"EXPLORING THE SWEETNESS OF 'CANDYMAN': A GRATEFUL DEAD CLASSIC" Larry Mishkin reflects on a Grateful Dead show from 44 years ago on April 1st, 1980, where the band played a prank on April Fool's Day, starting with a Chuck Berry tune and then transitioning to their usual instruments to perform the song again. Larry also talks about the significance of the song "Candyman" and its role in the Grateful Dead's repertoire, as well as Billy Joel's milestone 100th residency concert at Madison Square Garden. Larry also talks about "Friend of the Devil" and its origins, penned by lyricist Robert Hunter in collaboration with Jerry Garcia and John Dawson.       Grateful Dead April 1, 1980 (44 years ago) Capitol Theater Passaic, NJ Grateful Dead Live at Capitol Theater on 1980-04-01 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd80-04-01.glassberg.barbella.4742.sbeok.shnf/gd80-04-01d3t03.shn   April Fool’s Day Opener that’s keeping with the theme   INTRO:                 THE PROMISED LAND                                 Track # 2                                 1:14 – 3:18   Chuck Berry tune with the Boys having a bit of fun to celebrate April Fool’s Day:   Jerry and Brent on Drums Bobby on keyboard Billy on bass and background vocals Mickey on rhythm guitar and singing lead vocals Phil on lead guitar   Kind of plodded through the song, but the fans loved the idea and the effort They then went back to normal instruments, played the tune again and killed it!   A fun opener with a good reality check for the dosed fans in the crowd.   SHOW NO. 1:                    CANDYMAN                                                 Track #4                                                 4:56 – 6:30   Garcia/Hunter masterpiece The song Candyman is part of the album American Beauty, which found its way into the world in November 1970. American Beauty is an album that is cherished by many, as it brings stories and emotions that feel both personal and universal. Candyman, with its blend of sweetness and shadow, invites listeners to delve into a world that is rich, complex, and thoughtfully spun. The album, with its varied tales and emotions, continues to be a friend to listeners, offering stories that explore the many sides and shades of life’s journey. The thought-provoking words of Candyman were penned by Robert Hunter, and the compelling music was created by Jerry Garcia. These two artists worked together to create many of the Grateful Dead’s memorable songs. Their collaboration in Candyman offers a rich story that allows listeners to explore and imagine a world that is sweet, slightly shadowed, and full of interesting adventures. The images and tales spun by the words and music invite people to think, feel, and maybe even find bits of their own stories within the tale of the Candyman. Played a total of 273 times.  Almost always a Jerry first set tune alternated with Loser, West LA, and a few others First played on April 3, 1970 (10 years earlier than today’s show) at Armory Fieldhouse in Cincinnati, OH Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh.   SHOW NO. 3:          FRIEND OF THE DEVIL                                     Track #8                                     3:36 – 5:20   __ __ Hunter dipped out of NRPS almost as fast he dipped in, and so the song became a Dead tune.   Certainly a popular tune with the band and the Deadheads.  Played 310X, almost always a first set tune. First – March 20, 1970 at the Capitol Theatre in Port Chester Last – June 2, 1995 at RFK Stadium in D.C.       SHOW NO. 4:               I USED TO LOVE HER BUT IT’S ALL OVER NOW                                          Track # 9                                          3:15 – 5:00   "IT'S ALL OVER NOW" is a song written by Bobby Womack https://en.wikipedia.org/wiki/Bobby_Womack and his sister-in-law Shirley Womack https://en.wikipedia.org/w/index.php?title=Shirley_Womack&action=edit&redlink=1.[1] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-500_Number_One_Hits-1 It was first released by The Valentinos https://en.wikipedia.org/wiki/The_Valentinos, featuring Bobby Womack, in 1964. The Rolling Stones https://en.wikipedia.org/wiki/The_Rolling_Stones heard it on its release and quickly recorded a cover version, which became their first number-one hit in the United Kingdom, in July 1964.   The Valentinos recorded the song at United Recording in Hollywood on March 24, 1964,[2] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-2 and released it two months later.[3] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-3 It entered the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 on June 27, 1964, and stayed on the chart for two weeks, peaking at number 94.   The Rolling Stones landed in New York on June 1, 1964, for their first North American tour https://en.wikipedia.org/wiki/The_Rolling_Stones_1st_American_Tour_1964, around the time the Valentinos' recording was released. New York radio DJ https://en.wikipedia.org/wiki/DJMurray the K https://en.wikipedia.org/wiki/Murray_the_K played the song to the Rolling Stones. He also played the Stones' "King Bee" (their Slim Harpo https://en.wikipedia.org/wiki/Slim_Harpo cover) the same night and remarked on their ability to achieve an authentic blues sound. After hearing "It's All Over Now" on that WINS show, the band recorded their version nine days later at Chess Studios https://en.wikipedia.org/wiki/Chess_Studios in Chicago. Years later, Bobby Womack said in an interview that he had told Sam Cooke he did not want the Rolling Stones to record their version of the song, and that he had told Mick Jagger to get his own song. Cooke convinced him to let the Rolling Stones record the song. Six months later on, after receiving the royalty check for the song, Womack told Cooke that Mick Jagger could have any song he wanted. The Rolling Stones' version of "It's All Over Now" is the most famous version of the song. It was first released as a single in the UK, where it peaked at number 1 on the UK Singles Chart https://en.wikipedia.org/wiki/UK_Singles_Chart, giving the Rolling Stones their first number one hit.[5] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-British_Hit_Singles_&_Albums-5 It was the band's third single released in America, and stayed in the  Hot 100 for ten weeks, peaking at number 26. Months later it appeared on their second American album  https://en.wikipedia.org/wiki/12_X_5. The song was a big hit in Europe and was part of the band's live set in the 1960s.  https://en.wikipedia.org/wiki/Cash_Box described it as a "contagious cover of the Valentinos' click" and "an infectious thumper that should head right for chartsville."   Dead played it 160 times, always a first set Bobby tune. First on Sept. 6, 1969 at Family Dog At The Great Highway in S.F. Last on July 2, 1995 at Deer Creek in Indy/   This version is great with the Brent solo leading into the Jerry solo.  Check out the entire clip.   SHOW NO. 4:               SHAKEDOWN STREET                                       Track #19                                       4:30 – 5:57   When people think of the Grateful Dead, they often think of free-flowing improvisational music. However, the band was known for many things, including their ability to construct incredibly catchy songs with deep meanings. This is exemplified in one of their most iconic songs, “Shakedown Street.”   Shakedown Street, the title track of the Grateful Dead’s tenth studio album, released in 1978, has been interpreted in countless ways over the years.    According to Hunter in an interview with Rolling Stone magazine, “Shakedown Street” was a place where the underbelly of society came out and did its trading. “It was a place for freaks, weirdos, and people who didn’t fit in anywhere else. It was one of the only places where they could socialize and be themselves without fear of persecution.”   The lyrics of “Shakedown Street” talk about this place where everybody is welcome, regardless of who they are or where they come from. As the song says, “Don’t tell me this town ain’t got no heart. Just gotta poke around.” The song is a reflection of the band’s values and the alternative society that they represented. It highlights the idea that people should be treated equally, without judgment, and that everyone should be able to express themselves. Played 164X Popular show opener, second set opener and occasionally, as here, an encore.  Great way to end a show rocking out hard for 10+ minutes and then going home. First:  August 31, 1978 Red Rocks Last:  July 9, 1995 Soldier Field – played it right up until the end! . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 6m

Apr 01

"FROM OUTLAW TO ENTREPRENEUR: THE EVOLUTION OF CANNABIS FARMING" Larry Mishkin is joined by Nick Erickson from Full Moon Farms https://fullmoonhumboldt.com/ in California. Nick shares his family's long history in California, dating back to the Gold Rush era. He discusses his introduction to cannabis cultivation, growing up around marijuana plants, and his experiences with law enforcement raids during the outlaw era of cannabis farming. He explains the transition from illegal to legal cannabis cultivation in California after the state's legalization in 2016. He highlights the challenges and benefits of operating a legal cannabis farm, including the importance of testing for safety and quality control. The conversation delves into the evolution of cannabis culture, the emergence of scientific understanding around terpenes, and the increasing focus on quality and sustainability in cannabis farming. Erickson emphasizes the significance of terroir, microclimates, and genetic diversity in producing unique cannabis strains with distinct flavors and effects. Overall, the transcript provides insights into the experiences of a legacy cannabis grower navigating the transition to a regulated market while maintaining a commitment to craft cultivation practices. https://fullmoonhumboldt.com/     Grateful Dead of the Day March 25, 1972 (52 years ago) New York Academy of Music Grateful Dead Live at Academy of Music on 1972-03-25 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd1972-03-25.aud.hanno.horner.22094.sbeok.shnf/gd1972-03-25d1t12.shn   Concert in NY immediately before their departure for Europe for the ’72 tour.   INTRO:                 HOW SWEET IT IS                                 Track No. 12                                 2:30 – 4:00     MID-SHOW:      NOBODY’S FAULT BUT MINE                                 Jimmy Page and Robert Plant                                 Slate Quarry U.K.  1994                                 Jimmy Page & Robert Plant - Nobody's Fault But Mine (Slate Quarry UK 1994) (youtube.com) https://www.youtube.com/watch?v=wV3-Ou4wSBs     OUTRO:               NEXT TIME YOU SEE ME                                 Track #15                                 :30 – 2:06 . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 4m

Mar 25

"Grateful Dead's Notable Tracks from 1977 plus a cure for Female Orgasmic Disorder" Larry Mishkin covers the Grateful Dead show from March 18th, 1977, at the Winterland arena in San Francisco, showcasing notable performances of songs like "Sugaree" and "Peggy-O." He delves into the history and significance of these songs within the Grateful Dead repertoire. Additionally, the discussion extends to the cannabis industry, highlighting the financial strategies of marijuana companies to minimize tax obligations under Section 280E of the IRS Code. He also touches on the opening of Nevada's first legal marijuana consumption lounge, signaling a shift in cannabis regulations in the state. Finally, Larry addresses the proposal to add Female Orgasmic Disorder (FOD) as a qualifying condition for medical marijuana use in Illinois, reflecting evolving perspectives on cannabis as a therapeutic option for various health conditions.   Grateful Dead March 18, 1977 (47 years ago) Winterland, S.F. Grateful Dead Live at Winterland Arena on 1977-03-18 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd77-03-18.sbd.unknown.254.sbeok.shnf/gd77-03-18-d3t07.shn   TITLE:  1977 WINTERLAND:  THE DEAD BUST OUT FIRE ON THE MOUNTAIN AND TAKE THEIR ONE AND ONLY ATTEMPT AT TERRAPIN FLYER.   Just a month after the Swing Auditorium show that we previewed a few weeks ago, Dead went home to Winterland for a string of shows.  This one stands out for a few reasons that we will get to as the show goes on.   INTRO:                 SUGAREE                                 Track #4                                 7:25 – 9:05                 "SUGAREE" is a song https://en.wikipedia.org/wiki/Song with lyrics by long-time Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead lyricist Robert Hunter https://en.wikipedia.org/wiki/Robert_Hunter_(lyricist) and music by guitarist https://en.wikipedia.org/wiki/GuitarJerry Garcia https://en.wikipedia.org/wiki/Jerry_Garcia.[1] https://en.wikipedia.org/wiki/Sugaree#cite_note-agdl-1 It was written for Jerry Garcia's first solo album  https://en.wikipedia.org/wiki/Garcia_(album), which was released on January 20, 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann https://en.wikipedia.org/wiki/Bill_Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker https://en.wikipedia.org/wiki/Leslie_speaker. Released as a single from the  album, "Sugaree" peaked at #94 on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 in April 1972 and was Garcia's only single ever on that chart. Elizabeth Cotten https://en.wikipedia.org/wiki/Elizabeth_Cotten, a North Carolina https://en.wikipedia.org/wiki/North_Carolinafolksinger https://en.wikipedia.org/wiki/Folk_music, wrote and recorded a song called "Shake Sugaree" in 1966.[3] https://en.wikipedia.org/wiki/Sugaree#cite_note-3 The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree." The song was first performed live by the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead on July 31, 1971, at the Yale Bowl https://en.wikipedia.org/wiki/Yale_Bowl at Yale University https://en.wikipedia.org/wiki/Yale_University, as was the song "Mr. Charlie https://en.wikipedia.org/wiki/Mister_Charlie".  The Dead played it 362 times in concert.  Last played on July 8, 1995 at Soldier Field in Chicago.                   A classic rocking Dead tune, usually a first set number, I’ve seen it as a show opener, first set closer, and encore.  In this clip they really rock it but it’s only a small peak at this 15 minute version of the tune.  Well worth pulling it down on Archive and checking out the entire number.  You won’t be sorry.     SHOW NO. 1:    PEGGY-O                                 Track #6                                 4:20 – 6:00                            Traditional, credit for the Grateful Dead version generally go to Jerry but some say Bill had a hand in writing it.               This song derives from the earlier Scottish traditional song Bonnie Lass of Fyvie-o. Fyvie is thought to have been a staging post between Aberdeen and Fort George in Scotland. This song does occur with a number of title variations. It is possible that Fennario is a corruption of Fyvie-o. Similar traditional songs also occurred in the UK; Handsome Polly O and Bonny Barbara O, though these are less similar to the modern Peggy-O song. The title Peggy-O is used on Grateful Dead recordings. The version of Peggy-O that is included in the Jerry Garcia box set All Good Things is a previously unreleased studio recordings from Spring 1979 and is given the title Fennario. The Fennario title is also used on concert recordings of The Dead and Phil Lesh & Friends. Although not released on a Dead studio album, the song was included on the remastered recordings of both Terrapin Station and Go To Heaven. The Grateful Dead first performed Peggy-O in December 10, 1973 at the Charlotte Coliseum in N.C.. It was then played in every year through to 1995 usually no more than a dozen times each year though it was played more regularly during the 1977 to 1981 period. Played a total of 265 times. The last performance was on July 5, 1995 at the Riverport Amphitheatre in Maryland Heights, MO (just outside of St. Louis). In this clip, I really enjoy Jerry’s strong voice, the solid jamming and some stealth piano contributions from Keith.   SHOW NO. 2:    FIRE ON THE MOUNTAIN                                 Track # 9                                 1:46 – 3:30                   Hunter/Hart (not Jerry!)                   Released on Shakedown Street on November 8, 1978, last song on first side of album.                   First time ever played – one of the reasons I chose this show over a number of other great shows on this date – others include a smokin “early” Dead show in 1967 at Winterland and 1971 at the Fox Theater in St. Louis coming fast on the heels of the Dead’s epic six night Capitol Theater run in Port Chester in late February.   This is another of those songs with a long and complicated genesis story, perhaps not worth getting into too much detail about here, but the rough outlines at least are important to note. The lyrics, according to Robert Hunter in , were “Written at Mickey Hart's ranch in heated inspiration as the surrounding hills blazed and the fire approached the recording studio where we were working.” Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled , recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled , recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart’s 1976 studio album, . And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on , in November 1978. There’s a lot of other detail I haven’t mentioned—possibly worthy of some historian taking it apart piece by piece, but you get the rough idea. On March 18, 1977 at Winterland Arena, San Francisco. "Fire" appeared for the first time, closing the first set, following its eternal partner, "Scarlet Begonias." This combination of tunes, which frequently enclosed some wonderful jamming, came to be known as "Scarlet Fire." There were a handful of occasions on which “Fire” appeared without “Scarlet Begonias,” but not many. approx 15 out of the total 253 performances. It remained steadily in the repertoire from then on, and was played for the final time on July 2, 1995, at the Deer Creek Music Center in Noblesville, Indiana. This clip being the song’s first live performance and almost a year and half before it’s commercial release, there are noticeable differences between this version and the one we al know and love.  But they go there very quickly as only two months later on May 8, 1977 the Dead played the Barton Hall show that many declare to be the best Dead show ever.  While that may or may not be true, what is true is that the version of Scarlet Fire is awesome and certainly befitting a show many do consider to be the finest Dead show of them all. Many more were to follow and the lucky ones who were in Winterland this night got to witness how it all started.       SHOW NO. 3:    TERRAPIN FLYER                                                                ALHAMBRA                                 Track # 17                                 :53 – end                                   INTO                                   DRUMS                                 Track # 18                                 Start – 0:44                   This is another reason I chose this show for today’s episode.  This represents the only known instance of the Dead playing the Terrapin Flyer part of the full Terrapin Suite from the Album (released on July 27, 1977) out of the traditional parts.  Although Jerry does not sing the lyrics from this part of the suite, he jams the very distinctive melody.  Interestingly, this is only a few weeks after the debut of Terrapin at the Swing Auditorium on Feb. 26, 1977.  Here, the Dead were trying out this sixth of seven parts of the suite and for whatever reason did not like what they heard or didn’t enjoy playing it or, more likely, practicing it, so it was dropped from live performances even though the primary and opening parts of the suite, Lady with a Fan into Terrapin Station, were played a total of 303 times.                   These are the fun little discoveries that even after 40+ years of listening to, following and learning about the band keep it fun, interesting and amazing.                   As for the recording of the entire suite, Keith Olsen https://en.wikipedia.org/wiki/Keith_Olsen was chosen to produce and the band temporarily moved to Los Angeles, as Olsen preferred to work at Sound City https://en.wikipedia.org/wiki/Sound_City_Studios, where he had recently achieved success producing Fleetwood Mac https://en.wikipedia.org/wiki/Fleetwood_Mac's 1975 comeback album https://en.wikipedia.org/wiki/Fleetwood_Mac_(1975_album).               Olsen had a method for reining in the Dead: "During the cutting of the basic tracks it was pretty hard to get every member of the band in the studio at the same time ... so [Steve] Parish went out to the hardware store and got these giant nails and a great big hammer and as soon as everybody was in, he hammered the door shut from the inside ... we didn't have drifters from the other studios coming in to listen. We didn't have people leaving to go screw around elsewhere. We started getting work done."[18] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-Blair-18 With Fleetwood Mac, Olsen had a hands-on approach, orchestrating the addition of Lindsey Buckingham https://en.wikipedia.org/wiki/Lindsey_Buckingham and Stevie Nicks https://en.wikipedia.org/wiki/Stevie_Nicks and influencing song choice, arrangements and sequencing. He entered the Grateful Dead project with similar expectations, imagining a concept album or song cycle. Olsen said that Davis told him "I need a commercial record out of them."[18] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-Blair-18 This caused some friction during the sessions as well as with the end results. Kreutzmann said "He'd have us play the same thing over and over again, and we're not really the type of band that can put up with that. ... Our very identity is based on the opposite principle."[ https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-willD-12                     SHOW NO. 4:   NOT FADE AWAY                                 Track # 19                                 14:00 – 15:40                   Written by Buddy Holly and Norman Petty.  Holly and the Crickets recorded the song in Clovis, New Mexico https://en.wikipedia.org/wiki/Clovis,_New_Mexico, on May 27, 1957, and it was released as a single (B side to “Oh Boy”) on October 27, 1957 on the Brunswick label.  The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat https://en.wikipedia.org/wiki/Bo-Diddley_beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa https://en.wikipedia.org/wiki/West_Africa. Jerry Allison https://en.wikipedia.org/wiki/Jerry_Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-buddyhollystory-3 Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin https://en.wikipedia.org/wiki/Joe_B._Mauldin played the double bass on this recording. It is likely that the backing vocalists https://en.wikipedia.org/wiki/Backing_vocalist were Holly, Allison, and Niki Sullivan https://en.wikipedia.org/wiki/Niki_Sullivan, but this is not known for certain.               First played by the Dead on February 19, 1969 at the Fillmore West in S.F., it was played by the band a total of 561 times and last played on July 5, 1995 at the Riverport Amphitheatre outside of St. Louis.               This is an absolutely ripping version of this tune so much so that I featured only the jam – everyone knows the lyrics, but the jam in this 20 minute version is better than any singing I could have featured.   OUTRO:               AROUND AND AROUND                                 Track 21                                 4:59 – 6:46                   Very appropriate to end on a Chuck Berry tune given that today is the seventh anniversary of Chuck’s death in 2017 at the age of 90.                   "AROUND AND AROUND" is a 1958 rock song written and first recorded by Chuck Berry https://en.wikipedia.org/wiki/Chuck_Berry. It originally appeared under the name "AROUND & AROUND" as the B-side https://en.wikipedia.org/wiki/A-side_and_B-side to the single "Johnny B. Goode https://en.wikipedia.org/wiki/Johnny_B._Goode".  Release on March 31, 1958 on Chicago’s own Chess Records checking in at a brisk 2:20.   Many bands have covered the song including, most famously, the Rolling Stones and David Bowie, and, of course the Dead who played it 418 times, first on November 8, 1970 at the Capitol Theater in Port Chester, NY and lastly on July 6, 1995 at the Riverport Amphitheatre outside of St. Louis – very appropriate since Chuck was born in St. Louis and died in Wentzville, just outside of the city.   This is one of the better version of the tune that I have heard.  It checks in at over 8 minutes and the boys just jam it out, throw in a few false endings and finally wrap it up, followed only by Uncle John’s Band before the boys say goodnight to the Winterland crazies and head home for a rare post show night in their own beds. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 8m

Mar 18

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg" Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show.  Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.    Grateful Dead March 11, 1993 (31 years ago) Rosemont Horizon Rosemont, Illinois (Chicago) Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd93-03-11.sbd.wharfrat.10383.sbeok.shnf/gd93-03-11d3t02.shn Final night of 3 show run March 9 – March 11 (Tuesday – Thursday)     INTRO:                  HELP ON THE WAY                                 Track #1                                 :20 – 2:06                                   Released on Blues For Allah (1975)                                 Played 111 times                                 First time:  June 17, 1975 at Winterland, S.F.                                        Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY         SHOW NO. 1:      WHEN I PAINT MY MASTERPIECE                                 Track #6                                 1:36 – 3:12                   "WHEN I PAINT MY MASTERPIECE" is a 1971 song written by Bob Dylan https://en.wikipedia.org/wiki/Bob_Dylan. It was first released by The Band https://en.wikipedia.org/wiki/The_Band, who recorded the song for their album  https://en.wikipedia.org/wiki/Cahoots_(album), released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio https://en.wikipedia.org/wiki/Blue_Rock_Studio when he was backed by Leon Russell https://en.wikipedia.org/wiki/Leon_Russell and session musicians, including Jesse Ed Davis https://en.wikipedia.org/wiki/Jesse_Ed_Davis on lead guitar, appeared on  https://en.wikipedia.org/wiki/Bob_Dylan%27s_Greatest_Hits_Vol._II, released November 17, 1971, with Russell credited as the producer.               Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve https://en.wikipedia.org/wiki/New_Year%27s_Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album  https://en.wikipedia.org/wiki/Rock_of_Ages_(album).   Douglas Brinkley https://en.wikipedia.org/wiki/Douglas_Brinkley, while interviewing Dylan for the  https://en.wikipedia.org/wiki/The_New_York_Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It’s grown on me as well. I think this song has something to do with the classical world https://en.wikipedia.org/wiki/Classical_antiquity, something that’s out of reach. Someplace you’d like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you’ve achieved the unthinkable. That’s what the song tries to say, and you’d have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece".   According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] https://en.wikipedia.org/wiki/When_I_Paint_My_Masterpiece#cite_note-4 Five live performances of the song from Dylan's 1975 Rolling Thunder Revue https://en.wikipedia.org/wiki/Rolling_Thunder_Revue tour were released on the box set  https://en.wikipedia.org/wiki/Bob_Dylan_%E2%80%93_The_Rolling_Thunder_Revue:_The_1975_Live_Recordings in 2019 The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts https://en.wikipedia.org/wiki/Plymouth,_Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour https://en.wikipedia.org/wiki/Rough_and_Rowdy_Ways_World_Wide_Tour in 2023.   Played 146 times First: June 13, 1987 at Ventura County Fairgrounds, Ventura, CA Last: July 9, 1995 at Soldier Field, Chicago   My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.               SHOW NO. 2:      SO MANY ROADS                                 Track #7                                 :39 – 2:21                   So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times. Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992; “It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me....   “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.”   Robert Hunter's comments on the origins of this song in the notes in  http://www.deaddisc.com/books/Box_Of_Rain_2.htm;   “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.”   Never released on a Dead studio album but was a centerpiece of the Dead’s first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995.   Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter’s lyrics and Jerry’s playing and singing. Very emotional.       SHOW NO. 3:      IKO IKO                                 Track No. 9                                 4:04 – 5:38                   "IKO IKO" (/ˈaɪkoʊˈaɪkoʊ/ https://en.wikipedia.org/wiki/Help:IPA/English) is a much-covered https://en.wikipedia.org/wiki/Standard_(music)New Orleans https://en.wikipedia.org/wiki/New_Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians https://en.wikipedia.org/wiki/Mardi_Gras_Indians and the traditional confrontation. The song, under the original title "JOCK-A-MO", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters https://en.wikipedia.org/wiki/James_%22Sugar_Boy%22_Crawford but it failed to make the charts.               The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon https://en.wikipedia.org/wiki/Heraldic_flag carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records https://en.wikipedia.org/wiki/Chess_Records and Checker Records https://en.wikipedia.org/wiki/Checker_Records president Leonard Chess https://en.wikipedia.org/wiki/Leonard_Chess, who misspelled it as "Jock-a-mo" for the record's release.               The song first became popular in 1965 by the girl group https://en.wikipedia.org/wiki/Girl_groupthe Dixie Cups https://en.wikipedia.org/wiki/The_Dixie_Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John https://en.wikipedia.org/wiki/Dr._John had a minor hit with his version of "Iko Iko".    Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                   Played 185 times                 First: May 15, 1977 at The Arena in St. Louis                 Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                     SHOW NO. 4:      SPACE                                 Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                 4:25 – 5:42 (The Island – Ken Nordine)                                 KEN NORDINE (April 13, 1920 – February 16, 2019) was an American voice-over https://en.wikipedia.org/wiki/Voice-over and recording artist, best known for his series of word jazz https://en.wikipedia.org/wiki/Word_Jazz albums.[2] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-2 His deep, resonant voice has also been featured in many commercial advertisements https://en.wikipedia.org/wiki/Advertising and movie trailers https://en.wikipedia.org/wiki/Movie_trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”               In 1955, he provided the voiceover on Billy Vaughn https://en.wikipedia.org/wiki/Billy_Vaughn's version of "Shifting Whispering Sands https://en.wikipedia.org/wiki/Shifting_Whispering_Sands", which peaked at number 5 on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100. He subsequently attracted wider attention when he recorded the aural vignettes on  (Dot, 1957). ,  (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz https://en.wikipedia.org/wiki/Cool_jazz by the Fred Katz https://en.wikipedia.org/wiki/Fred_Katz_(cellist) Group featuring Chico Hamilton https://en.wikipedia.org/wiki/Chico_Hamilton recording under an alias.               Nordine began performing and recording such albums at the peak of the beat https://en.wikipedia.org/wiki/Beat_generation era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka https://en.wikipedia.org/wiki/Franz_Kafka or Edgar Allan Poe https://en.wikipedia.org/wiki/Edgar_Allan_Poe" than to the beats.[8] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-chicagojazz-8 Many of his word jazz tracks feature critiques of societal norms.[9] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-flashpoint-9 Some are lightweight and humorous, while others reveal dark, paranoid https://en.wikipedia.org/wiki/Paranoia undercurrents and bizarre, dream-like scenarios. Nordine's DVD,  was released in 2007.[9] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-flashpoint-9 Nordine hosted the weekly Word Jazz program on WBEZ https://en.wikipedia.org/wiki/WBEZ, also carried on other stations, from the 1970s for over forty years. In 1990, Nordine was approached by Jerry Garcia https://en.wikipedia.org/wiki/Jerry_Garcia of The Grateful Dead https://en.wikipedia.org/wiki/The_Grateful_Dead to be the anchor for their New Year's Eve radio broadcast from Oakland https://en.wikipedia.org/wiki/Oakland, California.[13] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-Grateful-13 For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart https://en.wikipedia.org/wiki/Mickey_Hart and Egyptian musician Hamza El-Din https://en.wikipedia.org/wiki/Hamza_El-Din.[13] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-Grateful-13 This subsequently led to an album , released on the Grateful Dead's own label in 1991[13] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-Grateful-13 and  in 1993[14] https://en.wikipedia.org/wiki/Ken_Nordine#cite_note-Limbo-14 and an appearance with the band live at a show at Rosemont, Illinois https://en.wikipedia.org/wiki/Rosemont,_Illinois, in March 1993.             Ken Nordine died February 16, 2019.                   OUTRO:                DAYS BETWEEN                                 Track No. 18                                 4:51 – 6:51                   “Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia’s playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.)             It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It’s hard to say it any better than Phil Lesh did in his autobiography, : “Achingly nostalgic, ‘Days Between’ evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow’ or ‘gave the best we had to give / how much we’ll never know,’ I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. I don’t know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”             Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can’t hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                 Played 42 times by the band, always in the second set, almost always out of drums                 First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                 Last:  June 24, 1995 at RFK Stadium, Washington, D.C.   This was just the second time it was ever played   “Gave the best we had to give, how much we’ll never know”   No chorus in this song, just verses that keep building on each other. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 5m

Mar 11

"Birthdays, Breakouts, and Psychedelic Jams: The Legendary Grateful Dead Concert of '77" Today’s show comes from February 26, 1977 at the Swing Auditorium. The show not only opens the fabulous ’77 campaign and contains the first live versions of two of the truly great Dead tunes – Terrapin Station and Estimated Prophet – but it throws smoke and spits flames. The concert marked the debut of songs like "Terrapin Station" and "Estimated Prophet." Larry Mishkin delves into the significance of these songs in the Dead's repertoire, their musical and lyrical qualities, and the overall atmosphere of the concert. They also provide insights into the venue's history and its importance in rock and roll culture. Additionally, the conversation touches on other topics, such as the Fish concert series in Cancun, Mexico, and the significance of certain Grateful Dead songs like "The Wheel" and "Slipknot." Larry share personal anecdotes related to the music, including experiences at concerts and the culture surrounding marijuana use, inspired by a Commander Cody song.   INTRO:               TERRAPIN STATION                            Track # 1                            5:51 – 7:27   Garcia and Hunter   Probably that point right where Deadheads think they’ve seen it all.  The psychedelic rock, Pig’s blues, Americana, Wake of the Flood, Mars Hotel and Blues For Allah.  So if you had tickets for this show, you had no idea what you were in for, where the Dead were about to take you, a completely different direction, as close as the Dead would ever come to a rock-opera number.  And there was no waiting, lights went out and . . . . . .  . . . . . . . TURTLE MUSIC!!  Clocking in just shy of 11 minutes, it’s not quite the masterpiece it would become, but pretty amazing none the less.  Nothing else existed at that time quite like it.  But from the opening notes you know it is a winner, destined for greatness in the pantheon of great Dead tunes.  One that you could hear every show and never grow tired of or bored with it.   The title track from the album released on July 27, 1977, five months after this show.  First studio album since they had returned to touring.  T is the ninth studio album https://en.wikipedia.org/wiki/Studio_album (fourteenth overall) by the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, It was the first Grateful Dead album on Arista Records https://en.wikipedia.org/wiki/Arista_Records The cover artwork was produced by Kelley https://en.wikipedia.org/wiki/Alton_Kelley/Mouse https://en.wikipedia.org/wiki/Stanley_Mouse Studios, who had created several previous works for the band. Though a terrapin https://en.wikipedia.org/wiki/Diamondback_terrapin appears in the lyrics only as a place name, dancing terrapins feature prominently in the artwork and afterward became part of the large iconography associated with the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead#Artwork. The front cover image takes the idea of a "terrapin station" literally. The back cover features a stylized, one-eyed skull with a crossed bone, feathers and roses, in keeping with the imagery that had evolved around the Dead.   This clip is the famous and beloved transition form Lady With A Fan into Terrapin Station, the first two parts of the seven part suite clocking in at 16:23.   The other five parts are:  Terrapin; Terrapin Transit; At A Siding; Terrapin Flyer and Refrain. The Grateful Dead only performed the Lady With A Fan and Terrapin Station.  Dead and Co. have played the entire suite.  Fun to hear, but not the same as if Jerry was playing it.  Too bad he never did.                 Played 303 times               First:  This version right here that we just played for you               Last: July 8, 1995     SHOW NO. 1:     ESTIMATED PROPHET                            Track #4                            1:54 – 3;26     Bob and John Barlow   "Estimated Prophet" was written in septuple time https://en.wikipedia.org/wiki/Septuple_time. Bobby’s lyrics for the song (finished with writing partner John Barlow https://en.wikipedia.org/wiki/John_Perry_Barlow) examine a character's delusions of grandeur and California's propensity for false prophets. The song also quotes "Ezekiel Saw the Wheel https://en.wikipedia.org/wiki/Ezekiel_Saw_the_Wheel".[13] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-13[14] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-convo-14 Drummer Bill Kreutzmann https://en.wikipedia.org/wiki/Bill_Kreutzmann said "It's a great song but when [Weir] brought it to us, something was off. It needed a groove. It was in quick4 but it didn't swing. Yet. For my homework that night, I combined two fast sevens and played half-time https://en.wikipedia.org/wiki/Half-time_(music) over it. The two sevens brought the time around to an even number – the phrasing is in two bars of seven, so technically the time signature is in. But that's getting technical. In layman's terms, 'Estimated Prophet' suddenly grooved."   Released on Terrapin Station, this was its debut performance and it was well received.  A fan favorite and regular part of the Band’s playlist for the rest of their careers.               390 times total            First:  This is it right here.            Last:  June 28, 1995 at the Palace of Auburn Hills outside of Detroit     SWING AUDITORIUM   Built in 1949, the Swing Auditorium had a maximum capacity of around 10,000, but it probably sold out at only around 6000 for this Dead show. The venue’s ascent into rock and roll fame began in 1962 when a man named Bob Lewis started promoting concerts there. In the ensuing decades, Lewis brought all the legends into the Swing, including Jimi Hendrix, Elvis Presley, Michael Jackson, and, of course, the Grateful Dead. But what really solidified the Swing’s place amongst the hallowed venues was the American debut of the Rolling Stones there in 1964. With a mere ten-song set, the Stones stoked the hall into a fervor. The band had to drop their instruments and run for the exits before the crowd rushed the stage. For their part, the Dead played the Swing only four times before it was razed after a small plane crashed into the building on September 11, 1981.   SHOW NO. 2:     THE WHEEL                            Track #9                            :30 – 2:09                 Released on January 20, 1972 as the final track on side 2 of Jerry’s firs solo album, “Garcia”.  The psychedelic closer it exhibits Garcia's short-lived infatuation with pedal steel guitar.  great to hear in concert, although relatively short in length.  Almost always a second set song and, it is high energy and always a great way for the band to transition out of Space.                  Played 259 times               First:     June 3, 1976 at the Paramount Theater in Portland Oregon               Last:     May 25, 1995 at Memorial Stadium in Seattle   SHOW NO. 3:     SLIPKNOT                            Track #14                            11:30 – 13:10   Released on Blues For Allah in 1975   Plays a key role in a key suite and is often overlooked.  The bridge between Help On The Way and Franklin’s Tower it often gets lost in the jam out of Help and then into Franklin’s.  But it is almost always there and always a great piece of improvisational music that rarely sounds exactly the same, except for the distinctive intro/outro.  Similar to I Am Hydrogen in Phish’s Mike’s Groove run of songs            Played 114 times (Help = 111 times; Franklin’s = 222 times)               First:   October 20, 1974 at Winterland in San Francisco               Last:  June 22, 1995 at the Knickerbocker Arena in Albany, NY   SHOW NO. 4:     EYES OF THE WORLD                            Track #17                            5:35 – 7:07   Released on Wake of the Flood on October 15, 1973   Many a Deadheads “secret” favorite tune.  It’s that good.  Played fast, played slow, almost always in the second set and often times as a companion piece with Estimated Prophet, the coveted “Estimated Eyes” jam.  In the first part of the 1980’s second sets often opened with Scarlet>Fire Estimated>Eyes OR Help>Slip>Frank Estimated>Eyes   Played 382 times First:  February 9, 1973 at Maples Pavilion at Stanford in Palo Alto Last:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO, just outside of St. Louis     OUTRO:              DANCIN’ IN THE STREETS                            Track #18                            7:40 – 9:13   “Dancin' in the Streets" is a cover of Martha & the Vandellas https://en.wikipedia.org/wiki/Martha_%26_the_Vandellas' "Dancing in the Street https://en.wikipedia.org/wiki/Dancing_in_the_Street" from the early days of the band, given a new arrangement that prominently features singer Donna Godchaux https://en.wikipedia.org/wiki/Donna_Godchaux. For the studio version, a funk-influenced https://en.wikipedia.org/wiki/Funk#1970s guitar figure was added to a four-on-the-floor https://en.wikipedia.org/wiki/Four_on_the_floor_(music) disco beat and polished with a commercial production contemporary to the era.   Released by the Dead as the second song on Terrapin Station.    Played 131 times First:  July 3, 1966 at the Fillmore in San Francisco Last:  April 6, 1987 at Brendan Byrne Arena in New Jersey   Dead would play this tune in spurts:             28 times in 1970             27 times in 1976             14 times in 1977 and 1978             A bit of a comeback in 1984 and 1985 – 6 times each year, b             Once in 1987             Gone     Mishkin Law, LLC 500 Skokie Blvd. Suite 325 Northbrook, IL  60062 Cell: (847) 812-1298 Office Direct: (847) 504-1480 lmishkin@mishkin.law . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 3m

Feb 26

"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson" Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases.    Grateful Dead February 19, 1971 (53 years ago) Capitol Theatre Port Chester, NY Grateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd71-02-19.sbd.orf.1029.sbeok.shnf/d2t02.shn   The second of the legendary six night run at the Capitol Theatre in late February, 1971: Feb. 18, 19, 20, 21, 23, and 24   INTRO:                  LOSER                                 Track #3                                 2:55 – 4:24   Hunter/Garcia tune that was released on “Garcia”, Jerry’s first solo album, in January, 1972, the last song on side one of the album.  It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music.     SECOND time played Played a total of 353 times First time:  “Last”night 2.18.71 Last:  June 28, 1995, The Palace of Auburn Hills, outside Detroit                                  THIS SHOW:   Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star.  It was also Mickey’s last show before his almost three year hiatus before he returned for the final 1974 show before the band’s 1975 year off   February 19th show is just as historical:  The band’s first show without Mickey since he joined the band in 1967.  Many people theorize that this was Mickey’s response to his father, Lenny Hart who was the band’s manager stealing almost $155,000 of the band’s assets before disappearing.  Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned.  The song, “He’s Gone” is based on Lenny Hart’s embezzlement and disappearance.  Ashamed by his father’s actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975.  Lenny died of natural causes on Feb. 2, 1975.  According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris https://en.wikipedia.org/wiki/Frank_Arsenault#The_26_Standard_American_Drum_Rudiments_and_Selected_Solos" on Lenny's coffin, and split."   Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September.  On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong.    Pig also has a strong showing this night leading the band through four standouts:               Hurts Me Too             Smokestack Lightning:  the third to last time it would be played with Pig in the band             Easy Wind:  the second to last time it would be played without Pig in the band             Good Lovin     This really marked the beginning of the band’s hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman’s and American Beauty.  Within a year, Pig would be very ill with just enough energy left for the Europe ’72 tour.  But this night, he was rocking the house like only he could do.  Here is the first of his four featured songs:     SHOW NO. 1:      HURTS ME TOO                                 Track # 5                                 2:08 – 3:42   Great showcase number for Pig featuring his singing and harp playing.  We got just a bit of Jerry’s lead but all this great music is too long to fit into one clip – don’t want Dan getting mad at me!   "IT HURTS ME TOO" is a blues standard https://en.wikipedia.org/wiki/Blues_standard that is "one of the most interpreted blues [songs]".[1] https://en.wikipedia.org/wiki/It_Hurts_Me_Too#cite_note-FOOTNOTEHerzhaft1992455-1 First recorded in 1940 by Tampa Red https://en.wikipedia.org/wiki/Tampa_Red in Chicago, the song is a mid-tempo eight-bar blues https://en.wikipedia.org/wiki/Eight-bar_blues that features slide guitar https://en.wikipedia.org/wiki/Slide_guitar. It borrows from earlier blues songs and has been recorded by many artists.  Release on May 10th with Tired of Your Reckless Ways on the B-side.   In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] https://en.wikipedia.org/wiki/It_Hurts_Me_Too#cite_note-9 It was recast in the style of a Chicago blues https://en.wikipedia.org/wiki/Chicago_blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on  https://en.wikipedia.org/wiki/Billboard_(magazine)Rhythm & Blues Records https://en.wikipedia.org/wiki/Hot_R%26B/Hip-Hop_Songs chart in 1949.[10] https://en.wikipedia.org/wiki/It_Hurts_Me_Too#cite_note-FOOTNOTEWhitburn1988410-10 (The original "It Hurts Me Too" was released before  or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics.   Noted covers:             Elmore James             Junior Wells             Grateful Dead – with Pig singing the vocals.  Was first released by the Dead on Europe ’72 album.  After Pig left the band, the song was retired.               The Dead played the song a total of 59 times             First:    May 19, 1966 at the Avalon Ballroom, San Francisco             Last:     May 24, 1972 at the Lyceum Ballroom in London (last show of Europe ’72 tour                 “FROM THE VAULT”:   This entire show was released by the Dead as “Three From The Vault” in 2007.  The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah.  In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles.  Then, along came Dick Latvala and his Dead scene changing Dick’s Picks series which was wildly popular, so much so that the In The Vault Series was put on hold.  For 15 years.  Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre.  That was it for In The Vault releases.  The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin’ At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”.  Dick’s Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick’s death in 1999.  Which led into the still wildly popular Dave’s Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong.  And “short” lived, but generally popular  “Roadtrips” series.  And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe ’72 which consists of the live recordings for all of the shows on that tour.  Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band’s existence.     SHOW NO. 2:      PLAYIN IN THE BAND                                 Track # 7                                 2:23 – 4:05                                              By:  Weir and Hunter   "PLAYING IN THE BAND" is a song by the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead. The lyrics were written by Robert Hunter https://en.wikipedia.org/wiki/Robert_Hunter_(lyricist) and rhythm guitarist https://en.wikipedia.org/wiki/Rhythm_guitarBob Weir https://en.wikipedia.org/wiki/Bob_Weir composed the music, with some assistance from percussionist Mickey Hart https://en.wikipedia.org/wiki/Mickey_Hart.[1] https://en.wikipedia.org/wiki/Playing_in_the_Band#cite_note-1 The song first emerged in embryonic form on the self-titled 1971 live album https://en.wikipedia.org/wiki/Live_album https://en.wikipedia.org/wiki/Grateful_Dead_(album). It then appeared in a more polished form on  https://en.wikipedia.org/wiki/Ace_(Bob_Weir_album), Bob Weir's first solo album (which included every Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead member except Ron "Pigpen" McKernan https://en.wikipedia.org/wiki/Ron_%22Pigpen%22_McKernan). The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West https://en.wikipedia.org/wiki/Fillmore_West, in which it appears somewhat indistinct from the preceding and following jams.[5] https://en.wikipedia.org/wiki/Playing_in_the_Band#cite_note-5 The completed song was also included on Mickey Hart https://en.wikipedia.org/wiki/Mickey_Hart's 1972 solo album  https://en.wikipedia.org/wiki/Rolling_Thunder_(album) within "The Main Ten", making reference to the song's time signature https://en.wikipedia.org/wiki/Time_signature of 10/4.  "The Main Ten" appears on  https://en.wikipedia.org/wiki/Dick%27s_Picks_Volume_16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)". During a Bob Weir and Wolf Bros https://en.wikipedia.org/wiki/Bob_Weir_and_Wolf_Bros concert livestream on February 12, 2021, Weir credited David Crosby https://en.wikipedia.org/wiki/David_Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it"   It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to , it ranks fourth on the list of songs played most often in concert by the band with over 600 performances.   If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song.  He is clearly still working it out.  Over the course of the Europe ’72 tour, it was played almost every night as Bobby finally worked it out This is all really good stuff.   SECOND time ever played  661 times (No. 1)                 First – “last: night’s show, Feb. 18, 1971 Capitol Theatre                 Last:       July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis.                   SHOW NO. 3:      GREATEST STORY EVER TOLD (THE PUMP SONG)                               Track #13                            Start – 1:41                 By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis)                 REVEREND GARY DAVIS, also BLIND GARY DAVIS (born GARY D. DAVIS, April 30, 1896 – May 5, 1972),[1] https://en.wikipedia.org/wiki/Reverend_Gary_Davis#cite_note-bare-1 was a blues https://en.wikipedia.org/wiki/Blues and gospel https://en.wikipedia.org/wiki/Gospel_blues singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues https://en.wikipedia.org/wiki/Piedmont_blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival https://en.wikipedia.org/wiki/American_folk_music_revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah https://en.wikipedia.org/wiki/Samson_and_Delilah_(traditional_song)"[2] https://en.wikipedia.org/wiki/Reverend_Gary_Davis#cite_note-2 and "Death Don't Have No Mercy https://en.wikipedia.org/wiki/Death_Don%27t_Have_No_Mercy"   __ __                 Per Hunter:  "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well."                  Released on Ace on May 1, 1972               First song on the album with Bobby setting a rocking tone               Another tune that was played almost every night of and refined during the Europe ’72 tour                                 283 times               First:  “last night” 2.18.71               Last:  June 27, 1995 at the Palace at Auburn Hills outside Detroit                   SHOW NO. 4:      BIRD SONG                                 Track #15                            :42 – 2:15                 By Garcia and Hunter               Second song on Garcia               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 A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends.   Beautiful song, even for the fist time you know it’s going to be special.   Played 301 tines               First:  This is it!               Last:   June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA       OUTRO:                DEAL                                 Track #17                                 Start – 1:33     May 16, 2023 by Chris Huber https://extrachill.com/author/chubes of Chill   One of the Grateful Dead’s live staples, and many gambling songs is the Robert Hunter https://extrachill.com/grateful-dead-ripple-meaning and Jerry Garcia https://extrachill.com/jerry-garcia-quotes collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band. “Deal” saw studio release as the opening track to Jerry Garcia’s 1972 debut solo album, , which also contained several other classic Grateful Dead live songs including “Sugaree” https://extrachill.com/grateful-dead-sugaree-meaning, “Bird Song” https://extrachill.com/grateful-dead-bird-song-meaning, “Loser” https://extrachill.com/grateful-dead-loser-meaning, and “The Wheel.   Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set.  Even in JGB sets it was a first set closer.  And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along.  For a first time played, this version stays true to the version we all know and love from a few years later.                               Played 428 times               First:  This is IT               Last:  June 18, 1995, Giants Stadium in East Rutherford, NJ   Thank you. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 7m

Feb 19

"Changing Beats: Goose's Drummer Departure and New Musical Ventures" Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news.   Grateful Dead February 12, 1986 (38 years ago) Henry J. Kaiser Convention Center Oakland, CA Grateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd1986-02-12.Senn421.Darby.119373.Flac2448/gd1986-02-12.Senn421.t17.flac   Show Title:  Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras   A short Dead show by Nevilles played a set after turning it into a marathon evening of great music     INTRO:              SUGAREE                            Track #3                            Start – 1:35                              Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket).  Released on the Jerry’s first solo album, Garcia, in January, 1972.                              Played 362 times                            1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release                            Last played on July 8, 1995 at Soldier Field in Chicago   KAISER CONVENTION CENTER is a historic, publicly owned multi-purpose building located in Oakland, California https://en.wikipedia.org/wiki/Oakland,_California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-OL-2 The building is #27 on the list of Oakland Historic Landmarks.,[3] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-landmarks-3 and was listed on the National Register of Historic Places https://en.wikipedia.org/wiki/National_Register_of_Historic_Places in 2021.[4] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-4 The building is located at 10 10th Street, in the Civic Center https://en.wikipedia.org/wiki/Civic_Center,_Oakland,_California district of the city. It is next to the Oakland Museum https://en.wikipedia.org/wiki/Oakland_Museum, Laney College https://en.wikipedia.org/wiki/Laney_College, Lake Merritt https://en.wikipedia.org/wiki/Lake_Merritt, and near the Lake Merritt https://en.wikipedia.org/wiki/Lake_Merritt_stationBART https://en.wikipedia.org/wiki/Bay_Area_Rapid_Transitstation https://en.wikipedia.org/wiki/Metro_station. he Beaux-Arts https://en.wikipedia.org/wiki/Beaux-Arts_architecture style landmark was built in 1914; the architect was John J. Donovan.[3] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-landmarks-3 The structural engineer was Maurice Couchot.[5] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-5 Originally known as the OAKLAND CIVIC AUDITORIUM, it was renamed in honor of Henry J. Kaiser https://en.wikipedia.org/wiki/Henry_J._Kaiser after a 1984 renovation. The city closed the facility in 2006 and its future was uncertain for a decade.[1] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-Chronicle-1 In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building. The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-6 However, the redevelopment agency was dissolved by the State of California in 2012,[7] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-7 so ownership reverted to the city of Oakland. In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark. In the 1950s and 1960s the Roller Derby https://en.wikipedia.org/wiki/Roller_Derby played there hundreds of times.   Elvis Presley https://en.wikipedia.org/wiki/Elvis_Presley performed at the convention center on June 3, 1956, and again on October 27, 1957.   On December 28, 1962, Martin Luther King Jr. https://en.wikipedia.org/wiki/Martin_Luther_King_Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation https://en.wikipedia.org/wiki/Emancipation_Proclamation.[13] https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-13 Ike & Tina Turner https://en.wikipedia.org/wiki/Ike_%26_Tina_Turner performed at the Oakland Auditorium on January 13, 1967. From 1967 through 1989, the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[ https://en.wikipedia.org/wiki/Kaiser_Convention_Center#cite_note-14                       SHOW NO. 1:    TONS OF STEEL                            Track # 4                            1:07 – 2:40                 A “new” Brent song, released on In The Dark in 1987.  Love the harmonizing with Phil – “She wasn’t built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.”  Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn’t get enough of him.   David Dodd: Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s. It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts? So, it’s a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking! What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He’s Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime).                            Played 29 times                            First played December 28, 1984 S.F. Civic Auditorium (NYE run)                            Last played September 23, 1987 at the Spectrum, Philly     SHOW NO. 2:    CASSIDY                            Track #6                            2:20 – 4:09   "CASSIDY" is a song written by John Barlow https://en.wikipedia.org/wiki/John_Perry_Barlow and Bob Weir https://en.wikipedia.org/wiki/Bob_Weir[1] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-Brightman-1 and performed by the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, Ratdog https://en.wikipedia.org/wiki/Ratdog, and Phil Lesh & Friends https://en.wikipedia.org/wiki/Phil_Lesh_%26_Friends.[2] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-songfinder-2 The song appeared on Bob Weir's  https://en.wikipedia.org/wiki/Ace_(Bob_Weir_album), and the Grateful Dead's  https://en.wikipedia.org/wiki/Reckoning_(Grateful_Dead_album) and  https://en.wikipedia.org/wiki/Without_a_Net albums.[3] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-Dodd-3 The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-Brightman-1 The lyrics also allude to Neal Cassady https://en.wikipedia.org/wiki/Neal_Cassady, who was associated with the Beats https://en.wikipedia.org/wiki/Beat_Generation in the 1950s[4] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-4 and the Acid Test https://en.wikipedia.org/wiki/Acid_Tests scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5] https://en.wikipedia.org/wiki/Cassidy_(song)#cite_note-5 The song was quoted in the admiring and admirable obituary of Barlow in  https://en.wikipedia.org/wiki/The_Economist. One of my favorite songs, a great sing a long. I really like this version because it gets nice and trippy.  Always good for a helping define the mood of the show, usually about mid to late first set.  A very fun tune.                            Played 339 times                            1st:  March 23, 1974 at the Cow Palace in Daley City, just outside S.F.                            Last:  July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis      SHOW NO. 3:    WILLIE AND THE HAND JIVE                            Track # 14                            1:23 – 3;05   Played with the Neville Bros. but without Phil who left the stage for this one song.   WILLIE AND THE HAND JIVE" is a song written by Johnny Otis https://en.wikipedia.org/wiki/Johnny_Otis and originally released as a single in 1958 by Otis, reaching #9 on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 chart and #5 on the Billboard R&B chart https://en.wikipedia.org/wiki/Billboard_R%26B_chart.[1] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-gold-1[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2 The song has a Bo Diddley beat https://en.wikipedia.org/wiki/Bo_Diddley_beat and was partly inspired by the music sung by a chain gang https://en.wikipedia.org/wiki/Chain_gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation https://en.wikipedia.org/wiki/Masturbation,[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2though Otis always denied it.[3] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-3 It has since been covered by numerous artists, including The Crickets https://en.wikipedia.org/wiki/The_Crickets, The Strangeloves https://en.wikipedia.org/wiki/The_Strangeloves, Eric Clapton https://en.wikipedia.org/wiki/Eric_Clapton, Cliff Richard https://en.wikipedia.org/wiki/Cliff_Richard, Kim Carnes https://en.wikipedia.org/wiki/Kim_Carnes, George Thorogood https://en.wikipedia.org/wiki/George_Thorogood, The Bunch https://en.wikipedia.org/wiki/The_Bunch, and in live performances by The Grateful Dead https://en.wikipedia.org/wiki/The_Grateful_Dead.[4] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-covers-4[5] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-dead-5 Clapton's 1974 version was released as a single and reached the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the Rock Tracks https://en.wikipedia.org/wiki/Mainstream_Rock_(chart) chart.   The lyrics tell of a man named Willie who became famous for doing a hand jive https://en.wikipedia.org/wiki/Hand_jive dance.[1] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-gold-1[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2 In a sense, the story is similar to that of Chuck Berry https://en.wikipedia.org/wiki/Chuck_Berry's "Johnny B. Goode https://en.wikipedia.org/wiki/Johnny_B._Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-gold-1 The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2[5] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-dead-5 At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2 The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-midnight-2 Otis' label, Capitol Records https://en.wikipedia.org/wiki/Capitol_Records, also provided diagrams showing how to do the hand jive dance.   Eric Clapton https://en.wikipedia.org/wiki/Eric_Clapton recorded "Willie and the Hand Jive" for his 1974 album  https://en.wikipedia.org/wiki/461_Ocean_Boulevard. Clapton slowed down the tempo https://en.wikipedia.org/wiki/Tempo for his version.[12] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-welch-12 Author Chris Welch believes that the song benefits from this "slow burn".[12] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-welch-12 https://en.wikipedia.org/wiki/Billboard_(magazine) described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff https://en.wikipedia.org/wiki/I_Shot_the_Sheriff."[13] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-bb-13 https://en.wikipedia.org/wiki/Record_World said that "Clapton slowly boogies [the song] into laid-back magnificence.   George Thorogood https://en.wikipedia.org/wiki/George_Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers  https://en.wikipedia.org/wiki/Maverick_(George_Thorogood_and_the_Destroyers_album).[27] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-27 His single version charted on the Hot Mainstream Rock Tracks https://en.wikipedia.org/wiki/Hot_Mainstream_Rock_Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-gold-1[28] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-28Allmusic https://en.wikipedia.org/wiki/Allmusic critic James Christopher Monger called the song one of Thorogood's "high points.   Other artists who covered the song include: Johnny Rivers https://en.wikipedia.org/wiki/Johnny_Rivers, New Riders of the Purple Sage https://en.wikipedia.org/wiki/New_Riders_of_the_Purple_Sage, The Flying Burrito Brothers https://en.wikipedia.org/wiki/The_Flying_Burrito_Brothers, Sandy Nelson https://en.wikipedia.org/wiki/Sandy_Nelson, The Tremeloes https://en.wikipedia.org/wiki/The_Tremeloes, Amos Garrett https://en.wikipedia.org/wiki/Amos_Garrett, Ducks Deluxe https://en.wikipedia.org/wiki/Ducks_Deluxe and Levon Helm https://en.wikipedia.org/wiki/Levon_Helm.[4] https://en.wikipedia.org/wiki/Willie_and_the_Hand_Jive#cite_note-covers-4Lee Michaels https://en.wikipedia.org/wiki/Lee_Michaels released a version of the song on his 1971 album,  https://en.wikipedia.org/wiki/5th_(Lee_Michaels_album)                              To my surprise, played 6 times by the band, all in ’86 and once in ‘87                            This is the fist time they ever played it                            Last:  April 4, 1987 at the Centrum in Worcester, MA                   SHOW NO. 4:   IN THE MIDNIGHT HOUR                            Track # 16                            2:20 – 4:01                              Played with the Nevilles, Phil back on stage                            Again, Jerry’s playing really stands out.    "IN THE MIDNIGHT HOUR" is a song originally performed by Wilson Pickett https://en.wikipedia.org/wiki/Wilson_Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album  https://en.wikipedia.org/wiki/The_Exciting_Wilson_Pickett. The song was composed by Pickett and Steve Cropper https://en.wikipedia.org/wiki/Steve_Cropper at the historic Lorraine Motel https://en.wikipedia.org/wiki/Lorraine_Motel in Memphis https://en.wikipedia.org/wiki/Memphis,_Tennessee, later (April 1968) the site of the assassination of Martin Luther King Jr. https://en.wikipedia.org/wiki/Assassination_of_Martin_Luther_King_Jr. Pickett's first hit on Atlantic Records https://en.wikipedia.org/wiki/Atlantic_Records,[1] https://en.wikipedia.org/wiki/In_the_Midnight_Hour#cite_note-pc51-1 it reached number one on the R&B https://en.wikipedia.org/wiki/Hot_R%26B/Hip-Hop_Songs charts and peaked at number 21 on the pop https://en.wikipedia.org/wiki/Pop_music charts.   Wilson Pickett recorded "In the Midnight Hour" at Stax https://en.wikipedia.org/wiki/Stax_Records Studios, Memphis https://en.wikipedia.org/wiki/Memphis,_Tennessee, May 12, 1965. The song's co-writer Steve Cropper https://en.wikipedia.org/wiki/Steve_Cropper recalls: "[Atlantic Records president] Jerry Wexler https://en.wikipedia.org/wiki/Jerry_Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn’t know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] https://en.wikipedia.org/wiki/In_the_Midnight_Hour#cite_note-3 More likely, Cropper was remembering The Falcons https://en.wikipedia.org/wiki/The_Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4] https://en.wikipedia.org/wiki/In_the_Midnight_Hour#cite_note-4 Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson https://en.wikipedia.org/wiki/Al_Jackson_Jr. (drums) and Donald "Duck" Dunn https://en.wikipedia.org/wiki/Donald_%22Duck%22_Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative ", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk https://en.wikipedia.org/wiki/The_Jerk_(dance), which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5] https://en.wikipedia.org/wiki/In_the_Midnight_Hour#cite_note-5 Pickett re-recorded the song for his 1987 album . "In the Midnight Hour" t has become an iconic R&B track,[ https://en.wikipedia.org/wiki/Wikipedia:Citation_needed] placing at number 134 on  https://en.wikipedia.org/wiki/Rolling_Stone's list of the 500 Greatest Songs of All Time https://en.wikipedia.org/wiki/List_of_Rolling_Stone%27s_500_Greatest_Songs_of_All_Time,[ https://en.wikipedia.org/wiki/Wikipedia:Citation_needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally https://en.wikipedia.org/wiki/Mustang_Sally_(song)" at number 434).[ https://en.wikipedia.org/wiki/Wikipedia:Citation_needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll https://en.wikipedia.org/wiki/The_Rock_and_Roll_Hall_of_Fame%27s_500_Songs_that_Shaped_Rock_and_Roll,[ https://en.wikipedia.org/wiki/Wikipedia:Citation_needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry https://en.wikipedia.org/wiki/National_Recording_Registry by the Library of Congress https://en.wikipedia.org/wiki/Library_of_Congress as being "culturally, historically, or artistically significant."[7] https://en.wikipedia.org/wiki/In_the_Midnight_Hour#cite_note-7 In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records https://en.wikipedia.org/wiki/Atlantic_Records by Wilson Pickett https://en.wikipedia.org/wiki/Wilson_Pickett was inducted into the Grammy Hall of Fame https://en.wikipedia.org/wiki/Grammy_Hall_of_Fame.   __ __ ·        The Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan https://en.wikipedia.org/wiki/Ron_%22Pigpen%22_McKernan.  It was occasionally the Dead’s “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight.                              57 times played                            1st: December 10, 1965 at the Fillmore in S. F.                            Last:  October 17, 1994 at MSG, NYC   OUTRO:            JOHNNY B. GOODE                            Track #17                           Start – 1:40                 We just featured this song from a different show, but this version demands recognition.  Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time).   Chuck Berry tune                                                                               Dead played it 283 times                         First played: September 7, 1969 at The Family Dog at the Great Highway, S.F.                         Last played:  April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 11m

Feb 12

"Uni Dome Bliss: Jerry's Guitar Magic Illuminating Iowa Nights" Larry Mishkin discusses a Grateful Dead concert from February 5, 1978, held at the Uni Dome at the University of Northern Iowa in Cedar Falls. He emphasizes the exceptional performance, particularly focusing on the Scarlet Begonias and Fire on the Mountain combo, which he compares favorably to the renowned Barton Hall show from May 1977. Larry praises the guitar work of Jerry Garcia and highlights the unique qualities of this less-discussed but outstanding 1978 show. Additionally, he briefly touches on recent music news, including the Dead and Company's residency at The Sphere in Las Vegas and the upcoming Days Between event at Jazz Fest in New Orleans, featuring Government Mule and other legendary musicians.   February 5, 1978 (46 years ago) Uni-Dome University of Northern Iowa Cedar Falls, Iowa Grateful Dead Live at Uni Dome, U of Northern Iowa on 1978-02-05 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd1978-02-05.138311.sbd.GEMS.flac16/gd78-02-05s2t04.flac   Show Title:  The Dead Warm Up A Cold Iowa Night in 1978.  Dead & Co scheduled to play the Shere.  Alcohol v. Cannabis v. Tobacco – You already know the answer to this one!     INTRO:              BERTHA                            Track #1                            3:24 – 5:13                               Great Jerry solo   SHOW NO. 1:     SAMSON & DELILAH                            Track # 12                            1:30 – 3:10                              Bobby’s mic not working so they have to improvise and keep jamming                              Played 365 times, often on Sunday – “It being Sunday . . . “                            First played June 3, 1976 Paramount Theater in Portland, OR                            Last played July 9, 1995 at Soldier Field, Chicago   SHOW NO. 2:    SCARLET BEGONIAS                            Track #14                            3:20 – 5:10                              One of the best ever, great jamming   SHOW NO. 3:    FIRE ON THE MOUNTAIN                            Track # 15                            7:15 – 9:02                              Again, one of the best ever (and one of Rob’s favorites!).  No lyrics here, just Jerry jamming away   SHOW NO. 4:   THE OTHER ONE                            Track # 18                            6:10 – 7:40                              Loud, solid, Phil!!!   OUTRO:            AROUND & AROUND                            Track #20                            3:58 – 5:35                                                       Not always everyone’s favorite, but this is a ripping version, they change the tempo on a dime and rock it out to end the second set.                            "AROUND AND AROUND" is a 1958 rock song written and first recorded by Chuck Berry https://en.wikipedia.org/wiki/Chuck_Berry. It originally appeared under the name "AROUND & AROUND" as the B-side https://en.wikipedia.org/wiki/A-side_and_B-side to the single "Johnny B. Goode https://en.wikipedia.org/wiki/Johnny_B._Goode".                         Covered by:                                     Rolling Stones - The Rolling Stones https://en.wikipedia.org/wiki/The_Rolling_Stones covered the song on their EP,  https://en.wikipedia.org/wiki/Five_by_Five_(Rolling_Stones_EP) and second U.S. album  https://en.wikipedia.org/wiki/12_X_5 in 1964. Besides the band members it featured Ian Stewart https://en.wikipedia.org/wiki/Ian_Stewart_(musician) on piano. In October 1964, they performed the song as part of their first appearance on  https://en.wikipedia.org/wiki/The_Ed_Sullivan_Show. They played it on a regular basis on their tours in 1964 and 1965. In 1964 the Stones opened their famed TAMI Show https://en.wikipedia.org/wiki/TAMI_Show with the song. After more than a decade they performed the song again at the Knebworth Fair on August 21, 1976. It was also included on the 1977 live album  https://en.wikipedia.org/wiki/Love_You_Live, from the El Mocambo https://en.wikipedia.org/wiki/El_Mocambo club gig in Toronto https://en.wikipedia.org/wiki/Toronto. After that, it has only been performed occasionally, most recently during the band's 2012 U.S. tour at Prudential Center in Newark, New Jersey on December 15                           David Bowie - English musician David Bowie https://en.wikipedia.org/wiki/David_Bowie recorded the song in 1971, produced by Ken Scott https://en.wikipedia.org/wiki/Ken_Scott, under the title "ROUND AND ROUND". Originally slated for inclusion on his 1972 album  https://en.wikipedia.org/wiki/The_Rise_and_Fall_of_Ziggy_Stardust_and_the_Spiders_from_Mars, it was ousted by "Starman https://en.wikipedia.org/wiki/Starman_(song)" at the last minute.[4] https://en.wikipedia.org/wiki/Around_and_Around#cite_note-Nicholas_Pegg-4 Regarding the song, Bowie stated in 1972: "It would have been the kind of number that Ziggy https://en.wikipedia.org/wiki/Ziggy_Stardust_(character) would have done onstage...He jammed it for old times' sake in the studio, and our enthusiasm for it probably waned after we heard it a few times. We replaced it with a thing called 'Starman'. I don't think it's any great loss, really.                           The Animals                         Eric Burden                         Pearl Jam                         Meat Loaf                         .38 Special                         Maureen Tucker (Velvet Underground)                         The Germs (American punk rock band                         Guided By Voices                         And more . . . . . . .                           Dead played it 418 times, very high up in the overall song rankings.                         First played:  Nov. 8, 1970, Capitol Theater, Port Chester, NY                         Last played:  July 6, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 8m

Feb 05

BOB DYLAN'S EXTENDED TOUR AND UPCOMING PHIL LESH AND FRIENDS CONCERT Larry Michigan relives a classic Grateful Dead show from exactly 37 years ago on January 29th, 1987, at the San Francisco Civic Center. The performance marked the middle night of a three-night run celebrating the Chinese New Year. Larry delves into the opening song, "Hell in a Bucket," reminiscing about the quirky banter and Bobby's guitar troubles. Larry shares amusing anecdotes, including the infamous "Police on a Joyride" mix-up in a Chicago Tribune article. The podcast crew laughs about past experiences and the unique anticipation of a Grateful Dead show. He also reflects on the significance of the Chinese New Year celebration during the shows and the dragon dance that captivated the audience. The conversation shifts to Jerry Garcia's remarkable comeback after a diabetic coma in 1986, making these shows even more special. As they discuss the performances of "Hell in a Bucket" and "Sugaree," the hosts highlight Jerry's exceptional guitar playing and the overall energy of the band during this period. Larry also shares the latest cannabis news and provides with updates on upcoming music events, including Phil Lesh and Bob Dylan's tours, and a nod to the Live Dead and the Brothers tour.   Grateful Dead January 29, 1987  (37 years ago) San Francisco Civic Center S.F., Ca   __ __   Grateful Dead Live at San Francisco Civic Auditorium on 1987-01-29 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd87-01-29.sbd.bobh.10535.sbeok.shnf/gd87-01-29d2t05.shn     INTRO:              HELL IN A BUCKET                            Track #1 (Don’t be fooled by Finiculi Finicula intro - the song starts after a brief noodle, this is the correct track)                            1:55 – 3:33   SHOW NO. 1:    SUGAREE                            Track #2                            1:19 – 3:02   SHOW NO. 2:    DRUMS                            Track # 13                            2:30 – 4:00                              Features the Chinese Dragon Dance portion of the Drums     SHOW NO. 3:    SCARLET>FIRE                            Track #9:   7:50 – end                             Track #10:    Start 0:41                            This is the transition between the two songs just keep taping from the end of Scarlet through the beginning of Fire     SHOW NO. 4:     STELLA BLUE                            Track # 14 (On the Archive page for this track it shows I Need A Miracle > Stella Blue, just use the time signatures below to get to the Stella Blue part                            7:06 – 8:44     OUTRO:             GOING DOWN THE ROAD FEELING BAD                            Track #15                            1:23 – 2:53 . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 5m

Jan 29

"BERTHA, BIRTHDAYS, AND CANNABIS: A TIME-TRAVELING ADVENTURE" Larry Michigan from Michigan Law in Chicago sets the stage for a time-traveling journey back 46 years to the Carter Court on the campus of the University of Oregon. Larry shares his excitement for an upcoming show and invites listeners to join him on a musical adventure. As the episode unfolds, Larry delves into a Grateful Dead classic, "Minglewood Blues," providing historical context and anecdotes about its significance in the band's repertoire. He then shifts gears to reminisce about a memorable performance in Michigan in 1995 and discusses the origins of the song, originally recorded in 1928 by Noah Lewis. The podcast takes an unexpected turn as Larry reflects on the magic of Dead concerts, the unique energy of live performances, and the timeless appeal of traditional songs. He shares personal experiences, including stories from concerts in the '80s and '90s, emphasizing the communal spirit and energy that defined those moments. Larry briefly discusses his encounter with Kelly Clarkson's unexpected cover of Radiohead's "Creep," https://www.youtube.com/watch?v=qFTxSBtGe2g expressing admiration for her talent and the transformative power of unexpected musical renditions. He also touches upon his anticipation for the upcoming Fish Fest in Delaware, sharing the excitement of attending with his son and friends. The episode closes with a celebration of the iconic Grateful Dead opener, "Bertha." Larry expresses his love for the song, describing it as always happy, uplifting, and a perfect show opener. He shares some historical facts about "Bertha" and reminisces about its unique charm in different concert settings. In essence, this episode captures the essence of the Deadhead Cannabis Show – a blend of nostalgic reflections, musical insights, and the anticipation of upcoming live events. Larry's storytelling style engages listeners, creating a sense of shared experiences within the Deadhead community. Whether discussing classic tunes or unexpected cover songs, the podcast provides a delightful journey for both Deadheads and cannabis enthusiasts alike. KEY THEMES: __ __ EPISODE HIGHLIGHTS: __ __ CLOSING NOTE: This episode masterfully weaves together music, personal anecdotes, and anticipation for future events, creating a dynamic and engaging experience for listeners. The blend of nostalgia, humor, and shared enthusiasm for the Grateful Dead and live music showcases the unique charm of the "Deadhead Cannabis Show."   LARRY'S NOTES Grateful Dead January 22, 1978  (46 years ago) McArthur Court University of Oregon Eugene, OR   Grateful Dead Live at McArthur Court, U of Oregon on 1978-01-22 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd78-01-22.sbd.popi.4974.sbeok.shnf   INTRO:               MINGLEWOOD BLUES                            Track #1                            Start – 1:47   SHOW NO. 1:     JACK STRAW                            Track #7                            2:57 – 4:38   SHOW NO. 2:     BERTHA                            Track # 10                            3:30 – 5:07     SHOW NO. 3:     CLOSE ENCOUNTERS                            Track #17                            2:30 – 3:50     SHOW NO. 4:     ST. STEPHEN                            Track # 18                            6:00 – 7:32     OUTRO:              U.S. BLUES                            Track #21                            3:18 – 4:49 . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 9m

Jan 22

"Grateful Dead's Night Amidst Ann Arbor's Championship Riot: A 1989 Michigan Celebration" Larry Mishkin reflects on his experience in 2024, discussing the success of the Michigan Wolverines in football and their celebration. He reminisces about the Michigan men's basketball team's 1989 championship and the Grateful Dead's subsequent concerts in Ann Arbor. The podcast features excerpts from the Grateful Dead's performances and shares anecdotes, including a story about Jerry Garcia and Bobby Weir getting stuck in an Ann Arbor celebration after a national championship win, highlighting the connection between the Grateful Dead and Michigan celebrations. The episode also pays tribute to a late friend and celebrates the recent success of the University of Michigan. . https://podconx.com/       LARRY'S NOTES: Ann Arbor timeline for the first week of April, 1989: April 1, 1989 – Hash Bash April 3, 1989 – Michigan beats Seton Hall in Seattle to win NCAA Men’s Division I Basketball Tournament April 5, 1989 – Grateful Dead play in Crisler Arena, home of the champion basketball team (first show in Ann Arbor since 1979) April 6, 1989 – Grateful Dead play in Crisler Arena     When Michigan won the football national championship last week by beating Washington in Houston, made me think there is a history here – M wins a Natty and we play/go see live the Grateful Dead.  Can’t break the chain now.   Links: April 5, 1989:  Grateful Dead Live at Crisler Arena on 1989-04-05 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd89-04-05.sbd-matrix.unknown.5491.sbefail.shnf                            For Intro, Show No. 1 and Show No. 2   April 6, 1989:  Grateful Dead Live at Crisler Arena on 1989-04-06 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd89-04-06.sbd.unknown.5492.sbeok.shnf                            For Show No. 3, Show No. 4 and Outro     INTRO:               FEEL LIKE A STRANGER                            4/5/89                            Track #1                            2:02 – 3:32                 Album:  Go To Heaven                            Total: 208                            First:  March 31, 1980 at Capitol Theatre, Passaic, NJ, USA https://www.setlist.fm/setlist/grateful-dead/1980/capitol-theatre-passaic-nj-3bd6044c.html                            Last:   July 5, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO                 Love this version, late ‘80’s, when Bobby sings, “Yes and it feels, most like runnin’ a red light”, love that “most like”               Also sings, “bout like running a red light”;  “just like running a red light”;      SHOW NO. 1:     FRANKLIN’S TOWER                            4/5/89                            Track #2                            3:24 – 4:38                 Album:  Blues For Allah                            Total:    222                            First:     June 17, 1975 at Winterland Arena, San Francisco, CA, USA https://www.setlist.fm/setlist/grateful-dead/1975/winterland-arena-san-francisco-ca-3d6054b.html, (next on Aug. 13th, Great American Music Hall, S.F. – One From The Vault)                            Last:      June 22, 1995, Knickerbocker Arena, Albany, NY   During the Help/Slip/Frank hiatus (until Oct at Hampton), Stranger>Franklin’s a very common opener)   SHOW NO. 2:     NOT FADE AWAY                            4/5/89                             Track # 19                            5:29 – 6:59                 "NOT FADE AWAY" is a song credited to Buddy Holly https://en.wikipedia.org/wiki/Buddy_Holly (originally under his first and middle names, Charles Hardin) and Norman Petty https://en.wikipedia.org/wiki/Norman_Petty (although Petty's co-writing credit is likely to have been a formality[3] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-buddyhollystory-3) and first recorded by Holly and his band, the Crickets https://en.wikipedia.org/wiki/The_Crickets.               Holly and the Crickets recorded the song in Clovis, New Mexico https://en.wikipedia.org/wiki/Clovis,_New_Mexico, on May 27, 1957, the same day the song "Everyday https://en.wikipedia.org/wiki/Everyday_(Buddy_Holly_song)" was recorded.[1] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-linernotes-1 The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat https://en.wikipedia.org/wiki/Bo-Diddley_beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa https://en.wikipedia.org/wiki/West_Africa. Jerry Allison https://en.wikipedia.org/wiki/Jerry_Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-buddyhollystory-3 Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin https://en.wikipedia.org/wiki/Joe_B._Mauldin played the double bass on this recording. It is likely that the backing vocalists https://en.wikipedia.org/wiki/Backing_vocalist were Holly, Allison, and Niki Sullivan https://en.wikipedia.org/wiki/Niki_Sullivan, but this is not known for certain.[1] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-linernotes-1 "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy! https://en.wikipedia.org/wiki/Oh,_Boy!_(The_Crickets_song)" and was included on the album  https://en.wikipedia.org/wiki/The_%22Chirping%22_Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on  https://en.wikipedia.org/wiki/Rolling_Stone's list of "The 500 Greatest Songs of All Time https://en.wikipedia.org/wiki/The_500_Greatest_Songs_of_All_Time" Covered by:     Rolling Stones (1964, their first big hit)                         The Rolling Stones' version of "Not Fade Away" was one of their first hits. Recorded in January 1964 and released by Decca Records https://en.wikipedia.org/wiki/Decca_Records on February 21, 1964, with "Little by Little https://en.wikipedia.org/wiki/Little_by_Little_(The_Rolling_Stones_song)" as the B-side, it was their first Top 10 hit in the United Kingdom, reaching number three.[5] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-5London Records https://en.wikipedia.org/wiki/London_Records released the song in the US on March 6, 1964, as the band's first single there, with "I Wanna Be Your Man https://en.wikipedia.org/wiki/I_Wanna_Be_Your_Man" as the B-side.[6] https://en.wikipedia.org/wiki/Not_Fade_Away_(song)#cite_note-FOOTNOTEBabiukPrevost2013101-6 The single reached number 48 on the U.S. Hot 100 https://en.wikipedia.org/wiki/Hot_100 singles chart.                         Rush                         Tanya Tucker                         John Scofield                         Florence and the Machine                         Dead               No album (on 1971 Grateful Dead (band’s second live album)               Total: 560               First:  February 19, 1969 at Fillmore West, San Francisco, CA, https://www.setlist.fm/setlist/grateful-dead/1969/fillmore-west-san-francisco-ca-53c7dfb9.html               Last:  July 5, 1995  Riverport Amphitheatre, Maryland Heights (St. Louis), MO   SHOW NO. 3:     ALTHEA                            4/6/89                            Track No. 6                            3:47 – 5:20                 Album:  Go To Heaven                            Total:    272                            First:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA https://www.setlist.fm/setlist/grateful-dead/1979/oakland-civic-auditorium-oakland-ca-3bd60470.html                            Last:   July 8, 1995 at Soldier Field, Chicago   SHOW NO. 4:     SCARLET BEGONIAS                            4/6/89                            Track No. 10                            4:00 – 5:30                 Album:  From The Mars Hotel (June 27, 1974)                            Total:  317                             First:  March 23, 1974 at Cow Palace, Daly City, CA, USA https://www.setlist.fm/setlist/grateful-dead/1974/cow-palace-daly-city-ca-13d60571.html                            Last:  July 2, 1995, Deer Creek Music Theater, Noblesville (Indianapolis) IN                              Most often paired with Fire On The Mountain   OUTRO:              BROKEDOWN PALACE                            4/6/89                            Track No. 21                            3:00 – 4:43                 Album:  American Beauty                            Total: 218                            First:  August 18, 1970 at Fillmore West, San Francisco, CA, USA https://www.setlist.fm/setlist/grateful-dead/1970/fillmore-west-san-francisco-ca-4bdc8352.html                            Last:   June 25, 1995 at RFK Stadium, Washington, D.C.                            . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 7m

Jan 15

"MARIJUANA DISPENSARIES AND PREDICTIVE FOOTBALL: A QUIRKY COMPARISON" Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th  college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show. The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences. The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions. PRODUCED BY PODCONX   Grateful Dead January 8, 1978 Golden Hall Community Concourse San Diego, CA Grateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd78-01-08.sbd.weiner.14670.sbeok.shnf/gd78-01-08d2t08.shn   Jerry has laryngitis so he did not sing Donna filled in for him     INTRO:                  JACK STRAW                                 TRACK #2                                 0:07 – 1:38                   NOT ON ANY STUDIO ALBUM.  FEATURED ON EUROPE ‘72                 FIRST TIME PLAYED:  OCTOBER 19, 1971, MINNEAPOLIS  (KEITH GODCHAUX’S FIRST SHOW)                 LAST PLAYED:  JULY 8, 1995, SOLDIER FIELD, CHICAGO                 TOTAL TIMES PLAYED =  476 (NO. 11 ON LIST OF ALL TIME SONGS PLAYED)     SHOW NO. 1:      LAZY LIGHTNING>SUPPLICATION                                 TRACK #8:  3:00 – END AND THEN STRAIGHT INTO TRACK #9:  0:00 – 1:15                   DAVID DODD:    The pair of songs was recorded on the  album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976.               The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater.                                  “Supplication” was played by itself, according to , on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.”               a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It’s a coda, carrying forward the same themes—only the form of the verse has changed.   LAZY LIGHTNING – 111 TOTAL TIMES PLAYED SUPPLICATION – 123 TOTAL TIMES PLAYED                       SHOW NO. 2:      ESTIMATED PROPHET                                 TRACK #14                                 2:35 – 4:15                   WEIR/BARLOW RELEASED ON TERRAPIN STATION RELEASED ON JULY 27, 1977 (FIRST STUDIO ALBUM RELEASED BY THE BAND AFTER IT RETURNED TO LIVE TOURING AFTER ITS 1975 HIATUS.                                 DAVID DODD:  “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on , released July 27, 1977.                 Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There’s always some guy who’s taken a lot of dope and he’s really bug-eyed, and he’s having some kind of vision. He’s got a rave he’s got to deliver.’ “                   This is one of those songs, and there are quite a number of them in the Dead’s repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I’ve always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally.       SHOW NO. 3:      THE OTHER ONE                                 TRACK # 16                                 13:30 – 15:07                   The imagery conjured up by Bob Weir, in his portion of the suite, “That’s It for the Other One,” on , is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin’ through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice’s rabbit hole, because of where it led.      “The bus came by and I got on...that’s when it all began.” That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning.                 The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.”                   There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing  illegal. Weir’s interview with David Gans (along with Phil Lesh) cited in  refers to a particular incident: Gans: Now, I remember a version from a little bit earlier, maybe late in ’67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a  verse that was about “the heat in the jail weren’t very smart,” or somethin’ like that... Weir: Yeah, that was after my little... Lesh: Water balloon episode? Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn’t care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on. Lesh: Just  to have a water balloon, ... Ladies and gentlemen... Weir: And so I got him right square on the head, and... Lesh: A prettier shot you never saw. Weir: ...and he couldn’t tell where it was comin’ from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit. Gans: Smilin’ on a cloudy day. I understand now. Weir: And at that point, he decided to hell with due process of law, this kid’s goin’ to jail.                 So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year.               Part of the suite of songs, That’s It For The Other One from Anthem of the Sun.  Made up of four sections:  "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product.             appears that way on , bracketed by Garcia’s “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band’s career I. "CRYPTICAL ENVELOPMENT" (GARCIA)[EDIT https://en.wikipedia.org/w/index.php?title=That%27s_It_for_the_Other_One&action=edit&section=2] "Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company https://en.wikipedia.org/wiki/Dead_%26_Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite. II. "QUADLIBET FOR TENDERFEET" (GARCIA, KREUTZMANN, LESH, MCKERNAN, WEIR)[EDIT https://en.wikipedia.org/w/index.php?title=That%27s_It_for_the_Other_One&action=edit&section=3] "Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section. III. "THE FASTER WE GO, THE ROUNDER WE GET" (KREUTZMANN, WEIR)[EDIT https://en.wikipedia.org/w/index.php?title=That%27s_It_for_the_Other_One&action=edit&section=4] One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2] https://en.wikipedia.org/wiki/That%27s_It_for_the_Other_One#cite_note-Dead.net-2) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters https://en.wikipedia.org/wiki/Merry_Pranksters and in particular Neal Cassady https://en.wikipedia.org/wiki/Neal_Cassady.[2] https://en.wikipedia.org/wiki/That%27s_It_for_the_Other_One#cite_note-Dead.net-2 Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] https://en.wikipedia.org/wiki/That%27s_It_for_the_Other_One#cite_note-Dead.net-2 This section ends with a reprise of "Cryptical Envelopment". IV. "WE LEAVE THE CASTLE" (CONSTANTEN)[EDIT https://en.wikipedia.org/w/index.php?title=That%27s_It_for_the_Other_One&action=edit&section=5] The only Grateful Dead composition written by Tom Constanten https://en.wikipedia.org/wiki/Tom_Constanten, "We Leave the Castle" is an avant-garde https://en.wikipedia.org/wiki/Avant-garde_music piece featuring prepared piano https://en.wikipedia.org/wiki/Prepared_piano and other studio trickery.[ https://en.wikipedia.org/wiki/That%27s_It_for_the_Other_One#cite_note-whitegum-3 While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia https://en.wikipedia.org/wiki/Jerry_Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann https://en.wikipedia.org/wiki/Bill_Kreutzmann and Bob Weir https://en.wikipedia.org/wiki/Bob_Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One").             The Other one– performed 549 times             First played:  Oct. 31, 1967 at Winterland, S.F.             Last played:  July 8, 1995, Soldier Field, Chicago               That’s It For The Other One – performed 79 times             First played:  October 22, 1967 at Winterland, S.F.             Last played:               Cryptical Envelopment – performed 73 times             First played:     Oct. 21, 1967 at Winterland, S.F.             Last played:     Sept. 3, 1985 – Starlight Theater, K.C.                   SHOW NO. 4:      TRUCKIN’                                 TRACK # 17                                 4:22 – 6:03                   The lyrics were written under pressure, in the studio, during the recording of , with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing. The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band’s adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light’s all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it’s been.” At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that’s some measure of wordsmithing success, I would say.                 Truckin’” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin’” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri.     OUTRO:                JOHNNY B. GOODE                                 TRACK #19                                 1:10 – 2:51                   JOHNNY B. GOODE" is a song by American musician Chuck Berry https://en.wikipedia.org/wiki/Chuck_Berry, written and sung by Berry in 1958. Released as a single https://en.wikipedia.org/wiki/Single_(music) in 1958, it peaked at number two on the Hot R&B Sides https://en.wikipedia.org/wiki/Hot_R%26B/Hip-Hop_Songs chart and number eight on its pre-Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 chart.[1] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-:0-1 The song remains a staple of early and later rock music. "Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music https://en.wikipedia.org/wiki/Popular_music. Credited as "the first rock & roll hit about rock & roll stardom",[2] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-RS-2 it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's https://en.wikipedia.org/wiki/Rolling_Stone 2021 version[3] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-:1-3 and 7th on the 2004 version of the "500 Greatest Songs of All Time https://en.wikipedia.org/wiki/Rolling_Stone%27s_500_Greatest_Songs_of_All_Time"[2] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-RS-2[4] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-4 and included as one of the 27 songs on the Voyager Golden Record https://en.wikipedia.org/wiki/Voyager_Golden_Record, a collection of music, images, and sounds designed to serve as a record of humanity. Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-Middleton-5 Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-6 As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis https://en.wikipedia.org/wiki/St._Louis,_Missouri.[5] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-Middleton-5 The song was initially inspired by Johnnie Johnson https://en.wikipedia.org/wiki/Johnnie_Johnson_(musician), the regular piano player in Berry's band,[7] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-7 but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake https://en.wikipedia.org/wiki/Lafayette_Leake played the piano, along with Willie Dixon https://en.wikipedia.org/wiki/Willie_Dixon on bass and Fred Below https://en.wikipedia.org/wiki/Fred_Below on drums.[5] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-Middleton-5[8] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-Box-8 The session was produced by Leonard https://en.wikipedia.org/wiki/Leonard_Chess and Phil Chess https://en.wikipedia.org/wiki/Phil_Chess.[8] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-Box-8 The guitarist Keith Richards https://en.wikipedia.org/wiki/Keith_Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9] https://en.wikipedia.org/wiki/Johnny_B._Goode#cite_note-9 The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan https://en.wikipedia.org/wiki/Louis_Jordan's "Ain't That Just Like a Woman https://en.wikipedia.org/wiki/Ain%27t_That_Just_Like_a_Woman_(They%27ll_Do_It_Every_Time)" (1946), played by guitarist Carl Hogan https://en.wikipedia.org/wiki/Carl_Hogan A cover version is featured in the film  https://en.wikipedia.org/wiki/Back_to_the_Future (1985), when the lead character Marty McFly https://en.wikipedia.org/wiki/Marty_McFly, played by actor Michael J. Fox https://en.wikipedia.org/wiki/Michael_J._Fox, performs it at a high school dance. Played 283 times, almost always as an encore or show closer (back in the days where there were no encores) First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F. Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in Birmingham, AL . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 12m

Jan 08

"The Tragic Consequences of Strict Drug Policies: Remembering Lee Sun-kyun" Larry Michigan, starts off by wishing everyone a happy new year and reminiscing about the Grateful Dead's legendary New Year's Eve shows. He decides to feature songs from the Grateful Dead's New Year's Eve show in 1981 at the Oakland Coliseum. Larry describes the chaotic countdown and the band's energetic performance at midnight. He also pays tribute to John Cutler, a Grateful Dead sound technician and producer who recently passed away. Larry discusses the strict anti-drug policies in South Korea and the tragic death of Korean actor Lee Sun-kyun, who was subjected to relentless media scrutiny for his alleged marijuana use. He criticizes the punitive approach to drug abuse and emphasizes the need for rehabilitation rather than punishment. Larry also predicts that the University of Michigan's football team will win their game against the University of Alabama in the Rose Bowl based on his "Deadhead Cannabis System." The episode concludes with a discussion of the Grateful Dead's performance of "Dark Star" at the New Year's Eve show and the significance of the song's rarity. TIMESTAMP CHAPTERS: 00:00:36 - Introduction and New Year's Eve celebration 00:04:22 - Featuring songs from the Grateful Dead's New Year's Eve show of 1981 00:05:52 - Discussion on the song "Iko Iko" and the energy of a Dead New Year's Eve show 00:33:48 - Tragic story of Korean actor Lee Sun-kyun and the strict anti-drug policies in South Korea 00:38:00 - Predicting the winner of the Michigan vs. Alabama football game using the Deadhead Cannabis System 00:42:00 - The encore set featuring Dark Star and other songs Note: The timestamps are approximate and may vary slightly when listening to the actual podcast episode.     Grateful Dead December 31, 1981 Oakland Coliseum Grateful Dead Live at Oakland Auditorium on 1981-12-31 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd1981-12-31.sbd.walker-scotton.miller.96082.sbeok.flac16/gd81-12-31d4t06.flac   __ __   INTRO:                    NYE COUNTDOWN                                 Track No. 20                                 6:35 – 7:35     SHOW NO. 1:          IKO IKO                                 Track No. 21                                 :26 – 2:00   SHOW NO. 2:          THE BOXER   (WITH JOAN BAEZ)                                 Track No. 3                                 0:00 – 1:35   SHOW NO. 3:          BYE BYE LOVE   (WITH JOAN BAEZ)                                 Track No. 6                                 0:00 – 1:14   SHOW NO. 4:          DARK STAR                                 Track No. 31                                 4:20 – 6:00     OUTRO:                  IT’S ALL OVER NOW BABY BLUE                                 Track No. 34                                 1:41 – 3:45   TALK ABOUT THE DEAD SHOW/NYE SHOWS IN GENERAL KOREAN ACTOR WHO COMMITTED SUICIDE BECAUSE HE WAS BEING INVESTIGATED FOR MJ USE DEAD U. AT STANFORD WITH DAVID GANS RIP JOHN CUTLER AND MORE . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 13m

Jan 01

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams" Larry Mishkin https://podconx.com/guests/larry-mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire. Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows. Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman. . https://podconx.com/     Theme – Rock n Roll Christmas If you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers: INTRO:               CHRISTMAS The Who February 14, 1970 University of Leeds, Leeds, England  aka  “Live At Leeds” The Who - Christmas - Live At Leeds (with Footage) (youtube.com) https://www.youtube.com/watch?v=zgaWVXAANUQ 2:00 – 3:17   "CHRISTMAS" is a song written by Pete Townshend https://en.wikipedia.org/wiki/Pete_Townshend and is the seventh song on The Who https://en.wikipedia.org/wiki/The_Who's rock opera  https://en.wikipedia.org/wiki/Tommy_(The_Who_album). On the original LP, it opens the second side of the album.   is the fourth studio album https://en.wikipedia.org/wiki/Studio_album by the English rock https://en.wikipedia.org/wiki/Rock_music band the Who https://en.wikipedia.org/wiki/The_Who, first released on 19 May 1969.[2] https://en.wikipedia.org/wiki/Tommy_(The_Who_album)#cite_note-2 Primarily written by guitarist Pete Townshend https://en.wikipedia.org/wiki/Pete_Townshend,  is a double album https://en.wikipedia.org/wiki/Double_album and an early rock opera https://en.wikipedia.org/wiki/Rock_opera that tells the story of Tommy Walker and his experiences through life.   The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] https://en.wikipedia.org/wiki/Christmas_(song)#cite_note-songfacts-2 The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin https://en.wikipedia.org/wiki/Original_sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me."   "Christmas" was praised by critics. Richie Unterberger https://en.wikipedia.org/wiki/Richie_Unterberger of AllMusic https://en.wikipedia.org/wiki/AllMusic called it an "excellent song."[5] https://en.wikipedia.org/wiki/Christmas_(song)#cite_note-Unterberger-5 https://en.wikipedia.org/wiki/Rolling_Stones Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] https://en.wikipedia.org/wiki/Christmas_(song)#cite_note-6 A review in  https://en.wikipedia.org/wiki/Life_(magazine) by Albert Goldman https://en.wikipedia.org/wiki/Albert_Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] https://en.wikipedia.org/wiki/Christmas_(song)#cite_note-Goldman-7 James Perone said it was "perhaps one of the best sleeper tracks of the collection."   Townshend came up with the concept of  after being introduced to the work of Meher Baba https://en.wikipedia.org/wiki/Meher_Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio.  was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of , which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock https://en.wikipedia.org/wiki/Woodstock, the 1969 Isle of Wight Festival https://en.wikipedia.org/wiki/Isle_of_Wight_Festival_1969, the University of Leeds https://en.wikipedia.org/wiki/University_of_Leeds, the Metropolitan Opera House https://en.wikipedia.org/wiki/Metropolitan_Opera_House_(Lincoln_Center), and the 1970 Isle of Wight Festival https://en.wikipedia.org/wiki/Isle_of_Wight_Festival_1970. The live performances of  drew critical praise and revitalised the band's career.    is the first live album https://en.wikipedia.org/wiki/Live_album by English rock https://en.wikipedia.org/wiki/Rock_music band the Who https://en.wikipedia.org/wiki/The_Who. It was recorded at the University of Leeds Refectory https://en.wikipedia.org/wiki/University_of_Leeds_Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey https://en.wikipedia.org/wiki/Roger_Daltrey, Pete Townshend https://en.wikipedia.org/wiki/Pete_Townshend, John Entwistle https://en.wikipedia.org/wiki/John_Entwistle and Keith Moon https://en.wikipedia.org/wiki/Keith_Moon.   The album was released on 11 May 1970 by Decca https://en.wikipedia.org/wiki/Decca_Records and MCA https://en.wikipedia.org/wiki/MCA_Records in the United States,[2] https://en.wikipedia.org/wiki/Live_at_Leeds#cite_note-2 and by Track https://en.wikipedia.org/wiki/Track_Records and Polydor https://en.wikipedia.org/wiki/Polydor_Records in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release,  has been ranked by several music critics as the best live rock recording of all time   SHOW NO. 1:                   RUN RUDOLPH RUN Grateful Dead Felt Forum at MSG, NYC December 7, 1971 Track No. 10 Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd71-12-07.sbd.miller.3375.sbeok.shnf/GD71-12-07D1T10.SHN 0:11 – 1:54   RUN RUDOLPH RUN"[2] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-AllmusicRunRunRudolph-2[3] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-DiscogsRunRudolphRun-3[4] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-4 is a Christmas song https://en.wikipedia.org/wiki/Christmas_song written by Chuck Berry https://en.wikipedia.org/wiki/Chuck_Berry but credited to Johnny Marks https://en.wikipedia.org/wiki/Johnny_Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer https://en.wikipedia.org/wiki/Rudolph_the_Red-Nosed_Reindeer.[5] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-5[note 1] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-15 It was published by St. Nicholas Music (ASCAP https://en.wikipedia.org/wiki/American_Society_of_Composers,_Authors_and_Publishers) and was first recorded by Berry in 1958, released as a single on Chess Records https://en.wikipedia.org/wiki/Chess_Records. It has since been covered by numerous other artists, sometimes with the title "RUN RUN RUDOLPH".[16] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-17 The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode https://en.wikipedia.org/wiki/Johnny_B._Goode", and melodically similar to his song "Little Queenie https://en.wikipedia.org/wiki/Little_Queenie", the latter of which was released shortly after, in 1959. During its initial chart run, Berry's 1958 recording peaked at number 69 on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 chart in December 1958.[22] https://en.wikipedia.org/wiki/Run_Rudolph_Run#cite_note-23 Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling https://en.wikipedia.org/wiki/My_Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks. This Ciip: __ __     SHOW NO. 2:     LITTLE DRUMMER BOY Phish July 3, 1999 Coca Cola Lakewood Amphitheatre, Atlanta, GA Phish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com) https://www.youtube.com/watch?v=1aY7t9cB53Y Start to 1:30   Out of Contact to close the second set.  Played it again as the first encore (into, Won’t You Come Home Bill Bailery starring Page’s dad, Jack, on vocals and kazoo.   "THE LITTLE DRUMMER BOY" (originally known as "CAROL OF THE DRUM") is a Czechoslovakian popular Christmas song https://en.wikipedia.org/wiki/Christmas_song written by American composer Katherine Kennicott Davis https://en.wikipedia.org/wiki/Katherine_Kennicott_Davis in 1941.[1] https://en.wikipedia.org/wiki/The_Little_Drummer_Boy#cite_note-1 First recorded in 1951 by the Austrian Trapp Family https://en.wikipedia.org/wiki/Trapp_Family, the song was further popularized by a 1958 recording by the Harry Simeone https://en.wikipedia.org/wiki/Harry_Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] https://en.wikipedia.org/wiki/The_Little_Drummer_Boy#cite_note-leigh-2 In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi https://en.wikipedia.org/wiki/Biblical_Magi to the Nativity of Jesus https://en.wikipedia.org/wiki/Nativity_of_Jesus. Without a gift for the Infant, the little drummer boy https://en.wikipedia.org/wiki/Drummer_(military) played his drum with approval from Jesus' mother, Mary https://en.wikipedia.org/wiki/Mary,_the_mother_of_Jesus, recalling, "I played my best for him" and "He smiled at me".   Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike’s Song https://phish.net/songs/mikes-song/history” and into “Whipping Post https://phish.net/songs/whipping-post/history,” a tease during the 12/28/94 https://phish.net/setlists/?d=1994-12-28 “Weekapaug Groove https://phish.net/songs/weekapaug-groove/history,” and jammed out of the “YEM https://phish.net/songs/you-enjoy-myself/history” vocal jam (12/2/99 https://phish.net/setlists/?d=1999-12-02) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend https://phish.net/songs/my-friend-my-friend/history” (3/18/93 https://phish.net/setlists/?d=1993-03-18) and “Stash https://phish.net/songs/stash/history” (7/15/93 https://phish.net/setlists/?d=1993-07-15), and teased during “Weekapaug Groove https://phish.net/songs/weekapaug-groove/history” and “Big Ball Jam https://phish.net/songs/big-ball-jam/history” (4/9/94 https://phish.net/setlists/?d=1994-04-09), “Wilson https://phish.net/songs/wilson/history” (8/13/97 https://phish.net/setlists/?d=1997-08-13), “Silent in the Morning https://phish.net/songs/silent-in-the-morning/history” (7/4/99 https://phish.net/setlists/?d=1999-07-04), and "Wilson https://phish.net/songs/wilson/history" (4/16/04 https://phish.net/setlists/?d=2004-04-16).   This version is generally considered to be Fishman’s most memorable version.     SHOW NO. 3:     GOD REST YE MERRY GENTLEMEN Jerry Garcia and David Grisman November 9, 1991 Warfield Theater, S.F. God Rest Ye Merry Gentlemen - Jerry Garcia - Bing video https://www.bing.com/videos/search?q=Jerry+garcia+and+David+Grisman+God+Rest+Ye+Merry+Gentlemen&refig=3a9be25cbfd24e0482fbc6bd0f9662dc&ru=%2fsearch%3fq%3dJerry%2bgarcia%2band%2bDavid%2bGrisman%2bGod%2bRest%2bYe%2bMerry%2bGentlemen%26form%3dANNTH1%26refig%3d3a9be25cbfd24e0482fbc6bd0f9662dc&view=detail&mmscn=vwrc&mid=E9003C8C63C8E418F7DBE9003C8C63C8E418F7DB&FORM=WRVORC Start – 1:37 Out of The Two Sisters to close second set   "GOD REST YOU MERRY, GENTLEMEN" is an English traditional Christmas carol https://en.wikipedia.org/wiki/Christmas_carol. It is in the Roxburghe Collection https://en.wikipedia.org/wiki/Roxburghe_Ballads (iii. 452), and is listed as no. 394 in the Roud Folk Song Index https://en.wikipedia.org/wiki/Roud_Folk_Song_Index. It is also known as "TIDINGS OF COMFORT AND JOY", and by other variant incipits https://en.wikipedia.org/wiki/Incipit.   An early version of this carol is found in an anonymous manuscript, dating from the 1650s   it appeared in a parody https://en.wikipedia.org/wiki/Parody_music published in 1820 by William Hone https://en.wikipedia.org/wiki/William_Hone.                 Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don’t get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life.   SHOW NO. 4:                   STAGGER LEE Grateful Dead December 30, 1985 Track No. 6 Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd1985-12-30.sbd.miller.77405.sbeok.flac16/gd85-12-30d1t06.flac Start – 1:32   As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve.   "STAGGER LEE", also known as "STAGOLEE" and other variants, is a popular American folk song https://en.wikipedia.org/wiki/Folk_song about the murder of Billy Lyons by "Stag" Lee Shelton https://en.wikipedia.org/wiki/Lee_Shelton, in St. Louis, Missouri https://en.wikipedia.org/wiki/St._Louis,_Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians https://en.wikipedia.org/wiki/Waring%27s_Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price https://en.wikipedia.org/wiki/Lloyd_Price reached number one on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 in 1959.   The historical Stagger Lee was Lee Shelton https://en.wikipedia.org/wiki/Lee_Shelton, an African-American pimp https://en.wikipedia.org/wiki/Pimp living in St. Louis, Missouri https://en.wikipedia.org/wiki/St._Louis,_Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John https://en.wikipedia.org/wiki/John_Lomax and Alan Lomax https://en.wikipedia.org/wiki/Alan_Lomax, he took the name from a riverboat owned by the Lee family of Memphis https://en.wikipedia.org/wiki/Memphis,_Tennessee called the , which was known for its on-board prostitution.[2] https://en.wikipedia.org/wiki/Stagger_Lee#cite_note-2 Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] https://en.wikipedia.org/wiki/Stagger_Lee#cite_note-3 In addition to those activities, he was the captain of a black Four Hundred Club, a social club https://en.wikipedia.org/wiki/Social_club with a dubious reputation.   On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson https://en.wikipedia.org/wiki/Stetson hat.[5] https://en.wikipedia.org/wiki/Stagger_Lee#cite_note-5Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] https://en.wikipedia.org/wiki/Stagger_Lee#cite_note-6 Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912.   The Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death.   Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog.   Dead released it on Shakedown Street, Nov. 8, 1978   Played 146 times by the Dead 1st:  August 30, 1978 Last:  June 18, 1995 Giants Stadium     OUTRO:              SANTA CLAUSE IS COMING TO TOWN Bruce Springsteen and the E Street Band CW Post University, Greenvale, NY December, 19756 Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video https://www.bing.com/videos/search?q=bruce%20springsteen%20santa%20clause%20is%20coming%20to%20town%20videos&FORM=VIRE0&mid=3D9E0E42FFCC2DDD3C293D9E0E42FFCC2DDD3C29&view=detail&ru=%2Fsearch%3Fq%3Dbruce%20springsteen%20santa%20clause%20is%20coming%20to%20town 2:15 - 4:00                 SANTA CLAUS IS COMIN' TO TOWN" is a Christmas song https://en.wikipedia.org/wiki/Christmas_song featuring Santa Claus https://en.wikipedia.org/wiki/Santa_Claus, written by J. Fred Coots https://en.wikipedia.org/wiki/John_Frederick_Coots and Haven Gillespie https://en.wikipedia.org/wiki/Haven_Gillespie and first recorded by Harry Reser and His Band.[1] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-AllMusic-1 When it was covered by Eddie Cantor https://en.wikipedia.org/wiki/Eddie_Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-Google_Books_ref-2[3] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-Book_Ref-3 The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler https://en.wikipedia.org/wiki/Sunny_Skylar) was very popular in 1934 and reached the various charts of the day.[4] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-4 The song has been recorded by over 200 artists including Bing Crosby https://en.wikipedia.org/wiki/Bing_Crosby and the Andrews Sisters https://en.wikipedia.org/wiki/The_Andrews_Sisters, the Crystals https://en.wikipedia.org/wiki/The_Crystals, Neil Diamond https://en.wikipedia.org/wiki/Neil_Diamond, Fred Astaire https://en.wikipedia.org/wiki/Fred_Astaire, Bruce Springsteen https://en.wikipedia.org/wiki/Bruce_Springsteen, Frank Sinatra https://en.wikipedia.org/wiki/Frank_Sinatra, Bill Evans https://en.wikipedia.org/wiki/Bill_Evans, Chris Isaak https://en.wikipedia.org/wiki/Chris_Isaak, the Temptations https://en.wikipedia.org/wiki/The_Temptations, The Pointer Sisters https://en.wikipedia.org/wiki/The_Pointer_Sisters, the Carpenters https://en.wikipedia.org/wiki/The_Carpenters, Michael Bublé https://en.wikipedia.org/wiki/Michael_Bubl%C3%A9, Luis Miguel https://en.wikipedia.org/wiki/Luis_Miguel, and the Jackson 5 https://en.wikipedia.org/wiki/The_Jackson_5   A rock version by Bruce Springsteen & the E Street Band https://en.wikipedia.org/wiki/Bruce_Springsteen_%26_the_E_Street_Band was recorded on December 12, 1975, at C. W. Post College https://en.wikipedia.org/wiki/C._W._Post_College in Brookville, New York https://en.wikipedia.org/wiki/Greenvale,_New_York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-scan_with_credits-14[15] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-15 This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-16 It was first released as a track on the 1981  https://en.wikipedia.org/wiki/Sesame_Street compilation album,  https://en.wikipedia.org/wiki/In_Harmony_(compilation_albums), as well as on a 1981 promotional, radio-only, 7-inch single (Columbia https://en.wikipedia.org/wiki/Columbia_Records AE7 1332).[17] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-17[18] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-18 Four years later, it was released as the B-side to "My Hometown https://en.wikipedia.org/wiki/My_Hometown," a single off the  https://en.wikipedia.org/wiki/Born_in_the_U.S.A. album.[19] https://en.wikipedia.org/wiki/Santa_Claus_Is_Comin%27_to_Town#cite_note-19 Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on  magazine https://en.wikipedia.org/wiki/Billboard_magazine's Hot Singles Recurrents https://en.wikipedia.org/wiki/Hot_100_Singles_Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays.   DEAD & CO AT THE SPHERE? PHISH – SOLD OUT FAST   MERRY CHRISTMAS HAPPY HOLIDAYS . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston

1h 14m

Dec 25, 2023

"Sailing Through Sounds: JRad's Revelations & Dylan Surprises" Larry Mishkin https://podconx.com/guests/larry-mishkin    discusses  JRad (Joe Russo's Almost Dead)  December 1st concert  at the Riviera nightclub in Chicago. He talks about the band's unique covers, including Grateful Dead songs, and their ability to recreate the sound of the original artists. He highlight the performance of "Foolish Heart" during a previous show, describing its musical construction and its significance in the Grateful Dead's live repertoire. Delving into the band members' backgrounds, emphasizing their musical talents and contributions to JRad. It provides detailed information about each member's musical history and collaborations, discussing Joe Russo's drumming, Marco Benevento's keyboards, Dave Drywitz's bass, Tom Hamilton's guitar, and Scott Metzger's diverse musical styles. He also reviews JRad's surprise performances, such as their rendition of Bob Dylan's "Tell Me Mama," a song exclusively performed during Dylan's 1966 world tour. Larry expresses surprise at how JRad, despite being younger and not following Dylan in 1966, managed to perform the song so well. Additionally, he briefly touches on the issue of marijuana prohibition on cruise ships, by criticizing the strict enforcement against cannabis use, considering the changing attitudes toward marijuana. The discussion also touches upon ticket availability for concerts by bands like Phish and rumors surrounding potential performances. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   JRAD December 1, 2023 The Riviera Nightclub Chicago Joe Russo's Almost Dead Live at The Riviera on 2023-12-01 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/jrad2023-12-01/03+Foolish+Heart.flac   Episode title:      JRAD Rocks The Riv in Chicago on 12.1.2023: channel Dylan and Dire Straits                                 Happy Birthday Keith Richards (80!)   INTRO:                  FOOLISH HEART                                 Track #3                                 5:45 – 7:17     SHOW NO. 1:      TELL ME, MOMMA                                 Track #4                                 0:57 – 2:33   TELL ME, MOMMA is a song written by Bob Dylan https://en.wikipedia.org/wiki/Bob_Dylan and performed exclusively during his 1966 World Tour https://en.wikipedia.org/wiki/Bob_Dylan_World_Tour_1966 with the Band https://en.wikipedia.org/wiki/The_Band (then known as the Hawks). It was used to introduce the second half of a concert, when Dylan switched from an acoustic solo performance to an electric performance backed by a band. The song was not recorded on a studio album, nor was it ever performed again by Dylan in concert. Dylan's May 17, 1966 live performance of the song was released in 1998 on  https://en.wikipedia.org/wiki/The_Bootleg_Series_Vol._4:_Bob_Dylan_Live_1966,_The_%22Royal_Albert_Hall%22_Concert.[1] https://en.wikipedia.org/wiki/Tell_Me,_Momma#cite_note-1 In 2016, all Dylan's recorded live performances of "Tell Me, Momma" from 1966 were released in the 36-CD boxed set  https://en.wikipedia.org/wiki/The_1966_Live_Recordings, with the May 26, 1966 performance released separately on the album . The boxed set contains all the live versions of "Tell Me, Momma" ever performed by Dylan and his band.   SHOW NO. 2:                      FIRE ON THE MOUNTAIN                                                 Track #7                                                 0:30 – 2:05   SHOW NO. 3:                      BEFORE THEY MAKE ME RUN                                                 Keith Richards                                                 ROLLING STONES: Before They Make Me Run (Promo - 7" Single Version) (youtube.com) https://www.youtube.com/watch?v=o8c0FeEX87k                                                 1:54 – 3:21   Today Keith turned 80.  Cannot let that milestone go unnoticed.    Richards was born in and grew up in Dartford https://en.wikipedia.org/wiki/Dartford, Kent https://en.wikipedia.org/wiki/Kent. He studied at the Dartford Technical School https://en.wikipedia.org/wiki/Wilmington_Grammar_School_for_Boys and Sidcup Art College https://en.wikipedia.org/wiki/Sidcup_Art_College. After graduating, Richards befriended Jagger, Bill Wyman https://en.wikipedia.org/wiki/Bill_Wyman, Charlie Watts https://en.wikipedia.org/wiki/Charlie_Watts, and Brian Jones https://en.wikipedia.org/wiki/Brian_Jones and joined the Rolling Stones. As a member of the Rolling Stones, Richards also sings lead on some Stones songs. Richards typically sings lead on at least one song a concert, including "Happy https://en.wikipedia.org/wiki/Happy_(Rolling_Stones_song)", "Before They Make Me Run https://en.wikipedia.org/wiki/Before_They_Make_Me_Run", and "Connection https://en.wikipedia.org/wiki/Connection_(Rolling_Stones_song)". Outside of his career with the Rolling Stones, Richards has also played with his own side-project, The X-Pensive Winos. He also appeared in three  https://en.wikipedia.org/wiki/Pirates_of_the_Caribbean_(film_series) films as Captain Teague https://en.wikipedia.org/wiki/Captain_Teague, father of Jack Sparrow https://en.wikipedia.org/wiki/Jack_Sparrow, whose look and characterisation was inspired by Richards himself. In 1989, Richards was inducted into the Rock and Roll Hall of Fame https://en.wikipedia.org/wiki/Rock_and_Roll_Hall_of_Fame and in 2004 into the UK Music Hall of Fame https://en.wikipedia.org/wiki/UK_Music_Hall_of_Fame with the Rolling Stones.  https://en.wikipedia.org/wiki/Rolling_Stone magazine ranked him fourth on its list of 100 best guitarists in 2011. In 2023,  ranking was 15th.[1] https://en.wikipedia.org/wiki/Keith_Richards#cite_note-1 The magazine lists fourteen songs that Richards wrote with Jagger on its "500 Greatest Songs of All Time https://en.wikipedia.org/wiki/Rolling_Stone%27s_500_Greatest_Songs_of_All_Time" list. My favorite “Keith tune” in the Stone’s songbook.  1978 version.   "BEFORE THEY MAKE ME RUN" is a song by English rock https://en.wikipedia.org/wiki/Rock_music band the Rolling Stones https://en.wikipedia.org/wiki/The_Rolling_Stones, featured on their 1978 album  https://en.wikipedia.org/wiki/Some_Girls. English musician, songwriter, singer and recording producer who is an original member, guitarist, secondary vocalist, and co-principal songwriter of the Rolling Stones https://en.wikipedia.org/wiki/The_Rolling_Stones. His songwriting partnership https://en.wikipedia.org/wiki/Jagger%E2%80%93Richards with the band's lead vocalist Mick Jagger https://en.wikipedia.org/wiki/Mick_Jagger is one of the most successful in history. His career spans over six decades, and his guitar playing style has been a trademark of the Rolling Stones throughout the band's career. Richards gained press notoriety for his romantic involvements and illicit drug use, and he was often portrayed as a countercultural https://en.wikipedia.org/wiki/Counterculture figure. Written by guitarist https://en.wikipedia.org/wiki/GuitarKeith Richards https://en.wikipedia.org/wiki/Keith_Richards, the song is a response to his arrest for heroin https://en.wikipedia.org/wiki/Heroin possession in Toronto https://en.wikipedia.org/wiki/Toronto in February 1977. The criminal charges and prospect of a prison sentence loomed over the  recording sessions and endangered the future of the Rolling Stones.[2] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-appleford162-163-2 In the lyrics, Richards reflects unapologetically on his lifestyle up to that point. The line "it's another goodbye to another good friend" in the first verse can be interpreted as referring to Gram Parsons https://en.wikipedia.org/wiki/Gram_Parsons, Richards's close friend who died in 1973 from a drug overdose,[3] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-autogenerated1-3 and/or to heroin itself: Richards had sought medical treatment for heroin addiction following his arrest in Toronto, and his resolution to overcome his addiction would be a significant factor in his upcoming trial.[4] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-flippop134-136-4 Richards recorded the song in five days without sleeping.[5] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-5 Originally entitled "Rotten Roll", the song was recorded in a Paris https://en.wikipedia.org/wiki/Paris studio in March 1978 during one of Mick Jagger https://en.wikipedia.org/wiki/Mick_Jagger's absences from the  sessions.[6] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-elliottp263-6 The completed track, "a high-energy rock & roller",[7] https://en.wikipedia.org/wiki/Before_They_Make_Me_Run#cite_note-autogenerated2-7 features Richards on lead vocals, acoustic and electric guitars, and bass; Ronnie Wood https://en.wikipedia.org/wiki/Ronnie_Wood on pedal steel guitar https://en.wikipedia.org/wiki/Pedal_steel_guitar, slide guitar https://en.wikipedia.org/wiki/Slide_guitar and backing vocals; Charlie Watts https://en.wikipedia.org/wiki/Charlie_Watts on drums; and Jagger on backing vocals. Richards first performed the song in concert on the New Barbarians https://en.wikipedia.org/wiki/The_New_Barbarians_(band)' tour of North America in 1979; it was not until the Steel Wheels Tour https://en.wikipedia.org/wiki/Steel_Wheels/Urban_Jungle_Tour in 1989 that it entered the Rolling Stones' concert repertoire SHOW NO. 4:                      ROMEO AND JULIET                                                 Track #13                                                 1:54 – 3:21   "ROMEO AND JULIET" is a rock https://en.wikipedia.org/wiki/Rock_music[1] https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Dire_Straits_song)#cite_note-guaita586-1[4] https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Dire_Straits_song)#cite_note-4[5] https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Dire_Straits_song)#cite_note-5 song by the British rock band Dire Straits https://en.wikipedia.org/wiki/Dire_Straits, written by frontman Mark Knopfler https://en.wikipedia.org/wiki/Mark_Knopfler. It first appeared on the 1980 album  https://en.wikipedia.org/wiki/Making_Movies and was released as a single in 1981.[6] https://en.wikipedia.org/wiki/Romeo_and_Juliet_(Dire_Straits_song)#cite_note-6 The song subsequently appeared on the Dire Straits live albums  https://en.wikipedia.org/wiki/Alchemy:_Dire_Straits_Live and  https://en.wikipedia.org/wiki/On_the_Night, and later on Knopfler's live duet album with Emmylou Harris https://en.wikipedia.org/wiki/Emmylou_Harris,  https://en.wikipedia.org/wiki/Real_Live_Roadrunning (though Harris does not perform on the track).   The song itself, written by Knopfler, was inspired by his failed romance with Holly Vincent https://en.wikipedia.org/wiki/Holly_Vincent, lead singer of the short-lived band Holly and the Italians. The song speaks of a Romeo who is still very much in love with his Juliet, but she now treats him like "just another one of [her] deals". Knopfler has both stated and implied that he believes Vincent was using him to boost her career. The song's line, "Now you just say, oh Romeo, yeah, you know I used to have a scene with him," refers to an interview with Vincent, where she says "What happened was that I had a scene with Mark Knopfler and it got to the point where he couldn't handle it and we split up.     OUTRO:                                HARD TO HANDLE                                                 Track #17                                                 5:00 – 6:45   Otis Redding recorded Hard to Handle in late 1967, shortly before his death. It was released as a single in June 1968. By 1969, it was being covered by a number of people, and surprisingly, the Dead seem to have been one of the first. If anyone were to think of the least likely groups in ‘69 to cover some funky new R&B, the Dead would probably be on that list. They hadn’t shown any interest in picking up new R&B covers since mid-1967, when they started doing Lovelight – since then, they had focused on their original ‘acid-rock’ material. Many old covers dropped out of their setlists, and from summer ’68 through winter ’69, their shows were almost exclusively devoted to Anthem & Live/Dead suite material, with a few new Aoxomoxoa songs dropped in. But by March 1969, they seem to have felt the need for something new – the Live/Dead album was in the can, and their repertoire had not varied much in months. Aside from a couple sluggish, misbegotten renditions of Hey Jude that winter, Hard to Handle was their first new cover song in over a year. Over the course of the spring, they would gradually bring in more cover tunes, bringing back many songs they had stopped playing in previous years, and the shows would start to reflect a wider set of influences. Pigpen probably emulated Otis, and of course this song would have matched his strutting stage persona; it may have been his idea to cover it. The Dead must have known they could not recapture the tight, snappy Stax horn sound of Redding’s original, and they didn’t even try. Instead they adapted it to their loud, heavy, lumbering two-drum, two-guitar style – of course adding a big guitar solo. Pigpen had a set way of singing the song from the start, closely following Redding’s phrasing, which would vary little over the next couple years; but the band would go through some dramatic changes in the way they played the song. (The next year, a bit lighter on their feet, they would also attempt James Brown’s ‘Man’s World’ – not one of his funkiest efforts – but would only play it for about five months.)   The Dead had long been fans of Otis Redding – in 1966-67, Pigpen was performing his ‘63 song ‘Pain in My Heart.’ (Though the impetus to cover it may have come from the Rolling Stones’ version.) Redding came to the Fillmore in December ’66 – musicians were clamoring to Bill Graham that he needed to book Otis. When he came, according to Graham, “Every artist in the city asked to open for Otis. The first night, it was the Grateful Dead. Janis Joplin came at three in the afternoon the day of the first show to make sure that she’d be in front… Every musician then into music came.” * The Dead opened for Redding on 12/20/66; the next two nights, other bands opened. (The Dead went to play in Santa Clara.) Bill Graham was permanently impressed: “By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison, then or now... That was the best gig I ever put on in my entire life.” * Janis also mentioned that Otis was a particular inspiration to her. (I believe Ralph Gleason also wrote a review of one of the shows for the Chronicle, which I’d like to see.) When Garcia & Lesh appeared on Tom Donahue’s FM show in April ’67, they played Otis’ cover of ‘Day Tripper’ and reminisced about the show. Otis had an 18-piece band with him, and Garcia recalled that Otis did his standard show, “where the band would get up and play some numbers, and a girl singer would come up” and warm up the audience before Otis appeared. Lesh: “It was kind of scary to work with Otis… He tore it up!” Garcia: “Otis is really heavy… He tore the place apart… When he came on stage, it was like the whole place got about six times as big, and the band just got real snappy – it was so fine, and the music was really good.”   The Dead debuted Hard to Handle at the Black & White Ball (Hilton Hotel, S.F.) , 3/15/69 – the very first song of the show! In their eagerness to tackle it, they perhaps neglected to rehearse it a few more times… They have trouble keeping together in the precise arrangement, and sometimes stumble around erratically before syncing up again. Garcia plays swooping slide throughout, but seems to have little idea what to do with it, so there’s not much of a solo and they just sort of stagger forward aimlessly for a while. Pigpen is also a little confused about the verses. At the end the band thinks Pigpen’s finished, but he continues with another verse, so they bring it to an abrupt end.   Last played on December 31, 1982 at the Oakland Civic Auditorium.  Played it a total of 120 times.       Other stories: __ __  

1h 15m

Dec 18, 2023

"Stephen Stills & the Dead: Legendary Collaborations Unveiled"  Larry Mishkin https://podconx.com/guests/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.  . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston           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 https://archive.org/details/gd69-12-10.sbd.gerland.10986.sbeok.shnf/gd69-12-10d2t02.shn     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  https://americansongwriter.com/2019/09/lyric-week-grateful-dead-china-cat-sunflower-know-rider/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 traditional https://en.wikipedia.org/wiki/Traditional_musicblues https://en.wikipedia.org/wiki/Blues song that has been adapted by numerous artists. It has appeared in folk https://en.wikipedia.org/wiki/Folk_music, country https://en.wikipedia.org/wiki/Country_music, and rock https://en.wikipedia.org/wiki/Rock_music guises and is not overly identified with any particular artist.   Modern versions can be traced back to Blind Lemon Jefferson's https://en.wikipedia.org/wiki/Blind_Lemon_Jefferson "Deceitful Brownskin Blues", which was released as a single in 1927. It appears in a 1934 book, , by the noted father-and-son musicologists and folklorists John Lomax https://en.wikipedia.org/wiki/John_Lomax and Alan Lomax https://en.wikipedia.org/wiki/Alan_Lomax.[2] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-grateful-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] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-grateful-2 The music and melody are similar to Lucille Bogan https://en.wikipedia.org/wiki/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 https://en.wikipedia.org/wiki/James_Taylor sang it as "Circle Round the Sun" on his 1968 debut album  https://en.wikipedia.org/wiki/James_Taylor_(album)).[2] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-grateful-2Big Brother and the Holding Company https://en.wikipedia.org/wiki/Big_Brother_and_the_Holding_Company featuring Janis Joplin https://en.wikipedia.org/wiki/Janis_Joplin were performing it in concert; a rendition from 1966 was released in 1984 on the live album  https://en.wikipedia.org/wiki/Cheaper_Thrills.[2] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-grateful-2 The Grateful Dead https://en.wikipedia.org/wiki/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 https://en.wikipedia.org/wiki/China_Cat_Sunflower" and represented the group's forging a bridge from their psychedelic music https://en.wikipedia.org/wiki/Psychedelic_music to their more traditional country and folk side.[1] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-shumway-1 This combination was featured on their 1972 triple live album  https://en.wikipedia.org/wiki/Europe_%2772.[1] https://en.wikipedia.org/wiki/I_Know_You_Rider#cite_note-shumway-1 (The Grateful Dead's segue approach was later used by Bruce Hornsby and the Range https://en.wikipedia.org/wiki/Bruce_Hornsby 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  

1h 9m

Dec 12, 2023

"JRad's Resonance: Reflecting on a Night of Jam Band Marvel" Larry Mishkin, https://podconx.com/guests/larry-mishkin touches upon key events like the 1969 Fillmore West concert, which previewed the infamous Altamont Speedway event by the Rolling Stones. The Altamont concert, marred by violence and tragedy, involving the Hells Angels acting as security, remains a pivotal moment in music history. He also discussed current music events, including Phish's upcoming show at the Spere in Las Vegas Sphere, highlighting the band's incredible light shows. He contrasted the Rolling Stones' high-priced tickets for their concerts with Joe Russo's Almost Dead's more reasonable pricing and exceptional Grateful Dead covers. He recounted attending a recent Joe Russo's Almost Dead concert in Chicago, emphasizing their outstanding performance, including an unexpected cover of Bob Dylan's "Tell Me Mama." The concert featured iconic Grateful Dead tracks, such as "Fire on the Mountain" and "Good Lovin'," offering a nostalgic and impressive experience.. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston             Grateful Dead December 4, 1969 Fillmore West, S.F. https://archive.org/details/gd69-12-04.sbd.wizard.23975.sbeok.shnf     Intro:    Introduction and Altamont announcement             Track #1             Start – finish     Show No. 1     Black Peter                         Track #3                         1:15 – 2:45   Show No. 2     Dark Star                         Track #9                         13:39 – 15:15   Show No. 3     High Times                         Track #10                         1:18 – 2:36   Show No. 4     Good Morning Little School Girl                         Track # 12                         2:20 – 3:51     Outro:              Uncle John’s Band                         Track#17                         Start – 2:12

1h 13m

Dec 04, 2023

"The Sphere in Vegas: U2's Sonic Odyssey and the Future of Concert Venues" Larry Mishkin https://podconx.com/guests/larry-mishkin  is joined by great friend of the show, Alex Wellins https://www.linkedin.com/in/alex-wellins-5a5778/ to catch up and talk about a Grateful Dead concert held at Poly Pavilion on November 20th, 1971. Larry talks about the significance of the show, including the band's transition in music style, notable songs played, and the presence of famous basketball player Bill Walton in the audience.  Later, Alex discusses recent concerts they attended, highlighting U2's performance at The Sphere in Las Vegas, known for its immersive audiovisual experience, and another show at the historic Castro Theater in San Francisco featuring the band St. Paul and the Broken Bones. Both Larry and Alex express enthusiasm about these diverse musical experiences. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston     Grateful Dead November 20, 1971 Pauley Pavillion – UCLA L.A. Grateful Dead Live at Pauley Pavilion - University of California on 1971-11-20 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd1971-11-20.sbd.miller.92908.sbeok.flac16/gd71-11-20d1t10.flac   By late 1971 Dead’s transformation from Primal Dead to Americana Dead was well on it’s way.  This concert is a great snapshot of that time, this show being more in the Americana camp with the a killer 25 minute jammed out Other One (including its Bill Kreutzman drum solo lead in) really being the only true nod to the Primal era .   Also, the band was in transition as Pigpen missed the show as part of his descent into alcohol related illnesses that eventually took him in March 1973.  Keith had been playing with the band since February but Mickey began his “leave” in February after night one of the Capitol Theater run.  So this night is just five of them up on stage playing their hearts out for the fine students of UCLA and other Deadheads ( then a very brand new “thing” having just been recognized by the band in the liner message inside the Grateful Dead album stating:  “DEAD FREAKS UNITE!  WHO ARE YOU?  WHERE ARE YOU?  HOW ARE YOU? Send us your name and address and we’ll keep you informed”)   One fact that should be obvious given the venue and the time – an unknown UCLA student and want-a-be college basketball player, Bill Walton was in attendance along with some of his Bruins teammates for this first ever Dead show at Pauley Pavilion, famed home court for the UCLA Bruins, a team that following the amazing successes of Lew Alcindor (Kareem) and Sidney Wicks, now was being led for the first time by Bill and his teammates Jamaal Wilkes and Greg Lee (spoiler alert:  Bill has some success at UCLA too).  Bill, of course, went on to be an NBA All-Star and a regular attendee of Dead shows and, as Alex can attest, not unusual to see him at a West Coast dead show right up until the end – kind of hard to miss a 7 foot deadhead with his red hair and tie dye apparel.  Rumor has it when they knew he was going to be at a show the band would set up a basketball hoop backstage and that Bruce Hornsby was a hooper too.   INTRO:               BERTHA                            Track No. 1                            3:30 – 4:37   Great traditional opener although it was known to pop up in different spots during shows from time to time.  At this point, it is still “new” having been debuted earlier that year, on February 18th at the Capitol Theater in Port Chester.  Never released on a studio album, but it is the opening tune on the Dead’s live album, “Grateful Dead” a/k/a Skull and Roses (or Phil’s preferred name, “Skull Fuck” which was promptly rejected by their label, Warner Bros) on September 24, 1971.  From shows in NYC at the Fillmore East and the Hammerstein Ballroom in the Manhattan Center (plus Johnny B. Goode from Winterland – couldn’t completely ignore the west coast).   SHOW #1:          TENNESSEE JED                            Track No. 5                            0:45 – 1:46   This is one of the “new” ones played in this show.  Along with Mexicali Blues, One More Saturday Night, Ramble On Rose and Jack Straw had all just been played for the first ever just two months earlier on October 19, 1971 at the Northrop Auditorium in Minneapolis – also Keith’s first show.  A tune that more than most really captures the change in the band’s direction as you have Garcia previously of Dark Star, St. Stephen and Eleven fame twanging away, musically and vocally, on a song with a feel that is a cross between country, western and a dash of rock n roll.  Deadheads of Alex’s and my era will note how much quicker the tempo is in this early version and Garcia’s noticeable energy evident from his strong vocal performance.   Played 436 times in concert, putting it at No. 15 of the list of the Dead’s most played tunes. 1st (again) on Oct. 19, 1971 in MPLS Last on July 8, 1995 at Soldier Field, Chicago   A great sing along tune that the Deadheads always enjoyed, normally found in the first set, towards the middle.   SHOW #2:          JACK STRAW                            Track No. 10                            :12 – 1:20   As just mentioned, this another “new” one just two months old.  Everyone loves Jack Straw, even the Band which is why it checks in at No. on list of most tunes played by the Band with 476 performances (last one on July 8, 1995 at Soldier Field).  But in this early version, there is a little bit of a change from the version we all know and love.  First, thing to know it is a tune by Hunter and Weir.  Garcia did not write it although he sang it with Weir in a “trading off of verses” style.  Second, in these early versions, before the Europe ’72 tour, Weir sang all the verses like we just heard, “I just jumped the watchman, right outside the fence” was always sung by Jerry, but here, Weir sings it. Not sure of the reason for the change, but I like it a lot better with Jerry singing his verses (the other being “Gotta go to Tulsa, first train we can ride”).  First time with Jerry on vocals was May 3, 1972 at the Olympia Theater in Paris, that also just happens to be the version of the song that wound up on the Europe ’72 album.  Although in its earlier years the song would appear in either first or second set, after their 1975 hiatus it became an almost exclusive first set song. And after Brent joined the band, almost always a show opener.  Home to the more than occasional Phil base bomb, it was one of the Band’s most popular tunes and a great way to open any show (especially if they had just opened with Bertha the night before so you got to catch them both!).   SHOW #3:          RAMBLE ON ROSE                            Track No. 18                            0:00 – 1:28   Last of the “new” ones that we will feature today.  Just like Tennessee Jed, upbeat, good energy, Jerry and the boys are having fun, like with any new creation.  Still working out all the details, the james, keeping track of the lyrics and Jerry has not yet developed his signature growl on “goodbye mamma and poppa, goodbye jack and jill”.  What I really like about this version and why I chose a clip from the beginning of the tune is to hear Keith’s piano accompaniment that works so well with this song and adds another layer of creativity to the mix.  Garcia always seemed to get energy and inspiration from the band’s keyboard players and Keith, even this early in his career, is no exception.   After its introduction on Oct. 19, 1971 in Minny, played a total of 319 times, good for 39th place on the all time list, just behind US Blues and just ahead of Don’t Ease Me In (really?).  Last played on June 27, 1995 at the Palace of Auburn Hills, MI.   SHOW #4:          YOU WIN AGAIN                            Track No. 20                            1:12 – 2:21   "YOU WIN AGAIN" is a 1952 song by Hank Williams https://en.wikipedia.org/wiki/Hank_Williams. In style, the song is a blues ballad https://en.wikipedia.org/wiki/Blues_ballad and deals with the singer's despair with his partner. The song has been widely covered, including versions by Ray Charles https://en.wikipedia.org/wiki/Ray_Charles, Jerry Lee Lewis https://en.wikipedia.org/wiki/Jerry_Lee_Lewis, Roy Orbison https://en.wikipedia.org/wiki/Roy_Orbison, the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, Charley Pride https://en.wikipedia.org/wiki/Charley_Pride, Bob Dylan https://en.wikipedia.org/wiki/Bob_Dylan, and the Rolling Stones https://en.wikipedia.org/wiki/Rolling_Stones.   Hank Williams recorded "You Win Again" on July 11, 1952—one day after his divorce from Audrey Williams https://en.wikipedia.org/wiki/Audrey_Williams was finalized. Like "Cold, Cold Heart https://en.wikipedia.org/wiki/Cold,_Cold_Heart," the song was likely inspired by his tumultuous relationship with his ex-wife,   "You Win Again" was released as the B-side https://en.wikipedia.org/wiki/B-side to "Settin' the Woods on Fire https://en.wikipedia.org/wiki/Settin%27_the_Woods_on_Fire", primarily because up-tempo, danceable numbers were preferable as A-sides for radio play and for the valuable jukebox trade. Nonetheless, "You Win Again" peaked at number ten on the Most Played in C&W Juke Boxes chart, where it remained for a single week.   Over a time period of less than one year, the Dead played You Win Again 24 times in concert, the first on November 11, 1971 at the Municipal Auditorium in Austin, TX (this show in L.A. was only the third time it had been played) and the last on September 16, 1972 at The Music Hall in Boston.    A version of the song was released on the Europe ’72 album (second album side), from their show on May 24, 1972 at The Strand Lyceum in London, one of the final shows on that tour.   JGB recorded a version of the song in 1976 during the Reflections album sessions but not played live again.  It was briefly revived by The Dead with Dylan in 2003.     OUTRO:          GOING DOWN THE ROAD FEELING BAD                         Track No. 23                         3:45 – 5:12   "GOING DOWN THE ROAD FEELING BAD" (also known as the "LONESOME ROAD BLUES") is a traditional American folk song https://en.wikipedia.org/wiki/Folk_song, "a white blues of universal appeal and uncertain origin"   The song was recorded by many artists through the years. The first known recording is from 1923 by Henry Whitter https://en.wikipedia.org/wiki/Henry_Whitter, an Appalachian https://en.wikipedia.org/wiki/Appalachian_music singer,[2] https://en.wikipedia.org/wiki/Going_Down_the_Road_Feeling_Bad#cite_note-2[3] https://en.wikipedia.org/wiki/Going_Down_the_Road_Feeling_Bad#cite_note-3as "Lonesome Road Blues". The earliest versions of the lyrics are from the perspective of an inmate in prison with the refrain, "I'm down in that jail on my knees" and a reference to eating "corn bread and beans."[4] https://en.wikipedia.org/wiki/Going_Down_the_Road_Feeling_Bad#cite_note-4 The song has been recorded by many artists such as Woody Guthrie https://en.wikipedia.org/wiki/Woody_Guthrie, Bob Dylan https://en.wikipedia.org/wiki/Bob_Dylan, Skeeter Davis https://en.wikipedia.org/wiki/Skeeter_Davis, Elizabeth Cotten https://en.wikipedia.org/wiki/Elizabeth_Cotten, and the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, and the song is featured in  https://en.wikipedia.org/wiki/To_Bonnie_from_Delaney, "Mountain Jam https://en.wikipedia.org/wiki/Mountain_Jam", Born and Raised World Tour https://en.wikipedia.org/wiki/Born_and_Raised_World_Tour,  https://en.wikipedia.org/wiki/The_Grapes_of_Wrath_(film), and  https://en.wikipedia.org/wiki/Lucky_Stars_(album). Others who recorded it include Cliff Carlisle https://en.wikipedia.org/wiki/Cliff_Carlisle (also as "Down in the Jail on My Knees"), Woody Guthrie https://en.wikipedia.org/wiki/Woody_Guthrie (also as "Blowin' Down This Road" or "I Ain't Gonna Be Treated This Way"), Bill Monroe https://en.wikipedia.org/wiki/Bill_Monroe, Earl Scruggs https://en.wikipedia.org/wiki/Earl_Scruggs, Roy Hall https://en.wikipedia.org/wiki/Roy_Hall_(musician), Elizabeth Cotten https://en.wikipedia.org/wiki/Elizabeth_Cotten and the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, Delaney and Bonnie https://en.wikipedia.org/wiki/Delaney_and_Bonnie, Canned Heat https://en.wikipedia.org/wiki/Canned_Heat and Dillard Chandler https://en.wikipedia.org/wiki/Dillard_Chandler.   Dead played it 302 times (No. 46 on the most played tunes list just behind a tie between Mama Tried and Terrapin and just ahead of Birdsong).  1st time on October 10, 1970 at Colden Auditorium, part of Queens College in Queens, NY. Last played on July 5, 1985 at the Riverport Amphitheater in Maryland Heights, MO.   During the time period of this show it was almost always paired with Not Fade Away (as made famous at the end of the Grateful Dead album).  In later years, when Alex and I were regulars on tour, it would show up as a second set tune, usually, but not always after Drums/Space.  A very upbeat tune that the band obviously loved playing the crowd loved hearing.   For our purposes, a great way to end the show and say goodbye and HAPPY THANKSGIVING.

1h 3m

Nov 20, 2023

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled" Larry Mishkin https://podconx.com/guests/larry-mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston       Jerry Garcia Band November 15, 1991 MSG NY, NY Jerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/jg91-11-15.jgb-fob-schoeps-brotman-metchick-anon-noel-t-flac1648     INTRO:               HOW SWEET IT IS TO BE LOVED BY YOU                            Track No. 2                            0:00 – 1:30   HOW SWEET IT IS (TO BE LOVED BY YOU)" is a song recorded by American soul https://en.wikipedia.org/wiki/Soul_music singer Marvin Gaye https://en.wikipedia.org/wiki/Marvin_Gaye from his fifth studio album of the same name https://en.wikipedia.org/wiki/How_Sweet_It_Is_to_Be_Loved_by_You (1965). It was written in 1964 by the Motown https://en.wikipedia.org/wiki/Motown songwriting team of Holland–Dozier–Holland https://en.wikipedia.org/wiki/Holland%E2%80%93Dozier%E2%80%93Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason https://en.wikipedia.org/wiki/Jackie_Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side.   https://en.wikipedia.org/wiki/Cash_Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4] https://en.wikipedia.org/wiki/How_Sweet_It_Is_(To_Be_Loved_by_You)#cite_note-cb1-4AllMusic https://en.wikipedia.org/wiki/AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] https://en.wikipedia.org/wiki/How_Sweet_It_Is_(To_Be_Loved_by_You)#cite_note-allmusic-5 Ankeny commented on the soulfulness of the song, and particularly noted the piano riff https://en.wikipedia.org/wiki/Riff.   James Taylor https://en.wikipedia.org/wiki/James_Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album  https://en.wikipedia.org/wiki/Gorilla_(James_Taylor_album) (1975).[11] https://en.wikipedia.org/wiki/How_Sweet_It_Is_(To_Be_Loved_by_You)#cite_note-gorilla-11Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening https://en.wikipedia.org/wiki/Hot_Adult_Contemporary chart and number five on the US  Hot 100 chart.   Long a staple of the JGB’s set lists, First played on September 18, 1975 a Sophie’s in Palo Alto Last played on April 23, 1995 at the Warfield Theater in S.F. Total played 373 times, by far the JGB’s most played tune (Midnight Moonlight is 2d at 344)   Usually a show opener.       There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time:   Jerry Garcia; guitar, vocals - John Kahn; bass - Melvin Seals; keyboards - David Kemper; drums - Jaclyn LaBranch; backing vocals - Gloria Jones; backing vocals   Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act.   This show was released as Garcia Live Vol. 16   SHOW #1:                        SIMPLE TWIST OF FATE                                          Track No. 5                                          3:00 – 4:40                 In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song’s subject, many believe that he wrote it about his former girlfriend, Joan Baez http://www.joanbaez.com/.   Bob Dylan’s message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world.   Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show.   SHOW #2:                        LAY DOWN SALLY                                          Track No. 6                                          1:40 – 3:15   "LAY DOWN SALLY" is a song performed by Eric Clapton https://en.wikipedia.org/wiki/Eric_Clapton, and written by Clapton, Marcy Levy https://en.wikipedia.org/wiki/Marcy_Levy, and George Terry https://en.wikipedia.org/wiki/George_Terry_(musician). It appeared on his November 1977 album  https://en.wikipedia.org/wiki/Slowhand, and reached No. 3 on the  https://en.wikipedia.org/wiki/Billboard_(magazine)Hot 100 https://en.wikipedia.org/wiki/Hot_100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand’s favorite songs.   "Lay Down Sally" is a country blues https://en.wikipedia.org/wiki/Country_blues song performed in the style of J. J. Cale https://en.wikipedia.org/wiki/J._J._Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa https://en.wikipedia.org/wiki/Tulsa,_Oklahoma band, they play like that naturally. You couldn't get them to do an English rock https://en.wikipedia.org/wiki/British_rock_music sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle." https://en.wikipedia.org/wiki/Billboard_(magazine) magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy https://en.wikipedia.org/wiki/Marcella_Detroit's backing vocals.[5] https://en.wikipedia.org/wiki/Lay_Down_Sally#cite_note-5 https://en.wikipedia.org/wiki/Cash_Box praised Clapton's "guitar finesse." JGB covered the tune 54 times First: November 20, 1990 Warfield, SF Last: March 4, 1995 Warfield, SF   Gets a great crowd reaction and Jerry loves jamming on Clapton tunes.   Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead https://www.dead.net/features/jerry-garcia-eric-clapton-pose   Clapton interviewed on the Dead in 1968: HAVE YOU HEARD THE GRATEFUL DEAD RECORD? A:  “Yeah, it’s great.”   PETER TOWNSHEND SAID HE SAW THE DEAD AT THE POP FESTIVAL, AND CALLED THEM “ONE OF THE ORIGINAL ROPEYS.”   A:   “Ropey! That means a drag. I don’t think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I’m not sure of that. I’m guessing. If the Grateful Dead are one of the best, they’re not doing a very good job on record.” WHAT DO YOU THINK OF THE GUITAR PLAYING? JERRY GARCIA’S SYNTHESIS OF BLUES, JAZZ AND COUNTRY AND WESTERN, WITH A LITTLE JUG BAND THROWN IN? A:   “It’s very good, and very tight, but it’s not really my bag.”   SHOW #3:       DEAL                         Track No. 9                         2:46 – 4:15   Finally, a Garcia tune!  And one of his best. One of the Grateful Dead’s live staples, and many gambling songs is the Robert Hunter https://extrachill.com/grateful-dead-ripple-meaning and Jerry Garcia https://extrachill.com/jerry-garcia-quotes collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band. “Deal” saw studio release as the opening track to Jerry Garcia’s 1972 debut solo album, , which also contained several other classic Grateful Dead live songs including “Sugaree” https://extrachill.com/grateful-dead-sugaree-meaning, “Bird Song” https://extrachill.com/grateful-dead-bird-song-meaning, “Loser” https://extrachill.com/grateful-dead-loser-meaning, and “The Wheel”.   It’s also worth noting that the classic folk song, “Don’t Let Your Deal Go Down” https://sandiegotroubadour.com/anatomy-of-a-folk-song-dont-let-your-deal-go-down/, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting https://extrachill.com/grateful-dead-althea-meaning, and it is highly likely he was familiar with the tune.   JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CA Last time on April 23, 1995 at the Warfield   Grateful Dead played it 422 times First on Feb. 19, 1971 at the Capitol Theater in Port Chester, NY Last on June 18, 1995 at Giant’s Stadium in East Rutherford, NJ. Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL   You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.     SHOW #4:               AIN’T NO BREAD IN THE BREADBOX                                 Track No. 14                                 1:22 – 3:02   Written by PHILLIP JACKSON (September 28, 1951[1] https://en.wikipedia.org/wiki/Norton_Buffalo#cite_note-1 – October 30, 2009),[2] https://en.wikipedia.org/wiki/Norton_Buffalo#cite_note-sfgate-2 best known as NORTON BUFFALO, was an American singer-songwriter, country https://en.wikipedia.org/wiki/Country_musicand blues https://en.wikipedia.org/wiki/Blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic https://en.wikipedia.org/wiki/Chromatic_harmonica[3] https://en.wikipedia.org/wiki/Norton_Buffalo#cite_note-3 and diatonic https://en.wikipedia.org/wiki/Harmonica#Diatonic.   In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen https://en.wikipedia.org/wiki/Commander_Cody_and_His_Lost_Planet_Airmen, and was recorded on the band's final live album  https://en.wikipedia.org/wiki/We%27ve_Got_a_Live_One_Here!,[5] https://en.wikipedia.org/wiki/Norton_Buffalo#cite_note-5 which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band https://en.wikipedia.org/wiki/Steve_Miller_Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit https://en.wikipedia.org/wiki/Hit_record follow-up album  https://en.wikipedia.org/wiki/Book_of_Dreams_(Steve_Miller_Band_album), released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake."   By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records https://en.wikipedia.org/wiki/Capitol_Records albums:  and  In 1977 his harmonica work appeared on Bonnie Raitt https://en.wikipedia.org/wiki/Bonnie_Raitt's  https://en.wikipedia.org/wiki/Sweet_Forgiveness and The Doobie Brothers https://en.wikipedia.org/wiki/The_Doobie_Brothers'  https://en.wikipedia.org/wiki/Livin%27_on_the_Fault_Line albums.   He was a member of the Mickey Hart https://en.wikipedia.org/wiki/Mickey_Hart band High Noon in the late 70s and early 80s with Merl Saunders https://en.wikipedia.org/wiki/Merl_Saunders, Mike Hinton https://en.wikipedia.org/wiki/Mike_Hinton, Jim McPhearson, Vicki Randle https://en.wikipedia.org/wiki/Vicki_Randle, and Bobby Vega, and played with Saunders on the Rainforest Band https://en.wikipedia.org/wiki/Rainforest_Band album  in 1993.   Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band. First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band’s 7th performance of the tune.  Jerry really liked it.   The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                           OUTRO:                  WHAT A WONDERFUL WORLD                                 Track No. 19                                 1:55 – 3:37   "WHAT A WONDERFUL WORLD" is a song written by Bob Thiele https://en.wikipedia.org/wiki/Bob_Thiele (as "George Douglas") and George David Weiss https://en.wikipedia.org/wiki/George_David_Weiss. It was first recorded by Louis Armstrong https://en.wikipedia.org/wiki/Louis_Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom https://en.wikipedia.org/wiki/UK_singles_chart,[2] https://en.wikipedia.org/wiki/What_a_Wonderful_World#cite_note-500_Number_One_Hits-2 but performed poorly in the United States because Larry Newton https://en.wikipedia.org/wiki/Larry_Newton, the president of ABC Records https://en.wikipedia.org/wiki/ABC_Records, disliked the song and refused to promote it. After it was heard in the film  https://en.wikipedia.org/wiki/Good_Morning,_Vietnam, it was reissued as a single in 1988, and rose to number 32 on the  Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100.[3] https://en.wikipedia.org/wiki/What_a_Wonderful_World#cite_note-3 Armstrong's recording was inducted to the Grammy Hall of Fame https://en.wikipedia.org/wiki/List_of_Grammy_Hall_of_Fame_Award_recipients_Q%E2%80%93Z in 1999. In Graham Nash https://en.wikipedia.org/wiki/Graham_Nash's book  George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races.   JGB played the song 12 times in concert First was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band’s 4th performance of the tune Last Oct. 31, 1992 at Oakland Alameda County Colisium. Just in the rotation for one year. But who can’t love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling. A perfect night with Jerry.     Mishkin Law, LLC 500 Skokie Blvd. Suite 325 Northbrook, IL  60062 Cell: (847) 812-1298 Office Direct: (847) 504-1480 lmishkin@mishkin.law

1h 10m

Nov 13, 2023

"Ruby's Groovy Journey: Cannabis, Music, and the Deadhead Show" Larry Mishkin https://podconx.com/guests/larry-mishkin  shares his excitement about the birth of his granddaughter, Ruby. He discusses how the song "Ruby Waves" by the band Phish may have inspired her name and how the family is already introducing her to great music. Larry also dives into Grateful Dead, sharing details about a 1979 concert from the Spectrum in Philadelphia and highlighting the song "Jack Straw." Larry then talks about recent Grateful Dead releases and encourages listeners to consider subscribing to annual releases for access to exclusive content. He provides insights into the song "Jack Straw," its lyrics, and the band's performance of it throughout the years. The episode also features the Jerry Garcia Band's song "Rubin and Cherise" and its connection to the love story of Ruby. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston     INTRO:                  RUBY WAVES                                 Phish                                 July 14, 2019                                 Alpine Valley, East Troy, WI                                 Phish - 7/14/2019 - Ruby Waves - YouTube https://www.youtube.com/watch?v=TI6xUJ4fmDk                                 0:09 – 1:35                   Part of today’s show is in honor of my first grandchild, Ruby, born late last month in Georgia.  My son Matt  is a huge Phish fan and his wife Elena enjoys them too if not quite to the same degree.  But they both love this song which may or may not have been the inspiration for their daughter’s name.  Regardless, Ruby is wonderful and her father is already playing this clip by her bassinet – she lays there and smiles!   Phish first played the song on June 18, 2019 at the Budweiser Stage in Toronto.  Of the 164 Phish shows since that debut, the band has only performed it a total of 27 times (less than 2% of the Phish shows played since its debut), most recently October 11, 2023 at the Erwin Nutter Center on the campus of Wright State University in Dayton, OH.  So not only was seeing this song a rarity, but this version is particularly well known as it is from a legendary show at Alpine Valley a few years ago. This particular version of Ruby Waves runs an incredible 38 minutes and was only one of the many highlights from that show (which featured a huge Olivia’s Pool breakout among other big moments).  Check out the clip, check out the show, and when you hear Ruby Waves think of little Ruby making her appearance into the world.   DEAD Also featuring the Dead from The Spectrum in Philly 44 years ago today.  A year of big transition, Jim Marty’s first Dead show, and some almost under the radar amazing shows, including this one.  An eleven song first set followed up by a four song second set (plus drums and space;  who do these guys think they are, Phish?) and strong encore.  Here is how it all started   SHOW #1:                           ALABAMA GETAWAY                                                 Track No. 1                                                 0:10 – 1:35                   This is only the second time the Dead played this song in concert, the first being two nights earlier on Nov. 4th at the Providence Civic Center in Rhode Island.  Song would first be released six months later (4.28.1980) on Dead’s album, Go To Heaven.  Ultimately played by the Dead 143 times, with an almost five year gap from 1990 – 1994, Jerry brought it back to the stage for a handful of performances in 1995, including the last one on June 2, 1995 at Shoreline Amphitheatre in Mountain View, CA.                    Great cultural references to Alabama’s complicated legacy, Bill Bojangles, the Twenty Third Psalm from the Bible and more. Great up-tempo tune usually played as a show opener, although it was known to move around from time to time.                   Extended this clip to catch the Brent breakout during the jam.  Still new to the group Brent was not shy and made his presence known with authority even in the first year.     SHOW #2:                         JACK STRAW                                           Track No. 10                                            3:16 – 4:47                   One of the highlights of this show, fantastic version of this crowd pleaser and great jamming tune.  Brent again jumping into the mix with his backing vocals and his strong keyboard work filling in the gaps.                   Written by Bobby and Robert Hunter, was never released on a studio album but was released on Europe ’72 album.                 Originally, Bobby sang all the vocals, but at a show in Paris on May 3, 1972, Bobby and Jerry began trading off vocals on different verses and it stayed that way until the end.    The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland https://en.wikipedia.org/wiki/Brent_Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.   Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck https://en.wikipedia.org/wiki/John_Steinbeck's novel  https://en.wikipedia.org/wiki/Of_Mice_and_Men.[2] https://en.wikipedia.org/wiki/Jack_Straw_(song)#cite_note-2 The song's themes include riding the rails, the Great Depression https://en.wikipedia.org/wiki/Great_Depression, and hobo https://en.wikipedia.org/wiki/Hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play  https://en.wikipedia.org/wiki/Cat_on_a_Hot_Tin_Roof.                   Long a staple of live Dead shows, the song was first heard live on October 19, 1971 at Northrop Auditorium in Minneapolis (another legendary show due to it being Keith Godchaux’s first show with the band AND the large number of breakout tunes including Tennessee Jed, Mexicali Blues, Comes  A Time, One More Saturday Night, and Ramble On Rose – continuation and new wrinkles to their Americana style that began a year earlier with the releases of American Beauty and Workingman’s Dead and now reflected Keith’s newly introduced input from the grand piano).                  Ultimately played by the Dead a total of 476 times putting it very high up on the list of most played Dead tunes.                 Last played on July 8, 1995 at Soldier Field in Chicago.     TIME FOR MORE RUBY   SHOW #3:                        RUBEN AND CERISE                                          Grateful Dead                                          March 17, 1991                                          Cap Center, Landover, MD                                          Grateful Dead Live at Capitol Centre on 1991-03-17 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd91-03-17.sbd.miller.28295.sbeok.flacf/gd91-03-17d1t07.flac                                          2:05 – 2:29                 Sweet Ruby dressed in Red is one of the main characters in this Garcia/Hunter song that was first released in April as the opening tune on the JBG’s only studio album, Cats Under The Stars (Run For The Roses is considered a “studio album”).   Although played with some frequency by the Jerry Garcia Band (76 times), the Grateful Dead only played it four times in concert, this clip being their breakout.  Last played on June 19, 1991 at Buckeye Lake Music Theater in Thornville, OH.  A classic tale of love found and lost set in the Carnival season in New Orleans.  Beautiful lyrics for a sad and cautionary tale.  Sorry to say I never saw it live by the Dead or JGB.  I have seen it since by Phil, JRAD and others. Nice but not close to the same.    BACK TO THE DEAD   SHOW #4:                        TERRAPIN STATION                                          Track No. 12                                          8:00 – 9:31                 Beautiful Hunter/Garcia epic mulit-part suite with Hunter composing the lyrics during a single sitting one night during a rare Bay Area https://en.wikipedia.org/wiki/San_Francisco_Bay lightning storm. On the same day, driving across the Richmond–San Rafael Bridge https://en.wikipedia.org/wiki/Richmond%E2%80%93San_Rafael_Bridge, lead guitarist Jerry Garcia https://en.wikipedia.org/wiki/Jerry_Garcia was struck by the idea for a singular melodic line. He turned his car around and hurried home to set it down in notation before it escaped him. Hunter said "When we met the next day, I showed him the words and he said, 'I've got the music.' They dovetailed perfectly and Terrapin edged into this dimension."[10] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-BoxR-10   Hunter based the lyrics for the "Lady with a Fan" section on a traditional English folk song known variously as "The Lady of Carlisle", "The Bold Lieutenant" and "The Lion's Den". The ballad is No. 396 https://en.wikipedia.org/wiki/List_of_folk_songs_by_Roud_number#301_to_400 on the Roud Folk Song Index https://en.wikipedia.org/wiki/Roud_Folk_Song_Index. It is also O 25 on the Laws https://en.wikipedia.org/wiki/George_Malcolm_Laws list, which synopsizes "The lady decides to choose between two brothers who love her by determining which is braver. She tosses her fan into a lion's den and asks them to retrieve it."[11] https://en.wikipedia.org/wiki/Terrapin_Station#cite_note-11 Hunter, who was also influenced by Sir Walter Scott https://en.wikipedia.org/wiki/Walter_Scott, had composed "Terrapin Station" in two parts, the second never recorded or performed by the Grateful Dead. Drummer Bill Kreutzmann https://en.wikipedia.org/wiki/Bill_Kreutzmann ironed out the arrangement, explaining "We sat down and mapped it out. I said, 'This is how the song goes.' I showed [Mickey] all the parts that I felt worked really well, he added a couple, and that's what the song is today. We went back into the studio the next night and got it right. With the drum parts worked out, everything else snapped together like puzzle pieces.             As the opener of a four song second set, this is a strong version, jammed out, but not too much is a show highlight.  Barely two years old (Terrapin Station album released on July 27, 1977, first performed a few months earlier on Feb. 26, 1977 at the Swing Auditorium in San Bernardino, CA) at this point, you can still hear Garcia playing around with the timing of the lyrics. Ultimately played in concert by the Dead 303 times with the last rendition on July 8, 1995 in Chicago.           An song for fans of fun tales of all ages, I suspect young Ruby will become quite familiar with this tune over time!     OUTRO:                      GOODBYE RUBY TUESDAY                                     Rolling Stones                                     Live – 1991                                     The Rolling Stones - Ruby Tuesday (Live) - Official 1991 - YouTube https://www.youtube.com/watch?v=fvp6gseKJS8                                          1:52 – 3:12

1h 7m

Nov 06, 2023

Grateful Dead Live at William and Mary College Hall on 04-15-1978 https://archive.org/details/gd78-04-15.sbd.cotsman.7047.sbefail.shnf/gd78-04-15d1t03.shn    ROB BLEETSTEIN https://podconx.com/guests/rob-bleetstein Sirius XM producer / Host on the Grateful Dead Channel and Program Director/Host/Producer - Pearl Jam Radio joins Larry Mishkin https://podconx.com/guests/larry-mishkin and  Rob Hunt https://podconx.com/guests/rob-hunt to share stories from his career in the music industry.   As one of the world's foremost authorities on the Grateful Dead, Rob talks about his favorite concerts including the 1978 show at William and Mary College which he attended while in high school. https://podconx.com/ DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/ROB-HUNT https://podconx.com/guests/rob-hunt DAN HUMISTON - https://podconx.com/guests/dan-humiston DEADHEAD CYCLIST - HTTPS://DEADHEADCYCLIST.COM/ https://deadheadcyclist.com/ JAY BLAKESBERG - https://podconx.com/guests/jay-blakesberg ROB BLEETSTEIN - https://podconx.com/guests/rob-bleekstein https://podconx.com/guests/rob-bleetstein

1h 9m

Oct 30, 2023

"Phish's Chicago Adventure: Unpacking the Three-Night Run" Larry Mishkin https://podconx.com/guests/larry-mishkin  talks about his experience at a recent Phish concert in Chicago. He mentions the uniqueness of this Phish show and focuses on their cover songs, specifically mentioning their cover of Talking Heads' "Remain in Light" album and the way Phish adds their signature jamming style to it. Larry also discusses a rare cover of Neil Young's "Albuquerque" and the joy of seeing a band like Phish covering classics. He mentions the fan culture at Phish concerts, including the prevalence of nitrous oxide vendors in the parking lot. He shares his experience over three nights of the concert and highlights the setlist from each night. Larry also talks about Phish covering Little Feat's "Spanish Moon" and its significance, given that it's a rarely played song by Phish. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston     Phish Weekend in Chicago October 13 – 15, 2023 United Center   Today is the Phish covers which were spectacular Play amazing covers by incredible artists – sometimes they dig deep into the other performer’s catalogue to pull out rarities.  Other times they cover the hits.  This weekend featured some great examples.     INTRO:                  Cross Eyed and Painless Phish Cross Eyed and Painless 2023 10 13 Chicago Illinois - YouTube https://www.youtube.com/watch?v=5--XAU8beuM 2:00 – 3:40 October 13, 2023, Second set, out of Tweezer and into Light.   Who doesn’t love a cover of a Talking Heads tune, ANY Talking Heads tune.  But this one is special.  Second song on Remain In Light, one of the greatest albums of all time.  Released on October 8, 1980 by Sire Records, the band’s fourth album.   Last Heads album produced by Brian Eno.    Phish debuted the tune on October 31, 1996 at the Phish Halloween show at the Omni in Atlanta, GA, covered Remain In Light as their Musical Costume Played 62 times overall They really jam it out in a way the Talking Heads did not.   Always well received and this show was no different Last played on August 4, 2023 at MSG, 7 shows ago     SHOW #1             Albuquerque PHISH : Albuquerque : [NEIL YOUNG] : {4K Ultra HD} : The United Center : Chicago, IL : 10/13/2023 - YouTube https://www.youtube.com/watch?v=-YZwuG9hmqY :50 – 2:18 October 13, 2023, First set, out of a killer Ghost and into Saw It Again.   Beautiful Neil Young tune from Tonight’s The Night released in 1975 __ __ Phish first played this song on July 26, 1998 at the Starplex Amphitheatre in Dallas, TX. Played a total of 17 times Last played on June 11, 2011 at Merriweather Post Pavillion outside of D.C., gap of 457 shows     SHOW #2:           Spanish Moon PHISH : Spanish Moon : [LITTLE FEAT] : {4K Ultra HD} : The United Center : Chicago, IL : 10/15/2023 - YouTube https://www.youtube.com/watch?v=mIPQH9nYB2U :50 – 2:05 October 15, 2023, Second set out of Pebbles and Marbles and into A Wave of Hope   Little Feat cover, one of their most popular tunes. From the album, Feats Don’t Fail Me Now, released in 1974   __ __   Phish debuted it live on October 31, 2010 at Boardwalk Hall in Atlantic City when Phish’s musical costume was Waiting For Columbus, the famed Little Feat live album. Phish has performed it live only 3 times Last before this show was on February 21, 2019 at Barcelo Maya Beach, Riviera Maya, Qunitana Roo, Mexico, gap of 170 shows     SHOW #3:           No Quarter PHISH : No Quarter : [LED ZEPPELIN] : {4K Ultra HD} : The United Center : Chicago, IL : 10/14/2023 - YouTube https://www.youtube.com/watch?v=BdqLmwj6lxg 1:53 – 3:25 October 14, 2023, Second Set, out of Everything’s Right, into Fluffhead   "NO QUARTER" is a song by Led Zeppelin https://en.wikipedia.org/wiki/Led_Zeppelin that appears on their 1973 album  https://en.wikipedia.org/wiki/Houses_of_the_Holy. It was written by John Paul Jones https://en.wikipedia.org/wiki/John_Paul_Jones_(musician), Jimmy Page https://en.wikipedia.org/wiki/Jimmy_Page, and Robert Plant https://en.wikipedia.org/wiki/Robert_Plant. The song became a centerpiece at all Led Zeppelin concerts thereafter, until their final tour. It appears in both the film versions https://en.wikipedia.org/wiki/The_Song_Remains_the_Same_(film) and both live album versions https://en.wikipedia.org/wiki/The_Song_Remains_the_Same_(album) of , released in 1976 and expanded in 2007. It appeared once more in 1994 on Page and Plant's reunion album https://en.wikipedia.org/wiki/No_Quarter:_Jimmy_Page_and_Robert_Plant_Unledded as the title track. It also appears on Led Zeppelin's 2012 live album  https://en.wikipedia.org/wiki/Celebration_Day_(film), which documented their 2007 reunion performance at the O2 Arena in London. It was re-released on the deluxe edition https://en.wikipedia.org/wiki/Led_Zeppelin_Deluxe_Edition#Houses_of_the_Holy of .   The title is derived from the military practice of showing no mercy to a vanquished opponent https://en.wikipedia.org/wiki/No_quarter and from the brave act of not asking for mercy when vanquished. This theme is captured in several of the song's lyrics. Like "Immigrant Song https://en.wikipedia.org/wiki/Immigrant_Song" two albums prior, it evokes imagery from the Vikings https://en.wikipedia.org/wiki/Vikings and Norse mythology https://en.wikipedia.org/wiki/Norse_mythology, with lyrics such as “the winds of Thor https://en.wikipedia.org/wiki/Thor are blowing cold.” Record producer Rick Rubin https://en.wikipedia.org/wiki/Rick_Rubin remarked on the song's structure, "It takes such confidence to be able to get really quiet and loose for such a long time. [Led] Zeppelin completely changed how we look at what popular music can be."                         Phish debuted the song on June 1, 2011 at PNC Bank Arts Center in Holmdel, NJ                         Phish has performed the song 19 times                         Last before this show was on April 23, 2023 at the Hollywood Bowl, gap of 32 shows   SHOW #4        Izabella PHISH : Izabella : [JIMI HENDRIX] : {4K Ultra HD} : The United Center : Chicago, IL : 10/13/2023 - YouTube https://www.youtube.com/watch?v=ghYRc_l0XJQ :35 – 1:14 October 13, 2023, Encore   Written by Jimi Hendrix, released on Band of Gypsys, released April 8, 1970 __ __   Phish debuted the song on June 13, 1997 at The S.F.X. Centre in Dublin, Ireland Phish has performed the Song  17 times Last before this show July 30, 2023 at MSG in NYC, gap of 15 shows   OUTRO:                Loving Cup Phish Remastered - 10 - 15 - 2023 - United Center, Chicago, Illinois - YouTube https://www.youtube.com/watch?v=3XgUTHGoEGE 2:34:50 – 2:36:23 October 15, 2023, Second set, out of Evolve, set closer.   Written by Mick Jagger and Keith Richards, released on Exile on Main Street (1971) __ __   Phish debuted the song on February 3, 1993 at the Portland Expo in Portland, Maine Interesting because they did eventually cover Exile On Main Street as a Halloween musical costume on October 31, 2009 at the Empire Polo Club in Indio, CA, part of Phish Festival 8. Clearly one of their favorite covers, and a crowd pleaser, played 148 times. Last played before this show on August 5, 2023 at MSG, gap of 13 shows

1h 8m

Oct 23, 2023

"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana" Larry Mishkin https://podconx.com/guests/larry-mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston     Grateful Dead, October 16, 1989, Melk Weg Club, Amsterdam, the Netherlands Grateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd1981-10-16.sbd.miller.110351.flac16/gd81-10-16d1t08.flac   Second of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed.  Very cool and famous club in Amsterdam, one of the best known hash bars.  Went there one time in 1988 with good buddies Mikey and H.  A highlight of our trip.   Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show.  He’s a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.     INTRO:                  THE RACE IS ON                                 Track No. 8                                 1:10 – 2:24                   Show had an acoustic first set and an electric second set.  Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead’s Reckoning album.  So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981.   "THE RACE IS ON" is a song written by Don Rollins[1] https://en.wikipedia.org/wiki/The_Race_Is_On#cite_note-1 (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere https://en.wikipedia.org/wiki/It%27s_Five_O%27Clock_Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music https://en.wikipedia.org/wiki/Country_music charts by George Jones https://en.wikipedia.org/wiki/George_Jones and on the pop and easy listening charts by the unrelated Jack Jones https://en.wikipedia.org/wiki/Jack_Jones_(singer). George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the  https://en.wikipedia.org/wiki/Billboard_(magazine)Hot Country Singles https://en.wikipedia.org/wiki/Hot_Country_Songs chart and at number 96 on the Hot 100 https://en.wikipedia.org/wiki/Billboard_Hot_100 in January 1965. Jack's version topped Easy Listening chart https://en.wikipedia.org/wiki/Adult_Contemporary_(chart) and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the  https://en.wikipedia.org/wiki/Cashbox_(magazine) charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships.                   Rockabilly artist Dave Edmunds https://en.wikipedia.org/wiki/Dave_Edmunds, in collaboration with the Stray Cats https://en.wikipedia.org/wiki/Stray_Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album,  https://en.wikipedia.org/wiki/Twangin.... Stray Cats drummer Slim Jim Phantom https://en.wikipedia.org/wiki/Slim_Jim_Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album https://en.wikipedia.org/wiki/Stray_Cats_(album): "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox https://en.wikipedia.org/wiki/Jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette https://en.wikipedia.org/wiki/Johnny_Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] https://en.wikipedia.org/wiki/The_Race_Is_On#cite_note-ucr-3 Phantom also recalled that the song took "one or two takes" in the studio.[4] https://en.wikipedia.org/wiki/The_Race_Is_On#cite_note-slim_jim-4 Thank you.                   Covered by:        Jack Jones                                                 Loretta Lynn                                                 Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go”                                                 Waylon Jennings                                                 The Georgia Satellites from 1965 debut album, “Keep The Faith”                                                 Elvis Costello                                                 And others                                                   Dead played it 60times in concert                                                 First:  December 31, 1969 at Boston Tea Party in Boston                                                 Last:  May 20, 1995 at Sam Boyd Silver Bowl, Las Vegas     SHOW #1:                           RIPPLE                                                 Track No. 9                                                 1:50 – 3:06                                   We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center.  What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple.  So this is the last accoustic Ripple ever played since the Cap Center was electric.  Maybe the most famous Dead tune ever, from American Beauty, Hunter’s lyrics and Jerry’s music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!     SHOW #2:                           HULLY GULLY                                                 Track No. 12                                                 0:15 – 1:38                                   "(BABY) HULLY GULLY" is a song written by Fred Sledge Smith https://en.wikipedia.org/wiki/Fred_Sledge_Smith and Cliff Goldsmith and recorded by The Olympics https://en.wikipedia.org/wiki/The_Olympics_(band), an American doo-wop group formed in 1957.  Released in 1959 on the album, “Doin’ the Hully Gully”, it peaked at number 72 on the  Hot 100 in February 1960[2] https://en.wikipedia.org/wiki/Hully_Gully_(song)#cite_note-2 and sparked the Hully Gully https://en.wikipedia.org/wiki/Hully_Gully dance craze.                           Covered by:     Buddy Guy                                                 Chubby Checkers                                                 The Ventures                                                 The Beach Boys                                                 Many others                                                 Peter Pan Peanut Butter add jingle in the 1980’s                                                   The Dead’s version of this song from this show is the only time they played it in concert.     SHOW #3:                   GLORIA                                     Track No. 15                                     2:15 – 3:45                           "GLORIA" is a rock song written by Northern Irish singer-songwriter Van Morrison https://en.wikipedia.org/wiki/Van_Morrison, and originally recorded by Morrison's band Them https://en.wikipedia.org/wiki/Them_(band) in 1964. It was released as the B-side https://en.wikipedia.org/wiki/A-side_and_B-side of "Baby, Please Don't Go https://en.wikipedia.org/wiki/Baby,_Please_Don%27t_Go” on December 2, 1964.  The song became a garage rock https://en.wikipedia.org/wiki/Garage_rock staple and a part of many rock bands' repertoires.                           According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] https://en.wikipedia.org/wiki/Gloria_(Them_song)#cite_note-6 He started to perform it at the Maritime Hotel when he returned to Belfast https://en.wikipedia.org/wiki/Belfast and joined up with the Gamblers to form the band Them. He would ad-lib https://en.wikipedia.org/wiki/Ad_libitum lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe https://en.wikipedia.org/wiki/Dick_Rowe and Decca https://en.wikipedia.org/wiki/Decca_Records, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day.                           Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] https://en.wikipedia.org/wiki/Gloria_(Them_song)#cite_note-7 Although some sources claim that Jimmy Page https://en.wikipedia.org/wiki/Jimmy_Page played second guitar, other sources deny this.                           Covered by:                 The Doors –   The Doors https://en.wikipedia.org/wiki/The_Doors performed the song several times in 1966 and 1967, with one recording released on  https://en.wikipedia.org/wiki/Alive,_She_Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] https://en.wikipedia.org/wiki/Gloria_(Them_song)#cite_note-18 The song is included on  https://en.wikipedia.org/wiki/Legacy:_The_Absolute_Best (2003) and  https://en.wikipedia.org/wiki/The_Very_Best_of_The_Doors_(2007_album) (2007).                                                               Patti Smith - Patti Smith https://en.wikipedia.org/wiki/Patti_Smith recorded it for her album  https://en.wikipedia.org/wiki/Horses_(album)in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] https://en.wikipedia.org/wiki/Gloria_(Them_song)#cite_note-:0-5 Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] https://en.wikipedia.org/wiki/Gloria_(Them_song)#cite_note-:0-5 For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener.                                                             In 1993, Van Morrison recorded a version with John Lee Hooker https://en.wikipedia.org/wiki/John_Lee_Hooker, which reached the Top 40 in several countries.                                                                           For the Dead, this was the first time they played it live in concert.                                     They wound up playing it only a total of 14 times                                         Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh                                                     I was lucky enough to catch it on June 25, 1992 at Soldier Field.     SHOW #4:                   TURN ON YOUR LOVELIGHT                                     Track No. 16                                     1:03 – 2:33                                       "TURN ON YOUR LOVE LIGHT" is a rhythm and blues https://en.wikipedia.org/wiki/Rhythm_and_blues song recorded by Bobby Bland https://en.wikipedia.org/wiki/Bobby_Bland in 1961. It was both an important R&B https://en.wikipedia.org/wiki/R%26B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead, who made it part of their concert repertoire.  was written by band leader and arranger Joe Scott https://en.wikipedia.org/wiki/Joe_Scott_(musician) (with an additional credit given to Duke Records https://en.wikipedia.org/wiki/Duke_Records owner/producer Don Robey https://en.wikipedia.org/wiki/Don_Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] https://en.wikipedia.org/wiki/Turn_On_Your_Love_Light#cite_note-2 with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top".                                       In 1967, "Turn On Your Love Light" became a staple of Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead concerts, sung by Ron McKernan https://en.wikipedia.org/wiki/Ron_McKernan: a 15-minute rendition is on their 1969 double live album  https://en.wikipedia.org/wiki/Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London https://en.wikipedia.org/wiki/Lyceum_Theatre,_London, during the  https://en.wikipedia.org/wiki/Europe_%2772 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival https://en.wikipedia.org/wiki/Woodstock_Festival lasted more than 45 minutes.[8] https://en.wikipedia.org/wiki/Turn_On_Your_Love_Light#cite_note-8 The Grateful Dead later revived the song in the early 1980s with Bob Weir https://en.wikipedia.org/wiki/Bob_Weir singing.                                       Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe ’72 tour.  In other words, this was the Dead’s first performance of the song without Pigpen on lead.  Dead went on to play it a lot after this show right up until the end.  Bobby played it well, but never even tried the rap that Pig made famous in his extended versions.  No Box Back Knitties when Bobby sang it.                           Dead played it 355 times in concert!  Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60’s.                         First played on August 4, 1967 at the O’Keefe Center in Toronto                         Last played on June 19, 1975 at Giants Stadium in New Jersey                                       When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight.  Not a bad thing to be associated with.  Always fun to hear it in concert even without Pig.     OUTRO:                      SUGAR MAGNOLIA                                     Track No. 20                                     6:30 – 8:05                                       One of the best Dead tunes of all time and the ultimate show closer.  Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show.  Either you were there or you missed it.  What being a Deadhead is all about.  

1h 5m

Oct 16, 2023

"Marijuana and Gun Rights: The Legal Debate Unveiled" Larry Mishkin https://podconx.com/guests/larry-mishkin welcomes listeners from Minneapolis, Minnesota, where he attended the Michigan University football game and reunited with friends. The episode focuses on a Grateful Dead show from October 9th, 1989, discussing the significance of the band's name change from "Warlocks" to "Grateful Dead." Larry also touches on the ongoing legal debate surrounding medical marijuana patients' rights to own firearms, emphasizing the need to separate the issues of marijuana legalization and gun ownership. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   Hampton Coliseum October 9, 1989 An Evening With The Warlocks Grateful Dead Live at Hampton Coliseum on 1989-10-09 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd89-10-09.sbd.serafin.7721.sbeok.shnf/gd89-10-09d1t01.shn   Rob – I know this is one of your favorite Dead shows, if you have time this week!     Intro:                     Feel Like A Stranger                                 Track No. 1                                 3:12 – 4:40   Show No. 1:        We Can Run                                 Track No. 5                                 4:10 – 5:42                   I love that even on a historic night like this there is room for Brent.   Show No. 2:        Dark Star                                 Track No. 13                                 1:06 – 2:36                   Can’t leave this out, it’s why everybody busted ass to get there!     Show No. 3:        Death Don’t Have No Mercy                                 Track No. 15                                 7:11 – 8:45                   Can’t have one without the other   Show No. 4:        Throwing Stones                                 Track No.                                 7:10 – 8:42     Outro:                   Attics of my Life                                 Track No. 20                                 2:10 – 3:47                   The third “oldie” and a great way to close out.

59m

Oct 09, 2023

"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio" Larry Mishkin https://podconx.com/guests/larry-mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   Going with a Garcia/Saunders show: October 2, 1973 (50 years ago) Winterland, S.F. Garcia & Saunders 1973 Winterland SF KSAN : KSAN : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/garcia-saunders-1973-winterland-sf-ksan/01+01_Finders+Keepers_Garcia+%26+Saund.mp3 Band members: Jerry – guitar and vocals Merle – Keyboard John Kahn – bass Bill Vitt – drums Guests: Sara Fulcher – vocals Matt Kelly – harmonica Roger “Jellyroll” Troy – bass, vocals Martin Fierro – sax Bill Atwood - trumpet           INTRO:                  IT TAKES A LOT TO LAUGH IT TAKES A TRAIN TO CRY                                 (this one is really from 10.12.1973 at Keystone because the Archive.org show is missing this song as the opener and this is the one closes in date I could find)                                 Jerry Garcia/Merl Saunders • It Takes A Lot To Laugh, It Takes A Train To Cry 10/12/73 Fixed SBD - YouTube https://www.youtube.com/watch?v=gklsi60O-D8                                 7:35 – 9:09                                   "IT TAKES A LOT TO LAUGH, IT TAKES A TRAIN TO CRY" is a song written by Bob Dylan https://en.wikipedia.org/wiki/Bob_Dylan, that was originally released on his album  https://en.wikipedia.org/wiki/Highway_61_Revisitedreleased Aug. 30, 1965. It was recorded barely a month earlier on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled . An earlier, alternate version of the song has been released, in different takes, beginning with the appearance of one take on  https://en.wikipedia.org/wiki/The_Bootleg_Series_Volumes_1%E2%80%933_(Rare_%26_Unreleased)_1961%E2%80%931991 in 1991. Covered by Steven Stills, Leon Russell, Marianne Faithful, Taj Mahal, Paul Westerberg, Robyn Hitchcock and Lucinda Williams   Dylan’s live debut of the song came as part of Dylan's controversial electric set, backed by members of The Paul Butterfield Blues Band https://en.wikipedia.org/wiki/The_Paul_Butterfield_Blues_Band and Al Kooper, at the Newport Folk Festival https://en.wikipedia.org/wiki/Newport_Folk_Festival on July 25, 1965, after "Maggie's Farm https://en.wikipedia.org/wiki/Maggie%27s_Farm".[2] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-allmusic-2[4] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-williams-4[5] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-shelton-5[7] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-scrap-7 After being heckled during the electric set, and especially during "It Takes a Lot to Laugh, It Takes a Train to Cry", by fans who wanted Dylan to play acoustic folk music, Dylan returned to play acoustic versions of "Mr. Tambourine Man https://en.wikipedia.org/wiki/Mr._Tambourine_Man" and "It's All Over Now, Baby Blue https://en.wikipedia.org/wiki/It%27s_All_Over_Now,_Baby_Blue".[4] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-williams-4[7] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-scrap-7 The Newport performance of "It Takes a Lot to Laugh, It Takes a Train to Cry" features jamming by guitarist Bloomfield and organist Al Kooper https://en.wikipedia.org/wiki/Al_Kooper.[4] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-williams-4   Dylan played it live as part of his set in the August 1971 Concert for Bangladesh https://en.wikipedia.org/wiki/Concert_for_Bangladesh. This version was included in the concert film and Grammy Award https://en.wikipedia.org/wiki/Grammy_Award_for_Album_of_the_Year-winning album of the same title.[2] https://en.wikipedia.org/wiki/It_Takes_a_Lot_to_Laugh,_It_Takes_a_Train_to_Cry#cite_note-allmusic-2 A.         Dead played it 7 times: first time on June 10, 1973 at RFK Stadium (D.C.) with Allman Brothers five times in 1991 and once on March 16, 1992 at the Spectrum, Philly   Released on Dead album:  Postcards of the Hanging (March, 2002)   B.         Jerry’s various bands played it about 60 times, first time on January 15, 1972 at Keystone Korner in S.F. w/Merle Saunders Last time by JGB: March 4, 1995 at the Warfield in S.F.                                   SHOW #1:           FINDERS KEEPERS                                 Track No. 1                                 3:00 – 4:13                   Finders Keepers was performed over 20 times by Jerry Garcia with the Garcia/Saunders band, Legion of Mary and Reconstruction between 1973 and 1979. On the 1973 Garcia/Saunders Keystone double album the song is called Finders Keepers and is correctly credited to Johnston and Bowen. The song was written by General Johnson, a member of the group Chairmen Of The Board, and Jeffrey Bowen, the producer of the Chairmen Of The Board recording. The song was originally released by the Chairmen Of The Board as a single with a vocal version of the song on the A side and an instrumental version on the B-side.  CHAIRMEN OF THE BOARD is an American-Canadian, Detroit https://en.wikipedia.org/wiki/Detroit, Michigan https://en.wikipedia.org/wiki/Michigan-based soul music https://en.wikipedia.org/wiki/Soul_musicgroup https://en.wikipedia.org/wiki/Musical_ensemble, who saw their greatest commercial success in the 1970s.     SHOW #2:           THE HARDER THEY COME                                 Track No. 2                                 1:05 – 2:18   "THE HARDER THEY COME" is a reggae https://en.wikipedia.org/wiki/Reggae song by the Jamaican singer Jimmy Cliff https://en.wikipedia.org/wiki/Jimmy_Cliff. It was first recorded for the soundtrack https://en.wikipedia.org/wiki/The_Harder_They_Come_(soundtrack) of the 1972 movie of the same name https://en.wikipedia.org/wiki/The_Harder_They_Come, in which it is supposed to have been written by the film's main character, Ivanhoe Martin https://en.wikipedia.org/wiki/Ivanhoe_Martin.   In 1969, singer Jimmy Cliff met film director Perry Henzell https://en.wikipedia.org/wiki/Perry_Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2] https://en.wikipedia.org/wiki/The_Harder_They_Come_(song)#cite_note-myers-2 The actual recording of the track, at Dynamic Sounds https://en.wikipedia.org/wiki/Dynamic_Sounds (Muscle Shoals, 1971), was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson https://en.wikipedia.org/wiki/Gladstone_Anderson (piano), Winston Wright https://en.wikipedia.org/wiki/Winston_Wright (organ), Winston Grennan https://en.wikipedia.org/wiki/Winston_Grennan (drums), Linford "Hux" Brown https://en.wikipedia.org/wiki/Hux_Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson https://en.wikipedia.org/wiki/Jackie_Jackson_(bassist) (bass).[2] https://en.wikipedia.org/wiki/The_Harder_They_Come_(song)#cite_note-myers-2 Reggae track recorded in Jamaica in 1972   Covered by:  JGB (Kean College 2.2.80), Cher, Keith Richards (b-side to his single, Run Rudolph Run 1978), Rancid, Joe Strummer, Wayne Kramer, moe., Willie Nelson, Guster, Widespread Panic and many others   The Harder They Come was performed over 350 times by Jerry Garcia/Merl Saunders groups and by the Jerry Garcia Band between 1973 and 1995. The lyrics and music for the song are included in the Jerry Garcia Songbook http://www.deaddisc.com/books/Jerry_Garcia_Songbook.htm. Also played by Phil Lesh & Friends, Billy & The Kids, Voodoo Dead and Bob Weir with Soul Ska.                                    SHOW #3:           THAT’S ALL RIGHT MAMA                                 Track No. 3                                 2:20 – 3:59                                 Featuring:  Bill Atwood on Trumpet and Sara Fulcher on vocals                                                                The song was written by Arthur "Big Boy" Crudup https://en.wikipedia.org/wiki/Arthur_%22Big_Boy%22_Crudup, and originally recorded by him in Chicago https://en.wikipedia.org/wiki/Chicago on September 6, 1946, as "That's All Right". Some of the lyrics are traditional blues verses https://en.wikipedia.org/wiki/Traditional_blues_verses first recorded by Blind Lemon Jefferson https://en.wikipedia.org/wiki/Blind_Lemon_Jefferson in 1926.[5] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-francisdavis-5[6] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-6 Crudup's recording was released as a single in 1947 on RCA Victor https://en.wikipedia.org/wiki/RCA_Records 20–2205, but was less successful than some of his previous recordings. One of the experts who consider the Crudup recording to be the "first rock and roll song" is Southeastern Louisiana University https://en.wikipedia.org/wiki/Southeastern_Louisiana_University rock historian Joseph Burns, who adds that "this song could contain the first ever guitar solo break".   Elvis Presley's version was recorded in July 1954.[10] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-10 While recording an album as part of a trio called The Blue Moon Boys https://en.wikipedia.org/wiki/The_Blue_Moon_Boys, the band played "That's All Right" in between takes, and the uptempo style characteristic of rockabilly https://en.wikipedia.org/wiki/Rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded.[11] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-History_of_Rock-11 Its catalogue number was Sun 209.[12] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-12 The song was released under its original title, "That's All Right", and names the performers as Elvis Presley, Scotty https://en.wikipedia.org/wiki/Scotty_Moore, and Bill https://en.wikipedia.org/wiki/Bill_Black.[13] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-13 The Presley version was not identical to Crudup's since it was "at least twice as fast as the original".[2] https://en.wikipedia.org/wiki/That%27s_All_Right#cite_note-history.com-2 His version is considered by some music critics as one of the records that was the first in the rock n'roll genre.    A 2004 article in  https://en.wikipedia.org/wiki/The_Guardian argues that rather than Presley's version being one of the first records of rock and roll, it was simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before [...] a raucous, driving, unnamed variant of rhythm and blues".   Covered by the Grateful Dead once with allman Brothers on June 10, 1973 (RFK great version with Jerry and Dickey Betts trading off lead licks) and once om April 18, 1986 at Berkeley Community Theater Played regularly by JGB and other versions from the ‘70’s until the end in 1995.                                  SHOW #4:           SECOND THAT EMOTION                                 Track No. 5                                 7:00 – 8:29   "I SECOND THAT EMOTION" is a 1967 song written by Smokey Robinson https://en.wikipedia.org/wiki/Smokey_Robinson and Al Cleveland https://en.wikipedia.org/wiki/Al_Cleveland. First charting as a hit for Smokey Robinson and the Miracles https://en.wikipedia.org/wiki/The_Miracles on the Tamla/Motown https://en.wikipedia.org/wiki/Motown label in 1967, "I Second That Emotion" was later a hit single for the group duet Diana Ross & the Supremes https://en.wikipedia.org/wiki/The_Supremes and The Temptations https://en.wikipedia.org/wiki/The_Temptations, also on the Motown label. One morning in 1967, Robinson and Cleveland were shopping at Hudson's https://en.wikipedia.org/wiki/Hudson%27s, a Detroit https://en.wikipedia.org/wiki/Detroit department store. Robinson found a set of pearls https://en.wikipedia.org/wiki/Pearl#Pearls_in_jewelry for his wife, Claudette. "They're beautiful." he said to the salesperson. "I sure hope she likes them." Cleveland then added "I second that emotion." Both songwriters laughed at Cleveland's malapropism https://en.wikipedia.org/wiki/Malapropism; he had meant to say "I second https://en.wikipedia.org/wiki/Second_(parliamentary_procedure) that motion https://en.wikipedia.org/wiki/Motion_(parliamentary_procedure)." The two were immediately inspired to write a song using the incorrect phrase.   Was performed a handful of times (7) by the Grateful Dead in April, 1971 First:  April 8, 1971 at The Music Hall, Boston Last:  April 29, 1971 at Fillmore East NYC   Part of Jerry’s bands repertoire between 1973 and 1994 (played almost 200 times)     OUTRO:                SWEET LITTLE ANGEL                                 Track #7                                 2:20 – 3:59                   Written by BB King and Jules Taub in September, 1956                 Some say it is an adaption of Black Angel Blues written by Lucille Bogan in December, 1930   In 1956, B.B. King https://en.wikipedia.org/wiki/B.B._King recorded "Sweet Little Angel" (RPM Records https://en.wikipedia.org/wiki/RPM_Records_(USA) 468). According to King, "I got the idea for 'Sweet Little Angel' from Robert Nighthawk https://en.wikipedia.org/wiki/Robert_Nighthawk's 'Sweet Black Angel', though I later discovered that the song had been recorded by someone before Nighthawk. At the time 'black' was not a popular word, as it is now. Instead of using the old title, I changed it to 'Sweet Little Angel'—and that was a pretty big record for me".[6] https://en.wikipedia.org/wiki/Black_Angel_Blues#cite_note-6 King's version, which included a horn section, was a stylistic shift for the song and it became a hit, reaching number eight on the Billboard R&B chart https://en.wikipedia.org/wiki/Billboard_R%26B_chart.[7] https://en.wikipedia.org/wiki/Black_Angel_Blues#cite_note-7 In 1957, he re-recorded "Sweet Little Angel" for his first album  https://en.wikipedia.org/wiki/Singin%27_the_Blues. Both versions prominently feature B.B. King's guitar work, with his note-bends "sounding almost like a lap steel in places.”

1h 10m

Oct 02, 2023

"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright" Larry Mishkin https://podconx.com/guests/larry-mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston https://www.linkedin.com/in/jamie-humiston-91718b1b3/ 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. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/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/ https://www.linkedin.com/in/jamie-humiston-91718b1b3/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   Going with a hot one, September 25, 1980 Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd80-09-25.acoustic-sbd.hinko.18740.sbeok.shnf/gd1980-09-25d1t01.shn   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 https://en.wikipedia.org/wiki/Live_album by the Grateful Dead https://en.wikipedia.org/wiki/Grateful_Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records https://en.wikipedia.org/wiki/Warner_Bros._Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East https://en.wikipedia.org/wiki/Fillmore_East in New York City. Often known simply as , the title references band soundman Owsley "Bear" Stanley https://en.wikipedia.org/wiki/Owsley_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] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-bare-1[2] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-2[3] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-3 was an American folk https://en.wikipedia.org/wiki/Folk_music and blues https://en.wikipedia.org/wiki/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] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-4 This position meant that she would play the bass lines https://en.wikipedia.org/wiki/Bass_line with her fingers and the melody with her thumb. Her signature alternating bass https://en.wikipedia.org/wiki/Alternating_bass style has become known as "Cotten picking".[5] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-5NPR https://en.wikipedia.org/wiki/NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-6 Her album  https://en.wikipedia.org/wiki/Folksongs_and_Instrumentals_with_Guitar (1958), was placed into the National Recording Registry https://en.wikipedia.org/wiki/National_Recording_Registry by the Library of Congress https://en.wikipedia.org/wiki/Library_of_Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train https://en.wikipedia.org/wiki/Freight_Train_(folk_song)", a song she wrote in her early teens.[7] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-7 In 1984, her live album , won her a Grammy Award for Best Ethnic or Traditional Folk Recording https://en.wikipedia.org/wiki/Grammy_Award_for_Best_Ethnic_or_Traditional_Folk_Recording, at the age of 90.[8] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-8 That same year, Cotten was recognized as a National Heritage Fellow https://en.wikipedia.org/wiki/National_Heritage_Fellowship by the National Endowment for the Arts https://en.wikipedia.org/wiki/National_Endowment_for_the_Arts.[9] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-9 In 2022, she was posthumously inducted https://en.wikipedia.org/wiki/List_of_Rock_and_Roll_Hall_of_Fame_inductees into the Rock and Roll Hall of Fame https://en.wikipedia.org/wiki/Rock_and_Roll_Hall_of_Fame, as an early influence.[10] https://en.wikipedia.org/wiki/Elizabeth_Cotten#cite_note-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  album, as released in the  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 https://en.wikipedia.org/wiki/Robert_Hunter_(lyricist) 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 https://en.wikipedia.org/wiki/Retsina in the process [3] https://en.wikipedia.org/wiki/Ripple_(song)#cite_note-Annotated-3). The song debuted August 18, 1970 at Fillmore West https://en.wikipedia.org/wiki/Fillmore_West in San Francisco. Jerry Garcia https://en.wikipedia.org/wiki/Jerry_Garcia wrote the music to this song.[3] https://en.wikipedia.org/wiki/Ripple_(song)#cite_note-Annotated-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  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.   Music Stories: NEIL YOUNG & CRAZY HORSE DELIVER ‘TONIGHT’S THE NIGHT’ AND ‘EVERYBODY KNOWS THIS IS NOWHERE’ IN FULL   BOBBY WEIR & WOLF BROS ANNOUNCES THREE-NIGHT NEW YEAR’S EVE STAND IN FORT LAUDERDALE   Phish to Bring Four-Night New Year’s Run Back to Madison Square Garden

1h 10m

Sep 25, 2023

"A Night of Rock and Roll Remembrance: Grateful Dead at MSG, 1990" Larry Mishkin https://podconx.com/guests/larry-mishkin pays tribute to Jimi Hendrix, reflecting on his iconic rock career and tragic passing 53 years ago. He shares anecdotes about Hendrix's influence on rock music and highlights the infamous 27 Club, a group of rock legends who died at the age of 27. The episode also previews upcoming music events, including Fish Fest and Tedeschi Trucks Band's shows with special guests like Warren Haynes and Norah Jones, promising an exciting lineup for music enthusiasts. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/ROB-HUNT https://podconx.com/guests/rob-hunt JAY BLAKESBERG - https://podconx.com/guests/jay-blakesberg MEETLOAF WEBSITE - HTTPS://MEETLOAFTRIBUTE.COM/PERFORMANCE-SCHEDULE/ https://meetloaftribute.com/performance-schedule/ RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   Grateful Dead, September 18, 1990, MSG, NYC Grateful Dead Live at Madison Square Garden on 1990-09-18 : Free Borrow & Streaming : Internet Archive https://archive.org/details/gd90-09-18.sbd.miller.12885.sbeok.shnf/gd90-09-18d1t02.shn   This show was on the 20th anniversay of Jimi Hendrix’s death.  Interesting because I see it in headlines re this show, but they really didn’t play anything Jimi related as far as I can tell and none of the comments even mention that.  Neverthless, it is a noteworthy anniversary (53 years he has been gone, almost double his life span of 27, he’s in that club).   Dead also did a show on this date in 1970, the day Jimi died but when I  checked that show there was no acknowledgement (that I could hear) of Jimi dying but of course, back then with no interenet, they may not even have known on that date anyway.   Nevertheless, Jimi is Jimi so I’m openkng the episode with him on the intro and then switching over to the Dead show.     INTRO:               FOXEY LADY                            Jimi Hendrix                            Miami Pop Festival, 1968 (great You Tube video , check it out)                            The Jimi Hendrix Experience - Foxey Lady (Miami Pop 1968) - YouTube https://www.youtube.com/watch?v=_PVjcIO4MT4                            Start – 1:30                              One of my favorite openings of any rock song out there.  Just loud Jimi from the outset,  Even if you are not a big Jimi fan, you may also recognize this because of how distinctive it is.                 Jimi born on Nov. 27, 1942 in Seattle               Died in 1970 in London               Member of the “27” club along with;   Brian Jones https://en.wikipedia.org/wiki/Brian_Jones (Stones),  Alan Wilson https://en.wikipedia.org/wiki/Alan_Wilson_(musician) (Canned Heat),  Jim Morrison https://en.wikipedia.org/wiki/Jim_Morrison (Doors), Janis Joplin https://en.wikipedia.org/wiki/Janis_Joplin, Kurt Cobain (Nirvana), Pig Pen Amy Winehouse Dave Alexander (Stooges – with Iggy Pop) Peter Ham (Badfinger)   Created three of the most famous albums in rock:                 Are you Experienced               Axis: Bold as Love               Electric Ladyland   Jimi died 53 years ago today.  Hendrix aspirated https://en.wikipedia.org/wiki/Pulmonary_aspiration his own vomit and died of asphyxia https://en.wikipedia.org/wiki/Asphyxia while intoxicated with barbiturates https://en.wikipedia.org/wiki/Barbiturate. Still considered the greatest rock guitarist ever although there are a few who could give him a serious run for the money.     Dead   Great show, Vince’s third show (started on 9.7.90) and Bruce Hornsby’s 3d as well.  Show known for all of its epic jams which I will primarily be focusing on.   SHOW #1:          MINGLELWOOD BLUES                            TRACK #2                            3:15 – 4:23                              Perenial tune that the Dead played from Day one (and even before) through the end.  Check out Bruce’s jam on this clip and then band comes crashing back in.  Very cool.   SHOW #2:          TO LAY ME DOWN                            TRACK #7                            START – 1:33                              I know I have mostly been featuring jams, but Jerry’s vocals are so beautiful here, with great crowd reaction, that on this one I had to go with the vocals.  A nine minute version of one of Jerry and Hunter’s  prettiest ballads.  When Jerry’s voice is on, like here, you can make a strong argument is is their best.   SHOW #3:          PROMISED LAND                            TRACK #8                            3:33 – 5:00                            Love this song whether it opens the show or closes the set as here.  Just a rocker written by Chuck Berry while he was in jail – used the prison library atlas to help him pick out the geographic route taken by the “Poor Boy” on his trip from Norfolk VA to LA via bus, plain and the houstontown people who care a thing about him and won’t let him down.   But check out this jam at the end of the song.  Normally breaks right off after the final lyrics but today they just jam it out – the spirit of Jimi?   SHOW #4:          FOOLISH HEART (JAM OUT OF – FROM SO MANY ROADS BOXED SET)                            TRACK # 11                            6:20 – 7:45                              Classic Dead jam that got a lot of attention when it was included in the Dead’s original box set, So Many Roads, released a long time ago (Nov. 7, 1999) as a separate track actually titled, “Jam Out Of Foolish Heart”.  At their improvisational best here. Strong Other One foreshadowing which plays out as advertised after a strong drums and funky Space.  The whole second set just rolls along.  A good night to be in MSG seeing the boys.     OUTRO:              KNOCKIN ON HEAVEN’S DOOR                            TRACK # 18                            START – 1:30                              Again, the music intro jam is so great that’s what I am featuring.  Be sure to check out Bruce Hornsby’s jumping in on the accordion!  Really nice Bob Dylan cover, Jerry played it for years.  Was released on his Run For The Roses album.

1h 8m

Sep 18, 2023

"Music, Cannabis, and Birthdays: Celebrating Mickey Hart and Remembering Jimmy Buffett" Larry Mishkin https://podconx.com/guests/larry-mishkin celebrates Mickey Hart's birthday, highlighting his contributions to the Grateful Dead. He say farewell to Jimmy Buffet and reflects on the connection between Grateful Dead fans (Deadheads) and Jimmy Buffett fans (Parrotheads), noting Jimmy Buffett's performance at a Jerry Garcia tribute event. Additionally, he pays tribute to Steve Harwell of Smash Mouth and concludes the episode with a nod to Jimmy Buffett's iconic song "Margaritaville." . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/ROB-HUNT https://podconx.com/guests/rob-hunt JAY BLAKESBERG - https://podconx.com/guests/jay-blakesberg RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston          INTRO:                HAPPY BIRTHDAY MICKEY / SUGAR MAGNOLIA                                          Grateful Dead                                          Sept. 11, 1987                                          Cap Center, Landover Maryland                                          Grateful Dead Live at Capital Centre on 1987-09-11 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd87-09-11.schoeps.dipietro.8906.sbeok.shnf/GD1987-09-11D2t01.SHN                                          Track #9 (titled Sugar Magnolia)                                          Start – 1:00   This is Mickey’s birthday, number of fun shows over the years on this date.   Always fun, but have to be careful with the Dead                            1982 announced it was Bob’s “anniversary” before Bob was married.                 SHOW #1:          FIRE ON THE MOUNTAIN (MICKEY RAP VERSION)                                          With Jerry                                          Undated/unpublished                                          Mickey rapped from time to time, usually not with the Grateful Dead                                                        Did it with the Other Ones Mickey Hart Jerry Garcia ~ Fire on the Mountain(rap) Unpublished.mp4 - YouTube https://www.youtube.com/watch?v=XgecsCvkXws                                          1:00 – 2:05                              Grateful Dead https://www.jambase.com/videos?videos%5BrefinementList%5D%5Bbands%5D%5B0%5D=Grateful%20Dead drummer Mickey Hart https://www.jambase.com/videos?videos%5BrefinementList%5D%5Bbands%5D%5B0%5D=Mickey%20Hart celebrates his 77th birthday today. With fellow drummer Bill Kreutzmann https://www.jambase.com/videos?videos%5BrefinementList%5D%5Bbands%5D%5B0%5D=Bill%20Kreutzmann, Hart formed one-half of The Rhythm Devils https://www.jambase.com/videos?videos%5BrefinementList%5D%5Bbands%5D%5B0%5D=The%20Rhythm%20Devils, keeping time for the Dead between 1967 and 1971, rejoining in 1974 and remaining through 1995. While Hart largely left songwriting duties to his band mates, he did contribute to one of the Grateful Dead’s signature songs, “Fire On The Mountain.” https://www.jambase.com/videos?videos%5BrefinementList%5D%5Bsongs%5D%5B0%5D=Fire%20on%20the%20Mountain Grateful Dead lyricist Robert Hunter wrote the words to “Fire On The Mountain.” In Hunter’s book of lyrics, , he described the circumstances surrounding the writing of the song, which sound strikingly similar to the current situation in parts of California and surrounding states. Hunter wrote:                              The official Grateful Dead website, Dead.net https://www.dead.net/features/greatest-stories-ever-told/greatest-stories-ever-told-fire-mountain, further describes the early stages of “Fire On The Mountain,” explaining: Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled , recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled , recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart’s 1976 studio album, . And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on , in November 1978.                     Dead played it 254 times in concert                            First:  March 18, 1977  Winterland                            Last:   July 2, 1995  Deer Creek   SHOW #2:          STRONGER THAN DIRT                            Grateful Dead                            June 17, 1975                            Winterland   Grateful Dead Live at Winterland Arena on 1975-06-17 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd75-06-17.bertrando.unknown.233.sbeok.shnf/gd75-06-17d2t03.shn Track No. 12 1:00 – 2:10     By Mickey Bill and Phil From Blues For Allah album (1975) – First part of the Blues For Allah suite Played a total of 5 times by the Dead First – 9.11.1974 – which is Mickey’s birthday but there is a controversy as to the song labeled as Stronger than Dirt is in fact that song or rather, the long outro from Eyes of the World, the song played right before it.  So I did not use that version of this song Last: 7.26.1976 Orpheum Theater, S. F. 3x in 1975   SHOW #3:          DRUMS                            Grateful Dead                                           Sept. 11, 1987                                          Cap Center, Landover Maryland                                          Grateful Dead Live at Capital Centre on 1987-09-11 : Free Download, Borrow, and Streaming : Internet Archive https://archive.org/details/gd87-09-11.schoeps.dipietro.8906.sbeok.shnf/GD1987-09-11D2t01.SHN                            Track No. 13                            1:45 – 2:55   Mickey in his natural element – In 1978, the second set of Grateful Dead shows began to feature drummers Bill Kreutzmann and Mickey Hart for a nightly rhythmic excursion labeled “Drums,” followed by guitarists Jerry Garcia and Bob Weir, bassist Phil Lesh and keyboardist Keith Godchaux delving into free-form improvisation known as “Space.”      Loved the different drum arrangements over the years:           Circle of drums           Wall of drums           Etc.             First “official” one (i.e. not in the middle of a song, but as its own separate arrangement in or around the middle of the second set):                    April 6, 1978  Curtis Hixon Convention Center, Tampa             Last one:   July 9, 1995 at Soldier Field     JIMMY BUFFET   Singer-songwriter and King of the Parrotheads Jimmy Buffett died https://www.chron.com/entertainment/article/margaritaville-singer-jimmy-buffett-who-turned-18344177.php "peacefully … surrounded by his family, friends, music and dogs" on Friday, Sept. 1, according to statements posted on his website and social media. He was 76.   Died at home in Sag Harbor, NY of skin cancer   Buffett’s hits like Margaritaville and Cheeseburger in Paradise which mingled country rock with bits of calypso melodies and had wry lyrics about the care free life of boating and loafing at beachside bars, made him a cult hero on a huge scale.   He sold 23 million albums in the US, on part with Jimi Hendrix and the Beastie Boys   Buffett was one of pop music’s most successful and ambitious businessmen, building an empire on the brand of good times and island escapism that he celebrated in his songs.  That included Margaritaville restaurants and resorts, footwear, drink mixes and a 2018 Broadway jukebox musical, Escape to Margaritaville.   This year Forbes estimated Jimmy’s net worth at $1 billion.                 SHOW #4:          SCARLET BEGONIAS                                          Jimmy Buffet                                          August 2, 2023 (Jerry’s 80th birthday)                                          Maine Savings Amphitheatre                                          Bangor, Maine                                          Scarlet Begonias (Garcia tribute) - Jimmy Buffet 08/02/22 Maine Savings Amphitheater Bangor,Maine - YouTube https://www.youtube.com/watch?v=iroJlsEPtis                                                        Start – 1:30                 n celebration of legendary Grateful Dead guitarist Jerry Garcia’s 80th birthday, which occurred (August 1, 2022),  Jimmy Buffett performed a cover of the seminal Robert Hunter/Garcia penned number, “Scarlet Begonias” while on stage at the Maine Savings Amphitheater in Bangor, Maine, last night.  Following a hefty rain delay, his 28-song set ensued as Buffett reminisced on the times he and his band spent performing with the Grateful Dead years ago. He also offered a shout-out to the Deadheads in the crowd before a groovy light display and hypnotic imagery engulfed the stage. Prior to the start of the song, Buffett addressed the crowd; he stated: “Jerry, wherever you are, here you go.”  Of course there is a crossover between Deadheads and Parrotheads – both high devoted fans who travel to see their band, dress for the occasion, attend shows in “slightly altered states” from different substaces, know all the words to all the songs and have seen their band too many times to count.           Jimmy also appeared on the World Wide Ripple video in 2020.           I cannot find any instance of the Dead covering a Jimmy tune.           Also, RIP Steve Harwell, Smash Mouth vocalist, who sang the band’s big 1999 hit, “All Star”.  Still a hit today, unique voice.  Died on Sept. 4th age 56       OUTRO:                    MARGARITAVILLE                                   Jimmy Buffet                                   Key West, FL                                   February 9, 2023                                   Jimmy Buffett “Margaritaville” LIVE in Key West, Florida 2/9/23 - YouTube https://www.youtube.com/watch?v=ISkMx6b6K_c                                   3:00 – 4:25                        While Buffett made his home and name in Key West, Fla., after struggling to make it big in Nashville, the Lone Star State had a special place in Buffett’s history. Legend has it he came up with the concept for the 1977 song “Margaritaville” https://www.chron.com/culture/celebrities/article/jimmy-buffett-s-hangover-hit-margaritaville-18345431.php at a bar in Austin.         The slightly mournful tune about a day at the beach went on to define Buffett's career as a laidback beach bum with a guitar and has been covered plenty of times, as well as inspired a line of margarita mix, frozen snacks, apparel, and a significant chain of restaurants and resorts.                       According to multiple stories in the Austin American-Statesman archives, the original Margaritaville was "a Mexican restaurant on Anderson Lane https://www.statesman.com/story/entertainment/music/2023/09/02/jimmy-buffett-has-died-how-austin-fits-into-his-margaritaville-anderson-lane-mexican-restaurant/70749956007/." Others specifically claim it was Lung's Cocina del Sur https://www.wideopencountry.com/margaritaville-song/, at 2700 W. Anderson Lane, which is now a bowling alley. But here’s what Buffett himself had to say in a memorial for close friend Jerry Jeff Walker in Texas Monthly, reminiscing on visits to Texas in the 1970s:    “I came to Austin a lot in those days. I made it there by getting these college bookings and getting on Willie’s second Fourth of July picnic. I played Castle Creek many times. I think it was after one of those shows, the next morning I had a hangover and I had to fly home that afternoon,” Buffett told Texas Monthly https://www.texasmonthly.com/arts-entertainment/jerry-jeff-walker-jimmy-buffett-margaritaville/. “I went to El Rey, a Mexican restaurant on Anderson Lane for lunch. I had a margarita, which helped with the hangover, and in the car on the way to the airport the chorus of a new song started to come to me. I wrote a little more on the plane and finished the rest of ‘Margaritaville’ back in Key West.”   Farewell Jimmy – off to Margaritaville for good.             

1h 5m

Sep 11, 2023

"Jamming with Legends: Derek Trucks & Remembering James Casey" Larry Mishkin https://podconx.com/guests/larry-mishkin begin with a discussion about a recent Phish concert featuring a special guest appearance by Derek Trucks, during which they performed songs like "Golden Age," "First Tube," and "Possum." They reflect on the unique chemistry between Derek Trucks and Trey Anastasio and how it elevated the performance. The second part of the episode is a tribute to James Casey, a talented saxophonist who recently passed away at the age of 40 due to colon cancer. They mention his contributions to the jam band community and his ability to harmonize and play alongside iconic musicians like Trey Anastasio and Phil Lesh. Larry share heartfelt messages from Trey Anastasio, Bill Kreutzmann, and Billy Strings, highlighting James Casey's remarkable musical talents and the impact he had on those who worked with him. . https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/ROB-HUNT https://podconx.com/guests/rob-hunt JAY BLAKESBERG - https://podconx.com/guests/jay-blakesberg RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston     Derek Trucks walked out on stage at Saratoga Springs Performing Arts Center (“SSPAC”) on August 26th and that is just too good to ignore.  So three songs from that show with Derek Trucks playing along.   Also, James Casey died at 40 from colon cancer.  Amazing musician, tremendous Sax player and great singer.  Played as part of the “brass” section for Trey Anastasio Band along with Jennifer Hartwick and Natalie Cressman.  The same brass section also toured with Phil Lesh and Friends - I just saw them with James this past March at the Salt Shed in Chicago (I did not know he was sick).  Second set of songs from three of his performances, two vocal and one playing sax.   __ __ 8/26/2023                 Saratoga Springs Performing Arts Center (“SPAC”)   INTRO:                  Golden Age 3:14 – 4:31 Phish w Derek Trucks Live - YouTube https://www.youtube.com/watch?v=KdRyolFgVaU                   Song was written and first performed by TV On The Radio, first single from their album Dear Science, released on August 26, 2008. SPIN magazine rated it the 8th best song of the year.                   Phish began covering the song in 2009                 First played on November 27, 2009 at Times Union Center (Pepsi Arena/MVP Arena) in Albany, NY                 To date played 70 times, with this performance being the most recent (Dick’s is still to come so by Monday, this may be incorrect)                   TV ON THE RADIO (TVOTR[2] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-2[3] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-3) is an American rock https://en.wikipedia.org/wiki/Rock_music band from Brooklyn, New York https://en.wikipedia.org/wiki/Brooklyn,_New_York, formed in 2001. The band consists of Tunde Adebimpe https://en.wikipedia.org/wiki/Tunde_Adebimpe (vocals, loops), David Andrew Sitek https://en.wikipedia.org/wiki/David_Andrew_Sitek (guitars, keyboards, loops), Kyp Malone https://en.wikipedia.org/wiki/Kyp_Malone (vocals, guitars, bass, loops), and Jaleel Bunton (drums, bass, vocals, loops, guitars). Gerard Smith https://en.wikipedia.org/wiki/Gerard_Smith_(musician) (bass, keyboards, loops) was a member of the band from 2005 until his death in 2011. TVOTR has released five studio albums:  https://en.wikipedia.org/wiki/Desperate_Youth,_Blood_Thirsty_Babes (2004),  https://en.wikipedia.org/wiki/Return_to_Cookie_Mountain (2006),  https://en.wikipedia.org/wiki/Dear_Science (2008),  https://en.wikipedia.org/wiki/Nine_Types_of_Light (2011), and  https://en.wikipedia.org/wiki/Seeds_(TV_on_the_Radio_album) (2014), alongside several EPs.                   The band's third album,  https://en.wikipedia.org/wiki/Dear_Science, was released on September 23, 2008, on Interscope. It was made available for streaming on their Myspace https://en.wikipedia.org/wiki/Myspace page and subsequently leaked onto the internet on September 6, 2008. The album was named the best album of 2008 by  https://en.wikipedia.org/wiki/Rolling_Stone,[8] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-8 https://en.wikipedia.org/wiki/The_Guardian,[9] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-9,[10] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-10 https://en.wikipedia.org/wiki/The_A.V._Club,[11] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-11MTV https://en.wikipedia.org/wiki/MTV,[12] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-12 https://en.wikipedia.org/wiki/Entertainment_Weekly,[13] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-13's readers' poll,[14] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-14 as well as the Pazz and Jop https://en.wikipedia.org/wiki/Pazz_and_Jop critic's poll.[15] https://en.wikipedia.org/wiki/TV_on_the_Radio#cite_note-15 It was also named the second best album of 2008 by  https://en.wikipedia.org/wiki/NME and the fourth best by Planet Sound https://en.wikipedia.org/wiki/Planet_Sound.   SHOW #1:           FIRST TUBE :20 – 1:38 Phish with Derek Trucks - First Tube. Saratoga Springs 8/26/23 #phish #derektrucks - YouTube https://www.youtube.com/watch?v=VvpUqY9IKZw    “First Tube,” is the 12th and final track on the band’s 2000 album,  https://www.jambase.com/article/phish-farmhouse-history-cluster-flies   Anastasio led a performance by a one-off band called 8 FOOT FLUORESCENT TUBES on April 17, 1998, at the original Higher Ground in Winooski, just outside Burlington, Vermont. The show was the first time Anastasio performed in public with Lawton and Markellis, who were joined by guitarist/vocalist TOM LAWSON of The Pants, saxophonist DAVE GRIPPO, trombonist JAMES HARVEY and vocalist HELOISE WILLIAMS of Viperhouse. “First Tube” was seemingly named for its placement as the first song played at the 8 Foot Fluorescent Tubes show, which also saw the premieres of future Phish/TAB songs “Sand,” “Mozambique” and “Last Tube.” Trey, Tony and Russ would go on to form the first incarnation of the Trey Anastasio Band which made its debut — back at the Higher Ground — in February 1999. That concert again featured “First Tube” as part of the setlist. The same TAB trio was also the lineup on Trey’s first solo tour in May 1999. By the end of that acoustic/electric tour, “First Tube” was a full-on show-stopper that highlighted many electric second sets. Along with fellow 8 Foot Fluorescent Tubes original “Mozambique,” “First Tube” made its Phish debut on September 9, 1999, in Vancouver, British Columbia. One of two instrumentals on  — along with “The Inlaw Josie Wales” — “First Tube” earned Phish a Grammy Award Nomination for Best Rock Instrumental Performance in 2001. Nominated alongside Peter Frampton, Kenny Wayne Shepherd and Joe Satriani, Phish lost to Metallica, Michael Kamen and the San Francisco Symphony’s “The Call of Ktulu”   First Tube” was played by Phish four times when they returned in 2003 but not at all in 2004, the year that began a second break lasting until 2009. Since coming back from the second hiatus, “First Tube” has remained a staple of both Phish concerts and Trey solo shows     SHOW #2:           POSSUM 53:40 – 55:09 Phish w Derek Trucks Live - YouTube https://www.youtube.com/watch?v=KdRyolFgVaU    (often abbreviated as TMWSIY) is a 1987 concept album https://en.wikipedia.org/wiki/Concept_album written by Trey Anastasio https://en.wikipedia.org/wiki/Trey_Anastasio, the guitarist and lead vocalist of the American rock band Phish https://en.wikipedia.org/wiki/Phish, as his senior thesis while attending Goddard College https://en.wikipedia.org/wiki/Goddard_College. Composed in 1987, the thesis included an essay piece and collection of songs (recorded by Phish) relating an epic tale from the band's fictional land of Gamehendge https://en.wikipedia.org/wiki/Gamehendge.   On the album, the story of Gamehendge is told in nine parts, with short spoken narration in between. The saga can be compared to rock concept album projects like The Doors https://en.wikipedia.org/wiki/The_Doors'  https://en.wikipedia.org/wiki/Celebration_of_the_Lizard or Rush https://en.wikipedia.org/wiki/Rush_(band)'s  https://en.wikipedia.org/wiki/2112_(album) suite. The story's primary protagonist is Colonel Forbin. Other major characters include Tela, the "jewel of Wilson's foul domain" and the "evil" Wilson himself. Several of the album's spoken narrative sections are accompanied by background music borrowed from sections of the Phish songs "Esther" and "McGrupp and the Watchful Hosemasters". The final track, "Possum", is the only song on the album not written by Anastasio, having been written by former Phish member Jeff Holdsworth https://en.wikipedia.org/wiki/Jeff_Holdsworth and later added to the Gamehendge cycle. JEFF HOLDSWORTH is a musician who was a founding member of the rock band Phish https://en.wikipedia.org/wiki/Phish.[1] https://en.wikipedia.org/wiki/Jeff_Holdsworth#cite_note-Foundation2004-1 Founded at the Redstone campus dormitories of the University of Vermont https://en.wikipedia.org/wiki/University_of_Vermont (UVM) in the fall of 1983, the band originally featured Holdsworth and Trey Anastasio https://en.wikipedia.org/wiki/Trey_Anastasio sharing lead vocal and guitar duties, Jon Fishman https://en.wikipedia.org/wiki/Jon_Fishman on drums, and Mike Gordon https://en.wikipedia.org/wiki/Mike_Gordon on bass guitar. Holdsworth left the band in 1986 after graduating from UVM to pursue a career in electrical engineering, shortly before the band recorded their debut self-produced album,  https://en.wikipedia.org/wiki/Phish_(album), though he had played on some of the demo recordings (done in a dorm room) that would later be re-recorded for that album. His songs "Possum" and "Camel Walk" continue to be Phish live show favorites.     __ __   SHOW #3:             DEAR PRUDENCE Phil & Friends (CASEY SINGING)  Rick Mitarotonda (Goose), John Medeski, Grahame Lesh, Nicki Bluhm, James Casey, Katie Jacoby, John Molo March 17 2023 Capitol Theater 3:12 – 4:36 Phil Lesh & Friends - Dear Prudence - Feat. Rick Mitarotonda (Goose) + James Casey (TAB) - 3/17/23 - YouTube https://www.youtube.com/watch?v=r7XVsQ7PBAM   DEAR PRUDENCE" is a song by the English rock https://en.wikipedia.org/wiki/Rock_music band the Beatles https://en.wikipedia.org/wiki/The_Beatles from their 1968 double album  https://en.wikipedia.org/wiki/The_Beatles_(album) (also known as "the White Album"). The song was written by John Lennon https://en.wikipedia.org/wiki/John_Lennon and credited to the Lennon–McCartney https://en.wikipedia.org/wiki/Lennon%E2%80%93McCartneypartnership. Written in Rishikesh https://en.wikipedia.org/wiki/Rishikesh during the group's trip to India https://en.wikipedia.org/wiki/The_Beatles_in_India in early 1968, it was inspired by actress Mia Farrow https://en.wikipedia.org/wiki/Mia_Farrow's sister, Prudence Farrow https://en.wikipedia.org/wiki/Prudence_Farrow, who became obsessive about meditating while practising with Maharishi Mahesh Yogi https://en.wikipedia.org/wiki/Maharishi_Mahesh_Yogi.[2] https://en.wikipedia.org/wiki/Dear_Prudence#cite_note-FOOTNOTEMacDonald2005310%E2%80%9311-2 Her designated partners on the meditation course, Lennon and George Harrison https://en.wikipedia.org/wiki/George_Harrison, attempted to coax Farrow out of her seclusion, which led to Lennon writing the song.   Lennon wrote "Dear Prudence" using a finger-picking guitar technique that he learned from singer-songwriter Donovan https://en.wikipedia.org/wiki/Donovan. Its lyrics are simple and innocent and celebrate the beauty of nature. The Beatles recorded the song at Trident Studios https://en.wikipedia.org/wiki/Trident_Studios in late August 1968 as a three-piece after Ringo Starr https://en.wikipedia.org/wiki/Ringo_Starr temporarily left the group out of protest at McCartney's criticism of his drumming on "Back in the U.S.S.R. https://en.wikipedia.org/wiki/Back_in_the_U.S.S.R." and the tensions that typified the sessions for the White Album.   Dear Prudence" has received praise from music critics, with many praising its lyrics and the band's performance. Lennon later selected it as one of his favourite songs by the Beatles. The song has been covered by many artists, including the Jerry Garcia Band https://en.wikipedia.org/wiki/Jerry_Garcia_Band, Ramsey Lewis https://en.wikipedia.org/wiki/Ramsey_Lewis and Siouxsie and the Banshees https://en.wikipedia.org/wiki/Siouxsie_and_the_Banshees, whose version was a top-five hit in the UK in 1983.   SHOW #4:           NO MEN IN NO MAN’S TAB (CASEY SAX SOLO) 11.19.2022 Reading PA :55 – 2:03 TAB’s James Casey…Smokin Sax Solo. NMINML. 11/19/2022. Reading, PA - YouTube https://www.youtube.com/watch?v=9YjrvtOR5Do   Written by Trey and Tom Marshall (American lyricist, keyboardist and singer-songwriter best known for his association with Trey Anastasio https://en.wikipedia.org/wiki/Trey_Anastasio from Princeton Day School in New Jersey and the rock band Phish https://en.wikipedia.org/wiki/Phish.[1] https://en.wikipedia.org/wiki/Tom_Marshall_(singer)#cite_note-Thompson2015-1 He has been the primary external lyricist for Phish https://en.wikipedia.org/wiki/Phish during their career (1983–2004, 2009–present), with songwriting credits for more than 95 originals. In addition to his songwriting work, Marshall also fronts the rock band Amfibian https://en.wikipedia.org/wiki/Amfibian and hosts the Phish podcast .[2] https://en.wikipedia.org/wiki/Tom_Marshall_(singer)#cite_note-2 Marshall is the co-founder of Osiris, a podcast network in partnership with Jambase.)   From Phish album Big Boat, released October 7, 2016   First played by Phish on July 21, 2015 at Les Schwab Amphitheater in Bend, Oregon (debuted with Blaze On and Shade, next they broke out Mercury) Last played (excluding Dick’s) July 30, 2023 at MSG 67 times   OUTRO:                TOUCH OF GREY Phil & Friends (CASEY SINGING) Grahame Lesh, John Medeski, Rick Mitarotonda, John Molo, James Casey, Natalie Cressman, Jennifer Hartswick 10.22.2022 Capitol Theater 3:44 – 5:16 James Casey, Touch of Grey, Phil Lesh & Friends 10/22/22 - YouTube https://www.youtube.com/watch?v=UnKXCgGeiNo   Written by Jerry and Robert Hunter, First played in September 15, 1982 at the Cap Center, Landover Maryland Last on July 9, 1995 at Soldier Field, Chicago Played 211 times  

1h 7m

Sep 04, 2023

Grateful Dead's 1982 Show Highlights and Unpopular Tunes Larry Mishkin https://podconx.com/guests/larry-mishkin, introduces a Grateful Dead show from August 28th, 1982, featuring an opener where Jerry Garcia stumbles over lyrics. Larry shares insights into the band's performance, suggesting they might have been dosed that day. He discusses the history of the Grateful Dead at Woodstock, why they were omitted from the film, and a song called "Keep Your Day Job," disliked by fans and dropped from their repertoire. Larry contrasts it with the successful breakout of "West LA Fadeaway" that night, highlighting the unique way the Grateful Dead introduced and refined songs in their concerts. https://podconx.com/   DEADHEAD CANNABIS SHOW - HTTPS://PODCONX.COM/PODCASTS/DEADHEAD-CANNABIS-SHOW https://podconx.com/podcasts/deadhead-cannabis-show LARRY MISHKIN - HTTPS://PODCONX.COM/GUESTS/LARRY-MISHKIN https://podconx.com/guests/larry-mishkin ROB HUNT - HTTPS://PODCONX.COM/GUESTS/ROB-HUNT https://podconx.com/guests/rob-hunt JAY BLAKESBERG - https://podconx.com/guests/jay-blakesberg RECORDED ON SQUADCAST https://squadcast.fm/?ref=danhumiston   INTRO:               BERTHA                            Track No. 1                            3:16 – 4:46                              Great opener, as always.  One month after my first show and Jerry still can’t remember the words.  So instead we focus on the jam.  He may fall short in lyrics but his playing is electric.  Story is that the band was supposedly dosed that day and the comments reflect that the band was “ON”.   SHOW #1:          I USED TO LOVE HER BUT IT’S ALL OVER NOW                            Track No. 7                            1:05 – 2:22                              IT'S ALL OVER NOW" is a song written by Bobby Womack https://en.wikipedia.org/wiki/Bobby_Womack and his sister-in-law Shirley Womack https://en.wikipedia.org/w/index.php?title=Shirley_Womack&action=edit&redlink=1.[1] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-500_Number_One_Hits-1 It was first released by The Valentinos https://en.wikipedia.org/wiki/The_Valentinos, featuring Bobby Womack, in 1964. The Rolling Stones https://en.wikipedia.org/wiki/The_Rolling_Stones heard it on its release and quickly recorded a cover version, which became their first number-one hit in the United Kingdom, in July 1964.                           The Rolling Stones' version of "It's All Over Now" is the most famous version of the song. It was first released as a single in the UK, where it peaked at number 1 on the UK Singles Chart https://en.wikipedia.org/wiki/UK_Singles_Chart, giving the Rolling Stones their first number one hit.[5] https://en.wikipedia.org/wiki/It%27s_All_Over_Now#cite_note-British_Hit_Singles_&_Albums-5 It was the band's third single released in America, and stayed in the  Hot 100 for ten weeks, peaking at number 26. Months later it appeared on their second American album  https://en.wikipedia.org/wiki/12_X_5. The song was a big hit in Europe and was part of the band's live set in the 1960s.  https://en.wikipedia.org/wiki/Cash_Box described it as a "contagious cover of the Valentinos' click" and "an infectious thumper that should head right for chartsville.”                           Covered by almost everybody in the music industry from the Stones to Ry Cooder to Nils Lofgren, Wide Spread Panic, Tom Petty & the Heartbreakers and even Molly Hatchet (Flirtin With Disaster)                           Covered by the Dead 154 times with Bobby singing.                         Frist on September 6, 1969  - Family Dog at the Great Hightway                         Last on July 2, 2995 – Deer Creek   SHOW #2:       DAY JOB                         Track No. 10                         2:52 – 4:05                           First time played in concert.  Second set opener Eventually played 57 times                         Last time on April 4, 1986 at Hartford Civic Center                           Per Robert Hunter in “A Box of Rain” collection of his lyrics, “this song was dropped from the Grateful Dead repertoire at the request of the fans. Seriously”  First song ever ‘rejected’ by the Deadheads!  And the band listened to them and stopped playing it!                                  But WHY was it so universally unpoplular?       “a lot of people thought it was the band making fun of/scolding deadheads who spent all their time following around the band. Hunter kind of hinted at that at one point in an interview I think.”   “Hippies don’t work”   “It sucks”   There are a few fans who liked the jamming or could relate to the song, but overall, NOPE.               SHOW #3:          WEST LA FADEAWAY                            Track No. 12                            1:08 – 2:35                              Breakout version of this song, along with Day Job.  Five years later In The Dark was released with Wet LA on there, but Day Job did not make the cut.                                                       Dead would play this song 141 times in concert                            Last was June 30, 1995 at Three Rivers Stadium in Pittsburgh                              Always a fan favorite, great music, fun lyrics (only Hunter could work “copasetic” into song lyrics)     SHOW #4:          PLAYIN’ IN THE BAND                            Track No. 14                            1:50 – 3:10                              Great version, very upbeat (a dosed band?) and sharp, Bobby right there with his inflection on PPPPLyaing in the BAAAnd, very sharp.  I like this clip because it shows the transition from the hard charging opening of the song into a more mellow sound that signifies the jumping off point for the band  into a Playin jam that could go anywhere.  In this case, almost 20 minutes before segueing into Drums>Space>The Wheel>The Other One>Truckin’>Black Peter>Playin Reprise.  What an amazing run of music.  Great tunes, great jamming, outside in Oregon, what else could a Head ask for?  Some clean Orange Sunshine or whatever the band was on!     OUTRO:              DUPREE’S DIAMOND BLUES                            Track No. 20                            1:05 – 2:24                              This song was written by Hunter/Garcia It appeared on the Dead’s third album, Aoxomaxoa (released June 20, 1969).                            First played on January 24, 1969 at the Avalon Ballroom                            Last played on October 13, 1994 at MSG                            Played a total of 83 times.                              "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree. According to , Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others. Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.   Giggles:  The term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here.                            In the late ‘60’s and early ‘70’s the band played it more frequently.  Although more in the Americana style adopted by the Dead at the beginning of the ‘70’s than the primal Dead from the ‘60’s.  But it became linked with primal Dead by being part of so many shows from that period.  On the Fillmore West complete recordings for Feb. 27, 28 and March 1,2 on both the first and third night the band opened the second set with this song into Mountains of the Moon before launching in the Dark Star>St. Stephen>The Eleven>Lovelight suite made famous on Live Dead.  But after that it just kind of fell off the band’s radar except for certain tours where it would show up for three or four shows before again getting pushed to the side.  Very enduring.

1h 4m

Aug 28, 2023