Podcasts about cumberland blues

References Nature 2024.volume 635, pages 1010–1018 Front. Immunol. 2024. Sec. Multiple Sclerosis and Neuroimmunology Volume 15. J Immunol 2017. 199 (3) 874-884. Hunter-Garcia.1970 "Cumberland Blues" on Workingman's Dead https://open.spotify.com/track/2op5szd2IY8bOPzumqmFY3?si=8e3061b4559a4a31 Mozart. WA. 1791. Clarinet Concerto in A K 622 https://open.spotify.com/album/5WZELp7jlJNdS2xgLRknwe?si=ROhHJdu2RWCIpqnL7KXFUg --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Happy Thanksgiving As is the custom here on the Deadpod, this Thanksgiving we feature an acoustic set and I think we are especially fortunate this year as this set is one of the very best such sets from 1970. From September 20, 1970 this set from the Fillmore East features both David Grisman and David Nelson on mandolin for much of the set, including a very unusual 'Big Railroad Blues' and an acoustic 'Truckin'. Jerry is in particular fine voice throughout, especially on 'To Lay Me Down'.  If you are a fan of acoustic Dead this is a set to savor  .. I hope you enjoy..      Grateful Dead Fillmore East New York, NY 9/20/1970 - Sunday One   Uncle John's Band [6:47] Deep Elem Blues [5:51] Friend Of The Devil [3:32] Big Railroad Blues [3:14] Dark Hollow [2:56] Ripple [4:20] To Lay Me Down [5:12] Truckin' [5:35][0:12] Rosalie McFall [2:24] Cumberland Blues [5:04] New Speedway Boogie [9:31] Brokedown Palace [5:13]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod112824.mp3    I have far more to be thankful for than I can express here.. first of all to all of you who reached out with your well wishes and concern during my recent surgery and recovery.. to my doctors and nurses who did such a wonderful job helping to get me back home.. and of course to my beautiful wife without which I never would have been able to see this through...   

We're shipping up to Boston to feature Set 2 of an iconic late 1969 gig from a venue with one of my favorite names ever:  The Boston Tea Party!  Game-pod only this week so conversation does not abound but the jams do, especially that dope Dark Star (with the windchimes).   Here's the set:   One - Intro [1:31] ; Good Lovin' [1:43] > Drums [1:16] > Good Lovin' [6:08];[1:27] ; Mama Tried [2:29];[0:30] ; New Speedway Boogie [8:33];[1:04] ; Casey Jones [3:57];[0:39] ; Black Peter [12:35];[0:34] ; Me And My Uncle [3:02];[1:02] ; Midnight Hour [10:01];[1:01] ; Cumberland Blues [6:00]%[1:01] ; Cryptical Envelopment [2:03] > Drums [4:54] > The Other One [13:11#] > Cryptical Envelopment > Cosmic Charlie [#7:35];[0:18] % Two -   Uncle John's Band [7:36] > Mason's Children [7:13] > China Cat Sunflower [2:47] > Jam [2:37] > I Know You Rider [4:11];[0:14] ; Dark Star [19:00#] > Alligator [#0:19] > Drums [2:#55] > The Eleven [11:05] > Jam [4:53] > And We Bid You Good Night Jam [1:17] > Alligator reprise [1:00] > Caution Jam [1:00] > Feedback [1:00] > And We Bid You Good Night [0:46];[0:48] % 

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

Merriam-Webster's Word of the Day for August 15, 2024 is: encumber • in-KUM-ber • verb Someone or something that is encumbered is burdened or weighed down (as in “tourists encumbered by heavy luggage”) or hindered (as in “negotiations encumbered by a lack of trust”). // The children found it difficult to climb down the river's steep embankment, encumbered as they were by inner tubes and towels. See the entry > Examples: “White House stationery is not encumbered by street data or zip code. It states, wonderfully and airily, the most intimidating return address in the world: The White House.” — David Lipsky, The Parrot and the Igloo: Climate and the Science of Denial, 2023 Did you know? “I can't help you with your troubles / If you won't help with mine,” the workingman protagonist tells his companion Melinda in “Cumberland Blues” (a song by Grateful Dead), encumbered by indecision over whether or not to keep his dead-end job. Does he stay or does he go? To be encumbered is to be held back, weighed down, overburdened. One can be encumbered physically (as by a heavy load or severe weather) or figuratively (as by, well, the blues). Encumber traces back to the Middle French noun combre, which referred to a dam or weir constructed in the bed of a river to hold back fish or protect the banks. The notion of stoppage or blockage embedded in combre led to the verb encombre (“to obstruct, burden”) and further downstream to not only the English verb encumber, but adjectives cumbersome and cumbrous, both used to describe things that can slow one down. (Note, however, that the place name Cumberland—referring originally to a former county of northwestern England and used in many U.S. and Canadian locales—comes not from combre, but rather the Latin designation Cumbria, in turn was influenced by the Welsh Cymry.)

As we come to the end of the Days Between, and reflect on what Jerry gave us I thought it appropriate to present a classic show from when the band was young and ferocious. This comes to us from August 6, 1971 at the Hollywood Palladium. Long considered a classic, I'm sure you'll agree if you haven't yet been fortunate enough to hear this performance. This first set contains no clunkers.. I think each of these songs is a top-notch rendition, but for sure I have to point out 'Mr. Charlie' and 'Cumberland Blues'.. but the highlight here is clearly the great version of 'Hard to Handle'.. Pigpen is at his finest ...      Grateful Dead Hollywood Palladium Hollywood, CA 8/6/1971 - Friday One      Bertha [5:52] Playing In The Band [4:34] Loser [6:29] Mr. Charlie [3:27] El Paso [7:07] Cumberland Blues [5:03] Brokedown Palace [4:57] Me And Bobby McGee [5:47] Hard To Handle [7:16] Casey Jones [4:55]      You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod080924.mp3 Our love is real, not fade away....

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

References Nature 2024.volume 629, pages 417–425 Front. Immunol., 26 April 2019 Sec. NK and Innate Lymphoid Cell Biology. Nature Communications 2020.volume 11. Article 2437 Scientific Reports 2018. volume 8.Article 8700 Int J Mol Sci. 2020 Sep; 21(18): 6497 Hunter-Garcia& Lesh,P. 1969. "Cumberland Blues" On [Workingman's Dead lp.] https://youtu.be/xosZDm01ffc?si=fydGeAchCEAK_5vZ Haydn, FJ. 1784. Symphony No 101 D major "Die Uhr“ https://youtu.be/jK9EPZ3qdgU?si=d25AWgnswI3OKU_5 --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Singles Going Around- Saturday Comes In Colors The Beatles- "Drive My Car"Van Morrison- "Jackie Wilson Said"The Standells-"Sometimes Good Guys Don't Wear White"The Grateful Dead- "Cumberland Blues"The Monkees- "Let's Dance On"The Sex Pistols- "C'mon Everybody"Otis Redding- "Love Man"Plastic Ono Band- "Remember"Simon & Garfunkel- "The Big Bright Green Pleasure Machine"Lightnin' Slim- "Rooster Blues"The Yardirds- "Heart Full Of Soul"Nirvana- "Molly's Lips"Led Zeppelin- "Hey, Hey What Can I Do"Love- "Hey Joe"Captain Beefheart & The Magic Band- "Lick My Decals Off Baby"The White Stripes- "Lafayette Blues"The Doors- "Roadhouse Blues"13th Floor Elevators- "You Gonna Miss Me"Cream- "I'm So Glad"*all selections taken from the original records.

  This week's Deadpod features a historic performance - it occurred on the night the band was 'busted down in New Orleans' - January 30, 1970 at The Warehouse in New Orleans, Louisiana. Also historic as it was the last show that Tom Constantin played in the Dead.. but aside from that this is a fine show and I think you'll enjoy hearing this very good tape..  The tape is missing part of the opening Casey Jones, nevertheless good vibes here and on the following 'Me & My Uncle'.. 'Black Peter' is wonderful.. I also think the 'High Time in this set is absolutely perfect. 'Cumberland Blues' is hot.. hotter than you think that song should be ;) and is there a better song to pull out here than 'Easy Wind'?  The 'Cryptical Envelopment>Other One>Cryptical' is hard driving Dead!  They do a sweet transition into 'Cosmic Charlie' - sadly this one is cut as well... .   Grateful Dead The Warehouse New Orleans, LA 1/30/1970 - Friday One - 1:33:00      Casey Jones [#1:27][0:47] Me And My Uncle [3:09][0:29] Black Peter [9:51][0:15] Hard To Handle [5:26][0:05]%[0:07] China Cat Sunflower [3:13] > Jam [2:34] > I Know You Rider [4:19] > High Time [6:25][0:15] Cumberland Blues [6:21][0:04]%[0:03] Easy Wind [10:13][0:12]%[0:10] Mama Tried [2:36] > Good Lovin' [1:49] > Drums [0:40] > Good Lovin' [5:26][0:16] Cryptical Envelopment [2:17] > Drums [5:22] > The Other One [9:41] > Cryptical Envelopment [9:10] > Cosmic Charlie [0:34#]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012624.mp3  Thank you for your kind support!  The days are getting brighter!

There's nothing like a B2B event. Right?…. Right? [[ *crickets* ]] That is, there won't be anything like a B2B event after you apply the lessons in this episode of Remarkable to your events. It's like how Deadheads say “There's nothing like a Grateful Dead concert.” That's because the Grateful Dead were selling the experience. It was a place to go with people to meet, and all of the sights, sounds, and good vibes that made it an experience of a lifetime. So in this episode, we're listening to the Grateful Dead with our guest, Director of Content at LeanIX, Matthew Grant. Together, we talk about giving away content to build an audience, selling the experience, and recording the event. So grab your tie dye tee for this episode of Remarkable.About our guest, Matthew GrantMatthew Grant is Director, Content Marketing at LeanIX. Over the last 14 years, Matt has created content focused on a wide range of B2B technologies including cloud management, cloud security, content management, product lifecycle management, data center cooling, generative design, quantum computing, and edge computing. He has also written and spoking on user experience design, content marketing strategy, social media strategy, and patent law, among other things. Matt has hosted podcasts on data in the enterprise, B2B marketing, and cloud computing. He has a PhD in German Studies.About LeanIXLeanIX's Continuous Transformation Platform® offers SaaS solutions to help IT architects, IT asset managers, business leaders, and DevOps teams achieve transparency and control over their enterprise architecture, SaaS, and microservices landscapes. They offer Software-as-a-Service (SaaS) for managing Enterprise Architecture and multi-cloud environments to enable organizations to take faster, data-driven decisions in their IT. About the Grateful DeadThe Grateful Dead is a psychedelic band that got together in California in 1965. The founding members included Jerry Garcia (vocals, guitar), Ron “Pigpen” McKernan (vocals, organ, harmonica), Bob Weir (vocals, guitar), Bill Kreutzmann (drums), and Phil Lesh (vocals, bass). Their home stomping grounds were the Haight-Ashbury neighborhood in San Francisco. And they got their musical careers started off around the time of the Summer of Love and the counterculture movement.About the Grateful Dead Europe 72 Record AlbumThe Grateful Dead's Europe 72 Album is a triple album (17 songs split across three vinyl records) that was recorded in 1972 while the band was touring in Western Europe (England, Denmark, Germany, etc.)  It was recorded in April and May of that year, and released in November. The hope was that proceeds from the sale would help them recoup what they spent while on tour. Especially since they toured with an entourage of 43 people. Most of the songs were new, but it also included some live renditions of songs from studio albums. It has songs like “Brown-Eyed Woman,” “China Cat Sunflower,” and “Cumberland Blues”. Notably, it marked the last time Ron “Pigpen” McKernan, one of the original members, would play with them before passing away from an autoimmune disease that affects the liver. The album charted in the U.S. for 24 straight weeks after its release, and it was one of the first triple-record rock albums to be certified gold, and has since been certified double platinum.What B2B Companies Can Learn From the Grateful Dead:Give away content. Your content provides value to your audience while driving brand awareness. So when the buyer is ready, your brand is the one they think of. Matt says, “You could argue that the model for content marketing comes from the Grateful Dead. Which is, you give away content to build an audience. ‘Hey, Deadhead, send us your postcard!' And then you get them to pay for something that can't be commodified, like an in person live experience that's only happening once.”Sell the experience. Create a unique experience for your audience around the product. When talking about the Grateful Dead, Matt says, “Music on some level is a commodity. There are better musicians than the people in The Grateful Dead, there are better songwriters than the people in The Grateful Dead, especially now when you have Spotify and all those other things, your access to music is unlike anything I had in my earlier part of my lifetime. So you've got to give people something else. The music is almost secondary. What they're really selling is an opportunity, or a space, for you to be yourself, or do your own thing, or be a freak, or be weird, or whatever, and it's a non-judgmental zone.” So sell your audience an experience. Especially if it has good music.Record the event. So people who missed out can see it, and fans can re-live it. Ian says, “It's a fan service to create a live album. It's like a time capsule. And the idea that at any point in time, you could transport someone back to this moment is really interesting. Even if you weren't there, you still get to have that moment.”Quotes*“It was more about the cult than it was about the actual music.” - Ian Faison*“When people say they like The Grateful Dead, what they're remembering is this show they went to. And that time, you know, in Southern California, and it was outside, and it was at night, and everyone was chill, and we had a lot of fun. That's why they like it.”  - Matt Grant*”It's this experience. You have to give people more if you want them to come back. If you play the same songs every time and it's a cookie cutter thing, maybe they'll see you once. But why come back?” - Matt Grant*”In B2B tech, you can focus on content and the message. But if you don't have a product that can deliver on it, it doesn't matter.” - Matt GrantTime Stamps[0:56] Meet Matt Grant, Director of Content at LeanIX[2:11] What makes the Grateful Dead's Europe 72 album remarkable?[27:41] What can the Grateful Dead can teach us about authenticity in marketing? [28:35] How did the Grateful Dead build a community of Deadheads?[30:50] Where did the Grateful Dead bear come from?[34:25] What do the Grateful Dead and HubSpot have in common?[38:51] What we can learn from the Grateful Dead about knowing your audience? (And more marketing lessons)[46:32] How does Matt think about content at LeanIX?[56:04] What does Matt think about AI when it comes to building content?LinksListen to the Grateful Dead's Europe 72 albumBrowse the Grateful Dead Collection on Archive.orgRead Marketing Lessons from The Grateful Dead by Brian Halligan and David Meerman ScottConnect with Matt on LinkedInLearn more about LeanIXAbout Remarkable!Remarkable! is created by the team at Caspian Studios, the premier B2B Podcast-as-a-Service company. Caspian creates both non-fiction and fiction series for B2B companies. If you want a fiction series check out our new offering - The Business Thriller - Hollywood style storytelling for B2B. Learn more at CaspianStudios.com. In today's episode, you heard from Ian Faison (CEO of Caspian Studios) and Meredith Gooderham (Senior Producer). Remarkable was produced this week by Jess Avellino, mixed by Scott Goodrich, and our theme song is “Solomon” by FALAK. Create something remarkable. Rise above the noise.

This week the Deadpod travels to the East Coast for a show that took place around 2 months after last week's show. This is the early show from the Fillmore East in NYC on January 2, 1970. This is quite a nice tape, don't let the few seconds at the beginning fool you.  The 'Mason's Children' opener is a good representation of this somewhat odd song. 'Black Peter' is quite extended, much more than usual for this song. 'Hard to Handle' is explosive as usual. The boys really hit their stride here with the 'Cryptical Envelopment>Drums>Other One'. I quite enjoy the 'Cosmic Charlie' that follows but that's a tune I thought they never played often enough :)  I hope you enjoy it..   Grateful Dead Fillmore East New York, NY 1/2/1970 - Friday Early - 59:51:00     Intro (1) [1:05] > Mason's Children [6:09][1:34] Casey Jones [4:17][0:12] Black Peter [10:41][1:18] Mama Tried [2:32] > Hard To Handle [4:43][0:15] Cumberland Blues [5:33][0:16] Cryptical Envelopment [1:57] > Drums [3:53] > The Other One [10:34] > Cryptical Envelopment [2:04] > Cosmic Charlie [6:46#]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod111723.mp3 Thanks for your kind support, we couldn't bring you the Deadpod without your help.  

Come on Seawolves, we're heading to SBU! This week, our hosts Game, FiG, and Knob are all back and heading to SUNY at Stony Brook for the Grateful Dead's October 30th, 1970 show at the SUNY Gym. Discussions abound about New Riders of the Purple Sage, whether or not being "droll" is a good thing, and the debut of a brand new segment. Cold Rain & Snow Truckin' Sugar Magnolia Next Time You See Me Me & My Uncle Drums > Good Lovin' > Drums > Cumberland Blues > Good Lovin' Casey Jones Smokestack Lightning Beat It On Down The Line China Cat Sunflower > I Know You Rider Friend Of The Devil Truckin' Candyman It Hurts Me Too Dancin' In The Streets Big Railroad Blues Saint Stephen > Not Fade Away > Goin' Down The Road Feelin' Bad > Not Fade Away > Turn On Your Love Light 

 We are going to stick with the late 80's this week as we feature a show from the Rosemont Horizon on April 15, 1988.  I believe this is the only Scarlet>Fire opener the boys ever played, which immediately makes the radar go up that we're in for a good show. I don't think this one disappoints. Weir slows things a bit with a 'Walkin' Blues' but Jerry follows with the always favorite 'Candyman'. Brent then goes into an unusual bluesy 'Louie, Louie' which flows really nicely into the uptempo 'Cumberland Blues'  Weir sings the Dylan  'Stuck Inside of Mobile With the Memphis Blues Again' which goes into a nice uptempo 'Deal' to close the set.      Grateful Dead Rosemont Horizon Chicago , IL 4/15/1988 - Friday One     Scarlet Begonias [6:44] > Fire On The Mountain [9:16] Walkin' Blues [6:30] Candyman [7:11] Louie Louie [4:07] > Cumberland Blues [5:07] Stuck Inside of Mobile With The Memphis Blues Again [7:57] > Deal [7:29] You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042123.mp3  "Lotta poor man make a five dollar bill  Will keep him happy all the time Some other fellow's making nothing at all And you can hear him cry"    

To Susan on the West Coast Waiting: I am Burnin for you. Please don't leave me in the Louisiana Rain with the Cumberland Blues. Don't do me like that! I'd rather be a seagull singing here comes my girl! Signed, your Dixie chicken. P.S. Meanwhile I'll be doin' the Tripe Face Boogie, Knockin' on Heaven's Door, & sailing out Into the Mystic.

Well, I think that groundhog saw his shadow, but I've got a show for you this week that is sure to warm you up.. this one comes from way back in 1970 - from February 28, 1970 in San Francisco. While this was probably one long set, I'm going to play part 1 this week and part 2 next week.  The show starts with an unusual 'Lovelight' to open, and it has a different sound to it in this spot, a bit more uptempo from the start, but quite fun to hear. After going into a 'Me & My Uncle' and 'Cumberland Blues' Jerry announces that they want to bring things 'down' a bit with some acoustic numbers. The next three tunes are just lovely renditions of 'Monkey & The Engineer', 'Little Sadie' and 'Black Peter'. The rest of the set is electric, starting with a smoking 'China>Rider'. Jerry slows it down a bit again with 'High Time' but we'll end this week's Deadpod with the always delightful 'Dire Wolf'.  Grateful Dead Family Dog at the Great Highway San Francisco, CA 2/28/1970 - Saturday One Turn On Your Love Light [#12:47] > Me And My Uncle [3:02][0:11] Cumberland Blues [4:53][2:06] Monkey And The Engineer [1:40][0:27] Little Sadie [2:47] > Black Peter [8:35] Tuning [0:43] China Cat Sunflower [3:13] > Jam [3:09] > I Know You Rider [4:20] > High Time [6:35] > Dire Wolf [4:35][0:10]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod020323.mp3 Thanks for listening!   

I couldn't make it to Peach Festival this year, but the crew of people who I knew that did, were raving about a young guy who played the guitar like a man possessed and served up a large heaping plate of cosmic country goodness. They of course were referring to the captivating Daniel Donato's Cosmic Country. When you first hear Daniel's voice, it's a throw back to the days of country crooners before him, and his playing style is that of a demon, with odes to country, honky tonk, bluegrass and good ole rock n' roll. After hearing both his studio work I dug in to some of the live stuff available at nugs.net and was blown away. How can it be, that such a young man, be such a force, and be able to create such a mesmerizing sonic pulse. Well, we caught up with the purveyor of cosmic country, to get the skinny and more. Here's our chat with Daniel Donato.  First song: Why You Been Gone So Long  Second song: Daniel Donato - 04-27-22 - Cumberland Blues > Luck Of The Draw - The Southern - Charlottesville, VASee omnystudio.com/listener for privacy information.

 A fine first set from a beautiful venue is on tap for this week's Deadpod. This performance, from August 3, 1982 at the Starlight Theater in Kansas City Missouri, features a most excellent first set.  Jerry brings the 'Mississippi Half-Step' to life by shaping the sound quite sweetly, and in particular the transition into 'Franklin's Tower' is not to be missed. Note the fine interplay with Phil here. It is difficult to pick out highlights in this set as everything is quite good, but note the beautiful 'Peggy O'. There's a nice transition beween 'El Paso' and 'Cumberland Blues', which is also a smoker. Jerry does 'Althea' justice with some nice soloing, and the 'Big Railroad Blues' into 'Man Smart' is an unusual pairing. All in all I think this is a fine example of the period and hope you enjoy it!  Grateful Dead Starlight Theatre Kansas City, MO  8/3/1982 - Tuesday     One     Mississippi Half-Step Uptown Toodeloo [8:43] > Franklin's Tower [11:40] > New Minglewood Blues [7:00] ; Peggy-O [7:37] ; El Paso [4:45] > Cumberland Blues [5:44] ; Althea [8:46] ; Cassidy [6:06] ; Big Railroad Blues [5:55] > Man Smart (Woman Smarter) [7:27] ; Might As Well [4:29]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod081222.mp3 Thanks for listening and of course for your kind support!   

Jerome John Garcia   August 1, 1942 - August 9, 1995 The Grateful Dead - Uncle John's Band 12/31/76Jerry Garcia & John Kahn - Deep Elem Blues 1/28/86The Grateful Dead - Casey Jones 4/27/71Jerry Garcia & John Kahn - Oh Babe, It Ain't No Lie 1/28/86The Grateful Dead - Eyes of the World 6/23/74Jerry Garcia & John Kahn - Little Sadie 1/28/86The Grateful Dead - China cat sunflower > I know you rider 6/23/74Jerry Garcia & John Kahn - Gomorrah 1/28/86The Grateful Dead - Bertha 12/29/77Jerry Garcia & John Kahn - Bird Song 1/28/86The Grateful Dead - Wharf rat 6/23/74Jerry Garcia & John Kahn - Ripple 1/28/86The Grateful Dead - Candyman-> Cumberland Blues 5/2/70Jerry Garcia & John Kahn - Goodnight Irene 1/28/86Couture & ConstructionWeekly conversations about luxury building & design. Brought to you by Textures Nashville.Listen on: Apple Podcasts SpotifySupport the show

This week's Deadpod is a short but very sweet show from June 7, 1970 at the Fillmore West in San Francisco. This week's first set is 'relatively' acoustic, that is the first two songs are acoustic, but Jerry uses an electric guitar and Weir acoustic on the remainder of the som et. Frdeadlists.com:  " David Nelson plays mandolin on Cold Jordan and Swing Low, and he and Marmaduke contribute backup vocals. Before Cumberland Blues Garcia says "we're gonna do a few semi-electric numbers. We've got a million new labels." There is a short cut at 2:48 of Cumberland. Marmaduke adds backup vocals to Me And My Uncle." This was a birthday request from a great friend of the Deadpod - happy (early) birthday Steve!   Grateful Dead Fillmore West San Francisco, CA 6/7/1970 - Sunday     One    Intro [0:11]   Don't Ease Me In [3:03] [0:20]   Silver Threads And Golden Needle [3:32] Friend Of The Devil [3:38] [0:33]   Candyman [5:44] [0:44]   Cold Jordan [2:11] [0:59]   Swing Low Sweet Chariot [3:00] [2:24]   Cumberland Blues [4:#12] [1:02]   Me And My Uncle [3:07] [0:30]   New Speedway Boogie [8:57] [0:16]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod061722.mp3  thanks so much for your kind support !  

In this week's episode of 36 From The Vault we find the band prepping for their Europe ‘72 tour with a run of shows at the Academy of Music in New York City. Featuring a set with Bo Diddley, this volume highlights the emergence of Keith Godchaux in the band + showcases some of the best Pigpen we've ever heard through the Dick's Picks series. Disc One features the majority of The Dead's set with Bo Diddley on March 25. Showcasing their brilliance as a backing band, we hear them dip into the Blues for perhaps the last time in the 70s. Highlighted by a stunning “Jam” between Diddley and The Dead we see an alternate path for the band + their ability to linger in a variety of American styles throughout their career. The disc ends with a few one-off covers for the band + an excellent “Playin In The Band” from March 27.The final three discs encompass the entire May 28th show. Featuring a number of rarities through the Dick's Picks series, it's a great peek into the band during this period. On Disc Two, Pigpen shines on “Chinatown Shuffle, “Mr. Charlie,” and “Next Time You See Me.” Jerry's vocals on “You Win Again” showcase his ability to be as much a Blues man as he is a psych master, and “Cumberland Blues” rivals the version on the Europe ‘72 release. On Disc Three we hear perhaps the greatest “Looks Like Rain” ever played, plus we hear another excellent, early cut on “Playin In The Band,” before Pigpen highlights his emotional side with “The Stranger (Two Souls In Communion).” Disc Four displays the band's experimentation with a lengthy “The Other One,” before closing the set out with a laid back “Not Fade Away -> Going Down The Road Feelin Bad -> Not Fade Away.” It's a great snapshot of The Dead ahead of a transformative period in their career. By year's end they'd be a completely different band. 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. 31 in anticipation of our next episode, which will drop on Monday, May 23! See acast.com/privacy for privacy and opt-out information.

This week's Deadpod is from a marvelous sounding tape (with one or two issues) from the Spring of 1971. This set has Phil all over it - I especially love his sound on 'Bertha'. Pigpen does a wonderful 'Next Time You See Me', and 'Hard to Handle' (although it has a very tragic tape flip that loses the end of the song). The boys are tight and their playing is crackling with energy.  No jazzy spacy jams here, but plenty of electric, down and dirty rock and roll. Set 2 comes up next week and you don't want to miss it..      Grateful Dead Pittsburgh Civic Arena Pittsburgh, PA 4/12/71 - Monday     One     Cold Rain And Snow   Me And My Uncle   Bertha   Next Time You See Me   Playing In The Band   Loser   Cumberland Blues   Hard To Handle#   Greatest Story Ever Told > Johnny B. Goode   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod040822.mp3  Thanks you for listening and for your kind support. 

This week we go back to some good ol' Grateful Dead from December 1970. The boys are young and full of spunk on this one as they run through some of their early numbers. Pigpen is in fine form here and the 'Hard to Handle' is classic. The 'Deep Elem' has a unique and very pleasant arrangement to my ears. 'Cumberland Blues' showcases Phil's talents as always and a great China>Rider could be the highlight of the set. For a tape from 1970 this one sounds really good, I hope you enjoy it!    Grateful Dead Legion Stadium El Monte, CA 12/27/70 - Sunday     One - 1:15:14 Tuning [0:24] Truckin' [8:30][0:24] Mama Tried [2:44][0:59] Hard To Handle [8:44][0:28] Deep Elem Blues [7:21][0:24] Sugar Magnolia [5:21][0:27] Brokedown Palace [6:04][0:33] Cumberland Blues [5:10][0:07]%[0:07] It Hurts Me Too [5:10#][0:06] Me And My Uncle [3:11][0:51] China Cat Sunflower [3:20] > Jam [3:28] > I Know You Rider [3:28][0:18]%[0:40] Casey Jones [5:20][0:11]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121721.mp3  I hope everyone is healthy and doing well as we head into Christmas week!  thank you so much for your kind support! 

This week we stay on the Continent for a show that took place on October 12, 1981 at the Olympia Halle in Munich, West Germany during the band's Fall European Tour. For the most part this is quite an excellent recording, although it does have a couple patches..  They come out firing on an up-tempo 'Jack Straw', then Garcia delivers a more laid back selection with a pretty 'Candyman'. The 'Little Red Rooster' that follows is one of my favorite versions of this tune they delivered - check it out! Brent is all over these songs, if you are a fan you're going to enjoy this set. Some other highlights include an insane 'Passenger' and the set closing 'China>Rider' .. don't miss this one.      Grateful Dead Olympia Halle Munich, West Germany 10/12/81 - Monday One     Jack Straw [6:02] ; Candyman [6:33] > Little Red Rooster [8:21] ; Cumberland Blues [5:17] ; Beat It On Down The Line [2:57] ; Ramble On Rose [7:32] ; (1) Mama Tried [2:30] > Mexicali Blues [2:50#] ; Althea [9:12] ; Passenger [5:09] ; China Cat Sunflower [7:46] > I Know You Rider [5:59]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod092421.mp3    Thanks so much for your kind support!  Be well and keep on..   

This week's Deadpod features a wonderful recording of the band's performance in Paris France on September 20, 1974. This is a splendid recording, and a very interesting performance. The band opens with a spirited 'Cumberland Blues' followed by a nice 'Jack Straw'. The first-set 'Scarlet Begonias' features some very nice Phil leads. Bobby's vocals are top-notch on the 'Black Throated Wind' that follows. The 'Friend of the Devil' that is performed afterwards, is one of the last 'fast' versions the band played. We get to hear a full 'Weather Report Suite' highlighted by some nice keyboard work by Keith. Jerry follows with a soulful 'Stella Blue'. The 'Around and Around that closes the set has a unique feel to it..    Grateful Dead Palais des Sports Paris, France 9/20/74 - Friday     One     Cumberland Blues [5:45]   Jack Straw [5:10]   It Must Have Been The Roses [5:26]   Beat It On Down The Line [3:15]   Scarlet Begonias [9:52]   Black Throated Wind [6:22]   Friend Of The Devil [3:58]   El Paso [4:30]   Row Jimmy [8:55]   Weather Report Suite Prelude [1:15] > Weather Report Suite Part 1 [3:50] > Let It Grow [10:35] > Stella Blue [8:15]   Around And Around [4:50]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091021.mp3  As always, a big thank you for your support of the Deadpod!  I'll be in Clarkston tonight for Dead & Co. - looking forward to it!     

A great show from a great run is showcased in this week's Deadpod. This is from September 26, 1972 at the Stanley Theater in Jersey City, New Jersey. The first show of a three night run, this features some great guitar work by Garcia throughout, even here in the first set. A fine 'Cold Rain and Snow' might be overlooked by the early 'He's Gone', but there is so much great music here. I love the 'Bird Song' and the 'Sugaree'. The band is loose throughout and I'm certain you'll enjoy this classic performance.  Thanks to Steve for this suggestion and a Happy Birthday to him!  Grateful Dead Stanley Theatre Jersey City, NJ 9/26/72 - Tuesday One       The Promised Land [3:01] ; Cold Rain And Snow [5:18] ; Me And My Uncle [2:54] ; He's Gone [14:32] ; Mexicali Blues [3:23] ; Deal [4:30] ; Cumberland Blues [5:55] ; Black Throated Wind [6:40] ; Bird Song [11:05] ; Big River [4:20] ; Sugaree [7:26] ; Around And Around [4:51] ; Casey Jones [6:04]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod070921.mp3   Thanks for your kind support of the Deadpod!     

This episode gets back to the traditional 2 set format, featuring some great classics and a few surprises. A rippin' Jack Straw kicks it off, and the 1st set also features a 42 beat BIODTL, and a smokin' Passenger to end the set. Set two has some classic jams but the surprise is the San Francisco Earthquake Phil Space>The Other One....this is not to be ignored!!! Enjoy and as always you can find the HeadyJams podcast on SoundCloud, iTunes, and YouTube. Search The I of The World or HeadyJams on any of those platforms and that should take you to the Promised Land. 1st Set Jack Straw 6.25.91 Sandstone Amphitheater Bonner Springs KS Loose Lucy 5.17.74 PNE Coliseum Vancouver BC BIODTL 9.11.85 Henry J Kaiser Oakland CA Candyman>Cumberland Blues 5.2.70 Harpur Coll. Binghampton NY Mr. Charlie 7.31.71 Yale Bowl New Haven CT TN Jed 9.9.72 Hollywood Palladium CA Passenger 8.12.79 Red Rocks Morrison CO 2nd Set Samson & Delilah 3.9.81 MSG NYC China>Rider 3.19.73 Nassau Coliseum, Uniondale NY Lazy Lightning>Supplication 6.11.76 Boston Music Hall Smokestack 2.8.70 Fillmore West San Francisco CA Phil Space>Other One 4.18.82 Hartford Civic Center CT Stella Blue 4.1.90 The Omni Atlanta GA GDTRFB 9.28.75 Golden Gate Park SF CA Around & Around 10.17.78 Winterland SF CA Encore: Easy Wind 12.12.69 Thelma Theater Los Angeles CA Touch of Grey 3.31.87 Philly Spectrum

I guess I just can't get enough of that good stuff.. .. :) but at any rate this week I've decided to bring you a rather rare treat. Back in 1971, the band finished a short, 3 show swing in the Northwest with this blistering performance in a small venue in Seattle on a Sunday night. This took place on January 24, 1971. This one is sparkin' from beginning to end, but I've split it up so we will hear part 1 this week and part 2 next week. It starts appropriately, with Truckin', then a wonderful China>Rider, which includes an incredible transition between the two. Pigpen follows with  the old blues standard - 'It Hurts Me Too'. A blistering Cumberland Blues follows, then a better than average 'Casey Jones' - Pig has some nice organ work here!  Sugar Mag closes set one in fine fashion and I can only imagine that everyone was dancing now! I've included the great Pigpen version of  'Hard to Handle' which opened set 2, and gives you a hint of things to come next week.      Grateful Dead Seattle Center Arena Seattle, WA 1/24/71 - Sunday One Truckin' China Cat Sunflower > I Know You Rider   It Hurts Me Too   Cumberland Blues   Casey Jones   Sugar Magnolia Two     Hard To Handle   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012921.mp3  Thank you so much for your kind support of the Deadpod!   

 Happy New Year!  From a request from a longtime frirend of the Deadpod - I've decided to celebrate the end of 2020 with this fun and raucous show from NYE 1982. I'll present this one over the next couple weeks and hope can feel and enjoy the fun that the band and everyone in attendance had on this special night 39 years ago.  The first set which we'll hear this week is a bit short, but still well played and tight. Garcia's voice is a bit creaky but he makes up for it with some very nice work on the guitar. A long 'C.C. Rider' has Mathew Kelly sitting in, but I believe Brent adds much to this one (and throughout the set). 'Cumberland Blues' is for me the highlight here as Jerry really brings some nice licks. Brent delivers a short but nice 'Far From Me', Weir is forceful as usual on 'Cassidy' and a bit screechy at times on 'Looks Like Rain' but these are fine versions. 'Ramble On Rose' always brings a smile, and a 'Day Job' to end the year seems quite appropriate.   Oakland Auditorium Oakland, CA 12/31/82 - Friday One     Cold Rain And Snow ; C C Rider ; Cumberland Blues ; Far From Me ; Cassidy ; Ramble On Rose ; Looks Like Rain ; Keep Your Day Job  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod010121.mp3  A word of thanks for your kind support over the holidays and throughout this last, difficult year. I very much appreciate your kindness. May these songs fill the air with much joy and well being this next year! "Sometimes when the cuckoo's crying When the moon is half way down Sometimes when the night is dying I take me out and I wander around I wander round"

In this week’s episode we explore Dick’s Picks Vol. 16 from the Fillmore Auditorium in San Francisco, CA on November 7 and 8, 1969. PRIMAL DEAD! Coming just a few weeks shy of the Altamont Festival & the end of the 1960’s, we hear The Dead in a period of growth and transition. Just three months later they’ll be performing what many consider their greatest shows of all time (2/13-14/70 at the Fillmore East), we hear the seeds of that show, while also taking a reflective look back at their thematic brilliance of the 1960s.In Disc One, we hear an early, up-beat & extended take on “Dire Wolf,” a fiery “China Cat Sunflower -> I Know You Rider,” and the first ever “Cumberland Blues.” Disc Two is up there with the best of the entire series as “Dark Star” jams deep before transitioning into a stunning segment which reads: “-> The Other One -> Dark Star -> Uncle John’s Band Jam -> Dark Star -> St. Stephen -> The Eleven.” Displaying their fluidity during the era, while also preluding some of their lengthy excursions from the early 70’s, it’s a monumental jam segment & should be a standard CD in every Deadhead’s car. Finally, in Disc Three, we throw the reigns to Pigpen while hearing some of the wildest psychedelic/blues jamming in Dead history. 36 from the Vault is production of Osiris Media. It is edited and 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. ---Join the 10 million who have tried Harry’s. Claim your special trial offer by going to HARRYS.COM/36FTV.Please check out Synlanwn at: https://www.synlawn.com/36ftv/Visit Section 119 at: Section119.com and enter the Promo Code: 36FROMTHEVAULTPlease visit Sunset Lake CBD at: sunsetlakecbd.com and enter the Promo Code: VAULT15---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick’s Picks Volume 17 in anticipation of our next episode which will drop on Monday, November 2. See acast.com/privacy for privacy and opt-out information.

 Here's a long and strong first set from that great year in Dead history - 1972. This comes from Sacramento California from August 12, 1972. This is an especially long first set with some nice surprises therein. 'Sugaree' is tinged with some bluesy elements, and I find it quite enjoyable. There's some interesting chatter to the crowd before 'Uncle' :) and the 'Bird Song' that follows is nicely melodic. Another highlight of this set is the 'Playin' In the Band' which has some fine improvisational spaces in it. I do have to warn you that there is a brutal cut in 'El Paso' which then leads into an cut into 'Tennesse Jed'.. I decided to leave what exists here in the interests of completeness. A beautiful 'Stella Blue' makes a first set appearance. 'Big Railroad Blues' and 'Cumberland Blues' are as rockin' as usual. The 'Casey Jones' that ends the set is quite nice as well. Bobby introduces Keith and Donna, (although Keith had been with the band since the Fall of '71), and explains that Pigpen is home ill :(    Grateful Dead Sacramento Memorial Auditorium Sacramento, CA 8/12/72 - Saturday     One     The Promised Land [2:54] ; Sugaree [7:16] ; Me And My Uncle [2:57] ; Bird Song [10:25] ; Black Throated Wind [6:31] ; Deal [5:14] ; El Paso [2:51#] ; Tennessee Jed [#2:33] ; Playing In The Band [12:30] ; Big Railroad Blues [4:05] ; Cumberland Blues [6:42] ; Stella Blue [7:26] ; Jack Straw [#3:38] ; Casey Jones [6:26]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod081420.mp3   Thank you so much for your kind support of the Deadpod..   "A broken angel sings.... from a guitar"..

DESCRIPTION: We flip sides on the Grateful Dead’s Workingman’s Dead and explore why “Cumberland Blues” is a much stranger song than it might seem, chart the transformation into the so-called Bakersfield Dead, and--in an extended interview--hear how new tour manager Sam Cutler helped the band turn themselves into a real-life workingman’s Dead during one of the most tumultuous and pivotal moments in their history.GUESTS: Sam Cutler, Shaugn O’Donnell, Bob Matthews, David Nelson, Gary Lambert, Mike Johnson

Welcome to Season 2 of 36 from the Vault: SUMMER TOUR! In Episode 12 we explore Dick’s Picks Vol. 12, from The Stanley Theater in Jersey City, NJ on September 27, 1972. Our first 1972 show in the series - and the first of three from September ‘72 in the larger Dick’s Picks Cannon, this is one of the best full shows we’ve heard thus far. Filled with great song selections, and huge jams, this is a peek into the world of The Dead post-Europe, post-Pigpen, as they were incorporating more jazz and psychedelia into their jams, and were fully connected behind the drumming of Bill Kreutzmann. The show opens with a rare “Morning Dew.” Typically a Set II closer, its appearance here overshadows Set I with an ominous feel. Later, “Bird Song” drifts like a dream before the set ends in wild fashion with a ripping “China Cat Sunflower -> I Know You Rider” followed by an abstract take on “Playin’ In The Band. In Set II “He’s Gon” jams in a focused & medidative style before “Dark Star” hooks up for an ethereal and breezy take on the expansive jam vehicle. Elsewhere, “Cumberland Blues” rips unexpectedly, while “Attics Of my Life” offers the emotional resolution needed following a show like this. Steven and Rob focus on the impact of Europe & shows like Veneta on the band in 1972, and the transition they were about to go through as they moved into 1973 & 1974, two renowned years in Grateful Dead history. 36 from the Vault is production of Osiris Media. It is edited and 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. ---Join the 10 million who have tried Harry’s. Claim your special trial offer by going to HARRYS.COM/36FTV.Please check out Synlanwn at: https://www.synlawn.com/36ftv/Visit Section 119 at: Section119.com and enter the Promo Code: 36FROMTHEVAULTPlease visit Sunset Lake CBD at: sunsetlakecbd.com and enter the Promo Code: VAULT15---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick’s Picks Volume 12 in anticipation of our next episode which will drop on Monday, August 10. See acast.com/privacy for privacy and opt-out information.

This week's selection - a birthday request from a good friend of the Deadpod - takes us back to the last show of the June 1974 east/midwest tour which took place in Springfield Massachusetts on June 30, 1974. The first set, which we will hear this week, features some outstanding leads by both Jerry and Phil and a great song selection. Be patient during the opening number 'Don't Ease Me In' which is plagued by mix problems (as were most opening numbers in the Wall of Sound era), they clear up for a beautiful rendition of 'Black Throated Wind'. 'Peggy O' follows, a relatively new song, this is only its fifth performance. 'Greatest Story Ever Told' is a sizzler, as is 'Cumberland Blues'. The highlight of this set, if not the show, is the 'Playin' In The Band' > 'Uncle John's Band' > Playin' sandwich. As usual during this time they take things to unexplored spaces and it makes for a most wonderful time.          Grateful Dead Springfield Civic Center Arena Springfield, MA 6/30/74 - Sunday One     Don't Ease Me In [3:32] ; Black Throated Wind [6:44] ; Peggy-O [5:19] ; Jack Straw [4:41] ; Loser [6:16] ; Greatest Story Ever Told [5:40] ; Cumberland Blues [6:04] ; Dire Wolf [4:18] ; Playing In The Band [19:07] > Uncle John's Band [8:54] > Playing In The Band [6:07]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod061920.mp3   Thanks so much for listening and for your kind support!    'The black-throated wind keeps on pouring in And it speaks of a life that passes like dew'

A energized show from 49 years ago highlights this week's Deadpod, from Winterland on May 30, 1971. We only have a partial second set from this Sunday night show but its in fine quality and the band is in top form for this period. The recording starts with a partial 'I Know You Rider' and you immediately wish the entire show survived. A fine 'Sugar Magnolia' follows,  and then 'Cumberland Blues' rocks out. Pigpen makes himself known with a powerful 'Big Boss Man'. 'Me & My Uncle' and 'Deal' follow, displaying the usual energy they were played during this time. 'Truckin' brings a big response from the crowd, but it leads into the highlight of the evening, a 15 minute plus 'Turn On Your Lovelight' that is pure Pigpen at his peak. 'Uncle John's Band' follows and then 'Casey Jones' closes out the set. A very energetic 'Johnny B Goode' ends the evening at must be well past the 2:00 AM curfew that Bill Graham warns us about following 'Lovelight'.    This was released on a limited edition vinyl record store day release in November 2012. However this comes from the Charlie Miller tapes.    Grateful Dead Winterland Arena San Francisco, CA 5/30/71 - Sunday Two     (MISSING) China Cat Sunflower > I Know You Rider ; Sugar Magnolia ; Cumberland Blues ; Me And My Uncle ; Deal ; Truckin' > Turn On Your Love Light ; Uncle John's Band ; Casey Jones Encore     Johnny B. Goode      You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052920.mp3   Thanks so much for your kind support of the Deadpod   Be well - enjoy life!       

Welcome to Episode 44! Conrad Life Report is a podcast about life, including digital media, music, books, food, drink, New York City, and more. Episode 44 topics: Intro theme: none, mask-wearing in Brooklyn Bridge Park, exercise with masks, recording Cumberland Blues for the Barton Hills Choir, possible car buying, virtual DJEAD NIGHT 5/14, NYT The Daily podcast, JGB 9/16/89, Oliver remote schooling, art class, Fifth Business by Robertson Davies, outro music: none.

Set 1:BerthaMe And My UncleMr. CharlieYou Win AgainBlack Throated WindChinatown ShuffleLoserMe And Bobby McGeeCumberland BluesPlaying In The BandTennessee JedEl PasoBig Boss ManBeat It On Down The Lined2t02 -

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 New England during the Fall 1983 Tour.   Nineteen Eighty Th-roar is some folks favorite era of the band, and when you find a good show it is easy to see why.  This months show is a very good representation of what the band could do during this time period.  Cousin Darren from Scottsdale suggested this show, and once I gave it a listen we both decided it would require some deeper vetting... and once we did so, it was an obvious pick to share with you guys out there.  Cousin Darren sits in with us for this episode.  For our half-time show, "Bob" brought us some really fun JGB from the same era.   Good stuff here ladies and gents... Enjoy.  Share.  Smile. GRATEFUL DEAD   October 21, 1983   The Centrum   Worcester, MA  SET 1:   Music Never Stopped, Loser, CC Rider, Cumberland Blues, Cassidy, Ramble On Rose, My Brother Esau, Big Railroad Blues > Promised Land   HALFTIME:  Jerry Garcia Band  11/25/83    SET 2:  Scarlet Begonias > Fire on the Mountain, Uncle Johns Band > Playin' in the Band > Drums > Space > Truckin > Wharf Rat > I Need A Miracle > Touch of Grey   ENCORE:  Johnny B. Goode SOURCE:   Soundboard / Analog   (Bertha Re-Master) SPECIAL THANKS TO:  Cousin Darren from Scottsdale for sitting in with us, and for picking the show!

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

Happy Thanksgiving!    As always we present an acoustic performance from the Dead for your Thanksgiving listening and relaxing pleasure. This one is from June 4, 1970 at the Fillmore West in San Francisco California. A fine recording, with a minimum of flaws, I hope you enjoy this as I wish for you a peaceful and happy holiday.    Grateful Dead Fillmore West San Francisco, CA 6/4/70 - Thursday     Acoustic     Monkey & The Engineer  Deep Elem Blues  Candyman  Silver Threads And Golden Needle  Friend Of The Devil  Black Peter  Cumberland Blues  Wake Up Little Susie  Swing Low Sweet Chariot  Uncle John's Band    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod112819.mp3      This is a time to thank all of you for the allowing me the privilege of sharing this music with you each week.  Thanks for listening and your support.  May blessings of peace and health be showered on you and yours this coming year.   

  Dog days of summer? Nothing beats them like some good 'old Grateful Dead - and this somewhat overlooked classic from the summer of 1974 is sure to leave you smiling.. This comes to us from July 29th, 1974 at the Cap Center in Landover Maryland.  This first set contains some of the classics, of course, as well as some surprises, like the stand alone Scarlet Begonias and the beautiful 'To Lay Me Down'. The highlight here I think, is the wonderful 'Weather Report Suite ' - Garcia is on overdrive here :)   At any rate, I hope you enjoy this touch of sunshine and it helps your week glide on by..       Grateful Dead Capital Centre Landover , MD 7/29/74 - Monday One     The Promised Land ; Sugaree [6:43] ; Black Throated Wind [6:08] ; It Must Have Been The Roses [5:09] ; Cumberland Blues [5:38] ; Scarlet Begonias [6:52] ; Jack Straw [4:21] ; Deal [4:37] ; El Paso [3:58] ; To Lay Me Down [7:29] ; Weather Report Suite Prelude [1:21] > Weather Report Suite Part 1 [4:36] > Let It Grow [12:58]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod072619.mp3   My thanks to the kind folks who have been able to contribute to the Deadpod!        

This one's a keeper... a birthday request from Steve, a friend of the Deadpod, this comes to us from October 2nd, 1972, from Springfield MA. This is a fine recording from one of the high water marks of the band's history. This 14 song first set consists of well-played versions of many of their standards as well as some wonderful jamming and interplay - especially on 'Bird Song', 'Black Throated Wind' and the almost 21 minute 'Playin' In the Band'. Please excuse the short introduction - just had a cortisone shot in my hand and its still numb :(   Enjoy this beauty this summer weekend...   Grateful Dead Springfield Civic Center Arena Springfield, MA 10/2/72 - Monday   One   Cold Rain And Snow [#5:18] ; Mexicali Blues [3:17] ; Tennessee Jed [7:36] ; Beat It On Down The Line [3:16]  ; Bird Song [12:44] ; Black Throated Wind [6:#03] ; Big Railroad Blues [3:46] ; El Paso [4:18] ; Brown Eyed Women [4:43] ; Cumberland Blues [6:32] ; Jack Straw [4:39] ; Don't Ease Me In [3:30] ; Playing In The Band [20:#53] ; Casey Jones [6:24]   http://traffic.libsyn.com/deadshow/deadpod061419.mp3     Much love to the kind folks whose contributions make the Deadpod possible!  

Today we take a version excursion and hear some great renditions of some classic songs. We begin with a smoldering "Dazed and Confused" from Hannah Williams & The Affirmations, and then weave our way through more classic rock staples including a soulful take on "Midnight Rider" from Sharon Jones & The Dap-Kings, a super charged instrumental "Purple Haze" from The Link Quartet, and a powerful "Cumberland Blues" by Charles Bradley & The Menehan Street Band. From there the grooves continue with more familiar favorites like "Let's Dance" and "Night Fever" which, along with a few other nuggets lead us to the Ramsey Lewis Trio for their jazzy version of the War classic "Slippin' Into Darkness" while The Dynamics and their extra funky "Move On Up" bring us back full circle to the classic rock realm for War and their version of "A Day In The Life". 1. Dazed and Confused - Hannah Williams & The Affirmations 2. Midnight Rider - Sharon Jones & The Dap-Kings 3. Purple Haze - The Link Quartet 4. Seven Nation Army - The Dynamics 5. Heartbreaker - The Boogaloo Investigators 6. Cumberland Blues - Charles Bradley & The Menehan Street Band 7. Let's Dance - Grandmagneto 8. Uptight - Dojo Cuts 9. Slippin' Into Darkness - Ramsey Lewis Trio 10. Night Fever - Grandmagneto 11. Move On Up - The Dynamics 12. Chameleon - Taggy Matcher 13. A Day In The Life - War The DMZ can be heard live Tuesday's @ 5:00p ET only on radiofreebrooklyn.com

Winter Time is Good Ol' Grateful Dead Time!   I hope you're not sick of primal Dead, because in looking about for a show for this week I came across this set from January 17th, 1970 and decided that it tickled me in just the right spot so I'm going to share it this week. The boys are clicking and transitioning to new vistas and I love hearing them work out jams like Phil on this Cumberland Blues or the great 'Dark Star' jam here. Naturally hearing Pigpen in his prime is just another bonus, (although I've read the reason the organ sounds different is that it came from a nearby church *lol* not sure how true that one is).   It's not all peaches and creme, this 48 year old tape has some flaws, including the beginning of Dire Wolf and a cut in High Time. Most heartbreaking is the missing ending of Lovelight, but I do hope you enjoy what we have here - we are really lucky to be able to relive it!     Grateful Dead Gill Coliseum - Oregon State University Corvalis, OR 1/17/70 - Saturday One - 1:57:08 Dire Wolf [#3:26];[0:37] % China Cat Sunflower [#2:13] > Jam [2:55] > I Know You Rider [4:24];[0:29] ; Hard To Handle [5:00];[0:25] ; Cumberland Blues [4:49];[1:04] ; Me And My Uncle [3:04];[0:18] ; Black Peter [9:32];[1:10] ; Good Lovin' [1:40] > Drums [0:15] > Good Lovin' [5:44];[1:41] ; Mason's Children [4:49] > High Time [6:#31];[1:19] ; Dark Star [20:51] > Saint Stephen [6:48] > The Eleven [11:16] > Turn On Your Love Light [16:56#]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod011119.mp3   Stay warm .. and thanks for listening and for your kind support!  

This week we go back to the start of a legendary run that took place in the Spring of 1972, in New York City at the Academy of Music on March 21st. Off and on there are a few sonic problems with the tape - Garcia's vocals are buried in the opening 'Bertha' and there is a hum here and there, but overall well worth a listen. Garcia is on fire throughout and while some of the songs are still being developed the band is clearly evolving toward the Europe 72 sound you are probably very familiar with. Love the 'Playing In The Band' one of the first versions with some really out there jamming after the first verses. 'Looks like Rain' features Garcia on slide guitar and Pigpen is fabulous throughout. 'Cumberland Blues' is simply explosive.       Grateful Dead Academy of Music New York, NY 3/21/72 - Tuesday   One Bertha ; Black Throated Wind ; Sugaree ; Next Time You See Me ; Greatest Story Ever Told ; Loser ; Mr. Charlie ; Looks Like Rain ; Tennessee Jed ; Playing In The Band ; You Win Again ; Cumberland Blues ; Chinatown Shuffle ; El Paso ; Good Lovin' > Casey Jones   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod031618.mp3   Hope you enjoy this week's Deadpod. My thanks for your support!            

Here's hoping that this set of fine early Dead music will help warm  your bones in the middle of this cold cold January... We continue with the band's performance from January 16th, 1970 at Springer's Inn in Portland Oregon. While we start out with a Cumberland Blues that is a bit shortened, this tape more than make sup for it with early versions of classic songs that are delightful to me as I listen to their early development.  'Easy Wind' is a classic, as is the wonderful 'Dire Wolf'...   Because the set is a bit short, I've included a cut from a recently released set from one of my favorite bands, Joe Russo's Almost Dead.. this cover of Cream Puff War just seems to fit in perfectly here and I hope you enjoy it.. the rest of this wonderful set is available on archive.org..     Grateful Dead Springer's Inn Portland, OR 1/16/70 - Friday   part 2 Cumberland Blues [#4:13#] % Me And My Uncle [#2:52] > Dire Wolf [4:10];[1:00] ; Uncle John's Band [6:51];[0:45] ; Easy Wind [8:00];[2:15] ; Cryptical Envelopment [1:48] > Drums [0:49] > Space [0:59] > Drums [3:54] > The Other One [8:32] > Cryptical Envelopment [1:16] > Cosmic Charlie [6:#19];[0:12]   Joe Russo's Almost Dead Brooklyn Bowl, 12/29/2016 Cream Puff War     You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011918.mp3     thanks so much for your support!! 

This week's Deadpod features a rather historic show in the band's history - this was the very first show with Keith Godchaux, on October 19th, 1971 in Minneapolis Minnesota. Not only was this Keith's first show it features the premier of six songs that would all become staples in the band's repertoire, Tennessee Jed, Jack Straw, Mexicali Blues, Comes a Time, One More Saturday Night and Ramble On Rose. There's plenty of energy in this set, and the new tunes and the addition of Keith mark a turning point in the band's trajectory, as the sound begins its transition to the characteristic sound of 1972.   Its also a nice coincidence that I received an email this week from the author of a new blog, all about 'Comes A Time' .. it has a nice writeup about this show as well as other great versions. You can find it here: https://gotanemptycup.wordpress.com/, check it out!     Grateful Dead Northrup Auditorium Minneapolis, MN 10/19/71 - Tuesday One Bertha [5:46] ; Me And My Uncle [3:01] ; Sugaree [6:14] ; Beat It On Down The Line [3:29] ; Cumberland Blues [5:01] ; Tennessee Jed [5:59] ; Black Peter [8:43] ; Jack Straw [5:02] ; Big Railroad Blues [3:14] ; Brown Eyed Women [4:15] ; Mexicali Blues [3:22] ; Comes A Time [7:01] ; Playing In The Band [5:42] ; One More Saturday Night [4:22] ; Casey Jones [5:47]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod102017.mp3   for some reason the number of listeners seems to have gone down a bit lately.. if you have any suggestions please let me know!   have a great week and thank you for your support!!

As we approach what would have been Jerry Garcia's 75th birthday on Tuesday, I always struggle with finding the appropriate show to feature. I settled on a classic show from the summer of 1972 which showcases the band during one of their best periods. This comes to us from July 25th, 1972 at the Paramount Theater in Portland Oregon. It is surely not the 'best' show of this year, perhaps not even the best show of the run, but it is surely a good show; the band is listening to each other and playing together well. Jerry soars. This is a long first set (especially compared to later years). I hope you enjoy it as we take some time to reflect on what could have been.    Grateful Dead Paramount Theatre Portland, OR Date 7/25/72 - Tuesday One   The Promised Land [3:06] (1) ; Sugaree [7:06] ; (2) Me And My Uncle [2:53] ; Bird Song [8:49] ; Black Throated Wind [5:20] ; Cumberland Blues [5:05] ; Jack Straw [4:41] ; Big Railroad Blues [4:41] ; El Paso [4:36] (3) ; Tennessee Jed [7:20] ; Playing In The Band [13:24] ; Loser [6:36] ; (4) Beat It On Down The Line [3:09] ; Casey Jones [#5:27] (5)   (1) Weir: Why thank you. (2) Weir: We're gonna continue the show now with a song that made somebody famous. It goes something like this. (3) Weir: thank you. (4) 14 beats (5) Weir: We're gonna take a short break and we'll be back and we'll be playing for a while after that.      You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod072817.mp3     My sincere thanks to the kind folks able to support the Deadpod..    practice kindness :)       

This week's Deadpod is a request from Steve, a great friend of the Deadpod's, who wanted to hear this phenomenal show from March 24th, 1973 at the Philadelphia Spectrum. The first set clocks in at over 90 minutes and is an excellent example of the early 1973 sound, where the band is moving from towards a more jazzy fluid style and its reflected even here int he first set numbers although perhaps more so in next week's set 2. Too many highlights to list here, but of course there is 'The Race Is On', always  a great fvoirte, a nice version of Cumberland Blues. They do the precurssor to 'U.S. Blues', the 'Wave That Flag' here, and a great version of 'Here Comes Sunshine'. Billy is prominent throughout this mix and really drives the band. The band is playing with swagger and I am sure you'll enjoy this classic show from 1973.      The Spectrum, Philadelphia, PA (3/24/73) Bertha Beat it on Down the Line Don't Ease Me In The Race Is On Cumberland Blues Box of Rain Row Jimmy Jack Straw They Love Each Other Mexicali Blues Tennessee Jed Looks Like Rain Wave That Flag El Paso Here Comes Sunshine Me and Bobby McGee Loser Playing in the Band   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod071417.mp3   Thanks for your support!    Have a great week my friends, Happy (early) birthday Steve! 

This month on the Brokedown Podcast we take a look at the Grateful Dead's lyrical Americana. More an overview than a deep-dive, we're going to cover a fair bit of ground like a freight with a good signal and a head of steam. The music is broken into two sets of great live music, with discussion before and after each. So fire this up along with the backyard barbecue and have yourself a real good time. Set I Promised Land 1990-07-19, Brown Eyed Women 1974-03-23, Jack Straw 1987-04-06, Peggy-O 1977-09-03, Stars And Stripes Forever 1972-11-19, Me & My Uncle > Cumberland Blues 1989-07-17, Dire Wolf 1969-06-27, BT Wind 1974-03-23, Lazy River Road 1993-09-22, Music Never Stopped 1977-09-03 Set II Tennessee Jed 1982-10-10, Truckin’ > Nobody’s Fault But Mine Jam > The Other One > Drums > Jam > Weather Report Suite 1973-10-23, US Blues, Uncle John’s Band 1974-06-23 We hope you enjoy this fifth episode and tell a friend to check us out. Please follow us on Twitter: @BrokedownPod, or on Facebook and let us know your thoughts. You can also e-mail us at BrokedownPodATgmailDotcom.

This week's Deadpod features a really fine show and recording from April 21, 1971.. often overshadowed by the 'closing of the Filmore East' recordings which happened soon afterwards I am certain you'll enjoy the fire and energy on this recording. The highlights of this first set are numerous but I'm sure you're going to enjoy Drums with only Billy on the kit and Pigpen both on the 'Big Boss Man' and a classic 'Hard to Handle' love his harp!  Wharf Rat is superb as well, as is a personal favorite, the Cumberland Blues.    Grateful Dead Rhode Island Auditorium Providence, RI 4/21/71 - Wednesday   One   Casey Jones [5:13]  Mama Tried [2:33]  Big Boss Man [4:52]  Loser [6:27] Truckin' [7:48] >  Drums [4:16] >  The Other One [11:12] >  Wharf Rat [9:33]  Hard To Handle [8:52]  Cumberland Blues [4:29]  Bird Song [8:06]  Me And Bobby McGee [5:22]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042817.mp3   Your support keeps the Deadpod rolling out new episodes each week. Thank you!  

Merry Christmas .. Happy Hanukkah   This year's holiday edition of the Deadpod features one of the best acoustic performances of 1970. This takes place at the Fillmore East in New York City on September 20th, 1970. The acoustic set, which we present today, is not only a fine performance but also a fine recording. David Grisman plays mandolin on 'Friend of the Devil' and David Nelson joins with another mandolin on a slow soulful,  'Big Railroad Blues', both continue through Ripple. There is some speculation that Jerry plays piano on 'To Lay Me Down', clearly a wonderful highlight here. Nelson and Grisman are back with mandolins on a fine  Rosalie McFall, following a rare acoustic 'Truckin'. I love  'Cumberland Blues' here.. but then again I usually love this song.. Jerry plays an electic during 'New Speedway' but the vibe is very acoustic. 'Brokedown Palace' provides a fitting conclusion to the set..   Following, I decided to feature one more cut from Holly Bowling's beautiful work 'Better Left Unsung'.. this is 'Eyes of the World (Louieville KY 61874).. it speaks for itself..       Grateful Dead Fillmore East New York, NY 9/20/70 - Sunday   One - 1:02:46   Intro [0:03] ; Uncle John's Band [6:47] % Deep Elem Blues [5:51] % Friend Of The Devil [3:32] % Big Railroad Blues [3:14] % Dark Hollow [2:56] % Ripple [4:20] % To Lay Me Down [5:12] % Truckin' [5:35]%[0:12] ; Rosalie McFall [2:24] % Cumberland Blues [5:04] % New Speedway Boogie [9:31] % Brokedown Palace [5:13]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122316.mp3   My most sincere hope that all of my friends here have a very healthy and happy Holiday...   thanks for your support...........   the professor

As we head into December I decided to bring you one of the classic December '71 shows from the Felt Forum, Madison Square Garden, New York City, NY. This week's show comes from 12/7/71 ... While I featured the classic from 12/5 a few years back I think you'll enjoy this one as well. This is an early Keith show, but Pigpen is here as well and does a fine rendition of 'Run Rudolph, Run' to get you in that Holiday spirit :) While none of these songs may go off into extended jams I am certain you'll appreciate the musicianship they show in each and every one..       Grateful Dead Felt Forum - Madison Square Garden New York, NY 12/7/71 - Tuesday   One   Cold Rain And Snow ; Beat It On Down The Line ; Mr. Charlie ; Sugaree ; Jack Straw ; Next Time You See Me ; Tennessee Jed ; El Paso ; Brokedown Palace ; Run Rudolph Run ; You Win Again ; Cumberland Blues ; Casey Jones   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod120916.mp3   Finally I decided to play a wonderful piece from a brand new release that just came out from Holly Bowling. Enjoy her version of 'Unbroken Chain'.. her CD or Album is available from Royal Potato Family records here:   http://royalpotatofamily.com/product/holly-bowling-better-left-unsung/   or from Amazon   Thanks so much for your support of the Deadpod!!!        

Happy Halloween!   Always a favorite among Deadheads, while Halloween doesn't happen until Monday I thought it only appropriate to share one of the classic Halloween performances with you this week. This set is one of two the band played on Halloween, 1970 from the gym at the State  University of New  York at Stoney Brook. A fine show, as most are from this era, it starts with quite a rare treat - 'Till the Morning Comes' - sadly they don't do the very best with this, but  then we get a great 'Hard To Handle'. The China->Rider is especially enjoyable (although marred with a nasty cut at the end ). Some of the other highlights include an electric 'Dark Hollow', a nicely done 'Brokedown Palace' and the very last performance of 'Viola Lee Blues'. This is far from the best version of this, but it is interesting to see them go into 'Cumberland Blues' out of it.  This is raw Dead, not polished, not the best performance of this classic year, and probably not the best recording of this year that one can find, yet I think its great fun to hear and hope you do as well...      Grateful Dead University Gymnasium - State University of New York Stony Brook, NY 10/31/70a - Saturday   Early Show   Till The Morning Comes [3:24];[0:31] ; Hard To Handle [7:53];[0:45] ; Mama Tried [2:28];[0:35] ; China Cat Sunflower [2:55] > Jam [1:56] > I Know You Rider [3:11#] % Dire Wolf [3:47];[0:39] ; Cold Rain And Snow [6:06];[0:33] ; Me And My Uncle [3:19];[0:35] ; Dark Hollow [2:53];[0:41] ; Brokedown Palace [5:11];[0:29] ; Viola Lee Blues [9:00] > Cumberland Blues [4:16] > Uncle John's Band [5:48]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod102816.mp3   Have a fun and safe holiday!!      My heartfelt thanks to my friends whose contributions make the Deadpod possible!! 

Episode 036 - May 2016 Set 1Cold Rain and Snow (1971-02-21)Greatest Story Ever Told -> Johnny B. Goode (1971-02-18)Smokestack Lightning (1971-02-19)Hard To Handle[1] (1971-02-24)Bertha (1971-02-24)Loser (1971-02-23)Next Time You See Me[1] (1971-02-23)Cumberland Blues (1971-02-24)Candyman (1971-02-18)Easy Wind[1] (1971-02-19)I'm A King Bee (0197-02-21)Dark Star -> Wharf Rat -> Dark Star -> Me and My Uncle (1971-02-18)Truckin' -> Not Fade Away -> Goin' Down The Road Feelin' Bad -> Not Fade Away -> Turn On Your Love Light (1971-02-24)Morning Dew (1971-02-23)[1] Dead Fantasy Debut

This week's Deadpod features set 2 from the Dead's performance at the Easttown Theater in Detroit Michgan back on October 24th, 1971. A fine recording, this set starts with a nice Truckin', especially enjoyable is the jam just before the last verse. What sounds odd here is that the song simply stops... They take up 'Ramble On Rose'. It being  only the 5th time they had played the song, the phrasing and even some of the lyrics are still being developed.. It is quite interesting to hear. Mexicali Blues follows (following an unusually loquacious introduction), this is a pleasure for me to hear. The Dark Star follows, and what is interesting to me, aside from the inherent originality of the jamming, is how the piece shows its development here from its earlier, more primal performances, towards where it will develop during the European tour to follow next year. As was their wont during this time, 'Me & Bobby McGee' follows, perhaps not the smoothest version ever, but still enjoyable. The old 'yellow dog' story gets pulled out afterwards..before we're treated to a 'Cumberland Blues' and one of the final 'St. Stephen's played until the band brought it back in 1976. Johnny B. Goode once again ends a fine performance..   Grateful Dead Easttown Theatre Detroit, MI 10/24/71 - Sunday   Two   Truckin' [8:24] ; Ramble On Rose [6:10] ; Mexicali Blues [3:26] ; Dark Star [20:47] > Me And Bobby McGee [5:29] ; Cumberland Blues [4:58] ; Saint Stephen [5:37] > Johnny B. Goode [3:46]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091616.mp3   the Deadpod is made possible through the support of my kind listeners. thank you..    

Episode 005 - March 2015 Set 1Jack-A-RoeFriend of the DevilCandymanCasey JonesThe Race Is OnDon't Ease Me InBlack PeterMonkey And The EngineerCassidyMe and My UncleDeep Elem BluesCumberland BluesI've Been All Around This WorldGommorahChina DollRubin and CheriseKnockin' on Heaven's DoorSitting Here In LimboDark HollowDire WolfRun For The RosesTo Lay Me DownRippleBrokedown PalaceUncle John's Band

A request from one of my supporters, as well as the fact that this past week marked Pigpen's 70th birthday inspired this week's Deadpod selection from the Berkeley Community Theater on August 14th, 1971. This is a great tape that showcases the early versions of many classics like 'Sugaree' and 'Playin' In the Band' as well as some outstanding Pigpen performances. Highlights include the opening 'Bertha', 'El Paso' played nice and slowly, 'Big Railroad Blues' (a personal favorite), and of course Pigpen on 'Big Boss Man' and 'Hard To Handle'. I'm always a fan of this period of the Dead's history and of course it helps that there are such great sounding tapes that we are lucky enough to be able to enjoy.    Grateful Dead Berkeley Community Theatre Berkeley, CA 8/14/71 - Saturday   One Bertha [5:43] ; Me And My Uncle [3:09] ; Mr. Charlie [3:13] ; Sugaree [6:08] ; El Paso [5:03] ; Big Railroad Blues [3:26] ; Big Boss Man [4:58] ; Brokedown Palace [5:20] ; Playing In The Band [4:28] ; Hard To Handle [7:16] ; Cumberland Blues [5:29] ; Loser [6:31] ; The Promised Land [2:53]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091115.mp3   My sincere thanks to all of you whose support helps to keep the Deadpod alive...    Be kind.   

Our day after Thanksgiving Deadpod takes us way back to a famous date in Grateful Dead history - January 31st, 1970 - the day the band was 'set up like a bowling pin' down in New Orleans. Yes the boys were arrested earlier this day but played that same night the set that we are going to listen to this week. This show is quite odd, in that the first set is electric, the second is acoustic - mainly due to Phil blowing his amp at the end of set 1. This gives me a chance to present some great acoustic Dead - mainly Bob and Jerry but Pigpen puts in a *fabulous* Katie Mae. I know there are many of you out there you enjoy the acoustic sets around the holiday and I simply felt the first set was worth including here as it is quite interesting as well. The acoustic second set was of course soon after incorporated as the first set in the band's famous concerts in May of 1970...   Grateful Dead The Warehouse New Orleans, LA 1/31/70 - Saturday   One - 48:02 Intro [0:17] ; Cold Rain And Snow [5:30]; Mama Tried [2:41]; Dire Wolf [3:56]; Big Boss Man [4:47]; Morning Dew [10:09]; Mason's Children [6:#08]; Me And My Uncle [3:13]; Hard To Handle [6:31];   Two - 22:23 Tuning [0:30] ; Long Black Limousine [4:55]; Seasons Of My Heart [4:48]; Sawmill [2:51]; Bound In Memories (Old, Old House) [3:39]; The Race Is On [2:55];   Three - 35:25 Black Peter [7:13] > Little Sadie [3:24] > I've Been All Aroundnd This World [3:03]; Katie Mae [4:23]; Cumberland Blues [3:28];   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadshow112814.mp3     When I count my blessings I do not forget to include all of you - for showing me the love that keeps the Deadpod on the air.   Thank you.   I hope you and yours had a wonderful Thanksgiving, and enjoy the rest of the Thanksgiving weekend.    

This week's Deadpod takes us back to Dijon France for the second set of the band's amazing performance which took place back on 9/18/74. I have however, taken some liberties with this presentation however, as I omitted the first two songs of set 2, Loose Lucy and Big River, because the vocals in these two are hopelessly lost and cannot be heard. In place of those, I decided to include the 3 songs done as a soundcheck for this show - something titled  'Jerry's Space', as well as Cumberland Blues and Brokedown Palace. I'm not always a fan of soundchecks but I do think you'll enjoy these.  The remainder of the second set retains the audio clarity found in set 1, and while this set probably doesn't reach the musical heights of set 1 there is plenty here to enjoy.  The Eyes->China Doll->He's Gone->Truckin' is as all those titles read, quite pleasing, if not mind-blowing. The most interesting jam of the set probably comes out of drums, when Phil leads them in a most interesting Caution jam. Johnny B. Goode to close the set is quite unusual and shows that the boys thought it had been a good days' work, I think.          Grateful DeadSeptember 18th, 1974Parc des ExpositionsDijon, FranceWednesday   soundcheck:  Jerry's Space Cumberland Blues Brokedown Palace   from set 2:  Peggy-O Me and My Uncle Eyes of the World China Doll He's Gone Truckin' drums Caution Jam Ship of Fools Johnny B. Goode U.S. Blues   you can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091914.mp3       Finally, a quick fundraising word.. I've received several copies of the new Rhino/GD release: Wake Up To Find Out, the spectacular recording of the famous March 29th, 1990 show that featured the Dead's collaboration with jazz virtuoso Wynton Marsallis.  I'd love to send out a copy of this 3CD set to anyone who could support the Deadpod with a $50 donation.  Please consider clicking on our contribute button or drop me a note about how to receive this fine thank you gift for your support of the Deadpod! 

This week I'm bringing out a show that was requested quite a while ago.. just goes to show that you should always let me know what you hope to hear and be patient :) This is a fine show from a fine tour - the spring of 1982. This show happened to be the last one on the east coast leg of that tour and took place on April 19th, 1982 in Baltimore MD. The first set we'll hear tonight is emblematic of the band enjoying itself, having fun with each other and really putting out some great songs. They start out with a wonderful Jack Straw, They Love Each Other follows - listen for Brett's solo here, he really puts out some fine work throughout this set.. Bobby follows with a fun 'On The Road Again'. One of my favorites of this set is the fine 'It Must Have Been The Roses'.. which I will always stop and soak in.. The Cumberland Blues, as always is a great rockin' treat, and the Might As Well which closes the set is played in a most unique way.. Grateful Dead 4/19/1982 Baltimore Civic Center Baltimore, MD --Set 1-- Jack Straw They Love Each Other On The Road Again Peggy-O Cassidy It Must Have Been the Roses Little Red Rooster Cumberland Blues Man Smart (Woman Are Smarter) Might as Well You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod040414.mp3 Thanks so much for picking us up, and for your support.. I really appreciate it my friends..

This week's Deadpod had been on my list of requested shows for quite some time, and I'm really glad to have gotten to it this week. It comes from the Fall of 1983, a year that I think is often underestimated among Deadheads as I feel there are some very good shows that took place that year, and this is clearly one of them. This week we'll listen to the very good and unique first set. It opens with a wonderful version of 'The Music Never Stops' that makes me wonder why they didn't use this number as an opener more often.  Loser and CC Rider follow, both good versions, but they really get rockin' on the Cumberland Blues that comes next. True, the vocals aren't all that pristine, but they sure are having fun and Jerry is really going strong. A nice Cassidy follows, then a fun Ramble On Rose (even if I'm not a huge fan of Healy playing with the vocals)..who doesn't love this song? Next Weir shadowboxes the Apocalypse, but they end the set with a rousing Big Railroad Blues into a really well done Promised Land.. great first set..  Grateful Dead October 21, 1983 The Worcester Centrum Worcester, MA. --Set 1-- The Music Never Stopped Loser CC Rider Cumberland Blues Cassidy Ramble on Rose My Brother Esau Big Railroad Blues -> The Promised Land   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod092713.mp3   My thanks for listening, and for supporting the Deadpod.. we couldn't be here without you!

More '71 goodness this week as we get to dive into the second set of the Dead's performance on 8/26/71 at  Gaelic Park in the Bronx, New York, New York. This set has plenty to keep your interest including Weir singing 'I wish I was a  headlight..." in I Know You Rider, a smokin' hot Other One, a fine Uncle John's Band, and THEN we get to the conclusion.. a rockin' Saint Stephen->NFA->GDTRFB->NFA.. the Dead would play only one more St. Stephen in 1971 then put it away till 1976.. Pigpen is here too of course, and we have a chance to enjoy him on a great 'Next Time You See Me'... The Johnny B. Goode encore is always a mark of a show the boys had fun performing!  Grateful Dead  Gaelic Park, New York, New York  8/26/71 set 2 Me And My Uncle [3:00] ;China Cat Sunflower [4:58] >I Know You Rider [4:58] ;Deal [4:33] ;Cumberland Blues [5:07] ;Truckin' [8:31] >Drums [0:16] >The Other One [15:56#] ;Next Time You See Me ;Me And Bobby McGee [0:09#] ;Uncle John's Band [#5:54] ;Saint Stephen [5:26] >Not Fade Away [6:10] >Goin' Down The Road Feeling Bad [6:26] >Jam [1:30] >Not Fade Away [2:56] E: Johnny B Goode  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod092013.mp3 It's easy to contribute to the Deadpod! All you need to do  is click on the 'Donate' button on the upper right of the page.. or drop me a note about how you can send a check.. Thank you so much for your support!

My mind was moved to her yesterday when someone asked my favorite "Summertime" songs - of course I thought of the one and only Janis. I get requests for this show from time to time, I did broadcast part of this back in April of '06 but that Deadpod no longer exists on the archive, so I felt it was high time to bring it out again. Pigpen and Janis on Lovelight would be enough, but there are some other killer songs on this tape - Attics for one.. Of course this is surely not the entire show, and it does cut in on the China Cat.. still listen to Jerry and Bob on Not Fade Away, and that sublime Uncle John's to end this..... and think back to a summer long ago when the world was young...... Grateful Dead  July 16, 1970Euphoria Ballroom  San Rafael, CA Set 1-//China Cat Sunflower ->I Know You Rider ->CandymanTurn on Your Lovelight Casey Jones Attics of My Life  Cumberland Blues  Not Fade Away ->  Saint Stephen ->  Uncle John's Band  You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod062212.mp3">here:http://traffic.libsyn.com/deadshow/deadpod062212.mp3">http://traffic.libsyn.com/deadshow/deadpod062212.mp3 thank you so much for your kind support of the Deadpod..  

I usually try not to repeat the same year too often on the Deadpod, but I'm making an exception for this tape, which I just recently acquired. This is indeed another show from 1972, but it is so good that I wouldn't think of not sharing it with you.. This week we'll listen to the first set, which features some wonderful clean playing and a real treasure trove of the Dead catalog. I"m particulary fond of the Bird Song, and the Cumberland Blues.. but there is plenty to like in this first set: Grateful Dead - November 15, 1972Oklahoma City Music Hall - Oklahoma City, OKSet 1:BerthaBeat It On Down The LineBird SongJack StrawCandymanBig RiverSugareeEl PasoBox Of RainDealCumberland BluesAround And AroundChina Cat Sunflower ->I Know You Rider You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod120310.mp3 thanks for your support..   You can listen

Sometimes events happen that push me to pick out a show for the Deadpod that I hadn't been thinking about at all.. such happened this week - first the newest "Road Trips" Release - Nov. 15, 1971 from Austin Texas arrived in my mailbox - I don't often gush over these but this is a good one! At about the same time a series of new releases on the tape collecting scene from legendary collector Charlie Miller - including this beauty from a legendary night at the Fillmore East in New York City, April 27th 1971. While this night is best known for the second set we'll hear next week (when the boys are joined on stage by the Beach Boys) - this first set has some mighty fine playing on it - including what is arguably the best "Hard To Handle" you'll find..Grateful DeadApril 27, 1971Fillmore East, New York City, NYset 1:1. Truckin', 10:54 2. Mama Tried, 3:143. Bertha, 6:334. Things Won't Be The Same, 4:385. Cumberland Blues, 6:29 6. Bobby McGee, 6:257. Loser, 6:518. Hard To Handle, 9:539. China > Rider, 10:4410. Casey Jones,6:54 (end set)you can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod031910.mp3As always thanks for your support !

This week we get to listen to an exceptional piece previously unreleased music from 1971. This show, from the period when Keith Godchaux had first joined the band, is lively and very well played. I especially enjoy hearing the excellent cryptical->other one->cryptical->deal... Grateful DeadVenue Auditorium TheatreLocation Chicago, ILDate 10/22/71 - Friday Two Ramble On Rose ; Cumberland Blues ; Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment > Deal ; Sugar Magnolia ; Casey Jones > Johnny B. GoodeI hope this brings a smile to you as we leave behind us the twelfth anniversary of the loss of our beloved Jerry.. As always you can listen to this week's deadpod here: http://media.libsyn.com/media/deadshow/deadpod081007.mp3Be well friends and love one another....

One of my wonderful listeners wrote me to request this week's show and seeing as it is from the same great year for Dead music as the recently released Three from the Vault, I thought it would be a great listen for this week's deadpod. While I only have a portion of the show in good quality soundboard, I thought it was certainly worth sharing what I have. This show features a monster first set Dark Star as well as one of the all time great Not Fade Away->Goin' Down The Road Feelin' Bad->Not Fade Away jams. Grateful Dead Austin Municipal Auditorium Austin, TX 11/15/71 - MondayDark Star (1) [12:14] > El Paso [4:38] > Space [3:29] > Jam [3:59] ; Casey Jones [5:25] ;Ramble On Rose [5:56] ; Mexicali Blues [3:20] ; Brokedown Palace [5:13] ; Me And Bobby McGee [5:32] ; Cumberland Blues [5:18] ; Sugar Magnolia [6:54] ; You Win Again [2:18] ; Not Fade Away [3:57] > China Cat Sunflower Tease [0:37] > Jam [7:42] > Goin' Down The Road Feeling Bad [8:06] > Not Fade Away [3:05]You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod070607.mp3Enjoy and be well.. I always love hearing your comments and suggestions!

Happy Groundhog day! This week, an overlooked show that I think is quite fine.. from 1981, a very original setlist and some fine playing, I think you'll enjoy it.. It's also the start of our pledge drive on the radio station, so its time for me to ask you for your support for the podcast, and the radio show. If you'd see it in your heart (and budget) to make a donation to the show, I'd greatly appreciate it! You can contribute by simply clicking on the 'Make a donation' button on the right hand side of the blog.. thanks so much! Grateful Dead Compton Terrace Amphitheatre Tempe, AZ 8/30/81 - SundayOne Mississippi Half-Step Uptown Toodeloo [8:37] > Franklin's Tower [9:26] > New Minglewood Blues [6:43] ; Tennessee Jed [8:12] ; Mama Tried [2:39] > Mexicali Blues [4:24] ; It Must Have Been The Roses [#1:13] ; Beat It On Down The Line [3:07] ; Cumberland Blues [5:26] > Looks Like Rain [8:20] ; Might As Well [4:15]My thanks to Jeff Fishman for this show.. As always you can listen to the podcast here:http://www.libsyn.com/media/deadshow/deadpod020207.mp3thanks again!

Hello Friends! For some reason I always find that the shows from the European 72 tour sound especially good to my ears during the Winter. This week I decided to bring you part of a very nice show from Copenhagen Denmark from April 1972. I think you'll enjoy it - I know I always love having Pigpen in the mix.. Grateful Dead Tivolis Koncertsal København (Copenhagen), Dänemark (Denmark)4/14/72 - Friday Bertha [5:46] ; Mr. Charlie [3:35] ; You Win Again [3:35] ; Black Throated Wind [5:48] ; Chinatown Shuffle [2:34] ; Loser [6:12] ; Me And Bobby McGee [5:#40] ; Cumberland Blues [4:16] ; Playing In The Band [11:16] ; Tennessee Jed [7:13]As always you can listen to the podcast here:http://www.libsyn.com/media/deadshow/deadpod011907.mp3