Podcast appearances and mentions of johnny b goode

Justin was recovering from his madcap trip to the Hawkeye State, so we took a brief hiatus but will be returning next week with a "Fun," summery feeling sessions-and-album discussion (hint hint).  Enjoy this blast from the past in two ways: Justin & Gurdip's 2021 bonus discussion of the Billboard Top 10 from May 26, 1958, which offers up iconic rock and pop tracks, from Elvis's "Wear My Ring Around Your Neck" and Chuck Berry's "Johnny B. Goode" to less-well-remembered hits like The Four Preps' "Big Man". But the guys ended up going deeper when Justin start pulling in the top songs on the R&B and country charts as well, realizing that mid-1958 is a point of huge musical overlap between the major mainstream genres.  Then, the guys also discuss some of the other Elvis-related items featured in this historical issue of this music industry magazine, including a contemporary review of King Creole and an incredibly fascinating story about Elvis bootlegs pressed into unconventional materials in Soviet Russia in the 1950s! For your listening convenience and pleasure, we've built a Spotify playlist of the songs featured on these charts, plus a handful of other tracks included in the discussion, at this link: https://open.spotify.com/playlist/6PeM4TMYaXx8ToQOfS84GH?si=de7dee88f6bf4e81  For more on the X-Ray Audio Project, visit: https://x-rayaudio.squarespace.com/ If you enjoyed this kind of content, please consider consider supporting us with a donation at Patreon.com/TCBCast. We have an archive of over 4 years (and growing!) of bonus discussions just like this! Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Starting off the week in West Virginia with the Bobby Maynard Family Band. Songs include East to West Virginia, 50 Years, Go Getter and a cover of Johnny B. Goode

School of RockA 7-part series by Member389. Listen to the Podcast at Explicit Stories. I made it back with plenty of time. I set up an online music account on Emily's laptop, and we sat at the table downloading songs by Chuck Berry, Stevie Ray Vaughn, BB King, some David Gilmour and Eric Clapton."Are you turning my kid into a rock star?" Summer asked leaning on my shoulder, watching us select songs.I laughed. "Why not?" Emily hopped up out of her chair and started playing air guitar as I hit play on Johnny B. Goode. As it wound down she dropped to the floor kicking her feet. I laughed even harder. "I think I've seen that move before."Em got up breathing hard. "What about you, this is all guitars. Do you have any piano music?""That I do." I popped open the browser and found a video of one of my favorites. The song started and a rap sounded on the door, Summer answered it. A shuffle of people and chattering was going on and a pretty girl shot out from around Summer and came over to the table where we were."Hey Jessie, this is Pete," in an exaggerated whisper she followed up with, "he's my mom's boyfriend." I grinned at that."How are you Jessie?" I asked. "Think you can help with Emily's studying tonight?" Her expression froze on the word study."Relax, we're just going to listen to some music, not do algebra." Emily said, calming her friend.I stood up as the ladies approached, a woman a few years older than Summer walked beside her with a big smile on her face. Summer made the introductions and hands got shaken the big grin remained."Alright girls, are you ready? Let's get a move on we need to stop at the store and pick up some food on the way back to the house." Diane announced. "It's good to meet you Pete, hopefully we'll get to see more of you around here in the future." She winked playfully."I'll be glad to oblige." I replied with an equal grin. Jesse helped Emmy gather up her gear and they headed for the door.Summer stepped back in the kitchen rolling her eyes. She stopped and looked into my eyes, and bit her lip. "Now what?"I grinned and shrugged. "What do you normally do on Saturdays?""Clean, do laundry, run errands, the usual." She chuckled."Where's the vacuum?" I asked. "Four hands are better than two."We cleaned the place up pretty quickly, with a hand reaching out to give a gentle back rub, or an occasional kiss in passing."I might keep you around, you look damn sexy pushing a vacuum." She smiled as we sat and polished off the left-overs from breakfast for lunch. "You cook, you clean, you rescue damsels in distress, and you're amazing in the sack. Is there anything you can't do?""Well when your mother is Martha Stewart and your father was Superman, no." I laughed.Summer smiled. "I almost wish we were staying in tonight, Clark junior.""With the depleted state of your fridge, we'll likely be eating bread and water." I replied."Damn that's another thing we need to do.""Was that the towels in the dryer? They should be fine, let's go do it now. Do you have a list?"Summer shook her head and peeked into the freezer for a minute, then opened the pantry cupboard. "Was that all the eggs?""Yup, and don't forget the OJ."We wandered through the store and I watched as Summer filled in the cart I had."Do you do anything special on Sundays? You know, family dinner or anything like that?" I asked."No not really. Sometimes I'll make something big that we can eat for a few days in left-overs. Why?"I just shrugged and smiled. As we picked out the groceries I picked out a few things, made an occasional inquiry as to what Emily and her liked to eat. A few more things got added to the cart and she gave me a shrewd look."What are you planning?" She asked with a sly smile.I shrugged and smiled again. "Something going along with the theme. When do you think Emily will be home."We finished the shopping, and after a little head butting I slid my card and paid for the groceries."You're saving me a hotel and eating out, it's the least I can do." I argued and gave her back her little scowl. "Besides, you're so cute when you're angry." I prepared to duck but all I got was a raised eyebrow. We got everything into the house and unpacked, Summer turned and leaned on the counter, blowing a loose strand of hair out of her face."I hope I can keep awake during our date. What are we doing tonight?""Dinner for one, but that's a given, I need you to build up your strength." I winked, the rest is a closely guarded secret."I got it, no jeans or sneakers." She looked up at the clock. "Where are we going?" She sounded piqued. I just chuckled."Well we do have about an hour drive to get there, so we should be ready before 6."She just looked at me wide-eyed for a moment and swiveled her head to look at the clock. "Crap, I'd better get a move on. It's not as easy for us girls to get ready as you guys. It takes time for us to be presentable."I smiled. "The only thing you need to do is change.""No jeans." She parroted with me, making us both laugh. She leaned in for a kiss. "I get the shower first." She got up and sashayed into the other room."Damn, the only thing sexier than you in jeans, is you out of jeans." I called out.She came back in a long pink fuzzy robe a few moments later. "The same could be said for you." She leaned down and kissed me again. I took the liberty of slipping a hand up her leg, noting she was shower ready."You sure you don't want to conserve water and shower together?" I said smiling."If you join me, you may want to cancel the reservations now." She winked."I guess I'll just have to restrain myself then." I sighed, then frowned."Aww! You look like you lost your puppy." She said with a laugh.I gave her a light pat on the rump. "You'd better get in there before I lose my mind and take you right here.""Promises, promises." She said with a wink.I had been relegated to using Emily's room to get ready, Summer didn't want me to see her getting ready, she wanted to make an entrance. She made her way from bath to bedroom, singing a song under her breath, pausing to smile at me as she passed, and continuing her song. "So let's get it over and just get naked, With sweat dripping' down your little back." I recognized the song, she sang it when we were in Maine at the beach house, the lyrics were definitely not something you'd hear on the radio.I got my chance at the shower, the floral and fruity smell of soap and shampoo hung heavily in the humid air. I took a deep breath of it and closed my eyes a fleeting thought of kissing her neck, the scent of her intoxicating like a tropical flower. I finished and went across the hall and began dressing, keeping an eye to each detail as I donned the dark gray suit. The tailor at the shop that helped measure me told something I had no idea of, "a well-tailored suit is to women what lingerie is to a man." I had to trust her, she was a woman after all. I finished up getting the tie dimpled properly and setting the pocket square how she'd shown me. I remember something she said when she was kitting me out. "She must be a very special lady." I responded that, "she is a very special lady," with a smirk. I made my way out to the kitchen laying my overcoat across the back of one of the chairs and checked to make sure I had everything I needed. Spinning my wrist to check my watch, we had a few minutes before we needed to leave."Do you need a hand in there? I could call in the Army or something." I hollered."Oh hush! I'll be right out!" She answered through the door. A few more minutes passed before I heard the door open, only darkness beyond. "Prepare yourself, I hope you're not disappointed.""Oh stop..." I began as she walked into the kitchen light. She stopped tilting a hip, bringing one knee in front of the other like a runway model. She glowed in the dim light, her hair long, tucked back on one side with a silver barrette. Her eyes boring into me watching my every movement as I took her in. She wore a short sweater dress in wide gray and black stripes with knee high gray suede boots. Naturally tall, she was tall or taller than I was as my eyes slowly climbed back up to her face. The hint of a smile appeared as I took her all in."Speechless, huh, that bad?"I cleared my throat quickly. "No, no! You look stunning." I said with complete honesty."You look pretty handsome yourself." She responded, her voice husky as she looked me up and down."The tailor was right." I thought with a smirk. The twinkle in Summer's eye was causing my heart to melt a bit."Do you have a coat?" I asked, and she took one from the hall closet. I held my hand out for it and she smiled as I opened it for her to slip on."Such a gentleman.""I'll do my best." I replied grinning as I took my coat and we left.We made our way north to the city. I ignored her gentle prods to find out where we were going. She reached over and took my free hand while I drove. She didn't grip it tightly, but ran her fingertips along the seams of my palm, her thumb rubbing lazy circles across the back. She was quiet, but I could feel the hum of anticipation. I only hoped things didn't fall short of her expectations.I pulled up in front of the restaurant and a valet came around opened Summer's door as mine opened at the hand of another. He walked her around the front of the Jeep and handed her over to me with a big smile. We walked towards the door slowly."Are you nuts?" She said under her voice. "This is going to cost a fortune.""Don't worry," I replied, "haven't you ever heard of dine and ditch?" I said chuckling. "I'm not saying we're going to do this every Saturday, but you only live once. So let's relax and enjoy tonight." We stepped inside the lavish foyer where the host welcomed us. I gave him my name and he smiled checking off a list and asked if we'd like to check our coats before we were seated. I took Summer's before removing mine and handed them over to the coat room attendant. I turned to find Summer looking around with wide eyes, her lower lip held tightly in her teeth as she fondled her little heart pendant nervously."This way please." He said turning towards the dining room. Without thought Summer's hand slipped around my arm. I smiled and led her to the table. She got more than one look of admiration as we passed other tables. The host held her chair for her as she sat with a little smile thanking him. I sat down as he told us who our server would be and left.Summer watched as he stepped away and ducked her head slightly whispering. "I feel like such a grown up." I had to stifle my laugh.We ordered cocktails and then dinner. Summer indulging her love of seafood, I sat watching her eyes roll back with every bite of her scampi. The food was delicious, the wine as well. We finished with dessert and cappuccinos. She noticed I peeked at my watch."Already tired of me?" She said with a pout."Just making sure we're on time for our next stop." I smiled.Her eyes opened wider. "There's more?"I nodded with a smirk. "Not to worry, we're doing good on time." I said sipping my coffee.She gave me a shrewd look, then shook her head with a smile. "I honestly don't know what I've done to deserve this kind of treatment, but I like it." I chuckled at that. I paid the check, we collected our coats and got the car headed towards our next stop. The club was in a converted warehouse, the brickwork old and worn as we entered and I picked up the tickets I'd ordered earlier in the week. Taking care of that, we were led to a small table a few rows back from the stage. I held Summer's chair for her as she sat. I sat beside her, the table set so we were practically side by side. She reached under the table squeezing my thigh as she smiled. She had seen the posters as we entered for the show and beamed at me knowing her love of music. We ordered drinks and the show started. We listened, she sang along under her breath to a few of the songs. At some point our chairs got much closer and my arm was wrapped around her shoulder and she leaned into me putting her head on my shoulder during one song. When it finished she looked up at me, our faces close. She just tilted her head slightly her lips parting as mine met hers in a deep kiss. The applause for the song was our backdrop for a moment. She pulled back slightly, a smile spread across her face, her skin aglow in the dim light. She excused herself and went off to the ladies room.She returned a few minutes later set her clutch on the table as she sat, slipped her hand out of it and slipped it into my jacket pocket and withdrew it as she leaned in for another kiss. I smiled at her but the curiosity got the better of me and slipped my hand into my pocket. I felt a warm damp lacy bit of cloth. When the realization hit me I looked sidelong at Summer wide eyed. She just looked up at the stage biting her lip again and slipping her gaze sideways to me with a knowing smirk. She was lucky the club was crowded or I would have double checked. I removed my hand from my pocket and rubbed my nose smelling the musky scent of her. It inflamed the feeling that had been smoldering in me since I'd seen her emerge from her bedroom earlier. I politely declined another round from the waitress, and wondered how we could make a hasty exit without it being obvious. As the set ended Summer leaned over and whispered in my ear."There's a nice little park with a walk along the river not far from here.""That sounds nice." I said softly. I wasn't in the mood for an encore. I stood carefully buttoning my coat hoping my arousal didn't show. Summer stood gathering her things and we made our way out to the entrance to collect our coats.Once in the car she directed me through the streets down to the riverfront where found a place to park. We started down the walk to the waterfront, at one end of the park was a large brightly lit fountain, there were paths leading away down both river banks. She turned us toward the right which led us northward, lamp posts lighting the way, benches lay covered in autumn leaves, they lifted gently in the breeze off the water."Tonight has been amazing." She said wrapping her arm around my waist pulling herself tightly under my arm. I smiled."I couldn't agree more." I said.She stopped looking over her shoulder to make sure we weren't being followed. The city had the feeling of people huddling inside in this cold late hour. We were the only people around. She took my hand and led me away from the walk way up the lawn under the trees, leaves rustling under our feet. She stopped a few yards away and turned leaning against the trunk of a large maple tree. She laid her hands behind her against the trunk as she inhaled the scent of the dead leaves and smiled up at me in the dim light. I took her face in my hands and kissed her deeply. Her tongue slipped along mine as her hand gripped my neck pulling me down into her. I felt dizzy like the world had begun spinning around us and she was the only solid point which I could hold onto. I broke away gasping for breath."How's a girl to keep from falling for you?" She asked breathing heavily."I don't know, but don't let me stop you." I smiled and kissed her again. Her hand slid up the front of slacks stroking me firmly."I want you, right now." She said as she reached for the zipper."Here?" I asked chuckling as I looked around noting we were in darkness afforded by the leaves still clinging to the trees above us. My zipper was down and her chilly hand found what it was looking for and pulled me none to gently free of my clothing."Here, and now." She said stroking me firmly.I slipped my hands under her coat pulling her dress up over her hips. She spread her legs for me as she slid me into her damp heat. I groaned deeply as she wrapped her long leather clad leg around my hip urging me deeper. I reached around her grasping her exposed ass in my hands lifting her slightly as I leaned into her and pulled her down as I thrust forward. We both grunted as our mouths locked together. Her back arched away from the tree as I plunged into her in short hard strokes. I had her other leg around me as I drove forward with an urgency that scared me. She leaned her head back and gasped letting out high pitched whispers urging me on. "Yes, yes!" Being on edge all night it didn't take me long before I pitched forward pinning her against the tree as I climaxed, all of the tension built up finally releasing.I gasped for breath, and opened my eyes realizing I was staring at her little silver heart pendant. I was still holding her hard against the tree, my fingers buried hard into her flesh. I relaxed slightly, her legs jerked as she tightened her grip around my hips. "Don't worry I won't let you fall.""Too late." She said. I felt her tug the hair on my head as she lifted my face up to hers and kissed me deeply. "I'm already too far gone." She said smiling. "You're stuck with me.""I wouldn't say stuck." I chuckled, my heart settling back down to a normal rhythm. My arms were burning from holding her up, but I had no intention of letting her go. It was a moment before she set first one foot down, then the other, the feeling she could still fall over kept her arms locked firmly around my neck. As our bodies separated a cool breeze shot between us causing a shiver to run through Summer. She snatched the cloth out of my breast pocket and tidied up as quickly as she could before yanking her dress down to keep out the cold. She tidied me up as well before tucking me back in. She grinned tucking it into the same pocket as her panties."I'll pay for the dry cleaning." She grinned."No need, I'm never cleaning this suit ever." I laughed.She leaned forward laying her head on my chest nuzzling up under my chin. "I don't know what cologne you're wearing but it's a real panty dropper."I couldn't help myself and busted out laughing at that. Laughter fizzed up from Summer as well."Well that was the selling point, I'm glad it lived up to the advertising." I said. "It's getting cold, let's go home.""Tell me about it, you don't have an icy breeze blowing up your skirt." She said giggling.We made it home and stumbled into the house still chuckling about how the evening turned out. It wasn't long before we laid naked in bed, surrounded by the darkness and warmth."Thank you." She said and kissed me."For what?" I asked."For what?" She said surprised. "For everything you do. You're so sweet to me, and you spoil me rotten. Tonight being proof of that."I shrugged. "It's how I envision being in love is supposed to be." I swallowed hard. "You matter to me, more than anything. There's nothing in the world I wouldn't do for you."There was an uneasy pause. "Just don't forget who you are. No matter how much you love someone, you can't stop being true to yourself." She whispered, then kissed me. I felt dampness on my face."Hey, what's wrong?" I asked concern filling my voice as I pulled her closer."Nothing is wrong, that's what scares me." She said. "Try to understand what I said. I've been there before.""That's what made you leave when you did, isn't it. You were afraid."She laughed and a inhaled with a sniffle. "You could say that. I debauched a local teen, I probably would have been stoned out of town if anybody had found out.""Don't worry, we haven't used that whole scarlet letter thing in at least five years. You're safe now, and everything seems to be turning out alright."She kissed me softly and rolled over in my grip leaning back against me and tucked my hand up beneath her chin with a deep sigh. I kissed her behind the ear, eliciting a soft purr, before nodding off myself.Good things come to those who wait.We both jolted awake at the sound of a phone ringing. Summer bolted out of bed to answer it."Hello?" She said anxiously, after a moment she sighed. "Okay sweety, have fun, we'll see you this afternoon. Love you, bye."I looked over at the bedside clock and realized we'd slept late, it was after 9."They're going to a matinee in town then Diane is going to drop her off around 3 o'clock.""What will we do until then?" I said sarcastically.She looked me up and down with the blankets thrown back. "Oh I'm sure we'll think of something." She wiggled her eyebrows at me, and I busted out laughing.She climbed back into the bed, we were instantly kissing and touching, there was no urgency, just the acknowledgment that we were both where we most wanted to be, and with whom we wanted to be. Lips teased, fingers caressed, and time floated pleasantly by without either of us noticing. Summer rolled me onto my back and threw a leg over me sliding down my legs, and began licking my cock. She looked me in the eye as she did it, the hunger I saw there was intense. My breathing was getting shallow as I watched her get me harder and wetter. I lifted my hips hoping she would take me in her mouth but she only smiled, and licked again, and again. The sweet torture nearing a fever pitch, and she only continued, long slow wet licks."If you see something you want, take it." She said, her voice low and husky. She licked the length of me, then swirled her tongue around the tip. I gathered what little wits I had, and slid out from under her got up and walked to the foot of the bed seeing her beautiful ass pointing up in the air, moisture glinting off pink lips, I knew what I wanted. I placed my cock at her entrance and pushed slightly, eliciting a moan from each of us."I want it, and I'll take it." I said as I pushed forward burying my hard cock deep inside her. Summer let out a sharp moan, as she threw her head back. I began long hard strokes, the moans synchronized quickly."Pull my hair." She gasped. I reached up and gathered her hair and pulled her head back gently. Her moans increased and my tempo picked up, my hips driving her forward with every stroke. She began chanting, "yes, yes, yes, oh fuck" and I soon lost all control and took her hips in both hands driving forward a few last hard strokes exploding deep inside her. I could feel the walls of her cunt clamp down on me hard as spent myself in her. Summer collapsed face first into the sheets gasping for air. I still had her hips in a vice like grip as the spasms subsided."I didn't think it was possible, but I think you're getting better at this." Summer gasped from the folds of the sheets. "Which is impressive considering you were damn good at it in the first place."I smiled, gasping for air. "I have a good teacher." I released my grip on her hips and pulled free of her, she let out a sad little moan and rolled onto her side. Her hair was a complete mess, covering her face I could see her peeking out from between the locks. "Nice hair." I laughed."It has that freshly fucked look I was going for." She giggled. We cuddled for a while before she groaned. "We'd better get up, it's lunch time, and we'll need to be presentable when Emily gets home."I stripped the bed and got the sheets into the wash. Summer made coffee and whipped us up some brunch. A not so quick shower for the both of us and we were parked on the couch watching TV when Emily burst into the house, her friend Jesse hot on her heels."Hi Mom! Pete we listened to all those guitar players you gave me to listen to, they were awesome. They all play electric guitar though. I'm not sure mom's going to let me get one.""Well let's look at some great acoustics then. No need to dive head long into your rock & roll career just yet, you've got a couple years." I said laughing."We'd better get going Jesse." Her mother said.Em just sat next to me and I gave her a nudge. "Don't you think you should say thank you?" I murmured. She looked at me, smiled and jumped up and ran after Jesse and her mother. Summer and I hot on her heels to join in with thanks.She spent the afternoon apprising us of everything they did, and the movie they saw. At her insistence I gave her a short list of acoustic guitarists to research online. We ended up finishing our Italian food weekend with baked ziti for dinner. Bed time was a bit tougher, I had to promise to be there tomorrow when she got home from school before I got a hug.Summer poured the dregs of the wine off into our glasses and handed me mine. "You're doing it again.""Doing what?""Thinking, the question is, what about."I just shook my head. "Nothing really... it's just that..." I let out a heavy sigh.Summer's eyebrows raised as she waited for me to spill my guts."Promise me you won't laugh?" I said.She smiled. "Not a chance.""I was just thinking that I wondered what kind of step-dad I'd make."Summer's eyes popped open at that. A few expressions raced across her face, before quickly returning to a thoughtful look of her own. "Listen," she said, "don't get ahead of yourself. I don't want you to feel like you have to fill any role in that regard. Let's take it one day at a time. Besides, you have a lot on your plate to start with, a new job, a new city, a new life. The only thing she needs is a friend, and I think you've already proven that you can do that with little effort." She smiled at me, but there was worry in her eyes."That's not going to be a problem." I smiled back at her and drew her closer. "I'm turning into a worry-wart like you." I got a quick poke in the ribs for that.We were up at the crack of dawn, well actually before it cracked. Summer kept telling me that I didn't need to be up so early and I just turned her towards the bathroom to get ready for work. While the girls did their thing, I did mine, and had lunches ready to go for both of them, and breakfast laid out before they even popped back into the kitchen."Don't get used to this." Summer turned to lecture Em. "As soon as he's gone it's back to corn flakes and bananas." I laughed, as they dug into breakfast with a single minded urgency. Emily was soon bundled up and out the door with her book bag, Summer wasn't far behind her a deep kiss and a wish to play hooky from work. I patted her gently on the backside."Your patients are waiting for that bright smile to make them feel better." I said."Well if Mr. Brown makes a grab for my ass while I'm checking his vitals again, he may ended up for an extended stay with a few extra bruises." She said smartly. "I might just have to put him in restraints.""Sounds fun." I said wiggling my eyebrows."Maybe I'll bring some home for you." She grinned. She bolted out the door, as I shouted for her to drive safe.The next days lent themselves to relative domesticity. I played house mate, making meals, keeping things organized and assisting with homework.It soon came time for me to head home. That morning I woke before the alarm staring at the glow of the clock. Our lovemaking the night before had been frantic as if we were never going to see each other again. I could feel the slight sting of scratches on my back which left me with a feeling of contentment. As I wallowed in bliss at the feelings flowing through me I was surprised when I felt her lips brush the knuckles of my hand."You're awake." I whispered softly enough not to wake her if I was wrong. She responded with a gentle hum. I leaned forward and kissed behind the ear, a tremble flowed through her as she arched her neck gracefully inviting more of the same. I obliged her, a contented sigh was how she responded."I don't know how I'm going to keep from going crazy for the next two months." She said, another sigh escaping her lips."How so?"Laughter bubbled up from deep in her chest. "Despite what you may think, you're not the only horny one of this duo. I've kind of gotten used to this guy being ready and willing with little notice." She said as she snaked her hand over her hip grasping my cock."I hope he's not all your after." I teased.She rolled over quickly, her hand slipping around my neck bringing us forehead to forehead. "You don't think that, do you?" She asked, concern evident in her voice.It was my turn to laugh. "If I were at all worried, I wouldn't be here. Remember, I'm the one who came looking for you." I said as I kissed her. She took control and rolled me onto my back and straddled me. I wasn't sure if it was her hips pinning me to the mattress, or me pinning her hips to mine as she kissed my chest, she worked her way up neck. Quickly our lips crashed together, bodies gripped tightly not wanting to let go. She slid forward slightly and settled herself on me as she took my face in her hands, willing herself to slow down. I wrapped my arms around her waist holding her in place as I lifted my hips plunging into her in long deep strokes."Take me like you did the other night." She gasped into my mouth. "Take me like you want nothing else.""I want nothing else." I growled as I rolled her off me, she scooted onto all fours and snatched my pillow from the head of the bed hugging it tightly, her ass pointing straight up. I slid my hand down her ass and up between her legs, she was so wet and hot I thought she was melting. She pressed back against my hand and made a small yearning moan."Please." She whispered urgently wiggling her ass in the air. I felt my cock throb at the sight of her, in the gray light. I couldn't take my eyes off her, but my body moved without conscious control as I slipped behind her, took her hips in my hands and slid into her. She whimpered into the pillow, she tried to pull away from me and I only pulled her back onto me. I held her like that for a long moment, her cunt gripping down on me, trying hard to get me moving. I closed my eyes and tried to keep my breathing steady as I began rolling my hips back and forth. She let out a long moan as I picked up the pace driving forward. I don't know when I did it but I had my hand on her neck, holding her in place while I filled her with deep hard strokes. I was barely aware of her fingers stroking her clit lighting fast , as she began to jerk and moan loudly into the pillow. Her cunt clenched hard, the spasms were more than I could take as I erupted in her one last time.I reached up beneath her cupping her breasts and lifted her up toward me, she shifted her head to one side, reached back, and pulled my face down to hers and kissed me deeply."I don't deserve you." She said."Shush, you deserve everything I can give you and more.""I don't think I can take much more and still be able to walk." She laughed. Just then the alarm clock went off."Time to get up." I said softly into her mussed hair."I'd say you already did a fine job of that." She leaned forward crawling on all fours to turn the alarm off. She turned back towards me and flipped her hair back out of her face. The light was brighter, and shone in her eyes, the look she gave me was nothing short of feral. My stomach did a little flip and I suddenly knew how the gazelle feels when the lioness has made her decision. Summer crawled back towards me and leaned down taking my half hard cock in her mouth bringing it fully to attention quickly. She wasn't stopping, she hungrily sucked and licked bringing me near the edge and stopped. She turned quickly and laid back with her legs spread wide. "If I have to wait two months for more then I plan on filling up now." She held up her finger beckoning me towards her. I reached down and circled her clit with my thumb, her sharp intake of breath was all I needed to hear as I pushed deep into her again. She waved her hand at me in an effort to speed me up as she covered her mouth with the other. Soon the waving stopped and she was pulling and massaging her nipple. I began to flick her faster with my thumb causing her to yelp into the back of her hand as her hips arched up and I exploded again, with less force, but no less desire.We collapsed into a heap on the bed panting like we'd just sprinted a mile, the alarm went off again."I hate that thing already." I gasped. Summer chuckled before she rolled over and got up slowly, limping to her closet and pulled on her robe."Shit. You're hard on a girl's anatomy. I'm going to have to come up with a cover story for limping today. I guess I could say I twisted my ankle again. C'mon sleepy head, time to face the music.""I... I don't think I can walk." I chuckled. A few minutes later we were sitting around the kitchen table."Are you all right Mom?""Yes hon, I just stubbed my toe." She said sitting gently with her cup of coffee. I buried my face in my cup so as not to be caught grinning. "I'm going in a little late this morning, so when you get off the bus, head over to Beth's and I'll pick you up there. Okay?"Em just nodded, and continued eating her cereal. It wasn't long before she was giving me a big bear hug imploring me to drive safe so I'd be back in a couple months to stay. I had her promise to work hard on her schoolwork, and if she needed any help with her to call me.Summer made her phone calls and turned to me, her robe falling open slightly. "I feel like a hot bath." She didn't move but looked at me sweetly, the invitation was clearly implied."That sounds nice." I said pulling my shirt off. I looked up and her smile had gotten wider. I held out my hand and she stepped forward taking it in hers as I led her to the bath.She laid back against my chest, the warm water lapping around us, fingers glided down slippery skin. We didn't need to speak, our bodies were carrying on a conversation of their own."You know." I started softly. Summer quickly shook her head shushing me. She took my hand in hers running her fingers up and down the lines in my palm the turned it over rubbing the knuckles and surprisingly brought it up and kissed them. She relaxed even more and melted against me and laid my hand over her heart holding it there. I wrapped my other arm slowly around her and pulled her tighter against me."This is what love feels like." She whispered. I sighed and drew a wet heart between her breasts. She giggled as the water droplets slid down her chest. Time was moving far too quickly though and she stood up to rinse off, in the process she sprayed me in the face with a laugh. I reached up and gave her ass a wet smack which made her yelp. We dried off, Summer began applying lotion to her arms, and placed one foot on the edge of the tub and did one leg then the other. I don't think I'd ever seen anything more beautiful in my life. She took a bottle of baby oil and poured some into my hand. She looked me deep in the eye as she placed it between her legs. I took her cue and massaged it gently into her warm wet skin. She gasped, lifting gently away for a moment. Her hands were on my shoulders, holding herself steady as I massaged slowly, my middle finger slipped inside her. Her mouth fell open, her breath shallow and fast as I began pulling back and pushing forward in that little come hither motion she'd taught me years before. Her body tensed, her nails digging into my shoulders as she began to shudder. She was up on her toes now, as she moaned loudly. My fingers suddenly more slippery as I kept up my assault on her. She fell forward clutching me, her face buried in my neck."Stop!" She gasped, drawing in air deeply. "Stop, please." She pleaded. I let my finger slip out of her and gently patted her lips."You're not going to forget me in two months are you?" I said smiling."Forget you? I'm going to need two months to rest." She said. "Besides, it's a long dark winter here in the mountains. We don't want to wear ourselves out too fast now do we?" She reached for another towel and handed it to me, pushing me out so that she could 'put her face on' and get to work.I walked to the bedroom and toweled off along the way. That little moment we had aroused me incredibly, my hard cock bounced in front of me. I stripped the bed, not for the first time since I'd been there and made my way to the washer with the rumpled damp sheets. When I walked into the bedroom again Summer was wearing the palest pink lace panties and was bent over a drawer rummaging around. My arousal, which had begun to subside, was back in spades. She turned and peeked at me from under her hair. "Brute, I look like I've been the main course at a vampire buffet. Now I have to find a turtleneck or face a lot of embarrassing questions all day.""Like why you're wearing a turtleneck, a silly grin, and walking funny?" I laughed. I ducked as she threw a balled up t-shirt at me, but started laughing too."I get your point. Sandy and Sam will catch on quick, they've seen you, and won't be surprised." She found the shirt she was looking for tossed it on the bed. Pulled a bra out and whipped that on with practiced efficiency, she turned and noticed me standing there leaning against the doorway watching her, she just looked me up and down and sighed. "I'm sorry hon." Her eyes tilted and her mouth pulled down in a frown."What?" I asked, my eyes opening wider.She looked down at my bobbing cock. I just chuckled. "Don't worry about me, you don't want to be any later."She stepped over took a pillow off the bed and knelt down on it in front of me. "Sweets, you're going to be late." I said with a lot less conviction now that my cock was slipping over her tongue."Have faith in me." She said before swallowing me as far as she could drawing back with incredible suction, her cheeks hollowing as she drew me out. She began bobbing in earnest. I laid my hand gently on her head and began pumping furiously. She pulled back with just the tip in her mouth just before reaching up and massaging my balls. I couldn't take any more and filled her mouth, her throat bob as she swallowed. She cleaned me up quickly, and licked her lips clean, all the while giving me a look that said, "if I didn't have to get to work I could have kept you on edge all morning." I knew she could too. She stood up tossed the pillow back on the bed and grabbed the shirt pulling it on. She fluffed her hair out from the collar and smiled at me. She pulled on her scrubs, donned socks and her work shoes. She pinned on her badge and gave a little twirl, the smile still on her face."Will you put some clothes on so I can get out of here." She said laughing. "I can't tear myself away with you standing there like that.""Sorry." I said, not feeling one bit sorry as I grabbed my jeans. She went out and filled her travel mug with the rest of the coffee."Listen, if you feel tired you pull over. I don't want a call that they found you in a ditch. Drive safe okay?" She said in her best motherly voice."I'm already tired. I didn't get much sleep last night." I said kissing her."Make some more coffee, take a nap before you leave, stay until tomorrow, whatever you need to do. I'm serious." She said pausing to look at me. A moment passed and a tear rolled down her cheek."Hey, hey." I said gently brushing the tear away and kissing her. "I will be careful, don't worry.""I wish you didn't have to go." She said wrapping her arms around me and hugging me tight."It's only two months, and you'll be busy with Em, the holidays and work that it will be behind us before you know it.""Don't stand under any mistletoe before you get back here." She smiled though another tear followed the first.I smiled. "Consider yourself off the market. Your prince will return after the ball.""Don't you dare steal one of my shoes before you go." We both laughed at that."Come on." I led her to the Jeep, opened the door for her and got her settled in. "Drive safe, go on about your daily routine. Call me, text me, send up smoke signals, any time." I leaned in and kissed her softly. We lingered for a moment and I stepped out closing the door. She lowered the window."Smoke signals huh? Do you always run towards a fire?""It's what I do." I said smiling.Her face turned serious. "I love you." Her eyes welled up again."I love you more." I leaned in and kissed her again. "Now get going before you get fired."To be continued in part 7, by Member389 for Literotica

MUSIC311 will release an EP of vintage live recordings, ‘90s Throwback EP: Volume 2, on June 27th. Various sets from the Washington, D.C. stop of the Warped Tour on June 14th and 15th will stream on Prime Video and Amazon Music's Twitch channel. All Time Low, Sublime and MGK will all be part of the livestream. Collective Soul are the latest band to get their own feature-length documentary: Give Me a Word: The Collective Soul Story will be out July 8th on Blu-ray and DVD. It'll also be available on demand that day, and will be released to streaming services later in the year. The 'Bon Jovi: Forever' anthology book, authored and narrated by frontman Jon Bon Jovi, will arrive in hardback on September 23rd. It's concert season, and Pitchfork.com put together a list of the 35 most anticipated tours of the summer. Here are 10 highlights: 1. Beyoncé: The Cowboy Carter Tour – NO STL DATE2. Billy Corgan and the Machines of God: The Return to Zero Tour – NO STL DATE3. Cyndi Lauper: The Girls Just Wanna Have Fun Farewell Tour – NO STL DATE4. The Flaming Lips and Modest Mouse: The Good Times are Killing Me Tour – NO STL DATE5. Haim: The I Quit Tour – NO STL DATE6. Kendrick Lamar and SZA: The Grand National Tour – TONIGHT @ THE DOME7. Lady Gaga: The Mayhem Ball Tour – NO STL DATE8. Lorde: The Ultrasound World Tour – OCTOBER 9TH @ CHAIFETZ ARENA9. Nine Inch Nails: The Peel it Back Tour – NO STL DATE10. The Weeknd: The After Hours Til Dawn Tour – NO STL DATE TV Kylie Jenner is being hailed as a "girl's girl" for divulging the exact details of her bob job. Haley Joel Osment‘s was arrested at a ski resort in California for public intoxication back in April, and he has since been charged with multiple misdemeanors, including drug possession. Jeopardy! and Wheel of Fortune fans will now be able to watch the latest episodes on streaming platforms! MOVING ON INTO MOVIE NEWS: John Krasinski gives his mother 10% of his earnings, because she encouraged him not to quit when the acting thing wasn't working out.· 40 years after actor Michael J. Fox became a legend playing it while jamming "Johnny B. Goode" with Chuck Berry during the "Enchantment Under The Sea" high school dance scene, guitar maker Gibson is on a search for the cherry red Gibson ES-345 guitar from the 1985 movie 'Back To The Future'. Would every movie be better with Mrs. Doubtfire in it? According to this video, the answer is yes. The Bell Brothers, who create mindblowing mashups, quite hilariously and seamlessly inserted a happily vacuuming Mrs. Doubtfire (Robin Williams) cleaning up around highly recognizable scenes from other movies and TV shows, while occasionally checking back into her own movie MISCMrBeast has an estimated net worth of $1 billion, but he claims that he has “very little money” available to use right now. AND FINALLYUltimateClassicRock.com ranked the 50 Greatest Power Ballads in Rock History. Spoiler alert: Most of them are from the '80s!Here are the Top 10: AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Summer Arrives on the Atlantic Coast of Maine, in time for his first time.A 7-part series by Member389. Listen to the Podcast at Explicit Stories. I was finally glad to be out of school. My buddy Jeff got out last year. He went off and joined the military and left our little town. I figured I'd work the summer here and see what was what after the tourists left. It was still early yet, they hadn't started arriving yet, clogging the roads with their luxury cars, acting as if they owned the place. Truth be told, they did. If it weren't for them, the rest of us wouldn't have a living. Fishing wasn't cutting it anymore, and the old quarries down coast were barely running now. Luckily we had the tourists.I walked down into the village near the docks, and popped into the little corner store."Hey Peter." I heard as I walked in. Paula nodded at me and smiled. She and her husband ran this little place, and did well by the locals and tourists alike. I waved and smiled at her as I headed to the back and grabbed a soda from the cooler."You headed over to see Davy about work?" She asked."Yea, I figure I gotta do something before mom tosses me out of the house." I chuckled."Would you do me a favor? Chip is out on a delivery and we're short-handed. Is there any chance you could make a delivery for me, it's on your way. The lady has an account so you don't need to collect any money. It's just, I heard she twisted her ankle on the beach and I told her that if she needed anything to call us and I'd get it over to her.""Sure, where is it going?" I said.She handed me two canvas sacks from the cooler, and gave me the address. It was just a couple blocks over from where I was headed. Paula refused to let me pay for my soda before leaving. I walked the few blocks turning up onto the driveway that led to a house facing the water. I walked around the house looking for the kitchen door. As I turned the corner I saw a woman lying on a towel on the lawn. She lay there basking in the morning sun completely naked. A small pile of fabric beside her looked like a swimsuit she may have been wearing. I stopped and looked around, the spot was well sheltered on the curve in the road. Her long blonde hair trailed out above her on her towel, her arms down at her sides, her deep pink nipples pointing up to the sun. Her stomach was flat and a little glint of something shiny hinted at a belly button ring. From this distance I couldn't be sure. A small strip of hair dipped down between her thighs. Her legs were long toned and pale, but getting red. She had just started tanning by the color she'd turned already. She was going to look like a freshly boiled lobster in a very short time.I realized she hadn't heard or seen me, so I turned and cleared my throat loudly. I looked over my shoulder, and she hadn't moved. I decided I'd just put the groceries in the house for her. I set the bags on the kitchen table and peeked to make sure nothing needed to be put in the icebox. Thankfully I did or the cold stuff would have spoiled. I put them away and left the rest. I walked towards the back door again and looked out the screen at her. She was beautiful, like she'd just stepped out of a magazine centerfold. She still hadn't moved, and it wouldn't be long before she burned badly. So I took it upon myself to rescue her, that's just the kind of guy I am. I opened the back door and pushed it open as far as possible and let it swing shut. The loud rap of the wood on the frame did the trick. She jumped, then the realization that somebody was near and she was naked came on her and she rolled onto the grass pulling the towel over her covering up. I saw why she hadn't heard me as an earbud fell out onto the grass.She peeked over the top of her big sunglasses, and in an accent I hadn't heard around here, she asked. "Can I help you?" The scolding tone of her voice saying that she didn't appreciate being peeked at while she was sunbathing.I scrunched up my face. "Where are you from?" I asked, curious about her accent."Right here buster, I'm renting this place. Where in hell did you come from?" She replied."Oh! Paula down at the market asked me to deliver your groceries. They were shorthanded and I was headed this way."She just stared at me for a moment, and I returned the stare taking in the scene with a dumb-founded look."Would you be a gentleman and please turn around?" She said a little testily. I did as she asked. Unfortunately for her I'd turned and was looking directly at her reflection in the kitchen window. She stood up cursing quietly, putting her weight on one foot, and wrapped the towel around her and tucked it in above her breasts. She was tall, and though her breasts weren't large they were nicely shaped, and red. The little stripe of hair ended neatly where I thought. The towel was just long enough to cover her modestly. She hobbled over to the little pile of cloth and swept up her bikini and started hobbling towards the house like a wounded animal. She passed me and got to the step and hobbled up the half step, and opened the door using it for stability and hopped up the step into the kitchen.She hobbled back to the screen door and said. "Well come on in."I walked over and stepped into the kitchen. She was sitting down on one of the chairs one leg splayed out in front of her the other tucked under the chair. The smooth skin was kissed with a flush of pink. I knew she was going to regret falling asleep out there later, but I'm glad I happened to wake her up so she didn't get severely burned. She was fumbling with her towel to keep it up, and digging through a big pocket book."Paula said that you have an account." I held up my hand. "I'm not going back to the store anyhow."She peeked up at me from her purse through a tangle of long blonde hair. "Thank you, but I was going to give you something for the trouble. She mentioned that you wouldn't be here until afternoon because it was busy today." A pink nipple peaked over the top of the polka dot beach towel. She caught me staring. "Though it could be surmised that you already got your tip." She said an eyebrow going up, and a small grin turning the corners of her mouth up. She shook her head as she pulled the towel back into place and tossed the purse onto the table. She held her arm out straight with a folded bill in it. I just shook my head once and waved it off."Thanks, but you don't need to do that." I said."Don't make me get up, my ankle hurts like hell, and I'm in no shape to use it to kick your ass for being a peeping tom." She replied grinning. She waved the money again. I shrugged and took it slipped into my jeans pocket. I was hoping she hadn't noticed they were tighter in front than a moment before."Thanks." I nodded."No, thank you Chip, I would have come into town to get them later but she insisted on having you deliver them."I smiled. "I'm not Chip. He was doing another delivery. I'm Pete.""Nice to meet you." She said holding out a hand. "I'm Summer."I shook her hand. She had a firm grip and didn't let up until I did. I just stood there for a moment looking at her. She had mesmerizing blue eyes and a crooked little smile. I realized I was staring when her brow went up. I felt myself blush."Are you thirsty? I could use something cold." Summer asked. I nodded."If you don't mind, there's a pitcher of iced tea in the fridge. I'm going to go put something on besides a towel.""Not on my account I hope?" Why not, I figured, she seemed to have a sense of humor about getting caught. I smiled over my shoulder at her as I reached for the cupboard door. She laughed aloud at that.She stood again, wobbling, and took her bikini in hand and walked towards the living room and gasped grabbing for the door jamb. In the process the towel let go and she stood there grasping the towel in one hand the door in the other. Her long smooth back tapered to a narrow waist and flared back out to beautifully curved hips. On her back was a pretty sunflower tattoo with vines around it. There looked to be a figure in the center of it."Oh to hell with it. I don't think I've got anything left to hide at this point." She muttered and hobbled out of the room. I opened up the freezer and got a tray of ice out, and filled the glasses. I heard her fumbling around a bit and she started to hobble back out. She'd pulled a light blue flowered sundress on, and taken a minute to brush out her hair. She hobbled over to an easy chair in the living room and sat down. "Would you be a doll and bring that in here?"I walked into the living room and she was gingerly setting her foot on the coffee table. I handed her a glass and set the other down. I took the towel she'd tossed on the sofa and folded it up into a little bundle and went to take her leg. I stopped myself and looked up at her, from under fallen bangs."May I?" I asked. She held her glass with both hands, licking tea from her upper lip, and nodded. I lifted her calf, the skin smooth and warm in my hand, and slipped the folded towel under her ankle to pad it from the table. I set it down carefully and she let out a sigh. I sat down on the sofa and took up my glass. I was looking into the glass at the ice cubes floating around. I set it back down and went to the kitchen, found a plastic bag and filled it with the rest of the ice. I looked down at her, she sat there wide eyed as I reached to carefully set it on her ankle."Thank you," She said softly, with a smile "again.""You slammed the door on purpose didn't you?" She asked."Well you were beginning to look like a lobster out there, fresh from the pot. I wasn't sure if you were asleep and I didn't want you to burn, or worse." I said.She smiled. "Thank you." She said, and after a moment she added, "West Virginia.""Rockport here, welcome to Maine." I toasted her with my tea, and we clinked glasses. Neither of us said anything we just sat there enjoying our tea."You said this was on your way? Where were you going?" Summer asked."I was headed down to Davy's marina down the road." I said. Then pointed. "If you go down Sea Road and bear right. He runs a couple of boats for fishing, sightseeing and whale watching. I was going to see if he needed any help this summer."She nodded, and looked down at her ankle. Water running down her leg from the condensation on the bag."If he doesn't give you a job on a boat, you might want to consider going to medical school." She chuckled. "You're a quick thinker and have a gentle touch. I don't mean to keep you from where you were headed but since this is really feeling like hell." She pointed at her foot. "I was wondering if you could do me another favor before you leave.""Sure, what else do you need, lunch?" I asked.She laughed. "Well that would be nice, but I was just going to ask you to go into the bathroom and grab the ace bandage that's rolled up on the counter and the bottle of pain killers for me. I want to get this wrapped again, now that I'm not worried I'll look like a cat with one white paw."I set my glass down, and went to the bath and found the items. I found a bottle of sunburn lotion on the counter and brought that too."I see you came prepared to burn." I looked at the bottle."Well when you're as white as I am, it happens often, especially this early in the season." Summer said as she reached up for the items. She reached down and took the ice off, and dried her foot off on the towel. She crossed her legs, her dress riding up high as she reached to start unrolling the bandage.I laughed. "That looks more awkward than a lobster trying to climb a tree." I reached out for the bandage and took it from her. "Let me show you how it's done." I sat on the edge of the coffee table and laid her leg across mine. I wrapped her ankle neatly slipping the clips on at the end with a flourish. I looked at her toes peeking up, the nails a sparkly pink color. A small throat clear broke me out of my reverie, only to notice that I'd been absently stroking her shin and calf. I snatched my hand away, and felt my face turn bright red again. I looked down at the rug and apologized."For what? Doing a better job than I would wrapping my ankle? Or maybe the lame lobster jokes." She flipped a hand at me and took the bottle and popped it open. She poured out her dose and knocked them back with a swallow of her tea."I should take these with food." She took her foot off my lap and set it gingerly on the floor, grabbing the arms of the chair preparing to get up."Whoa! Where are you going?" I asked."I was going to go see what was in those bags to eat." She said."Sit down. I'll get you something." I answered quickly.She rolled her eyes at me. "You've done far more than you should have for a tired, broken down old lady." She rolled forward again, and I put my hand on her shoulder to keep her balance back."I'll get it." I said firmly. "What would you like?""You are too sweet." She said, relaxing back into the chair. "What did you bring?"I went into the kitchen to rummage through the bags. Given a little creativity and a few minutes time I whipped up a sandwich and chips. I peeked around the door jamb to ask if she wanted mustard or mayo on her turkey. The sight that greeted me stopped me in my tracks. Summer had sat forward on the chair, and slipped the straps off the sundress pushing it down to her waist. She sat there slowly rubbing in the sunburn cream into her skin. She finished her arms and began working on her chest rubbing slowly giving each nipple a pinch and tug. My jeans felt about ready to explode at the sight of her. I popped my head back around the door and called out asking my question. She replied, mustard. I responded that it was ready then, to give her time to cover up.I walked into the room with the plate in front of me and the bag of chips dangling beneath to try and hide my arousal. I sat quickly as I handed her the plate, hoping I'd covered myself well enough."Ooh thanks!" She said setting the plate down and reaching for half the sandwich. She just stopped and looked at me. "You didn't make one for yourself?" I shook my head. "Here," she handed me the other half, "I hate eating alone."I shrugged and took the other half, and we ate quietly. I asked her how she twisted her ankle. Exploring wet rocks on the outbound tide, she'd slipped and thought she'd broken it. She had gotten an X-ray and it was only a bad sprain."Ironic. I ended up having to postpone starting work at the very hospital that I was going to be starting at next week." She said."Oh? You a doctor?" I asked."RN, and I was serious earlier, you have a gentle touch, and you wrap a mean ankle." She followed with a smile."Sports." I said by way of explanation. She nodded.She opened her mouth laying a chip on her tongue and took it in whole giving it a crunch. I didn't know why, but she fascinated me on an entirely new level. I'd seen naked girls before, well in magazines and movies, anyway. Here sat a woman who, unlike those from around here, wasn't scandalized by having her body admired. This isn't the end of the world, but not far from it."How old are you Pete." She asked. I told her the truth, that I was nineteen, and I'd just graduated last month. She offered me the chips, and I took a few."What are your plans from here?" She asked."I honestly don't know. I have no idea what I want to be when I grow up." I said chuckling.She set the chips aside and wiped her hands on the towel. She took up the bottle of cream and popped the cap up. She nonchalantly pulled up the hem on her dress to a nearly indecent level and leaned forward and began rubbing the cream into her leg. She continued to ask me about the area, what there was to do after school got out. She worked her hand further up her thigh, the warm pink flesh supple under her fingers. She pulled back again, the hem of the dress slid up, and a peek of pink lace appeared. She asked if I had a girlfriend. Which made me pause. She started on the other leg working from the ankle up to the knee. She stopped and looked at me when I didn't reply."No?" She asked, no doubt noticing that I'd been watching every movement she made.I just shook my head looking down at the floor. "No. I've gone out a few times, but never really had a girlfriend."She looked down her leg again, massaging her up her thigh slowly. Watching her was not helping the situation in my jeans one bit."That's too bad. Seems an awful waste of resources if you ask me." She smirked."Huh?" I said looking up at her with a quizzical look.She bit her lower lip and looked me in the eye for a moment, then down at my lap, and nodded.I must have turned deep red, she looked up at me and smiled, then busted out laughing."Oh my God! You're as innocent as the day you were born, aren't you?" She asked grinning ear to ear.I stammered."Oh hell." She waved her hand. "Don't be embarrassed hon. I'm sorry, I didn't mean to get you a hard time." She reached over and gave my wrist a quick squeeze. The feel of her warm hand sent a shock up my arm. She leaned back in the chair, not bothering to adjust her dress. The little pink lace peeking out kept drawing my eye. I could feel her eyes studying me as I tried not to look.She started softly. "Am I the first woman you've ever seen naked?" She followed with, "in person?"I cleared my throat. "Well, that close, yea." I said softly. "Last summer, my friend and I found a cove where some girls go to tan in the summer, but we stay well back. They mostly only took their tops off. Jeff had binoculars." I felt my ears turn red.Summer smiled again biting her lip. "So, the peeping tom thing isn't new." She giggled. She was enjoying teasing me. A moment of silence passed while I looked anywhere but at her. "Stand up Pete, and come here." I looked at her and did as she asked. She slowly reached up, and tugged the straps of her dress to the side, and looped her arms up through, pushing it down her torso. Her breasts popped free, the cherry red nipples stiff in the cool breeze coming through the house. She looked up at me from under a lock of hair, still biting her lip. Time seemed to stop, and I wasn't sure what to do next, but instinct pushed me to reach out and cup her breast. It was warm and soft in my hand, and I stroked it gently. I reached up with my thumb and rubbed the nipple. A sigh as she inhaled deeply, her eyes were closed while I explored. I rolled it between my thumb and finger it was as hard as a pencil eraser."That feels nice." She said softly. I stroked the curve up to her chest, and back down between them following it around.Time started again when I jumped back startled. I hadn't expected it when her hand reached up and pressed against the front of my jeans."Oh!" She giggled. "I didn't mean to scare you. I just thought you might enjoy a little rub too." She nodded at my jeans. "Let me see it."I went wide eyed like a deer in caught in headlights."Come on. It's only fair, you saw mine." She urged. Her hand slid down raising the hem of her dress showing off the pink lace panties with black lace trim. She circled the front with her finger, pressing as she did. She reached over and took the last swallow of her tea and caught an ice cube from the glass. Swirling it around her mouth. She opened her mouth showing me that she was rolling the cube around with her tongue.Without conscious thought my hands reached for my zipper to release the pressure built up behind it. I pulled it down as she watched intently. I unbuttoned the fly of my boxers and the pressure was gone as my hard cock pushed its way out seeking relief.Summer made an approving sound deep in her throat at the sight of it. "Ooh that's nice." The ice cube clicked on her teeth and she crushed it quickly, chewing the bits of ice. She looked up at me and made a come hither motion with her free hand, the other still working on the pink lace. I stepped forward as if she were drawing me towards her with an invisible tether. She reached up slowly this time and took me gently into her hand. Stroking the shaft and rubbing the tip with her thumb. I gasped, my breath coming in short panting breaths. "That's it, easy now." She said in a soothing voice, as if calming a frantic animal. "You aren't going to last very long."My body was humming like a taut wire as she gently stroked me. In a move that surprised me, she leaned forward and took me into her mouth. The cold sensation from her chewing the ice nearly pushed me over the top. I gasped. She licked my cock like a kid with an ice cream cone, her icy tongue dragging away at me. I knew I was about to cum, and she did too. She stepped up the pace of her licking, and took me into her mouth once more sliding down further until I lost it. I felt my hips jerk forward and she put her hand on my thigh to keep me from choking her. I grabbed for the first thing at hand, and it happened to be the back of her head, and I erupted. My body stiffened as I gasped for air. I felt as if she was drawing me inside out. I exploded in her mouth, her tongue cleaning up the mess I'd made."Is that the first time a girl has done that to you?" She asked softly, lapping my still hard cock. I nodded between gasping breaths."You poor thing. Have you ever thought of what it would be like to lick a girl down there?" She asked innocently. I looked down to find her fingers had slipped into the panties and were making deep circular motions. I had to think, because if I hadn't before now, I certainly was beginning to. She kept darting her tongue out, giving me soft licks and quick flicks with her tongue and thought I could do that.She stood up awkwardly not putting her weight on her bad ankle, and reached up beneath her sundress tugging at the fabric. Soon her panties were around her knees. She turned and tossed the towel onto the chair and spread it out."Oh screw it." She said pushed down the fabric of her sundress as it slid over her hips. She sat down pushing her dress and panties off and tossed them on the couch. She leaned back on the chair as I watched her chest rise and fall with her slow deep breathing. My eyes followed down her taut stomach, a small silver heart dangled from her belly button on a chain. My eyes scanned further down and found the top of her little narrow strip, the soft tuft of dark blonde hair leading to deep pink lips. I stood there with my mouth hanging open as she set her leg back up on the coffee table, opening up a little more for me. I licked my dry lips, which must have been a sign."That's what I like to see. A willing student." She smiled and winked at me. "Grab a pillow and kneel down. I'll give you a quick lesson on the special anatomy of a girl." She chuckled. I did as she asked and knelt before her. She proceeded to point out the highlights softly, in an encouraging voice. Explaining how best to please a woman down there.I leaned forward, my nose filling with the scent of her. I reached forward licking upward between her spread fingers. She let out a deep sigh and I began licking and nibbling. I tilted my head up and began swirling her clit with my tongue like she'd done to my cock. She threw her head back and her jaw dropped as a low moan escaped her lips.She panted quickly. "Slip your finger inside me, and make a come here motion." She mimed it with one finger.I did as she asked, slipping my middle finger into her as far as I could. It was wet, and warm and I could feel her tighten down on me. I started off slowly stroking in and out of her, then remembered how she'd shown me and I rubbed up and forward and back again. I had forgotten what I was doing and noticed she'd reached down to start stroking her clit with incredible speed. I leaned down putting my tongue to it again, and began flicking it with my tongue as fast as I could. Summer arched up off the chair and began yelling, 'Oh my God.' She stayed that way for nearly a minute before collapsing back into the chair gasping for air. My hand was soaked with her juices. I wasn't sure, but I figured I'd done well. I used the corner of the towel to wipe my hand. I looked at her swollen, wet and deep pink lips and just leaned forward and began lapping up the mess she'd made, slowly with the tip of my tongue. She inhaled sharply and her legs came together quickly."Easy there." She said pushing my head away gently. "It's very sensitive after." She released the grip she had of my hair and ran her fingers through it. She was just looking at me smiling while I licked my lips."So how did I do teach?" I asked.She chuckled. "I'd say you did pretty damn well for a first-timer. I'll give you an A plus for effort and an A for technique." She smiled. I was hard as a rock, and wondered if I was going to be allowed to follow through with the next thing that came to my mind."Are you a typical young guy with a raincoat in your wallet?" She asked, reading my mind. I looked at her with my quizzical look again. She just rolled her eyes and shook her head. I sighed looking down, and shook my head slowly. I got a slightly scolding look in reply. I wasn't sure if it was because I didn't have one, or that she was unhappy about it as well."Get up." She said giving a slight push to my forehead. I leaned back and stood in a single motion. I nearly fell over backwards when I realized I still had both legs caught with my jeans around my knees. Summer leaned forward to grab my arm and help me balance. She nodded down at them and without saying a word let me know that I should get them off. She gripped my hand solidly and pulled herself carefully out of the chair and hobbled a step aside. She reached down taking the rumpled beach towel off the chair and flipped it in half and lay it on the center cushion of the sofa. She turned me back to and gave me a push so I fell back onto it."Don't move." She said leveling a serious gaze at me. She hobbled back off to the bedroom. A little rustling later she came back with something closed in her fist. She pulled the coffee table up close and sat gently on the edge of it facing me."First things first. It's never her responsibility to make sure you're prepared." She said holding up a little foil packet. "If you aren't prepared, then keep it in your pants, or her hand if you're lucky enough." She smiled. "The only time it'll be up to her to help is now. If she'd like to." She reached forward and began slowly stroking me, her fingers firm and soft at the same time. "You see, you can't wrap the rascal unless he's primed and ready." She smiled. "I'll show you how best to use this so you don't end up a daddy too soon, or worse."I smiled and rolled my eyes."Hey, we can stop right now if you like." She said levelly at me. The shock on my face must have been plain as day. "That's what I thought." She smiled and looked down at my hard cock. "I'd hate to stop now myself." She peeled the wrapper down the side pulling out the little ring. She held it close for me to see. "See how it's rolled up? Place it with the rolled side up over the tip like this." She reached holding my cock in one hand and setting the condom on the tip. "Unroll gently down the shaft like this." She said sliding her fingers down my shaft unrolling it fully. "All the way down. That's important since she's not going to want to fish the thing out of her if it comes off in the middle of your good time. It also makes it pretty useless if that happens." She gave the base of my cock a little squeeze. She pulled my knees together, and stood up kneeling on the sofa straddling me."This is a good position for us to start with. It gives a woman the ability to control the depth and speed with which you entering her. Missionary isn't bad, but if you get a little over zealous it can end up hurting her. If you want to her to ever want you back in her again then it's best to make sure she has a good time too." She said reaching down between us she ran her finger up and down her swollen lips."Remember to open her gently beforehand, the more care you take with her, the more likely she'll be calling you for more." She sat up, and lined herself up over my cock and took my shoulders as I took her by the hips. She looked down at me for a moment, one eyebrow going up."Oh." I said reaching between us and stroking her still wet lips placing fingers on either side and gently opening her up. As I did she lowered herself on me. The sigh that escaped my lips was loud. I nearly passed out from the feeling of the warmth and tightness, as she slowly rode the entire way down my length. A soft purr came from her throat.She sat there for a moment and proceeded to just tighten herself around me and relax. I started pushing urgently with my hips."Easy does it." She whispered into my ear then licked her way down nibbling the lobe and kissing my neck. "A woman's nipples are very sensitive, and shouldn't be neglected." She took my hand and ran it up to her small breast. Lifting it away slightly and rubbing her nipple with my fingers. She bit her lower lip as I took the hint and stroked her breasts and rolled the nipples between my fingers. I leaned forward taking it in my mouth rolling it around, lashing it with my tongue. Summer sighed deeply and rolled her hips forward and started rising up and lowering herself on me. My other hand found its way behind her gripping her ass and pulling her down onto me with each stroke. She started a long deep stroking rhythm that I thought was going to drive me over the top again. She must have noticed my urgency as my hips rose to meet her down stroke hard. She stopped on an upstroke and let me slip out of her and I thought I was going to die when my eyes popped open pleading with her. She smiled at me."What's your hurry? Aren't you enjoying yourself?" She said sweetly.I nodded furiously. "Yes I am." I gasped."Good. The journey can be as much fun as the destination, so take your time." She got off the couch. I looked at her pleading with her not to stop now. "Let's see how well you improvise." She said.She turned around and knelt down on the pillow that was on the floor, and leaned forward setting her elbows on the chair she was sitting in before. Her beautiful ass, up in the air her lips open and pouting in invitation. I scrambled off the couch and knelt behind her, nearly ready to drive my cock into her when I paused and opened her up slipping back into herShe whipped her hair over one shoulder and looked at me over the other. "You're in the drivers' seat now. It's going to be up to you to be aware of the clues a girl is giving you. If she's pulling away from you, you're fucking her to hard. If she's pushing against you, well she wants you to put the pedal to the metal, so to speak." I pushed forward feeling myself fall into her and never wanting to leave. I began pushing and she met me stroke for stroke as I sped up. I couldn't take it any longer. Summer let out several long high pitched moans followed by a gasping, 'Harder!' and I went into overdrive. Plunging her depths with abandon I finally drove her forward hard, pushing her hips against the chair as I exploded. I stiffened as I felt every ounce of strength drain from my body. Summer shuddered hard in my hands bringing me out of my daze."Are you okay?" I gasped between breaths.She rose up slightly, hair a complete mess covering her face. She started to laugh, gasping for air. "I was just thinking, this vacation started off lousy, but it's improving nicely."I chuckled. "Welcome to Maine, Vacationland." She busted out laughing at that. I backed away falling free of her, the cool breeze came in from the screen, cooling the sweat on my skin."Let's get cleaned up." She stood shakily, with the help of the arms of the chair. I stood as well. She turned and slipped an arm around my shoulders. "Help me to the bathroom, would you please?" I looked at her, and turned slightly and reached down picking her up off the floor. She let out a whoop of surprise. "I only needed a shoulder to lean on honestly." She said smiling."So lean on it." I said smiling. I negotiated the narrow path to the bathroom and brought her in careful not to bang her against the doorjamb. I set her on a little stool next to a big claw foot bathtub."Let me get that." Summer reached over and popped up a tissue and reached up sliding the condom off of me and wrapping it and tossing it in the trash. She looked up at me, her hair still a mess. I reached down pushing it off her forehead. She smiled. "Grab a washcloth for me, would you please?" She nodded at a small shelf, and I took one down and handed it to her. She reached over to the bath running water onto it and a little squirt of her bath gel. She frothed it up and began washing herself off. She rinsed and repeated. She dried herself with another towel hanging from the bar. She looked up at me from under her bangs, scanning down. "Really?" She said in a resigned voice as she saw that I was once again ready.I shrugged. "The benefit of youth?"She laughed. "I guess!"She rinsed the cloth again and began gently washing me with it. The cool water and warm hands were soothing but not doing a thing for the fact that it was loaded and ready to go yet again."Would you hand me that light blue bottle there." She asked. She poured a small amount into her palm and set the bottle aside. She rubbed the oil between her hands and rubbed it between her legs oiling herself up. The sight of this was not doing me any good either. A crooked smirk spread across her face as she watched me watching her in fascination.She reached up with her oily hand and began stroking my shaft. The hardness slipping through her firm grip with little friction. The other hand began fondling my balls. They were already tight, and ready to go again. She slid her hand further under and began massaging me underneath in a tight circle. The feeling blew my mind as I couldn't contain myself and came hard, with a loud splatter, on Summer's chest."Not sure if it's good for burns, but I've heard it does wonders for the skin." She said, leaning forward cleaning the last few drops off with her tongue. She then used her cloth to wipe up the cum I'd splashed on her chest.. I just watched her, her movements so graceful and efficient.She looked up at me with a smirk. "Pete, how would you like to give me a hand for a couple weeks while this ankle heals?"My eyebrows went up. "How?" I asked."The usual mow the lawn, grocery runs, cleaning, maybe even an occasional turkey sandwich. It'll allow me to keep off this as much as possible and not feel like I'm an invalid. I'll warn you now though it's not only doctors that make lousy patients."It was my turn to smirk. "What's it pay?" I asked wiggling my eyebrows.Her mouth dropped open. "You little shit! I'm not hiring you to be a gigolo!" She laughed. "But there's always the possibility of a bonus. I could continue your lessons. Practice makes perfect they say." She smiled at that."I don't know." I said, my spent cock hanging inches from her lips. Oh I knew alright, but I played along. "I'll have to see what Davy has to offer this year. Those rich folks that come in to fill up can be pretty good tippers too."She raised an eyebrow at me again. "Okay if you'd rather work for him I'll understand." She said in mock resignation. She stood on her good foot, testing the floor with her bad. I instinctively wrapped my arm around her waist."You drive a hard bargain." I said pulling her to my side so she could put her arm over my shoulder.She looked me up and down me and smiled. "This vacation isn't turning out bad at all."To be continued in part 2, by Member389 for LiteroticaSummer In Maine: Part 2Lesson Two, and Two and a half.A 7-part series by Member389. Listen to the Podcast at Explicit Stories.This summer job wasn't turning out the way I'd thought. So far I'd mowed the lawn, done the dishes, (thankfully there's a dishwasher) hauled trash, done laundry, dusted and vacuumed. When Summer asked if I wanted to help her out for a few weeks I sort of expected there would be fringe benefits to go with, or instead of, getting paid. Instead it was actual work. She wasn't shy, about her body or mine, she often would wrap her arm around my waist to help with her balance. She occasionally stroked my ass through my jeans. I didn't hesitate to return the favor but I always ended up with only a smile in return. I figured after that first day when I took the job I might get some more personal time with her. The other night I helped her to run a bath, and she shooed me out of the bathroom. One night we watched a late movie I slept over, and ended up on the couch. Something didn't seem right about all of this. Nearly a week had gone by, and it was as if that first day hadn't even happened, and I was too shy to say anything. I hitched the grocery bag I was carrying a little higher, tonight, I'd say something tonight.I walked up to the kitchen stoop and pulled open the screen door and I heard a gasping cry. I dropped the bags on the table and darted into the living room, she wasn't there. Another cry, and I looked to the right and saw the bedroom door was open. I walked quietly towards the door, and Summer was laying back on the bed naked except for her bandaged ankle. She was sliding a pink vibrator up and down between her thighs. She tilted it slightly and slid it into her, her other hand pulling on her nipple. I was instantly hard watching her pleasure herself. She let go of the nipple and slid her hand down and began flicking her clit, rubbing it fast. She arched her back crying out "Yes!" She pulled the vibrator out slipping her fingers in as she came. She continued rubbing her clit slowly and stroked her fingers in and out for a few before falling flat to the sheets like a deflated balloon. Her breathing was fast and shallow."How long have you been watching?" She asked, not looking up. She looked absolutely radiant, her skin flushed pink through her tan. Her hair was a tangled mess of sun streaked gold, she looked fantastic."Just a couple minutes." I said quietly looking down at the floor. I heard the old brass headboard creak and I peeked up. She had raised her head and was looking at me."What's the matter?" She asked gently. I shrugged and walked out to the kitchen, and started putting away the groceries."I picked up some local shrimp for lunch. I'll put them on ice in the fridge." I said loudly from the kitchen. I turned and Summer was leaning against the doorway to the kitchen watching me with her arms crossed in front of her, buck naked. She gave me a shrewd glance."Please tell me what's bothering you."I looked at her for a moment, then turned away and put a couple other items in the fridge."Nothing." I said, unconvincingly."It's just..." I started. I looked over at her and said."Never mind." I walked out to the yard looking around to see if I should mow the lawn again already or not. I heard the screen door bang shut behind me. I felt her hand on my shoulder as she stepped up beside me."I love it here. The salty sea air, the big sky, everything seems so much simpler." She said softly. I instinctively wrapped my arm around her waist, her skin was warm and damp."Why?" I asked softly."Why what, Pete?" She asked with surprising sincerity. "Why haven't we had sex since Monday? Is that what you want to know? Are you asking me if you were a one afternoon-stand? What Pete? Ask me." She urged.Her words inflamed me and my frustration flared. "Yes!" I turned to face her, her arm sliding down from my shoulder. "Was I just a one shot deal? Screw me, then have me cook and clean for you?" I immediately sensed I'd gone too far and full well expected a slap. I'd deserve it if she did. I opened my eyes wide.She stood there looking at me, her eyes smoldering. She coolly pointed out. "Which one of us is the one standing here naked?" I stood there a moment longer, every muscle in my body taut like a drawn bow. I snapped and took hold of her and kissing her hard as our lips parted, tongues lashing out at each other like sparring fencers. Her arms wrapped around my waist pulling us together."Damn, I thought I you'd never come around." She said between kisses. I leaned back and gave her a queer look."What?" I asked, completely confused. She grinned ear to ear."Lesson number 2, confidence is sexy. Hell it took me walking around naked to get your damned attention. What the hell is wrong with you?" She bopped me on the forehead. I shrugged, feeling completely confused. I had no idea what she was talking about."This exercise, which you nearly failed miserably I might add, was to see if you would take the lead. I personally tend to be a bit passive. Therefore, as the guy, you need to learn to take the lead, just like dancing." She held my hand up and snugged her hand around my back and gave a little sway."The other night when you fell asleep on the couch I laid awake waiting for you for nearly an hour. I finally took matters into my own hands, maybe I should have made more noise.""I knew girls were crazy. I honestly was hoping to get more insight from you, not more confused." I said smiling. "You were waiting for me?""You haven't seen crazy yet, give me a week." She winked.I groaned, then kissed her again, holding her against me, my hands stroking down her back to her ass massaging it as I pulled her to me. Holding her was like holding a flame, seductive, hypnotizing and hot, and I didn't care if I got burned."Tell me you've had the good sense to pick up some protection." Summer mumbled between kisses. Without breaking our kiss I reached back for my wallet and held it up."Please tell me you bought more than one." She growled. I felt her hands come between us resting on the waist of my jeans unbuttoning them and grabbing for the zipper. She pushed my jeans and boxers down far enough for me to escape captivity. She let out an appreciative hum as she ran her hand up and down my hardened length. She broke our kiss long enough to grab the hem of my polo shirt and drag it up pulling it over my head. She leaned down and took one of my nipples into her mouth. I gasped out loud at how the sensation shot through me. It felt as if my cock was getting even harder and I didn't think that was possible."Holy shit! Does it feel this way when I do this to you?" I gasped.She hummed an agreement as she switched to the other side, then stepped back and looked at me smiling.I stood dumb-founded for a moment. I quickly realized she was waiting for me to do something. She placed her hands on her hips and gave them a slight tilt. "I'm all yours, all you need do is tell me how you'd like me, or better yet, show me." She winked. I kicked off my shoes and pushed my pants the rest of the way off and looked at her for a moment. The sun kissed her body so exquisitely, her pink nipples hard and pointing straight at me. Her hair was blowing in the breeze surrounding angelic face like a golden halo. I stepped forward, wrapped her up in my arms again and kissed her deeply. I ran my hand up between us taking her breast in my hand cupping it twirling the nipple in my fingers. I work my mouth down her jaw, kissing her neck and I feel her shudder and gasp. I moved down the center of her chest trailing kisses to the other nipple and teased it with my tongue before taking into my mouth suckling it gently. A moan escaped her lips. Her hand was pulling me towards her, fingers running through my hair. I wanted her so badly but I didn't want this to end. I pulled away looking up at her face, her mouth hung open her eyes half closed."Your ankle has to be killing you right now." I said, noting she'd been standing for a while now. I walked over and brought one of the Adirondack chairs over and set it behind her and she smiled. I laid my clothes on it to keep her from burning her ass on the sun heated wood. She just looked at me without sitting. "Sit down." I told her, and she tilted her head in assent and sat. I knelt down in front of her and kissed her nipple again and began trailing kisses down her stomach. She took the cue and leaned back on the chair. I flicked her little belly button ring aside and licked her belly button. She let out a whoop and jumped, chuckling."Ticklish?" I chuckled. She grasped a handful of my hair and gave me a little push further down, but I was going at my own pace and I made my way down nuzzling her little blond stripe. I kissed my way around her pouting lips, my tongue darting out giving little licks. She tasted sweet, the scent of her was driving me mad, I couldn't take it any longer and slipped my tongue into her as I massaged her clit.She arched her back and moaned. "Yes!" I lapped up to her clit taking it in my lips and giving it due attention. Her cries got louder and I stepped up the assault on her. Her leg came up over my shoulder and she pulled me hard into her with her heel. I let up a bit, I didn't want this to end too soon, it seemed that I wasn't the only one enjoying it. I slipped my middle finger into her, and felt her grip it tightly. Her hips started rocking forward. I was pretty sure I could finish her off quickly if I had a mind to, but I didn't. I continued bathing her clit, varying the pressure on it. She let out a few short gasps. "Please?!" She begged. I knew then I had to finish her and slipped another finger in to join the first and intensified my tongue lashing. Her hips lifted off the chair as she climaxed. She held on to me, still moaning, finally collapsing back into the chair panting."You sir, are a natural." She gasped. I returned her smile and licked my fingers."Am I mistaken, or is there a very hard cock in my immediate future?" I grinned even wider and nodded. "How would you like me?""Over hard." I said smiling. Her eyes lit up like a fire had been kindled."Well then, dig that little party hat out and show me how easy it is to put on."I chuckled and dove for my wallet lying on the grass a few feet away. I dug out the foil wrapper and crawled back. I tore open the packet holding the ring carefully and reaching down, putting in place and unrolled it carefully."Very good." She said her eyes flashing. She stood up and knelt down on the grass facing the chair. "Over like this? I'm sure you'll supply the 'hard' part." She added with a wink."Yes." I said, my breath shallow. I had to have her and scooted up behind her and lined up pushing the head in. I took her hips and pushed forward in a single motion burying myself in her.We both gasped loudly. In moments she started moving her hips back and forth and I pulled out and began taking slow strokes at first, but I knew I wasn't going to last. She leaned back pushing hard against me and I responded in kind driving forward, the sound of our bodies coming together pushed me into a frenzy. Her gasps were coming in short cries of, "Yes!" She began shaking in my hands, her moans coming from deep in her throat as she arched back into me and climaxed again pushing me over the edge. I drove her forward nearly knocking her and the chair over as I stiffened arching my back. I froze in place for what seemed an eternity, and not long enough both at the same time as I came deep in her.She leaned back against my chest, the heat of her skin against me was incredible, she reached behind us grasping my ass pulling our hips tight together. "I love how you feel inside me." She whispered. I leaned down and began kissing her shoulder, working my way up to her neck and nibbled on her ear."I love how you feel too." I said, my voice a little weak.She breathed a deep contented sigh. "What now?" A small smirk spread across her lips."I don't know about you but I worked up an appetite." I said. "Those shrimp sound good about now.""All this and you cook too. You're not going to be single long." She chuckled and reached up behind her and stroked my cheek. "I think we may need to move for that though." She said lightly, reminding me that I still had her pinned against the chair. I leaned back, pulling free of her. I stood stepping back, I gathered up my clothing. Summer put her good foot down and stood, steadying herself on the arms of the chair. "Let's go clean up and have lunch." She smiled slipping an arm around my waist and we went into the house.I started a pan for the shrimp, a little olive oil, some garlic and some red pepper flakes tossed on top of fresh spinach. My killer homemade vinaigrette to top and she would be mine. Well she already seemed to be. I stopped and stared out the little window above the sink out over the water. That thought caught me by surprise. What exactly was going on here? An hour ago I was pissed off for being shunned, now I was making her lunch with a silly, satisfied grin on my face.Summer hobbled into the kitchen wearing a pale blue tank top and panties with little pink hearts on them."Don't you own pants?" I asked smiling."Sure, would you rather I be fully dressed, or comfortable?" She asked."Oh I don't mind your outfit, as long as you don't mind your lunch burnt to a crisp." I laughed."What are you making?" She replied chuckling."I'm going to woo you with my culinary skills. My own special shrimp and spinach salad with homemade vinaigrette." I said."Wow, sounds awesome. You're a man of many talents. I think you're a little late in the wooing department though." She said smiling.My chest tightened at that. Nobody ever thought of me as a man before. Everybody has always treated me as a kid until now. The shock of it must have been evident in my expression."What?" She asked, her eyes widening. I didn't answer her, I just leaned forward and kissed her softly, she responded in turn."Nothing." I said, my grin returning."Need a hand?" I handed her two lemons with directions to squeeze the hell out of them then juice them for me into a bowl. I diced up the shallot, and garlic tossing them into the big bowl, salt and pepper followed. In went a huge dollop of spicy mustard, I looked at how much juice Summer had squeezed out of the lemons and eyeballed it pouring it into the bowl, straining out the seeds. I dug a whisk out of the drawer and started whisking in olive oil."Most vinaigrette recipes ask for vinegar, obviously. I like mine with lemon juice, especially with seafood." I said. I stopped whisking dribbling a little onto my finger to try it. "That's the ticket." I said offering a taste to Summer who agreed with a little sound. I set the big bowl aside and had her start splitting the cherry tomatoes. The shrimp were rinsed and patted dry on a towel, and I threw some garlic into the pan starting it with some of the olive oil. I salted and peppered the shrimp and in they went tossing them around to coat them all with the hot oil. They were ready in a couple minutes and the kitchen smelled terrific. I stacked the plates with spinach and started building the salads with the tomatoes, red onions, shrimp and as a topper sliced almonds."If this tastes like it looks, you're staying on as cook after this heals." She said lifting her foot behind her."Prepare to have your mind blown." I said handing her a plate and a fork. I had brought a small baguette with me which I'd sliced up and we ate."A girl could get used to this." She smiled popping a shrimp into her mouth. Cooking for a girl is a sure way into her panties."I laughed. "Even if she wasn't wearing any?""Well she's wearing some now." Her eyes flashed."But for how long?" I said playing along."You have your driver's license don't you?" She asked, changing the subject."Yea, I just don't have a car of my own yet." I said, wondering why she asked."Do you know of anybody that would loan you one, like your folks?""Yea I'm sure I can get one. Why, do you want to do it in the backseat?" I wiggled my eyebrows at her."Hell yea, but I'd also like to get a ride to go get my Jeep. It's been down at the clinic for a week now. They told me it would be safe but I'm getting a little stir crazy stuck here in the house." She replied.I looked out the window. "I can ride down and bring it back, it's only about four or five miles." I said."Ride?" She asked."I have a bike, I can put it in the back and haul it back if you don't mind.""Not at all." She smiled.I did the dishes and cleaned up after lunch, and Summer kicked back on the sofa folding a load of laundry I'd done earlier. I took a look at the grass, yea the lawn could wait a couple more days. "What else needs to be done?" I asked from the kitchen. I got no answer. I walked into the living room and she was bobbing her head as I walked around the edge of the couch I noticed she'd put in earbuds and was listening to her mp3 player. She was lip syncing some unknown song. She looked up at me and grinned, pulling one of the buds loose."I couldn't live without my music." She threw a towel at me to fold."Listening to anything good?" She mentioned a band I'd never heard of, and moved the folded stuff from beside her and patted the seat beside her. I sat and she handed me the ear bud."Check it out, you might like it." I put it in my ear and listened for a song or two, folding another towel. A hard rock song started and she turned it up a bit and started singing along. She got to the chorus and really joined in full blast. The lyrics were pretty explicit. I was thinking you wouldn't hear music like that on the radio around here. There was a pause, then a soft intro began. The ballad was soft and low, and Summer stopped and closed her eyes, her lips barely moving with the lyrics. When I noticed I stopped and listened intently to the lyrics, it was about intense, heart-felt, you are my world, kind of love. The kind of love that lasts longer than a lifetime. When it ended she reached down and stopped the playback. She looked straight out the window for a moment and turned to me, a shy sweet smile on her lips."Do you believe in love Pete?" She asked me. I stared at her in wide-eyed amazement for a minute, and began slowly nodding."I do now." I said, my voice barely above a whisper. I wanted to kiss her so badly, but something in her eyes made me hesitate. There was sadness there, and they welled up as if she were doing her best to hold back tears. A wash of emotion swept over me like a storm driven wave, and I leaned forward lifted her chin and kissed her softly. Our lips brushed, our tongues sought out one another, delicately probing. Something wet touched my cheek making me break the kiss long before I wanted to. I pulled back and a tear streamed down Summer's cheek. I reached for one of the towels and daubed it. I took a deep breath and was about to ask why she was crying when a curt little head shake waved off the question."Please don't ask, not yet anyway." She said, her voice thick with emotion. "I'm sorry." She said wiping the remaining tear with the heel of her hand."You don't have anything to be sorry about." I replied softly.She inhaled deeply and let it out slowly. She turned to me with a smile on her mouth but sadness in her eyes."I saw there's a free concert in the park tonight. Want to go? A rock blues cover band is playing. Sounds like they might be good."I knew they were good, my friends brother was in the band, and I'd heard them before. I smiled and nodded. "Sounds like fun, and they are good, I've heard them before.""I should ride down and get the Jeep. There's no way you're walking that far." I said sternly."Yes dear." Summer rolled her eyes at me. She giggled, and got up hobbling off to the bedroom and came back with a set of keys handing them to me."It's black, and I'm guessing the only one with West Virginia plates. It's at the walk-in clinic on Route 12."I nodded. "I know exactly where you mean. I'll go get it. You relax, take a nap if you want. I should be back in an hour or so." I smiled. I kissed her again, the underlying want in our embrace was nearly too much. She placed her hand on my chest, with the barest hint of pressure. She was right, if I kept it up we weren't going anywhere. I reluctantly stepped back, picked up the folded towels and put them away. I walked back out and she had laid down on the couch with her foot up on a pillow. I smiled that she'd taken my suggestion."Can I get you anything before I go?" I said softly leaning over the arm of the couch. She just smiled and gave her head a little shake. She reached up pulling me down closer for a quick upside-down kiss. I headed for the kitchen door, pausing as I closed it quietly, looking back into the house. I turned and started walking home.I walked, lost in thought. This week had been a week of firsts for me. I grinned at the thought of the first day when I lost my virginity to an amazing woman. The aggravation of the following days of not knowing exactly what was happening. If I had just opened my eyes I would have noticed she was waiting for me. Then today when she all but pushed me into making love to her again. I wondered why, well why me anyway. I knew so little about her. What was going on here. We'd known each other about a week, what was that question about believing in love. I could easily fall in love with her, I had to admit. Was I doing just that? So many questions came to mind as I walked up my driveway, I grabbed my bike out of the garage and hopped on. I made my way down to the coast road and started pedaling in earnest up the first rise. The traffic drifted past me as I sought answers to my questions. I pedaled harder nearly coasting up the next rise. Why was I over analyzing this? I was living out a fantasy any red-blooded male would die for. A beautiful, sexy woman wanted to have sex with me, repeatedly. Isn't that enough for me? I laughed out loud at that thought because I realized, it isn't.I rolled down the long slope of the hill seeing the clinic up ahead. I pulled into the parking lot and rode around looking for the Jeep and found it near the side of the building. I checked the plate and got off my bike, took out the keys and opened up the driver's side door. The heat billowed out of it from being parked in the sun so long. The smell of a roasted sweet smelling air freshener poured out and nearly gagged me. I walked to the back and looked at how I was going to get my bike in there and noticed there was a folding bike rack on the spare tire mount. I figured it out in a few minutes an

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

Hey folks, Grandpa Bill here! Today's Happiness Day, and I'm curious – what tunes instantly lift your spirits? Studies say music makes us happier, and I wanna hear YOUR happy playlist! Let's build a joyful vibe together."Grandpa Bill's Happiness Playlist: Share Your Feel-Good Songs!"Join Grandpa Bill on his Holistic Healing Hour Podcast & YouTube channel BH Sales Kennel Kelp Holistic Healing Hour, and @billholt8792 as we celebrate Happiness Day with a musical twist! What songs put a smile on your face? Share them in the comments, and let's create a community playlist of pure joy. Let's spread those positive vibes!#HappinessDay, #HappyMusic, #FeelGoodSongs, #PositiveVibes, #CommunityPlaylist, #GrandpaBill, #HolisticHealing, #MusicForHappiness, #BHSalesKennelKelpHolisticHealingHour, #@billholt8792, #Podcast, #YouTube, #MusicCommunity,Today's Happiness Day

By the mid-70's the Beach Boys appeared to be a band that had been left behind.  Sales had been only moderate for their previous albums, and the band was struggling to determine their direction musically.  In the summer of 1973 the movie "American Graffiti" featured several Beach Boys songs, creating nostalgia for the earlier surfing music.Between the revived interest sparked by "American Graffiti" and the success of the Beatles "Red" and "Blue" compilation albums, the Beach Boys released a collection of hits from their early 60's catalogue called Endless Summer.  This featured songs from their Capitol Records days, 1962-1965.  It was a near-instant success reaching the top of the charts in the United States four months after its release, and becoming their second number 1 album on the US charts.  After the success of Endless Summer, the Beach Boys would reposition themselves as an oldies act, continuing in this vein for many years.  Brian Wilson would pen one further Beach Boys studio album in 1977 which would meet with meager sales.  Afterwards the band would focus on their classics until seeing a resurgence in the late 80's generated from another popular film, Tom Cruise's "Cocktail" Wayne brings us this surfin' themed compilation for this week's podcast. Catch A WaveA true surfing song, this tune is about being on a surfboard, waiting for the right wave to come along.  This song was originally released on the 1963 album "Surfer Girl," and a rewritten version was recorded by Jan and Dean as "Sidewalk Surfin."Little Deuce CoupeThis track is about a 1932-vintage Ford model 18 hot rod used in drag racing on the streets of California.  "American Graffiti" had featured the deuce coupe prominently, along with the Beach Boys song.  The lyrics were written by local radio DJ Roger Christian.Shut DownAnother song about drag racing, "shut down" means you are about to beat the person in the race.  The phrase "tach it up" may have lost some meaning in the era of automatic transmission, but the tachometer would run high for a drag race.  The song is told from the perspective of the driver of a 1963 Corvette Sting Ray in a race against a 1962 Dodge Dart.Fun, Fun, FunThe inspiration for this song was a story the Beach Boys heard during a radio interview.  The station owner described his daughter "borrowing" his 1963 Thunderbird to go to a drive-in hamburger shop.  The opening riffs were inspired by Chuck Berry's "Johnny B. Goode."   ENTERTAINMENT TRACK:Uptown Saturday Night by Dobie Gray (from the motion picture “Uptown Saturday Night”)Sidney Poitier starred in and directed this action comedy which co-starred Bill Cosby, Harry Belafonte, Richard Pryor, and Flip Wilson. STAFF PICKS:The Joker by the Steve Miller BandLynch leads off the staff picks with a well known song from Steve Miller.  The names in the first line reference several of Miller's previous songs, as well as the made-up word "pompatus."  It barely cracked the top 40 in the US, hitting 40 on the Billboard Hot 100.  Miller borrowed some lyrics from the song "Lovey Dovey" when he talks about wanting to "shake your tree."The Air that I Breathe by the HolliesRob brings us a slow burning but iconic ballad that the Hollies covered.  The original was from Albert Hammond, and previously covered by Phil Everly.  The Hollies version was the most successful, going to number 6 on the Billboard Hot 100.  Alan Parsons was the engineer on this song.Hollywood Swinging by Kool & the GangBruce's staff pick is the first number 1 R&B Single from Kool & the Gang.  It was a crossover hit as well, going to number 6 on the Billboard Hot 100.  Rick Westfield is the keyboardist for it and sings lead.  The song is a true story of the keyboardist wanting to become "a bad piano-playing man" with the group. Rock and Roll Heaven by The Righteous BrothersWayne's features an ode to the rock stars who had died at an early age. This song is another example of a song that was covered, and did better than the original.  Climax performed this song in 1973 but did not chart, while the Righteous Brothers took it to the top 10 in the United States.  Lyric would be added in the years to come as more rock stars passed. INSTRUMENTAL TRACK:Chameleon by Herbie HancockThis jazz funk instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Fonseca, AMV and the family are live from the Orpheum Theare in San Francisco Back to the Future: The Musical is a musical with music and lyrics by Alan Silvestriand Glen Ballard and a book by Bob Gale. It is adapted from the 1985 film Back to the Future by Robert Zemeckis and Gale. The show features original music, as well as songgs featured in the film ("The Power of Love", "Earth Angel", "Johnny B. Goode" and "Back in Time").Originally planned to première in London's West End in 2015, the year to which the film trilogy's characters traveled in Part II,[a change in directors delayed the production. The musical premiered at Manchester Opera House in February 2020, ahead of a 2021 West End transfer. It starred Olly Dobson as Marty McFly and Roger Bart as "Doc" Brown, with Hugh Coles as George McFly. The production received positive reviews in London and won the Laurence Olivier Award for Best New Musical in 2022.The musical began performances on Broadway in June 2023 and ran until January 2025. Bart and Coles reprised their roles, and Casey Likes played Marty. A North American tour began in June 2024.

ReferencesJ Lipid Res. 2016 Aug;57(8):1492–1506. J Exp Med . 2023 Aug 29;220(11):e20222105Haydn, J. Michael. 1800. Cello Concerto in B Majorhttps://music.youtube.com/watch?v=Ku9ffFEpD1s&si=Q40BeMIu80QigUkETelemann, G.P. 1733. Taflemusik completehttps://music.youtube.com/playlist?list=OLAK5uy_mK3VavgrojEQtggjZXu-OyCC8o_f1AtOY&si=TTY79acbCrnxUbUeBerry, Chuck.1958. "Johnny B Goode. Grateful Dead; live coverhttps://music.youtube.com/watch?v=qjqDN0nT-8M&si=99kYkCxdfLsN9Qcz

A roaring Scarlet>Fire leads off this week's Deadpod from the second set of the band's performance at the Rainbow Theater in London England on March 20, 1981.  They keep up the momentum throughout, going into a nice Sailor>Saint, then slowing things down with a beautiful He's Gone.. the transition to Drums is worthy of note, as is the transition, led by Phil Lesh, into a rousing Truckin'  that leads off the post-drums segment. Wharf Rat is heartfelt and emotional, but they lead us back into some serious rockin' with Around and Around and Johnny B. Goode, not to mention a nice U.S. Blues encore.  Grateful Dead Rainbow Theatre London, England 3/20/1981 - Friday      Two      Scarlet Begonias > Fire On The Mountain > Lost Sailor > Saint Of Circumstance > He's Gone > Drums > Space > Truckin' > Wharf Rat > Around And Around > Johnny B. Goode Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod031425.mp3  beware the Ides of March! :)   

¡Hacemos un repaso por las mejores versiones de este éxito de 1958!

Happy Valentine's Everyone!  This week on the Deadpod we conclude the band's performance from February 19, 1982 in San Diego CA.  Again, this comes from an audience tape so while the fidelity isn't quite up to soundboard levels, it does give you a great sense of being there..  The pre-drums portion of the set is well played, with the highlight being a sweet Lost Sailor>Saint of Circumstance. The killer portion of this set comes as Drums ends, the band goes into a great Other One -- Phil really seems to be enjoying this one as he leads the charge throughout.. A sweet Stella Blue follows then an unusual ending as instead of Around and Around we get Man Smart, Woman Smarter into Johnny B. Goode not as the encore but as the set closer. The US Blues encore is a snappy ending to the enening..    Grateful Dead Golden Hall - San Diego Community Concourse San Diego, CA 2/19/1982 - Friday Two      Alabama Getaway [5:41] > The Promised Land [4:09] Ship Of Fools [7:39] Lost Sailor [6:54] > Saint Of Circumstance [6:44] > Jam [5:13] > Drums [10:55] > Space [8:05] > The Other One [10:33] > Stella Blue [9:47] > Man Smart (Woman Smarter) [5:27] > Johnny B. Goode [3:34] Encore      U.S. Blues [5:06]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod021425.mp3 Thanks for the love! 

Wherein Eric and John once again examine some of the gnarled roots underneath the heavy metal family tree, exploring the development and formative influence of golden age 1950s rock 'n roll, and, just maybe, find the very first heavy metal song ever all the way back in 1956! Click on the links below for all the music listening breaks in this episode: Listening break #1- "Rocket 88" by Jackie Brenston and his Delta Cats (1951) https://www.youtube.com/watch?v=260hXID0Yo0 Unofficial listening break- "Roll 'Em Pete" by Big Joe Turner and Pete Johnson (1938)https://www.youtube.com/watch?v=-cNW2dZMyWE Unofficial listening break- "Train Kept A-Rollin'" by Tiny Bradshaw (1951)https://www.youtube.com/watch?v=eiScL3wIUwI Listening break #2- "Rock Around the Clock" (Max C. Freedman and James E. Myers) by Bill Haley & His Comets (1954) https://www.youtube.com/watch?v=Ud_JZcC0tHI Listening break #3- "Johnny B. Goode" by Chuck Berry (1958) https://www.youtube.com/watch?v=aKCt8ssC7cs Listening break #4- "Tutti Frutti" by Little Richard (and Dorothy LaBostrie) (1955) https://www.youtube.com/watch?v=NnIIvWnpaBU Video break- Elvis live on Ed Sullivan: “Ready Teddy/Hound Dog” (September 9, 1956)https://www.youtube.com/watch?v=k6vTdPWUJRg Listening break #5- "Train Kept A Rollin'" by Johnny Burnette and the Rock and Roll Trio (1956) https://youtu.be/hbw_jI4S924?si=WZgmBkTdALESm0t9 Listening break #6- "Rumble" by Link Wray & His Wray Men https://youtu.be/ucTg6rZJCu4?si=DWyyYNcaX69_LoK4 Listening break #7- “That'll Be the Day”  by Buddy Holly and the Crickets (1957) https://www.youtube.com/watch?v=M4TfFTmITLo Please do consider joining us at our shiny, new Patreon page for just $3/month! Not only will you gain access to exclusive content, but you'll also get that sense of pure joy that can only come from supporting the world's wackiest, most insightful heavy metal podcast. Link below: ⁠http://patreon.com/HeavyMetal101⁠ Visit us at: ⁠⁠https://podcasters.spotify.com/pod/show/heavymetal101podcast⁠⁠ ⁠(you can leave us a voicemail if you're so inclined!) Contact us at: ⁠⁠⁠heavymetal101podcast@gmail.com⁠⁠⁠ Social media: ⁠⁠⁠https://www.facebook.com/HeavyMetal101Podcast⁠ ⁠⁠⁠⁠https://twitter.com/heavy_101⁠ ⁠⁠https://www.tiktok.com/@heavymetal101podcast⁠ ⁠⁠⁠https://www.instagram.com/heavymetal101podcast/⁠⁠ ⁠ New episodes of Heavy Metal 101 are released monthly on the 3rd Monday of each month. Thanks for listening! Underscore credits: Stephen Foster Melodies - Nat Shilkret and the Victor Salon Group - 1928 "When Summer is Gone" (Harrison & Whittle) performed by Jack Hylton and his Orchestra 50s Style Old School ROCK N ROLL Free Download LIBRE KOPYA No Copyright Funk Bass Guitar Royalty Free nathanolson Swing Jazz Drums in style of Gene Krupa | Royalty Free Music For Videos Links Included KL Production Rock The Roll - no copyright vintage rock n roll, royalty free (gemafrei) Freesound Music Boogie Woogie (1944) — Meade Lux Lewis Epic Pirate (Music For Videos) - "Seven Seas" by Alexander Nakarada

Collating and organising some of Chuck Berry's most iconic previously released singles into one legendary release, ‘Berry Is On Top' stands as a milestone in rock ‘n' roll history. Released in 1959, this third studio album by Chuck Berry essentially functions as a mini greatest hits compilation, showcasing the raw energy, revolutionary guitar riffs, and lyrical genius that defined his career. Packed with timeless classics like ‘Johnny B. Goode', ‘Roll Over Beethoven', ‘Maybellene', and ‘Carol', this album cemented Berry's legacy as one of the true pioneers of rock ‘n' roll music. Whether you're a die-hard Chuck Berry fan or exploring the roots of rock for the first time, ‘Berry Is On Top' remains an essential listen, brimming with the rhythm, blues, and youthful rebellion that shaped a generation!Episode Playlist: https://open.spotify.com/playlist/4mum0f0N5LT8VDLYRqOHWN?si=7c2d4e9bfc784fe9#ChuckBerry #BerryIsOnTop #RockNRoll* Follow Long Live Rock 'N' Roll online: https://linktr.ee/longlivernrpod* Get in touch and/or leave us a review: longliverocknrollpodcast@gmail.com* Watch us on YouTube: https://www.youtube.com/@longlivernrpod* Listen & Review us on Apple: https://podcasts.apple.com/gb/podcast/long-live-rock-n-roll/id1581139831* Listen & Review us on Spotify: https://open.spotify.com/show/2wZW1BYAw9wJ6Z5blo2uGj

References Guerra, DJ. 2025. Biochemistry Lectures. Int J Mol Sci. 2023 May 16;24(10):8811. Front Endocrinol (Lausanne). 2020 Dec.3; 11:587189 Berry, Chuck. 1958. "Johnny B Goode". Dead. Winterland 71' https://youtu.be/dWvdY-j0_Kw?si=HhKedcHgHhMOY3Di Brahms, J. 1878. Violin Concerto. D Major. Op 77 https://youtu.be/9L6a-JJCCzw?si=mh8Q_4dKuPWvEfwB

It's the final episode of the series and Vasco Emauz is In The Frame! Vasco recently took over as Marty McFly in the West End production of Back To The Future. Having opened in London in 2021, Back To The Future has a book by Bob Gale and new music and lyrics by Alan Silvestri and Glen Ballard, alongside additional songs from the film including 'The Power of Love' and 'Johnny B. Goode'.Vasco graduated from the Institute of Barcelona last year and has moved to London to make both his West End and professional debuts in Back To The Future. In this episode, recorded in his dressing room, Vasco discusses his whirlwind journey with Back To The Future so far!Back To The Future is booking at the Adelphi Theatre until 27th July 2025. Visit www.backtothefuturemusical.com for info and tickets. This podcast is hosted by Andrew Tomlins  @AndrewTomlins32  Thank you for listening to In The Frame in 2024 - it has been an amazing year! We're taking a break in January, but expect lots more episodes in 2025. Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Happy holidays from all of us at the Help on the Way podcast! This week, our hosts FiG and Knob trade their mixing bowls for the Yale Bowl. Yes, it's Christmas in July- July 31st, 1971 to be precise - and the Grateful Dead are playing in New Haven, Connecticut. Discussions abound about the first Mr. Charlie, the Kennedy Center Honors, and a The Who concert that both our hosts were at… Truckin' Sugaree Mr. Charlie Mama Tried Big Railroad Blues Hard To Handle Loser Playin' In The Band > Dark Star > Bird Song El Paso Me And Bobby McGee  Bertha Big Boss Man Me & My Uncle Deal China Cat Sunflower > I Know You Rider Sing Me Back Home Sugar Magnolia Casey Jones Not Fade Away > Goin' Down The Road Feelin' Bad > Darkness Jam > Not Fade Away Uncle John's Band > Johnny B. Goode

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Phil Lesh: A Tribute to a Musical IconIn this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.TakeawaysThis episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites"This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters00:00Introduction and Context of the Episode03:45Exploring the Grateful Dead's November 4, 1977 Show11:34The Jones Gang Incident and Band Dynamics16:49Music News: Goose and Gen 3 Jam Bands20:51Tributes to Phil Lesh and Reflections on Legacy25:30Remembering Quincy Jones: A Musical Legend30:06Dave's Picks Volume 52: A Review36:30Celebrating Music and New Releases38:53Exploring the Grateful Dead's Legacy44:17Marijuana News and Legalization Efforts01:01:01Deep Dive into Grateful Dead Performances01:09:55Closing Thoughts and Reflections LARRY'S NOTES:Grateful Dead November 11, 1977 (47 years ago)Cotterrell GymnasiumColgate UniversityHamilton, NYGrateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive Dave's Picks #12 This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit's legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick's Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.  Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year. One of those shows that lots of Deadheads wished they had seen. This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show. On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.  INTRO:                     Dupree's Diamond Blues                                    Track #8                                    2:50 – 4:52 "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll bluesThe term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here. Debuted in January, 1969 and played a total of 17 times that year. Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year. Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery). From '82 to '90 played at least once a year, '85 was the outlier with 16 performances Only played two more times, both in 1994. This is a great version with Jerry's lyrics and playing both very strong. The 8th song of the first set following:  GO TO ARCHIVE LINK A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree's into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. Played:         82 timesFirst:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USALast:              October 13, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                    Track #10                                    :15 – End Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening's proceedings.  Or there is this:Two nights before the Dead played in Toronto at Seneca College's Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever. Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening. Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke it was all pre planned, “Thank you (insert name of city where they are playing). And then launched into a killer Samson (even though it was a Friday).  Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later.  Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show.  Sure took Henry back.  MUSIC NEWS:      Music Intro:                                    Cold Rain & Snow                                    Goose                                    10.25.2024                                    LJVM Coliseum                                    Winston-Salem, N.C.                                    Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)                                    0:10 – 1:05 Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene.  Not the first time they have covered the Dead, but it's a damn good cover of a tune that traces its Dead roots to their very first album and even before that.  Jerry loved it.  Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG.  And Goose nails it here.  They really bring it every time they play.  The jam band that I figure will outlast me! Mickey and Mike Gordon statements on Phil's passing: Quincy Jones dies: Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2] Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3] Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016). Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1] "I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X. Dave's Picks, Volume 52 (The Downs At Santa Fe, Santa Fe, NM • 9/11/83)Time to order Dave's Picks 2025 subscription.  I say it every year.  SHOW No. 2:         Eyes of the World                                    Track #15                                    11:10 – END                                     INTO                                     Estimated Prophet                                    Track #16                                    Start - :20 The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes.  This is the end of Eyes jam and segue into Estimated.  Very cool to hear it played “backwards”.  This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to.  On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”.  It sure worked out well for the rest of us.  SHOW No. 3:         The Other One                                    Track #17                                    :52 – 3:00             We've featured this song so many times, discussed the whole That's It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam.  They only sing the first verse of the standard Other One and then head straight into Drums.  This clip just features the jam with Jerry leading the way.  So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks.  Maybe not the best of '77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back.  Some of the best post-1970 psychedelic Dead that you will ever hear.  Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to.  Just buckle in and enjoy the ride. Played:         550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago MJ NEWS:    SHOW No. 4:         Playin Reprise                                    Track #21                                    3:00 – 6:34 "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan). During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[ It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances. In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”. On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise.  Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP.  Very cool – an entire album just for one song.  Like Phish' Ruby Waves at Alpine Valley in 2019 got its own album. Then later they might add a song or two in between the main portion and the reprise. Then later they might hold it for the encore the same night the main song had been performed. Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3.  Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night.  Usually during the show, but as stated, sometimes in the encore. Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise. David Dodd:  To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they'd played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur. While it usually ran 3 or 4 minutes, this show's reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics. For Phish fans, think Twe-pri.  For non Phish fans that's the song Tweezer and its “reprise” and that band takes all sorts of liberties with it.  Not so unlike the Dead's style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker's Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run. Reprises are great! Played:  648 times (no separate breakdown for how may Reprises were played but I'm sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO  OUTRO                     Johnny B. Goode (Bob – “Happy Homecoming”)                                    Track #22                                    0:12 – 2:08 We've also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did.  Its guitar intro is as famous a song opening as any in the genre.  I love this version because of Bobby's greetings to the students wishing them a happy homecoming!  Imagine going to your high school or college homecoming dance and the band is the Grateful Dead.  Now that's a story to tell.  Not sure and I don't think it really matters whether that weekend was or was not Colgate's homecoming.  It just showed that stoned and all, Bobby knew he was on a college campus. Almost always played as an encore or show closer if no encore.  Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere. Great way to end a great show.  The boys just blow the walls down on this one.  Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin' version I've ever heard this band play!! It's the fucking SHIT!!”  I couldn't have said it any better myself! Played:   283 timesFirst:  September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USALast:  April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA  - very interesting, not played at all on the final summer tour.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Matthew Bannister on Dick Pope, the cinematographer who worked closely with Director Mike Leigh on films like “Secrets and Lies” and “Mr Turner”. Mike pays tribute. Sister Sally Butler, the American nun who blew the whistle on historic child sex abuse in her New York parish. Professor Tim Darvill OBE, the archaeologist best known for his work on the history of Stonehenge. Patti McGee, the first woman professional skateboarder. We have a tribute from skateboarding legend Tony Hawk.Interviewee: Sir Roger Deakins Interviewee: Mike Leigh Interviewee: Fr Ron Lemmert Interviewee: Dr Miles Russell Interviewee: Hailey Villa Interviewee: Tony HawkProducer: Gareth Nelson-DaviesArchive used: Life is Sweet, 1991, Film4 Trailer, Director, Mike Leigh. Film4 Production, released date in the UK 22/03/1991; Dick Pope in conversation with Roger Deakins on NAKED (Mike Leigh, 1993), Cinematographers on cinematography, YouTube channel 10/02/2022; 'Naked' Q & A with Dick Pope, British Society of Cinematographers, YouTube, uploaded 05/08/2022; Naked film promo, Director Mike Leigh, British Film Institute, BFI YouTube channel 8 Oct 2021; Mr Turner, Film Promo, Director Mike Leigh, eOne UK , eOne UK YouTube channel, 15/05/2014; America's Catholic Church In Crisis, Reporting Religion, BBC World Service, 29/03/2002; Sister Sally Butler interview, The National Catholic Reporter (NCR), NCROnline YouTube Channel 14/07/2017; Sister Sally Butler interview, A Matter of Conscience: Confronting Clergy Abuse, Director: John Michalczyk, Producer: Susan A. Michalczyk, Vimeo upload, Editor Gautam Chopra, 01/02/2015; The Standing Stones perform Johnny B Goode by Chuck Berry, Dir: Dr Miles Russell. Patti McGee interview, The Mike Douglas Show, KYW-TV, NBC, 1965;

The Beatles' rise to fame (1962-63): The podcast covers their signing to EMI, recording their first single, and early TV appearances. https://youtu.be/Go4X-3aZDv0 Context matters: Early 1960s Britain shaped The Beatles' development, with the podcast highlighting the social and cultural factors at play. Personality & charisma: The Beatles' humor and charm were as crucial as their music in winning over fans and the industry. Collaboration: Brian Epstein, George Martin, and others were instrumental in The Beatles' success, which the podcast examines in detail. Historical accuracy: The podcast stresses credible sources and distinguishes facts from myths when exploring The Beatles' history. The Beatles' Early Days Hamburg's influence: Their time in Hamburg was transformative, improving their music and stage presence. Quote: “Hamburg very much unlike Liverpool… they don't know how to do Beatles tourism.” The podcast contrasts Hamburg's handling of Beatles history with Liverpool's. Early rejections: The podcast recounts labels like Decca and EMI turning them down, showcasing their uncertain early career. The Decca Audition: It analyzes the audition's recordings, providing insight into their pre-fame sound. Brian Epstein's role: As their manager, he refined their image and secured a record deal, remaining honest even under pressure. The Beatles and EMI George Martin's initial reaction: Martin was initially skeptical but grew interested after meeting the band. Quote: “Martin didn't know it, but he was as lucky as The Beatles were.” This reflects the chance nature of their collaboration. June 6th recording session: A pivotal moment in Martin's perception, marking a turning point in the band's journey. Recording dynamics: The podcast explores how The Beatles and Martin created a shared vision and changed industry practices. Methods of Historical Research Primary sources: The podcast relies on interviews, letters, and news articles for authenticity. Fact vs. fiction: It emphasizes being critical of sources and separating myths from reality. Avoiding presentism: The podcast warns against modern interpretations of past events, stressing historical context. Quotes of Note • “The interwebs are full of empty infotainment in the same old, same old about Beatles trivia. You deserve the real story.” - Ariana Grande • “The Beatles didn't quite achieve their stylistic target. It was their failure that made them succeed.” • “They wanted their live and studio set of songs to sound something like American Pop R&B… but they failed. They sort of created their own genre.” • “Think of Jed Clampett out shooting at some food… He missed what he was aiming at… but up from the ground, he found oil under his land to make him very rich.” • “There would be no Beatles without R&B. In fact, there would have been no rock and roll at all.” - John Lennon • “Black music is my life. The Beatles and Sergeant Pepper and all that jazz—it doesn't mean a thing. All I talk about is 1958 when I heard Little Richard's ‘Long Tall Sally' and when I heard Chuck Berry's ‘Johnny B. Goode' and when I heard Bo Diddley. That changed my life completely.” - John Lennon • “The Beatles are like rock and soul men singing their pop with boy-man energy that matches girl-group energy.” • “They weren't whitening the music like a bunch of Pat Boons. It becomes a thing of its own but it remains soulful.” • “For us in the group, all that matters is that we try to get it right. If we make an error, we don't dig in. It's really just the opposite. We love to get corrections.” • “We treat ourselves and each other as knowers who might know something, to have something to offer, have some insight that's worth hearing potentially. We're all students… there are no teachers. We're all fallible. We're all students.” • “So much of Britain was black and white and bleak until The Beatles came along.”

Howdy! I figured it was about time to get back in the saddle and get another Deadpod out to my wonderful audience.. First off thanks for your kind get well wishes! They all have meant so much..forgive me for not answering each of them, but I'm having some serious trouble typing with alot of numbness in my right hand since my operation.. This week I thought it appropriate to listen to a fine show from the great state of North Carolina, I could only wish that I could help the folks there who have been ravaged by the terrible storms..  This is a well played show from the fall of '89.. a nice Foolish Heart starts things, and frankly I enjoyed every song in this first set. The highlight might be 'Bird Song' where Jerry  uses a number of ineresting MIDI effects...  The Johnny B Goode encore is also a nice touch..      Grateful Dead Charlotte Coliseum Charlotte, NC 10/22/1989 - Sunday One       Foolish Heart [8:03]   New Minglewood Blues [7:28]   Mississippi Half-Step Uptown Toodeloo [5:56]   Queen Jane Approximately [6:00]   Ramble On Rose [6:47]   Beat It On Down The Line [3:13]   Bird Song [14:12]   Johnny B. Goode [3:55]  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod101824.mp3  Again thank you for your patience and your kindness..

January 3-9, 1998 This week Ken welcomes comedian, filmmaker and all around good dude Jeff Cerulli to the show. Ken and Jeff discuss documentary films, hot dog eating contests, TV Eating Contests, The Simpsons, Senior Year of High School, The Spin Doctors, mail order CDs, TV Guide appearing in movies, The Ice Storm, The Postman, Equal, smoking bans, beepers, the top 12 Simpsons episodes (circa 1998), winning the REAL Simpsons house, Ice-T, Marky Mark, having no concept of modern country and Christian music, The Wiz, Comics Come Home, Road Rules, The Real World, Star Wars Special Edition, Jackie Mason, Caddyshack II, how Vaudeville could be alt com, Pacific Blue, Baywatch, the extended Baywatch Universe, The Black Out Effect vs. The Trigger Effect, Demi Moore in Striptease, horny viewing, Mannequin being a three star movie, Beavis and Butthead, VH1 Pop Up Video, The Brothers McMullan, Poison Ivy series, Boy Meets World, voice over, Richard Lewis, bOkU, Drew Carey Show, the horrors of White Grape, Buffy the Vampire Slayer the movie, The Cronenberg Dynasty, Scanners II, MTV as a home channel, when we all hand to witness Anthony Michael Hall break out of being a nerd, Johnny B Goode, Bill Paxton, Weird Science, Seinfeld's final season, the return of Larry David, Bulls, Michael Jordan, Oliver Stone vs. Oliver North, Celebrity Jeopardy, and a particularly angry Cheers and Jeers.

Nueva entrega de la serie Hits del Billboard recordando canciones que alcanzaron su puesto más alto en listas de EEUU en este mismo mes de hace 60 años. Todas estas canciones, aunque fuesen de muy distintos estilos, pasaron a convertirse en la música popular del momento. Buena andanada de bandas británicas, con The Animals haciendo cima con su primer single en EEUU. Roy Orbison se reconsolida como icono del pop y Chuck Berry se despide de las listas con el que será su último éxito en años. The Shangri-Las comienzan a escribir su leyenda y el hot rod de secano de Ronny and The Daytonas encuentra también su hueco.(Foto; The Animals a comienzos de 1964 con la formación que grabó “The house of the rising sun”)Playlist;(sintonía) JIMMY SMITH “The cat” (top 67)THE ANIMALS “The house of the risin’ sun” (top 1)ROY ORBISON and THE CANDY MEN “Oh pretty woman” (top 1)THE NEWBEATS “Bread and butter” (top 2)THE DAVE CLARK FIVE “Because” (top 3)GERRY AND THE PACEMAKERS “How do you do it?” (top 9)THE SEARCHERS “Some day I’m gonna love again” (top 34)THE BEATLES “And I love her” (top 12)THE ROLLING STONES “It’s all over now” (top 26)CHUCK BERRY “You never can tell” (top 14)JOHNNY RIVERS “Maybelline” (top 12)DION DIMUCCI “Johnny B Goode” (top 71)LESLEY GORE “Maybe I know” (top 14)THE SHANGRI-LAS “Remember (walkin’ in the sun)” (top 5)THE ORLONS “Knock knock (who’s there)” (top 64)RONNY and THE DAYTONAS “GTO” (top 4)P.J. PROBY “Hold me” (top 70)JACKIE ROSS “Selfish one” (top 9)Escuchar audio

On the July 3 edition of Music History Today, two artists pass away under controversial circumstances, a couple of artists make their debuts, Ziggy played guitar for the last time, and a movie renews interest in a rock and roll pioneer. Also, happy birthday to Aaron Tippin.  For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠  On this date: In 1895, Scott Joplin copyrighted his song A Picture Of Her Face. In 1958, the Andy Williams TV Show debuted on ABC. In 1969, James Brown & George Benson were among those who performed at the Newport Jazz Festival. In 1970, the Atlanta International Pop Festival started. Grand Funk Railroad & Jimi Hendrix were among the performers. In 1970, American Top 40 syndication radio countdown show premiered with Casey Kasem. He would host it for 34 years. In 1973, at a concert in London, David Bowie retired the Ziggy Stardust persona. In 1975, Chuck Negron of Three Dog Night was arrested for cocaine possession in his hotel room during the first night of the band's tour. In 1976, Brian Wilson played with the Beach Boys for the first time in 12 years. In 1982, police broke up a riot at the Stopera concert hall in Amsterdam. In 1985, the movie Back to the Future premiered. What's the music connection? The movie renewed interest in Chuck Berry; specifically, the song Johnny B. Goode. Also, we learned that Marty McFly invented rock and roll. Who knew? In 1990, Slick Rick was arrested for attempted murder and other crimes related to trying to kill his cousin, who had threatened his family. Slick Rick was later given a pardon. In 1995, the group TLC filed for bankruptcy protection. In 1995, Jewel performed on TV for the first time. In 1996, Cliff Richard sang during a rain delay at the Wimbledon tennis tournament. In 1996, Layne Staley played with Alice in Chains for the last time. In 1996, Will Smith & Jeff Goldblum's movie Independence Day premiered. In 1998, the group Westlife formed. In 2002, Will Smith's movie Men in Black II premiered. In 2004, Glenn Danzig got into a fight with a member of the band North Side Kings backstage during their concert. Glenn had the North Side Kings kicked off of the tour so a member of the Kings punched him in the face. In 2009, singer Cheb Mami was sentenced to prison for kidnapping his ex-girlfriend & trying to force her to get an abortion. In 2011, Little Richard performed on stage for the first time since he had surgery that didn't go well a couple of years earlier. In 2020, Ryan Adams apologized online for his behavior towards women, a year & a half after several women, including his ex wife Mandy Moore, publicly accused him of the behavior. Ryan blamed his behavior on alcohol abuse but said that he had gone to rehab & had gotten better. In 2020, the filmed performance of the Broadway musical Hamilton premiered on Disney Plus streaming service. In 2021, Black Shelton married Gwen Stefani. In theater: In 1954, the musical Wonderful Town closed on Broadway. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Happy July 1st! Rabbit Rabbit! from the Marc Cox Morning Show with Guest Host Ryan Wrecker!! This Hour: Pro Palestinian protesters stopped the St Louis Pride Parade Vivek Ramaswamy says media hid Biden's decline Kim on a Whim:  Kim vs. Missing Hiker.  Kim and Guest Host Ryan Wrecker talk about a story of a missing hiker who was lost for 10 days while hiking. Michael J Fox joins Coldplay to play a Johnny B. Goode medley Coming Up: Charles Stimson, Nicole Murray, and In Other News with Ethan

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 22, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:23 - "Arrogant Al" Entered the Fray! 6:14 - Paul's Compositions for Concert Band 15:19 - Part 1 of Paul's Interview With M.D. HOUSE 51:03 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:07:05 - Part 2 of Paul's Interview With M.D. HOUSE 1:41:54 - LIVE SINGING Segment, wherein "Cannabis Carl", "Hicksville Harry" and "Paranoid Pete" came in to sing, "Johnny B. Goode". As Al always says, what could possibly go wrong? 1:57:48 - Wrap Up As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, May 22, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 5:23 - "Arrogant Al" Entered the Fray! 6:14 - Paul's Compositions for Concert Band 15:19 - Part 1 of Paul's Interview With M.D. HOUSE 51:03 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:07:05 - Part 2 of Paul's Interview With M.D. HOUSE 1:41:54 - LIVE SINGING Segment, wherein "Cannabis Carl", "Hicksville Harry" and "Paranoid Pete" came in to sing, "Johnny B. Goode". As Al always says, what could possibly go wrong? 1:57:48 - Wrap Up As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

"Grateful Dead's Notable Tracks from 1977 plus a cure for Female Orgasmic Disorder"Larry Mishkin covers the Grateful Dead show from March 18th, 1977, at the Winterland arena in San Francisco, showcasing notable performances of songs like "Sugaree" and "Peggy-O." He delves into the history and significance of these songs within the Grateful Dead repertoire. Additionally, the discussion extends to the cannabis industry, highlighting the financial strategies of marijuana companies to minimize tax obligations under Section 280E of the IRS Code. He also touches on the opening of Nevada's first legal marijuana consumption lounge, signaling a shift in cannabis regulations in the state. Finally, Larry addresses the proposal to add Female Orgasmic Disorder (FOD) as a qualifying condition for medical marijuana use in Illinois, reflecting evolving perspectives on cannabis as a therapeutic option for various health conditions. Grateful DeadMarch 18, 1977 (47 years ago)Winterland, S.F.Grateful Dead Live at Winterland Arena on 1977-03-18 : Free Borrow & Streaming : Internet Archive TITLE:  1977 Winterland:  The Dead Bust Out Fire On The Mountain and Take Their One and Only Attempt At Terrapin Flyer. Just a month after the Swing Auditorium show that we previewed a few weeks ago, Dead went home to Winterland for a string of shows.  This one stands out for a few reasons that we will get to as the show goes on. INTRO:                 Sugaree                                Track #4                                7:25 – 9:05               "Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released on January 20, 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.Elizabeth Cotten, a North Carolinafolksinger, wrote and recorded a song called "Shake Sugaree" in 1966.[3] The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree."The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University, as was the song "Mr. Charlie".  The Dead played it 362 times in concert.  Last played on July 8, 1995 at Soldier Field in Chicago.                 A classic rocking Dead tune, usually a first set number, I've seen it as a show opener, first set closer, and encore.  In this clip they really rock it but it's only a small peak at this 15 minute version of the tune.  Well worth pulling it down on Archive and checking out the entire number.  You won't be sorry.  SHOW No. 1:    Peggy-O                                Track #6                                4:20 – 6:00                          Traditional, credit for the Grateful Dead version generally go to Jerry but some say Bill had a hand in writing it.              This song derives from the earlier Scottish traditional song Bonnie Lass of Fyvie-o. Fyvie is thought to have been a staging post between Aberdeen and Fort George in Scotland. This song does occur with a number of title variations. It is possible that Fennario is a corruption of Fyvie-o.Similar traditional songs also occurred in the UK; Handsome Polly O and Bonny Barbara O, though these are less similar to the modern Peggy-O song.The title Peggy-O is used on Grateful Dead recordings. The version of Peggy-O that is included in the Jerry Garcia box set All Good Things is a previously unreleased studio recordings from Spring 1979 and is given the title Fennario. The Fennario title is also used on concert recordings of The Dead and Phil Lesh & Friends.Although not released on a Dead studio album, the song was included on the remastered recordings of both Terrapin Station and Go To Heaven.The Grateful Dead first performed Peggy-O in December 10, 1973 at the Charlotte Coliseum in N.C.. It was then played in every year through to 1995 usually no more than a dozen times each year though it was played more regularly during the 1977 to 1981 period. Played a total of 265 times. The last performance was on July 5, 1995 at the Riverport Amphitheatre in Maryland Heights, MO (just outside of St. Louis).In this clip, I really enjoy Jerry's strong voice, the solid jamming and some stealth piano contributions from Keith. SHOW No. 2:    Fire On The Mountain                                Track # 9                                1:46 – 3:30                 Hunter/Hart (not Jerry!)                 Released on Shakedown Street on November 8, 1978, last song on first side of album.                 First time ever played – one of the reasons I chose this show over a number of other great shows on this date – others include a smokin “early” Dead show in 1967 at Winterland and 1971 at the Fox Theater in St. Louis coming fast on the heels of the Dead's epic six night Capitol Theater run in Port Chester in late February. This is another of those songs with a long and complicated genesis story, perhaps not worth getting into too much detail about here, but the rough outlines at least are important to note. The lyrics, according to Robert Hunter in Box of Rain, were “Written at Mickey Hart's ranch in heated inspiration as the surrounding hills blazed and the fire approached the recording studio where we were working.”Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled Area Code 415, recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled Fire on the Mountain, recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart's 1976 studio album, Diga. And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on Shakedown Street, in November 1978. There's a lot of other detail I haven't mentioned—possibly worthy of some historian taking it apart piece by piece, but you get the rough idea.On March 18, 1977 at Winterland Arena, San Francisco. "Fire" appeared for the first time, closing the first set, following its eternal partner, "Scarlet Begonias." This combination of tunes, which frequently enclosed some wonderful jamming, came to be known as "Scarlet Fire." There were a handful of occasions on which “Fire” appeared without “Scarlet Begonias,” but not many. approx 15 out of the total 253 performances. It remained steadily in the repertoire from then on, and was played for the final time on July 2, 1995, at the Deer Creek Music Center in Noblesville, Indiana.This clip being the song's first live performance and almost a year and half before it's commercial release, there are noticeable differences between this version and the one we al know and love.  But they go there very quickly as only two months later on May 8, 1977 the Dead played the Barton Hall show that many declare to be the best Dead show ever.  While that may or may not be true, what is true is that the version of Scarlet Fire is awesome and certainly befitting a show many do consider to be the finest Dead show of them all.Many more were to follow and the lucky ones who were in Winterland this night got to witness how it all started.   SHOW No. 3:    Terrapin Flyer                                                              Alhambra                                Track # 17                                :53 – end                                 INTO                                 Drums                                Track # 18                                Start – 0:44                 This is another reason I chose this show for today's episode.  This represents the only known instance of the Dead playing the Terrapin Flyer part of the full Terrapin Suite from the Album (released on July 27, 1977) out of the traditional parts.  Although Jerry does not sing the lyrics from this part of the suite, he jams the very distinctive melody.  Interestingly, this is only a few weeks after the debut of Terrapin at the Swing Auditorium on Feb. 26, 1977.  Here, the Dead were trying out this sixth of seven parts of the suite and for whatever reason did not like what they heard or didn't enjoy playing it or, more likely, practicing it, so it was dropped from live performances even though the primary and opening parts of the suite, Lady with a Fan into Terrapin Station, were played a total of 303 times.                 These are the fun little discoveries that even after 40+ years of listening to, following and learning about the band keep it fun, interesting and amazing.                 As for the recording of the entire suite, Keith Olsen was chosen to produce and the band temporarily moved to Los Angeles, as Olsen preferred to work at Sound City, where he had recently achieved success producing Fleetwood Mac's 1975 comeback album.             Olsen had a method for reining in the Dead: "During the cutting of the basic tracks it was pretty hard to get every member of the band in the studio at the same time ... so [Steve] Parish went out to the hardware store and got these giant nails and a great big hammer and as soon as everybody was in, he hammered the door shut from the inside ... we didn't have drifters from the other studios coming in to listen. We didn't have people leaving to go screw around elsewhere. We started getting work done."[18] With Fleetwood Mac, Olsen had a hands-on approach, orchestrating the addition of Lindsey Buckingham and Stevie Nicks and influencing song choice, arrangements and sequencing. He entered the Grateful Dead project with similar expectations, imagining a concept album or song cycle. Olsen said that Davis told him "I need a commercial record out of them."[18] This caused some friction during the sessions as well as with the end results. Kreutzmann said "He'd have us play the same thing over and over again, and we're not really the type of band that can put up with that. ... Our very identity is based on the opposite principle."[                 SHOW No. 4:   Not Fade Away                                Track # 19                                14:00 – 15:40                 Written by Buddy Holly and Norman Petty.  Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, and it was released as a single (B side to “Oh Boy”) on October 27, 1957 on the Brunswick label.  The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.             First played by the Dead on February 19, 1969 at the Fillmore West in S.F., it was played by the band a total of 561 times and last played on July 5, 1995 at the Riverport Amphitheatre outside of St. Louis.             This is an absolutely ripping version of this tune so much so that I featured only the jam – everyone knows the lyrics, but the jam in this 20 minute version is better than any singing I could have featured. OUTRO:               Around and Around                                Track 21                                4:59 – 6:46                 Very appropriate to end on a Chuck Berry tune given that today is the seventh anniversary of Chuck's death in 2017 at the age of 90.                 "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".  Release on March 31, 1958 on Chicago's own Chess Records checking in at a brisk 2:20. Many bands have covered the song including, most famously, the Rolling Stones and David Bowie, and, of course the Dead who played it 418 times, first on November 8, 1970 at the Capitol Theater in Port Chester, NY and lastly on July 6, 1995 at the Riverport Amphitheatre outside of St. Louis – very appropriate since Chuck was born in St. Louis and died in Wentzville, just outside of the city. This is one of the better version of the tune that I have heard.  It checks in at over 8 minutes and the boys just jam it out, throw in a few false endings and finally wrap it up, followed only by Uncle John's Band before the boys say goodnight to the Winterland crazies and head home for a rare post show night in their own beds. .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

Reivindicamos en este episodio a los grupos de chicas con guitarras de los años 60. La inmensa mayoría de las artistas femeninas de aquella década que son recordadas a día de hoy fueron vocalistas, en solitario o en formato de grupo vocal. Pero entre las sombras podemos encontrar unas cuantas rebeldes que decidieron armarse con sus propios instrumentos, hacer caso omiso al “qué dirán” y lanzarse con rabia y energía al mundo del surf, rhythm n’ blues, beat o garage. Este es un pequeño homenaje a aquellas olvidadas pioneras de los grupos de rock’n’roll.(Foto del podcast; The Pleasure Seekers en 1967)Playlist;(sintonía) CHIYO and THE CRESCENTS “Devil surf” (1963)THE GIRLS “My baby” (1965)THE CONTINENTAL CO-ETS “I don’t love you no more” (1966)DENISE and COMPANY “Boy, what’ll you do then” (1965?)THE LIVERBIRDS “Too much monkey business” (1965)THE LIVERBIRDS “Down home girl” (1965)THE DAUGHTERS OF EVE “Help me boy” (1967)THE DAUGHTERS OF EVE “Don’t waste my time” (1967)SHE “Outta reach” (1970)SHE “Piece of you” (1970?)THE ANGELS “Get away from me” (196?)LYN and THE INVADERS “Boy is gone” (1966)MAMA CATS “Miss you” (1967)THE SHANSHERS “Johnny B. Goode” (1964)KATHY LYNN and THE PLAYBOYS “I got a guy” (1964)GOLDIE and THE GINGERBREADS “Skinnie Vinnie” (1964)THE PERCELLS “Hully Gully guitar” (1963)THE PLEASURE SEEKERS “Never thought you would leave me” (1965)THE PLEASURE SEEKERS “What a way to die” (1965)Escuchar audio

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Cannabis Carl", "Paranoid Pete", and "Hicksville Harry" came in to sing, "Johnny B. Goode", by Chuck Berry and Elvis Presley. As Al often says, what could POSSIBLY go wrong???

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, February 28, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 3:02 - "Arrogant Al" Entered the Fray! Part 1 5:20 - LIVE SINGING Segment, wherein "Operatic Olivier" came in to sing, "Some Enchanted Evening". As Al always says, what could possibly go wrong? 26:08 - Part 1 of Paul's Interview With BETH THORP 59:35 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:15:30 - Part 2 of Paul's Interview With BETH THORP 1:42:34 - LIVE SINGING Segment, wherein "Cannabis Carl", Paranoid Pete", and "Hicksville Harry" came in to sing "Johnny B. Goode". As Al always says, what could possibly go wrong? As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, February 28, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 3:02 - "Arrogant Al" Entered the Fray! Part 1 5:20 - LIVE SINGING Segment, wherein "Operatic Olivier" came in to sing, "Some Enchanted Evening". As Al always says, what could possibly go wrong? 26:08 - Part 1 of Paul's Interview With BETH THORP 59:35 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Sammy Davis, Jr." came in to sing, "Memories". As Al always says, what could possibly go wrong? 1:15:30 - Part 2 of Paul's Interview With BETH THORP 1:42:34 - LIVE SINGING Segment, wherein "Cannabis Carl", Paranoid Pete", and "Hicksville Harry" came in to sing "Johnny B. Goode". As Al always says, what could possibly go wrong? As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!

In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, "Cannabis Carl", "Paranoid Pete", and "Hicksville Harry" came in to sing, "Johnny B. Goode", by Chuck Berry and Elvis Presley. As Al often says, what could POSSIBLY go wrong???

"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

BumbleKast Minis are quick-fire Q&A sessions sponsored by patrons on Patreon, Ko-fi, or our YouTube channel members. This episode is brought to you by Johnny_B_Goode!

"Uni Dome Bliss: Jerry's Guitar Magic Illuminating Iowa Nights"Larry Mishkin discusses a Grateful Dead concert from February 5, 1978, held at the Uni Dome at the University of Northern Iowa in Cedar Falls. He emphasizes the exceptional performance, particularly focusing on the Scarlet Begonias and Fire on the Mountain combo, which he compares favorably to the renowned Barton Hall show from May 1977. Larry praises the guitar work of Jerry Garcia and highlights the unique qualities of this less-discussed but outstanding 1978 show. Additionally, he briefly touches on recent music news, including the Dead and Company's residency at The Sphere in Las Vegas and the upcoming Days Between event at Jazz Fest in New Orleans, featuring Government Mule and other legendary musicians. February 5, 1978 (46 years ago)Uni-DomeUniversity of Northern IowaCedar Falls, IowaGrateful Dead Live at Uni Dome, U of Northern Iowa on 1978-02-05 : Free Borrow & Streaming : Internet Archive Show Title:  The Dead Warm Up A Cold Iowa Night in 1978.  Dead & Co scheduled to play the Shere.  Alcohol v. Cannabis v. Tobacco – You already know the answer to this one!  INTRO:              Bertha                           Track #1                           3:24 – 5:13                             Great Jerry solo SHOW No. 1:     Samson & Delilah                           Track # 12                           1:30 – 3:10                            Bobby's mic not working so they have to improvise and keep jamming                            Played 365 times, often on Sunday – “It being Sunday . . . “                           First played June 3, 1976 Paramount Theater in Portland, OR                           Last played July 9, 1995 at Soldier Field, Chicago SHOW No. 2:    Scarlet Begonias                           Track #14                           3:20 – 5:10                            One of the best ever, great jamming SHOW No. 3:    Fire On The Mountain                           Track # 15                           7:15 – 9:02                            Again, one of the best ever (and one of Rob's favorites!).  No lyrics here, just Jerry jamming away SHOW No. 4:   The Other One                           Track # 18                           6:10 – 7:40                            Loud, solid, Phil!!! OUTRO:            Around & Around                           Track #20                           3:58 – 5:35                                                     Not always everyone's favorite, but this is a ripping version, they change the tempo on a dime and rock it out to end the second set.                           "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".                        Covered by:                                   Rolling Stones - The Rolling Stones covered the song on their EP, Five by Five and second U.S. album 12 X 5 in 1964. Besides the band members it featured Ian Stewart on piano. In October 1964, they performed the song as part of their first appearance on The Ed Sullivan Show. They played it on a regular basis on their tours in 1964 and 1965. In 1964 the Stones opened their famed TAMI Show with the song. After more than a decade they performed the song again at the Knebworth Fair on August 21, 1976. It was also included on the 1977 live album Love You Live, from the El Mocambo club gig in Toronto. After that, it has only been performed occasionally, most recently during the band's 2012 U.S. tour at Prudential Center in Newark, New Jersey on December 15                         David Bowie - English musician David Bowie recorded the song in 1971, produced by Ken Scott, under the title "Round and Round". Originally slated for inclusion on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was ousted by "Starman" at the last minute.[4] Regarding the song, Bowie stated in 1972: "It would have been the kind of number that Ziggy would have done onstage...He jammed it for old times' sake in the studio, and our enthusiasm for it probably waned after we heard it a few times. We replaced it with a thing called 'Starman'. I don't think it's any great loss, really.                         The Animals                        Eric Burden                        Pearl Jam                        Meat Loaf                        .38 Special                        Maureen Tucker (Velvet Underground)                        The Germs (American punk rock band                        Guided By Voices                        And more . . . . . . .                         Dead played it 418 times, very high up in the overall song rankings.                        First played:  Nov. 8, 1970, Capitol Theater, Port Chester, NY                        Last played:  July 6, 1995, Riverport Amphitheatre, Maryland Heights (St. Louis), MO .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

"Marijuana Dispensaries and Predictive Football: A Quirky Comparison"Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th  college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show.The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences.The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions.Produced by PodConx Grateful DeadJanuary 8, 1978Golden Hall Community ConcourseSan Diego, CAGrateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive Jerry has laryngitis so he did not singDonna filled in for him  INTRO:                  Jack Straw                                Track #2                                0:07 – 1:38                 Not on any studio album.  Featured on Europe ‘72                First time played:  October 19, 1971, Minneapolis  (Keith Godchaux's first show)                Last played:  July 8, 1995, Soldier Field, Chicago                Total times played =  476 (No. 11 on list of all time songs played)  SHOW No. 1:      Lazy Lightning>Supplication                                Track #8:  3:00 – end and then straight intoTrack #9:  0:00 – 1:15                 DAVID DODD:    The pair of songs was recorded on the Kingfish album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976.             The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater.                                “Supplication” was played by itself, according to DeadBase X, on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.”             a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It's a coda, carrying forward the same themes—only the form of the verse has changed. Lazy Lightning – 111 total times playedSupplication – 123 total times played                  SHOW No. 2:      Estimated Prophet                                Track #14                                2:35 – 4:15                 Weir/BarlowReleased on Terrapin Station released on July 27, 1977 (first studio album released by the band after it returned to live touring after its 1975 hiatus.                               DAVID DODD:  “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on Terrapin Station, released July 27, 1977.                Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There's always some guy who's taken a lot of dope and he's really bug-eyed, and he's having some kind of vision. He's got a rave he's got to deliver.' “                 This is one of those songs, and there are quite a number of them in the Dead's repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I've always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally.    SHOW No. 3:      The Other One                                Track # 16                                13:30 – 15:07                 The imagery conjured up by Bob Weir, in his portion of the suite, “That's It for the Other One,” on Anthem of the Sun, is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin' through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice's rabbit hole, because of where it led.     “The bus came by and I got on...that's when it all began.”That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning.                The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.”                 There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing something illegal. Weir's interview with David Gans (along with Phil Lesh) cited in The Complete Annotated Grateful Dead Lyrics refers to a particular incident:Gans: Now, I remember a version from a little bit earlier, maybe late in '67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a second verse that was about “the heat in the jail weren't very smart,” or somethin' like that...Weir: Yeah, that was after my little...Lesh: Water balloon episode?Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn't care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on.Lesh: Just happened to have a water balloon, in his hand... Ladies and gentlemen...Weir: And so I got him right square on the head, and...Lesh: A prettier shot you never saw.Weir: ...and he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit.Gans: Smilin' on a cloudy day. I understand now.Weir: And at that point, he decided to hell with due process of law, this kid's goin' to jail.                So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year.             Part of the suite of songs, That's It For The Other One from Anthem of the Sun.  Made up of four sections:  "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product.            appears that way on Anthem of the Sun, bracketed by Garcia's “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band's careerI. "Cryptical Envelopment" (Garcia)[edit]"Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite.II. "Quadlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)[edit]"Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section.III. "The Faster We Go, the Rounder We Get" (Kreutzmann, Weir)[edit]One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2]) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters and in particular Neal Cassady.[2] Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] This section ends with a reprise of "Cryptical Envelopment".IV. "We Leave the Castle" (Constanten)[edit]The only Grateful Dead composition written by Tom Constanten, "We Leave the Castle" is an avant-garde piece featuring prepared piano and other studio trickery.[While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann and Bob Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One").            The Other one– performed 549 times            First played:  Oct. 31, 1967 at Winterland, S.F.            Last played:  July 8, 1995, Soldier Field, Chicago             That's It For The Other One – performed 79 times            First played:  October 22, 1967 at Winterland, S.F.            Last played:             Cryptical Envelopment – performed 73 times            First played:     Oct. 21, 1967 at Winterland, S.F.            Last played:     Sept. 3, 1985 – Starlight Theater, K.C.              SHOW No. 4:      Truckin'                                Track # 17                                4:22 – 6:03                 The lyrics were written under pressure, in the studio, during the recording of American Beauty (Nov. 1970) (released as a single backed by Ripple in Jan. 1971), with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing.The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band's adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light's all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it's been.”At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that's some measure of wordsmithing success, I would say.                Truckin'” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin'” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri.  OUTRO:                Johnny B. Goode                                Track #19                                1:10 – 2:51                 Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart.[1] The song remains a staple of early and later rock music."Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music. Credited as "the first rock & roll hit about rock & roll stardom",[2] it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's 2021 version[3] and 7th on the 2004 version of the "500 Greatest Songs of All Time"[2][4] and included as one of the 27 songs on the Voyager Golden Record, a collection of music, images, and sounds designed to serve as a record of humanity.Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis.[5]The song was initially inspired by Johnnie Johnson, the regular piano player in Berry's band,[7] but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake played the piano, along with Willie Dixon on bass and Fred Below on drums.[5][8] The session was produced by Leonard and Phil Chess.[8] The guitarist Keith Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9]The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan's "Ain't That Just Like a Woman" (1946), played by guitarist Carl HoganA cover version is featured in the film Back to the Future (1985), when the lead character Marty McFly, played by actor Michael J. Fox, performs it at a high school dance.Played 283 times, almost always as an encore or show closer (back in the days where there were no encores)First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F.Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in 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

"Tunes of the Season: Phish, Grateful Dead, and Merry Jams"Larry Mishkin   discusses Christmas-themed songs performed by various artists, including The Who and Grateful Dead. Larry delves into The Who's rock opera "Tommy," particularly focusing on the song "Christmas" and its critical reception. He transitions to discussing Grateful Dead's rendition of Chuck Berry's "Run, Rudolph, Run" performed at the Felt Forum in 1971 and analyzes its significance in the band's repertoire.Larry further explores the potential residency of bands like Dead & Company at the Sphere in Las Vegas, following U2's shows there. He touches on Phish's upcoming performances at the same venue and discusses the difficulty in acquiring tickets for these highly anticipated shows.Later, Larry reminisces about New Year's Eve shows by various bands, specifically mentioning Grateful Dead's memorable performances during the countdown. He also features unconventional Christmas renditions by Phish and Jerry Garcia with David Grisman..Produced by PodConx   Theme – Rock n Roll ChristmasIf you were in the Mishkin household earlier this morning, you might have heard this blasting out of the speakers:INTRO:               ChristmasThe WhoFebruary 14, 1970University of Leeds, Leeds, England  aka  “Live At Leeds”The Who - Christmas - Live At Leeds (with Footage) (youtube.com)2:00 – 3:17 "Christmas" is a song written by Pete Townshend and is the seventh song on The Who's rock opera Tommy. On the original LP, it opens the second side of the album.  Tommy is the fourth studio album by the English rock band the Who, first released on 19 May 1969.[2] Primarily written by guitarist Pete Townshend, Tommy is a double album and an early rock opera that tells the story of Tommy Walker and his experiences through life. The song tells how on Christmas morning, Tommy's father is worried about Tommy's future, and soul. His future is jeopardized due to being deaf, dumb, and blind.[2] The lyrics contrast religious themes such as Christmas and Jesus Christ with Tommy's ignorance of such matters. The rhetorical question, "How can he be saved from the eternal grave?" is asked about Tommy's condition and adds speculation as to the nature of original sin and eternal salvation. In the middle of the song, "Tommy can you hear me?" is repeated, with Tommy responding, "See me, feel me, touch me, heal me." "Christmas" was praised by critics. Richie Unterberger of AllMusic called it an "excellent song."[5]Rolling Stone's Mac Randall said it was one of several "prime Pete Townshend songs" on the album.[6] A review in Life by Albert Goldman considered it beautiful and highlighted the song's "croaking chorus".[7] James Perone said it was "perhaps one of the best sleeper tracks of the collection." Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and he attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and revitalised the band's career. Live at Leeds is the first live album by English rock band the Who. It was recorded at the University of Leeds Refectory on 14 February 1970, and is their only live album that was released while the group were still actively recording and performing with their best-known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The album was released on 11 May 1970 by Decca and MCA in the United States,[2] and by Track and Polydor in the United Kingdom. It has been reissued on several occasions and in several different formats. Since its release, Live at Leeds has been ranked by several music critics as the best live rock recording of all time SHOW No. 1:                   Run Rudolph RunGrateful DeadFelt Forum at MSG, NYCDecember 7, 1971Track No. 10Grateful Dead Live at Felt Forum, Madison Square Garden on 1971-12-07 : Free Borrow & Streaming : Internet Archive0:11 – 1:54 Run Rudolph Run"[2][3][4] is a Christmas song written by Chuck Berry but credited to Johnny Marks and M. Brodie due to Marks' trademark on the character of Rudolph the Red-Nosed Reindeer.[5][note 1] It was published by St. Nicholas Music (ASCAP) and was first recorded by Berry in 1958, released as a single on Chess Records.It has since been covered by numerous other artists, sometimes with the title "Run Run Rudolph".[16] The song is a 12-bar blues, musically similar to Berry's popular and recognizable song "Johnny B. Goode", and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.During its initial chart run, Berry's 1958 recording peaked at number 69 on the Billboard Hot 100 chart in December 1958.[22] Sixty years later, the single re-entered the Hot 100 chart at number 45 (on the week ending January 5, 2019), reaching an overall peak position of number 10 on the week ending January 2, 2021, following its third chart re-entry, becoming Berry's third top-ten hit and his first since 1972's "My Ding-a-Ling". In doing so, it broke the record for the longest climb to the top 10 since its first entry in December 1958, at 62 years and two weeks.This Ciip:Out of Brokedown Palace and into You Win AgainPlayed a total of 7 times.This was the first timeLast:  December 15, 1971 Hill Auditorium, Ann Arbor, MI  SHOW No. 2:     Little Drummer BoyPhishJuly 3, 1999Coca Cola Lakewood Amphitheatre, Atlanta, GAPhish - The Little Drummer Boy - 7/3/1999 - Atlanta, GA (youtube.com)Start to 1:30 Out of Contact to close the second set.  Played it again as the first encore (into, Won't You Come Home Bill Bailery starring Page's dad, Jack, on vocals and kazoo. "The Little Drummer Boy" (originally known as "Carol of the Drum") is a Czechoslovakian popular Christmas song written by American composer Katherine Kennicott Davis in 1941.[1] First recorded in 1951 by the Austrian Trapp Family, the song was further popularized by a 1958 recording by the Harry Simeone Chorale; the Simeone version was re-released successfully for several years, and the song has been recorded many times since.[2] In the lyrics, the singer relates how, as a poor young boy, he was summoned by the Magi to the Nativity of Jesus. Without a gift for the Infant, the little drummer boy played his drum with approval from Jesus' mother, Mary, recalling, "I played my best for him" and "He smiled at me". Phish has only performed the song three times during the month of December – the debut performance segueing out of “Mike's Song” and into “Whipping Post,” a tease during the 12/28/94 “Weekapaug Groove,” and jammed out of the “YEM” vocal jam (12/2/99) (which melted down until Jon was left singing it to close the set). But the song was jammed out of season during “My Friend, My Friend” (3/18/93) and “Stash” (7/15/93), and teased during “Weekapaug Groove” and “Big Ball Jam” (4/9/94), “Wilson” (8/13/97), “Silent in the Morning” (7/4/99), and "Wilson" (4/16/04). This version is generally considered to be Fishman's most memorable version.  SHOW No. 3:     God Rest Ye Merry GentlemenJerry Garcia and David GrismanNovember 9, 1991Warfield Theater, S.F.God Rest Ye Merry Gentlemen - Jerry Garcia - Bing videoStart – 1:37Out of The Two Sisters to close second set "God Rest You Merry, Gentlemen" is an English traditional Christmas carol. It is in the Roxburghe Collection (iii. 452), and is listed as no. 394 in the Roud Folk Song Index. It is also known as "Tidings of Comfort and Joy", and by other variant incipits. An early version of this carol is found in an anonymous manuscript, dating from the 1650s it appeared in a parody published in 1820 by William Hone.               Story here is the way Jerry and David play so tight, trading off leads and filling in gaps.  A great sound for a traditional tune.  There are many sides of Jerry and we don't get to see all of them.  Nice to take a break from the traditional Dead stuff and take a look in at what else Garcia was doing during that creative period of his life. SHOW No. 4:                   Stagger LeeGrateful DeadDecember 30, 1985Track No. 6Grateful Dead Live at Oakland Coliseum on 1985-12-30 : Free Borrow & Streaming : Internet ArchiveStart – 1:32 As is made clear by the opening lyrics, this is a tale about events that unfolded and played out on Christmas: “1940 Xmas Eve with a full moon over town”.  On some occasions, Jerry was  known to substitute in “Christmas” Eve. "Stagger Lee", also known as "Stagolee" and other variants, is a popular American folk song about the murder of Billy Lyons by "Stag" Lee Shelton, in St. Louis, Missouri, at Christmas 1895. The song was first published in 1911 and first recorded in 1923, by Fred Waring's Pennsylvanians, titled "Stack O' Lee Blues". A version by Lloyd Price reached number one on the Billboard Hot 100 in 1959. The historical Stagger Lee was Lee Shelton, an African-American pimp living in St. Louis, Missouri, in the late 19th century. He was nicknamed Stag Lee or Stack Lee, with a variety of explanations being given: he was given the nickname because he "went stag" (went to social events unaccompanied by a person of the opposite sex); he took the nickname from a well-known riverboat captain called Stack Lee; or, according to John and Alan Lomax, he took the name from a riverboat owned by the Lee family of Memphis called the Stack Lee, which was known for its on-board prostitution.[2] Shelton was well known locally as one of the Macks, a group of pimps who demanded attention through their flashy clothing and appearance.[3] In addition to those activities, he was the captain of a black Four Hundred Club, a social club with a dubious reputation. On Christmas night in 1895, Shelton and his acquaintance William "Billy" Lyons were drinking in the Bill Curtis Saloon. Lyons was also a member of St. Louis' underworld, and may have been a political and business rival to Shelton. Eventually, the two men got into a dispute, during which Lyons took Shelton's Stetson hat.[5]Subsequently, Shelton shot Lyons, recovered his hat, and left.[6] Lyons died of his injuries, and Shelton was charged, tried, and convicted of the murder in 1897. He was paroled in 1909, but returned to prison in 1911 for assault and robbery. He died in incarceration in 1912. The Grateful Dead frequently played and eventually recorded a version of the tale which focuses on the fictionalized hours after the death of "Billy DeLyon", when Billy's wife Delia tracks down Stagger Lee in a local saloon and "she shot him in the balls" in revenge for Billy's death. Based on the traditional song "Stagger Lee", "Stagolee" or "Stack O'Lee." Robert Hunter wrote a version that he performed solo, and Jerry Garcia subsequently re-ordered the lyrics and rewrote the music for the Grateful Dead's version. More recently Bob Weir has also been performing some of the older traditional versions with Ratdog. Dead released it on Shakedown Street, Nov. 8, 1978 Played 146 times by the Dead1st:  August 30, 1978Last:  June 18, 1995 Giants Stadium  OUTRO:              Santa Clause Is Coming To TownBruce Springsteen and the E Street BandCW Post University, Greenvale, NYDecember, 19756Santa Claus Is Comin' to Town (Live at C.W. Post College, Greenvale, NY - December 1975) - Bing video2:15 - 4:00               Santa Claus Is Comin' to Town" is a Christmas song featuring Santa Claus, written by J. Fred Coots and Haven Gillespie and first recorded by Harry Reser and His Band.[1] When it was covered by Eddie Cantor on his radio show in November 1934 it became a hit; within 24 hours, 500,000 copies of sheet music and more than 30,000 records were sold.[2][3] The version for Bluebird Records by George Hall and His Orchestra (vocal by Sonny Schuyler) was very popular in 1934 and reached the various charts of the day.[4] The song has been recorded by over 200 artists including Bing Crosby and the Andrews Sisters, the Crystals, Neil Diamond, Fred Astaire, Bruce Springsteen, Frank Sinatra, Bill Evans, Chris Isaak, the Temptations, The Pointer Sisters, the Carpenters, Michael Bublé, Luis Miguel, and the Jackson 5 A rock version by Bruce Springsteen & the E Street Band was recorded on December 12, 1975, at C. W. Post College in Brookville, New York, by Record Plant engineers Jimmy Iovine and Thom Panunzio.[14][15] This version borrows the chorus refrain from the 1963 recording by the Crystals.[16] It was first released as a track on the 1981 Sesame Street compilation album, In Harmony 2, as well as on a 1981 promotional, radio-only, 7-inch single (Columbia AE7 1332).[17][18] Four years later, it was released as the B-side to "My Hometown," a single off the Born in the U.S.A. album.[19] Springsteen's rendition of the song has received radio airplay perennially at Christmastime for years; it appeared on Billboard magazine's Hot Singles Recurrents chart each year from 2002 to 2009 due to seasonal air play. Live performances of the song often saw the band encouraging the audience to sing some of the lyrics with—or in place of—the band's vocalists (usually the line "you'd better be good for goodness sake", and occasionally the key line "Santa Claus is Comin' to Town" as well). Sometimes, concert crowds would sing along with the entire song, and the band, who were known to encourage this behavior for the song, would do nothing to dissuade those audiences from doing so, instead welcoming the crowds' enthusiasm. This version remains a Springsteen concert favorite during the months of November and December (often concluding the show), and the band is among the few that keep it in their roster of songs during the holidays. Dead & Co at the Sphere?Phish – sold out fast Merry ChristmasHappy Holidays .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

On this episode, Justin is once again joined by Chris Jones, co-host of the Hall of Songs podcast (HallofSongs.com), for a discussion on Elvis' various Grammy awards nominations and wins as well as how he fared in other music industry award ceremonies and briefly touching on which major genre Halls of Fame Elvis has been inducted into. With Chris' experience on their show having to nominate the best songs of given years, the guys have a ton of fun digging into what else was getting nominated, what Elvis was up against, and pondering where else he potentially could have been nominated for the big awards. Then, for Song of the Week, Chris uncorks one of the big ones: Elvis' cover of Chuck Berry's iconic rock and roll anthem, "Johnny B. Goode." Yes, you read that right, somehow it had not yet been covered as a Song of the Week! Finally, Justin close out the show by admitting that he's really come around on Elvis' version of James Taylor's satirical blues cut, "Steamroller." Please be sure to check out Hall of Songs, which Chris co-hosts with Tim Malcolm, again at HallofSongs.com or on your podcast platform of choice!

"The Sphere in Vegas: U2's Sonic Odyssey and the Future of Concert Venues"Larry Mishkin  is joined by great friend of the show, Alex Wellins to catch up and talk about a Grateful Dead concert held at Poly Pavilion on November 20th, 1971. Larry talks about the significance of the show, including the band's transition in music style, notable songs played, and the presence of famous basketball player Bill Walton in the audience. Later, Alex discusses recent concerts they attended, highlighting U2's performance at The Sphere in Las Vegas, known for its immersive audiovisual experience, and another show at the historic Castro Theater in San Francisco featuring the band St. Paul and the Broken Bones. Both Larry and Alex express enthusiasm about these diverse musical experiences..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast  Grateful DeadNovember 20, 1971Pauley Pavillion – UCLAL.A.Grateful Dead Live at Pauley Pavilion - University of California on 1971-11-20 : Free Borrow & Streaming : Internet Archive By late 1971 Dead's transformation from Primal Dead to Americana Dead was well on it's way.  This concert is a great snapshot of that time, this show being more in the Americana camp with the a killer 25 minute jammed out Other One (including its Bill Kreutzman drum solo lead in) really being the only true nod to the Primal era . Also, the band was in transition as Pigpen missed the show as part of his descent into alcohol related illnesses that eventually took him in March 1973.  Keith had been playing with the band since February but Mickey began his “leave” in February after night one of the Capitol Theater run.  So this night is just five of them up on stage playing their hearts out for the fine students of UCLA and other Deadheads ( then a very brand new “thing” having just been recognized by the band in the liner message inside the Grateful Dead album stating:  “DEAD FREAKS UNITE!  WHO ARE YOU?  WHERE ARE YOU?  HOW ARE YOU? Send us your name and address and we'll keep you informed”) One fact that should be obvious given the venue and the time – an unknown UCLA student and want-a-be college basketball player, Bill Walton was in attendance along with some of his Bruins teammates for this first ever Dead show at Pauley Pavilion, famed home court for the UCLA Bruins, a team that following the amazing successes of Lew Alcindor (Kareem) and Sidney Wicks, now was being led for the first time by Bill and his teammates Jamaal Wilkes and Greg Lee (spoiler alert:  Bill has some success at UCLA too).  Bill, of course, went on to be an NBA All-Star and a regular attendee of Dead shows and, as Alex can attest, not unusual to see him at a West Coast dead show right up until the end – kind of hard to miss a 7 foot deadhead with his red hair and tie dye apparel.  Rumor has it when they knew he was going to be at a show the band would set up a basketball hoop backstage and that Bruce Hornsby was a hooper too. INTRO:               Bertha                           Track No. 1                           3:30 – 4:37 Great traditional opener although it was known to pop up in different spots during shows from time to time.  At this point, it is still “new” having been debuted earlier that year, on February 18th at the Capitol Theater in Port Chester.  Never released on a studio album, but it is the opening tune on the Dead's live album, “Grateful Dead” a/k/a Skull and Roses (or Phil's preferred name, “Skull Fuck” which was promptly rejected by their label, Warner Bros) on September 24, 1971.  From shows in NYC at the Fillmore East and the Hammerstein Ballroom in the Manhattan Center (plus Johnny B. Goode from Winterland – couldn't completely ignore the west coast). SHOW #1:          Tennessee Jed                           Track No. 5                           0:45 – 1:46 This is one of the “new” ones played in this show.  Along with Mexicali Blues, One More Saturday Night, Ramble On Rose and Jack Straw had all just been played for the first ever just two months earlier on October 19, 1971 at the Northrop Auditorium in Minneapolis – also Keith's first show.  A tune that more than most really captures the change in the band's direction as you have Garcia previously of Dark Star, St. Stephen and Eleven fame twanging away, musically and vocally, on a song with a feel that is a cross between country, western and a dash of rock n roll.  Deadheads of Alex's and my era will note how much quicker the tempo is in this early version and Garcia's noticeable energy evident from his strong vocal performance. Played 436 times in concert, putting it at No. 15 of the list of the Dead's most played tunes.1st (again) on Oct. 19, 1971 in MPLSLast on July 8, 1995 at Soldier Field, Chicago A great sing along tune that the Deadheads always enjoyed, normally found in the first set, towards the middle. SHOW #2:          Jack Straw                           Track No. 10                           :12 – 1:20 As just mentioned, this another “new” one just two months old.  Everyone loves Jack Straw, even the Band which is why it checks in at No. on list of most tunes played by the Band with 476 performances (last one on July 8, 1995 at Soldier Field).  But in this early version, there is a little bit of a change from the version we all know and love.  First, thing to know it is a tune by Hunter and Weir.  Garcia did not write it although he sang it with Weir in a “trading off of verses” style.  Second, in these early versions, before the Europe '72 tour, Weir sang all the verses like we just heard, “I just jumped the watchman, right outside the fence” was always sung by Jerry, but here, Weir sings it. Not sure of the reason for the change, but I like it a lot better with Jerry singing his verses (the other being “Gotta go to Tulsa, first train we can ride”).  First time with Jerry on vocals was May 3, 1972 at the Olympia Theater in Paris, that also just happens to be the version of the song that wound up on the Europe '72 album.  Although in its earlier years the song would appear in either first or second set, after their 1975 hiatus it became an almost exclusive first set song. And after Brent joined the band, almost always a show opener.  Home to the more than occasional Phil base bomb, it was one of the Band's most popular tunes and a great way to open any show (especially if they had just opened with Bertha the night before so you got to catch them both!). SHOW #3:          Ramble On Rose                           Track No. 18                           0:00 – 1:28 Last of the “new” ones that we will feature today.  Just like Tennessee Jed, upbeat, good energy, Jerry and the boys are having fun, like with any new creation.  Still working out all the details, the james, keeping track of the lyrics and Jerry has not yet developed his signature growl on “goodbye mamma and poppa, goodbye jack and jill”.  What I really like about this version and why I chose a clip from the beginning of the tune is to hear Keith's piano accompaniment that works so well with this song and adds another layer of creativity to the mix.  Garcia always seemed to get energy and inspiration from the band's keyboard players and Keith, even this early in his career, is no exception. After its introduction on Oct. 19, 1971 in Minny, played a total of 319 times, good for 39th place on the all time list, just behind US Blues and just ahead of Don't Ease Me In (really?).  Last played on June 27, 1995 at the Palace of Auburn Hills, MI. SHOW #4:          You Win Again                           Track No. 20                           1:12 – 2:21 "You Win Again" is a 1952 song by Hank Williams. In style, the song is a blues ballad and deals with the singer's despair with his partner. The song has been widely covered, including versions by Ray Charles, Jerry Lee Lewis, Roy Orbison, the Grateful Dead, Charley Pride, Bob Dylan, and the Rolling Stones. Hank Williams recorded "You Win Again" on July 11, 1952—one day after his divorce from Audrey Williams was finalized. Like "Cold, Cold Heart," the song was likely inspired by his tumultuous relationship with his ex-wife, "You Win Again" was released as the B-side to "Settin' the Woods on Fire", primarily because up-tempo, danceable numbers were preferable as A-sides for radio play and for the valuable jukebox trade. Nonetheless, "You Win Again" peaked at number ten on the Most Played in C&W Juke Boxes chart, where it remained for a single week. Over a time period of less than one year, the Dead played You Win Again 24 times in concert, the first on November 11, 1971 at the Municipal Auditorium in Austin, TX (this show in L.A. was only the third time it had been played) and the last on September 16, 1972 at The Music Hall in Boston.  A version of the song was released on the Europe '72 album (second album side), from their show on May 24, 1972 at The Strand Lyceum in London, one of the final shows on that tour. JGB recorded a version of the song in 1976 during the Reflections album sessions but not played live again.  It was briefly revived by The Dead with Dylan in 2003.  OUTRO:          Going Down The Road Feeling Bad                        Track No. 23                        3:45 – 5:12 "Going Down The Road Feeling Bad" (also known as the "Lonesome Road Blues") is a traditional American folk song, "a white blues of universal appeal and uncertain origin" The song was recorded by many artists through the years. The first known recording is from 1923 by Henry Whitter, an Appalachian singer,[2][3]as "Lonesome Road Blues". The earliest versions of the lyrics are from the perspective of an inmate in prison with the refrain, "I'm down in that jail on my knees" and a reference to eating "corn bread and beans."[4] The song has been recorded by many artists such as Woody Guthrie, Bob Dylan, Skeeter Davis, Elizabeth Cotten, and the Grateful Dead, and the song is featured in To Bonnie from Delaney, "Mountain Jam", Born and Raised World Tour, The Grapes of Wrath, and Lucky Stars.Others who recorded it include Cliff Carlisle (also as "Down in the Jail on My Knees"), Woody Guthrie (also as "Blowin' Down This Road" or "I Ain't Gonna Be Treated This Way"), Bill Monroe, Earl Scruggs, Roy Hall, Elizabeth Cotten and the Grateful Dead, Delaney and Bonnie, Canned Heat and Dillard Chandler. Dead played it 302 times (No. 46 on the most played tunes list just behind a tie between Mama Tried and Terrapin and just ahead of Birdsong).  1st time on October 10, 1970 at Colden Auditorium, part of Queens College in Queens, NY.Last played on July 5, 1985 at the Riverport Amphitheater in Maryland Heights, MO. During the time period of this show it was almost always paired with Not Fade Away (as made famous at the end of the Grateful Dead album).  In later years, when Alex and I were regulars on tour, it would show up as a second set tune, usually, but not always after Drums/Space.  A very upbeat tune that the band obviously loved playing the crowd loved hearing. For our purposes, a great way to end the show and say goodbye and HAPPY THANKSGIVING.

We're about to rock and roll through the timeless sounds of Chuck Berry and his iconic album, "Chuck Berry Is on Top." Released in 1959, "Chuck Berry Is on Top" is not just an album; it's a cornerstone of rock 'n' roll history. This album is a testament to the enduring influence of Chuck Berry, the true pioneer of the genre. With his distinctive guitar licks and charismatic lyrics, Chuck Berry paved the way for countless rock legends. The album boasts a collection of classic tracks, including "Johnny B. Goode," "Roll Over Beethoven," "Maybellene," and "Carol." These songs are more than just rock 'n' roll; they're anthems of youthful rebellion and the soundtrack of a generation. Chuck Berry's songwriting and guitar virtuosity set him apart. His storytelling and playful lyrics captured the essence of teenage life in post-World War II America, making his music instantly relatable. "Chuck Berry Is on Top" is a journey through the birth of rock 'n' roll, a testament to Berry's incredible talent. At the time of its release, the album was groundbreaking. It solidified Chuck Berry's status as a rock 'n' roll icon and became a blueprint for countless musicians who followed. His influence extended to The Beatles, The Rolling Stones, and virtually every rock artist who emerged in the decades that followed. Chuck Berry's impact goes beyond music; his charismatic stage presence and his famous "duck walk" became defining elements of his performances. He's celebrated not only for his pioneering music but also for breaking down racial barriers in the music industry. As we gently place the needle on this vinyl gem, we invite you to join us on a musical journey through the roots of rock 'n' roll with "Chuck Berry Is on Top." We'll explore Chuck Berry's profound impact on the genre, the album's enduring relevance, and the timeless charm of the man who defined rock 'n' roll. So, get ready to rock and roll to the tunes of Chuck Berry on this episode of Dem Vinyl Boyz.

The Fall of 1972 was an interesting transitional period for the Grateful Dead. They began to explore longer shows with more exploratory jamming. This week's Deadpod, from September 9th of that year, showcases some of these changes. In this week's first set, we have plenty of classic songs, as well as some intense jamming. Some of the highlights for me include the sweet 'Sugaree', 'Bird Song' and Keith's transitions in 'Black Throated Wind'. Of course I have to mention the almost 19 minute long 'Playin In the Band' - long a vehicle for exploration during this period. As you'll see next week, it was not alone in this show.      Grateful Dead Hollywood Palladium Hollywood, CA 9/9/1972 - Saturday      One     The Promised Land [3:02] Sugaree [7:04] Me And My Uncle [3:02] Bird Song [11:24] Black Throated Wind [6:32] Tennessee Jed [7:26] Mexicali Blues [3:30] Deal [4:42] Playing In The Band [18:25] Loser [6:44] Johnny B. Goode [4:01]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090823.mp3      'The black-throated wind keeps on pouring in With its words of a life where nothing is new Ah, Mother American Night, I'm lost from the light Oh, I'm drowning in you'

While Marty McFly has only one thing on his mind (making his parents fuck pussy from behind style) the boys are gobsmacked by this new sound they didn't even know they were looking for. With little to no musical talent, these three idiots with dog brains have 3 years to capitalise on what will be the feel good hit of the summer! While badly remembering the lyrics Calvin Kline sang, the gang ultimately convince themselves the theme of the song was crawfish and lean in hard and thus the band Crawfish Daddies is formed and comes out with the very relatable (at least in the South) single ‘Crawfish Car'. Sing along as Jackson gives his past self a puzzling message, JD isn't impressed by you hearing a song and Zammit instantly tries to glom on to any fame and fortune using the only thing he has going for him: his mouth. Buy our terrible merch here and check out the Bad Brain Boys on Apple Podcasts at apple.co/badbrainboys. Become a member at https://plus.acast.com/s/plumbingthedeathstar. Hosted on Acast. See acast.com/privacy for more information.

Hosts Jim DeRogatis and Greg Kot welcome author RJ Smith back to the show to discuss his new book on Chuck Berry. The hosts also pay tribute to Tina Turner, who died May 24 at 83. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops   Featured Songs: Chuck Berry, "Johnny B. Goode," Johnny B. Goode (Single), Chess, 1958Tina Turner, "What's Love Got to Do With It ," Private Dancer, Capitol, 1984Ike and Tina Turner, "Proud Mary," Workin' Together, Liberty, 1970Ike and Tina Turner, "River Deep Mountain High," River Deep - Mountain High, A&M, 1969Tina Turner, "Ball Of Confusion (That's What The World Is Today)," B.E.F. Presents Tina Turner, Virgin, 1982Tina Turner, "Better Be Good to Me," Private Dancer, Capitol, 1984Chuck Berry, "Blues #1," Have Mercy: His Complete Chess Recordings 1969-1974, Geffen, 2010Chuck Berry, "Maybellene," (Single), Chess, 1955Chuck Berry, "You Never Can Tell," (Single), Chess, 1964Chuck Berry, "Promised Land," (Single), Chess, 1964Jason Isbell and the 400 Unit, "Cast Iron Skillet," Weathervanes, Southeastern, 2023Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.

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