Podcasts about Terrapin Station

The group learns more about Terrapin Station. Find out what this week on Will Save! If you liked this episode, please consider supporting us on our Ko-fi! https://ko-fi.com/willsavethepodcast Or check out our sweet sci-fi fantasy swag on our merch store. https://shop.willsavethepodcast.com/ We'd love if you rate us on Spotify, Apple, or wherever you listen, follow us on social media, and check out our website WillSaveThePodcast.com for more! Will Save is RICK-19 - Kevin Decker (@thekevster101) Dr. OK - Will Garrett (@will_g) Heerz - Kelly Gilliam (@KellyGi43152731) Colin Edenbrand - Vinnie Rodriguez (@VRodriguezTbone) Game Master - Jon Swan (@jonswanny) Special gratitude for our partner Syrinscape! They're responsible for how great our music is. Check out the sound sets we use at https://rebrand.ly/syrinscapeattributionsforwillsave And thanks as always to Paizo, Lone Wolf Development, Foundry, Epidemic Sounds, Czepeku Sci-fi Maps, and Monument Studios!

On Friday, London McDaniel at the Antlers, a Stop Making Sense screening at the State Theatre, and WVBR Celebrates John Rudan’s 50 Years on the Radio at the Hangar Theatre! The Finger Lakes Environmental Film Festival runs through April 13th at Cinemapolis! Don’t miss the free Ithaca Murals screening on Sunday. All weekend, Alice in Wonderland Jr. at the Trumansburg Middle School, and Winter Squabee with music and food at Stonecat Cafe to benefit the Ovid fire relief fund. For your Saturday, the annual Spring Fairy Fest in Downtown Ithaca, a Sea of Green film premiere at the Newfield High School Auditorium, Fiddlehead Frolic at Newfield Elementary School, Terrapin Station at Two Goats Brewing, and José González at the State Theatre. Sunday, Savoyards present the Prodigal Son at the First Congregational Church, Tom Green Comedy at the Hangar Theatre, and Modern Western Square Dancing at the Lansing Community Center. Monday, an Alzheimer’s Association program at the Newfield Public Library. Tuesday, a Southern Old Time String Band Jam at Deep Dive. Next Wednesday, Jazz Night at Brookton's Market, Wednesday open mic night at the Nocturnal Cafe, formerly Sacred Root, and the Canaan Jam Session at the Canaan Institute.  Thursday, Jazz Thursdays [...]

This week, our host FiG finds himself in Rosemont, Illinois. It's April 11th, 1989, and the Grateful Dead are playing the Rosemont Horizon. Discussions abound about a rare off night for Bobby, Help on the Way LA, and executive producer Baby Game executive producing Game right off the show. Shakedown Street Little Red Rooster Friend Of The Devil Victim Or The Crime Built To Last We Can Run Stuck Inside of Mobile with the Memphis Blues Again Deal Samson and Delilah Crazy Fingers Playin' In The Band > Terrapin Station > Drums > Space > Gimme Some Lovin' > Standing On the Moon Throwing Stones > Not Fade Away U.S. Blues

Keep it weird! This week, our host FiG is heading to Portland, Oregon. It's February 2nd, 1968 and the Grateful Dead are playing at the Crystal Ballroom. Discussions abound about David Gans' new course at Stanford and the anniversary of Estimated Prophet and Terrapin Station. Viola Lee Blues > Feedback That's It For The Other One > Clementine > Good Morning Little Schoolgirl

Friday night, Game Night at the Smith Opera House in Geneva with fun for the whole family plus live music with Jerry Martin. London McDaniel at the Antlers, Travis Knapp at South Hill Cider, and Jonathan Biss at Cornell’s Bailey Hall. For your Saturday, the winter Ithaca Farmers Market at Triphammer Marketplace, a used photograph equipment sale at Artist Alley at the South Hill Business Campus, an intro to mushroom cultivation at Newfield Public Library. A Newfield Lions Club pork dinner fundraiser at the Newfield Fire Station, Cornell men’s ice hockey senior night and a ceremony for Coach Schafer at Lynah Rink, and Sad Sad Sparrows and Twin Court at Sacred Root Kava Lounge. A pancake breakfast at the Harford Fire Station Sunday morning, D&D 101 lesson at Riverwood on the Ithaca Commons, and Modern Western Square Dancing at the Lansing Community Center. Tuesday evening, Dead Dive Happy Hour with Terrapin Station at Deep Dive!  Nate Silas Richardson happy hour at Bar Argos on Wednesday, Jazz Night at Brookton's Market, Wednesday open mic night at Sacred Root Kava Lounge, and the Canaan Jam Session at the Canaan Institute.  Thursday, a Trivia Night fundraiser for Newfield Public Library at Golden Bayou, [...]

We welcome December this week by returning to the second set of the band's performance at the Golden Hall in San Diego on November 24, 1979. This set has an upbeat beginning with 'Alabama Getaway' going into a classic 'Greatest Story Every Told' - listen for Phil in that wild transition. 'Ship of Fools' follows, with Jerry giving us a find rendition complete with some extended soloing where it doesn't usually occur. 'Terrapin Station' follows, leading into a long and interesting 'Playin In the Band '.   Drums goes into a short Space, then we're treated to 'Sailor>Saint', followed by a fine 'Wharf Rat'. The boys then rock it up with a good 'Sugar Magnolia' and the obligatory 'One More Saturday Night' encore.    Grateful Dead Golden Hall - San Diego Community Concourse San Diego, CA 11/24/1979 - Saturday      Two      Alabama Getaway [7:22] > Greatest Story Ever Told [5:07] Ship Of Fools [9:55] Terrapin Station [12:20] > Playing In The Band [14:23] > Drums > Space [1:47] > Lost Sailor [6:10] > Saint Of Circumstance [5:27] > Wharf Rat [9:27] > Sugar Magnolia [8:06] Encore      One More Saturday Night [4:46] You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod120624.mp3  Hope this finds you warm and dry!  My thanks for your kind support of the Deadpod!

Start spreading the news! This week, our hosts FiG and Knob are melting these little town blues away. It's September 16th, 1988, and the Grateful Dead are playing Madison Square Garden. Along the way, discussions abound about our favorite music movies, Jerry's subtle swagger, and King Kong. Hey Pocky Way New Minglewood Blues Mississippi Half-Step Uptown Toodeloo Me and My Uncle >  Mexicali Blues To Lay Me Down When I Paint My Masterpiece Bird Song  China Cat Sunflower > I Know You Rider Ship of Fools Estimated Prophet >  Terrapin Station >  Drums >  Space > I Need a Miracle >  Dear Mr. Fantasy >  Hey Jude (Coda) > Sugar Magnolia It's All Over Now, Baby Blue

A Neolithic shaman burial at Çemka Höyük in southeastern Turkey? Why not! Somebody had to be a guide to the spirit world. But why are they always buried with tortoises? Aurochs, sure, weasels, um, ok. Our contestants are stumped and offer wild speculations. So business as usual.

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

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .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

Imagine uncovering the hidden gems of the music industry while learning the secrets of successful artist management. We had the incredible opportunity to chat with Jonathan Shank, the CEO of Terrapin Station Entertainment, a division of Sony Music, as he shared his fascinating journey from jam fan roots to playing pivotal roles in the music world. Jonathan opens up about his early influences from jam and improvisational music, the non-linear path of his career, and the significant challenges and rewards he has faced. Jonathan discusses the motivations behind starting his podcast, 'The Jam with Jonathan Shank', and reflects on the vibrant state of the jam scene, the excitement of discovering new talent, and the importance of supporting emerging artists. We even hear some stories from Jonathan's time working with icons like Mickey Hart and Bill Kreutzmann, and he shares some memorable anecdotes from the history of the Grateful Dead. We also examine the modern festival landscape, the rise of artists like Billy Strings and Goose, and what it takes to support emerging artists in today's digital age. Jonathan's managerial insights provide a masterclass in fostering fan engagement and growing a loyal audience, ensuring the vibrant legacy of live music continues to thrive. Check out Jonathanks Site at www.terrapinent.com and make sure to give a listen to his podcast 'The Jam with Jonathan Shank' everywhere podcasts stream! -For THE BEST MUSHROOM CHOCOLATES EVER go over to @MELTMUSHROOMS ON INSTAGRAM and shoot them a DM for a menu of all the amazing flavors of MUSHROOM CHOCOLATE BARS and MAKE SURE TO TELL THEM NSR SENT YOU FOR $20 OFF YOUR FIRST ORDER! Sign up for a subscription to HEADY WAX FIENDS with the PROMO CODE: NSR and receive a free album of your choice from their catalog with a 3 month subscription and 2 free albums with a 6 month subscription! -FREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroad -venuellama.com is back! Head over and sign up for your free Llama Account now and start rating venues! INTRO MUSIC PROVIDED BY - Young & Sick MUSIC IN THE COMMERCIALS BY AND USED WITH PERMISSION OF: CIRCLES AROUND THE SUN OUTRO MUSIC BY AND USED WITH PERMISSION OF: CHILLDREN OF INDIGO No Simple Road is part of OSIRIS MEDIA. Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music

Here's the 14850 Happenings events calendar for the weekend of August 8th! The LionsGate Family Campout music festival in Wilseyville runs today through Sunday. This evening local author Dan Kopcow is doing a reading at the Tompkins County Public Library! Tru Bleu is at Ithaca Beer, SingTrece and Stone Cold Miracle are at the Bernie Milton Pavilion, Tailor Made is at Myers Park in Lansing, and Radio London is at Six Mile Creek Vineyard. For your Friday, the 32nd annual Ithaca Artist Market is at the farmers market pavilion at Steamboat Landing from noon to 7:30! Free admission with loads of local artists' work on display and for sale, music from the East Hill Jazz Group and more, food and local drinks available, and a sunset cruise. Friday evening, a Harry Bodine happy hour show at Deep Dive, Ariel Arbisser at Hopshire Farm, John Krieg at Garrett's Brewing, and Movies in the Park, "Migration," at Stewart Park. In case of another rain-out, that free movie heads to Cinemapolis. Friday's live music at the BoatYard Grill featuring Group du Jour was postponed to Saturday evening! Also Saturday, a Disco Dance Party with DJ Proper Philth at Lucky Hare Brewing and Bob Roberts Calamity at O'Malley's Lakeside. For your Sunday, the Caroline Farm Festival all afternoon at the Brooktondale Community Center. Buena Vista Sunday Club featuring Fabi and Friends at Damiani Wine Cellars. A traditional Irish session at Liquid State. Then Honky Tonk Sunday featuring Eliza Thorn is at Deep Dive. Terrapin Station plays Music in the Hollow on Tuesday at the Ellis Hollow Community Center. Wednesday, a square dance with caller Mark Faris at Mill Park in Newfield. Next Thursday, Immortal Jellyfish at Six Mile Creek Vineyard, Bad Alibi is at Myers Park in Lansing, and The Small Kings & Terrapin Station are at the Bernie Milton Pavilion. Friday, Grant Peeples with Maddy Walsh at Finger Lakes Cider House, Betty's Ghost at the BoatYard Grill, Cooper Scotti at Garrett's Brewing, and Movies in the Park features "Men in Black." And next Saturday, Madd Daddy is at the Antlers! Lots more details and more 14850 Happenings at 14850.com. Subscribe to the Ithaca Minute in Apple Podcasts, Spotify, or Google Play, TuneIn, Stitcher, or via RSS feed, follow 14850.com on Facebook and Twitter, or subscribe to the 14850 Magazine Daily newsletter.

Here's the 14850 Happenings events calendar for the weekend of August 1st! This evening the Cayuga Heights Fire Department wraps up their Movies at the Station summer with "Encanto" at 6 with the Luna Food Truck serving. Nautie Nights features Whiskey Business at Lucas Vineyards, The Inner Crazy at Six Mile Creek, the Destination is at Myers Park in Lansing, and Fire Fly Trio with Diana Leigh and Lil Anne & Hot Cayenne on the Bernie Milton Pavilion. Friday, Afrobeta with guest Dom Martyr at South Hill Cider. Terrapin Station is at Hopshire Brewing. Buttercup Chins at Garrett's Brewing, and Brothers & Friends at the BoatYard Grill. Movies at the Park kicks off with "Wonka" at Stewart Park starting at dusk. And a late night show, Metasequoia is at the Range. On Saturday, Jenny Stockdale and the Wax Matches & Justin Roeland are at Hopshire Brewing, and a roller derby bout, Grapes of Wrath vs. Bad Apples at the Ithaca Mall. For your Sunday, the Ithaca Farmers Market and Freeville Farmers Market. Sundays with Cisco is at Garrett's at 5. Monday, Jazz Monday with MAQ at South Hill Cider. The Notorious Stringbusters play Music in the Hollow on Tuesday at the Ellis Hollow Community Center. Wednesday, open mic night at Sacred Root Kava Lounge, and the Canaan Jam Session at the Canaan Institute. Next Thursday, Radio London at Six Mile Creek Vineyard, Tailor Made is at Myers Park in Lansing, and SingTrece and Stone Cold Miracle are at the Bernie Milton Pavilion. Subscribe to the Ithaca Minute in Apple Podcasts, Spotify, or Google Play, TuneIn, Stitcher, or via RSS feed, follow 14850.com on Facebook and Twitter, or subscribe to the 14850 Magazine Daily newsletter.

Keep it weird! This week, our host Knob takes a solo trek to Portland, Oregon to hear the Grateful Dead's August 15th, 1981 show at the Portland Memorial Coliseum. Along the way, there's much to say about the New Box Set, what makes a good ballad, and Blue's Clues.  CANDACE BRIGHTMAN GOFUNDME : https://www.gofundme.com/f/grateful-dead-lighting-designer-candace-brightman Shakedown Street >  Me & My Uncle >  Big River Tennessee Jed Cassidy  Candyman > CC Rider Althea  Let It Grow   Might As Well Man Smart Woman Smarter To Lay Me Down >  Lost Sailor >  Saint Of Circumstance >  Terrapin Station >  Drums >  Not Fade Away >  Black Peter >  Sugar Magnolia One More Saturday Night   https://www.gofundme.com/f/grateful-dead-lighting-designer-candace-brightman

Remembering Bill Walton: Basketball Star and Grateful Dead SuperfanIn this episode of the Deadhead Cannabis Show, Larry Mishkin covers various topics, including a historic Grateful Dead show, personal concert experiences, and music news. Larry starts with a deep dive into the Grateful Dead's June 3, 1976, concert at the Paramount Theater in Portland, Oregon. This show marked the band's return after a year-long hiatus, featuring five new songs and a revived tune from a four-year break. He highlights the opening track, written by Jerry Garcia and Robert Hunter, which nostalgically reflects on the band's Festival Express tour, a legendary 1970 train journey across Canada with prominent rock bands.Larry then discusses the song "Lazy Lightning," introduced at the same 1976 concert. Written by Bobby and John Perry Barlow, it became a fan favorite for its melody and message of living in the moment, though it was retired from the Grateful Dead's repertoire by 1984. He transitions into music news by honoring Doug Ingle of Iron Butterfly, who recently passed away. Larry reminisces about the band's iconic 1968 track "In-A-Gadda-Da-Vida" and its influence on the late 60s music scene.The podcast also pays tribute to Bill Walton, the legendary basketball player and devoted Deadhead who passed away at 71. Larry shares stories of Walton's deep connection with the Grateful Dead, including his record of attending 869 concerts, significantly more than his total basketball games played. Larry recounts Walton's influence on fellow athletes and his unique presence at Dead shows.Finally, Larry describes his recent experience at a Dead & Company concert at the Sphere in Las Vegas. He marvels at the venue's immersive visual technology, which enhanced the concert experience, likening it to a planetarium. Despite the advanced visuals sometimes overshadowing the music, Larry enjoyed the performance and the unique atmosphere. He also mentions a mini-exhibition featuring Dave Lemieux's tape collection and the significance of tape trading in Grateful Dead fandom.In summary, this episode covers a blend of Grateful Dead history, personal concert experiences, tributes to influential music figures, and the latest in concert technology, providing a rich narrative for Deadheads and music enthusiasts alike.  Grateful DeadJune 3, 1976  (48 Years Ago)Paramount TheaterPortland, ORGrateful Dead Live at Paramount Theatre on 1976-06-03 : Free Borrow & Streaming : Internet Archive First show back after 1975 year offPrior show:  Sept. 28, 1975 – last of the four shows in 1975, this show is 9 months later.  Long wait for Deadheads. Dead did not disappoint with five new songs and a breakout after a 4 year hiatus.  INTRO:                                 Might As Well                                                Track #1                                                1:15 – 2:50 “Take that ride again”                 Might as Well” is a song written by Jerry Garcia with lyrics penned by Robert Hunter. Released on Garcia's 3d solo album, Reflections, in February, 1976.  It's one of the tracks from Garcia's solo career, showcasing his musical versatility and unique ability to transform personal experiences into joyful music.  The song takes a nostalgic look back at the Grateful Dead's time on the Festival Express Tour, a memorable rail trip that brought together prominent artists of the '60s for a raucous, whisky-fueled journey across America.                 Festival Express is the 1970 train tour of the same name across Canada taken by some of North America's most popular rock bands, including Grateful Dead, Janis Joplin, The Band, Buddy Guy, Flying Burrito Bros, Ian & Sylvia's Great Speckled Bird, Mountain and Delaney & Bonnie & Friends.  Later made into a movie             Festival Express was staged in three Canadian cities: Toronto, Winnipeg, and Calgary (Montreal and Vancouver were also originally scheduled but both dropped)  during the summer of 1970. Rather than flying into each city, the musicians traveled by chartered Canadian National Railwaystrain, in a total of 14 cars (two engines, one diner, five sleepers, two lounge cars, two flat cars, one baggage car, and one staff car).[5] The train journey between cities ultimately became a combination of non-stop jam sessions and partying fueled by alcohol. One highlight of the documentary is a drunken jam session featuring The Band's Rick Danko, the Grateful Dead's Jerry Garcia and Bob Weir, New Riders of the Purple Sage's John Dawson, as well as Janis Joplin.             Here, it is played as the show opener.  Ultimately, became more of a first set closer, a popular one along with Deal, another Garcia solo tune.                     Played 111 times                First:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW  19 times that year              Last:  March 23, 1994 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA – only time played that year, 6 times in ‘91                 SHOW No. 1:                    Lazy Lightning                                                Track #6                                                0:00 – 1:46 Written by Bobby and John Perry Barlow, paired with Supplication in concert and released with Supplication as the opening tracks on the album, Kingfish, released in March, 1976. Lazy Lightning is often interpreted as a metaphorical representation of the pursuit of a carefree and leisurely lifestyle amidst the chaos and hardships of reality. The lyrics depict a whimsical scenario where the protagonist encounters a bolt of lightning that transforms into a woman, symbolizing the allure and transitory nature of fleeting pleasures. The song encourages listeners to embrace the present moment and let go of the rigid expectations and responsibilities that burden their lives. It is a celebration of spontaneity, freedom, and the pursuit of personal bliss. Lazy Lightning became a fan favorite due to its infectious melody, poetic lyrics, and the sense of liberation it evoked. Grateful Dead fans often resonated with the song's message of embracing the present moment and shedding societal expectations. It became a rallying cry for those seeking to live life on their own terms, igniting a sense of camaraderie and freedom among concert-goers. Usually, a late first set number.  Unfortunately, dropped from the repertoire in 1984.  I got to hear it three or four times.  A fun number. Played:  also played 111 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA  MUSIC NEWS – Intro music:  In A Gadda Da Vida:  IRON BUTTERFLY - IN A GADDA DA VIDA - 1968 (ORIGINAL FULL VERSION) CD SOUND & 3D VIDEO (youtube.com)Start - :45 is a song recorded by Iron Butterfly, written by band member Doug Ingle and released on their 1968 album of the same name.At slightly over 17 minutes, it occupies the entire second side of the album. The lyrics, a love song from the biblical Adam to his mate Eve, are simple and are heard only at the beginning and the end. The middle of the song features a two-and-a-half-minute Ron Bushy drum solo.  Famously featured on a Simpson's episode when Bart switches the organist's regular music for this tune and hands out the words to the congregation who sing along.  The older organ player plays the entire organ solo (although they only feature a part of it) and then at the end promptly slumps over at the keyboard. Featured today as a tribute to Doug Ingle, songwriter, keyboard player and vocalist for the song, who passed away on May 24th at the age of 78.  He was the last surviving member of the original band lineup.Bill Walton passed away on last Monday, May 27th at the all too young age of 71.  Couldn't miss him at the shows, 7 foot redhead dancing away or else up on stage.Dead & Co. at the Sphere, saw the June 1st show.                SHOW No. 2:                    Supplication                                                Track #7                                                2:00 – 3:30 Written by Bobby and John Perry Barlow, paired with Lazy Lightning in concert and released with Lazy Lightning as the opening tracks on the album, Kingfish, released in March, 1976. The song delves into the universal theme of the human experience, specifically emphasizing the concept of surrender and humility. It explores the idea of surrendering oneself to a higher power, relinquishing control, and embracing the unknown. The lyrics touch upon the vulnerability and humility required to let go and trust in something beyond our comprehension. Supplication encourages listeners to reflect upon their own lives, urging them to question their beliefs, values, and the significance of surrendering to a greater force. Played:  111 times (a good number for the lottery, keeps coming up), always paired with Lazy LightningFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW!!Last:  October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA SHOW No. 3:                    Dancin In the Streets                                                Track #11                                                0:00 – 1:42 "Dancing in the Street" is a song written by Marvin Gaye, William Stevenson, and Ivy Jo Hunter. It first became popular in 1964 when recorded by Martha and the Vandellas whose version was released on July 31, 1964 and reached No. 2 on the Billboard Hot 100 chart for two weeks, behind "Do Wah Diddy Diddy" by Manfred Mann and it also peaked at No. 4 on the UK Singles Chart. It is one of Motown's signature songs and is the group's premier signature song.A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100 reaching No. 73. In 1982, the rock group Van Halen took their cover of "Dancing in the Street" to No. 38 on the Hot 100 chart and No. 15 in Canada on the RPM chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song has been covered by many other artists, including The Kinks, Tages, Black Oak Arkansas, Grateful Dead, Little Richard, Myra and Karen Carpenter. I saw it as the first night show opener on June 14, 1985 at the Greek Theater as part of the band's 20 Anniversary celebration.  A really fun concert tune.  The 1970's versions always had strong Donna support backing up Bobby's lead vocals. This show was the first time the band had played the song since Dec. 31, 1971 (203 shows) Played: 131 timesFirst:  July 3, 1966 at Fillmore Auditorium, San Francisco, CA, USALast:  April 6, 1987 at Brendan Byrne Arena, East Rutherford, NJ, USA MJ NEWS Blake Schneider passed away May 27th at 69.  Legendary cultivator who created the best strain of marijuana I ever smoked.  We just called it Blake weed and put it up against any other strain, anywhere, any time.  Folks would say they had the best weed until I let them smoke some of the Blake weed.  They never failed to concede.  Eccentric, temperamental, hospitable, mentor and good friend.  And self titled “best joint roller in the worlds.”  Was one of my Bulls season ticket partners during the Jordan era.  Every home game began with a pregame at Blake's loop residences including great wines, gourmet appetizers and snacks, top shelf liquor (on the way out the door we always did our “Go Bulls” shots) and more marijuana than anyone should ever smoke.  With four of us in the room, he would have 3 joints circulating at all times.  With his ever present life partner, Jeanne, an evening at Blakes was as much fun as the actual game itself.  Ran into a problem with the Green County Sheriff, but gave them the finger when the feds took the case over and Blake only had to serve 11 months at a fed minimum risk prison instead of the 20 years that Green County said was a done deal given the number of plants he was growing at his farm house in Argyle, WI.  They were not happy campers when the feds moved in to take over the case due to the value of the property they could sieve and force Blake to buy back from them.  Blake was a true party legend and will be sorely missed by those of us that knew him, loved him and tolerated him. 2.        Marijuana Terpenes Are ‘As Effective As Morphine' For Pain Relief And Have Fewer Side Effects, New Study Finds 3.        CBD Is Effective In Treating Anxiety, Depression And Poor Sleep, Study Finds4.        Marijuana And Hemp Businesses At Odds Over Consumable Cannabinoid Ban In House Farm Bill  SHOW No. 4:                    Samson and Delilah                                                Track #12                                                0:00 – 1:45 "Samson and Delilah" is a traditional song based on the Biblical tale of Samson and his betrayal by Delilah. Its best known performer is perhaps the Grateful Dead, who first performed the song live in 1976, with Bobby singing lead vocals and in the ‘70's with Donna joining in. It was frequently played on Sundays due to the biblical reference. Released by the band in 1977 on their album Terrapin Station. Although Weir learned the song from Reverend Gary Davis, several earlier versions had been recorded under various titles, including "If I Had My Way I'd Tear the Building Down"/"Oh Lord If I Had My Way" by Blind Willie Johnson in 1927.[1] The song has since been performed by a wide variety of artists ranging from Dave van Ronk, Bob Dylan, Charlie Parr, The Staple Singers, Ike and Tina Turner, Clara Ward, Dorothy Love Coates & The Gospel Harmonettes, to Peter, Paul and Mary, The Washington Squares, The Blasters, Willie Watson, Elizabeth Cook, Robert Randolph and the Family Band, and Bruce Springsteen and the Seeger Sessions Band (in Verona, Italy 2006). Guest star Simon Oakland sings the song with the drovers around a campfire in the Rawhide episode "Incident of the Travellin' Man", aired in season six on October 17, 1963. A long time favorite tune with a distinctive drummers intro that tipped off the song and got the crowd fired up. Settled into a set opener, more frequently a second set opener and often played on Sundays due to its biblical reference with Bobby's “This being Sunday . .”  Played:  365 timesFirst:  June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOWLast:  July 9, 1995 at Soldier Field OUTRO:                               The Wheel                                                Track #22                                                2:48 – 4:30                 One of their most beloved songs, “The Wheel,” holds a special place in the hearts of fans worldwide. Written by Jerry Garcia, Robert Hunter, and Bill Kreutzmann, this folk-rock anthem has captivated listeners with its enigmatic lyrics and catchy melody. The song's meaning has been widely debated among enthusiasts, and its cryptic nature has allowed for multiple interpretations.            “The Wheel” reflects the transient nature of life, offering a philosophical perspective on the cycles we all experience. The lyrics suggest that life is like a wheel, constantly turning and repeating itself. The song evokes a sense of impermanence and reminds us of the cyclical patterns we encounter throughout our existence. This theme resonates strongly with the band's philosophy and their connection to the spiritual and psychedelic culture of the late 1960s and early 1970s.                “The Wheel” was released on the Grateful Dead's album “Garcia” in 1972.             “The Wheel” is characterized by its infectious melody and intricate guitar work. The song showcases the Grateful Dead's ability to seamlessly blend folk, rock, and improvisational elements into a cohesive piece of music.            Normally, a second set tune, into or out of drums/space although it moved around a bit in the second set.  Here it is the encore which is more of a rarity.            Played 259 times           First: June 3, 1976 at Paramount Theatre, Portland, OR, USA  THIS SHOW            Last:  May 25, 1995 at Memorial Stadium, Seattle, WA                                         .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

Here's the 14850 Happenings events calendar for the weekend of May 17th! All this weekend, Mayfest, Cornell's International Chamber Music Festival, through May 21st. At Deep Dive today, Pocket Bandits happy hour followed by the Crucial Reggae Club. Sim Redmond Band playing at South Hill Cider, Bob Keefe and the Surf Renegades at Liquid State Brewing North Shore. 40 THEEVES at Cedarwood Event Venue tonight, and Donna the Buffalo at Center for the Arts in Homer. Saturday a punk rock happy hour at Deep Dive. KarleeCrow at Brookton's Market, Rachel Beverly at Brewer's, and the Unknown Woodsman at Homer Hops. Terrapin Station is playing at Bike Bar, Donna the Buffalo at Ransom Steele Tavern, and Ithaca College's Commencement Eve Concert tomorrow is open to the public. Sunday, the Freeville Farmers Market is open 11:30-2:30 at the elementary school and the Ithaca Farmers Market is open at Steamboat Landing. The Trumansburg Community Nursery School is having a Sunday afternoon fundraiser at Cedarwood Event Venue, and Cayuga Shoreline has live music featuring Literal Garbage, NEO Project, and Funk Knights. Tuesday evening, Cielle on Solid Ground at Firelight Camps. Benny and the Mex at Salt Point Brewing on Wednesday evening, open mic night at Sacred Root Kava Lounge and the Canaan Jam Session at the Canaan Institute, as well as Galactic Wednesday at Deep Dive. Next Thursday, Rena Guinn at South Hill Cider and Tru Bleu at Six Mile Creek Vineyard. And next Friday, Maddy Walsh and the Blind Spots at South Hill Cider, Freight at Hopshire, and SingTrece and Stone Cold Miracle are at Garrett's in Trumansburg. Lots more details and more 14850 Happenings at 14850.com. Subscribe to the Ithaca Minute in Apple Podcasts, Spotify, or Google Play, TuneIn, Stitcher, or via RSS feed, follow 14850.com on Facebook and Twitter, or subscribe to the 14850 Magazine Daily newsletter.

Brent Midland's First Show 45 Years Ago Today  RIP: Dickey Betts, A True BrotherLarry Mishkin  begins with a discussion about the significance of April 20th (420 Day) and reminisces about a Grateful Dead concert from 45 years ago on April 22nd, 1979, which marked Brent Midland's first show with the band. He delves into Brent Midland's impact on the band and his musical contributions. He also touches on recent concerts by Phish and the Sam Grisman Project.Later, there's a surprising revelation that Tucker Carlson is a Grateful Dead fan, and it reflects on the diverse fanbase of the band. Larry also mourns the passing of Dicky Betts, a founding member of the Allman Brothers Band, highlighting his musical legacy and contributions to Southern Rock. Additionally, he mentions Betts' collaborations with the Grateful Dead and concludes with a tribute to him.Vangst Jobs 2024 Jobs Report  - https://www.vangst.com/2024-jobs-report Grateful DeadSpartan StadiumSan Jose CAApril 22, 1979 (45 years ago)Grateful Dead Live at Spartan Stadium, San Jose State U on 1979-04-22 : Free Borrow & Streaming : Internet Archive Brent Mydland's first show INTRO:                                Jack Straw                                                Track #1                                                0:07 – 1:41                 Brent in on the harmonizing from the first song  SHOW No. 1:                    Minglewood Blues                                                Track #6                                                2:14 – 3:57                 Brent's first solo! Music News: PhishSam GrismanDickey Betts                                                 SHOW No. 2:                    Promised Land                                                Grateful Dead w.Dickey Betts and Butch Trucks                                                June 10, 1973                                                RFK Stadium                                                Track No. 26                                                2:28 - end                                                Grateful Dead Live at Robert F. Kennedy Stadium on 1973-06-10 : Free Borrow & Streaming : Internet Archive  SHOW No. 3:                    Passenger         (Back to April 22, 1979 show)                                                Track #10                                                Start – 1:34                 Brent joining in on the vocals                 There are several original songs in the Grateful Dead repertoire with a one-time-only lyricist. In the case of “Passenger,” the added quirk is thrown in of someone other than the composer singing the song. So we have a song written by Peter Monk, with music by Phil Lesh, and sung by Bob Weir and Donna Jean Godcheaux on Terrapin Station.Lesh wrote the song, admittedly based on Fleetwood Mac's riff for their song “Station Man.” Lesh said, in an interview in Dupree's Diamond News, “What's weird about that song is I sort of did it as a joke. It's a take on a Fleetwood Mac tune called ‘Station Man.' I just sort of sped it up and put some different chord changes in there..."Monk's lyrics for the song have been the source of quite a bit of debate. There are quite a few alternate hearings, especially around the line: “Terrible, the only game in town,” which many, including myself, hear as “Parable, the only game in town.”“Passenger” was first performed on May 15, 1977, at the St. Louis Arena in St. Louis (released on the May 1977 box set). It was performed regularly through1981, with its final performance on December 27, 1981, at the Oakland Auditorium.Terrapin Station, which included the studio version of the song, was released on July 27, 1977. “Passenger” was released as a single, with “Terrapin Station” on the B side.Great tune.  I'm sorry I never got to hear it live.Bootleg album:  Live at Moe's Place – open with it, used to listen to it at good friends' Dinie and Janet's place in Ann Arbor.  Really jams.                 Played 99 times                First:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USA            Last:  December 27, 1981 at Oakland Civic Auditorium, Oakland, CA  MJ News SHOW No. 4:                    Shakedown Street                                                Track #24                                                5:00 – 6:41                 Brent with music fills and vocals  ENCORE:                          Blue Sky                                                Eat A Peach                                                Blue Sky (youtube.com)                                                3:00 – end College acquaintance and fellow Deadhead used to say that whenever she listened to this album, she would play Blue Sky twice and THEN play the album all the way through picking up a third Blue Sky.  I tried it and discovered she was right on about that. .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

Are you ready to rock?? Red rocks!! This week, our hosts FiG and Knob are heading to Morrison, Colorado for the Grateful Dead's July 27th, 1982 show at Red Rocks Ampitheatre. Discussions abound about what makes "On the Road Again" work, what shows we would time travel to, and what Jerry's favorite reality show would've been. Jack Straw > Sugaree On The Road Again It Must Have Been The Roses Me And My Uncle > Big River Peggy-O > Little Red Rooster China Cat Sunflower] > I Know You Rider Playin' In The Band  > Terrapin Station > Playin' In The Band Jam > Drums > Space > The Wheel > The Other One > Stella Blue > Playin' In The Band (Reprise) U.S. Blues

Bakko sits down with Jonathan Shank. CEO of Terrapin Station Entertainment and host of the brand new podcast, The Jam. For fans of our music business talk, this is a must listen. About The Jam: A new podcast hosted by Jonathan Shank exploring the evolution of Jam through the lens of key genres, events, and moments and its connection to the mainstream as told by artists, industry icons, and tastemakers. IG: @officialjampodcast About Jonathan Shank: Jonathan Shank is a music entrepreneur and executive who has worked with everyone from the Bob Marley Estate to the Grateful Dead's Mickey Hart. He is a recognized pioneer in bringing beloved intellectual property to the live stage, with productions such as Disney Junior Live, Peppa Pig Live!, and The Fresh Beat Band Live. He is the CEO of Terrapin Station Entertainment, a joint venture with Sony Music, which produces tours and experiences. www.terrapinent.com About Osiris Media: Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music. We inform and delight music fans by creating shows with leading artists, telling untold stories, and working with brands to craft compelling narratives that bring music to life. We have created podcasts with David Crosby, Trey Anastasio, the Newport Folk Festival, Audacy, Rhett Miller, Maggie Rose, Eric Krasno, and many more. Learn more at OsirisPod.com. Pantheon Podcasts Reach out to us! Rate, review, and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices

Bakko sits down with Jonathan Shank. CEO of Terrapin Station Entertainment and host of the brand new podcast, The Jam. For fans of our music business talk, this is a must listen. About The Jam: A new podcast hosted by Jonathan Shank exploring the evolution of Jam through the lens of key genres, events, and moments and its connection to the mainstream as told by artists, industry icons, and tastemakers. IG: @officialjampodcast About Jonathan Shank: Jonathan Shank is a music entrepreneur and executive who has worked with everyone from the Bob Marley Estate to the Grateful Dead's Mickey Hart. He is a recognized pioneer in bringing beloved intellectual property to the live stage, with productions such as Disney Junior Live, Peppa Pig Live!, and The Fresh Beat Band Live. He is the CEO of Terrapin Station Entertainment, a joint venture with Sony Music, which produces tours and experiences. www.terrapinent.com About Osiris Media: Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music. We inform and delight music fans by creating shows with leading artists, telling untold stories, and working with brands to craft compelling narratives that bring music to life. We have created podcasts with David Crosby, Trey Anastasio, the Newport Folk Festival, Audacy, Rhett Miller, Maggie Rose, Eric Krasno, and many more. Learn more at OsirisPod.com. Pantheon Podcasts Reach out to us! Rate, review, and subscribe at Apple Podcasts: Cobras & Fire: Comedy / Rock Talk Show on Apple Podcasts Join our fanpage on Facebook: (2) Cobras ON Fire: Private Group | Facebook Click like and follow on Facebook: (2) Cobras & Fire: Rock Podcast | Chicago IL | Facebook Follow us on Twitter: Best Hard Rock & Metal Podcast (@CobrasFire) / Twitter Subscribe to our YouTube channel: Cobras & Fire Rock Podcast - YouTube Email us: Buy a shirt!:"Cobras and Fire Podcast" T-shirt for Sale by CobrasandFire | Redbubble | cobras and fire t-shirts - cobras fire t-shirts Stitcher: Cobras & Fire: Comedy / Rock Talk Show on Stitcher Spreaker: Cobras & Fire: Comedy / Rock Talk Show | Listen to Podcasts On Demand Free | TuneIn Find it all here: Cobras and Fire Podcast - Comedy Rock Talk Show Learn more about your ad choices. Visit megaphone.fm/adchoices

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

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg"Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show. Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.  Grateful DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal night of 3 show run March 9 – March 11 (Tuesday – Thursday)  INTRO:                  Help On The Way                                Track #1                                :20 – 2:06                                 Released on Blues For Allah (1975)                                Played 111 times                                First time:  June 17, 1975 at Winterland, S.F.                                       Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY       SHOW No. 1:      When I Paint My Masterpiece                                Track #6                                1:36 – 3:12                 "When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer.             Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for the New York Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It's grown on me as well. I think this song has something to do with the classical world, something that's out of reach. Someplace you'd like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you've achieved the unthinkable. That's what the song tries to say, and you'd have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece". According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: July 9, 1995 at Soldier Field, Chicago My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.            SHOW No. 2:      So Many Roads                                Track #7                                :39 – 2:21                 So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times.Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992;“It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me.... “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.” Robert Hunter's comments on the origins of this song in the notes in Box Of Rain: Lyrics 1965-1993; “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.” Never released on a Dead studio album but was a centerpiece of the Dead's first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995. Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter's lyrics and Jerry's playing and singing. Very emotional.    SHOW No. 3:      Iko Iko                                Track No. 9                                4:04 – 5:38                 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.             The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.             The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko".  Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                 Played 185 times                First: May 15, 1977 at The Arena in St. Louis                Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                 SHOW No. 4:      Space                                Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                4:25 – 5:42 (The Island – Ken Nordine)                               Ken Nordine (April 13, 1920 – February 16, 2019) was an American voice-over and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”             In 1955, he provided the voiceover on Billy Vaughn's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias.             Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at Rosemont, Illinois, in March 1993.            Ken Nordine died February 16, 2019.                OUTRO:                Days Between                                Track No. 18                                4:51 – 6:51                 “Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.)            It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It's hard to say it any better than Phil Lesh did in his autobiography, Searching for the Sound:“Achingly nostalgic, ‘Days Between' evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow' or ‘gave the best we had to give / how much we'll never know,' I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”            Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can't hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                Played 42 times by the band, always in the second set, almost always out of drums                First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                Last:  June 24, 1995 at RFK Stadium, Washington, D.C. This was just the second time it was ever played “Gave the best we had to give, how much we'll never know” No chorus in this song, just verses that keep building on each other. .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

"Birthdays, Breakouts, and Psychedelic Jams: The Legendary Grateful Dead Concert of '77"Today's show comes from February 26, 1977 at the Swing Auditorium. The show not only opens the fabulous '77 campaign and contains the first live versions of two of the truly great Dead tunes – Terrapin Station and Estimated Prophet – but it throws smoke and spits flames. The concert marked the debut of songs like "Terrapin Station" and "Estimated Prophet." Larry Mishkin delves into the significance of these songs in the Dead's repertoire, their musical and lyrical qualities, and the overall atmosphere of the concert. They also provide insights into the venue's history and its importance in rock and roll culture.Additionally, the conversation touches on other topics, such as the Fish concert series in Cancun, Mexico, and the significance of certain Grateful Dead songs like "The Wheel" and "Slipknot." Larry share personal anecdotes related to the music, including experiences at concerts and the culture surrounding marijuana use, inspired by a Commander Cody song. INTRO:               Terrapin Station                           Track # 1                           5:51 – 7:27 Garcia and Hunter Probably that point right where Deadheads think they've seen it all.  The psychedelic rock, Pig's blues, Americana, Wake of the Flood, Mars Hotel and Blues For Allah.  So if you had tickets for this show, you had no idea what you were in for, where the Dead were about to take you, a completely different direction, as close as the Dead would ever come to a rock-opera number.  And there was no waiting, lights went out and . . . . . .  . . . . . . . TURTLE MUSIC!!  Clocking in just shy of 11 minutes, it's not quite the masterpiece it would become, but pretty amazing none the less.  Nothing else existed at that time quite like it.  But from the opening notes you know it is a winner, destined for greatness in the pantheon of great Dead tunes.  One that you could hear every show and never grow tired of or bored with it. The title track from the album released on July 27, 1977, five months after this show.  First studio album since they had returned to touring.  Terrapin Station is the ninth studio album (fourteenth overall) by the Grateful Dead, It was the first Grateful Dead album on Arista Records The cover artwork was produced by Kelley/Mouse Studios, who had created several previous works for the band. Though a terrapin appears in the lyrics only as a place name, dancing terrapins feature prominently in the artwork and afterward became part of the large iconography associated with the Grateful Dead. The front cover image takes the idea of a "terrapin station" literally. The back cover features a stylized, one-eyed skull with a crossed bone, feathers and roses, in keeping with the imagery that had evolved around the Dead. This clip is the famous and beloved transition form Lady With A Fan into Terrapin Station, the first two parts of the seven part suite clocking in at 16:23. The other five parts are:  Terrapin; Terrapin Transit; At A Siding; Terrapin Flyer and Refrain.The Grateful Dead only performed the Lady With A Fan and Terrapin Station.  Dead and Co. have played the entire suite.  Fun to hear, but not the same as if Jerry was playing it.  Too bad he never did.               Played 303 times              First:  This version right here that we just played for you              Last: July 8, 1995  SHOW No. 1:     Estimated Prophet                           Track #4                           1:54 – 3;26  Bob and John Barlow "Estimated Prophet" was written in septuple time. Bobby's lyrics for the song (finished with writing partner John Barlow) examine a character's delusions of grandeur and California's propensity for false prophets. The song also quotes "Ezekiel Saw the Wheel".[13][14] Drummer Bill Kreutzmann said "It's a great song but when [Weir] brought it to us, something was off. It needed a groove. It was in quick4 but it didn't swing. Yet. For my homework that night, I combined two fast sevens and played half-time over it. The two sevens brought the time around to an even number – the phrasing is in two bars of seven, so technically the time signature is in. But that's getting technical. In layman's terms, 'Estimated Prophet' suddenly grooved." Released on Terrapin Station, this was its debut performance and it was well received.  A fan favorite and regular part of the Band's playlist for the rest of their careers.             390 times total           First:  This is it right here.           Last:  June 28, 1995 at the Palace of Auburn Hills outside of Detroit  SWING AUDITORIUM Built in 1949, the Swing Auditorium had a maximum capacity of around 10,000, but it probably sold out at only around 6000 for this Dead show. The venue's ascent into rock and roll fame began in 1962 when a man named Bob Lewis started promoting concerts there. In the ensuing decades, Lewis brought all the legends into the Swing, including Jimi Hendrix, Elvis Presley, Michael Jackson, and, of course, the Grateful Dead. But what really solidified the Swing's place amongst the hallowed venues was the American debut of the Rolling Stones there in 1964. With a mere ten-song set, the Stones stoked the hall into a fervor. The band had to drop their instruments and run for the exits before the crowd rushed the stage. For their part, the Dead played the Swing only four times before it was razed after a small plane crashed into the building on September 11, 1981. SHOW No. 2:     The Wheel                           Track #9                           :30 – 2:09               Released on January 20, 1972 as the final track on side 2 of Jerry's firs solo album, “Garcia”.  The psychedelic closer it exhibits Garcia's short-lived infatuation with pedal steel guitar.  great to hear in concert, although relatively short in length.  Almost always a second set song and, it is high energy and always a great way for the band to transition out of Space.                Played 259 times              First:     June 3, 1976 at the Paramount Theater in Portland Oregon              Last:     May 25, 1995 at Memorial Stadium in Seattle SHOW No. 3:     Slipknot                           Track #14                           11:30 – 13:10 Released on Blues For Allah in 1975 Plays a key role in a key suite and is often overlooked.  The bridge between Help On The Way and Franklin's Tower it often gets lost in the jam out of Help and then into Franklin's.  But it is almost always there and always a great piece of improvisational music that rarely sounds exactly the same, except for the distinctive intro/outro.  Similar to I Am Hydrogen in Phish's Mike's Groove run of songs          Played 114 times (Help = 111 times; Franklin's = 222 times)              First:   October 20, 1974 at Winterland in San Francisco              Last:  June 22, 1995 at the Knickerbocker Arena in Albany, NY SHOW No. 4:     Eyes Of The World                           Track #17                           5:35 – 7:07 Released on Wake of the Flood on October 15, 1973 Many a Deadheads “secret” favorite tune.  It's that good.  Played fast, played slow, almost always in the second set and often times as a companion piece with Estimated Prophet, the coveted “Estimated Eyes” jam.  In the first part of the 1980's second sets often opened with Scarlet>Fire Estimated>Eyes OR Help>Slip>Frank Estimated>Eyes Played 382 timesFirst:  February 9, 1973 at Maples Pavilion at Stanford in Palo AltoLast:  July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO, just outside of St. Louis  OUTRO:              Dancin' In The Streets                           Track #18                           7:40 – 9:13 “Dancin' in the Streets" is a cover of Martha & the Vandellas' "Dancing in the Street" from the early days of the band, given a new arrangement that prominently features singer Donna Godchaux. For the studio version, a funk-influenced guitar figure was added to a four-on-the-floor disco beat and polished with a commercial production contemporary to the era. Released by the Dead as the second song on Terrapin Station.  Played 131 timesFirst:  July 3, 1966 at the Fillmore in San FranciscoLast:  April 6, 1987 at Brendan Byrne Arena in New Jersey Dead would play this tune in spurts:            28 times in 1970            27 times in 1976            14 times in 1977 and 1978            A bit of a comeback in 1984 and 1985 – 6 times each year, b            Once in 1987            Gone  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law .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

"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

Today, the Spotlight shines On music impresario Jonathan Shank, the CEO and Founder of Terrapin Station Entertainment.Jonathan is known for his instincts and successes in sniffing out unique opportunities in under-served spaces in the live entertainment industry, creating business successes in categories and markets often overlooked by the large corporations that dominate so much of the entertainment sector today.Jonathan has developed projects for names as disparate as the Bob Marley Estate, Mickey Hart of the Grateful Dead, and multiple family entertainment properties: Disney Junior Dance Party On Tour, Peppa Pig Live!, and The Fresh Beat Band Live - all while generating more than $80 million in gross box office sales.Jonathan earned a Grammy Award in 2009 for his role in creating the groundbreaking album Global Drum Project with Mickey Hart and in 2020, he received the T.J. Martell Trailblazer Award for his work producing such charity events as The Homeward Bound Concert and A Tribute to the Music of Linda Ronstadt.Jonathan has had a fascinating run so far, and by the end of this talk, you will see that he's just getting started.------------------Dig DeeperBe sure to check out Terrapin Station Entertainment at terrapinent.comFollow Terrapin Station Entertainment on Instagram, LinkedIn, and YouTubeQ's With Jonathan Shank: On Terrapin Station's Legacy Of IntelligenceHow Jam Bands inspired Terrapin Station Entertainment's Jonathan ShankBob Marley One Love Experience at the Saatchi GalleryThe Future Of Immersive Entertainment Is Now – The Sphere Experience Has BegunBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On music impresario Jonathan Shank, the CEO and Founder of Terrapin Station Entertainment.Jonathan is known for his instincts and successes in sniffing out unique opportunities in under-served spaces in the live entertainment industry, creating business successes in categories and markets often overlooked by the large corporations that dominate so much of the entertainment sector today.Jonathan has developed projects for names as disparate as the Bob Marley Estate, Mickey Hart of the Grateful Dead, and multiple family entertainment properties: Disney Junior Dance Party On Tour, Peppa Pig Live!, and The Fresh Beat Band Live - all while generating more than $80 million in gross box office sales.Jonathan earned a Grammy Award in 2009 for his role in creating the groundbreaking album Global Drum Project with Mickey Hart and in 2020, he received the T.J. Martell Trailblazer Award for his work producing such charity events as The Homeward Bound Concert and A Tribute to the Music of Linda Ronstadt.Jonathan has had a fascinating run so far, and by the end of this talk, you will see that he's just getting started.------------------Dig DeeperBe sure to check out Terrapin Station Entertainment at terrapinent.comFollow Terrapin Station Entertainment on Instagram, LinkedIn, and YouTubeQ's With Jonathan Shank: On Terrapin Station's Legacy Of IntelligenceHow Jam Bands inspired Terrapin Station Entertainment's Jonathan ShankBob Marley One Love Experience at the Saatchi GalleryThe Future Of Immersive Entertainment Is Now – The Sphere Experience Has BegunBe sure to peruse this episode's extensive show notes at spotlightonpodcast.com------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice. • Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Instagram, Facebook, and Mastodon. Hosted on Acast. See acast.com/privacy for more information.

"Marijuana Dispensaries and Predictive Football: A Quirky Comparison"Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th  college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show.The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences.The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions.Produced by PodConx Grateful DeadJanuary 8, 1978Golden Hall Community ConcourseSan Diego, CAGrateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive Jerry has laryngitis so he did not singDonna filled in for him  INTRO:                  Jack Straw                                Track #2                                0:07 – 1:38                 Not on any studio album.  Featured on Europe ‘72                First time played:  October 19, 1971, Minneapolis  (Keith Godchaux's first show)                Last played:  July 8, 1995, Soldier Field, Chicago                Total times played =  476 (No. 11 on list of all time songs played)  SHOW No. 1:      Lazy Lightning>Supplication                                Track #8:  3:00 – end and then straight intoTrack #9:  0:00 – 1:15                 DAVID DODD:    The pair of songs was recorded on the Kingfish album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976.             The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater.                                “Supplication” was played by itself, according to DeadBase X, on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.”             a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It's a coda, carrying forward the same themes—only the form of the verse has changed. Lazy Lightning – 111 total times playedSupplication – 123 total times played                  SHOW No. 2:      Estimated Prophet                                Track #14                                2:35 – 4:15                 Weir/BarlowReleased on Terrapin Station released on July 27, 1977 (first studio album released by the band after it returned to live touring after its 1975 hiatus.                               DAVID DODD:  “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on Terrapin Station, released July 27, 1977.                Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There's always some guy who's taken a lot of dope and he's really bug-eyed, and he's having some kind of vision. He's got a rave he's got to deliver.' “                 This is one of those songs, and there are quite a number of them in the Dead's repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I've always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally.    SHOW No. 3:      The Other One                                Track # 16                                13:30 – 15:07                 The imagery conjured up by Bob Weir, in his portion of the suite, “That's It for the Other One,” on Anthem of the Sun, is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin' through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice's rabbit hole, because of where it led.     “The bus came by and I got on...that's when it all began.”That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning.                The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.”                 There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing something illegal. Weir's interview with David Gans (along with Phil Lesh) cited in The Complete Annotated Grateful Dead Lyrics refers to a particular incident:Gans: Now, I remember a version from a little bit earlier, maybe late in '67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a second verse that was about “the heat in the jail weren't very smart,” or somethin' like that...Weir: Yeah, that was after my little...Lesh: Water balloon episode?Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn't care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on.Lesh: Just happened to have a water balloon, in his hand... Ladies and gentlemen...Weir: And so I got him right square on the head, and...Lesh: A prettier shot you never saw.Weir: ...and he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit.Gans: Smilin' on a cloudy day. I understand now.Weir: And at that point, he decided to hell with due process of law, this kid's goin' to jail.                So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year.             Part of the suite of songs, That's It For The Other One from Anthem of the Sun.  Made up of four sections:  "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product.            appears that way on Anthem of the Sun, bracketed by Garcia's “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band's careerI. "Cryptical Envelopment" (Garcia)[edit]"Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite.II. "Quadlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)[edit]"Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section.III. "The Faster We Go, the Rounder We Get" (Kreutzmann, Weir)[edit]One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2]) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters and in particular Neal Cassady.[2] Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] This section ends with a reprise of "Cryptical Envelopment".IV. "We Leave the Castle" (Constanten)[edit]The only Grateful Dead composition written by Tom Constanten, "We Leave the Castle" is an avant-garde piece featuring prepared piano and other studio trickery.[While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann and Bob Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One").            The Other one– performed 549 times            First played:  Oct. 31, 1967 at Winterland, S.F.            Last played:  July 8, 1995, Soldier Field, Chicago             That's It For The Other One – performed 79 times            First played:  October 22, 1967 at Winterland, S.F.            Last played:             Cryptical Envelopment – performed 73 times            First played:     Oct. 21, 1967 at Winterland, S.F.            Last played:     Sept. 3, 1985 – Starlight Theater, K.C.              SHOW No. 4:      Truckin'                                Track # 17                                4:22 – 6:03                 The lyrics were written under pressure, in the studio, during the recording of American Beauty (Nov. 1970) (released as a single backed by Ripple in Jan. 1971), with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing.The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band's adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light's all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it's been.”At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that's some measure of wordsmithing success, I would say.                Truckin'” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin'” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri.  OUTRO:                Johnny B. Goode                                Track #19                                1:10 – 2:51                 Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart.[1] The song remains a staple of early and later rock music."Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music. Credited as "the first rock & roll hit about rock & roll stardom",[2] it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's 2021 version[3] and 7th on the 2004 version of the "500 Greatest Songs of All Time"[2][4] and included as one of the 27 songs on the Voyager Golden Record, a collection of music, images, and sounds designed to serve as a record of humanity.Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis.[5]The song was initially inspired by Johnnie Johnson, the regular piano player in Berry's band,[7] but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake played the piano, along with Willie Dixon on bass and Fred Below on drums.[5][8] The session was produced by Leonard and Phil Chess.[8] The guitarist Keith Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9]The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan's "Ain't That Just Like a Woman" (1946), played by guitarist Carl HoganA cover version is featured in the film Back to the Future (1985), when the lead character Marty McFly, played by actor Michael J. Fox, performs it at a high school dance.Played 283 times, almost always as an encore or show closer (back in the days where there were no encores)First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F.Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in Birmingham, AL .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

Happy Holidays! This week, to get in the holiday season, our host FiG is heading to the Big Apple for the Grateful Dead's September 18th, 1991 show at Madison Square Garden. Discussions (well, monologues) abound about a thoughtful essay from Kabonius. In the Midnight Hour Ramble On Rose Wang Dang Doodle Candyman Stuck Inside of Mobile with the Memphis Blues Again Row Jimmy Jack Straw Victim Or The Crime > Crazy Fingers > Playin' In The Band > Terrapin Station > Drums > Space > The Wheel > I Need A Miracle > Wharf Rat Sugar Magnolia Brokedown Palace 

Jonathan Shank has continuously forged pathways within the live entertainment industry, actively seeking out untapped territories and marginalized markets, thereby contributing to the creation of immensely successful family-oriented touring phenomena and unconventional cornerstone projects. As the CEO of Terrapin Station Entertainment, a dynamic collaboration with Sony Masterworks, Shank has firmly established himself at the innovative crossroads of artist management, event production, immersive experiences, talent cultivation, and community empowerment, all centered in Los Angeles. An ardent music enthusiast with a diverse portfolio spanning from collaborations with the Bob Marley Estate to partnering with Mickey Hart from the Grateful Dead, Shank stands as a trailblazer in adapting cherished intellectual properties into captivating live stage productions. His visionary contributions, such as Disney Junior Dance Party On Tour, Peppa Pig Live!, and The Fresh Beat Band Live, have collectively grossed over $80 million in box office sales. Notably, his collaborative efforts with Mickey Hart led to the groundbreaking Grammy Award-winning album, Global Drum Project, recognized in 2009. Moreover, Shank's commitment to charitable endeavors is equally noteworthy. His production of charity events like The Homeward Bound Concert and A Tribute to the Music of Linda Ronstadt showcases his dedication to leveraging entertainment for philanthropic causes. In recognition of his pioneering initiatives and substantial contributions to the industry, Shank was honored with the T.J. Martell Trailblazer Award in 2020.

"Ruby's Groovy Journey: Cannabis, Music, and the Deadhead Show"Larry Mishkin  shares his excitement about the birth of his granddaughter, Ruby. He discusses how the song "Ruby Waves" by the band Phish may have inspired her name and how the family is already introducing her to great music. Larry also dives into Grateful Dead, sharing details about a 1979 concert from the Spectrum in Philadelphia and highlighting the song "Jack Straw."Larry then talks about recent Grateful Dead releases and encourages listeners to consider subscribing to annual releases for access to exclusive content. He provides insights into the song "Jack Straw," its lyrics, and the band's performance of it throughout the years. The episode also features the Jerry Garcia Band's song "Rubin and Cherise" and its connection to the love story of Ruby..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast  INTRO:                  Ruby Waves                                Phish                                July 14, 2019                                Alpine Valley, East Troy, WI                                Phish - 7/14/2019 - Ruby Waves - YouTube                                0:09 – 1:35                 Part of today's show is in honor of my first grandchild, Ruby, born late last month in Georgia.  My son Matt  is a huge Phish fan and his wife Elena enjoys them too if not quite to the same degree.  But they both love this song which may or may not have been the inspiration for their daughter's name.  Regardless, Ruby is wonderful and her father is already playing this clip by her bassinet – she lays there and smiles! Phish first played the song on June 18, 2019 at the Budweiser Stage in Toronto.  Of the 164 Phish shows since that debut, the band has only performed it a total of 27 times (less than 2% of the Phish shows played since its debut), most recently October 11, 2023 at the Erwin Nutter Center on the campus of Wright State University in Dayton, OH.  So not only was seeing this song a rarity, but this version is particularly well known as it is from a legendary show at Alpine Valley a few years ago. This particular version of Ruby Waves runs an incredible 38 minutes and was only one of the many highlights from that show (which featured a huge Olivia's Pool breakout among other big moments).  Check out the clip, check out the show, and when you hear Ruby Waves think of little Ruby making her appearance into the world. DeadAlso featuring the Dead from The Spectrum in Philly 44 years ago today.  A year of big transition, Jim Marty's first Dead show, and some almost under the radar amazing shows, including this one.  An eleven song first set followed up by a four song second set (plus drums and space;  who do these guys think they are, Phish?) and strong encore.  Here is how it all started SHOW #1:                           Alabama Getaway                                                Track No. 1                                                0:10 – 1:35                 This is only the second time the Dead played this song in concert, the first being two nights earlier on Nov. 4th at the Providence Civic Center in Rhode Island.  Song would first be released six months later (4.28.1980) on Dead's album, Go To Heaven.  Ultimately played by the Dead 143 times, with an almost five year gap from 1990 – 1994, Jerry brought it back to the stage for a handful of performances in 1995, including the last one on June 2, 1995 at Shoreline Amphitheatre in Mountain View, CA.                  Great cultural references to Alabama's complicated legacy, Bill Bojangles, the Twenty Third Psalm from the Bible and more. Great up-tempo tune usually played as a show opener, although it was known to move around from time to time.                 Extended this clip to catch the Brent breakout during the jam.  Still new to the group Brent was not shy and made his presence known with authority even in the first year.  SHOW #2:                         Jack Straw                                          Track No. 10                                           3:16 – 4:47                 One of the highlights of this show, fantastic version of this crowd pleaser and great jamming tune.  Brent again jumping into the mix with his backing vocals and his strong keyboard work filling in the gaps.                 Written by Bobby and Robert Hunter, was never released on a studio album but was released on Europe '72 album.                Originally, Bobby sang all the vocals, but at a show in Paris on May 3, 1972, Bobby and Jerry began trading off vocals on different verses and it stayed that way until the end.  The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse. Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.                 Long a staple of live Dead shows, the song was first heard live on October 19, 1971 at Northrop Auditorium in Minneapolis (another legendary show due to it being Keith Godchaux's first show with the band AND the large number of breakout tunes including Tennessee Jed, Mexicali Blues, Comes  A Time, One More Saturday Night, and Ramble On Rose – continuation and new wrinkles to their Americana style that began a year earlier with the releases of American Beauty and Workingman's Dead and now reflected Keith's newly introduced input from the grand piano).                 Ultimately played by the Dead a total of 476 times putting it very high up on the list of most played Dead tunes.                Last played on July 8, 1995 at Soldier Field in Chicago.  Time for more Ruby SHOW #3:                        Ruben and Cerise                                         Grateful Dead                                         March 17, 1991                                         Cap Center, Landover, MD                                         Grateful Dead Live at Capitol Centre on 1991-03-17 : Free Borrow & Streaming : Internet Archive                                         2:05 – 2:29               Sweet Ruby dressed in Red is one of the main characters in this Garcia/Hunter song that was first released in April as the opening tune on the JBG's only studio album, Cats Under The Stars (Run For The Roses is considered a “studio album”). Although played with some frequency by the Jerry Garcia Band (76 times), the Grateful Dead only played it four times in concert, this clip being their breakout.  Last played on June 19, 1991 at Buckeye Lake Music Theater in Thornville, OH.  A classic tale of love found and lost set in the Carnival season in New Orleans.  Beautiful lyrics for a sad and cautionary tale.  Sorry to say I never saw it live by the Dead or JGB.  I have seen it since by Phil, JRAD and others. Nice but not close to the same.  Back to the Dead SHOW #4:                        Terrapin Station                                         Track No. 12                                         8:00 – 9:31               Beautiful Hunter/Garcia epic mulit-part suite with Hunter composing the lyrics during a single sitting one night during a rare Bay Area lightning storm.On the same day, driving across the Richmond–San Rafael Bridge, lead guitarist Jerry Garcia was struck by the idea for a singular melodic line. He turned his car around and hurried home to set it down in notation before it escaped him. Hunter said "When we met the next day, I showed him the words and he said, 'I've got the music.' They dovetailed perfectly and Terrapin edged into this dimension."[10] Hunter based the lyrics for the "Lady with a Fan" section on a traditional English folk song known variously as "The Lady of Carlisle", "The Bold Lieutenant" and "The Lion's Den". The ballad is No. 396 on the Roud Folk Song Index. It is also O 25 on the Laws list, which synopsizes "The lady decides to choose between two brothers who love her by determining which is braver. She tosses her fan into a lion's den and asks them to retrieve it."[11] Hunter, who was also influenced by Sir Walter Scott, had composed "Terrapin Station" in two parts, the second never recorded or performed by the Grateful Dead.Drummer Bill Kreutzmann ironed out the arrangement, explaining "We sat down and mapped it out. I said, 'This is how the song goes.' I showed [Mickey] all the parts that I felt worked really well, he added a couple, and that's what the song is today. We went back into the studio the next night and got it right. With the drum parts worked out, everything else snapped together like puzzle pieces.            As the opener of a four song second set, this is a strong version, jammed out, but not too much is a show highlight.  Barely two years old (Terrapin Station album released on July 27, 1977, first performed a few months earlier on Feb. 26, 1977 at the Swing Auditorium in San Bernardino, CA) at this point, you can still hear Garcia playing around with the timing of the lyrics. Ultimately played in concert by the Dead 303 times with the last rendition on July 8, 1995 in Chicago.         An song for fans of fun tales of all ages, I suspect young Ruby will become quite familiar with this tune over time!  OUTRO:                      Goodbye Ruby Tuesday                                    Rolling Stones                                    Live – 1991                                    The Rolling Stones - Ruby Tuesday (Live) - Official 1991 - YouTube                                         1:52 – 3:12

 It's Friday the 13th, but I hope you'll feel lucky to listen to this fine second set from October 18, 1978.  The second night of the 'From Egypt with Love' run at Winterland, this set features some very strong Drums and Space, highlighted by a guest appearance from Lee Oskar, giving it a decided Egyptian feel. While Jerry flubs the lyrics to 'Terrapin Station' a fine 'Samson and Delilah' more than makes up for it. The show also has a rare set-ending 'Truckin' which is first rate.  I hope you enjoy it.. Grateful Dead Winterland Arena San Francisco, CA 10/18/1978 - Wednesday       Two      Bertha [7:13] > Good Lovin' [6:05] From The Heart Of Me [3:48] Ship Of Fools [6:36] Samson And Delilah [8:19] Terrapin Station [12:06] > Playing In The Band [10:#49] > Drums (1) [9:30] > Space (1) [5:58] > Wharf Rat [11:#33] > Truckin' [11:21] Encore I Need A Miracle [4:20#] Comments     (1) with Lee Oskar on harmonica, appears at 4:48 into drums. You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod101323.mp3   Thank you for your support of the Deadpod, which has allowed us to continue to present these shows every week for the last 17 years! Happy Anniversary Deadpod!  

Grahame Lesh is a singer and guitarist and the son of Phil Lesh of The Grateful Dead. Grahame plays with his band, Midnight North, and his dad's bands, Terrapin Station and Phil Lesh & Friends. He talks about growing up with the Dead, “Uncle” Jerry Garcia, and much more.My featured song is “Trippin”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“IT'S ALIVE!” is Robert's new Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Grahame:midnightnorth.com & grahamelesh.com@grahamelesh and @midnightnorth on Facebook & Instagram. Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comPGS Store - www.thePGSstore.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

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

Yo!This was one for the ages.Having being fortunate enough to be invited up to Sk8bar in St. Joe, I gladly accepted and -- while there -- was able to connect with Danny "Dr. 47" Phillips to record Episode # 75 of Badass Records podcast.Such a challenge. So much fun. So worth it.Seriously.I didn't know how I would attempt to make myself comfortable in someone else's space. I didn't know if I'd know how to set up all of the gear once I'd taken it apart for the first time, and I didn't know how I'd do (at all) attempting to conduct an interview beneath all of those details.But, alas...the stress and the anxiety were completely unwarranted.Brandon and Jesse welcomed me into their home away from home, and Danny was a gracious host/guest.He was every bit of (unsolicited) awesome as advertised, and was quick to quell the worries of my brain that a booker/promoter for a live-music venue would feel too busy to be participating in an interview for a podcast.And, the chat was -- in my mind -- perfect.We talked a little bit about the ol' life thing. The work thing. The...just...you know...doin' it thing. And of course we talked about a few of Danny's favorite records.He gave me a substantial list, and -- for shits and giggles -- I broke it in half.Here's what that looked like:List A:Sticky Fingers (1971), The Rolling StonesFleetwood Mac's Rumours (1977)Outlandos d'Amour (1978), The PoliceThe Lemonheads's It's a Shame About Ray (1992)Siamese Dream (1993), Smashing PumpkinsNirvana's In Utero (1993)A.M. (1995), WilcoList B:At Folsom Prison (1968), Johnny CashBig Star's #1 Record (1972)My Aim Is True (1977), Elvis CostelloThe Ramones's Rocket to Russia (1977)Last Splash (1993), The BreedersBad Religion's Stranger Than Fiction (1994)In the Aeroplane Over the Sea (1998), Neutral Milk HotelIf you want to get a hold of Danny for band-booking purposes, here are what I believe to be the best ways:1) Contact Sk8bar -- either via the landline (after 5:00 p.m. Central) at 816-689-0507 or via Facebook.2) Holler at Danny either via his Instagram or his Facebook page.3) You can also find him on Twitter, if you please, but, I digress...My chat with Dr. 47 was fantastic. Please consider giving it a view or a listen. Please check out Sk8bar, and please check out the Merch' store on the podcast's Web site. Even a sticker purchase helps.Anyhoo...as Jamal a.k.a. Jamel says, "Be kind, be good to each other, and help keep great music alive."At least that's what I think he says.Thanks for stopping by.copyright disclaimer: I do not own the rights to the promo or the intro/outro audio. They are clips from a tune called, "Terrapin Station Medley" by the Grateful Dead off of their 1977 album, Terrapin Station (c/o Grateful Dead Productions. Marketed by Rhino Entertainment Company, a Warner Music Group Company).

Here's the Ithaca Minute from 14850 Today for July 10th. The Ellis Hollow Community Center launched a summer of live outdoor music with the Notorious String Busters at their Chicken BBQ fundraiser on June 27th, and this year's Music in the Hollow free concert series begins this Tuesday as the Pelotones hit the stage. Music in the Hollow takes place around the pavilion at the Ellis Hollow Community Center, with plenty of lawn space for an audience, and with a large parking area along Genung Road. Many attendees bring blankets or lawn chairs, and many bring a picnic, though there's usually food available for sale as well. The lineup includes the Pelotones, Rachel Beverly, Joe Crookston, Freight, the Smokin' Loons, Jenny Stockdale, and scheduled for Jerry Garcia's birthday, Terrapin Station. The free shows are Tuesdays at 6 at the Ellis Hollow Community Center on Genung Road, east of Ithaca. Lots more 14850 Happenings at 14850.com. Subscribe to the Ithaca Minute in iTunes or Google Play, RadioPublic, TuneIn, Stitcher, or via RSS feed, follow 14850.com on Facebook and Twitter, or subscribe to the 14850 Magazine Daily newsletter.

This week's Deadpod features a fine second set from the band's performance on April 15, 1988 at the Rosemont Horizon in Chicago Illinois.  The band is tight throughout on this night, starting from the opening Bucket, which goes into a very nice 'Crazy Fingers'. Garcia gives a lovely solo here, and it sets the mood for a reflective 'Looks Like Rain' which follows and on which Weir provides a lovely rendition. 'Terrapin Station' follows, and the boys rev this one up as that train pulls into the station! Drums and Space follows (probably with a bit of a cut somewhere here), followed by a slinkly 'Other One'. Bobby follows that with 'I Need a Miracle' which seems a bit out of place but Brent follows with the 'Dear Mr. Fantasy>Hey Jude' combo which was performed quite often during this period. The 'Lovelight' that follows is a perfect counter coming out of that.  Jerry gives the crowd a wonderful encore with 'Knockin' On Heaven's Door' to close the evening.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          Grateful Dead Rosemont Horizon Chicago , IL 4/15/1988 - Friday Two     Hell In A Bucket [6:28] > Crazy Fingers [8:05] > Looks Like Rain [8:28] > Terrapin Station [11:31] > Drums [2:15#] > Space [#7:13]> The Other One [5:01] > I Need A Miracle [3:19] > Dear Mr. Fantasy [4:28] > Hey Jude [2:05] > Turn On Your Love Light [5:11] Encore     Knockin' On Heaven's Door [7:37]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042823.mp3  Thanks for your kind support. 

What's up everyone? Jake and Spenny hop in the studio on this fine Friday to recap a wild Terps win over the West Viriginia Mountaineers in the first round of the NCAA Tournament. After some chatter on that the guys get into a lengthy discussion on NFL free agency, which predictably spends a ton of time on updates surrounding Lamar Jackson and all that's gone down with him since his negotiating window opened up on Wednesday. The fellas close things out with some brief Orioles talk as opening day is right around the corner. Can you feel it? Thanks as always for listening, and we'll chat with you guys again very soon. Follow the show on social: Twitter: @Exit52Podcast, @jakelouque, @ravens4dummies IG: exit52podcast

Maggie speaks with CEO of Terrapin Station Entertainment, Jonathan Shank  about his latest project, Bob Marley One Love Experience which began its run of engagement in Los Angeles January 27th and runs until April 23, 2023 (12- week engagement)This multi-sensory experience will showcase never-before-seen Marley photographs and memorabilia, while immersing you in a journey through his life, passions, influences, and enduring legacy. Venture through the One Love Forest, visit the Soul Shakedown Studio and delve into the multi-sensory experience celebrating one of the world's most beloved and unifying musical figures. 6801 Hollywood Blvd. (2nd floor next to Dolby Theater), Los Angeles, United States. CA 90028.Located in the heart of Hollywood, along the Hollywood Walk of Fame, it is among the most visited tourist destinations and shopping complexes in Los Angeles.Children 5 and under are admitted FREEAn experience presented by Terrapin Station EntertainmentSource: https://shorefire.com/roster/jonathan-shank/bioSource: https://bobmarleyexp.com/los-angeles/This episode is from an archive from the KPFK program Profiles adapted for podcast.Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

This week's Deadpod features the second set from the band's performance on February 21, 1991 in Oakland CA.  This is a very nice second set, sans Bruce Hornsby, it starts out with the unusual set opening 'Playin In the Band'. This version is quite nicely jammed out and just when you wonder when they'll come down we get a 'Terrapin Station' tease.. but no, they go instead into a tight 'Uncle John's Band'. Jerry sounds great and the song is very tight. They finally do go into 'Terrapin' following this, and that leads into another jam which then goes into Drums and Space which accompanies the Dragon Parade celebrating Chinese New Year. 'Eyes of the World' comes out of 'Space' the last time this ever happens, then a very good version of 'Throwing Stones' into 'Not Fade Away'. The 'Knockin' on Heaven's Door' was always a fine ending.   Two Playing In The Band [15:44] (1) > Uncle John's Band [10:20] (2) ; Terrapin Station (2) > Jam [6:15] > Drums > Space > Eyes Of The World (2) ; Throwing Stones > Not Fade Away Encore Knockin' On Heaven's Door Comments (1) terrapin Station tease [:40] (2) with Airto Moreira     You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod022423.mp3 Thank you for your kind support.   

PLEASE NOTE if you automatically downloaded this episode this morning you may have a corrupted file  please redownload from this link! Thank you!   This week we conclude our visit to the Uptown Theater with the second set from the band's performance on  January 31, 1978.  This set starts with a fine Scarlet>Fire with a wonderful transition with Donna hitting this just right. The Samson is raging, then the band goes into a delicious Terrapin Station, into a sweet Playing with Phil really adding some nice bottom. A short Drums and Space leads into an intense 'Black Peter', much longer than the earlier versions, then 'Truckin' leads into a set closing, and quite enjoyable 'Good Lovin'.    No encore. Grateful Dead Uptown Theatre Chicago, IL 1/31/1978 - Tuesday Two     Scarlet Begonias [11:57] > Fire On The Mountain [9:16] Samson And Delilah [8:15] Terrapin Station [10:11] > Playing In The Band [9:#04] > Drums [1:26#] > Space [7:42] > Black Peter [12:54] > Truckin' [8:53] > Good Lovin' [5:53]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012723.mp3 Thank you all for your kindness. 

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

In this episode, we take a look at the Grateful Dead's ninth studio album, 'Terrapin Station,' in celebration of the 45th anniversary of its release.For a more comprehensive look at the incomparable title track, check out my brother, Spencer, and I's deep-dive in Episode 36!Instagram & TikTok — @rocktalk.dr.cropperTwitter — @RockTalkDrCroppFacebook, LinkedIn & YouTube — Rock Talk with Dr. CropperEmail — rocktalk.dr.cropper@gmail.comSupport the show

In this week's episode of 36 From The Vault we return to the hallowed month of May 1977 for two complete shows, and the only six-CD set of the Dick's Picks series. With two shows that prelude the stunning Dick's Picks 3 set, we hear the sleek brilliance of 1977 Dead across 6+hrs of music.The May 19 side of the release is highlighted by some of the Dead's best song's utilized throughout 1977 with a particularly stunning “Peggy-O” on Disc One. The magic is found throughout Disc Three where “Terrapin Station” > “Playin' In The Band” -> “Uncle John's Band” -> “Drums” > “The Wheel” > “China Doll” -> “Playin' In The Band” showcases seamless creativity and exceptional flow throughout. While May 21 shares many of the same songs with the famed Cornell set from May 8, it's bolstered by an outstanding “Jack-A-Roe” on Disc Four as well as a top tier “Scarlet Begonias” -> “Fire On The Mountain” on Disc Five. Disc Six features the entire second set of 5/21 with “He's Gone” -> “Drums” -> “The Other One” showcasing the evolving improvisational approach of The Dead during this period. Of note, “One More Saturday Night” makes its long-awaited DP debut during this set. Finally, Rob & Steve discuss the bonus tracks included from October 11, 1977's show in Norman, OK. If you ever needed convincing of why May 1977 is so highly regarded by GD fans, this extended set should be all you need for convincing. 36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 30 in anticipation of our next episode, which will drop on Monday, May 9! See acast.com/privacy for privacy and opt-out information.

On the show today I get another chance to speak with someone who has been a part of the story of my favorite band, the Grateful Dead. Dennis McNally tells us about his first Dead show in 1972, gives us some truly amazing Songfacts (you'll want to hear the story of Terrapin Station), and recounts his time with the band as their biographer and publicist.If you love the Dead like I do, stick around for this one as we hear some great stories from someone who lived within the wonderful world that is the Grateful Dead. Please join me in welcoming Dennis McNally.https://www.dennismcnally.com/https://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

On the show today I get another chance to speak with someone who has been a part of the story of my favorite band, the Grateful Dead. Dennis McNally tells us about his first Dead show in 1972, gives us some truly amazing Songfacts (you'll want to hear the story of Terrapin Station), and recounts his time with the band as their biographer and publicist.If you love the Dead like I do, stick around for this one as we hear some great stories from someone who lived within the wonderful world that is the Grateful Dead. Please join me in welcoming Dennis McNally.https://www.dennismcnally.com/https://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

Pat and Murray welcome Deadhead Michael Bagford to the "Zoom Room" to discuss The Grateful Dead's studio albums from 1967 to 1990.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Donna Jean Godchaux is the only woman to ever be a member of the Grateful Dead. Along with her husband Keith, she was in the group from 1972-1979 as a singer and songwriter. She joined them in the Rock and Roll Hall of Fame in 1994.Pre-Dead, Godchaux sang backup in Muscle Shoals, Alabama, appearing on the Percy Sledge classic "When a Man Loves a Woman." She later sang back up on two of Elvis Presley's most famous songs: "Suspicious Minds" and "In the Ghetto."In this episode, we talk about those Elvis sessions and get the story behind a song she wrote for the Dead called "Sunrise," which appears on the Terrapin Station album. But we start the show with the story behind "Shelter," a song she wrote in 2007 with her guitarist, Jeff Mattson, that she remixed and re-released in 2021.https://donnajeanandthetricksters.hearnow.com/https://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

Donna Jean Godchaux is the only woman to ever be a member of the Grateful Dead. Along with her husband Keith, she was in the group from 1972-1979 as a singer and songwriter. She joined them in the Rock and Roll Hall of Fame in 1994.Pre-Dead, Godchaux sang backup in Muscle Shoals, Alabama, appearing on the Percy Sledge classic "When a Man Loves a Woman." She later sang back up on two of Elvis Presley's most famous songs: "Suspicious Minds" and "In the Ghetto."In this episode, we talk about those Elvis sessions and get the story behind a song she wrote for the Dead called "Sunrise," which appears on the Terrapin Station album. But we start the show with the story behind "Shelter," a song she wrote in 2007 with her guitarist, Jeff Mattson, that she remixed and re-released in 2021.https://donnajeanandthetricksters.hearnow.com/https://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.

Donna Jean Godchaux is the only woman to ever be a member of the Grateful Dead. Along with her husband Keith, she was in the group from 1972-1979 as a singer and songwriter. She joined them in the Rock and Roll Hall of Fame in 1994.Pre-Dead, Godchaux sang backup in Muscle Shoals, Alabama, appearing on the Percy Sledge classic "When a Man Loves a Woman." She later sang back up on two of Elvis Presley's most famous songs: "Suspicious Minds" and "In the Ghetto."In this episode, we talk about those Elvis sessions and get the story behind a song she wrote for the Dead called "Sunrise," which appears on the Terrapin Station album. But we start the show with the story behind "Shelter," a song she wrote in 2007 with her guitarist, Jeff Mattson, that she remixed and re-released in 2021.https://donnajeanandthetricksters.hearnow.com/https://www.songfacts.com/https://www.facebook.com/songfactshttps://twitter.com/Songfactshttp://pantheonpodcasts.com/https://twitter.com/pantheonpodsHosted and Edited by Corey O'Flanaganhttps://twitter.com/ofe1818https://www.instagram.com/coreyofe/corey@songfacts.comSongfacts Podcast Spotify Playlisthttps://open.spotify.com/playlist/3IThMW5yB8XnFh5cS2gTxR?si=KAhiqWRcSIy5uxb2sZPFTAThis show is part of Pantheon Podcasts.