In Deadhead lore, 1990 is one of those special years. The band was in good shape, yes, but it was Jerry Garcia who was in the last great stretch of his life. Only a few years removed from a diabetic coma, Garcia had slowly worked himself back into form. He’d started eating right, kicked heroin and taken up a new hobby: diving in waters outside Hawaii.
It’s those islands which are featured on the new GarciaLive release. This May 1990 concert, the lone show Jerry Garcia played here with his solo band, offers a look at what made this year special: the chemistry between Garcia and both bassist John Kahn and organist Melvin Seals, the use of backing vocalists, and the slower pace, which gave Garcia room to explore during his solos.
The first set opens with a jaunty version of the old Marvin Gaye tune “How Sweet It Is (To Be Loved By You),” where Seals’ rips into a tasty organ solo and there’s a nice moment where him and Garcia trade leads. When Garcia takes to the microphone, he sounds charged up. It’s a vibe that continues the set, from the jagged rhythms of “They Love Each Other” and the way his guitar chugs along on “Tough Mama.”
But when Garcia changes pace, like on way he slows “Like A Road Leading Home” to almost a crawl, it’s also effective. On that song, he takes a bluesier approach to his solo, letting the notes hang and wringing the emotion out of them; with the backing choir and organ, he really cuts loose, making it into a powerful performance.
Later, the second set, Garcia really lets rip on “Tore Up Over You,” and there’s a similar moment. Here, he gets his band building up behind him as his solo keeps going on and on, the band pushing him further and further. It’s moments like that which keep Heads coming back to his music and remind you that when he was on his game, he was a tremendous guitarist.
Indeed, the second set is packed with interesting performances: a lengthy “The Harder They Come” and a rockin’ cover of Los Lobos’ “Evangeline,” suggesting Jerry Garcia was hardly sticking to oldies. And could bust out some tasty rock licks when the occasion warranted.
As was his wont with his solo band, the setlist is heavy on covers, especially in the second set. They show the range of Garcia’s influences and tastes: Motown next to Bob Dylan, Jimmy Cliff next to Bruce Cockburn. At this stage in his solo act, Garcia was less about proving himself as a musician outside of the Dead, but encompassing the range of American popular music. And showing how he could make everything his own.
Take, for example, his version of Cockburn’s “Waiting for a Miracle.” Where the original is a piano-driven slice of adult contemporary, Garcia makes it into something else. He layers his version with backing singers and Melvin Seals’ organ, giving it a vaguely gospel feeling, and adds plenty of space for to stretch out on his guitar. It’s not unrecognizable from Cockburn’s – who when I’ve seen him, tends to strip the song down to it’s bones – but also it’s distinctly Garcia.
Which is about as good a way as any to sum up this set. It’s a prime slice of Jerry Garcia from what many might consider his last peak, with Garcia in good spirits throughout. The setlist is similar to the earlier GarciaLive Vol. 2 release, but not identical, and there’s plenty of moments that Heads will enjoy. And as for everyone else? It’s a good gig, with plenty to love and a nice range of styles and material. Recommended.