NP9 - Spring '92

If you’re anti-Bruce or anti-‘90s, I sincerely hope listening to this compilation can show you a new side of The Grateful Dead. Sure, their glory days were behind them and the days of meaningful group improvisation were gone; that doesn’t mean they stopped caring. Bruce Hornsby would wrap up his time with the Grateful Dead on this tour, alongside Jerry’s return to hard drugs. Vince had calmed down and found his niche in the spectrum of sound, and would continue to come into his own.

The Grateful Dead played only 55 shows in 1992, but the song variety kept things fresh. During Hornsby’s tenure (late ’90 - early ’92), he pushed the band to revive old favorites like “Gloria”, “Casey Jones”, “Here Comes Sunshine”, “New Speedway Boogie”, “Might As Well”, a run of “Dark Star” performances, and the only 4 “Ruben and Cherise” appearances among others.

Believe it or not, Spring ’92 was a period of creativity, and it kicked off the last wave of new material, including “Corrina”. Other notable versions are 3.20.92 and 3.21.92, from which numerous selections were taken and included here. This is a rewarding period if you’ve got the time.

First Set

“Help > Slip > Franklin’s” opens the show. This is among my favorite “Slipknot” performances. I think this predates the era of in-ear monitors, but either way, the band is dialed in to what everyone else is playing. If anything, there could be too many cooks in the kitchen trying to steer the jam. “Franklin’s Tower” includes the first appearance of the mysterious electric guitar MIDI patch - it’s elusive… I can never tell for sure who is employing it, considering there are already two real electric guitars in the band.

The 3.9.92 tape is a little less crowded than many others on this tour, and “Jack Straw” is a bit easier to listen to. The lyrics are tossed around from Bobby, Jerry and Bruce, in an uncommon division of duties. “Jack Straw” took on many new forms over its tenure, and that’s a testament to the songwriting of Weir and Hunter. 

“Big Railroad Blues” is one I never expect to deliver, but it can sometimes exceed expectations. This is one that exceeded my expectations, although Vince’s organ patch can't come close to matching Brent’s sound.

“That Same Thing” was the ’90s stand-in for “C.C. Rider” and an option for nights following shows that featured “Little Red Rooster”. It’s a slow burn, but this version is searing, including Bruce on the barroom piano solo and Jerry on slide.

After 16 years of exile, “Loose Lucy” came back for good in ’90. 

The LET PHIL SING crowd won on 3.5.92 when “Just Like Tom Thumb’s Blues” was performed. The song was somewhat rare, never being played more than a handful of times per year up until this point. 

“Picasso Moon” is polarizing, but if you’re gonna like a version, it’s gonna be 3.6.92. Somehow Bobby cornered the keyboardists into learning the tune note for note, and the tones are dialed in. If only Bobby could remember the first lyric. Vince is too loud, as happened too often on this tour.

“Touch of Grey” closes the first set. This version is true to the studio album (for what that's worth), with virtually no flubs to be found. It’s fluffed up and full of Vince’s MIDI tones, while Bobby’s guitar is virtually nowhere in the mix. Maybe that’s ok on this song. 

Second Set

The second set opens with “Feel Like A Stranger”, which for some reason was only played 9 times all year. You wouldn’t know it by how good this take is, from 3.16.92. Bruce’s backup vocals really add to this song. Sometimes it’s tough to tell who is playing what tone, thanks to MIDI being ubiquitous at this point in the Dead’s tenure. It sounds like Bruce uses an electric guitar tone during the jam. 

“Peggy-O” in my view is an evergreen song - it’s tough to find a run of bad versions. It gets a little Hallmark Channel-ish thanks to Vince’s saccharine tones, but this version is worth checking out.

I have a soft spot for “Corrina”, and this version from the previously mentioned 3.21 show is very good. It segues into a 19-minute “Terrapin Station” that may surprise the ’90’s haters. The outro might even be considered a jam, considering how “out” it gets, along with the duration. 

“The Other One” comes out of Drums > Space, featuring Bobby on…. trumpets. Vince is a little hot in the mix for my taste, and I even consider myself lenient. The madness melts into a dirge-like “Standing on the Moon” before concluding with one of only 9 “Lovelight”s from ’92. Bobby’s trumpets are back, Jerry busts out the sax patch, and Hornsby is on accordion. Are we in New Orleans? Nope… Toronto.

“The Weight” was a reliable encore during the ‘90s, and everyone (except Vince, of course) gets a turn at the vocals. Hornsby does a convincing Garth Hudson in addition to his ornate vocals, Phil enjoys his time in the sun singing the 3rd verse, and Jerry mimics Robbie Robertson with pinch harmonics. Weir of course gets Danko’s verse.

Take a load off and enjoy a few hours of prime ‘90s Grateful Dead. They might not melt your mind or take you to another dimension, but they just might prove that 7 middle-aged guys still have a thing or two to prove. 

- Better than you might expect 

- Bruce and Vince have carved their niches

- Jerry's voice sounds great

- Lots of MIDI

First Set
Help on the Way > (3.21.92)
Slipknot! > (3.21.92)
Franklin's Tower (3.21.92)
Jack Straw (3.9.92)
Big Railroad Blues (3.8.92)
That Same Thing (3.20.92)
Loose Lucy (3.23.92)
Just Like Tom Thumb's Blues (3.5.92)
Picasso Moon (3.6.92)
Touch of Grey (3.24.92)

Running Time: 73min

Second Set
Feel Like a Stranger (3.16.92)
Peggy-O (3.21.92)
Corrina > (3.21.92)
Terrapin Station > (3.21.92)
Drums > (3.21.92)
Space > (3.20.92)
The Other One > (3.20.92)
Standing on the Moon > (3.20.92)
Turn on Your Lovelight (3.20.92)

E: The Weight

Running Time: 86min

Click here to download the MP3s.