Podcasts about born cross eyed

"Marijuana Magic: Enhancing Exercise and Easing PainLarry Mishkin discusses the debut of the song "Sugaree" by the Grateful Dead, sharing interesting facts about its origins and performance history. Additionally, he presents three stories from Marijuana Moment, highlighting how medical marijuana is linked to reduced pain and lower opioid dependency in chronic pain patients, enhances the runner's high and reduces pain during exercise, and improves the quality of life for military veterans while reducing their prescription drug use. 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-blakesbergRecorded on Squadcast  July 31, 1971: Astronauts Drive on the Moon1971: Apollo 15 astronauts David Scott and James Irwin drive the Lunar Roving Vehicle on the surface of the moon. It's the first off-planet automobile ride. Rumor has it that sometime during the show, Jerry stopped playing, pointed to the moon, and said, “just think, right now there are men sleeping on THAT” Confession, I listened to almost the entire show and was not able to locate that moment so I cannot confirm Jerry said it, but it sounds like something he might say and either way is just another cool Dead story to pass along. INTRO:                Sugaree                           Track No. 3                           Start – 1:14                            Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released in January 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.[2]The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University,Even though it was on Jerry's solo album, it was clearly a Dead song from the start and here it is debuted by the Dead six months before the Garcia album's release. Maybe not the best version ever, but it is the first. Ultimately played 361 times by the Dead. Last played on July 8, 1995, the penultimate Dead show Always one of good buddy Mikey's favorite Dead songs, “What's shaking Sugaree?”.  Shout out to Mikey, Alex, Andy, Lynn, Harold who just saw Tedeschi Truck this past weekend at Red Rocks.  My wife and I had to miss it this year, but I know they all rocked out.  And, they were joined by Lori and Monte, more good Chicago friends, and Lori was part of the group at the Joanie Jam with Judy and Andy.  So lots of great musical cross relationships developing all the time.  THAT IS WHY WE GO TO SHOWS!   SHOW #1:                   Mr. Charlie                                    Track No. 4                                    Start – 1:15             This is also the breakout version of this song.  It was played a total of 50 times after its debut on 7/31/71 in New Haven, the same show at which Sugaree debuted. It was played at all 22 shows of the Europe '72 tour, including its last performance on May 26, 1972 at the Lyceum Ballroom in London, the last show of that famous tour. Lyrics by Robert Hunter, music by Pigpen.  It was Pig's song and as his time in the band dwindled, so did some of his tunes.  No post-Pig resurrection of the song by the band.Never released on a studio album, there are rumors of a planned album following Workingman's and American Beauty that would have included this song as well as Bertha, He's Gone, Loser, Brown Eyed Women, Ramble on Rose, Tennessee Jed, The Stranger (Two Souls in Communion), etc.  Might have even been enough tunes for a double album. Story is that the Dead abandoned it when they decided to get out of their Warner Bros. record deal. SHOW #2:          Hard to Handle                             Track No. 12                             Start – 1:06           "Hard to Handle" is a 1968 song written by American soul singer Otis Redding along with Al Bell and Allen Jones. Originally recorded by Redding, it was released in 1968 as the B-side to "Amen" (shortly after the singer's sudden death in 1967). The song also appears on the 1968 album The Immortal Otis Redding. Redding's version reached number 38 on the Billboard R&B chart and number 51 on the pop chart.[1]American rock band the Black Crowes covered the song for their 1990 debut album, Shake Your Money Maker, reaching number 26 on the Billboard Hot 100 with their rendition.Hard To Handle was performed by the Grateful Dead about 90 times between March 15, 1969 at the Black and White Ball, opened the show with it (The ball is the Bay Area's largest black-tie street party and a tradition since 1956 - a night for high society and just plain folks to mingle in gowns and tuxedoes around Civic Center Plaza to listen to music. ) and August 1971. It was subsequently performed only twice, on December 30 and 31, 1982, with Etta James taking the vocals and support from the Tower of Power horns.Another fun Pig lead that, like most of his other songs, died with him. SHOW #3:                  Sugar Magnolia                                    Track No. 24                                    3:10 – 4:23Still relatively new in the Dead's repertoire, I like the musical jam in this version and so does the crowd. We all know the lyrics but it is this kind of jamming that made this a Dead standard and favorite among Deadheads.  This version is still early enough that it appears in the middle of the second set, not yet having moved to its almost always spot as a second set closer.  Always sad when they get to the obvious set closer, but when it was Sugar Mag we all felt a lot better.   Notes from Deadheads mentioned this as one of the highlights of the show. SHOW #4:                  Darkness Jam                                    Track No. 28                                    0:56 – 2:06the 'Darkness' jam from the 1969 Youngbloods song, Darkness, Darkness which was done a few times in 1970; the most well-known version is in the 9/19/70 Not Fade Away where it's very clear. (They also do the China Cat riff in that NFA, which they did frequently (and at greater length) in the fall of 1971.). Played 4 times by the Dead in concert.  This is the LAST one. Darkness Darkness - Darkness, Darkness" is a song written by Jesse Colin Young in 1969, which has been covered by many artists. Young's band The Youngbloods released a version on their 1969 album Elephant Mountain. They released a version of the song as a single twice: in 1969, which reached #124 on the Billboard chart,[1] and in 1970, which reached #86 on the chart.[2] One of the various themed jams played by the Dead in their early years also including:Feelin' Groovy Jam - is basically four chords based on the 1966 Simon & Garfunkel song, and was frequently done in Dark Stars from '69-'72.Tighten Up Jam - The Tighten Up jam was a very common Latin-style jam theme in 1970. It's often called a proto-Eyes jam since Weir plays two repeating jazzy chords that are rhythmically similar to the opening of Eyes of the World; but they were commonly thought to be from Archie Bell & the Drells' 1968 tune.Mind Left Body Jam:      The Mind Left Body jam originated in the Planet Earth Rock n Roll Orchestra (PERRO) sessions (The Planet Earth Rock and Roll Orchestra (PERRO) is a nickname given to some artists who recorded together in the early 1970s.[1] They were predominantly members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills, Nash & Young .[2] ), where we can hear an early, faster version of the four descending chords. Paul Kantner took this riff for his 1973 song 'Your Mind Has Left Your Body,' which Garcia played pedal steel on. Garcia in turn adapted it into a Grateful Dead theme, which first showed up on occasion in '72, but started regularly entering the jams in fall '73. It added a transcendental feeling to many shows up through '74Spanish Jam:       Weir based the Spanish Jam on the song 'Solea' on Miles Davis' album Sketches of Spain, sometime in late '67 when the Dead started recording Anthem of the Sun. As it was, a little bit of the Spanish Jam actually got on the album, in the form of a short Davis-flavored trumpet break from Phil in the middle of Born Cross-Eyed (after the verse, "Think I'll come back here again, every now and then, from time to time"). For a moment, it seems like Garcia and the band are about to break into the Spanish Jam, but they quickly cut back to the song.... OUTRO:       Uncle John's Band                        Track No. 30                        1:28 – 2:44             An early version of an all time classic.  Already a crowd favorite, clapping, sing along.  Can't go wrong with an Uncle John's Band at the end of a show – actually closed out with Johnny B. Goode – no encore.  Other great stories of this show at Yale, runs in with the cops, gate crashers, gallons of electric Kool Aid at the gates.  Just another typical Dead show, but at one of the country's most prestigious schools.  Even the Ivies loved the Dead.      Still working on stories John Mayer says goodbye:            “These tours with @deadandcompany exist on an almost otherworldly plane – everyone, on stage and in the crowd, meets up in this shared dream, and on the last night, after the final note is struck, we leave it all on the stage. We bow, we hug, we share our love for one another and then… we disappear. I fly through the dead of night and wake up at home, where my ears ring, my heart sings, and I'm left with this mix of fatigue, joy, accomplishment, and deep appreciation for what I was able to be a part of,” Mayer shared. “I can feel the connected, collective experience of thousands of others who wake up feeling the same. I'll never get over the profound beauty and uniqueness of this, and we'll never in our lifetime see the likes of @bobweir@mickeyhart and @billkreutzmann, playing beyond all perceived limitations and expectations. It's nothing short of remarkable. Thank you one and all for allowing me a seat on this transcendent ride. ”     “Dead & Company is still a band – we just don't know what the next show will be,” Mayer wrote on social media. “I speak for us all when I say that I look forward to being shown the next shaft of light… I know we will all move towards it together.”

Discussing the Grateful Dead's primal, debut-filled show from January 17, 1968, at the Carousel Ballroom in San Francisco. This show marked the debut of Dark Star, China Cat Sunflower, The Eleven, and Spanish Jam! Plus, some early rarities, including New Potato Caboose and Born Cross Eyed.If you're enjoying the show, send us a note on Twitter, @workingmanspod, or Instagram, @workingmans_pod, and tell a friend about the show!Links:Show info, including concert posterOur first episode about 1968 - https://rss.com/podcasts/workingmans-pod/394562/

Two of the region's finest AXE SLINGERS coming to do the show, and they're playing together. Lee Owen and Willie Eames have both been regulars on the Lexington Kentucky music scene for into a couple of decades.Lee Owen - Wayne Graham, Born Cross Eyed, Triple Crown, etc.Willie Eames - Club Dub, Catawampus, The Prayers, etc.The longtime friends had never played music together until a chance meeting at the grocery led them to join together for the first time. The two guitarists have had a great time exploring a mix of classic and original jazz, blues and country music. These two players have done more to shape the region's music vibe than any pair of players we can think of.

"As the second long-player by the Grateful Dead, Anthem of the Sun (1968) pushed the limits of both the music as well as the medium. General dissatisfaction with their self-titled debut necessitated the search for a methodology to seamlessly juxtapose the more inspired segments of their live performances with the necessary conventions of a single LP. Since issuing their first album, the Dead welcomed lyricist Robert Hunter into the fold -- freeing the performing members to focus on the execution and taking the music to the next level. Another addition was second percussionist Mickey Hart, whose methodical timekeeping would become a staple in the Dead's ability to stop on the proverbial rhythmic dime. Likewise, Tom Constanten (keyboards) added an avant-garde twist to the proceedings with various sonic enhancements that were more akin to John Cage and Karlheinz Stockhausen than anything else coming from the burgeoning Bay Area music scene. Their extended family also began to incorporate folks like Dan Healy -- whose non-musical contributions and innovations ranged from concert PA amplification to meeting the technical challenges that the band presented off the road as well. On this record Healy's involvement cannot be overstated, as the band were essentially given carte blanche and simultaneous on-the-job training with regards to the ins and outs of the still unfamiliar recording process. The idea to create an aural pastiche from numerous sources -- often running simultaneously -- was a radical concept that allowed consumers worldwide to experience a simulated Dead performance firsthand. One significant pattern which began developing saw the band continuing to refine the same material that they were concurrently playing live night after night prior to entering the studio. The extended "That's It for the Other One" suite is nothing short of a psychedelic roller coaster. The wild ride weaves what begins as a typical song into several divergent performances -- taken from tapes of live shows -- ultimately returning to the home base upon occasion, presumably as a built-in reality check. Lyrically, Bob Weir (guitar/vocals) includes references to their 1967 pot bust ("...the heat came 'round and busted me for smiling on a cloudy day") as well as the band's spiritual figurehead Neal Cassidy ("...there was Cowboy Neal at the wheel on a bus to never ever land"). Although this version smokes from tip to smouldering tail, the piece truly developed a persona all its own and became a rip-roaring monster in concert. The tracks "New Potato Caboose" and Weir's admittedly autobiographically titled "Born Cross-Eyed" are fascinatingly intricate side trips that had developed organically during the extended work's on-stage performance life. "Alligator" is a no-nonsense Ron "Pigpen" McKernan workout that motors the second extended sonic collage on Anthem of the Sun. His straight-ahead driving blues ethos careens headlong into the Dead's innate improvisational psychedelia. The results are uniformly brilliant as the band thrash and churn behind his rock-solid lead vocals. Musically, the Dead's instrumental excursions wind in and out of the primary theme, ultimately ending up in the equally frenetic "Caution (Do Not Stop on Tracks)." Although the uninitiated might find the album unnervingly difficult to follow, it obliterated the pretension of the post-Sgt. Pepper's "concept album" while reinventing the musical parameters of the 12" LP medium. [The expanded and remastered edition included in the Golden Road (1965-1973) (2001) box set contains a live performance from August 23, 1968, at the Shrine in Los Angeles. This miniset features an incendiary medley of "Alligator" and "Caution (Do Not Stop on Tracks)" concluding with over four minutes of electronic feedback.]" - Lindsay Planer, All MusicSupport this podcast at — https://redcircle.com/polyphonic-press1229/donations

 It's a new year but I've decided to go *way* back for some primal Dead on this week's Deadpod.  This comes to us from January 17th, 1968 at the Carousel Ballroom in San Francisco. What a treasure of early/classic tunes we have here! Now I'll admit, the sound is sometimes muddy and the vocals are at times less than clear.. however give the age and provinance of this recording I thought it very worth listening to and hope you enjoy it as well.  Some of the highlights of course are Pigpen on the Lovelight, and check out the fast pacing throughout. Jerry sounds so different on China Cat! I always love hearing the old 'New Potato Caboose' and 'Born Cross-eyed', but what is probably the highlight is the great almost 16 minute 'Spanish Jam'.  The sound is psychedelic throughout, and if you can overlook the flaws I think you will enjoy this return to some of the roots of our favorite band!    Grateful Dead Carousel Ballroom San Francisco, CA 1/17/68 - Wednesday     One     Turn On Your Love Light [15:22] % Dark Star [#4:48] > China Cat Sunflower [4:04] > The Eleven [10:01] > New Potato Caboose [8:30] > Born Cross-Eyed [2:34] > Spanish Jam [15:47]   Two      Beat It On Down The Line [2:52] ; Morning Dew [7:43] ; Cryptical Envelopment > The Other One > Cryptical Envelopment [10:05] ; Good Morning Little Schoolgirl [13:49]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012221.mp3   Thanks for your kind support of the Deadpod!  ... and leave it on!   

Episode 014 - July 2015 Set 1U.S. Blues-> Promised LandWe Can RunLibertyCalifornia EarthquakeFrom The Heart Of MeDesolation RowLazy River RoadOn The Road AgainBorn Cross-EyedEarly Morning RainBlack Throated WindLoserMe and My UncleYou Win AgainThrowing StonesWang Dang DoodleIf The Shoe FitsThe Music Never Stopped

Episode 009 - April 2015 Set 2Weather Report Suite Prelude->Weather Report Suite Part 1->Let It Grow->Dark StarTruckin'New Potato Caboose->Born Cross-Eyed->Spanish JamHe's Gone->Gloria Jam->CC RiderNot Fade Away->Darkness Jam->China Cat Jam->Not Fade AwayGoin' Down The Road Feeling Bad

I had a request from one of my long time listeners for some primal Dead.. preferably from '67..Well I have been wanting to break this out for a while and while its not quite '67 its only a month off.. Jan of '68 .. although there has been some discussion as to the legitimacy of the date and venue of this show.. what there is no question of is that this is a helluva piece of early Dead music.. I really enjoy the Born Cross-Eyed, well and the Spanish Jam and the Dark Star.. and and : ) Seriously this piece will take several listens to fully digest ..Enjoy this sample of electric. live, Good Old Grateful Dead...Grateful DeadEagles Auditorium, Seattle WA1/22/68AlligatorThat's It For The Other One ->New Potato Caboose ->Born Cross-Eyed ->Feedback ->Spanish Jam ->Dark Star ->China Cat Sunflower ->The Eleven ->Caution (Do Not Stop On Tracks) ->Feedback ->And We Bid You Good NightYou can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod091809.mp3As always my thanks for your support.. :)

This week I'd had a request for some '68 Dead, and just happened to have just gotten this remastered beauty. This is quite an amazing recording for a 40 year old show, even more amazing is how accomplished the band sounds when I think of how young they were. I think the power of this music, especially in the second set, is really amazing.. Grateful Dead Carousel Ballroom San Francisco, CADate 2/14/68 - Wednesday One Morning Dew [#6:24] % Good Morning Little Schoolgirl [#12:26] % Dark Star [#4:10] > China Cat Sunflower [4:06] > The Eleven [5:09] > Turn On Your Lovelight [9:01] ; (1) [0:05]Two (2) Cryptical Envelopment [1:42] > The Other One [3:06] > Cryptical Envelopment [3:58] > New Potato Caboose [8:37] > Born Cross-Eyed [2:46] > Spanish Jam [11:59]; [3:14]; Alligator [3:17] > Drums [2:27] > (3) Alligator [7:#56] > Caution (Do Not Stop On Tracks) [10:40] > Feedback [5:24]Encore (4) In The Midnight Hour [9:#51]As always you can listen to the Deadpod here:http://media.libsyn.com/media/deadshow/deadpod022208.mp3Thanks so much for your support during our pledge drive!! Hope you enjoy the show!