Even among Deadheads, there's always been a sense that Jerry Garcia's studio albums have been somewhat ignored. Part of this ties back to the often repeated urban legend that the Grateful Dead were never as good in the studio as they were live – an argument that has some truth but tends to downplay the merits of the studio albums, which had their own distinct attributes. This also applies to Garcia's studio records, but as a whole they're more problematic than the Dead's catalog…
Sandwiched between two Grateful Dead tours in early 1978, Jerry Garcia (guitar/vocals) wasted no time in assembling the concurrent incarnation of the Jerry Garcia Band (JGB) for a two-month coast-to-coast excursion. The combo included Garcia, fellow Grateful Dead members Keith Godchaux (keyboards) and wife Donna Jean Godchaux (vocals), plus Maria Maldaur (vocals), John Kahn (bass), and Buzz Buchanan (drums). This two-disc package contains the early and late shows from Palm Sunday, March 18 at the Warner Theatre in Washington, D.C. The JGB are hitting on all cylinders, as if this were Garcia's primary focus, rather than a side project.
Manolo García (Barcelona, 1955) is a Spanish singer, composer and painter. García made his way into the world of music as a member of Los Rápidos y Los Burros, two bands from the early eighties with which he recorded some albums without much luck. Everything changed when in 1984 together with Quimi Portet he formed El Último de la Fila, duo that would become one of the most important and successful Spanish pop / rock. After the dissolution of the group in 1998, Garcia undertook an acclaimed solo career with Arena in the pockets. Admired for his mixture of rock with Arabic and flamenco music and his poetic lyrics, García continued editing albums of excellent bill such as Saldremos a la lluvia (2008) or Todo es ahora (2014).
Initially released as a limited-edition box set so lavish it was on the verge of being absurd, 30 Trips Around the Sun is a deep exploration of a simple idea: tell the Grateful Dead's story through unreleased live performances taken from every year of their life. This concept reaches its full fruition in its 80-CD incarnation, containing a full unreleased show for every year between 1966 and 1995, but the four-CD distillation operates in a similar fashion and may seem more attractive to Deadheads unwilling to immerse themselves in a monthlong listening session. The closest analogy to 30 Trips in their discography is 1999's So Many Roads (1965-1995), a five-disc box heavy on unreleased live material, but that set wound up skipping over the fallow periods a chronological march inevitably hits.
‘The Coyote that Spoke in Tongues’ is a project that Garcia fans will really appreciate. What Garcia & Co. have created with this record is excellent; it’s full of life and experience, tales to tell, and scars to show. It invites the listener to hitch a ride with them and listen to those stories as they drive on through the lonely, arid desert.