Podcasts about picasso moon

We're having a Garden Party! This week, our hosts FiG and Knob are heading to New York City! It's September 18th, 1990 and the Grateful Dead are playing at Madison Square Garden! Discussions abound about Hornsby's early days, an awesome Foolish Heart jam, and we finally solve the age old question of whether Picasso Moon is good or not.  Mississippi Half-Step Uptown Toodeloo New Minglewood Blues Loser Picasso Moon Row Jimmy Desolation Row To Lay Me Down Promised Land  Eyes Of The World >  Estimated Prophet > Foolish Heart > Drums >  Space >  The Other One > The Wheel > Sugar Magnolia Knockin' On Heaven's Door

 It sure feels like summertime here, and one of my favorite summer time tours was back in 1990.. this week we go back to Eugene for a fine show that took place on June 24, 1990 at Autzen Stadium at the University of Oregon.  The first set starts with a fine Help>Slip>Frank - Jerry has some great leads here.. Masterpiece follows and Bob does the vocals just right. Loose Lucy made its reappearance in the Spring of 90, and Jerry breaks it out here for the sixth time since 1974.  Brent shines 'Just A Little Light'.. a personal favorite of mine. Picasso Moon and Candyman follow and the set closes with an excellent 'Let It Grow'...    Grateful Dead Autzen Stadium - University of Oregon Eugene, OR 6/24/1990 - Sunday One     Help On The Way > Slipknot! > Franklin's Tower When I Paint My Masterpiece Loose Lucy Just A Little Light Picasso Moon Candyman Let It Grow   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod062124.mp3    I'll be bopping at the Sphere tonight.. hope you have a wonderful week!

We caught up with Bob Bralove about writing "Picasso Moon" with Bob Weir and "Way to Go Home" with Vince Welnick    Ep 276 #ATJPod More: https://bobbralove.com/ @allthatjampod on IG, FB, and Twitter - www.allthatjampod.com - Subscribe - leave a review - tell a friend. Merch: https://t.co/QgtAisVtbV All That Jam is brought to you by Executive Producers Amanda Cadran and Kevin Hogan. Produced and edited by Amanda Cadran and Kevin Hogan. Mixed and Mastered by Kevin Hogan. Original Music by Aaron Gaul. Art by Amanda Cadran.

Tips for guessing within two years when a song was played.Larry Mishkin reviews the Grateful Dead concert from August 4th, 1994, at Giant Stadium. He discusses the show and welcomes guest   Christian Sauska, who attended that concert and shares his love for New Orleans-style music and his journey as a Deadhead. The conversation delves into the 80s and 90s eras of the band, and they discuss their musical backgrounds and the band's new music.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-huntChristian Sauska -  https://www.linkedin.com/in/christian-sauska-5aab2310/Jay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast  Grateful DeadAugust 4, 1994Giant's StadiumEast Rutherford, NJTraffic opened the show              Jerry sits in with Traffic on Dear Mr. Fantasy and Gimme Some Lovin  INTRO:              Box of Rain                           Track No. 2                           3:42 – 4:51 SHOW #1:        Jack Straw                           Track No. 3                           5:00 – 6:09  SHOW #2:        Eternity                           Track No. 7                           0:36 – 1:45               A “new” Bob Weir song, music by Bob and Rob Wasserman and lyrics by Willie Dixonfirst played on February 21, 1993 at Oakland Alameda County Coliseum              Played 44 times in concert              Last played July 8, 1995 at Soldier Field  – second to last show              Released on Dead's first post-Jerry box set, So Many Roads               Rob Wasserman (Rat Dog with Bobby)  Wasserman started playing violin, and graduated to the bass after his teenage years. He studied at the San Francisco Conservatory of Music where he studied composing with John Adams and double bass with San Francisco Symphony bassists.[5]He worked with Van Morrison, Oingo Boingo, and David Grisman. His 1983 album Solo won Down Beat magazine's Record of the Year award. On the albums Duets and Trios, he worked with Bobby McFerrin, Rickie Lee Jones, Cheryl Bentyne, Lou Reed, Stéphane Grappelli, Jerry Garcia, Brian Wilson, Willie Dixon, Branford Marsalis, Bob Weir, Edie Brickell, Les Claypool, Neil Young, and Elvis Costello.Duets was nominated for three Grammy Awards. Bobby McFerrin won for "Brothers", which was performed with Wasserman. Wasserman also won Holland's Edison Award for Record of the Year.His 2000 album, Space Island, incorporated more contemporary musical elements. RatDog, which he co-founded with Bob Weir from the Grateful Dead, occupied much of his time. He toured extensively with Lou Reed.Wasserman was a judge for the sixth-tenth annual Independent Music Awards.[8]Rob Wasserman died on June 29, 2016. Cause of death was cancer.[9] Entombment was made in Salem Memorial Park and Garden at Colma, California.[10]                Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: “Down in the Bottom,” “I Ain't Superstitious,” “I Just Want to Make Love To You,” “Little Red Rooster,” “The Same Thing,” “Spoonful,” and “Wang Dang Doodle.”            The song was written during the sessions for Rob Wasserman's Trios album. “Guitar Player” magazine ran an interview with Weir in 1993:“I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.“He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them....“....Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.“By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the blues.'”           David Dodd (author of Complete Grateful Dead Annotated Lyrics) – “Weir's songs from this era (anything from “Victim or the Crime” forward) seem aggressively innovative, shall we say. The rhythmic patterns, the big multi-layered chords, the changes in meter and tone, all add up to something that seems calculated to disrupt any comfort we might have been sinking into. OK, I didn't say that very well, but anyone who has struggled with these late-period Weir songs knows what I mean.”           SHOW #3:        Childhood's End                           Track No. 8                           3:10 – 4:15               A “new” Phil tune, first played July 24, 1994 at Deer Creek Music Center, Noblesville, IN              Played 11 times in concert              Last played July 9, 1995 at Soldier Field – last show              Never released on a studio album                “Childhood's End” on 7/20/94 – the last original Grateful Dead song to enter the live repertoire, written and sung by Phil Lesh.             Per John Hilgart of 4CPComics, the background story is that Lesh (and perhaps the others) felt that new songs would help fuel Garcia engagement in a period when Jerry was headed in the same direction as in the mid-1980s, when his drugged-out-bad-health put him in a coma that he narrowly survived – living on to drive the 1989-onward renaissance of the band. In the 1995 remake, Jerry died. The big musical difference between those two episodes is that everyone else in the band had their shit together in 1994, whereas the whole band was a mess in 1986.              John's general take on post-Brent 1990's Dead is that they were not to be dismissed – a band that had stopped depending on Garcia's leadership to determine the musical outcome, but who were always therefore also ready when Garcia was feeling spry. Weir has said something to that effect. And when Garcia was feeling spry, it was just as you would wish it to be. SHOW #4:        Way To Go Home                           Track No. 14                           2:59 – 4:12                           A “new” Vince song music by Vince and Bob Bralove, lyrics by Robert Hunter.              First played February 23, 1992 at Oakland-Alameda County Coliseum              Played 92 times              Last played June 28, 1995 at The Palace of Auburn Hills, Auburn Hills               Also wrote Samba In The Rain for the Dead.               Bob Bralove is a keyboard–synthesizer player who worked as a sound technician with the Grateful Dead from 1986 to 1995. Throughout his tenure, he performed as an auxiliary musician throughout "Drums" and "Space", the band's signature aleatoric music segments.[1]Accordingly, he played a key role in their integration of MIDI technology (Musical Instrument Digital Interface) is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.[1]  ; Before the development of MIDI, electronic musical instruments from different manufacturers could generally not communicate with each other. This meant that a musician could not, for example, plug a Roland keyboard into a Yamaha synthesizer module. With MIDI, any MIDI-compatible keyboard (or other controller device) can be connected to any other MIDI-compatible sequencer, sound module, drum machine, synthesizer, or computer, even if they are made by different manufacturers.), first working with drummers Mickey Hart and Bill Kreutzmann, keyboardist Brent Mydland, and later guitarist Bob Weir and synthesizer/piano player Vince Welnick. He also co-wrote several songs with Weir and Welnick, including "Picasso Moon" on Built to Last (1989) and "Way to Go Home" and "Easy Answers", which were slated to appear on the band's unfinished fourteenth studio album. (A live reconstruction, Ready or Not, was ultimately released in 2019 and contains both songs.) Perhaps his most significant project with the band was curating excerpts from "Drums" and "Space" on Infrared Roses, a 1991 compilation album. "Parallelogram" and "Little Nemo in Nightland" are some of his most notable "compositions" from this release.Bralove was also a member and producer of the Psychedelic Keyboard Trio, along with Welnick and fellow former Grateful Dead keyboardist Tom Constanten.[2] Bralove and Constanten also collaborated as Dose Hermanos, a showcase for their improvisational keyboard work; since 1998, they have toured irregularly and released five albums under the moniker. Bralove also worked with Stevie Wonder, setting up and programming Wonder's synthesizers including while he was touring.[3]  OUTRO:            Days Between                           Track No. 20                           5:55 – 7:24                           “new” Jerry tune              First played February 22, 1993 at Oakland-Alameda County Coliseum Arena              Played 42 times by the Dead              Last played June 24, 1995 at RFK Stadium in D.C.               It has become a favorite of the surviving band members, played the third night at the 50th Anniversary Shows at Soldier Field in 2015 and frequently played by Dead & Co. with Bobby singing,  Also played by Bob Weir and Wolf Bros. and Phil and Friends.  Great tune to end this episode.               David Dodd:  “Days Between” has come to be an anthem that makes us remember Garcia in a particular way, and, in particular, the days between his birth date of August 1 and his death date of August 9. It's a fitting song for such thoughts, with its big sweeping chords and its lyrics heavy with nostalgia and longing.There's a word in German, sehnsucht, that lacks a proper emotional counterpart in English, but which means, roughly, “longing.” It carries a sense of wishing you could see something—see something again, see something at all—that something is missing from your eyes and from your presence. I find that “Days Between” belongs with a raft of songs that induce this feeling in me.“Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.) During its relatively short time in the live repertoire, they played it 41 times, always in the second set, and fairly frequently rising out of the Drums. Phil:  “I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”

This months's podcast takes us back to The Grateful Dead, and Little Feat, in Eugene, OR during the Summer of 1990.   This show is Brent Mydland's last show on the West Coast and it is a whole lotta fun.   Little Feat was the opening act, and we give you a healthy dose of them at half-time.   Keep on enjoyin' the ride! GRATEFUL DEAD   June 24, 1990   Autzen Stadium  Eugene, OR    SET 1:   Help on the Way > Slipknot! > Franklins Tower, When I Paint My Masterpiece, Loose Lucy, Just a Little Light, Picasso Moon, Candyman, Let it Grow   HALF TIME:   Little Feat  (Eugene, OR  6/24/90)    SET 2:   Foolish Heart, Women Are Smarter, Standing on the Moon, Box of Rain, Estimated Prophet > He's Gone > Drums > Space > Other One > Wharf Rat> Sugar Magnolia   ENCORE:  Brokedown Palace SOURCE:   Ultra Matrix / Analog Master

Pantheon is proud to present a mini-series of shows 'Deadicated' to discussing Amazon Studios 'Long Strange Trip: The Untold Story of the Grateful Dead' documentary. Over the next six weeks we will be recapping each Act with guest host Tim Lynch of KPFA's 'Dead to the World' radio program. Tim will be joined by Christian & Peter as well as very special guests that are part of the film, Dead scholars, academics or had another important role in the 50+ year story. The other weekly guest on roundtable will be...'The UnDeaducated'. This guest will know little to nothing of the band and be exposed to them mostly the first time through this film. Be sure to head over to Amazon to watch up to Act IV of the documentary before joining us! The film is directed by Amir Bar-Lev and executive produced by Martin Scorsese. This week we have an extra special episode with 2 Deadicated guests! The first is photographer and author Rosie McGee, who lived, worked and traveled with the Grateful Dead during their first decade as a band, after first meeting them late in 1965.  Her intimate portraits of the band, onstage and behind the scenes, have been widely seen in books, magazines, online and in documentaries; and 200 of those photos illustrate her book, “Dancing with the Dead—A Photographic Memoir: My Good Old Days with the Grateful Dead & the San Francisco Music Scene 1964-1974.” For more on Rosie and to buy photos head to www.rosiemcgee.com. The other guest is Bob Bralove. Bob was part of the Grateful Dead party for the last eight years of the band's existence. Brought into the fold from his work with Stevie Wonder, he brought the then new digital synthesizer technology to the Grateful Dead.  Bringing new sounds and approaches to the music, first heard on "In the Dark", Bralove's relationship with band grew rapidly. He began writing songs, (Way to go Home, Easy Answers, Picasso Moon) producing records and eventually playing in that section of the show between Drums and Space, when no one was on stage; the section Dick Latvalla dubbed the "MIDI Jam". Since the end of the Grateful Dead, Bralove has been focusing on his own music and art , including his duo with Grateful Dead Keyboardist Tom Constanten called Dose Hermanos. Find all about Bobs works here http://www.bobbralove.com This week's UnDeaducated is Tracy Simmons Bulla, Booking And Business Manager for Bulla Promotions and award winning Bluegrass band Fireball Mail. Tracy and her husband Brad Bulla are avid house concert hosts having featured Buddy Greene, Jason Eskridge,  Adam Wakefield, Grammy winners Forrest and Kate O'Connor, among others in their Nashville, TN home. Check out Fireball Mail's music at https://www.fireballmailband.com/ Please subscribe, rate and review and head over to Patreon to help support our network of rock based podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 023 - November 2015 Set 1Hell In A BucketWalkin' BluesStagger LeeGreatest Story Ever ToldIt's All Over Now[1]They Love Each OtherMe & My UncleLoose LucyMississippi Half-Step Uptown Toodeloo ->It Must Have Been The Roses[1]Picasso Moon[1]Victim Or The Crime[1]AltheaLooks Like RainPeggy-OUncle John's Band[1] Dead Fantasy Debut

This week I decided to play a show that I have some fond memories of - July 6th, 1990 at Cardinal Stadium in Louisville KY. I have vivid memories of the trip to this show (following the blistering 4th of July show in Kansas) as well as walking through this group of fundamentalists on my way to the venue (they were all carrying brooms and Bibles to sweep out Satan I guess).. the weather was HOT and they cut off beer sales right when the boys went on stage.. but still a great night of music.. The first set has a wonderful Sugaree .. although really all of these 1st set songs are well played.. Its just a fine show from a great tour - the Summer of 1990. Grateful Dead  Date:  7/6/90 - Friday  Location:  Cardinal Stadium - Louisville, KY  Set One:Hell In A Bucket >  Sugaree ;  Easy To Love You ;  Peggy-O ;  Desolation Row ;  West L.A. Fadeaway ;  Picasso Moon ;  Ramble On Rose ;  The Music Never Stopped You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod071312.mp3">here:http://traffic.libsyn.com/deadshow/deadpod071312.mp3">http://traffic.libsyn.com/deadshow/deadpod071312.mp3 My sincere thanks to those of you who are able to contribute to keep the Deadpod rolling!

This week I decided to bring you a very fine show from the late period of the Grateful Dead. This one comes to us from March 21st, 1994 from the Richfield Coliseum in Richfield Ohio. I think the band usually played well here - and I think this is quite a fine show. I decided to bring you the second set - it is especially well played - right from the Picasso Moon, through the New Speedway and an excellent Victim.. The highlight of this set however is the Stella Blue - Jerry is so expressive on this one - it bring shivers to me when I listen.. I hope you enjoy this as much as I do, my friends. Grateful Dead03/21/94Richfield ColiseumRichfield,OH Set 2Picasso Moon New Speedway Boogie  Victim Or The Crime >He's Gone >Jam >Drums >Space >Turn On Your Lovelight >Stella Blue  >Turn On Your Lovelight >EncoreLiberty (fob source) You can listen to this week's Deadpod here : http://traffic.libsyn.com/deadshow/deadpod061711.mp3 Thanks for listening and for your SUPPORT!You can send a donation via the Donate button to the right of the page! thanks! Check out the home of the Keeley Overdrive compressors http://www.rkfx.com">here!