"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"
Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals.
.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
Going with a hot one, September 25, 1980
Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive
Opening night of the Grateful Dead’s Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric)
Warfield Run – September 25, 1980 – October 14, 1980
Radio City Run – October 22, 1980 – October 31, 1980
Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971. As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show.
first "Ain't No Lie" - last "All Around This World": 02-14-70 [706] - last "Bird Song": 09-15-73 [382] - last "Dark Hollow": 04-29-71 [550] - last "Monkey & Engineer": 12-31-70 [589] - last "Ripple": 04-29-71 [550] - last "Rosalie McFall": 11-08-70 [609] - last "Roses": 01-12-79 [118]
INTRO: Birdsong
Track No. 1
1:00 – 2:13
From Jerry’s first solo album, “Garcia” released Jan 20, 1972.
Robert Hunter lyrics: Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead.
First played Feb. 19, 1971 Capitol Theater Port Chester
Last played June 30, 1995 Three Rivers Stadium, Pittsburgh
Played by the Dead 300 times in concert
This was the first time played since 9.15.73 (382 shows)
This version is amazing both because it is acoustic and Jerry’s voice is so strong. Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don’t think he was talking about this song, or any song, when he said it (Deer Creek 1989).
SHOW #1: I’ve Been All Around This World
Track No. 2
1:23 – 2:16
The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870.
The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo’s Lament,” “The Hobo’s Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo’s Hornbook that included a version of “I’ve Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]".
Dead’s version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)
Released on History of the Grateful Dead, Vol. ! Bear’s Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.)
First played by the Dead on December 19, 1969 at the Fillmore West
Last played by the Dead on December 31, 1980 Oakland Civic Auditorium
Played a total of 19 times in concert
This was the first time played by the Dead since Feb. 14, 1970 (706 shows)
I really love the acoustic guitar in this version. Jerry can pick with the best of them.
BORDERLAND SEPT. 15, 16 AND 17
EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)
5th year
The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park.
Great lineup with headliners:
Goose
TAB
Moe.
Also featuring: Infamous String Dusters
Dawes
Sammy Rae and Friends
Neal Francis
Not Fade Awa Band (Dead and Zeppelin covers)
Eric Krasno
Brandford Marsalis
Anders Osborne
Etc.
Jamie Humiston was there.
Jamie – discuss festival, highs, favorite acts, etc.
SHOW #2: SONG FROM BORDERLAND
GOOSE
SHOW #3: SONG FROM BORDERLAND
TREY AND DAWES
Back to the Dead from 9.25.1980
SHOW #4: Oh Babe It Ain’t No Lie
Track No. 8
:10 – 1:35
By Elizabeth “Libba” Cotton
January 5, 1893 – June 29, 1987)[1][2][3] was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]
Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens.[7] In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90.[8] That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts.[9] In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.[10]
David Dodd: The song debuted in the Dead’s repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.
However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia’s Reflections album, as released in the All Good Things box set. And personal interviews with Garcia’s circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire.
Dodd: An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective’s love of following a clue as far as it will take him.
Author of:
The Annotated Grateful Dead Lyrics
OUTRO: Ripple
Track No. 9
3:04 – 4:30
From American Beauty (Released Nov. 1970)
Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process [3]). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song.[3]
Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band’s career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.
As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn’t been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City’s Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.
That was also the night of the rehearsal dinner for my wedding weekend in Chicago. A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists. Had to wait for the 800 RUN DEAD line to be updated and then be able to get through. Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.
No better way to end any show, including this one.
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