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This week we present the second set from the band's performance at the Greek Theater in Berkeley California on May 22, 1982. A fine recording that starts off with a tight 'China>Rider', to lead off a nice pre-drums set. 'Man Smart, Woman Smarter' always got the crowd fired up and we also have a Brent number, and a great 'He's Gone' into Drums.. post Drums highlights include a nice 'Not Fade Away' and a rockin' 'Good Lovin' to close the set. While it is a Saturday show, we get a 'U.S. Blues' encore ! Grateful Dead Greek Theatre - University of California Berkeley, CA 5/22/1982 - Saturday Two China Cat Sunflower [6:51] > I Know You Rider [5:28] > Man Smart (Woman Smarter) [6:21] Never Trust A Woman [5:51] Lost Sailor [6:25] > Saint Of Circumstance [6:40] > He's Gone [10:#33] > Drums > Space [9:19] > Not Fade Away [10:05] > Wharf Rat [8:28] > Around And Around [3:48] > Good Lovin' [8:31] Encore U.S. Blues You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod053025.mp3 Thank you so much for your kind support of the Deadpod!
When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!
Josh's guests: Karen Masterson Koch - clinical nutritionist, ALOE LIFE aloe vera America's premier aloe vera since 1991. Using ALOE LIFE aloe vera to beautify your skin & improve your digestion Eddie Brigati - lead singer/songwriter, The Rascals hit songs include Groovin', A Beautiful Morning, A Girl Like You, How Can I Be Sure, People Got To Be Free, Good Lovin', part 2 of Eddie's interview find us at: www.HeresToYourHealthWithJoshuaLane.com
KAREN MASTERSON KOCH, clinical nutritionist, ALOE LIFE aloe vera America's premier aloe vera since 1991. using ALOE LIFE aloe vera to beautify and heal your skin, & improve your digestion EDDIE BRIGATI, lead singer/songwriter, THE RASCALS hit songs include GROOVIN, A BEAUTIFUL MORNING, A GIRL LIKE YOU, HOW CAN I BE SURE, PEOPLE GOT TO BE FREE, GOOD LOVIN, part 2 of EDDIE's interview
Josh's guests: Sylvie Beljanski - author, Winning The War On Cancer Discusses the studies of Mirko Beljanski, PhD - one of the first green molecular biologists who revealed that natural molecules can selectively target cancer cells and work alongside many chemotherapy drugs. Called upon by President Francois Mitterrand of France, while he was in office, to treat his advanced prostate cancer. Eddie Brigati - lead singer/songwriter, The Rascals Hit songs include Groovin', A Beautiful Morning, A Girl Like You, How Can I Be Sure, People Got To Be Free, Good Lovin' find us at: www.HeresToYourHealthWithJoshuaLane.com
This interview with Billy Sheehan is a joint venture between A2Z Radio's Bill "LilWilly" Elam and the Ages of Rock Podcast's Bill Algee. The discussion begins with quick thoughts about the significance and the evolution of their first names. Billy Sheehan shares his inspiration for playing bass, influenced by a neighbor and the Beatles' Ed Sullivan performance. He recounts his first bass and its importance in his career. Sheehan discusses his experience singing and performing, including a recent performance where he sang "Good Lovin'" at the "Rare Hare" show the night before ROCKNPOD. The conversation touches on the importance of bass in music and how it can transform a song. Billy emphasizes the community aspect of musicianship and his willingness to help fellow bass players. The conversation concludes with Sheehan expressing gratitude for his fans and the importance of maintaining a connection with them.
KAREN MASTERSON KOCH, clinical nutritionist, ALOE LIFE aloe vera America's premier aloe vera since 1991. using ALOE LIFE aloe vera to beautify and heal your skin EDDIE BRIGATI, lead singer/songwriter, THE RASCALS hit songs include GROOVIN, A BEAUTIFUL MORNING, A GIRL LIKE YOU, HOW CAN I BE SURE, PEOPLE GOT TO BE FREE, GOOD LOVIN,
SYLVIE BELJANSKI, author, Winning The War On Cancer, discusses the studies of Mirko Beljanski, PhD - one of the first green molecular biologists who revealed that natural molecules can selectively target cancer cells and work alongside many chemotherapy drugs. Called upon by President Francois Mitterrand of France, while he was in office, to treat his advanced prostate cancer. EDDIE BRIGATI, lead singer/songwriter, THE RASCALS hit songs include GROOVIN, A BEAUTIFUL MORNING, A GIRL LIKE YOU, HOW CAN I BE SURE, PEOPLE GOT TO BE FREE, GOOD LOVIN,
| Middle Of The Night (Vocal/Long Version) | Taka Boom | 1985 | Let Her Feel It (Vocal) | Simplicious | 1984 | Tell The World How I Feel About 'Cha Baby | Harold Melvin & The Blue Notes | 1975 | Let's Get Together Now | Aristocrats | 1973 | Under The Skin | The Brothers | 1976 | (Everybody) Get Dancin' | Bombers | 1979 | Let's Dance | Bombers | 1979 | Good Lovin' | Al Mason | 1990 | How Did You Know? | True Solace | 1999 | Tell Me How Much | Christopher Williams, China | 2004 | The Survivor (feat. Phyllis Hyman) | Joe Sample | 1985 | Standing Tall | The Crusaders | 1981 | Rodeo | Kirk Whalum | 1985 | Hot Pants Road | The J.B.'s | 1972 | Pick Up The Pieces One By One | A.A.B.B. | 1975 | Blood Is Thicker Than Water | William DeVaughn | 1974 | Here I Am | Sharon Bryant | 1989 | Anywhere | Barbara Weathers | 1990 | Heartbeat (Club Version) (Larry Levan Mix) | Taana Gardner | 1981 | Why You Wanna Play Me Out? (LP Version) | Trisha Covington | 1994 | That's The Meaning/Boogie Motion (12" Version) | Beautiful Bend | 1978
This is an Encore Presentation of my 2021 interview with Felix Cavaliere, a co-founder, lead singer, songwriter and keyboardist for The Rascals, one of the greatest rock bands of the 1960s. His voice can be heard on so many #1 hits including “Good Lovin'” and “Groovin”. He's been inducted into the Rock And Roll Hall Of Fame and the Songwriters Hall Of Fame.My featured song is “Yeah Yeah” from the album PGS 7 by my band Project Grand Slam. Spotify link.--------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“LOVELY GIRLIE” is Robert's latest single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com
Bad Company hit the scene in 1974 in a big way. Signed to Led Zeppelin's Swan Song label and managed by Peter Grant, the supergroup composed of Paul Rodgers (Free), Mick Ralphs (Mott the Hoople), Boz Burrell (King Crimson) and Simon Kirke (Free) had a huge success with their self-titled debut which would go on to sell 5 million in the US. Many bands struggle to follow up a big debut with an equally good second effort but Bad Company weren't rookies and had made over a dozen albums individually. The question was how would the songwriting partnership of Ralphs and Rodgers develop and would any of them as individuals emerge as the lead songwriter. While not many will tell you Straight Shooter is as good or better than the debut, it is a solid rock record. Chart hits Feel Like Makin' Love and Good Lovin' Gone Bad got them all over the airwaves and Rodgers Shooting Star would go onto become a classic rock radio staple. They even showed their tender side with Simon Kirke's Weep No More (accompanied by strings) and Anna. Heavy riffs from Deal With The Preacher and the innuendo of Wild Fire Woman help round the album into an album that showed Bad Company had staying power and could deliver the goods. Released March 28, 1975, it would go on to sell 3 million in the US. Do you think Bad Company deserves to be in the Rock N Roll Hall of Fame? We do!!! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Bad Company hit the scene in 1974 in a big way. Signed to Led Zeppelin's Swan Song label and managed by Peter Grant, the supergroup composed of Paul Rodgers (Free), Mick Ralphs (Mott the Hoople), Boz Burrell (King Crimson) and Simon Kirke (Free) had a huge success with their self-titled debut which would go on to sell 5 million in the US. Many bands struggle to follow up a big debut with an equally good second effort but Bad Company weren't rookies and had made over a dozen albums individually. The question was how would the songwriting partnership of Ralphs and Rodgers develop and would any of them as individuals emerge as the lead songwriter. While not many will tell you Straight Shooter is as good or better than the debut, it is a solid rock record. Chart hits Feel Like Makin' Love and Good Lovin' Gone Bad got them all over the airwaves and Rodgers Shooting Star would go onto become a classic rock radio staple. They even showed their tender side with Simon Kirke's Weep No More (accompanied by strings) and Anna. Heavy riffs from Deal With The Preacher and the innuendo of Wild Fire Woman help round the album into an album that showed Bad Company had staying power and could deliver the goods. Released March 28, 1975, it would go on to sell 3 million in the US. Do you think Bad Company deserves to be in the Rock N Roll Hall of Fame? We do!!! Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices
It's all about La Bamba! This week, our hosts FiG and Game are headed to Providence, Rhode Island. It's September 7th, 1987 and the Grateful Dead are playing at the Providence Civic Center. Discussions abound about La Bamba the song, La Bamba the movie, and you guessed it, La Bamba. Feel Like A Stranger > Franklin's Tower Walkin' Blues When Push Comes To Shove My Brother Esau It Must Have Been The Roses Far From Me Let It Grow Iko Iko Saint Of Circumstance Ship of Fools Uncle John's Band > Drums > Space > Truckin' > Spoonful > Black Peter > Around & Around > Good Lovin' > La Bamba > Good Lovin' Knockin' On Heaven's Door
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!
This week's Deadpod features the second set from January 18, 1979 at Providence Rhode Island. This is a rather unique second set as there is no drums/space segment here, unique since the band started introducing them as a matter of course back in the spring of 1978. It would be the last show without one for a long time. It's a solid show, in my opinion, the highlight being a raucous 'Trucking' that even includes Phil singing, and a solid 'Other One'. Hope you enjoy it.. Grateful Dead Providence Civic Center Providence, RI 1/18/1979 - Thursday Two I Need A Miracle [6:14] > Bertha [6:58] > Good Lovin' [6:41] > From The Heart Of Me [3:45] Ship Of Fools [8:04] He's Gone [12:33] > Truckin' [10:02] > The Other One [11:#13] > Wharf Rat [10:03] > Around And Around [7:13] Encore U.S. Blues [5:16] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod011725.mp3 Thank you friends for your kind support of the Deadpod
EDDIE BRIGATI, lead singer/songwriter of THE RASCALS, one of the great bands of the 60's. RASCALS songs include: GROOVIN, HOW CAN I BE SURE, A BEAUTIFUL MORNING, I'VE BEEN LONELY TOO LONG, I AIN'T GONNA EAT OUT MY HEART ANYMORE, PEOPLE GOT TO BE FREE, GOOD LOVIN TOM RUSH, singer/songwriter, Tom Rush recorded the songs of Joni Mitchell, Jackson Browne and James Taylor on his 1968 album THE CIRCLE GAME giving the three major talents their first national exposure. Tom's song NO REGRETS is an American folk standard VICTORAS KULVINSKAS, author, Survival Into The 21st Century, the Godfather of the raw foods/vegan movement and most influential teacher of the 1970's & 1980's Victoras studies, teaches and heads his center in Costa Rica
Discover who wrote most of the Rascals songs. Find out what ex lead singer and founder Felix Cavaliere is doing now and learn all about one of the greatest bands of the '60s. Felix Cavaliere is a celebrated musician, songwriter, and vocalist, widely regarded as a pioneer of blue-eyed soul. Born in Pelham, New York, Cavaliere was introduced to music at an early age, taking classical piano lessons under his mother's encouragement. While initially drawn to classical music, he soon discovered his passion for rhythm and blues, inspired by legends like Ray Charles and Marvin Gaye. Cavaliere pursued pre-med studies at Syracuse University but found himself increasingly immersed in music, forming his first band, The Escorts, while still in college. His decision to follow his musical aspirations led him to New York City's thriving music scene in the early 1960s. In 1965, Cavaliere co-founded The Rascals (originally called The Young Rascals) with Eddie Brigati, Gene Cornish, and Dino Danelli. The group became synonymous with the era's evolving rock and soul movement, producing a string of iconic hits that combined soulful melodies with socially conscious lyrics. Cavaliere's distinctive voice and masterful Hammond organ playing defined hits like "Good Lovin'," which topped the charts in 1966, followed by enduring classics like "Groovin'," "A Beautiful Morning," and "People Got to Be Free." The latter, inspired by the civil rights movement, became an anthem for unity and social justice. As the principal songwriter for The Rascals, Felix played a crucial role in shaping the band's innovative sound, which bridged the gap between rock and R&B. The Rascals enjoyed commercial success, releasing six gold albums and earning a devoted following. However, internal tensions and changing musical landscapes led to the band's breakup in the early 1970s. After The Rascals disbanded, Cavaliere embarked on a solo career, releasing several albums throughout the 1970s and 1980s. His solo work, including tracks like "Only a Lonely Heart Sees," reflected his evolving artistry, blending soulful ballads with pop-rock influences. Felix also collaborated with numerous artists, including Todd Rundgren and Steve Cropper, further solidifying his reputation as a versatile and respected musician. In 1997, Cavaliere and his fellow Rascals were inducted into the Rock & Roll Hall of Fame, cementing their place in music history. The band reunited in 2013 for a critically acclaimed multimedia concert series, Once Upon a Dream, produced by Steven Van Zandt. The reunion celebrated their groundbreaking legacy and brought their music to a new generation of fans. Beyond his achievements with The Rascals, Cavaliere remains an active performer and advocate for music education. He continues to tour, sharing his timeless songs with audiences worldwide. Cavaliere's influence on rock and soul endures, with his groundbreaking contributions inspiring countless artists and fans. Today Felix Cavaliere calls Nashville home base, where he is constantly collaborating and writing new material. He's also finishing his memoir and has an active tour schedule with Felix Cavaliere's Rascals. To learn more about Felix and his music, head for his website To request a guest to be interviewed on the show, head to my website and send me a message.
In the month of February 1991 many games were released for the Commodore 64. In episode one-hundred-and-seventy-one of Zapped to the Past, we start our look at some of those games, including the tasty Turrican 2, The silly Superkid and the stunted S.T.U.N Runner and wonder … exactly how much would a gold chainmail haircut cost? Games covered in this episode: Turrican 2 Superkid S.T.U.N. Runner ESWAT Find us here: https://zappedtothepast.com/ If you would like to help us out and join our Patreon, find it here: https://www.patreon.com/zappedtothepast If you want to buy amazing Zapped to the Past merch, go here: https://zappedtothepast.shop https://www.redbubble.com/people/zappedtothepast/shop If you want to buy a Coffee for Zapped to the Past, go here: https://ko-fi.com/zappedtothepast Need our links in one place - you can do that too: https://linktr.ee/zappedtothepast https://online.pubhtml5.com/oowg/grrx/#p=1 Additional links mentioned in the Podcast: Turrican II: The Final Fight - C64 Manual, Docs - Lemon64 Turrican II: The Final Fight - Wikipedia Turrican II - C64-Wiki Arcade Longplay [444] Psycho-Nics Oscar Trust Me Oleta Adams - Circle of One New Kids On The Block - Games Kim Appleby - G.L.A.D. (Good Lovin' and Devotion) Free - All Right Now Free - All Right Now (1970) (Ré-édition 1991) (1991) (Maxi 45T) All Right Now Guitar Legends Seville 1992 "All Right Now" by Paul Rodgers from Free Spirit Julian Cope - Beautiful Love 2 Mad - Thinkin' About Your Body (Radio Edit) Throwing Muses - Counting Backwards (Official Video) 808 State - In Yer Face My Bloody Valentine - To Here Knows When (Official Music Video) DJ H Feat. Stefy - Think About Chris Rea - Auberge George Michael - Heal the Pain (Audio)
We're shipping up to Boston to feature Set 2 of an iconic late 1969 gig from a venue with one of my favorite names ever: The Boston Tea Party! Game-pod only this week so conversation does not abound but the jams do, especially that dope Dark Star (with the windchimes). Here's the set: One - Intro [1:31] ; Good Lovin' [1:43] > Drums [1:16] > Good Lovin' [6:08];[1:27] ; Mama Tried [2:29];[0:30] ; New Speedway Boogie [8:33];[1:04] ; Casey Jones [3:57];[0:39] ; Black Peter [12:35];[0:34] ; Me And My Uncle [3:02];[1:02] ; Midnight Hour [10:01];[1:01] ; Cumberland Blues [6:00]%[1:01] ; Cryptical Envelopment [2:03] > Drums [4:54] > The Other One [13:11#] > Cryptical Envelopment > Cosmic Charlie [#7:35];[0:18] % Two - Uncle John's Band [7:36] > Mason's Children [7:13] > China Cat Sunflower [2:47] > Jam [2:37] > I Know You Rider [4:11];[0:14] ; Dark Star [19:00#] > Alligator [#0:19] > Drums [2:#55] > The Eleven [11:05] > Jam [4:53] > And We Bid You Good Night Jam [1:17] > Alligator reprise [1:00] > Caution Jam [1:00] > Feedback [1:00] > And We Bid You Good Night [0:46];[0:48] %
Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st) Each show opened with an acoustic set followed by two full electric sets. These were the last shows where the Dead played acoustic sets. Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall). Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO: Iko Iko Track #1 0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. A permanent part of the Dead's repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away. The intro, one verse and back to NFA. Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing. Perfect song for Jerry with the call and response chorus that everyone joined in on. The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey. Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads. But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show. Jerry played it right up until the end. Played: 185 timesFirst: May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast: July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1: Monkey And The Engineer Track #4 0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues". Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well. Good one to get them hooked into the Dead on! Played: 38 timesFirst: December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA MUSIC NEWS: Intro Music: Me and Bobby McGee Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com) 0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said. A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good. Sung by Weir. RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks. In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren. Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes. “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments. Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.” SHOW No. 2: Heaven Help The Fool Track #6 1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow. While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played: 17 timesFirst: September 29, 1980 at The Warfield, San Francisco, CA, USALast: October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3: Cold, Rain & Snow Track #10 0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow. In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played: 249 timesFirst: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA MJ NEWS: Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2. Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3. Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4. Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains: Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush. The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high. A sweet grape aroma that blends well with subtle undertones of lemon and pine. MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS. Recommended for late night consumption as it can cause mental cloudiness and detract from productivity. NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997. Its name is inspired by the tragic events in NYC on September 11, 2001. It is a product of crossbreeding Mexican sativa and Afghani landrace strains. Has a unique aroma and taste that sets it apart from the crowd. Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger. SHOW No. 4: Loser Track #12 4:13 – 6:13 David Dodd: The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show. So nicely played and sung by Jerry. Played: 353First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 28, 1995 at the Palace of Auburn Hills, MI OUTRO: Good Lovin' Track #27 3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.” Can't argue with that. Played: 442First: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Felix Cavaliere is an American singer, songwriter, and keyboardist best known as a founding member and lead vocalist of The Rascals (originally known as The Young Rascals). Born on November 29, 1942, in Pelham, New York, Cavaliere became a key figure in the 1960s blue-eyed soul movement. With The Rascals, he co-wrote and performed hits like "Good Lovin'," "Groovin'," and "People Got to Be Free." Known for his soulful voice and Hammond organ skills, Cavaliere has continued to perform and record as a solo artist and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame.
Join @thebuzzknight for the award-winning singer, songwriter Felix Cavaliere. He was part of the Young Rascals known for so many hits that were the soundtrack of a generation. Songs like Groovin, Good Lovin, People got to be Free and so many more were part of Felix's career. He is still vibrant today, touring and creating new music. For suggestions or comments write Buzz@buzzknightmedia.com. Find Buzz on Twitter @thebuzzknight and Instagram @takinawalkpodcast. Like this show? Leave us a review here. ReviewSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.
This week the Deadpod returns to Milwaukee for the second set of the band's performance from May 30, 1980. A fine Scarlet>Fire opens this set, including some excellent jamming in the transition (by the way check out this week's Deadcast for an excellent discussion of 'Scarlet Begonias' here: https://www.dead.net/deadcast) A seemingly short 'Playing In the Band' follows, but there is some excellent improvisation going on in the transition to a sweet drum segment that follows. 'Not Fade Away' flows into the 'Black Peter' and then into an excellent 'Goin' Down the Road Feeling Bad'. Bobby ends the set with a nice 'Good Lovin' but the boys really get worked up on the 'Alabama Getaway' encore.. not to be missed.. Grateful Dead Milwaukee Auditorium Milwaukee, WI 5/30/1980 - Friday Two Scarlet Begonias [9:18] > Fire On The Mountain [10:17] Playing In The Band [13:49] > Drums [7:39] > Space [2:20] > Not Fade Away [5:32] > Black Peter [8:50] > Goin' Down The Road Feeling Bad [7:21] > Good Lovin' [7:01] Encore Alabama Getaway [4:25] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod053124.mp3 Have a fabulous week! thanks for picking us up!
"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
In this rollercoaster of an episode, Adam and Danielle get into a REAL conversation about what is still missing in the conversation about body image. Adam is honest about his thoughts on Danielle's weight gain, and the two get down and dirty about why they're both a little petrified for the future. Danielle reveals why she often wonders if she's "broken," and Adam reveals why he's been able to step up in a way he never has before. Plus, Adam hilariously throws Danielle under the bus concerning all of the ridiculous things she did while high, and Danielle calls Adam out on his "conditional love." Plus, what's with all the insane, recent orgasms? Hosted on Acast. See acast.com/privacy for more information.
Support the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.
Here is the second set from the band's performance on March 3, 1981 at the beautiful Music Hall in Cleveland Ohio. They open with 'China Cat', while Garcia flubs the first verse, he makes up for it with a fine transition into Rider. A rockin 'Samson and Delilah' follows and then a long 'He's Gone'. The Drums section is particularly potent here, leading not into a long Space but instead into a 'Sailor>Saint' combo. The 'Black Peter' that follows is very soulful indeed. They close the set with 'Good Lovin' then return for a 'Casey Jones' encore. Grateful Dead Cleveland Music Hall Cleveland, OH 3/3/1981 - Tuesday Two China Cat Sunflower [10:56] > I Know You Rider [5:48] > Samson And Delilah [7:35] He's Gone [16:33] > Drums [12:41] > Lost Sailor [6:42] > Saint Of Circumstance [7:08] > Black Peter [10:31] > Good Lovin' [8:13] Encore Casey Jones [5:19] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod030824.mp3 "See here how everything lead up to this day And it's just like any other day that's ever been Sun going up and then the sun going down"
In this episode of LEGENDS Podcast by All Day Vinyl, host Scott Dudelson interviews Rock and Roll Hall of Fame inductee Felix Cavaliere, singer of the classic 1960's band The (Young) Rascals. With a decorated history that includes induction into Rock and Roll Hall of Fame, Songwriters Hall of Fame, Musicians Hall of Fame and Grammy Hall of Fame, Cavaliere dives deep into his musical career and shares anecdotes surrounding some of the most important moments in early Rock and Roll History including the recording of "Good Lovin" & "Groovin," the writing of "People Gotta Be Free," (a song Springsteen called the defining of his generation), changing the bands name from 'Rascals' to 'Young Rascals' and finally back to 'Rascals,' The Beatles Shea Stadium concert & Cavaliere's vivid recollections working in the Atlantic Records studio. Cavaliere is a true LEGEND and his life and music made a profound impact on rock and roll history. Follow @alldayvinyl on Instagram and please like and subscribe after you watch this video.
Todd Newton and Maria Todd discuss the power of a good diner pancake. Also, a list of some of the most dangerous ways to earn a living.Produced by The Host With The Most, LLC.
SYNOPSIS:At the beginning of this episode, a teenage “Moonlighting”' fan is forced by his mother to do his homework rather than watch the show. His homework is to read William Shakespeare's “The Taming of the Shrew.” As he is reading the book, the show transforms back in time to a day in Padua, Italy, in 1593. The main characters of “Moonlighting”' enact the remainder of the show with their version of William Shakespeare's play “The Taming of the Shrew”' in period costume and setting. Katherina's father is in search of a suitor for his feisty daughter. Along the way, many in-jokes refer to the real show, such as when Petruchio, played by David Addison, arrives in town on horseback with a BMW logo clearly visible on the saddle. Eventually, Petruchio forcibly marries Katherina while she is tied up in a church, after which he sings a rockin' version of “Good Lovin'.” He marries her for her dowry. But Katherina's father's terms of the marriage are that Petruchio must tame his bride into a dutiful and well-trained wife. The couple fight, slam doors, and provide us with the usual fast-paced dialogue, but finally fall in love. Petruchio tames Katherina, but Katherina also tames Petruchio, as shown in a touching scene in the town square.GUEST STARS:Kenneth McMillanColm MeaneyRalph DrischellHap Lawrence Curtis ArmstrongNarrator:Stirling HollowayMOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 starring Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastPURCHASE:Moonlighting: An Episode Guide Bookhttps://bit.ly/episodeguidebook on TuckerDSPressOR on Amazon:https://www.amazon.com/dp/1959748041/ref=sr_1_1?crid=3DN6VTBF173LN&keywords=moonlighting+an+episode+guide&qid=1700733543&sprefix=moonlighting+an+episode+guide%2Caps%2C933&sr=8-1To learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcastPersonal Instagram:https://instagram.com/grace_chivellhttps://instagram.com/saari_not.saari Hosted on Acast. See acast.com/privacy for more information.
SYNOPSIS:At the beginning of this episode, a teenage “Moonlighting”' fan is forced by his mother to do his homework rather than watch the show. His homework is to read William Shakespeare's “The Taming of the Shrew.”'As he is reading the book, the show transforms back in time to a day in Padua, Italy, in 1593. The main characters of “Moonlighting”' enact the remainder of the show with their version of William Shakespeare's play “The Taming of the Shrew”' in period costume and setting.Katherina's father is in search of a suitor for his feisty daughter. Along the way, many in-jokes refer to the real show, such as when Petruchio, played by David Addison, arrives in town on horseback with a BMW logo clearly visible on the saddle.Eventually, Petruchio forcibly marries Katherina while she is tied up in a church, after which he sings a rockin' version of “Good Lovin'.” He marries her for her dowry. But Katherina's father's terms of the marriage are that Petruchio must tame his bride into a dutiful and well-trained wife.The couple fight, slam doors, and provide us with the usual fast-paced dialogue, but finally fall in love. Petruchio tames Katherina, but Katherina also tames Petruchio, as shown in a touching scene in the town square.GUEST STARS:Kenneth McMillanColm MeaneyFrank CollisonHap LawrenceMOONLIGHTING THE TV SHOWThe show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 starring Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastPURCHASE:Moonlighting: An Episode Guide Bookhttps://bit.ly/episodeguidebook on TuckerDSPressOR on Amazon:https://www.amazon.com/dp/1959748041/ref=sr_1_1?crid=3DN6VTBF173LN&keywords=moonlighting+an+episode+guide&qid=1700733543&sprefix=moonlighting+an+episode+guide%2Caps%2C933&sr=8-1To learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcastPersonal Instagram:https://instagram.com/grace_chivellhttps://instagram.com/saari_not.saari Hosted on Acast. See acast.com/privacy for more information.
Felix is known for his amazing work as the leader of the band The Young Rascals known for many hits such as "Good Lovin", "Groovin" , "People Got to be Free" and "A Beautiful Morning."Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.
This week's Deadpod features a historic performance - it occurred on the night the band was 'busted down in New Orleans' - January 30, 1970 at The Warehouse in New Orleans, Louisiana. Also historic as it was the last show that Tom Constantin played in the Dead.. but aside from that this is a fine show and I think you'll enjoy hearing this very good tape.. The tape is missing part of the opening Casey Jones, nevertheless good vibes here and on the following 'Me & My Uncle'.. 'Black Peter' is wonderful.. I also think the 'High Time in this set is absolutely perfect. 'Cumberland Blues' is hot.. hotter than you think that song should be ;) and is there a better song to pull out here than 'Easy Wind'? The 'Cryptical Envelopment>Other One>Cryptical' is hard driving Dead! They do a sweet transition into 'Cosmic Charlie' - sadly this one is cut as well... . Grateful Dead The Warehouse New Orleans, LA 1/30/1970 - Friday One - 1:33:00 Casey Jones [#1:27][0:47] Me And My Uncle [3:09][0:29] Black Peter [9:51][0:15] Hard To Handle [5:26][0:05]%[0:07] China Cat Sunflower [3:13] > Jam [2:34] > I Know You Rider [4:19] > High Time [6:25][0:15] Cumberland Blues [6:21][0:04]%[0:03] Easy Wind [10:13][0:12]%[0:10] Mama Tried [2:36] > Good Lovin' [1:49] > Drums [0:40] > Good Lovin' [5:26][0:16] Cryptical Envelopment [2:17] > Drums [5:22] > The Other One [9:41] > Cryptical Envelopment [9:10] > Cosmic Charlie [0:34#] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod012624.mp3 Thank you for your kind support! The days are getting brighter!
Here's a tune with some mighty deep roots in the Floodisphere. Two decades after our heroes, The Coasters, released this song in July 1957, The Flood started fiddling with it on another summer night. After that, though, it went to sleep again for, oh, a half century or so. Then not long ago, it popped back into our minds. Right away, Randy Hamilton started singing harmony on the chorus. Suddenly the song is back, evolving into a fine vehicle for Jack Nuckols' cool drumming and tasty solos by Danny Cox and everyone else in the room. Even visiting pickers. For instance, on this track, Floodster Emeritus Paul Martin dropped in with his mandolin. Just listen to how slowly he jumped right into the mix!
Single File is back and we're talking about a real rager: Shelby, Ohio's Shepherd's Heard and their only record "I Know" b/w "But That's Life." The first sounds like a demented version of The Rascals' "Good Lovin'." The drums and vocals are CRAZY and they're both performed by the same guy, Kim Shepherd, who rightfully named the band after himself since he does most of the work! Kim takes a breather on the flip, "But That's Life", an organ-driven sorta ballad. Man, Jonathan Richman should cover this, since it's his style a few years before he even appears!! A great guitar solo and that familiar 1966 wild mercury sound of the organ. Now BURN IT!!
You've GOT TO SEE our "Costa Rica Good News Report" Website: www.costaricagoodnewsreport.com Here's our NEW Costa Rica Good News Report YouTube Channel with over 1,000 videos! https://www.youtube.com/@thecostaricagoodnewsreport/video --- Send in a voice message: https://podcasters.spotify.com/pod/show/costa-rica-pura-vida/message
"JRad's Resonance: Reflecting on a Night of Jam Band Marvel"Larry Mishkin, touches upon key events like the 1969 Fillmore West concert, which previewed the infamous Altamont Speedway event by the Rolling Stones. The Altamont concert, marred by violence and tragedy, involving the Hells Angels acting as security, remains a pivotal moment in music history.He also discussed current music events, including Phish's upcoming show at the Spere in Las Vegas Sphere, highlighting the band's incredible light shows. He contrasted the Rolling Stones' high-priced tickets for their concerts with Joe Russo's Almost Dead's more reasonable pricing and exceptional Grateful Dead covers.He recounted attending a recent Joe Russo's Almost Dead concert in Chicago, emphasizing their outstanding performance, including an unexpected cover of Bob Dylan's "Tell Me Mama." The concert featured iconic Grateful Dead tracks, such as "Fire on the Mountain" and "Good Lovin'," offering a nostalgic and impressive experience...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 Grateful DeadDecember 4, 1969Fillmore West, S.F.https://archive.org/details/gd69-12-04.sbd.wizard.23975.sbeok.shnf Intro: Introduction and Altamont announcement Track #1 Start – finish Show No. 1 Black Peter Track #3 1:15 – 2:45 Show No. 2 Dark Star Track #9 13:39 – 15:15 Show No. 3 High Times Track #10 1:18 – 2:36 Show No. 4 Good Morning Little School Girl Track # 12 2:20 – 3:51 Outro: Uncle John's Band Track#17 Start – 2:12
Tonight it's your favorite trio and we've been busier than a cat burying shit in concrete! We've been making bread, butter, pondering chickens and our modern lifestyles. Great conspiracy crossroads tonight, in fact you get triple the amount of conspiracies... Rocky discussions about modern tech, artificial intelligence and the Higgs boson particle. Did we mention you get ALL this for free?? As the great Joe Biden would say..... "cmon' maaannn"Up your you bathroom habits to five stars here - atrantil.com/whiskeybrosFind the Jordan Peterson episode we referenced here - https://youtu.be/84kKxtZI0l0?si=sm-A3KDhJw4QzcGO
Felix Cavaliere is one of the founders of Grammy winning and Rock And Roll Hall of Fame Inductees, The Rascals. The band had #1 songs like "Good Lovin", "Groovin", "A Beautiful Morning", "I've Been Lonely Too Long", "People Got To Be Free" and "How Can I Be Sure". Felix still infuses the same enthusiam he used to perform those past songs, when he is talking about the language beyond words: Music. His work has never been bolder as it is in his new album "Then And Now". Felix and the Rascals are members of; The Rock N Roll Hall of Fame, Musicians Hall of Fame, Grammy Hall of Fame, Songwriters Hall of Fame and many others. "Then and Now" is Felix' frist solo album since 1993.
#felixcavaliere #therascals #thenandnow Felix's website: https://www.felixcavalieremusic.com/ Felix's new album: https://www.felixcavalieremusic.com/store The message has always been to stand for peace, love, and happiness. For legendary singer songwriter, FELIX CAVALIERE, making people feel good is primary to his illustrious 50-year career that includes the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, and Grammy Hall of Fame. Few artists can claim they defined a generation; FELIX CAVALIERE continues to remind us to keep listening for the world's beauty. In 1965, FELIX CAVALIERE formed the ‘Young Rascals' with Dino Danelli, Eddie Brigati, and Gene Cornish. That October, they caught the attention of promoter/manager Sid Bernstein with their high-energy set at Long Island's elite club, Barge. Signed to Atlantic Records, and now called The Rascals, the mega-hit “Good Lovin'” struck No. 1 in February 1966. They followed suit with a string of hits like “I've Been Lonely Too Long,” “Groovin'(No. 1 in 1967), “How Can I Be Sure,” “A Girl Like You,” “A Beautiful Morning,” and “People Got to Be Free” (No. 1 in 1968). Felix released his self-titled debut album with Todd Rundgren at the producer's helm. His follow-up albums were Destiny (1974), Castles in the Air (1979) (Castle in the Air produced another Top 40 hit – “Only a Heart Sees” reached No. 2), Dreams in Motion (1994) and in 2008 he collaborated with Stax guitar legend, Steve Cropper, on the Grammy-nominated Nudge it Up a Notch and again in 2010 with Midnight Flyer. FELIX CAVALIERE calls Nashville home base, where he is constantly collaborating and writing new material. He's also finishing his memoir and has an active tour schedule with Felix Cavaliere's Rascals. His new album… “Then and Now” is available everywhere you get your music. 00:00 Intro 02:25 Interview
It's Friday the 13th, but I hope you'll feel lucky to listen to this fine second set from October 18, 1978. The second night of the 'From Egypt with Love' run at Winterland, this set features some very strong Drums and Space, highlighted by a guest appearance from Lee Oskar, giving it a decided Egyptian feel. While Jerry flubs the lyrics to 'Terrapin Station' a fine 'Samson and Delilah' more than makes up for it. The show also has a rare set-ending 'Truckin' which is first rate. I hope you enjoy it.. Grateful Dead Winterland Arena San Francisco, CA 10/18/1978 - Wednesday Two Bertha [7:13] > Good Lovin' [6:05] From The Heart Of Me [3:48] Ship Of Fools [6:36] Samson And Delilah [8:19] Terrapin Station [12:06] > Playing In The Band [10:#49] > Drums (1) [9:30] > Space (1) [5:58] > Wharf Rat [11:#33] > Truckin' [11:21] Encore I Need A Miracle [4:20#] Comments (1) with Lee Oskar on harmonica, appears at 4:48 into drums. You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod101323.mp3 Thank you for your support of the Deadpod, which has allowed us to continue to present these shows every week for the last 17 years! Happy Anniversary Deadpod!
EPISODE 94: Butterflies symbolize change, hope andtransformation. They also represent pure joy. Through all his musical journeys, Felix Cavaliere has never lost that same delight. It wasn't the structured, precise sounds his piano teacher taught him so long ago – for Cavaliere, one of the founders of GRAMMY winning and Rock and Roll Hall of Fame Inductees The Rascals - he can still recall the moment he heard rock and roll for the first time. Ensconced by its loose, soulful sound, Cavaliere still infuses that same enthusiasm when he's talking about a language beyond words: music. His work has never been bolder as it is in his new album “Then And Now.” With No. 1 songs like “Good Lovin'”, “Groovin'”, “A Beautiful Morning”, “I've Been Lonely Too Long”, “People Got To Be Free” and “How Can I Be Sure”, The Rascals are considered the best ‘blue-eyed soul' group to come out of the 1960s. For Cavaliere, The King of Blue-Eyed Soul©, making people feel good is fundamental to his illustrious career that includes the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, Grammy Hall of Fame and Musicians Hall of Fame. felixcavalieremusic.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!
Peace, love, and happiness is the creative force for legendary singer songwriter, FELIX CAVALIERE. Making people feel good is what he has done for over 50-years. Felix career has led him to the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, and Grammy Hall of Fame. Few artists can claim they defined a generation; FELIX CAVALIERE continues to remind us to keep listening for the world's beauty. As a classically trained pianist, born in Pelham, New York, Felix idolized Ray Charles, Marvin Gaye, and Sam Cooke. Early in 1965, FELIX CAVALIERE formed the ‘Young Rascals' with Dino Danelli, Eddie Brigati, and Gene Cornish. Their mega hit “Good Lovin'” struck No. 1 in February 1966. They followed suit with a string of hits like “I've Been Lonely Too Long,” “Groovin' (No. 1 in 1967), “How Can I Be Sure,” “A Girl Like You,” “A Beautiful Morning,” and “People Got to Be Free” (No. 1 in 1968). The Rascals are considered the best ‘blue-eyed soul' group to come out of the 1960s, as well as one of the groups with the most record sales. FELIX CAVALIERE calls Nashville home base, where he is constantly collaborating and writing new material. He's also finishing his memoir and has an active tour schedule with FELIX CAVALIERE'S RASCALS. New Record - Then & Now ( new record) - felixcavalieremusic.com Book - Memoirs of a Rascal - Amazon.com
A founding member of The Rascals (AKA The Young Rascals), Felix is an inductee of the Songwriters, Rock and Roll, Hammond, Hit Parade, and Musicians halls of fame. Playing organ and piano with The Rascals, he frequently collaborated with bandmate Eddie Brigati to write some of the band's most successful songs, such as “How Can I Be Sure?,” “I've Been Too Lonely Too Long,” “A Beautiful Morning,” and “Groovin'.” The band had 3 #1 Billboard Hot 100 hits including “Good Lovin',” a song that the Rock & Roll Hall Of Fame has included on its list of the 500 songs that shaped Rock & Roll. Their Civil Rights anthem “People Got To Be Free” became their final No. 1 track in both the U.S. and Canada. Felix went on to release six solo albums, be a touring member of Ringo Starr's third All-Starr Band, perform with Billy Joel, record an album with Steve Cropper, and starred in a heralded Broadway musical revue, Once Upon A Dream, in 2013. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week we bring you the conclusion of the band's performance on February 28, 1970 at the Family Dog at the Great Highway in San Francisco California. The set starts with 'Good Lovin' complete with a very interesting drum solo followed by a wonderful jam. The drummers return for a unique set between 'Alligator' and 'The Other One', which is followed by the rare 'Mason's Children'. The band returns to 'Lovelight' to close out the set. Sadly we don't have the encore, which was supposedly 'Uncle John's Band'. Grateful Dead Family Dog at the Great Highway San Francisco, CA 2/28/1970 - Saturday Part 2 Good Lovin' [1:43] > Drums [3:13] > Good Lovin' [8:00];[0:22]%[0:02] ; Big Boss Man [5:05];[0:07] % Casey Jones % [0:20] ; Alligator [3:48] > Drums [6:25] > The Other One [9:27] > Mason's Children [5:13] > Jam [0:50] > Turn On Your Love Light [12:24];[0:09] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod021023.mp3 Thanks for your kind support.
PLEASE NOTE if you automatically downloaded this episode this morning you may have a corrupted file please redownload from this link! Thank you! This week we conclude our visit to the Uptown Theater with the second set from the band's performance on January 31, 1978. This set starts with a fine Scarlet>Fire with a wonderful transition with Donna hitting this just right. The Samson is raging, then the band goes into a delicious Terrapin Station, into a sweet Playing with Phil really adding some nice bottom. A short Drums and Space leads into an intense 'Black Peter', much longer than the earlier versions, then 'Truckin' leads into a set closing, and quite enjoyable 'Good Lovin'. No encore. Grateful Dead Uptown Theatre Chicago, IL 1/31/1978 - Tuesday Two Scarlet Begonias [11:57] > Fire On The Mountain [9:16] Samson And Delilah [8:15] Terrapin Station [10:11] > Playing In The Band [9:#04] > Drums [1:26#] > Space [7:42] > Black Peter [12:54] > Truckin' [8:53] > Good Lovin' [5:53] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod012723.mp3 Thank you all for your kindness.
TN and Maria discuss how long a good lovin' session should last.Produced by The Host With The Most, LLC.
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 Christmas approaches, Hanukkah continues, and the big snowstorm closes in on many of us, I hope that this week's Deadpod brings you some joy this week! I bring you the first set of what is a really great show from December 30, 1989 in Oakland California. The opening 'Bertha' flows into a rare first-set 'Good Lovin' which then flows into an excellent version of 'Sugaree'. The entire set is quite well played, and while Airto joins at 'Sugaree' and remains the rest of the show, his contributions are a bit hidden most of the time. The set-closing 'Music Never Stopped' features some interesting Midi Horns from Garcia, but the entire set is energetic and a pleasure to hear. I hope you enjoy it. Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/30/1989 - Saturday One Bertha [6:22] > Good Lovin' [4:02] > Sugaree [9:30] Walkin' Blues [6:42] Jack-A-Roe [4:10] When I Paint My Masterpiece [5:02] West L.A. Fadeaway [6:58] The Music Never Stopped [7:32] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122322.mp3 My best wishes for a Happy Hanukkah, and a very Merry Christmas!
This week's Deadpod features the audience recording of the second set from 7/14/81 at McNichols Arena in Denver Colorado. A funky 'Shakedown Street' opens up the proceedings, followed by 'Samson & Delilah' and an intimate 'High Time'. Bobby blows the circus whistle for the start of a strong 'Truckin', punctuated by a great Jerry solo going into 'Eyes of the World' (unfortunately a small cut in that). Drums and Space lead into a short 'Other One', but then we are treated to a really beautiful 'Wharf Rat'. An odd 'Miracle' tease by Weir surrenders to 'Good Lovin' to close the set - they return to do a 'U.S. Blues' encore. Grateful Dead McNichols Arena Denver, CO 7/14/1981 - Tuesday Two Shakedown Street [14:05] > Samson And Delilah [7:02] ; High Time [7:29] ; Truckin' [8:06] > Eyes Of The World [13:#18] > Drums > Space > The Other One [6:07] > Wharf Rat [10:53] > Good Lovin' [7:13] Encore U.S. Blues [4:59] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod072222.mp3 Peace.
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