Sales chart of 2024 with this latest release. While they’ve been broken up for decades, they’re one of a handful of names who frequently score new hits on several Billboard tallies with retrospectives, live recordings, and box sets fairly regularly.

Last year, the Jerry Garcia Band debuted two titles on the Top Album Sales chart. They also saw their full-length How Sweet It Is… rise to a new best showing of No. 30.

2022 was even busier for the defunct rock outfit. That year, the Jerry Garcia Band earned four new hits on the Top Album Sales chart. The highest-rising of the bunch was Ragged But Right , which rose to No. 2 in July.

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The Jerry Garcia Band has now accrued at least 35 placements on the Top Album Sales chart, though their actual count may be higher. GarciaLive, Volume 21 is one of 14 debuts on the list this time around, and it’s the lowest-ranking of the bunch. The jammers are joined by names like Paul McCartney, David Bowie, and Luke Combs, among others.

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• November 15, 1993 Setlist

Jerry Garcia Band Setlist at Centrum in Worcester, Worcester, MA, USA

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Tour: Fall Tour 1993 Tour statistics Add setlist

• How Sweet It Is (To Be Loved by You) ( Marvin Gaye  cover) Play Video
• And It Stoned Me ( Van Morrison  cover) Play Video
• Get Out of My Life, Woman ( Allen Toussaint  cover) Play Video
• Simple Twist of Fate ( Bob Dylan  cover) Play Video
• Lay Down Sally ( Eric Clapton  cover) Play Video
• Like a Road Leading Home ( Albert King  cover) Play Video
• Deal ( Jerry Garcia  song) Play Video
• Shining Star ( The Manhattans  cover) Play Video
• Waiting for a Miracle ( Bruce Cockburn  cover) Play Video
• Think ( Jimmy McCracklin  cover) Play Video
• Rubin and Cherise Play Video
• Gomorrah Play Video
• Midnight Moonlight ( Old & In the Way  cover) Play Video
• The Maker ( Daniel Lanois  cover) Play Video

Edits and Comments

19 activities (last edit by event_monkey , 23 Apr 2024, 09:39 Etc/UTC )

Songs on Albums

• And It Stoned Me by Van Morrison
• Deal by Jerry Garcia
• Get Out of My Life, Woman by Allen Toussaint
• How Sweet It Is (To Be Loved by You) by Marvin Gaye
• Lay Down Sally by Eric Clapton
• Like a Road Leading Home by Albert King
• Midnight Moonlight by Old & In the Way
• Shining Star by The Manhattans
• Simple Twist of Fate by Bob Dylan
• The Maker by Daniel Lanois
• Think by Jimmy McCracklin
• Waiting for a Miracle by Bruce Cockburn
• Rubin and Cherise

Complete Album stats

Jerry Garcia Band

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Jerry Garcia Band Gig Timeline

• Nov 12 1993 Madison Square Garden New York, NY, USA Add time Add time
• Nov 14 1993 Onondaga War Memorial Auditorium Syracuse, NY, USA Add time Add time
• Nov 15 1993 Centrum in Worcester This Setlist Worcester, MA, USA Add time Add time
• Nov 16 1993 Spectrum Philadelphia, PA, USA Add time Add time
• Nov 18 1993 Richmond Coliseum Richmond, VA, USA Add time Add time

6 people were there

• CARLITOSSWAzE
• mrbadexamplez
• theSelective1

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Tour Update

Marquee memories: pond.

• Jun 29, 2024
• Jun 28, 2024
• Jun 27, 2024
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