Podcasts about Grateful Dead

DopeyCon Tickets: https://buytickets.at/thedopeyfoundation/2345507 PAtreon can save $15 on tickets: www.patreon.com/dopeypodcast Episode summary: This week on Dopey Total Replay! Dave circles back to Dopey Episode 42—the first appearance of his lifelong friend Devan. Before the replay, Dave celebrates eleven years in recovery, reflects on acceptance, gratitude and friendship, makes amends for sharing too much about a sponsee, and responds to listeners inspired by the Hunter Biden interview. Then Dave, Chris and Devan revisit their teenage years in New York City, including Dave and Devin's first acid trip at a Grateful Dead show, the pug that looked like an alien, a disastrous baby-powder fight and their organized campaign to steal CDs from HMV. Chris remembers Surfer Mike, addiction before the drugs and his dangerous childhood experiments with model rockets. Finally, an Australian listener tells the insane story of an overdosed friend who was dumped in a phone booth—only to wake up hours later and call the people who left him there. All that and MORE on the total replay episode of the good old dopey show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Jamie Wheal, author of Stealing Fire and Recapture the Rapture, and the viral article The Man WILL Burn!, joins Stuart to unpack the cultural anthropology of peak states. They explore how Black Rock City serves as a crucible for thriving in the future. They deep dive into: Hedonic Engineering: Inducing bliss without cravings, healing without the cringe, and communing without it becoming a cult. The Culture of Culture: How movements morph, why BRC's builders are like Navy SEALs, and resetting through radical participation. Practical Optimism: Letting go of 21st Century normal, and keeping your shit together in the shitshow. Watch them un-forget how to make that magic anywhere. wikipedia.org/wiki/Jamie_Wheal jamiewheal.substack.com/p/the-man-will-burn wikipedia.org/wiki/The_Man_Will_Burn LIVE.BURNINGMAN.ORG

Host Michael Azevedo is joined on this episode by Jenny Carchman, director of the riveting true-crime documentary “Whatever It Takes: Inside the eBay Scandal,” which is now streaming on Amazon Prime.    Jenny's film unspools the chilling true crime saga of suburban bloggers from Natick, MA who were targeted in a terrifying cyberstalking campaign orchestrated by senior security executives at global tech giant eBay.   “Whatever It Takes” is a story of corporate espionage and escalating threats that terrorized an ordinary couple.   Jenny Carchman has made documentaries for both theatrical release and broadcast television, including PBS's “Frontline,” “American Masters” and “American Experience,” as well as programming for HBO.   Her wide ranging films have brought viewers closer to subjects such as former NYC mayor Ed Koch to The New York Times and to the Grateful Dead.   Making Media Now—which is available on all podcast platforms including YouTube--is sponsored by Filmmakers Collaborative, a non-profit organization dedicated to supporting media makers from across the creative spectrum. From providing fiscal sponsorship to presenting an array of informative and educational programs, Filmmakers Collaborative supports creatives at every step in their journey.   About the host: www.writevoicecreative.com and https://www.linkedin.com/in/michael-azevedo/   Sound Engineer: A.J. Kierstead    

Concluding the Deadcast's Summer Magic 1985 run, we pull into Maryland for 2 over-the-top shows, explore the band's ‘80s gear, the Dead Heads' ‘80s pipecraft, & the enthralling scene around the Dead.Guests: David Lemieux, Peter Miller, Dennis McNally, Dan English, Nick Paumgarten, Jeffrey Alexander, Christian Crumlish, Nicholas G. Meriwether, David Leopold, Will Backstrom, Andy Perrine, Geoff Mockbee, Harry Clark, Mike SmartSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Kimmer and listeners remember Dolly Parton with heartfelt stories from her career, including personal encounters, Dollywood memories, her relationship with Porter Wagoner, and her impact on country music. Plus, stories from the Grand Ole Opry, a Dolly illustration that looked like a Grateful Dead album cover, and a memorable 1981 roadside encounter.

 In 1964, Oregon author Ken Kesey and a group of friends, known as the Merry Pranksters, embarked on a cross-country road trip from California to New York aboard a 1939 customized school bus. They painted the bus in psychedelic colors, added a rooftop platform and made other modifications. The bus known as Furthur became a symbol of the countercultural ethos of the ‘60s, from protesting the Vietnam War to ushering in the LSD-tinged anthems of the Grateful Dead in San Francisco.    And now, for the first time since 1969, Furthur has left its home at the Kesey family farm outside Eugene to open a new generation of hearts and minds. As first reported by the New York Times earlier this month, the bus is returning to San Francisco as the centerpiece of “Forever Grateful, Golden Gate Park,” a Grateful Dead-themed exhibition in San Francisco opening on Sep. 5. The Oregon nonprofit Furthur Down the Road Foundation has been working for years to raise funds to restore the bus, which it hopes to start after the exhibit ends in late October.    Ken Kesey’s son, Zane, joins us to discuss Furthur’s legacy, the plans for its restoration and what lessons he thinks this countercultural icon can offer us today.  

What was supposed to be a conversation about the Grateful Dead quickly becomes something else entirely when photographer Jay Blakesberg and singer-songwriter Steve Poltz join us at High Sierra.The two give us a preview of Working Man's Dead, their wonderfully unpredictable live collaboration combining Jay's iconic Grateful Dead photography and storytelling with Steve's music — including songs he writes spontaneously in response to stories and images he hasn't seen coming.They talk about Jerry Garcia, Bob Weir, Phil Lesh and the strange magic of improvisation. Jay also recounts watching an all-white-clad Steve Poltz make his way toward the rail at the Sphere as the crowd seemingly parted for him “like Moses” — leading Jay to describe Steve as “a cross between Bob Dylan and Moses.”And then things go completely off the rails.Charlton Heston. Planet of the Apes. Paper routes. Behind the Green Door. A mysterious bag of vintage magazines. And several moments when we completely lose control of our own interview.Underneath the insanity, though, is a friendship between two gifted storytellers and a shared love of the Grateful Dead, spontaneity and the kind of live experience that can never happen exactly the same way twice.This is Steve Poltz and Jay Blakesberg — unfiltered, unscripted and very much Only in the Green Room.Steve Poltz, Jay Blakesberg, Grateful Dead, Grateful Dead stories, Bob Weir, Jerry Garcia, Workingman's Dead, Grateful Dead photography, High Sierra Music Festival, Only in the Green Room

John checks in fresh off a trip to Maine, where the lobster is great and the golf is classic New England. Jeff counters with his time teaching at the ultra‑exclusive Yellowstone Club in Montana — mountain golf, thin air, and views that make you forget you just chunked a wedge. Donald Ross & The Art of Greens That Make You Cry The guys dive into Donald Ross's legendary greens — the ones that look innocent until your ball starts rolling like it's late for a meeting. They compare Ross's style with Pete Dye's “I dare you” intimidation and McKenzie's artistic, flowing layouts. Jeff previews his upcoming West Coast McKenzie tour, which John immediately tries to invite himself on. Renovations, Reconstructions & Golden Age Reboots Jeff talks Spyglass renovations and a reconstructed McKenzie course in Wisconsin. John wonders what it would be like to play a 1920s design built with modern machinery — old strategy meets new bulldozers. The Lido, Sand Valley & Modern Classics The guys geek out over the original Lido — a C.B. MacDonald/McKenzie/Raynor masterpiece — and its modern recreation at Sand Valley. They hit on courses that became famous fast: Bandon Dunes Whistling Straits Payne's Valley (aka “Tiger's scenic roller coaster”) The Tillinghast Tour Idea Jeff rattles off Tillinghast courses like he's reading from a phone book. John suggests a “Tillinghast Tour,” the golf‑nerd equivalent of following the Grateful Dead around the country. They compare it to Dye, Palmer, and Norman tours and swap favorite designer quotes — including Rocco Mediate's classic Dye jab. Design Philosophy & How Not to Get Tricked Jeff breaks down fairway bunkering, hidden landing zones, and greens that wiggle like a toddler on sugar. They talk about how caddies can save your round on visually deceptive layouts — assuming you actually listen to them. Mountain Golf & Wildlife Cameos Jeff shares stories from Pine Canyon in Flagstaff, where the scenery is gorgeous and the wildlife occasionally decides it owns the fairway. The Big Idea: East‑to‑West Golf Trip John pitches an October RV golf adventure from the East Coast to the West Coast. Jeff pretends to think about it. John invites Chris Mascaro to join a future show, because every good golf trip needs at least one guy who brings snacks. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Grateful Dead made their only visit to the land of chocolate on a rainy night in summer 1985, a pivotal show for different reasons for lighting crew member Dan English and longtime Dead Head photographer Bob MinkinGuests: David Lemieux, Dennis McNally, Dan English, Bob Minkin, Hawk, Dave Leopold, John Leopold, James Williamson, DNA, Johnny Dwork, Andy Perrine, Tom Storrer, Joe Noce, Joe StevanoffSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Joshua Nieman sits down with retiree David Fair and talks about WEMU, the Grateful Dead, the future of journalism and more. Hosted by Joshua NiemanEdited by Joshua Nieman and Anthony ThaxtonMusic by Wendy Nieman

Join Deadheads Alex and Dave talkin' the first official release of a full Grateful Dead show- One From the Vault, from the "hiatus" year in 1975! The hosts of Workingman's Pod talk about the year the band took a well-deserved break and then draft ten songs from this legendary performance at the Dead's only show at the Great American Music Hall - 51 years ago to the day. Get on the bus with Workingman's Pod!PodHeads, get in touch! We'd love to hear from you. Send us an email at: workingmanspod@gmail.comLinks:The Great American Music Hall's website: https://gamh.com/Ranny Gazoo's dissertation on King Solomon's Marbles and Stronger than Dirt: https://rannygazoodead.blogspot.com/2015/05/some-problems-with-nomenclature-1973.html

What a treat gathering this tribe to celebrate Jerry Garcia's birthday at the iconic Greek Theater in Berkeley, California with Dark Star Orchestra. And gathering this tribe was no small feat, with my guests and I representing California, South Carolina, New York, and Hawaii, all under one roof (and later in one very cramped Uber)!The episode is recorded in two segments. First, with fellow Canterbury Saint, Paul “Pablo” Bauer and his better half, Rachel “Rāche” Whitley, our host & fellow Saint, Hollister “Paco” Keville, and my concert wingwoman and oldest daughter, Hannah Staib.Pablo and Rachel lead the conversation out of the gate with their thoughts on our collective early days “getting on the bus” in the mid-80's. Decades later, they met and discover their mutual love of The Grateful Dead and ultimately their love for each other, realizing that they were, in fact, true soulmates.We wrap up the “first set” of the interview by recapping a few highlights from Night 1 at The Greek, and we round out the episode en route to Night 2 with cameo appearances by Cary Platkin, Jad (not-to-be-confused-with “Jed”) Dunning, and Hannah Staib and a few predictions for the show to come.  It was quite a ride, in more ways than one!Join us, and let's see where the energy takes us!Franklins Tower https://music.apple.com/us/album/franklins-tower-live/291317313?i=291317359Fire on the Mountain https://music.apple.com/us/album/fire-on-the-mountain-live/291317313?i=291317362Call Me the Breeze https://music.apple.com/us/album/call-me-the-breeze/672720304?i=672720451Cold Rain & Snow https://music.apple.com/us/album/cold-rain-and-snow-live-at-fenway-park-boston-ma-6-25-23/1724866648?i=1724866652Scarlet Begonias https://music.apple.com/us/album/scarlet-begonias-live-at-barton-hall-cornell-university/1204914175?i=1204914243That's it for the Other One https://music.apple.com/us/album/thats-it-for-the-other-one-cryptical-envelopment/1374273019?i=1374273412https://www.facebook.com/groups/1983015048745357

Click on the link/picture and hear the music of The Grateful Dead, Arlo Guthrie, Tedeschi Trucks Band, Moby Grape, and more Grateful Dead. Thanks for tuning in and tell all your friends about this show. Hope to see you on the air next Monday 7-8 PM on KMRE 88.3 FM.

At the outset of The Ripple Effect, NPR Music's series on the Grateful Dead, we asked fans to share stories about how they fell in love with the band. The response was overwhelming: wry, emotional and personal. It was overflowing with shared experiences that underline exactly how crucial the community that surrounds the Dead is to the band's legacy.Now that we've reached the end of Days Between, we're closing The Ripple Effect by listening to voice memos from you: Deadheads and people who love Deadheads, lifelong fans and late converts. We'll hear about first shows, encounters with the musicians and multiple cross-country road trips.Check out all of our coverage from The Ripple Effect: The Grateful Dead's long, strange trip might keep going foreverHosts: Felix Contreras, Isabella Gomez SarmientoAudio Producer: Noah CaldwellEditors: Jacob Ganz, Hazel CillsVisuals: Jackie LayExecutive Producer: Suraya MohamedExecutive Director: Sonali MehtaSupport public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include bonus episodes and sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

A single radio station can explain an entire era if you listen closely enough. We rewind to WLIR 92.7 and the Screamer of the Week, when DJs pitched their favorite new songs and listeners called in to vote, turning early 1980s rock radio into a hands-on discovery engine. That lens lets us hear 1981 the way it actually felt: unpredictable, genre-blurring, and way ahead of the mainstream curve. We jump from The Tubes' “Talk To Ya Later” to the behind-the-scenes web that connects Vince Welnick, the Grateful Dead, and Steve Lukather's instantly recognizable guitar work. From there, we track the early MTV effect and why music video exposure changed record sales, then land on deep-cut details around PhD and Squeeze's “Tempted,” including the kind of production and guest-vocal surprises you'd never catch without liner notes and obsessive re-listening. We also dig into the UK approach to singles versus the American “greatest hits” mindset, which helps explain how some songs live outside the album cycle. Stevie Nicks' “Edge of Seventeen” brings in influence, misheard words, and that Police-inspired guitar feel, and Duran Duran's “Girls On Film” turns into a mini history of censorship, nightclub cuts, and what MTV could and couldn't show. Along the way we veer into peak real-life tangents: a legendary misheard-lyrics moment, a tabloid Brooklyn Bridge headline, a dog casually attending Rush at Madison Square Garden, plus a quick “Minute with Jimmy” review of the Strokes' new album Reality Awaits. If you love alternative rock history, 1980s music stories, and the weird little facts that make songs stick, hit play. Learn Something New orRemember Something OldPlease like and follow the Music in My Shoes Facebook and Instagram pagesReach out to us at musicinmyshoes@gmail.comSend us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

The guys are back on the South Side this week to watch the White Sox take on a less-than-vintage Yankees team (sorry, Amed Rosario and Max Schuemann). Suspiciously small Polish sausages, shoulder checks, and band shirts are topics of discussion, all set to the jangly guitar stylings of a long-haired cover band on Grateful Dead night at Rate Field. A little trade deadline talk kicks off the episode!

This week we talk about why you should never find a roommate at a Grateful Dead concert and how corporal punishment can be very erotic. Follow Brian on Threads, Instagram and X - Support the show and get bonus audio/video episodes, ringtones, bonus footage and more!! All at patreon.com/brianmccarthy. 

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

ReferencesInt J Clin Exp Pathol.2022 Sep 15;15(9):373–379Int Urogynecology J.2021 May;32(5):1299-1306Cureus 2020.12(8): e10047. doi:10.7759/cureus.10047UroInt 2015;95(2):227-32.Guerra, DJ. 2026. Unpublished Lectures Hunter/Garcia 1971. Goin Down the Road/Not Fade Away. Grateful Dead livehttps://open.spotify.com/track/4jQERwmCWGi44lPt8Zl2Oz?si=33cf3ed439ea417f Bruch. M. 1877. Violin Concerto 2. D Minor. Opus 44. https://music.youtube.com/watch?v=HwPD-aCqlTY&si=RtiB0NBMM3MWQMyQ

Bonnie Dobson wrote the haunting folk classic “Morning Dew” in 1961, inspired by the fear of nuclear annihilation. The song would go on to be recorded by the Grateful Dead, Jeff Beck, Robert Plant, Nazareth, Devo and countless others—but along the way, singer Tim Rose claimed co-writing credit, beginning a decades-long struggle for Dobson to reclaim recognition for the song she wrote.Author John Einarson joins Booked On Rock to discuss his new biography, Take Me For A Walk In The Morning Dew: The Life and Times of Bonnie Dobson and the Story of Her Iconic Song. We explore the remarkable origins of “Morning Dew,” Bonnie's experiences in the 1960s folk scene and with a young Bob Dylan, how the Grateful Dead helped immortalize the song, the controversy surrounding Tim Rose, and the battle to restore Bonnie's rightful credit. John also shares the wonderful story of Bonnie knocking on Robert Plant's door and how Plant ultimately helped her get her song back.Pre-order a copy of Take Me For A Walk In The Morning Dew: The Life And Times Of Bonnie Dobson And The Story Of Her Iconic SongOrder a signed copy of Take Me For A Walk In The Morning Dew from Rough TradeFind more books by John Einarson----------

For the full, ad-free, 68-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the 32-episode Jefferson Airplane series at a 33% discount (hear as they appear): https://www.patreon.com/collection/2123066   New to the show? Start at Jefferson Airplane Part 1. Apple Podcasts: https://podcasts.apple.com/us/podcast/discograffiti/id1592182331?i=1000765230378 Spotify: https://open.spotify.com/episode/5l7O6r4JMTfH7FsGT3EXj3?si=AE4HUYPKSs2Ymc1I8TdSKQ The Full Version: https://www.patreon.com/posts/full-episode-1-1-156815363   Discograffiti is the deep-dive podcast for music obsessives. Feed Your Head: The Great Jefferson Airplane Deep Dive is an audio documentary that was consciously crafted to act as the ultimate repository of fact and opinion on one of the greatest bands to ever walk the face of the earth. It includes long-form interviews, commentary on their history, wild stories, and star ratings for every release.  Part 18 of the series features Jack and I doing a deep, deep dive on the songs off the band's final masterpiece of the 1960s, Volunteers.  Here are just a few of the many things that Jack discusses with Discograffiti in this podcast: Jack's love for the Airplane's iconic live album, Bless Its Pointed Little Head; Whether the band got behind Paul Kantner's politics of the period; The very direct influence that leftist propaganda culture had on the record; The Grateful Dead song that shared the lick from “We Can Be Together”; The essential greatness of Nicky Hopkins; Grace's aggressive sexual politics on “Hey Frederick”; And an in-depth, track-by-track deep dive on side one of Volunteers. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

What started as a conversation about Bob Weir and RatDog turned into one of the most personal stories we've ever captured.In this episode of Only in the Green Room, drummer Jay Lane shares what it was like joining Bob Weir and Rob Wasserman despite knowing very little about the Grateful Dead, learning songs from Heaven Help the Fool, navigating unpredictable RatDog setlists, and witnessing Bob's determination to keep creating after Jerry Garcia's passing.Then the conversation takes an unexpected turn.Jay opens up about his own adoption story, his remarkable adoptive mother, Mary D. Lane, and discovering his biological mother, prior to his birth, had a daughter with acclaimed jazz bassist Donald Rafael Garrett. As the story unfolds Jay pieces together a long-hidden mosaic of family, music, and coincidence, sharing how deeply his life had been intertwined with San Francisco's legendary music scene long before he ever knew it.This is a story about music, identity, family, mentorship, and the incredible coincidences that can shape a life.If you enjoy authentic conversations with the artists behind the music, please Like, Subscribe, and share this episode.#OnlyInTheGreenRoom #JayLane #BobWeir #RatDog #GratefulDead #AdoptionStory #MusicPodcast #BehindTheMusic#SweetwaterMusicHall #David Nelson, #Ramblin' Jack Elliott, #Lorin Rowan, #Matt Jaffe, #Matty Michna, #Jay Lane# Barry Sless, #Jason Crosby, #Samson Grisman#Bobby & The Midnites - I Want To Live In America 1984 https://www.youtube.com/watch?v=dWscxdleZzIYouTube: @inmotion68"Not Fade Away" - Bob Weir and Wolf Bros | 8/25/2019 | LOCKN' 2019 | Relix YouTube: @RelixMaghttps://www.youtube.com/watch?v=vfnfGM77Ob8https://www.youtube.com/watch?v=8wdteIsK1qUhttps://www.youtube.com/watch?v=d6a-A7gP9Mc

Josh Barber of Idle Heirs joins me for Episode No. 218.Mr. Barber is a son, a sibling, a husband, a bandmate, and a man of both vision and talent.Josh and I talked about the process of writing the bones of Life Is Violence -- Idle Heirs' full-length release from 2025 -- in the Pacific Northwest, recording it in Norway, and the excitement surrounding their next project.We also talked about a few of Josh's favorite albums, which were these:Lateralus (2001), ToolGlassjaw's Worship & Tribute (2002)You Come Before You (2003), Poison the WellCult of Luna's Vertikal (2013)Drown the Traitor Within (2019), LornFollow Idle Heirs on Instagram at @idleheirs. Find their record on Bandcamp plus where you stream/download. They've got a Facebook page and a YouTube channel as well.Many thanks to Josh for the time and the good conversation. And thanks to all of you that support the show.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are clips from a Grateful Dead tune called, "Estimated Prophet," which is from their phenomenal 1977 release, Terrapin Station, which we have access to c/o Grateful Dead Productions, marketed by Rhino Entertainment Company (a Warner Music Group).

Live Nation's Jimmy Koplik was on with Chaz and AJ this morning to address another tour being cancelled, and shared a story of going on stage to inform a rabid crowd about the Grateful Dead canceling their show for the night. Plus, the Tribe called in to ask about ferry service back to Long Island after shows at the Amp, the chances of seeing Creed on tour again soon, and why concerts seem to be skipping encores lately. 

Brad went to the Mariners game last night for Grateful Dead night and it was also Jimothy night!

Every year from August 1st to August 9th, Deadheads mark the “Days Between" — the span between Jerry Garcia's birth and death. In this bonus episode of the Behind The Song podcast, Janda digs into how a deep-cut song title that was only played 41 times by the band became the name of what has evolved into a high holy week for an entire community of Grateful Dead fans.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Death never stopped the Grateful Dead before.Since Jerry Garcia's death in 1995, a sprawling collection of musicians and fans across generations have kept the band's legacy alive in different ways. But without members Phil Lesh and Bob Weir, Deadheads are experiencing their first summer where there's no clear inheritor of the Grateful Dead's mantle.Where does the music, and the dedicated community that has grown up around it, go from here? NPR Music's resident Deadheads Felix Contreras and Isabella Gomez Sarmiento took a cue from the Dead itself: They hit the road, interviewing musicians, fans and archivists to learn how the band and its fans built a legacy that has spanned generations, and to find out what's next.For more podcast episodes and stories about the future of the Grateful Dead, check out our series Dead After Death.This episode was produced by Noah Caldwell. It was edited by Jacob Ganz and Hazel Cills. The executive producer of NPR Music is Suraya Mohamed. Our executive director is Sonali Mehta.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This week on the Deadpod we head back to the Family Dog at the Great Highway in San Francisco for a superb show from August 3, 1969. This is the kind of set that reminds us just how quickly the Grateful Dead were evolving in that remarkable year, moving from the raw energy of their early material into the open-ended exploration that would define so much of what followed. The set opens with a fine run of songs including "Hard To Handle," "Beat It On Down The Line," "Hi-Heel Sneakers," "High Time," and "Mama Tried." From there the show opens up beautifully with a long and searching "Dark Star," followed by the powerful sequence of "Alligator," "Drums," "The Other One," and "Caution (Do Not Stop On Tracks)," before closing with "And We Bid You Goodnight." There are two guest artists - an unknown sax player and David LaFlame from 'It's A Beautiful Day', and they add a rich extra dimension to the sound that I really dig.  There's a lot to enjoy here: the contrast between the concise song-based first half and the expanded improvisational stretch that follows, the relaxed confidence of the band, and the sense that they are really finding their collective voice in real time. It's a strong late-summer 1969 performance and a great listen for anyone who loves this transitional era of the Dead. Grateful Dead Family Dog at the Great Highway San Francisco, CA 8/3/1969 - Sunday     Hard To Handle   Beat It On Down The Line   Hi-Heel Sneakers   High Time   Mama Tried   Dark Star   Alligator >  Drums >  The Other One >  Caution (Do Not Stop On Tracks) >  And We Bid You Goodnight You can listen to this week's Deadpod here:  https://traffic.libsyn.com/deadshow/deadpod073126.mp3  Enjoy!  

The Deadcast points to the Saratoga Performing Arts Center in New York, set inside the lush green of a state park & home to some of the wildest Grateful Dead shows of the mid-1980s, with a look at the 1985 parking lot scene.Guests: David Lemieux, David Leopold, Johnny Dwork, DNA, Ken Schneider, Andy Perrine, David Moran, Corry Arnold, Nicholas Meriwether, Annabelle Walsh, Donick CarrySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Why Music Matters, a podcast where we examine the power and influence that music can wield in our lives.   I'm your host, musician and music journalist Jeff Miers.   On today's episode, I'm joined by my friend, guitarist, vocalist, teacher and music promoter Aaron Ziolkowski.  One of the hardest working musicians on the Buffalo scene, Aaron is a member of the Little Mountain Band, Dead Alliance Buffalo, and Eberwine.  He also manages to fit in gigs as a solo artist, and as part of the rotating cast of musicians playing one-offs at specially curated shows within the broader jam-based community.  In all of these musical scenarios, Aaron shines as a stellar accompanist, one whose subtle, incisive rhythm guitar playing elevates ensemble improvisations toward the stratosphere.  He's also one of the most soulful vocalists you're ever gonna hear, whether he's singing one of his own songs, or digging deep into Grateful Dead ballad or rustic funky number by The Band.  We talked about all of this and more during Aaron's visit to 678 Main Studios.  Welcome to Why Music Matters, Aaron Ziolkowski… --- Produced by 678Main Studio and Creative Services https://678main.com --- Follow Why Music Matters on social media https://instagram.com/whymusicmatterspodcast https://www.facebook.com/whymusicmatterspodcast https://twitter.com/wmmpod

We start off with News with Nick! Soundcloud acquires Nina Protocol, Old Dirty Bastard gets an NYC street named after him, Faith No More Reunites, and Madison Square Garden owner, James Dolan, has made some interesting decisions about how to run his venue.Song: Gong - “Oily Way (Remastered 2018)”Ever hear a song and think, Where's One Tho? Greg is bringing the bit back, which means we're one step closer to a theme song! This round we listen to various breakdowns of the Meshuggah song “Combustion,” and take then we take a stab at “Zhivago” by Kurt Rosenwinkel.Songs: Meshuggah - “Combustion”Kurt Rosenwinkel - “Zhivago”Fifty-three years ago, on July 28 (1973), a festival was hosted outside Watside Glen by the Grateful Dead, the Allman Brothers, and The Band. Summer Jam at Watkins Glen sold 150,000 tickets for $10 each and then allowed the additional 450,000+ people that showed up to hear the show for free, setting a new Guinness Book Record. Jay would love to know why no one knows about this show.Songs: Grateful Dead - “Me & My Uncle (Soundcheck)”Garth Hudson - “Too Wet to Work”Allman Brothers - “Mountain Jam”

Once in a while you get shown the light in the strangest places, if you look at it right. And if you get confused, just listen to the music play. This week, resident Deadheads Isabella Gomez Sarmiento and Felix Contreras help host Robin Hilton hear what he's been missing in the music of the Grateful Dead.Are you a Deadhead? Share your memories about the Grateful Dead and we may include them in a big series about the band we're launching Aug. 1.Support the show with a review on Apple or Spotify wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.orgFeatured songs:(00:00) Intro and “King Solomon's Marbles”(08:54) “China Cat Sunflower / I Know You Rider” Alpine Valley, WI 7.17.89(11:03) “Help On the Way / Slipknot / Franklin's Tower”(16:39) “Ripple”(23:34) “Morning Dew (Europe ‘72)”(26:17) “I Shall Be Released (Live)” (30:05) “Black Muddy River”(31:34) “One More Saturday Night”(32:09) “Sunrise”(33:21) “Shady Grove”(39:14) “Birdsong”(41:45) “Uncle John's Band”See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Listen without ads: www.patreon.com/dopeypodcast Episode summary: This week we continue Allman Brothers Month!Legendary photographer, archivist and Allman Brothers tour manager Kirk West tells the incredible story of his journey from small-town Iowa into the center of American rock-and-roll history. After discovering psychedelics and Chicago blues in the late 1960s, Kirk became an IV meth user and drug dealer. He fled pending charges, landed in the psychedelic communities of Boulder and Northern California, and was eventually identified and arrested while hitchhiking through Nevada with meth and syringes in his backpack. Kirk recounts therapeutic-community rehab, heroin addiction, the murder of his drug-dealing partner, repeated arrests and the camera-store burglary that finally led him back into treatment. He found recovery through one of Florida's earliest Narcotics Anonymous communities—but after five years sober, he attempted to prove that he could drink normally. That experiment ended shortly after John Lennon's murder and ultimately gave Kirk the sobriety date he has maintained ever since. His recovery opened the door to an extraordinary career photographing Bob Marley, Bruce Springsteen, the Rolling Stones, the Who, the Clash, Jerry Garcia and countless others. Kirk eventually became the Allman Brothers Band's archivist and tour manager, served as Dickey Betts' sponsor and helped preserve the group's history. He shares intimate stories about Gregg Allman, Duane Allman, Derek Trucks, Warren Haynes, the Big House in Macon—and the night Lowell George offered him cocaine shortly before his death. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In part two of our series, we continue to figure out why buying concert tickets has become one of the most frustrating consumer experiences…and why it's always been that way. From the evolution of ticketing from physical box offices and early computer systems to the rise of Ticketmaster, we want to understand how service fees, scalping, exclusive venue contracts, and industry power struggles shaped the modern ticket market. Through artists like Pearl Jam and the Grateful Dead, we find out how economics, technology, and demand transformed concerts into a high‑stakes business, setting the stage for today's world of instant sellouts and dynamic pricing. All in the hopes of you getting that concert ticket that you've been waiting for, in the virtual line-up. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen without ads on patreon - www.patreon.com/dopeypodcast SUMMARY This week on the Dopey Total Replay, Dave returns from his summer hiatus and previews the family's Pacific Northwest adventure, the upcoming Patreon Zoom, and the big decision facing DopeyCon: Friday night at the SVA Theatre or Saturday at the old church.   Then we travel back to Dopey Episode 37 for a classic conversation with Dave and Chris. They talk about sponsorship, working the steps, honesty, spirituality, and the strange miracle of one addict helping another. Dave tells the story of Jerry Garcia using a radio interview to summon drugs after the Grateful Dead's package went missing in Philadelphia, plus tales of John Lennon's psychedelic excess and Paul McCartney's alleged plan to smuggle Owsley acid inside camera equipment.   Things get progressively dopier as Dave remembers stealing fried chicken and vodka at a company party, while Chris describes shooting cocaine in Anguilla, hallucinating benevolent Rastas hiding in the bushes, chasing an imaginary car around an abandoned house, and eventually being rescued from Saint Martin by his brother.   Finally, Dave recounts smuggling six bundles of heroin into Jamaica, burning through nearly everything, passing out on Valium during a press trip, and repeatedly sneaking into first class while withdrawing on the flight home. Beneath all the insanity, Dave and Chris reflect on the possession of addiction, the freedom of sobriety, and the strange comfort of no longer needing drugs to feel safe.   Stay strong, Dopey Nation, and fucking toodles for Chris.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode the guys sit down with Nick Hexum, lead singer and co-founder of 311, just hours before a live show. Nick opens up about how the band has stayed together for 35 years, his path to sobriety in 2005-06 and how the band stuck by him through it, bringing weights on the road since 1993 and having a full gym dressing room on every tour, and why exercise was his earliest tool for managing anxiety and depression. He covers the study showing dance and exercise outperform SSRIs for depression by one and a half times, how he syncs his workouts to BPM-specific playlists, working with a vocal coach who saved his career, losing his youngest brother to an overdose and finally writing a song about it, Shaq showing up to their music video during the NBA playoffs with two left shoes and a siren on his SUV, meeting Joe Strummer of The Clash and finding a 311 sticker on his boom box, the Rick Rubin creativity principle of audience coming last, and his new Americana solo project with mandolin and fiddle. He also shares his thoughts on AI in the music industry, how the Grateful Dead touring model saved them from the Napster collapse, and why he surfed ten-foot Santa Cruz waves the day before this interview. MAPS Upper Lower: https://mapsupperlower.comCode: LAUNCH for 40% off. Includes male and female programs, workout videos, exercise demos, coaching videos and live coaching with Cole. SPONSORS Seed Daily Synbiotic: https://seed.com/mindpumpCode: 25MINDPUMP for 25% off your first month. GUEST LINKS Nick Hexum: https://www.instagram.com/nickhexum 311 Official: https://www.311.comWater Tower Band: https://www.watertowerband.com LINKS Mind Pump Store: https://mindpumpstore.comMaps Fitness Products: https://mapsfitnessproducts.com Instagram: @mindpumpmedia 0:00 - Intro 1:59 - How 311 has stayed together for 35 years — democracy, gratitude and knowing you're better together 9:06 - Nick's sobriety journey in 2005-06 and how the band helped him get there 11:17 - Bringing weights on the road since 1993 — gym dressing room on every 311 tour 13:09 - Why outliers and creative people are more drawn to self-medicating 16:32 - How the music industry changed through CDs, Napster, Spotify and now AI 20:57 - Why the Grateful Dead live touring model protected 311 from the Napster collapse 25:47 - The inspiration behind Amber and how it was written in one hour on a Saturday morning 29:58 - Writing a song about losing his youngest brother to an overdose 36:41 - Exercise 1.5x more effective than SSRIs for depression — the meta-analysis 43:16 - How Nick syncs his workouts to BPM-specific playlists for different exercises 47:17 - Breaking through fear as the key to growth — busking and surfing ten-foot waves before this interview 51:21 - How Nick warms up before a show and why working out 90 minutes before performs better 54:05 - Working with a vocal coach who saved his voice 57:42 - Three teenage daughters and the 90s resurgence making him the cool dad again 59:27 - First big purchase after getting signed: a 1969 Lincoln Continental with suicide doors that caught fire 1:01:23 - The Shaq story — two left shoes, an illegal siren through LA traffic and the NBA playoffs secret 1:04:36 - Nick's current fitness routine — F45, trail running in Topanga Canyon and tour prep  

Some mornings you wake up expecting another normal daily comedy show.Then the building catches everyone's attention with a fire alarm, Rizz refuses to evacuate because apparently radio hosts go down with the ship, and somehow the conversation spirals into MySpace, CDs making a comeback, William Shatner becoming a metal frontman at 95, and why nobody under 25 knows who Hole is anymore.Just another Tuesday.This episode starts with excitement surrounding the upcoming Super Troopers 3 as the Broken Lizard crew prepares to visit the studio, giving everyone an excuse to geek out over one of the greatest comedy franchises ever made. Before they arrive, the crew jumps into Crap on Celebrities, where nostalgia absolutely takes over.Could MySpace actually deserve more respect than it gets? Turns out the platform helped launch artists like Taylor Swift, Katy Perry, Adele, and even Dane Cook before social media became the attention economy we know today. That naturally leads into everyone's embarrassing MySpace memories, Top 8 drama, party bulletins, and the strange realization that we all willingly learned HTML just to put terrible music on our profiles.Speaking of things nobody expected to return...CDs are suddenly making a comeback. Yes... actual compact discs. The crew debates whether anyone even owns a CD player anymore, whether physical media still matters, and whether younger generations are rediscovering something older fans never completely gave up on. It's part nostalgia, part technology debate, and part excuse for Moon to become the resident audio nerd.Then things somehow become even stranger.William Shatner is officially performing heavy metal songs at Riot Fest... at ninety-five years old.The conversation somehow makes perfect sense.Elsewhere in celebrity news:• The Batman Part II gets delayed again.• A new Rocky movie about Sylvester Stallone fighting to play himself looks surprisingly incredible.• Paris Jackson earns praise for covering Blind Melon's "No Rain."• Alec Baldwin accidentally makes another tribute about... Alec Baldwin.• The Grateful Dead release a massive 20-CD collection because apparently CDs aren't dead after all.• Hole returns to social media, prompting an entire debate over whether younger music fans even know who Courtney Love's band was.Along the way, the crew shares ridiculous observations, roasts each other relentlessly, argues over music, remembers forgotten internet history, and proves once again why no topic stays on the rails for very long.That's exactly why this daily comedy show continues to be the easiest way to stay caught up on celebrity news, weird stories, pop culture, and conversations that somehow go from MySpace coding to William Shatner screaming heavy metal in less than ten minutes.If you enjoy sarcastic humor, entertainment news, nostalgic pop culture rabbit holes, and a group of friends who rarely let facts get in the way of a good joke, this episode has everything you need from your favorite daily comedy show.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShowHear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Listen without ads at 8$ a month or up on patreon: www.patreon.com/dopeypodcast SUMMARY This week on Dopey Greatest Hits, Dave officially declares July to be Allman Brothers Month and revisits one of his favorite interviews—with Duane Betts, guitarist, songwriter and son of the legendary Dickey Betts. Before the interview, Dave talks about his lifelong love of “Blue Sky,” reflects on a difficult Patreon Zoom and reminds himself of one of recovery's hardest lessons: restraint of pen and tongue. Papa Smurf contributes an incredible story about selling mushrooms in an Allman Brothers parking lot, getting grabbed by undercover cops and escaping after an oblivious hippie accidentally distracts them. A listener named Jeff also shares a disastrous Phish adventure involving craft beer, moonshine, cocaine, getting lost outside the venue while “Maze” played in the distance, wandering through a locked campground and receiving a possession charge that ultimately introduced him to AA. Then Dave sits down with Duane Betts for an intimate and wide-ranging conversation about growing up inside the Allman Brothers family, touring with his father, living at Cher's Malibu home, learning guitar on the road and finding his own musical identity. Duane opens up about Hodgkin lymphoma, discovering Dilaudid after surgery, the Malibu party scene, Molly, cocaine, crack, black tar heroin and a gram-a-day opiate habit. He recalls smoking heroin-and-cocaine speedballs, flipping a car after scoring drugs, waking up beside a friend who had overdosed and nearly dying after a massive cocaine hit. He also describes arrests, drug court, treatment, Suboxone, relapse, touring with Dawes and eventually finding lasting recovery. Now more than seven years sober, Duane talks about meeting his wife in Jackson Hole, staying grounded through music, hiking, yoga and connection, and continuing the Allman Brothers legacy through his solo work, Palmetto Motel and the Allman Betts Family Revival. It is a story about rock-and-roll history, inherited addiction, devastating loss, recovery and finding a life filled with music, gratitude and purpose. Allman Brothers month continues!   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Set the controls for the heart of 1985 and the Dead's 20th anniversary shows at the Greek Theatre in Berkeley, with a look at the band's very busy year, plus Dead Head adventures aplenty.Guests: Dennis McNally, Len Dell'Amico, Rosie McGee, John Leopold, Dave Leopold, Johnny Dwork, David Lemieux, Nicholas Meriwether, Dave PerlisSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Listen without Ads for $8 a month on patreon(plus other benefits)! www.patreon.com/dopeypodcast This week on the Wednesday Dose of Dopey, We kick off an unofficial "Allman Brothers Month" with acclaimed music journalist and author Alan Paul, whose books One Way Out, Brothers and Sisters, and Texas Flood have become essential reading for fans of Southern rock and rock history.   Before the interview, Dave plays a hilarious voicemail from Australia about a first DUI, drinking gin while delivering food, accidentally racing an unmarked police car, and finishing the remaining booze in front of the cops. Dave also dives into listener emails about 2C drugs, psychedelic chemistry, his latest obsession with air fryer chicken thighs, and his fantasy "ultimate junkie cocktail"—before quickly reminding everyone how grateful he is to be sober.   Then comes a fascinating deep dive into the lives of Duane Allman, Greg Allman, Dickey Betts, Stevie Ray Vaughan, David Crosby, Jerry Garcia, and the complicated relationship between genius, addiction, recovery, and music.   Alan shares remarkable stories about Stevie Ray Vaughan's dedication to Alcoholics Anonymous, how his recovery inspired countless musicians to get sober, the Allman Brothers' heroin use, the infamous Scooter Herring drug trial that nearly destroyed the band, Duane Allman's opposition to shooting heroin despite using it himself, and Greg Allman's controversial testimony that fractured relationships throughout the rock world.   The conversation also explores psychedelic culture, the legendary mushroom logo, Eat a Peach, Dickey Betts' complexity, Jerry Garcia, the Grateful Dead, and why some of rock's greatest musicians remain endlessly fascinating decades after their deaths. ALL THAT AND MORE MORE MORE MORE on a new Allman based episode of that good ol dopey podcast!   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hello, Surviving El Chapo Listeners! We want to share a new show you might enjoy, it’s DISGRACELAND!!! About the Show: You know the myths. You’ve seen the biopics. But if you’re the kind of music fan who craves the rest of the story—the stuff they buried or cleaned up for streaming and theaters—this is your podcast. DISGRACELAND is the award-winning show that reveals the deeply human, highly dramatic, true crime–fueled chaos behind legendary musicians like Amy Winehouse, Jerry Lee Lewis, Sean “Diddy” Combs, the Grateful Dead, Blondie, and more. While we dig into the dark side, we do so with reverence for the artists—and an understanding of the extreme highs, lows, and personal costs that come with fame and making great art. This is music history like you’ve never heard it—edge-of-your-seat stories exploding with drama and the kind of information that’ll make you dangerous at dinner parties. New, fully scripted and sound-designed episodes drop every Tuesday. On Thursdays, we hand the mic to you—and feature listener voicemails, texts, and emails in our interactive bonus episodes. And on Fridays, we revisit the wildest stories from our 250+ episode archive with “Rewind” drops that’ll transport you back into music history’s most entertaining moments. DISGRACELAND is not a journalistic podcast—it’s an entertainment podcast inspired by true events. Certain dialogue and scenes are occasionally fictionalized for dramatic effect, as is common in scripted entertainment based on real stories. Sources and credits for each episode are available at www.disgracelandpod.com Listen here and subscribe to DISGRACELAND on the iHeartRadio App or wherever you get your podcasts!See omnystudio.com/listener for privacy information.