Podcast appearances and mentions of John Barlow

Play Episode Listen Later Oct 8, 2024 103:02

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st) Each show opened with an acoustic set followed by two full electric sets. These were the last shows where the Dead played acoustic sets. Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall). Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO: Iko Iko Track #1 0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. A permanent part of the Dead's repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away. The intro, one verse and back to NFA. Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing. Perfect song for Jerry with the call and response chorus that everyone joined in on. The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey. Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads. But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show. Jerry played it right up until the end. Played: 185 timesFirst: May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast: July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1: Monkey And The Engineer Track #4 0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues". Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well. Good one to get them hooked into the Dead on! Played: 38 timesFirst: December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA MUSIC NEWS: Intro Music: Me and Bobby McGee Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com) 0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said. A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good. Sung by Weir. RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks. In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren. Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes. “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments. Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.” SHOW No. 2: Heaven Help The Fool Track #6 1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow. While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played: 17 timesFirst: September 29, 1980 at The Warfield, San Francisco, CA, USALast: October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3: Cold, Rain & Snow Track #10 0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow. In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played: 249 timesFirst: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA MJ NEWS: Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2. Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3. Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4. Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains: Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush. The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high. A sweet grape aroma that blends well with subtle undertones of lemon and pine. MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS. Recommended for late night consumption as it can cause mental cloudiness and detract from productivity. NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997. Its name is inspired by the tragic events in NYC on September 11, 2001. It is a product of crossbreeding Mexican sativa and Afghani landrace strains. Has a unique aroma and taste that sets it apart from the crowd. Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger. SHOW No. 4: Loser Track #12 4:13 – 6:13 David Dodd: The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show. So nicely played and sung by Jerry. Played: 353First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 28, 1995 at the Palace of Auburn Hills, MI OUTRO: Good Lovin' Track #27 3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.” Can't argue with that. Played: 442First: May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast: June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

america american new york california texas money new york city lord hollywood starting los angeles rock personal olympic games british canadian san francisco ms gold heart ny north carolina holy nashville songs hawaii record dead band track cold mexican sun rain kansas sony snow amsterdam civil war cannabis saturday night live rolling stones audience peru midnight academy awards engineers campbell oakland losers foster context electric bay area garcia fool berkeley waters marijuana palace bay played bob dylan billboard variety legion grammy awards sharp dolly parton anthem songwriter americana maui boards users el paso financial times matthews crawford recommended pink floyd syracuse thc reckoning candyman overtime sung fuller toto unable grateful dead rock and roll hall of fame calif library of congress gold rush yom kippur acoustic appearing star is born carousel borrow eaton medical marijuana barbra streisand janis joplin subsequent american south weir tributes sony music dennis hopper inglewood billboard hot jerry lee lewis music history otis redding kris kristofferson joplin king tut abilene fellini columbia records radio city music hall marin county gordon lightfoot working man menlo park gilmour afghani madison county magoo sittin deadheads squadcast warfield wish you were here emboldened best original song bombs away bob weir country music hall of fame nfa roger miller kingfish anthony quinn east rutherford dead set burnsville greatest songs mmj capitol theatre bobby mcgee auburn hills new study finds hemp industry kristofferson mickey hart southern appalachians bettys national recording registry giants stadium live dead good lovin not fade away new riders purple sage my uncle port chester david paich young rascals jack straw tom dowd dixie cups og kush mardi gras indians john barlow waddy wachtel fillmore west tom rice iko iko cold rain shakedown street jerry garcia band maryland heights cecil sharp money it roud giulietta masina terrapin station ratdog bob matthews keith olsen dock boggs fred foster brent mydland kezar stadium great western forum me and bobby mcgee tennessee jed cumberland blues aoxomoxoa brown eyed women warfield theater mike porcaro

RealAg on the Weekend: Capital gain changes, rental price agreements, and a crop update, June 1, 2024

Play Episode Listen Later Jun 1, 2024 39:43

Hello June! Thanks for tuning in to this episode of RealAg on the Weekend. On this weekend's show, with host Shaun Haney is joined by: John Barlow with the Conservative Party of Canada on the active agriculture-related files on Parliament Hill; Haney then discusses the 10 organizations that called for fixes for the proposed capital... Read More

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Around the horn with John Barlow, Conservative shadow minister of agriculture

Play Episode Listen Later May 31, 2024 11:55

There are plenty of active agriculture-related files on Parliament Hill heading into the final three weeks of the spring session, including carbon pricing policy, capital gains tax changes, HPAI in dairy cattle, funding for 4-H, and the implementation of a Grocery Code of Conduct. The Conservative Party’s shadow minister of agriculture and deputy chair of... Read More

conservatives agriculture conduct conservative party parliament hill around the horn hpai john barlow conservative shadow minister

RealAg Radio: Farm Bill update, tick awareness, and stalled Bill C-234, May 28, 2024

Play Episode Listen Later May 28, 2024 53:35

Thanks for tuning into this Tuesday edition of RealAg Radio! On this episode, host Shaun Haney is joined by: Jim Wiesemeyer with Pro Farmer to give us an update on the Farm Bill process in the U.S.; John Barlow, shadow minister of agriculture for the Conservative Party of Canada, with an update on Bill C-234... Read More

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RealAg Radio: Farm Bill update, tick awareness, and stalled Bill C-234, May 28, 2024

Play Episode Listen Later May 28, 2024 53:35

Thanks for tuning into this Tuesday edition of RealAg Radio! On this episode, host Shaun Haney is joined by: Jim Wiesemeyer with Pro Farmer to give us an update on the Farm Bill process in the U.S.; John Barlow, shadow minister of agriculture for the Conservative Party of Canada, with an update on Bill C-234... Read More

canada tick conservative party farm bills stalled bill c john barlow pro farmer shaun haney jim wiesemeyer realag radio

Neil Young's Postponed Concert and a Look Back at 1989

Play Episode Listen Later May 27, 2024 81:36

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

united states tv american university new year world friends chicago power english starting news san francisco philadelphia ny tennessee nashville dead band boss touch concerns mobile studio concerts genius benefit oakland tower tn bay area garcia aids eyes played yellow bob dylan similar billboard northern california grammy awards aa wi gateway american idol ballad frost masterpiece new beginning granted chapman corner goose blonde neil young rs grateful dead sphere chronicle mick jagger mcgee postponed amnesty international bayou ringo starr jellyfish hummingbirds pensacola alcoholics anonymous go to heaven keith richards phish deep purple weir carlos santana big man coliseum huey lewis huey nineties billboard hot ween eighties knick tracy chapman luke combs sweetwater soldier field greatest stories jerry garcia shoreline columbia records creedence clearwater revival marin county steve vai los lobos rothman john fogerty clemons deadheads joe satriani g3 e street band squadcast fast car thin man west florida randy jackson werks bob weir kirk hammett fortunate son hard rain oakland coliseum billy strings better than before narcotics anonymous ritchie blackmore stuck inside creedence bill graham widespread panic ruben blades bassnectar steve jordan capitol theatre david nelson charlie hunter greatest hits vol robert hunter umphrey blow away rolling thunder revue narada michael walden clarence clemons fogerty alex skolnick disco biscuits satriani rfk stadium string cheese incident port chester joel selvin andy timmons dixie cups john barlow jgb fantasy records iko iko all starr band bob johnston poor boys give me one reason desolation row east troy huey lewis and the news dead co touch of grey northerly island shoreline amphitheater wharf rat estimated prophet august west

Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance

Play Episode Listen Later Apr 29, 2024 56:00

"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago. Grateful DeadApril 30, 1977 (47 years ago, tomorrow)PalladiumNYCGrateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording. Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet. And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated. It's pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore. INTRO: Music Never Stopped Track #2 0:00 – 1:26 Hunter Weir tune, released on Blues For Allah (Sept. 1,1975). Bob: As a lyricist I'm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with that—you know, John Barlow, Garrett Grant, Robert Hunter.Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and I'll sit with a guy and we just fire blank verse at each other until we start to corner that color—and then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case I'll let whoever I'm working with surprise me. . . .“The Music Never Stopped” is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, “There's mosquitoes on the river / Fish are rising up like birds.” He was living in Wyoming at the time on a ranch, and he started describing a situation that I'd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if you're starting with an image that thick, you have to get into some detail about it. “It's been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?” That last line came after some deliberation. It's a pregnant line, sort of like a leading tone in a harmonic development.The success of the endeavor, if you're working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, there's a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When I'm standing in front of the microphone, I may look like me, but I'm not.If the character arrives with a really defined face and features, then it's easy for me to do my job.Fun version because almost always a first set closer and here it is opening the show. Love that. 236 times First: August 13, 1975 at Great American Music Hall, San Francisco, CA, USA Last: June 28, 1995 at The Palace of Auburn Hills The Palladium: The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]Peter Gatien owned and operated the club from 1992 until 1997.The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium HalThe Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the '72 tour. One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dick's Picks Vol. 30This five night Palladium run, of which today's show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY. All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later. I had most of these shows on tape and wore them out from so much playing. Love that they previously released this show as Download Series Vol. 1 and the new Dave's Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Dave's Picks Bonus Disc that is even more songs from the May 4th show). If you are not listening to Dave's Picks, you are missing out on quality recordings of some of the best shows ever.How hot was the band, check out this extended jam at the end of ½ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip: SHOW No. 1: Mississippi ½ Step Track #11 7:06 – 9:29 Garcia/Huner tune released on Wake of the Flood in 1973. Also live versions included on Steal Your Face, Dick's Picks Vol. 1, Without a Net and who knows how many other Dick's/Dave's Picks releases, etc. If you want to hear it, you can find it, easily. First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since. 236 times (exact same as Music Never stopped!)First: July 16, 1972 at Dillon Stadium, Hartford, CT, USALast: July 6, 1995 at Riverport Amphitheater Maryland Heights, MO Music News: Neil Young Tour SHOW No. 2: St. Stephen Track #1 0:00 – 1:49 Blah Blah Blah, everyone knows about St. Stephen. Dead's Fluffhead apparently. Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead. Still only played a total of 187 times: First: May 24, 1968 at National Guard Armory, St. Louis, MO, USA Last: October 31, 1983 at Marin Veteran's Memorial Auditorium, San RafaelBut post Dead hiatus year, they started making song sandwiches often based around this song. This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set. This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change: SHOW No. 3: St. Stephen>Not Fade Away St. Stephen Track #19 4:10 – end INTO Not Fade Away Track #20 0:00 – 1:15 Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips. MJ News Check out this next transition that they pull off seamlessly: SHOW No. 4: Not Fade Away>Stella Blue Not Fade Away Track #20 14:15 – end INTO Stella Blue Track #21 0:00 – 1:30 Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue. Jerry's voice is so strong and clear. Really a treat. Not even getting to the last tune of the encore today. Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it! What a great (almost ending) to such a great show. Deadheads walked out knowing there were still 3 more to go! Like going to bed and already being told the next day is a snow day! Thank you all for listening. Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage. He is joining us to discuss, among other things, the newly released NRPS live album “Hempsteader”. If you haven't heard it yet, check it out. I'm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days. Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow. At his age, the actual number doesn't matter but we love him anyway. ENCORE: Stella Blue>St Stephen Stella Blue Track #21 7:50 – end INTO St. Stephen Track #22 Start - end .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

love music new york city europe young san francisco friend performance fun japanese ny devil tour dead east academy band horses fish mountain wake connecticut studio cd legendary flood wyoming palace designed new york university promised land opened saturday night curator neil young grateful dead pearl jam hartford borrow barlow ithaca weir palladium crazy horse blah blah blah deadheads squadcast bob weir nfa robert hunter fillmore east good lovin new riders third avenue purple sage peggy o my uncle ian schrager john barlow john perry barlow great american music hall william fox gerrit graham looks like rain steve rubell memorial auditorium stella blue national guard armory estimated prophet arata isozaki sing me back home fluffhead

The Dead Swing the Swing in 1977, debut Terrapin and Estimated Prophet, Everyone Has A Good Time

Play Episode Listen Later Feb 26, 2024 63:11

"Birthdays, Breakouts, and Psychedelic Jams: The Legendary Grateful Dead Concert of '77"Today's show comes from February 26, 1977 at the Swing Auditorium. The show not only opens the fabulous '77 campaign and contains the first live versions of two of the truly great Dead tunes – Terrapin Station and Estimated Prophet – but it throws smoke and spits flames. The concert marked the debut of songs like "Terrapin Station" and "Estimated Prophet." Larry Mishkin delves into the significance of these songs in the Dead's repertoire, their musical and lyrical qualities, and the overall atmosphere of the concert. They also provide insights into the venue's history and its importance in rock and roll culture.Additionally, the conversation touches on other topics, such as the Fish concert series in Cancun, Mexico, and the significance of certain Grateful Dead songs like "The Wheel" and "Slipknot." Larry share personal anecdotes related to the music, including experiences at concerts and the culture surrounding marijuana use, inspired by a Commander Cody song. INTRO: Terrapin Station Track # 1 5:51 – 7:27 Garcia and Hunter Probably that point right where Deadheads think they've seen it all. The psychedelic rock, Pig's blues, Americana, Wake of the Flood, Mars Hotel and Blues For Allah. So if you had tickets for this show, you had no idea what you were in for, where the Dead were about to take you, a completely different direction, as close as the Dead would ever come to a rock-opera number. And there was no waiting, lights went out and . . . . . . . . . . . . . TURTLE MUSIC!! Clocking in just shy of 11 minutes, it's not quite the masterpiece it would become, but pretty amazing none the less. Nothing else existed at that time quite like it. But from the opening notes you know it is a winner, destined for greatness in the pantheon of great Dead tunes. One that you could hear every show and never grow tired of or bored with it. The title track from the album released on July 27, 1977, five months after this show. First studio album since they had returned to touring. Terrapin Station is the ninth studio album (fourteenth overall) by the Grateful Dead, It was the first Grateful Dead album on Arista Records The cover artwork was produced by Kelley/Mouse Studios, who had created several previous works for the band. Though a terrapin appears in the lyrics only as a place name, dancing terrapins feature prominently in the artwork and afterward became part of the large iconography associated with the Grateful Dead. The front cover image takes the idea of a "terrapin station" literally. The back cover features a stylized, one-eyed skull with a crossed bone, feathers and roses, in keeping with the imagery that had evolved around the Dead. This clip is the famous and beloved transition form Lady With A Fan into Terrapin Station, the first two parts of the seven part suite clocking in at 16:23. The other five parts are: Terrapin; Terrapin Transit; At A Siding; Terrapin Flyer and Refrain.The Grateful Dead only performed the Lady With A Fan and Terrapin Station. Dead and Co. have played the entire suite. Fun to hear, but not the same as if Jerry was playing it. Too bad he never did. Played 303 times First: This version right here that we just played for you Last: July 8, 1995 SHOW No. 1: Estimated Prophet Track #4 1:54 – 3;26 Bob and John Barlow "Estimated Prophet" was written in septuple time. Bobby's lyrics for the song (finished with writing partner John Barlow) examine a character's delusions of grandeur and California's propensity for false prophets. The song also quotes "Ezekiel Saw the Wheel".[13][14] Drummer Bill Kreutzmann said "It's a great song but when [Weir] brought it to us, something was off. It needed a groove. It was in quick4 but it didn't swing. Yet. For my homework that night, I combined two fast sevens and played half-time over it. The two sevens brought the time around to an even number – the phrasing is in two bars of seven, so technically the time signature is in. But that's getting technical. In layman's terms, 'Estimated Prophet' suddenly grooved." Released on Terrapin Station, this was its debut performance and it was well received. A fan favorite and regular part of the Band's playlist for the rest of their careers. 390 times total First: This is it right here. Last: June 28, 1995 at the Palace of Auburn Hills outside of Detroit SWING AUDITORIUM Built in 1949, the Swing Auditorium had a maximum capacity of around 10,000, but it probably sold out at only around 6000 for this Dead show. The venue's ascent into rock and roll fame began in 1962 when a man named Bob Lewis started promoting concerts there. In the ensuing decades, Lewis brought all the legends into the Swing, including Jimi Hendrix, Elvis Presley, Michael Jackson, and, of course, the Grateful Dead. But what really solidified the Swing's place amongst the hallowed venues was the American debut of the Rolling Stones there in 1964. With a mere ten-song set, the Stones stoked the hall into a fervor. The band had to drop their instruments and run for the exits before the crowd rushed the stage. For their part, the Dead played the Swing only four times before it was razed after a small plane crashed into the building on September 11, 1981. SHOW No. 2: The Wheel Track #9 :30 – 2:09 Released on January 20, 1972 as the final track on side 2 of Jerry's firs solo album, “Garcia”. The psychedelic closer it exhibits Garcia's short-lived infatuation with pedal steel guitar. great to hear in concert, although relatively short in length. Almost always a second set song and, it is high energy and always a great way for the band to transition out of Space. Played 259 times First: June 3, 1976 at the Paramount Theater in Portland Oregon Last: May 25, 1995 at Memorial Stadium in Seattle SHOW No. 3: Slipknot Track #14 11:30 – 13:10 Released on Blues For Allah in 1975 Plays a key role in a key suite and is often overlooked. The bridge between Help On The Way and Franklin's Tower it often gets lost in the jam out of Help and then into Franklin's. But it is almost always there and always a great piece of improvisational music that rarely sounds exactly the same, except for the distinctive intro/outro. Similar to I Am Hydrogen in Phish's Mike's Groove run of songs Played 114 times (Help = 111 times; Franklin's = 222 times) First: October 20, 1974 at Winterland in San Francisco Last: June 22, 1995 at the Knickerbocker Arena in Albany, NY SHOW No. 4: Eyes Of The World Track #17 5:35 – 7:07 Released on Wake of the Flood on October 15, 1973 Many a Deadheads “secret” favorite tune. It's that good. Played fast, played slow, almost always in the second set and often times as a companion piece with Estimated Prophet, the coveted “Estimated Eyes” jam. In the first part of the 1980's second sets often opened with Scarlet>Fire Estimated>Eyes OR Help>Slip>Frank Estimated>Eyes Played 382 timesFirst: February 9, 1973 at Maples Pavilion at Stanford in Palo AltoLast: July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO, just outside of St. Louis OUTRO: Dancin' In The Streets Track #18 7:40 – 9:13 “Dancin' in the Streets" is a cover of Martha & the Vandellas' "Dancing in the Street" from the early days of the band, given a new arrangement that prominently features singer Donna Godchaux. For the studio version, a funk-influenced guitar figure was added to a four-on-the-floor disco beat and polished with a commercial production contemporary to the era. Released by the Dead as the second song on Terrapin Station. Played 131 timesFirst: July 3, 1966 at the Fillmore in San FranciscoLast: April 6, 1987 at Brendan Byrne Arena in New Jersey Dead would play this tune in spurts: 28 times in 1970 27 times in 1976 14 times in 1977 and 1978 A bit of a comeback in 1984 and 1985 – 6 times each year, b Once in 1987 Gone Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL 60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Dead and the Neville Brothers Do The Crazy Hand Jive Celebrating 1986 Mardi Gras: MJ: can it help treat cancer? MJ users are safer drivers than drinkers. Don't give up on Oregon's drug decriminalization program

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Play Episode Listen Later Feb 12, 2024 71:06

"Changing Beats: Goose's Drummer Departure and New Musical Ventures"Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news. Grateful DeadFebruary 12, 1986 (38 years ago)Henry J. Kaiser Convention CenterOakland, CAGrateful Dead Live at Henry J. Kaiser Convention Center on 1986-02-12 : Free Download, Borrow, and Streaming : Internet Archive Show Title: Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras A short Dead show by Nevilles played a set after turning it into a marathon evening of great music INTRO: Sugaree Track #3 Start – 1:35 Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket). Released on the Jerry's first solo album, Garcia, in January, 1972. Played 362 times 1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release Last played on July 8, 1995 at Soldier Field in Chicago Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.In the 1950s and 1960s the Roller Derby played there hundreds of times. Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957. On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[ SHOW No. 1: Tons of Steel Track # 4 1:07 – 2:40 A “new” Brent song, released on In The Dark in 1987. Love the harmonizing with Phil – “She wasn't built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.” Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn't get enough of him. David Dodd:Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?So, it's a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He's Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime). Played 29 times First played December 28, 1984 S.F. Civic Auditorium (NYE run) Last played September 23, 1987 at the Spectrum, Philly SHOW No. 2: Cassidy Track #6 2:20 – 4:09 "Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]The song was quoted in the admiring and admirable obituary of Barlow in The Economist.One of my favorite songs, a great sing a long.I really like this version because it gets nice and trippy. Always good for a helping define the mood of the show, usually about mid to late first set. A very fun tune. Played 339 times 1st: March 23, 1974 at the Cow Palace in Daley City, just outside S.F. Last: July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis SHOW No. 3: Willie and the Hand Jive Track # 14 1:23 – 3;05 Played with the Neville Bros. but without Phil who left the stage for this one song. Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart. The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance. Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence. George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points. Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th To my surprise, played 6 times by the band, all in '86 and once in ‘87 This is the fist time they ever played it Last: April 4, 1987 at the Centrum in Worcester, MA SHOW No. 4: In the Midnight Hour Track # 16 2:20 – 4:01 Played with the Nevilles, Phil back on stage Again, Jerry's playing really stands out. "In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts. Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn't know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]Pickett re-recorded the song for his 1987 album American Soul Man."In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame. Covers:· The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan. It was occasionally the Dead's “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight. 57 times played 1st: December 10, 1965 at the Fillmore in S. F. Last: October 17, 1994 at MSG, NYC OUTRO: Johnny B. Goode Track #17 Start – 1:40 We just featured this song from a different show, but this version demands recognition. Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time). Chuck Berry tune Dead played it 283 times First played: September 7, 1969 at The Family Dog at the Great Highway, S.F. Last played: April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

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TJG: Summer House Trailer // Southern Charm Finale // RHOSLC // RHOBH

Two Judgey Girls

Play Episode Listen Later Jan 12, 2024 74:44

We catch up on all things Bravo with the Summer House trailer, Southern Charm finale, and the Tres Amigas breaking up! We recap RHOSLC Reunion Part 1 and Mary hopes John Barlow doesn't listen. Did Monica officially put the nails in her coffin talking about how she could save the show and ratings? Whitney telling us Justin's ring didn't fit was a true highlight along with Andy doing Meredith's drunk accent. In Beverly Hills, we watch the girls lick toes, scissor, and wonder if PKayyyy and Dorit will last? Can AnneMarie just quit with the esophageal and eating disorder accusations? We get to analyze Kyle and Morgan's relationship more and Mary is truly mesmerized with her music! Come judge with us! You can find us:Instagram & Threads: @twojudgeygirlsFacebook: www.facebook.com/twojudgeygirlsPodcast: ACast, iTunes, Spotify, wherever you listen!Merch: www.etsy.com/shop/TwoJudgeyGirls Hosted on Acast. See acast.com/privacy for more information.

RHOSLC's LISA BARLOW + 2023 POP CULTURE WRAP UP

LadyGang

Play Episode Listen Later Dec 26, 2023 44:05

We are joined by the iconic RHOSLC star Lisa Barlow to wrap up all the top pop culture stories of 2023. What do we think of bennifer 2.0, the Kelce Brothers, Jury Duty, the Golden Bachelor, and the Lil NSYNC reunion we got this year? Plus, Lisa updates us on her family, the love of John Barlow, the reunion, and the latest Salt Lake drama. Check out our amazing sponsors!!! DraftKings: Download the DraftKings Sportsbook app with code LADY! New customers can score 150 INSTANTLY IN BONUS BETS for betting just $5 on college football! LadyGang is sponsored by BetterHelp! Visit BetterHelp.com/ladygang to get 10% off your first month! L'Oreal Professionnel Metal Detox: Unlock healthier hair with L'Oreal Professionnel's Metal Detox – now available at Sephora! Huggies: Get your baby's butt into Huggies best fitting diaper! Huggies Little Movers. We got you, baby.

RealAg Radio: A rally at Parliament Hill, decisions with data, and horse exports, Nov 21, 2023

Play Episode Listen Later Nov 21, 2023 56:49

On this episode of Tuesdays with Lyndsey, you’ll hear: Host Lyndsey Smith in conversation with John Barlow, MP for Foothills, on Bill C-234, Bill C-355, and the rally at parliament hill; A clip from Jim Wiesemeyer with Pro Farmer and Shaun Haney on all things politics, including trade, carbon taxes, and Argentina’s Trump; Plus, heear... Read More

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RealAg Radio: A rally at Parliament Hill, decisions with data, and horse exports, Nov 21, 2023

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Play Episode Listen Later Nov 21, 2023 56:49

On this episode of Tuesdays with Lyndsey, you’ll hear: Host Lyndsey Smith in conversation with John Barlow, MP for Foothills, on Bill C-234, Bill C-355, and the rally at parliament hill; A clip from Jim Wiesemeyer with Pro Farmer and Shaun Haney on all things politics, including trade, carbon taxes, and Argentina’s Trump; Plus, heear... Read More

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Frosted Tips and Rental Cars (RHOSLC S4, E8 Recap)

Hopeless Not Truthless

Play Episode Listen Later Nov 6, 2023 48:31

Hello Truthful Listeners! Welcome back! Your Canadian girlies are here with full recaps of our fave Bravo Shows! Today we are recapping: RHOSLC Season 4 , Episode 8 Moms, Missions, and Matrimony Monica opens up to Heather about the abandonment issues she has with her mom and dad; we learn, Jack Barlow told John Barlow about going on a mission before he told Lisa; Meredith encourages Monica to take her power back from her mom; Whitney tries to make amends with Meredith about the comments she has made regarding Angie and her marriage; Whitney and Mary attempt to have dinner that Marie gets a to go box instead; Lisa and John throw a mission reveal party for Jack and they find out he is going to Columbia; LD and Monica meet for dinner, where they discuss the fight that happened at Greek Easter; LD oh tells Monica she was not prepared for New York and that is why she had to leave her with some family friends when she was 12; Monica says she was in the trunk of a car while her mom hooked up with a man; the two agree to counselling. Please follow us on TikTok, Instagram and Twitter at HopelessNotTruthlessPod. A 5-star review where you listen to your podcasts is a free way to help us out Make sure to follow us wherever you get you pods, so you don't miss a recap! ❤ Thank you so much to our listeners for being here with us! You guys are definitely Truthful and not at all Hopeless❤️ Love, Narelle & Sarah

RealAg Radio: AgriRecovery rollout, Seaway strike consequences, and live cattle futures, Oct 27, 2023

Play Episode Listen Later Oct 27, 2023 54:05

Thanks for tuning into this Friday edition of the RealAg Issues Panel on RealAg Radio! Host Shaun Haney is joined by Kelvin Heppner of RealAgriculture, and John Barlow, Shadow Minister of Agriculture for the Conservative Party of Canada, to discuss a number of topics, including: The rollout of AgriRecovery; Seaway strike consequences; Justin Trudeau lifting... Read More

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RealAg Radio: AgriRecovery rollout, Seaway strike consequences, and live cattle futures, Oct 27, 2023

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Play Episode Listen Later Oct 27, 2023 54:05

Thanks for tuning into this Friday edition of the RealAg Issues Panel on RealAg Radio! Host Shaun Haney is joined by Kelvin Heppner of RealAgriculture, and John Barlow, Shadow Minister of Agriculture for the Conservative Party of Canada, to discuss a number of topics, including: The rollout of AgriRecovery; Seaway strike consequences; Justin Trudeau lifting... Read More

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BRAVO EPISODE Real Housewives Of Salt Lake City

Tender Loving Care...?

Play Episode Listen Later Oct 20, 2023 58:34

Hello, Darlings!Again, RHOSLC does not disappoint-this season is EVERYTHING!Listen to Pauline and Kate discuss the finer points of Mary Cosby's green carpet, why Baby Gorgeous isn't drinking from Big Gulps anymore, a possible chin implant, John Barlow's hairline, and WHAT THE HELL is Monica's mother doing.Enjoy! Hosted on Acast. See acast.com/privacy for more information.

RealAg on the Weekend: Pulse trade, inflation survey results, and a mandate letter, Sept 16, 2023

Play Episode Listen Later Sep 16, 2023 39:56

On this weekend's show, host Shaun Haney is joined by: John Barlow, Shadow Minister of Agriculture for the Conservative Party of Canada on the upcoming start of parliament; Greg Cherewyk with Pulse Canada on pulse trade trouble with India; and, Results from the RealAgristudies’ inflation survey specific to Western Canada. Thoughts on something we talked... Read More

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Reviewing The New Season Of RHOSLC, We Love It! But Mary Cosby Doesn't Look Well. Thursday, September 14th, 2023 | Sarah Fraser

The Sarah Fraser Show

Play Episode Listen Later Sep 14, 2023 50:22

David Yontef from Behind The Velvet Rope joins the podcast - we both watched the new season of RHOSLC and here are all our thoughts. SPOILER…we love it but I have a theory about Mary Cosby's health. Plus, the rumors circling about Lisa and John Barlow. Show is sponsored by: ***Visit our Sub-Reddit: reddit.com/r/thesarahfrasershow for ALL things The Sarah Fraser Show!!!*** Babbel.com/TSFS learn a new language in 3 weeks! Get 55% OFF when you use the link babbel.com/tsfs Blissy.com/TSFS shop the MOST amazing silk pillowcases and look younger. Use code TSFS to get 30% OFF Bostonhernia.com/tsfs Got a hernia? Does your man? Boston Hernia is one of the top hernia surgeons in the country! Avoid heavy pain meds and long recovery times, call them 617-466-3373 Brilliantearth.com Beautiful diamonds and jewelry ethically sourced Carawayhome.com Use code TSFS for 10% OFF your order at check out Factormeals.com/tsfs50 delicious, healthy meals, ready in 2 minutes! Use code TSFS50 for 50% OFF your order Horizonfibroids.com Get rid of those nasty fibroids! Littlespoon.com Delicious meals and snacks for kids that taste good and are healthy. Use code TSFS at checkout to get 30% OFF your first Little Spoon order Nutrafol.com Use code TSFS for FREE shipping and $10 off your subscription **Check out some of my FAVORITE things on Amazon Marketplace - especially if you're looking to get geared-up to start your own Podcast!!!** https://www.amazon.com/shop/thesarahfrasershow Advertise on The Sarah Fraser Show: thesarahfrasershow@gmail.com Got a TIP about your favorite show? Email: thesarahfrasershow@gmail.com Follow me on Instagram: @thesarahfrasershow Follow me on Tiktok: @thesarahfrasershow Follow me on Twitter: twitter.com/SarahFraserShow Book me on Cameo: cameo.com/sarahfraser Learn more about your ad choices. Visit megaphone.fm/adchoices

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Reflecting on the Conservative convention, pulse trade, and food prices: a conversation with John Barlow

Play Episode Listen Later Sep 12, 2023 14:15

The governing Liberals are coming off a rather tumultuous week where Prime Minister Justin Trudeau’s less than stellar visit to India ended with him stranded for an extra two days in the country. Conversely, the Conservative Party is coming off of a well-attended and energetic convention held last week in Quebec City. Both parties are... Read More

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RealAg Radio: Thoughts on inflation, the return of Parliament, and mandate letters, Sept 12, 2023

Play Episode Listen Later Sep 12, 2023 54:53

Thanks for tuning in to this Tuesday edition of RealAg Radio. Host Shaun Haney is stepping in today! You will hear from: John Barlow, shadow minister of Agriculture and Agri-food on Parliament’s return and ministry mandate letters; Justin Funk of RealAgristudies, to discuss the most recent year-over-year inflation survey; and, A spotlight interview with Olivia... Read More

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RealAg Radio: Thoughts on inflation, the return of Parliament, and mandate letters, Sept 12, 2023

Play Episode Listen Later Sep 12, 2023 54:53

Thanks for tuning in to this Tuesday edition of RealAg Radio. Host Shaun Haney is stepping in today! You will hear from: John Barlow, shadow minister of Agriculture and Agri-food on Parliament’s return and ministry mandate letters; Justin Funk of RealAgristudies, to discuss the most recent year-over-year inflation survey; and, A spotlight interview with Olivia... Read More

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Chasing Greatness: Triathlete John Barlow Uses Chris Hemsworth's 'Limitless' as Fuel

Fixate & Binge

Play Episode Listen Later Aug 1, 2023 84:38

Joe's old friend, John Barlow, comes on to discuss how Disney's Limitless with Chris Hemsworth inspired and motivated him to train for and complete the Boulder, CO Ironman Triathlon! What have you always wanted to do but have pushed off? No one is truly limitless, but Joe, Jared, and John talk about the powerful takeaways from this limited series and why it's never too late or too soon to start making and working towards accomplishing our goals!

RealAg Radio: Product of origin labelling concerns, Bill C-234 hold up, and RealAg Shops, June 14, 2023

Play Episode Listen Later Jun 14, 2023 54:37

Thanks for tuning in to this Wednesday edition of RealAg Radio. On this episode, host Shaun Haney is joined by John Barlow, Conservative MP and shadow minister for Agriculture and Agri-Food, on the Senate holding up on Bill C-234. We will also hear from Ryder Lee, with the Canadian Cattle Association, on concerns towards proposed... Read More

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RealAg Radio: Product of origin labelling concerns, Bill C-234 hold up, and RealAg Shops, June 14, 2023