Podcast appearances and mentions of mike porcaro

Six-time Grammy winner and Toto co-founder David Paich joins us to talk about his life as a hit songwriter for his own band and others.PART ONE:Scott and Paul talk about their visit with David Paich and other bits of tomfoolery.PART TWO: Our in-depth conversation with David PaichABOUT DAVID PAICH:David Paich is best known as one of the founding members of Toto, and the writer of some the group's classic hits such as “Africa,” “Rosanna,” “Hold the Line,” “Georgy Porgy,” “99,” and “Pamela.” In addition to his success with the band, David collaborated with Boz Scaggs on the multi-million-selling Silk Degrees album, including the hits “Lowdown” and “Lido Shuffle,” and he co-wrote and produced the Cheryl Lynn hit “Got to Be Real.” Additionally, David composed much of the score for the David Lynch film Dune as well as the theme music for the 2008 summer Olympics. He is a six-time Grammy winner—including for Album of the Year, Record of the Year, and Producer of the Year—and he won an Emmy Award for Best Song or Theme. David's songs have been recorded by Glen Campbell, Chicago, Weezer, Mary J. Blige, Anderson .Paak, and many others. As a studio musician he contributed to legendary recordings, including Michael Jackson's Thriller album and “We Are the World.” David released his debut solo album, Forgotten Toys, in 2022. 

If comedy doesn't work out, can Paula relocate to a career as a brawny mover? Mike Porcaro of Father & Son Moving and Storage is here to show her the ropes. And bungee cords. And padding. And then it's time to pass the words for an epic Password Rematch! GUEST Mike Porcaro afatherandsonmoving.com HOUSE BAND Kevin Kelso  Check out the new release on his Kevin Kelso's YouTube channel — it's called “Apology 2024”, and it's hysterical. SPONSORS Go to helixsleep.com/paula for 25% off Sitewide + 2 FREE Dream Pillows with any mattress purchase! Go to Quince.com/nobody for free shipping on your order and 365-day returns! Learn more about your ad choices. Visit megaphone.fm/adchoices

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

As a founding member of the Grammy-winning, platinum-selling rock band TOTO, songwriter/keyboardist Steve Porcaro had huge pop hits with "Hold the Line," "Rosanna," and "Make Believe." He also co-wrote "Human Nature" which is featured on Michael Jackson's 30 million-selling Thriller album. Steve's other band mates in Toto were his brothers Jeff and Mike Porcaro, David Paich, David Hungate, Steve Luthaker, Bobby Kimball, Fergie Fredericksen, and Joseph Williams. Each of these guys also became in-demand session musicians, playing on numerous records. Born in Connecticut, Steve's musical roots run deep in his family tree. He started taking piano lessons when he was four years old. With his brothers began playing in various bands. The Porcaro brothers met David Paich when their fathers worked together on Glenn Campbell's TV variety show. The boys became friends and started making music together. As the youngest brother, Steve couldn't compete with his brothers and found a niche playing the synthesiser and the keyboard. He got his break when he toured both with Gary Wright ("Dreamweaver") and Boz Scaggs around the time of Boz's Silk Degrees album. It was the members of Boz's touring band who would later form Toto. Their self-titled LP was released in 1977. Going platinum, it yielded the gold single "Hold the Line," "I'll Supply the Love," and "Georgy Porgy" --a favourite sample source for rap/hip hop groups in the '90s, as was "Human Nature." 1982 would prove to be a huge year for the group. Their million-selling LP Toto IV cleaned up at the Grammys winning Album of the Year, Record of the Year ("Rosanna" ), and Producer of the Year. After seven albums, Toto disbanded in 1988. Steve went on to launch a film scoring career and contributed to many popular films. However, he continued working with Toto in various supporting capacities, assisting with keyboards, drum looping, synthesizers and arranging/composing. He has also done session musician work for many other acts, including Yes (on Union) and Jefferson Airplane (on their self-titled 1989 reunion album). He was also a member of Chris Squire's short lived band, The Chris Squire Experiment, in 1992. Steve returned to play with Toto at live performances since 2010, when they decided to reform the band and tour in Europe to support an ailing Mike Porcaro. He performed on the band's 2015 studio album, co-writing and singing lead on "The Little Things" and co-writing/singing lead on the Japan-only bonus cut, "Bend". This was only the third lead vocal performance from him on a Toto album. When the band dissolved in 2019 and regrouped in 2020, Porcaro did not return. Steve Porcaro joins us this week to share stories of his fascinating musical journey. If you'd like to know more abotu him, head to his facebook page https://www.facebook.com/steveporcaromusic/ Please don't hesitate to get in touch with me - all comments, feedback and requests for future guests - gratefully received. Simply send me a message https://www.abreathoffreshair.com.au I hope you enjoy this episode!

Season 2, Episode 2: In Review - Fahrenheit by TOTO (with commentary from Steve Porcaro)   In this week's episode, join us as we sit down with the 3-time Grammy Award-winning keyboardist, songwriter, and founding member of TOTO, Steve Porcaro. In this in-depth interview, Steve details his prolific career working with his former bandmates in TOTO, as well as Michael Jackson, Don Henley, Boz Scaggs, Gary Wright, among others. Steve walks us through working with Quincy Jones on the sessions for We Are the World, and of course, helps us review the album of the week: TOTO's Fahrenheit from 1986. This is a very in-depth episode that you won't want to miss.   (Originally released on September 23, 2023)   Sam's 3 of the Week Picks... 1.) Lowdown - Boz Scaggs, 1976 2.) My Love's Leavin' - Steve Winwood, 1986 3.) Maggie May - Rod Stewart, 1971   Luke's 3 of the Week Picks... 1.) Gap - The Kooks, 2008 2.) Rosemary - Deftones, 2012 3.) Here Comes My Girl - Tom Petty & the Heartbreakers, 1979   Follow us on Instagram @obu.fm.pod for updates! https://www.instagram.com/obu.fm.pod/?hl=en   We do not own any music included within this episode of OBU-FM. This episode is a Questone Entertainment Production in association with the Signal.

We have your primary election results in Nevada, South Carolina, and North Dakota. Zach Montellaro of Politico joins us to go through the numbers. And later, we talk to Mike Porcaro from First Light affiliate News Radio 650 KENI in Anchorage, Alaska about Sarah Palin's run for Congress, after she cleared a major hurdle this week. The U.S. Senate appears to be making progress on potential gun reform legislation in the wake of recent mass shootings. Correspondent Clayton Neville has the details. The State Department has responded to a Russian court extending WNBA star Brittany Griner's detention. John Stolnis has the latest. President Biden spent Tuesday in Philadelphia trying to reset the terms of the debate on the economy. Pamela Furr brings us more on his speech at the AFL-CIO convention.  See omnystudio.com/listener for privacy information.

Ukrainian President Volodymyr Zelenskyy is planning to speak  to U.N. Security Council diplomats outraged by growing evidence that Russian forces deliberately killed civilians. We'll get the latest from Clayton Neville, and we'll check in with Sarah Al-Arshani who's been covering this story for Insider.com. Republican Sens. Lisa Murkowski and Mitt Romney announced Monday night they will vote to confirm Judge Ketanji Brown Jackson's historic elevation to the Supreme Court, giving President Joe Biden's nominee a burst of bipartisan support and all but assuring she'll become the first Black female justice. John Stolnis reports on that for us. And former Alaska Republican Gov. Sarah Palin picked up a prized endorsement from former President Donald Trump in her bid to fill the remainder of the late U.S. Rep. Don Young's term. We'll head to Anchorage to talk with Mike Porcaro of News Radio KENI to find out what Alaskans think of Palin's return to politics. See omnystudio.com/listener for privacy information.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Toto, giraron por el mundo entre los años 2010 y 2012 en beneficio de Mike Porcaro. Sin embargo, la gira tuvo muchos imprevistos y no pudo realizarse por todo el mundo debido a la saturada agenda de los músicos en esta época y a la difícil situación económica que vivían algunos países. Steve Lukather giró en el año 2012 junto a Steve Vaiy Joe Satriani en el tour G3, recorriendo Oceanía, mientras que en México, lo hizo junto a Satriani y John Petrucci. Por otro lado fue invitado por Ringo Starr para integrar la gira llamada Ringo Starr & His all-star band. Mientras que Simon Phillips giró junto a dos proyextos: Hiromi Uehara y Anthony Jackson llamado The Trio Project y junto a Pino Palladino y Philippe Saisse en el trío llamado PSP (Phillips Saisse Palladino). Las complicaciones de la gira se presentaron principalmente en Sudamérica. La banda tuvo que cancelar una presentación en Santiago de Chile y la productora a cargo del evento tuvo que devolverle el dinero a quienes ya habían comprado sus entradas. Las dificultades para cerrar shows en Argentina y Brasil fue la razón de la cancelación. Pese a las dificultades de la gira en beneficio a Mike Porcaro, el tour se extendió en conmemoración de sus 35 años de carrera. En esta gira la banda tocó canciones que no eran frecuente en su repertorio en vivo como Goin' Home, St. George and The Dragon, On the Run, How Many Times, Wings of Time y It's Feeling. Grabaron un DVD en Polonia denominado 35th Anniversary Live in Poland que salió a la venta el año 2014. Tracklist: 1. Intro 13 2. Medley: On The Run / Childs Anthem / Goodbye Elenore 3. Goin Home 4. Hydra 5. St George And The Dragon 6. Ill Be Over You 7. Its A Feeling 8. Rosanna 9. Wings Of Time 10. Falling In Between 11. I Wont Hold You Back 12. Pamela 13. 99 14. The Muse 15. White Sister 16. Better World 17. Africa 18. How Many Times 19. Stop Loving You 20. Hold The Line 21. Home Of The Brave Músicos: Miembros Oficiales: Steve Lukather – guitarra, vocales (1977–2008, 2010–presente) David Paich – piano, vocales (1977–2008, 2010–presente) Steve Porcaro – teclista, sintetizador, vocales (1977–1987, 2010–presente) Mike Porcaro – bajo (1982–2008, 2010–presente; inactivo por la enfermedad de ELA) Joseph Williams – vocales (1986–1989, 2010–presente)Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal - (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558

Toto es una banda de rock estadounidense formada en 1978 en Los Ángeles compuesta por destacados músicos de sesión.? Fue fundada por el teclista David Paich y el baterista Jeff Porcaro. La agrupación combinaba diferentes estilos musicales, como blues, funk, Soul, pop y distintas corrientes de rock.Han vendido más de 40 millones de discos, de los cuales: 13 son de estudio, cinco en directo, una banda sonora (Dune) y un trabajo compilatorio que cuenta con cuatro canciones inéditas.El grupo obtuvo seis Premios Grammy en su 25.ª edición en 1983 con el álbum Toto IV,? que incluye canciones como Africa y Rosanna. Tras el éxito comercial de este disco, los músicos de la banda fueron contratados por Michael Jackson y Quincy Jones para tocar en la producción más vendida en la historia de la música: Thriller.Paralelamente a la carrera de Toto, sus integrantes han tocado en miles de discos, Jeff Porcaro (baterista) registra más de 1050 álbumes —pese a su prematura muerte siguen apareciendo grabaciones suyas,? Steve Lukather (guitarrista) más de 1530,David Paich (tecladista) más de 1720; mientras que Steve Porcaro (segundo teclista) más de 660,y Simon Phillips (exbaterista que reemplazó a Jeff Porcaro) más de 660.Frente a esto no es exagerado decir que gran parte del sonido pop/rock de la década de los ochenta fue generado por los músicos de la banda.? Sin embargo, pese al éxito mundial y a la notable contribución de la agrupación a la industria musical, el guitarrista y líder Steve Lukather es categórico en señalar que la banda es "la más incomprendida en el mundo"? debido a las críticas negativas que ha tenido en el transcurso de los años en los medios estadounidenses e ingleses, Algunas de las tesis que surgen en torno al rechazo que ha generado la banda en los medios estadounidenses e ingleses, especialmente VH1,y Rolling Stone,es por el nombre de la agrupación al carecer de una propuesta estética en un período musical en el que la apariencia muchas veces primó,y otra es que los especialistas en música en estos medios jamás han concebido ni han aprobado que una agrupación mezcle tantos estilos musicales como lo hace Toto.En la misma línea, pero a favor de la propuesta musical de Toto, se encuentran algunos músicos, como Steve Vai, que dijo una vez que fue a verlos a Milán: "Esta banda creó un sonido propio y único. Es la perfecta mezcla de rock, pop, fusión y un poco de jazz, todo en un paquete totalmente armonizado", o Eddie Van Halen, que se refirió a la agrupación como "colectivamente, compuesta por los mejores músicos del planeta".En sus más de 40 años de carrera tuvieron más de diez formaciones,? que han variado según la gira promocional del álbum. El único músico que ha participado en todas es Steve Lukather, mientras que Paich y Lukather han estado en todas las grabaciones de los discos. El puesto más inestable ha sido el de vocalista: Bobby Kimball (1978-1984/1998-2008), Dennis Frederiksen (1984-1986), Joseph Williams (1986-1989/2010-presente), Jean-Michel Byron (1990-1991) y Steve Lukather (1991-1998) han estado en él.La banda se disolvió en el año 2008, pero volvieron a reunirse en 2010 a beneficio del bajista Mike Porcaro, que sufrió la enfermedad de esclerosis lateral amiotrófica y que le imposibilitó de seguir tocando,? Los destacados bajistas de sesión Leland Sklar, Shem von Shroeck, Nathan East y David Hungate, primer bajista del conjunto que volvió en 2014, han reemplazado a Porcaro, pero ninguno de ellos como miembro oficial de la banda. El 24 de enero de 2014, el baterista Simon Phillips anunció su separación con Toto para dedicarse a sus propios proyectos.Su última formación estuvo integrada por Steve Lukather, Joseph Williams, Steve Porcaro y David Paich, y sus músicos de acompañamiento eran Shem von Shroeck en el bajo, Shannon Forrest en la batería, Warren Ham en los coros y en el saxofón y Lenny Castro como percusionista. Lanzaron un último disco de estudio llamado, Toto XIV, que salió a la venta el 24 de marzo de 2015 en Estados Unidos a través de Amazon.

Pat and Kyle welcome writer/producer Shaun Cassidy (New Amsterdam, Emerald City, American Gothic, Roar) to the show to discuss the time in his life when he was a recording artist!