"Stephen Stills & the Dead: Legendary Collaborations Unveiled"
Larry Mishkin discusses various aspects related to the Grateful Dead, December 11th, 2023 show including historical performances, the significance of particular songs like "China Cat Sunflower" into "I Know You Rider," insights into the band's music evolution, and notable appearances by Stephen Stills with the Dead during their performances. Larry also pays tribute to Denny Lane, a musician associated with Wings and the Moody Blues, following Lane's recent passing. Additionally, he delves into the musical significance of the song "Black Queen" by Stephen Stills, its themes, and its rare appearances in Dead concerts. Furthermore, he provides updates and insights into ticket sales for upcoming concerts, specifically for Phish.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
Grateful Dead
December 12, 1969 (54 years ago, tomorrow)
Thelma
West Hollywood, CA
With Stephen Stills
Grateful Dead Live at Thelma Theater on 1969-12-10 : Free Borrow & Streaming : Internet Archive
INTRO: I Know You Rider
Track #1
2:10 – 3:42
Every Deadhead knows this song, but what makes this version unusual is that it is a show opener AND is not preceded by China Cat.
In the Grateful Dead universe, few song pairings stick out with such adoration and favoritism among the band’s legion of fans more than “China Cat Sunflower” > “I Know You Rider”. The Grateful Dead performed the two-song combination over 500 times throughout their 30-year run, making it one of the more dependable mid-set segues capable of launching a show into orbit at any moment thanks to its dance-friendly tempo and lengthy jams transition jams.
It makes it that much more special to note that the “China” > “Rider” combination made its first appearance at the legendary Cafe au Go Go in New York City on September 30th, 1969—54 years ago today, and less than a month before the venue closed its doors in October of that year.
"I Know You Rider" (also "Woman Blues" and "I Know My Rider") is a traditionalblues song that has been adapted by numerous artists. It has appeared in folk, country, and rock guises and is not overly identified with any particular artist.
Modern versions can be traced back to Blind Lemon Jefferson's "Deceitful Brownskin Blues", which was released as a single in 1927. It appears in a 1934 book, American Ballads and Folk Songs, by the noted father-and-son musicologists and folklorists John Lomax and Alan Lomax.[2] The book notes that "An eighteen-year old black girl, in prison for murder, sang the song and the first stanza of these blues." The Lomaxes then added a number of verses from other sources and named it "Woman Blue".[2] The music and melody are similar to Lucille Bogan's "B.D. Woman Blues" (c. 1935), although the lyrics are completely different.
By the mid-1960s, rock acts had begun to perform or record the song. James Taylor sang it as "Circle Round the Sun" on his 1968 debut album James Taylor).[2]Big Brother and the Holding Company featuring Janis Joplin were performing it in concert; a rendition from 1966 was released in 1984 on the live album Cheaper Thrills.[2] The Grateful Dead's interpretation was a staple of their live shows from the beginning of the band's existence in 1965, where it would soon be performed as a connected song from "China Cat Sunflower" and represented the group's forging a bridge from their psychedelic music to their more traditional country and folk side.[1] This combination was featured on their 1972 triple live album Europe '72.[1] (The Grateful Dead's segue approach was later used by Bruce Hornsby and the Range in the late 1980s, with "I Know You Rider" following their song, "The Red Plains"
The combo was first released by the Dead on the original Europe ’72 album. Although Rider can be found on earlier Dead recordings.
1st – Nov. 3, 1965 at Mother’s in S.F.
Last – July 8, 1995, Soldier Field
Total 563 No. 4 most played, not counting Drums and Space, China Cat is No. 3 on that list at 564
Show is at Thelma, a nightclub on Hollywood Blvd. with a very uncertain history. First, it was a Hungarian restaurant called The Little Gypsy, then it became an upscale restaurant called The Golden Violin. In mid-60’s, the owner turned it into a rock club, Galaxy. Was located in the middle of a block filled with music venues. To the east, was Whisky a Go Go (most famous of them all), to the west Hamburger Hamlet (for late night munchies). Right next door was the London Fog where The Doors, in their formative years, had a residency before Jim Morrison’s behaviour got them kicked out – moved to the Whisky to become the house band. Initially, Galaxy’s house band was a fledgling Iron Butterfly. Became Thelma in the fall of 1969.
Was a three night run from 12/10 – 12/12. Night one is the concert featured on Dave’s Picks No. 10 – another great concert, but this one has one thing that the Dec. 10th show does not have – Stephen Stills playing with the boys.
Recall this past spring we featured Stephen Stills playing with the Dead on April 16, 1983 at Brendan Byrne Arena in NJ when they played Stills’ song, Black Queen and one of my favorite versions of Iko ever recorded by the Dead. The next night they played Love The One Your With. Only a 14 year gap in between!
SHOW No. 1: Casey Jones
Track #8
2:48 – 4:15
The first tune Stills came on stage for (although some remember him playing in the first set as well).
Just like we discussed last week (Fillmore West on 12.4.69), there is a bridge here between primal dead and americana dead. This show features a mix of primal dead and new americana tunes. Casey Jones was an entirely different type of song for the Dead but it rocked and Stills seems very comfortable figuring out his place in the mix.
Garcia/Hunter tune
Released on Workingman’s Dead in spring, 1970.
First played on June 22, 1969 at a show in Central Park in NYC
Last played on March 27, 1993 at the Kickerbocker Arena in Albany NY
Total played 313 times (No. 42)
BUT, after 1972 it dropped off the regular set list rotation. From 1973 till the end, only played 47 times and by the ‘80’s it became a rarity that required good luck to catch:
1982 – 2x
1984 – 2x
1992 – 3x
1993 – 1x
I unfortunately never saw it live. Very disappointing. Closest I came was the ’84 show at Merriweather Post pavilion outside of D.C. I was with a group of friends on summer tour but did not head out for the east coast swing and missed that show. But my good buddy Rick was there because he took the long car ride that I avoided. Miss a little, miss a lot.
Article re Stills and Dead
SHOW No. 2: Good Morning Little School Girl
Track #9
7:00 – 8:39
We featured this song last week but had to feature it again, because on this version Stills finds his footing and jams along with Garcia and Weir as well as Pig on the harmonica. A very cool sound. Pig kills it as usual.
SHOW No. 3: Black Queen
Track No. 11
2:15 – 3:52
We featured this song on the episode earlier this year featuring the April 16, 1983 mash up show. This is an earlier version and just as down and dirty as the later version. A great Stills tune that the Dead feel right at home with.
As a reminder,
Black Queen is a song written by American singer-songwriter Stephen Stills. It was featured on his self-titled debut solo album released in 1970. The song holds a significant place in Stills’ body of work, as it explores powerful themes of love, equality, and racial injustice. Let’s delve into the meaning behind this iconic song and unveil the message Stephen Stills intended to convey through his heartfelt lyrics.
Black Queen is a passionate ode to the African American community, expressing solidarity with their struggle for equality and justice. The song’s opening line, “White knights for the black queen, marching to the stirrings of the breeze,” immediately sets the tone for the uplifting and empathetic message throughout the song. Stills paints a vivid picture of a world where individuals of different races join hands to fight against racial discrimination.
Throughout the song, Stills calls for unity and emphasizes the importance of embracing diversity. He acknowledges the strength and resilience of the Black community, praising their ability to overcome adversity and stand tall in the face of systemic racism. With lines like “Black queen, your dreams are on the ground,” Stills recognizes the struggles that African Americans have faced but encourages them to keep fighting for their rights and aspirations.
This show and April ’83 are the only two times the Dead played the song in concert.
SHOW No. 4: Turn On Your Lovelight
Track #12
:46 – 2:25
A very short version of this tune, considering its 1969 and Pig has the lead, but after only a few minutes, they segue into a killer Cryptical/Other One which apparently was a bit too out there for Stills as he leaves the stage at the transition. Still Pig at his finest singing and rapping as only he could do. A tune that died with Pig until Bobby brought it back in the early ‘80’s and it became more of a regular after that although never as much as it was when Pig was around. Great jamming with Stills in his final number with the band for the night.
OUTRO: Cosmic Charlie
Track #17
Start – end (just about a minute because it cuts out)
Released on Aoxomoxoa in June, 1969.
Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other.
The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band’s songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness.
The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence.
Very rarely played by the Dead. Only a total of 45 times.
1st – Jan. 16, 1969, Robertson Gymnasium at UC Santa Barbara, Isla Vista, CA
Last - Sept. 25, 1976, Cap Center in Landover Maryland.
Played 20 times in 1969, 18 times in 1970 and one time in 1971. The tune then went on hiatus until 1976 when it was played a total of 6 times between June and September.
Thereafter, a tune the deadheads literally begged the Dead to play again. Around 1983 or 1984, a group started asking for signatures on a petition to the Dead asking them to play the song again. They would also hand out cards with the song’s lyrics so “when” the Dead played it, the Deadheads would be able to sing along. Alas, they just became Dead trinkets in the same cigar box as my ticket stubs because the Dead never did play it again.
Sorry this is a “cut” version of this version, but it’s still great music and as any Deadhead who never heard it live would agree, this would have been an amazing tune to hear so even just a little of it is worth the listen. Enjoy
