Podcasts about Sugaree

Grateful Dead Hell in a Bucket > Sugaree 15:43 12-29-1988 Oakland Coliseum Grateful Dead Greatest Story Ever Told > 3:51 09-09-1987 Providence RI Grateful Dead Devil With a Blue Dress > 2:10 09-09-1987 Providence RI Grateful Dead Good Golly Miss Molly > 0:46 09-09-1987 Providence RI Grateful Dead Devil With a Blue Dress > 1:06 […]

This week on the Deadpod a fine show from the spring of 1982, one often overlooked due to the notoriety of the next night's performance.  This show, from April 17, 1982 in Hartford Connecticut features quite a nice first set, with fine versions of Bird Song and Jack-A-Roe (which was still relatively new at the time). I also would call your attention to the arrangement of El Paso, which is played at a much slower tempo than the usual polka arrangement, and benefits from that difference, I think. Also an interesting set closer here with 'Man Smart, Woman Smarter'. The first two songs in this set are from an audience source, the rest come from a soundboard.   Grateful Dead Hartford Civic Center Hartford, CT 4/17/1982 - Saturday One      New Minglewood Blues [7:46] > Sugaree [12:10] > El Paso [5:19] Jack-A-Roe [4:48] Little Red Rooster [8:51] Tennessee Jed [8:44] It's All Over Now [8:18] Bird Song [9:27] > Man Smart (Woman Smarter) [5:44]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042525.mp3     My thanks for your support. 

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

A JGB show for the ages...The Melvin Seals factor in Mississippi Moon and Harder They Come...Awesome versions of Mission in the Rain, Deal, Sugaree, and Simple Twist of Fate...Jerry's guitar weeps Prudence tears for John Lennon....Jerry gives it his all for New York City

This week's Deadpod features a great audience recording of a fabulous show by the late Jerry Moore..this is from January 20, 1979 at Shea's Theater in Buffalo New York.  I think this is a great first set... all of these are performed so very well. I especially love the tone of Garcia's work on 'Sugaree' and 'It's All Over Now'.. at times the vocals are a little low in the mix, but in the words of Mickey Hart - turn it up! :) The rest of this set is nothing to sneeze at either, especially the smoking hot 'Jack Straw' to close it out..  One note .. apparently the show started some 2 hours late ;)  Grateful Dead Shea's Theatre Buffalo, NY 1/20/1979 - Saturday One      The Promised Land [4:21]   Sugaree [11:45]   El Paso [4:10]   Peggy-O [8:12]   It's All Over Now [7:41]   Jack-A-Roe [4:31]   New Minglewood Blues [5:35]   Stagger Lee [6:46]   Jack Straw [5:32]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012425.mp3  I hope you enjoy it! and thanks for your kind support!!

Today our guest is Josh Holbrook, SEL Specialist at Rowan County Middle School in Kentucky . Josh dives into the transformative power of a simple warm welcome and shares about the fun way they partnered with student-athletes to build relationships by greeting students at the door for Fist Bump Friday. Josh also breaks down the four essential components of the warm welcome, the intention behind each step, and the profound impact it's had on students, staff, and the school community. Learn More About CharacterStrong:  Register for the FREE 2025 School Counseling Summit Access FREE Tier 2 Curriculum Samples Attend our next live product preview Visit the CharacterStrong Website     Josh Holbrook is a Social-Emotional Learning Coach at Rowan County Middle School in Morehead, Kentucky. Josh has worked with students for the past 11 years and held many different positions in the educational realm including residential youth worker, instructional assistant, special education teacher, district behavior support, and SEL coach. When students returned in person Spring 2021, Josh noted that internalizing and externalizing behaviors had seemingly spiked across settings. Increasingly he heard, “students don't know how to behave” and saw this as an opportunity. He thought to himself, “if they don't know math or reading, we teach math or reading,” and sought a way to intentionally teach behavior at a tier 1 level via implementation of social-emotional learning (SEL). Rowan County Schools accepted this proposal, and he became SEL Coach for the district in 2021. With the support of the district's Project AWARE Program Director, Tara Cornett, this structure has grown to dedicated SEL Coaches (shoutout Megan, Sarah, Emma, and Cody) in each school in Rowan County, and the team looks forward to seeing where they can positively impact school climate and culture from here. When he isn't working, Josh loves exercising, hiking, seeing live music, cooking, and relaxing at home with his wife, Lindsey, their daughter, Camryn, dog, Sugaree, and cat, Phyllis.

Dawn of the Golden Era for the Jerry Garcia Band...Three epic masterpieces: Sugaree, After Midnight, Positively 4th Street...Album of the Week: Countdown to Ecstasy

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. 

This week's Deadpod takes us down south to Atlanta Georgia, where the Dead played the first of 36 shows at the Omni back on December 12, 1973. This long and very tasty first set features many of the classics, all played quite well. It features only the second time that 'Peggy-O' was played, great sound throughout, and a very long and spacey 'Playin' In the Band' to end this first set.  Next week we'll play both set 2 and the soundchecks which are amazing in themselves.. Enjoy   Grateful Dead The Omni Atlanta, GA 12/12/1973 One      [1:31:22] The Promised Land [3:09][0:09] Sugaree [7:13][0:18] Mexicali Blues [3:13][0:19] Tennessee Jed [7:53][0:31] Jack Straw [4:44][0:28] Don't Ease Me In % Looks Like Rain % They Love Each Other [0:11] El Paso % Peggy-O [5:42][0:12] Beat It On Down The Line [3:12][0:17] Brown Eyed Women [4:49][0:24] Big River [4:49][0:21] Deal [4:37][0:24] Playing In The Band [22:00]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod121324.mp3  My thanks for your kind support of the Deadpod!!

New releases from West Africa, Vancouver, Barcelona, Italy, England, Eire, and Scotland. Plus concert previews, a memorial for the 14 women murdered at Ecole Polytechnique in 1989, a couple of Sugaree songs, and a few cuts to herald the incoming Winter and holiday season.

"Retired from Sugaree, but not retired from baking," declares George.  Just in time for the holiday season, pie expert Pat Rutherford-Pettine, former owner of Sugaree Baking Company, joins the podcast to share her secrets to baking the perfect pie. Whether you're a beginner or a seasoned pro, Pat has tips for everyone. Here's what you'll learn: The secret to great pie dough Why quality ingredients matter—and where to find them in St. Louis The best pie pans: which material works best? Mastering pie fillings: the keys to perfect fruit pies and what to avoid with pumpkin pie and pecan pie The best pie for novice bakers to start with And if baking still feels too daunting, hosts George Mahe and Cheryl Baehr share their picks for the best pies around town. Tune in and get ready to "wow" your friends and family this holiday season! Listen and follow Arch Eats on Apple Podcasts, Spotify, YouTube, or wherever podcasts are available. This episode is sponsored by The Train Shed. The pop-up cocktail experience Sleigh Shed returns this holiday season through December 31 as Train Shed at Union Station transforms into a glittering holiday destination! Reserve your seat at trainshed-stl.com.  Have an idea for a future Arch Eats episode? Send your thoughts or feedback to podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Frank & Helen's Pizzeria: 8111 Olive, University City, 314-997-0666. Brasas: 6138 Delmar, Delmar Loop, 314-256-1937. Sugaree Baking Co.: 1242 Tamm, Clayton-Tamm, 314-645-5496. Pint Size Bakery: 3133 Watson, Lindenwood Park, 314-645-7142. The Blue Owl: 6116 Second, Kimmswick, 636-464-3128. Helfer's Pastries: 380 Saint Ferdinand, Florissant, 314-837-6050. Federhofer's: 9005 Gravois, Affton, 314-832-5116. Edera: 48 Maryland, Central West End, 314-361-7227. La Bonne Bouchée: 12344 Olive, Creve Coeur, 314-576-6606. Sugarfire Pie: 9200 Olive, Olivette, 314-736-6300. Mauki's Bakery & Country Store: 1730 South 8th, Soulard, 314-202-8106. Pie on the Fly: 614 N Main, O'Fallon, MO, 636-294-3300. The Parkmoor: 220 W Lockwood, Webster Groves, 314-938-5554. Smokehouse Market: 16806 Chesterfield Airport, Chesterfield, 636-532-3314. Cravings: 8149 Big Bend, Webster Groves, 314-961-3534. You may also enjoy these SLM articles: Where to order Thanksgiving dinner in St. Louis Arch Eats Podcast: Turkey Tips & Thanksgiving Wine Pairings More episode of Arch Eats See omnystudio.com/listener for privacy information.

Jerry Garcia Band's first performance in the Bushnell Auditorium July 24, 1980...Please rise for the state song of Connecticut, Sugaree...Blood in the Tracks reversed....audio highlights of Simple Twist of Fate, Tangled Up in Blue...Mission in the Rain and Dear Prudence...Thoughts on the 7-24-87 Dylan/ Dead show.

This week's Deadpod features a massive show from the summer of 1972. This show is so big that I'm splitting it into three Deadpods - this week we will hear most of set 1..  This features some fine renditions of some of their standards - highlights include a great Sugaree, a mid--set China>Rider and a raucous Tennesee Jed.    This one goes out to Steve - happy Birthday!   Grateful Dead Paramount Theater Portland, OR 7/26/1972 - Wednesday One     Cold Rain And Snow [527] Black Throated Wind [5:59] Mississippi Half-Step Uptown Toodeloo [6:59] Mexicali Blues [3:29] Sugaree [7:14] (1) El Paso [4:20] China Cat Sunflower [6:44] > I Know You Rider [4:51] (2) Jack Straw [4:54] Tennessee Jed [7:35]      (1) Lesh: Who What When Who When Where Who What Oh sorry. Could you repeat that please? (2) China Cat Sunflower [3:22] > Jam [3:22]    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod071924.mp3  Hope you are having a fabulous summer!  thanks so much for your kind support

David Davis joins the podcast with his recollections of this epic show to end the summer tour on Lewiston's State Fairgrounds..Dave shares gripping stories of meeting Phil Lesh that day, and gives us a behind the scenes look at the dirty business of rock and roll economics...The epic Sugaree is a microcosm of the overwhelming show.

Phil Lesh's Triumphant Return: A Musical Journey 25 Years Ago TodayLarry Mishkin provides a retrospective analysis of a significant musical event from April 15th, 1999, focusing on Phil Lesh's return to the stage after surgery, marking the first Phil and Friends show.  He discusses the lineup, including Trey Anastasio and Paige McConnell from Phish, and highlights their performance of various songs, notably "Viola Lee Blues" and "Hello Old Friend." The discussion also touches on recent music news, including the cancellation of the Skull and Roses festival and a tribute event for Jimmy Buffett featuring Paul McCartney and the Eagles. Additionally, it anticipates Fish's upcoming performances at the Las Vegas Sphere venue. Phil Lesh & FriendsApril 15, 1999 (25 years ago)Warfield Theater, S.F.Phil Lesh and Friends Live at Warfield Theater on 1999-04-15 : Free Download, Borrow, and Streaming : Internet Archive Lineup:Phil Lesh - BassSteve Kimock - GuitarsJohn Molo - DrumsTrey Anastasio - GuitarPage McConnell – Keys  INTRO:                      Hello Old Friend                                    Track # 1                                    0:10 – 1:47 25 years ago, Phil Lesh & Friends featuring guitarist Trey Anastasio and keyboardist Page McConnell of Phish kicked off their landmark three-night run at The Warfield in San Francisco on this date in 1999. Guitarist Steve Kimock and drummer John Molo rounded out the lineup of one of the most memorable collaborations the jam world has seen.This was the first ever performance of Phil & Friends and quite a memorable group of Friends to be playing with at a storied S.F. music venue.The shows also marked Lesh's return after undergoing liver transplant surgery at the age of 58 due to chronic hepatitis C infection. The April 15 concert kicked off with Phil and his sons Brian (??) And Grahame Lesh (12), backed by guitarist Steve Kimmock, in front of the curtain, performing Eric Clapton's “Hello Old Friend” as a fitting first song back for Phil. Both boys are strong musicians and Grahame, who graduated from Stanford in 2010 with a music degree, is a regular touring member of Phil and Friends in addition to playing with his own band, Midnight North.Phil Lesh's surgery took place at the Mayo Clinic in Jacksonville, Florida on December 17, 1998, barely 4 months earlier. Lesh, who was 58 at the time, had been suffering from internal bleeding caused by hepatitis C, which he was diagnosed with in 1992. He received the liver of a young man named Cody and his since started encores of his concerts by preaching the importance of becoming an organ donor."Hello Old Friend" is a country rock song, written and recorded by the British rock musician Eric Clapton. The track was released in October 1976 as the first of two singles from Clapton's 1976 studio album entitled No Reason to Cry. the AllMusic critic William Ruhlmann notes, "Hello Old Friend" is the best pop/rock song on the album. He goes on describe the title as a "identifiable" Clapton piece of music.[2]Rolling Stone journalist Dave Marsh called the song "a whimsical and silly slice of attempted innocence".[3]Billboard said that it has a reggae feel similar to that of "I Shot the Sheriff."[4]Record World called it "a midtempo number constructed around a network of acoustic and slide guitars.” The Grateful Dead never played the song in concert.   The five-piece then showed off its firepower with a 34-minute “Viola Lee Blues.”  SHOW No. 1:           Viola Lee Blues                                    Track # 2                                    31:30 – 33:01 In a 1999 interview with Jambands.com, Lesh revealed that it was Anastasio's idea to do “Viola Lee” and talked about how he started listening to Phish and also how the collaboration came about. Read an excerpt below:“[Phish's music]…was absolutely entrancing, it was just gorgeous…but I couldn't hear the piano well on the live tapes, so I went back to the CD's and started listening to Page and what he was doing, and so I said “Well…” and my wife said “Come on, Come on, give them a call.” Somehow I got their phone numbers, and I gave them both a call. We talked about it, and they said we'd love to do it, and so we set a date, and we started calling back and forth, and like I said earlier they brought in a dozen Grateful Dead tunes I never would have thought of doing, but they wanted to [do] them. And we got together at rehearsal and the first thing we did together was “Viola Lee Blues,” and from there on out it was like now let's do this one, and let's do this one. It was real rehearsal in the sense that the Grateful Dead rarely was. Grateful Dead rehearsals were kind of comical. We believed in public rehearsals.” A long time favorite of Phil's, he picked it as one of the live tunes for the GD album, Fallout From The Phil Zone – a collection of some of Phil's favorite live tracks of various Dead tunes released on June 17, 1997.  In the liner notes he said this of the song: “The definitive early Grateful Dead jammin' tune, the first one we ever really stretched out beyond all recognition, by using what we called then “shifting gears” – which is really nothing but a twenty minute accelerando, influenced by the North Indian music that we were listening to a lot at that time.” Played only 44 times by the BandFirst:  March 19, 1966 at Carthay Studios, Los Angeles, CA,Last:  October 31, 1970 at Stony Brook Gymnasium in Stony Brook, NY Also played June 27, 2015 at Levi's Stadium, Santa Clara, CA, USA  50th Anniversary shows MUSIC NEWS:Skull and Roses called off, no refunds After the exploratory, bar-setting, “Viola Lee,” the quintet would run through more material from the Dead canon with Trey and Page harmonizing on “Big Railroad Blues,” Phil singing “Jack-a-Roe” and Phil, Trey and Page harmonizing on “Cosmic Charley”   SHOW No. 2:           Cosmic Charlie                                    Track #5                                    3:25 – 5:12 Old Time Music and Hope Barnett: Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other. The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band's songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness. The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence. While “Cosmic Charlie” was never released as a single and did not enjoy mainstream success, it holds a special place in the Grateful Dead's discography and the hearts of their fans. Its eclectic and unique style showcased the band's experimental tendencies and cemented their reputation as pioneers of the psychedelic rock genre. Love hearing Trey and Page singing along on this old timey Dead gem. Played 45 times by the Dead (38 in 1969 and 1970, 1 in 1971 and, inexplicably, 6 in 1976.First: January 17, 1969 at Robertson Gymnasium, University of California Santa Barbara Campus, CA, USALast: September 25, 1976 at Capital Centre, Landover, MD, USA 1984 Deadheads would pass around a petition asking the band to play the song again and also pass out cards before the show with the lyrics just in case they played it. Finally, for the Phish fans in the crowded Warfield, the first Phish tune of the run (and only one that night), “Wolfman's Brother.” SHOW No. 3:           Wolfman's Brother                                    Track # 6                                    1:30 – 2:58 On this one, writing credit goes to the entire band plus long time Phish lyricist, Tom Marshall.Released on Hoist (stylized as (HOIST)) is the fifth studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records. At the time of its release, Hoist was Phish's best selling album to date, peaking at No. 34 on the Billboard 200 albums chart. The album was certified gold by the RIAA on August 19, 1996, and remains the band's best-selling studio release, outsold in their discography only by the platinum-certified A Live One.Old Time Music:  Mike WellsMusic has a unique way of connecting with our emotions, memories, and experiences. It has the power to transport us to a different time and place, evoking feelings we may have long forgotten. One song that has always resonated deeply with me is “Wolfman's Brother” by Phish. This track, featured in their 1994 album “Hoist,” holds a special meaning and significance for both the band and their dedicated fanbase. the lyrics of “Wolfman's Brother” have a universal appeal. They invite listeners to reflect upon their own encounters with enigmatic figures or forces that have left a lasting impact. It encourages us to confront the demons that haunt us and search for understanding and resolution.Listening to “Wolfman's Brother” live is an entirely different experience. The band's extended jams and improvisations add a new layer of depth and intensity to the song. It becomes a collective experience, with the audience joining in as the lyrics are chanted by thousands of voices.Phil spoke with Jambands.com about wadding into the Phish catalog:I had thought maybe we would do this tune or that tune, and in the end, we only ended up doing one tune that I thought we would do, and that was “Prince Caspian,” and then they brought up those other three, “Wolfman's Brother,” which I had never heard, and “Down With Disease” and “Chalkdust Torture,” which I hadn't heard either until we played them at the rehearsal, and then I went and got the CD's and checked them out. But then I started listening to their other stuff, their other stuff is real interesting, but you can tell by listening to that that they need their forty hour weeks, because they really need to get that shit down. Never played by the Dead. MJ NEWS – One Toke Over The Line!!!  STRAINS: Strawberry Shortcake – a wonderful nighttime indica strain that that has a tart strawberry taste and leaves you with a good face melt and some couch lock.  Wait until you get home before diving in.  No great if you are with a group of people who are looking for your active participation in whatever they are doing!  But wonderful to relax and get ready for a good night's sleep. Blue Dream – every now and then I swing back to one of the all time greats.  Nice for daytime and early evening use.  Just have to be sure that whatever they are calling Blue Dream is really Blue Dream.  It does have a fairly distinctive taste and smell so if you are familiar with the strain, you should be able to tell if you have the real stuff. Tang – a wonderful sativa that is energetic without providing the standard “sativa crash” as it wears off.  Also nice because of it's ability to “cut through” any buzz you may already have and provide a new uplifting effect. After a first set-closing “Uncle John's Band,” the second frame got underway with Lesh leading on “Alabama Getaway” and “Sugaree,” the latter of which featured the band taking things out again and stretching the song to over 20 minutes. Phil once again stepped to the mic for a cover of the Bob Dylan classic “Like A Rolling Stone” that saw Trey and Page joining him on the chorus – I love that tune, the first Phil & Friends show I ever saw, featuring the Quintet, at the Riviera Theater in Chicago with good buddy Jimmy they opened with a 15 minute version of this tune into a 30 minutes cover of Low Spark of High Heeled Boys, just too many other good tunes from this show -  and led into a spirited “I Know You Rider.” Anastasio then fronted the quintet on a sweet version of “Row Jimmy”   SHOW No. 4:           Row Jimmy                                 Track #12                                   2:10 – 3:55 Garcia/Huner tune, Wake of the Flood is the sixth studio album (and tenth album overall) by the rock band the Grateful Dead. Released on October 15, 1973, it was the first album on the band's own Grateful Dead Recordslabel. Their first studio album in nearly three years, it was also the first without founding member Ron "Pigpen" McKernan, who had recently died. His absence and keyboardist Keith Godchaux's penchants for bebop and modal jazz (rather than McKernan's tendencies toward the blues and rhythm and blues) contributed to the band's musical evolution. Godchaux's wife, vocalist Donna Jean Godchaux, also joined the group and appears on the album.[8]The release fared better on the pop charts than their previous studio album (1970's American Beauty), reaching No. 18. After three live albums in a row, the Grateful Dead wanted to record studio versions of songs written since Keith Godchaux had joined the band. At the time of recording, five of the songs on the album (and part of a 6th) had been in live rotation for up to a year and a half, as arrangements were road-tested and finalized. Referring to this period, bassist Phil Lesh explained, "We'd learned to break in the material at shows (under fire, as it were), rather than try to work it out at rehearsals, or in the studio at tremendous expense." Describing Godchaux's influence, drummer Bill Kreutzmann characterized the album as "Keith's coming out party." Remarking on the evolution in style, he remembered:Jerry brought "Row Jimmy" into us one day, and it was really difficult to get a grip on it at first.     It has a slow tempo, which makes it seem like it would be easy, but it calls for a slight reggae groove layered over a ballad. Rhythmically, the lengths aren't traditional. They're not just twos and fours. It's deceiving. Basically, you have to play the song in half-time with a double-time bounce on top. It's trickier than it sounds. But once I locked into it, "Row Jimmy" became one of the best songs in our repertoire. Played 274 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA, a show we featured earlier this year.Last: June 21, 1991 at Knickerbocker Arena in Albany Cannot say enough about Trey's strong vocals on this tune.  This is 16 years before the 50th reunion shows where Trey would play lead guitar for all five shows (2 in Santa Clara and 3 at Soldier Field).  And at this point, Phish had only covered one Dead tune in concert:  Terraping Station on August 9, 1998 at the Virginia Beach Amphitheater on the third anniversary of Jerry's death.  Since that point, it is still the only time Phish has covered a Dead tune in concert.  Why only that one?  Who knows.  Trey is certainly more than qualified to cover any Dead tune and the other guys have all played with various Dead members from time to time.  One of the great mysteries of the Phish world (at least for me). This was followed by a crowd-pleasing “Shakedown Street” which saw the band stretching their legs once again for a nearly 20-minute excursion. Next, “The Wheel” led into a 15 minute version of the classic closer “Not Fadeaway” to bring set two to a conclusion. After Phil's donor rap and band intros, Phil & Phriends closed out Night One of the run with Phil singing lead Dylan's “Mr. Tambourine Man,” which they did in the style of The Byrds.   OUTRO:                    Mr. Tambourine Man                                    Track #18                                    0:00 – 1:28 Leave you with one of my favorite Bob Dylan tunes. "Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.The song has been performed and recorded by many artists, including the Byrds, Judy Collins, Melanie, Odetta, and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song. The song has been in Dylan's live concert repertoire since it was written,[10] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964. Great version, again with Trey and Page joining in.  I think Phil surprised them with pace of the tune right at the start, but everyone catches up and it's a fun song to hear in concert.  Great way to close out night 1 of this 3 night return to the stage run for Phil.  Best part is that 25 years later he is still going strong at 84! Phil and Friends have covered it 6 timesFirst:  at this show!Most recent:  October 5, 2000 at Orpheum Theatre, Boston, MA, USA  (doesn't seem correct to me because I'm fairly certain I've seen Phil perform this live since 2000, but so far cannot seem to come up with the place, date or folks he was playing with.  Happens sometimes! Finally, this show marks the first instance of Phil's famed “Donor Rap” that precedes the encores of all of his shows .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

The completed Wall of Sound debut, as well as debut versions of Scarlet Begonias and Cassidy. Final performance of Playin' UJB Morning Dew UJB Playin....Unique version of a 77 Sugaree, first Scarlet Fire, and first excess Terrapin Station jamming....two historic shows

"Grateful Dead's Notable Tracks from 1977 plus a cure for Female Orgasmic Disorder"Larry Mishkin covers the Grateful Dead show from March 18th, 1977, at the Winterland arena in San Francisco, showcasing notable performances of songs like "Sugaree" and "Peggy-O." He delves into the history and significance of these songs within the Grateful Dead repertoire. Additionally, the discussion extends to the cannabis industry, highlighting the financial strategies of marijuana companies to minimize tax obligations under Section 280E of the IRS Code. He also touches on the opening of Nevada's first legal marijuana consumption lounge, signaling a shift in cannabis regulations in the state. Finally, Larry addresses the proposal to add Female Orgasmic Disorder (FOD) as a qualifying condition for medical marijuana use in Illinois, reflecting evolving perspectives on cannabis as a therapeutic option for various health conditions. Grateful DeadMarch 18, 1977 (47 years ago)Winterland, S.F.Grateful Dead Live at Winterland Arena on 1977-03-18 : Free Borrow & Streaming : Internet Archive TITLE:  1977 Winterland:  The Dead Bust Out Fire On The Mountain and Take Their One and Only Attempt At Terrapin Flyer. Just a month after the Swing Auditorium show that we previewed a few weeks ago, Dead went home to Winterland for a string of shows.  This one stands out for a few reasons that we will get to as the show goes on. INTRO:                 Sugaree                                Track #4                                7:25 – 9:05               "Sugaree" is a song with lyrics by long-time Grateful Dead lyricist Robert Hunter and music by guitaristJerry Garcia.[1] It was written for Jerry Garcia's first solo album Garcia, which was released on January 20, 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.Elizabeth Cotten, a North Carolinafolksinger, wrote and recorded a song called "Shake Sugaree" in 1966.[3] The chorus of Cotten's song is "Oh lordie me/Didn't I shake sugaree?" Hunter was aware of this song when he wrote "Sugaree."The song was first performed live by the Grateful Dead on July 31, 1971, at the Yale Bowl at Yale University, as was the song "Mr. Charlie".  The Dead played it 362 times in concert.  Last played on July 8, 1995 at Soldier Field in Chicago.                 A classic rocking Dead tune, usually a first set number, I've seen it as a show opener, first set closer, and encore.  In this clip they really rock it but it's only a small peak at this 15 minute version of the tune.  Well worth pulling it down on Archive and checking out the entire number.  You won't be sorry.  SHOW No. 1:    Peggy-O                                Track #6                                4:20 – 6:00                          Traditional, credit for the Grateful Dead version generally go to Jerry but some say Bill had a hand in writing it.              This song derives from the earlier Scottish traditional song Bonnie Lass of Fyvie-o. Fyvie is thought to have been a staging post between Aberdeen and Fort George in Scotland. This song does occur with a number of title variations. It is possible that Fennario is a corruption of Fyvie-o.Similar traditional songs also occurred in the UK; Handsome Polly O and Bonny Barbara O, though these are less similar to the modern Peggy-O song.The title Peggy-O is used on Grateful Dead recordings. The version of Peggy-O that is included in the Jerry Garcia box set All Good Things is a previously unreleased studio recordings from Spring 1979 and is given the title Fennario. The Fennario title is also used on concert recordings of The Dead and Phil Lesh & Friends.Although not released on a Dead studio album, the song was included on the remastered recordings of both Terrapin Station and Go To Heaven.The Grateful Dead first performed Peggy-O in December 10, 1973 at the Charlotte Coliseum in N.C.. It was then played in every year through to 1995 usually no more than a dozen times each year though it was played more regularly during the 1977 to 1981 period. Played a total of 265 times. The last performance was on July 5, 1995 at the Riverport Amphitheatre in Maryland Heights, MO (just outside of St. Louis).In this clip, I really enjoy Jerry's strong voice, the solid jamming and some stealth piano contributions from Keith. SHOW No. 2:    Fire On The Mountain                                Track # 9                                1:46 – 3:30                 Hunter/Hart (not Jerry!)                 Released on Shakedown Street on November 8, 1978, last song on first side of album.                 First time ever played – one of the reasons I chose this show over a number of other great shows on this date – others include a smokin “early” Dead show in 1967 at Winterland and 1971 at the Fox Theater in St. Louis coming fast on the heels of the Dead's epic six night Capitol Theater run in Port Chester in late February. This is another of those songs with a long and complicated genesis story, perhaps not worth getting into too much detail about here, but the rough outlines at least are important to note. The lyrics, according to Robert Hunter in Box of Rain, were “Written at Mickey Hart's ranch in heated inspiration as the surrounding hills blazed and the fire approached the recording studio where we were working.”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. There's a lot of other detail I haven't mentioned—possibly worthy of some historian taking it apart piece by piece, but you get the rough idea.On March 18, 1977 at Winterland Arena, San Francisco. "Fire" appeared for the first time, closing the first set, following its eternal partner, "Scarlet Begonias." This combination of tunes, which frequently enclosed some wonderful jamming, came to be known as "Scarlet Fire." There were a handful of occasions on which “Fire” appeared without “Scarlet Begonias,” but not many. approx 15 out of the total 253 performances. It remained steadily in the repertoire from then on, and was played for the final time on July 2, 1995, at the Deer Creek Music Center in Noblesville, Indiana.This clip being the song's first live performance and almost a year and half before it's commercial release, there are noticeable differences between this version and the one we al know and love.  But they go there very quickly as only two months later on May 8, 1977 the Dead played the Barton Hall show that many declare to be the best Dead show ever.  While that may or may not be true, what is true is that the version of Scarlet Fire is awesome and certainly befitting a show many do consider to be the finest Dead show of them all.Many more were to follow and the lucky ones who were in Winterland this night got to witness how it all started.   SHOW No. 3:    Terrapin Flyer                                                              Alhambra                                Track # 17                                :53 – end                                 INTO                                 Drums                                Track # 18                                Start – 0:44                 This is another reason I chose this show for today's episode.  This represents the only known instance of the Dead playing the Terrapin Flyer part of the full Terrapin Suite from the Album (released on July 27, 1977) out of the traditional parts.  Although Jerry does not sing the lyrics from this part of the suite, he jams the very distinctive melody.  Interestingly, this is only a few weeks after the debut of Terrapin at the Swing Auditorium on Feb. 26, 1977.  Here, the Dead were trying out this sixth of seven parts of the suite and for whatever reason did not like what they heard or didn't enjoy playing it or, more likely, practicing it, so it was dropped from live performances even though the primary and opening parts of the suite, Lady with a Fan into Terrapin Station, were played a total of 303 times.                 These are the fun little discoveries that even after 40+ years of listening to, following and learning about the band keep it fun, interesting and amazing.                 As for the recording of the entire suite, Keith Olsen was chosen to produce and the band temporarily moved to Los Angeles, as Olsen preferred to work at Sound City, where he had recently achieved success producing Fleetwood Mac's 1975 comeback album.             Olsen had a method for reining in the Dead: "During the cutting of the basic tracks it was pretty hard to get every member of the band in the studio at the same time ... so [Steve] Parish went out to the hardware store and got these giant nails and a great big hammer and as soon as everybody was in, he hammered the door shut from the inside ... we didn't have drifters from the other studios coming in to listen. We didn't have people leaving to go screw around elsewhere. We started getting work done."[18] With Fleetwood Mac, Olsen had a hands-on approach, orchestrating the addition of Lindsey Buckingham and Stevie Nicks and influencing song choice, arrangements and sequencing. He entered the Grateful Dead project with similar expectations, imagining a concept album or song cycle. Olsen said that Davis told him "I need a commercial record out of them."[18] This caused some friction during the sessions as well as with the end results. Kreutzmann said "He'd have us play the same thing over and over again, and we're not really the type of band that can put up with that. ... Our very identity is based on the opposite principle."[                 SHOW No. 4:   Not Fade Away                                Track # 19                                14:00 – 15:40                 Written by Buddy Holly and Norman Petty.  Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, and it was released as a single (B side to “Oh Boy”) on October 27, 1957 on the Brunswick label.  The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, with the second stress occurring on the second rather than third beat of the first measure, which was an update of the "hambone" rhythm, or patted juba from West Africa. Jerry Allison, the drummer for the Crickets, pounded out the beat on a cardboard box.[3] Allison, Holly's best friend, wrote some of the lyrics, though his name never appeared in the songwriting credits. Joe Mauldin played the double bass on this recording. It is likely that the backing vocalists were Holly, Allison, and Niki Sullivan, but this is not known for certain.             First played by the Dead on February 19, 1969 at the Fillmore West in S.F., it was played by the band a total of 561 times and last played on July 5, 1995 at the Riverport Amphitheatre outside of St. Louis.             This is an absolutely ripping version of this tune so much so that I featured only the jam – everyone knows the lyrics, but the jam in this 20 minute version is better than any singing I could have featured. OUTRO:               Around and Around                                Track 21                                4:59 – 6:46                 Very appropriate to end on a Chuck Berry tune given that today is the seventh anniversary of Chuck's death in 2017 at the age of 90.                 "Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".  Release on March 31, 1958 on Chicago's own Chess Records checking in at a brisk 2:20. Many bands have covered the song including, most famously, the Rolling Stones and David Bowie, and, of course the Dead who played it 418 times, first on November 8, 1970 at the Capitol Theater in Port Chester, NY and lastly on July 6, 1995 at the Riverport Amphitheatre outside of St. Louis – very appropriate since Chuck was born in St. Louis and died in Wentzville, just outside of the city. This is one of the better version of the tune that I have heard.  It checks in at over 8 minutes and the boys just jam it out, throw in a few false endings and finally wrap it up, followed only by Uncle John's Band before the boys say goodnight to the Winterland crazies and head home for a rare post show night in their own beds. .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

In honor of the upcoming St. Patrick's Day I decided to bring you a St. Patrick's day Dead concert - this one is from March 17, 1988 at Oakland California.  The first set, which we will hear this week, features a nice opening 'Hell In A Bucket'  into a fine 'Sugaree'. Another highlight is the first 'Memphis Blues' without Bob Dylan. 'Row Jimmy' and a nice 'Let It Grow' finishes the first set. I'll bring you the second set next week..                                                                                                                                                                                                                      Grateful Dead Henry J. Kaiser Convention Center Oakland, CA 3/17/1988 - Thursday      One      Hell In A Bucket [5:57] > Sugaree [9:42]   New Minglewood Blues [1] [7:12]   Ramble On Rose [6:33]   Stuck Inside of Mobile With The Memphis Blues Again [8:23]   Row Jimmy [8:04]   Let It Grow  [10:51]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod031524.mp3   Have a safe and happy St. Patrick's Day!

Before I recap Season 1 of Grateful Dad & Friends and provide a brief glimpse of Season 2, it may prudent to share why I launched this podcast in the first place.The purpose of GD&F is to be a gift.  A gift to my guests, and a gift to their friends and family.  Let me explain….A few years back, on my way to Lake Champlain, I was driving with my parents and I had an opportunity to “interview” my father about his 35-year experience in the family business.  I recorded that conversation on Voice Memos on my iPhone and the audio quality is mediocre at best but the content was gold, and having Dad's voice will forever be timeless, and priceless.  I wish I had recorded more of those conversations.And when I lost my brother, Tom, among a whole host of emotions that one would have after losing their hero, I realized that the few voicemails that Tom left for me in the weeks leading up to his untimely death, would be some of the few treasures that I have hearing Tom's voice.  I wish I had more of those treasures.My hope is that the conversations that take place on GD&F will be a gift to those who know and love each of the guests that I am lucky to call my family and my friends  Season 1 guests ranging from neighbors, including my inaugural guest Mr. Fred Weiss… and former clients, such as Cary Crane… both of which went to the legendary '72 shows at the Academy of Music, the '73 Summer Jam at Watkins Glen and '77 at Englishtown Raceway.David McQuaid, one of my newer friends, who tours the country catching shows with his family in his retro-decked out school bus, appropriately named Sugaree, recapped some of his tales from the golden road and an encounter with NBA legend and lifelong Deadhead, Bill Walton.We spoke with Cornell Bouse, an attorney and property owner by day and lead singer by night.  We learned about his thoughts and views about Elvis, and among other topics, his plans and evolving wake-list for his own funeral.We sat down with Ted Bahr, collector of some of the country's most vintage psychedelic posters proudly displayed at The Bahr Gallery.I introduced my friend, Rob Diestel, aka Monkey Man and we learned about his 20-year passion project, a musical that he wrote called Growin' Up Asbury Park, weaving in characters from Bruce Springsteen's most influential ballads.We spent time w/ my sister, Kathy Staib, and our mutual friend Rainer “TITAN” Jenss and heard about how and when they got on the bus and how Rainer is facing a life-threatening disease with the ultimate in courage, in class, and in grace.We talked music and a little shop talk with my nephew/business partner, TJ Staib and my COO, John Gulino and shared what we think we do well and what we could probably do better at our five-generation, family label printing business.The Ryan brothers, founding members of indie rock band The Bogmen, spent some time with me and painted the picture of the evolution of their music and the related cultlike following. We went back to the late 60's and early 70's with Richard Sutton, who shared his experiences living in communes and who was in the heart of the scene leading up to the infamous fundraiser concert that the Grateful Dead performed to save the Springfield Creamery from extinction.Rob Barraco, keyboardist for Dark Star Orchestra, was kind enough to take the time to share his journey from wedding band performer to joining Jeff Matson in the Zen Tricksters, and then The Other Ones, The Dead, Phil & Friends, and ultimately Dark Star Orchestra.  We learned what life is like on the DSO tour bus and what's on tap in 2024 for the band.Last but certainly not least, the four most special women in my life – my wife Margaret aka Margs, and our daughters Hannah, Hope

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. 

"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson"Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases.  Grateful DeadFebruary 19, 1971 (53 years ago)Capitol TheatrePort Chester, NYGrateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive The second of the legendary six night run at the Capitol Theatre in late February, 1971:Feb. 18, 19, 20, 21, 23, and 24 INTRO:                  Loser                                Track #3                                2:55 – 4:24 Hunter/Garcia tune that was released on “Garcia”, Jerry's first solo album, in January, 1972, the last song on side one of the album.  It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music.  SECOND time playedPlayed a total of 353 timesFirst time:  “Last”night 2.18.71Last:  June 28, 1995, The Palace of Auburn Hills, outside Detroit                               THIS SHOW: Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star.  It was also Mickey's last show before his almost three year hiatus before he returned for the final 1974 show before the band's 1975 year off February 19th show is just as historical:  The band's first show without Mickey since he joined the band in 1967.  Many people theorize that this was Mickey's response to his father, Lenny Hart who was the band's manager stealing almost $155,000 of the band's assets before disappearing.  Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned.  The song, “He's Gone” is based on Lenny Hart's embezzlement and disappearance.  Ashamed by his father's actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975.  Lenny died of natural causes on Feb. 2, 1975.  According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris" on Lenny's coffin, and split." Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September.  On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong.  Pig also has a strong showing this night leading the band through four standouts:             Hurts Me Too            Smokestack Lightning:  the third to last time it would be played with Pig in the band            Easy Wind:  the second to last time it would be played without Pig in the band            Good Lovin  This really marked the beginning of the band's hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman's and American Beauty.  Within a year, Pig would be very ill with just enough energy left for the Europe '72 tour.  But this night, he was rocking the house like only he could do.  Here is the first of his four featured songs:  SHOW No. 1:      Hurts Me Too                                Track # 5                                2:08 – 3:42 Great showcase number for Pig featuring his singing and harp playing.  We got just a bit of Jerry's lead but all this great music is too long to fit into one clip – don't want Dan getting mad at me! "It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]".[1] First recorded in 1940 by Tampa Red in Chicago, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists.  Release on May 10th with Tired of Your Reckless Ways on the B-side. In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard'sRhythm & Blues Records chart in 1949.[10] (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics. Noted covers:            Elmore James            Junior Wells            Grateful Dead – with Pig singing the vocals.  Was first released by the Dead on Europe '72 album.  After Pig left the band, the song was retired.             The Dead played the song a total of 59 times            First:    May 19, 1966 at the Avalon Ballroom, San Francisco            Last:     May 24, 1972 at the Lyceum Ballroom in London (last show of Europe '72 tour             “FROM THE VAULT”: This entire show was released by the Dead as “Three From The Vault” in 2007.  The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah.  In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles.  Then, along came Dick Latvala and his Dead scene changing Dick's Picks series which was wildly popular, so much so that the In The Vault Series was put on hold.  For 15 years.  Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre.  That was it for In The Vault releases.  The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin' At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”.  Dick's Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick's death in 1999.  Which led into the still wildly popular Dave's Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong.  And “short” lived, but generally popular  “Roadtrips” series.  And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe '72 which consists of the live recordings for all of the shows on that tour.  Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band's existence.  SHOW No. 2:      Playin In The Band                                Track # 7                                2:23 – 4:05                                            By:  Weir and Hunter "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West, in which it appears somewhat indistinct from the preceding and following jams.[5] The completed song was also included on Mickey Hart's 1972 solo album Rolling Thunder within "The Main Ten", making reference to the song's time signature of 10/4.  "The Main Ten" appears on Dick's Picks Volume 16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)".During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it" It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with over 600 performances. If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song.  He is clearly still working it out.  Over the course of the Europe '72 tour, it was played almost every night as Bobby finally worked it outThis is all really good stuff. SECOND time ever played 661 times (No. 1)                First – “last: night's show, Feb. 18, 1971 Capitol Theatre                Last:       July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis.                SHOW No. 3:      Greatest Story Ever Told (The Pump Song)                              Track #13                           Start – 1:41               By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis)               Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972),[1] was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah"[2] and "Death Don't Have No Mercy" Released on:AceRolling Thunder, as "The Pump Song"Dead SetDick's Pick's, vol. 6Europe '72 box setLots of other releases              Per Hunter:  "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well."                Released on Ace on May 1, 1972              First song on the album with Bobby setting a rocking tone              Another tune that was played almost every night of and refined during the Europe '72 tour                             283 times              First:  “last night” 2.18.71              Last:  June 27, 1995 at the Palace at Auburn Hills outside Detroit               SHOW No. 4:      Bird Song                                Track #15                           :42 – 2:15               By Garcia and Hunter              Second song on Garcia              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 A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends. Beautiful song, even for the fist time you know it's going to be special. Played 301 tines              First:  This is it!              Last:   June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA   OUTRO:                Deal                                Track #17                                Start – 1:33  May 16, 2023 by Chris Huber of Chill One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel. Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set.  Even in JGB sets it was a first set closer.  And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along.  For a first time played, this version stays true to the version we all know and love from a few years later.                            Played 428 times              First:  This is IT              Last:  June 18, 1995, Giants Stadium in East Rutherford, NJ Thank you. .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

Bob Dylan's Extended Tour and Upcoming Phil Lesh and Friends ConcertLarry Michigan relives a classic Grateful Dead show from exactly 37 years ago on January 29th, 1987, at the San Francisco Civic Center. The performance marked the middle night of a three-night run celebrating the Chinese New Year.Larry delves into the opening song, "Hell in a Bucket," reminiscing about the quirky banter and Bobby's guitar troubles. Larry shares amusing anecdotes, including the infamous "Police on a Joyride" mix-up in a Chicago Tribune article. The podcast crew laughs about past experiences and the unique anticipation of a Grateful Dead show.He also reflects on the significance of the Chinese New Year celebration during the shows and the dragon dance that captivated the audience. The conversation shifts to Jerry Garcia's remarkable comeback after a diabetic coma in 1986, making these shows even more special.As they discuss the performances of "Hell in a Bucket" and "Sugaree," the hosts highlight Jerry's exceptional guitar playing and the overall energy of the band during this period. Larry also shares the latest cannabis news and provides with updates on upcoming music events, including Phil Lesh and Bob Dylan's tours, and a nod to the Live Dead and the Brothers tour. Grateful DeadJanuary 29, 1987  (37 years ago)San Francisco Civic CenterS.F., Ca CHINESE NEW YEARS SHOW with the Dragon Dance during DrumsThis three night run (Jan. 28 – 30) were the last shows played by the band within S. F. city limits, after this, shows at Shoreline, Oakland Auditorium, Oakland Stadium, Greek Theater, maybe Berkeley Community Theater or Henry J. Kaiser.Barely one month since Jerry returned from his diabetic coma on Dec. 15, 1986.Bobby's dog, Otis, died earlier in the day before the show.  Best known from Reckoning, Ripple when in the middle of a verse the dog walks on stage and Jerry says, “that's Otis”.  Good stuff.I was at this show and the next nightWent with my good buddy Tommy who lived in the area Grateful Dead Live at San Francisco Civic Auditorium on 1987-01-29 : Free Borrow & Streaming : Internet Archive  INTRO:              Hell In a Bucket                           Track #1 (Don't be fooled by Finiculi Finicula intro - the song starts after a brief noodle, this is the correct track)                           1:55 – 3:33 SHOW No. 1:    Sugaree                           Track #2                           1:19 – 3:02 SHOW No. 2:    Drums                           Track # 13                           2:30 – 4:00                            Features the Chinese Dragon Dance portion of the Drums  SHOW No. 3:    Scarlet>Fire                           Track #9:   7:50 – end                            Track #10:    Start 0:41                           This is the transition between the two songs just keep taping from the end of Scarlet through the beginning of Fire  SHOW No. 4:     Stella Blue                           Track # 14 (On the Archive page for this track it shows I Need A Miracle > Stella Blue, just use the time signatures below to get to the Stella Blue part                           7:06 – 8:44  OUTRO:             Going Down The Road Feeling Bad                           Track #15                           1:23 – 2:53 .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

Jerry Garcia, Robert Hunter, Bill Kreutzmann, Bob Matthews, Betty Cantor, Ramrod, and me.

In our third episode of GD&F, we're joined by Deadhead and Dallas native, David McQuaid.  By a simple twist of fate, my daughter, Hannah, and I had the good fortune to meet David and his family tailgating outside their psychedelically painted tour bus, Sugaree.  David paints a vivid picture of how he, his wife, and grown children tour the country on Sugaree taking in the sights and sounds along the way.  Join us, and let's see where the energy takes us!   Links: https://www.instagram.com/sugareebus_/?hl=en 

References Front Immunol. 2023; 14: 1151166. Inflammation Research :official journal of the European Histamine Research Society 2018.1420-908X, Vol. 67, Issue 10. J Cell Sci. 2011 Dec 15; 124(24): 4147–4159. Hunter, R. and J. Garcia 1970. "Sugaree" https://music.youtube.com/watch?v=sxF9UJ-Rm0E&si=S4F0LvlFvUsTE1OO --- Send in a voice message: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/message Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..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   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

The Fall of 1972 was an interesting transitional period for the Grateful Dead. They began to explore longer shows with more exploratory jamming. This week's Deadpod, from September 9th of that year, showcases some of these changes. In this week's first set, we have plenty of classic songs, as well as some intense jamming. Some of the highlights for me include the sweet 'Sugaree', 'Bird Song' and Keith's transitions in 'Black Throated Wind'. Of course I have to mention the almost 19 minute long 'Playin In the Band' - long a vehicle for exploration during this period. As you'll see next week, it was not alone in this show.      Grateful Dead Hollywood Palladium Hollywood, CA 9/9/1972 - Saturday      One     The Promised Land [3:02] Sugaree [7:04] Me And My Uncle [3:02] Bird Song [11:24] Black Throated Wind [6:32] Tennessee Jed [7:26] Mexicali Blues [3:30] Deal [4:42] Playing In The Band [18:25] Loser [6:44] Johnny B. Goode [4:01]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090823.mp3      'The black-throated wind keeps on pouring in With its words of a life where nothing is new Ah, Mother American Night, I'm lost from the light Oh, I'm drowning in you'

"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.[1] 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.[2]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.[1]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,[1] and in 1970, which reached #86 on the chart.[2] 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.[1] They were predominantly members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills, Nash & Young .[2] ), 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.”

 “The folk process” is a term that Charles Seeger came up with to describe the tendency of songs to change a little — or a lot — as they are passed from person to person over the years. It's a process that greatly pleases us in The Flood, because we've always done everything we can to put our own stamp on every song we do. Here, for instance, it's no real secret that our version of this tune has only a nodding acquaintance with the original that the great Elizabeth Cotten wrote with her grandchildren some 60 years old. It grew out of a recent Flood jam at which a riff Charlie started noodling with on his new resonator guitar had him remembering that old Fred Neil take on the Libba Cotten song. In a flash, Dan and Sam were bringing their own magic to the moment.

Okay, up front let's just get this out of the way. We don't know what “sugaree” is, or why you would want to shake it, or what'd happen if you did.And apparently nobody else knows either.Our Story Begins…Let's start our story in the mid-1960s, when folk music legend Elizabeth Cotten recorded her new album, Shake Sugaree.“That's more my grandchildren's song,” Libba Cotten later told Mike Seeger about the title tune. “They made the verses and I played the music. The first verse my oldest grandson, he made that himself, and from that each child would say a word and add to it.”Apparently it was Cotten herself who added that memorable — if enigmatic — chorus (Oh, lordy me / Didn't I shake sugaree? / Everything I got is done and pawned), though “to tell the truth,” she added, “I don't know what got it started. “That's practically how all my songs, I pick up,” she said. “There's somebody'll say something or something done and then... something will come into your mind.” Enter Fred NeilA couple years later, singer/songwriter Fred Neil revisited the song, but in a radically different way. While Cotten's original was a jaunty tune, Fred framed her lyrics with his own slow and positively pensive melody, transforming it from something playful into a poignant meditation on loneliness and loss.The arrangement was so different from Cotten's, in fact, that Capitol Records felt justified in giving Neil co-credit for the composition. Of course, that decision led to further confusion about the song. For instance, when Pat Boone (uh-huh, Pat Boone … !) recorded the song in 1969 on his Departure album, Fred Neil was listed as its only composer, with Cotten nowhere to be found in the credits.But What Is Sugaree?Apparently, nobody bothered to ask Elizabeth Cotten to define “sugaree.” They didn't ask Fred Neil either. Nor Jerry Garcia when he and The Grateful Dead recorded a completely different song with the same name in 1972. (Maybe Pat Boone knows sugaree's secret, but he ain't saying.)All this mystery has led data detectives on a great what-is-sugaree scavenger hunt on the Internet, producing some wildly weird theories. An African-American dance featuring sugar spread on the floor? A variation on a native America word or perhaps an ancient tribe's name? A Gullah term from Cotten's native Carolinas? A corruption of the word shivaree (itself a corruption of the French charivari.)Or Maybe the Question is WHO is Sugaree?Wait. Let's add to the puzzle. What if Sugaree is a person? That's what one prominent early rock ‘n' roll singer/songwriter thought.A decade before Elizabeth Cotten and her grandchildren created their tune, Marty Robbins — yes, Marty (Out in the West Texas town of El Paso) Robbins — wrote a song called “Sugaree” that was released by The Jordanaires.Its lyrics made it clear that for Marty and the boys “Sugaree” was a girl (I got a letter from my baby, Sugaree, wrote me today. / It was the first one that she wrote me, first one since she went away.) And that bit of business prompts an intriguing theory. Could be it be that the Marty Robbins song — which was recorded by several other groups besides The Jordanaires and got wide airplay in the late 1950s on radio and TV — was a favorite of Libba's grandkids? (After all, it was a catchy number … and of course, “sugar” does have famously universal kid appeal.) Maybe that the reason the kids worked it into the song that they were creating with Grandma. If that's the case, it would mean that “sugaree” was simply a cool sound. Cotten and her kids might have just liked the ear tickle they got from the alliteration when they let “shake” shimmy up next to “sugaree.” Our Take on the Tune “Folk progress” is a term that Charles Seeger — folksinger Pete's pop — came up with about a hundred years ago to describe the tendency of melodies and lyrics to change, a little or a lot, as they pass from person to person and generation to generation.It's a process that greatly pleases us in The Flood. From our earliest days, we've done everything we can to carry it on by putting our own stamp on every song we do.This particular number grew out of a recent Flood jam at which a riff Charlie started noodling with on his new resonator guitar had him remembering that old Fred Neil take on the Libba Cotten song. In a flash, Dan and Sam were bringing their own magic to the moment. Here's the result. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

This episode is everything— such a beautiful conversation with my friend Tommy Allgood. We discuss intersectional identities, queerness, sacred earth medicine, what is inspired our connection with each other.  “Thomas Garvin (They/he), better known as Tommy Allgood, is a Registered Nurse turned Care Director doing work with community and organizational development based in Charlotte, NC. What is colloquially known as Charlotte and the surrounding area is the land stolen from the Sugaree, Catawba, Cheraw, and Waxhaw people. He/They have a passion for helping people navigate mental, emotional, and spiritual roadblocks by developing grounding practices centered in self and community that foster co-creation and resiliency in the face of adversity and resistance. Tommy works with organizations to facilitate cultural shifts that are people-centered and compassion oriented, breaking down what it means to be in authentic service of self and communities. Tommy's current work includes: Educating and transforming organizational visions + missions to meet the modern day challenges of diversity, inclusion, equity, and anti-racism principles and practices Spiritual care rooted in personal + collective discovery utilizing tools that center a holistic perspective + embodied self Knowledge sharing and strategy building with organizations so that they foster healthy people and healthy environments. Exploring + Advancing Bodily Liberation at the intersections of the Black and Queer experiences. To connect with Tommy visit his website @ www.teamallgood.com Dr. Hillary McBride The Wisdom of Your Body Tina Strawn Are We Free Yet? The Black Queer Guide To Divorcing America Resmaa Menakem My Grandmother's Hands bell hooks all about love Elizabeth Wurtzel Bitch: In Praise of Difficult Women Gabor Maté Myth of Normal Adrienne Marie Brown Pleasure Activism Rupa Marya and Rajeev Patel Inflamed

We're stepping it up this week.. yes! believe it or not, this week's Deadpod is probably even hotter than last week's show from 1973! This one comes from May 25, 1974 at Santa Barbra California. A beautiful afternoon show that must have seemed to go on forever...  The first set starts with a U.S. Blues.. a great way to start a show and start this 13 song first set! The entire set is smoking hot, and it has a pedigree - as it comes from Dick Latvala's cassette, so the sound is great.  Some of the highlights include a wonderful 'Jack Straw', a stand alone 'Scarlet', Weir 'takes a bottle, cracks him in the jaw' on 'Me & My Uncle', but the true highlight of the set and probably the show is the mind-bending 'China Cat>I Know Your Rider' , in particular the great jamming in the transition - not to be missed. Billy K is on it..      Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 5/25/1974 - Saturday     One     U.S. Blues [5:30] Mexicali Blues [3:22] Deal [4:14] Jack Straw [4:43] Scarlet Begonias [4:34] Beat It On Down The Line [3:02] Brown Eyed Women [4:29] Me And My Uncle [2:45] Sugaree [6:34] El Paso [4:03] China Cat Sunflower [8:20] > I Know You Rider [4:19] Around And Around [4:36]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod051923.mp3  Thank you for your kind support - I couldn't publish the Deadpod without your help! 

 As Christmas approaches, Hanukkah continues, and the big snowstorm closes in on many of us, I hope that this week's Deadpod brings you some joy this week!  I bring you the first set of what is a really great show from December 30, 1989 in Oakland California. The opening 'Bertha' flows into a rare first-set 'Good Lovin' which then flows into an excellent version of 'Sugaree'. The entire set is quite well played, and while Airto joins at 'Sugaree' and remains the rest of the show, his contributions are a bit hidden most of the time.  The set-closing 'Music Never Stopped' features some interesting Midi Horns from Garcia, but the entire set is energetic and a pleasure to hear. I hope you enjoy it.    Grateful Dead Oakland-Alameda County Coliseum Arena Oakland, CA 12/30/1989 - Saturday One      Bertha [6:22] > Good Lovin' [4:02] > Sugaree [9:30]    Walkin' Blues [6:42]    Jack-A-Roe [4:10]    When I Paint My Masterpiece [5:02] West L.A. Fadeaway [6:58]    The Music Never Stopped [7:32]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod122322.mp3   My best wishes for a Happy Hanukkah, and a very Merry Christmas!     

Cat Power and Dirty Delta Blues "Amazing Grace"John Lee Hooker "Boom Boom"Jerry Garcia "Let It Rock"Levon Helm "Lucrecia"Fiona Apple "Shameika"Norah Jones "Come Away With Me"Peter Buck "Southerner"Songs: Ohia "Farewell Transmission"Nina Simone "Do I Move You?"Lillie Mae "You've Got Other Girls for That"Bonnie 'Prince' Billy "Make Worry for Me"Thelonious Monk Quintet "Jackie-ing"John Mayall "Lil' Boogie In the Afternoon"Buddy Guy & Junior Wells "Everyday I Have The Blues"Grateful Dead "Easy Wind"The Clash "Spanish Bombs"Red Hot Chili Peppers "Carry Me Home"Drivin' N' Cryin' "Honeysuckle Blue"The Replacements "Kiss Me on the Bus"The Hold Steady "Heavy Covenant"Big Maybelle "So Long"John R. Miller "Lookin' Over My Shoulder"Plains "Problem With It"The Devil Makes Three "For Good Again (Live)"Chris Knight "Down the River"Cory Branan "When In Rome, When In Memphis"Jason Isbell "If It Takes a Lifetime"Bob Dylan & The Band "Goin' to Acapulco"Valerie June "Call Me A Fool"Gram Parsons "We'll Sweep Out the Ashes In the Morning"Sierra Ferrell "In Dreams"Cedric Burnside Project "Hard Times"Green On Red "Whispering Wind"R.E.M. "Beat a Drum"Langhorne Slim "Colette"Richard Swift "The Ballad of Old What's His Name"Mavis Staples "Have a Little Faith"D'Angelo "Sugah Daddy"Phosphorescent, Jenny Lewis "Sugaree"Candi Staton "The Best Thing You Ever Had"Centro-Matic "Quality Strange"Willy Tea Taylor "The Very Best"

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.

I'm back! Season 2 kicks off with Sugaree's memoirs! Check read along with her memoir at her blog at:https://manifoldmischief.blogspot.com/ --- Support this podcast: https://anchor.fm/datanodeone/support

We hear Mike Millard's lovely recording of the Grateful Dead in Long Beach on Dec 13 1980. Early Brent Mydland era Dead sounding very nice. Sugaree and Sugar Magnolia are played.

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay!  1. Jesse Douglas Allen Taylor made his transition this past weekend. It was rather sudden for all of us, especially his family, Tarika Lewis and Geoffrey Pete. There was a memorial for him Sunday, March 6.  I had a great conversation with Jesse, PEN Oakland honoree, about his first novel, "Sugaree Rising." This is a rebroadcast of that interview (4/5/2013).   https://www.blogtalkradio.com/wandas-picks/2013/04/05/wandas-picks-radio-show "We open with an interview with Bay Area author, journalist and political columnist J. Douglas Allen-Taylor about his  first novel, Sugaree Rising, set in the South Carolina coastal area Lowcountry in the late Depression years and discuss his well-crafted female characters like narrator Yally, Aunt Soo, Na'Risa, Nana'Timbi, Eshy. . . to hold the bridge between the past and the present as this community of Gullah people face an enemy threatening to end their collective lives. They resist while Yally feet in the middle of the path finds no rest, as her beloved community seems to be unraveling and withit her identity. Sugaree shows there are many ways to die, some more painful than others. And what do we do with the dead who refuse burial? http://www.sugareerising.com/"  

Esse é o AutoRadio Podcast. Cinquentoes #01 Powered by Wisdomtech http://www.wisdomtech.com.br

We head into the new year with a show from the Winter of 1979 - this comes to us from the Nassau Coliseum on January 11, 1979.  The first set starts off with a wonderful version of 'Sugaree' - Garcia sets the tone for this set right out of the gate.. some wonderful runs here. 'Me & My Uncle' and 'Big River' follows and the latter, in particular, delivers more Jerry magic. Things slow down a bit with a long 'Peggy-O', and Bobby does a nice 'Cassidy' to follow. 'Friend of the Devil' and the 'New New Minglewood Blues follow'. Donna does a rare version of 'From the Heart of Me', before they break into the crowd favorite 'Ramble on Rose'.  The highlight of the set, in my mind, follows with a smoking version of 'Jack Straw'. Despite Weir stepping on Garcia's incredible solo, this one is sure to please. Jerry heads into the break delivering a rocking 'Deal'.  Grateful Dead Nassau Veterans Memorial Coliseum Uniondale, NY 1/11/79 - Thursday One     Sugaree [13:50] ; Me And My Uncle [2:54] > Big River [6:20] ; Peggy-O [8:59] ; Cassidy [4:58] ; Friend Of The Devil [9:50] ; New Minglewood Blues [5:35] ; From The Heart Of Me [3:50] ; Ramble On Rose [8:01] ; Jack Straw [6:12] > Deal [6:13]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod010722.mp3   check out Bobby's ad libbed lyrics in 'Jack Straw'...    Stay warm and healthy my friends, and thank you so much for your kind support..   

This week we welcome December with a great show from December 13, 1980 at the Long Beach Arena in Long Beach California, just a couple months after last week's acoustic set. This first set is quite good all the way through but starts with an excellent trifecta -' Feel Like a Stranger' into a wonderful 'Sugaree'  then into 'C C Rider' with some great Garcia slide work. Then Jerry slows things down a bit with a soulful 'To Lay Me Down'. A fine version of 'Minglewood' follows with some unusual and impressive guitar work as well as Brent really going off on the B3.  'Ramble on Rose' is always a favorite, then a nice 'Sailor> Saint'. They close the set with a rockin' 'Deal'.      Grateful Dead Long Beach Arena Long Beach, CA 12/13/80 - Saturday      One     Feel Like A Stranger [7:06] > Sugaree [11:28] > C C Rider [8:14] ; To Lay Me Down [9:42] ; New Minglewood Blues [6:39#] ; Ramble On Rose [7:04] ; Lost Sailor [6:06] > Saint Of Circumstance [6:41] > Deal [6:50]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod120321.mp3    I hope this finds you healthy and in the holiday spirit.  Happy Hanukkah ! thank you for your support of the Deadpod.

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

While Jerry's birthday is not until Sunday, I felt that there could be no better way to start off the 'Days Between' than with this humdinger of a show from August 1st, 1973. I realize this is only days after last week's Deadpod fom Watkins Glen, but, hey its one of the few, and probably the greatest of Jerry's Birthday show with the band. Now this version of the events is captured on what I feel is an excellent audience recording. The existing soundboard, especially for this first set, is fairly degraded and I think this audience recording is quite good - I hope you agree.  I'm a fan of the 'Sugaree' here, as well as Donna's  'You Ain't Woman Enough' which is a crowd pleaser. The 'Bird Song' that follows is excellent and features two nice jams. The rest of the set is quite well played, with the set ending with an unusually fine 'Casey Jones'.  Next week I'll play set 2 - which will include a beautiful soundboard capture of a wonderful Dark Star.   Grateful Dead Roosevelt Stadium Jersey City, NJ 8/1/73 - Wednesday     One     [59:33] ; The Promised Land [3:02] ; Sugaree [7:51] ; The Race Is On [2:57] ; You Ain't Woman Enough [3:04] ; Bird Song [10:51] ; Mexicali Blues [3:19] ; They Love Each Other [5:07] ; Jack Straw [4:39] ; Stella Blue [7:23] ; Big River [4:38] ; Casey Jones [6:42]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod073021.mp3  This show took place on Garcia's 31st birthday.. August 1 would have marked his 79th!  Thank you for listening and for your kind support of the Deadpod.     

I originally thought I would play Brent Mydland's last show with the band - 7/23/1990 - but at the last moment decided I would bring you something much happier - the famous soundcheck from the Watkins Glen festival that took place on July 27, 1973.  Long a favorite among Deadheads, you've likely heard this before - but this is one of those performances that deserve to be listened to again from time to time - like using that good china that is collecting dust in the cabinet. This is a fine recording of the complete soundcheck - including Bill Graham's introduction - that captures what made this band so exciting during this peak period of their evolution.  Only a few words are needed here as this will speak for itself.. listen to how animated Phil is right out of the gate - he drives that Promised Land and continues throughout! Bird Song has some wonderful moments where the band starts to take off into uncharted territory - a harbinger of things to come.  Of course the 'star' here is the jam following Uncle.. this is paradigmatic Grateful Dead - unexpected, new, never to be repeated. The 'Wharf Rat' that follows is just what is needed to bring things back to earth.. then !bang! 'Around and Around' to end things up...  Grateful Dead Grand Prix Racecourse Watkins Glen, NY 7/27/73 - Friday   One      The Promised Land ; Sugaree ; Mexicali Blues ; Bird Song ; Big River ; Tennessee Jed Two     Mississippi Half-Step Uptown Toodeloo ; Me And My Uncle ; Jam > Wharf Rat ; Around And Around   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod072321.mp3    Enjoy. 

A great show from a great run is showcased in this week's Deadpod. This is from September 26, 1972 at the Stanley Theater in Jersey City, New Jersey. The first show of a three night run, this features some great guitar work by Garcia throughout, even here in the first set. A fine 'Cold Rain and Snow' might be overlooked by the early 'He's Gone', but there is so much great music here. I love the 'Bird Song' and the 'Sugaree'. The band is loose throughout and I'm certain you'll enjoy this classic performance.  Thanks to Steve for this suggestion and a Happy Birthday to him!  Grateful Dead Stanley Theatre Jersey City, NJ 9/26/72 - Tuesday One       The Promised Land [3:01] ; Cold Rain And Snow [5:18] ; Me And My Uncle [2:54] ; He's Gone [14:32] ; Mexicali Blues [3:23] ; Deal [4:30] ; Cumberland Blues [5:55] ; Black Throated Wind [6:40] ; Bird Song [11:05] ; Big River [4:20] ; Sugaree [7:26] ; Around And Around [4:51] ; Casey Jones [6:04]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod070921.mp3   Thanks for your kind support of the Deadpod!     

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

In this week's episode we return to the Dick's Picks cannon for our second of three shows in the set from the hallowed month of September 1972. Just ten days prior to the Dick's Picks Vol. 11 show from 9/27/72 in Jersey City, NJ, we hear the band play a similar setlist while highlighting a different centerpiece jam. It's a classic example of The Grateful Dead in a peak month, which showcases the best of the band while highlighting the subtle differences between the band at their best. Disc One is a standard ride through ‘72 dead with staples like “Sugaree,” “Black-Throated Wind,” and “Tennessee Jed” scattered throughout, all played standard-great. The peak of the disc is found in “Bird Song,” that, while it doesn't reach its heights of the DP11 or (coming soon) DP36 versions, is still quite blissful. One Disc Two we're treated to a 20min exploration of “Playing In The Band” before excellent takes off “Truckin'” and “Loser” kick off Set II. Disc Three is highlighted by a monster “He's Gone -> The Other One.” The former caps off at 39 min, it's the longest jam in the entire DP Set and showcases a band on a musical high, shifting gears, embracing risk, weaving in and out of ideas, and displaying their overall penchant for exploration during this period. Like so much of September 1972, we hear two versions of The Dead. One is still breaking out of its shell, reveling in the post-European Tour bliss, moving forward as the unit we'd know through the 70s. The other is already looking ahead to the acid jazz explorations that would define their best experimentations until their hiatus in 1974. 36 from the Vault is 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: VAULTCheck out Green Future Wealth and mention OSIRIS to get a free report on your existing investmentsVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchaseCheck out the Nugs Live Stream of Bob Weir & Wolf Bros at Red Rocks from June 8-12. Visit Nugs.net/36 for tickets---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 24 in anticipation of our next episode, which will drop on Monday, June 14! See acast.com/privacy for privacy and opt-out information.

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