"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals..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 Going with a hot one, September 25, 1980Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive Opening night of the Grateful Dead's Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric) Warfield Run – September 25, 1980 – October 14, 1980Radio City Run – October 22, 1980 – October 31, 1980 Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971. As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show. first "Ain't No Lie" - last "All Around This World": 02-14-70  - last "Bird Song": 09-15-73  - last "Dark Hollow": 04-29-71  - last "Monkey & Engineer": 12-31-70  - last "Ripple": 04-29-71  - last "Rosalie McFall": 11-08-70  - last "Roses": 01-12-79  INTRO: Birdsong Track No. 1 1:00 – 2:13 From Jerry's first solo album, “Garcia” released Jan 20, 1972. Robert Hunter lyrics: Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead. First played Feb. 19, 1971 Capitol Theater Port Chester Last played June 30, 1995 Three Rivers Stadium, Pittsburgh Played by the Dead 300 times in concert This was the first time played since 9.15.73 (382 shows) This version is amazing both because it is acoustic and Jerry's voice is so strong. Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don't think he was talking about this song, or any song, when he said it (Deer Creek 1989). SHOW #1: I've Been All Around This World Track No. 2 1:23 – 2:16 The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870. The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo's Lament,” “The Hobo's Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo's Hornbook that included a version of “I've Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]". Dead's version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)Released on History of the Grateful Dead, Vol. ! Bear's Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.) First played by the Dead on December 19, 1969 at the Fillmore West Last played by the Dead on December 31, 1980 Oakland Civic Auditorium Played a total of 19 times in concert This was the first time played by the Dead since Feb. 14, 1970 (706 shows) I really love the acoustic guitar in this version. Jerry can pick with the best of them. BORDERLAND SEPT. 15, 16 AND 17EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)5th year The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park. Great lineup with headliners: Goose TAB Moe.Also featuring: Infamous String Dusters Dawes Sammy Rae and Friends Neal Francis Not Fade Awa Band (Dead and Zeppelin covers) Eric Krasno Brandford Marsalis Anders Osborne Etc. Jamie Humiston was there.Jamie – discuss festival, highs, favorite acts, etc. SHOW #2: SONG FROM BORDERLAND GOOSE SHOW #3: SONG FROM BORDERLAND TREY AND DAWES Back to the Dead from 9.25.1980 SHOW #4: Oh Babe It Ain't No Lie Track No. 8 :10 – 1:35 By Elizabeth “Libba” Cotton January 5, 1893 – June 29, 1987) was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down. This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".NPR stated "her influence has reverberated through the generations, permeating every genre of music."Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens. In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90. That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts. In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence. David Dodd: The song debuted in the Dead's repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia's Reflections album, as released in the All Good Things box set. And personal interviews with Garcia's circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire. Dodd: An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Author of:The Annotated Grateful Dead Lyrics OUTRO: Ripple Track No. 9 3:04 – 4:30 From American Beauty (Released Nov. 1970) Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process ). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song. Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band's career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn't been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City's Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.That was also the night of the rehearsal dinner for my wedding weekend in Chicago. A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists. Had to wait for the 800 RUN DEAD line to be updated and then be able to get through. Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.No better way to end any show, including this one. Music Stories:Neil Young & Crazy Horse Deliver ‘Tonight's The Night' and ‘Everybody Knows This is Nowhere' in Full Bobby Weir & Wolf Bros Announces Three-Night New Year's Eve Stand in Fort Lauderdale Phish to Bring Four-Night New Year's Run Back to Madison Square Garden
You won't find many bass players on the jam band scene more respected than Oteil Burbridge. He's best known for his time in The Allman Brothers Band, where he served from 1997 until the group ended their storied career in 2014. Before that, Burbridge was in the Aquarium Rescue Unit, a group founded by former wrestling manager Colonel Bruce Hampton that was known for blending top-tier musicianship with freewheeling fun. After The Allman Brothers, Burbridge formed Dead & Company with John Mayer, Jeff Chimenti, and Grateful Dead alums Bob Weir, Mickey Hart and Bill Kreutzmann. This summer, they embarked on their last tour. Burbridge's latest project is Dead-adjacent: An album of eight ballads written by Robert Hunter and Jerry Garcia called Lovely View Of Heaven. You can hear his jazz influence all over the record, and I have to say his singing is on point as well. Burbridge has been performing these songs with his group Oteil & Friends. Burbridge is usually on the hosting end of the podcast - he has his own called Comes a Time - but here he joins me to take us through the album and offer some incredible insights on the Hunter/Garcia songwriting team. https://www.oteilburbridge.com/ https://www.songfacts.com/ https://www.facebook.com/songfacts https://twitter.com/Songfacts http://pantheonpodcasts.com/ https://twitter.com/pantheonpods Hosted and Edited by Corey O'Flanagan https://twitter.com/ofe1818 https://www.instagram.com/coreyofe/ email@example.com Songfacts Podcast Spotify Playlist https://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTA This show is part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
We touch on the songs of Bob Dylan with performances by The Band, Chris Smither, Jimmy LaFave, and The Derek Trucks Band. The songs of Jerry Garcia and Robert Hunter are done by Joan Osborne, Catherine Russell, and Larry Campbell & Teresa Williams. Brandi Carlile does Leonard Cohen and Mary Black covers Joni Mitchell. You'll also hear various interpretations of Springsting, Zevon, The Beatles and more. https://buff.ly/3PfQKrn
"Music, Cannabis, and Birthdays: Celebrating Mickey Hart and Remembering Jimmy Buffett"Larry Mishkin celebrates Mickey Hart's birthday, highlighting his contributions to the Grateful Dead. He say farewell to Jimmy Buffet and reflects on the connection between Grateful Dead fans (Deadheads) and Jimmy Buffett fans (Parrotheads), noting Jimmy Buffett's performance at a Jerry Garcia tribute event. Additionally, he pays tribute to Steve Harwell of Smash Mouth and concludes the episode with a nod to Jimmy Buffett's iconic song "Margaritaville.".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-blakesbergRecorded on Squadcast INTRO: Happy Birthday Mickey / sugar magnolia Grateful Dead Sept. 11, 1987 Cap Center, Landover Maryland Grateful Dead Live at Capital Centre on 1987-09-11 : Free Download, Borrow, and Streaming : Internet Archive Track #9 (titled Sugar Magnolia) Start – 1:00 This is Mickey's birthday, number of fun shows over the years on this date. Always fun, but have to be careful with the Dead 1982 announced it was Bob's “anniversary” before Bob was married. SHOW #1: Fire On The Mountain (Mickey rap version) With Jerry Undated/unpublished Mickey rapped from time to time, usually not with the Grateful Dead Did it with the Other OnesMickey Hart Jerry Garcia ~ Fire on the Mountain(rap) Unpublished.mp4 - YouTube 1:00 – 2:05 Grateful Dead drummer Mickey Hart celebrates his 77th birthday today. With fellow drummer Bill Kreutzmann, Hart formed one-half of The Rhythm Devils, keeping time for the Dead between 1967 and 1971, rejoining in 1974 and remaining through 1995. While Hart largely left songwriting duties to his band mates, he did contribute to one of the Grateful Dead's signature songs, “Fire On The Mountain.”Grateful Dead lyricist Robert Hunter wrote the words to “Fire On The Mountain.” In Hunter's book of lyrics, Box Of Rain, he described the circumstances surrounding the writing of the song, which sound strikingly similar to the current situation in parts of California and surrounding states. Hunter wrote: Written at Mickey Hart's ranch [in Novato, California] in heated inspiration as the surrounding hills blazed and the fire approached the recording studio we were working … The official Grateful Dead website, Dead.net, further describes the early stages of “Fire On The Mountain,” explaining:Hart, credited with the music for the song, recorded a proto-rap version of the song for an unreleased album entitled Area Code 415, recorded in 1972 and 1973. It was also included on a Mickey Hart album entitled Fire On The Mountain, recorded in 1973-74. It appeared as an instrumental entitled “Happiness is Drumming” on Hart's 1976 studio album, Diga. And it finally began showing up in the Grateful Dead repertoire, sung by Jerry Garcia, in 1977, undergoing a number of variants of the lyrics until it settled into the form that was eventually recorded and released on Shakedown Street, in November 1978. Dead played it 254 times in concert First: March 18, 1977 Winterland Last: July 2, 1995 Deer Creek SHOW #2: Stronger Than Dirt Grateful Dead June 17, 1975 Winterland Grateful Dead Live at Winterland Arena on 1975-06-17 : Free Download, Borrow, and Streaming : Internet ArchiveTrack No. 121:00 – 2:10 By Mickey Bill and PhilFrom Blues For Allah album (1975) – First part of the Blues For Allah suitePlayed a total of 5 times by the DeadFirst – 9.11.1974 – which is Mickey's birthday but there is a controversy as to the song labeled as Stronger than Dirt is in fact that song or rather, the long outro from Eyes of the World, the song played right before it. So I did not use that version of this songLast: 7.26.1976 Orpheum Theater, S. F.3x in 1975 SHOW #3: Drums Grateful Dead Sept. 11, 1987 Cap Center, Landover Maryland Grateful Dead Live at Capital Centre on 1987-09-11 : Free Download, Borrow, and Streaming : Internet Archive Track No. 13 1:45 – 2:55 Mickey in his natural element –In 1978, the second set of Grateful Dead shows began to feature drummers Bill Kreutzmann and Mickey Hart for a nightly rhythmic excursion labeled “Drums,” followed by guitarists Jerry Garcia and Bob Weir, bassist Phil Lesh and keyboardist Keith Godchaux delving into free-form improvisation known as “Space.” Loved the different drum arrangements over the years: Circle of drums Wall of drums Etc. First “official” one (i.e. not in the middle of a song, but as its own separate arrangement in or around the middle of the second set): April 6, 1978 Curtis Hixon Convention Center, Tampa Last one: July 9, 1995 at Soldier Field Jimmy Buffet Singer-songwriter and King of the Parrotheads Jimmy Buffett died "peacefully … surrounded by his family, friends, music and dogs" on Friday, Sept. 1, according to statements posted on his website and social media. He was 76. Died at home in Sag Harbor, NY of skin cancer Buffett's hits like Margaritaville and Cheeseburger in Paradise which mingled country rock with bits of calypso melodies and had wry lyrics about the care free life of boating and loafing at beachside bars, made him a cult hero on a huge scale. He sold 23 million albums in the US, on part with Jimi Hendrix and the Beastie Boys Buffett was one of pop music's most successful and ambitious businessmen, building an empire on the brand of good times and island escapism that he celebrated in his songs. That included Margaritaville restaurants and resorts, footwear, drink mixes and a 2018 Broadway jukebox musical, Escape to Margaritaville. This year Forbes estimated Jimmy's net worth at $1 billion. SHOW #4: Scarlet Begonias Jimmy Buffet August 2, 2023 (Jerry's 80th birthday) Maine Savings Amphitheatre Bangor, Maine Scarlet Begonias (Garcia tribute) - Jimmy Buffet 08/02/22 Maine Savings Amphitheater Bangor,Maine - YouTube Start – 1:30 n celebration of legendary Grateful Dead guitarist Jerry Garcia's 80th birthday, which occurred (August 1, 2022), Jimmy Buffett performed a cover of the seminal Robert Hunter/Garcia penned number, “Scarlet Begonias” while on stage at the Maine Savings Amphitheater in Bangor, Maine, last night. Following a hefty rain delay, his 28-song set ensued as Buffett reminisced on the times he and his band spent performing with the Grateful Dead years ago. He also offered a shout-out to the Deadheads in the crowd before a groovy light display and hypnotic imagery engulfed the stage.Prior to the start of the song, Buffett addressed the crowd; he stated: “Jerry, wherever you are, here you go.” Of course there is a crossover between Deadheads and Parrotheads – both high devoted fans who travel to see their band, dress for the occasion, attend shows in “slightly altered states” from different substaces, know all the words to all the songs and have seen their band too many times to count. Jimmy also appeared on the World Wide Ripple video in 2020. I cannot find any instance of the Dead covering a Jimmy tune. Also, RIP Steve Harwell, Smash Mouth vocalist, who sang the band's big 1999 hit, “All Star”. Still a hit today, unique voice. Died on Sept. 4th age 56 OUTRO: Margaritaville Jimmy Buffet Key West, FL February 9, 2023 Jimmy Buffett “Margaritaville” LIVE in Key West, Florida 2/9/23 - YouTube 3:00 – 4:25 While Buffett made his home and name in Key West, Fla., after struggling to make it big in Nashville, the Lone Star State had a special place in Buffett's history. Legend has it he came up with the concept for the 1977 song “Margaritaville” at a bar in Austin. The slightly mournful tune about a day at the beach went on to define Buffett's career as a laidback beach bum with a guitar and has been covered plenty of times, as well as inspired a line of margarita mix, frozen snacks, apparel, and a significant chain of restaurants and resorts. According to multiple stories in the Austin American-Statesman archives, the original Margaritaville was "a Mexican restaurant on Anderson Lane." Others specifically claim it was Lung's Cocina del Sur, at 2700 W. Anderson Lane, which is now a bowling alley. But here's what Buffett himself had to say in a memorial for close friend Jerry Jeff Walker in Texas Monthly, reminiscing on visits to Texas in the 1970s: “I came to Austin a lot in those days. I made it there by getting these college bookings and getting on Willie's second Fourth of July picnic. I played Castle Creek many times. I think it was after one of those shows, the next morning I had a hangover and I had to fly home that afternoon,” Buffett told Texas Monthly. “I went to El Rey, a Mexican restaurant on Anderson Lane for lunch. I had a margarita, which helped with the hangover, and in the car on the way to the airport the chorus of a new song started to come to me. I wrote a little more on the plane and finished the rest of ‘Margaritaville' back in Key West.” Farewell Jimmy – off to Margaritaville for good.
"Jamming with Legends: Derek Trucks & Remembering James Casey"Larry Mishkin begin with a discussion about a recent Phish concert featuring a special guest appearance by Derek Trucks, during which they performed songs like "Golden Age," "First Tube," and "Possum." They reflect on the unique chemistry between Derek Trucks and Trey Anastasio and how it elevated the performance.The second part of the episode is a tribute to James Casey, a talented saxophonist who recently passed away at the age of 40 due to colon cancer. They mention his contributions to the jam band community and his ability to harmonize and play alongside iconic musicians like Trey Anastasio and Phil Lesh. Larry share heartfelt messages from Trey Anastasio, Bill Kreutzmann, and Billy Strings, highlighting James Casey's remarkable musical talents and the impact he had on those who worked with him..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-blakesbergRecorded on Squadcast Derek Trucks walked out on stage at Saratoga Springs Performing Arts Center (“SSPAC”) on August 26th and that is just too good to ignore. So three songs from that show with Derek Trucks playing along. Also, James Casey died at 40 from colon cancer. Amazing musician, tremendous Sax player and great singer. Played as part of the “brass” section for Trey Anastasio Band along with Jennifer Hartwick and Natalie Cressman. The same brass section also toured with Phil Lesh and Friends - I just saw them with James this past March at the Salt Shed in Chicago (I did not know he was sick). Second set of songs from three of his performances, two vocal and one playing sax. Phish with Derek Trucks8/26/2023 Saratoga Springs Performing Arts Center (“SPAC”) INTRO: Golden Age3:14 – 4:31Phish w Derek Trucks Live - YouTube Song was written and first performed by TV On The Radio, first single from their album Dear Science, released on August 26, 2008. SPIN magazine rated it the 8th best song of the year. Phish began covering the song in 2009 First played on November 27, 2009 at Times Union Center (Pepsi Arena/MVP Arena) in Albany, NY To date played 70 times, with this performance being the most recent (Dick's is still to come so by Monday, this may be incorrect) TV on the Radio (TVOTR) is an American rock band from Brooklyn, New York, formed in 2001. The band consists of Tunde Adebimpe (vocals, loops), David Andrew Sitek (guitars, keyboards, loops), Kyp Malone (vocals, guitars, bass, loops), and Jaleel Bunton (drums, bass, vocals, loops, guitars). Gerard Smith (bass, keyboards, loops) was a member of the band from 2005 until his death in 2011.TVOTR has released five studio albums: Desperate Youth, Blood Thirsty Babes (2004), Return to Cookie Mountain (2006), Dear Science (2008), Nine Types of Light (2011), and Seeds (2014), alongside several EPs. The band's third album, Dear Science, was released on September 23, 2008, on Interscope. It was made available for streaming on their Myspace page and subsequently leaked onto the internet on September 6, 2008. The album was named the best album of 2008 by Rolling Stone,The Guardian,Spin,The A.V. Club,MTV,Entertainment Weekly,Pitchfork Media's readers' poll, as well as the Pazz and Jop critic's poll. It was also named the second best album of 2008 by NME and the fourth best by Planet Sound. SHOW #1: First Tube:20 – 1:38Phish with Derek Trucks - First Tube. Saratoga Springs 8/26/23 #phish #derektrucks - YouTube “First Tube,” is the 12th and final track on the band's 2000 album, Farmhouse Anastasio led a performance by a one-off band called 8 Foot Fluorescent Tubes on April 17, 1998, at the original Higher Ground in Winooski, just outside Burlington, Vermont. The show was the first time Anastasio performed in public with Lawton and Markellis, who were joined by guitarist/vocalist Tom Lawson of The Pants, saxophonist Dave Grippo, trombonist James Harvey and vocalist Heloise Williams of Viperhouse.“First Tube” was seemingly named for its placement as the first song played at the 8 Foot Fluorescent Tubes show, which also saw the premieres of future Phish/TAB songs “Sand,” “Mozambique” and “Last Tube.” Trey, Tony and Russ would go on to form the first incarnation of the Trey Anastasio Band which made its debut — back at the Higher Ground — in February 1999. That concert again featured “First Tube” as part of the setlist.The same TAB trio was also the lineup on Trey's first solo tour in May 1999. By the end of that acoustic/electric tour, “First Tube” was a full-on show-stopper that highlighted many electric second sets. Along with fellow 8 Foot Fluorescent Tubes original “Mozambique,” “First Tube” made its Phish debut on September 9, 1999, in Vancouver, British Columbia.One of two instrumentals on Farmhouse — along with “The Inlaw Josie Wales” — “First Tube” earned Phish a Grammy Award Nomination for Best Rock Instrumental Performance in 2001. Nominated alongside Peter Frampton, Kenny Wayne Shepherd and Joe Satriani, Phish lost to Metallica, Michael Kamen and the San Francisco Symphony's “The Call of Ktulu” First Tube” was played by Phish four times when they returned in 2003 but not at all in 2004, the year that began a second break lasting until 2009. Since coming back from the second hiatus, “First Tube” has remained a staple of both Phish concerts and Trey solo shows SHOW #2: Possum53:40 – 55:09Phish w Derek Trucks Live - YouTube The Man Who Stepped into Yesterday (often abbreviated as TMWSIY) is a 1987 concept album written by Trey Anastasio, the guitarist and lead vocalist of the American rock band Phish, as his senior thesis while attending Goddard College. Composed in 1987, the thesis included an essay piece and collection of songs (recorded by Phish) relating an epic tale from the band's fictional land of Gamehendge. On the album, the story of Gamehendge is told in nine parts, with short spoken narration in between. The saga can be compared to rock concept album projects like The Doors' Celebration of the Lizard or Rush's 2112 suite.The story's primary protagonist is Colonel Forbin. Other major characters include Tela, the "jewel of Wilson's foul domain" and the "evil" Wilson himself. Several of the album's spoken narrative sections are accompanied by background music borrowed from sections of the Phish songs "Esther" and "McGrupp and the Watchful Hosemasters". The final track, "Possum", is the only song on the album not written by Anastasio, having been written by former Phish member Jeff Holdsworth and later added to the Gamehendge cycle.Jeff Holdsworth is a musician who was a founding member of the rock band Phish. Founded at the Redstone campus dormitories of the University of Vermont (UVM) in the fall of 1983, the band originally featured Holdsworth and Trey Anastasio sharing lead vocal and guitar duties, Jon Fishman on drums, and Mike Gordon on bass guitar. Holdsworth left the band in 1986 after graduating from UVM to pursue a career in electrical engineering, shortly before the band recorded their debut self-produced album, The White Tape, though he had played on some of the demo recordings (done in a dorm room) that would later be re-recorded for that album. His songs "Possum" and "Camel Walk" continue to be Phish live show favorites. James Casey ARTICLE Show #3: Dear PrudencePhil & Friends (Casey singing) Rick Mitarotonda (Goose), John Medeski, Grahame Lesh, Nicki Bluhm, James Casey, Katie Jacoby, John MoloMarch 17 2023Capitol Theater3:12 – 4:36Phil Lesh & Friends - Dear Prudence - Feat. Rick Mitarotonda (Goose) + James Casey (TAB) - 3/17/23 - YouTube Dear Prudence" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as "the White Album"). The song was written by John Lennon and credited to the Lennon–McCartneypartnership. Written in Rishikesh during the group's trip to India in early 1968, it was inspired by actress Mia Farrow's sister, Prudence Farrow, who became obsessive about meditating while practising with Maharishi Mahesh Yogi. Her designated partners on the meditation course, Lennon and George Harrison, attempted to coax Farrow out of her seclusion, which led to Lennon writing the song. Lennon wrote "Dear Prudence" using a finger-picking guitar technique that he learned from singer-songwriter Donovan. Its lyrics are simple and innocent and celebrate the beauty of nature. The Beatles recorded the song at Trident Studios in late August 1968 as a three-piece after Ringo Starr temporarily left the group out of protest at McCartney's criticism of his drumming on "Back in the U.S.S.R." and the tensions that typified the sessions for the White Album. Dear Prudence" has received praise from music critics, with many praising its lyrics and the band's performance. Lennon later selected it as one of his favourite songs by the Beatles. The song has been covered by many artists, including the Jerry Garcia Band, Ramsey Lewis and Siouxsie and the Banshees, whose version was a top-five hit in the UK in 1983. SHOW #4: No Men In No Man'sTAB (Casey Sax solo)11.19.2022Reading PA:55 – 2:03TAB's James Casey…Smokin Sax Solo. NMINML. 11/19/2022. Reading, PA - YouTube Written by Trey and Tom Marshall (American lyricist, keyboardist and singer-songwriter best known for his association with Trey Anastasio from Princeton Day School in New Jersey and the rock band Phish. He has been the primary external lyricist for Phish during their career (1983–2004, 2009–present), with songwriting credits for more than 95 originals. In addition to his songwriting work, Marshall also fronts the rock band Amfibian and hosts the Phish podcast Under the Scales. Marshall is the co-founder of Osiris, a podcast network in partnership with Jambase.) From Phish album Big Boat, released October 7, 2016 First played by Phish on July 21, 2015 at Les Schwab Amphitheater in Bend, Oregon (debuted with Blaze On and Shade, next they broke out Mercury)Last played (excluding Dick's) July 30, 2023 at MSG67 times OUTRO: Touch of GreyPhil & Friends (Casey singing) Grahame Lesh, John Medeski, Rick Mitarotonda, John Molo, James Casey, Natalie Cressman, Jennifer Hartswick10.22.2022Capitol Theater3:44 – 5:16James Casey, Touch of Grey, Phil Lesh & Friends 10/22/22 - YouTube Written by Jerry and Robert Hunter,First played in September 15, 1982 at the Cap Center, Landover MarylandLast on July 9, 1995 at Soldier Field, ChicagoPlayed 211 times
Chris Carter nació en Brasil, ahí vivió su infancia y adolescencia, tiempo después se mudó a Estados Unidos donde estudió psicología especializada en criminología. Famoso por su saga de libros dedicado al detective Robert Hunter.Sería de mucha ayuda si compartes este episodio y te suscribes a nuestro canal de pódcast.“Es el hombre vivo más peligroso. No tanto porque crea en sus acciones, sino porque cree que sus acciones son todo lo que la vida le permite” ― Chris CarterAdquiere el libro en Amazon: La Llamada - Chris CarterOtro episodio de thriller psicológico con uno de los autores favoritos de Any. Esta es la tercera novela que Any recomienda sobre Chris Carter.Todo empieza con una videollamada a una chica llamada Tania Kaitlin, ella intenta pasar un día tranquilo en su casa cuando de pronto entra una llamada de su mejor amiga Karen. En un inicio le parece extraño, pero decide contestar sin imaginar lo que estaría a punto de presenciar. Una imagen escalofriante y una voz demoniaca le empieza a dictar una serie de preguntas que Tania debe responder o su mejor amiga morirá.El detective Robert Hunter debe apresurarse y tratar de averiguar quién es este individuo que acecha a sus víctimas y les envía cartas misteriosas para después asesinarlas...Estamos comprometidos a crear contenido de la mejor calidad, por lo que agradecemos todos los comentarios y sugerencias que puedas tener para el programa.Recuerda que si gustas apoyarnos en nuestras lecturas y reseñas, lo puedes realizar mediante ☕️ Paypal o a través de nuestras redes sociales o correo electrónico.También te agradeceríamos
Jeff Mingay joins us from Nova Scotia for a varied discussion on the life and times of Arthur Vernon Macan (1882-1964). Macan was born in Ireland but is better known in his adopted homeland of Canada. An accomplished amateur golfer, AV was a qualified lawyer who became a prolific golf course architect throughout the Pacific Northwest of Canada and the USA. We explore Macan's back story, his influences and notable courses which include the original iteration of The California Club in San Francisco. Jeff also gives us a flavour of his restoration work on Macan courses, his design/build philosophy, some commentary on why the setup at LACC was right on the money and an assessment of the recent PGA Tour Commissioners repudiation of the Model Local Rule ball related proposal from the R&A/USGA. We hope you enjoy the show! Please find some links below of items mentioned in the show Concerning Golf (1903) by John J. Low (https://evalu18.com/book/concerning-golf/) Score Golf Article by Jeff Mingay on LACC (https://scoregolf.com/features/golf-course-architecture-is-not-about-hard-or-easy-its-about-intrigue/) Anatomy of a Golf Course by Tom Doak (https://evalu18.com/book/anatomy-golf-course-tom-doak/) The Links by Robert Hunter (https://evalu18.com/book/the-links-robert-hunter/) Just Call me Mac - by Mike Riste (https://golfclubatlas.com/feature-interview/michael-riste-july-2011/) History of Essex Golf & Country Club - by Jeff Mingay (https://golfclubatlas.com/in-my-opinion/opinionmingay/) Classics of Golf Library (https://classicsofgolf.com/) Intro and outro music - _Shoreline Serenade by Dye O _- under license from Epidemic Sound Special Guest: Jeff Mingay.
"Marijuana Magic: Enhancing Exercise and Easing PainLarry Mishkin discusses the debut of the song "Sugaree" by the Grateful Dead, sharing interesting facts about its origins and performance history. Additionally, he presents three stories from Marijuana Moment, highlighting how medical marijuana is linked to reduced pain and lower opioid dependency in chronic pain patients, enhances the runner's high and reduces pain during exercise, and improves the quality of life for military veterans while reducing their prescription drug use. 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-blakesbergRecorded on Squadcast July 31, 1971: Astronauts Drive on the Moon1971: Apollo 15 astronauts David Scott and James Irwin drive the Lunar Roving Vehicle on the surface of the moon. It's the first off-planet automobile ride. Rumor has it that sometime during the show, Jerry stopped playing, pointed to the moon, and said, “just think, right now there are men sleeping on THAT” Confession, I listened to almost the entire show and was not able to locate that moment so I cannot confirm Jerry said it, but it sounds like something he might say and either way is just another cool Dead story to pass along. INTRO: Sugaree Track No. 3 Start – 1:14 Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia. It was written for Jerry Garcia's first solo album Garcia, which was released in January 1972. As with the songs on the rest of the album, Garcia plays every instrument himself except drums, played by Bill Kreutzmann, including acoustic guitar, bass guitar, and an electric guitar played through a Leslie speaker. Released as a single from the Garcia album, "Sugaree" peaked at #94 on the Billboard Hot 100 in April 1972 and was Garcia's only single ever on that chart.The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University,Even though it was on Jerry's solo album, it was clearly a Dead song from the start and here it is debuted by the Dead six months before the Garcia album's release. Maybe not the best version ever, but it is the first. Ultimately played 361 times by the Dead. Last played on July 8, 1995, the penultimate Dead show Always one of good buddy Mikey's favorite Dead songs, “What's shaking Sugaree?”. Shout out to Mikey, Alex, Andy, Lynn, Harold who just saw Tedeschi Truck this past weekend at Red Rocks. My wife and I had to miss it this year, but I know they all rocked out. And, they were joined by Lori and Monte, more good Chicago friends, and Lori was part of the group at the Joanie Jam with Judy and Andy. So lots of great musical cross relationships developing all the time. THAT IS WHY WE GO TO SHOWS! SHOW #1: Mr. Charlie Track No. 4 Start – 1:15 This is also the breakout version of this song. It was played a total of 50 times after its debut on 7/31/71 in New Haven, the same show at which Sugaree debuted. It was played at all 22 shows of the Europe '72 tour, including its last performance on May 26, 1972 at the Lyceum Ballroom in London, the last show of that famous tour. Lyrics by Robert Hunter, music by Pigpen. It was Pig's song and as his time in the band dwindled, so did some of his tunes. No post-Pig resurrection of the song by the band.Never released on a studio album, there are rumors of a planned album following Workingman's and American Beauty that would have included this song as well as Bertha, He's Gone, Loser, Brown Eyed Women, Ramble on Rose, Tennessee Jed, The Stranger (Two Souls in Communion), etc. Might have even been enough tunes for a double album. Story is that the Dead abandoned it when they decided to get out of their Warner Bros. record deal. SHOW #2: Hard to Handle Track No. 12 Start – 1:06 "Hard to Handle" is a 1968 song written by American soul singer Otis Redding along with Al Bell and Allen Jones. Originally recorded by Redding, it was released in 1968 as the B-side to "Amen" (shortly after the singer's sudden death in 1967). The song also appears on the 1968 album The Immortal Otis Redding. Redding's version reached number 38 on the Billboard R&B chart and number 51 on the pop chart.American rock band the Black Crowes covered the song for their 1990 debut album, Shake Your Money Maker, reaching number 26 on the Billboard Hot 100 with their rendition.Hard To Handle was performed by the Grateful Dead about 90 times between March 15, 1969 at the Black and White Ball, opened the show with it (The ball is the Bay Area's largest black-tie street party and a tradition since 1956 - a night for high society and just plain folks to mingle in gowns and tuxedoes around Civic Center Plaza to listen to music. ) and August 1971. It was subsequently performed only twice, on December 30 and 31, 1982, with Etta James taking the vocals and support from the Tower of Power horns.Another fun Pig lead that, like most of his other songs, died with him. SHOW #3: Sugar Magnolia Track No. 24 3:10 – 4:23Still relatively new in the Dead's repertoire, I like the musical jam in this version and so does the crowd. We all know the lyrics but it is this kind of jamming that made this a Dead standard and favorite among Deadheads. This version is still early enough that it appears in the middle of the second set, not yet having moved to its almost always spot as a second set closer. Always sad when they get to the obvious set closer, but when it was Sugar Mag we all felt a lot better. Notes from Deadheads mentioned this as one of the highlights of the show. SHOW #4: Darkness Jam Track No. 28 0:56 – 2:06the 'Darkness' jam from the 1969 Youngbloods song, Darkness, Darkness which was done a few times in 1970; the most well-known version is in the 9/19/70 Not Fade Away where it's very clear. (They also do the China Cat riff in that NFA, which they did frequently (and at greater length) in the fall of 1971.). Played 4 times by the Dead in concert. This is the LAST one. Darkness Darkness - Darkness, Darkness" is a song written by Jesse Colin Young in 1969, which has been covered by many artists. Young's band The Youngbloods released a version on their 1969 album Elephant Mountain. They released a version of the song as a single twice: in 1969, which reached #124 on the Billboard chart, and in 1970, which reached #86 on the chart. One of the various themed jams played by the Dead in their early years also including:Feelin' Groovy Jam - is basically four chords based on the 1966 Simon & Garfunkel song, and was frequently done in Dark Stars from '69-'72.Tighten Up Jam - The Tighten Up jam was a very common Latin-style jam theme in 1970. It's often called a proto-Eyes jam since Weir plays two repeating jazzy chords that are rhythmically similar to the opening of Eyes of the World; but they were commonly thought to be from Archie Bell & the Drells' 1968 tune.Mind Left Body Jam: The Mind Left Body jam originated in the Planet Earth Rock n Roll Orchestra (PERRO) sessions (The Planet Earth Rock and Roll Orchestra (PERRO) is a nickname given to some artists who recorded together in the early 1970s. They were predominantly members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills, Nash & Young . ), where we can hear an early, faster version of the four descending chords. Paul Kantner took this riff for his 1973 song 'Your Mind Has Left Your Body,' which Garcia played pedal steel on. Garcia in turn adapted it into a Grateful Dead theme, which first showed up on occasion in '72, but started regularly entering the jams in fall '73. It added a transcendental feeling to many shows up through '74Spanish Jam: Weir based the Spanish Jam on the song 'Solea' on Miles Davis' album Sketches of Spain, sometime in late '67 when the Dead started recording Anthem of the Sun. As it was, a little bit of the Spanish Jam actually got on the album, in the form of a short Davis-flavored trumpet break from Phil in the middle of Born Cross-Eyed (after the verse, "Think I'll come back here again, every now and then, from time to time"). For a moment, it seems like Garcia and the band are about to break into the Spanish Jam, but they quickly cut back to the song.... OUTRO: Uncle John's Band Track No. 30 1:28 – 2:44 An early version of an all time classic. Already a crowd favorite, clapping, sing along. Can't go wrong with an Uncle John's Band at the end of a show – actually closed out with Johnny B. Goode – no encore. Other great stories of this show at Yale, runs in with the cops, gate crashers, gallons of electric Kool Aid at the gates. Just another typical Dead show, but at one of the country's most prestigious schools. Even the Ivies loved the Dead. Still working on stories John Mayer says goodbye: “These tours with @deadandcompany exist on an almost otherworldly plane – everyone, on stage and in the crowd, meets up in this shared dream, and on the last night, after the final note is struck, we leave it all on the stage. We bow, we hug, we share our love for one another and then… we disappear. I fly through the dead of night and wake up at home, where my ears ring, my heart sings, and I'm left with this mix of fatigue, joy, accomplishment, and deep appreciation for what I was able to be a part of,” Mayer shared. “I can feel the connected, collective experience of thousands of others who wake up feeling the same. I'll never get over the profound beauty and uniqueness of this, and we'll never in our lifetime see the likes of @bobweir@mickeyhart and @billkreutzmann, playing beyond all perceived limitations and expectations. It's nothing short of remarkable. Thank you one and all for allowing me a seat on this transcendent ride. ” “Dead & Company is still a band – we just don't know what the next show will be,” Mayer wrote on social media. “I speak for us all when I say that I look forward to being shown the next shaft of light… I know we will all move towards it together.”
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.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.Rob Wasserman died on June 29, 2016. Cause of death was cancer. Entombment was made in Salem Memorial Park and Garden at Colma, California. 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.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. ; 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. 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. 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.”