The Dead (band)
The Dead was an American rock band composed of some of the former members of the Grateful Dead. After the death of Jerry Garcia in 1995, Bob Weir, Phil Lesh, Mickey Hart, Bill Kreutzmann formed the band The Other Ones, performing concert tours in 1998, 2000, 2002, released one album, The Strange Remain. In 2003, they changed their name to The Dead. In addition to Weir, Lesh and Kreutzmann, the 2003 lineup of the band included Jimmy Herring, Jeff Chimenti, Rob Barraco, Joan Osborne; the band was first billed as The Dead on February 14, 2003 at the Warfield in San Francisco. That year, the band opened up their summer tour on June 15 at the Bonnaroo Music Festival, they ended 2003 with two New Year's dates at the Oakland Coliseum on December 30 and 31. In 2004, Herring and Chimenti remained in the lineup, were joined by Warren Haynes; the band played a three-month summer tour called the Wave That Flag Tour. In 2006, guitarist Jimmy Herring joined the group Widespread Panic after George McConnell's departure from the group.
On February 4, 2008, Bob Weir, Phil Lesh, Mickey Hart, along with several other musicians, performed a concert called "Deadheads for Obama", at the Warfield in San Francisco. On October 13, 2008, Lesh and Kreutzmann, joined by Warren Haynes and Jeff Chimenti, played a second show for the Obama campaign, called "Change Rocks", at Penn State University. On January 20, 2009, the same lineup played at one of the ten official balls for the inauguration of President Obama; the band toured the United States in the spring of 2009, playing 23 concerts in April and May, with a lineup of Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, Warren Haynes, Jeff Chimenti. During the second night of the Spring 2009 tour, they were joined on stage by Tipper Gore who sat in on drums during the closing song, "Sugar Magnolia". Over a two night run in New Jersey in April 2009 they reunited with former Grateful Dead collaborator Branford Marsalis on saxophone, they headlined the second annual Rothbury Music Festival in Rothbury, Michigan on July 4, 2009.
After the 2009 Dead tour, Bob Weir and Phil Lesh performed together for the next five years with their new band Furthur. Since Furthur's dissolution in November 2014, the surviving members of the Grateful Dead continued to play in side projects with revolving casts of musicians; as part of their "Fare Thee Well" celebration to honor the 50th anniversary of the Grateful Dead, the surviving members reformed to play 5 shows, which were to be the final shows that they would play together as a group. They enlisted the help from Phish frontman Trey Anastasio on lead guitar and vocals, Bruce Hornsby on piano and vocals, Jeff Chimenti on keyboards. There were two shows to kick off the "Fare Thee Well" run at Levi's Stadium- just miles from where the Grateful Dead began as a band 50 years earlier; the final three "Fare Thee Well" shows took place at Soldier Field in Chicago, IL. The shows broke the concert attendance record for Soldier Field each consecutive night. From 2015 onward, Kreutzmann and Chimenti continue playing together as Dead & Company, joined by Oteil Burbridge on bass and John Mayer on lead guitar and vocals.
Official website of The Dead Live recordings by The Dead at the Internet Archive
Funk rock is a fusion genre that mixes elements of funk and rock. James Brown and others declared that Little Richard and his mid-1950s road band, The Upsetters, were the first to put the funk in the rock and roll beat, with a biographer stating that their music "spark the musical transition from fifties rock and roll to sixties funk". Funk rock's earliest incarnation on record was heard in the late 1960s through the mid-1970s by acts such as the Jimi Hendrix Experience, Eric Burdon and War, Rick Derringer, David Bowie, Wild Cherry, Average White Band, Gary Wright, The Bar-Kays, Black Merda, Parliament-Funkadelic, Betty Davis and Mother's Finest. During the 1980s and 1990s funk rock music experienced a surge in popularity, with bands such as Tom Tom Club, Pigbag, INXS, Talking Heads, the Fine Young Cannibals and Cameo dabbling in the sound. Groups including Red Hot Chili Peppers, Rage Against the Machine, Incubus, Mr. Bungle and Faith No More notably combined funk rock with metal, hip hop and experimental music, leading to the emergence of the genre known as funk metal or "punk-funk".
Funk rock is a fusion of rock. Many instruments may be incorporated into the music, but the overall sound is defined by a definitive bass or drum beat and electric guitars; the bass and drum rhythms are influenced by funk music but with more sonic intensity, while the guitar can be funk- or rock-influenced with distortion, similar to overdrive or fuzz. Jimi Hendrix was the first well-known recording artist to combine the rhythms and riffs of early funk with his rock sound; the earliest example is his "Little Miss Lover". The live album Band of Gypsys features funky riffs and rhythms throughout and his unfinished album included a couple of funk rock songs such as "Freedom", "Izabella" and "Straight Ahead". George Clinton has been considered the godfather of this genre since 1970. Clinton created the name "P-Funk" for the innovative new concepts of funk that he culled from former members of James Brown's band and new young players such as Eddie Hazel, his groups and Parliament defined funk since the release of the influential funk rock Funkadelic classic Maggot Brain.
Funk rock albums by the group include Cosmic Slop, Standing on the Verge of Getting It On, Hardcore Jollies and Let's Take It to the Stage. Albums such as One Nation Under a Groove and Electric Spanking of War Babies had a bit more radio-friendly sound but still preserved much of group's funk rock approach; this work served as the primary influence on an entire generation of funk and hip hop artists from the Red Hot Chili Peppers to Snoop Dogg. Other pioneers evolved in the 1970s in the form of British rock band Trapeze and post-punk act A Certain Ratio, American artists Rick Derringer, The Bar-Kays, Black Nasty and Mother's Finest. "We called ourselves funk rock," recalled Mother's Finest singer Glenn "Doc" Murdock. "I think. We had a house where we all lived and we named it'Funk Rock, Georgia'. We felt. We played with Lynyrd Skynyrd and AC/DC; those bands had a lot of funk in their music. The real problem for us was, they told us we were too loud."Grand Funk Railroad pioneered the bass driven hard rock funk style in 1970 so well portrayed in their song "Inside Looking Out" and picked up by Rage Against the Machine.
Singer-model Betty Davis recorded important funk rock albums. The iconoclast composer and guitarist Frank Zappa demonstrated the merge of styles in albums like Overnite Sensation, in themes such as "I'm the Slime", covered decades by Funkadelic. Funk rock acts were not favored by R&B recording companies. For example, guitarists of Chic wanted to be a glam funk rock band like Kiss, but they became a disco act after being turned down by recording companies. Despite its considerable influence on popular music, funk rock was not a visible phenomenon during the 1970s. Only a few funk rock acts could be seen on record charts, notably David Bowie, The Rolling Stones, Gary Wright and Wild Cherry; when Glenn Hughes left Trapeze and joined Deep Purple along with David Coverdale, Deep Purple's next two albums contained elements of funk and soul. When Ritchie Blackmore left Deep Purple in 1975, the band's next album Come Taste the Band with Tommy Bolin was more funky than its predecessor Stormbringer. However, Deep Purple broke up in 1976 and Tommy Bolin died from a drug overdose.
British guitarist Robin Trower's albums In City Dreams and Caravan to Midnight, produced by veteran R&B producer Don Davis and featuring former Sly & The Family Stone bassist Rustee Allen, are pioneering funk rock albums. In the late 1970s Iggy Pop released Bowie-produced LP The Idiot. From the start of the 1980's, funk musicians Rick James and Cameo as well as new wave band Blondie and post-punk band Talking Heads each created their own brand of funk rock. One famous disco & rock song of the period was "Another One Bites the Dust" by British rock icons Queen. In the 1980s, some synth-funk and synthpop bands such as Thomas Dolby, Scritti Politti, Howard Jones made the basic funk beats along with elements of new wave which makes this a basic synth-funk song; the funk rock genre's representatives from the 1980s to present day include INXS, the Fine Young Cannibals, Jane's Addiction, Faith No
Vincent Millie Youmans was an American Broadway composer and producer. A leading Broadway composer of his day, Youmans collaborated with all the greatest lyricists on Broadway: Ira Gershwin, Otto Harbach, Oscar Hammerstein II, Irving Caesar, Anne Caldwell, Leo Robin, Howard Dietz, Clifford Grey, Billy Rose, Edward Eliscu, Edward Heyman, Harold Adamson, Buddy De Sylva and Gus Kahn. Youmans' early songs are remarkable for their economy of melodic material: two-, three- or four-note phrases are repeated and varied by subtle harmonic or rhythmic changes. In years, however influenced by Jerome Kern, he turned to longer musical sentences and more free-flowing melodic lines. Youmans published fewer than 100 songs, but 18 of these were considered standards by ASCAP, a remarkably high percentage. Youmans was born in New York City into a prosperous family of hat makers; when he was two, his father moved the family to New York. Youmans attended the Trinity School in Mamaroneck, New York, Heathcote Hall in Rye, New York.
His ambition was to become an engineer, he attended Yale University for a short time. He dropped out to become a runner for a Wall Street brokerage firm, but was soon drafted in the Navy during World War I, although he saw no combat. While stationed in Illinois, he took an interest in the theatre and began producing troop shows for the Navy. After the war, Youmans was a Tin Pan Alley song-plugger for Jerome H. Remick Music Publishers, a rehearsal pianist for composer Victor Herbert’s operettas. In 1921 he collaborated with lyricist Ira Gershwin on the score for Two Little Girls in Blue, which brought him his first Broadway composing credit, his first hit song "Oh Me! Oh My!", a contract with TB Harms Company. His next show was Wildflower, with lyrics by Otto Harbach and Oscar Hammerstein II, a major success, his most enduring success was No, No, with lyrics by Irving Caesar, which reached Broadway in 1925 after an unprecedented try-out in Chicago and subsequent national and international tours.
No, No Nanette was the biggest musical-comedy success of the 1920s in both Europe and the USA and his two songs "Tea for Two" and "I Want to Be Happy" were worldwide hits. Both songs are considered standards. "Tea For Two" was ranked among the most recorded popular songs for decades. In 1927, Youmans began producing his own Broadway shows, he left his publisher TB Harms Company and began publishing his own songs. He had a major success with Hit the Deck!, which included the hit songs "Sometimes I'm Happy" and "Hallelujah". His subsequent productions after 1927 were failures, despite the song, his last contributions to Broadway were additional songs for Take a Chance. In 1933, Youmans wrote the songs for Flying Down to Rio, the first film to feature Fred Astaire and Ginger Rogers as a featured dancing pair, his score contained "Orchids in the Moonlight", "The Carioca", "Music Makes Me", the title song. The film was a tremendous hit, it revived the composer's professional prospects, though he never again wrote for Astaire/Rogers.
After a professional career of only 13 years, Youmans was forced into retirement in 1934 after contracting tuberculosis. He spent the remainder of his life battling the disease, his only return to Broadway was to mount an ill-fated extravaganza entitled Vincent Youmans' Ballet Revue, an ambitious mix of Latin-American and classical music, including Ravel's Daphnis et Chloé. Choreographed by Leonide Massine; the production lost some $4 million. He died of tuberculosis in Denver, Colorado. At the time of his death, Youmans left behind a large quantity of unpublished material. In 1970, Youmans was posthumously inducted into the Songwriters Hall of Fame. In 1971, No, No Nanette enjoyed a notable Broadway revival starring Ruby Keeler, choreographed by legendary Hollywood choreographer Busby Berkeley, credited with beginning the nostalgia era on Broadway. In 1983, he was inducted into the American Theater Hall of Fame. Two Little Girls in Blue Wildflower Mary Jane McKane Lollipop No, No, Nanette Oh, Please!
Hit the Deck Rainbow A Night in Venice Great Day! Smiles Through the Years Take a Chance. Take a Chance Flying Down to Rio No, No, Nanette Tea for Two Hit the Deck "An Invitation" with lyrics by Edward Heyman "An Orphan Is the Girl for Me" with lyrics by Zelda Sears and Walter De Leon "Anyway, We Had Fun" with lyrics by Ring Lardner "April Blossoms" with help from Herbert Stothart and lyrics by Otto Harbach and Oscar Hammerstein II "Armful of You" with lyrics by Clifford Grey and Leo Robin "Bambalina" with help from Herbert Stothart and lyrics by Otto Harbach and Oscar Hammerstein II "Be Good to Me" with lyrics by Ring Lardner "Blue Bowery" with lyrics by Clifford Grey and Harold Adamson "Bo Koo" with lyrics by Zelda Sears and Walter De Leon "The Boy next Door" with lyrics by Otto Harbach and Schuyler Greene "The Bride Was Dressed in White" with lyrics by Oscar Hammerstein II "The Call of the Sea" with lyrics by Otto Harbach and Irving Caesar "Carioca" with lyrics by Gus Kahn and Edward Eliscu: Academy Award Nomination for Best Original Song "Carry on Keep Smiling" with lyrics by Harold Adamson "The Chinese Party" with lyrics by Clifford Grey and Harold Adamson "Come on and Pet Me" with lyrics by
"Funky Drummer" is a jam session recorded by James Brown and his band in 1969. The recording's drum break, a propulsive beat improvised by Clyde Stubblefield, is one of the most sampled rhythmic breaks in hip hop and popular music. "Funky Drummer" was recorded on November 20, 1969 in Cincinnati and released by King Records as a two-part 45 rpm single in March 1970. The difference between the album version and the single version is that the single version contains Brown's vocal percussion. Despite rising to #20 on the R&B chart and #51 on the pop chart, it did not receive an album release until the 1986 compilation In the Jungle Groove; the piece takes the form of an extended vamp, with individual instruments improvising brief licks on top. Brown's ad-libbed vocals on "Funky Drummer" are sporadic and declamatory, are concerned with encouraging the other band members; the song is played in the key of D minor. As in the full-length version of "Cold Sweat," Brown announces the upcoming drum break, which comes late in the recording, with a request to "give the drummer some."
He tells Stubblefield "You don't have to do no soloing, just keep what you got... Don't turn it loose,'cause it's a mother." Stubblefield's eight-bar unaccompanied "solo", a version of the riff he plays through most of the piece, is the result of Brown's directions. After the drum break, the band returns to the original vamp. Brown impressed with what Stubblefield has produced, seems to name the song on the spot as it continues, repeats it: "The name of this tune is'The Funky Drummer','The Funky Drummer','The Funky Drummer'." The recording ends with a reprise of a fade-out. "The Funky Drummer" is sometimes used as a nickname for Stubblefield himself, who capitalized on the name with his 1997 album Revenge of the Funky Drummer. As a session drummer, Stubblefield received no further compensation for the many samples that were taken from the recording. More than one mix of "Funky Drummer" was made around the time it was recorded, including one with tambourine and another with vocal percussion by Brown and trombonist Fred Wesley.
In addition to the original version of "Funky Drummer", the album In the Jungle Groove includes a "bonus beat reprise" of the piece. This track, edited by Danny Krivit, consists of a 3-minute loop of the drum break, punctuated only by Brown's sampled vocal interjections and an occasional guitar chord and tambourine hit. Part 1 – 2:35 Part 2 – 2:55 Parts 1 & 2 – 5:34 Full version – 9:13 Tambourine Mix – 9:13 Bonus Beat Reprise – 2:56 James Brown – vocals, Hammond organwith the James Brown Orchestra: Richard "Kush" Griffith – trumpet Joe Davis – trumpet Fred Wesley – trombone Maceo Parker – tenor saxophone Eldee Williams – tenor saxophone St. Clair Pinckney – baritone saxophone Jimmy Nolen – guitar Alphonso "Country" Kellum – guitar Charles Sherrell – bass guitar Clyde Stubblefield – drums The rhythm pattern on "Funky Drummer" is cited as one of the world's top most sampled drum segments and has backed hip hop songs for 30 years. Rediscovered by Hank Shocklee of The Bombsquad while they were creating mixes for Public Enemy in the early 1980s, it has since been used by hip-hop groups and rappers including Run-D.
M. C. N. W. A, LL Cool J, Boogie Down Productions. Starting with Bell Biv DeVoe's "Poison," new jack swing artists have sampled a snare unit on loop; as of 2018, the drum break has been sampled in more than 1,400 other songs. Rappers who sample the recording have included references to Brown and the song's title in their lyrics, two examples being LL Cool J in "Boomin' System" and Public Enemy in "Fight the Power"; the "Funky Drummer" beat has been so used that it has become something of a musical cliché, performers sometimes refer to it sarcastically. MC Frontalot's song "Good Old Clyde" comments on the widespread appropriation of the "Funky Drummer" beat. Pop Will Eat Itself's song "Not Now, James, We're Busy" samples Brown's vocal asides from "Funky Drummer" as well as the drum break, weaving them into a commentary on Brown's legal troubles. Amen break "Think" Woo! Yeah! "Funky President" Allmusic review List of songs that sample "Funky Drummer" Samples of "Funky Drummer" by James Brown
Jerome John Garcia was an American singer-songwriter and guitarist, best known for his work as the lead guitarist and as a vocalist with the band Grateful Dead, which came to prominence during the counterculture era in the 1960s. Although he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group. One of its founders, Garcia performed with the Grateful Dead for their entire 30-year career. Garcia founded and participated in a variety of side projects, including the Saunders–Garcia Band, the Jerry Garcia Band, Old & In the Way, the Garcia/Grisman acoustic duo, Legion of Mary, the New Riders of the Purple Sage, he released several solo albums, contributed to a number of albums by other artists over the years as a session musician. He was well known for his distinctive guitar playing, was ranked 13th in Rolling Stone's "100 Greatest Guitarists of All Time" cover story in 2003. Garcia was renowned for his musical and technical ability his ability to play a variety of instruments, his ability to sustain long improvisations with The Grateful Dead.
Garcia believed that improvisation took stress away from his playing and allowed him to make spur of the moment decisions that he would not have made intentionally. In an interview with Rolling Stone, Garcia noted that "my own preferences are for improvisation, for making it up as I go along; the idea of picking, of eliminating possibilities by deciding, that’s difficult for me". Garcia's improvisation techniques were lauded for their ability to span genres, as well as his ability to employ modal guitar playing, he was a proponent of using the Mixolydian mode, a scale which utilised a flattened 7th note. He used various exotic scales and chromatic playing to add exotic flavours to Grateful Dead work on 1975's Blues for Allah Later in life, Garcia was sometimes ill because of his diabetes, in 1986, he went into a diabetic coma that nearly cost him his life. Although his overall health improved somewhat after that, he continued to struggle with obesity and longstanding heroin and cocaine addictions.
He was staying in a California drug rehabilitation facility when he died of a heart attack in August 1995 at the age of 53. Garcia's ancestors on his father's side were from Galicia in northwest Spain, his mother's ancestors were Swedish. He was born in the Excelsior District of San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" Garcia, herself born in San Francisco, his parents named him after composer Jerome Kern. Jerome John was their second child, preceded by Clifford Ramon "Tiff", born in 1937. Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar in response to Jose being blackballed from a musicians' union for moonlighting. Garcia was influenced by music at an early age, his father was his mother enjoyed playing the piano. His father's extended family—who had emigrated from Spain in 1919—would sing during reunions. At age four, while the family was vacationing in the Santa Cruz Mountains, two-thirds of Garcia's right middle finger was accidentally cut off.
Garcia and his brother Tiff were chopping wood. Jerry steadied a piece of wood with his finger, but Tiff miscalculated and the axe severed most of Jerry's middle finger. After his mother wrapped his hand in a towel, Garcia's father drove him over 30 miles to the nearest hospital. A few weeks Garcia — who had not looked at his finger since the accident — was surprised to discover most of it missing when the bandage he was wearing came off during a bath. Garcia confided that he used it to his advantage in his youth, showing it off to other children in his neighborhood. Less than a year after he lost most of his finger, his father died. Vacationing with his family near Arcata in Northern California in 1947, Garcia's father went fly fishing in the Trinity River, part of the Six Rivers National Forest. Not long after entering the river, Garcia's father slipped on a rock, lost his balance and was swept away by the river's rapids, he drowned. Although Garcia claimed he saw his father fall into the river, Dennis McNally, author of the book A Long Strange Trip: The Inside Story of the Grateful Dead, argues Garcia formed the memory after hearing others repeat the story.
Blair Jackson, who wrote Garcia: An American Life, lends weight to McNally's claim. Jackson's evidence was that a local newspaper article describing Jose's death failed to mention Jerry was present when he died. Following the accident, Garcia's mother took over her husband's bar, buying out his partner for full ownership; as a result, Ruth Garcia began working full-time, sending Jerry and his brother to live nearby with her parents and William Clifford. During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe Elementary School. At the school, Garcia was encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life." According to Garcia, it was around this time that he was opened up to country and to bluegrass by his grandmother, whom he recalled enjoyed listening to the Grand Ole Opry. His elder brother, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all... she'd been to Opry, b
Grateful Dead Records
In 1973, the Grateful Dead established their own record label, Grateful Dead Records. The band released four vinyl LPs on the label in the mid-1970s: Wake of the Flood in 1973, From the Mars Hotel in 1974, Blues for Allah in 1975, a live double album, Steal Your Face, in 1976. Album distribution was contracted by the band's label through United Artists Records. A second label, Round Records, was used to release solo albums by members of the band; the band established their own label ostensibly to exercise more control over artistic content and other choices in and out of the studio. In a letter mailed to fans, they announced their plans to establish their own label, going so far as to comment that one of their fantasies included distributing their albums via ice cream trucks outside concert venues during their concerts, beginning with Wake of the Flood, hoped to grasp control of all aspects of recording and distribution of their own records. In addition, they hoped that the fans would act "as part of our eyes and feet on the ground to keep the scene straight locally".
However, Grateful Dead Records resulted in a traditional business venture along the same routine as was usual. After a few years, the added stress of handling business matters took its toll, the bandmates opted out of operating the label and signed with Arista Records in 1977; the Grateful Dead and Round labels were deactivated shortly thereafter. Grateful Dead Records was revived in the 1990s and 2000s for CD reissues of the band's non-major-label and "authorized bootleg" live concert releases such as the Dick's Picks series. List of record labels Ronald Leon Rakow Grateful Dead Books
Phil Lesh and Friends
Phil Lesh and Friends is an American rock band formed and led by Phil Lesh, former bassist of the Grateful Dead. Phil & Friends is not a traditional group in that several different lineups of musicians have played under the name, including groups featuring members of Phish, the Black Crowes and Allman Brothers Band; the Phil & Friends concept takes the music of the Grateful Dead and explores and interprets it in new ways. Through the period known as the Quintet years, a Phil & Friends show was focused on harder, faster rock than that which the Grateful Dead played, thanks in large part to Haynes' and Jimmy Herring's talents at the Southern rock style. Lesh was fond of calling it "Dixieland-style rock." However, all of the incarnations of Phil & Friends have followed a trend of "updating" the Grateful Dead's massive body of work, all have been adept at the long, exploratory jams that were a trademark of the Dead. Phil & Friends has been acclaimed for giving new life to the Grateful Dead's material, bringing in new styles and innovations, while at the same time remaining loyal to the original music and the original fans.
It is this melding of musical influences that has given them wide appeal not only among old Deadheads, but the modern-day fans of other jam bands as well. Phil & Friends has continued the Grateful Dead's tradition of allowing fans to record concerts, trade these recordings freely; the Internet has been an invaluable source for these tapers to disseminate this music through various sources, including Archive.org, the vast BitTorrent file-sharing network. Phil has embraced the Internet by providing free soundboard recordings of many concerts through his website providing high-resolution CD covers for fans to print. For his Summer 2006 tour, Phil partnered with Instant Live, a company, able to provide soundboard CDs of a concert upon its finishing, as well as make these recordings available for fans to download online, though this service was not free; the first use of the Phil Lesh and Friends banner was on September 24, 1994 at the Berkeley Community Theatre. The band was an acoustic version of the Grateful Dead and featured members Phil Lesh, Jerry Garcia, Bob Weir and Vince Welnick.
Dead drummers Bill Kreutzmann and Mickey Hart were not part of the band. After this gig the band name was put to rest until Phil formed a new band in 1999. From April 1999 to September 2000, Lesh toured with a rotating lineup of musicians that included Warren Haynes, Derek Trucks, Jorma Kaukonen, Jimmy Herring, Robben Ford, members of Phish, Little Feat, The String Cheese Incident and Moe; the opening concerts on April 15, 16, 17, 1999 featured Phil along with John Molo on drums, Steve Kimock on guitar, two members of Phish – Trey Anastasio on guitar and Page McConnell on keys. After these opening concerts and until October 1999, Phil kept the same "core" of himself and Kimock, Molo as well, while rotating in new musicians on guitar and keys. Over this period, the lineups included: May 29, 1999: Warren Haynes, Merl Saunders, Donna Jean Godchaux June 4–5, 1999: Prairie Prince, Jorma Kaukonen, Pete Sears, Zoe Ellis, Cailan Cornwell July 2–3, 1999: Bill Kreutzmann, David Nelson, Barry Sless, Mookie Siegel August 12–22, 1999: This series of shows featured Warren Haynes on guitar and vocals and Kyle Hollingsworth from The String Cheese Incident on keys.
Other members of The String Cheese Incident joined the group, as did Al Schnier of Moe. October 7–9, 1999: Bobby Strickland, Jeff Mattson, Rob Barraco October 21–27, 1999: This series of shows featured members of Little Feat -- Bill Payne, Paul Barrere Steve Kimock left the tour on October 29, 1999, Derek Trucks joined a few days later. October 29–30, 1999: Bill Payne, Paul Barrere October 31, 1999: Derek Trucks, Bill Payne, Paul Barrere From November 1999 onwards, the "core" of the group was Phil, John Molo, Rob Barraco on keys November 2–14, 1999: Derek Trucks, Warren Haynes; the members of this incarnation were Lesh, Warren Haynes, Jimmy Herring (guitar.