Podcasts about Looks Like Rain

At the risk of featuring too many sets from this period I decided to bring you this long, wonderful first set from March 22, 1973. While most of these songs don't feature stratospheric jams, they are quite well played in my opinion, and this set does include a truly beautiful 'Bird Song' and a great ending with 'China->Rider- >Playin' In the Band'   There are two sources used, the majority is provided by a Betty Cantor board, probably one that was in a group that suffered water damage and mold - the missing reel was probably thrown away.. The missing segment here, starting with 'China Cat' is from a Dick Latvala cassette.    The fire marshall was apparently giving the band a hard time and threatening to shut the show down, which accounts for some of the warnings about keeping the aisle clear..      Grateful Dead Utica Memorial Auditorium Utica, NY 3/22/1973 - Thursday   One [1:43:22]    The Promised Land [2:58]  Sugaree [7:34]  Mexicali Blues [3:23]  They Love Each Other [5:09]  Looks Like Rain [7:11]  Deal [4:32]  Beat It On Down The Line [3:07]  Bird Song [11:26]  Jack Straw [4:32]  Box Of Rain [4:38]  You Ain't Woman Enough [3:00]  The Race Is On [2:54]  Row Jimmy [7:44]  El Paso [4:15]  China Cat Sunflower [6:02] > Jam [1:48] > I Know You Rider [5:08]  Playing In The Band [15:01]    You can listen to this week's Dead here: http://traffic.libsyn.com/deadshow/deadpod032125.mp3     As always thanks for your kind support.

We're going to Oakland, eh? This week, our host Game is heading to Oakland, California. It's September 12th, 1985 and the Grateful Dead are playing at the Henry J. Kaiser Convention Center. Along the way discussions abound about DogFish Head's new Grateful Dead pale ale. Greatest Story Ever Told > Bertha It's All Over Now Row Jimmy My Brother Esau > Big Railroad Blues > Looks Like Rain > Might As Well Help On The Way > Slipknot! > Franklin's Tower > Playin' In The Band > Drums > The Other One > Black Peter > Throwing Stones > Not Fade Away Not Fade Away > Brokedown Palace

Nueva emisíon que esta despejando como un cohete lo puedes escuchar en directo los miercoles en asaltomataradiorock.com a las 17 horas , consulta ala programación ya que el programa se emite en otros horarios para otros paises , si eres un amante de esta musíca estaras encantado de escucharlo y compartirlo. Muchas gracias.... aqui os dejo lo que sono.... REBEL HEART EMISIÓN EN ASALTO MATA RADIO 02 CON MISTER MELODICO Y PACO JIMENEZ. Daytona - Garder La Flamme (2024)6. Looks Like Rain. THE BIG DEAL FAIRY OF WHITE. Argi lost in paradise. Timson AOR - The Next Level - 01 - The Wind Whispers (your name). Heart 2 Heart - Alley of Dreams (2024)2. Alley of Dreams. Mystery Moon - Shine (2024)3 - The Hidden Magic. vilotet Mysteria8. Mysteria Roulette never enough Brother fire tribe are you ready Bonfire (Ger)2024 - I Died Tonight (Single)1 - I Died Tonight JORDI CASTILLA Artesanía Sara se escapa.2025 Trishula will heaven ever give us what we need (becoming the enemy). Lost Wingman - 2025 - Lost Wingman3 - Passing Away. Alien if love is war. Boystown - 2005 - Angels With Dirty Faces4 - I Need Shelter. House Of Lords - Full Tilt Overdrive (2024)2. Bad Karma.

This week's Deadpod features one of the January shows in the Grateful Dead's history - this one from January 18, 1979 in Providence, Rhode Island. This is a nice first set, energetic, especially for the time period (in a month Keith Godchaux would be leaving), and features some nice versions. I am especially fond of the 'Cassidy' here but there are several excellent tunes in this first set.   Grateful Dead Providence Civic Center Providence, RI  1/18/1979 - Thursday One      The Promised Land [4:22]   They Love Each Other [7:31]   Mama Tried [2:45] > Mexicali Blues [4:10]   Friend Of The Devil [8:10]   Cassidy [4:50]   Jack-A-Roe [4:38]   Looks Like Rain [7:04]   Ramble On Rose [8:15]   New Minglewood Blues [5:29]   Deal [6:47]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011025.mp3  Hope this finds you well and out of harm's way.... thank you for your kind support!  

Let's learn useful Korean expression in English. Today's expression is 비 올 것 같아요 (It looks like rain)

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

We're ready to catch some rays! This week our host FiG heads to Tampa, Florida for the Grateful Dead's October 26th, 1985 show at the Sun Dome. Discussions abound about the continuing Sphere run, Mickey talking about perineums in GQ, and whether King Brent keeps The Belt.  Gimme Some Lovin' > Greatest Story Ever Told Dupree's Diamond Blues C.C. Rider Stagger Lee Me & My Uncle > Big River Big Railroad Blues > Looks Like Rain > Don't Ease Me In China Cat Sunflower > I Know You Rider Man Smart (Woman Smarter) > He's Gone > Don't Need Love > Drums > Space > Comes A Time > Throwing Stones > Goin' Down The Road Feeling Bad > One More Saturday Night In The Midnight Hour

This week we go to the wonderful Greek Theater in Berkeley California for the band's performance on May 21, 1982. I think this was one of the better years in terms of the band's history and this is not only a fine recording but a well-played set that I'm sure you'll enjoy.  The first set starts with a 'Bertha>Greatest Story' combo, one that was fairly new at the time. Jerry slows it down with a 'Friend of the Devil' but the 'Uncle'>'Big River' that follows benefits greatly from his nimble guitar. A nice 'Bird Song' flows into Bobby's 'CC Rider', then we have an excellent 'Althea', not only is Jerry in fine voice, but his delivery is just exactly perfect. Bob delivers a nice 'Looks like Rain' and they close with a boppin' 'Might as Well'.      Grateful Dead Greek Theatre - University of California Berkeley, CA 5/21/1982 - Friday One     Bertha [6:35] > Greatest Story Ever Told [3:50] Friend Of The Devil [8:44] Me And My Uncle [2:55] > Big River [5:09] Bird Song [10:45] > C C Rider [7:27] Althea [7:47] Looks Like Rain [7:35] Might As Well [4:01]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod051024.mp3 Thank you friends for listening and for your kind support. 

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

 I think this week's Deadpod brings March in both as a lion and a lamb = this first set from Cleveland on March 3, 1981 has some great rockin' tunes and some sweet ballads to please the most discerning Deadhead.  Don't be put off by the start of 'Feel Like a Stranger' - the audience patch only lasts for a short bit - the rest of this tape is a fine sounding soundboard in which you can hear the interplay between the members most clearly.  A sweet 'Peggy O' follows then a fine 'Me & My Uncle' into 'Big River' highlighted by some nice Garcia work. That continues in the 'Bird Song' that follows.. and leads into 'Looks Like Rain'  -this one builds to a nice crescendo. The rockin' returns with a great 'Big Railroad Blues' - nice work here by Brent. A long 'Little Red Rooster' follows.. Brent adds some nice B3 work here. The set closing 'Deal' ramps things back up properly..    Grateful Dead Cleveland Music Hall Cleveland, OH 3/3/1981 - Tuesday One     Feel Like A Stranger [8:33] Peggy-O [7:49] Me And My Uncle [3:01] > Big River [5:16] Bird Song [11:08] > Looks Like Rain [7:47] Big Railroad Blues [4:50] Little Red Rooster [10:06] > Deal [7:22]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod030124.mp3  All the best my friends.... 

 This week the Deadpod goes back 51 years to February 15, 1973 when the Grateful Dead played a massive show in Madison Wisconsin. this first set clocks in at about 100 minute... it starts with a song they debuted about a week earlier 'Loose Lucy'. They are still warming up when they then 'Beat It On Down The Line'. Several favorites follow, but things really get rolling with a fine, up tempo 'Row Jimmy'. The highlights of the set follow, with a wonderful 'China Cat >I Know You Rider' and a jamming 'Playing In The Band'. Bobby really steps it up in the last third of this first set..      Grateful Dead Dane County Coliseum Madison, WI 2/15/1973 passes & laminates One - 1:40:00     Loose Lucy [6:34][0:46] Beat It On Down The Line [3:27][0:08]%[0:27] Brown Eyed Women [4:56][0:05]%[0:06] Mexicali Blues [3:27][0:09]%[0:06] Tennessee Jed [7:53][0:07]%[0:12] Looks Like Rain [6:30] Box Of Rain [4:50] Row Jimmy [7:49] Jack Straw [4:45] China Cat Sunflower [5:58] > I Know You Rider [5:35] Me And My Uncle [2:46] Bertha [5:18] Playing In The Band [15:36] Casey Jones [6:41]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod021624.mp3  I hope you enjoy this week's Deadpod.. thanks for listening and your support.. 

California! This week on the Help on the Way Podcast, our hosts Game and Knob are heading to Watsonville, California to listen to the Grateful Dead's September 24th, 1983 show at the Santa Cruz County Fairgrounds. Discussions abound about the Phil Lesh Quintet, a fast Bird Song, and some rumors that Dead and Company might be playing The Sphere... Alabama Getaway > Promised Land They Love Each Other Me and My Uncle > Mexicali Blues Bird Song Hell In A Bucket Deep Elem Blues > Looks Like Rain > Keep Your Day Job China Cat Sunflower > I Know You Rider Women Are Smarter Ship of Fools Truckin' > Drums > Uncle John's Band > Throwing Stones > Not Fade Away > Brokedown Palace Finiculi Finicula One More Saturday Night 

John Connell reflects on how rain has shaped Irish culture. 'Over the centuries, the Irish - most days anyway - have learned to accept, sometimes even love, the rain,' writes John. But, he says, that is now beginning to change. Producer: Adele Armstrong Sound: James Beard Production coordinator: Gemma Ashman Editor: Bridget Harney

This week on the Deadpod I've decided to feature the second night from the historic 'From Egypt With Love' run at the Winterland in October of 1978. While the opening 'Sugaree' is patched for about the first minute, don't let that dissuade you this one- the sound is crystal clear throughout afterwards, and the band is listening to each other and the result is a dynamic, lovely evening of music.  Donna Jean in particular provides some lovely backing vocals on "Looks Like Rain' and 'Music Never Stopped'.  Jerry is on point here with several delicious solos as well.   Grateful Dead Winterland Arena San Francisco, CA 10/18/1978 - Wednesday      One      Sugaree [#13:32]   Me And My Uncle [3:06] > Big River [5:48]   Peggy-O [7:45]   Looks Like Rain [8:16]   Stagger Lee [6:15]   New Minglewood Blues [5:53]   Candyman [6:52]   The Music Never Stopped [8:06] You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod100623.mp3    Thank you for your kind support.

Mickey Newbury was born Milton Sims Newbury Jr. in Houston Texas, May 19, 1940 to Maime and Milton Newbury. As a child, he was inseparable from younger brother, Jerry; a friendship that continued throughout his life. In high school, Mickey decided to write songs. As a teenager, he shut himself up in his room, writing poetry and learning to play guitar. He organized a doo-wop group called The Embers.In 1959, Mickey joined the Air Force and was assigned to England for three years. When he returned to the United States, he pursued his dream of being a songwriter. He lived in a '54 Pontiac and traveled around Texas, Tennessee, and Louisiana playing gigs and working on shrimp boats. Eventually he found himself in Nashville, and in 1964, signed a publishing contract with Acuff-Rose. He moved to Nashville in 1965 and about this time, his first child Joe was born. Shortly thereafter, Jimmy Elledge was first to cover a Newbury song, Just as Long as that Someone is You.1966 was the year the music industry noticed Mickey Newbury. Don Gibson had a Top Ten Country hit with Newbury's Funny Familiar Forgotten Feelings, while Tom Jones scored a world hit with the same song. In 1968, Mickey saw huge success; three number one songs and one number five – across four different charts; Just Dropped In (To See What Condition My Condition Was In) on the Pop/Rock chart by the First Edition, SweetMemories on Easy Listening by Andy Williams, Time is a Thief on the R&B chart by Solomon Burke, and Here Comes the Rain Baby on the Country chart by Eddy Arnold. This feat has not been repeated. That year, Mickey's first album, Harlequin Melodies, was released by RCA.Mickey met New Christy Minstrel member Susan Pack on a blind date in 1967 and would not see her again until 1969. Soon thereafter, they were married and living on a houseboat on Old Hickory Lake outside of Nashville. Over the next four years, Mickey released three albums that raised the bar on Music Row. Produced at Cinderella Studios outside of Nashville, and utilizing Nashville's best musicians, Newbury's trilogy of albums - Looks Like Rain, Frisco Mabel Joy and Heaven Help The Child are often referred to as masterpieces.Following the birth of their first child, Chris, in 1973, the Newburys moved to Oregon, to Susan's home town, just down the street from her parents, to raise their family. A daughter, Leah, followed in 1977. In 1980, Mickey was inducted into the Nashville Songwriter's Hall of Fame.During the 80s, Mickey took a break from the music business to concentrate on his growing family and golf. Stephen joined the family in 1983 and Laura was born in 1986. In the early 90's, he started writing, recording, and performing again, encouraged by his friends Bob Rosemurgy, Marty Hall, and Owsley Mannier. In 1995, Mickey's health began to fail, but he continued to produce beautiful music. 1995 to 2002 were some of his most productive years, during which time he almost doubled his catalogue. He also directed his attention to other ventures, beginning work on children's books based on his story-songs. On September 29, 2002 he succumbed to a long time lung disease and passed away in his sleep at home in Springfield, Oregon.Mickey Newbury's songs have been covered by hundreds upon hundreds of artists; over 1,000 covers have been documented. Mickey also recorded 25 albums over 35 years. Though he considered himself a songwriter first and singer second, his own albums are critically acclaimed and highly desired by a very passionate fan base the world over.Many consider him to be the best of the best. Kris Kristofferson says, “God, I learned more about songwriting from

GROW  Greatness Reached over Oppression through Wisdom The Beautiful Mountains of Colorado Like a Great Mountain, Rise and Lift others with youWhen you're down and out and there seems no Hope at all, Look Up Keepers of the DreamGod is our Hope✨

Happy Cinco de Mayo! As we roll into the first weekend in May, I wanted to bring out the customary tribute to the Kentucky Derby with a fine 'The Race Is On'. This show does that as well as pays homage to the new, fat,  'Here Comes Sunshine' release from Grateful Dead Productions (Here Comes Sunshine from Dead.net). This show does both, although it takes place in early spring of 1973, rather than in May.  This is a huge show - the first set alone has 17 songs that take over one hour and forty minutes of  prime Dead. There are too many highlights to mention. As most of you know I love the sound of the band during this period. I invite you to pay attention to Bill's work here - it really sparkles!   Of course there is 'The Race Is On', and a nice 'Here Comes Sunshine'. But I enjoy Donna on 'You Ain't Woman Enough', and just when you think that they must need a break after a fine 'China>Rider' they roll into a 15 minute 'Playin' In The Band' to close the set..    Grateful Dead Utica Memorial Auditorium Utica, NY 3/21/1973 - Wednesday One     [1:39:37] Bertha [5:32] Me And My Uncle [2:57] Wave That Flag [5:30] Looks Like Rain [7:35] Tennessee Jed [7:34] Box Of Rain [4:46] You Ain't Woman Enough [2:59] Jack Straw [4:37] Row Jimmy [7:38] Beat It On Down The Line [2:58] Here Comes Sunshine [8:05] The Race Is On [2:44] Loser [6:33] El Paso [4:09] China Cat Sunflower [7:18] > I Know You Rider [4:31] Playing In The Band [15:11] You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod050523.mp3  We'll enjoy set 2 next week...  " "Well hop in the hack turn on the key Pop in the clutch let the wheels roll free Come on honey, let me sing them away Come on honey, let me sing them away Oh, honey, let me sing your blues away"  

This week's Deadpod features a fine second set from the band's performance on April 15, 1988 at the Rosemont Horizon in Chicago Illinois.  The band is tight throughout on this night, starting from the opening Bucket, which goes into a very nice 'Crazy Fingers'. Garcia gives a lovely solo here, and it sets the mood for a reflective 'Looks Like Rain' which follows and on which Weir provides a lovely rendition. 'Terrapin Station' follows, and the boys rev this one up as that train pulls into the station! Drums and Space follows (probably with a bit of a cut somewhere here), followed by a slinkly 'Other One'. Bobby follows that with 'I Need a Miracle' which seems a bit out of place but Brent follows with the 'Dear Mr. Fantasy>Hey Jude' combo which was performed quite often during this period. The 'Lovelight' that follows is a perfect counter coming out of that.  Jerry gives the crowd a wonderful encore with 'Knockin' On Heaven's Door' to close the evening.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          Grateful Dead Rosemont Horizon Chicago , IL 4/15/1988 - Friday Two     Hell In A Bucket [6:28] > Crazy Fingers [8:05] > Looks Like Rain [8:28] > Terrapin Station [11:31] > Drums [2:15#] > Space [#7:13]> The Other One [5:01] > I Need A Miracle [3:19] > Dear Mr. Fantasy [4:28] > Hey Jude [2:05] > Turn On Your Love Light [5:11] Encore     Knockin' On Heaven's Door [7:37]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042823.mp3  Thanks for your kind support. 

This week's Deadpod features another fabulous show from 1973. This week's show comes shortly after the death of Ron 'Pigpen' McKernan on the 8th of February 1973, and is the 2nd night of a three night run at the Nassau Coliseum in Uniondale NY, on March 16, 1973.  Folks this is a massive 14 song first set, and the come out of the gate flying with a high energy 'China>Rider', complete with a great, perhaps the first, 'feelin' groovy' jam in the transition. The new 'Wave That Flag' follows with some nice keyboard work from Keith. A fine version of 'Looks Like Rain' follows, introduced with a nice intro from Phil. There are highlights throughout the rest of this set, including an early version of 'They Love Each Other' but the closing 'Playin' In the Band' is sure to bring some smiles....      Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 3/16/1973 - Friday One China Cat Sunflower [6:09] > Jam [1:51] > I Know You Rider [4:33] Jack Straw [4:32] Wave That Flag [5:35] Looks Like Rain [7:01] Ramble On Rose [6:23] Box Of Rain [4:43] Beat It On Down The Line [3:17] They Love Each Other [5:28] El Paso [4:34] Row Jimmy [7:58] Mexicali Blues [3:23] Bird Song Playing In The Band  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod030323.mp3  Keep on rollin' just a mile to go... 

As we head into the New Year, here's a January show, a rarity for the band, from the intimate Uptown Theater in Chicago on January 30th, 1978. While this first set doesn't have the jamming that you'll hear in set 2, it is tight and Jerry's voice is much better than it was earlier in the month. There is some funny back and forth between songs, and the Lazy Lightning is greatly improved by Phil's contributions.   Grateful Dead Uptown Theatre Chicago, IL 1/30/1978 - Monday      One    The Promised Land [4:15]   Dire Wolf [3:30]   Mexicali Blues [3:32] > Big River [5:45]   Brown Eyed Women [5:28]   Looks Like Rain [8:04]   Peggy-O [7:01]   It's All Over Now [7:53]   Deal [5:37]   Lazy Lightnin' [3:22] > Supplication [5:32]  You can listen to this week's Deadpod here:   http://traffic.libsyn.com/deadshow/deadpod010623.mp3 Hope you are all well and that you're New Year has started strong! thanks so much for your kind support.     

In our first episode since the launch of Scarlet & Violet, our trio of VGC Pros sat down to chat about their experiences with the new game so far, ramping up into a new generation of competitive, and how we're bringing a Pokemon Gym to Real Life.------------------------------TimestampsBusier than Ever 00:28Thanksgiving Break 2:22That New Game Feeling 4:04First Playthroughs of S/V 5:45Keeping Up The Pace 8:50Pretty Solid Game 10:50Gripes 11:07Progression Woes 13:40 QoL and Less Features 15:50DLC and More Features 17:15The Postgame 17:47Dragonite's Time To Shine? 20:37Pronunciations 24:10These Names Make No Sense 25:36 Guybull 26:24 Verdict on Terastallize 27:55When To Terastallize 32:14Mons We Want To Use In Competitive 33:14Tut Tut, Looks Like Rain 36:34Sand 37:41Returning Pokemon 39:29 New Meta 41:55Pokemon IRL 42:44New Gen, New You 45:18Follow Beastcoast: ► twitter.com/Beastcoast ► instagram.com/beastcoastgg/ ► www.tiktok.com/@beastcoastpokemon ► Beastcoast.gg Follow the Beastcoast Pokémon Team: ► youtube.com/c/JamesWBaek ► youtube.com/c/ChaoticMeatballTR ► youtube.com/c/CeliosNetwork ► youtube.com/c/CybertronVGC► youtube.com/c/WolfeyVGC

Setting the record straight on dating apps… Everyday people telling everyday stories of the “swipe right” world. Have you had a crazy dating experience? Tell your story on the Swipe Wrong podcast. Contact us and we'll record your story for a future episode! Website: www.swipewrongpod.com Email: swipewrongpod@gmail.com Voicemail: 317-426-6616 Host:  “Chaos”  Producer: Jay Pelham

 Here's the second set from the band's performance at Autzen Stadium in Eugene on June 23, 1990.  A rather slow and dreamy 'Eyes of the World' leads us into a great 'Looks Like Rain', Bobby really does it justice here. 'Crazy Fingers' follows and while Jerry's voice is a bit craggy here its still, for me, a pleasure to hear. The band busts it out on the following 'Playin' In the Band' which opens up beautifully into 'Uncle John's Band', then returns for a full-blown 'Playin' Reprise'.  'The Wheel' flows out of space, then after a rocking 'Miracle', Jerry commands us with a powerful 'Morning Dew'.  Being Saturday the obligatory "One More Saturday Night' gets the crowd spinning as the band heads for the exits..    Grateful Dead Autzen Stadium - University of Oregon Eugene, OR 6/23/1990 - Saturday Two Eyes Of The World [15:24] > Looks Like Rain [8:35] > Crazy Fingers [8:24] > Playing In The Band [10:57] > Uncle John's Band % [9:02] > Playing Reprise [2:11] > Drums [8:03] > Space [9:18] > The Wheel [5:32] > I Need A Miracle [5:25] > Morning Dew [10:50] Encore     One More Saturday Night [4:59]     You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod070822.mp3  Thank you for your kind support, and keep a light in your heart during these dark days. 

In this week's episode of 36 From The Vault we find the band just a few weeks past the shocking brilliance of the Dick's Picks Vol. 20 two-show set from Fall 1976, here in Oakland, CA for a pair of opening gigs for The Who from the “Day On The Green” at the Oakland Coliseum Stadium. Two completely day lit shows, we hear the band try to channel energy through surprising segues and upbeat selections, crafting one of the more BBQ appropriate Dick's Picks of the larger series.Diss One, from 10/9, finds us in familiar territory as the Berry bookend opens the show before the greatest Grateful Dead song of all time is played and later “Jed.” The disc is highlighted by a gorgeous outro on “Looks Like Rain” and a loose & jammy “Scarlet Begonias,” just months away from its meeting point with “Fire On The Mountain.” Disc Two is highlighted by a phenomenal “Help -> Slip -> Drums -> Samson -> Slip -> Franklin's” showcasing the brilliant suite in 1976. Disc Three, from 10/10, features some rarities before closing with a wild & gorgeous “Dancin -> Wharf Rat -> Dancin.” Disc Four features another sandwich, with Playin' leading the way this time around: “Playin -> Drums -> The Wheel -> Space -> The Other One -> Stella -> Playin.” On the whole it's a bit of an underwhelming volume in terms of transcendent moments, but it showcases The Dead in a more traditional 70's classic rock setting, while giving many dreams of what “Space” would sound like at 3pm.36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 34 in anticipation of our next episode which will drop on Monday, July 18! See acast.com/privacy for privacy and opt-out information.

In this week's episode of 36 From The Vault we find the band prepping for their Europe ‘72 tour with a run of shows at the Academy of Music in New York City. Featuring a set with Bo Diddley, this volume highlights the emergence of Keith Godchaux in the band + showcases some of the best Pigpen we've ever heard through the Dick's Picks series. Disc One features the majority of The Dead's set with Bo Diddley on March 25. Showcasing their brilliance as a backing band, we hear them dip into the Blues for perhaps the last time in the 70s. Highlighted by a stunning “Jam” between Diddley and The Dead we see an alternate path for the band + their ability to linger in a variety of American styles throughout their career. The disc ends with a few one-off covers for the band + an excellent “Playin In The Band” from March 27.The final three discs encompass the entire May 28th show. Featuring a number of rarities through the Dick's Picks series, it's a great peek into the band during this period. On Disc Two, Pigpen shines on “Chinatown Shuffle, “Mr. Charlie,” and “Next Time You See Me.” Jerry's vocals on “You Win Again” showcase his ability to be as much a Blues man as he is a psych master, and “Cumberland Blues” rivals the version on the Europe ‘72 release. On Disc Three we hear perhaps the greatest “Looks Like Rain” ever played, plus we hear another excellent, early cut on “Playin In The Band,” before Pigpen highlights his emotional side with “The Stranger (Two Souls In Communion).” Disc Four displays the band's experimentation with a lengthy “The Other One,” before closing the set out with a laid back “Not Fade Away -> Going Down The Road Feelin Bad -> Not Fade Away.” It's a great snapshot of The Dead ahead of a transformative period in their career. By year's end they'd be a completely different band. 36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 31 in anticipation of our next episode, which will drop on Monday, May 23! See acast.com/privacy for privacy and opt-out information.

This show marks a significant event in the band's history - the last show with Keith and Donna in the group. It takes place on February 17, 1979 in Oakland. By this time, Keith's contributions had been steadily decreasing and while Donna was still, in my opinion, adding to the sound, it was clear that a change was going to have to happen.  This first set features the return of 'Greatest Story Ever Told' from a five year absence, as well as that last 'Passenger' with Donna (to my ears it never sounded right without her). 'Don't Ease' marks a return appearance as does 'High Time' as the band was mixing up the setlist which had grown a bit stale..The closing 'Lazy Lightin'>Supplication' is a clear highlight here....   Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 2/17/79 - Saturday     One      Greatest Story Ever Told [4:11] Don't Ease Me In [3:23]   Mama Tried [2:31] > Mexicali Blues [4:18]   Friend Of The Devil [9:08] Passenger [4:44]   High Time [6:25]   Looks Like Rain [6:33#]   Jack-A-Roe [5:20]   Lazy Lightnin' [3:26] > Supplication [5:11] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod022522.mp3    Peace

A look at the secrets to receiving the latter rain...

From a show I was lucky enough to see, in a beautiful venue, this week's Deadpod takes us to Cleveland for a show back on November 20, 1978 at the Cleveland Music Hall.  This is a very interesting and well played show. The second set, which we will hear next week, is most unique, but this first set is certainly worth hearing, despite some obvious flaws in the recording.  The opening Mississippi Half-Step into a fine Franklin's Tower clocks in at over 20 minutes, and features some fine jamming by Garcia. I'm a fan of the Roses, and while 'Looks Like Rain' suffers from a tape flip, its still nice to hear. An early 'Stagger Lee' follows, then a fine ' Passenger' and a long sweet, 'Peggy O'. The closing 'Lazy Lightnin'>Supplication' is perhaps the highlight of this set; listen for Jerry's great solos here.   Grateful Dead Cleveland Music Hall Cleveland, OH 11/20/78 - Monday     One     Mississippi Half-Step Uptown Toodeloo [9:10] > Franklin's Tower [11:38] ; Mama Tried [2:30] > Mexicali Blues [3:44] ; It Must Have Been The Roses [7:33] ; Looks Like Rain [7:33] ; Stagger Lee [6:47] ; Passenger [4:21] ; Peggy-O [9:02] ; Lazy Lightnin' [3:36] > Supplication [5:41]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod111221.mp3  My thanks for your kind support of the Deadpod. 

Talk from Barry Wales on 31 October 2021

What a great Scarlet>Fire on this week's Deadpod!  This comes to us from the second set of the band's performance at Madison Square Gardin on October 14, 1994.  This opening Scarlet>Fire is clearly the highlight of the show, clocking in at over 30 minutes of intensive, improvisational joy. You probably won't believe that they could hit on all cylinders like this at this point of the band's history but just sit back and enjoy. I am particularly impressed by the pace of the arrangement and how they don't take a breath through this.. amazing. You can hear some of the loud, standing ovation the crowd sent back after the end of Fire.. The rest of the set for the most part is no slouch either. I enjoyed Bobby's 'Look Like Rain' and while 'Samba' is one I'd rather skip, I am happy to include 'Corrina' which features a nice jam into Drums and Space. 'Attics' always provides an emotional hit, and while we can hear how far Jerry has aged here and in the 'Liberty' encore, I feel this one is well worth hearing. I hope you do too.    Grateful Dead Madison Square Garden New York , NY 10/14/94 - Friday Two     Scarlet Begonias [9:14] > Fire On The Mountain [22:03] ; Looks Like Rain [8:05] ; Samba In The Rain [6:51] ; Corrina [17:02] > Drums > Space [17:18] > I Need A Miracle [5:16] > Attics Of My Life [5:23] > Turn On Your Love Light [5:43] Encore     Liberty [5:45]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod101521.mp3  Thank you for listening. 

In this episode we chat with Mike Riley. Mike is an old and dear friend of Pat and I. Mike is arguably the reason why Pat and I are actually friends. For those of you  playing at home, Mike is the lead singer of the seminal Hardcore Band (although I think Dom likes to imagine its metal), Pulling Teeth. Mike is also a founding member of the famous Charm City Art Space, which was a cornerstone of the East Coast independent music scene/ punk scene for over 10 years. Before Pulling Teeth, Mike toured in bands like The Spark, Looks Like Rain, Paper Dragons and others. Mike also has run Toxic Pop Records, off and on for longer than I can remember too. Lastly even with all that, Mike has housed countless bands on tour. Normally I don't write all this shit out. Why am I doing that, you ask? The reason is Mike has been screwed a lot, like a ton. And it is hilarious (Most of the time). Enjoy!

This week the Deadpod stays right in Jersey City, for this wonderful show from August of 1976. This show too, took place at Roosevelt Stadium on August 4, 1976.  We start out with a long, dreamy 'Sugaree' - clocking in at over 14 minutes. Jerry is in good voice at this show, and you will notice that Phil is quite up front in this recording as well. These songs are all played at the slower pace characteristic of 1976, but I find the recording as well as the ensemble work quite pleasing.  Other highlights for me include a lovely 'Row Jimmy' and a sweet 'Looks like Rain', Donna's voice here is quite lovely and compliments Bobby so well. 'Loser' is a personal favorite, always.  A rockin' 'Music Never Stops' is followed by a great version of 'Scarlet Begonias'. This version, not yet coupled with 'Fire on the Mountain', displays some unique twists in this almost 15 minute version.   Grateful Dead Roosevelt Stadium Jersey City, NJ 8/4/76 - Wednesday One     Sugaree [14:12] New Minglewood Blues [6:00] Row Jimmy [11:34] Big River [5:50] Loser [9:44    ] Looks Like Rain [7:30] They Love Each Other [6:59] The Music Never Stopped [6:25] Scarlet Begonias [14:59]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod081321.mp3    Be well, be safe.. and as always my thanks for making the Deadpod possible.. 

Looks Like Rain by PCA CHURCH

More vaccinations, home improvement, Entourage, Wish Dragon, Paddington, Miss Marple, dumb debates, Mutant Year Zero, work

More vaccinations, home improvement, Entourage, Wish Dragon, Paddington, Miss Marple, dumb debates, Mutant Year Zero, work

This week we bring you a fine recording of an often overlooked gem from the Summer of 1973. This comes to us from RFK Stadium in Washington DC on Saturday, June 9, 1973. This date is often overlooked in favor of the next day (which we played back in '08). On both dates, the band shared the bill with the Allman Brothers. On this very hot day, the Dead opened, and played two excellent sets.  The first set, which we'll hear this week, while not featuring any extended jams, nevertheless delivers some fantastic versions of many of their favorites. As with most shows from '73 there are too many treats to mention here, however I would advise you to listen in particular to the 'Loose Lucy'. With a flub on the last verse, Garcia leads the boys on an excellent blues flavored jam, which for me is the highlight  of the set. Phil delivers a wonderful vocal performance on 'Box of Rain' as well.   Grateful Dead RFK Stadium Washington, DC 6/9/73 - Saturday  One      The Promised Land ; Deal ; Looks Like Rain ; They Love Each Other ; Jack Straw ; Loose Lucy ; Mexicali Blues ; Row Jimmy ; El Paso ; Box Of Rain ; Sugaree ; Beat It On Down The Line ; Tennessee Jed  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod061121.mp3  A great example of the wonders of the Wall of Sound!  thank you for your kind support of the Deadpod. itu

I'm going to shuffle the deck a little bit and bring you a real treat, a show from the fall of 1976. This comes to us from September 30, 1976 at Mershon Auditorium at The Ohio State University. This special request from a friend of the Deadpod features a fantastic first set. The opening 'Music Never Stopped' is quite unique - and features some wonderful playing by Garcia in the cresendo leading into a sweet 'Sugaree'.  'Looks Like Rain' has a nice interplay between Bob and Donna, and 'El Paso' has a nice galloping tempo thanks to Phil. The real fireworks come with the fabulous 'Crazy Fingers' that follows.. to me the highlight of the set, although some would argue that the set closing 'Scarlet Begonias' deserves those accolades.. I'll let you decide ;)      Grateful Dead Mershon Auditorium - Ohio State University Columbus, OH 9/30/76 - Thursday One     The Music Never Stopped [5:56] Sugaree [9:44]   New Minglewood Blues [4:30]   Ramble On Rose [7:19] Looks Like Rain [6:02]   Peggy-O [8:25]   El Paso [4:10] Crazy Fingers [15:02] > It's All Over Now [5:14]   Scarlet Begonias [10:14]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod051421.mp3  

This is the best of some mellow Dead, and if you watch on YouTube it will be accompanied by a black screen for less light to keep you awake. Enjoy the sweet sounds, and we bid you goodnight. 1. Been all around this world 10.1.80 New Orleans 2. Crazy Fingers 9.30.76 Columbus OH 3. Peggy-O 4.22.78 Nashville 4. Looks Like Rain 10.31.85 Columbia SC 5. I will take you home 5.6.89 Frost Amph. CA 6. Lost Sailor 8.13.79 Denver CO 7. Stella Blue 7.18.76 San Francisco 8. Hes Gone 7.2.89 Foxboro MA 9. Candyman 12.15.86 Oakland CA 10. Birdsong 3.16.73 Nassau Col NY 11. FOTD 5.7.77 Boston Garden 12. Brokedown Palace 12.7.71 Felt Forum NYC 13. Black muddy 6.13.87 Ventura CA 14. To lay me down 9.20.70 Fillmore East NYC 15. We bid you goodnight 6.24.69 Hollywood FL

 Happy New Year!  From a request from a longtime frirend of the Deadpod - I've decided to celebrate the end of 2020 with this fun and raucous show from NYE 1982. I'll present this one over the next couple weeks and hope can feel and enjoy the fun that the band and everyone in attendance had on this special night 39 years ago.  The first set which we'll hear this week is a bit short, but still well played and tight. Garcia's voice is a bit creaky but he makes up for it with some very nice work on the guitar. A long 'C.C. Rider' has Mathew Kelly sitting in, but I believe Brent adds much to this one (and throughout the set). 'Cumberland Blues' is for me the highlight here as Jerry really brings some nice licks. Brent delivers a short but nice 'Far From Me', Weir is forceful as usual on 'Cassidy' and a bit screechy at times on 'Looks Like Rain' but these are fine versions. 'Ramble On Rose' always brings a smile, and a 'Day Job' to end the year seems quite appropriate.   Oakland Auditorium Oakland, CA 12/31/82 - Friday One     Cold Rain And Snow ; C C Rider ; Cumberland Blues ; Far From Me ; Cassidy ; Ramble On Rose ; Looks Like Rain ; Keep Your Day Job  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod010121.mp3  A word of thanks for your kind support over the holidays and throughout this last, difficult year. I very much appreciate your kindness. May these songs fill the air with much joy and well being this next year! "Sometimes when the cuckoo's crying When the moon is half way down Sometimes when the night is dying I take me out and I wander around I wander round"

 Great set this week - the 2nd set from the band's performance at the Warfield Theater in San Francisco on 10/11/80.  Great quality tape - and right off they sound hot .. a wonderful 'Stranger' punctuated with some smoking guitar. Even the Mama Tried>Mexicali has some real smokin' licks. Personally I find the post-Donna 'Passenger' to be one of the best of this period.. really well done. There's nothign shabby here, and the closing Sailor>Saint has some great jamming in it.      Grateful Dead Warfield Theatre San Francisco, CA 10/11/80 - Saturday Two     Feel Like A Stranger [8:26] ; They Love Each Other [7:07] ; Mama Tried [2:33] > Mexicali Blues [4:16] ; Loser [7:32] ; Passenger [4:44] ; Ramble On Rose [7:14] ; Looks Like Rain [7:21] ; Althea [7:58] ; Lost Sailor [6:32] > Saint Of Circumstance [6:18]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod100920.mp3 Hope you enjoy this.. and thank you so much for your support..   

Kelly Winrich y Sam Outlaw siguen al lado de Michaela Anne tras el éxito de su álbum Desert Rose con la producción de un nuevo trabajo aún sin fecha de edición, pero con un par de canciones que ya hemos podido anticipar en el tiempo de TOMA UNO. Después del esperanzador “Good Times” llega un toque mucho más cercano a la tradición de la country music con “Burn My Bridges”. La canción surgió cuando la propia Michaela entendió que su vida no estaba encaminada de la mejor forma posible. Al parecer, una mañana de resaca decidió que no podía seguir viviendo así y que debía escribir sobre ello. El problema es que Rodney Crowell ya había compuesto muchos años antes "Ain’t Living Long Like This", por lo que decidió darle un toque más cercano al honky tonk con el piano Brian Whelan y el pedal steel de Philip Sterk. Así nació “Burn My Bridges”. Cuando Muscle Shoals y Nashville se encuentran ahí está Skylar Gregg, que acaba de publicar su tercer álbum, Roses, cuyo tema central es realmente conmovedor, hablando sobre los seres queridos perdidos con una tesitura vocal que recuerda a Dolly Parton. Con sede en Nashville, donde se mudó su familia para poder seguir las inclinaciones artísticas de sus padres, también músicos, Skylar tiene la férrea convicción de una cantante y compositora de talla. “Roses” no es un disco fácil en su contenido, ya que sus letras están llenas de situaciones difíciles donde se hallan el arrepentimiento, la muerte, las adicciones, la moralidad y los abusos. Todo ello envuelto en sonidos atemporales en los que sí es sencillo reconocerse. Bruce Robison y Kelly Willis persisten en ser los mejores anfitriones de un hogar musical que han llamado The Bunker y que tiene como sede muy cerca de Lockhart, en Texas, convertida en la sede de The Next Waltz, una aventura vital alternativa en la que no hay ordenadores ni efectos digitales. Todo se graba en una cinta de 2 pulgadas. Y, entonces, surge la magia. Uno de los ejemplos más cercanos es esta versión de la pareja a “Tennessee Blues”, una maravillosa canción de Bobby Charles, un cantante y compositor con raíces en la Cajun music, nativo de Abbeville, en Louisiana, y pionero del “rock pantanoso” gracias a temas como este, que en 1972 empezó a darle a conocer gracias al apoyo de Rick Danko de The Band, que produjo su álbum de debut y le invitó a participar en The Last Waltz, el concierto de despedida del grupo en el Winterland Ballroom de San Francisco cuatro años después. Bobby Charles murió hace 10 años. Tish Hinojosa, Stephanie Urbina Jones y Patricia Vonne tienen una larga carrera por separado y muchos puntos de unión. Crecieron en la tejana San Antonio y el Tex Mex ha sido una de sus raíces compartidas. Ahora han decidido poner en común esa riqueza sonora bajo el nombre de The Texicana Mamas y con ese título lanzan su disco de debut como trío, que ellas mismas han coproducido. Su perfección para armonizar se ha trasladado también a la selección de canciones, a la mezcla de inglés y español, y a la riqueza del sonido procedente de ambos lados de la frontera. Las tres mujeres se turnan para cantar las distintas composiciones y se reúnen para versionar “Lo Siento Mi Vida”, la canción que Linda Ronstadt compuso junto a su padre Gilbert y a Kenny Edwards, su compañero en los Stone Poneys, para el álbum Hasten Down The Wind de 1976. La continuación del disco de debut de Molly Tuttle reivindica como ninguno la sensibilidad de una mujer que en 2019 publicaba When You're Ready. Ahora, ...But I'll Rather Be with You, muestra a Molly Tuttle es una colección de versiones que pone de manifiesto su eclecticismo y su habilidad para filtrar los más distintos sabores sonoros. Son diez canciones plenas de brillantez en las que el productor, Tony Berg, ha tenido un papel preponderante, siendo capaz de construir un edificio que tiene sus cimientos en Nashville, donde Molly ha centrado su participación, y al que se han añadido músicos de estudio de Los Angeles como Matt Chamberlain y Patrick Warren. Recorriendo canciones desde National a Harry Styles, pasando por los Stones, Grateful Dead o Rancid hasta llegar a "How Can I Tell You" de Cat Stevens, que en septiembre del 71 formó parte del álbum Teaser and the Firecat, marcando una línea emocional cuya protagonista es la soledad. Ashley Campbell ha recogido muy buena parte de las esencias de su padre, el legendario Glen Campbell para recuperar su más que reconocible sonido en “Something Lovely”, la canción que compuesta junto a Brandon Kress da nombre a su segundo trabajo, que verá la luz a primeros de octubre. Sigue mezclando una diversidad de influencias que combinan la vieja escuela del country, el bluegrass que a veces desarrolla como excelente banjista que es, el folk más enraizado y nuevas propuestas contemporáneas más atrevidas. Tener a su lado como padrino a Carl Jackson, es un apoyo personal y artístico impagable. Carl Jackson siempre ha sido un músico cercano convertido en un referente del bluegrass y el country más enraizado. Colaborador de Glen Campbell, Jim & Jesse o Emmylou Harris, entre muchos otros, también estuvo cerca de Alecia Nugent, que no es, ni mucho menos, una desconocida para los oyentes de TOMA UNO. Nativa de Hickory Grove, en el estado de Louisiana, la llegaron a apodar “Hillbilly Goddess”, tal y como se titula su tercer álbum de hace 11 años. Era debido, sin duda, a la serenidad que se les supone a los veteranos en un terreno tan complicado como el del bluegrass, donde siempre se ha desenvuelto a la perfección. Ella, por entonces, tenía 37 años y la International Bluegrass Music Association la nombró Vocalista Femenina de la temporada. Tras abandonar Nashville y después de todos esos años, Alecia reaparece con The Old Side of Town, un proyecto con 10 nuevas canciones, que sigue explorando sus raíces y que cuenta con la producción del veterano Keith Stegall, que ha estado al lado de Alan Jackson desde sus comienzos. Una de las canciones más vulnerables de este nuevo registro es, sin duda, "They Don’t Make‘ em Like My Daddy Anymore", dedicada a su padre, que murió de cáncer el primer día de julio de 2013. Han pasado casi cuatro años desde que Mo Pitney debutó con Behind This Guitar, un disco muy bien considerado que dejo el mejor sabor de boca para un debutante tan joven. Ahora con 27 años, este nativo de Cherry Valley, en Illinois, regresará a primeros de octubre con el esperado Ain’t Lookin ’Back, un disco que corrobora los buenos augurios de su debut. Colaboraciones como la de Jamey Johnson, Ricky Skaggs y Marty Stuart dan impulso a un trabajo que nos remonta a comienzos de los 1990, una etapa especialmente brillante del resurgir de la industria de Music Row. Incluso su voz recuerda mucho a aquellos tiempos, evocando a Keith Whitley, Daryle Singletary o Randy Travis. Es evidente que Mo Pitney tiene la capacidad de saltar en el tiempo y poner de acuerdo a diferentes generaciones. “Looks Like Rain” es una de las muestras más sólidas de este álbum. La nueva generación de artistas de Americana nos va despejando un panorama esperanzador con la llegada de Mo Pitney o de Daniel Donato, un músico de 25 años convertido en todo un maestro de la Telecaster que debuta con el álbum A Young Man’s Country. Nativo de Nashville y criado en sus calles y sus locales, especialmente el legendario Robert's Western World de Lower Broadway, le hemos escuchado tocar en el Ryman junto a The Wild Feathers o grabando Hard to Please con The Black Lillies. El veterano guitarrista Robben Ford ha producido un disco de presentación formal que rezuma esa Cosmic American Music que elevó a los altares Gram Parsons, aireada con las mejores esencias psicodélicas de Grateful Dead y el toque outlaw de Waylon Jennings. Daniel Donato compone con coherencia, pero es evidente que cuando versiona algunas de sus canciones favoritas pone un tinte de emoción inevitable. Así ha ocurrido con “Angel From Montgomery” de John Prine, una canción del disco de debut del recordado músico de Illinois, cuando faltaba casi un cuarto de siglo para que Donato naciera. Con una carrera envidiable hasta sus últimos días, no era sencillo impresionar a una leyenda como John Prine. Pero el artista ahora desaparecido escuchó a Arlo McKinley y decidió que debía pasar a formar parte de su sello discográfico, Oh Boy Records.El músico de Ohio ha debutado con Die Midwestern, con una mezcla perfecta de country y folk para hablar de buenos momentos, decisiones equivocadas y rupturas dolorosas con la sensación de que estas escuchando las historias que siempre cantaron los clásicos, aunque las formas son propias de coetáneos como Jason Isbell, Tyler Childers, Ian Noe o John Moreland. Así ocurre con “She’s Always Been Around”, un tema de honky tonk de carretera con la jukebox encendida que hubiera interpretado George Jones con sumo gusto. Se fue a grabar a Memphis con músicos como Ken Coomer de Uncle Tupelo y Wilco), Rick Steff (Cat Power) y Reba Russell que ha acompañado a maestros como Johnny Cash y Roy Orbison. Si el tejano Lefty Frizzell fue el referente de Merle Haggard, es evidente que el artista de Bakersfield es el espejo en el que se mira Zephaniah OHora, un músico de Brooklyn que ha adquirido su estética y su sonido. Su segundo álbum, Listening to the Music, mantiene esa prestancia, pero es evidente la madurez alcanzada desde que hace tres años debutó con This Highway. La producción del desaparecido Neal Casal ha tenido una importancia vital para que se produzca una empatía de toques agridulces que pudiera servirnos para estos tiempos duros como para los buenos que están por venir. El tema central, “Listen To The Music”, reconoce el poder de la música para cambiar las cosas y servir de escape de todo el dolor que nos rodea. En cierta forma es una especie de regreso a las maneras de los 70, cuando todo se hizo más reflexivo, incluyendo al inevitable Merle Haggard. Ya que hablábamos de honky tonks, en este primer fin de semana de la nueva temporada de TOMA UNO en Radio 3 queremos despedirnos recordando que somos conscientes de tener amigos en los mejores sitios. Hace exactamente un mes se cumplieron 30 años de la publicación de un clásico como “Friends In Low Places” de Garth Brooks. Cuando en 2015 aquel tema celebraba su cuarto de siglo, el artista de Oklahoma decidió volver a grabarlo juntos a amigos como Florida Georgia Line, Jason Aldean, Keith Urban y George Strait. La canción se incluyó exclusivamente en una caja de 10 CDs titulada Garth Brooks: The Ultimate Collection. Volvemos el próximo fin de semana a la sintonía de Radio 3, donde nos encantará seguir cumpliendo años juntos. Escuchar audio

Message from Pastor Hal Hightower on September 6, 2020

Doing Things at Home is Getting Old This week on the podcast Brian and Darryl are talking about some of the Comic-Con At Home news (or lack thereof), More AMC Theaters drama, and Tom King shows he is lacking as professionalism and calling out artist Jae Lee for doing his job and not being wrapped up in Twitter Drama for a living. Plus a Season 1 recap of the Umbrella Academy just in time for your Season 2 binge. News Bites IDW Publishing Places New Publisher on Administrative Leave Has Hailee Steinfeld Signed on for Kate Bishop in Hawkeye? Why Comic-Con ‘At Home' Was a Bust AMC Theaters and Universal Pictures Strike a Deal That Allows Theatrical Films To Debut on VOD Early Tom King Retracts Statement on Jae Lee’s Comicsgate Connection Jae Lee to Tom King – “We’re Not All Good” Tom King Issues Full Apology to Jae Lee, Removes Tweets Umbrella Academy Season 1 Recap Summary On one day in 1989, 43 infants are inexplicably born to random, unconnected women who showed no signs of pregnancy the day before. Seven are adopted by billionaire industrialist Sir Reginald Hargreeves, who creates the Umbrella Academy and prepares his “children” to...

Hello Friends! This week we begin listening to the last show of a famous 6 night run at the Orpheum Theater in San Francisco CA, back on July 18, 1976. This was an exceptional run of shows, and this last night was perhaps the topper. It features an exceptional second set, which we'll have the pleasure of hearing next week, but this first set is quite well played as well. The show was originally broadcast on KSAN FM, but this tape's lineage is supposed to be from the soundboard, and I don't detect the usual FM flattening. Nicely stretched out versions of Mississippi Half-Step, Row Jimmy and Scarlet Begonias contain some excellent Garcia work. The set features the return of 'Loser' for the first time in almost 2 years, and closes with a wonderful 'Music Never Stopped'..      Grateful Dead Orpheum Theatre San Francisco, CA  7/18/76 - Sunday     One     Mississippi Half-Step Uptown Toodeloo [9:49] % Cassidy [4:16] % Row Jimmy [9:42] % Mama Tried [2:40] % Scarlet Begonias [11:18] % Looks Like Rain [7:09] % Tennessee Jed [9:19] % New Minglewood Blues [4:54] % Loser [7:58] % The Music Never Stopped [6:50]     You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod071720.mp3     My thanks for your kind support!      "It was later than I thought when I first believed you But now I cannot share your laughter, ship of fools"  

On this episode we break from Western New York people for the first time and interview Patrick Martin from Baltimore. You will see that he does have a pretty good connection to Rochester though. In addition to the bands he has played in (Gamewinner, Looks Like Rain, Neolithic, End It, etc), we also talk touring with bands, current events, juggalos, and a ton of other related subjects. --- Support this podcast: https://anchor.fm/enterprise-hardcore-podcast/support

2020 es un año "raro". Pero raro raro. Por eso, cuando acabamos de llegar a su ecuador, hemos echado la mirada atrás y hemos recopilado hasta 11 canciones convertidas en clásicos que varios artistas de Americana han devuelto al presente en estos meses, dándoles un nuevo sentido, una dimensión diferente, un tinte melancólico y cercano, especialmente en tiempos de pandemia como los que sufrimos. Empezamos con Blackberry Smoke, una de las bandas más poderosas de la escena del Southern rock, fortaleciendo su estatus con grabaciones como su último EP Live From Capricorn Sound Studios, donde rinden homenaje a ese mítico edificio situado en Macon, Georgia, con diferentes versiones de temas clásicos que fueron registrados entre aquellas paredes. La apertura de ese trabajo y del programa de hoy es esta imponente versión de “Midnight Rider”, un tema de hace medio siglo que The Allman Brothers Band incluyeron en su segundo álbum, Idlewild South. A pesar de la reunión de Brooks & Dunn, el dúo más sólido de la escena del country desde la década de los 90, Ronnie Dunn quiso realizar una fugaz visita a un par de docenas de canciones que le han influido muy directamente a lo largo de su vida y las reunió en el álbum Re-Dunn: Twenty Four Hit Songs abarcando una enorme cantidad de estilos y propuestas sonoras. Parecía inevitable que el artista tejano echara mano de “Against The Wind”, que Bob Seger grabó hace 40 años para dar título a uno de sus LPs más brillantes y reafirmarse en su deseo de mantener la integridad personal según sigues caminando hacia delante, contra el viento. En los últimos tiempos estamos asistiendo a una sucesión de encuentros naturales entre distintas culturas verdaderamente enriquecedoras. La Americana es el mejor lugar de acogimiento para que, por ejemplo, el vocalista Eric Burton y el guitarrista Adrian Quesada formaran Black Pumas hace tres años. El resultado de poner en común sus experiencias anteriores en las tierras de Austin, dio como resultado un primer álbum de título homónimo que ha tenido una cercana continuación con una versión a esa reflexión sobre la lucha diaria que Tracy Chapman tituló “Fast Car” en 1988. Gretchen Peters, la veterana artista de Bronxville, en Nueva York, y una de las cantautoras más apreciadas, ha publicado el álbum The Night You Wrote That Song: The Songs of Mickey Newbury, en el que ha hecho suyas las narraciones de un trovador ya de por sí tan personal como Mickey Newbury. Dentro de una selección incontestable, Gretchen ha puesto un énfasis especial en su interpretación de “San Francisco Mabel Joy”, un tema que cuenta las experiencias californianas de un muchacho de Georgia y que el músico tejano dejó para historia como parte del álbum Looks Like Rain de 1969. La californiana Molly Tuttle es otra de las artistas que se ha manifestado especialmente activa en los últimos meses, colaborando en distintos proyectos junto a los músicos de Old Crow Medicine Show y poniendo al día sus propios archivos. De esta forma recuperó una versión de “Helpless” que había hecho durante las sesiones de When You’re Ready y con la banda de Ketch Secor culminó los arreglos coincidiendo con el medio siglo de historia desde que Crosby, Stills, Nash & Young publicaran la versión original para su álbum Déjà Vu. Townes Van Zandt es siempre un refugio al que poder acudir. Volver a los sonidos clásicos que han servido de cimientos para el edificio de la música popular es casi una necesidad. Así lo ha hecho Tracy Grammer, pareja artística del fallecido Dave Carter, con quien formó uno de los dúos de folk más recomendables de la última década del siglo XX. Tras cuatro álbumes como solista Tracy nos regaló una versión con un evidente tinte emocional de "If I Needed You", conservando fielmente el espíritu con el que fue creada cuando formó parte en 1972 del álbum The Late Great Townes Van Zandt y que el cantautor tejano dedicó a su productora Anne Mittendorf Eggers. Muy poco antes de la llegada de la pandemia, la californiana Alice Wallace decidió mudarse a Nashville para dar más amplitud a su trabajo. Su álbum Into The Blue es uno de esos discos siempre recomendables que pudo presentar en directo en su visita a España. Coincidiendo con la celebración de 14 de febrero, Alice recordó uno de aquellos discos que sonaban en el hogar familiar y decidió hacer una versión especial en single de vinilo y edición limitada. Era “Long Long Time”, que su heroína Linda Ronstadt había grabado hace 50 años para su álbum Silk Purse, el segundo de su carrera en solitario. Para dar el toque íntimo de la composición de Gary White se puso en manos del productor Doug Lancio y dejó que su voz se meciera con el violín de Xander Hitzig. Yendo a la tradición más básica de la country music que fue la inspiración de algunas de las figuras punteras del nacimiento del folk rock y el country rock en los comienzos de los 70, Tessy Lou Williams, convertida en una de nuestras nuevas favoritas, encontró a los Osborne Brothers y decidió versionar “Pathway Of Teardrops”, un tema legendario que ya habían cantado dos referentes del bluegrass contemporáneo como Rhonda Vincent o Alison Krauss. La artista de Montana persiste en su emocionado y respetuoso regreso a las esencias y los modos tradicionales. Tanto como líder de los Textones como en su carrera en solitario, Carla Olson ha mantenido el entusiasmo por preservar la herencia de aquellos sonidos que escuchábamos en la segunda mitad de los 60 y primeros 70. Su último disco, Have Harmony Will Travel 2, establece una perfecta intersección de folk y country rock clásico con paisajes californianos. De esta forma nos ha regalado una deliciosa versión de la composición de Richie Furay "A Child’s Claim to Fame", que nos sitúa en 1967 y en el segundo álbum de Buffalo Springfield, además de en el vibrante Deliverin’ de Poco. Como invitados ha contado con Timothy B. Schmit, junto a quien interpreta el tema a dúo, e incluso con Rusty Young tocando el banjo, el dobro y la guitarra acústica. John Hartford fue imprescindible para que el bluegrass progresara y la experimentación marcara un desarrollo del estilo que parecía casi imposible. El músico neoyorquino fue también una pieza clave en sus fusiones naturales con el country y el folk, dejando un legado que en los últimos tiempos está siendo reconocido por los más diversos músicos de la Americana. En estas fechas sale a la luz On The Road: A Tribute To John Hartford, donde un buen puñado de músicos que han crecido con sus enseñanzas. Y es inevitable que "Gentle On My Mind" aparezca como una referencia de sus creaciones, siendo además el mayor de sus éxitos. The Infamous Stringdusters, la banda de bluegrass con sede en Nashville que se caracteriza por saltarse casi todos los protocolos del género, ha dejado una versión respetuosa y enternecedora de la canción. La herencia más directa del sentimiento outlaw se refleja en Lukas Nelson y Shooter Jennings, descendientes directos de Willie y Waylon, y que grabaron juntos el tema central de la serie de Netflix The Ranch versionando “Mammas, Don't Let Your Babies Grow Up To Be Cowboys”, la canción que compuso el matrimonio formado por Patsy y Ed Bruce advirtiendo a las madres de la dureza de la vida de los vaqueros como para que sus hijos lo sean. Lukas y Shooter han evocado la primitiva grabación de sus padres en 1978 y hoy nos sirve de despedida de este primer fin de semana de Julio y nos emplaza para el próximo en la sintonía de Radio 3. Escuchar audio

Looks Like Rain is a rainstorm sound effect podcast by Ken Steele. This will be great for relaxing, reading, or to drown out background sounds to help you fall asleep. Please check this out. Thanks for listening to Ken Steele Music.

This week's Deadpod features a fine show from June 24, 1976 at the Tower Theater in Upper Darby PA, near Philadelphia. This spring '76 tour features mail order tickets for the first time, and rejuvenated vocals from Bob and Donna, who seem to have benefited from the time off. This particular show was broadcast on FM but this is a soundboard copy and I think it sounds great. This one also has a hilarious opening by Bob and Phil - worth keeping the rather longish tuning in place ;) I think you'll find that Keith is particularly fine throughout, but especially on Big River.. Listen to Jerry make that axe howl in Tennessee Jed ;) And what beats a first set Scarlet Begonias? Hope you enjoy.   Grateful Dead Tower Theatre Upper Darby, PA 6/24/76 - Thursday One Tuning and Stage Announcements Cold Rain And Snow [6:02] % Big River [5:22] % Friend Of The Devil [8:08] % Cassidy [4:15] % It Must Have Been The Roses [7:26] % Lazy Lightnin' [2:46] > Supplication [4:55] % Tennessee Jed [7:55] % Looks Like Rain [7:19] % Scarlet Begonias [10:22] % The Promised Land [3:56]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod060520.mp3    Thanks for your support of the Deadpod!    Be well.. Peace, Respect and Dignity to all! 

Hoy queremos empezar nuestro programa reconociendo la labor de la comunidad musical en estos momentos difíciles. Nosotros vamos a inclinarnos hacia nuestros géneros favoritos y vamos a cruzar el Atlántico para asistir virtualmente a conciertos sin público que se hacen virales gracias de las redes sociales. De esta forma podemos compartir, por ejemplo, los sonidos de Brad Paisley y su banda al completo. El pasado viernes día 15, reunió a su banda habitual en un mismo escenario de un amplio local de ensayo en Nashville y dio un concierto en vivo sin público como parte de las llamadas Seltzer Sessions de una popular marca de cerveza. A lo largo de su intervención, el artista de West Virginia dio un rápido repaso a su amplio repertorio, uniendo en muchos casos distintas canciones. Así ocurrió con “American Saturday Night” y "Country Nation" dando una imagen de la diversidad de culturas que conforman los Estados Unidos y una forma de aceptación de los inmigrantes. Como sorpresa, Brad Paisley quiso recordar una de las canciones más populares de la carrera en solitario de Don Henley, con esta versión a “The Boys Of Summer” que formó parte en 1984 de Building the Perfect Beast, el segundo álbum del músico tejano en el que participaron varios de los miembros de los Heartbreakers de Tom Petty. De hecho el guitarrista Mike Campbell tenía una maqueta de la música que Petty no vio oportuna para Southern Accents, en disco en el que el grupo estaba trabajando. Se la enseñó a Henley y este le puso una letra nostálgica sobre el paso de la juventud a la mediana edad y el recuerdo del pasado. Lady Antebellum fueron los teloneros de este concierto del pasado día 15 que tuvo a Brad Paisley como cabeza de cartel. El trío de Nashville mantuvo el mismo formato, con banda completa y una distancia física de un par de metros. Hicieron un recorrido por buena parte de sus canciones más populares, pero ya que hemos hablado de Tom Petty, sus miembros volvieron a mostrar su debilidad por el músico de Florida con una versión de “I Won’t Back Down”, un tema de Full Moon Fever, el primer disco en solitario de Petty en 1989. Randy Rogers y Wade Bowen acaban de publicar su álbum conjunto Hold My Beer, Vol 2 y decidieron hacer una presentación especial del disco con un concierto acústico en el legendario Cheatham Street Warehouse de la tejana San Marcos donde la Randy Rogers Band grabó su disco de debut hace 20 años y que su líder compró hace tres años. En ese repaso por las nuevas canciones está “Rhinestoned”, que la pareja dice que es su favorita del álbum. Compuesta por Lori McKenna, Ryan Beaver y Ashley Ray, es una especia de oda a la country music de la vieja escuela, con homenajes a leyendas del g´nero como Hank Williams Sr. o George Jones. Las ofertas para mantener unidos a los seguidores a través de las redes sociales siguen dejando momentos mágicos. El batería de Aaron Watson, Nate Coon, tuvo la idea de hacer unas "Home Room Sessions" desde antes del aislamiento obligado y, por supuesto lo ha mantenido con la llegada de la pandemia. De esta forma nos hemos encontrado con Wade Bowen como invitado especial haciendo una versión sorprendente de “Somebody’s Baby”, un tema que Jackson Browne compuso junto a Danny Kortchmar para la banda sonora de la película de Fast Times at Ridgemont High, que aquí se tituló Aquel excitante curso y fue protagonizada por Sean Penn, Jennifer Jason Leigh y Judge Reinhold. La canción no se incluyó en ningún álbum oficial del artista, apareciendo en diferentes recopilatorios de éxitos. El siempre inquieto Ketch Secor, líder de Old Crow Medicine, acaba de regalarnos una nueva canción muy de estos tiempos y la ha titulado precisamente "Quarantined", como una forma de alegrar las dos semanas de cuarentena que te impiden tan siquiera un abrazo. Grabada en el Hartland Studios de la Nashville, "Quarantined" es la continuación en cuanto a novedad a "Nashville Rising", lanzada en abril para recaudar fondos para víctimas del tornado sufrido por Music City a través del Fondo de Respuesta a Emergencias de la Fundación Comunitaria de Middle Tennessee. Esta vez, Secor está acompañado por cuatro de los miembros de Old Crow Medicine Show y por la guitarra acústica de Molly Tuttle. Garth Brooks también ha querido colaborar a paliar en cierta forma la espera de su nuevo registro, Fun, que continúa alargándose, y nos ha dejado un par de adelantos como es el caso de “That’s What Cowboys Do”, una canción de corte clásico dentro de la country music que supera con creces el nivel de las que se escuchan en las emisoras de radio del estilo, con una superproducción que suele desmerecer los resultados. Por sorpresa, Margo Price ha publicado este pasado jueves Perfectly Imperfect at the Ryman, una colección de canciones grabadas a lo largo de las tres noches de conciertos en el Ryman Auditorium de Nashville en la primavera de 2018. Las 11 canciones nos dejan momentos tan especiales como las apariciones de Jack White, Emmylou Harris y Sturgill Simpson, que ha producido el nuevo álbum de estudio de la artista de Aledo, Illinois, That’s How Rumors Get Started, cuya fecha de lanzamiento se ha retrasado hasta el próximo verano debido a la pandemia del coronavirus, con una versión apasionante de “Ain’t Living Long Like This” que Rodney Crowell donde el músico de Kentucky demuestra su destreza con la guitarra. El próximo viernes aparece, por fin, Neon Croos, el nuevo trabajo de Jaime Wyatt que tiene ciertos tintes de renacimiento para la artista de la californiana Santa Monica, suponiendo pasar página con respecto a Felony Blues, publicado hace tres años. En este tiempo ha dejado sus adicciones y se ha acercado a sus amigos y a su familia, encontrando una identidad renovada que quiere compartir en este álbum. “Goodbye Queen” tiene que ver con sus relaciones fallidas y es una especie de libro abierto para declarar su recuperación y como considera que perdió el tiempo estando en el armario sin declarar sus inclinaciones sexuales. La naturalidad de una voz femenina interpretando sin impostura ni aditivos innecesarios un texto de un trovador tan personal como Mickey Newbury no parecía muy previsible. Pero ha llegado Gretchen Peters, una de las cantautoras más apreciadas de estos tiempos, además de haber escrito éxitos para docenas de artistas especialmente en el terreno del y, debido a su éxito, ser miembro del Salón de la Fama de los Compositores de Nashville. La veterana artista de Bronxville, en Nueva York, acaba de publicar The Night You Wrote That Song: The Songs of Mickey Newbury en el que ha hecho suyas narraciones de la experiencia humana en su forma más vulnerable. Al final de los 60 e inicio de la década de los 70, el tejano nos dejó las mejores grabaciones de su carrera, comenzando con Looks Like Rain en 1969, un álbum en el que se encontraba “San Francisco Mabel Joy”, un tema que cuenta las experiencias californianas de un muchacho de Georgia. El martes pasado Mickey Newbury debía haber cumplido 80 años. Milton Sims Newbury Jr. fue un tejano de Houston que se marchó a Nashville en los años 60 para convertirse en escritor de la compañía Acuff‑Rose. Sus canciones han sido grabadas por artistas de la categoría de Johnny Cash, Willie Nelson, Elvis Presley, Kenny Rogers o Kris Kristofferson, entre otros muchos. Esta última se convirtió en la gran joya de su primer álbum, Frisco Mabel Joy, publicado en 1971. En realidad era un medley de tres canciones de la Guerra Civil Americana ("Dixie", "The Battle Hymn Of The Republic" y "All My Trials"). A pesar de tener una enorme repercusión, el cantautor siempre pensó que aquel tema iba en detrimento de su faceta real como el gran compositor que era. Escuchar audio

Set 1:Alabama Getaway ->The Promised LandThey Love Each OtherCassidyLoserIt's All Over NowEasy To Love YouBig Railroad BluesLooks Like RainDon't Ease Me InThe Music Never Stopped