Podcasts about estimated prophet

Keep it weird! This week, our host FiG is heading to Portland, Oregon. It's February 2nd, 1968 and the Grateful Dead are playing at the Crystal Ballroom. Discussions abound about David Gans' new course at Stanford and the anniversary of Estimated Prophet and Terrapin Station. Viola Lee Blues > Feedback That's It For The Other One > Clementine > Good Morning Little Schoolgirl

This week we continue with the second set from the band's performance at Shea's Theater in Buffalo, NY on January 20, 1979. This set picks up steam just before drums with a powerful 'Other One' which gets picked up again after drums and space and leads into a rare (for the period) 'Dark Star' which has some wild explorations. The band rocks it out afterwards with a 'Not Fade Away' into 'Sugar Magnolia'.     No Donna at this show. Grateful Dead Shea's Theatre Buffalo, NY 1/20/1979 - Saturday Two      I Need A Miracle [5:06] > Bertha [6:53] > Good Lovin' [7:07] Loser [7:22] Estimated Prophet [12:37] > The Other One [8:19] > Drums [10:#01] > Space [2:14] > The Other One [2:30] > Dark Star [9:17] > Not Fade Away [5:02] > Sugar Magnolia [8:17] Encore      One More Saturday Night [4:41]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod013125.mp3  There's a little more light every day :) thanks for your kind support! 

We're having a Garden Party! This week, our hosts FiG and Knob are heading to New York City! It's September 18th, 1990 and the Grateful Dead are playing at Madison Square Garden! Discussions abound about Hornsby's early days, an awesome Foolish Heart jam, and we finally solve the age old question of whether Picasso Moon is good or not.  Mississippi Half-Step Uptown Toodeloo New Minglewood Blues Loser Picasso Moon Row Jimmy Desolation Row To Lay Me Down Promised Land  Eyes Of The World >  Estimated Prophet > Foolish Heart > Drums >  Space >  The Other One > The Wheel > Sugar Magnolia Knockin' On Heaven's Door

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .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

Phil Lesh: A Tribute to a Musical IconIn this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.TakeawaysThis episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites"This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters00:00Introduction and Context of the Episode03:45Exploring the Grateful Dead's November 4, 1977 Show11:34The Jones Gang Incident and Band Dynamics16:49Music News: Goose and Gen 3 Jam Bands20:51Tributes to Phil Lesh and Reflections on Legacy25:30Remembering Quincy Jones: A Musical Legend30:06Dave's Picks Volume 52: A Review36:30Celebrating Music and New Releases38:53Exploring the Grateful Dead's Legacy44:17Marijuana News and Legalization Efforts01:01:01Deep Dive into Grateful Dead Performances01:09:55Closing Thoughts and Reflections LARRY'S NOTES:Grateful Dead November 11, 1977 (47 years ago)Cotterrell GymnasiumColgate UniversityHamilton, NYGrateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive Dave's Picks #12 This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit's legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick's Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.  Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year. One of those shows that lots of Deadheads wished they had seen. This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show. On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.  INTRO:                     Dupree's Diamond Blues                                    Track #8                                    2:50 – 4:52 "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll bluesThe term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here. Debuted in January, 1969 and played a total of 17 times that year. Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year. Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery). From '82 to '90 played at least once a year, '85 was the outlier with 16 performances Only played two more times, both in 1994. This is a great version with Jerry's lyrics and playing both very strong. The 8th song of the first set following:  GO TO ARCHIVE LINK A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree's into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. Played:         82 timesFirst:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USALast:              October 13, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                    Track #10                                    :15 – End Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening's proceedings.  Or there is this:Two nights before the Dead played in Toronto at Seneca College's Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever. Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening. Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke it was all pre planned, “Thank you (insert name of city where they are playing). And then launched into a killer Samson (even though it was a Friday).  Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later.  Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show.  Sure took Henry back.  MUSIC NEWS:      Music Intro:                                    Cold Rain & Snow                                    Goose                                    10.25.2024                                    LJVM Coliseum                                    Winston-Salem, N.C.                                    Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)                                    0:10 – 1:05 Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene.  Not the first time they have covered the Dead, but it's a damn good cover of a tune that traces its Dead roots to their very first album and even before that.  Jerry loved it.  Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG.  And Goose nails it here.  They really bring it every time they play.  The jam band that I figure will outlast me! Mickey and Mike Gordon statements on Phil's passing: Quincy Jones dies: Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2] Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3] Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016). Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1] "I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X. Dave's Picks, Volume 52 (The Downs At Santa Fe, Santa Fe, NM • 9/11/83)Time to order Dave's Picks 2025 subscription.  I say it every year.  SHOW No. 2:         Eyes of the World                                    Track #15                                    11:10 – END                                     INTO                                     Estimated Prophet                                    Track #16                                    Start - :20 The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes.  This is the end of Eyes jam and segue into Estimated.  Very cool to hear it played “backwards”.  This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to.  On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”.  It sure worked out well for the rest of us.  SHOW No. 3:         The Other One                                    Track #17                                    :52 – 3:00             We've featured this song so many times, discussed the whole That's It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam.  They only sing the first verse of the standard Other One and then head straight into Drums.  This clip just features the jam with Jerry leading the way.  So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks.  Maybe not the best of '77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back.  Some of the best post-1970 psychedelic Dead that you will ever hear.  Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to.  Just buckle in and enjoy the ride. Played:         550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago MJ NEWS:    SHOW No. 4:         Playin Reprise                                    Track #21                                    3:00 – 6:34 "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan). During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[ It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances. In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”. On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise.  Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP.  Very cool – an entire album just for one song.  Like Phish' Ruby Waves at Alpine Valley in 2019 got its own album. Then later they might add a song or two in between the main portion and the reprise. Then later they might hold it for the encore the same night the main song had been performed. Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3.  Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night.  Usually during the show, but as stated, sometimes in the encore. Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise. David Dodd:  To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they'd played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur. While it usually ran 3 or 4 minutes, this show's reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics. For Phish fans, think Twe-pri.  For non Phish fans that's the song Tweezer and its “reprise” and that band takes all sorts of liberties with it.  Not so unlike the Dead's style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker's Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run. Reprises are great! Played:  648 times (no separate breakdown for how may Reprises were played but I'm sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO  OUTRO                     Johnny B. Goode (Bob – “Happy Homecoming”)                                    Track #22                                    0:12 – 2:08 We've also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did.  Its guitar intro is as famous a song opening as any in the genre.  I love this version because of Bobby's greetings to the students wishing them a happy homecoming!  Imagine going to your high school or college homecoming dance and the band is the Grateful Dead.  Now that's a story to tell.  Not sure and I don't think it really matters whether that weekend was or was not Colgate's homecoming.  It just showed that stoned and all, Bobby knew he was on a college campus. Almost always played as an encore or show closer if no encore.  Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere. Great way to end a great show.  The boys just blow the walls down on this one.  Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin' version I've ever heard this band play!! It's the fucking SHIT!!”  I couldn't have said it any better myself! Played:   283 timesFirst:  September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USALast:  April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA  - very interesting, not played at all on the final summer tour.  .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

The mothership is taking off! This week, our hosts Game and FiG are heading to Hampton, Virginia for the Grateful Dead's March 22nd, 1987 show at Hampton Coliseum. Discussions abound about the archive.org hack, the new Dave's Picks, and whether the real Scarlet > Fire jam was in Estimated Prophet all along.  Hell in a Bucket Sugaree It's All Over Now West L.A. Fadeaway El Paso When Push Comes to Shove Cassidy Deal Sugar Magnolia > Scarlet Begonias > Fire on the Mountain > Estimated Prophet > Drums > Space > The Wheel > Black Peter > Sunshine Daydream It's All Over Now, Baby Blue

A fine second set awaits you on this week's Deadpod as we explore the second set from the band's performance at the Cumberland Coutny civic Center in Portland Maine on September 17, 1982. This is a matrix recording - but the first two songs are a mix of several audience sources as the soundboard for those doesn't seem to exist.. 'Touch of Grey' and 'Man Smart, Woman Smarter' are played uptempo and crisply..Their followed by a beautiful rendition of 'High Time'; Jerry's emotive vocals just hint at how expressive this set will be.  'Estimated' follows, then a delicate 'Eyes of the World'. Following drums and space Weir teases a Spanish Jam but they eventual let Phil take the helm and lead them into the powerful 'Other One' intro.. the crowd loves it and when they finish and go into 'Goin' Down the Road Feelin' Bad' there is a fair amount of sing along..  The highlight of the set in my opinion is the tremendous version of 'Morning Dew' that follows.. Jerry is at his most expressive here.. words won't do it justice.  A fine 'Sugar Magnolia' closes the set and a 'US Blues' encore caps the evening...     Grateful Dead Cumberland County Civic Center Portland, ME 9/17/1982 - Friday Two      Touch Of Grey [6:33] > Man Smart (Woman Smarter) [5:46] ; High Time [7:16] ; Estimated Prophet [12:27] > Eyes Of The World [8:53] > Drums > Space [3:58] > The Other One [10:56] > Goin' Down The Road Feeling Bad [5:37] > Morning Dew [8:52] > Sugar Magnolia [8:43] Encore      U.S. Blues [4:58]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091324.mp3 May the music lift you up .. thanks for your kind support.

"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin  highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman                an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995).  Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty                Of Credence Clearwater Revival fameLos LobosJoe Satriani              an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO:                                 Althea                                                Track #3                                                4:51 – 6:21                From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece.  Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story.  Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago          The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end.            It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money.            Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing.             The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business.  Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town.           By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time.            There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group.            Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions.            There is a You Tube video of the entire Fogerty set that I encourage you to view.                   Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs.            John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally             The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty.            Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind.            On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage.            Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance.  On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1:                    Down On The Corner (and Band introductions)                                                John Fogerty (w. Jerry and Bobby)                                                JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com)                                                10:49 – 12:42                 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits.           The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs.             As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes.             Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance.  However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend.  MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time  May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis.  I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time.  If so, there will be a big report in two weeks.  Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album  SHOW No. 2:                    Iko Iko w/Clarence Clemmons                                                Track #5                                                5:09 – 6:11                 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax.  Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show.  In '89 the Boss was as big as ever and Clarence was a big part of that success.  But he enjoyed playing in the improv style embraced by the Dead.                 Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater.  He also played a number of times with JGB.  And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back.               When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.”  SHOW No. 3:                    Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence                                                Track #6                                                2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead.  Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First:  March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  April 2, 1995 at The Pyramid Arena, Memphis, TN, USA  MJ NEWS                 SHOW No. 4:                    Blow Away                                                Track #11                                                7:37 – 9:10                 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song)                When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst:    June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast:    July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent   OUTRO:                               Wharf Rat                                                Track #17                                                3:59 – 5:26                 Not the closer this night, or most nights, but it could have been a perfect closer.  Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst:      February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:      June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago. Grateful DeadApril 30, 1977  (47 years ago, tomorrow)PalladiumNYCGrateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording.  Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet.  And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated.  It's pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore.   INTRO:                                 Music Never Stopped                                                Track #2                                                0:00 – 1:26                 Hunter Weir tune, released on Blues For Allah (Sept. 1,1975). Bob:  As a lyricist I'm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with that—you know, John Barlow, Garrett Grant, Robert Hunter.Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and I'll sit with a guy and we just fire blank verse at each other until we start to corner that color—and then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case I'll let whoever I'm working with surprise me. . . .“The Music Never Stopped” is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, “There's mosquitoes on the river / Fish are rising up like birds.” He was living in Wyoming at the time on a ranch, and he started describing a situation that I'd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if you're starting with an image that thick, you have to get into some detail about it. “It's been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?” That last line came after some deliberation. It's a pregnant line, sort of like a leading tone in a harmonic development.The success of the endeavor, if you're working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, there's a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When I'm standing in front of the microphone, I may look like me, but I'm not.If the character arrives with a really defined face and features, then it's easy for me to do my job.Fun version because almost always a first set closer and here it is opening the show.  Love that.            236 times            First:  August 13, 1975 at Great American Music Hall, San Francisco, CA, USA            Last:  June 28, 1995 at The Palace of Auburn Hills                      The Palladium:  The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]Peter Gatien owned and operated the club from 1992 until 1997.The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium HalThe Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the '72 tour.  One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dick's Picks Vol. 30This five night Palladium run, of which today's show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY.  All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later.  I had most of these shows on tape and wore them out from so much playing.  Love that they previously released this show as Download Series Vol. 1 and the new Dave's Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Dave's Picks Bonus Disc that is even more songs from the May 4th show).  If you are not listening to Dave's Picks, you are missing out on quality recordings of some of the best shows ever.How hot was the band, check out this extended jam at the end of ½ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip:                                             SHOW No. 1:                    Mississippi ½ Step                                                Track #11                                                7:06 – 9:29 Garcia/Huner tune released on Wake of the Flood in 1973.  Also live versions included on Steal Your Face, Dick's Picks Vol. 1, Without a Net and who knows how many other Dick's/Dave's Picks releases, etc.  If you want to hear it, you can find it, easily. First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since. 236 times (exact same as Music Never stopped!)First:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at Riverport Amphitheater Maryland Heights, MO Music News: Neil Young Tour  SHOW No. 2:                    St. Stephen                                                Track #1                                                              0:00 – 1:49 Blah Blah Blah, everyone knows about St. Stephen.  Dead's Fluffhead apparently.  Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead.  Still only played a total of 187 times:                 First:  May 24, 1968 at National Guard Armory, St. Louis, MO, USA            Last:  October 31, 1983 at Marin Veteran's Memorial Auditorium, San RafaelBut post Dead hiatus year, they started making song sandwiches often based around this song.  This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set.  This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change: SHOW No. 3:                    St. Stephen>Not Fade Away                                                St. Stephen                                                Track #19                                                4:10 – end                                                INTO                                                Not Fade Away                                                Track #20                                                0:00 – 1:15 Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips. MJ News Check out this next transition that they pull off seamlessly: SHOW No. 4:                    Not Fade Away>Stella Blue                                                Not Fade Away                                                Track #20                                                14:15 – end                                                INTO                                                Stella Blue                                                Track #21                                                0:00 – 1:30 Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue.  Jerry's voice is so strong and clear.  Really a treat. Not even getting to the last tune of the encore today.  Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it!  What a great (almost ending) to such a great show.   Deadheads walked out knowing there were still 3 more to go!  Like going to bed and already being told the next day is a snow day! Thank you all for listening.  Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage.  He is joining us to discuss, among other things, the newly released NRPS live album “Hempsteader”.  If you haven't heard it yet, check it out.  I'm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days. Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow.  At his age, the actual number doesn't matter but we love him anyway. ENCORE:                            Stella Blue>St Stephen                                                Stella Blue                                                Track #21                                                7:50 – end                                                INTO                                                St. Stephen                                                Track #22                                                Start - end .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

We roll into April, and the prelude to the big Solar Eclipse, we get to hear a wonderful second set from the Grateful Dead's performance on Sunday, March 30, 1980 in Passaic New Jersey.  While the setlist might look anything but innovative, the playing on these great classic tunes is anything but pedestrian. The entire pre-drums is full of some wonderful ensemble moments punctuated with some great Garcia solos. In particular, I'm fond of this 'Fire on the Mountain' and 'Eyes of the World' bu Weir's vocals on 'Estimated' are something else as well.  Post-drums, the 'Black Peter' is quite soulful and the encore, 'U.S. Blues' was highlighted by an appearance on stage of John Belushi sticking a cartwheel on stage and grabbing a mic for a 'wave that flag' with the band... fun!      Grateful Dead Capitol Theatre Passaic, NJ 3/30/1980 - Sunday     Two     Scarlet Begonias [8:28] > Fire On The Mountain [9:00] Estimated Prophet [11:04] > Eyes Of The World [10:50] > Space [4:24] > Drums [6:#00] > Black Peter [10:34] > Sugar Magnolia [7:54] Encore     U.S. Blues [5:38]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod040524.mp3 Of course, if you're looking up here in the Midwest Monday afternoon, be sure and wear those special shades ;) 

This week's Deadpod features set 2 from the St. Patrick's Day show on March 17, 1988 at the Henry Kaiser Convention Center in Oakland CA.  I think you'll find this is a fine, high energy set, with some wonderful highlights, which include a roaring 'Goin' Down the Road Feelin' Bad' out of Space, and a particularly well done 'Dear Mr. Fantasy>Hey Jude' set closer.  The 'Black Muddy River' encore is very soulful as well.  Enjoy     Grateful Dead Henry J. Kaiser Convention Center Oakland, CA 3/17/1988 - Thursday   Two     China Cat Sunflower [5:18] > I Know You Rider [5:38] > Estimated Prophet [10:50] > Eyes Of The World [8:38] > Drums [5:19]  > Space [5:33] > Goin' Down The Road Feeling Bad [5:14] > I Need A Miracle [3:20] > Dear Mr. Fantasy [4:15] > Hey Jude [2:09] Encore     Black Muddy River [5:58]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod032224.mp3 "When the last rose of summer pricks my finger And the hot sun chills me to the bone When I can't hear the song for the singer And I can't tell my pillow from a stone I will walk alone by the black muddy river And sing me a song of my own"

"Birthdays, Breakouts, and Psychedelic Jams: The Legendary Grateful Dead Concert of '77"Today's show comes from February 26, 1977 at the Swing Auditorium. The show not only opens the fabulous '77 campaign and contains the first live versions of two of the truly great Dead tunes – Terrapin Station and Estimated Prophet – but it throws smoke and spits flames. The concert marked the debut of songs like "Terrapin Station" and "Estimated Prophet." Larry Mishkin delves into the significance of these songs in the Dead's repertoire, their musical and lyrical qualities, and the overall atmosphere of the concert. They also provide insights into the venue's history and its importance in rock and roll culture.Additionally, the conversation touches on other topics, such as the Fish concert series in Cancun, Mexico, and the significance of certain Grateful Dead songs like "The Wheel" and "Slipknot." Larry share personal anecdotes related to the music, including experiences at concerts and the culture surrounding marijuana use, inspired by a Commander Cody song. INTRO:               Terrapin Station                           Track # 1                           5:51 – 7:27 Garcia and Hunter Probably that point right where Deadheads think they've seen it all.  The psychedelic rock, Pig's blues, Americana, Wake of the Flood, Mars Hotel and Blues For Allah.  So if you had tickets for this show, you had no idea what you were in for, where the Dead were about to take you, a completely different direction, as close as the Dead would ever come to a rock-opera number.  And there was no waiting, lights went out and . . . . . .  . . . . . . . TURTLE MUSIC!!  Clocking in just shy of 11 minutes, it's not quite the masterpiece it would become, but pretty amazing none the less.  Nothing else existed at that time quite like it.  But from the opening notes you know it is a winner, destined for greatness in the pantheon of great Dead tunes.  One that you could hear every show and never grow tired of or bored with it. The title track from the album released on July 27, 1977, five months after this show.  First studio album since they had returned to touring.  Terrapin Station is the ninth studio album (fourteenth overall) by the Grateful Dead, It was the first Grateful Dead album on Arista Records The cover artwork was produced by Kelley/Mouse Studios, who had created several previous works for the band. Though a terrapin appears in the lyrics only as a place name, dancing terrapins feature prominently in the artwork and afterward became part of the large iconography associated with the Grateful Dead. The front cover image takes the idea of a "terrapin station" literally. The back cover features a stylized, one-eyed skull with a crossed bone, feathers and roses, in keeping with the imagery that had evolved around the Dead. This clip is the famous and beloved transition form Lady With A Fan into Terrapin Station, the first two parts of the seven part suite clocking in at 16:23. The other five parts are:  Terrapin; Terrapin Transit; At A Siding; Terrapin Flyer and Refrain.The Grateful Dead only performed the Lady With A Fan and Terrapin Station.  Dead and Co. have played the entire suite.  Fun to hear, but not the same as if Jerry was playing it.  Too bad he never did.               Played 303 times              First:  This version right here that we just played for you              Last: July 8, 1995  SHOW No. 1:     Estimated Prophet                           Track #4                           1:54 – 3;26  Bob and John Barlow "Estimated Prophet" was written in septuple time. Bobby's lyrics for the song (finished with writing partner John Barlow) examine a character's delusions of grandeur and California's propensity for false prophets. The song also quotes "Ezekiel Saw the Wheel".[13][14] Drummer Bill Kreutzmann said "It's a great song but when [Weir] brought it to us, something was off. It needed a groove. It was in quick4 but it didn't swing. Yet. For my homework that night, I combined two fast sevens and played half-time over it. The two sevens brought the time around to an even number – the phrasing is in two bars of seven, so technically the time signature is in. But that's getting technical. In layman's terms, 'Estimated Prophet' suddenly grooved." Released on Terrapin Station, this was its debut performance and it was well received.  A fan favorite and regular part of the Band's playlist for the rest of their careers.             390 times total           First:  This is it right here.           Last:  June 28, 1995 at the Palace of Auburn Hills outside of Detroit  SWING AUDITORIUM Built in 1949, the Swing Auditorium had a maximum capacity of around 10,000, but it probably sold out at only around 6000 for this Dead show. The venue's ascent into rock and roll fame began in 1962 when a man named Bob Lewis started promoting concerts there. In the ensuing decades, Lewis brought all the legends into the Swing, including Jimi Hendrix, Elvis Presley, Michael Jackson, and, of course, the Grateful Dead. But what really solidified the Swing's place amongst the hallowed venues was the American debut of the Rolling Stones there in 1964. With a mere ten-song set, the Stones stoked the hall into a fervor. The band had to drop their instruments and run for the exits before the crowd rushed the stage. For their part, the Dead played the Swing only four times before it was razed after a small plane crashed into the building on September 11, 1981. SHOW No. 2:     The Wheel                           Track #9                           :30 – 2:09               Released on January 20, 1972 as the final track on side 2 of Jerry's firs solo album, “Garcia”.  The psychedelic closer it exhibits Garcia's short-lived infatuation with pedal steel guitar.  great to hear in concert, although relatively short in length.  Almost always a second set song and, it is high energy and always a great way for the band to transition out of Space.                Played 259 times              First:     June 3, 1976 at the Paramount Theater in Portland Oregon              Last:     May 25, 1995 at Memorial Stadium in Seattle SHOW No. 3:     Slipknot                           Track #14                           11:30 – 13:10 Released on Blues For Allah in 1975 Plays a key role in a key suite and is often overlooked.  The bridge between Help On The Way and Franklin's Tower it often gets lost in the jam out of Help and then into Franklin's.  But it is almost always there and always a great piece of improvisational music that rarely sounds exactly the same, except for the distinctive intro/outro.  Similar to I Am Hydrogen in Phish's Mike's Groove run of songs          Played 114 times (Help = 111 times; Franklin's = 222 times)              First:   October 20, 1974 at Winterland in San Francisco              Last:  June 22, 1995 at the Knickerbocker Arena in Albany, NY SHOW No. 4:     Eyes Of The World                           Track #17                           5:35 – 7:07 Released on Wake of the Flood on October 15, 1973 Many a Deadheads “secret” favorite tune.  It's that good.  Played fast, played slow, almost always in the second set and often times as a companion piece with Estimated Prophet, the coveted “Estimated Eyes” jam.  In the first part of the 1980's second sets often opened with Scarlet>Fire Estimated>Eyes OR Help>Slip>Frank Estimated>Eyes Played 382 timesFirst:  February 9, 1973 at Maples Pavilion at Stanford in Palo AltoLast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO, just outside of St. Louis  OUTRO:              Dancin' In The Streets                           Track #18                           7:40 – 9:13 “Dancin' in the Streets" is a cover of Martha & the Vandellas' "Dancing in the Street" from the early days of the band, given a new arrangement that prominently features singer Donna Godchaux. For the studio version, a funk-influenced guitar figure was added to a four-on-the-floor disco beat and polished with a commercial production contemporary to the era. Released by the Dead as the second song on Terrapin Station.  Played 131 timesFirst:  July 3, 1966 at the Fillmore in San FranciscoLast:  April 6, 1987 at Brendan Byrne Arena in New Jersey Dead would play this tune in spurts:            28 times in 1970            27 times in 1976            14 times in 1977 and 1978            A bit of a comeback in 1984 and 1985 – 6 times each year, b            Once in 1987            Gone  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law .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

WP discusses Dead & Company's show from 5/8/23 at Cornell's Barton Hall with special guest Howard Weiner! Dead & Co trucked on up to Ithaca to celebrate the 46th anniversary of the Grateful Dead's legendary show at Barton Hall on 5/8/77. My oh my was this a great show! Howard was in Ithaca for the show and tells us about his experience on lot, his various trips to Barton Hall over the years, and about his new book, The Grateful Pilgrimage: Time Travel With the Dead, available now through the link below! Howard also plays Estimated Prophet with us, guessing Dead & Co will play The Music Never Stopped and an 80s Dead bust out (tune in to find out which!) when they open their summer tour next week in LA.Links:To play the D&C Fantasy Draft, hit us on any of our social media channels or via email at workingmanspod@gmail.comBuy Howard's new book! - https://a.co/d/hoHkiFX

This week we feature the second set from the band's performance at the Uptown Theater in Chicago Il. on January 30, 1978.  I'm quite impressed with this set. It starts off with a fine 'Bertha' which goes into an excellent 'Good Lovin', followed by 'Ship of Fools'. What follows however is over an hour of non-stop Dead magic.  'Estimated'>'Eyes' where Jerry has some interstellar noodling going into a sweet 'Stella Blue' . Then a rare triple-dose of Jerry as the band goes into a rare, late set 'Franklin's Tower' This combination of Stella>Franklins is a first and never repeated. A rockin' 'Around and Around' closes the set but they return for a signature 'Johnny B Goode' encore.    Grateful Dead Uptown Theatre Chicago, IL 1/30/1978 - Monday      Two      Bertha [6:33] > Good Lovin' [5:23] Ship Of Fools [7:34] Estimated Prophet [12:47] > Eyes Of The World [11:56] > Space [6:30] > Stella Blue [9:38] > Franklin's Tower [14:01] > Around And Around [8:08] Encore      Johnny B. Goode [3:57]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011323.mp3  I hope this finds you safe and well.... thank you as always for your kind support of the Deadpod. 

 As we countdown the minutes until 2023, you should enjoy this gem of a show from 33 years ago - December 30, 1989. I don't believe I'm engaging in hyperbole if I say this is a great second set from this period of the band's history. There's not a bad song here. Jerry smokes his leads in 'Jack Straw' and 'I Know You Rider'. This 'Estimated Prophet is one of the best ever. I even dare say the drums and space, with Airto, is one of the best you'll hear.  I'm a sucker for a great 'Standing on the Moon' and Jerry delivers on this one.This is one of those shows that makes me wish for time travel. I hope you enjoy it!   Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/30/1989 - Saturday Two     Jack Straw [5:58] > China Cat Sunflower [5:26] > I Know You Rider [5:12] Estimated Prophet [12:34] > Terrapin Station [13:51] > Jam [1:51] % Drums [#11:#32] (1) > Space [7:47] > I Will Take You Home [4:18] > The Other One [10:18] (2) > Standing On The Moon [7:57] > One More Saturday Night [4:02] Encore     It's All Over Now, Baby Blue [6:43] Comments     (1) with Airto (2) { theme [2:40] verse 1 [0:41] theme [5:02] verse 2 [0:40] theme [1:15] }   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod122322.mp3   Have a safe and very happy New Year!  thank you for all your support this last year my friends.. 

In this week's episode of 36 From The Vault, we dip into the Fall of 1977, because we haven't explored enough of 1977 in this series. Featuring the complete show from Rochester, NY on 11/5/77, we also hear segments of 11/2/77 from Toronto. A volume that puzzles Rob and Steve, we wonder a bit about why this show was selected in the series, while also admiring the subtle shifts we hear from the band between May and November 1977.Disc One features the complete first set from 11/5 and is highlighted by a stunning “Mississippi Half-Step Uptown Toodeloo” alongside a vibrant “Big River” which features some stunning leads from Jerry before Mickey & Billy push it into a disco space. Disc Two features the first half of S2 from 11/5 before providing snippets of 11/2. In the 11/5 half we hear one of the best “Take A Step Back's” ever alongside a gorgeous “Eyes Of The World.” The 11/2 half showcases “St. Stephen” alongside a ripping “Around & Around.” (That was not a typo)Finally, Disc Three is highlighted by the back half of 11/5's S2 with a mellow take on “Estimated Prophet>He's Gone>Rhythm Devils>The Other One>Black Peter>Sugar Magnolia.” We close with “Lazy Lightning>Supplication Blues” from 11/2. It's a confounding release - especially this deep in the series - but Rob and Steve provide the kind of insight needed to make it shine.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. 35 in anticipation of our next (and penultimate) episode which will drop on Monday, August 1! See acast.com/privacy for privacy and opt-out information.

A fine second set from Boston Garden on May 12, 1980 to send you off on your Memorial Day weekend adventures. This one starts with an excellent 'Feel Like a Stranger', followed by an intense 'Ship of Fools'. A rolling 'Estimated Prophet' and 'He's Gone' follows, but then the band dissolves into a unique and interesting 'Caution' jam for about 10 minutes, for me the highlight of the set. Drums follows, then a 'Saint of Circumstance' which flows into the 'Wharf Rat' in the ballad slot. 'Sugar Magnolia' closes the set which they then follow with a 'US Blues' encore.  Grateful Dead Boston Garden Boston, MA 5/12/1980 - Monday      Two      Feel Like A Stranger [8:12] ; Ship Of Fools [8:06] ; Estimated Prophet[11:21] > He's Gone (1) [21:35] > Drums [9:19] > Space [2:03] > Saint Of Circumstance [5:24] > Wharf Rat [8:54] > Sugar Magnolia [7:41] Encore      U.S. Blues [4:56] (1) He's Gone [11:35] > Caution Jam [10:00]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052722.mp3  Thank you for your support of the Deadpod. I hope you have a safe and happy Memorial Day weekend.  

This week's Deadpod features a long second set on the occasion of Brent Mydland's first gig with the band, on April 22, 1979 in San Jose California.  The band opens with the trifecta 'I Need a Miracle' into 'Bertha' into 'Good Lovin', while it starts out a bit rough it picks up alot of energy by the end and they then go into a wonderful version of 'Scarlet Begonias' into 'Fire on the Mountain'. The transition jam into Fire is especially interesting, as is Jerry's jamming throughout that tune. 'Estimated Prophet' continues in the winning vein with some great bass contributed by Phil during the long and excellent opening jam. Brent contributes some interesting electric piano during the closing jam here matched by some very interesting Garcia lines. As this jam closes we hear a new sound from Mickey, as he goes into the fascinating 'Drums' segment with his new toy, 'The Beast', which was brought out for the first time at this show after having been constructed for the 'Apocalypse Now' movie soundtrack. There's not really a Space that follows this Drums segment but instead the band goes into 'The Other One' which is here marred by a cut in the tape. Jerry brings out August West next before the boys close with a rockin' 'Around and Around' They return for a double encore on this Sunday, with a good 'US Blues' followed by a trip to 'Shakedown Street' to close the afternoon..    Grateful Dead Spartan Stadium San Jose, CA (4/22/79) - Sunday Two     I Need A Miracle [4:28] > Bertha [6:40] > Good Lovin' [6:50] ; Scarlet Begonias [9:27] > Fire On The Mountain [13:25] ; Estimated Prophet [11:26] > He's Gone [12:28] > Drums [20:01] > The Other One [7:#27] > Wharf Rat [10:19] > Around And Around [8:10] Encore     U.S. Blues [5:18] ; Shakedown Street [10:42]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042922.mp3 I hope you have a wonderful May Day! Thanks for listening and for your kind support. 

We continue this week with the second set from the band's performance on January 11, 1979 at the Nassau Coliseum.  They come out smoking with a hot version of 'I Need a Miracle'; Bobby is pretty amped up here and there is some very nice guitar work in this version. Ship follows and slows things down a bit, but the Estimated that follows gets things in the groove again, and leads into a long 'He's Gone'. Here the tempo slows down again, but still has some nice moment. Drums leads into a very short space, then a nice 'Truckin' which goes into a short 'Other One'. The highlight of the set, perhaps, is the long 'Stella Blue' that follows, and here Jerry hits the mood just exactly perfectly. 'Good Lovin' gets the crowd back up and a fine 'Casey Jones' ends the evening and sends everyone home smiling.     Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 1/11/79 - Thursday Two     I Need A Miracle [10:39] ; Ship Of Fools [8:24] ; Estimated Prophet [13:02] > He's Gone [16:42] > Drums [10:#25] > Space [2:31] > Truckin' [9:39] > The Other One [5:48] > Stella Blue [12:11] > Good Lovin' [6:33] Encore     Casey Jones [5:30]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011422.mp3  Hope this finds you well, warm and happy!  thanks for your kind support. 

To support me on Patreon:www.patreon.com/carpo71915 Minute Free Thinking Podcast:https://15-minute-free-thinking.simplecast.com/episodes/19-finding-the-secrets-facing-life-with-gusto-and-the-psychedelic-shadowThis is my new Odysee page, and a little more in depth about my feelings on the pandemic (I use it because they do not censor me like YouTube does.):https://odysee.com/@carpo719:c/carpo-vlog-EDIT-odysee-COVID:9?r=HbHqo4jNcMBUXbekqjmoxoNnQELCPxV4For more livestreams on Twitch:https://www.twitch.tv/carpo719My main Youtube Channel:https://www.youtube.com/carpo719Carpo's World of Thoughts Youtube Channel (Secondary)https://www.youtube.com/channel/UCcpgMOq67Wk3uOM-5C5cj3wCARPOCRAFT- Woodworking, art, jewelry and creative endeavors:https://www.youtube.com/watch?v=3q4N9KeF7b0For deeper conversations on discord:https://discord.gg/r4x3Z9cG2JMy interview on the "13 questions" podcast in 2021:https://13questions.libsyn.com/056-carpo(those guys are great, go check out their show!!)  KRATOM PODCAST: https://15-minute-free-thinking.simplecast.com/episodes/kratom-the-podcastPATRONS: BiLingual USAEIIE EMEKami DavisEntaigaKendra TolliverRonald HessDayneTheRealFolkBluesGyrasDan RileyKenConrad A.DeedsterSpeciosa SavesJordan VigilOwen HowellTrisha BellWell BeeingCharles CastanedaSean SwartzwelderVioletta DoroschenkoStephenRyan L.Pure BrewJosh O'BrienRobyn W.Zelda ZonkTim SmithRiver MillicanAdam MazonsonMatthew LangheimMatt HemingwayJake DugganMJ PritchettSean fitzpatrickBill Hunthighway childSeambob J Mc BrodrickRob FranzenChris MoralesAlgirdas ValysBriana RottenJake AalbergAlexander J WalpoleRussell ImamPia EwingsRiku IlvonenthehillandmoonMumps.John PetersonJoshua nicholsonDon StarnsDebra E ChanWilliam Hall To become a patron and get extra content, and herb and psychedelic playlists, you can support me at: www.patreon.com/carpo719If you would like to donate, but not become a patron, you can send PayPal donations to:otto3725@comcast.net (Paypal Address)Thanks for watching, and have yourself a wonderful day.... 

This week we return to Munich for a second set that is ferocious from start to finish. 'Bertha' leads this one off and goes into a truly rockin' 'Samson and Delilah' that really roars. Jerry slows things down a touch with 'Ship of Fools', but they go into a nice extended jam in the 'Estimated Prophet' that follows. That one builds again to a gale force as they go into 'Goin' Down the Road Feelin' Bad'. I'm also fond of the jam in 'Space' and how Weir leads them into 'Not Fade Away'.  'Stella Blue' is as usual quite a pleasure to hear, and the closing 'rockers' that follow are still hot, if just a touch ragged on the transition into 'Good Lovin' All in all a classic very high energy Dead set.     Grateful Dead Olympia Halle Munich, West Germany 10/12/81 - Monday Two     Bertha [7:07] > Samson And Delilah [7:31] ; Ship Of Fools [8:37] ; Estimated Prophet [16:08] > Goin' Down The Road Feeling Bad [5:04#] > Never Trust A Woman > Drums [#5:42] > Jam [2:04] > Space [3:15] > Not Fade Away [11:22] > Stella Blue [12:22] > Around And Around [3:45] > Good Lovin' [8:07#] Encore     U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod100121.mp3    Thank you so much for your kind support of the Deadpod!    "Seasons change and roses die... "

In this week's episode we celebrate 25 volumes of the Dick's Picks series. A monumental moment in the series, as it showcased the viability of a single band releasing a trove from their archives over a significant period in time. We're treated to two Spring 1978 shows from the NE, May 10, 1978 from New Haven, CT and May 11, 1978 from Springfield, MA. Two archetypal Spring ‘78 shows, we hear the band engage in tight interplay around fairly standard setlists, while showcasing some of the best parts of their 77/78 period, while also pointing the way towards the future of the band in the 1980s.Disc One features quality song selection with an excellent “Jack Straw” opener, a sultry “They Love Each Other,” and a gorgeous “Peggy-O.” A wild “Deal” showcases the interplay between Donna & Bob which would be a major theme of the overall volume. Disc Two picks up midway through Set II of 5/10 with a seedy “Estimated Prophet” before a massive “Drums” jam. The disc closes with a stunning “The Other One” into an impassioned “Wharf Rat” that showcases the power of the Garcia outro solo. Disc Three opens on 5/11 with a more laid back approach, showcasing some of the more standard Set I tunes in Dead History. The disc concludes with a very solid “Scarlet -> Fire.” Disc Four is a wild party. Rumors abound about mescaline intake, we hear one of the best “Dancing In The Streets” of all time followed by a massive “Drums -> NFA,” and concluded with a gorgeous “Stella Blue.” The volume concludes with a Double-Barry bookending a fantastic take on “Werewolves Of London.” It's a full-scale dive into Spring ‘78 Dead, seedy, tight, wild, and grooving. Dive in.36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULTCheck out Green Future Wealth and mention OSIRIS to get a free report on your existing investmentsVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchaseWe're thrilled to be sponsored by Melophy. Use Promo Code VAULT to save 20% on virtual music lessons.---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 26 in anticipation of our next episode, which will drop on Monday, July 12! See acast.com/privacy for privacy and opt-out information.

Spring has sprung a bit earlier than usual here in the north, and it's a perfect time to break out the sweet, silky sounds of the Grateful Dead from 1977.. Here's a beauty from March 20, 1977 at the Winterland in San Francisco.  As usual its marked by the extremely smooth and intricate ensemble playing that characterize the year. The band is clearly paying attention to and responding to each other. I'd argue that every song in this first set has its moments - there's even a fun little Jerry run in El Paso. Deal builds and builds to a rousing climax. Cassidy shows off a beautiful arrangement highlighting every member's contribution to the whole. Peggy-O is slow and sweet, love Keith's piano here and Jerry has some runs I've not heard before.  It seems unfair not to single out each of these songs for their beauty..this is a remarkably nice recording as well,  but I just want to also point to the stand-alone Scarlet Begonias that ends this first set.   Never miss a Sunday show )      Grateful Dead Winterland Arena San Francisco, CA 3/20/77 - Sunday     One     New Minglewood Blues [4:46] ; Ramble On Rose [7:35] ; El Paso [4:12] ; Deal [5:32] ; Cassidy [4:29] ; Peggy-O [7:15] ; Beat It On Down The Line [3:41] ; Brown Eyed Women [5:18] ; Estimated Prophet [8:01] ; Scarlet Begonias [12:45]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod032621.mp3  Thank you for your kind support of the Deadpod!  "Like an angel, standing in a shaft of light Rising up to paradise, I know I'm gonna shine"

In this week’s episode we explore Dick’s Picks Vol. 18, a midwestern compilation from February 3, 1978 at the Dane County Coliseum in Madison, Wisconsin, February 4, 1978 at the Milwaukee Auditorium in Milwaukee, Wisconsin, and February 5, 1978, at the UNI-Dome in Cedar Falls, Iowa. Just six weeks on from the magical year of 1977, we find The Dead fusing their disco-dead sound with expert & lengthy jams, giving the run a mixed feeling of 1973 meeting 1977. Pieced together like a standard Set I for the era with a double-pack of Set II jam vehicles, this is a joyous compilation that gives one a true sense of what The Grateful Dead were up to in the Winter of 1978.Disc One opens with the back-to-back combo of “Bertha” and “Good Lovin’” before we dive into a seasonally appropriate “Cold Rain & Snow.” Elsewhere, “Deal” shines in the lively rock of late-70’s Dead. Disc Two is a masterpiece as the late-70’s combo of “Estimated Prophet> Eyes Of The World” before “Playin’ In The Band” jams for nearly 25min in a fusion of the late-70’s groove & early-70’s psychedilia. From there we hear the first “The Wheel” of the Dick’s Picks series before returning to “Playin’.” Disc Three provides a bonus Set II to the overall show, with a scorching “Scarlet -> Fire” that concludes with a jam heavy “Truckin’ -> Drums -> Other One> Wharf Rat.” All the flavors of Winter/Spring 1978 are represented here in a compilation that matches Dick’s Picks 4, 12 and 14 for its mastery of encapsulating an era.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. ---In honor of the Dicks Picks series’ first appearance of “The Wheel” in Volume 18, we have a very special sponsor for this episode, the Chicago-based On Tour Brewing Company! Chicago area locals can also order for pickup or no-contact delivery, and On Tour is extending the $5 off to online orders over $30 with the Promo Code: 36VaultOnTourPlease 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 19 in anticipation of our next episode - our SEASON THREE PREMIER - which will drop in early 2021! See acast.com/privacy for privacy and opt-out information.

Welcome to Season 2 of 36 From The Vault: SUMMER TOUR! In Episode 11 we explore Dick’s Picks Vol. 10, from The Winterland in San Francisco, CA on December 29 at 30, 1977. A celebratory volume that checks a lot of boxes fans had been asking for through the first ten volumes of the series. The show feels like a party at The Winterland as the nights tick off from one of the most accomplished years in their history. Featuring outstanding versions of “Jack Straw” and “Sugaree” in Set I, it also sees “Loser” make its DP Debut. In Set II, the band weaves together a suite within “Playing In The Band” before dropping their first “China Cat Sunflower -> I Know You Rider” since 1974. Encoring with “Terrapin Station” was a special nod to the venue and the year. And as a special treat, we got a snippet from December 30, in the form of “Estimated Prophet,” a fantastic “Eyes Of The World,” “St. Stephen” and “Sugar Magnolia.”Steven and Rob focus on the aura of The Winterland, the impact of 1977 on their sound, the transition to the 1980s, the impact of bustouts on The Dead’s shows, and the greatness of Linda Ronstadt.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 consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick’s Picks Volume 11 in anticipation of our next episode which will drop on Monday, July 27. See acast.com/privacy for privacy and opt-out information.

This week we are treated to the second set from the band's performance in Troy NY at the Rensselaer Polytechnic Institute on May 7, 1978. This is a solid set throughout, featuring the opening Scarlet>Fire which clocks in at over 20 minutes with some exceptional Garcia licks.  The 'Estimated Prophet' that follows features some nice Garcia work on the wahwah as well. 'He's Gone' slows things down a touch and leads into Drums. A great 'Iko, Iko' comes out of drums - and I read that Donna and Bob were doing a hulu dance during it ;) 'The Other One' that follows has some nice Phil bombs. 'Black Peter' follows and is as charged with emotion as any you'll hear. 'Around and Around' closes the set, and they come back for a 'U.S. Blues' encore.         Grateful Dead Field House - Rensselaer Polytechnic Institute Troy, NY 5/7/78 - Sunday Two     Scarlet Begonias [10:50] > Fire On The Mountain [10:00] ; Estimated Prophet [12:26] > He's Gone [12:14] > Drums [17:33] > Iko Iko [9:39] > The Other One [8:17] > Black Peter [12:27] > Around And Around [8:37] Encore     U.S. Blues [5:52]    You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod052220.mp3   My deepest thanks for your kind support of the Deadpod.   Please take care and help someone smile today :)

John, Sean, and myself cover these Grateful Dead Songs: To Lay Me Down, Box of Rain, and Estimated Prophet. Show Notes at www.highwhileclean.org/podcast/011

To Lay Me Down, Box of Rain. and Estimated Prophet. John, Sean and Myself cover these Grateful Dead Songs and I promise to return to Recovering Through Highness. Please follow my podcast on Podbean. Thank you for listening

In episode 18 of Hooked on Creek, Korre Johnson reviews Max Creek's performance on November 24, 2018, at The Met in Pawtucket, Rhode Island.This Max Creek show is available to download or stream here:https://archive.org/details/MC2018-11-24.TheMetCreekendNIght2TelefunkenMatrixIf you have feedback or suggestions for future episodes, send a message via the contact link located on the Hooked on Creek website:https://hookedoncreek.comThis episode also features full performances of the songs Estimated Prophet, Blood Red Roses and Katie Mae from Max Creek’s performance on November 24, 2018.Setlist from November 24, 2018Set one1: Cocaine Lady2: Devil’s Heart3: Sitting in Limbo4: Yellow Moon5: I’ll Be Your Baby Tonight6: Slow DownSet two7: The Bees8: Estimated Prophet9: Blood Red Roses10: Katie Mae11: You’re The Only One12: Helter SkelterEncore13: Shakey Ground14: Mercury BluesRead a transcript of episode 18 of Hooked on Creek:https://hookedoncreek.com/2020/04/episode-18-reviewing-max-creek-performance-on-nov-24-2018/

Welcome back to 36 from the Vault! In Episode 6 we explore Dick’s Picks Vol. 6, from the Hartford Civic Center in Hartford, CT on October 14, 1983. A bit of a blind spot in larger Dead History, we find the band in the middle of a successful Fall Tour, where their sound has evolved significantly since their initial peaks in the 1970s. While Set I fails to lift off in the way many initial sets had in the Dick’s Picks series thus far, the Second set is uniquely strong, featuring the first “Scarlet Begonias -> Fire On The Mountain” released yet in the series. From there, the band moves through “Estimated Prophet” before a wild and spacey “Eyes Of The World” highlights the set before moving into “Drums -> Space.” The final peak of the show comes in an emotive “Stella Blue” that set the standard for many A-late Set II 80’s comedown. Steven and Rob focus on the static nature of the early-80’s in Dead history, discussing their relationship to popular acts of the time like Talking Heads & Dire Straits, the side projects that dominated much of this time, and the health issues that began to creep into the band. 36 from the Vault is production of Osiris Media. It is edited and produced by Brian Brinkman, and mastered by Matt Dwyer. 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. Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Phish’s show on April 3, 1998 in anticipation of our next episode on April 8. See acast.com/privacy for privacy and opt-out information.

Welcome back to 36 from the Vault! In Episode 5 we explore Dick’s Picks Vol. 5, from the Oakland Auditorium Arena in Oakland, CA on December 26, 1979. We find the Dead at yet another transitional period in their career, as they continue rolling out the Brent era. This show features a number of significant bustouts in “Uncle John’s Band” & “Brokedown Palace” while being highlighted by a phenomenal second set. Featuring an uninterrupted run of jams in “Uncle John’s Band -> Estimated Prophet -> Jam -> He’s Gone - > The Other One -> Drums -> Space -> Not Fade Away> Brokedown Palace,” it showcased the new tones and sonic approach that came with Brent Myland joining earlier that year.Steven and Rob focus on the fascinating run of shows The Dead played in the last week of the 1970’s, their transition to perhaps the fascinating & much-maligned 1980’s period, their Talking Heads jams of the era, The Dead’s appeal to pop music, and much more. 36 from the Vault is production of Osiris Media. It is edited and produced by Brian Brinkman, and mastered by Matt Dwyer. 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. Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick’s Picks Vol. 6 in anticipation of our next episode on March 25. See acast.com/privacy for privacy and opt-out information.

Music Villa's Gear & Beer Show - Episode 27: The fellas get some sunshine on an impromptu beer run to Shine and bring back a growler of Bridger Brewing's Antilogy IPA. They test out the new PRS Roasted Maple Neck SE Custom 24's with the Riff of the Week featuring the Grateful Dead's "Estimated Prophet." They finish by geeking out over old Grateful Dead tours.Watch the Episode on YouTube now: https://youtu.be/wzBqqh7irD4

This week's Deadpod features the band's performance at the Rainbow Theater in London England on Saturday October 3rd, 1981. This second set contains some wonderful improvisational music and both a fabulous pre-drums setlist and a spectacular Morning Dew. I think you'll agree that the music here flows beyond the structure of these songs to explore some unexpected places before settling back into familiar terrain.  There's some great sound in Drums and Space as well.       Grateful Dead Rainbow Theatre London, England 10/3/81 - Saturday       Two       Feel Like A Stranger [8:47] > Franklin's Tower [11:23] > Estimated Prophet [13:23] > Terrapin Station [10:54#] > Drums > Space [6:54] > Not Fade Away [8:05] > Morning Dew [11:17] > Around And Around [3:54] > One More Saturday Night [4:24] Encore     Brokedown Palace [5:27] http://traffic.libsyn.com/deadshow/deadpod101119.mp3   Your support of the Deadpod is greatly appreciated!   Enjoy     

This week we mourn the passing of the great Robert Hunter. The Grateful Dead would not have been what they were and are without his voice, his words and his wisdom. Sleep in the stars, Robert.   In his honor I present this wonderful set from September 28th, 1977 at the Paramount Theater in Seattle Washington. Although the first five songs are missing from this Betty Cantor-Jackson soundboard the remainder of the show sparkles and crackles with the unique energy that the band brought to their craft during this year.    I've added a Robert Hunter song from a performance of his back in 1980 in New York. I hope you enjoy it.   Grateful Dead Paramount Theatre Seattle, WA 9/28/77 - Wednesday One     Tennessee Jed [8:46] ; Passenger [3:34] ; Peggy-O [7:48] ; Me And My Uncle [2:44] ; Friend Of The Devil [7:02] ; The Music Never Stopped [6:36] Two     Bertha [6:56] > Good Lovin' [5:12] ; Dire Wolf [3:49] ; Estimated Prophet [9:18] > Eyes Of The World [12:22] > Drums [4:39] > Not Fade Away [14:41] > Wharf Rat [10:50] > Around And Around [7:28] Encore     U.S. Blues [5:49]     Robert Hunter 1980-08-21 The Other End, NYC Ripple   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod092719.mp3   Thanks for being here.      

This months podcast comes to us from the Spring of 1977, which we all know is fertile ground for AMAZING Grateful Dead shows.   And this show does not disappoint.  For our halftime show Bob brought in some JGB from '77...  a bunch of good stuff for your ears this month, that's for sure.   Hope y'all enjoy it! GRATEFUL DEAD   April 30,1977   Palladium  New York, NY    SET 1:   The Music Never Stopped, Bertha, All Over Now, Deal, Mama Tried > Me & My Uncle, Peggy O, Looks Like Rain, Mississippi 1/2 Step Uptown Todeloo, The Promised Land   HALF-TIME   Jerry Garcia Band  (12/4/77  New Jersey)  They Love Each Other, Midnight Moonlight   SET 2:   Scarlet Begonias > Fire on the Mountain > Good Lovin, Friend of the Devil, Estimated Prophet, St Stephen > Not Fade Away > Stella Blue > St. Stephen, One More Saturday Night   ENCORE:   Terrapin Station SOURCE:   Soundboard / Master Reel

With the recent release of the classic show from 2/26/77 on Dave's Picks #29, I was inspired to bring you this fine recording of the excellent show that took place the following evening, Febuary 27th, 1977. While this is an audience recording, and the vocals are not as upfront as many of us prefer, I think you'll still find that the playing shines through. The band is definitely still 'on' this night, here in the first set they play 'Estimated Prophet' for only the 2nd time and the playing throughout is lovely.    I'm particulary fond of the arrangement of 'Music Never Stopped'; afterwards Phil implored Jerry for 'one more' and boy do they respond with an excellent 'Scarlet Begonias'.      Grateful Dead Robertson Gym - University Of California Santa Barbara, CA 2/27/77 - Sunday One New Minglewood Blues [4:25] ; Loser [6:58] ; El Paso [4:29] ; Ramble On Rose [6:20] ; Estimated Prophet [7:43] ; Peggy-O [8:07] ; Good Lovin' [4:41] ; Mississippi Half-Step Uptown Toodeloo [8:33] ; The Music Never Stopped [6:24] ; Scarlet Begonias [12:48]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod021519.mp3   Love one another   thank you for your kind support

This week we can forget our troubles with a fine second set from this early 1979 date in Kansas City. Scarlet starts a little slow, and Jerry's voice cracks a bit here and there, but he really starts soaring around the 3:30 mark. Around the 6:00 minute mark the calypso beat moves in, Donna's background vocals add just enough mystery not to be overpowering, and we float along waiting for the other shoe to drop. Eventually Jerry's notes flutter in like a bee, as the rhythm intensifies; a beautiful transition into 'Fire'. Again, while Jerry's voice is a bit strained, his playing is is unhurried, yet searing.. uplifting. Once you hear these two, you know you're in for a great musical moment. 'From the Heart Of Me' brings us back to Shakedown Street, and  in perspective, we're reminded of what was lost when Donna and Keith left the band. Excellent Jerry solo around the 4:00 min mark of the first one, all around a nice, unhurried jam, the boys spread their wings and you feel the music as it lets them glide into 'Eyes of the World'. Here the soundboard tape is patches with an audience source but there is little loss of fidelity. There's a marvelous, somewhat dark and forboding jam following Drums and a short but interesting Other One. The double encore with a 'Miracle' closer, sure seems to indicate they were having fun that night!     Grateful Dead Soldier's And Sailors Memorial Hall Kansas City, KS 2/10/79 - Saturday Two Scarlet Begonias [12:33] > Fire On The Mountain [10:37] ; From The Heart Of Me [3:31] ; Estimated Prophet [11:51] > Eyes Of The World [11:13] > Space [1:37] > Drums [6:30#] > Space [13:38] > The Other One [6:46] > Wharf Rat [9:57] > Sugar Magnolia [8:16] Encore One More Saturday Night [4:47] ; I Need A Miracle [6:13]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod020819.mp3   May the music bring you joy and peace.   thanks so much for your kind support.

A quite unique but delightful second set from November 1st, 1977 is on the docket for this week's Deadpod. A wonderful Terrapin opens it up, a great song from a great year. A quick transition into an excellent 'Estimated Prophet', with some really nice work from Keith and Garcia here, especially before the transition into 'The Other One', which has an interesting intro as well.  This 'Other One' has a wonderfully explosive yet controlled pace . After a fairly short 'drums' we have a beautiful intro to the 'Wharf Rat', probably my highlight of this set. The jam at the end just before they go into 'Truckin'  is transcendent :) While there is an unfortunate cut in this version of 'Truckin' its still quite interesting with a slightly different feel than usual to it. The crescendo towards the end is great, and is followed by an interesting transition into  the set-closing 'Around and Around'.       Grateful Dead Cobo Arena Detroit, MI 11/1/77 - Tuesday Two   Terrapin Station [10:24] > Estimated Prophet [10:36] > The Other One [5:33] > Drums [4:22] > Wharf Rat [12:10] > Truckin' [8:#07] > Around And Around [7:45] Encore U.S. Blues [5:20]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod110918.mp3   The snow is flyin' here already.. early Winter? brrrrrrr   thanks for your support!! 

This week we return to the Grateful Dead's first visit to the Frost Amphitheater on the campus of Stanford University in Palo Alto California on October 10th, 1982. This second set starts with a very unusual 'Throwin' Stones'>'Touch of Gray' opener; both songs are relatively new and contain some different lyrics which makes them even more interesting. 'Estimated' into 'Eyes of the World' follows, and I think  you can really hear the color that Brent has brought into the band on this Eyes, its is very nice indeed. Post-Drums we have the 'Truckin'>Other One>Morning Dew' with that Dew being charged with emotion and clearly the highlight of the show for me.     Grateful Dead Frost Amphitheatre - Stanford University Palo Alto, CA 10/9/82 - Saturday Two Throwing Stones [6:57]> Touch Of Grey [6:07] ; Estimated Prophet [11:34] > Eyes Of The World [10:03] > Drums [7:45] > Space [6:56] > Truckin' [6:54] > The Other One [8:22] > Morning Dew [9:44] > One More Saturday Night [4:43] Encore U.S. Blues [5:04]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod101218.mp3   be well my friends,   thank you for your support of the Deadpod!

In this episode of Marketing Insights with Yasha Harari of YashaHarari.com, Yasha reviews How to Succeed with Video Marketing Campaigns (2018). Video is the leading source of online content consumption, and therefore it is vital for any professional SEO or marketing manager to optimize video for each platformm you use in a video marketing campaign. Each video hosting platform has its own features, pros and cons and you should test them all in the ways this episode covers, and more. These tactics are purely White Hat SEO tactics that are exactly what Google and other important Search Engines want to understand about your videos and their contents. These techniques are all aimed at giving you long-term benefits in your SEO and other Non-Paid Channel scores. These are not gimmicks to trick the system or hack your way to a sudden surge in visits, sessions and temporary SERP ranking increases. These methods will help you improve things that are important on Organic SEO for your website, app, app or other online project, year after year. Most of these tactics have worked for years already and the newest ones (like exploiting spoken word as searchable text on youtube) are gaining in strength and are now important for long term successful Video Marketing campaigns. If you'd like to learn more about our Video SEO services and how our agency can help you improve your marketing results for less than a Bitcoin a month, drop us a message on email, social media, chat, or any other network you use that we are on; linkedin, facebook, twitter, telegram, discord, reddit, quora, medium, etc. [AD] Today's Podcast is brought to by you by: Bandwidth Consider Bandwidth. Without it, you're stuck in the slow lane. Remember dial-up modems? How're those working for you? Would your 4G phone be happy on that connection? Bandwidth. It's Rare, Useful and Valuable. [/AD] We absolutely love your feedback, opinions and learning from you, so keep sharing your thoughts with us. To learn more, listen to more episodes of this podcast or read the articles on my agency's site or on my blogs about Marketing. That's it for this week’s marketing insights podcast. We hope you enjoyed it and gained some insights from this episode. If you did, please be sure to leave us a 5 stars rating and review! And please be sure to tell your friends and colleagues about our show. We strive to keep bringing you great lessons that you can use to help you grow your business. We hope you’ll listen again next time for another episode of Marketing Insights with me, your host, Yasha Harari of http://YashaHarari.com . Thank you for being the best part of our show! Credits: Intro Sound Clip: from President Donald J. Trump at a public press conference at the G-7 Summit, leaving early for the Summit with North Korea, in June 2018, under Fair Use of public domain content. Music: The Grateful Dead performing "Estimated Prophet" and "St. Stephen" live. Source: Audience Soundboard. Used with permission (Sharing is caring, man! Peace! Love! Free Music!) under CC: Recorded in: Philadelphia, PA, USA Waves and particles by: Quantum Physics Audio Editing Suite: GarageBand Directed by: Moppa Produced by: Toppa

Here we go with set two of our look at Bobby songs and his collaboration with the late John Perry Barlow. RJ Bee returns with more music and discussion to follow episode 15's great first set. Hopefully we can live up to that standard with this episode. RJ is the founder of the Helping Friendly Podcast as well as the Osiris Podcast Network and an all around great guy so please take a minute or two to check those sites out. Set Two: Jack Straw (1972-09-15), Playin’ In The Band > Estimated Prophet > Drums > The Other One > Truckin’ (1978-01-06), Throwin’ Stones > Sugar Magnolia (1985-04-03)

March will come in like a lion for us with the second set from the band's performance at the Great Western Forum in Los Angeles CA from February 11th, 1989. We are treated right off to a superb China>Rider, with a very nice jam into Rider. I love hearing Brett here.. what better song to bring in March than 'I Know You Rider'? and Jerry sells that 'northbound train' line :) . 'Man Smart, Woman Smarter' follows - that bouncy tune always got everyone dancing! 'Standing on the Moon' follows, certainly not in the slot we might expect it, but this is only its 3rd performance, but one of the best.. also probably the main reason I wanted to play this set.. a nice, stretched out 'Estimated Prophet' follows.. they then travel to Space, but  Brent brings out 'I Will Take You Home' first, which always pulls at my heartstrings.. a very interesting drums follows, with Bill and Mickey being joined by Airto Moreira, Diana Moreira, and Flora Purim for some very spacey African sounding vocal stylings. The guests leave for Space, but Airto returns for 'Eyes of the World'. The post-drums is quite long by later-day standards, as Eyes finds a unique closing jam to lead into 'I Need A Miracle' then a soulful 'Black Peter' goes into a rousing 'Lovelight' to end the set. The crowd is treated to Phil bringing out the 'Box of Rain' for the encore to end a truly classic set.   Grateful Dead Great Western Forum Inglewood, CA 2/11/89 - Saturday Two China Cat Sunflower > I Know You Rider>; Man Smart (Woman Smarter) ; Standing On The Moon ; Estimated Prophet >; I Will Take You Home>; Drums* >; Space >; Eyes Of The World** >; I Need A Miracle >; Black Peter >; Turn On Your Love Light Encore Box Of Rain Comments * with Airto and Diana Moreira, Flora Purim; ** with Airto Moreira   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod030218.mp3     'thoughts and prayers are not enough'   Thanks for your support of the Deadpod my friends.        

This week - a really fun second set from the early Winter/late Fall of 79. This set starts out with a great Shakedown Street into a drummer's favorite - Samson and Delilah. Jerry slows things down a bit with a beautiful 'High Time' bu tthey pick back up with a long and well jammed-out Estimated->Eyes of the World. The jam going into Drums is particularly tasty. 'Black Peter' comes out of Drums, then they rock out the rest of the set with a 'Around and Around' into 'Johnny B. Goode', and a rockin'  'U.S. Blues' encore..   hope this gets you up and rockin' and keeping those bones warm:)     Grateful Dead Cleveland Public Auditorium Cleveland, OH 11/29/79 - Thursday Two Shakedown Street [11:49] -> Samson And Delilah [7:01] ; High Time [7:53] ; Estimated Prophet [13:29] -> Eyes Of The World [16:02] -> Space [8:13] -> Drums [7:#15] -> Black Peter [10:31] -> Around And Around [4:59] -> Johnny B. Goode [4:40] Encore U.S. Blues [5:29]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod120817.mp3   Your support of the Deadpod is very much appreciated!

We'll close out September with the second set of this fine show from September of 1982.. September 21st at Madison Square Garden in New York City. It starts with an interesting combo of  'Touch of Grey' into 'Samson and Delilah'. 'High Time' follows, a song far too infrequently played, in my opinion. Estimated Prophet goes into He's Gone - marked by a loud M-80 which was set off during the song. Post-Drums, Jerry brings things home with 'Black Peter'.. then Bobby ends with a rockin' Good Lovin'.. US Blues seems like a great encore right now to me..     Grateful Dead Madison Square Garden New York , NY 9/21/82 - Tuesday Two Touch Of Grey [6:27] -> Samson And Delilah [7:40] ; High Time ; Estimated Prophet -> He's Gone -> Drums -> Space -> Throwing Stones -> Not Fade Away -> Black Peter -> Good Lovin' Encore U.S. Blues   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod092917.mp3   Give Peace a Chance

Always a great way to start out set 2, this week's Deadpod starts with a wonderful Scarlet ->Fire. The boys do a nice job of exploring on this one, as the Scarlet is a bit more exploratory as usual, and that is a property of this entire set. Highlights for me include the great transition between Eyes of the World and Space, Garcia really explores some new areas there. The unusual post-drums setlist puts Not Fade Away before Wharf Rat and gives us a unusual double encore to end our evening!     Grateful Dead Greek Theatre - University of California Berkeley, CA 9/12/81 - Saturday Two Scarlet Begonias [11:40] ->; Fire On The Mountain [12:53] ; C C Rider [8:44] ; Estimated Prophet [10:55] -> Eyes Of The World [11:42]-> Space [7:35] -> Drums [9:36]-> Not Fade Away [10:08] -> Wharf Rat [9:27] -> Around And Around [3:57] -> One More Saturday Night [4:20] Encore It's All Over Now, Baby Blue [6:49] ; Good Lovin' [7:53]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091517.mp3   thanks to Brian at DCW Media for underwritng the last 2 Deadpods!   and thanks to you my friends for your support!   Ain't No Time to Hate        

We have a very fine second set to usher in the start of 'full eclipse' weekend on this edition of the Deadpod! Shows at the Uptown in Chicago were usually great, and this one was no exception. They start with a song they hadn't played since 1965! - Little Red Rooster - while you may have grown tired of it - the audience that night couldn't say the same :) The rest of the set is well played and I really enjoy hearing Brent as he fits into his role with the band at this early stage of his tenure. The highlight here is the wonderful 'Comes A Time'  in the midst of a Playin' sandwich - excellent emotion and playing. The boys do a wonderful Alabama Getaway finale here! Shame that didn't happen more often, then treat the crowd to a Johnny B Goode encore .. I'm sure they were feeling it this night..      Grateful Dead Uptown Theatre Chicago, IL  8/19/80 - Tuesday   Two Little Red Rooster [7:42] > China Cat Sunflower [6:00] > I Know You Rider [6:10] > Estimated Prophet [10:09] > Eyes Of The World [8:20] > Space [5:20] > Drums [13:21] > Space [1:08] > Playing In The Band [9:18] > Comes A Time [10:00] > Playing In The Band [5:56] > Around And Around [4:12] > Alabama Getaway [4:42] Encore Johnny B. Goode [4:19]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod081817.mp3   Thank you for your kind support of the Deadpod!    Please be careful and don't look at the sun during that eclipse!    Ain't No Time to Hate! 

Lucky 7's today :) and I hope you'll feel lucky after listening to this week's fine second set from the Shoreline Amphitheater in Mt. View CA on June 21st, 1989. This is a fine set for the period, Jerry is in excellent voice, and Phil is energetic and out front throughout. Jerry breaks out the Fender -Midi outfit during space, which is quite interesting and the addition of the late, longtime E Street Band saxophonist Clarence Clemons adds a nice fill to several spaces in the music, I think. The highlights for me are a fine Estimated Prophet, the wonderful transition from Truckin' to the Other One, and of course a fabulous Morning Dew. A fine show from one of best periods of the latter day Dead.     Shoreline Amphitheater (6/21/89)   Comments: Summer Solstice Show Pay-Per-View   Two Scarlet Begonias [7:46] -> Hell In A Bucket [5:44] (1) ; Ship Of Fools [7:44] (1) ; Estimated Prophet [10:14] (1) -> Eyes Of The World [12:40] (1) -> Drums [#9:52] -> Space [15:02] -> Truckin' [6:51] (1) -> The Other One [5:16] (1)(2) -> Morning Dew [11:#42] (1,3) ~ Turn On Your Love Light [8:12] (1) Encore Brokedown Palace [5:23#] Comments (1) with Clarence Clemons   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod070717.mp3   Thank you for your support of the Deadpod..   Let's all try to be kind :)  

This week we get shown the light with the second set from the band's performance on May 5th, 1977 at Veterans Memorial Coliseum in New Haven CT.  Just as solid as the first set, this is an example of just how finely tuned the group was during this time. Garcia in particular is outstanding throughout. Bertha starts this off and while it is played a bit more slowly than usual, the tempo is pleasing and Garcia's soaring solos highlight a great opener. A solid 'Estimated Prophet' follows, 'Scarlet->Fire' comes next (after a long tuneup) and leads into the heart of this show, as the Fire goes into a somewhat abbreviated 'Good Lovin' (no drums/space here) then into a wonderful St. Stephen.  The boys close with a nice Sugar Magnolia, and return with a Johnny B. Goode encore as befits this great show.    Grateful Dead New Haven Coliseum New Haven, CT 5/5/77 - Thursday   Two   Bertha [6:43] ; Estimated Prophet [8:41] ; Scarlet Begonias [10:47] > Fire On The Mountain [12:01] > Good Lovin' [5:52] ; Saint Stephen (1) [11:40] > Sugar Magnolia [8:37]  Encore Johnny B. Goode [4:08]  Comments (1) Truckin' tease in jam    You can listen to this week's Deadpod here:    http://traffic.libsyn.com/deadshow/deadpod051917.mp3   I have to apologize - I haven't had a chance to send out the copies of 5/8/77 Cornell yet to the the lucky winners - spent much of the last week with a family health issue.. I'll get these out soon!! thanks for entering!    Big thanks and hugs to those of you who support the Deadpod!     

On this episode, we celebrate the 40th Anniversary of the Spring '77 tour with a mix of tunes from the tour as well as a tribute to the 5/8 show itself. Whether it's your favorite Grateful Dead show or one that you feel gets a little too much love, we hope you enjoy what we've got in store for you here. Set 1: Help On The Way > Slipknot! > Franklin’s Tower (4/29), Minglewood Blues (5/28 - Hartford), Loser (4/29), Cassidy (5/4), Mississippi Half-Step Uptown Toodeloo (5/4), Dancing In The Streets > Got My Mojo Workin’ > Dancing In the Streets (4/22) Set 2: Scarlet Begonias > Fire On The Mountain, Estimated Prophet, Saint Stephen > Not Fade Away > Saint Stephen > Morning Dew E: One More Saturday Night   We hope you enjoy this third 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 BrokedownPod@gmail.com.

This week I'm pleased to present the second set of the band's performance at the Uptown Theater in Chicago Illinois on February 1st, 1978. They come out of the chute smoking with a great 'Samson and Delilah' - one listen and you know they're taking no prisoners tonight. They slow it down with a beautiful.. and powerfully sung,  'Must Have Been The Roses', Those voices start talking to Weir as 'Estimated Prophet' follows and takes us on a great ride..nice transition leads into 'He's Gone'. this leads into a nice Drumz and a great jam that follows which flows into 'The Other One'. Some great Phil here.. and Garcia soars.  The pathos of 'Wharf Rat' follows, then we're led back into the light with a great 'Sugar Magnolia'.  The band follows with a rocking 'Around and Around' to close the Wednesday night show..    Grateful Dead Uptown Theatre Chicago, IL  2/1/78 - Wednesday   Two Samson And Delilah [8:24] ; It Must Have Been The Roses [7:47] ; Estimated Prophet [12:27] > He's Gone [10:47] > Drums [6:13] > Jam [8:18] > The Other One [11:02] > Wharf Rat [9:47] > Sugar Magnolia [10:04]  Encore Around And Around [8:00]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod021017.mp3   Hope you're not snowed in!!   hold back the darkness..    thanks so much for your support!   

Episode 052 - December 2016 Set 2 Morning Dew (1977-05-08)Not Fade Away-> Goin' Down The Road Feelin' Bad-> One More Saturday Night (1974-10-18)Uncle John's Band-> Estimated Prophet-> He's Gone-> (1979-12-26)Eyes Of The World-> China Doll (1974-10-19)St. Stephen-> The Other One-> Stella Blue (1977-03-20)China Cat Sunflower->I Know You Rider (1972-08-27)Terrapin Station (1977-12-29)

Well in some ways I guess this one is appropriate this week....   The second set from Nov. 8th, 1985 has some great highs and some lows. It starts with a version of 'Revolution' with some nice jams but Garcias stepping all over the lyrics ;) Estimated Prophet follows with an excellent jam, especially as it goes into a less than stellar 'Eyes of the World'. Drums and Space follow and then a nice 'Other One' into a short 'I Need A Miracle'. The highlight of the set, if not the show follows, with a wonderful version of Dylan's 'She Belongs To Me'. They close the set with a spirited 'Sugar Magnolia' and return for an encore of the Stone's 'I Can't Get No Satisfaction'..   Grateful Dead Community War Memorial Auditorium Rochester, NY  11/8/85 - Friday    Two    Revolution ; Estimated Prophet -> Eyes Of The World -> Drums -> Space -> The Other One -> I Need A Miracle -> She Belongs To Me -> Sugar Magnolia Encore (I Can't Get No) Satisfaction   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod111116.mp3   My sincere thanks to the kind folks whose support allows me to keep publishing the Deadpod!!   Be Strong and love one another!      

Episode 048 - October 2016 Set 2Estimated Prophet-> Eyes Of The World-> Why Don't We Do It In The Road[1] (1984-06-27)I Fought The Law[1] (1993-03-14)Good Lovin'-> La Bamba-> Good Lovin' (1987-09-23)Louie Louie[1]-> Samson and Delilah (1988-04-05)Get Back[1] (1987-01-28)Greatest Story Ever Told-> Devil With The Blue Dress[1]-> Good Golly Miss Molly[1]-> Devil With The Blue Dress (1987-09-09)Foolish Heart-> I Want to Tell You[1] (1994-07-01)It's All Too Much[1] (1995-03-18)Take Me To The River[1] (1995-04-01)Let The Good Times Roll-> Feel Like A Stranger (1988-04-30)The Weight (1990-03-28)Satisfaction[1] (1980-11-26)Blackbird[1]-> Brokedown Palace (1988-06-23)[1] Dead Fantasy Debut

Episode 006 of The DeadHead Podcast features an Estimated Prophet jam compilation from 1986.

This week  the Deadpod presents the second set from the band's performance on September 22nd, 1993 at Madison Square Garden in New York City, NY.  The set features jazz saxophonist David Murray throughout, and with blues harmonica player James Cotton sitting in on the last two numbers of the set (although he is sadly not up very well in the mix). As you might expect this is jazzy throughout, so if you don't enjoy a bit of jazz mixed with your GD this might not be your cup of tea. This is a fine recording however, and the band is clearly energetic and enthused this evening. They start out with Weir's 'Easy Answers', not the most profound song in the catalog, yet played smartly here. Garcia follows with a beautiful 'Lazy River Road', one of his better later ballads. I really enjoy the 'Estimated Prophet' that follows, it goes to some sweet unfamiliar places. 'Dark Star' follows, although it is short, as was the practice during this period (1st verse only) it is still a pleasure to traverse.  An extra long Drums and Space follows.. 'Wharf Rat' follows, and here Garcia's' voice, a bit frail throughout, works to add to the pathos of the story. Murray's sax adds an unusual element at the conclusion, in particular. They follow with a well executed 'Throwing Stones'  (as relevant as ever) and 'Lovelight'. What was the least-liked encore of the 90s, 'I Fought The Law', closes out what was a special night for the band.    Grateful Dead Madison Square Garden New York , NY  9/22/93 - Wednesday   Two Easy Answers (1) ; Lazy River Road (1) ; Estimated Prophet (1) > Dark Star (1) > Drums (1) > Space (1) > Wharf Rat (1) > Throwing Stones (2) > Turn On Your Love Light (2)  Encore I Fought The Law  Comments (1) with David Murray. (2) with David Murray and James Cotton.    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod093016.mp3     I hope you enjoy this week's Deadpod, and my sincere thanks for the financial support that makes the Deadpod possible.    'We are on our own'........         

Episode 041 - July 2016 Set 2Estimated Prophet (1978-05-07)Playin' In The Band (1973-11-30)The Other One (1983-03-13)New Potato Caboose (1968-10-12)Lost Sailor-> Saint of Circumstance (1981-12-05)Looks Like Rain (1990-04-02)Weather Report Suite-> Let It Grow (1973-11-21)Feel Like A Stranger (1993-06-26)Hell In A Bucket (1983-10-17)I Need A Miracle (1989-10-16)The Music Never Stopped (1978-04-24)

After an admittedly somewhat bumpy first set, we return to Foxboro during the Summer of 1990 for the second set of the band's performance there on July 14th, 1990. They come out of the gate (following an amusing 'Take a step back') with a pleasant and somewhat jazzy Eyes, followed by a reggae inspired Estimated Prophet. There's some great work by Phil here, followed by a dreamy 'Crazy Fingers'. Uncle John's Band follows and the crowd breaks into a singalong.. Following drums and space, we get what would turn out to be the final rendition of Brent's 'I Will Take You Home', followed somewhat abruptly by 'I Need a Miracle'. The band closes the set with three rockers - 'Goin' Down the Road Feelin' Bad', 'Throwing Stones' and 'Turn on Your Lovelight.. ' They return for a rare double encore, with a prophetic 'Last Time' followed by the always sweet 'We Bid You Goodnight'..    Sullivan Stadium, Foxboro MA (7/14/90)   Set 2   Eyes of the World Estimated Prophet Crazy Fingers Uncle John's Band drums I Will Take You Home I Need a Miracle Goin' Down the Road Feelin' Bad Throwin' Stones Turn on Your Love Light   This Could Be the Last Time We Bid You Goodnight   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod071516.mp3   Thanks for picking us up, and even more, to those of you able to support the Deadpod through a kind contribution, very much appreciated.    May this find you all in peace and light.     

Episode 037 - May 2016 Set 2Help On The Way-> Slipknot!-> Franklin's Tower (1984-04-21)Hey Pocky Way (1989-10-20)Shakedown Street (1982-04-06)Looks Like Rain (1986-03-25)She Belongs To Me[1] (1985-04-07)Estimated Prophet-> Eyes Of The World-> Drums-> (1980-08-30)Space-> Morning Dew (1986-03-24)Truckin'-> The Other One (1982-04-06)The Wheel-> Wharf Rat-> Sugar Magnolia (1984-04-19)Turn On Your Lovelight (1987-03-31)Stella Blue (1987-03-31)[1] Dead Fantasy Debut

Episode 033 - March 2016 Set 2Just Like Tom Thumb's Blues (1991-10-31) Let It Grow (1991-10-31) Estimated Prophet-> He's Gone (1991-02-20) Playing In The Band-> Uncle John's Band-> Terrapin Station-> Drums (1991-02-21) The Last Time (1990-02-25) Drums-> Jam-> The Other One-> Wharf Rat-> Turn On Your Love Light (1990-12-04) Goin' Down The Road Feeling Bad-> One More Saturday Night (1988-12-31)

I think we have a really top-notch set for you this week. The second set from April 19th, 1978 at the Veterans Memorial Auditorium in Columbus Ohio is filled with wonderful jamming and great song selections. It starts with the always energetic 'Samson and Delilah', then moves into a great version of 'It Must've Been The Roses' .. I think you'll find Donna (and Keith) both shine in this set. A nicely jammed out 'Estimated Prophet' leads into a fine 'He's Gone'. The Drums that follows to me showcases the importance of this part of their show at its best.. this one clocks in at 18 minutes.. They come out of Space into 'The Other One', then flow into a perfectly placed 'Wharf Rat'. Around and Around closes the set but the boys return to give us the first ever cover of 'Werewolves of London' and it is a keeper!   Grateful Dead Veterans Memorial Auditorium Columbus, OH 4/19/78 - Wednesday Two Samson And Delilah [7:23] ; It Must Have Been The Roses [7:18] ; Estimated Prophet [14:19] > He's Gone [11:10] > Drums [18:#56] > Space [8:37] > The Other One [8:14] > Wharf Rat [9:57#] > Around And Around Encore Werewolves Of London [10:27]     You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042916.mp3   Thanks as always to all of you who listen to and enjoy the Deadpod each week. Special thanks to the kind friends whose contributions make this possible! love you all!         

  This week's Deadpod features a fine second set from the April Fools' show of 1980.. I particularly enjoyed the China->Rider and Estimated->He's Gone.. Listen for the delightful keyboard work Brent gives us between The Other One and Drums :) A Shakedown encore is always fun too!! The ol' Professor is suffering through a nasty cold this week so I'm keeping this short, but this is a fine second set that I hope you enjoy...     Grateful Dead Capitol Theatre Passaic, NJ 4/1/80 - Tuesday Two   Feel Like A Stranger [8:43] ; China Cat Sunflower [4:51] > I Know You Rider [7:00] ; Estimated Prophet [12:26] > He's Gone [13:#28] > The Other One [7:19] > Jam (2) [1:25] > Drums [2:35#] > Space [#1:#47] > Stella Blue[9:08] > Around And Around [7:15] Encore Shakedown Street [9:57]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod040816.mp3   thank you so much to my kind listeners' whose contributions make the Deadpod possible!!  

Episode 022 - October 2015 Set 2Bird Song[1]Eyes Of The World[2]Estimated Prophet[2]Weather Report Suite Prelude[3] -> Weather Report Suite Part 1[3] -> Let It Grow[3] -> Stella Blue[3]That's Alright Mama[4]Mountain Jam[5]Johnny B. Goode[5][1] w Carlos Santana[2] w Branford Marsalis[3] w Martin Fierro, Joe Ellis[4] w Dicky Betts, Merl Saunders, Butch Trucks[5] w Allman Brothers Band, The Band

Episode 004 - February 2015 Set 2I Need A Miracle->Shakedown StreetScarlet Begonias->Fire On The MountainEstimated ProphetTerrapin StationDrums->SpaceCrazy Fingers->Samson and DelilahGood Lovin'Stella Blue

Episode 011 - May 2015 Set 2Estimated Prophet->Eyes Of The World->Drums->The Wheel->Wharf RatSamson and DelilahSt. Stephen->Sugar MagnoliaPlayin' In The Band->Uncle John's BandTerrapin StationShip Of FoolsChina Doll->Playin' In The Band

Episode 028 - January 2016 Set 2Scarlet Begonias -> Fire On The Mountain (1978-04-16) Estimated Prophet -> Eyes Of The World -> Drums -> Samson & Delilah (1977-05-15)Terrapin Station -> Playin' In The Band -> Comes A Time -> Playin' In The Band (1977-05-04) Althea > Looks Like Rain > Deal (1981-03-28)

As you listen to this second set from March 9th, 1981 it won't take you long at all to realize that fans were treated to a special evening of music 35 years ago. The China Cat -> I Know You Rider is such a wonderful beginning to what is a special night of music. Even a casual listener will soon be captured by the wonderful jam into Rider here. The band doesn't let up either, as this is just the start of a great set of music. A snappy Samson follows here, with a great intro by the drummers and some nice keyboard work by Brent. Ship of Fools leads us into the heart of this set, the Estimated ->Uncle John's Band->Drums/space->Other One->Stella Blue. A classic combination, done most exquisitely.  Treat yourself and get lost in this section of the show. They follow with a fine Good Lovin' and come back for a somewhat sloppy US Blues, but by then.. its all smiles.      Grateful Dead Madison Square Garden New York , NY 3/9/81 - Monday Two China Cat Sunflower [9:28] > I Know You Rider [6:10] > Samson And Delilah [6:55] ; Ship Of Fools [8:10] ; Estimated Prophet [14:10] > Uncle John's Band [11:41] > Drums > Space [3:08] > The Other One [7:43] > Stella Blue [9:49] > Good Lovin' [6:33] Encore U.S. Blues   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod031116.mp3   I hope you enjoy this week's Deadpod.. Many thanks to the kind folks whose contributions make the Deadpod possible.    "Ain' No Time To Hate Barely Time To Wait"     ps. on a technical note, I have changed the mp3 encoding to a variable bit rate with a slightly higher average bitrate. Please let me know if you encounter any difficulties during playback. thank you! 

I am certain that you'll enjoy this second set from the Dead's performance back on November 29th, 1980 in Gaineville, Florida. I found this a delight to listen to ,especially the transitions between songs.. those jams are full of life and fire! They start with a great Shakedown Street, which flows nicely into a Franklin's Tower.The Estimated that follows is Soooooo good, in my opinion.. and not only do they not go into Eyes, they go into an interesting He's Gone.. I think you'll find plenty creative here in the pre-drums . and the space and drums is very interesting.. the Stella Blue that follows the Other One is very powerful.. You'll enjoy the Good Lovin' and Casey Jones which ends this one..      Grateful Dead Alligator Alley Gym - University of Florida Gainesville, FL 11/29/80 - Saturday Two Shakedown Street [10:18] > Franklin's Tower [8:07] ; Estimated Prophet [10:41] > He's Gone [12:50] > Truckin' [9:03] > Drums [5:#38] > Space [4:51]> The Other One [7:03] > Stella Blue [10:23] > Good Lovin' [8:17]   Encore Casey Jones [5:41]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod121815.mp3   As we watch this year slide away, just wanted to thank those kind folks who have supported the Deadpod this year - I really appreciate it!    I wish you and yours and most happy and healthy Holiday Season!       

This week, set 2 of a wonderful recording of a rockin' show from the Summer of 1980 - 6/20/80 from Anchorage Alaska. This is really a wonderful classic set of Grateful Dead music for the period, and this second set starts out with a fabulous Alabama Getaway into Greatest Story Every Told. The crowd knows they're in for a treat here as the boys rock this one out! Ship of Fools follows and then a wonderful version of Estimated Prophet - the band really lights this one up. This flows not surprisingly into 'The Other One' but the drums and space that follows is quite interesting and lead into a really funky Brent intro into a sweet 'Not Fade Away' - no throwaway set closer here. Black Peter follows , then the boys step on the pedal again to end the set with a great 'Around and Around' into 'Johnny B. Goode'. They return with a 'Don't Ease' me encore to say goodnight to their Alaskan guests..       West High Auditorium, Anchorage, AK (6/20/80) set 2   Alabama Getaway Greatest Story Ever Told Ship of Fools Estimated Prophet The Other One drums Not Fade Away Black Peter Around and Around Johnny B. Goode Don't Ease Me In     You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod061915.mp3     Have a wonderful week my friends! and THANK YOU for your support!!!!!  

Here we are on what would have been Jerry Garcia's 72nd birthday.. whew .. hard to imagine how much music he would have produced had he stuck around these last 19 years. We get to share what we have, and this week that is the second set from the Grateful Dead's performance at the Greek Theater in Berkeley California on July 15th, 1988. We start out with a great choice for a summer night, Scarlet->Fire... the transition is perhaps not as long as some, but there's plenty of energy here.. that energy builds with a rockin' Man Smart, Woman Smarter.. Ship of Fools follows and slows the tempo down but the band goes into Estimated->Drums->Space->Miracle which are all quite well played. The Wheel follows and then Brent leads the band into an excellent Gimme Some Lovin'. Jerry closes the set with a charged Morning Dew.. The lowpoint of the set is the encore, where Bobby is quite off key but well, no one is perfect right?     Grateful Dead Greek Theater Univ of California Berkeley CA 7/15/88 set 2 Scarlet Begonias > Fire On The Mountain ; Man Smart, Woman Smarter ; Ship of Fools ; Estimated Prophet > Drums > Space > I Need A Miracle > The Wheel > Gimme Some Lovin' > Morning Dew EncoreTurn On Your Love Light   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod080114.mp3   Thanks for picking us up and listening this week. Special thanks to those of you who have supported the Deadpod financially - we really appreciate it!     

This week we start with a long forgotten field recording and move into the French dub of Zenzile. Classic dub poetry gets spun with Linton Kwesi Johnson and Burning Spear elevates with Estimated Prophet. Austrian IDM pioneer B. Fleischmann's It's All So gets the HSS edit and the beautiful voice of Lisa Gerrard soars with The Secret Language of Angels. Continuing with the vibe we move into a rootsy Hugo rework of Jay Z's 99 Problems and Montreal's Elage Diouf gives his take on a classic. Keb Mo and Michael Franti both wrap up the rootness and Nicolas Jaar takes us back into electronics with some Variations. Montreal native DJ Champion's No Heaven rounds out show and Cul De Sac wraps it up in the background by electronically reworking Glen Jones. Tracklist: Unknown - No More, My Lord Zenzile - War Still A Run Linton Kwesi Johnson - Time Come Burning Spear - Estimated Prophet B. Fleischmann - It's All So Lisa Gerrard & Marcello De Francisci - The Secret Language Of Angels Hugo - 99 Problems Elage Diouf - I Am A Man Of Constant Sorrow Keb Mo - Folsom Prison Blues Michael Franti & Spearhead - Ganja Babe Nicolas Jaar - Variations DJ Champion - No Heaven Cul De Sac - Tuff http://www.howesoundsystem.com http://www.facebook.com/howesoundsystem

This week we get to hear the second set from the Parmount Theater in Seattle Washington, September 29th, 1977. I think this is quite a nice set with an outstanding He's Gone, Stella Blue and an Uncle John's Band encore to soothe your soul... I hope you enjoy it! In other news - the Europe 72 Vol. 2 CD contest is OVER! I received a goodly number of entries and I want to thank each of you for all the kind things you had to say! I'd love to respond to each of you but I probably don't have time so I hope you don't take offense - I also wish I had enough CDs for everyone but of course I don't. I'll email the lucky winners and send those out within a few days. Please remember the CD is available at rhino.com and on dead.net. Grateful DeadVenue  Paramount TheatreLocation  Seattle, WADate  9/29/77 - Thursday Set Two: Samson And Delilah [6:23] ; Ship Of Fools [6:59] ; Estimated Prophet [9:31] > He's Gone [11:04] > Drums [4:37] > Truckin' [9:#40] > Stella Blue [12:59] > Goin' Down The Road Feeling Bad [7:58] > Johnny B. Goode [4:15]Encore  Uncle John's Band [9:49#] You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod091611.mp3">here:http://traffic.libsyn.com/deadshow/deadpod091611.mp3">http://traffic.libsyn.com/deadshow/deadpod091611.mp3 Thanks for listening and for your SUPPORT!You can send a donation via the Donate button to the right of the page! thanks! "Don't forget your hippie training!" - J. Garcia

This week we get to listen to the second set from this fine show that took place at the Greek back in 1984. I think you'll find that while the Help->Slip->Frank isn't remarkable, the Estimated->Eyes->Drumz is more than worthwhile. I also really like Jerry's work in Truckin', and the Wharf Rat is a keeper for sure.   Grateful DeadGreek Theatre - University of CaliforniaBerkeley, CA Set Two: Help On The Way [3:52] > Slipknot! [6:37] > Franklin's Tower [10:34] ; Estimated Prophet [11:29] > Eyes Of The World [11:18] > Drums > Space [8:09] > Truckin' [6:20] > Wharf Rat [9:51] > Goin' Down The Road Feeling Bad [6:18] > One More Saturday Night [4:03]Encore  Keep Your Day Job [4:10] You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod061011.mp3 Thanks for listening and for your SUPPORT! You can send a donation via the Donate button to the right of the page! thanks! By the way - this site is now optimized to be viewed on mobile devices! Check it out..

This week's podcast features Eyes Of The World>China Doll from 6-9-73. Then we have Estimated Prophet>Goin' Down The Road Feeling Bad from 10-12-81. To close this podcast I included the enxtended jam from 2-18-71. Dark Star>Wharf Rat (first time played)> Beautiful Jam> Dark Star> Me and My Uncle.

I can usually hold off on these until May officially rolls in, but this spring has come early, and with it, my desire to sample one of these delicious shows from Spring of 1977 - this one is also from the start of the tour, but its a beauty.. This first set starts off with that slow tempo many of these sets exhibit, but by the time we reach that Playin' which closes the first set - Zowie! - we're really in the zone..Grateful Dead4/22/77The Spectrum, Philadelphia PAOne The Promised Land [#2:01] ; Mississippi Half-Step Uptown Toodeloo [10:15] ; Looks Like Rain [7:45] ; Deal [6:06] ; El Paso [4:22] ; Tennessee Jed [7:47] ; Estimated Prophet [7:38] ; Peggy-O [7:45] ; Playing In The Band [21:02]You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod042310.mp3Glad you could pick us up this week.. thanks for your support, my friends.

This week's Dead show is more than just a classic 1977 show - its that for sure - and its much more than the first time we get an Eyes of the World going into an Estimated Prophet - although this show is the first time that happens too.. its the kind of magical, rocking, charging life affirming and soul-baring music that makes me fall in love with the Grateful Dead over and over again..There's plenty to love in this set - the fine Samson->Cold rain starts the set perfectly.. the Playin' in the band builds and builds and then explodes into the Eyes of the World that is played at a real breakneck pace. While I'm not often a fan of Eyes played this way, Jerry's almost maniacal energy on this version can't fail but bring you up out of your feet - its almost 'hummingbird' like in the way he makes that guitar flitter and sing.. followed by a good Estimated, but then Phil drops the hammer and the band goes into a short, but intense, Other One...after drums.. the band slowly builds into an Aiko, Aiko that is surprisingly slow-paced, but the band then drops into a classic 1977 Stella Blue, then a playin' reprise to end the set..The encore tells us the band has had as much fun as we have...Grateful DeadCotterell Gym, Reid Athletic Center, Colgate UniversityHamilton, NY11-4-77Set II: "Meet The Jones Gang" [2:36] Samson & Delilah -> [7:22] Cold Rain & Snow [8:30] Playing in the Band -> [12:52] Eyes of the World -> [12:50] Estimated Prophet -> [11:40] The Other One ->[4:57] Drums -> [3:17] Iko Iko -> [10:05] Stella Blue ->[12:12] Playing in the Band [7:04]Encore: Johnny B. Goode [5:06]You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod111309.mp3Special thanks to our friends at Keely Electronics for their kind equipment donation!

Hello !!This week we have the pleasure of sharing the second set from this great 1981 show.. it starts off with a fabulous Shakedown, and contains lots of my personal favorites.. I just really enjoy this setlist and I think Jerry and the boys are performing this at a real high level.. I hope you enjoy it as much as I do....Grateful Dead Greensboro Coliseum Greensboro, NC4/30/81 - Thursday Two Shakedown Street [11:56] > Samson And Delilah [7:47] ; It Must Have Been The Roses [7:09] ; Estimated Prophet [11:58] > Eyes Of The World [7:49] > Drums [10:22] > Space [3:05] > Truckin' [8:24] > Black Peter [9:48] > Around And Around [3:59] > Johnny B. Goode [3:58]Encore Casey Jones [5:39]You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod020609.mp3Thanks for picking us up!!! Have a WONDERFUL week!

This week's Deadpod is big in every way - a wonderful second set that features a fabulous Eyes of the World->Estimated Prophet->Franklin's Tower that lasts nearly an hour and is among the best versions ever of these songs. This comes to us from the great fall of 79 tour, this one is from November 5th, 1979 from the Spectrum in Philadelphia. The entire set is a real treat, starting with a rare second set opening Althea and closing with a truly rocking Sailor-Saint-Sugar Magnolia.. Grateful Dead The Spectrum Philadelphia, PA 11/5/79 - MondayAlthea [12:01] ; Easy To Love You [3:26] ; Eyes Of The World [22:35] > Estimated Prophet [14:28] > Franklin's Tower [13:45] > Space [5:09] > Drums [7:36] > Space [2:39] > Lost Sailor [6:52] > Saint Of Circumstance [5:14] > Sugar Magnolia [8:46]Encore Casey Jones [5:50]You can listen to this weeks' Deadpod here:http://media.libsyn.com/media/deadshow/deadpod092608.mp3Not only is there alot of great music this week, but I took to heart a suggestion that I try to improve the compression rate on the mp3. Being just another picky deadhead myself, I'm very concerned to have the music sound as good as possible - please let me know if you notice the difference on this week's Deadpod. This does increase the file size, and there are tradeoffs, but it may well be worth the cost.The other big news this week is that starting next week, KOPN, 89.5 FM, Community radio begins its Fall pledge drive. I'm trying to get a head start on this by asking you for your support for the Deadpod. I do hope you'll consider contributing to the Deadpod and ensuring our continuance. I wanted to let you know this was starting this week because I have an opportunity to send you a very special thank you for supporting the Deadpod - a copy of the brand new release "Rocking the Cradle - Egypt 78" CD/DVD combination set that releases on September 30th! This two cd/dvd set chronicles the historic shows in Egypt in 1978 - including 95 minutes of concert footage - and I'm so happy to be able to offer this to my listeners who contribute at a $60 level or above. I wanted to get a headstart on this as I'm going to be getting some surgery done later in October and would like to take care of this before all that goes down.. so at any rate, if you'd like to get a copy of this wonderful set, just contribute to the Deadpod during this big membership drive. You can click the 'Make a Donation' button on the left hand side of the page here: http://deadshow.blogspot.comThank YOU! Whew! I hope the Deadpod and all the news isn't TOO big! but then again, I always loved the BIG sound of seeing the Dead and I think you'll enjoy this week's show.. Be well and thanks for picking us up!

While I only have the second set of this show, I think you'll agree that it's well worth your time. This show features a wonderful pre-Drums seven song segment that starts with a rousing China-Rider, then goes into a rare Stranger->Comes a Time sequeway. Always a favorite, the Comes A Time is blusey and very well played. The band then drives into Estimated into a wonderful He's Gone and a very unexpected Uncle John's Band before a short Drums and Space. The rest of the show is equally well-played - then they pull out a rare double encore to confirm they had as much fun as we do listening. Grateful DeadHartford Civic Center Hartford, CT 5/10/80 - SaturdayTwo China Cat Sunflower [6:36] > I Know You Rider [7:03] ; Feel Like A Stranger [7:45] > Comes A Time [8:42] ; Estimated Prophet [10:45] > He's Gone [14:53] > Uncle John's Band [7:32] > Space [3:52] > Drums > Space [1:04] > Not Fade Away [8:51] > Sugar Magnolia [8:18]Encore Alabama Getaway [4:22] > One More Saturday Night [4:49]You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod091908.mp3Thanks for picking us up!

This week we'll listen to the second set from the first of the fine 'From Egypt with Love' concerts - October 17th, 1978. A wonderfully well played set - I really enjoy the space, actually and of course, Jerry's "If I Had the World to Give".. EnjoyGrateful Dead Winterland Arena San Francisco, CA 10/17/78 - TuesdayScarlet Begonias [9:35] > Fire On The Mountain [10:50] ; Estimated Prophet [11:45] > Eyes Of The World [13:#37] > Drums [11:52] > Space [8:49] > If I Had The World To Give [7:07] > Around And Around [9:10]Encore U.S. Blues [4:46#]As always you can listen to the Deadpod here:http://media.libsyn.com/media/deadshow/deadpod012508.mp3Be well and thanks for your support!!

I hope all of you have a safe and happy Memorial Day weekend! This week I'm bringing you a top-notch show from 1991. This particular show was played without Hornsby, which allows Vince's contributions to more clearly stand out. Listen to the great transition into All Along the Watchtower in particular.. I think you'll enjoy this one!Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 3/27/91 - WednesdayScarlet Begonias > Fire On The Mountain ; Estimated Prophet ; Uncle John's Band ; Drums > Space > All Along The Watchtower ; Stella Blue ; Sugar MagnoliaEncore Box Of RainAs always you can listen to the Deadpod here:http://www.libsyn.com/media/deadshow/deadpod052507.mp3Thanks for your suggestions, and for your support!!

This week I'm bringing you the entire second set from a show requested by one of my listeners, 9/14/82, Charlottesville VA. Its a smartly played set, with an interesting song selection and placement.. I think you'll enjoy it! Also I wanted to send out a big THANK YOU to all of you who've contributed to the deadpod and KOPN - I have an amazing group of listeners.. if you haven't gotten your sticker in a reasonable amount of time let me know - I'm not the most organized person in the world but I have tried to get them out as I can.. THANKS AGAIN! Grateful Dead University Hall - University of Virginia Charlottesville, VA 9/14/82 - TuesdayChina Cat Sunflower [6:48] > I Know You Rider [5:35] ; Samson And Delilah [8:23] ; High Time [7:14] ; Estimated Prophet [12:11] > He's Gone [11:27] > Drums > Space [2:56] > Iko Iko [7:53] > Truckin' [6:35] > Black Peter [8:14] > I Need A Miracle [3:07] > Bertha [6:25]Encore Johnny B. GoodeAs always you can listen to this week's deadpod here:http://www.libsyn.com/media/deadshow/deadpod051807.mp3

This week we'll hear the rest of the second set from 11/9/79, Buffalo NY. We'll begin with a jazzy Estimated Prophet, which goes into a heartfelt He's Gone. As the band goes into Drums and space a surprising Gloria jam foreshadows the rocking end of the second set. Grateful Dead 11/09/79 Buffalo Auditorium Buffalo, NYEstimated Prophet [13:12] > He's Gone (1) [19:08] > Drums [11:38] > Space [3:23] > Wharf Rat [11:22] > I Need A Miracle [4:02] > Bertha [6:15] > Good Lovin' [6:58]Encore U.S. Blues [5:24]As always you can listen to the deadpod here:http://www.libsyn.com/media/deadshow/deadpod040607.mp3thanks for your support!

In this week's show we continue with the second set from 12/28.78 - this starts with a rockin' high-energy Shakedown Street.. check out the great transition jam from Estimated into Eyes.. All in all I'm sure you're going to enjoy this one.. Grateful Dead Golden Hall - San Diego Community Concourse San Diego, CA12/28/78 - ThursdayShakedown Street [11:21] ; From The Heart Of Me ; Estimated Prophet [11:42] > Eyes Of The World [9:17] > Drums [7:41] > Space [2:53] > Truckin'[8:26] > Wharf Rat [10:08] > Sugar Magnolia [9:02]Encore Johnny B. Goode [4:05]As always you can listen to the deadpod here:http://www.libsyn.com/media/deadshow/deadpod022307.mp3Enjoy and thanks for listening!