1990 dead tour

20 Years Later: The Ten Best Grateful Dead Shows of 1990

Twenty Years ago, the Dead could be found closing out a six-night-run at Madison Square Garden that included some of the top performances of the year. Following a creative resurgence that began in ’89, the Dead played through 1990 with a rediscovered sense of inspiration that frequently allowed their music to reach higher levels. After a series of outstanding fall performances up the East Coast, the Dead returned to Europe for a very successful run of shows that allowed many fans the chance to witness the band in small halls for the first time in years. Tragedy would strike the band, yet again, following the death of Brent Mydland in July of 1990 forcing the band to embark down a new musical path aided by the help of Vince Welnick and Bruce Hornsby.

This list presents, in chronological order, the most memorable Grateful Dead performances from last year.

1) Capital Centre, Landover, Maryland, March 16 Featuring the long-overdue return of “Black Throated Wind,” the first set also closed powerfully with “Bird Song” followed by “Blow Away.” Now how about bringing back “Here Comes Sunshine” ?

2) Nassau Coliseum, Uniondale, New York, March 28 This interesting show featured the premiere of the Dead’s rendition of the Band song “The Weight.” This song was on many people’s list of cover tunes they would like to see the Dead play, and they were not disappointed. Note especially Phil’s turn to sing lead. Great stuff.

3) Nassau Coliseum, March 29 The much heralded guest appearance of jazz great Branford Marsalis on saxophone truly energized the band. The “Eyes of the World” made it to the live album Without a Net (as did other songs from this three-show run in Nassau), but it is in the versions of “Bird Song” and “Dark Star” that the improvisations really shine.

5) World Music Theatre, Tinley Park, Illinois July 23 Brent’s last show. Still singing and playing well until the end, Brent performed “Never Trust A Woman” on this night, and one song during each of the other two shows of this run. There was no sign of the tragedy that was to come. An era came to a close to soon. Brent, we miss you.

6) Madison Square Garden, New York City, September 19 With Vince Welnick and Bruce Hornsby recently joining the Dead (ingenious attempt to beat the keyboardist jinx by having two at once), the Dead’s sound is, as it had to be, drastically different. Attempting to replace what had become an important part of the Dead’s sound (both Brent’s sung harmonies and his keyboard leads and fills) has taken the band in a whole new direction, as was necessary. This show is an example of the incredible progress that this new configuration has made in a very short time. Note especially the jams during “Slipknot” and “Franklins Tower” (especially Hornsby’s fine jazzy piano rolls). Given time, this version of the Dead will certainly reach new heights of excellence.

7) Madison Square Garden, September 20 “Dark Star,” its two verses buttressed around an oddly placed “Playing In The Band” reprise, shows the new Dead playing well and taking chances. The quality of the play here shows why they were able to break out this segue with confidence.

8) I C C, Berlin, Germany, October 20 If the Berlin Wall had not come down already, this show may have done the trick, featuring more top-rate piano play from Bruce Hornsby (note the solo leading from “Let It Grow” ).

9) Wembley Arena, London, England, October 31 A solid show, noteworthy for a strong first set and a playful, now standard for Halloween, “Werewolves Of London.”

10) Wembley Arena, November 1 The “Playing In The Band” /" Dark Star" sandwich (first verses before drums, second ones after space) threatens to become a segue of choice, and is continuing evidence of the progress of the latest orientation of the Dead.

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Exclusive: Grateful Dead Commemorate Peak Shows With ‘Spring 1990’ Box Set

By David Fricke

David Fricke

On March 14th, 1990, the Grateful Dead opened a six-city, 16-show tour at the Capital Centre in Landover, Maryland. Singer-guitarist Bob Weir remembers that sprint as “the high point of that era.” The following July, keyboard player Brent Mydland suffered a fatal drug overdose. In August 1995, lead guitarist Jerry Garcia died of a heart attack, effectively ending the band.    

But in the spring of 1990, Weir contends, “We were hot, feeling our oats and surprising each other on stage. The jams had personality and space. We were in good shape and had nothing better to do than get down on the music.”

The proof officially arrives on September 1st in an 18-CD box, Spring 1990 , released by Rhino and available for pre-order at dead.net . The set, limited to 9,000 copies and costing $199.98, features six complete concerts, one from each venue on that tour, with deluxe packaging and a 60-page hardcover book. The shows in Spring 1990 will not be sold individually, but Rhino is also issuing a two-CD compilation drawn from the box.

Aside from a few tracks from a date in Albany, New York, the shows are previously unissued, and the set lists cover the Dead’s lifetime to that point, from “Morning Dew” on their 1967 debut LP to “Picasso Moon” from 1989’s Built to Last .  “The improvising is great,” says the box’s producer, Dead archivist David Lemieux , who saw 10 shows on the tour as “a 19-year-old Deadhead.” But what distinguishes Spring 1990 “is how the Dead play smaller songs like ‘Big River’ with such furious energy – and nailing it.”

Weir and drummer Mickey Hart spoke about the new box and that tour for a story in the new issue, on newsstands Friday, August 3rd. Here is more from those conversations.

How would you describe Garcia’s health at the time of the shows in this set? He’d been through the coma in 1986, but his playing is strong and focused on this tour. Bob Weir: He was eating well. He was off the Persian. And he was living life to the fullest, at least for him. For instance, he took up scuba diving. He insisted that I join him in Hawaii, so he could show me around down there. He was loving life and having a good time. He was out of the darker bag he’d been in.

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There is an energy and love of performing, a spirit of continuing renewal, in these performances, in the way you cover the band’s whole life on record in the set lists and in the Traffic and Band covers you added to the rotation. Weir:  A lot of those songs were actually broken out the night they were delivered on stage. I remember the Paul McCartney tune, “That Would Be Something” [from 1970’s McCartney ] – we were in a jam one night, and that just came out. [The Rolling Stones’] “The Last Time” and [Spencer Davis Group’s] “Gimme Some Lovin'” came back around the same way.

We were real open, so it wasn’t hard to hear suggestions, either in the back of your head or in what someone else was playing, that would take us to a new place. There were a lot of jams that were one of a kind, with their own personality and space. It was a hopping era for us.

How much did your 1987 tour with Bob Dylan expand your covers repertoire? Folk and blues standards were always vital to your shows, but did working with his catalog open you up to that classic era of rock songs? Weir:  Touring with Dylan reminded us that within the song there is a poem. And within the poem, there is a character telling the story. And that’s where the song lives. There is a kernel of something that is bigger than the notes, bigger than the poetry. And that is the song. Our tour with Dylan reawakened us to that notion. We took the bit and ran with it.

There is a stunning momentun and consistently high quality to the shows from this tour, which is regularly cited by Deadheads as one of your best. Yet by mid-summer, Brent Mydland was dead. What changed? Weir:  Probably chemicals. I think it was getting too much for Brent. When I first met Brent, he was a temperate, modest soul. Inside the Dead, the enormity of that endeavor proved to be too much for him. When we got to this peak in the spring of 1990, things were going almost too well. It was straight-up too much too soon for him, even though he had been in the band 10 years. He was living on brinksmanship. It was as if he became a victim of his own success.

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Next: Mickey Hart: “We were energized by our hit – and reacting against it.”

The Spring 1990 tour marked your 25th anniversary as a working group. Yet you were playing at a higher rate of excellence and adventure than a lot of bands half your age. Mickey Hart: With In the Dark , we had to start defending the shows. People were breaking in. It was 50,000 people inside, 50,000 outside. There was a lot of pressure on us to keep the peace. But it was hot on all fronts – the band was in a good playing place. Brent was really cranking, and we were bringing a lot of the old stuff out – “Death Don’t Have No Mercy,” “Attics of My Life.” There was no pressure to reinvent. We were just being the Grateful Dead . And Jerry was feeling good.

Your “Drum” spot with Bill Kreutzmann was an established part of the shows but also a place where anything could happen. How much did you and Bill talk about what to play – and what was new to do? Hart:  We never did. That was one of the rules of “Drums” and “Space.” It was a place we left barren as far as talking about or arranging anything. Sometimes we’d have fun with stuff. If we were in Las Vegas, I’d sample the slot machines and make that part of it. It was a surprise to Bill, and we’d both react on it.

We’d play with the band all night on drums, so we were anxious to get off to a new space, like open-field running in football. It was the place where you could take a deep breath, relax and create something in the moment, as opposed to recreating something and embellishing it, which is what jamming [on a song] is all about. This was making it happen in the moment.

In the first show in this box, at the Capital Centre, you play the hit single “Touch of Grey” right away: second song, first set, as if to say, “Let’s get this out of the way.” Hart:  [ Laughs ] Yeah. Everybody wanted us to play it, Clive [Davis, Arista Records president] and all. In good old Grateful Dead spirit, we were like, “No, man, we’re not gonna be that band that goes out and plays its hit. That’s so lame.” The most important thing was to be the Grateful Dead.

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But this Spring 1990 set is significant in that previous tour boxs, like the complete Europe ’72 suitcase, covered older, historical eras. This one shows the Dead in their adult prime – still relevant and charged fairly late in your history. Hart:  The Grateful Dead meant a lot to us. It was everything. And to let it go, to peter out after all we’d been through, was unthinkable. We had a burst of energy around that time, because of the hit. A hit brings a whole bunch of energy, negative and positive. The kids breaking down the stadium doors – they almost killed what they loved the most. They almost put us out of business.

But that created an energy that we transferred into the music. We were energized by that hit – and reacting against it. The hard thing is, as [Ken] Kesey said, to stay within your own movie. We were able to do that on this tour.

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30th Anniversary of The Grateful Dead’s Spring ’90 Tour: The Omni, Atlanta, GA 4/3/90

• By Dave Goodwich
• No Comments

April 3, 1990 – The Omni, Atlanta, GA

After 16 shows and nearly 2200 miles traveled, including a couple of harrowing Canadian border-crossings, the Grateful Dead’s celebrated 1990 Spring tour finally came to an end in the “Big Peach.” As we’ve stated ad nauseam over the past few weeks in this series of superlative-laden articles, this tour had it all . Bustouts and rarities? Check. A legendary guest appearance? Check. Incredibly focused & cohesive playing on a consistent basis? Check. Plenty of Brent Mydland? Check and check again.

Considering the Dead played thousands of shows over their 30-year history, the fact that band members still regularly look back at this era – and specifically this tour – as one of the group’s greatest speaks volumes to just how remarkably profound this run of shows was. Referring to this tour as the “high point of that era”, Bob Weir reflected on this time-period during a 2012 interview with Rolling Stone . “We were hot, feeling our oats and surprising each other on stage. The jams had personality and space. We were in good shape and had nothing better to do than get down on the music…We were real open, so it wasn’t hard to hear suggestions, either in the back of your head or in what someone else was playing, that would take us to a new place. There was a lot of jams that were on of a kind, with their own personality and space. It was a hopping era for us.”

Though, perhaps Mickey Hart summed it up best during the same Rolling Stone interview: “The Grateful Dead meant a lot to us. It was everything. And to let it go, to peter out after all we’d been through, was unthinkable. We had a burst of energy around that time, because of the hit [“Touch of Grey”]. A hit brings a whole bunch of energy, negative and positive. The kids breaking down the stadium doors – they almost killed what they loved the most. They almost put us out of business. But that created an energy that we transferred into the music. We were energized by that hit – and reacting against it. The hard thing is as [Ken] Kesey said, to stay within your own movie. We were able to do that on this tour.”

While this final show does contain some seemingly tired vocals from Garcia – completely understandable after a grueling three weeks on the road – it still features plenty of inspired playing throughout from all six members. Opening things up with an energetic combo of Garcia’s funky “Shakedown Street” and Weir’s Harley Davidson-inspired rocker “Hell in a Bucket”, the band steamrolls their way through the remainder of the first set, including strong versions of “Sugaree”, “Tennesse Jed”, and Chuck Berry’s “Promised Land.”

The spring’s closing set begins with another unusual sequence, this time consisting of “Estimated Prophet->Scarlet Begonias->Crazy Fingers”, before Weir’s exploratory “Playing in the Band” leads into the run’s final “drums & space” segment. One of the last ever performances of Mydland’s lullaby “I Will Take You Home” materializes out of “Space” before the set concludes with a murderer’s row of “Goin’ Down the Road Feelin’ Bad”, “Throwing Stones” and “Not Fade Away.” The band returned for an a capella rendition of “And We Bid You Goodnight”, a fitting end to one of the most transcendent tours in Grateful Dead history.

“Hell in a Bucket”: Introduced at a 1983 concert, and later recorded on In The Dark , this Bob Weir/John Barlow rocker was played over 215 times, often as a welcome show-opening jump starter. Full of some rather risqué lyrical allusions, the 1987 studio version was accompanied by a brilliant music video featuring a duck who likely has a drinking problem along with Phil Lesh dressed like some sort of terrifying S&M magician. Tonight’s powerful rendition features driving bass lines from Lesh underneath of Weir’s apoplectic vocals. 

“Sugaree”: Based off of Elizabeth Cotton’s “Shake Sugaree”, this wistful Garcia/Hunter ditty was ultimately one of Jerry’s signature songs, with just under 360 performances between 1971-1995. “Sugaree” also made several appearances in the guitarist’s solo projects as a surprise – but welcome – inclusion throughout the mid-70’s and early-80’s. This version is a typically high-energy late-era affair with some searing lines from Garcia during the instrumental passages. 

“Throwing Stones” & “Not Fade Away”: This dichotomous duo, featuring a pair of songs from two entirely different generations, was ultimately performed nearly 170 times after they were first joined together in 1982.

“Not Fade Away”, written & recorded by Buddy Holly and producer Norman Petty in 1957, was never a big hit for Holly, only appearing as a B side opposite his vastly more popular “Oh Boy.” While the Dead introduced this number in 1968, it wasn’t until 1970 that the song truly came into its own when it was paired with the traditional “Goin’ Down the Road Feelin’ Bad” as part of a formulaic – yet explosive – medley. The song’s format gradually tightened up throughout the 80’s, and infamously adopted a tribal call-and-response sequence with the audience which produced dozens of genuinely goose bump-inducing moments as entire arenas & stadiums would loudly affirm “You know our love will not fade away” in unison. 

The overtly political Barlow-penned “Throwing Stones” was ultimately one of Weir’s more popular and enduring numbers with nearly 270 total performances through 1995. The rhythm guitarist discussed its meaning during a 1985 interview. “The world isn’t all bad. But we wanted to paint a picture of the world as we both saw it that night. It took longer than a night, of course, but we had the form of it down in a night. It’s just that sooner or later, whether they [the audience] knows it or not, that’s what they’re saying-sooner or later it’s all going to collapse. I guess the thrust of the song is what we will or won’t do in the face of that: ‘We will leave this place an empty stone / Or that shining ball of blue we can call our home.’ Sooner or later we’ll emerge triumphant as a race or we’ll make our own graves.”

“And We Bid You Goodnight”:   Steeped in biblical lore, this traditional a capella number was a Grateful Dead rarity, with only 56 appearances after its 1968 debut, including an eleven-year performance gap between 1978-1989. This tender version is among the band’s last, as it was played only twice more with its final outing occurring in 1991.

Previous Spring ’90 Tour Revisits

3/14/90 – Landover, MD

3/15/90 – Landover, MD

3/16/90- Landover, MD

3/18/90- Hartford, CT

3/19/90 – Hartford, CT

3/21/90 – Hamilton, ON

3/22/90 – Hamilton, ON

3/24/90 – Albany, NY

3/25/90- Albany, NY

3/26/90 -Albany, NY

3/28/90 – Uniondale, NY

3/29/90 – Uniondale, NY

3/30/90 – Uniondale, NY

4/1/90 – Atlanta, GA

4/2/90- Atlanta, GA

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Announcing Spring 1990, the newest Grateful Dead collection

Article contributed by dead.net | published on wednesday, august 1, 2012.

And now for something a little different. This year's box set - Grateful Dead: Spring 1990 - offers six complete shows from the epic spring '90 tour, one concert from each city the band played, personally selected by Dead vaultmeister and archival release producer David Lemieux. The sizzling six are: 3/16/90 Capital Centre (Landover , MD), 3/19/90 Hartford Civic Center, 3/22/90 Copps Coliseum (Hamilton, Ontario), 3/26/90 Knickerbocker Arena (Albany, NY), 3/30/90 Nassau Coliseum (Uniondale, NY) and 4/2/90 The Omni (Atlanta, GA).In his "Producer's Note" in the beautiful book that is part of the box, Lemieux, who attended the first 10 shows on the tour, states, "To my ears this was the last tour that was consistently great, where every show is excellent, not a dud in the bunch." And Grateful Dead historian Dennis McNally's comprehensive and informative insider's essay in the box is titled "The Last Great Dead Tour." These guys know what they're talking about!Besides the discs themselves, Grateful Dead: Spring 1990 has much to offer, including: a gorgeous 60-page hardcover book containing copious color photos by Jim Anderson and Michael Laurentus, unique artwork by Brooklyn-based fine artist Wes Lang, fascinating business letters and communications related to the tour, a detailed historical essay by Dennis McNally, a Producer's Note by David Lemieux and individual show descriptions by Blair Jackson; a reproduction of the Dead's 1990 tour program (printed and sold later in '90, for the fall and Europe '90 tours); tickets and backstage passes of all six shows; a band publicity photo from 1990 by Ken Friedman; Dennis McNally's tour laminate; and reproductions of the colored 8x10 sheets GDTS sent out with hotel, food and other information for each city on the tour.With recordings made by longtime Grateful Dead recordist and producer John Cutler, mastered by Jeffrey Norman in HDCD, you just know it's gonna sound great - and it does!That's the straight-to-your-in-box skinny, you can get ALL the details of this Dead.net exclusive here .This box is limited to just 9,000 numbered copies - please note, this is the only time these shows will ever be officially available on CD . There will not be an All Music Edition and single shows will not be available physically. Due to ship out August 31st, we anticipate that this extraordinary set will sell-out, so order your copy today!(If you're looking for more of a bite-sized taste of '90, Spring 1990: So Glad You Made It, a 2-CD set featuring a handful of favorites, will be in stores on September 18th. You can also pre-order it here.)

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Progressive jam giants Umphrey's McGee‘s return to Las Vegas for the seventh installment of the massively popular UMBowl production was marked once again by a stand-out tour closing dual evening extravaganza where all stops were pulled out and the power given directly to the fans, for better or for worse.

On June 24, Round Records & ATO Records will release GarciaLive Volume Six: July 5, 1973 – Jerry Garcia & Merl Saunders, the latest installment of the celebrated GarciaLive archival series. The three-CD set was recorded at the 200 capacity Lion’s Share club formerly located in the small town of San Anselmo, CA, just 20 miles north of San Francisco. The performance features Jerry Garcia performing with friend, mentor and legendary keyboardist/vocalist Merl Saunders. The duo is joined by drummer Bill Vitt and bassist John Kahn, who soon became a lifelong Garcia collaborator.

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Grateful Dead Live at Shoreline Amphitheatre on 1990-06-16

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This show has been commercially released as "View From The Vault III"

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Uploaded by Jonathan Aizen on June 23, 2006

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• Grateful Dead
• September 11, 1990 Setlist

Grateful Dead Setlist at Spectrum, Philadelphia, PA, USA

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Tour: Fall Tour 1990 Tour statistics Add setlist

• Jack Straw Play Video
• Bertha Play Video
• Greatest Story Ever Told ( Bob Weir  song) Play Video
• Candyman Play Video
• Queen Jane Approximately ( Bob Dylan  cover) Play Video
• Brown-Eyed Women Play Video
• It's All Over Now ( The Valentinos  cover) Play Video
• Tennessee Jed Play Video
• Hell in a Bucket Play Video
• China Cat Sunflower ( > ) Play Video
• I Know You Rider ( [traditional]  cover) Play Video
• Looks Like Rain ( Bob Weir  song) ( > ) Play Video
• He's Gone ( > ) Play Video
• Spoonful ( Willie Dixon  cover) ( > ) Play Video
• Jam ( > ) Play Video
• Drums ( > ) Play Video
• Space ( > ) Play Video
• The Wheel ( Jerry Garcia  song) ( > ) Play Video
• I Need a Miracle ( > ) Play Video
• Black Peter ( > ) Play Video
• Around and Around ( Chuck Berry  cover) Play Video
• Knockin' on Heaven's Door ( Bob Dylan  cover) Play Video

Edits and Comments

27 activities (last edit by livemusicfan , 22 Mar 2020, 19:30 Etc/UTC )

Songs on Albums

• Around and Around by Chuck Berry
• Greatest Story Ever Told by Bob Weir
• I Know You Rider by [traditional]
• It's All Over Now by The Valentinos
• Knockin' on Heaven's Door by Bob Dylan
• Looks Like Rain by Bob Weir
• Queen Jane Approximately by Bob Dylan
• Spoonful by Willie Dixon
• The Wheel by Jerry Garcia
• Brown-Eyed Women
• He's Gone
• Tennessee Jed
• China Cat Sunflower
• Hell in a Bucket
• I Need a Miracle
• Black Peter

Complete Album stats

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Grateful dead gig timeline.

• Sep 08 1990 Richfield Coliseum Richfield, OH, USA Add time Add time
• Sep 10 1990 Spectrum Philadelphia, PA, USA Add time Add time
• Sep 11 1990 Spectrum This Setlist Philadelphia, PA, USA Add time Add time
• Sep 12 1990 Spectrum Philadelphia, PA, USA Add time Add time
• Sep 14 1990 Madison Square Garden New York, NY, USA Add time Add time

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[url=https://www.setlist.fm/setlist/grateful-dead/1990/spectrum-philadelphia-pa-3d6014f.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=3d6014f[/img][/url] [url=https://www.setlist.fm/edit?setlist=3d6014f&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/grateful-dead-bd6ad4a.html]More Grateful Dead setlists[/url]

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Cover Art: Rick Griffin. Itinerary: Travel Quest, LTD.

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