Podcast appearances and mentions of Jefferson Starship

Whether it's on the first two BOSTON albums or on releases by his latest group, BARRY GOUDREAU'S ENGINE ROOM, guitarist BARRY GOUDREAU brings the world a soaring, blues-inflected sound that has been part of our collective musical psyche ever since he threw down the monster lead on Boston's 1977 rock radio smash, “Foreplay / Long Time.” I was thrilled to have Barry not only visit us backstage at a recent JEFFERSON STARSHIP gig I played in Beverly, Massachusetts — where Barry plugged in his beloved '60s Gibson SG Junior and did this interview (during which, as you'll hear, he discusses everything from working with Boston's brilliant mastermind/chief composer and multi-instrumentalist/producer TOM SCHOLZ to collaborating with the late, great Boston singer BRAD DELP to creating music with his other bands, including RTZ, ORION THE HUNTER, and, of course, the Engine Room) — but also have Barry sit in with us on stage! That's right: During our encore later that night, Barry joins us for an extended jam where he starts off with a big solo, and then we trade licks back and forth, and you'll hear it all go down at the end of the episode. Thanks to GUITAR PLAYER and guitarplayer.com for bringing this episode to you. “Guitar Player — Play better, sound better!” — JUDE GOLD, host/creator, NO GUITAR IS SAFE

David Freiberg, has a résumé that reads like a syllabus in West Coast rock history. In this podcast, The post David Freiberg – Jefferson Starship appeared first on The Strange Brew .

Welcome to the daily304 – your window into Wonderful, Almost Heaven, West Virginia.   Today is Sunday, April 13, 2025. The Charleston Sternwheel Regatta's entertainment lineup is set; mark your calendars for a fun-filled weekend of music and other events…four CVBs partner up to launch the Pepperoni Roll Trail in north-central West Virginia…take a peek into West Virginia's colorful past via The History Project…on today's daily304.   #1 – From METRO NEWS – Officials have announced the lineup for the 2025 Charleston Sternwheel Regatta. Headlining performances this summer will include country music artist Carly Pearce, disco and funk band KC and the Sunshine Band, rapper Busta Rhymes, and rock band Jefferson Starship. This year's regatta will take place July 3-6 along Charleston's riverfront. Additional fun-filled events planned over the weekend include a youth BBQ Challenge, an all-dog costume contest and wiener dog races, the Firecracker 5K and a classic car show. Charleston Mayor Goodwin said that since the regatta was brought back in 2022, it has grown to become the biggest event in the state. An updated schedule of events will be posted at charlestonregatta.com. Read more: https://wvmetronews.com/2025/04/02/charleston-announces-official-2025-sternwheel-regatta-line-up/   #2 – From WV NEWS – Four visitors bureaus in North Central West Virginia have partnered to launch a digital trail celebrating the state's iconic pepperoni roll. The Clarksburg Visitors Center and Marion County Convention and Visitors Bureau introduced the West Virginia Pepperoni Roll Trail through a digital passport system, which allows users to check in at various locations and earn points to collect prizes. Organizers then expanded the trail through partnerships with Visit Upshur County and the Bridgeport Convention and Visitors Bureau. The trail includes well-known bakeries like Colasessano's and unique creations like the ramp-infused “ramperoni roll” at The Donut Spot. Visitors can earn double points by attending The Great Pepperoni Roll Drop, held in Mannington on New Year's Eve.  To register for the West Virginia Pepperoni Roll Trail digital passport, visit marioncvb.com/wv-pepperoni-roll-trail. Read more: https://www.wvnews.com/news/wvnews/west-virginias-pepperoni-roll-trail-launches-in-region-where-it-began/article_589c7bdb-fbaa-4ea6-b091-b4d485939ed9.html   #3 – From DAILY304 – Perfectly centered among the Eastern states, West Virginia is where the thresholds of the North, South and Midwest all converge with the Appalachian Mountains, to tell the history of our nation in microcosm.  Major events like the Revolutionary and Civil wars, and famous people ranging from Daniel Boone to Katherine Johnson, mix with the rich heritage of Native Americans and men and women of all colors who reshaped the world and serve as guides through the American story. Tune in to The History Project to learn more about the famous people, places and events that shaped West Virginia.  Watch the videos: https://daily304.wv.gov/programs/the-history-project/   Find these stories and more at wv.gov/daily304. The daily304 curated news and information is brought to you by the West Virginia Department of Commerce: Sharing the wealth, beauty and opportunity in West Virginia with the world. Follow the daily304 on Facebook, Twitter and Instagram @daily304. Or find us online at wv.gov and just click the daily304 logo.  That's all for now. Take care. Be safe. Get outside and enjoy all the opportunity West Virginia has to offer.  

The next STAR WARS film to come through the pipeline following THE MANDALORIAN AND GROGU will apparently be helmed by Deadpool and Wolverine director Shawn Levy. We look at some new casting rumors and gather up clues about what this movie will be all about. Back in 1978, the legendary rock band Jefferson Starship performed a song on THE STAR WARS HOLIDAY SPECIAL, but did you know their current stage manager Todd Mills is a huge Star Wars fan? Todd joins us “In The Cantina” to discuss the band's appearance on the infamous “Holiday Special” and to provide his answers to the famous “Yoda Questionnaire”. We look ahead to next month's animated TALES OF THE UNDERWORLD and dive into the RFR Vault for an interview with one of the voice actors from the upcoming series. And as long as we're talking about voice acting, we pay tribute to the original voice of The Emperor in THE EMPIRE STRIKES BACK, the late Clive Revill. Plus, we continue to countdown the days until ANDOR season 2 debuts and more! 

A special episode where I showcase my favorite bands in extended sets. In this episode, hear Badlands, Jefferson Starship, Kamelot, Marillion (Hogarth), Nektar, and Thunder. Do you enjoy Prog-Scure? If so, perhaps you might consider helping me to keep this show afloat by contributing a few dollars at https://patreon.com/zapniles. Any donations very much appreciated.

Ain't no interview like a GRACE SLICK interview! That's right — the outspoken Rock-and-Roll-Hall-of-Fame singer of Jefferson Airplane, Jefferson Starship, and Starship, and the voice of the psychedelic rock generation and beyond is on the show. Whether she's talking about the playing of great guitar players she has known (everyone from her legendary Airplane/Starship bandmates to other heroes, including Jimi Hendrix and Jerry Garcia) or tackling any other subject under the sun — sex, drugs, and rock'n'roll; '60s counterculture; DeLoreans; Miles Davis; '80s pop culture; hilarious drummer antics (yes, your ears are burning, Donny Baldwin) — Grace is gloriously unfiltered and a true musical treasure. As guitarist of Jefferson Starship since 2012, I was thrilled to finally dive deep into these topics and more with Grace, who — along with her and Paul Kantner's daughter, China Kantner Isler — I've been lucky enough to call a friend for a decade now. Please help me thank GUITAR PLAYER and guitarplayer.com for making this episode happen. GUITAR PLAYER: Play better, sound better. — Jude Gold | Host/creator, NO GUITAR IS SAFE podcast.

Frank's back, folks. And he's the maintenance man. This week on Daredevil still no costumes but the drama and character stuff is simply terrific, plus we get two renditions of a Jefferson Starship classic. Before that we have some news, including the rumor that Kevin Feige is feeling iffy on the Russos after Electric State and that the fourth Spidey movie may be adapting Spider Island, a storyline where everybody in New York City gets Spider-Man powers. Is that a good idea? Eh.We just published the latest episode of Watch Men, where we talk about the Josh Trank Fantastic Four. It's available only for subscribers at the $5 and above levels at the Patreon. What are you waiting for?See you next week!

Canciones que cumplen medio siglo. Canciones que cumplen medio siglo. La confirmación del country rock y del rock sureño que avanza hacia el género “americana” y de la hornada de cantantes compositores; la explosión global del rock progresivo o sinfónico; el brote imparable del funk que devendrá en música disco y del mismo modo la fusión del jazz, el rock y la electrónica; el año dorado de la música popular española. Cuarto capítulo de la serie de disco magistrales publicados en 1975: días de country rock y de rock del sur donde se alían con el blues y el jazz. En víspera de la irrupción del punk y la new wave, los veteranos toman posiciones de una década prodigiosa, la de 1965-1975.DISCO 1 ATLANTA RHYTHM SECTION Bless My Soul DISCO 2 THE ALLMAN BROTHERS BAND Just Another Love Song DISCO 3 MARSHALL TUCKER BAND Searching For A rainbow DISCO 4 LITTLE FEAT Long Distance Love DISCO 5 BONNIE RAITT Sugar Mama DISCO 6 NITTY GRITTY DIRT BAND & LINDA RONSTADT Hey Good Lookin’ DISCO 7 EMMYLOU HARRIS Boulder To Birmingham DISCO 8 DOLLY PARTON The Seeker DISCO 9 OZARK MOUNTAIN DAREDEVILS Leatherwood DISCO 10 POCO Keep On Tryin’ DISCO 11 LOGGINS & MESSINA Oh Lonesome Me DISCO 12 MICHAEL MURPHEY Wildfire DISCO 13 PURE PRAIRIE LEAGUE Two Lane Highway DISCO 14 JEFFERSON STARSHIP Git Fiddler Escuchar audio

For the Thirteenth episode of There Is No Planet Earth Stories I'm  Join by guest Doc Martin  representing stories from San Francisco & Los AngelesWe discuss a range of topics including his formative musical experiences in San Francisco, the Los Angeles scene in the early 90's and various parties and residencies held in those years, as well as the evolution of his DJ, and music production career over the years, and much more.A product of the 80's San Francisco dance music boom, DJ/Producer Doc Martin has been creating innovative, high-energy electronic music for nearly three decades. Once a mainstay on the Pacific Northwest scene, he has gone on to perform everywhere from Ibiza to Tokyo, London and beyond, creating an enduring body of work in the process. Now, as he enters a new phase of his career, Doc shows no signs of slowing down, as he continues to evolve, revealing new sides of his artistry as he releases the most compelling music of his career.  Doc Martin's choice to pursue a career in music was an obvious one, given the musical family he grew up in. Most notably, his mother sang with Bay Area icons Jefferson Starship.Doc, however, was more interested in absorbing the various electronic subcultures that were emerging around the country. Endless hours spent in SF's indie record stores armed him with an expertise in everything from acid house to techno, as he developed the genre bending style that would come to define his career.  Within a few years of his first performance, Doc was selling out shows across his hometown, and began setting his sights on bigger things. In the early 90's, he relocated to Los Angeles, where he quickly integrated himself into the city's thriving rave scene. Not long after, his profile had risen enough for him to be invited to Europe to play at some of the continent's most iconic clubs and parties, including Fabric(Residency), Circoloco, The Rex, Panorama Bar, and Sunwaves to name a few,. In the ensuing decades, he became a favorite amongst audiences from New York to London, performing regularly at clubs including Output, Coachella, The Roxy, Twilo, City Fox, Space, Desert Hearts, Movement, and Lightning in a bottle After three decades of bringing people together with music, Doc Martin's passion and drive remain as strong as ever. He maintains a steady schedule of performances across the globe while continuing to release new tracks regularly. As the rare artist to achieve the status of elder-statesman, he has left a lasting legacy in electronic music, a legacy which he continues to add to every day.Also played with James Brown/Grace Jones/Tour Dj for Deee-lite,Support the show

Mickey Thomas is best known as one of the lead vocalists of Jefferson Starship and Starship. Probably most famous for singing ‘We Built This City' Thomas and Starship are playing Chinook Winds Casino March 1st. He spoke with Terry and Jeetz ahead of the show!

Send us a textAn expanded episode of TrackTalk with my old friend, legendary drummer, Rock & Roll HOF inductee, and returning champion, Aynsley Dunbar! In this episode we do a deep dive into several of Aynsley's iconic recordings including Aynsley Dunbar Retaliation, Frank Zappa, David Bowie, Journey, Jefferson Starship and Whitesnake. I had selected 6-7 songs to discuss, but Aynsley called several "audibles" during the show so this episode is chock full of music! And many laughs! So come along for the ride and please subscribe!  Aynsley was my guest on episode #73 Feb 12, 2022, so be sure to check it that episode!    • E73: Live From My Drum Room With Ayns...  Live From My Drum Room Hoodies are now available!  • NEW Live From My Drum Room Merch!   Made of a soft 52% cotton 48% polyester blend. Sizes: MD, LG & XL = $50 USD (including shipping) *Size 2XL = $55 USD (including shipping) * US orders only. Venmo payment only. Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL = $25 (including shipping) * Venmo only. 100% of the proceeds from Live From My Drum Room merchandise goes toward a Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Very important! Email or text: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt and or hoodie to help support this endeavor!Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

The show opens with Adam & Mayhem listening to and discussing some Jefferson Starship, in preparation for David Freiberg's visit later in the show. They also discuss Adam's disappointment in his recent visit to Roseanne's house, his new Sirius/XM ‘70s station game, Lizzo reaching her weight-loss goal, and Elizabeth “Billy Jack” Warren. Next, musician David Freiberg joins the show to talk about Jefferson Starship's 50th anniversary tour, moving to San Francisco in the late-50s, “We Built This City” being called by many as the worst song of all-time, why he left Starship, and his reaction to Adam's list of worst songs. Then, Jason “Mayhem” Miller reads the news including stories about Lyft being sued after 489lb passenger was told she couldn't fit inside the car, NY Mag cover accused of cropping out Black attendees of Trump inauguration event, the city of Huntington Beach suing California over a sanctuary state law that prevents local law enforcement from working with immigration officials, and two “Just Stop Oil” protesters interrupting a play starring Sigourney Weaver. For more with David Freiberg: NEW TOUR: 50th Anniversary, Runaway Again Tour‬ WEBSITE : jeffersonstarship.com‬ ‭INSTAGRAM:‬‭ @jeffersonstarship‬‭ ‭LIVE DATES:‬‭ Feb. 11 – Seattle, WA‬ March 6 - Gainesville, GA‬ March 7 - Newton, NC‬ March 8 - Newberry, SC‬ March 9 - Ft. Lauderdale, FL‬ March 11 - Middleton, FL‬ Thank you for supporting our sponsors: HomeChef.com/ADAM http://ForThePeople.com/Adam or Dial #LAW (#529) RuffGreens.com, use code: Adam

Welcome to our new show, which is the same as the last show but about different shows! This one's about The Star Wars Holiday Special! Usually, Julia and Becca are here in the name of character, theme, and plot analysis, but uh... this ones all Goofs. Oops all goofs!Talking points include: Was this as unfunny in 1978 as it is now? its hard to tell, more of an experience than a story really, Jefferson Starship should be cannon in the Star Wars universe, the horror anime that is Mark Hamil's eyes, Chewie went to war and came back with a boyfriend, and yes, I think this was written by a sentient bag of cocaine. Don't forget to leave us a review if you like the show and drop by our socials on Instagram and our new shiny Tumblr (@thebatchpod) to say hi and chat."3 Rounds" by Bisou is licensed CC BY NC 4.0.

"When I was youngIt seemed that life was so wonderfulA miracle, oh it was beautiful, magicalAnd all the birds in the treesWell they'd be singing so happilyOh joyfully, oh playfully watching me"Let's defy logic together on  a Fall Sunday in Southern California, with 2 hours of terrific tunes from the 1970's you probably won't hear anywhere else. Joining us are Joni Mitchell, Batdorf and Rodney, Quicksilver Messenger Service, Jefferson Starship, Ian Hunter, Hall & Oates, Earth, Wind & Fire, Meat Loaf, Elvis Costello, Billy Cobham, Jeff Beck, Aerosmith, The Bee Gees, Doobie Brothers, Neil Diamond, Free, Eddie Money, Gerry Rafferty, Minnie Riperton, America, Roxy Music, Dexy's Midnight Runners, Grand Funk Railroad, Alice Cooper and Supertramp...

Music legend Mickey Thomas, known for his unforgettable vocals on Starship hits and Elvin Bishop's timeless classic "Fooled Around and Fell in Love," released his first Christmas album, "A Classic Christmas," on November 15. With an illustrious career spanning decades, Thomas delivers soulful and nostalgic renditions of beloved holiday songs, bringing a fresh, heartfelt approach to festive classics that fans old and new can enjoy. "A Classic Christmas" is now available on all streaming platforms.Listeners can stream the album and save for future playlists here: sym.ffm.to/mickeythomas-aclassicchristmas Also available on vinyl and CD at StarshipControl.com. "I've always wanted to record a Christmas album, and this is the fulfillment of that dream," Thomas shares. "These songs are the soundtrack to my own childhood holidays, and I wanted to stay true to the originals while putting my own spin on the vocals. I hope listeners feel the same warmth and nostalgia I did while recording it."Known worldwide for his soaring voice on Starship's "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now," Thomas also brought Jefferson Starship fans timeless rock anthems like "Jane," "No Way Out," "Stranger," "Find Your Way Back," and "Layin' It On The Line." His tenure as lead singer for The Elvin Bishop Band produced the 1976 hit "Fooled Around and Fell in Love," a track many don't realize was driven by Thomas' powerful, soulful vocals. Now, his journey through rock's greatest hits continues with a holiday twist in 'A Classic Christmas.' The album, produced by Dan Frizsell and recorded in Nashville, showcases Thomas's iconic voice on cherished holiday tunes, including "White Christmas," "The Christmas Song," and "Silver Bells." Collaborating with Nashville's finest musicians, Thomas brings rich instrumentation and warmth to these tracks, making each one a memorable, feel-good experience that encapsulates the holiday spirit.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Music legend Mickey Thomas, known for his unforgettable vocals on Starship hits and Elvin Bishop's timeless classic "Fooled Around and Fell in Love," released his first Christmas album, "A Classic Christmas," on November 15. With an illustrious career spanning decades, Thomas delivers soulful and nostalgic renditions of beloved holiday songs, bringing a fresh, heartfelt approach to festive classics that fans old and new can enjoy. "A Classic Christmas" is now available on all streaming platforms.Listeners can stream the album and save for future playlists here: sym.ffm.to/mickeythomas-aclassicchristmas Also available on vinyl and CD at StarshipControl.com. "I've always wanted to record a Christmas album, and this is the fulfillment of that dream," Thomas shares. "These songs are the soundtrack to my own childhood holidays, and I wanted to stay true to the originals while putting my own spin on the vocals. I hope listeners feel the same warmth and nostalgia I did while recording it."Known worldwide for his soaring voice on Starship's "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now," Thomas also brought Jefferson Starship fans timeless rock anthems like "Jane," "No Way Out," "Stranger," "Find Your Way Back," and "Layin' It On The Line." His tenure as lead singer for The Elvin Bishop Band produced the 1976 hit "Fooled Around and Fell in Love," a track many don't realize was driven by Thomas' powerful, soulful vocals. Now, his journey through rock's greatest hits continues with a holiday twist in 'A Classic Christmas.' The album, produced by Dan Frizsell and recorded in Nashville, showcases Thomas's iconic voice on cherished holiday tunes, including "White Christmas," "The Christmas Song," and "Silver Bells." Collaborating with Nashville's finest musicians, Thomas brings rich instrumentation and warmth to these tracks, making each one a memorable, feel-good experience that encapsulates the holiday spirit.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

The Clash : Magnificent Seven La reprise, l'originale The Picturebooks : I Feel You Depeche Mode : I Feel You Meryl Streek : Murder The Psychedelic Furs : Pretty In Pink The Ghost Wolves : Baby's First Knife Nirvana : Come As You Are Detroit : Oh Non Non Non Hubert Felix Thiéfaine : Sweet Amanite Phalloïde Queen Amyl & The Sniffers : Big Dreams The Cure : The Same Deep Water As You The Cure : A Fragile Thing Prodigy : Firestarter La Reprise L'originale No Resolve : Running Up That Hill Kate Bush : Running Up That Hill Pale Waves : Glasgow The Sundays : A Certain Someone King Crimson : Epitaph Tool : Stinkfist Karnivool : Aeons Jefferson Starship : Save Your Love

Mickey Thomas is the former lead singer of Jefferson Starshipbuilt this city on Rock n Roll...Mickey has a new holiday album called,  'A Classic Christmas'Mickey talked:-Christmas album-Danny Kaye from 'White Christmas'-Find your way back, Jane, Rock Music - all his voice-Pete's walk up song at the gym is Mickey's song-Talks #1 hit 'We Built This City, "I never considered 'We Built This City' as a single...a great A & R guy from RCA Records ... picked that as the first single and obviously, he knew what he was doing"-The Beatles were his biggest influence To subscribe to The Pete McMurray Show Podcast just click here

The pop-rock icon ditches the Starship for a sleigh this holiday season!

Naaagghhh! Aarngghhh Rnghh'Nghhhh!……. Yeah, you said it, Chewie! To kick off this year's Geek-mas, I made us rewatch The Star Wars Holiday Special in all its underground bootleg glory! Come meet Chewbacca's family, see Boba Fett's first appearance, and hear Bea Arthur and Carrie Fisher sing! The best thing that can be said is that we never have to watch it again.Today's root beer float was made with Barq's.Intro and Outro music by PlayAgain on Pond5Send us a text

Jefferson Starship's Mickey Thomas Interview full 627 Mon, 18 Nov 2024 12:09:06 +0000 nBWVs0GtQ38E74YrRDPsJ8daEfooRGlw The Rocker Morning Show Jefferson Starship's Mickey Thomas Interview The Rocker Morning Show with Meatball and Mark airs weekday mornings on Kalamazoo's Rock Station 107.7 WRKR. 2021 False https://player.amperwavepodcasting.com?feed-link=https%3A%2F%2Frss.amperwave.net

What's up, dudes? It's the long awaited episode. We've teased it for years. That's right! Scott Newman from Jingle Jank and Tinsel Tunes and Jeremy Phelps the Alamo City Santa join me to talk about “The Star Wars Holiday Special!” And yes, it's as bad as everyone says it is! Airing November 17, 1978, the special introduced us to Chewbacca's family. It also gave us an entire Wookie dialogue with no subtitles! Han and Chewie are racing home so the latter can spend Life Day with his family. The holiday is a sacred day for all Wookiee, where they put on red robes and disappear into a star. Carrie Fisher sings too. Unfortunately, the Imperial blockade is preventing the duo from arriving on time. Consequently, to kill time, Chewie's family engages in a few variety show-style escapades. They watch a holographic circus, and reminisce about the time Chewie met Boba Fett. They even tune in to a mandatory viewing from Tatooine. Did I mention Bea Arthur's in this? Well, she is. So is Harvey Korman!Art Carney? Yep, as a trader sympathetic to the Rebellion. Dihann Carroll? Yep, as a quasi-inappropriate VR singer. Jefferson Starship?!?! Are they only in this because the word ‘starship' is in their name? So grab your blaster, put on your Life Day robe, and sing along to this episode on “The Star Wars Holiday Special!”Tinsel TunesFB: @tinseltunesIG: @tinseltunespodcastTwitter: @TinselTunesPodJingle JankFB: @jinglejankpodcastIG: @jinglejankpodTwitter: @jinglejankpodAlamo City SantaIG: @alamocitysanta Give us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Are you ever going to text me?This episode is the October surprise.Jason, Jim, and Joseph stop the steal and "democratically" elect their choices for the best political movies. Joseph selects an 80s movie that is so long, it is still playing today.Jefferson Starship and Kevin Costner make one heck of a political thriller."No joke! I'm being serious right now. And another thing."  Jim revises history and talks about how Lincoln would drink your milkshake.President Vincent Barbarino?RULE 203: The authenticity of a historical movie all comes down to the McDonald's bag. "Frustrated Jason" implores Jim to see some of his picks. "No joke!"Which of Jim's impressions becomes a mystery wrapped in a riddle inside an enigma?

Chris Conway is an eclectic multi-instrumentalist musician who plays in any number of genres including New Age, Relaxation, Celtic, World Music, Jazz, Piano, Ambient and Electronic. He's played with Peter Tork of The Monkees and members of Jethro Tull, and opened for Richie Havens and Jefferson Starship.My featured song is “Euphoria” by The Robert Miller Group. 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.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. 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” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Chris at:www.chrisconway.org 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

**Exciting News!** Join us for a special live stream event as we welcome back the legendary **John Callas**! He'll be sharing updates on his latest books, insights from his incredible career, and much more while chatting with the amazing **Miss Liz**! **Date:** September 23rd **Time:** 7 PM EST **Where:** Live on https://youtube.com/@misslizsteatimes?si=Vdguz-fRJkeKms8D**About John Callas:** John Callas is a 50-year veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live-action title sequences, a documentary shot on location in Russia, as well as having been the Worldwide VP for The Walt Disney Company while working at a large post-production facility. John wrote and directed the feature film “No Solicitors” starring Eric Roberts and has adapted NY Times bestselling book, “Lightning Strikes Twice,” and “Ageless.” John is a published author of SECRETS, WHEN THE RAIN STOPS, CHRISTMAS VOICES, THE MYTH, NO SOLICITORS, AND FIRST TIME PARENTS SURVIVAL GUIDE TO UNNECESSARY AND WILD SPENDING. NBC, FOX, CBS, Good Morning America, and Yahoo have featured John!, The Dr. Ward Bond Show, Kathy Andersen, Stop Depression Summit, Audible.com, iHeart.com, Bostonherald.com, Chicago Daily Herald, Pittsburg Post-Gazette, The San Diego Union-Tribune, The Milwaukee Journal Sentinel, Occidental College, and more. John's prowess can be seen on live-action teasers for Ransom, Dennis The Menace, Body Of Evidence, and The Golden. Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glengarry Glen Ross, title sequences For The Two Jakes and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film, THE WHITE GORILLA. John worked with notable actors, including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy, Howie Mandel, and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom of The Opera, and the 1993 redesigned TRISTAR LOGO. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonalds, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy and Sonassage with celebrity George Burns and industrial projects for Corporations, including Vidal Sassoon, Salomon North America, Nissan and The Kao Corporation of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary, and others. He also directed 80 segments for Bobby's World rated the #1 show on Fox 11 Television in its time slot, garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx, and more. John has been recognized with An EMMY nomination for Bobby's World, THE NEW YORK CRITICS CHOICE AWARD for Lone Wolf, BEST FEATURE at Fright Night Festival & BEST DIRECTOR at Scar A Con festival for No Solicitors - Several awards for his short THE WHITE GORILLA, A CLIO and BELDING for his work on the Sunkist campaign, BEST OF THE WEST for directorial work on a one-woman show and an MTV AWARD FOR BEST CONCEPT for Glen Frey's Smuggler's Blues. John holds a Master's Degree from Occidental College and is a member of The Directors Guild of America. **Get ready for:** Book reveals Behind-the-scenes stories Q&A session **Engage with Us!** Share your questions for John in the comments! Use the hashtag **#JohnCallasLive** to join the conversation on social media. Like and share this post to spread the word! Let's celebrate creativity and inspiration together! #Author #Filmmaker #Entertainment #LiveStream #Books #JohnCallas #MissLiz #Storytelling #CreativeCommunity

This week the Deadpod travels to January of 1980 for an unusual benefit show that the Dead appeared at for Cambodian refugees in Oakland, along with Jefferson Starship, the Beach Boys and Carlos Santana and John Cippolina.  This is a tight and well played set throughout. The opening 'Jack Straw' into 'Franklin's Tower' is crisp and edgy. 'Minglewood' is a standout as well. I really enjoy all of these, but the 'Playin' is probably the highlight, although the Santana solo in 'Not Fade Away' is a treat as well; its interesting to hear these three great guitarists playing together..    Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA  1/13/1980 - Sunday One      Jack Straw [5:42] > Franklin's Tower [11:44] New Minglewood Blues [6:56] Tennessee Jed [8:21] > Looks Like Rain [7:12] > Don't Ease Me In [7:16] Playing In The Band [10:41] > Drums [7:15] > Not Fade Away (1) [14:27] > Sugar Magnolia (1) [7:30] Encore      U.S. Blues [#4:18] Comments     Cambodian Refugee Benefit. (1) with Carlos Santana and John Cippolina.   It is with some sadness that I have to announce that this will be the last Deadpod for some time... I'm scheduled for open heart surgery next week and I'm not sure when I'll be able to be back here sharing these great songs with you. Don't give up on me as I don't plan to give up.. I'll be back as soon as I am able but in the meantime I'd encourage you to listen to some of the old Deadpods - the entire run is still available..  Keep your light on and thanks my friends for all of your support and for listening.. 

Send us a Text Message.Mickey Thomas is a powerhouse vocalist whose distinctive voice became the driving force behind the success of Starship, one of the most iconic rock bands of the 1980s. Born in Cairo, Georgia, Thomas first gained national recognition as the lead vocalist on the 1976 hit “Fooled Around and Fell in Love” with The Elvin Bishop Band. This breakthrough performance showcased his soulful, soaring voice, setting the stage for his future career.In 1979, Thomas joined Jefferson Starship as the lead singer, following the departure of Grace Slick and Marty Balin. His arrival marked a new era for the band, which had been a significant force in the 1970s rock scene. With Thomas at the helm, Jefferson Starship produced several hits, including "Jane," "No Way Out," "Find Your Way Back," "Stranger," and "Layin' It on the Line." His dynamic vocal range and powerful performances breathed new life into the band, helping them maintain their relevance during a time of significant transition in the music industry.In 1985, the band rebranded as Starship, marking a new chapter in its storied history. Under this new name, they achieved immense commercial success, with Thomas's voice leading the charge on a string of chart-topping hits. "We Built This City," "Sara," and "Nothing's Gonna Stop Us Now" became anthems of the era, dominating the airwaves and solidifying Starship's place in rock history. These songs, characterized by their catchy hooks and polished production, became staples on MTV and VH1, further cementing Thomas's reputation as one of rock's most recognizable voices.Today, Mickey Thomas continues to tour with Starship, performing both the classic hits of Starship and Jefferson Starship, along with a few nods to Jefferson Airplane's legacy. His enduring talent and passion for music have kept Starship's legacy alive for new generations of fans.http://www.betterhelp.com/TheBarnThis episode is sponsored by www.betterhelp.com/TheBarn and brought to you as always by The Barn Media Group. YOUTUBE https://www.youtube.com/@TheBarnPodcastNetwork SPOTIFY https://open.spotify.com/show/09neXeCS8I0U8OZJroUGd4?si=2f9b8dfa5d2c4504 APPLE https://podcasts.apple.com/podcast/id1625411141 I HEART RADIO https://www.iheart.com/podcast/97160034/ AMAZON https://music.amazon.com/podcasts/7aff7d00-c41b-4154-94cf-221a808e3595/the-barn

This is an interview with guitarist Stephen Dunne and vocalist Dana Morey, who are part of the legendary Bay Area band Cold Blood. We discussed their upcoming show in Santa Rosa (Fridays at the Hood) on July 5th and their music. Cold Blood, as a whole, features a stellar group of musicians who have been playing together for nearly 20 years, including Steve Dunne on guitar, Steve Salinas on keyboards, a gritty-growling horn section comprised of John Hablieb and Rob Zuckerman along with a stellar rhythm section featuring Evan Palmerston on bass and T Moran on drums. The band members are all veteran Bay Area musicians who have played with many great artists, including Elvin Bishop, Jefferson Starship, Boz Skaggs, Albert Collins, and more. --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagesonoma/message

Peter Sears (born 27 May 1948) is an English rock music musician. In a career spanning more than six decades, he has been a member of many bands and has moved through a variety of musical genres, from early R&B, psychedelic improvisational rock of the 1960s, folk, country music, arena rock in the 1970s, and blues. He usually plays bass, keyboards, or both in bands. Pete Sears played on the Rod Stewart albums Gasoline Alley, Every Picture Tells A Story (which was listed high in Rolling Stone's top 500 best albums of all time), Never a Dull Moment, and Smiler. He also played on the hit singles "Maggie May", and "Reason to Believe". During this period, Sears toured the US with Long John Baldry blues band, and played with John Cipollina in Copperhead. Sears joined the band Jefferson Starship in 1974 and remained with the group through the transition to Starship, before departing in 1987. After leaving Starship he worked with bluesman Nick Gravenites, and many other artists including Jerry Garcia, Mickey Hart, Bob Weir, Maria Muldaur, Rich Kirch, Taj Mahal, and Mimi Farina. (1992 to 2002) he played keyboards in the Jorma Kaukonen Trio with Kaukonen and Michael Falzarano, and with Kaukonen, Falzarano, and Jack Casady and Harvey Sorgen in Hot Tuna. Sears has played with many other musicians through the years, including Dr. John, John Lee Hooker, Leigh Stephens and Micky Waller in Silver Metre; Long John Baldry, Copperhead with John Cipollina, Jerry Garcia, Chris Robinson Brotherhood, Levon Helm, Steve Kimock, Dave Hidalgo, Sons of Fred, Fleur de Lyse, Sam Gopal Dream, Jimi Hendrix, Pete Brown, Bob Weir, Los Cenzontles, Phil Lesh, Leftover Salmon, and Los Lobos.[5][6] Currently, he divides his time between the David Nelson Band, Chris Robinson and Green Leaf Rustlers, Zero, California Kind, Harvey Mandel, and Moonalice. Sears has also written and recorded the original score for many documentary films, including the award-winning "The Fight in the Fields" – Cesar Chávez and the Farmworkers Struggle directed by Ray Telles and Rick Tehada Flores. His most recent film, also directed by Ray Telles and co-produced by Ken Rabin, is called The Storm That Swept Mexico (2011) about the Mexican Revolution.

Guess who was behind hits like the Turtles' "Happy Together" or CSN&Y's "Ohio?" It was renowned drummer Johny Barbata who sadly passed away unexpectedly last month. Johny's extraordinary talent and versatility made him a pivotal figure in rock and pop music. Starting his career in the 1960s, Johny first gained prominence as a member of The Turtles, where his dynamic drumming powered hits like "Happy Together" and "She'd Rather Be With Me." His innovative style and rhythmic precision caught the attention of major bands and artists, leading him to join Crosby, Stills, Nash & Young, where he contributed to their classic live album "4 Way Street." In the 70s, Johny's career soared even higher when he became the drummer for Jefferson Airplane, later transitioning to Jefferson Starship. His powerful beats and creative percussion were instrumental in shaping the band's sound on iconic tracks like "Volunteers" and "Miracles." Throughout his career, Johny Barbata's drumming was characterised by its technical proficiency, adaptability across genres, and ability to enhance the music's emotional impact. John's influence extended beyond his performances; he was also a mentor and inspiration to countless drummers. His autobiography, "The Legendary Life of a Rock Star Drummer," offers an in-depth look at his journey through the highs and lows of the music industry. Despite facing numerous challenges, including a serious car accident, Barbata's resilience and passion for music kept him active in the industry until the day he died. Johny Barbata continues to be celebrated as one of rock's greatest drummers, known for his contributions to some of the most memorable songs in music history. His legacy is marked by his unique ability to blend technical skill with expressive artistry, leaving an indelible mark on every band he ever played with. This week, I'm honouring the late Johny Barbata by featuring a recent interview we did together. During our conversation he sheds light on what it was like to be a famous rock star and how in demand he constantly was as a session drummer. Artists like Jackson Browne, Linda Rondstadt and Neil Young couldn't get enough of him. Find out why by listening to him tell his story. If you'd like to know more about the life and times of Johny Barbata, pick yourself up a copy of his book Johnt Barbata- The Legendary Life of a Rock Star Drummer - available from Amazon https://www.amazon.com.au/Johny-Barbata-Legendary-Life-Drummer/dp/7774585796 I hope you enjoy the celebration of John's life and music. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sandy-kaye3/message

You really wish you could go back and see look the faces of everyone who watched “THE STAR WARS HOLIDAY SPECIAL” on November 17th, 1978 on CBS. The viewership for it had to be insane for network television in 1978 especially with the STAR WARS fever that was going around like a Wampa STD. In this strange piece of franchise history we get a whole family of Wookiees with the worst names you imagine, Art Carney as an intergalactic trader, Bea Arthur running the Mos Eisley Cantina, the world's introduction to Boba Fett, a Wookiee fetish machine, an original song by Jefferson Starship, Luke Skywalker wearing eyeliner, Princess Leia singing and the most affectionate Han Solo you will ever see. There may have been something between Han and Mala, Chewbacca's wife. You could feel the sexual tension. Drugs give us so many ups and downs and drugs definitely gave us this. It was almost universally panned because it was insanely weird. You couldn't believe that this was playing in the universe of one of the biggest films of all time. Yes, it is profoundly weird but not repulsive. Maybe even a little hypnotic and that Lumpy kid? He's an adorable little scamp. I'm sure Itchy will grow on you over time. It's LIFE DAY and we're re-canonizing this notorious piece of television history and placing it right back into the continuity where it belongs. It's the first of the MADE-FOR-TV STAR WARS TRILOGY, alongside the Ewok movies, that we will be discussing for May's movie theme we're calling FORCED. So pick up the nearest Wookiee child into your arms and join us for a celebration. You're goddamn right we have a link for this one: https://www.youtube.com/watch?v=6hH8rxarVG8 Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Here in Episode 169 of the No Name Music Cast, it is Tim's turn to pick the topic and he chooses to talk about fire songs!We cover Courtney Love, Fall Out Boy, Jefferson Starship and Johnny Cash to name only a few.We also cover Spotify, My Space and Duo Lingo!https://www.facebook.com/NoNameMusicCast/

104 - Pete Sears and Roger McNamee (Moonalice) In episode 104 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host, James Patrick Regan. is at BottleRock and he's speaking with the legendary bassist Pete Sears & Roger McNamee of the band Moonalice. In their conversation they discussed: Pete's original move to the U.S., specifically San Francisco in 1969. We talk about his start on bass in 1963 and his early influences… mostly blues artists, and we talk about his early instruments. They discuss his early band “Sons of Fred” and how ended up working with Rod Stewart on Rod's first four solo albums. Pete tells of us of his early encounters with Jimi Hendrix including a missed opportunity to join Jimi's band. Pete discusses how he ended up with the newly formed Jefferson Starship (formerly Jefferson Airplane) and coincidentally Hot Tuna. They talk about Pete's gear including his basses that were stolen (a 63 Jazz Bass, and Craig Chaquico lost his ‘59 Les Paul) in the infamous riot at a German Starship concert in 1978. They talk about Pete's current projects including Moonalice, Steamhammer and Zero (with Steve Kimock). You can find out more about Pete at his website https://petesears.com Next up, Roger McNamee is an American businessman, investor, venture capitalist and musician and the leader of the band Moonalice. With Roger they discuss the nuts and bolts of the band Moonalice. Including the bands start by T-Bone Burnett and Roger walks us through the bands super star lineups including Lester Chambers, G.E. Smith, Jack Casady, Barry Sless and of course Pete Sears. They immediately talk vintage guitars, Roger is a lover of fine vintage guitars. He tells us about guitars he's given away and the ones he's been given. Roger walks us through the songwriting process for the band. Roger gives us a little Martin history as well as his own. Roger also tells us about saving elephants and trying to create a failed preserve in Red Bluff, CA and ultimately creating it in Africa. You can find out more about Moonalice at their website: https://www.moonalice.com Please like, comment share and review this podcast! #BottleRock #PeteSears #RogerMcNamee #Moonalice #RodStewart #JeffersonStarship #HotTuna #VintageGuitarmagazine #TBoneBurnett #VintageGuitar #guitar #Guitar #acousticguitar #theDeadlies #guitarfinds #haveguitarwilltravelpodcast #guitarcollector #Travelwithguitars #haveguitarwilltravel #hgwt #HGWT Please like, comment, and share this podcast! Download Link

Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box show features the Black Keys, Genesis, George Harrison, Oasis, David Bowie, Bruce Springsteen, the Rolling Stones, Creedence Clearwater Revival, the Fixx, Jefferson Starship, April Wine, Aztec Camera, Wilco, Cream, Bush, Crosby Stills & Nash, Rush, Queen, REO Speedwagon, U2, Judas Priest and INXS.

We're back to drill a bunch of awesome music into your ears with the latest edition of the Radio Sucks Radio Show! You won't hear the same tired hits that radio focuses on. Instead, you're getting a bunch of great songs from artists newer and older. Here's a look at what we're spinning this time: Chris has new tunes from Tuk Smith and the Restless Hearts, The End Machine, and The Fifth. Additionally, you'll hear an incredible modern take on a Jefferson Starship classic by Dino Jelusick, Mike Portnoy, and Joel Hoekstra and a very masculine tune by Velvet & Cashmere. Aaron Camaro is serving up new tunes from classic artists Jesse James Dupree and Vain while supporting the future with a track from Dawn of the Rising. Also, some buried treasure from Saints of the Underground, and a killer song from Ozzy Osbourne, Billy Morrison and Steve Stevens. It's an hour-plus of ear candy with some laughs thrown in. We hope you enjoy the April 2024 edition of the Radio Sucks Radio Show and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back to drill a bunch of awesome music into your ears with the latest edition of the Radio Sucks Radio Show! You won't hear the same tired hits that radio focuses on. Instead, you're getting a bunch of great songs from artists newer and older. Here's a look at what we're spinning this time: Chris has new tunes from Tuk Smith and the Restless Hearts, The End Machine, and The Fifth. Additionally, you'll hear an incredible modern take on a Jefferson Starship classic by Dino Jelusick, Mike Portnoy, and Joel Hoekstra and a very masculine tune by Velvet & Cashmere. Aaron Camaro is serving up new tunes from classic artists Jesse James Dupree and Vain while supporting the future with a track from Dawn of the Rising. Also, some buried treasure from Saints of the Underground, and a killer song from Ozzy Osbourne, Billy Morrison and Steve Stevens. It's an hour-plus of ear candy with some laughs thrown in. We hope you enjoy the April 2024 edition of the Radio Sucks Radio Show and SHARE with a friend! Decibel Geek is a proud member of the Pantheon Podcasts family. Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Subscribe to our Youtube channel! Support Us! Buy a T-Shirt! Donate to the show! Stream Us! Stitcher Radio Spreaker TuneIn Become a VIP Subscriber! Click HERE for more info! Comment Below Direct Download  Learn more about your ad choices. Visit megaphone.fm/adchoices

Seth and Marc revisit a band they haven't talked about since episode 3... Starship's "We Built This City." Highly regarded as one of the worst songs of the 80's by some publications and one of the worst songs ever by others, where do the guys think it stack

The Jeremy White Show welcomes Rock N Roll Hall of Fame inductee from TRAFFIC, the one and only Dave Mason!  Legendary Rock & Roll Hall of Fame musician and songwriter Dave Mason announces his spring 2024 tour plans; the Traffic Jam tour will begin February 29 in Florida and run through April 13th in San Antonio, TX. Along the way Mason will also share the stage with Pat Travers, The Outlaws as well as Jefferson Starship.  The new version of "Dear Mr. Fantasy" featuring Dave Mason with Joe Bonamassa is available on all major streaming platforms. It serves as a poignant reminder of Traffic's musical genius and as a bridge connecting generations of rock enthusiasts. Stream “Dear Mr. Fantasy” on all digital platforms HERE: https://ffm.to/dearmrfantasy2023 PLEASE LIKE AND SUBSCRIBE! The Jeremy White Show is FREE and ON DEMAND, stream now on Spotify, Apple Podcasts, iHeart Radio, Google Podcasts and tell your Smart Speaker "Play The Jeremy White Show". For BOOKINGS and ENQUIRIES: Show Producer: Joe Cristiano - joe@jeremywhiteshow.com Management: GARBER IMC. - angela@garberimc.com Follow on Twitter:   / jeremywhitemtl   Follow on Instagram:   / jeremywhitemtl   Subscribe on YouTube:    / jeremywhiteshow   Subscribe to The Jeremy White Show for exclusive content and interviews. © 2024. Jeremy White. All Rights Reserved.See omnystudio.com/listener for privacy information.

This week, I am joined by Jax Hollow and together we're curating a mixtape that features the best that modern blues rock has to offer!  We also take a deep dive into Jax's latest album “Only The Wild Ones,” her experience being invited to play a legendary venue by an iconic artist, and her upcoming slot on the Rock Legends Cruise XI, which also features: Sammy Hagar & The Circle, Billy F Gibbons of ZZ Top, Bret Michaels of Poison, Rick Springfield, Collective Soul, Geoff Tate of Queensryche, Jefferson Starship, Last In Line, and so much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode!  FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

We are so excited to have the legendary Bobby Vegas with us as our guest on No Simple Road this week! Bobby began his professional career at age 15 with Bo Diddley, but he achieved wide attention at age 16 for his distinctive picked and muted bassline on Sly Stone's “I Get High On You” (from Sly's 1975 album High On You ). Since then he has contributed his soulful feel and incredibly dynamic playing to a long list of world-class artists including: Billy Preston, Booker T., Paul Butterfield, Joan Baez, Jerry Garcia, Bob Weir, Mickey Hart, Santana , Tower of Power, Etta James, Zigaboo Modeliste, Quicksilver Messenger Service, Jefferson Starship, Babatunde Olatunji, Kitaro, Ronnie Laws, Hubert Laws, Lee Oskar, Melvin Seals, Cold Blood, and Zero with Steve Kimock. We had an absolute blast talking to this living legend about his new album 'Whatcha Got', what life was like 'back in the day', how he sees his musical career in hindsight, where he's headed now, and a whloe lot more! Follow Bobby on Instagram @bobby_vega1956  ... and make sure to check out the new album 'Whatcha Got' out now! -Make Sure to visit NORTHBOUND COFFEE ROASTERS for the best Deadhead roasted and delicious coffees + get free shipping with the PROMO CODE: nosimpleroad -For THE BEST MUSHROOM CHOCOLATES EVER go over to @MELTMUSHROOMS ON INSTAGRAM and shoot them a DM for a menu of all the amazing flavors of MUSHROOM CHOCOLATE BARS and MAKE SURE TO TELL THEM NSR SENT YOU FOR $20 OFF YOUR FIRST ORDER! -FREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroad INTRO MUSIC PROVIDED BY - Will Hanza of Escaper MUSIC IN THE COMMERCIALS BY AND USED WITH PERMISSION OF: CIRCLES AROUND THE SUN OUTRO MUSIC BY AND USED WITH PERMISSION OF: CHILLDREN OF INDIGO No Simple Road is part of OSIRIS MEDIA. Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music.

This week, I am joined by Jax Hollow and together we're curating a mixtape that features the best that modern blues rock has to offer!  We also take a deep dive into Jax's latest album “Only The Wild Ones,” her experience being invited to play a legendary venue by an iconic artist, and her upcoming slot on the Rock Legends Cruise XI, which also features: Sammy Hagar & The Circle, Billy F Gibbons of ZZ Top, Bret Michaels of Poison, Rick Springfield, Collective Soul, Geoff Tate of Queensryche, Jefferson Starship, Last In Line, and so much more! Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode!  FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

Yes, you are right - Toto IV was released in March of 1982, not April of 1985.  However, the rock group Toto was a celebrity phenomenon in 1985, particularly in Japan.  In April of 1985 MTV broadcast a special episode showcasing a Toto concert from Japan.Toto IV was both a commercial and critical success.  Three of the singles would be top 10 hits, and the album would achieve triple Platinum status as it became known as one of the best albums of the year.  Critically, the group would earn six Grammy awards including Album of the Year, and Record of the Year for the single “Rosanna.”The group would spend much of 1982 and 1983 on tour, though there would be some changes in personnel.  Bassist David Hungate left the group shortly after the release of Toto IV, sensing that the success of the album and the fame of the group would negatively impact time with his family.  Lead singer Bobby Kimball was in and out of court fighting prosecution on drug-related charges.  Those charges would eventually be dismissed in late May 1983, but he would be released from the band after missing many recording sessions.The album is a soft-rock masterpiece, with balanced synth and keyboard sounds and soaring harmonies.  Songs have a jazzy feel, interspersed with piano-based ballads.Lynch has been lobbying for a long time to do this album, and we hope you enjoy it for this week's podcast. RosannaThe biggest hit from the album was often thought to be inspired by actress Rosanna Arquette who was dating keyboardist Steve Porcaro.  However, writer David Paich says the lyrics were based on various girls he had known in the past rather than a single individual.  The shuffle drum pattern is reminiscent of both Bo Diddley rhythms and John Bonham's groove on "Fool in the Rain."Make BelieveThis sunny-feeling single hit number 30 on the Billboard Hot 100.  It describes a time of looking back with an old lover, remembering the moments they shared.  It was the second US single from the album.  David Paich wrote the song, and Bobby Kimball is on lead vocals.I Won't Hold You BackThe piano-oriented ballad peaked at number 10 on the Billboard Hot 100, and held the number 1 spot on the US Adult Contemporary chart for three weeks.  It looks back on a failed romance as the singer lets go of what he had.  Guitarist Steve Lukather takes lead vocals duties for this track, and Eagles alumnus Timothy B. Schmidt provides backing vocals in the chorus. AfricaWhile this song did well as a single, it has grown into a cultural icon.  It did top the Billboard Hot 100 in 1983, but would see a resurgence in popularity over time, particularly after Weezer's cover in 2018.  The lyrics depict a man struggling between his love for the continent and returning to his relationship elsewhere.  ENTERTAINMENT TRACK:Main theme from the motion picture “Ladyhawke”This fantasy movie starring Rutger Hauer, Michelle Pfeiffer, and Matthew Broderick hit the big screen in April of 1985. STAFF PICKS:Walking on Sunshine by Katrina and the WavesWayne starts us off with a popular and optimistic song that got the band Grammy-nominated for Best New Artist.  It is off their debut and eponymously named album.  It was first released in Canada, though the band was out of England.  It went to number 9 on the Billboard Hot 100.Summer of '69 by Bryan AdamsBruce brings us this well-known song from Adams' album "Reckless," which was released in April of 1985.  The original name was going to be "Best Days of My Life," and in the first draft the lyric "summer of '69" only appeared once.  With the name change, "Summer of '69" replaced several appearances of the phrase "best days of my life," in the track.High On You by SurvivorRob's staff pick is an ode to the intoxication and infatuation of new love.  It is the first top 10 single from their album "Vital Signs," and arose from a jam during touring sound checks.  Mickey Thomas from Jefferson Starship and Peter Wolf from the J. Geils Band are supporting musicians on this track.Silent Running by Mike + the MechanicsLynch finishes the staff picks with a synth-heavy song with science fiction lyrics.  The singer is a father who has journeyed into the future and is now communicating back to his son with instructions for mitigating the coming war and catastrophe.  This is the first single released by Mike + the Mechanics, and it went to number 6 on the Billboard Hot 100. INSTRUMENTAL TRACK:Moments In Love by Art of NoiseThis largely instrumental piece is a signature song from the art rock group. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Who's playing the Garden Rocks Concert Series at EPCOT in 2024, plus important dates for the new Disney Vacation Club (DVC) cabins at Fort Wilderness and top picks from the Valentine's foodie guides at Walt Disney World and Disneyland. Sneak Peek 2024 EPCOT International Flower & Garden Festival Dates and Music Line-UpSpring is almost here and on the Walt Disney World festival calendar that means it's nearly time for the EPCOT International Flower & Garden FestivalThe 2024 festival runs from February 28 through May 27 including topiaries, gardens, food and music.EPCOT Garden Rocks Concert Series 2024 Line UpAll shows at the America Gardens Theatre (American Adventure Pavilion)Showtimes: 5:30 p.m. | 6:45 p.m. | 8:00 p.m.February 28, 29: The Vybe (local cover band)March 1, 2: Jason Scheff (former frontman with Chicago)March 3, 4: Richard Marx (Top Hit: Right Here Waiting)March 5, 6, 7: Evolution Motown (cover band, motown hits)March 8, 9: Berlin (Top Hit: You Take My Breath Away, from Top Gun)March 10, 11: Rick Springfield (Top Hit: Jessie's Girl)March 12, 13, 14: Dian Diaz (pop rock, R&B, Latin, jazz)March 15, 16: Modern English (New) (Top Hit: I Melt With You)March 17, 18: Commodores (Top Hits: Easy; Three Times a Lady)March 19, 20, 21: Foreigners Journey (hits from Foreigner and Journey)March 22, 23, 24, 25: The Orchestra (former members of ELO)March 26, 27, 28: The Female Collective (all female cover band)March 29, 30: Mike DelGuidice (former guitarist/vocalist with Billy Joel)March 31, April 1: The Pointer Sisters (Top Hits: I'm So Excited; He's So Shy)April 2, 3, 4: Funkafied (classic funk covers, with horns section)April 5, 6: Blue October (Top Hit: Hate Me)April 7, 8: Crowder (New) (David Crowder, Contemporary Christian music)April 9, 10, 11: The Hooligans (Psychobilly music)April 12, 13: Jo Dee Messina (Top Hits: Head Carolina, Tails California; My Give a Damn's Busted)April 14, 15: A Flock of Seagulls (Top Hits: I Ran; Space Age Love Song)April 16, 17, 18: M-80s (80s rock cover band)April 19, 20, 21, 22: The Plain White Ts (Top Hit: Hey There Delilah)April 23, 24, 25: The Champagne Orchestra (local jazz band)April 26, 27: Starship featuring Mickey Thomas (of Jefferson Starship. Top Hit: We Built this CityApril 28, 29: Herman's Hermits featuring Peter Noone (Top Hit: I'm Henry the VIII I Am)April 30, May 1, 2: Southbound (local country music party band)May 3: Monsieur Periné (Afro Colombian latin music)May 4: Raul Acosta and Oro Solido with Magic Juan (Dominican band)May 5: Raul Acosta and Oro Solido with Luisito Ayala and the Puerto Rican Power BandMay 6: TBAMay 7, 8, 9: Gilly and the Girl (local acoustic duo) May 10, 11, 12, 13: Simple Plan (Top Hit: Perfect) May 14, 15, 16: Element (vocals and band combined with ASL)May 17, 18: The Spinners (Top Hits: It's a Shame; Then Came YouMay 19, 20: TBAMay 21, 22, 23: Epic Live! (party band)May 24, 25: Lit (New) (Top Hit: My Own Worst Enemy)May 26, 27: TBAGarden Rocks Dining Packages Open February 6To guarantee priority seating for a show, you can book a dining package at one of seven EPCOT restaurants:Akershus Royal Banquet HallBiergarten RestaurantCoral Reef RestaurantGarden Grill RestaurantRose & Crown Dining RoomLe Cellier SteakhouseRegal Eagle Smokehouse: Craft Brews & Barbecue (same-day, in-person walk-up packages only)For more information, including pricing and availability, visit DisneyWorld.com. Packages go on sale beginning Feb. 6.-- DVC Cabins at Fort Wilderness Open July 1, 2024Get ready for a little luxury accommodation magic amid the rustic charm of Disney's Fort Wilderness Resort.Starting on July 1, 2024, you will have an all-new way to stay in the great outdoors with many of the comforts of “home” in the newest Disney Vacation Club property, The Cabins at Disney's Fort Wilderness Resort.The new cabins will make a relaxing retreat nestled in the scenic woodlands of Disney's Fort Wilderness Resort & Campground. The first loop will open on July 1 with a second loop opening later in the month, and more throughout the year.Here are some dates to keep in mind before The Cabins begin opening in July:February 1: DVC Members can begin purchasing points for the Fort Wilderness cabins.February 15: DVC Members who have added on points at the cabins can begin booking stays.February 27: Point sales for the cabins open to the general public.March 12: New DVC members who have the cabins as their home resort can begin making reservations.April 23: All DVC members can begin making reservations at the Fort Wilderness cabins.Whether or not you stay at Fort Wilderness, there are several unique things to do onsite:Hoop-Dee-Doo Musical RevueThis is the longest-running live show (with good reason) that we have been visiting since the 1970s. Probably the most under-rated or lesser known of the Walt Disney World must-doTri-Circle D Ranch  Whether you are visiting the horses here or taking a relaxing trail ride through the southern pines (recommended), this is another great Fort Wilderness exclusive. Outdoor Recreational ActivitiesFishing, biking, renting a canoe or kayak, or enjoying the playground facilities...if you need a little time and space to escape the high energy of the parks, Fort Wilderness is a great place to be.Chip 'n' Dale's Campfire Sing-AlongAnother long-running Fort Wilderness tradition, the Chip'n'Dale Campfire Sing-Along is the most laid back way to interact with these two that you'll find anywhere. Plus, you can buy a s'mores kit from the Chuckwagon Snack Bar or bring your own marshmallows and sticks.--Walt Disney World and Disneyland Valentine's Foodie GuidesTime to feel the love tonight and give the taste buds some tasty attention. Here's this year's Foodie Guide to Valentine's Day!Walt Disney WorldDisney Springs Amorette's Patisserie (Available Feb. 1 through 17; mobile order available) Chocolate-covered StrawberriesStrawberry CheesecakeThe Ganachery Puppy Love Chocolate Piñata filled with hazelnut truffle treats and crisp pearls (New) (Available Feb. 1 through 15)Mickey Chocolate Bites: Milk chocolate with caramel crisp pearls, solid 65% dark chocolate custom blend, and solid milk chocolate (New) (Available through Feb. 29) > Top PickChampagne-Strawberry Ganache Square: Strawberry ganache blended with champagne enrobed in dark 65% chocolate (Available Feb. 1 through 18)Jock Lindsey's Hangar Bar (February 1 - 17) Berry Lovely: Bacardí Dragonberry Rum with orange juice, pineapple juice, cranberry juice, watermelon syrup, and splash of soda garnished with a strawberry (New) > Top PickVivoli il Gelato

Pat welcomes singer Mickey Thomas to the show to discuss his legendary career in Jefferson Starship/Starship and promote his new holiday release "A Classic Christmas."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Can people REALLY count on you? Hi Neighbor, I want to share with you a bonus episode of Anchors of Encouragement today. You might be able to tell that I'm outside. It's a fall day. The leaves are falling. It's raining.  I'm one of those individuals who likes to actually walk in the rain. There's something soothing about it.  The question I asked at the beginning is based on the song, Count on Me by Jefferson Starship. I pray this episode blesses you. Hope and healing are on the way. Your Neighbor, Tim P.S. Would you please consider leaving a review for the show? Here is a short video to show you how.

Did you know the man behind Pee Wee Herman, Paul Reubens, was also known for a few STAR WARS contributions? We pay tribute to Pee Wee and look back at his greatest STAR WARS moments while looking ahead to AHSOKA. Will Thrawn be the main antagonist? What's up with Ezra? Who is the mysterious Inquisitor Marrok? We discuss! The highly anticipated STAR WARS HOLIDAY SPECIAL documentary “A Disturbance in the Force '' is on the way! Director Steven Kozak joins us with an update on the doc and his companion book coming this fall. Hear juicy behind-the-scenes stories about Harrison Ford's make-out skills, Peter Mayhew's small car, David Prowse's acting chops and Jefferson Starship's very un-Jedi wardrobe. Plus, surprise updates on Donald Glover's LANDO series, Temeura Morrison's KENOBI clone trooper, and John Boyega rates The Sequel Trilogy. And, we giveaway a rare Boba Fett poster signed by Daniel Logan!

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Matt, Ryan, Drew, and Shannon talk UK Football vs. Tennessee, UK Basketball, and take your calls about Jefferson Starship.

Matt, Ryan, and Shannon talk UK Football's win over Mississippi State, Jefferson Starship, and technical difficulties.