Podcasts about one more saturday night

This week we return to Hartford Connecticut for the second set of the band's performance on April 17, 1982.  This set starts out with a smokin' 'Shakedown Street' featuring some exuberant Brent runs and interplay with Garcia. They then go into a top version of 'Sailor>Saint' which culminates in a bit of a Spanish Jam before leading into Drums and Space. 'Uncle John's Band' comes out of Space, not a usual occurance, and leads too into a hot 'Not Fade Away'. 'Wharf Rat' takes the ballad spot, and they rock out with 'Around and Around'; into a killer 'One More Saturday Night'. You might notice there are no stops between these second set songs on this night. The encore, "It's All Over Now, Baby Blue' has some great Garcia vocals..   Grateful Dead Hartford Civic Center Hartford, CT 4/17/1982 - Saturday Two      Shakedown Street [15:03] > Lost Sailor [7:20] > Saint Of Circumstance [7:07] > Jam [5:28] > Drums [5:28#] > Space [8:50] > Uncle John's Band [9:00] > Not Fade Away [7:58] > Wharf Rat [9:41] > Around And Around [3:59] > One More Saturday Night [4:21] Encore      It's All Over Now, Baby Blue [6:59]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod050225.mp3   hope you have a wonderful first week of May!! 

Happy New Year! ... but this NYE set by the Dead should put you in the mood to say goodbye to 2024 and to ring in a brand new 2025... This show occurred at an important turning point for the Dead, as they moved forward with many 'new' tunes and with Keith and Donna as members of the band (Donna makes her vocal debut here on 'One More Saturday Night'). The sound on this FM broadcast is generally very good and the band is tight. The boys play here with a great youthful enthusiasm.. They open with 'Dancin' In the Streets' which they wouldn't play again until June of 76.. This is a long and fun first set, clocking in at over 90 minutes.. Pig has some great moments here - Mr. Charlie, Chinatown Shuffle and Next Time You See Me are great..  All in all a great first set, we'll hear set 2 next week..    Grateful Dead Winterland Arena San Francisco, CA 12/31/1971 - Friday One      Dancing In The Street [#8:29]   Mr. Charlie [3:38]   Brown Eyed Women [4:22]   Beat It On Down The Line [2:56]   You Win Again [3:36]   Jack Straw [4:31]   Sugaree [7:01]   El Paso [4:14]>   Chinatown Shuffle [2:35]   Tennessee Jed [6:41]   Mexicali Blues [3:16]   China Cat Sunflower [4:40] > I Know You Rider [5:18]   Next Time You See Me [4:30]   Playing In The Band [6:09]   Loser [6:15]   One More Saturday Night (1) [4:23#]  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122724.mp3  Thanks for your support this year.. it means alot..  Happy New Year. 

On the final day of Dead & Company's 30-show residency at The Sphere in Las Vegas, I was honored to sit down with  Huntington natives and fellow Deadheads, brothers John and Tommy Peer and Tommy's son Thomas Peer.  We spent our time together reminiscing about the multigenerational Peer + Staib family bond, the Huntington shenanigans that we shared together and a few war stories of old.  Tommy & John brought us back to the glory days of when the Peers and Staibs were roommates post-college at their legendary animal house on Carly Avenue.  Tommy shares his Villanova connection with Tom Staib, and takes us back to the late 80's catching shows at the Philly Spectrum, among other famously epic venues.Thomas, the youngest music fan in the room, gives us his impression of The Sphere and Dead & Company's performance the night before, it being the anniversary of Jerry's passing, and Tom Staib's 60th birthday.  And yes, Tom DID gift us with a Not Fade Away the night before.  Thanks Tom!!We also got out of the box and talked of music outside the world of the Grateful Dead, when John reminded me how ridiculously talented Green Day is and how I should give them a listen.  Thanks John, I sure did!Finally, I was asked what the initials “IFE” mean and why those three letters carry so much meaning to me.  Thank you for asking, I loved sharing the backstory.Join us, and let's see where the energy takes us! #IFE     

 Holy Smokes! It's Labor Day weekend!  Hopefully this second set from the second Field Trip at the Oregon Country Fairgrounds can help you get in the mood for some fun and frolic as we celebrate the passing of another summer...  This one starts with the debut of 'Keep Your Day Job' -- and not in the encore slot!  Another debut - 'West LA Fadeaway' is also on the menu here. The pre-drums 'Playin In the Band' lifts things up while the post drums 'Wheel'>'Other One' is probably the highlight of this set..  Jerry pulls out a very unusual 'Dupree's Diamond Blues'  as the encore here which I'm sure delighted the faithful.. Grateful Dead Oregon Country Fairgrounds Veneta, OR 8/28/1982 - Saturday Two      Keep Your Day Job [5:06]* > Man Smart (Woman Smarter) [6:42] West L.A. Fadeaway [7:03]* Far From Me [3:34] > Playing In The Band [11:03] > Drums > Space [5:56] > The Wheel [5:50] > The Other One [8:04] > Truckin' [6:11] > Black Peter [8:23] > Playing In The Band [3:18] > One More Saturday Night [4:33] Encore      Dupree's Diamond Blues [5:48]      *First time played  You can listen to this week's Deadpod here; http://traffic.libsyn.com/deadshow/deadpod083024.mp3   On a very sad note, this one is dedicated to the memory of Steve Silberman who just passed .. sleep in the stars brother.... 

Go to Nassau! This week, our hosts FiG and Knob are heading out to Long Island for the Grateful Dead's September 8th, 1973 show at Nassau Coliseum. This show was released as Dick's Picks 38. Discussions abound about Kennedy Center Honors, the debut of Weather Report Suite, and the newest Dave Pick. Bertha Me & My Uncle  Sugaree Beat It On Down The Line Tennessee Jed Looks Like Rain Brown Eyed Women Jack Straw Row Jimmy,  Weather Report Suite Prelude >  Weather Report Suite Part 1 >  Let It Grow Eyes Of The World >  China Doll  Greatest Story Ever Told Ramble On Rose Big River Let Me Sing Your Blues Away China Cat Sunflower >  I Know You Rider El Paso He's Gone >  Truckin' >  Not Fade Away >  Goin' Down The Road Feelin' Bad >  Not Fade Away Stella Blue >  One More Saturday Night

A wonderful set of classic Grateful Dead awaits your listening pleasure on this week's Deadpod as we visit the second set from their performance on February 15, 1973 in Madison Wisconsin.  The opening 'Here Comes Sunshine' foretells a special night as the band warms up with some fine renditions of several favorites leading into the real treat - a special 'Dark Star'. This version features some extra-special Phil Lesh contributions which foretell a lovely 'Eyes of the World'. The band paints a beautiful portrait here which then turns into a sweet soulful 'China Doll'.  Things ramp up from there with versions of 'Promised Land' and 'Sugaree' before a set closing 'Sugar Magnolia. They return for double encore, of which we only have on this tape the fine 'Uncle John's Band'.      Grateful Dead Dane County Coliseum Madison, WI 2/15/1973 Two - 1:31:04 Here Comes Sunshine [9:32] ; El Paso [4:20] ; You Ain't Woman Enough [3:26] ; They Love Each Other [4:46] ; Big River [4:19] ; Dark Star [19:15] > Eyes Of The World [19:09] > China Doll [7:03] ; The Promised Land [2:58] ; Sugaree [7:08] ; Sugar Magnolia [9:08] Encore - 6:58     Uncle John's Band [6:58] ; One More Saturday Night (missing)  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod022324.mp3  Many thanks for your support of the Deadpod. Be well my friends. 

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

"Ruby's Groovy Journey: Cannabis, Music, and the Deadhead Show"Larry Mishkin  shares his excitement about the birth of his granddaughter, Ruby. He discusses how the song "Ruby Waves" by the band Phish may have inspired her name and how the family is already introducing her to great music. Larry also dives into Grateful Dead, sharing details about a 1979 concert from the Spectrum in Philadelphia and highlighting the song "Jack Straw."Larry then talks about recent Grateful Dead releases and encourages listeners to consider subscribing to annual releases for access to exclusive content. He provides insights into the song "Jack Straw," its lyrics, and the band's performance of it throughout the years. The episode also features the Jerry Garcia Band's song "Rubin and Cherise" and its connection to the love story of Ruby..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  INTRO:                  Ruby Waves                                Phish                                July 14, 2019                                Alpine Valley, East Troy, WI                                Phish - 7/14/2019 - Ruby Waves - YouTube                                0:09 – 1:35                 Part of today's show is in honor of my first grandchild, Ruby, born late last month in Georgia.  My son Matt  is a huge Phish fan and his wife Elena enjoys them too if not quite to the same degree.  But they both love this song which may or may not have been the inspiration for their daughter's name.  Regardless, Ruby is wonderful and her father is already playing this clip by her bassinet – she lays there and smiles! Phish first played the song on June 18, 2019 at the Budweiser Stage in Toronto.  Of the 164 Phish shows since that debut, the band has only performed it a total of 27 times (less than 2% of the Phish shows played since its debut), most recently October 11, 2023 at the Erwin Nutter Center on the campus of Wright State University in Dayton, OH.  So not only was seeing this song a rarity, but this version is particularly well known as it is from a legendary show at Alpine Valley a few years ago. This particular version of Ruby Waves runs an incredible 38 minutes and was only one of the many highlights from that show (which featured a huge Olivia's Pool breakout among other big moments).  Check out the clip, check out the show, and when you hear Ruby Waves think of little Ruby making her appearance into the world. DeadAlso featuring the Dead from The Spectrum in Philly 44 years ago today.  A year of big transition, Jim Marty's first Dead show, and some almost under the radar amazing shows, including this one.  An eleven song first set followed up by a four song second set (plus drums and space;  who do these guys think they are, Phish?) and strong encore.  Here is how it all started SHOW #1:                           Alabama Getaway                                                Track No. 1                                                0:10 – 1:35                 This is only the second time the Dead played this song in concert, the first being two nights earlier on Nov. 4th at the Providence Civic Center in Rhode Island.  Song would first be released six months later (4.28.1980) on Dead's album, Go To Heaven.  Ultimately played by the Dead 143 times, with an almost five year gap from 1990 – 1994, Jerry brought it back to the stage for a handful of performances in 1995, including the last one on June 2, 1995 at Shoreline Amphitheatre in Mountain View, CA.                  Great cultural references to Alabama's complicated legacy, Bill Bojangles, the Twenty Third Psalm from the Bible and more. Great up-tempo tune usually played as a show opener, although it was known to move around from time to time.                 Extended this clip to catch the Brent breakout during the jam.  Still new to the group Brent was not shy and made his presence known with authority even in the first year.  SHOW #2:                         Jack Straw                                          Track No. 10                                           3:16 – 4:47                 One of the highlights of this show, fantastic version of this crowd pleaser and great jamming tune.  Brent again jumping into the mix with his backing vocals and his strong keyboard work filling in the gaps.                 Written by Bobby and Robert Hunter, was never released on a studio album but was released on Europe '72 album.                Originally, Bobby sang all the vocals, but at a show in Paris on May 3, 1972, Bobby and Jerry began trading off vocals on different verses and it stayed that way until the end.  The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse. Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.                 Long a staple of live Dead shows, the song was first heard live on October 19, 1971 at Northrop Auditorium in Minneapolis (another legendary show due to it being Keith Godchaux's first show with the band AND the large number of breakout tunes including Tennessee Jed, Mexicali Blues, Comes  A Time, One More Saturday Night, and Ramble On Rose – continuation and new wrinkles to their Americana style that began a year earlier with the releases of American Beauty and Workingman's Dead and now reflected Keith's newly introduced input from the grand piano).                 Ultimately played by the Dead a total of 476 times putting it very high up on the list of most played Dead tunes.                Last played on July 8, 1995 at Soldier Field in Chicago.  Time for more Ruby SHOW #3:                        Ruben and Cerise                                         Grateful Dead                                         March 17, 1991                                         Cap Center, Landover, MD                                         Grateful Dead Live at Capitol Centre on 1991-03-17 : Free Borrow & Streaming : Internet Archive                                         2:05 – 2:29               Sweet Ruby dressed in Red is one of the main characters in this Garcia/Hunter song that was first released in April as the opening tune on the JBG's only studio album, Cats Under The Stars (Run For The Roses is considered a “studio album”). Although played with some frequency by the Jerry Garcia Band (76 times), the Grateful Dead only played it four times in concert, this clip being their breakout.  Last played on June 19, 1991 at Buckeye Lake Music Theater in Thornville, OH.  A classic tale of love found and lost set in the Carnival season in New Orleans.  Beautiful lyrics for a sad and cautionary tale.  Sorry to say I never saw it live by the Dead or JGB.  I have seen it since by Phil, JRAD and others. Nice but not close to the same.  Back to the Dead SHOW #4:                        Terrapin Station                                         Track No. 12                                         8:00 – 9:31               Beautiful Hunter/Garcia epic mulit-part suite with Hunter composing the lyrics during a single sitting one night during a rare Bay Area lightning storm.On the same day, driving across the Richmond–San Rafael Bridge, lead guitarist Jerry Garcia was struck by the idea for a singular melodic line. He turned his car around and hurried home to set it down in notation before it escaped him. Hunter said "When we met the next day, I showed him the words and he said, 'I've got the music.' They dovetailed perfectly and Terrapin edged into this dimension."[10] Hunter based the lyrics for the "Lady with a Fan" section on a traditional English folk song known variously as "The Lady of Carlisle", "The Bold Lieutenant" and "The Lion's Den". The ballad is No. 396 on the Roud Folk Song Index. It is also O 25 on the Laws list, which synopsizes "The lady decides to choose between two brothers who love her by determining which is braver. She tosses her fan into a lion's den and asks them to retrieve it."[11] Hunter, who was also influenced by Sir Walter Scott, had composed "Terrapin Station" in two parts, the second never recorded or performed by the Grateful Dead.Drummer Bill Kreutzmann ironed out the arrangement, explaining "We sat down and mapped it out. I said, 'This is how the song goes.' I showed [Mickey] all the parts that I felt worked really well, he added a couple, and that's what the song is today. We went back into the studio the next night and got it right. With the drum parts worked out, everything else snapped together like puzzle pieces.            As the opener of a four song second set, this is a strong version, jammed out, but not too much is a show highlight.  Barely two years old (Terrapin Station album released on July 27, 1977, first performed a few months earlier on Feb. 26, 1977 at the Swing Auditorium in San Bernardino, CA) at this point, you can still hear Garcia playing around with the timing of the lyrics. Ultimately played in concert by the Dead 303 times with the last rendition on July 8, 1995 in Chicago.         An song for fans of fun tales of all ages, I suspect young Ruby will become quite familiar with this tune over time!  OUTRO:                      Goodbye Ruby Tuesday                                    Rolling Stones                                    Live – 1991                                    The Rolling Stones - Ruby Tuesday (Live) - Official 1991 - YouTube                                         1:52 – 3:12

This week we feature the second set from the performance on June 22, 1976 near Philadelphia PA. Again, an unusual opener, with a jazzy 'Playin' going into an intense 'Space Jam' - this one featuring the 'Happiness is Drumming' themes that later developed into 'Fire on the Mountain'. 'The Wheel' follows, with its own spacy elements, including some great Phil riffs, before going back into the 'Playin' reprise. The 'Samson' is strong, and the 'Eyes' pretty speedy for this period. The remainder of the show features some nice rocking - 'Dancin', 'Around and Around' and a great 'Goin' Down the Road' into 'Saturday Night'..     Grateful Dead Tower Theatre Upper Darby, PA 6/22/1976 - Tuesday Two      Playing In The Band [8:55] (2) > Space Jam [14:07] > Drums [2:30] (3) > The Wheel [5:16] (4) > Playing In The Band Reprise [2:58] (5) [2:00] Samson And Delilah [6:51] (6) % Eyes Of The World [12:26] > Dancing In The Street [12:07] Around And Around [6:58] > Goin' Down The Road Feeling Bad [8:15] > One More Saturday Night [4:37]  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod062323.mp3   Thanks for your kind support! Let's cherish Summer! 

For your Memorial Day weekend we have the second set of the band's performance on May 25, 1974 at the University of California at Santa Barbara.  After a rocking 'Promised Land' opener, and 'Ship of Fools' we are treated to a wonderful 'Big River' - Keith's piano work here is outstanding. The meat of this set however comes in the wonderful 'Truckin' that really showcases why this was a vehicle for some most excellent deep space explorations. Phil rattles some bones here, especially in the transition to 'Let It Grow'. Jerry has some great solos here in the 'Let It Grow' which slides perfectly into 'Wharf Rat'. An almost perfect 'Sugar Magnolia' follows, then leads into the 'GDTRFB' and, the obligatory,  'One More Saturday Night'.   Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 5/25/1974 - Saturday     Two     The Promised Land [3:13] Ship Of Fools [5:35] Big River [4:54] Tennessee Jed [7:57] Truckin' [18:05] > Jam > Space > Let It Grow [9:24] > Wharf Rat [9:54] Sugar Magnolia [8:34] > Goin' Down The Road Feeling Bad [7:11] > One More Saturday Night [4:30] Encore     Casey Jones [6:30]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052623.mp3 Have a safe and fun Memorial Day weekend, and give thanks to those who sacrificed for us all.   

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

We're going to Florida, we're going to- well, just Florida. This week, our hosts Game, FiG and Knob are heading down to Miami for the Grateful Dead's June 23rd, 1974 show. This show was later released as Dave's Picks 34. Discussions abound about Billy and the Kids' announcement, Seastones, and what day of the week they should play One More Saturday Night. Ramble on Rose Black-Throated Wind Mississippi Half-Step Beat it on Down the Line Row Jimmy Jack Straw Let it Rock Cumberland Blues El Paso To Lay Me Down WRS Prelude > WRS Part 1 > Let it Grow > China Doll Ship of Fools Big River Black Peter Around and Around Dark Star > Spanish Jam > U.S. Blues Uncle John's Band > One More Saturday Night Casey Jones

We're going to Florida, we're going to Maine- okay that's not a Dead lyric, but trust us it's relevant. This week our hosts, Game, FiG, and Knob, are heading north for the Maine attraction- The Grateful Dead's April 19th, 1981 show at the University of Maine. Discussion abound about Grateful Dead tattoos, the similarities between One More Saturday Night and On the Road Again, and Game's experience at the Billy Strings Atlantic City show. Jack Straw Friend Of The Devil > It's All Over Now Dire Wolf > Big River Dupree's Diamond Blues On The Road Again West L.A. Fadeaway Lazy Lightning > Supplication > Might As Well Sugaree > Samson & Delilah He's Gone > Drums > Space > Spanish Jam > Truckin' > Wharf Rat > Around & Around > Good Lovin' U.S. Blues 

 As we countdown the minutes until 2023, you should enjoy this gem of a show from 33 years ago - December 30, 1989. I don't believe I'm engaging in hyperbole if I say this is a great second set from this period of the band's history. There's not a bad song here. Jerry smokes his leads in 'Jack Straw' and 'I Know You Rider'. This 'Estimated Prophet is one of the best ever. I even dare say the drums and space, with Airto, is one of the best you'll hear.  I'm a sucker for a great 'Standing on the Moon' and Jerry delivers on this one.This is one of those shows that makes me wish for time travel. I hope you enjoy it!   Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/30/1989 - Saturday Two     Jack Straw [5:58] > China Cat Sunflower [5:26] > I Know You Rider [5:12] Estimated Prophet [12:34] > Terrapin Station [13:51] > Jam [1:51] % Drums [#11:#32] (1) > Space [7:47] > I Will Take You Home [4:18] > The Other One [10:18] (2) > Standing On The Moon [7:57] > One More Saturday Night [4:02] Encore     It's All Over Now, Baby Blue [6:43] Comments     (1) with Airto (2) { theme [2:40] verse 1 [0:41] theme [5:02] verse 2 [0:40] theme [1:15] }   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod122322.mp3   Have a safe and very happy New Year!  thank you for all your support this last year my friends.. 

Whoa! Another 2 hour plus Deadpod this week as we explore the second set of the band's performance at Duke University in Durham North Carolina on December 8, 1973. This massive second set contains both its share of standard tunes and psychedelic moments. They start out with some standard rockers - 'Around and Around' 'Ramble On Rose', 'El Paso'. (but don't miss the fun introduction with Phil and Bob).  Things really get interesting with the jam from 'Truckin' into a fine 'Nobody's Fault' jam'. Jerry takes us on a visit to the outer limits with the jam that finally disolves into 'The Other One'. The music disolves into a sweet 'Wharf Rat' and if that weren't enough a fine 'Stella Blue'.  You'd think the 'Johnny B Goode' that follows would signal the end of the show, but Jerry isn't having it and they go into a nice 'Uncle John's Band'.    Grateful Dead Cameron Indoor Stadium - Duke University Durham, NC 12/8/1973 - Saturday Two     Around And Around Ramble On Rose El Paso Row Jimmy Greatest Story Ever Told > Bertha He's Gone > Truckin' > Nobody's Fault But Mine > The Other One > Wharf Rat > Stella Blue Johnny B. Goode > Uncle John's Band   Encore      One More Saturday Night  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121622.mp3  My thanks for your generous support of the Deadpod!   

While I played this show, unbeknownst to me, ten years ago on the Deadpod, I am still going to present the wonderful second set this week. This show, from Indianapolis on October 1, 1976, features a sweet second set. While a 'Might As Well' opener might not signal such a beauty, the 'Samson' that follows quickly convinces that we are in a for a treat. Great interplay throughout from Jerry and Phil. When the 'Help>Slip>Frank' that follows gets rolling the band hits on all cylinders. I especially love Keith's contribution in the great 'Slipknot!' jam here. A somewhat short 'Dancin' goes into an even shorter 'drums' but 'The Wheel' that follows is sweet. Following 'Ship of Fools', Bobby attempts to go back into 'Dancin' in a very unusual jam, but the boys move into a 'Goin' Down the Road' into 'Saturday Night' to end the set.    Grateful Dead Market Square Arena Indianapolis, IN  10/1/1976 - Friday Two     Might As Well [5:37] ; Samson And Delilah [7:13] % Help On The Way [4:07] > Slipknot! [12:52] > Franklin's Tower [10:18];[1:07] ; Dancing In The Street [7:26] > Drums [2:#03] > The Wheel [8:36] (2) > Ship Of Fools [7:47] (3) > Dancing In The Street [3:27] > Goin' Down The Road Feeling Bad [7:36] > One More Saturday Night [4:24] Encore     U.S. Blues [5:02]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod101422.mp3  I hope you enjoy this 'encore' performance... and as always thanks for your kind support. 

Grateful Dead Utah, 09-04-1983 Larry's friend Lary Vinocur stops by to talk about touring with Grateful Dead in 1983.   They play a One More Saturday Night chip from the Sunday afternoon concert in Park West, Utah.  Larry Mishkin  and Rob Hunt discuss the latest polling information confirming that more Americans smoke weed than cigarettes. Produced by PodConxDeadhead 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-blakesbergRecorded on Squadcast

Roman Orona takes you on a journey around the world of Indigenous Music. Indigenous Cafe brings you music, conversation and inspiration from the Indigenous People of North America and the Indigenous People from all over the world. On this weeks journey, we are traveling with a show titled, “In Being Human As Quoted By John Trudell.” John Trudell was born on February 15, 1946 in Omaha Nebraska. He was a Native American author, poet, actor, musician, and political activist. He was the spokesperson for the  beginning in 1969, broadcasting as Radio Free Alcatraz. During most of the 1970s, he served as the chairman of the American Indian Movement, based in Minneapolis, Minnesota. After his pregnant wife, three children and mother-in-law were killed in 1979 in a suspicious fire at the home of his parents-in-law on the Shoshone-Paiute Tribes Duck Valley Indian Reservation in Nevada, Trudell turned to writing, music and film as a second career. He acted in films in the 1990s. The 2005 documentary, “Trudell” was made about him and his life as an activist and artist. On December 8, 2015 in Santa Clara, CA, John Trudell, ascended into the spirit world at the young age of 69. Artist's you will hear in the order they are played on this weeks show: THE INDIGENOUS CAFE PODCAST INTRO (00:00:00-00:02:11) “I'm just a human being trying to make it in a world that is very rapidly losing it's understanding of being human.”  -John Trudell 1. The Halluci Nation (ft. John Trudell & Black Bear) - “Remember 01” (One More Saturday Night) (00:02:11-00:04:51) 2. Eastern Eagle - “Mountain Medicine (Soft Core)” (Twenty Years of Powwow) (00:04:51-00:10:59) PROGRAM BREAK (00:10:59-00:11:16) “Every human being is a raindrop. And when enough of the raindrops become clear and coherent they then become the power of the storm.” -John Trudell 3. Brother Mikey - “Good People” (Sacred) (00:11:16-00:15:16) 4. Arouna & Biko - “Kele” (Badanaya Sira) (00:15:16-00:20:01) Roman Orona (Host) (00:20:01-00:20:41) “Historically speaking, we went from being Indians to pagans to savages to hostiles to militants to activists to Native Americans. Its five hundred years later and they still cant see us. We are still invisible.” -John Trudell 5. Cozad - “Woman's Buckskin” (California Pow Wow) (00:20:41-00:24:40) 6. Fred Kaydahzinne - “Apache War Dance Song 2” (Apache Songs - Sings & Apache Wardance) (00:24:40-00:28:06)  7. Anthony Benally - “Native American Church Set Four, Pt. 4” (Azee Diyin) (00:28:06-00:30:09) PROGRAM BREAK (00:30:09-00:30:26) “"We're not Indians and we're not Native Americans. We're older than both concepts. We're the people, we're the human beings.” -John Trudell  8. Lila Downs - “Simuna” (Tree of Life) (00:30:26-00:33:53)  9. Kanen - “Tshukain” (Karen Pinette-Fontaine - Single) (00:33:53-00:36:00) 10. The Keen and the Kind - “Unacknowledged” (The Things We Don;t Know) (00:36:00-00:39:31) Roman Orona (Host) (00:39:31-00:40:27) “We have power... Our power isn't in a political system, or a religious system, or in an economic system, or in a military system; these are authoritarian systems... they have power... but it's not reality. The power of our intelligence, individually or collectively IS the power; this is the power that any industrial ruling class truly fears: clear coherent human beings.” -John Trudell 11. Chontay Standing Rock - “Good Vibes” (Sing It) (00:40:27-00:44:42)  12. Andy Palacio & The Garifuna Collective - “Sin Precio” (Wátina) (00:44:42-00:47:44) PROGRAM BREAK (00:47:44-00:47:58) “"Protect your spirit, because you are in the place where spirits get eaten.” -John Trudell 13. The Uyghur Musicians From Xinjiang - “Raq Muqam of lli” (Music From the Oasis Towns of Central Asia) (00:47:58-00:50:40) 14. Nancy Sanchez - “Say Something” (Say Something - EP) (00:50:40-00:54:13)  Roman Orona (Host) (00:54:13-00:55:45) “"We must go beyond the arrogance of human rights. We must go beyond the ignorance of civil rights. We must step into the reality of natural rights because all of the natural world has a right to existence and we are only a small part of it. There can be no trade-off.” -John Trudell 15. John Trudell - “Crazy Horse” (Bone Days) (00:55:45-01:01:31) DONATION ADVERTISEMENT (01:01:31-01:01:47) The Indigenous Cafe Podcast is hosted by Roman Orona and brought to you by iamHUMAN Media. iamHUMAN Media is a non-profit 501(c)(3) focused on raising the awareness of social discourse to all humans through development of programs and artistic ventures (music, movies, stage performances, books, workshops, concerts, film festivals, community outreach, community building, panel discussions, etc.)  to  foster and promote unity in diversity and community fellowship acknowledging that all HUMANs are related simply by being HUMAN. Below are ways to help us continue our programming or to learn more about us: https://paypal.me/iamHUMANmedia?locale.x=en_US Website: www.iamHUMANmedia.com Email: indigenouscafe1@gmail.com

 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. 

This one is a treat for me to listen to so I hope you enjoy it as much as I do... this second set from the band's performance at the first 'Day on the Green' on June 8, 1974. These '74 Wall of Sound shows are some of my favorites, as you can tell from the opening 'U.S. Blues' that the boys are here in full force. Keith and Phil are rocking and the entire ensemble sounds great throughout. The 'cosmic' 'Playin in the Band' clocks in at over 24 minutes and despite a scream or two from Donna will definitely raise you to a happy place. For me, there is not much music that makes me happier than an 'Eyes of the World' like this one.. I can't help but relax and let me take me downstream..  Thanks for listening my friends..      Grateful Dead Oakland-Alameda County Coliseum Stadium Oakland, CA 6/8/1974 - Saturday Two     U.S. Blues [5:35]   Big River [5:12]   Ship Of Fools [5:51]   Playing In The Band [24:02] > Wharf Rat [10:16] > Playing In The Band [5:08]   Eyes Of The World [14:49]   Sugar Magnolia [9:53] Encore     Casey Jones [5:55] > One More Saturday Night [4:43]   You can hear this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod061022.mp3   " And what is so rare as a day in June? Then, if ever, come perfect days;" -James Russell Lowell    

In this week's episode of 36 From The Vault we traverse to the heartland of America for a banner show from the wild Summer of 1982 at Alpine Valley Music Theater in East Troy, WI. Featuring a hammy Bob, some heavy playing from Brent, and a lyrical albeit haggard Jerry, it's one of the best pictures we have of what made the 80's such a compelling and confounding time for The Dead. Disc One begins with a jamband staple, the sandwich jam, wherein “The Music Never Stopped” segues in and out of “Sugaree.” Elsewhere Jerry shines again on “Big River,” Brent beams through his Hammond on “CC Rider,” and the whole band connects on “Let It Grow.” While there are arguments to be made that aspects of other shows in the larger Summer ‘82 tour should have been included instead, getting a full First Set from The Dead showcases the highs and lows of the eras. On Disc Two we hear a very typical 80s/90s set two in the sense that “Playing In The Band” bookends a segment of “Drums/Space” and a gorgeous version of “The Wheel” emerges from the interstellar jamming. We close with a stunning take on “Morning Dew” before “One More Saturday Night” & “US Blues” takes us home. It's a breezy and summery cut from the larger series, and one that showcases an era often overlooked in Dead history but clearly has some gems to mine. 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 John Mayer's Where The Light Is - Live In Los Angeles in anticipation of our next episode - our Season 4 Curveball - which will drop on Monday, June 20! See acast.com/privacy for privacy and opt-out information.

In this week's episode of 36 From The Vault we return to the hallowed month of May 1977 for two complete shows, and the only six-CD set of the Dick's Picks series. With two shows that prelude the stunning Dick's Picks 3 set, we hear the sleek brilliance of 1977 Dead across 6+hrs of music.The May 19 side of the release is highlighted by some of the Dead's best song's utilized throughout 1977 with a particularly stunning “Peggy-O” on Disc One. The magic is found throughout Disc Three where “Terrapin Station” > “Playin' In The Band” -> “Uncle John's Band” -> “Drums” > “The Wheel” > “China Doll” -> “Playin' In The Band” showcases seamless creativity and exceptional flow throughout. While May 21 shares many of the same songs with the famed Cornell set from May 8, it's bolstered by an outstanding “Jack-A-Roe” on Disc Four as well as a top tier “Scarlet Begonias” -> “Fire On The Mountain” on Disc Five. Disc Six features the entire second set of 5/21 with “He's Gone” -> “Drums” -> “The Other One” showcasing the evolving improvisational approach of The Dead during this period. Of note, “One More Saturday Night” makes its long-awaited DP debut during this set. Finally, Rob & Steve discuss the bonus tracks included from October 11, 1977's show in Norman, OK. If you ever needed convincing of why May 1977 is so highly regarded by GD fans, this extended set should be all you need for convincing. 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. 30 in anticipation of our next episode, which will drop on Monday, May 9! See acast.com/privacy for privacy and opt-out information.

 This week's Deadpod features the second set from February 17, 1979 in Oakland California.  This is a fine set, almost two hours long, and features some excellent improvisational jamming, as well as the return of some music into the rotation and the last time one song would be played.  Might as Well opens th ing sup, then a great 'I Need a Miracle>Bertha>Good Lovin' combo. Garcia is n particularly good form on the Bertha, and Bob and Donna do a splendid job on the vocals on 'Good Lovin'.  We then get the last 'From the Heart of Me' as this night marks Keith and Donna's last show with the band. A nice 'Big Railroad Blues' makes its first appearance since the Winterland shows in 1974. We then get a exploratory 'Terrapin' into a long 'Playin in The Band' before they go into drums.  'The Wheel' is especially fine coming out of Drums and that is followed by a mellow 'Shakedown Street' marking Keith's last real contribution to the sound. The 'Playin' reprise that follows is quite long for that segment and leads into a nice 'Sugar Magnolia'  The 'One More Saturday Night' encore marks the last Donna wail...     Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 2/17/79 - Saturday Two     Might As Well [4:26] ; I Need A Miracle [4:53] > Bertha [7:04] > Good Lovin' [6:38] ; From The Heart Of Me [3:26] ; Big Railroad Blues [4:29] ; Terrapin Station [12:#01] > Playing In The Band [15:13] > Drums [6:37#] > The Wheel [6:42] ; Shakedown Street [12:19] > Playing In The Band [8:14] > Sugar Magnolia [9:10]   Encore     One More Saturday Night [4:41]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod030422.mp3 May the four winds blow you safely home..  thanks my friends  

This week we continue with the second set from the band's performance at the Long Beach Arena in Long Beach California on December 13th 1980.  The set starts with a wonderful Scarlet>Fire. In particular I love the transition here, unique and rhythmic to a high degree, flows into a an excellent Fire, nice Brent highlights.  Jerry has some wonderful solos in the coda here which results in prolonged applause following the conclusion. The pre-drums portion continues with an uptempo 'Playin' In The Band'. This slows into a nice dreamy jam leading into a most excellent Drums and Space made special with the addition of Airto Moriera and Flora Purim during the long drum segment. Space leads into a notable and unique 'Not Fade Away' - I dig it.  In the ballad slot Jerry gives us a soulful 'Black Peter', before the band takes us out with 'Sugar Magnolia' and of course, given the day, a 'One More Saturday Night' encore.      Grateful Dead Long Beach Arena Long Beach, CA      12/13/80 - Saturday Two     Scarlet Begonias [11:14] > Fire On The Mountain [10:05] ; Playing In The Band [11:24] > Drums (1) [13:25] > Space [3:50] > Not Fade Away [6:35] > Black Peter [9:05] > Sugar Magnolia [8:13] Encore     One More Saturday Night [4:26] (1) with Airto Moriera and Flora Purim You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121021.mp3    I wish for you all love, laughter, health and peace.. my thanks for your kind support of the Deadpod. 

Last month The Halluci Nation headlined the Hopscotch Arts Festival in Halifax. Mainstreet's Alex Guye caught up with members Tim "2oolman" Hill and Bear Witness to hear more about their new album One More Saturday Night, their music process, and what they are excited about on their up-coming tour.

Acclaimed Abenaki filmmaker Alanis Obomsawin reflects on her decades-long career in filmmaking, storytelling and activism. Cayuga and Mohawk group The Halluci Nation (formerly known as A Tribe Called Red) discuss their new album, One More Saturday Night.

This week's Deadpod features the fine recording of the second set of the band's performance on September 20, 1974 in Paris France.  This one is pretty sweet all the way through, starting with 'China Cat>I Know You Rider'. The 'Big River' that follows is nicely up tempo. Another highlight for me is the 'Brokedown Palace' which is placed right in the center of the set and features some great closing vocals. 'Truckin' is the most exploratory moment of the set, with Billy alternating with Phil and Jerry, to get out to some deep space, before returning back to Earth as they enter in a somewhat shorter 'Eyes of the World'. Straight ahead rocking Dead closes the set which I hope you'll find as enjoyable as I did.   Grateful Dead Palais des Sports Paris, France 9/20/74 - Friday     Two     China Cat Sunflower [9:42] > I Know You Rider [5:01] ; Big River [5:10] ; Brown Eyed Women ; Greatest Story Ever Told [4:30] ; Brokedown Palace ; Truckin' [17:45] > Eyes Of The World [16:04] > Not Fade Away [11:#10] > Goin' Down The Road Feeling Bad [7:00] > One More Saturday Night [2:40#] Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod091721.mp3  thanks for listening and for your kind support of the Deadpod!   

The Halluci Nation (formerly known as A Tribe Called Red) say their latest album, One More Saturday Night, is a love letter to the Electric Pow Wow gatherings that inspired members Tim “2oolman” Hill and Ehren “Bear Witness” Thomas to found the band in 2007. The duo spoke with Tom Power about the new record, the band's evolution from their early days as A Tribe Called Red, and why they decided on a name change.

The Halluci Nation - "It's Over (feat. Chippewa Travellers)" from the 2021 self-released album One More Saturday Night. Back in 2016, Canadian duo A Tribe Called Red released the album We Are the Halluci Nation. Now, in 2021, they've shed their old moniker, re-emerging as The Halluci Nation, a phrase borrowed from artist/activist John Trudell to "describe the vast global community of people who remember at their core what it means to be human." In a social media post, they declared, "These words have come to mean much more to us than just an album title. The ideas that came from our work with John Trudell have served as a road map to the future of ATCR."  They add, "as we move into this next phase of our evolution, we also find it necessary to remember our past." Their new album One More Saturday Night pays tribute to the Electric Pow Wow gatherings at Ottawa's Babylon nightclub that ran from 2007-2017. “We wanted to pay homage to the Electric Pow Wow and wrap that whole decade of experience up and close the cycle, and in doing so give direct coordinates of where the future was headed. In a nutshell, that's what this album is about,” says co-founder Bear Witness in a press release. “We just wanted to make a party record, as well, one that people could dance to while still having the strong message we are known for.”  Read the full post on KEXP.org Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

I can think of no better way to celebrate the 'Days Between' than with this fabulous second set from Jerry's Birthday show on August 1, 1973 from Jersey City, New Jersey.  All around excellence here. Just when you're settling in they give you a Dark Star for the ages - including probably the first 'mind left body jams'. They come up for air with 'El Paso' then deliver one of the all-time great 'Eyes of the World'. As if that is not enough, Jerry delivers a fabulous, emotional 'Morning Dew'..  Sugar Magnolia follows, and then a wonderful double encore - 'Goin' Down the Road Feelin' Bad' into 'One More Saturday Night'   Happy Birthday Jerry indeed!    Grateful Dead Roosevelt Stadium Jersey City, NJ 8/1/73 - Wednesday Two     [1:29:37] ; Around And Around [5:14] ; Mississippi Half-Step Uptown Toodeloo [8:48] ; Me And My Uncle [3:02] ; Row Jimmy [8:42] ; Dark Star [25:34] > El Paso [4:12] > Eyes Of The World [17:27] > Morning Dew [13:29] ; Sugar Magnolia [9:10] Encore     Goin' Down The Road Feeling Bad [9:20] > One More Saturday Night [4:39]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod080621.mp3   My thanks for listening and making the Deadpod possible.

The Halluci Nation is here! Years in the making, Tim “2oolman” Hill and Bear Witness sit down to discuss the separate paths that have led them to working together. Formally know as A Tribe Called Red, The Halluci Nation is one of the most important groups in Canadian music. Join Damian as he sits down with two of his closest friends to discuss: punk, the rude awaking of sleepy Toronto, the differences growing up in Six Nations, the importance of collaboration, why are pool halls always so sketchy and so much more! DO NOT MISS THIS ONE! And don't miss The Halluci Nation's INCREDIBLE new album “One More Saturday Night”!!! Also discussed:  Pat and Kelly: sword fighting, D'n'D, Warhammer 40k and Punk Growing up against the norm The differences growing up in Six Nations The Basement of HMV  Geography's relationships to culture Growing up as sleepy Toronto wakes up The Untouchables and The Skinhead War Toronto neighbourhood gangs Why were pool halls and arcades so sketchy? The unique division of the labour in The Halluci Nation collaboration  Breaking Rammer and Left For Dead's Joel Fisher's arm AND SO MUCH MORE Brought to you by VANS

The Halluci Nation duo Tim '2oolman' Hill and Bear Witness talk about changing the band's name from A Tribe Called Red and their new album One More Saturday Night. Karen Knox and Gwenlyn Cumyn talk about creating and starring in the web comedy series Slo Pitch, which is about a team of mostly queer women brought together on a beer-league softball team. Weezer frontman Rivers Cuomo discusses the band's new orchestral pop album OK Human.

The Halluci Nation chat with Jason Rockman about their album “One More Saturday Night” out July 30th! They talk about music inspirations and the excitement around their upcoming tour. 

"The first time I saw the Dead, I was on stage at Woodstock working as a security guard"As a friend, employee and confidant of the Grateful Dead, Sandy Troy spent much of his early life with the band.    In his famous book, "Captain Trips" he probes Jerry Garcia's personal life, professional life and relationship with songwriter Robert Hunter and other musicians in the Grateful Dead.     He joins  Larry Mishkin, Jim Marty and Rob Hunt to share never heard before, uncensored stories about Jerry and the band.Produced by PodCONXhttps://podconx.com/guests/sandy-troyhttps://podconx.com/guests/larry-mishkinhttps://podconx.com/guests/jim-martyhttps://podconx.com/guests/rob-huntPicture of the original set listPicture of the bandhttps://deadheadcyclist.com/ 

Bear Witness and Tim “2oolman” Hill of A Tribe Called Red are reintroducing themselves as The Halluci Nation, Their upcoming album, One More Saturday Night, releases July 30 with words from poet and activist, John Trudell – The Halluci Nation was born upon first meeting John Trudell. Also on tonight's show, Wendake, First Nation QC based artist Anyma, released her new single and official music video for If God Had A Boat on June 18, an emotional song that reflects on the concept of God and representing something bigger than ourselves.

This week's Deadpod features a show from the Fall tour of 1971.. this one was the 2nd night for Keith Godchaux in the keyboard seat.. and features a whole bunch of songs that were still finding their way in the repertoire.. in fact five songs in this first set are being played for the 2nd time.. the first time being the night before for Tennessee Jed, Jack Straw (with some out of tune guitars :), Mexicali Blues, Comes a Time and One More Saturday Night!  For the most part these sound great.. and Keith really sounds like he's been here for much longer than one night as he sounds great in this set. Pigpen was home sick, but you'll still hear some of that organ that Keith plays at times.  This was the last 'Frozen Logger' although it was so short here it hardly deserves mention..      Grateful Dead Auditorium Theatre Chicago, IL 10/21/71 - Thursday     One Truckin' Loser Beat It On Down The Line Tennessee Jed Playing In The Band [5:54] Big Railroad Blues Jack Straw Cumberland Blues [4:57] Comes A Time [6:52] Mexicali Blues [3:11] The Frozen Logger [0:13] Cold Rain And Snow [5:22] One More Saturday Night  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod102320.mp3 My thanks for your kind support of the Deadpod " From day to day just letting it ride You get so far away from how it feels inside You can't let go 'cause you're afraid to fall But the day may come when you can't feel at all"      

 This week the Deadpod presents the second set from the band's performance back on September 23, 1972 at Waterbury CT. Another quite long, very interesting set awaits as the band starts out rockin' with a trifecta of Promised Land>Bertha>Greatest Story to get the place going. After a nice 'Brown-Eyed Women' they break out Chuck Berry's 'Around and Around' for the first time in 105 shows (4/18/71). They follow that breakout with the first rendition of 'It's All Over Now, Baby Blue' in 156 shows (11/8/70). Perhaps the highlight of this follows with the last 'Crytpical Envelopment' performed until June of 1985. A massive 'Other One' flows out of drums and leads into the post-drum segment which would have made a quite respectable second set of its' own. Just listen to the incredible energy on that 'Sugar Magnolia'!     Grateful Dead Palace Theatre Waterbury, CT 9/23/72 - Saturday Two The Promised Land [2:52] > Bertha [5:43] > Greatest Story Ever Told [4:55] ; Brown Eyed Women [4:53] (2) ; Around And Around [4:28] ; It's All Over Now, Baby Blue [7:28] ; Cryptical Envelopment [1:59] > Drums [3:25] > The Other One [22:44] > Wharf Rat [9:38] ; Beat It On Down The Line [3:17] ; Ramble On Rose [6:27] ; Sugar Magnolia [8:05] > Goin' Down The Road Feeling Bad [8:00] > Not Fade Away [5:#34] > One More Saturday Night [4:42]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod092520.mp3  Enjoy and thanks for your kind support. 

 August flies... and we are favored this week with a second set from August 12, 1972 in Sacramento California. While most of the band's performances are quite good from this time, each are unique and this second set contains some very good and unique moments.  The recording unfortunately has a short cut in the opening of the first selection, 'Greatest Story Ever Told', but it, and the following 'Ramble On Rose, and 'Beat It On Down The Line' are rocking, and this is quite a fine recording in my opinion. Jerry's guitar has that sweet twangy tone that sounds, to me so western.. A nice 'He's Gone' follows, leading into the real meat of this set. Following a sort 'Drums' Phil thunders us into 'The Other One'. While I've long since given up rating these, I think its safe to say this one is a keeper. This one really gets rolling and after some outstanding extraterritorial  exploration leads into an unexpected, but poignant 'Black Peter'. The band returns to 'The Other One' for a short reprise with some wonderful piano work by Keith. They come to a stop before returning to a smokin' 'Truckin'.  The set closes with 'Mississipi Half-Step' into 'Sugar Magnolia' (again with a unfortunate cut).  'One More Saturday Night' closes what was surely quite an evening...      Grateful Dead Sacramento Memorial Auditorium Sacramento, CA 8/12/72 - Saturday Two     Greatest Story Ever Told [#5:10] ; Ramble On Rose [5:51] ; Beat It On Down The Line [3:07] ; He's Gone [8:53] > Drums [2:48] > The Other One [16:45] > Black Peter [8:54] > The Other One [3:45] ; Truckin' [11:44] ; Mississippi Half-Step Uptown Toodeloo [6:05] > Sugar Magnolia [3:21#] Encore     One More Saturday Night    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod082120.mp3  Thank you for your support of the Deadpod, which allows us to continue these shows weekly! 

This week on the Deadpod we have another monumental set from the seminal year of 1974. This week of course from the show in Springfield MA, on June 30, 1974.  Following Seastones, the boys came out with a fine 'China>Rider' a combo often used to good effect as a second set opener. The transition is quite fine. 'Big River' follows and shows the spark it had which made it an excellent second set tune. A stand-alone 'Scarlet Begonias' lets Jerry stretch out a bit next. The meat of this set however is the 'Truckin'>Eyes>Stella Blue'.. as always during this period 'Truckin' lets the boys take things to unexplored dimensions, but the 'Eyes' here is perhaps my favorite. 'Stella Blue' is sung very well also. A strong trifecta of 'Not Fade Away>Goin' Down the Road>One More Saturday Night' closes the set, which even without an encore comes in at just slightly less than two hours.        Grateful Dead Springfield Civic Center Arena Springfield, MA 6/30/74 - Sunday Three     China Cat Sunflower [11:12] > I Know You Rider [5:12] ; Big River [5:00] ; Scarlet Begonias [7:52] ; El Paso [4:06] ; U.S. Blues [5:35] > Truckin' [13:22] > Nobody's Fault But Mine Jam > Eyes Of The World [23:47] > Stella Blue [7:15] ; Not Fade Away [10:24] > Goin' Down The Road Feeling Bad [7:34] > One More Saturday Night [4:56]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod062620.mp3    Thank you for your kind support of the Deadpod!    'History's page will thus be carved in stone. And we are here, and we are on our own'

set 2:Truckin'It Hurts Me TooBrown Eyed WomenLooks Like RainDark Star ->Sugar Magnolia ->Good Lovin' ->Caution (Do Not Stop On Tracks) ->Who Do You Love? ->Caution (Do Not Stop On Tracks) ->Good Lovin'Ramble On RoseNot Fade Away ->China Cat Sunflower Tease ->Goin' Down The Road Feeling Bad ->Not Fade AwayEncore:One More Saturday Night

Wave That FlagMe And My UncleDark Star ->Eyes Of The World ->China DollAround And AroundGoin' Down The Road Feeling Bad ->One More Saturday NightEncore:Casey Jones

Here we have a fine second set from the band's last performance at the Uptown Theater in Chicago IL, on February 28, 1981.  I think this is a very nice recording and an interesting set list, starting with the 'Cold Rain and Snow' opener, through the heart of this one, the 'Terrapin Station' into drums and Space, then a fine 'Other One' and 'Stella Blue'. While there is a bit of funky echo in spots, for me it doesn't diminish what is an excellent set.  Brent has some interesting sounds in that transition from Terrapin, and I'm always fond of hearing a soulful 'Stella Blue'...     Grateful Dead Uptown Theatre Chicago, IL 2/28/81 - Saturday     Two     Cold Rain And Snow [6:17] > Greatest Story Ever Told [4:19] ; Ship Of Fools [8:48] ; Lost Sailor [6:09] > Saint Of Circumstance [6:33] > Terrapin Station [12:39] > Jam [3:03] > Drums [12:23] > Space [10:26] > The Other One [6:44] > Stella Blue [8:07] > Around And Around [4:01] > Good Lovin' [8:06] Encore     One More Saturday Night [4:26#]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod030620.mp3   here's hoping March winds blow our troubles away...      thanks for your support, my friends.. be well. 

This months podcast comes to us from Keith's 2nd show in the band... and he was already clearly having an impact, and probably a lot of fun.  For halftime we get a bunch of bluegrass from the Hart Valley Drifters featuring Jerry Garcia on banjo... a ton of fun!   Tons of good times around the bend! GRATEFUL DEAD  October 21, 1971   Auditorium Theater  Chicago, IL   SET 1:  Truckin', Loser, Beat It On Down The Line, Tennessee Jed, Playin in the Band, Big Railroad Blues, Jack Straw, Cumberland Blues, Comes A Time, Mexicali Blues, Frozen Logger, Cold Rain & Snow, One More Saturday Night   HALFTIME:  Hart Valley Drifters (11/10/62 San Mateo, CA)   SET 2:  Casey Jones, Me & My Uncle, Dark Star > Sittin on Top of The World > Dark Star > Me & Bobby McGee, Brown Eyed Women, Ramble on Rose, Sugar Magnolia  ENCORE:  St. Stephen > Johnny B. Goode SOURCE:  Soundboard / Master Reel

Our post-Christmas Deadpod for this week features a show from the band's New Year's run in 1991, this one from Saturday night December 28, 1991.  While it is a Saturday night, the band surprises us by opening up with a (partial) version of  'One More Saturday Night' before heading into 'Jack Straw'. Bobby screws up his line, resulting in a roar from the crowd, but the real story of this set is that the band is tight and Jerry is in both fine voice and great virtuosity. Personal highlights include the 'Minglewood', 'Cassidy' and a great set-closing 'Deal'.        Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/28/91 - Saturday One     One More Saturday Night ; Jack Straw ; Peggy-O ; New Minglewood Blues ; Dire Wolf ; Queen Jane Approximately ; Loser ; Cassidy ; Deal    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod122719.mp3   I want to wish everyone a very HAPPY New Year - let's hope its a good one..  Be safe, and take care of each other.    My thanks for your kind support this year, and I look forward to sharing more of this wonderful music with you in 2020!   

Lucky us! We get to listen to this wonderful second set from December 1, 1979 at the Stanley Theater in Pittsburgh PA on this week's Deadpod.  This is a fine recording and the music is quite good, even thrilling at times. The China>Rider opener is just right, then pay attention to the fine opening to 'Looks Like Rain'.. quite unique. 'He's Gone' is done quite well alos, and leads into a wonderful jam that is clearly the highlight of this show.. including a 'Gloria' refrain'.. but just let yourself be carried by Garcia's shaping of the musical atmosphere here.. Listen to how worked up Bobby gets in the (first ever) CC Rider.. The rest of the set is more standard, but still a pleasure to hear, including a very fine 'Black Peter'.      Grateful Dead Stanley Theatre Pittsburgh, PA 12/1/79 - Saturday Two China Cat Sunflower [5:21] > I Know You Rider [7:18] ; Looks Like Rain [7:37] ; He's Gone (1) [23:33] > C C Rider [6:58] > Space [6:#52] > Drums [10:26] > Not Fade Away [8:51] > Black Peter [11:14] > Sugar Magnolia [8:21] Encore     One More Saturday Night [4:51] Comments     (1) includes a Gloria Jam    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121319.mp3   Best of luck to you today!  Thank you to my kind friends whose support keeps the Deadpod alive.   

This week's Deadpod features the band's performance at the Rainbow Theater in London England on Saturday October 3rd, 1981. This second set contains some wonderful improvisational music and both a fabulous pre-drums setlist and a spectacular Morning Dew. I think you'll agree that the music here flows beyond the structure of these songs to explore some unexpected places before settling back into familiar terrain.  There's some great sound in Drums and Space as well.       Grateful Dead Rainbow Theatre London, England 10/3/81 - Saturday       Two       Feel Like A Stranger [8:47] > Franklin's Tower [11:23] > Estimated Prophet [13:23] > Terrapin Station [10:54#] > Drums > Space [6:54] > Not Fade Away [8:05] > Morning Dew [11:17] > Around And Around [3:54] > One More Saturday Night [4:24] Encore     Brokedown Palace [5:27] http://traffic.libsyn.com/deadshow/deadpod101119.mp3   Your support of the Deadpod is greatly appreciated!   Enjoy     

For this special set break episode, Jonathan Hart of Brokedown Podcast pops by to talk about three Dead-adjacent albums that helped shape the band’s creative evolution. Originally conceived as solo efforts, Jerry Garcia’s Garcia, Bob Weir’s Ace, and Mickey Hart’s Rolling Thunder each brought something special to the Deadiverse, including songs that would become staples of live sets for years to come. Jerry’s album gave us “Deal,” “Bird Song,” “Sugaree,” “Loser,” “To Lay Me Down,” and “The Wheel.” Ace delivered “Greatest Story Ever Told,” “Black-Throated Wind,” “Looks Like Rain,” “Mexicali Blues,” “One More Saturday Night,” “Cassidy,” and the ultimate jam warhorse, “Playing in the Band.” And speaking of “Playing,” Mickey’s Rolling Thunder also features an embryonic version of the tune, then known as “The Main Ten.” So why did the band choose to reveal studio versions of these classic numbers on non-Dead releases? Jonathan and Casey talk about the possible reasons while offering insights on several key cuts. It’s an Osiris Network crossover for the ages!We’re part of the Osiris podcast network. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. To stay up to date on what we’re up to, visit our site and sign up for our newsletter. Osiris works in partnership with JamBase, which connects music fans with the music they love and empowers them to go see live music. See acast.com/privacy for privacy and opt-out information.

This week's Deadpod features a *monster* Scarlet>Fire from the second set of the band's performance on September 1st, 1979 in Rochester New  York. But first, take a moment to appreciate the unusual intro from Bobby to this second set :) This Scarlet>Fire is one of those rather underappreciated jams that can stand comparison to the best of  '73 or '74 Dead. Enjoy the places Garcia takes you as he weaves his magic on this ride. This one takes the entire pre-drums portion of the show. Following the rather short drums>Space, Garcia gives us a fine 'Wharf Rat', then the band settles into a rocking groove, with Miracle, 'Bertha', and 'Good Lovin' to close out the set. They return for a curfew-shortened 'One More Saturday Night'         Grateful Dead Holleder Stadium Rochester, NY 9/1/79 - Saturday   Two     Scarlet Begonias [13:08] > Fire On The Mountain [16:02] > Drums [5:18#] > Space [3:11] > Wharf Rat [10:00] > I Need A Miracle [4:38] > Bertha [7:04] > Good Lovin' [6:24] Encore     One More Saturday Night [4:36]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090619.mp3   Thanks so much for listening and for your support of the Deadpod  

This months podcast comes to us from the Spring of 1977, which we all know is fertile ground for AMAZING Grateful Dead shows.   And this show does not disappoint.  For our halftime show Bob brought in some JGB from '77...  a bunch of good stuff for your ears this month, that's for sure.   Hope y'all enjoy it! GRATEFUL DEAD   April 30,1977   Palladium  New York, NY    SET 1:   The Music Never Stopped, Bertha, All Over Now, Deal, Mama Tried > Me & My Uncle, Peggy O, Looks Like Rain, Mississippi 1/2 Step Uptown Todeloo, The Promised Land   HALF-TIME   Jerry Garcia Band  (12/4/77  New Jersey)  They Love Each Other, Midnight Moonlight   SET 2:   Scarlet Begonias > Fire on the Mountain > Good Lovin, Friend of the Devil, Estimated Prophet, St Stephen > Not Fade Away > Stella Blue > St. Stephen, One More Saturday Night   ENCORE:   Terrapin Station SOURCE:   Soundboard / Master Reel

    This week I have the pleasure of presenting the second set from the band's performance on April 23rd, 1983 at the New Haven Coliseum in New Haven Connecticut. A fine set, as most that start with a smoking Scarlet>Fire, this set features some wonderful Garcia licks, especially in Space, combined with some excellent effects from Mr. Hart. A fine recording I'm a fan of the Saint of Circumstance, even if Weir gets a bit cheezy.. The Other One Wharf Rat is excellent as always. The double encore is an excellent touch.         Grateful Dead New Haven Coliseum New Haven, CT 4/23/83 - Saturday   Two Scarlet Begonias [12:47]> Fire On The Mountain [13:34] ; Lost Sailor [7:25] > Saint Of Circumstance [6:57] > Space [0:28] > Drums > Space [19:03] > The Other One [7:20] > Wharf Rat [9:28] > Throwing Stones [9:17]> Not Fade Away [#8:25]   Encore   One More Saturday Night [4:26] > Brokedown Palace [5:22]     You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod041919.mp3   This one again goes out to Mike W.   thanks for your support of the Deadpod.   I hope you like our new look!! big thanks to Royce K for all his work on this!! If you have need of a great graphic designer contact Royce at: instagram: @infinite_jelly or http://www.infinitejelly.com    

Let's welcome Spring with this wonderful second set from March 26th, 1973 at the Baltimore Civic Center. Since I'm a bit under the weather this week I'll just point out a few (obvious) highlights - the jam following Truckin' including the Weather Report Suite Prelude, the wonderful Eyes , and of course Morning Dew.    I hope you enjoy this one, and feel free to join the Deadpod group on Facebook and offer your suggestions for shows you'd like to hear on the Deadpod!        Grateful Dead Baltimore Civic Center Baltimore, MD 3/26/73 - Monday   Two Ramble On Rose [6:10] ; Big River [4:09] ; Here Comes Sunshine [7:50] ; Greatest Story Ever Told [4:42#] ; Candyman [6:30] ; Me And My Uncle [2:41] ; He's Gone [10:#49] > Truckin' [14:45] > Weather Report Suite Prelude [2:02] > Jam [5:36] Wharf Rat [10:17] > Me And Bobby McGee [5:35] > Eyes Of The World [14:29] > Morning Dew [12:42] ; One More Saturday Night [4:25]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod032219.mp3   Thank you for your support!!!   

In 1986, Al Franken and Tom Davis wrote and starred in a small, slice-of-life film about a bunch of people in a small Midwestern town trying to get laid on a Saturday night. Nobody saw it and it faded into obscurity. This week, we're digging it back up from the forgotten realm and exploring it as best we can before the delirium claims us.

As we roll into Thanksgiving week, here is an outstanding first set from a great tour that took place during the Fall of 1971. This is from November 14th, 1971 at Fort Worth Texas. Part of this show was released as a (now out of print) Road Trips, but the entire show is a treasure and features a young band full of energy and fire. They open with a fine 'Bertha' with Keith's piano leading the way.. they follow with a 25-beat 'Beat It On Down the Line', but Billy stops at 24 so they reset with Garcia calling for '3'...it crackles. 'China Cat' follows with some wonderful soaring Garcia leads. the train starts rollin' in the fine transition into 'I Know You Rider' and I can just imagine the dancing! Don't overlook the fine 'El Paso' that follows, it has some beautiful Garcia throughout.. I won't try and describe each of these standards - some were new at the time others not, but this is a great recording of a period when the band was transitioning from its earlier more 'primal' sound to a bit slower tempo, '72 pace.     Grateful Dead Texas Christian University Fort Worth, TX 11/14/71 - Sunday One Bertha [5:54] Beat It On Down The Line [3:00] China Cat Sunflower [5:24] > I Know You Rider [5:18] El Paso [4:34] > Sugaree [6:27] Jack Straw [4:52] Big Railroad Blues [3:20] Me And Bobby McGee [5:31] Loser [6:24] Playing In The Band [5:59] Tennessee Jed [6:47] You Win Again [2:17] Mexicali Blues [3:18] Casey Jones [5:25] One More Saturday Night [4:30]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod111618.mp3     I hope you all have a very happy and safe Thanksgiving! Be sure and look on Thanksgiving morning for a special Deadpod coming your way a day early next week.   Thank you as always for your support and for listening to the Deadpod!    

This week's Deadpod contains a great recording of a 'partial' second set from the band's visit to Bloomington Minnesota on October 23rd, 1973. This recording starts with an excellent version of  'Truckin', punctuated with some unusual organ effects from Keith, going into an amazing crescendo, then into a nice bluesy 'Nobody's Fault' jam... the 'throwback' organ is reminiscent of earlier, primal versions of the band.  It's so easy to lose oneself in the arabesque jam leading up to Phil's familiar entrance to the 'Other One'. After it dissolves into Drums, a wonderful jam leads into the 'Weather Report Suite', delicate and beautiful, perhaps my highlight of the set. The band closes with the classic 'Sugar Magnolia.    As for the encores:  "The band stops playing Casey Jones at 2:03 into the song as a fight breaks out in front of the stage. Phil is notably outraged at what is happening and the disturbance goes on for at least another two and a half minutes at which point the band plays One More Saturday Night. For this reason, it is highly unlikely that either song is an "Encore"     The soundcheck - is much debated.. identified as Keith trying to get the hall's Wurlitzer organ to cooperate for the show, its an interesting bluesy jam..      Grateful Dead   October 23, 1973 Metropolitan Sports Center  Bloomington, MN   --Set 2-- Truckin' -> Nobody's Fault But Mine Jam -> The Other One -> Drums -> Jam -> Weather Report Suite Sugar Magnolia     Casey Jones One More Saturday Night   Soundcheck: Wang Dang Doodle   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod102618.mp3   Many thanks for your kind support of the Deadpod!    Happy Halloween!   

This week we return to the Grateful Dead's first visit to the Frost Amphitheater on the campus of Stanford University in Palo Alto California on October 10th, 1982. This second set starts with a very unusual 'Throwin' Stones'>'Touch of Gray' opener; both songs are relatively new and contain some different lyrics which makes them even more interesting. 'Estimated' into 'Eyes of the World' follows, and I think  you can really hear the color that Brent has brought into the band on this Eyes, its is very nice indeed. Post-Drums we have the 'Truckin'>Other One>Morning Dew' with that Dew being charged with emotion and clearly the highlight of the show for me.     Grateful Dead Frost Amphitheatre - Stanford University Palo Alto, CA 10/9/82 - Saturday Two Throwing Stones [6:57]> Touch Of Grey [6:07] ; Estimated Prophet [11:34] > Eyes Of The World [10:03] > Drums [7:45] > Space [6:56] > Truckin' [6:54] > The Other One [8:22] > Morning Dew [9:44] > One More Saturday Night [4:43] Encore U.S. Blues [5:04]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod101218.mp3   be well my friends,   thank you for your support of the Deadpod!

For a long Labor Day weekend I think this week's Deadpod provides a perfect soundtrack - the second set from the band's smoking performance on August 24th, 1972 at the Berkeley Community Theater in Berkeley CA. Each of these standards are played most excellently. In addition we are treated to a true pinnacle of improvisational excellence with the 'Dark Star>Morning Dew'. I would have thought they'd close out after that but rather than that they rev it back up with a hot 'Sugar Magnolia', 'Ramble on Rose' and 'Greatest Story'. Sing Me Back Home is sweet as always. While they close the set with a 'One More Saturday Night' (on a Thursday) they return with a most excellent 'Uncle John's Band' encore - a song that should have seen that spot more often.     Grateful Dead Berkeley Community Theatre Berkeley, CA 8/24/72 - Thursday   Two Mississippi Half-Step Uptown Toodeloo [6:50] Mexicali Blues [3:21] Brown Eyed Women [4:43] Truckin' [9:01] Dark Star [27:14] > Morning Dew [13:00] Sugar Magnolia [7:52] Ramble On Rose [6:19] Greatest Story Ever Told [5:17] Sing Me Back Home [9:55] One More Saturday Night [4:30] Encore Uncle John's Band [7:11]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod083118.mp3   I hope you have a safe and fun Labor Day weekend..

Hello Friends! I have to tell you, the ol' Professor has not had a great week.. been down with an awful case of the flu since last saturday night, which forced me to cancel a trip I had planned to the great Southwest :( However my week was brightened by a very sweet note and donation from Stephen and Kristi of New York City (who are dealing with their own nasty weather problems this week). Thanks my friends. I'm still running a fever and dealing with some nasty abdominal stuff so I'm afraid I'm going to make this introduction to this week's Deadpod short and sweet.. The first half of this second set is wonderful.. It's always a joy to hear Pig sing 'The Stranger' and the boys are really moving this one down the track so buckle up and enjoy the ride.        Grateful Dead Academy of Music New York, NY 3/21/72 - Tuesday   Two   Intro [1:11] (1) ; Truckin' > [10:28] > Drums [3:22] > The Other One [17:48] > Wharf Rat (2) [10:14];[1:21] ; Sugar Magnolia [7:00];[2:24] ; The Stranger (Two Souls In Communion) (3) [6:43];[0:30] Ramble On Rose [6:01];[0:43] ; Me And My Uncle [3:06];[0:28] ; Big Railroad Blues [3:58];[1:04] ; Not Fade Away [3:55] > Goin' Down The Road Feeling Bad [5:44] > One More Saturday Night (4) [4:50]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod032318.mp3   We will survive...     

This week's Deadpod features a rather historic show in the band's history - this was the very first show with Keith Godchaux, on October 19th, 1971 in Minneapolis Minnesota. Not only was this Keith's first show it features the premier of six songs that would all become staples in the band's repertoire, Tennessee Jed, Jack Straw, Mexicali Blues, Comes a Time, One More Saturday Night and Ramble On Rose. There's plenty of energy in this set, and the new tunes and the addition of Keith mark a turning point in the band's trajectory, as the sound begins its transition to the characteristic sound of 1972.   Its also a nice coincidence that I received an email this week from the author of a new blog, all about 'Comes A Time' .. it has a nice writeup about this show as well as other great versions. You can find it here: https://gotanemptycup.wordpress.com/, check it out!     Grateful Dead Northrup Auditorium Minneapolis, MN 10/19/71 - Tuesday One Bertha [5:46] ; Me And My Uncle [3:01] ; Sugaree [6:14] ; Beat It On Down The Line [3:29] ; Cumberland Blues [5:01] ; Tennessee Jed [5:59] ; Black Peter [8:43] ; Jack Straw [5:02] ; Big Railroad Blues [3:14] ; Brown Eyed Women [4:15] ; Mexicali Blues [3:22] ; Comes A Time [7:01] ; Playing In The Band [5:42] ; One More Saturday Night [4:22] ; Casey Jones [5:47]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod102017.mp3   for some reason the number of listeners seems to have gone down a bit lately.. if you have any suggestions please let me know!   have a great week and thank you for your support!!

Always a great way to start out set 2, this week's Deadpod starts with a wonderful Scarlet ->Fire. The boys do a nice job of exploring on this one, as the Scarlet is a bit more exploratory as usual, and that is a property of this entire set. Highlights for me include the great transition between Eyes of the World and Space, Garcia really explores some new areas there. The unusual post-drums setlist puts Not Fade Away before Wharf Rat and gives us a unusual double encore to end our evening!     Grateful Dead Greek Theatre - University of California Berkeley, CA 9/12/81 - Saturday Two Scarlet Begonias [11:40] ->; Fire On The Mountain [12:53] ; C C Rider [8:44] ; Estimated Prophet [10:55] -> Eyes Of The World [11:42]-> Space [7:35] -> Drums [9:36]-> Not Fade Away [10:08] -> Wharf Rat [9:27] -> Around And Around [3:57] -> One More Saturday Night [4:20] Encore It's All Over Now, Baby Blue [6:49] ; Good Lovin' [7:53]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091517.mp3   thanks to Brian at DCW Media for underwritng the last 2 Deadpods!   and thanks to you my friends for your support!   Ain't No Time to Hate        

Version:1.0 StartHTML:000000211 EndHTML:000002909 StartFragment:000001205 EndFragment:000002877 StartSelection:000001205 EndSelection:000002877 SourceURL:https://www.blogger.com/blogger.g?blogID=7847493 This week we are back in Miami for the 2nd set of an incredible show the Dead played back on June 23rd, 1974. This set starts with a beautiful jam into Ship of Fools. The pace picks up with a sprightly Big River, featuring some great Garcia runs. Jerry slows the pace again with a soulful, 'Black Peter'. 'Around and Around' gets the show swinging again and them we're transported to deep space for a wonderful 'Dark Star ->Spanish Jam' - this one was chosen to appear on the 'So Many Roads' compilation for good reason.. sit down and soak this up. The jam dissolves into a swinging 'U.S. Blues'; I really enjoy Keith's contributions here, a great jazzy take. A nice 'Uncle John's Band' follows and goes into a set closing 'One More Saturday Night'. They return with a 'Casey Jones' encore.       Jai-Alai Fronton, Miami, FL (6/23/74)   Three Jam [4:09] > Ship Of Fools [6:09] ; Big River [4:54] ; Black Peter [9:44] ; Around And Around [5:08] ; Dark Star Jam [18:15] > Spanish Jam [4:02] > U.S. Blues [8:03] ; Uncle John's Band [7:59] > One More Saturday Night [4:45] Encore Casey Jones [5:50]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod062317.mp3   My thanks to the kind friends who have supported the Deadpod and make it  possible!    

Version:1.0 StartHTML:000000211 EndHTML:000002910 StartFragment:000001205 EndFragment:000002878 StartSelection:000001205 EndSelection:000002878 SourceURL:https://www.blogger.com/blogger.g?blogID=7847493 This week's Deadpod continues with the band's second set from their terrific performance on 6/19/76 at the Capitol Theater in Passaic NJ. The tempo, as in much of this period is more controlled and a little slower.. but everyone is blending in and doing a great job. They open with a nice 'Might As Well' (not yet over played :), then follow with Samson and Delilah. A terrific High Time follows - a song we don't get to hear very often. Let It Grow follows, split by a short drum segment, then a rocking Dancin' in The Streets. A real Cosmic Charlie follows, again, with a slower tempo, then the band gets everyone moving with Around and Around, Goin' Down the Road, and since it was Saturday, One More Saturday Night. They return with a great Not Fade Away encore, not the usual choice for that slot.    Grateful Dead Capitol Theatre Passaic, NJ 6/19/76 - Saturday  Two Might As Well [5:44];[1:28] ; Samson And Delilah [6:17];[1:36] ; High Time [9:17];[1:38] (1) ; Let It Grow [6:04] > Drums [3:24] > Let It Grow [3:03] % Dancing In The Street [10:05] > Drums [0:11] > Cosmic Charlie [7:58];[3:32] (1) ; Around And Around [6:22] > Goin' Down The Road Feeling Bad [7:06] > One More Saturday Night [4:16] Encore Not Fade Away   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod060917.mp3   I surely hope that this finds you well and enjoying a beautiful Summer.    Thanks for listening and for your support.     

This week's Deadpod, featuring the second set from the band's performance on January 2nd, 1972 features Pigpen giving us a fantastic Good Lovin' to open the set in his next to last Bay Area performance. The band really cooks behind him on this one, I'm sure you'll enjoy this. The rest of the set is quite good as well, and what the set lacks in length it does make up for in quality. While the Not Fade Away->Goin' Down the Road Feelin' Bad->Not Fade Away is not as unusual as the Good Lovin' ->China Cat Sunflower->Good Lovin' to open the set it is almost as excellent.  This is a harbinger of what will be one of the most outstanding years in the band's history.    Winterland Arena, San Francisco, CA (1/2/72) set 2   Good Lovin' China Cat Sunflower I Know You Rider Good Lovin' Ramble On Rose Sugar Magnolia Not Fade Away Goin' Down the Road Feeling Bad Not Fade Away   One More Saturday Night   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011317.mp3   I'm thankful for your support that allows me to continue to publish the Deadpod.    Stay warm and dry.. love one another.         

Episode 052 - December 2016 Set 2 Morning Dew (1977-05-08)Not Fade Away-> Goin' Down The Road Feelin' Bad-> One More Saturday Night (1974-10-18)Uncle John's Band-> Estimated Prophet-> He's Gone-> (1979-12-26)Eyes Of The World-> China Doll (1974-10-19)St. Stephen-> The Other One-> Stella Blue (1977-03-20)China Cat Sunflower->I Know You Rider (1972-08-27)Terrapin Station (1977-12-29)

This week the Deadpod returns to the second set of the band's performance in Oklahoma City Oklahoma on November 14th, 1972. I think you'll enjoy their performance here as they bring the crowd well executed versions of some great songs.    The highlight of this 1hour 41 minute set is probably the 'He's Gone'->'Truckin'->'The Other One'->'Sing Me Back Home' combination that occurs in the middle of set 2. Listen closely and you'll hear some interesting interplay as they try to decide which song to go into next. I think you'll enjoy the unique 'Uncle John's Band' as well..    Grateful Dead Oklahoma City Music Hall Oklahoma City, OK  11/14/72 - Tuesday   Two Greatest Story Ever Told [5:15] ; Brown Eyed Women [4:12] ; Me And My Uncle [2:58]  ; Deal [4:26] ; Me And Bobby McGee ; He's Gone [15:18] > Truckin' [8:25] > The Other One [15:57] > Sing Me Back Home [9:57] ; Sugar Magnolia ; Uncle John's Band ; One More Saturday Night    You can listen to this week's Deadpod here:   http://traffic.libsyn.com/deadshow/deadpod120216.mp3     My sincere thanks to those kind folks whose support makes the Deadpod possible.. and to each of you who enjoy listening!           

I struggled a bit deciding what to play this week - I was pulled this way and that but finally settled on an overlooked gem of a show from the Fall tour of 1971. This was Keith Godchaux's first tour with the band, and Pigpen is not with them on this night due to his declining health. This show was the second of two (and the fourth show in four nights) which took place in Detroit Michigan on October 24th, 1971 at the Easttown Theater. I think you'll find every one of these numbers to be a real treat. Highlights for me include a great China>Rider (listen for Phil on this one!), and a beautiful Black Peter. The band's sound is clearly growing - transitioning into what they will sound like in 1972.  Set 2, on tap for next week, includes a wonderful Dark Star..   Grateful Dead Easttown Theatre Detroit, MI 10/24/71 - Sunday   One Sugar Magnolia [5:46] ; Deal [5:11] ; El Paso [4:36] ; Tennessee Jed [6:06] ; Jack Straw [4:54] ; China Cat Sunflower [5:08] > I Know You Rider [5:15] ; Playing In The Band [6:11] ; Black Peter [8:33] ; Candyman [#6:11] ; One More Saturday Night [4:14] ; Casey Jones [5:50]   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090916.mp3   the Deadpod is made possible through the kind donations of my listeners and supporters.. thank you!

This week we are treated to the fine audience recording of the second set of the band's performance back on May 6, 1978 at Patrick Field House at the University of Vermont in Burlington VT.  This is a continuation of the fine Garcia performance put on last week in Set 1. We are treated to some wonderful vocals and even better jamming in this second set. The Samson is a perfect start to get the ball rolling, then Donna delivers on a very pretty Sunrise. Terrapin follows and I'm sure those in attendance were digging the voyage. The band then turn in a 16 minute Playin' in the Band, highlighted by a delightful jam that for me is clearly the highlight of the set if not the show. Wharf Rat however, especially at the end, is tight as well. They close with a predictable if still rockin', Sugar Magnolia and One More Saturday Night encore..        Patrick Field House (U of Vermont), Burlington, VT (5/6/78) set 2   Samson and Delilah Sunrise Terrapin Station Playin' in the Band drums Wharf Rat Sugar Magnolia One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod060316.mp3 Thanks for listening and for your support, which makes the Deadpod possible! Enjoy, and try and be kind to each other!  

Episode 033 - March 2016 Set 2Just Like Tom Thumb's Blues (1991-10-31) Let It Grow (1991-10-31) Estimated Prophet-> He's Gone (1991-02-20) Playing In The Band-> Uncle John's Band-> Terrapin Station-> Drums (1991-02-21) The Last Time (1990-02-25) Drums-> Jam-> The Other One-> Wharf Rat-> Turn On Your Love Light (1990-12-04) Goin' Down The Road Feeling Bad-> One More Saturday Night (1988-12-31)

Episode 024 - November 2015 Set 2France[1]Scarlet BegoniasPlayin' In The BandBlack PeterChina Cat Sunflower ->I Know You RiderTruckin' ->Bird Song ->Never Trust A Woman[1]Ramble On RoseTo Lay Me DownDark Star ->Sugar MagnoliaNot Fade Away ->Morning Dew ->Around And Around[1] ->One More Saturday Night[1]Touch Of Grey[1]Knockin' On Heaven's Door[1] Dead Fantasy Debut

Episode 027 - January 2016 Set 1Cold Rain and Snow (1976-12-26)One More Saturday Night -> Jack Straw (1991-12-28)Promised Land (1978-12-30)Dupree's Diamond Blues (1985-12-31)Big Boss Man[1] (1989-12-31)When Push Comes To Shove[1] (1986-12-27)Mama Tried[1] (1976-12-31)Mexicali Blues[1] (1972-12-31)Me & My Uncle -> Big River (1978-12-31)Foolish Heart -> Man Smart (Woman Smarter) (1991-12-28)Casey Jones (1972-12-31)Smokestack Lightning[1] (1970-12-28)Big Railroad Blues[1] (1984-12-29)Alabama Getaway-> Greatest Story Ever Told (1979-12-28)Throwing Stones-> One More Saturday Night (1991-12-28)[1] Dead Fantasy Debut

This sweet second set from 1973 will close out the month of February 2016 for the Deadpod.  Judging from the length of this set I assume this is really not the entire set, however what we have is very pleasing indeed.. Starting off with an early 'Wave That Flag' the boys move through a 'Me and My Uncle' into a well-played if short for the period 'Dark Star'. That moves into an exceptional 'Eyes of the World' .. while not unusual for the period the music excellence here makes me happy every time I hear it. China Doll follows.. enough said.  The boys rock it out following that with an Around and Around, Goin' Down the Road Feelin' Bad and One More Saturday Night before returning for a Casey Jones encore..  Great sounding Dead here..    Grateful Dead Assembly Hall - University Of Illinois Champaign-Urbana, IL 2/22/73 - Thursday   Two Wave That Flag [5:40] % Me And My Uncle [2:41] % Dark Star [14:38] > Eyes Of The World [15:42] > China Doll [6:36];[0:16] ; Around And Around [4:34];[0:17] % Goin' Down The Road Feeling Bad [7:44] > One More Saturday Night [4:20] Encore Casey Jones [6:06]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod022616.mp3   Special thanks to the wonderful folks whose donations keep the Deadpod afloat.    Have a wonderful week!     

This week's Deadpod continues with the second set from the band's performance on September 6th, 1980 at Lewiston Maine. Wildly praised by those in attendance, I think you'll enjoy this recording even though it has its share of flaws, and several of the songs are only from an audience recording. The set starts with one of those funky 80's Shakedown Streets.. always a great way to get the crowd on their feet and moving! A fairly standard Sailor->Saint leads into a nice Althea, but the magic starts to happen after that with a great Playin->Uncle John's->Space->Drums->Space..this recording, being a matrix, really captures the energy of the crowd when that Uncle John's starts up.. they follow with an excellent drums, then following space a really excellent NFA into the Wheel. I love how they come out of this and back into Uncle John's then into a Playin' reprise.. short but nicely done!  A strong Sugar Magnolia closes the set, and the band returns for a double encore, featuring, of course, One More Saturday Night and a sweet Brokedown Palace..      State Fairgrounds, Lewiston, ME (9/6/80) set 2   Shakedown Street Lost Sailor Saint of Circumstance Althea Playin' in the Band Uncle John's Band drums Not Fade Away The Wheel Uncle John's Band Playin' in the Band Sugar Magnolia One More Saturday Night Brokedown Palace     You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod090415.mp3   Have a GREAT and safe Labor Day Weekend!!   

We're lucky enough to hear the second set from the Dead's performance on 10/29/77 at Northern Illinois University in DeKalb Illinois this week. This is a fine recording of a strong set.. Bertha opens with that unique tempo the band was working on at this time and it sounds mighty fine.. Good Lovin' is better than usual.. Friend of the Devil and Estimated are played crisply but for me the magic starts with the jazzy Garcia guitar in Eyes.. very nicely done and one of my favorite versions of this tune during this time. St. Stephen is powerful.. moving into a heavy Not Fade Away.. Black Peter is soulful and sung with great effect. Sugar Magnolia and One More Saturday Night display the band's competence at great Rock N Roll. All in all a fine accompaniment to a Fall day or evening :)      Field House (Northern Illinois U), De Kalb, IL (10/29/77) set 2 Bertha Good Lovin' Friend of the Devil Estimated Prophet Eyes of the World St. Stephen Not Fade Away Black Peter Sugar Magnolia drums Sunshine Daydream One More Saturday Night   You can listen to this week's Deadpod here:   http://traffic.libsyn.com/deadshow/deadpod111414.mp3     My sincere thanks for your support. My love to you all.  

While we are in high summer my thoughts turned to great summer tours and despite my reservations about some shows from this year, I couldn't help but realize that this year had to be represented - 1985. The band played an amazing summer tour with such a wide variety setlists filled with extraordinary breakouts that the year deserves to be honored despite the well-known problems with Garcia's voice and the all-too-obvious tendency to overindulge in certain stimulants..  This week's show is a great example.. this week we get to hear a stellar first set from July 13th at the Venura County Fairgrounds in Ventura CA. The show opens with a very unusual One More Saturday Night, which rolls into an exceptionally well-played 'Fire on the Mountain' .. as I've heard it told, there actually were fires on the hills behind the stage as controlled burns were being done during the show.. One of the best 'Walkin' Blues' follows, the the fun Dupree's, I imagine the Mama Tried->Big River got everyone dancin', but the Bird Song that follows is dope for sure. Love to hear the Music Never Stopped that follows, a great great Summertime tune!      Ventura County Fairgrounds, Ventura, CA (7/13/85) One More Saturday Night Fire on the Mountain Walkin' Blues Dupree's Diamond Blues Mama Tried Big River Bird Song Music Never Stopped   You can listen to the Deadpod here: http://traffic.libsyn.com/deadshow/deadpod071114.mp3   The Deadpod can always use your support. Please consider a donation by clicking on the 'Donate' button or dropping me a note for an address to send a check. If you have a business and are interested in doing some underwriting on the Deadpod, please let me know. Thanks!!  

This week the Deadpod remains in Vegas, for the second set played on  April 27, 1991. I believe this is as fine a second set as you're likely to find from this Spring tour of 1991. Jerry is in really good shape here it seems as he hardly forgets a lyric and the band certainly plays a wonderful pre-drums set! Opening with Sugar Mag, then comes a heady combination of Scarlet->Fire->Playin->Uncle Johns! Yowza.. the amazing thing is that none of these, to my ears, is the real highlight of the set.. That comes post-drums, following a relatively pedestrian 'Miracle' when Jerry plays a 'Black Peter' for the ages. I know not everyone is a fan of this song, but I happen to love it, and I love this version.  They close the set, with of course, One More Saturday Night, but return to do my favorite encore of this Hornsby era, The Weight..    Grateful Dead 4/27/91 Sam Boyd Silver Bowl, Las Vegas Nevada   set 2 Sugar Magnolia  Scarlet Begonias > Fire On The Mountain ; Playing In The Band ; Uncle John's Band > Drums > Space > I Need A Miracle > Black Peter ; One More Saturday Night EncoreThe Weight You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod042514.mp3 Thank you to all my Brothers and Sisters who help support the Deadpod through your kind donations. See you back here next week.. 

A classic second set from the great year of 1971 on this week's Deadpod. This one features a massive Other One, an early look at Keith who was playing with the boys without Pigpen on this night and a very well played Goin' Down the Road Feelin Bad->NFA->GDTRFB sandwich.. definitely a favorite!  Phil is all over this massive Other One as well, and I think this is a good choice to warm those bone on a cold Winter's eve...  Grateful Dead Allen Theatre Cleveland, OH 10/29/71 - Friday Two - [66:24]  [66:24] ; Cryptical Envelopment [1:51] > Drums [0:23] > The Other One [20:16] > Me And My Uncle [2:54] > The Other One [2:58] > Cryptical Envelopment [1:39] > Deal [4:19] ; Sugar Magnolia [5:55] ; Ramble On Rose [5:50] ; Not Fade Away [4:40] > Goin' Down The Road Feeling Bad [6:32] > Not Fade Away [2:42] ; One More Saturday Night [4:02] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod011714.mp3 Thanks so very much for your support of the Deadpod!  I very much appreciate it! 

On this week's Thanksgiving Eve Deadpod :) we get to hear the second set from a wonderful show that took place on November 14th, 1973.. This second set in many ways is a long improvisational jam on the Other One theme, for after a nice Truckin' the band goes in and out of The Other One for much of the remaining set. Of course the set is punctuated with a delightful 'Eyes of the World' and a great 'Wharf Rat'. After a rather unusual stop they go into a misplaced 'Me and My Uncle' but end with a rockin' Goin' Down the Road Feelin' Bad and a well played One More Saturday Night.. This show is not surprisingly overlooked given the monsterous shows that surrounded it during this peak month of GD performances, but I'm happy to be able to bring it out and show it off.. it may not be the very best of this most amazing month, but it certainly is capable of bringing alot of pleasure on its own, and I hope that you too enjoy it as much as I did. San Diego Sports Arena, San Diego, CA (11/14/73) Truckin' The Other One Big River The Other One Eyes of the World The Other One Wharf Rat Me and My Uncle Goin' Down the Road Feeling Bad One More Saturday Night You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod112313.mp This time of year I'm reminded of how fortunate I am to have such great listeners who make doing the Deadpod such a pleasure. Thank you for listening and for your support which makes the Deadpod possible. Have a blessed and Happy Thanksgiving.