Podcast Summary: "36 From the Vault" – Dick’s Picks Vol. 9 – 9/16/90, Madison Square Garden, NYC

Hosted by Steven Hyden & Rob Mitchum – Osiris Media – May 18, 2020

Main Theme

Overview
In this episode, Steve and Rob dive deep into Dick’s Picks Volume 9, the Grateful Dead’s September 16, 1990 show at Madison Square Garden. They explore this transitional era for the band: post-Brent Mydland’s death, the arrival of new keyboardists (Vince Welnick and Bruce Hornsby), and how these seismic changes affected the Dead’s sound and show dynamics. As always, the hosts contrast musical highlights and head-scratchers, reflect candidly on setlist decisions, and contextualize the recording within 1990’s larger musical and cultural landscape.

Key Discussion Points & Insights

1. Setting the Scene – Context of Dick’s Picks 9

• The episode opens with a lively, self-deprecating discussion about beards, jam band style, and their mutual interviews with Bruce Hornsby. Both hosts agree Hornsby is honest and self-assured, "a pleasure to talk to" ([05:30]).
• The conversation veers quickly, as it often does, into sports—basketball, Chicago Bulls, The Last Dance, and especially the Dead’s connections to athletics via Bruce Hornsby and Phil Jackson ([08:52]).
  • Quote: “Imagine a very tall ‘90s Phil Jackson standing behind Bill and Mickey [the Dead’s drummers]...” – Rob [09:13]

2. Dick’s Picks 9: An Unusual/Weird Choice

• Hosts question why this show, of all MSG ’90 performances, was chosen:
  • Steve: “This is definitely a curveball... I find myself liking [this pick] more in theory than as a listening experience.” [14:02]
  • Rob: “This is the one that will collect some dust after we’re done recording... I will not be in a rush to get back to Dick’s Picks 9.” [16:33]

Historical Context

• Released in October 1997, only seven years after the original show—relatively quick in GD archival standards.
  • Noted that spring 1990 and fall ’90 are well regarded; fall ‘90 marked by the introduction of Hornsby and Welnick.
  • Spring tour = last with Brent; fall tour = a band in flux with two new keyboardists just weeks after Brent’s passing.
• They compare the "warts and all" presentation of this whole show to the cherry-picked “Road Trips” release from later in the same run, favoring the latter for better showcasing what this GD lineup could do ([18:17]).

3. The Two-Keyboard Era: Vince Welnick & Bruce Hornsby

• Vince’s impossible position: joining six weeks after Brent’s death, restricted to “weird” synth tones dictated by Bob Bralove, not allowed to play “real organ”—even the band wasn’t monitoring his sound at times.
  • Rob: “It seems like Vince was [a scapegoat]... set up to be The Guy. And the rest of the band weren’t even putting Vince in the in-ear monitors...” [30:57]
  • Steve compares his predicament to Metallica’s Jason Newsted “...We can’t really accept this person died, we don’t want to deal with it, so we’re gonna take it out on the new guy.” [31:37]
• Bruce arrives as the ringer—a superstar, a muscular but tasteful pianist, and a favorite among fans and critics.
  • Steve: “Bruce Hornsby is my favorite keyboardist who has played in the Dead... he could be a blues guy, jazzy guy, he has bluegrass, soft rock, best singer, and he pushes Jerry [Garcia] to be more active.” [32:44]
  • Rob: “Keith is my guy, but Bruce can be a much more active player if he wants; he knocks it out of the park every time” [35:31]

4. The Emotional Weight of 1990

• Brent’s death still looms large: band soldiers on with minimal break, possible misgivings ignored (Jerry wanted to take time off but the business machine rolled on).
• Setlist & keyboard arrangements are explicitly in service of recapturing the Brent sound, not adventure.
  • “Maximalist sound” becomes a signature; the band gets bigger and blusterier, sometimes to the point of chaos.

5. Cultural Context & 1990’s Zeitgeist

• Extreme pop fluff on the charts—Wilson Phillips, Jon Bon Jovi, Nelson, MC Hammer, Vanilla Ice;
• “A terrible time for pop music... the ‘90s hadn’t really started yet.” [55:23]
• In film, Goodfellas arrives; TV dominated by Cheers, Roseanne, Cosby [57:57].

6. Show Breakdown – Highlights, Lowlights, Memorable Moments

Set One – Disc 1:

• Hell in a Bucket
  • “Not a song I need to hear.” – Steve [65:14]
  • Bob’s falsetto is “compensating for Jerry”[67:33]; classic setlist formula.
• Cold Rain and Snow
  • Phil’s bass is “very present,” Vince’s keys sound “pretty good” with a retro ‘60s feel [71:20].
• Little Red Rooster
  • Both instantly label a “beer/bathroom break” moment; Bruce’s “silver lining” solo is the highlight. [74:52]
• Stagger Lee
  • “Actually enjoyed this version” – Steve. The upbeat arrangement helps, and marks a sweet-spot run (Stagger Lee through Deal) [78:18].
• Queen Jane Approximately (Dylan)
  • Noteworthy as the first Dead Dylan cover in the Dick’s Picks series. “Bob brings masculine energy... Jerry’s [Dylan covers are] closer to Dylan’s style.” [87:14]
• Tennessee Jed (Steve’s MVP)
  • “I was charmed by Bruce... this may be the highlight.” – Steve [92:42]. Vince’s “bizarre synth” is “crazy... how could anyone think that was good?”
  • Rob: “Just guessing what that sound is supposed to be. Adorable and admirable they tried (MIDI), but it’s the most dated thing imaginable.” [95:25]
• Cassidy
  • Misses the Brent-era vocal magic [99:18].
• Deal
  • Reliable set-closer; “Brent’s ghost is haunting... Vince’s synth organ just doesn’t stack up.” [103:17]

Set Two – Discs 2/3:

• Samson & Delilah / Iko Iko
  • Hosts agree—a case of arena cheerleading, busy and borderline headache-inducing. “Two Drummer Dead at its worst... sneakers in a dryer.” – Rob [105:48]
  • Vince and Jerry apparently try to “out-tasteless” each other with bad keyboard/guitar tones [109:08].
• Looks Like Rain (Rob’s MVP)
  • “Languid, more chill after chaos... the rare instance where technology actually serves the song” (Rob) [112:33].
• He’s Gone
  • Major emotional moment, “the Brent tribute” the whole crowd implicitly understood; “a long, haunting, emotional version” [118:21].
• No MSG Jam/Drums/Space/Lunatic Preserve
  • ~25 minutes of “the most freeform music so far in Dick’s Picks”—for better or worse. “Like the idea more than in my ears” (Rob) [123:07]. Both note this would be respected/admired by tape collectors, but is a tough listen.
  • Steve: “I wonder if this jam is an expression of grief for Brent...” [125:48]
• Standing on the Moon
  • Dragged down by “halting” rhythm, “slows to a crawl” [133:03].
• I Need a Miracle
  • Textbook Bob “let’s party” move; a needed dose of structure after chaos [138:49].
• Morning Dew
  • Always delivers, even late-era Jerry—“It might be a boring MVP pick, like calling Jordan the MVP, but it’s just amazing how often this song delivers” (Steve) [142:35].
• It’s All Over Now, Baby Blue (Dylan, encore)
  • “A fitting encore for this show, a downer but totally works for me.” – Steve [142:59]

7. Final Assessment & Notable Quotes

• “Is this the worst Dick’s Picks of the first nine? I’d say that easily.” – Rob [149:08]
• “Maybe it appeals to a collector looking for something unique, rather than something pleasurable to put on... admired more for weirdness than actual listening.” – Steve [131:53]
• “Mediocre Dead is still pretty cool to check out… glad to have explored this record.” – Steve [149:11]

Timestamps for Key Segments

| Segment/Topic | Timestamp | |--------------------------------------|-------------| | Opening banter, Bruce Hornsby | 05:10–07:45 | | Dead & Basketball, Phil Jackson | 08:52–11:16 | | Introduction to Dick’s Picks 9 | 11:16–14:02 | | Spring/Fall 1990, Brent’s death | 17:05–25:49 | | Vince & Bruce, 2-keyboard dynamic | 23:08–38:18 | | Cultural context – 1990 | 52:30–61:59 | | Hell in a Bucket/Set One | 64:40–103:17| | Disc Two (Samson/Iko onwards) | 104:07–149:46| | Emotional centre: He’s Gone | 118:21 | | Freeform Jam/Drums/Space | 123:07–136:50| | Set Assessment, final verdict | 146:03–149:46|

Notable Quote:

“There’s always a Grateful Dead connection to everything.” – Stephen Hyden [54:06]

Conclusion

Episode Tone & Takeaways
The hosts approach this Dick’s Picks with characteristic warmth, deep knowledge, and irreverence, but also frank criticism. They admire the Dead’s willingness to experiment deep into their career and while they find certain moments—most courtesy of Bruce Hornsby—rewarding, much of the show falls flat due to forced setlist formulas, jarring synths, and uneven post-Brent instability. The episode is a nuanced appreciation of how “weird” does not always equal “great,” but even at their messiest, the Dead are a fascinating, ever-evolving organism.

Essential for both diehard Deadheads and curious listeners—especially for its insightful contextualization and honest, occasionally comedic critique of an era where the band was both lost and somehow still searching.