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"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995). Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty Of Credence Clearwater Revival fameLos LobosJoe Satriani an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO: Althea Track #3 4:51 – 6:21 From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece. Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story. Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast: July 8, 1995 at Soldier Field, Chicago The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end. It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money. Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing. The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business. Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town. By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time. There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group. Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions. There is a You Tube video of the entire Fogerty set that I encourage you to view. Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs. John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty. Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind. On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage. Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance. On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1: Down On The Corner (and Band introductions) John Fogerty (w. Jerry and Bobby) JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com) 10:49 – 12:42 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits. The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs. As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes. Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance. However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend. MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis. I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time. If so, there will be a big report in two weeks. Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album SHOW No. 2: Iko Iko w/Clarence Clemmons Track #5 5:09 – 6:11 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax. Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show. In '89 the Boss was as big as ever and Clarence was a big part of that success. But he enjoyed playing in the improv style embraced by the Dead. Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater. He also played a number of times with JGB. And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back. When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.” SHOW No. 3: Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence Track #6 2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead. Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First: March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast: April 2, 1995 at The Pyramid Arena, Memphis, TN, USA MJ NEWS SHOW No. 4: Blow Away Track #11 7:37 – 9:10 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song) When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst: June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast: July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent OUTRO: Wharf Rat Track #17 3:59 – 5:26 Not the closer this night, or most nights, but it could have been a perfect closer. Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
"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 DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal 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. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's 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 concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for 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, 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] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: 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 Box Of Rain: Lyrics 1965-1993; “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/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of 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 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 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 and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release. The song first became popular in 1965 by the girl groupthe 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 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 and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and 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's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias. Nordine began performing and recording such albums at the peak of the beat 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 or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at 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, Searching for the Sound:“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. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Here is the second set from the Grateful Dead's performance at the Oakland Coliseum Arena on January 25, 1993. They start with a nice uptempo 'China Cat Sunflower->I Know Your Rider', which gets things off to a very good start. Sadly that tempo is halted with the following 'Way To Go Home'. They then go into another new tune at the time 'Corrina' which however has the virtue of providing an interesting transition into a 'Playin' In the Band' reprise (they had played Playin' the night before). Drums and Space are quite good, as was standard in latter day Dead, and lead quite interestingly into a powerful 'All Along the Watchtower'. Jerry brings out August West the 'Wharf Rat' and they then finish the set with a jazzy 'Around and Around'. Phil does an excellent 'Box of Rain' encore. Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 1/25/1993 - Monday Two China Cat Sunflower > I Know You Rider ; Way To Go Home > Corrina > Playing In The Band Reprise > Uncle John's Band > Drums > Space > All Along The Watchtower > Wharf Rat >Around And Around Encore Box Of Rain You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod011924.mp3 Thanks for listening and for your kind support!
On episode 173, we nerd out hard on Pop Fleyes. To do this, we have August West from August on fly, on the show. August is an up and coming commercial fly tyer from Minnesota USA, who specializes in all things Bob Pop. On this show, Voltz isn't with us, which enables Chris and August to deep dive on some of the tying techniques, how to achieve what you want to in the water, the history of some of the patterns, different feathers used in these fleyes, the fusions that have accentuated some of the pop fleye patterns further, Bucktail and Bucktail alternatives and so much more. If you are into tying these sorts of flies or just wanting to have more command over natural materials on a hook, than this show is definitely for you. This show is brought to you by Nervous Water, Kettafly, Beast Brushes, Power Pole and Flats Craft
Diary of Doom rises from its October grave to pilfer weed resin from an uncleaned bong and to talk about this year's edition of DesertFest 2023. August West, Vater Boris, and Vater's one and only Boo are along for the ride as Dylan recaps his weekend between Saint Vitus Bar and the Knockdown Center. Along the way, they discuss if there are any Melvins fans in Hawaii, Colour Haze eating hearts, how to get so drunk you forget who Black Sabbath is, strapless amps, and various tales of Dave Wyndorf. Thanks again to the DesertFest crew for having me out to photograph this year's festival!
IWP Ep27 Ed Kurtzman - Sandler, August West, Mansfield-Dunne. I recently sat down with Ed Kurtzman of Sandler wines, August West and Mansfield- Dunne wines to talk about his long and distinguished career in California wine. Besides the 3 wineries I already named he's made wine for Roar, Testarossa, Freeman and Fort Ross. He produces much of his wine out of the August West facility in San Francisco which also hosts other labels and winemakers working out of the facility. Ed is super knowledgeable about wine and noticed in about 2 seconds that the carpet in the lobby of the studio was corked. We discuss how he got his start and going off on his own as a consultant, how he likes to treat Pinot Noir and the other grapes he works with or would like to work with. Follow the podcast www.instagram.com/indiewinepodcast or email indiewinepodcast@gmail.com with questions, comments or feedback. If you'd like to support the podcast further, please tell your wine friends about it and rate the podcast wherever you're listening if you like what you hear or donate on Patreon at - https://www.patreon.com/IndieWinePodcast or Spotify at - https://podcasters.spotify.com/pod/show/matt-wood4/support to allow for more episodes, more travel and to help defray other costs. Thanks. https://podcasts.apple.com/us/podcast/indie-wine-podcast/id1673557547 https://open.spotify.com/show/06FsKGiM9mYhhCHEFDOwjb. https://linktr.ee/indiewinepodcast --- Support this podcast: https://podcasters.spotify.com/pod/show/matt-wood4/support
Nel 2009 è uscito un film chiamato The perfect age of rock'n'roll in cui Peter Fonda interpreta August West, un nome preso in prestito da Wharf Rats, una canzone dei Grateful Dead. Nel brano August West è una persona che sceglie la via dell'alcool sopra ogni altra. Il film narra invece le vicende di un songwriter che si lega ad uno che ha tutte le carte in regola per diventare una rock star ma le loro vicende finiscono per farli separare.
Cough, cough, cough, Merry Kyuss-mas! Diary of Doom is closing out 2022 with our seemingly omnipresent guest, August West, by talking about a band that nobody has ever heard of before: Kyuss. After paying tribute to our friend, John Hopkins, and his mother, Reita, and running through some of their favorite albums of the year (highlighting Steve Albini's love for Dead Meadow), the dank duo delves into the short but sweet discography of one of the cornerstone bands of heavy music, touching on how exactly to say Kyuss, why legal battles suck the air out of bands, Kyuss Lives!, petition for John Garcia to front Danzig, how many Allen wrenches they have laying around, and a five-way battle of "Yeah!" Oh, and Dylan nearly passed out (again!) at some recent concerts. Albums covered: Sons of Kyuss (1990) Wretch (1991) Blues for the Red Sun (1992) Welcome to Sky Valley (1994) ...And the Circus Leaves Town (1995) Hope everybody is braving the cold right now and has a safe and happy new year!
Where do we even start with this episode? Back in May, longtime returning guest August West agreed to join Dylan in talking about a band crucial to his formative years as a metal fan. This seemingly mundane task was upended by a tornado (no joke) and massive fatigue (likely a symptom of being forced to listen to Dylan ramble), resulting in an episode recorded over the course of three sessions. But eventually, they got their shit together to talk about Atlanta, GA sludge outfit, Zoroaster. They delve into their discography and also manage to tell Dylan's mom about Come to Grief, get Mortiis to give DOD the thumbs up, vacuum up rattlesnakes, get Mike IX's approval of Bud Light Seltzer, praise Fred Ward's finest role as the Night Vulture, learn all about Master Therion, find out why Dylan doesn't listen to singles, get old with Clutch, and get ripped off by Skillet. Albums Covered: Zoroaster (2005) Dog Magic (2007) Voice of Saturn (2009) Matador (2010) Happy holidays everybody! Stay safe out there, smoke weed, and be good to each other.
In this week's show we talk to August West! We talk about pike fishing on the fly, fly tying predator fly's and much much more this is a show you don't want to miss! You can check out August work on instagram or on this youtube page August on the fly ..
We had the opportunity to sit down with a little known gem of the predator fly fishing community from Minnesota. August West is a pike fly angler from the land of 10,000 lakes. August likes to tie big flies and go after a variety of fish species around Minnesota. Primarily a stillwater angler, his favorite predator species is the pike, but he also enjoys panfish and bass in the fly as well. Check out August on IG @augustonthefly , there you will find a link to his Etsy store where you can purchase his brush buster flies he uses to target pike. And as always, please check out our awesome sponsors and let them know that you heard about them from us! Angry Rooster Fly Company Apply 10% off to Tying Tools with the promo code "WCFTOOLS10". Apply 15% off to Necks and Capes with the promo code "WCFHACKLE15". Apply 15% off to All Hooks with the promo code "WCFHOOKS15". Lid Rig “WCF15” Maxxon Outfitters “working15” Troutlander Nets “WorkingClass10” in order notes
Dylan gets to galaxy brain levels of being stoned as he and August West chat about the only psychedelic rock band with a connection to Jimmy McNulty, plus other nonsense like RoboCop, drugs Dylan has never done, Bob Einstein, and the movie Drive. Albums covered: Dead Meadow (2000) Howls from the Hills (2001) Shivering King and Others (2003) Feathers (2005) Old Growth (2008) The Nothing They Need (2018) Levitation Sessions (2021) Photo by Tim Bugbee (Tinnitus Photography) If you want to see the cyclops bigfoot performance, go here. Note: This episode was originally released on Patreon on February 1st.
No new chapter this week; instead, Diary of Doom is putting out one of its previously Patreon-exclusive episodes in which Dylan delves into the deeper catalogs of doom, stoner, and sludge bands that aren't Electric Wizard, Sleep, or Eyehategod. We've got a few more of these that we will be putting out over the coming months and hope to do more down the line. From the original post: The first deep dive chapter chronicles the discography of Cape Fear sludge band, Sourvein. Dylan and frequent guest, August West, dissect the band from their dirty southern roots to their current aqua-sludge themes. Albums covered: Sourvein (2000) Will to Mandle (2002) Emerald Vulture (2005) Ghetto Angel (2008) Imperial Bastard (2008) Black Fangs (2011) Aquatic Occult (2016) This episode was originally released on Jan. 1, 2022.
After a Desertfest NYC recap with August West, Dylan dives into his chat with Kent Stump of Texas' Wo Fat. Beyond being riff master general in the band, Kent is also a studio engineer, having recorded everything from stoner metal to show tunes and classical guitar. In addition to the ups and downs of touring life versus studio life, we also chat about Blues Manchu, the legacy of Stonerrock.com, what it's like having a second guitarist again, seeing stoner rock go global, if he's been feeling The Singularity in the studio, and writing a song for an RPG. Support Wo Fat The track featured during the DF NYC recap is "Samhain Dawn" by Mother Iron Horse off their album, Under the Blood Moon, and the track featured at the end is "The Snows of Banquo IV" by Wo Fat off their new album, The Singularity, available now! As of this episode, Diary of Doom will be going on hiatus. Long story short, I've been dealing with burnout, lack of a secure job, creative ruts, and depression. There is a much more detailed explanation at the tail-end of the episode. All that combined is resulting in me not putting in the 100% I should be doing and that's just not fair to the listeners and the guests. So with that said, consider this the season finale of the first season of DOD, all 133+ episodes of it. Thank you again to all of the guests, listeners, and folks who helped out, wouldn't be anywhere without either of you. I'll see you all in a little bit!
This week's Deadpod features a long second set on the occasion of Brent Mydland's first gig with the band, on April 22, 1979 in San Jose California. The band opens with the trifecta 'I Need a Miracle' into 'Bertha' into 'Good Lovin', while it starts out a bit rough it picks up alot of energy by the end and they then go into a wonderful version of 'Scarlet Begonias' into 'Fire on the Mountain'. The transition jam into Fire is especially interesting, as is Jerry's jamming throughout that tune. 'Estimated Prophet' continues in the winning vein with some great bass contributed by Phil during the long and excellent opening jam. Brent contributes some interesting electric piano during the closing jam here matched by some very interesting Garcia lines. As this jam closes we hear a new sound from Mickey, as he goes into the fascinating 'Drums' segment with his new toy, 'The Beast', which was brought out for the first time at this show after having been constructed for the 'Apocalypse Now' movie soundtrack. There's not really a Space that follows this Drums segment but instead the band goes into 'The Other One' which is here marred by a cut in the tape. Jerry brings out August West next before the boys close with a rockin' 'Around and Around' They return for a double encore on this Sunday, with a good 'US Blues' followed by a trip to 'Shakedown Street' to close the afternoon.. Grateful Dead Spartan Stadium San Jose, CA (4/22/79) - Sunday Two I Need A Miracle [4:28] > Bertha [6:40] > Good Lovin' [6:50] ; Scarlet Begonias [9:27] > Fire On The Mountain [13:25] ; Estimated Prophet [11:26] > He's Gone [12:28] > Drums [20:01] > The Other One [7:#27] > Wharf Rat [10:19] > Around And Around [8:10] Encore U.S. Blues [5:18] ; Shakedown Street [10:42] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod042922.mp3 I hope you have a wonderful May Day! Thanks for listening and for your kind support.
We're taking a trip to the bog for this week's chapter. After a quick chat with our weed field correspondent, August West, about heading out to Colorado to see Sleep after their hibernation period, we jump right into our chat with Harlen Linke from Bog Wizard. When he's not pounding the drums, Harlen is crushing it as a video game designer for games like Team Fortress 2. More importantly, Bog Wizard and UK doom eccentric Froglord have a new split out. Dylan and Harlen get into how they managed to produce that split and their earlier one with previous guest Dust Lord as well as abandoned high school bands, committing to mispronunciations, the Satanic Panic over DnD, video game artist collabs, and the most metal tabletop game ever, MÖRK BORG. Support Bog Wizard Track featured is "Reptilian Death Squad" off of Bog Wizard vs. Froglord: A Frog in the Bog Join the Diary of Doom PATREON! Buy some MERCH! Follow us on INSTAGRAM and FACEBOOK!
Dylan and August are back for their annual 4/20 album commentary bonus chapter and this year they are tackling the OG kush monster, Bongzilla, and their hallmark stoner metal album, Gateway. While navigating their way through a mire of murky riffs, they talk about opening up for .38 Special, Relapse's Contamination Festival, top tier Newark gangster bud, Dylan's dad greening out at Roger Waters, toking up with Bernard the House Elf, and Aqua Teen Hunger Force. The commentary kicks in at 00:08:14 for you to line it up with the album. Unless you're a weirdo who wants to listen to it without the tunes. Join the Diary of Doom PATREON! Buy some MERCH! Follow us on INSTAGRAM and FACEBOOK!
No tricks here! Just some fine Grateful Dead from March 28, 1989 in Atlanta GA. This week's Deadpod features the second set from the above performance at the Omni, and begins with a sweet 'Samson and Delilah' that gets the set off to a rockin' start. the 'Ship of Fools' that follows slows things down a bit, but is followed by a rare (in this time) complete, 'Playin' In The Band' which goes into a rather new (at the time) 'Foolish Heart'. This one is a bit on the speedy side, but the Drums and Space that follows is not to be missed. Brent takes the lead on 'Gimme Some Lovin' coming out of Space, then Jerry brings August West out for a nice 'Wharf Rat'. They close the second set with the usual 'Throwin' Stones' 'Not Fade Away' combo, but the latter is done quite nicely. The crowd gets its wish as Phil brings out the Box for the encore. Grateful Dead The Omni Atlanta, GA 3/28/89 - Tuesday Samson And Delilah; Ship Of Fools; Playing In The Band > Foolish Heart > Drums > Space > Gimme Some Lovin' > Wharf Rat > Throwing Stones > Not Fade Away Encore Box Of Rain You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod040122.mp3 Hope you have a fun April Fools Day! thanks as always for your kind support.
Well, we're finally here. What started out as a bi-weekly, zero-budget podcast hosted by an awkward stoner has evolved into a still mostly zero-budget podcast, still hosted by a somewhat less awkward stoner. But in all seriousness, it's been a wild, interesting ride. I've been able to meet and chat with people from Spain, Italy, Sweden, and Australia. I've discovered countless hours of new music. I've done crossovers and worked with people that without this platform (and the growing circle of friends) I would have never done. I made mistakes and fowled up more than once. And I would like to think I've grown as a person and understand my platform and voice better. For the 100th chapter, I've brought back returning guest August West to do exactly what this podcast does best: smoke weed and ramble. Amongst a lot of reflection, we also ruminate on Sephora shipments, a tenuous connection to Comic Book Men, tackling the pandemic one chapter at a time, where exactly Curb Your Enthusiasm falls on the spectrum of stoner comedies, the best protection against sound: air, forcing celebrities to listen to doom, Genghis Tron on top of a mountain, and how to say Cave In. The intro music for this chapter was put together by Matt C. White and the closing music is the DOD theme presented in full for the first time, presented by Ken Wohlrob of Eternal Black and Joe Kelly of Suburban Elvis Studios. Thank you to everyone else who has been involved in some capacity, whether it was as a guest, artist, merch maker, or for helping me out along the way.
We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory. Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :) The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish! In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully. They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :) Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday Two China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore Foolish Heart [8:34] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090321.mp3 I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod. "Most of the cats that you meet on the street speak of true love Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin' Out of the door and down to the street all alone" We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory. Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :) The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish! In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully. They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :) Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday Two China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore Foolish Heart [8:34] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090321.mp3 I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod. "Most of the cats that you meet on the street speak of true love Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin' Out of the door and down to the street all alone" We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory. Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :) The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish! In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully. They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :) Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday Two China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore Foolish Heart [8:34] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090321.mp3 I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod. "Most of the cats that you meet on the street speak of true love Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin' Out of the door and down to the street all alone"
We're kicking 2021 off with a deep dive into the grimiest band to walk the planet, Eyehategod. With a new album on the horizon, our cipher has recruited August West yet again in penning this entry. August talks about following the band for four shows, selling weed to Jimmy Bower, talking into the snare mic, scaring the Christ out of Chick-Fil-A, Anal Cunt's geriatric years, if Buzzov*en is the filthier band, the magic of Bus Invaders, and a Scott Kelly>Nine Inch Nails>Dillinger Escape Plan tangent. This chapter also features a garish homage to Comedy Bang Bang!Long live Jim Croce!The new Eyehatehod album, A History of Nomadic Behavior, drops March 12th. Pre-order it here.Book source is Doomed to Fail by J.J. Anselmi
The Diary of Doom podcast is officially one year old as of November 7th! Our intentions were to record this chapter on the day of, but this pasty, old white dude named Joe Biden did something somewhat important, so we were a little delayed. Nevertheless, if you missed it live, you can listen in now. Our cipher brought on returning guests August West and John Hopkins on to play some doom metal trivia, during which we learn all about Jared Warren's sweat, the end of generator parties, the criminally underrated guitarist Paul Webb, various lost toes, why Torche rules, stage poops, struggle through an impossible Witchcraft story, and revelations on Black Sabbath's frontmen.
Perhaps to the chagrin of some, today's chapter celebrates the birthday of our cipher, so he invited returning guests August West and Vater Boris on to talk about some of their favorite records of the year so far. They also diss on man buns, see Jason Voorhee's band, smoke out the cops, figure out Trump's inner body defense, do Celebrity Jeopardy impressions for the millionth time, toke up with cool uncles, dine pretentiously with T-Rex's, reveal Frank Reynold's theory of how Trump got COVID, go to the Primitive Man pool party, find some crack pipe life hacks, dismiss Portnoy's (camera) complaint, and get quietly excited for the new Macabre album.Bands Discussed:Napalm Death - Throes of Joy in the Wake of DefeatismBongtower - Last Summer DaysHuman Impact - Human ImpactREZN - Chaotic DivineGAG - Still LaughingSvalbard - When I Die, Will I Get Better?All Them Witches - Nothing as the IdealThe Pilgrim - ...From the Earth to the Sky and BackSkeleton - SkeletonHum - InletThe Chats - High Risk BehaviorZhOra - MortalsPrimitive Man - Immersion'68 - Love Is Ain't DeadDust Lord - Machine CultExpander - Neuropunk BoostergangLegalize Recreational Riffs can be found here.
Today was a great part two of the live show; your favorite news show is now daily on Facebook live! Another great discussion in the studio with many shout-outs of things to come. In this episode we remind the community of the S.T.E.A.M Summer Camp, Aurora Public Library Food Drive Thursday (w/ Marie Wilkinson's Food Pantry & Toyota) and August West livestream. The August West show will be streaming online from SciTech so tune in to that. Goldfinch Cafe is holding a pancake breakfast at Branch Gardens on Saturday and the Venue is hosting a live show with Kevin McCray. Big shouts to Vizo Arts, Fisk Creations, Aurora Public Art & ACTS (A Call To Shoulders). Shout out McCarty Mills, Altiro, Crystal House & Cotton Seed Creative Exchange. Are you registered to vote? You should be, it's your duty! Be blessed and powerful this Tuesday. #spotify --- Support this podcast: https://anchor.fm/goodmorningaurora/support
It's still 4/20 all month long and as such we are dedicating an entire additional chapter to it this year. Our cipher is joined once again by wandering weed wizard, August West, to discuss what 4/20 means to them, if cannabis is helping them actually get through the coronavirus crisis, learn the suggested methods of consuming weed during this time, discuss their favorite records to burn to, and more!If you want to check out that article, you read it here: What's the Safest Way to Consume Cannabis Right Now? by Sarah Jacoby (SELF)Photograph originally taken by Dennis Kleiman for High Times Magazine
That's right, we've got a bonus 4:20 PM episode for you. Two years ago, Sleep released their epic return record, The Sciences. Our cipher and fellow enthusiast, August West, have recorded a commentary for you play in sync the next time you listen to the record. Don't be a weirdo and listen to this without the record playing at the same time. It doesn't work and you'll make our cipher seem even dumber than he actually is, especially when he makes the Howard Dean reference. The commentary kicks in right at the 10 minute mark if you want to skip past the opening banter. Proceed!
After our cipher recounts his experience with The Eraser Man, August West is back with a full rundown of Sleep's end of the decade residency at Thalia Hall in Chicago, during which he dodged a security guard with the tenacity of Rosa Klebb, met heavy metal Larry David, and broke in the new year with legalization and the Marijuanaut.Band Discussed - Acid Rooster
Our first entry from the diary. Our guest, August West, regales us with tales from the New Brunswick basement scene and how Sleep is kind of like the Grateful Dead before we delve into the catalogue of The Gates of Slumber (EDIT: We excluded the fact that The Gates of Slumber are playing a reunion show next year at Hell Over Hammaburg).Band Discussed - The Gates of SlumberYou can support The Wretch at their Bandcamp.Originally release 11/2/2019
***TRIGGER WARNING***This episode will discuss scenes depicting sexual assault and violence, which may be upsetting to listeners. "I'd play you at the five." Que major swoon, because August West is taking a shot at winning the heart of Iris - but the play isn't that simple. It's not an easy road to their HEA, but the journey is raw and real. Before we deep dive into their story, listen to a brief chit-chat/check-in with Jessen and Juliette as they talk about the wonders of synesthesia and recording with a lot of eyes starring us down (1:05). Get to know the characters, setting, and tropes during their spoiler-free discussion of Long Shot (5:25). Spoiler Section: Juliette and Jessen compete in a Showdown where they each offer up their favorite scene to see which one reigns supreme (10:00)! Then, take a deep dive into all the SPOILERY details of one of this hauntingly beautiful sports romance (14:14).Support the show (https://www.patreon.com/swreadrom)
Happy Labor Day weekend! I'm hoping that this second set - from 8/28/18 in Long Beach California, will provide some sweet musical accompaniment to your your long weekend (assuming you will have one! if not my sympathies!). This is an excellent set, starting off with a rockin' 'Shakedown Street'. While the 'Lost Sailor' provides a bit of a counter-point, the 'Saint of Circumstance' should put you back in the groove. Garcia's 'Wheel' that follows is a real treat - especially the jam afterwards that goes into Brent's 'Good Time Blues'. Following Drums and Space is a wonderful 'Spanish Jam'. A great bit of music to drift away on! 'Truckin' follows, and I'm afraid Weir is once again a bit lyrically challenged.. 'Wharf Rat' follows in the ballad slot.. once again combining the pathos of August West with the hopes and fears of us all. A rousing 'Sugar Magnolia' closes the set, with the boys returning, and helping us bid adieu to summer, with 'US Blues'. Long Beach Arena, Long Beach, CA (8/28/81) set 2 Shakedown Street Lost Sailor Saint of Circumstance The Wheel Good Time Blues drums Spanish Jam Truckin' Wharf Rat Sugar Magnolia U.S. Blues You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090216.mp3 I want to thank the fine folks whose contributions make the Deadpod possible! Have a safe and happy Labor Day!
Here’s a very special show from the Jed Luckless archives, featuring a two set tribute to Dave Nolan, a friend, supporter and beloved personality in the scene who passed away at too young an age. Jed opens the show without … Continue reading →
After a long, long time on the virtual road, The Jed Luckless Band finally returns to their Secondlife home stadium, August West Amphitheater on Darkstar. The band delivers a fast paced, energetic show, with a mix of originals, covers and psychedlic jams, driven on by an amazing partcile light show in-world by Particle Tom. First…Read more JLB @ August West Amphitheater 03.18.14
After the Jags coming off a bye week, I'll be back at it with my partner-in-crime Phil Smith for a special late night edition of Gridiron Season to talk on this weeks opponent in our longtime rivals the Tennessee Titans. We'll be joined by August West, one of the hosts of SB Nation's Musiccitymiracles Podcast, also found here on BTR. Of course we'll also talk on the latest in other Jags news and probably the biggest news of last week in Justin Blackmon's second suspension. Should the Jags let him walk? Find out our thoughts on the matter. Afterwards, me an Phil then continue into NFL talks on a subject that's been on my mind and that's the Carolina Panthers and their recent success as they are currently on a 4 game win streak, and a game behind the Saints for the NFC South title. Lastly, I will go into college talks and elaborate on the biggest game of this week in the college world between Miami and FSU. And it's only right we also talk on the big UGA vs Florida game held in our very on city of Jax! So tune in for all that and more on this weeks episode of Gridiron Season!!!
After the Jags coming off a bye week, I'll be back at it with my partner-in-crime Phil Smith for a special late night edition of Gridiron Season to talk on this weeks opponent in our longtime rivals the Tennessee Titans. We'll be joined by August West, one of the hosts of SB Nation's Musiccitymiracles Podcast, also found here on BTR. Of course we'll also talk on the latest in other Jags news and probably the biggest news of last week in Justin Blackmon's second suspension. Should the Jags let him walk? Find out our thoughts on the matter. Afterwards, me an Phil then continue into NFL talks on a subject that's been on my mind and that's the Carolina Panthers and their recent success as they are currently on a 4 game win streak, and a game behind the Saints for the NFC South title. Lastly, I will go into college talks and elaborate on the biggest game of this week in the college world between Miami and FSU. And it's only right we also talk on the big UGA vs Florida game held in our very on city of Jax! So tune in for all that and more on this weeks episode of Gridiron Season!!!
Insight looks at the fight to stop a new big hydro dam on the West Coast as demand for power increases
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