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This week's Deadpod takes us back to sunny California for a Sunday show at the University of California, Santa Barbara, on June 4, 1978. This is their first show in about a month following the excellent Spring tour, and the band sounds like they're in great spirits—evidenced both by the between-song banter and the upbeat performances throughout the set. A somewhat unusual pairing opens things up, with "Bertha" flowing into "Good Lovin'"—be sure to listen for Garcia's vocal touches there. You might also notice Bobby's vocal substitution in "Me and My Uncle," a small but interesting moment. The whole set is strong, but highlights for me include a particularly expressive "Looks Like Rain" and, of course, a very satisfying "Tennessee Jed." Things nearly get out of hand on the closing "Jack Straw," which makes for a fun finish. Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 6/4/1978 - Sunday One Bertha [7:01] > Good Lovin' [6:21] Dire Wolf [3:21] Me And My Uncle [3:04] > Big River [6:03] Brown Eyed Women [5:02] Looks Like Rain [7:35] Tennessee Jed [8:20] Jack Straw [5:21] You can listen to this week's Deadpod here: https://traffic.libsyn.com/deadshow/deadpod061926.mp3 We'll play the second set next week. For now, I hope you enjoy this fine show from June of 1978. My thanks, as always, for your kind support.
In a quick one here your host FiG discuss an early 78 show. Enjoy! One Cold Rain And Snow [5:43] ; Mexicali Blues [3:30] > Big River [5:55] ; They Love Each Other [7:02] ; Looks Like Rain [7:41] ; Loser [7:21] ; Passenger [4:33] ; Brown Eyed Women [5:05] ; El Paso [4:10] ; Peggy-O [6:28] ; The Music Never Stopped [7:40] Two Good Lovin' [5:56] ; Ship Of Fools [7:34] ; Estimated Prophet [12:34] > Eyes Of The World [15:08] > Playing In The Band [25:31] > The Wheel [5:20] > Playing In The Band [9:10] Encore Johnny B. Goode [4:15]
Welcome back to another episode of the Help on the way podcast! Lots of negging on this random show from 1995 but your host FiG rather liked it! What say you all? One - [1:01:00] Jack Straw ; Peggy-O ; Wang Dang Doodle ; Row Jimmy ; When I Paint My Masterpiece (1) ; Brown Eyed Women ; Let It Grow Two - [1:24:00] Samson And Delilah ; Way To Go Home ; Crazy Fingers > Corrina > Drums > Space > All Along The Watchtower > Black Peter > Around And Around Encore Box Of Rain
It's May 77, it's Baltimore MD and it's ... Not a sell out?? FiG takes you back to the past to enjoy one from the Golden age and ponders whether the music can ever be too perfect? One The Music Never Stopped [7:03] ; Sugaree [15:15] ; Mama Tried [2:35] ; Sunrise [3:36] ; Deal [5:07] ; Passenger [3:10] ; Brown Eyed Women [5:32] ; Looks Like Rain [8:32] ; Jack-A-Roe [5:28] ; New Minglewood Blues [5:26] ; Bertha [7:18] Two Samson And Delilah [6:57] ; High Time [7:26] ; Big River [6:26] ; Terrapin Station [10:27] > Estimated Prophet [8:37] > Eyes Of The World [11:48] > Drums [0:38] > Not Fade Away [16:44] > Goin' Down The Road Feeling Bad [8:27] > Around And Around [7:19 Encore UJB
This week the Deadpod travels to London England, to the Rainbow Theater, where the band played eight wonderful shows during 1981. This was the next to last performance at the Rainbow, on October 4, 1981. This recording really highlights Brent and Garcia.. its a bright and open recording I think you'll enjoy. Some of the highlights are the Jack-A-Roe, Beat It On Down the Line, and Brown Eyed Women that come in the middle of the set, but there are really no clunkers here in my opinion. The set closing Deal is a smoker as always... Grateful Dead Rainbow Theatre London, England 10/4/1981 - Sunday One Jack Straw [5:58] Friend Of The Devil [8:57] > El Paso [4:54] Jack-A-Roe [4:30] Beat It On Down The Line [2:56] Brown Eyed Women[5:02] New Minglewood Blues [5:#58] Row Jimmy [10:57] Let It Grow [11:59]> Deal [8:42] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod100325.mp3 My thanks for your kind support, hope you enjoy the show!
The dog days of August are upon us.. but hopefully this week's Deadpod can see us through.. this is a good one from August 5, 1979 in Oakland. The first set certainly starts out rather laid back and so is perhaps fitting for the time... check out the transition from 'Franklin's' into 'Me & My Uncle'.. The set is well played in my opinion and the recording is good - I will tell you there is a brutal cut at the end of the 'Althea' .. ouch .. the transition from 'Lost Sailor' into 'Althea' is sweet however.. Grateful Dead Oakland Auditorium Oakland, CA 8/5/1979 - Sunday One Mississippi Half-Step Uptown Toodeloo [9:09] > Franklin's Tower [11:06] > Me And My Uncle [3:12] > Big River [5:50] Candyman [7:08] It's All Over Now [9:10] Brown Eyed Women [5:21] Lost Sailor [6:38] > Althea [9:15] The Promised Land [4:08] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod081525.mp3 Stay cool and be kind ;)
Grateful Dead The Forum Inglewood, CA 6/4/1977 - Saturday One The Promised Land [4:10] Tennessee Jed [8:47] El Paso [4:09] Peggy-O [7:00] Jack Straw [5:01] Friend Of The Devil [7:41] Lazy Lightnin' [3:14] > Supplication [4:29] Candyman [6:17] New Minglewood Blues [4:38] Brown Eyed Women [5:06] The Music Never Stopped [6:34]
This week's Deadpod takes us to Hanover New Hampshire, where the band put on a fine show back on May 5, 1978. On a fine recording we get a nice rendition of the first set, with some excellent versions of 'Candyman', 'They Love Each Other' and 'Dire Wolf'. The band revs it up as always for 'Passenger', and the closing 'Lazy Lightning>Supplication' duo is outstanding as well. We'll hear set 2 next week.. Grateful Dead Thompson Arena - Dartmouth College Hanover, NH 5/5/1978 - Friday One The Promised Land [4:22] Dire Wolf [4:01] Cassidy [4:41] Candyman [6:40] El Paso [4:22] They Love Each Other [7:16] Passenger [5:00#] Brown Eyed Women [5:15] Lazy Lightnin' [3:38] > Supplication [5:34] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod050925.mp3 Many thanks for your kind support of the Deadpod!
This week's Deadpod again features an audience recording - this time of the performance on February 19, 1982 in San Diego California. This, the third performance of 1982 finds the boys finding their groove, with a hot opening 'Bertha', a great 'Dire Wolf' and of course 'Althea'. While the vocals are sometimes a little far back on this audience recording, you can't say the same for Garcia's guitar -it is outfront and I really enjoyed hearing him on this tape - I hope you enjoy it as well! Grateful Dead Golden Hall - San Diego Community Concourse San Diego, CA 2/19/1982 - Friday One Bertha [6:53] > Greatest Story Ever Told [3:49] Dire Wolf [3:24] Little Red Rooster [8:28] Brown Eyed Women [5:21] Cassidy [4:58] Candyman [6:22] > El Paso [#5:13] Althea [7:39] New Minglewood Blues [6:45] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod020725.mp3 a nice way to remove yourself from the world for an hour....
Happy New Year! ... but this NYE set by the Dead should put you in the mood to say goodbye to 2024 and to ring in a brand new 2025... This show occurred at an important turning point for the Dead, as they moved forward with many 'new' tunes and with Keith and Donna as members of the band (Donna makes her vocal debut here on 'One More Saturday Night'). The sound on this FM broadcast is generally very good and the band is tight. The boys play here with a great youthful enthusiasm.. They open with 'Dancin' In the Streets' which they wouldn't play again until June of 76.. This is a long and fun first set, clocking in at over 90 minutes.. Pig has some great moments here - Mr. Charlie, Chinatown Shuffle and Next Time You See Me are great.. All in all a great first set, we'll hear set 2 next week.. Grateful Dead Winterland Arena San Francisco, CA 12/31/1971 - Friday One Dancing In The Street [#8:29] Mr. Charlie [3:38] Brown Eyed Women [4:22] Beat It On Down The Line [2:56] You Win Again [3:36] Jack Straw [4:31] Sugaree [7:01] El Paso [4:14]> Chinatown Shuffle [2:35] Tennessee Jed [6:41] Mexicali Blues [3:16] China Cat Sunflower [4:40] > I Know You Rider [5:18] Next Time You See Me [4:30] Playing In The Band [6:09] Loser [6:15] One More Saturday Night (1) [4:23#] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122724.mp3 Thanks for your support this year.. it means alot.. Happy New Year.
This week's Deadpod takes us down south to Atlanta Georgia, where the Dead played the first of 36 shows at the Omni back on December 12, 1973. This long and very tasty first set features many of the classics, all played quite well. It features only the second time that 'Peggy-O' was played, great sound throughout, and a very long and spacey 'Playin' In the Band' to end this first set. Next week we'll play both set 2 and the soundchecks which are amazing in themselves.. Enjoy Grateful Dead The Omni Atlanta, GA 12/12/1973 One [1:31:22] The Promised Land [3:09][0:09] Sugaree [7:13][0:18] Mexicali Blues [3:13][0:19] Tennessee Jed [7:53][0:31] Jack Straw [4:44][0:28] Don't Ease Me In % Looks Like Rain % They Love Each Other [0:11] El Paso % Peggy-O [5:42][0:12] Beat It On Down The Line [3:12][0:17] Brown Eyed Women [4:49][0:24] Big River [4:49][0:21] Deal [4:37][0:24] Playing In The Band [22:00] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121324.mp3 My thanks for your kind support of the Deadpod!!
Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st) Each show opened with an acoustic set followed by two full electric sets. These were the last shows where the Dead played acoustic sets. Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall). Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO: Iko Iko Track #1 0:00 – 1:37 "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 song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. A permanent part of the Dead's repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away. The intro, one verse and back to NFA. Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing. Perfect song for Jerry with the call and response chorus that everyone joined in on. The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey. Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads. But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show. Jerry played it right up until the end. Played: 185 timesFirst: May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast: July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1: Monkey And The Engineer Track #4 0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues". Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well. Good one to get them hooked into the Dead on! Played: 38 timesFirst: December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA MUSIC NEWS: Intro Music: Me and Bobby McGee Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com) 0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said. A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good. Sung by Weir. RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks. In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren. Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes. “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments. Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.” SHOW No. 2: Heaven Help The Fool Track #6 1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow. While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played: 17 timesFirst: September 29, 1980 at The Warfield, San Francisco, CA, USALast: October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3: Cold, Rain & Snow Track #10 0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow. In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played: 249 timesFirst: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA MJ NEWS: Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2. Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3. Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4. Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains: Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush. The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high. A sweet grape aroma that blends well with subtle undertones of lemon and pine. MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS. Recommended for late night consumption as it can cause mental cloudiness and detract from productivity. NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997. Its name is inspired by the tragic events in NYC on September 11, 2001. It is a product of crossbreeding Mexican sativa and Afghani landrace strains. Has a unique aroma and taste that sets it apart from the crowd. Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger. SHOW No. 4: Loser Track #12 4:13 – 6:13 David Dodd: The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show. So nicely played and sung by Jerry. Played: 353First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 28, 1995 at the Palace of Auburn Hills, MI OUTRO: Good Lovin' Track #27 3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.” Can't argue with that. Played: 442First: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .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
Join us for an inspiring conversation with singer-songwriter and guitarist Patti Spadaro. Patti shares her journey from the iconic clubs of Los Angeles to her current roots in Pennsylvania, discussing her music, teaching, and passion for empowerment. We delve into her latest single, "Glass Shatters," and explore how her soulful blend of rock, blues, and jam-band styles creates a space for connection and transformation.PATTI SPADARO brings a hopeful outlook to her introspective and heartfelt songwriting. Her guitar style has a soulful, fluid, jam-band feel. She loves to improvise, stretch out during live shows, and reach for musical magic. "Its all about the music and making a connection", says Patti, "bringing people together, letting loose, and being in the here and now". Her band's live shows create a space where the music opens up into something huge... the whole is greater than the sum of the parts. The music cuts through the everyday and connects right to the core. While living in Los Angeles, Patti released 3 albums and played LA's iconic clubs. She toured up and down the west coast & throughout the southwestern US. Her roots called Patti back to PA to raise a family. She has two daughters, released 2 more albums, and is continuing to record and perform. Patti also teaches college courses in yoga, meditation, and Mindfulness in Music.Glass Shatters is an inspiring tribute to the strength and resilience of women. It honors our historic first female Vice President, and our continuing quest to break glass ceilings everywhere. Five women vocalists come together to sing, harmonize and complement each other, with soulful lead guitar work by Spadaro. “When I left PA to attend Musician's Institute in the early 1990's, I was one of 3 women guitar students, in a sea of 700 guys." says Patti. “It wasn't easy being in such a minority. Society has come a long way, but there is still plenty of progress to be made.” Glass Shatters features Pittsburgh musicians and singers: Patti Spadaro (guitar/vocals), Anne Celedonia (keys/vocals), Cherylann Hawk, Jill Simmons & Alison McTavish (backing vocals), Eric Kurtzrock (drummer/recording engineer), and Ryan Black (bass).THE PATTI SPADARO BAND weave organic grooves with catchy original tunes and spur-of-the moment jamming. "I like to combine improvisation with good solid song writing" says Patti. "I love to get people up and dancing. Music can open minds and inspire, it can bring people together, even make a difference in the world. It's also a whole lot of fun." BRINGING ME BACK features drummers Eric Kurtzrock & Jim Donovan (Rusted Root), keyboardist Skip Sanders (The Clarks, Bill Deasy), and Jill Simmons singing harmony (Brown Eyed Women). The album features impressive musicianship and songs that reach deep. Songs about discovering what matters most. Standing up and living life from that place. A place of integrity and love; freedom, joy and passion. WOMEN ON TOP - add Jill Simmons, Cherylann Hawk, Alison McTavish and Andrea Pearl's lead vocals and beautiful harmonies to the mix. See our Women On Top page for more.Bonnie Raitt, Natalie Merchant, Tedeschi/Trucks, The Grateful Dead, John Mayer, Phish, Little Feat, The Allman Brothers, Michael Franti, Sara Bareilles, Dave Matthews Band, Counting Crows and many more. Patti performs & records with many bands/musicians in the greater Pittsburgh PA area, including: Cherylann Hawk, Bill Toms & Hard Rain, Jill Simmons, Eric Kurtzrock, Pittsburgh Women of the Blues, theCAUSE, The Sun Champs, Lisa Mackney (Dark Star Orchestra), Jim Donovan (Rusted Root), Danny Gochnour & Joffo Simmons (The Houserockers), Alison McTavish (Love Crumbs), SamJAMwich, Steve "pUNK" Cunningham, Mike Tony, Mike "Foot" Hoernig & John “JB” Bigham, Joe Monroe (Ghosthounds), Ms. Freddye, T. Mitchell Bell, Cheryl Rinovato & Stevee Wellons (Soulful Femme), Joe Pinchotti III (Charles Wesley Godwin), Janelle Burdell, Andrea Pearl, Dan Baker, Al&Al, Lindsay Dragan, Ven Kelly, Matt Locy and more. Patti's opened for many artists, including Melvin Seals and JGB. Patti was the lead guitarist for the ZOOKEEPERS for several years. They recorded two albums together, played many shows in Los Angeles, and toured the western U.S. extensively. The Zookeepers were named one of L.A.'s best bands by KTLA-TV, and performed on "Good Day L.A." and other TV shows. Both of their CDs received radio airplay all over the west coast. Patti opened for guitar legend Eddie Van Halen in Hollywood, and for Little Feat at the El Rey Theatre. She recorded and performed with award winning commercial producer Sherby, and singer/songwriter Roger Len Smith. She recorded "A Step Down From Luxuy", The Mystrals' first CD and toured the southwestern US with them. The Mystrals singer won "Best Vocalist" in the L.A. Music Awards. Patti is a graduate of Musician's Institute, where she studied with world renown jazz/fusion guitarist Scott Henderson of Chick Corea's band, and blues/roots-rock guitarist Keith Wyatt of the Blasters. She's also worked as a guitar teacher.Patti began her musical journey at 11 years old, playing a beat-up acoustic hand-me-down. Growing up in PA, she soon discovered electric guitar and spent hours learning riffs from her guitar heroes including The Grateful Dead, The Allman Brothers & Stevie Ray Vaughn. After getting her degree in Physics from Drexel University, she moved to Los Angeles to attend Musician's Institute.https://www.pattispadaro.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.
This week we conclude the band's performance on July 26, 1972 at the Paramount Theater in Portland, Oregon. Clearly the 'Dark Star' we open with is the highlight of this set, if not the show. It traverses the heavens for over half and hour and features some excellent improvisational displays (see the Dark Star map below). It leads into a lovely and soulful 'Comes A Time'. 'Sugar Mag' follows to get things rockin' again, and that leads into a 'Brown Eyed Women' which is unfortunately cut on the tape. Another Jerry ballad - 'Stella Blue' follows and then the band revs it up for a fine 'Not Fade Away>Going Down the Road>Not Fade Away' conclusion to this epic set. 'One More Saturday Night' is the encore, although this one was played on Wednesday :) Grateful Dead Paramount Theatre Portland, OR 7/26/1972 - Wednesday Two (con't): Dark Star [31:13] (5) > Comes A Time [7:03] Sugar Magnolia [7:56] Brown Eyed Women [3#:38] Beat It On Down The Line [3:06] Stella Blue [8:06] Not Fade Away [5:15] > Goin' Down The Road Feeling Bad [8:20] > Not Fade Away [3:22] Encore One More Saturday Night [5:32] (5) Dark Star Map: Dark Star theme/Jam [9:22] > theme/Verse one [1:49] > Spacy Jam [1:08] > Bass and Drums [1:05] > Bass, Drums and Piano [1:10] > All but Jerry Jam [0:30] > Jam [3:45] > Spacier [1:15] > Space [4:05] > tiger [1:00] > Uptempo Spacy Jam [2:50] > theme/Verse 2 [2:53] > Comes a time. You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod080224.mp3 hard to believe it's time for another 'Days Between'.... hope you are well and thanks for your kind support.
Phish Tour Kicks Off: Anticipation and Reflections from the RoadLarry Mishkin is excited about the ongoing summer tour of the band Phish, particularly looking forward to their upcoming shows at Alpine Valley and St. Louis. He reflects on a Grateful Dead concert from July 22, 1984, at Ventura County Fairgrounds, sharing personal memories of attending shows in 1984, which was a significant year for him. He discusses the song "Loser" by Jerry Garcia, noting its Americana themes and its history with the Grateful Dead. He praises Garcia's performance at the 1984 show and the song's growling vocals and guitar work.Larry also talks about the song "Day Job," highlighting its unique history with the Grateful Dead as a song fans petitioned to be dropped from their setlists. He reflects on why the song wasn't popular among fans, comparing it to another song, "Liberty," which he personally didn't favor. Despite this, he appreciates the version performed at the Ventura show for its energy and Jerry's engagement.In the music world segment, the he provides updates on Phish's summer tour, sharing setlists from recent shows in Mansfield, Massachusetts. He expresses excitement about attending multiple shows and describes how his appreciation for Phish has grown, comparing it to his experience with the Grateful Dead. He anticipates hearing specific songs and is eager to connect with fellow fans.The show also features a segment on Stanley Jordan, a musician known for his unique guitar style. Jordan shares his journey to creating a project called Stanley Plays the Dead, a tribute to the Grateful Dead. He recounts meeting Phil Lesh and performing with him, which inspired his current project. Jordan's distinctive two-hand tapping technique on guitar is highlighted, along with his diverse musical collaborations over the years. Grateful DeadJuly 22, 1084 (40 years ago)Ventura County FairgroundsVentura, CAThe Grateful Dead Live at Ventura County Fairgrounds on 1984-07-22 : Free Borrow & Streaming : Internet Archive _____________________________________________INCOMPLETE BUT IT HAS ALL THE MUSIC CLIPSCAN WE TAPE TOMORROW AT 10 A.M. MY TIME?Let me know. Thank you______________________________________Fake Intro for my nephew, Ben Mishkin's 11th birthday, I will just introduce it as “my podcast”, play the clip and wish him a happy birthday, then we cut back to our normal intro tune and I do a regular introduction. What do you think? Bennie and the Jets - Elton John - Live in London 1974 HD (youtube.com)0:08 – 1:18 "Bennie and the Jets" (also titled "Benny & the Jets") is a song written by English musician Elton John and songwriter Bernie Taupin, and performed by John.[3] The song first appeared on the Goodbye Yellow Brick Road album in 1973. "Bennie and the Jets" has been one of John's most popular songs and was performed during his appearance at Live Aid.The track was a massive hit in the United States and Canada, released in 1974 as an A-side using the spelling "Bennie". In most territories the track was released as the B-side to "Candle in the Wind", using the spelling "Benny". Album artwork (back-cover track listing and center-panel design) consistently lists the song as "Bennie" while either "Bennie" or "Benny" appears on the vinyl album depending on territory. The track was released as an A-side in the UK in 1976, as "Benny and the Jets".It is ranked number 371 on Rolling Stone's list of The 500 Greatest Songs of All Time.Happy Birthday to my nephew Ben who turns 11 today while at summer camp in the Poconos. Great time to be alive. There with his big sister Lily and lots of good friends while his younger brother Nate has the run of the house! Have a great day big guy. And now, back to our regularly scheduled show: Normal house intro music Great show today from one of the Deadhead's favorite venues, Ventura County Fairgrounds. Basically on the car racing track and demo derby. View is of the beach and ocean. Shows start in the afternoon, 2 or 3, so no real light show except mother nature and if you are lucky, a beautiful sunset just as the show ends or shortly thereafter. Location of my first show ever and the only time I saw the boys there. This show is two summers later and finds the Boys cranking along in 1984, a big year for me in terms of shows that included a big chunk of Spring tour, Red Rocks, my first summer tour experience, first Alpine, and first New Years shows. Still found time to graduate from Michigan and start law school. INTRO: Loser Track #4 2:40 – 4:20 The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes.Appearing, as it does, on Garcia (Jan, 1972), the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.”The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.”(It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.)The version at this show is one of the best I've ever heard. Garcia's voice is growling, his guitar playing spot on, energy bursting out of him. 1984 was a great year for the Dead and this show, and this tune, really epitomize all of it. Almost always a first set tune, usually first part of the set, traded off with Candyman, Must Have Been The Roses, and other first set Jerry ballads.Played: 353 timesFirst: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 28, 1995 at the Palace at Auburn Hills, MI (Detroit) SHOW No. 1: Day Job Track #8 1:00 – 2:39 Garcia/Hunter “new tune” Never released on any studio recording, appears on Dick's Picks #6, Hartford Civic Center Oct. 14, 1983 in case you've never heard it. It's claim to fame, per Robert Hunter himself, is that “this song was dropped from the Grateful Dead repertoire at the request of the fans. Seriously.” I heard it a few times. Not my favorite, but good when Jerry was sharp and rocking like this version. Really one of the best. Played: 133First: August 28, 1982 at Oregon Country Fair Site, Veneta, OR, USALast: April 4, 1986 at Hartford Civic Center, Hartford, CT, USA SHOW No. 2: I Just Want To Make Love To You Track #11 1:27 – 3:10 "I Just Want to Make Love to You" is a blues song written by Willie Dixon. In 1954, it was recorded by Muddy Waters,[2] and released as a single with the title "Just Make Love to Me". The song reached number four on Billboard magazine's R&B Best Sellers chart.[3]Backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums.[1] Waters recorded the song again for the album Electric Mud (1968).The Rolling Stones covered the song on their 1964 debut album The Rolling Stones. In 1972, British blues rock group Foghat recorded a studio version for their self-titled debut album in 1972. The song was also released as a single and it became their first single to reach the charts, appearing at No. 83 on the Billboard Hot 100[9] and No. 31 in Australia.[10] An eight-minute version from a 1977 concert performance is included on Foghat Live. It was edited down to 3:56 release as a single, which reached number 33 on the Billboard Hot 100[9] and No. 28 on the RPM Top Singles chart in Canada. I heard this on Foghat Live and thought it was a Foghat song. Could not believe when I heard the Dead had played it! Dead played it 4 times: Pig in ‘66 Brent in ‘84 Jerry in ‘95 Times: 4First: November 29, 1966 at The Matrix, San Francisco, CA, USALast: February 21, 1995 at Delta Center, Salt Lake City, UT, USA SHOW No. 3: Drums Track #14 7;00 – end INTO Space Track #15 0:00 - :36 SHOW No. 4: Space Track #15 10:59 – end INTO Morning Dew Track #16 0:00 – 1:28 Birthdays: Benny John Gross OUTRO: Midnight Hour Track #19 1:42 – 3:27 .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 Shakedown Street to Hackney Diamonds: Music Memories and NewsLarry Michigan reminisces about a Grateful Dead concert he attended on June 24, 1983, at the Dane County Coliseum in Madison, Wisconsin. Larry describes the memorable experience of seeing the Grateful Dead open with "Shakedown Street" for the first time. He recounts his journey to the concert with friends, highlighting the traffic challenges and the camaraderie of the trip. The concert, his fifth Grateful Dead show, featured a mix of classic songs like "Candyman," "Brown Eyed Women," "Mama Tried," "Mexicali Blues," and a powerful rendition of "Deal."He discusses the significance of the venue and the special atmosphere of the show, emphasizing how it was a formative experience in his journey as a Deadhead. Larry also touches on the setlist, praising the band's performance and the vibrant energy of the concert.Transitioning to music news, Larry talks about the enduring legacy of the Rolling Stones. He mentions their recent album, "Hackney Diamonds," and shares highlights from their concert in Denver. The setlist included iconic songs such as "Start Me Up," "Gimme Shelter," and "Sympathy for the Devil." Larry admires the band's ability to continue performing at a high level and appreciates their collaboration with other music legends like Paul McCartney and Stevie Wonder.Larry also announces upcoming events, including Bob Weir's collaboration with String Cheese Incident at the Suwannee Hulaween festival and the new Jerry Garcia Band live album release, "Garcia Live Volume 21." Grateful DeadJune 24, 1983Dane County ColiseumMadison, WIGrateful Dead Live at Dane County Coliseum on 1983-06-24 : Free Download, Borrow, and Streaming : Internet Archive My first time “on tour”. Went with my good buddy H to this show, then on to St. Paul and then to Chicago for the final two shows of the tour at Poplar Creek Theater (RIP). We were joined by a strong Ann Arbor based collection of friends and fellow Deadheads including Big Steve, not that Big Steve, our Big Steve from Ann Arbor by way of Hyde Park in Chicago and now a Boston guy, Andy Gaudin of blessed memory, Tommy Marks (younger brother of the Weasel) and many other “locals” we knew in each city. This show was a Friday night and many of us were driving to Madison from the Chicago area which meant battling heavy traffic getting out of Chicago, battling heavy traffic driving up to Wisconsin with everyone else from Chicago headed to Wisconsin summer homes for the weekend, battling traffic driving through Milwaukee and making our way through Madison upon arrival without knowing exactly where we were going. And by the way, no Waze to fall back on and no cell phone to call for directions. Luckily, we were riding with Big Steve, perhaps one of the finest long distance drivers I have ever known. When we hit Madison, we had to find our buddy Dr. Z (back then just known as Z because the doctorate thing happened latter ). We arrive at his place to learn that he was in a bike accident, is all banged up, needed some quick med treatment and a bite to eat and then back to his place for whatever reason I do not remember. The clock is ticking closer and closer to showtime and Z is assuring us we have nothing but time. This was to be my fifth show ever and I still was kind of just along for the ride with the more experienced veterans. H was like me, new to the game but always looking for a chance to go on a party themed roadtrip. But even I was starting to get nervous. After what seemed line forever, we made our way to the show, dropped, there was no line to get in, showed our tickets and walked in to a half empty arena with the floor not even half filled. And just as we walked in, the lights go out, the Dead the stage and this happened: INTRO: Shakedown Street Track #1 0:00 – 1:36 SHOW No. 1: Deal Track #10 7:30 – 9:05 SHOW No. 2: Help On The Way Track #12 0:00 – 1:41 SHOW No. 3: Lost Sailor > St. of Circumstance Track #15 7:15 – end INTO Track #16 0:00 – 0:57 SHOW No. 4: Truckin Track #18 6:40 – 8:20 OUTRO: Morning Dew Track #19 10:58 – 13:33 (I know, it's a very long clip, but it is an amazing Garcia solo supported by Brent. Can't cut it!) The Around and Around > Johnny B. Goode >Don't Ease Me In that followed was almost perfunctory. The Dew and that jam was a true closer. Stumbled out, bounced around town, wound up at a different buddy's house, played soccer out on the street until 3 or 4 a.m., tried to sleep (not happening), Z rousted us out of bed the next morning for breakfast at the legendary Cleveland Diner and then back in the car for the drive to the Twin Cities and a show that night (good friend Andy Greenberg's first show), followed by a day off to drive back to Chicago, pop up birthday Sunday night for H at his parents' house, and then have the two night run at Poplar Creek. Four great shows in five nights. Too much fun. .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
This week the Deadpod goes back 51 years to February 15, 1973 when the Grateful Dead played a massive show in Madison Wisconsin. this first set clocks in at about 100 minute... it starts with a song they debuted about a week earlier 'Loose Lucy'. They are still warming up when they then 'Beat It On Down The Line'. Several favorites follow, but things really get rolling with a fine, up tempo 'Row Jimmy'. The highlights of the set follow, with a wonderful 'China Cat >I Know You Rider' and a jamming 'Playing In The Band'. Bobby really steps it up in the last third of this first set.. Grateful Dead Dane County Coliseum Madison, WI 2/15/1973 passes & laminates One - 1:40:00 Loose Lucy [6:34][0:46] Beat It On Down The Line [3:27][0:08]%[0:27] Brown Eyed Women [4:56][0:05]%[0:06] Mexicali Blues [3:27][0:09]%[0:06] Tennessee Jed [7:53][0:07]%[0:12] Looks Like Rain [6:30] Box Of Rain [4:50] Row Jimmy [7:49] Jack Straw [4:45] China Cat Sunflower [5:58] > I Know You Rider [5:35] Me And My Uncle [2:46] Bertha [5:18] Playing In The Band [15:36] Casey Jones [6:41] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod021624.mp3 I hope you enjoy this week's Deadpod.. thanks for listening and your support..
Yo! Sorry for the delay in episodes! Been busy with some various fun things in the world of music - got back to practicing a bit today on acoustic from fully cold to "warm enough" for the day. Took about 30 minutes to get there, and hopefully there's some fun technique topics I touched on in this episode. Told some stories about recent fun road gig with Brown Eyed Women, filling in for my dear friend Joni Bottari. Lots of fun!
"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.”
This week's Deadpod came from a request from Tyler, a friend of the pod, who wanted to hear this classic summer stadium show from 1989. This is from Giants Stadium on July 9, 1989. The band is fired up and ready to satisfy what I'm sure was a loud and raucous crowd, opening with the classic 'Shakedown Street' and then an uptempo 'Jack Straw'. Things slow down a bit with 'West L.A. Fadeaway' then take a darker turn with the relatively new 'Victim or the Crime'. 'Brown-Eyed Women' and 'Queen Jane' straighten things back up, and they close this first set with a sweet 'Bird Song'. Grateful Dead Giants Stadium East Rutherford, NJ 7/9/1989 - Sunday One Shakedown Street [13:01] Jack Straw [5:39] West L.A. Fadeaway [7:31] Victim Or The Crime [7:12] Brown Eyed Women [5:24] Queen Jane Approximately [5:45] Bird Song [11:17] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod071423.mp3 Stay cool! and many thanks for your kind supporrt!!
We're stepping it up this week.. yes! believe it or not, this week's Deadpod is probably even hotter than last week's show from 1973! This one comes from May 25, 1974 at Santa Barbra California. A beautiful afternoon show that must have seemed to go on forever... The first set starts with a U.S. Blues.. a great way to start a show and start this 13 song first set! The entire set is smoking hot, and it has a pedigree - as it comes from Dick Latvala's cassette, so the sound is great. Some of the highlights include a wonderful 'Jack Straw', a stand alone 'Scarlet', Weir 'takes a bottle, cracks him in the jaw' on 'Me & My Uncle', but the true highlight of the set and probably the show is the mind-bending 'China Cat>I Know Your Rider' , in particular the great jamming in the transition - not to be missed. Billy K is on it.. Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 5/25/1974 - Saturday One U.S. Blues [5:30] Mexicali Blues [3:22] Deal [4:14] Jack Straw [4:43] Scarlet Begonias [4:34] Beat It On Down The Line [3:02] Brown Eyed Women [4:29] Me And My Uncle [2:45] Sugaree [6:34] El Paso [4:03] China Cat Sunflower [8:20] > I Know You Rider [4:19] Around And Around [4:36] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod051923.mp3 Thank you for your kind support - I couldn't publish the Deadpod without your help!
This week we continue listening to the second set of the band's performance at Memorial Auditorium in Uttica New York on March 21, 1973. As was the case last week, we have a very long set this week, around an hour and 43 minutes. This set features more jamming of course, including a jazzy 'Dark Star' marked with some fine drum rolls by Mr. Kreutzmann, a lovely 'Eyes of the World' and several classic songs from the period including 'Me & Bobby McGee'. Grateful Dead Utica Memorial Auditorium Utica, NY 3/21/1973 - Wednesday Two [1:45:34] Greatest Story Ever Told [4:43] They Love Each Other [5:21] Mexicali Blues [3:09] Brown Eyed Women [4:49] Big River [3:58] Brokedown Palace [5:14] Me And Bobby McGee [5:12] Weather Report Suite Prelude [0:57] > Dark Star [21:00] > Eyes Of The World [15:48] > Wharf Rat [9:25] Sugar Magnolia [9:17] Casey Jones [6:00] Comments {Dark Star 0:00 > First Verse 9:20 to 10:30 > end 21:00} Is Casey Jones perhaps an encore? You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod051223.mp3 "Wake now, discover that you are the song that the morning brings But the heart has it's seasons, it's evenings and songs of it's own" thanks..
The Grateful Dead play The Stanley Theater - March 6, 1981 Larry Mishkin and Rob Hunt review the Grateful Dead's 1981 Pittsburg concert and play a clip from Brown Eyed Women for the recent massive snowfall in Southern California. They also talk about the unintended consequences of Virginia pausing adult-use and how cannabis legalization has pushed my communities in northern California to the brink. Produced by PodConxDeadhead 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 Virginia's adult-use cannabis market stalled indefinitely Giant California greenhouse signals a big bet on cannabis legalization Emerald Triangle communities were built on cannabis. Legalization has pushed them to the brink
As we head into the New Year, here's a January show, a rarity for the band, from the intimate Uptown Theater in Chicago on January 30th, 1978. While this first set doesn't have the jamming that you'll hear in set 2, it is tight and Jerry's voice is much better than it was earlier in the month. There is some funny back and forth between songs, and the Lazy Lightning is greatly improved by Phil's contributions. Grateful Dead Uptown Theatre Chicago, IL 1/30/1978 - Monday One The Promised Land [4:15] Dire Wolf [3:30] Mexicali Blues [3:32] > Big River [5:45] Brown Eyed Women [5:28] Looks Like Rain [8:04] Peggy-O [7:01] It's All Over Now [7:53] Deal [5:37] Lazy Lightnin' [3:22] > Supplication [5:32] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod010623.mp3 Hope you are all well and that you're New Year has started strong! thanks so much for your kind support.
So many things to do this weekend! Get your groove on, holiday style, with the MOSH Ugly Sweater If you're feeling crafty, check out the Makers Market. Unleash your inner romantic a the Jax Symphony performs some Tchaikovsky. Or get folksie with the Brown Eyed Women tribute to the Grateful Dead. The Jags visit the Lions this weekend, and of course don't forget the free Meet & Greet with Brian Kilmeade at Tom Bush BMW Saturday afternoon!
We're going to close out the month of October with a great show from 1977. This one comes to us from Kansas City KS, on October 28, 1977. This week's first set is very melodic throughout, with a nice laid back rhythm for the most part. Promised Land is the opener (don't fear -the audience splice only lasts a few moments), then a sweet 'They Love Each Other'. One of the things I love about this recording is the clarity of each instrument - which is evident especially in the 'Cassidy' that follows. This entire set is quite well done, but I would draw your attention to the 'Supplication' and 'Deal' that closes the set - there is some really fine jamming going on there! Grateful Dead Soldier's And Sailors Memorial Hall Kansas City, KS 10/28/1977 - Friday One The Promised Land [4:16] ; They Love Each Other [7:10] ; Cassidy [4:33] ; Tennessee Jed [8:59] ; Mexicali Blues [3:05] > Big River [5:47] ; Brown Eyed Women [5:01] ; Lazy Lightnin' [3:13] > Supplication [5:48] ; Deal [6:19] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod102122.mp3 I'll play the second set next week. Thanks to Steve for this fine suggestion. Hope you got whatever Dead & Co. tickets you wanted... Be well and don't let the crazy noise this time of year get to you :)
In this week's episode of 36 From The Vault, we visit 1971 for the very first time since Dick's Picks Vol. 2, for a very special set of shows, unheard of by any fan until 2005. Featuring the complete shows from 8/7/71 in San Diego, CA and 8/24/71 in Chicago, IL, along with snippets of 8/6/71 in Hollywood, CA, it's a fascinating peek into the evolving nature of The Dead on the cusp of their 1972 renaissance period.Disc One features the complete first set from 8/24 + the “Truckin'” Set II Opener. Disc One is highlighted by a brilliant “Hard To Handle,” making its Dick's Picks debut. On Disc Two we hear a tight take on “China Cat Sunflower -> I Know You Rider” plus a stunning “Sing Me Back Home.” The highlight might very well be the incredible jam out of “Going Down The Road Feelin' Bad” which then segues into “Johnny B Goode.”Disc Three picks up the thread in Chicago and features a gorgeous cut of Pigpen's “Empty Pages,” alongside a still-in-progress “Brown-Eyed Women.” Later, “Not Fade Away -> GDTRFB -> NFA” shines in the fusion between country jammin' and punkish psychedelia. Disc Four closes the set with a segment from the 8/6 show in Hollywood and features some of the only improv of the set in the way of “The Other One -> Me & My Uncle -> The Other One.” A haunting “Morning Dew” leads to a 25min “Lovelight” closer which shines a light on the wonders of Pigpen in the twilight of his life. 36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 36 in anticipation of our SERIES FINALE episode which will drop on Monday, August 15! See acast.com/privacy for privacy and opt-out information.
This week's Deadpod comes from the famous 'Day on the Green' #1 at Oakland Stadium on June 8, 1974. This first set of this 'Wall of Sound' show, features less jamming than will be coming up in set 2, but still some wonderful playing, highlighted by some great contributions from Keith and Phil. I particularly enjoy the stand-alone Scarlet and the Greatest Story Ever Told! Grateful Dead Oakland-Alameda County Coliseum Stadium Oakland, CA 6/8/1974 - Saturday One The Promised Land [3:12] ; Brown Eyed Women [4:36] ; Me And Bobby McGee [5:44] ; Scarlet Begonias [5:24] ; Mexicali Blues [3:30] ; It Must Have Been The Roses [5:06] ; Me And My Uncle [2:53] ; Tennessee Jed [8:00] ; Greatest Story Ever Told [#5:14] ; China Cat Sunflower [8:22] > I Know You Rider [5:25] ; Around And Around [5:01] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod060322.mp3 Sorry for the sort intro but I'm a bit under the weather this week. Thanks for your kind support.
This week on No Simple Road we've got part 1 of our 2 part series on Skull & Roses Festival! Come for the ride with us as we take you along for an auditory journey of what it was like to be at this iconic festival!Part 1 starts with some shenanigans with the NSR crew, then we head a backstage for a quick interview with one of the organizers, next is a tour of the Dusty Strings Exhibit housing some of the most historic Grateful Dead instruments given by Jason Sherner followed by a talk with beaded strap wizard Jenny Shuman, an interview and music by Brown Eyed Women, some takes on what the Grateful Dead Family means, music by Dark Star Orchestra, The Higgs, Steely Dead, and Shaky Feelin', and Stu Allen & Mars Hotel, plus commentary and check-in's with the No Simple Road crew along the way.Stay tuned next week for part 2!NEW!!! No Simple Road Intro Music Created By ESCAPERFREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroadFor 20% off Sunset Lake CBD PROMO CODE: NSR20 For 25% off Electric Fish Lights PROMO CODE: NSRFOR 10% off your first month of Better Help CLICK HEREFor 20% off Grady's Cold Brew PROMO CODE: NSRFor 10% off your order at Fin and Wheel PROMO CODE: NSROTHER MUSIC BY AND USED WITH HE PERMISSION OF:CIRCLES AROUND THE SUNOUTRO MUSIC BY AND USED WITH PERMISSION OF:CHILLDREN OF INDIGONo Simple Road is part of OSIRIS MEDIA. Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music.We inform and delight music fans by creating shows with leading artists, telling untold stories, and working with brands to craft compelling narratives that bring music to life.Support this show http://supporter.acast.com/nosimpleroad. See acast.com/privacy for privacy and opt-out information.
Grateful Dead concerts in the month of January are rather sparse, however one exception is the west coast run that took place in January of 1978. This week's show took place on January 13, 1978 in Santa Barbara California. It starts out with a nicely played 'Mississippi Half-Step' - while Jerry's voice is suffering a bit from the laryngitis he fought through on this tour - his playing more than makes up for it I think throughout. A rather unusual 'Mexicali Blues'>'Big River' follows, with some jump in it! There is an unfortunate patch in the 'Brown Eyed Women' however it is still quite well played. Lesh is well represented on this soundboard. Another highlight here is the fine version of 'Candyman'. Grateful Dead Arlington Theatre Santa Barbara, CA 1/13/78 - Friday One Mississippi Half-Step Uptown Toodeloo [8:49] ; Mexicali Blues [3:36] > Big River [5:55] ; Candyman [6:59] ; It's All Over Now [7:15] ; Brown Eyed Women [3:00#] ; Beat It On Down The Line [3:31] ; Friend Of The Devil [8:47] ; Lazy Lightnin' [3:31] > Supplication [6:06] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod012122.mp3 Thank you for your kind support!
This week's Deadpod features the fine recording of the second set of the band's performance on September 20, 1974 in Paris France. This one is pretty sweet all the way through, starting with 'China Cat>I Know You Rider'. The 'Big River' that follows is nicely up tempo. Another highlight for me is the 'Brokedown Palace' which is placed right in the center of the set and features some great closing vocals. 'Truckin' is the most exploratory moment of the set, with Billy alternating with Phil and Jerry, to get out to some deep space, before returning back to Earth as they enter in a somewhat shorter 'Eyes of the World'. Straight ahead rocking Dead closes the set which I hope you'll find as enjoyable as I did. Grateful Dead Palais des Sports Paris, France 9/20/74 - Friday Two China Cat Sunflower [9:42] > I Know You Rider [5:01] ; Big River [5:10] ; Brown Eyed Women ; Greatest Story Ever Told [4:30] ; Brokedown Palace ; Truckin' [17:45] > Eyes Of The World [16:04] > Not Fade Away [11:#10] > Goin' Down The Road Feeling Bad [7:00] > One More Saturday Night [2:40#] Encore U.S. Blues You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091721.mp3 thanks for listening and for your kind support of the Deadpod!
Howlin' Wolf "Killing Floor"Charles Bradley "The World (Is Going Up In Flames)"Morgan Wade "Wilder Days"Jolie Holland "Sascha"Koko Taylor "I'd Rather Go Blind"Gillian Welch "Hello In There"Townes Van Zandt "Tecumseh Valley"The Beatles "Good Day Sunshine"Glossary "Chase Me out of the Dark"Shirley Ann Lee "There's A Light"Charlie Musselwhite "Hello Stranger"Son Volt "Arkey Blue"The Flying Burrito Brothers "Christine's Tune"Calvin Cook "Walk With Me"Tom Russell "Isaac Lewis"Big Maybelle "Say It Isn't' So"The Meters "Down By The River"Cedric Burnside "Step In"Candi Staton "The Best Thing You Ever Had"Jason Isbell "Chicago Promenade"Jeff Tweedy "Opaline"Wilco "Walken"Jeannie C. Riley "Games People Play"Grateful Dead "Brown-Eyed Women"Marie/Lepanto "Features / Fights"Will Johnson "Just to Know What You've Been Dreaming"Precious Bryant "Peepin' Out My Window"Guy Clark "Old Friends"Swamp Dogg "Sam Stone"Wanda Jackson "Two Shots"Aimee Mann "Suicide is Murder"Waxahatchee "Lilacs"Eilen Jewell "Rich Man's World"Bobbie Gentry "Okolona River Bottom Band"Bob Dylan "Drifter's Escape"Two Cow Garage "Continental Distance"Todd Snider "Turn Me Loose (I'll Never Be the Same)"Mississippi John Hurt "Candy Man Blues"James McMurtry "Out Here In the Middle"James Carr "I'm Going For Myself"Junior Kimbrough "Crawling King Snake"Baby Huey & The Baby Sitters "Hard Times"Allen Toussaint "Southern Nights"
In this week's episode we join the Dead in early 1974 for the very first Wall of Sound show. Just five shows removed from the Dick's Picks one selection, we hear the band in a loose, soundchecky vibe, as they work through the kinks of their revolutionary PA, and begin to dip their toes in the wild and exploratory sounds of 1974. One of the most laid-back Dick's Picks ever, it's a great warts & all peek into the Dead on the cusp of one of their most experimental & challenging years. Disc One is a trot through some DP standards, here played with space and patience in a way that fits the airiness of the Wall Of Sound they were plugged into. We hear the big machine slowly turn on in a choogly “US Blues” before great takes on “Brown-Eyed Women” and “Black-Throated Wind” settle everyone in. The debut of “Scarlet Begonias” and “Cassidy” prelude a truly 1974 take on “China Cat Sunflower > I Know You Ride” before a gorgeous “Weather Report Suite” closes out the set. Disc Two is anchored by an emotive, 45min palindrome segment which reads: “Playing In The Band -> Uncle John's Band -> Morning Dew -> Uncle John's Band -> Playing In The Pand.” The raw power of the band in 1974 is heard clearly here, while their sectional jamming of Fall 1973 is on full display as well. The set ends with some standard takes on out of place tunes, while “Wharf Rat” serves as the emotional climax we all needed during the set. The seeds of the band we'd hear on full display in Dick's Picks 7 and 12 is here in its earliest origins. 36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULTCheck out Green Future Wealth and mention OSIRIS to get a free report on your existing investmentsVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchaseWe're thrilled to be sponsored by Melophy. Use Promo Code VAULT to save 20% on virtual music lessons.---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 25 in anticipation of our next episode, which will drop on Monday, June 28! See acast.com/privacy for privacy and opt-out information.
Twitter: @podgaverockInsta: @podgaverockThe Grateful Dead 1972 “Brown Eyed Women” released on Warner Brothers. Written by Jerry Garcia and Robert hunter and produced by The Grateful Dead.Personel:The Grateful DeadJerry Garcia lead guitar, vocalsBob Weir - rhythm guitar, vocalsPhil Lesh - bass guitar, vocalsRon "Pigpen" McKernan - organ, harmonica, vocalsKeith Godchaux - pianoBill Kreutzmann - drumsDonna Godchaux - backing vocalsCover:Performed by Josh Bond and Neal MarshIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Writer Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:The Allman Brothers BandThe Rolling StonesPhishWidespread PanicDisco BiscuitsThe Other OnesLed ZeppelinSTS9 MOE. “Captain America”String Cheese IncidentUmphreys McGeeLynyrd Skynyrd “Freebird”Jimi HendrixQueenFreddie MercuryKen Burns’ “The West”DeadwoodBlack SabbathThe Grateful Dead “Tennessee Jed”The Grateful Dead “Ramble on Rose”The Grateful Dead “Jack Straw”Townes Van Zandt “Pancho and Lefty”John WaynePlatoonThe Grateful Dead “Mississippi Half-Step”The River Runs Through ItMerle Haggard “Mama Tried”Hank Williams “I’m So Lonesome I Could Cry”The Grateful Dead “Dire Wolf”The Grateful Dead “Help on the Way”Led Zeppelin “Song Remains the Same”KISSJRR TolkienSchindler’s ListThe Carter FamilyJimmie RodgersBuck OwensMerle HAggardWidespread PanicDrive By TruckersHiss Golden MessengerFelice BrothersMy Morning JacketDr DogWestworldThe Allman Brother s BandThe BandDick’s PicksPhosphorescentDead and Co.Trampled By TurtlesShia LeBouf
In this episode our hosts discuss hair, live music and great versions of Brown Eyed Women. 8/24/1971 - Auditorium Theater (CHI) 4/14/1972 - Tivolis Koncertsal (Copenhagen, Denmark) 12/2/1973 - Boston Music Hall 3/23/1974 - Cow Palace (Daly City, CA) 5/9/1977 - War Memorial Aud. (Buffalo) 11/4/1977 - Colgate Univ. 2/3/1978 - Dane County Coliseum (Wadison, WI) 11/1/1985 - Richmond Coliseum 6/17/1991 - Giants Stadium
Spring has sprung a bit earlier than usual here in the north, and it's a perfect time to break out the sweet, silky sounds of the Grateful Dead from 1977.. Here's a beauty from March 20, 1977 at the Winterland in San Francisco. As usual its marked by the extremely smooth and intricate ensemble playing that characterize the year. The band is clearly paying attention to and responding to each other. I'd argue that every song in this first set has its moments - there's even a fun little Jerry run in El Paso. Deal builds and builds to a rousing climax. Cassidy shows off a beautiful arrangement highlighting every member's contribution to the whole. Peggy-O is slow and sweet, love Keith's piano here and Jerry has some runs I've not heard before. It seems unfair not to single out each of these songs for their beauty..this is a remarkably nice recording as well, but I just want to also point to the stand-alone Scarlet Begonias that ends this first set. Never miss a Sunday show ) Grateful Dead Winterland Arena San Francisco, CA 3/20/77 - Sunday One New Minglewood Blues [4:46] ; Ramble On Rose [7:35] ; El Paso [4:12] ; Deal [5:32] ; Cassidy [4:29] ; Peggy-O [7:15] ; Beat It On Down The Line [3:41] ; Brown Eyed Women [5:18] ; Estimated Prophet [8:01] ; Scarlet Begonias [12:45] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod032621.mp3 Thank you for your kind support of the Deadpod! "Like an angel, standing in a shaft of light Rising up to paradise, I know I'm gonna shine"
The Dead opened up 1974 with this week's show from Winterland on February 22, 1974. They picked up where they left off in 1973 with a long smoker of a show - we'll hear set 1 this week and set 2 next week. Notable moments include a 22 beat start to 'Beat It On Down The Line', some great Keith throughout, a lovely 'It Must Have Been The Roses', the elusive 'Loose Lucy' and to top everything off, a very long and spacy 'Playin' In the Band' which closes the set and is punctuated with Garcia teasing the 'Slipknot!' jam in several spots. Grateful Dead Winterland Arena San Francisco, CA 2/22/74 - Friday One U.S. Blues [5:27] ; Beat It On Down The Line [3:22] ; Brown Eyed Women [4:52] ; Mexicali Blues [3:36] ; It Must Have Been The Roses [4:43] ; Black Throated Wind [6:53] ; They Love Each Other [5:39] ; Big River [5:08] ; Loose Lucy [6:35] ; El Paso [4:33] ; Row Jimmy [8:30] ; Playing In The Band [20:55] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod022621.mp3 thanks for your kind support
For the next two episodes of the program, we’ll survey of some of the finest music released in 2020. It was a truly unique year for the recording industry. There were many homemade recordings released during the quarantine periods and many artists had to postpone touring putting their projects on hold. That said there was much to like in the music released over the past year, and we'll hear some of the best, including selections from Will Hoge, George Mann, Claudia Schmidt, Appalachian Roadshow, Carla Ulbrich and many more. Celebrating the last year … this week (and next) on The Sing Out! Radio Magazine. Episode #21-01: Best of 2020 Pt.1 Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Damia Timoner / “Operator” / Jerry's Smilin' / ZOHO Will Hoge / “Midway Motel” / Tiny Little Movies / Thirty Tigers Susan Pepper / “Be Here Now” / The Prettiest Bird / Ballad Hannah Harris / “My Cousin the Dancer-A Pleasant Surprise” / Tea for Tunes / Self Produced Appalachian Road Show / “Goin' Across the Mountain” / Tribulation / Billy Blue Samoa Wilson with the Jim Kweskin Band / “Our Love is Here to Stay” / I Just Want to be Horizontal /Kingswood Bob Dylan / “My Own Version of You” / Rough and Rowdy Ways / Columbia Damia Timoner / “Brown-Eyed Women” / Jerry's Smilin' / ZOHO Carla Ulbrich / “Germs Germs Germs” / Inside Jokes / Romantic Devil John McCutcheon / “Sheltered in Place” / Cabin Fever / Appalsongs Vance Gilbert / “Another Good Day Above Ground” / Good Good Man / Disismye Music George Mann / “Pass it Along” / The Coronavirus Sessions / Running Scared Scott Cook / “Rollin' to You” / Tangle of Souls / Self Produced Claudia Schmidt / “Eastern Shore” / Slow Steady Heart / Self Produced Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways
Denise Parent is the drummer and vocalist for the first all-female Grateful Dead tribute band. And we say “It’s about time!” Thanks to an introduction through David Ganz of The Grateful Dead Hour, host Thea Wood caught up with Parent for this remote interview. Parent covers a lot of ground, so pop in your earbuds and let’s get started with The Shakedown! (watch videos and more at the extended Show Notes page) Never miss an episode-- sign up for our newsletter.In this episode Parent chats about:- The historic night of her first all-female Dead cover band show- How maturity has changed her approach toward drumming- The joke she played on an unwitting fan (he was a good sport about it!)- The “4 Agreements” - and why they’ve always stuck with her- Different styles of how men and women communicateThank you to our friends at Strait Music in Austin, TX for supporting Herizon Music Foundation. This is a production of Herizon Music FoundationDisclaimer: Opinions of show guests are not necessarily those of Herizon Music Foundation, Inc. or its employees, volunteers, officers/directors, or contractors.
We close out October.. and welcome Halloween :) with a great second set from October 21st, 1971 in Chicago. While this may be Keith Godchaux's second night of his tenure with the band, he sure doesn't sound tentative here - especially on his first 'Dark Star'! This one is made even more unusual when the band goes into 'Sittin' On Top of the World' then back into the Star.. (the first Sittin' since 11/5/70).The 'Brown Eyed Women' is only the 3rd time they've played it, and this is the second time for 'Ramble on Rose'.. The band is clearly stretching out and trying those new tunes that will come to perfection in the great shows of 1972. An unusual 'St.Stephen' leads into 'Johnny B.Goode' as a double encore - they'd only play Stephen twice more in '71 before putting it on the shelf until its return in 1976. Grateful Dead Auditorium Theatre Chicago, IL 10/21/71 - Thursday Two Casey Jones ; Me And My Uncle [2:48] ; Dark Star [15:09] > Sittin' On Top Of The World [3:16] > Dark Star [2:03] > Me And Bobby McGee [5:56] ; Brown Eyed Women ; Ramble On Rose [6:06] ; Sugar Magnolia [6:08] Encore Saint Stephen [5:49] > Johnny B. Goode [3:54] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod103020.mp3 Best wishes for a safe and fun Halloween!! thanks so much for your support..
Joni Bottari, guitarist for Brown Eyed Women and Spiral Light, joins me for an inspiring and fun conversation about her journey in music!
This week the Deadpod presents the second set from the band's performance back on September 23, 1972 at Waterbury CT. Another quite long, very interesting set awaits as the band starts out rockin' with a trifecta of Promised Land>Bertha>Greatest Story to get the place going. After a nice 'Brown-Eyed Women' they break out Chuck Berry's 'Around and Around' for the first time in 105 shows (4/18/71). They follow that breakout with the first rendition of 'It's All Over Now, Baby Blue' in 156 shows (11/8/70). Perhaps the highlight of this follows with the last 'Crytpical Envelopment' performed until June of 1985. A massive 'Other One' flows out of drums and leads into the post-drum segment which would have made a quite respectable second set of its' own. Just listen to the incredible energy on that 'Sugar Magnolia'! Grateful Dead Palace Theatre Waterbury, CT 9/23/72 - Saturday Two The Promised Land [2:52] > Bertha [5:43] > Greatest Story Ever Told [4:55] ; Brown Eyed Women [4:53] (2) ; Around And Around [4:28] ; It's All Over Now, Baby Blue [7:28] ; Cryptical Envelopment [1:59] > Drums [3:25] > The Other One [22:44] > Wharf Rat [9:38] ; Beat It On Down The Line [3:17] ; Ramble On Rose [6:27] ; Sugar Magnolia [8:05] > Goin' Down The Road Feeling Bad [8:00] > Not Fade Away [5:#34] > One More Saturday Night [4:42] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod092520.mp3 Enjoy and thanks for your kind support.
This week's Deadpod will take us to May of 1978. This show took place in the Field House at Rensselaer Polytechnic Institute in Troy, NY on May the 7th, 1978, a place that was described as basically an aircraft hanger with terrible acoustics and hot as hell. Luckily the tape we have is pretty good overall because this was a show where you can tell that the band was in great spirits and having fun throughout. I think you'll find that Jerry and Donna, in particular are in great voice, and Keith and Phil are both having an exceptional evening. There are plenty of highlights to be had here - as well as alot of noodling and playing around between songs.. some of my favorites are the 'Dire Wolf', the great 'It's All Over Now' featuring some very nice Garcia licks, and Passenger, with Donna in great voice. The closing 'Music Never Stopped' reaches some very nice spots as well.. Grateful Dead Field House - Rensselaer Polytechnic Institute Troy, NY 5/7/78 - Sunday One Jack Straw [6:23] ; Dire Wolf [4:03] ; Mexicali Blues [3:42] > Mama Tried [2:36] ; Tennessee Jed [8:31] ; It's All Over Now [8:10] ; Friend Of The Devil [5:#43] ; Passenger [5:08] ; Brown Eyed Women [5:20] ; The Music Never Stopped [8:17] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod051520.mp3 Please observe the safeguards to stay well, join us on Facebook if you like, and don't forget the Friday night 'Shakedown Street' videos on YouTube. thanks so much for your kind support.
set 2:Truckin'It Hurts Me TooBrown Eyed WomenLooks Like RainDark Star ->Sugar Magnolia ->Good Lovin' ->Caution (Do Not Stop On Tracks) ->Who Do You Love? ->Caution (Do Not Stop On Tracks) ->Good Lovin'Ramble On RoseNot Fade Away ->China Cat Sunflower Tease ->Goin' Down The Road Feeling Bad ->Not Fade AwayEncore:One More Saturday Night
This week brings a *huge* first set Deadpod for you, from the famous run of shows at the Academy of Music in New York City on March 23, 1972. This set runs over 2 hours and contains 18 songs! The band was gearing up for the upcoming Europe tour and I think this is one of the best shows of that run. Some of the many highlights include a great 'I Know You Rider' , Pigpen's 'Chinatown Shuffle', the third ever 'Looks Like Rain' with Jerry on the pedal steel, Keith does some great work on 'You Win Again'. The 'Jack Straw' is spot on, and 'Me & Bobby McGee' is one of their best. I'm sure in these two hours you'll find some favorites of your own! Grateful Dead Academy of Music New York, NY 3/23/72 - Thursday One China Cat Sunflower > I Know You Rider ; Black Throated Wind ; Chinatown Shuffle ; Brown Eyed Women ; Beat It On Down The Line ; Cumberland Blues ; Looks Like Rain ; Mr. Charlie ; Tennessee Jed ; El Paso ; You Win Again ; Jack Straw ; Next Time You See Me ; Playing In The Band ; Comes A Time [7:30] ; Me And Bobby McGee [5:53] ; CaseyJones [5:44] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod031320.mp3 Finally, a big HAPPY BIRTHDAY to Phil Lesh who turns 80 on Sunday!!
This months podcast comes to us from Keith's 2nd show in the band... and he was already clearly having an impact, and probably a lot of fun. For halftime we get a bunch of bluegrass from the Hart Valley Drifters featuring Jerry Garcia on banjo... a ton of fun! Tons of good times around the bend! GRATEFUL DEAD October 21, 1971 Auditorium Theater Chicago, IL SET 1: Truckin', Loser, Beat It On Down The Line, Tennessee Jed, Playin in the Band, Big Railroad Blues, Jack Straw, Cumberland Blues, Comes A Time, Mexicali Blues, Frozen Logger, Cold Rain & Snow, One More Saturday Night HALFTIME: Hart Valley Drifters (11/10/62 San Mateo, CA) SET 2: Casey Jones, Me & My Uncle, Dark Star > Sittin on Top of The World > Dark Star > Me & Bobby McGee, Brown Eyed Women, Ramble on Rose, Sugar Magnolia ENCORE: St. Stephen > Johnny B. Goode SOURCE: Soundboard / Master Reel
This week the Deadpod presents the second set of the band's performance from the Felt Forum at Madison Square Garden on December 7th, 1971. A fine performance and recording here.. not one marked by any long jams.. nevertheless a great representation of the band as it heads into one of their peak years - 1972. Strong performances by Pigpen - especially on 'Smokestack Lightnin'.. I'm willing to bet you'll dig the ending of this set as well :) Grateful Dead Felt Forum - Madison Square Garden New York, NY 12/7/71 - Tuesday Two Sugar Magnolia ; Ramble On Rose ; Big Boss Man ; Mexicali Blues ; Brown Eyed Women ; Me And My Uncle ; Smokestack Lightnin' ; Deal ; Truckin' ; Not Fade Away -> Goin' Down The Road Feeling Bad -> Not Fade Away Encore One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121616.mp3 My thanks to my kind friends whose donations have kept the Deadpod alive this year!! Have a great week - see you back here for the Christmas show next friday..
This week the Deadpod presents the second set of the band's performance from the Felt Forum at Madison Square Garden on December 7th, 1971. A fine performance and recording here.. not one marked by any long jams.. nevertheless a great representation of the band as it heads into one of their peak years - 1972. Strong performances by Pigpen - especially on 'Smokestack Lightnin'.. I'm willing to bet you'll dig the ending of this set as well :) Grateful Dead Felt Forum - Madison Square Garden New York, NY 12/7/71 - Tuesday Two Sugar Magnolia ; Ramble On Rose ; Big Boss Man ; Mexicali Blues ; Brown Eyed Women ; Me And My Uncle ; Smokestack Lightnin' ; Deal ; Truckin' ; Not Fade Away -> Goin' Down The Road Feeling Bad -> Not Fade Away Encore One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121616.mp3 My thanks to my kind friends whose donations have kept the Deadpod alive this year!! Have a great week - see you back here for the Christmas show next friday..
This week the Deadpod presents the second set of the band's performance from the Felt Forum at Madison Square Garden on December 7th, 1971. A fine performance and recording here.. not one marked by any long jams.. nevertheless a great representation of the band as it heads into one of their peak years - 1972. Strong performances by Pigpen - especially on 'Smokestack Lightnin'.. I'm willing to bet you'll dig the ending of this set as well :) Grateful Dead Felt Forum - Madison Square Garden New York, NY 12/7/71 - Tuesday Two Sugar Magnolia ; Ramble On Rose ; Big Boss Man ; Mexicali Blues ; Brown Eyed Women ; Me And My Uncle ; Smokestack Lightnin' ; Deal ; Truckin' ; Not Fade Away -> Goin' Down The Road Feeling Bad -> Not Fade Away Encore One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121616.mp3 My thanks to my kind friends whose donations have kept the Deadpod alive this year!! Have a great week - see you back here for the Christmas show next friday..
This week the Deadpod presents the second set of the band's performance from the Felt Forum at Madison Square Garden on December 7th, 1971. A fine performance and recording here.. not one marked by any long jams.. nevertheless a great representation of the band as it heads into one of their peak years - 1972. Strong performances by Pigpen - especially on 'Smokestack Lightnin'.. I'm willing to bet you'll dig the ending of this set as well :) Grateful Dead Felt Forum - Madison Square Garden New York, NY 12/7/71 - Tuesday Two Sugar Magnolia ; Ramble On Rose ; Big Boss Man ; Mexicali Blues ; Brown Eyed Women ; Me And My Uncle ; Smokestack Lightnin' ; Deal ; Truckin' ; Not Fade Away -> Goin' Down The Road Feeling Bad -> Not Fade Away Encore One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121616.mp3 My thanks to my kind friends whose donations have kept the Deadpod alive this year!! Have a great week - see you back here for the Christmas show next friday..
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