Jerry Garcia was the only next member of the grateful deceased, which Joan Osborne did not know. Needless to say, if you know that Garcia was drafted to take over the vocal responsibility of the main leadership of the 2003 reunion group, he was calling himself dead by then. There was, however, a slight slippage in her shoes, which made her particularly fit to consider what made Garcia special, as her role was to maintain the magic of her songwriting, and at least to some extent to redefine her vocal charisma as a strong woman. Was ripe.
Osborne would not have emptied all the elements when he returned to his joyful solo path after finally being absorbed by the Dead songs by a few hundred. He later drafted Dead Song on his own sets and found that for any live listener, “Sugali” could be pure sugar.
Osborne’s immersion and love for Dead Music has made him an ideal candidate for one DiversityTo commemorate the 25th anniversary of Garcia’s death, “Conversations – As He Celebrates His Quarter Century Marks, As He Were His 956 Summer When His” Release “Album First Raised Him To The National Spotlight. )
Variety: We know you’re not a major-league deadhead in the 90’s, but do you remember where you were when Garcia died?
Osborne: I don’t have one of those moments where “Where were you when John Lennon was killed?” Or something like Jerry I remember I was somewhere on the street and heard it from a colleague heard it hadn’t actually been that long, since then I came to praise him. I saw the dead in the 90s. We were playing a show in Las Vegas and there was some time between sound checks and gigs, so the band and I went to the Gaffarty Dead show at this huge football stadium, although we couldn’t stay very long. I vividly remember how the band was already on stage and we heard them as we were going to our seats, and we were like, “Oh, they’re making some noise. They’re getting a little tired.” And then we got up there and each of the crowd The single person danced at their feet. And I’ve never seen anyone before – you know, no one in the whole stadium is sitting. Everyone was dancing and clearly mesmerized. So I was like, “Wow, I’ll test myself better! Because something is going on here, I may or may not understand it. “But it didn’t happen after Jerry died, and until I worked with four other boys at Garrywood Dead and sang a lot of the songs that Jerry sang, I was able to fully appreciate him and what he was about.”
You wrote a story in the New York Times during this tour with the Dead in 2003 that you started with a 50-song Dead Reporter that increased the time you played with them to over 200. Is that really true, did you learn that much?
Oh yes, absolutely. I mean, one of the features of this grateful dead show is that they will play a different set from one night to the next and then another completely different set of the night. So what I was doing initially while working with them was all day and all afternoon practicing and rehearsing and learning and even (singing). For example, if I go on stage because there’s a huge jam going on and I knew I wouldn’t have to sit for another 15 or 20 minutes, I’d have headphones and my iPod there and I’d review my melody for the next two songs Came on the list. And yes, it was a lot of work to throw away. But that was my appreciation for Jerry Garcia as a lyricist and composer.
First of all, as a lyricist and composer, the jug rug he was using was quite interesting and the melody he created was not music of American origin or cosmic Americana or the general melody for what you want. His staff was very unique. So I appreciated that when I was trying to learn everything very quickly, like, “Oh, wow! I thought this song was going to go in this direction but it turned all the way to the left and I never thought about it. That way he really had a unique sensitivity.” .
And then of course I fell in love with his songs. I listened to studio recordings and I listened to several live recordings, so he arranged his parts in a few songs that he sang. And listening to what he was doing on these recordings was really moving. I certainly can never be His or imitate Him, because I have my own things and I have to do what I have to do. But it was going on and just occasionally threw me on his tracks, the way he would use his instrument. Which, you know, I don’t think anyone would say he has a quote-quote “great voice”. It always seemed a bit restless and maybe sometimes he wasn’t in complete control of it. He sounded like an old man, even when he was a young man. However, he is one of the boys who does not have a great voice, but he is a great singer. He really deserved a song. It was almost as if he was not in command of his voice, but the song was in command Him, And was using it to express himself. He was completely immersed in songs like “Stella Blue” or “Mountains of the Moon” or “Ripple” or “Brokendown Palace” – you know that these songs will break your heart when you sing.
Did you develop his liking while doing so much work on that report?
Yes. “Alabama Gateway” is my choice. Love “Stella Blue.” Love “Brockdown Palace”. Perhaps the most fun I had with them was being able to sing “Sugari” and learn how to play year after year in New York City clubs. Wind learned how to blow up a crowd and that was the right song to do, so this is my For there was always an explosion. These are the real standouts in my mind and I also really like the “New Speedway Boogie”.
Obviously, what you didn’t get when you first saw the band in Las Vegas was what you learned and then some time when you were with them. Can you tell me what that education was?
Yes. Yes, a (dead) was certainly more than a show where listeners come to hear the song. It was an excuse for a certain community to come together and see each other again and realize the interaction with the band in this kind of ritual that they were all very badly absent. Of course I joined the team on this tour after Garcia died, so people were hungry to hear those songs again and experience that reunion as a specific community. It looked like everyone was part of the family. Music was a big part of it, but there were other parts of it that were going on among the audience and it was considered just as important and just as significant, because it was about uniting this community.
You still do a few of these songs on occasion and I saw that in 2013 you did a full livestream show with people requests for dead songs. So you have affection for that element.
Okay, I’m a singer, so I like to sing great songs and they have a lot of great songs. You know, lots of lyricists, take the Beatles – of course they have amazing, incredible songs but they were only active for seven years. Someone like Dead or Bob Dylan, they have been writing songs and creating new music for decades, so you have this very rich vein of mine. And it’s a fun, enjoyable practice as a singer to dive into elements like this.
Did you show some people on your show who were probably your fans because you were with the dead, and have some residual affection from it?
Yes, a little, I think. Of course it was nice to see the tie dye in the crowd. [Laughs.]
Even though you obviously don’t know him, do you know what kind of guy Jerry was from what you learned or even from taking music?
When I worked with them, a lot of the road crew were like the road crew that Jerry worked with the band while he was alive. So I heard a lot of stories about him backstage. And there was one in particular that really stuck with me. One boy said that although Garcia was not someone you would portray as a female man – he was somehow aroused and did not cut a lot of showers, and he was not a handsome man – women were attracted to him because he had this magnetic charisma about him. He was very funny, and so interesting and one genius. So he was a potential puppy magnet of this kind. [Laughs.] That’s always stuck with me.