jerry garcia band 1976 tour

JGB Spring 1976

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Jerry Garcia: A 1976 Encounter with the Grateful Dead’s Figurehead

Jerry Garcia in the ’70s (Photo from the Sundance website)

Back in 1976, this writer conducted a two-hour interview with Dead guitarist/singer/songwriter Jerry Garcia, at music promoter/producer Bill Graham’s house in Mill Valley, Calif. Garcia—who died on 1995 at age 53—was very accessible, showing an interest in me as well as discussing his own music and life. He wanted to know what music I dug, which books I had read, the kind of comics I collected. Garcia was born August 1, 1942.

“I met Jerry in 1965,” Graham (who died in a helicopter crash in 1991) told me about his own relationship with Garcia. “I thought he and his entire band were from another planet. I got to know him later on [but] there are times when I still really think the Grateful Dead are demented. Insane.”  

The following is an excerpt from my Garcia interview from that day in 1976.

The Grateful Dead backstage in 1977 (l. to r.): Bill Kreutzmann, Jerry Garcia, Bob Weir, Keith Godchaux, Mickey Hart, Phil Lesh, Donna Jean Godchaux (Photo by Peter Simon)

You and the Dead have helped create an ongoing music community and scene. When did you first notice that the Bay Area bands were starting to make an impact in other places?

Jerry Garcia: I really think the scene out here created the possibility for Woodstock to happen, [like] the Monterey International Pop Festival. The thing—the activity, music and people—the setup was out here.

In a business marked by one-hit wonders and trends, how do you account for your longevity?

We’re serious. One of the things you could say about all the bands that came from San Francisco at that period of time was that none of them were very much alike. I think each of us has dealt with it in various ways. Like, Carlos [Santana] has developed himself into a spiritual being from a completely different kind of person. For me, I know what I’m supposed to do, and I’ll do what I have to do to be able to play. I think almost all the people I’ve known around this area, involved around the music scene, have been faithful to that thing.

Watch the Grateful Dead perform Buddy Holly’s “Not Fade Away” in New York in 1976

Was there any added pressure, being a mouthpiece for the community?

Everybody knows who they are. No matter what you read about yourself in the paper, you know who you are. You don’t get any special breaks at the gas station. You can either be sucked in by that stuff, in which case it just eats you, or else just realize there’s a difference between what you read and who you are.

Did you ever feel you represented something special to the honest music community?

I always did. I think that the world has changed. I think the United States has changed very visibly in the last 10 years. A lot of it had to do with what happened in San Francisco. I can’t say how or why, but I also think it’s affected everything?

Just all the interest in things like ecology. All the interest in the sense of personal freedom as expressed by all kinds of movements. All these things were designed to free the human. Social overtones, all that stuff. The communal spirit.

Related:   One of our favorite clips, David Letterman teaching Garcia how to play “Proud Mary”

Have you always liked playing live? You strike me as a workaholic.

I like the live experience. That’s where it counts. That’s when music is real. It’s real in that situation. That’s the situation that I feel I have the greatest sense of personal responsibility about. I don’t mind putting out a bad record, but I really hate a bad concert. That really is depressing.

Listen to the Dead perform “Sugaree” from the Fox Theatre in St. Louis in 1971

You get into other musical avenues with solo projects away from the Grateful Dead. Has there ever been any conflict or compromise in doing a tune for the Dead or keeping it for future solo endeavors?

It’s not judgmental. You can’t deal with it in a yes/no kind of fashion. For example, my [solo] band could best be described as consonance and harmony. Conceptually, everybody in the band thinks pretty similarity. In the Grateful Dead, it’s a situation in which almost no two people have the same conception musically, which makes it harder. Nobody gets their way. However, what we all respect about that situation is that there is a potential of a larger central viewpoint which none of us, individually, are capable of perceiving, but which we all add to because of the diversity and the conflict.

Did you ever think, 10 years ago, that the Grateful Dead would get beyond the ballroom circuit and that rock and roll would be presented in baseball stadiums?

When the Acid Tests were happening, I personally felt, “In three months from now the whole world will be involved in this.” So, as far as I’m concerned, it’s been slow and disappointing. Why isn’t this paradise already? (laughs). My personal feeling has been one of waiting around.

Watch and listen to rare footage of the Dead at the 1966 “Acid Test Graduation Ceremony”

Being an elder statesman in the rock and roll world, how long do you feel you can continue the hectic pace?

I’ve learned that it requires a certain discipline for me personally. And I know I’ll approach it in a certain way. I’ll definitely burn out. For me, it’s a matter of surviving. This is the set of givens. You’re gonna be in airports, motels, exposed to any number of strange drugs, strange experiences, intensity of this sort, and so forth. Within that framework how do you stay even? What you do is learn so it becomes a thing of pace, vitamin C, protein. You try and stay alive. That’s a fundamental problem. I’m just the sort of person who deals with things on that level. Once I know things I have to cope with, it’s just a matter of adjustment. I just hate personal failure, being on stage and going through the changes and playing bad, because I’m either not well, tired, too stoned, whatever. To me it’s an aversion therapy thing. It’s the reason I’ve been able to survive.

Do you have high and low points that you best remember, looking back over the last 10 years?

Well, I can get into that real easy. The worst for us, and for me personally, was Woodstock. The ultimate calamity. First of all, we were really stupid in the way we dealt with it. It was raining and we went on just after it got dark. There was maximum confusion going on. Really weird. Plus, I was high, of course. And I went on stage in a state of confusion. Huge crowds of people over the stage. The stage had sheet metal and stuff on it, it’s wet, and I’m getting incredible shocks from my guitar. Pretty soon I started hallucinating a ball of electricity rolling across the stage, jumping off my guitar. Meanwhile, [there were] all these little citizen band radios and walkie talkies so there’s weird voices coming out of the amplifiers. It’s dark, and you don’t see any audience, but you know there are 400,000 people out there. Then somebody leans over across the stage, since everyone is ganged up, and says the stage is about to collapse. I’m standing there in the middle of this trying to play music. Then they turn on the lights, and the lights are a mile away. Totally blinding, and you can’t see anything at all. Here’s this energy and everything is horribly out of tune, ’cause it’s all wet, damp and humid. It was just a disaster. It was humbling (laughs).

Watch part of the Grateful Dead’s set at the 1969 Woodstock festival

Related: Rolling With Jerry: When Garcia welcomed a college kid to the Dead’s HQ

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That may well be one of the most illuminating paragraphs I’ve ever read about the Woodstock experience from a performer’s viewpoint. Amazing!

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The garcia project is the only nationally touring tribute that performs classic jerry garcia band set lists from 1976-1995.

“The Garcia Project is a must-see for anyone who had the good fortune of seeing Jerry’s band live. I was lucky enough to share the JGB experience with Jerry, John Kahn, Maria Muldaur, Keith and Donna. Being on stage with Mik, Kat, Dan and the crew is the closest thing to the original.  They are Jerry’s kindred spirits when it comes to making music. Even if you never saw JGB live, you can see and hear their spirit at a Garcia Project performance.” – Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978

The Garcia Project’s performances are based on actual set lists performed by The Jerry Garcia Band. All of their shows are classic recreations of a Jerry Garcia Band set list from 1976 to 1995. For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.

With precise arrangements and the proper instrumentation and feel for the various eras, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and the fans through many years of musical bliss. It’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.

“I spent a lot of nights in a lot of places with the Jerry Garcia Band, and I’m here to say that I really enjoy what The Garcia Project does with those memories.  Mik’s guitar and his and Kat’s vocals stir up some very sweet vibes…some times they almost make me feel like I’m back in, say, 1992 at the Warfield.  Check ‘em out.”  — Dennis McNally, former publicist for the Jerry Garcia Band

“For those of us who crave late 70’s (and through the 80’s and 90’s) Jerry Garcia Band, The Garcia Project scratches that itch for hearing live renditions of Jerry Garcia Band shows from that period.” — Bob Minkin, legendary Grateful Dead and Jerry Garcia Band rock photographer

“I first met Jerry Garcia in 1974 when he asked me to sing harmony with him on his second solo album and started recording and sitting in with The Jerry Garcia Band whenever possible. I became an official member of The Garcia Band in 1977 through 1979 recording, gigging and touring with them, and have many fond memories of that unique experience! Recently, I was asked to sit in with a wonderful band called The Garcia Project, who lovingly and reverently recreate different specific sets of the Garcia Band in their hayday. They don’t merely recreate Jerry’s music, as far as I’m concerned, they are channeling it. Performing with them, I am moved and touched by how much the music moves the audience into a state of joyous community and rapture. The Garcia Project brings us all back to that special time and I’m excited and blessed to participate in giving new and old audiences alike, the chance to relive the Spirit & Magic of the Jerry Garcia Band.” — Maria Muldaur

Jacklyn LaBranch to join The Garcia Project on March 15, 2024

We are excited to announce that long time singer with The Jerry Garcia Band, Jacklyn LaBranch will join Kat Walkerson and Mik Bondy on vocals at our show on March…

Grateful Web Announces Garcia Project November Tour 2023!

Embodying the spirit and reviving the classic set lists of the Jerry Garcia Band from 1976-1995, The Garcia Project is set to take audiences on a nostalgic ride with a 10-night tour…

The Garcia Project breaks a record raising over $25k for charity and selling out The Greenfield Lake Amphitheater in Wilmington, NC

The Garcia Project performed for their second year at Wilmington, North Carolina’s Port City JERRY DAY on August 19, 2023. Joined by special guests, Maria Muldaur and Buzz Buchanan (original…

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Dear Prudence 10-21-22

I Want To Tell You

Who Was John

Tangled Up In Blue with Jacklyn LaBranch

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Mik Bondy, recipient of a custom Tiger, Wolf and Travis Bean guitar from Grateful Guitars Foundation

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‘GarciaLive Vol. 21’ Captures Jerry Garcia In His Element At Keystone Berkeley, 1976 [Listen]

Volume 21 of the  GarciaLive archival series will feature  Jerry Garcia at his mid-1970s home away from home, Berkeley’s  Keystone , on February 13th, 1976. Out on June 14th via  Garcia Family Provisions , the two-disc collection captures almost the entire concert with filler from a different gig two nights later at Sophie’s in Palo Alto, CA.

GarciaLive Volume 21 documents one of Jerry’s favorite lineups of the  Jerry Garcia Band following the recent additions of  Keith and  Donna Jean Godchaux . Commenting on the group’s invigorated harmonies during this period, Garcia reportedly said, “This is what I want to hear.” That harmony is felt on the recording of “The Harder They Come” that arrived along with the album announcement. The telling is exceptionally chill, even for a Jimmy Cliff cover, with Jerry and Donna lulling the listener in before the instrumentalists break open the 18-minute rendition with a lengthy blissful jam.

Celebrated  Grateful Dead audio engineer  Betty Cantor-Jackson recorded nearly the entire two-set show on 1/4″ analog reels.  GarciaLive Volume 21 is missing the show’s opening “How Sweet It Is (To Be Loved By You)”, so archivists tacked a version of the Marvin Gaye classic from 2/15/76 onto the end of the album along with that night’s “My Sisters and Brothers” for good measure. While we don’t have the complete February 13th recording, we do have a few JGB milestones with the band’s debuts of The Rolling Stones ‘ “Moonlight Mile”,  J.J. Cale ‘s “After Midnight”, and  Ray Charles ‘ “Talkin’ ‘Bout You”—taken from the Legion of Mary live repertoire.

Related: Remembering The Time The Grateful Dead Passed On A Jimi Hendrix Sit-In Out Of Spite [Video/Audio]

Listen to “The Harder They Come” from Jerry Garcia Band’s GarciaLive Volume 21: February 13th, 1976 Keystone Berkeley , available here for pre-order on CD and digital format with a variety of merch bundles.

GarciaLive Volume 21: February 13th, 1976 Keystone Berkeley

Disc One: 1. Catfish John 2. After Midnight 3. Mission In The Rain 4. Who Was John? 5. They Love Each Other 6. Moonlight Mile

Disc Two: 1. The Harder They Come 2. Knockin’ On Heaven’s Door 3. Talkin’ ‘Bout You Filler: February 15th, 1976 at Sophie’s, Palo Alto, CA 4. How Sweet It Is (To Be Loved by You) 5. My Sisters and Brothers

The Garcia Project Announces Electrifying 10-Night Tour this November - A Reviving Musical Journey from Philadelphia to Key West

Article contributed by gratefulweb | published on saturday, october 14, 2023.

Embodying the spirit and reviving the classic set lists of the Jerry Garcia Band from 1976-1995, The Garcia Project is set to take audiences on a nostalgic ride with a 10-night tour this November, traveling from Philadelphia, PA, all the way down to Key West, FL. Tickets are on sale now for all venues and are expected to be swept up quickly by eager fans.

Relive the Exquisite Jerry Garcia Band Experience

An experience not merely recreated, but channeled, The Garcia Project invites both seasoned and new fans to immerse themselves into the soulful melodies and exuberant spirit of the cherished Jerry Garcia Band.

“They are Jerry’s kindred spirits when it comes to making music.” — Buzz Buchanan , Jerry Garcia Band Drummer, 1977-1978.

A Much-Awaited Tour: Dates & Venues

Nov 08 : Philadelphia, PA - City Winery | Tickets & More Info

Nov 09 : Richmond, VA - The Broadberry | Tickets & More Info

Nov 10 : Southern Pines, NC - The NAV | Tickets & More Info

Nov 11 : Charleston, SC - Charleston Pour House | Tickets & More Info

Nov 12 : Jacksonville, FL - Underbelly | Tickets & More Info

Nov 14 : St Petersburg, FL - The Bayboro | Tickets & More Info

Nov 15 : Stuart, FL - Terra Fermata | Tickets & More Info

Nov 16 : Boca Raton, FL - Boca Blackbox | Tickets & More Info

Nov 18 : Key West, FL - Key West Theatre (Night One) | Tickets & More Info

Nov 19 : Key West, FL - Key West Theatre (Night Two) | Tickets & More Info

The Essence of The Garcia Project

Celebrating the music and vibe of the Jerry Garcia Band for over 13 years, The Garcia Project has earned acclaim for its dedication to authenticity, detailed recreations, and heartwarming performances, maintaining the joyful spirit Jerry and his band brought to the stage.

“For those of us who crave late 70’s (and through the 80's and 90’s) Jerry Garcia Band, The Garcia Project scratches that itch for hearing live renditions of Jerry Garcia Band shows from that period.” — Bob Minkin , legendary rock photographer.

Join the Musical Expedition

Fans can explore and procure The Garcia Project’s admired album, “Spirit: a tribute to Jerry Garcia and the spiritual songs he performed” and other merchandise during the tour or online at The Garcia Project Spirit .

• The Garcia Project
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Progressive jam giants Umphrey's McGee‘s return to Las Vegas for the seventh installment of the massively popular UMBowl production was marked once again by a stand-out tour closing dual evening extravaganza where all stops were pulled out and the power given directly to the fans, for better or for worse.

On June 24, Round Records & ATO Records will release GarciaLive Volume Six: July 5, 1973 – Jerry Garcia & Merl Saunders, the latest installment of the celebrated GarciaLive archival series. The three-CD set was recorded at the 200 capacity Lion’s Share club formerly located in the small town of San Anselmo, CA, just 20 miles north of San Francisco. The performance features Jerry Garcia performing with friend, mentor and legendary keyboardist/vocalist Merl Saunders. The duo is joined by drummer Bill Vitt and bassist John Kahn, who soon became a lifelong Garcia collaborator.

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• September 16, 1976 Setlist

Jerry Garcia Band Setlist at Dome Auditorium, C.W. Post College, Brookville, NY, USA

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• I'll Take a Melody ( Frankie Miller  cover) Play Video
• The Way You Do the Things You Do ( The Temptations  cover) Play Video
• Friend of the Devil ( Grateful Dead  cover) Play Video
• After Midnight ( J.J. Cale  cover) Play Video
• The Night They Drove Old Dixie Down ( The Band  cover) Play Video
• Stir It Up ( The Wailers  cover) Play Video
• How Sweet It Is (To Be Loved by You) ( Marvin Gaye  cover) Play Video
• Sugaree ( Jerry Garcia  song) Play Video
• Sitting in Limbo ( Jimmy Cliff  cover) Play Video
• Midnight Moonlight ( Old & In the Way  cover) Play Video
• Tore Up Over You ( The Midnighters  cover) Play Video
• Strange Man ( Dorothy Love Coates and The Original Gospel Harmonettes  cover) Play Video
• Who Was John? ( [traditional]  cover) Play Video
• Mighty High ( Mighty Clouds of Joy  cover) Play Video

Edits and Comments

13 activities (last edit by event_monkey , 23 Apr 2024, 09:39 Etc/UTC )

Songs on Albums

• After Midnight by J.J. Cale
• Friend of the Devil by Grateful Dead
• How Sweet It Is (To Be Loved by You) by Marvin Gaye
• I'll Take a Melody by Frankie Miller
• Midnight Moonlight by Old & In the Way
• Mighty High by Mighty Clouds of Joy
• Sitting in Limbo by Jimmy Cliff
• Stir It Up by The Wailers
• Strange Man by Dorothy Love Coates and The Original Gospel Harmonettes
• Sugaree by Jerry Garcia
• The Night They Drove Old Dixie Down by The Band
• The Way You Do the Things You Do by The Temptations
• Tore Up Over You by The Midnighters
• Who Was John? by [traditional]

Jerry Garcia Band

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Jerry Garcia Band Gig Timeline

• Sep 12 1976 Keystone Berkeley Berkeley, CA, USA Add time Add time
• Sep 15 1976 S.S. Duchess New York, NY, USA Add time Add time
• Sep 16 1976 Dome Auditorium, C.W. Post College This Setlist Brookville, NY, USA Add time Add time
• Sep 17 1976 Walsh Gymnasium South Orange, NJ, USA Add time Add time
• Sep 18 1976 Ben Light Gymnasium, Ithaca College Ithaca, NY, USA Add time Add time

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Bob Heil, Whose Innovations Enhanced the Sound of Rock, Dies at 83

A groundbreaking audio engineer, he provided the large-scale systems that brought tours by the Who and the Grateful Dead to life.

By Alex Williams

Bob Heil’s career as a groundbreaking sound engineer who brought thunder and rich sonic coloring to tours by rock titans like the Grateful Dead and the Who began behind a pipe organ in a 1920s movie palace.

Mr. Heil, who helped usher rock into its arena-shaking era by designing elaborate sound systems that allowed rock juggernauts of the late 1960s and ’70s to play at volcanic volumes, first learned to appreciate the full spectrum of musical tones as a teenager, when he took a job playing the massive Wurlitzer pipe organ at the opulent Fox Theater in St. Louis.

“We had to voice and tune 3,500 pipes, from one inch to 32 feet,” he said in a 2022 video interview with the audio entrepreneur Ken Berger. “Voicing taught me to listen. Very few people know how to listen. Listening, you’ve got to mentally go in and dissect.”

Mr. Heil died on Feb. 28 of cancer in a hospital in Belleville, Ill., his daughter Julie Staley said. He was 83. His death was not widely reported at the time.

Although he worked behind the scenes, Mr. Heil was enough of a force that the Rock & Roll Hall of Fame in Cleveland credited him with “ creating the template for modern rock sound systems” In 2006, the Hall installed a public display containing his mixing boards, speakers and other items.

“The concert business became what it is today because he made the experience so much better for the customers,” Howard Kramer, who at the time was the Hall of Fame’s curatorial director, said in an interview that year with The Houston Chronicle. “No one made the leaps in live sound that he did.”

Mr. Heil got started in the business in 1966. Up to that point, top rock ’n’ roll bands often had to rely on feeble sound systems that were drowned out by screaming fans. That roar, Keith Richards of the Rolling Stones wrote in his 2010 autobiography, “Life,” was often so deafening in the band’s early days that audiences could hear nothing more than the drums: “We used to play ‘Popeye the Sailor Man’ some nights, and the audience didn’t know any different.”

Mr. Heil gave rock shows the sound arsenal they needed. “We were the first company back then to build a package P.A .,” he said in a 2008 interview with the audio magazine TapeOp. “You could come to Heil Sound in 1972 and leave the facility with a complete system: snakes, road cases, everything — even a modular mixer.”

He also put a distinctive stamp on 1970s rock with the Heil Talk Box, an effects pedal that transformed guitar parts and vocals into an interstellar drone. Joe Walsh used it in memorable fashion on his hit “Rocky Mountain Way” in 1973, and the Talk Box was a signature of Peter Frampton’s monster-selling 1976 double album, “Frampton Comes Alive!”

Mr. Heil’s career took a major turn in 1971, he told Mr. Berger, when a manager for the Who frantically called him in St. Louis, asking if he could get his crew to Boston the next day. The opening show there, part of the band’s tour in support of its hallowed album “Who’s Next,” had been a disaster, with one newspaper noting that the band’s “soaring brand of rock could not be heard” under the venue’s “miserable conditions.”

Roger Daltrey, the band’s lead singer, threatened to fly back to England until Mr. Heil arrived with his rig. When Mr. Daltrey “did the sound check,” Mr. Heil recalled, “it was OK, because it was a monster P.A.” He would work with the Who for the next decade.

Robert Gene Heil was born Oct. 5, 1940, in St. Louis, the elder of two children of Robert and LaVerna (Bills) Heil. His parents owned a clothing shop in the small town of Marissa, Ill., about 40 miles east of St. Louis.

As a youth, Bob not only played the accordion and the organ but also became a ham radio enthusiast, which gave him an early opportunity to fiddle with electronics. After graduating from Marissa Township High School in 1958, he spent time studying at the University of Illinois in Urbana-Champaign and the St. Louis Institute of Music.

In 1966 he opened Ye Olde Music Shop in Marissa, where he rented Hammond organs and repaired instruments for professional musicians. He also began to design his own audio systems.

Before long, he was supplying them to country acts like Dolly Parton and Little Jimmy Dickens as they came through St. Louis. His big break came in 1970, when management of his old employer, the Fox Theater, called him and told them of a crisis: The Grateful Dead was set to play there, but the band’s P.A. system had been confiscated by authorities in a drug raid.

On a subsequent call with Mr. Heil, Jerry Garcia, the band’s lead guitarist and vocalist, “almost dropped the phone” when he learned that Mr. Heil had a sophisticated system featuring an amplifier by McIntosh, the high-end audiophile brand, Mr. Heil told Mr. Berger. Performing Musician magazine later called the resulting concert “the night that modern live sound was born.”

In addition to his daughter Ms. Staley, Mr. Heil is survived by his wife, Sarah (Benton) Heil; another daughter, Barbara Hartley; a stepson, Ash Levitt, the president and chief executive of Heil Sound; a sister, Barbara Schneidewind; and seven grandchildren. Both daughters are from his first marriage, to Judy Mortensen, which ended in divorce.

By 1980, Mr. Heil had grown weary of life on the road, so he created a new line of headsets and microphones for the ham radio industry. At one point, Joe Walsh, another ham enthusiast, told him he wanted to use one of his microphones onstage.

Mr. Heil protested that the microphones were not concert quality. Mr. Walsh disagreed. “I was at his house and went downstairs to his little studio and he proved it to me,” Mr. Heil told TapeOp. “So I had to start listening all over again.”

Alex Williams is a reporter in the Obituaries department. More about Alex Williams

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Jerry Garcia Band

October 1975 - April 1995

Legion of Mary

Known Performances

Albums Released

Reconstruction

Their Story

Upon returning home from a Legion of Mary tour in 1975, the direction of the band began to change—marked by the departure of Merl Saunders and Martin Fierro, and the addition of British rock and roll pianist, Nicky Hopkins. The newly-formed Jerry Garcia Band remained the most important of his side-projects until his death in 1995. The band toured and recorded sporadically throughout its twenty-year existence. Over the years, the lineup changed a number of times; the one constant member, besides Jerry, was bassist John Kahn. Melvin Seals had the next longest tenure, serving as keyboardist from 1980 onward. Seals became bandleader following Garcia’s death and changed the group’s name to JGB.

Jerry Garcia

guitar, vocals

1975 - 1995

Nicky Hopkins

1975 - 1975

1975 - 1977 1981 - 1981

James Booker

1976 - 1976

Keith Godchaux

1976 - 1978

Ozzie Ahlers

1979 - 1980

Melvin Seals

1980 - 1995

Jimmy Warren

1981 - 1982

Buzz Buchanan

1977 - 1978

Johnny de Fonseca

Greg Errico

1980 - 1980 1982 - 1983

1981 - 1981

Bill Kreutzmann

1981 - 1981 1981 - 1982

David Kemper

1983 - 1985 1986 - 1993

Gaylord Birch

1985 - 1986

Donny Baldwin

1994 - 1995

Donna Jean Godchaux

backing vocals

Maria Muldaur

Essra Mohawk

Julie Stafford

Shirley Faulkner

1982 - 1982

Elisecia Wright

DeeDee Dickerson

1983 - 1983

Jacklyn LaBranch

1983 - 1995

Gloria Jones

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(32) Original Releases

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