Podcasts about down with disease

Here's an episode from our other podcast, the Helping Friendly Podcast, where the hosts choose their top 4 versions of Down With Disease. Enjoy! -- Thanks for joining us to talk about our top versions of Down With Disease. Our picks are below. Enjoy! Brian (official) 8/17/97 12/31/99 10/29/13 7/16/22 Megan 6/26/95 6/15/00 10/29/13 4/21/24 RJ 12/12/95 6/15/00 6/3/11 10/29/13 And vote on the 2001 Mt. Rushmore, which we'll be discussing in two weeks: ⁠⁠osirispod.com/rushmore⁠⁠ Please give us a call at (484) 416-0488 and leave us your thoughts and questions! And give us a review wherever you listen to podcasts.  The Helping Friendly Podcast is hosted and produced by Brian Brinkman, Megan Glionna, and RJ Bee. Original music by Amar Sastry. Brought to you by ⁠⁠Osiris Media⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Thanks for joining us to talk about our top versions of Down With Disease. Our picks are below. Enjoy! Brian (official) 8/17/97 12/31/99 10/29/13 7/16/22 Megan 6/26/95 6/15/00 10/29/13 4/21/24 RJ 12/12/95 6/15/00 6/3/11 10/29/13 And vote on the 2001 Mt. Rushmore, which we'll be discussing in two weeks: ⁠osirispod.com/rushmore⁠ Please give us a call at (484) 416-0488 and leave us your thoughts and questions! And give us a review wherever you listen to podcasts.  The Helping Friendly Podcast is hosted and produced by Brian Brinkman, Megan Glionna, and RJ Bee. Original music by Amar Sastry. Brought to you by ⁠Osiris Media⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Phil Lesh's Triumphant Return: A Musical Journey 25 Years Ago TodayLarry Mishkin provides a retrospective analysis of a significant musical event from April 15th, 1999, focusing on Phil Lesh's return to the stage after surgery, marking the first Phil and Friends show.  He discusses the lineup, including Trey Anastasio and Paige McConnell from Phish, and highlights their performance of various songs, notably "Viola Lee Blues" and "Hello Old Friend." The discussion also touches on recent music news, including the cancellation of the Skull and Roses festival and a tribute event for Jimmy Buffett featuring Paul McCartney and the Eagles. Additionally, it anticipates Fish's upcoming performances at the Las Vegas Sphere venue. Phil Lesh & FriendsApril 15, 1999 (25 years ago)Warfield Theater, S.F.Phil Lesh and Friends Live at Warfield Theater on 1999-04-15 : Free Download, Borrow, and Streaming : Internet Archive Lineup:Phil Lesh - BassSteve Kimock - GuitarsJohn Molo - DrumsTrey Anastasio - GuitarPage McConnell – Keys  INTRO:                      Hello Old Friend                                    Track # 1                                    0:10 – 1:47 25 years ago, Phil Lesh & Friends featuring guitarist Trey Anastasio and keyboardist Page McConnell of Phish kicked off their landmark three-night run at The Warfield in San Francisco on this date in 1999. Guitarist Steve Kimock and drummer John Molo rounded out the lineup of one of the most memorable collaborations the jam world has seen.This was the first ever performance of Phil & Friends and quite a memorable group of Friends to be playing with at a storied S.F. music venue.The shows also marked Lesh's return after undergoing liver transplant surgery at the age of 58 due to chronic hepatitis C infection. The April 15 concert kicked off with Phil and his sons Brian (??) And Grahame Lesh (12), backed by guitarist Steve Kimmock, in front of the curtain, performing Eric Clapton's “Hello Old Friend” as a fitting first song back for Phil. Both boys are strong musicians and Grahame, who graduated from Stanford in 2010 with a music degree, is a regular touring member of Phil and Friends in addition to playing with his own band, Midnight North.Phil Lesh's surgery took place at the Mayo Clinic in Jacksonville, Florida on December 17, 1998, barely 4 months earlier. Lesh, who was 58 at the time, had been suffering from internal bleeding caused by hepatitis C, which he was diagnosed with in 1992. He received the liver of a young man named Cody and his since started encores of his concerts by preaching the importance of becoming an organ donor."Hello Old Friend" is a country rock song, written and recorded by the British rock musician Eric Clapton. The track was released in October 1976 as the first of two singles from Clapton's 1976 studio album entitled No Reason to Cry. the AllMusic critic William Ruhlmann notes, "Hello Old Friend" is the best pop/rock song on the album. He goes on describe the title as a "identifiable" Clapton piece of music.[2]Rolling Stone journalist Dave Marsh called the song "a whimsical and silly slice of attempted innocence".[3]Billboard said that it has a reggae feel similar to that of "I Shot the Sheriff."[4]Record World called it "a midtempo number constructed around a network of acoustic and slide guitars.” The Grateful Dead never played the song in concert.   The five-piece then showed off its firepower with a 34-minute “Viola Lee Blues.”  SHOW No. 1:           Viola Lee Blues                                    Track # 2                                    31:30 – 33:01 In a 1999 interview with Jambands.com, Lesh revealed that it was Anastasio's idea to do “Viola Lee” and talked about how he started listening to Phish and also how the collaboration came about. Read an excerpt below:“[Phish's music]…was absolutely entrancing, it was just gorgeous…but I couldn't hear the piano well on the live tapes, so I went back to the CD's and started listening to Page and what he was doing, and so I said “Well…” and my wife said “Come on, Come on, give them a call.” Somehow I got their phone numbers, and I gave them both a call. We talked about it, and they said we'd love to do it, and so we set a date, and we started calling back and forth, and like I said earlier they brought in a dozen Grateful Dead tunes I never would have thought of doing, but they wanted to [do] them. And we got together at rehearsal and the first thing we did together was “Viola Lee Blues,” and from there on out it was like now let's do this one, and let's do this one. It was real rehearsal in the sense that the Grateful Dead rarely was. Grateful Dead rehearsals were kind of comical. We believed in public rehearsals.” A long time favorite of Phil's, he picked it as one of the live tunes for the GD album, Fallout From The Phil Zone – a collection of some of Phil's favorite live tracks of various Dead tunes released on June 17, 1997.  In the liner notes he said this of the song: “The definitive early Grateful Dead jammin' tune, the first one we ever really stretched out beyond all recognition, by using what we called then “shifting gears” – which is really nothing but a twenty minute accelerando, influenced by the North Indian music that we were listening to a lot at that time.” Played only 44 times by the BandFirst:  March 19, 1966 at Carthay Studios, Los Angeles, CA,Last:  October 31, 1970 at Stony Brook Gymnasium in Stony Brook, NY Also played June 27, 2015 at Levi's Stadium, Santa Clara, CA, USA  50th Anniversary shows MUSIC NEWS:Skull and Roses called off, no refunds After the exploratory, bar-setting, “Viola Lee,” the quintet would run through more material from the Dead canon with Trey and Page harmonizing on “Big Railroad Blues,” Phil singing “Jack-a-Roe” and Phil, Trey and Page harmonizing on “Cosmic Charley”   SHOW No. 2:           Cosmic Charlie                                    Track #5                                    3:25 – 5:12 Old Time Music and Hope Barnett: Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other. The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band's songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness. The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence. While “Cosmic Charlie” was never released as a single and did not enjoy mainstream success, it holds a special place in the Grateful Dead's discography and the hearts of their fans. Its eclectic and unique style showcased the band's experimental tendencies and cemented their reputation as pioneers of the psychedelic rock genre. Love hearing Trey and Page singing along on this old timey Dead gem. Played 45 times by the Dead (38 in 1969 and 1970, 1 in 1971 and, inexplicably, 6 in 1976.First: January 17, 1969 at Robertson Gymnasium, University of California Santa Barbara Campus, CA, USALast: September 25, 1976 at Capital Centre, Landover, MD, USA 1984 Deadheads would pass around a petition asking the band to play the song again and also pass out cards before the show with the lyrics just in case they played it. Finally, for the Phish fans in the crowded Warfield, the first Phish tune of the run (and only one that night), “Wolfman's Brother.” SHOW No. 3:           Wolfman's Brother                                    Track # 6                                    1:30 – 2:58 On this one, writing credit goes to the entire band plus long time Phish lyricist, Tom Marshall.Released on Hoist (stylized as (HOIST)) is the fifth studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records. At the time of its release, Hoist was Phish's best selling album to date, peaking at No. 34 on the Billboard 200 albums chart. The album was certified gold by the RIAA on August 19, 1996, and remains the band's best-selling studio release, outsold in their discography only by the platinum-certified A Live One.Old Time Music:  Mike WellsMusic has a unique way of connecting with our emotions, memories, and experiences. It has the power to transport us to a different time and place, evoking feelings we may have long forgotten. One song that has always resonated deeply with me is “Wolfman's Brother” by Phish. This track, featured in their 1994 album “Hoist,” holds a special meaning and significance for both the band and their dedicated fanbase. the lyrics of “Wolfman's Brother” have a universal appeal. They invite listeners to reflect upon their own encounters with enigmatic figures or forces that have left a lasting impact. It encourages us to confront the demons that haunt us and search for understanding and resolution.Listening to “Wolfman's Brother” live is an entirely different experience. The band's extended jams and improvisations add a new layer of depth and intensity to the song. It becomes a collective experience, with the audience joining in as the lyrics are chanted by thousands of voices.Phil spoke with Jambands.com about wadding into the Phish catalog:I had thought maybe we would do this tune or that tune, and in the end, we only ended up doing one tune that I thought we would do, and that was “Prince Caspian,” and then they brought up those other three, “Wolfman's Brother,” which I had never heard, and “Down With Disease” and “Chalkdust Torture,” which I hadn't heard either until we played them at the rehearsal, and then I went and got the CD's and checked them out. But then I started listening to their other stuff, their other stuff is real interesting, but you can tell by listening to that that they need their forty hour weeks, because they really need to get that shit down. Never played by the Dead. MJ NEWS – One Toke Over The Line!!!  STRAINS: Strawberry Shortcake – a wonderful nighttime indica strain that that has a tart strawberry taste and leaves you with a good face melt and some couch lock.  Wait until you get home before diving in.  No great if you are with a group of people who are looking for your active participation in whatever they are doing!  But wonderful to relax and get ready for a good night's sleep. Blue Dream – every now and then I swing back to one of the all time greats.  Nice for daytime and early evening use.  Just have to be sure that whatever they are calling Blue Dream is really Blue Dream.  It does have a fairly distinctive taste and smell so if you are familiar with the strain, you should be able to tell if you have the real stuff. Tang – a wonderful sativa that is energetic without providing the standard “sativa crash” as it wears off.  Also nice because of it's ability to “cut through” any buzz you may already have and provide a new uplifting effect. After a first set-closing “Uncle John's Band,” the second frame got underway with Lesh leading on “Alabama Getaway” and “Sugaree,” the latter of which featured the band taking things out again and stretching the song to over 20 minutes. Phil once again stepped to the mic for a cover of the Bob Dylan classic “Like A Rolling Stone” that saw Trey and Page joining him on the chorus – I love that tune, the first Phil & Friends show I ever saw, featuring the Quintet, at the Riviera Theater in Chicago with good buddy Jimmy they opened with a 15 minute version of this tune into a 30 minutes cover of Low Spark of High Heeled Boys, just too many other good tunes from this show -  and led into a spirited “I Know You Rider.” Anastasio then fronted the quintet on a sweet version of “Row Jimmy”   SHOW No. 4:           Row Jimmy                                 Track #12                                   2:10 – 3:55 Garcia/Huner tune, Wake of the Flood is the sixth studio album (and tenth album overall) by the rock band the Grateful Dead. Released on October 15, 1973, it was the first album on the band's own Grateful Dead Recordslabel. Their first studio album in nearly three years, it was also the first without founding member Ron "Pigpen" McKernan, who had recently died. His absence and keyboardist Keith Godchaux's penchants for bebop and modal jazz (rather than McKernan's tendencies toward the blues and rhythm and blues) contributed to the band's musical evolution. Godchaux's wife, vocalist Donna Jean Godchaux, also joined the group and appears on the album.[8]The release fared better on the pop charts than their previous studio album (1970's American Beauty), reaching No. 18. After three live albums in a row, the Grateful Dead wanted to record studio versions of songs written since Keith Godchaux had joined the band. At the time of recording, five of the songs on the album (and part of a 6th) had been in live rotation for up to a year and a half, as arrangements were road-tested and finalized. Referring to this period, bassist Phil Lesh explained, "We'd learned to break in the material at shows (under fire, as it were), rather than try to work it out at rehearsals, or in the studio at tremendous expense." Describing Godchaux's influence, drummer Bill Kreutzmann characterized the album as "Keith's coming out party." Remarking on the evolution in style, he remembered:Jerry brought "Row Jimmy" into us one day, and it was really difficult to get a grip on it at first.     It has a slow tempo, which makes it seem like it would be easy, but it calls for a slight reggae groove layered over a ballad. Rhythmically, the lengths aren't traditional. They're not just twos and fours. It's deceiving. Basically, you have to play the song in half-time with a double-time bounce on top. It's trickier than it sounds. But once I locked into it, "Row Jimmy" became one of the best songs in our repertoire. Played 274 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA, a show we featured earlier this year.Last: June 21, 1991 at Knickerbocker Arena in Albany Cannot say enough about Trey's strong vocals on this tune.  This is 16 years before the 50th reunion shows where Trey would play lead guitar for all five shows (2 in Santa Clara and 3 at Soldier Field).  And at this point, Phish had only covered one Dead tune in concert:  Terraping Station on August 9, 1998 at the Virginia Beach Amphitheater on the third anniversary of Jerry's death.  Since that point, it is still the only time Phish has covered a Dead tune in concert.  Why only that one?  Who knows.  Trey is certainly more than qualified to cover any Dead tune and the other guys have all played with various Dead members from time to time.  One of the great mysteries of the Phish world (at least for me). This was followed by a crowd-pleasing “Shakedown Street” which saw the band stretching their legs once again for a nearly 20-minute excursion. Next, “The Wheel” led into a 15 minute version of the classic closer “Not Fadeaway” to bring set two to a conclusion. After Phil's donor rap and band intros, Phil & Phriends closed out Night One of the run with Phil singing lead Dylan's “Mr. Tambourine Man,” which they did in the style of The Byrds.   OUTRO:                    Mr. Tambourine Man                                    Track #18                                    0:00 – 1:28 Leave you with one of my favorite Bob Dylan tunes. "Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.The song has been performed and recorded by many artists, including the Byrds, Judy Collins, Melanie, Odetta, and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song. The song has been in Dylan's live concert repertoire since it was written,[10] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964. Great version, again with Trey and Page joining in.  I think Phil surprised them with pace of the tune right at the start, but everyone catches up and it's a fun song to hear in concert.  Great way to close out night 1 of this 3 night return to the stage run for Phil.  Best part is that 25 years later he is still going strong at 84! Phil and Friends have covered it 6 timesFirst:  at this show!Most recent:  October 5, 2000 at Orpheum Theatre, Boston, MA, USA  (doesn't seem correct to me because I'm fairly certain I've seen Phil perform this live since 2000, but so far cannot seem to come up with the place, date or folks he was playing with.  Happens sometimes! Finally, this show marks the first instance of Phil's famed “Donor Rap” that precedes the encores of all of his shows .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

Intro song: Punch You In the Eye (N1 SPAC)5. Fuego (N4 Dick's)4. Sand (N1 SPAC)3. Piper (N3 Dick's)2. Split Open and Melt (N2 Dick's)1. Golden Age (N2 SPAC)Honorable Mentions:N1 SPAC: Rock & Roll and Chalk Dust TortureN2 SPAC: First Tube and PossumN1 Dick's: Carini and TweezerN2 Dick's: Wolfman's Brother and Bathtub GinN3 Dick's: Fluffhead and Run Like an AntelopeN4 Dick's: Down With Disease and 2001Outro song: Tweezer Reprise (N4 Dick's)

For this episode of We Move Through Stormy Weather, I am honoured and excited to be joined by Marc Brownstein! Marc is a founding member and bassist for the Disco Biscuits, Star Kitchen, and Electron. He is also the co-founder of HeadCount, the pre-eminent voter registration organization in the music world, and Lively, a platform that connects artists and their fans with direct engagement. He lives in Philadelphia with his wife and three kids. Listen in as we break down our favourite versions of Down with Disease, how the Biscuits approach improvisation, and more! Hosted on Acast. See acast.com/privacy for more information.

As the culmination of this season's content, we provide instruction in compassion meditation, known as tong-len.  It's the practical means to the realization of all the enlightened qualities we've discussed, and we've paired it with  Down With Disease from Hershey, PA on 12/1/95  and Madison Square Garden on 12/29/97.Support the show

Hi everybody and welcome to this week's episode of Attendance Bias. I am your host, Brian Weinstein. In the film Almost Famous, which I'm guessing is a favorite among many Phish fans, there's a scene toward the very beginning where the hero's older sister leaves home and secretly donates her extensive record collection to her younger brother. He sorts through them, settling on The Who's Tommy and plays “Sparks.” That scene is the literal transition from the character being an immature young wallflower, into a young man with solid musical tastes and a sure sense of what he was put on earth to do. While today's guest is not Cameron Crowe, that scene from my favorite movie came to mind more than once as we spoke. Today's guest is AJ Masko, and he chose to speak about Phish's performance of Down With Disease into While My Guitar Gently Weeps from July 15, 2000 at the Polaris Amphitheater. AJ was not exactly brand new to Phish, but he was still in his honeymoon period where every new discovery from the band takes you back to your classic rock phase that you cherished and loved for so many years. If you have no idea what I'm talking about, then don't worry; you'll still be able to appreciate today's conversation.On top of that, AJ also captures the feeling of late-1.0; the layered ambient music, the exploding population of the scene, the dangers at the edges, and the post-Cypress glow of the entire Phish experience. Even though we didn't see many of the same shows or tours, AJ and I had similar Phish feelings around the time of Y2K, and this conversation was a true pleasure.So let's join AJ to talk about 11-minute jams, the need for more late 1.0 soundboards, and godlike ferris wheels, as we discuss  Down with Disease into While My Guitar Gently Weeps from July 15, 2000 at The Polaris Amphitheater.

This week's guest is Tim Bangert! After a few failed attempts by some friends to get Phish to stick in Tim's ears he finally took the plunge and went to The Great Went, and the rest is history! After The Great Went, the majority of Tim's Phish shows fell into the years of '98 & '99. We talked about Tim's First show experience, some of his favorite jams, the songs he is chasing, and what member of Phish he would most like to meet. To be featured on a future episode, shoot an email to sttf.weareeverywhere@gmail.com Tim summed up his trip to The Great Went in an essay that you can read below.   How did I end up in Limestone, Maine, in August of 1997 to see a band in which I had relatively little interest? I will start the tale of my first Phish show a few years prior to that. I did know a little of the band and had a few friends loan me their music telling me how great they were, but even with all the music I chased down in used music stores and played on a weekly college radio shows, Phish was a barely part of it. The first time I recall hearing the name of the band was in 1992 in a local radio ad for a Santana concert. Funny story there is that the announcer said, “with special guest Phish,” over Santana's “All I Ever Wanted.” I only knew the few Santana songs in K-SHE 95's rotation (“Black Magic Woman,” “Oye Como Va”), so my brain immediately associated “All I Ever Wanted” with Phish. Thinking about it, that might be a fun cover for Phish to play. Phish obviously wasn't getting played on local commercial stations in St. Louis, so that was that. The following winter in college a guy named Joe who lived across the hall from me told me I had to listen to Phish. He handed me a copy of A Picture of Nectar. I am not certain how much of it I listened to, but I think I thought it was too goofy and underproduced as it jumped from the manic “Llama” to gentle “Eliza” and so on. I still think it's goofy and underproduced but in a much more endearing way. A short while later my cousin came to visit me at school. She was a senior in high school and brought a copy of Junta along. I remember hearing “Fee” and once again thinking what a goofy band this was. Why were people recommending them to me? What was I missing here? Later that year she made me a mix tape that include The Mango Song. A strange one to hand anyone to say, hey, listen to this band! Somehow it wound its daft way into my brain with every listen. I think I thought the piano had a bit of Vince Guaraldi's sound from all the Charlie Brown specials. In the fall of 1994, a fellow RA named Matt asks me if I play any music by Phish on my weekly college radio show. I tell him I had heard a bit, but they never did it for me. He hands me a copy of the just-released Hoist and says to give it another shot. I immediately liked the opening track “Julius” and played it on my show. I recall liking “Down with Disease,” “Sample in a Jar,” and possibly “Wolfman's Brother” enough that I dubbed the whole thing and had it on a steady rotation in my car's cassette deck. There were a few songs I always skipped past. “Lifeboy,” “Dog Faced Boy,” and “Demand” come to mind. I'm still not big on them and oddly enough they are the three that I have never seen live (“Riker's Mailbox” and “Yerushalayim Shel Zahav” notwithstanding). Jump ahead to spring of 1996 and Andy Rosenhack, who worked in the dorms with me and showed me how to run the board and queue up songs at WRBU, returned to Peoria for Senior Walk (that's a whole different story). We were out to lunch with a group of friends and he starts telling me about going to see Phish and how great it was. His first show was the 12/7/95 Niagara Falls show. He was also talking a lot about seeing DMB and how great they were, which I think steered the conversation because by that point DMB was pretty big on the radio. I'm pretty sure I was evangelizing for Wilco around that point in time, which seemed pretty not-Phish. That summer I moved out to Colorado for a short time. Phish was in the news, as their four-night stand at Red Rocks was marred by the weird clashes taking place in Morrison by fans unable to get tickets to the shows. I was nowhere near it and Phish still was not really on my radar. I moved back to Illinois in early 1997, bounced around looking for work, and ended up with a contract job in the suburbs of Chicago. It was a pretty dreary time and I was looking for a way to get out of the rut that was surely forming in the 8-to-5 world of I.T. Andy contacts me and says I should come see Phish with him. Where are they playing? Why, in Maine! It's a festival! I tell him sure, why not. I've been at my job a few months and deserve some time off, right? He sent me two 90-minute cassettes to prep me for the show. The first was set 2 of the first night of the Clifford Ball 1. It's an interesting set covering a wide range of styles. The second tape was a doozy that probably made me say “What the hell is this?” It was the Bomb Factory Tweezerfest set. Really, is that what you hand somebody when you want them to listen to live Phish for the first time? It was out there. We wrangled another college friend Bill Korbecki to come along for the road trip. Bill lived near Chicago, so I had company for the drive to Rochester. If I recall correctly, we drove the northern route through Detroit and Niagara to get to Andy's place in Rochester, New York. Ah, for the days when crossing into and out of Canada didn't require a passport or a lot of suspicion. We didn't head straight up to the show, though. Andy was working as a day camp counselor that summer. Bill and I tagged along to help out, as they were making tie-dye t-shirts that day. I made mine out of a Sugar 1994 Tour shirt 2. That evening Bill and I hung out at Andy's place because he had tickets to take his girlfriend to see James Taylor. When he returned from the JT show we took off for Maine. It couldn't be that far, right? It's just getting to Massachusetts and then through a sliver of New Hampshire. Ha. Little did I realize how remote this concert would be. The route couldn't be easier. Take I-90 east until it hits I-95 outside Boston. Head north on I-95 until the final exit before New Brunswick. Hop off and go north on US-1 and follow the traffic jam to the decommissioned Loring Air Force Base. I remember hearing on the radio local kids in Arastook County were out of school for potato harvest. The residents in the area were curious about the parade of cars winding northward, but they were gracious nonetheless. Getting to the lot the morning of the show we were parked far back on the right side of the runway. The scale of it was overwhelming. Where the heck was the stage? Attempting to piece together the first day of music here. The walk to the concert grounds was far but did not feel that way. Too many interesting people and too much interesting merchandise being hawked. I don't remember much of the festival area. Andy did paint on one of the wooden planks flanking the area. Those planks would become part of the sculpture that evolved on the scaffolding to the right of the stage. I think Andy met Page in that time, too. I had no clue who any of the band were. 1 Split Open and Melt, Sparkle, Free, The Squirming Coil, Waste, Talk, Train Song, Strange Design, Hello My Baby, Mikes Song, Simple, Contact & Weekapaug Groove. 2 I can't believe I did that. My apologies to Bob Mould. The show started late that afternoon. “Makisupa Policeman” holds the honor of the first live song I saw Phish play. Keyword? “Goo balls.” Me being the neophyte I am, I thought Trey said “blue balls.” Ha. I had no idea the significance of the partial “Harpua” that followed. That day warped me for how long an opening set should be at around 100 minutes. I later learned listening to the tapes that the first few songs were a de facto soundcheck. Looking back it's strange to think I got a daytime YEM (it's hard to think of it without the lights) and a beautiful solo to end “Squirming Coil.” Page's words after his bow? “Stick around.” I knew only two songs they played that day. “Wolfman's Brother” to open the second set and “Julius” to close it out. That helped keep things familiar for me. I was worn out late in the third set and told the guys I would meet them back at the car, so I listened to the encore from afar. Not knowing much of anything, I obviously missed the late-night DJ set the band put on in the disco tent. The next morning was crisp and bright. Flyers had been circulating requesting participants for a mass photo shoot. The catch? It called for folks to doff their clothes. Anyone hearing this story would think I was the one who had to be dragged into such an event, but the opposite is the case. I told Bill and Andy that we should be in the photo. They thought I was bluffing and said if I was in, they'd be in, too. So sometime late that morning I led them to the staging area to sign waivers, drop our clothes near some bike racks, and parade out onto an empty stretch of runway in our birthday suits with 1,100 other people. It was not as nerve-wracking as I thought it might be. For our participation, we were supposed to be sent a copy of the photo, but unfortunately, I was bouncing between addresses at the time and mine never made it to me. Andy did receive his. The photo is rather morbid in my eyes. It's monochrome and looks like a thousand corpses lined up on pavement, which completely belies the festive atmosphere of the shoot. While I did not receive the poster, there is proof of me in one of the pictures in 1998's The Phish Book. Yep. My caveat for anyone seeing that page in the book is that northern Maine mornings are chilly. ;) We meandered about that day. I was amazed at all the vending taking place, though I was still too green to understand references to songs or other cultural touchstones. I did buy a lot shirt, though. It was tie-dye, had a Phish logo with Summer Tour 97 around it, and on the back a faux Maine license plate with GR8-WENT. It cost me $5 because it had some rips in the front and was the last of the vendor's lot. I don't think I ever wore it, but it's still stowed away too cherished to be thrown out. I remember much more of the second day of music. I loved the song “The Wedge” the moment they opened with it. Limestone blocks so large, indeed. After the set we wandered a bit for food and water. Getting back into the concert area we ended up about 20 to 25 rows back Page side. The place was buzzing as the night and cool air creeped in. One anomaly of this show that I did not realize was Fish not wearing his trademark donut dress. He was in jeans that weekend. For the second night he had on a fleece adorned winter hat. Trey also had on a warm striped beanie for the second set. They kicked off the set with “Down With Disease” which I knew from good old Hoist. The song raged on for twenty minutes and then dropped down to a simple little guitar and bass conversation between Trey and Mike, as Page and Fish stepped to two easels on the stage. We could see the two of them painting on shaped boards, similar to those Andy had painted on in the festival area. Trey played the chords of “Bathtub Gin” as Fish found his way back to the drum kit. The song was new to me, but it's so catchy. The cadence of lyrics at first reminded me of Bob Dylan's “Subterranean Homesick Blues” and of course was familiar with its Gershwin quotes throughout. Something clicked for me right then and there. Little did I know this would be one of the signature live jams of the band's career, but I did know something special was happening. It's a version that never loses steam and never grows stale on repeated listenings. There's a group on Facebook called “The Great Went Bathtub Gin Changed My Life.” I did not start the group, but I certainly understand why it was created. The song is 20 minutes of inspired playing and improvisation. As Gin wound down and melted into the quick bluegrass fix of “Uncle Pen,” we were only halfway through the set. The next 45 minutes would be just as inspired. The next song was just as familiar because Strauss' “Also Sprach Zarathustra” is embedded in the DNA of anyone alive after 2001: A Space Odyssey. More painting, this time Trey and Mike stepping to the easels while Fish and Page keep the jam going. What's up with all this painting, anyway? As 2001 fades into what becomes known as “Art Jam” on tapes, Trey tells us about creating art with the audience. The band's planks are crowd surfed over to the scaffolding where all the planks painted by festival-goers hang in one crazy pile. The spotlight is on the newly created sculpture as the band kicks into “Harry Hood.” Another new one for me, but it's a glorious swell. As “Hood” drops into the post “Thank you, Mr. Miner” jam, Trey asks Chris Kuroda to cut the lights because the moon is bright and the sculpture is growing in beauty with every passing second. With that, the air begins to fill with colored lights. A glowstick war breaks out. Without the usual concert lights to dampen things, the sticks take on an epic feel. The jam seems to rise and fall with the number in the air. It was exhilarating. I couldn't imagine being anywhere else. As “Hood” ended Trey tells the crowd to go get more of those things because they look amazing. 90 minutes had gone by in what seemed like 9. The crowd was floating. And we still had another set to go. Over the course of the second set the crowd grew more dense. We had nowhere to go between sets. I remember gallon jugs of water being passed around the crowd. I was so thankful for a few sips. It sustained me through the end of the show in an incredibly cramped space. The final set was not as epic, but introduced me to a few more facets of the band. I remember each song, but specifics of only a few. We were still pinned in with the crowd and hadn't had a chance to sit down in hours (maybe we did? I remember standing the whole time). I'm sure a lot of people took “Dirt” to be a chance to rest after the intricate “Guyute,” but it hit me just right. Combined with the cold air, Trey's whistling and the simple guitar line were an emotional high point for me. The same goes with the set closing “Prince Caspian.” I was thrilled hearing “When the Circus Comes” as the encore, since I am a big fan of the old Los Lobos tune. I didn't realize its lyric “the day I burn this whole place down” would soon become a reality as they tore into “Tweezer Reprise.” A huge timber dressed up as a match was lit and tipped against the sculpture that an hour or two earlier we had been admiring during “Harry Hood.” The whole thing went up in an intense blaze as the encore raged. The crowd was going crazy. Wow. Is this what every Phish show is like? Maybe so, maybe not. One of the great things about the fest were all the folks vending from their vehicles. I was famished after the nighttime sets. As we strolled back up the runway I hear a voice singing out “15 ingredient veggie burritos!” A burrito sounded like it would be perfect, so we stopped to grab one. As the woman is wrapping one up I can't resist asking, “So, what are the 15 ingredients in this burrito?” Here's how Andy recalls her reply: “Rice, 5 kinds of beans, cilantro, cheese, cilantro, rice, cilantro, 5 kinds of beans, cheese, rice, and cilantro.” Ha! Who am I to question that? It was delicious. We took time to rest at the car and headed out of the base the next morning. Traffic was heavy, but moved pretty well. When we hopped on I-95 again one of the strangest things I've ever seen happened. Troopers were pulling cars over en masse. We were not among those targeted by the state patrol, but it was weird. The only other Maine thing we really did when we were up that way was a stop at the L.L. Bean flagship store. I bought a wool plaid cap that I recently passed on to my daughter. The rest of the ride back to Rochester I remember mainly for Andy introducing us to the music of Ani Difranco. As the rest of the year went along, I got a bit more into Phish, but really sought out Ani's stuff. Two completely different sounds, but artists who completely do things their own way. The drive to Chicago is a bit of a blur to me now. I'm guessing exhaustion was setting in and we were looking forward to getting home.  

Hi everybody and welcome to this week's episode of Attendance Bias. I am your host, Brian Weinstein. This week's guest is Clay Bird, who is the host of the “We Are Everywhere” Phish podcast. As you'll hear Clay explain, “We Are Everywhere” features Clay and a rotating lineup of guests talking about their Phish experiences, stories, and lives. “We Are Everywhere” and “Attendance Bias” share some of the same DNA, but they are very different shows. Soon after Clay posted his first “We Are Everywhere” episode, I gave it a listen and enjoyed it very much. I immediately reached out to him to see if he would be down to have us guest on each other's shows. He was down, and within weeks, I was a guest on episode four and we had an engaging, enlightening, and plain old fun long-form conversation about Phish. It was fun being the guest for once! When it was time for Clay to come on Attendance Bias, he chose “Chalkdust Torture” from June 3, 2011 at the DTE Energy Music Center in Clarkstown, MI… a venue name that continually gives me fits when I try to say it. I don't know why! During a year when very few shows and jams seem to stand out in the long run, Clay pulled a diamond in the rough and opened my eyes to this excellent version of Phish's long-running jam vehicle. So let's join Clay to talk about Detroit geography, what this “Down with Disease” has in common with “Waves,” and where to find missing ticket stubs as we discuss Phish's performance of “Down with Disease” from June 3, 2011 at the DTE Energy Music Center in Clarkston, Michigan.Audio used in this episode"We are Everywhere" podcast

Today we talk about albums or songs that transport us back in time. Those moments that are imprinted in our minds with a musical backdrop.  Songs sampled:ELO – “Night In The City” from Out Of The Blue (1977)Phish – “Down With Disease” from Hoist (1994)The Ramones – “I Wanna Be Sedated” from Road To Ruin (1978)Kraftwerk – “The Robots” from The Man Machine (1978)Tesla – “Flight To Nowhere” from Great Radio Controversy (1989)Kix – “Lie Like A Rug” from Midnight Dynamite (1985)David Lee Roth – “Yankee Rose” from Eat Em And Smile (1986)The Dream Academy – “Life In A Northern Town” from The Dream Academy (1985)The B-52's – “Love Shack” from Cosmic Thing (1989)Def Leppard – “Pour Some Sugar On Me” from Hysteria (1987)Pink Floyd – “Us & Them” from Dark Side Of The Moon (1973)U2 – “Love Is Blindness” from Achtung Baby (1991)Dire Straits – “On Every Street” from On Every Street (1991)Maurice Jarre – “Main Title” from Doctor Zhivago (1965)Chris Cornell – “Seasons” from Singles: Original Motion Picture Soundtrack (1992)New Order – “Bizarre Love Triangle” from Substance (1987)White Lion – “Radar Love” from Big Game (1989)Support the show (https://www.patreon.com/SchizoMusic)

At the height of late 1.0 popularity, Phish heads to Japan in June 2000 to play clubs instead of arenas, amphitheaters, and swamps. 6-16-2000 in Osaka is my 3rd favorite of the 7 gigs they played, and illustrates the band's focus on quiet interplay, subtlety, and cooperative improvisation. Jams from Limb By Limb, Reba, Runaway Jim, Theme From the Bottom, Slave to the Traffic Light, and Harry Hood are included in this episode. Listen to the full show at phish.in and read the set list and reviews at Phish.net. The other big Japan 2000 jams I mention in this episode are the 6-9-2000 Tweezer, the 6-15-2000 Down With Disease, the 6-10-2000 Down With Disease and Piper, and literally all of 6-14-2000.

Welcome to the seventh mini-episode of Attendance Bias! Mini-episodes feature a breakdown of a single song or jam from a show that I’ve attended. I’ll pick a song or jam for any given reason—it was the highlight of the show, it meant something special to me, it's widely renown--who knows? Mini-episodes are posted on a bi-weekly basis in between full episodes of Attendance Bias, when a guest and I will go over a full Phish show.Today's episode focuses on "Down with Disease," played on 2/21/03 at the U.S. Bank Arena in Cincinnati, Ohio. This show was the first of two nights in Cincinnati, and my first shows back from the band's hiatus. It was a cold, windy, rainy weekend in Cincy and my first time seeing Phish in the midwest. I was excited to get back into the groove of Phish shows, and even moreso by going on a roadtrip from college in Buffalo. My roommate and I went to both nights in the Blue Chip City, and the run has only grown in stature since 2003. Most people agree that the next night, 2/22, is musically superior to the first night, but I tend to enjoy night one better. The jams may not have been superior but it was more of a straight-up rock show, which I like. This "DwD" is from the first set of night 1, and has a big jam that would be my introduction to the 2.0 sound. Phish was on fire during this "comeback" tour, and great jams were being thrown at us, left and right. Between the guitar theatrics, the "bliss" vibes, and the proto-electronica ending, this version of my most-heard song set the table for what I could expect at the best of times over the next year-and-a-half.AUD recording for this episode: Down with Disease, Cincy, 2003

Charlie and Jeff talk about how Trump's COVID-19 diagnosis is just the latest act in the nation's pandemic play. Economic Recovery Charts Larry Sharpe Returns to Fulton County

A quarantine-inspired episode. We've been here before. In fact, the similarities run much deeper than just a disease outbreak. The last time we had something like this, there was another Bernie Sanders-type guy running in Democratic circles, too.  But there were also some pretty glaring differences, too. Some of them involved a healthy bit of Marrow. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/jocoyo/message Support this podcast: https://anchor.fm/jocoyo/support

Andrew Livingston, Dr. Jahan Marcu, and Lewis Goldberg join host Kris Krane to talk about how the ongoing coronavirus pandemic is affecting the world and the legal marijuana industry. Produced by Shea Gunther.

Flock Talk Episode 49 coming at you just in time for Hulaween @ Suwanee. We preview the boys' set tonight as well as talk about past shows at Suwanee. Halloween is next week so don't forget to wear your costumes all three nights if that's your thing; the band is doing it, so should you! Finally we discuss the awesome King Kong music video and look back at the Boulder shows from last year. Pigeons' Songs Played: Wipe Out>Zydeko>Deejam>Once In A Lifetime>E-Funk>Down With Disease- 7-11-2013 8x10 Spacejam > The Hop > F.U. 2015​-​​6​-​​13 • Riverbend Festival • Chattanooga, TN

In Episode 049 we visit June 1994 - somehow our first 1994 jam - to discuss the underrated, forward-thinking Run Like An Antelope from June 24, 1994 at The Murat Theatre in Indianapolis, IN. A classic 1994 jam, this is equal parts experimental, indulgent, confident and arrogant. Here, the band displays their prescient playing, foreshadowing the creation of the song First Tube some five years before its debut. In addition, there is a full-on Down With Disease jam that fits the era perfectly.Songs featured in this episode are: Pavement: "Rattled By The Rush," Foals: "Inhaler," Vampire Weekend: "Diane Young," and Art Blakey: "Free For All"In addition, we discuss two new 2018 records we highly recommend: Low: "Double Negative," and One Eleven Heavy: "Everything's Better"--We're proud to partner with Ben & Jerry's to help raise awareness of The WaterWheel Foundation. As mentioned in the episode, listeners can receive free shipping on all orders over $50 using the promo code OSIRIS at checkout. Click here to order "It's Ice…Cream" and pick up a t-shirt. Do it today - the holidays are right around the corner.Check us out on Spotify: Beyond The Pond Podcast SongsYou can find us on Twitter: @_beyondthepondMedium: https://medium.com/beyond-the-pondPlease check out the Osiris Podcast Network at: OsirisPod.com // Go to Relix.com to learn more about Osiris, our sister podcasts, & upcoming events!Please leave us a review on iTunes! See acast.com/privacy for privacy and opt-out information.

In Episode 035, we discuss the bass-driven version of Down With Disease from September 12, 2000 at Great Woods Amphitheater in Mansfield, MA. A true Mike-led jam, this version of DWD represents one of the archetypical jams of the band's Fall 2000 Tour, their last of the 1.0 era.Songs featured in this episode are: Darkside: "Paper Trails," Primal Scream: "Burning Wheel," The Walkmen: "The Love You Love," and Mclusky: "To Hell With Good Intentions."In addition, we discuss two new 2018 records we highly recommend: Ryley Walker: "Deafman Glance," and Iceage: "Beyondless."Check us out on Spotify: Beyond The Pond Podcast SongsYou can find us on Twitter: @_beyondthepondMedium: https://medium.com/beyond-the-pondPlease check out the Osiris Podcast Network at: OsirisPod.com // Go to Relix.com to learn more about Osiris, our sister podcasts, & upcoming events!Please leave us a review on iTunes! See acast.com/privacy for privacy and opt-out information.

Pre-show rain causes a change of location within the same venue. This show starts solidly before a great Stash and mid-set Squirming Coil. Set two makes an interesting listen with deft playing and a nasty, short Down With Disease. The back of the set features a fantastic Harpua and a gorgeous take on Slave to The Traffic Light.

Early in this tour Phish headed north of the border.  This show places a very good Stash in the keystone spot of a hard-rocking set one.  The second frame features a searing Down With Disease and a fantastic Mike's Song tacking down a hot Canadian run.

Episode 023 - November 2017 Set 2Steam (2014-07-11) Down With Disease (2014-07-11) Golden Age (2014-07-11) Piper (2016-10-24) Carini -> (2010-10-22) My Problem Right There[1] (2010-10-22) Sneakin' Sally Through the Alley[1] (2011-01-01) Makisupa Policeman (2011-01-01) When the Circus Comes[1] (1997-12-31) Roses Are Free (1997-12-31) Buried Alive-> (1994-06-13) Poor Heart (1994-06-13) Sample In A Jar (1994-06-13) Reba (1994-06-13) While My Guitar Gently Weeps (2000-10-05) [1] Phish Phantasy Debut

This is a hybrid episode, as we talk about night 3 of Dick's, while also recapping the whole run. Brad and RJ do an intro discussion, and then play interviews about the run with Zac as well as Luke. We include some music as well (tracks below), with some fresh audience recordings. We hope you enjoy. We now have HF Pod t-shirts! Check out the men's and women's versions, and buy one! We'll be back next week with a very special episode, an interview with MSNBC's Katy Tur. We're really excited about that one. If you can, please support HF Pod Plus, where we do a couple extra podcasts every month. And if you haven't yet, review us on iTunes. It helps other people find the podcast. -- Theme from the Bottom (night 1) No Men in No Man's Land (night 1) Everything's Right (night 2) Winterqueen > What's the Use (night 2) Most Events Aren't Planned (night 3) Down With Disease (night 3) Photo courtesy of Stephport Photography Intro/Outro Music: Sublime, 'Doin Time See acast.com/privacy for privacy and opt-out information.

The Quick Hit from last night is with our good friend Patrick. We chat about the show and play some of the Down With Disease from last night. The picture we use is also his. Here's the Phish.net setlist and LivePhish.com link. We have some new details on our live podcast recording Saturday, 7/29 in NYC. RSVP today! Intro/outro music: Sublime, Doin' Time See acast.com/privacy for privacy and opt-out information.

In Episode 008, we discuss one of the happiest and most euphoric jams in Phish History: the 10/29/2013 Down With Disease. This jam is so melodic, and so purely joyful, that it just might make you want to run through a wall! Songs featured in this episode are: Husker Du: "Celebration Summer," Girls: "Honey Bunny," The Hotelier: "Goodness, Pt 2," Deerhunter: "Revival," tUnE-yArDs: "Bizness," and Mogwai: "The Sun Smells Too Loud." In addition, we discuss two new 2017 records we highly recommend: Mark McGuire: "Ideas of Beginnings," and Jason Isbell & The 400 Unit: "The Nashville Sound." Check us out on Spotify: Beyond The Pond Podcast Songs You can find us on Twitter: @_beyondthepond, Medium: https://medium.com/beyond-the-pond, and/or send us an email: beyondthepondpodcast@gmail.com. Please leave us a review on iTunes! See acast.com/privacy for privacy and opt-out information.

Episode 009 - April 2017 Set 3Down With Disease (2015-01-03)Lawn Boy (1999-09-12)Foam (2009-11-28)Poor Heart (2000-07-08)Yarmouth Road (2013-07-05)Scent Of A Mule (2003-02-22)Wombat (2014-07-18)Hold Your Head Up > If I Only Had a Brain > Hold Your Head Up (1995-11-16)Horn (1998-07-15)You Enjoy Myself (2003-02-26)Sample In A Jar (1997-03-02)

This week, we have a good friend joining us to talk Phish and share some music. Macon Phillips is a longtime fan and has a great perspective on the music, the scene and how technology has informed the evolution of Phish. We have a fun intro conversation, and then we hop into the music. The tracks are below. If you haven't, please take our quick survey about how we can improve the podcast. Also, review us on iTunes and follow us on Twitter. Macon's Tracks (music starts around 31:00) The Horse > Silent in the Morning, 2.20.93, Atlanta, GA Roses Are Free, 12.11.97, Rochester, NY Down With Disease -> Low Rider -> Down With Disease, 11.23.97, Winston-Salem, NC After Midnight, 12.31.99, Big Cypress Chalk Dust Torture (TAB)*, 4.11.04, Winooski, VT The Mango Song, 7.26.14, Columbia, MD *w/the other members of Phish Intro/Outro Music: Alabama Shakes, Future People See acast.com/privacy for privacy and opt-out information.

This week we're joined by our good friend Brian (@sufferingjuke). He was inspired to go back and listen to the entire Fall 1996 tour, and he pulled together a wonderful collection of highlights from that tour. Brian put a ton of thought into this, and the product makes that very clear. Really wonderful highlights, and some lesser-known jams that he's bringing back into the spotlight. We've split this one up into 2 parts, because there's just too much great stuff. We think you'll enjoy, and as Brian has said, "you'll never look at '96 the same again." The track details for Part 1 are below. Please review us on iTunes and follow us on Twitter. And check out CashorTrade.org for face value tickets to shows across the country. If you are on Stitcher, give us a review! Part 1 (music starts around 13 minutes, discussion picks back up at 2:08) 10/16 -- Simple -> Swept Away -> Steep 10/19 -- Down With Disease 11/06 -- Mike's Song -> Jam 11/08 -- Simple 11/11 -- Tweezer 11/13 -- Suzy Greenberg -> Prince Caspian Intro/Outro Music: TRAD+, Blind See acast.com/privacy for privacy and opt-out information.

This week we were very fortunate to be joined by 3 great tapers and members of the Phish community: Craig Hillwig, Lenny Stubbe and Scott Bernstein. Tapers have a unique perspective on the band, the music, and they've been the way we've heard most of this band's music for the majority of the last 30 years. We're grateful for all of the work they do. The format of this episode is slightly different. We asked each of our guests to pick a few tracks that represent quality audience recordings from across Phish's history. For each pick, we play the track and then discuss the recording and the music. Before the tracks, we have a great conversation with our 3 guests. Really fun episode. Chapter markers are below. Visit http://hfpod.blogspot.com/ for more information. Lastly, please take a moment and review us on iTunes! Chapter 1 0:00 Chat with Craig, Lenny & Scott Chapter 2 55:19 7.2.11 McGrupp and the Watchful Hosemasters (Craig) Chapter 3 1:10:00 8.11.93 Mike’s Song (Lenny) Chapter 4 1:26:57 8.6.96 Purple Rain (Scott) Chapter 5 1:39:32 7.2.98 Ghost (Craig) Chapter 6 2:11:57 8.17.96 Fluffhead > Run Like An Antelope (Lenny) Chapter 7 2:35:35 2.5.94 Crimes Of The Mind (Scott) Chapter 8 2:48:29 12.31.97 Emotional Rescue (Craig) Chapter 9 3:09:05 7.12.13 A Song I Heard The Ocean Sing (Scott) Chapter 10 3:19:49 7.3.11 Down With Disease > No Quarter (Lenny) Chapter 11 3:40:02 4.13.94 David Bowie (Scott) See acast.com/privacy for privacy and opt-out information.