Posts Tagged ‘Jerry Garcia’

Garcia Songbook Live in Berkeley tonight (early show!)

Sunday, April 16th, 2023

Joe Craven, David Gans, Lorna Kollmeyer, Jeff Hobbs, Joe Kyle, Jr and special guest Mookie Siegel – telling the story in our own voice!

Sunday 4/16. Doors at 6, show at 6:30
Art House Gallery and Cultural Center
2905 Shattuck Avenue, Berkeley

Tickets are available here

Click here to hear our new studio recording of “Attics of My Life

Grateful Dead Hour no. 1704

Sunday, May 16th, 2021

Week of May 17, 2021

Part 1 34:58
Grateful Dead 4/1/80 Capitol Theatre, Passaic NJ

Part 2 20:56
Jerry Garcia Band, GarciaLive vol. 16 (Round Records)
Big Bill Broonzy, from Roots of Bob Dylan (Mojo)

GarciaLive vol. 16 is the complete JGB performance of November 15, 1991 at Madison Square Garden. Pre-order now at Garcia Family Provisions.

Support for the Grateful Dead Hour comes this week from KM Relief, offering CBD, made with Colorado hemp and all-natural ingredients. Caramels, topicals, tinctures, and more, all made with full-spectrum CBD for the most effective CBD experience.

Grateful Dead Hour no. 1361

Sunday, October 19th, 2014

Week of October 20, 2014

Part 1 31:45
Grateful Dead 9/20/82 Madison Square Garden, New York City

Part 2 24:15
Grateful Dead, Spring 1990 (The Other One) (3/18/90)

Jerry Garcia Band, GarciaLive vol. 5 (12/31/75)

I wrote the liner notes for the new GarciaLive release, 12/31/75 at the Keystone Berkeley. Very interesting show – Nicky Hopkins‘ last with the JGB. Greg Errico was the drummer on this gig, because Ron Tutt was with his other boss: Elvis Presley. Mickey Hart sat in on percussion; Matthew Kelley (Bob Weir’s Kingfish bandmate) played harmonica for most of the night and added a third guitar on one number late in the evening; and Bob Weir was on board for the second set.

Hopkins was a great musician. I highly recommend Julian Dawson‘s excellent biography, And On Piano… Nicky Hopkins. His health and substance problems made it impossible for the JGB to keep him on board – a damn shame in my opinion, because he and Garcia made beautiful music together. The two-CD set Let it Rock, recorded a few weeks earlier at the Keystone Berkeley, is a must-have for anyone who loves Garcia’s music.

Support for the Grateful Dead Hour comes this week from:

The Capitol Theatre in Port Chester, New York, a venue that hosted several 1970s rock bands like Grateful Dead, Pink Floyd, and Traffic. Phil Lesh and Friends will perform with both old and new friends for five consecutive weekends starting October 31. With a focus on community and a taste for musical exploration, the venue’s nightclub Garcia’s hosts local and national bands weekly. On October 23, Grateful Dead tribute band Terrapin performs. Events, information, and ticketing at

The Jerry Garcia Family and Round Records, announcing GarciaLive volume 5, the Jerry Garcia Band with the legendary Nicky Hopkins on piano and special guests including Bob Weir and Mickey Hart, recorded live at the Keystone Berkeley on New Year’s Eve 1975. You can pre-order your copy at

“Very Jerry III” benefit: the audio

Sunday, August 25th, 2013

Bob Cogswell recorded our tribute and benefit at the Ashkenaz on August 15. “Very Jerry III: It All Rolls into One.” Stream it and/or download it here, and if you would like to support the Ashkenaz Music and Dance Community Center, you can make a donation any time at

Performers include Henry Kaiser, David Nelson, James Nash, Jeff Pehrson, Shawn Persinger, Sycamore Slough String Band, Jenny Kerr, Jason Crosby, Joe Burke, Joshua Raoul Brody, Steve Kirk, Dave Jess, Eddie Berman, Phil Milner, Matt Twain, Mike Sugar, David Gans, Roger Sideman, and David Thom.

01-Terrapin Station->Attics of My Life->Row Jimmy
02-Changing the stage for the next acts
04-Shakedown Street->
05-Promised Land
06-Ship of Fools
07-New Speedway Boogie
08-Lazy River Road
09-Dire Wolf
10-Iko Iko
12-Oh Babe It Ain’t No Lie
13-Friend of the Devil
14-The Wheel
16-West LA Fadeaway
17-Nobody’s Fault But Mine
19-Viola Lee Blues->
21-The Eleven->
22-Viola Lee Blues
23-He’s Gone
25-Friend of the Devil
26-Deep Elum Blues
27-When Push Comes To Shove
29-So What
30-Willie and the Hand Jive
31-Scarlet Begonias
34-Edward (The Mad Shirt Grinder)
36-I Know You Rider
37-Casey Jones
39-US Blues

WYEP interview re Jerry Garcia

Saturday, August 10th, 2013

I did an interview with Joey Spehar on WYEP’s (Pittsburgh public radio station) Morning Mix on August 9, talking about Jerry’s musical and cultural legacy. It runs about 18 minutes and you can hear it here.

KPFA fund-raising auction update 1/21

Saturday, January 21st, 2012

This is the current status of all open auctions. Please click on each line to visit the individual posts, look at the items, and place your bids! Or use this tag to call them all up at once. Auctions close on February 1. Place your bid in the comments section of the post containing the image you want. More info on the February 4 marathon here.

Herb Greene (GD 1966) $275.00
Ed Perlstein (Jerry Garcia 9/12/81) $270.00
Robbi Cohn (Bob and Jerry 1987) $200.00
John Rottet (Bob Weir 3/31/94) – $30.00
John Rottet (Bob Weir 9/29/93) – $40.00
John Rottet (Jerry Garcia 4/30/81) – $33.00
John Rottet (Jerry Garcia 3/30/89) – $150.00
Rosie McGee (Mickey Hart 1985) – $100.00
Rosie McGee (Bill Kreutzmann 1985) – $15.00
Jon Sievert (David Grisman and Jerry Garcia 1991) – $200.00

The Attics of Our Lives: Posters and Art of the Grateful Dead Archive – $130.00
Dead Letters: The Very Best Grateful Dead Fan Mail – signed by the author and GDTS workers – $100.00

Audiophile playback software (for Mac):
Amarra MINI – no bids yet

Jon Sievert photo for KPFA auction

Thursday, January 12th, 2012

Jerry Garcia and David Grisman – photo by Jon Sievert
11×14, designed to be mounted on a 16×20 matt. Certificate of authenticity included.

Auction begins now and ends at noon PST on Wednesday, February 1. Bidding begins at $100. Bid by posting in the comments section below, and please keep coming back to top competing bids!

Proceeds go to KPFA

John Rottet photo for KPFA auction

Thursday, January 12th, 2012

Jerry Garcia 4/30/81 – photo by John Rottet
8×10, unmounted, signed by the photographer.

Auction begins now and ends at noon PST on Wednesday, February 1. Bidding begins at $25. Bid by posting in the comments section below, and please keep coming back to top competing bids!

Proceeds go to KPFA

John Rottet photo for KPFA auction

Thursday, January 12th, 2012

Jerry Garcia 3/30/89 – photo by John Rottet
8×10, unmounted, signed by the photographer.

Auction begins now and ends at noon PST on Wednesday, February 1. Bidding begins at $25. Bid by posting in the comments section below, and please keep coming back to top competing bids!

Proceeds go to KPFA

Jerry Garcia on Bob Dylan 1981

Wednesday, March 2nd, 2011

I’m posting this here so I can link to it from the Grateful Dead Hour archive page on DeadNet

Excerpt from Jerry Garcia interview w/ Blair Jackson and David Gans 4/28/81

David Gans: What was it like playing with Dylan [at the Warfield Theater in San Francisco on November 16, 1980]?

Jerry Garcia: I was surprised that the tunes were as difficult as they were. A lot of the tunes that he writes are deceptively simple-sounding, when in reality they’re not. There was really only maybe two or three of the five or six that I played on that I wasn’t doing anything besides trying to learn the tune.

David Gans: You had no rehearsal?

Jerry Garcia: Oh, no.

David Gans: He didn’t do any of your old favorites?

Jerry Garcia: One or two, but not many of them, and his versions are so different from my versions of his tunes –

David Gans: That pissed me off about him.

Jerry Garcia: What do you mean?

David Gans: I walked out on his show one night. It seemed like he’d just randomly rearranged his tunes–

Jerry Garcia: He’s got a perfect right to do that, don’t you think?

David Gans: Yeah! But I’ve got a perfect right to get pissed and leave, don’t I?

Jerry Garcia: Yeah, I suppose you do, if you’re gonna be that way about it.

David Gans: Well, I don’t usually do that.

Jerry Garcia: It depends on how recognizable they are. He mutilates, I must admit… But even so, I’m willing to give his license to do it. Certainly he can do it, even if no one else can.

David Gans: … But when Dylan came back with his Christian thing in ’80, I loved it because he looked happy and relaxed for the first time.

Jerry Garcia: That was nice.

David Gans: His lyrics got stupid, but his changes got good.

Jerry Garcia: That’s what I mean … musically, a lot started happening to him. The last time that he went through a scene of his songs going through a heavily melodic renaissance was like Blonde on Blonde, and that was really the influence of Robbie Robertson. A great example of that — you know the Planet Waves album? The two versions of “Forever Young”: the country-and-western version is Dylan’s version, and the slow version is Robbie Robertson’s version. So you can get some idea there of Robertson’s contribution to the songs on Blonde on Blonde. All those passing chords … the relative minor substitutions that sort of characterize those songs, the moving second lines that happen in them. All those things are signatures of that era of Dylan’s writing – the kind of melody which you hear but he doesn’t sing. There’s a melody to all those songs, like “Stuck Inside of Mobile With the Memphis Blues Again” – those songs all have this melody which you will hear in your head, but he doesn’t really sing. He really more speaks them, but the music so well frames them that there’s this melody that you imagine they have. I really think it’s a neat quality of his stuff.

It might be that he’s been working with someone as far as the arrangements of the tunes are concerned, the compositions or something like that, but I was surprised. That was what was interesting about playing with him: the tunes were difficult, man. Some of them were like – what? [Turning his head quickly as if it had already gone by]. The guys in the band were telling me that he changes them freely, and rehearsing is not necessarily security like in most situations, and then there’s this additional double- whammy that happens. When you’re playing with an artist who changes the material as you’re playing, you develop this deep-seated insecurity, because you have to pay attention all the time. You never know what’s happening; you don’t know whether a bridge is going to come up, whether he’s gonna use the same structure for whatever musical piece you’re about to enter. And the guys in the band were talking about how it works both ways with Dylan. They develop that insecurity because he performs them differently, and then he throws them further by then being consistent. It’s a very interesting space, something you can appreciate if you’ve had to work as a sideman. This peculiarity that some people have. For me, the closest thing to that is working with Hunter.

Working with Hunter – he is like a guy who’s not a musician, and not even particularly a performer, really.

David Gans: He drops beats all the time?

Jerry Garcia: Yeah, unconventional stuff, which is okay, all stuff that’s easy enough to accept. It’s that he has a way of doing it in a random sort of way, you know, and it gets to be non-repeatable. If you make an effort to memorize it, to regularize some aspect of it, you run into trouble. But I’ve gotten to be good at – we worked out a whole bunch of acoustic stuff which is never going to be released, unfortunately, earlier this year. That’s what I was doing in January and February of this year. We worked on a whole bunch of stuff that was supposed to be Hunter’s acoustic album…. A lot of the time spent was a matter of rehearings and training Hunter to do that. It was one of those things I don’t like to do to somebody, especially somebody who’s a collaborator and a friend, because it makes me feel like a cop, making them play the same thing over and over again. It’s one of those things that you try to temper in some way so that the person still has an opportunity to be spontaneous on some level and let something interesting and new happen, even if you’re making tapes.

Dylan apparently is really, really famous for that. Everyone I’ve ever spoken to who’s worked with him on sessions says you don’t get a second chance at anything, or sometimes you don’t get rehearsals.

Jerry Garcia: [Dylan’s songs] speak to some kind of universal persona which you can pretty clearly recognize. He hits a real good deep nail on the head in terms of writing songs about something.

Blair Jackson: You have any trouble singing a song as bitter as “Positively Fourth Street”?

Jerry Garcia: No, not at all. It’s easy for me to cop that asshole space, easy. I was that guy, too. There’s a certain kind of pose that that goes along with – there always were those people, in a way.
For me, it occupies the same space as “Ballad of a Thin Man.” It tells that person who’s lame that they’re lame, and why they’re lame, which is a very satisfying thing to do. Certainly something everybody knows about.

David Gans: He was good at that in that period.

Jerry Garcia: Yeah.

Blair Jackson: And later. Listen to “Idiot Wind.”

Jerry Garcia: Really. “Positively Fourth Street” has this way of doing it where it’s beautiful, too. And “It’s All Over Now, Baby Blue” is basically a putdown, too. It’s one of those things like, “you’re losing bad – dig yourself.” Being able to say that and say it beautifully – it was the beautiful sound of “Positively Fourth Street” that got to me more than the bitterness of the lyric. The combination of the beauty and the bitterness, to me, is wonderful. It’s like a combination of something being funny and horrible; it’s a great combination of two odd ingredients in the human experience. Anybody who can pull it off that successfully is really a score. That’s something that only Dylan has been able to pull off, in terms of modern songwriting.

This interview is included in my book Conversations with the Dead: The Grateful Dead Interview Book, which these days is available as an eBook and in paperback.

Deborah Koons Garcia on “The Garcia Tapes”

Friday, January 9th, 2009

Interesting essay on Jerry Garcia

Tuesday, November 11th, 2008

Mary Eisenhart passed this along.

Jon Reed Goes Off On: Jerry’s Dead

I sorta had to force myself to read past this line –

Jerry will never be able to tell us why his remarkable extended family couldn’t keep him away from the needle.

– but I’m glad I did.

Jerry’s creativity was like a Pandora’s Box to him – once he opened it up, he had to face the bad with the good.

Until we open our own Box and reckon with what’s inside, we sound pretty weak passing judgment on a man who has been brave enough to live out his deepest contradictions in the glaring eye of the public.

Bill Cutler’s “Starlite Jamboree”

Tuesday, October 21st, 2008

A lovely tribute to Jerry, with Jerry playing on it! From Bill Cutler’s CD Crossing the Line:

Garcia quote of the day

Thursday, July 31st, 2008

“The doctors said they’d never seen anybody as sick as me who wasn’t dead.” – Jerry Garcia 10/14/86, interviewed by Steve Marcus.

This interview will be broadcast on Sirius Satellite Radio at least once between August 1 and August 9. Probably more than once.

Here’s a bit of audio from that interview.

Bill Cutler interview on DeadNet

Monday, June 2nd, 2008

Blair Jackson’s excellent interview with Bill Cutler went up on DeadNet today. I’m a big fan of Bill’s CD Crossing the Line, and the story behind it is fascinating.