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Happy Thanksgiving As is the custom here on the Deadpod, this Thanksgiving we feature an acoustic set and I think we are especially fortunate this year as this set is one of the very best such sets from 1970. From September 20, 1970 this set from the Fillmore East features both David Grisman and David Nelson on mandolin for much of the set, including a very unusual 'Big Railroad Blues' and an acoustic 'Truckin'. Jerry is in particular fine voice throughout, especially on 'To Lay Me Down'. If you are a fan of acoustic Dead this is a set to savor .. I hope you enjoy.. Grateful Dead Fillmore East New York, NY 9/20/1970 - Sunday One Uncle John's Band [6:47] Deep Elem Blues [5:51] Friend Of The Devil [3:32] Big Railroad Blues [3:14] Dark Hollow [2:56] Ripple [4:20] To Lay Me Down [5:12] Truckin' [5:35][0:12] Rosalie McFall [2:24] Cumberland Blues [5:04] New Speedway Boogie [9:31] Brokedown Palace [5:13] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod112824.mp3 I have far more to be thankful for than I can express here.. first of all to all of you who reached out with your well wishes and concern during my recent surgery and recovery.. to my doctors and nurses who did such a wonderful job helping to get me back home.. and of course to my beautiful wife without which I never would have been able to see this through...
Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day A very famous show from a very famous year. Many feel 1973 was the peak of the band's post psychedelic era. Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run. In 2008 the Dead released the box set: “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973. This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band). The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band. They were on fire for these three days. A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness. It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.” INTRO: Promised Land (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind) Track #1 0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995. Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out. I especially love Keith's piano which is featured prominently in this clip. Played: 430 timesFirst: May 28, 1971 at Winterland Arena, San Francisco, CA, USALast: July 9, 1995 at Soldier Field, Chicago, IL, USA SHOW No. 1: To Lay Me Down (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee Track #6 2:21 – 4:20 David Dodd: “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to. Jerry's voice is still so young and strong. And the group singing works really well. Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played: 64 timesFirst: July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS: Music Intro: Brain Damage Pink Floyd Pink Floyd - Brain Damage (2023 Remaster) 0:00 – 1:47 "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4] The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts. The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London. The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.” Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival. More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3. Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride. The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green). “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA. SHOW No. 2: Weather Report Suite Prelude (out of China >Rider/Me & My Uncle/Loose Lucy Track #14 3:10 – end INTO Weather Report Suite Part I (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break - 16 songs Track #15 0:00 – 1:03 David Dodd: This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played: 46 timesFirst: September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast: October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3: Mississippi Half Step Uptown Toodeloo (Second Set Opener/into Big River/Dark Star) Track #17 3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special. Great story. Great lyrics: “what's the point of calling shots, this cue ain't straight in line. Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert. ½ Step>Franklin's were especially fun as a one two show opener punch. Played: 236 timesFirst: July 16, 1972 at Dillon Stadium, Hartford, CT, USALast: July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS: INTRO MUSIC: Willin' Little Feat Little Feat - Willin' sung by Lowell George Live 1977. HQ Video. 0:10 – 1:32 1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists. George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem. And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1. Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2. Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3. Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4. Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract: Dulce Limon – hyrbrid sativa dominant Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4: Dark Star (Mind Left Body Jam) Track #18 34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then. The truly improvisational side of the Dead and their live performances. Played: 9 timesFirst: October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast: March 24, 1990 at Knickerbocker Arena, Albany, NY, USA INTO Eyes of the World (into China Doll/Sugar Mag as second set closer) Track #19 0:00 – 2:25 David Dodd: “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song. The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise. A perfect jam tune. Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses. First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros. We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention. I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes. Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes. Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set. Any '73 Eyes will leave you in awe and this one is one of the best. Played: 382 timesFirst: February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast: July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO OUTRO: And We Bid You Goodnight (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!! Track #25 :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard. Great reaction from the Deadheads. Kind of a chills down your spine thing. I was with One armed Lary and Alex, both had been with us at Deer Creek right before. Lary stayed for all three nights but Alex had to take off after the first show. Great times. Played: 69 timesFirst: January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast: September 26, 1991 at Boston Garden, Boston, MA, USA Thank you for listening. Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly. .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
"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the band's setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album. Grateful DeadDeer Creek Music Theater CenterNoblesville, INGrateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive With: Judy, Andy K., Lary V., AWell and others First Dead show ever at Deer Creek which had just opened that year. Became a regular stop on the Dead's summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours. Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer tour shows were confined to Soldier Field with 60,000 attendees. INTRO: Bertha Track #2 1:20 – 3:00 Garcia/Hunter – first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)Played: 401First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast: June 27, 1995 at the Palace of Auburn Hills, Detroit, MI SHOW No. 1: Walkin Blues Track #5 1:38 – 3:20 "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. "Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners. However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom". Dead first played it in 1966, once in 1982 and 4 times in 1985. Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times. Became one of Bobby's early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster. Played: 141First: October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USALast: July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA SHOW No. 2: Crazy Fingers Track #12 4:30 – 6:12 Pretty standard second set song, usually pre-drums. Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show). Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end. Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray. Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)Played: 145 timesFirst: June 17, 1975 at Winterland Arena, San Francisco, CA, USALast: July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) SHOW No. 3: Truckin Track #13 7:00 – end Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.Released on American Beauty (November, 1970) final tune on the albumPlayed: 532 timesFirst: August 17, 1970 at Fillmore West, San Francisco, CA, USALast: July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO INTO Smokestack Lightning Track #14 0:00 – 0:36 "Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it. Recorded at Chess Records in Chicago and released in March, 1956 with You Can't Be Beat on the B side. Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning." In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress. Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes. Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin. Played: 63 timesFirst: November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USALast: October 18, 1994 at Madison Square Garden, New York, NY, USA SHOW No. 4: Space Track #17 7:45 – 9:20 On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Francisco's Palace Of Fine Arts. At the time, Hart – whose 80th birthday is today – was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed “An Experiment in Quadrophonic Sound.”Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the band's mind-bending “Space” jams.“There were so many exciting that we've done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring – where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.“The first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.“I just thought of that concert, which kind of was the beginning of ‘Space' – ‘Drums' and ‘Space' actually – it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.” After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a “Space” jam into their shows. In January 1978, Dead shows almost always included a nightly “Drums” jam paired with a freeform “Space” jam, consistently showing up mid-second set throughout the rest of their career. Played: 1086First: March 19, 1966 at Carthay Studios, Los Angeles, CA, USALast: July 9, 1995 at Soldier Field, Chicago, IL OUTRO: Brokedown Palace Track #22 5:04 – 6:43 The lyric to “Brokedown Palace” was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it “Broke-Down Palace,” and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as “Ripple” and “To Lay Me Down,” with the aid of a half bottle of retsina.Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, “Brokedown Palace” appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us “Fare you well, fare you well…”Garcia/HunterReleased on American Beauty (Nov. 1970) Played: 219 timesFirst: August 18, 1970 at Fillmore West, San Francisco, CA, USALast: June 25, 1995 at RFK Stadium in Washington, D.C. .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
"Jamming at Borderland: Goose, Trey Anastasio, and More Shine Bright"Larry Mishkin welcomes the Deadhead Cannabis Show's sound editor, Jamie Humiston to discuss his experience at the Borderland Music and Arts Festival. Jamie highlights various bands that performed, including Goose, Trey Anastasio's Classic Tab, and The Infamous Stringdusters. Jamie shares their impressions of the festival's atmosphere, mentions a cannabis-infused hot sauce that he discovered, and provides insights into the different musical acts. The conversation touches on the evolving jam band scene and the unique charm of festivals..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast Going with a hot one, September 25, 1980Grateful Dead Live at Warfield Theater on 1980-09-25 : Free Borrow & Streaming : Internet Archive Opening night of the Grateful Dead's Warfield/Radio City acoustic/electric runs, recorded every night and best wound up on Reckoning (acoustic) and Dead Set (electric) Warfield Run – September 25, 1980 – October 14, 1980Radio City Run – October 22, 1980 – October 31, 1980 Prior to these shows, had not played a full acoustic set in concert since 1970 or maybe early 1971. As a result, a good number of songs that the Dead liked to play acoustic had not been heard in a number of years before this show. first "Ain't No Lie" - last "All Around This World": 02-14-70 [706] - last "Bird Song": 09-15-73 [382] - last "Dark Hollow": 04-29-71 [550] - last "Monkey & Engineer": 12-31-70 [589] - last "Ripple": 04-29-71 [550] - last "Rosalie McFall": 11-08-70 [609] - last "Roses": 01-12-79 [118] INTRO: Birdsong Track No. 1 1:00 – 2:13 From Jerry's first solo album, “Garcia” released Jan 20, 1972. Robert Hunter lyrics: Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead. First played Feb. 19, 1971 Capitol Theater Port Chester Last played June 30, 1995 Three Rivers Stadium, Pittsburgh Played by the Dead 300 times in concert This was the first time played since 9.15.73 (382 shows) This version is amazing both because it is acoustic and Jerry's voice is so strong. Makes you fall in love with the song all over again, or, as One Armed Lary would say, “taste it again for the first time” although I don't think he was talking about this song, or any song, when he said it (Deer Creek 1989). SHOW #1: I've Been All Around This World Track No. 2 1:23 – 2:16 The origins of I've Been All Around This World are not easy to trace. It possibly derives from a number of different songs. The 'Hang Me, Oh Hang Me' verse is thought to derive from the traditional song My Father Was A Gambler, a US ballad, which is thought to be about a murderer who was hanged in 1870. The song has also been collected under such titles as "Diggin' on the New Railroad", “The Gambler, ” “My Father Was a Gambler,” “The New Railroad,” “The Hobo's Lament,” “The Hobo's Blues” and "Hang Me, Oh Hang Me". In 1930, George Milburn published a book entitled the Hobo's Hornbook that included a version of “I've Been All Round this World”. It was also found in Henry Marvin Belden's "Ballads and Songs Collected by the Missouri Folk-Lore Society". The book was printed in 1940 but the song was "secured by Miss Frances Barbour in 1917 from the singing of Minnie Doyle of Arlington, Phelps County [MO]". Dead's version is “Traditional, arranged by the Grateful Dead and they all get credit (Pig Pen days)Released on History of the Grateful Dead, Vol. ! Bear's Choice (a live album by the Grateful Dead. It is their fourth live album and their ninth album overall. Released in July 1973 on Warner Bros. Records, it offers concert highlights recorded February 13 and 14, 1970 at the Fillmore East in New York City. Often known simply as Bear's Choice, the title references band soundman Owsley "Bear" Stanley. It was originally intended to be the first volume of a series.) First played by the Dead on December 19, 1969 at the Fillmore West Last played by the Dead on December 31, 1980 Oakland Civic Auditorium Played a total of 19 times in concert This was the first time played by the Dead since Feb. 14, 1970 (706 shows) I really love the acoustic guitar in this version. Jerry can pick with the best of them. BORDERLAND SEPT. 15, 16 AND 17EAST AURORA, NY (JUST OUTSIDE OF BUFFALO)5th year The Borderland Music + Arts Festival celebrates the rich history and renaissance of the region with a three-day music and cultural festival set in one of the most scenic and storied grounds in all of New York State, Knox Farm State Park. Great lineup with headliners: Goose TAB Moe.Also featuring: Infamous String Dusters Dawes Sammy Rae and Friends Neal Francis Not Fade Awa Band (Dead and Zeppelin covers) Eric Krasno Brandford Marsalis Anders Osborne Etc. Jamie Humiston was there.Jamie – discuss festival, highs, favorite acts, etc. SHOW #2: SONG FROM BORDERLAND GOOSE SHOW #3: SONG FROM BORDERLAND TREY AND DAWES Back to the Dead from 9.25.1980 SHOW #4: Oh Babe It Ain't No Lie Track No. 8 :10 – 1:35 By Elizabeth “Libba” Cotton January 5, 1893 – June 29, 1987)[1][2][3] was an American folk and bluesmusician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]Her album Folksongs and Instrumentals with Guitar (1958), was placed into the National Recording Registry by the Library of Congress, and was deemed as "culturally, historically, or aesthetically significant". The album included her signature recording "Freight Train", a song she wrote in her early teens.[7] In 1984, her live album Elizabeth Cotten Live!, won her a Grammy Award for Best Ethnic or Traditional Folk Recording, at the age of 90.[8] That same year, Cotten was recognized as a National Heritage Fellow by the National Endowment for the Arts.[9] In 2022, she was posthumously inducted into the Rock and Roll Hall of Fame, as an early influence.[10] David Dodd: The song debuted in the Dead's repertoire during their Warfield run on September 25, 1980, and was then played ten times over the course of the acoustic shows at the Warfield and Radio City Music Hall runs. After that, it made three more appearances, in one-off situations such as an acoustic set at the Mill Valley Recreation Center, or in the Netherlands for an acoustic set, and finally at Marin Vets, on March 28, 1984, in a performance that kicked off the second set, without Weir and Mydland onstage.However, I know the song had been “around” for much longer than that. It appears on the studio outtakes from Garcia's Reflections album, as released in the All Good Things box set. And personal interviews with Garcia's circle of acquaintances in Palo Alto in the early 1960s make it explicitly clear that he was familiar with the work of Libba Cotten. So I expect Garcia had performed the song many times during his folkie period, and it may have been in the Jug Band repertoire. Dodd: An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective's love of following a clue as far as it will take him. Author of:The Annotated Grateful Dead Lyrics OUTRO: Ripple Track No. 9 3:04 – 4:30 From American Beauty (Released Nov. 1970) Robert Hunter wrote this song in 1970 in London on the same afternoon he wrote "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process [3]). The song debuted August 18, 1970 at Fillmore West in San Francisco. Jerry Garcia wrote the music to this song.[3] Between 1970 and 1971 the Grateful Dead played the gorgeous Garcia/Hunter tune “Ripple” a number of times both electric and acoustic before putting the song in mothballs until 1980. Though the Dead performed “Ripple” a whopping 27 times acoustically in 1980 and then once again unplugged in 1981, it disappeared from the repertoire for the final 14 years of the band's career with one exception. On September 3, 1988 the Grateful Dead busted out an electric “Ripple” for the first time in 17 years for what would be the final performance of the tune.As the story goes, which is unconfirmed, the band was approached by the Make-A-Wish Foundation with a request from a young fan dying of cancer. The Grateful Dead were asked to perform “Ripple” at their September 3, 1988 show in Landover, Maryland. Jerry Garcia & Co. honored the request by ending the evening with the tender ballad. “Ripple” hadn't been played in any form in 459 shows and it had been 1,113 performances since the last electric version of the American Beauty stunner which took place at New York City's Fillmore East. As you can imagine, the crowd went absolutely ape shit the moment the “Ripple” bust out begins.That was also the night of the rehearsal dinner for my wedding weekend in Chicago. A number of my good Deadhead friends were in town celebrating with my wife and me and much later that night (remember, no cell phones or internet or on-line set lists. Had to wait for the 800 RUN DEAD line to be updated and then be able to get through. Somehow even by those standares word got around very fast and my buddies were not at all pleased since many of them would have undoubtedly been at that show (although, since it was a second encore a number of fans had already walked out of the Cap Center and then desperately tried to get back in.No better way to end any show, including this one. Music Stories:Neil Young & Crazy Horse Deliver ‘Tonight's The Night' and ‘Everybody Knows This is Nowhere' in Full Bobby Weir & Wolf Bros Announces Three-Night New Year's Eve Stand in Fort Lauderdale Phish to Bring Four-Night New Year's Run Back to Madison Square Garden
This week's Deadpod continues the band's performance in Kansas City on August 3, 1982 at the Starlight Theater. This is a solid show, with a long, funky 'Shakedown Street' to kick things off. That flows into 'Samson', then a beautiful rendition of 'To Lay Me Down' follows. Next up is a great version of 'Let It Grow', with some nice interplay between Jerry and Brent leading into the Rhythm Devils portion of the set. 'He's Gone' flows nicely out of 'Space', and is followed by a good 'Other One' and 'Stella Blue'. The boys close with a feel good 'Sugar Mag' and return with a 'Casey Jones' encore. Grateful Dead Starlight Theatre Kansas City, MO 8/3/1982 - Tuesday Two Shakedown Street [14:09] > Samson And Delilah [8:10] ; To Lay Me Down [9:04] ; Let It Grow [13:25] > Drums > Space [#6:05] > He's Gone [12:42] > The Other One [8:18] > Stella Blue [10:44] > Sugar Magnolia [9:48] Encore Casey Jones [4:50] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod081922.mp3 "August flies.... "
"Being summer, I took off my shirt...." well I'm not taking my shirt off but I am bringing you a summertime treat I think, with an excellent audience recording of the band's performance in Denver on July 14, 1981. As I listened to this tape it just struck me that the feeling of being there that a good audience recording gives you was perfect for this time of the year, when many of us have been lucky enough to experience some live music in person.. I do hope you have! This show has some excellent energy throughout, the Minglewood has a couple very nice Jerry solos, the 'Cassidy' is nicely paced, and leads into a sweet 'To Lay Me Down'. Weir has some fun with 'Me & My Uncle' which is blistering.. as is the outstanding 'Big Railroad Blues' The highlight of the set is the Birdsong>Sailor>Saint, however. It is only the the 14th electric birdsong since 9/15/73, and the only time that Sailor comes out of Birdsong. It is excellent. Grateful Dead McNichols Arena Denver, CO 7/14/1981 - Tuesday One Cold Rain And Snow [5:40] > New Minglewood Blues [6:41] ; Friend Of The Devil [9:00] ; Cassidy [5:05] ; To Lay Me Down [8:53] > Me And My Uncle [2:55]> Mexicali Blues [4:30] ; Big Railroad Blues [3:48] ; Little Red Rooster [8:23] ; Bird Song [11:48] > Lost Sailor [6:42] > Saint Of Circumstance [7:25] > Don't Ease Me In [3:06] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod071522.mp3 Thanks for your kind support. I hope you are able to enjoy these summer daze!
This week we welcome December with a great show from December 13, 1980 at the Long Beach Arena in Long Beach California, just a couple months after last week's acoustic set. This first set is quite good all the way through but starts with an excellent trifecta -' Feel Like a Stranger' into a wonderful 'Sugaree' then into 'C C Rider' with some great Garcia slide work. Then Jerry slows things down a bit with a soulful 'To Lay Me Down'. A fine version of 'Minglewood' follows with some unusual and impressive guitar work as well as Brent really going off on the B3. 'Ramble on Rose' is always a favorite, then a nice 'Sailor> Saint'. They close the set with a rockin' 'Deal'. Grateful Dead Long Beach Arena Long Beach, CA 12/13/80 - Saturday One Feel Like A Stranger [7:06] > Sugaree [11:28] > C C Rider [8:14] ; To Lay Me Down [9:42] ; New Minglewood Blues [6:39#] ; Ramble On Rose [7:04] ; Lost Sailor [6:06] > Saint Of Circumstance [6:41] > Deal [6:50] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod120321.mp3 I hope this finds you healthy and in the holiday spirit. Happy Hanukkah ! thank you for your support of the Deadpod.
Happy Thanksgiving! As is our tradition, I present an acoustic Dead show for your pleasure this Thanksgiving morning. While it is becoming difficult to find an acoustic set (in good quality) that I haven't presented before, this is a wonderful recording and while the songs will be familiar to you they are still a joy to listen to, I think. Grateful Dead Warfield Theatre San Francisco, CA 10/13/80 - Monday One On The Road Again [2:52] ; Bird Song [7:21] ; El Paso [3:57] ; To Lay Me Down [7:53] ; Heaven Help The Fool [5:42] ; Jack-A-Roe [3:50] ; The Race Is On [2:43] ; Deep Elem Blues [4:03] ; Ripple [3:24] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod112620.mp3 Allow me to give my thanks to you, for it is a privilege to be able to present this music to you. I thank you for your attention, your kind comments and your support. I do so hope that this finds you and the ones you love healthy and safe, and that our world not simply return to 'normal' but becomes more peaceful and kind for all of us.
Jumping off from “Till the Morning Comes” and the outtake “To Lay Me Down” we hear from Donna Jean Godchaux-MacKay on falling in love with (and to) the Dead, Bob Weir on the secret to recording Phil Lesh, Stephen Malkmus with a psychedelic book recommendation, and time travel to Winterland in October 1970.Bob Weir, Donna Jean Godchaux MacKay, Stephen Barncard, Stephen Malkmus, Billy Strings, Nick Paumgarten, David Lemieux, Gary Lambert
Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Your Motion Says by Arthur Russell on Love Is Overtaking Me (Audika) 5′00″ No Deposit-No Return Blues by Sandy Bull on E Pluribus Unum (Vanguard) 22′00″ Galouli Ensaha by Les Freres Megri & Jacques Hendrix on Mahmoud Hassan Younes (Phillips) 26′43″ Journey In Saturn And A Star by Klyfta on Cosmic Pilgrimage: The Klyfta Tapes 1972 - 1975 (Joyful Noise) 33′30″ Hymn to the East by Muhal Richard Abrams on Afrisong ( India Navigation) 38′15″ To Lay Me Down (rehearsal) by Meg Baird on The Storehouse Bandcamp Compilation (The Storehouse) 45′02″ Blue Line Swinger by Yo La Tengo on Electr-O-Pura (Matador) 55′13″ The First Time Ever I Saw Your Face by Roberta Flack on First Take (Atlantic) The next World of Echo is on Monday, September 21st at 7:00 am. Check out the full archives on the website.
To Lay Me Down, Box of Rain. and Estimated Prophet. John, Sean and Myself cover these Grateful Dead Songs and I promise to return to Recovering Through Highness. Please follow my podcast on Podbean. Thank you for listening
For this special set break episode, Jonathan Hart of Brokedown Podcast pops by to talk about three Dead-adjacent albums that helped shape the band’s creative evolution. Originally conceived as solo efforts, Jerry Garcia’s Garcia, Bob Weir’s Ace, and Mickey Hart’s Rolling Thunder each brought something special to the Deadiverse, including songs that would become staples of live sets for years to come. Jerry’s album gave us “Deal,” “Bird Song,” “Sugaree,” “Loser,” “To Lay Me Down,” and “The Wheel.” Ace delivered “Greatest Story Ever Told,” “Black-Throated Wind,” “Looks Like Rain,” “Mexicali Blues,” “One More Saturday Night,” “Cassidy,” and the ultimate jam warhorse, “Playing in the Band.” And speaking of “Playing,” Mickey’s Rolling Thunder also features an embryonic version of the tune, then known as “The Main Ten.” So why did the band choose to reveal studio versions of these classic numbers on non-Dead releases? Jonathan and Casey talk about the possible reasons while offering insights on several key cuts. It’s an Osiris Network crossover for the ages!We’re part of the Osiris podcast network. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. To stay up to date on what we’re up to, visit our site and sign up for our newsletter. Osiris works in partnership with JamBase, which connects music fans with the music they love and empowers them to go see live music. See acast.com/privacy for privacy and opt-out information.
We love you more than words can tell ❤️ Song List: Hunter performing Terrapin Station (1:36); To Lay Me Down (16:36) from 9/20/70 with Jerry on piano; Happiness is Drumming (Fire on the Mountain) (23:00) by Mickey Hart 1976; Brokedown Palace (26:17) from 10/3/80; China Doll (31:48) from 5/7/77; Liberty (39:18) from 3/30/94. Fortunately, I […]
Dog days of summer? Nothing beats them like some good 'old Grateful Dead - and this somewhat overlooked classic from the summer of 1974 is sure to leave you smiling.. This comes to us from July 29th, 1974 at the Cap Center in Landover Maryland. This first set contains some of the classics, of course, as well as some surprises, like the stand alone Scarlet Begonias and the beautiful 'To Lay Me Down'. The highlight here I think, is the wonderful 'Weather Report Suite ' - Garcia is on overdrive here :) At any rate, I hope you enjoy this touch of sunshine and it helps your week glide on by.. Grateful Dead Capital Centre Landover , MD 7/29/74 - Monday One The Promised Land ; Sugaree [6:43] ; Black Throated Wind [6:08] ; It Must Have Been The Roses [5:09] ; Cumberland Blues [5:38] ; Scarlet Begonias [6:52] ; Jack Straw [4:21] ; Deal [4:37] ; El Paso [3:58] ; To Lay Me Down [7:29] ; Weather Report Suite Prelude [1:21] > Weather Report Suite Part 1 [4:36] > Let It Grow [12:58] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod072619.mp3 My thanks to the kind folks who have been able to contribute to the Deadpod!
Happy Thanksgiving! As is our tradition, please enjoy this acoustic Grateful Dead set as my way of thanking you on this special day. While we all have many things to be thankful for, I hope each of you realizes that I am thankful that you listen to and enjoy the Deadpod. I hope that you find this acoustic Dead enjoyable and relaxing on your holiday. Peace my friends. Grateful Dead Warfield Theater San Francisco, California September 27, 1980 Saturday 1. // Jack-A-Roe 2. The Monkey & The Engineer 3. It Must Have Been The Roses 4. Dark Hollow 5. Bird Song 6. To Lay Me Down 7. On the Road Again 8. Oh Babe, It Ain't No Lie 9. Ripple// Time: 48:04 You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod112218.mp3
Our annual Christmas Deadpod features a very entertaining acoustic show from the summer of 1970. While it is true that the mandolin and the guitars are higher in the mix than optimal, I am of the opinion that the quality of the recording, and the originality of the set list, make this a worthwhile pastime on a cold winter's day. I do hope you agree. I wish for all of you peace and happiness and hope that this holiday weekend finds you with the people you love, for that is the greatest of all gifts. Grateful Dead Golden Hall - San Diego Community Concourse San Diego, CA 8/5/70 - Wednesday One - 31:06 Candyman [6:46]%[0:17] ; El Paso [5:44]%[0:10] ; Rosalie McFall [3:34]%[0:06] ; Tell It To Me [2:25];[0:15] ; Drink Up And Go Home [2:44]%[0:26] ; A Voice From On High [2:57]%[0:08] ; Cold Jordan [2:26] > Swing Low Sweet Chariot [3:02] [0:08] Two - 31:34 Deep Elem Blues [5:35]%[0:04] ; Dark Hollow [3:18]%[0:05] ; Friend Of The Devil [3:55]%[0:05] ; Mama Tried [2:52]%[0:04] ; To Lay Me Down [6:18];[0:15] ; Dire Wolf [3:15];[0:14 intro] ; The Ballad Of Casey Jones [5:03];[0:06] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122217.mp3 thank you for your kindness and for listening to the Deadpod!
Merry Christmas .. Happy Hanukkah This year's holiday edition of the Deadpod features one of the best acoustic performances of 1970. This takes place at the Fillmore East in New York City on September 20th, 1970. The acoustic set, which we present today, is not only a fine performance but also a fine recording. David Grisman plays mandolin on 'Friend of the Devil' and David Nelson joins with another mandolin on a slow soulful, 'Big Railroad Blues', both continue through Ripple. There is some speculation that Jerry plays piano on 'To Lay Me Down', clearly a wonderful highlight here. Nelson and Grisman are back with mandolins on a fine Rosalie McFall, following a rare acoustic 'Truckin'. I love 'Cumberland Blues' here.. but then again I usually love this song.. Jerry plays an electic during 'New Speedway' but the vibe is very acoustic. 'Brokedown Palace' provides a fitting conclusion to the set.. Following, I decided to feature one more cut from Holly Bowling's beautiful work 'Better Left Unsung'.. this is 'Eyes of the World (Louieville KY 61874).. it speaks for itself.. Grateful Dead Fillmore East New York, NY 9/20/70 - Sunday One - 1:02:46 Intro [0:03] ; Uncle John's Band [6:47] % Deep Elem Blues [5:51] % Friend Of The Devil [3:32] % Big Railroad Blues [3:14] % Dark Hollow [2:56] % Ripple [4:20] % To Lay Me Down [5:12] % Truckin' [5:35]%[0:12] ; Rosalie McFall [2:24] % Cumberland Blues [5:04] % New Speedway Boogie [9:31] % Brokedown Palace [5:13] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122316.mp3 My most sincere hope that all of my friends here have a very healthy and happy Holiday... thanks for your support........... the professor
Happy Thanksgiving my friends! If you've listened to the Deadpod for awhile you know I enjoy bringing you acoustic music around the holidays - this year is no different and I think I've got an excellent show lined up for you. First off, one of the famous acoustic shows form the fall of 1980, this comes to us from the Warfield in San Francisco on October 4th, 1980. There's not a bad song in this set.. but some of my favorites are the 'Race Is On', 'It Must Have Been The Roses', 'Dark Hollow' and 'To Lay Me Down'.. the set-ending 'Ripple' still brings chills.. Following this wonderful set, we have a marvelous performance of the complete Terrapin Suite from some great musicians honoring the Dead tradition today - Joe Russo's Almost Dead. A little over a month ago they performed an acoustic Terrapin Station that surely deserves to be heard. I hope you enjoy it as much as I have..... Grateful Dead Warfield Theatre San Francisco, CA 10/4/80 - Saturday One Deep Elem Blues [4:13] ; The Race Is On [2:53] ; It Must Have Been The Roses [5:48] ; Monkey And The Engineer [2:48] ; Rosalie McFall [3:06] ; Dark Hollow [3:13] ; To Lay Me Down [8:34] ; On The Road Again ; Oh Babe It Ain't No Lie [5:34] ; Ripple [4:30] Joe Russo's Almost Dead Brooklyn Bowl, Brooklyn NY 10/7/16 Terrapin Station Suite (Acoustic) You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod112516.mp3 I'm grateful to all of my friends who listen to the Deadpod each week and allow me the chance to spread the light and love contained within. thank you .. -the professor
Episode 039 - June 2016 Set 2Arabia[1] (1991-12-08)Dark Star (1989-10-09)Cassidy-> Uncle John's Band-> Cassidy (1993-05-27)How Sweet It Is (To Be Loved by You)[1] (1973-07-11)Peggy-O (1978-04-16)Jack-A-Roe (1977-05-18)Run for the Roses (1982-04-10)It Must Have Been The Roses (1975-09-28)Rubin and Cherise (1991-04-07)Looks Like Rain (1977-06-07)Bird Song (1990-07-21)Till The Morning Comes (1970-10-31)Eyes Of The World (1974-08-06)Sugar Magnolia (1972-08-27)Brown Eyed Women (1977-05-28)Tangled Up In Blue (1990)That's What Love Will Make You Do (1980-03-01)They Love Each Other (1975-12-31)When I Paint My Masterpiece (1985-10-16)Standing On The Moon (1990-03-30)Ramble On Rose (1977-05-19)Midnight Moonlight (1978-03-28)Shining Star (1993)To Lay Me Down (1974-06-24)Brokedown Palace (1971-12-07)The Stranger (Two Souls in Communion) (1972-05-10)If I Had The World To Give (1978-08-01)Attics of My Life (1970-06-06)Scarlet Begonias-> Fire On The Mountain (1985-07-01)Not Fade Away-> St Stephen (1977-03-18)And We Bid You Goodnight (1989-10-26)[1] Dead Fantasy DebutMuch love Silas+Ava!
Episode 024 - November 2015 Set 2France[1]Scarlet BegoniasPlayin' In The BandBlack PeterChina Cat Sunflower ->I Know You RiderTruckin' ->Bird Song ->Never Trust A Woman[1]Ramble On RoseTo Lay Me DownDark Star ->Sugar MagnoliaNot Fade Away ->Morning Dew ->Around And Around[1] ->One More Saturday Night[1]Touch Of Grey[1]Knockin' On Heaven's Door[1] Dead Fantasy Debut
Episode 005 - March 2015 Set 1Jack-A-RoeFriend of the DevilCandymanCasey JonesThe Race Is OnDon't Ease Me InBlack PeterMonkey And The EngineerCassidyMe and My UncleDeep Elem BluesCumberland BluesI've Been All Around This WorldGommorahChina DollRubin and CheriseKnockin' on Heaven's DoorSitting Here In LimboDark HollowDire WolfRun For The RosesTo Lay Me DownRippleBrokedown PalaceUncle John's Band
Happy Valentines' Day Weekend! This week's second set from Lake Placid New York, October 17th, 1983 should bring a warm smile to any lover's heart as it contains a really wonderful 'To Lay Me Down'.. one of the most romantic of all Garcia's songs. Of course I don't want to minimize the enjoyment the remainder of this set will bring you. They start off with 'Touch', then move into 'Samson and Delilah'.. then the aforesaid 'To Lay Me Down' starts a nice combination as it rolls into 'Man Smart (Woman Smarter)' and Terrapin Station pre-Drums. Following Space, we get a fine version of 'The Wheel', a rocking 'Miracle' then they 'Go Down the Road Feelin' Bad' into a set-closing 'Good Lovin' That one features some interesting improvisation by Bobby.. listen for it.. They return for an unusual 'Revolution' encore to finish their one and only trip to the Olympic Arena in Lake Placid.. Grateful Dead Olympic Arena Lake Placid, NY 10/17/83 - Monday Two Touch Of Grey [6:24] ; Samson And Delilah [8:48] ; To Lay Me Down [8:55] > Man Smart (Woman Smarter) [7:05] ; Terrapin Station [11:20#] > Drums > Space [11:05] > The Wheel [6:49] > I Need A Miracle [4:32] > Goin' Down The Road Feeling Bad [7:05] > Good Lovin' [7:38] Encore Revolution [5:08] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod021216.mp3 The Deadpod is made possible through the kind support of my listeners. thank you! Have a warm and loving week!!
It is only fitting that we go back to the famous 'acoustic' shows of 1980 for this week's Deadpod. This was a request from one of my wonderful listeners for a show that not only features the famous acoustic first set, but outstanding electric sets 2 and 3. The first set is a treat for everyone who enjoys the acoustic Dead, and while I do like to feature this genre around the holidays, the arrival of Fall is reason enough to revisit this wonderful music. Since the acoustic set was not quite as long as I prefer for a Deadpod, I've also included the first part of the electric set 2, including a fine Mississippi Half-Step ->Franklin's Tower.. I know I've featured a number of sets from 1980 this year, and I hope you enjoy this one just as much as those others.. Grateful Dead Warfield Theatre San Francisco, CA 10/10/80 - Friday One On The Road Again [2:43] ; It Must Have Been The Roses [5:33] ; Monkey And The Engineer [2:32] ; Jack-A-Roe [4:04] ; Dark Hollow [3:30] ; To Lay Me Down [8:38] ; Heaven Help The Fool [6:02] ; Bird Song [8:00] ; Ripple [2:25#] Two Mississippi Half-Step Uptown Toodeloo [7:31] > Franklin's Tower [8:29] ; Me And My Uncle [3:00] > Big River [5:22] ; Candyman [7:01] ; You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod100915.mp3 Thanks for supporting the Deadpod my friends! I couldn't do it without you.. Remember to let me know your requests.. and always always try to Be Kind!
This is such a great show that I'm astounded that I've not played it on the Deadpod until today.. as the 40th anniversary of this great show approaches I will right that oversight. One of the greatest first sets ever.. from Dijon France, September 18th, 1974. It opens with a warm, delightful Uncle John's Band.. then the great songs roll on, Jack Straw, Friend of the Devil, Black Throated Wind, Scarlet Begonias (!).. its an insane first set and the recording is magnificent as well. There's no reason to enumerate every great song here, but the 'To Lay Me Down' is clearly one of the most powerful ever., I hope you enjoy this masterpiece. Grateful Dead Parc des Expositions Dijon, France Wednesday One Uncle John's Band [8:39] ; Jack Straw [5:11] ; Friend Of The Devil [4:20] ; Black Throated Wind [6:53] ; Scarlet Begonias [8:34] ; Mexicali Blues [3:09] ; Row Jimmy [7:26#] ; Beat It On Down The Line [3:14] ; Deal [4:29] ; The Race Is On [3:08] ; To Lay Me Down [8:08] ; Playing In The Band [23:31] You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod091214.mp3 Thank you for listening and for your support, which makes it possible to publish this music each week..
I'm afraid that when I think of an iconic year for Grateful Dead music in the month of November that 1973 always pops into my mind. This, combined with a long-time request for this show on my request list, led to this week's show. Yes, this is only a day before the show released as Road Trips vol 4 no. 3, and that release does contain a few songs from this set 2, nevertheless, this music is far too wonderful not to be heard and treasured. In this week of Thanksgiving I can think of no better way to be grateful than to celebrate a great show like this one.. I hope you enjoy it as well my friends.. Grateful Dead11/20/73Denver Coliseum, Denver, CO set One: Ramble On Rose ; Mexicali Blues ; Don't Ease Me In ; Black Throated Wind ; Brown Eyed Women ; Beat It On Down The Line ; To Lay Me Down ; The Race Is On ; They Love Each Other ; Me And Bobby McGee ; Tennessee Jed ; Big River ; Row Jimmy ; Weather Report Suite Prelude ; Weather Report Suite Part 1 ; Let It Grow ; Casey Jones ; Let me also take a moment to tell all of you how thankful I am that you listen to the Deadpod each week, you make the effort worthwhile.. thank you. You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod111811.mp3">here:http://traffic.libsyn.com/deadshow/deadpod111811.mp3">http://traffic.libsyn.com/deadshow/deadpod111811.mp3 I do have a few copies of the newly remastered Europe '72 CD with bonus tracks I can send out as a thank you to anyone who can contribute $50 or more to the Deadpod.. Please be so kind as to check out and support http://www.rkfx.com">Robert Keeley Electronics..thank You!
This was quite a week in the Dead community, some fine Furthur shows, Phil's 71st birthday, but overshadowing everything, for me, was the loss of Augustus Owsley Stanley. Owsley was of course instrumental in the formation and development of the Grateful Dead, of the 'big sound' that really defined the concert experience for the Dead, and of course, as a world renowned chemist. This week, thanks to the efforts of Jamie over at Lossless Legs, I'm playing one of Bear's recordings, from the famous Winterland run of October 74. Fare thee well, Bear - give Jerry our love... Grateful Dead Winterland, San Francisco, CA10/19/74 from set 1: Beat It On Down The Line [3:10] ;It Must Have Been The Roses [6:11] ;El Paso [4:11] ;Loose Lucy [4:50] ;Black Throated Wind [7:19] ;Scarlet Begonias [11:49] ;To Lay Me Down [7:59] ;Mama Tried [2:28] ;Eyes Of The World [18:14] >China Doll [5:49] ;Big River [4:47] from 10/20/74? Good Lovin' You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod031811.mp3 thanks for your support..
This week, the conclusion of their powerful set from 7/31/74. What a time to be a Deadhead! This show featured 3 powerful sets - this week we'll listen to the end of set 2, and all of set 3.. There's plenty of wonderful jamming and singing on these songs - I especially love the 'Ramble on Rose' and 'To Lay Me Down' - and be sure to listen to the 'Mind Left Body jam' after 'Truckin' - great stuff!! Grateful Dead Dillon Stadium Hartford, CT 7/31/74 - Wednesday Ship Of Fools [5:58] ; Weather Report Suite Prelude [1:18] > Weather Report Suite Part 1 [4:16] > Let It Grow [11:11] Three El Paso [4:04] ; Ramble On Rose [6:04] ; Greatest Story Ever Told [5:39]; To Lay Me Down [7:34] ; Truckin' [17:04] > Mind Left Body Jam [7:22] > Spanish Jam [5:27] > Wharf Rat [9:38] ; U.S. Blues [5:15] ; One More Saturday NightEncore Uncle John's BandYou can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod082908.mp3Have a safe and fun holiday weekend and see you back here next week!!
I had a different show in mind until I discovered that this show had become available - this is one of the greatest shows of one of the greatest years in the history of the Grateful Dead.. While I often try to bring you "lesser-known" moments in GD history, this show merits an extended listening.... Grateful Dead Winterland Arena San Francisco, CA11/11/73 - Sunday One The Promised Land > Bertha > Greatest Story Ever Told ; Sugaree ; Black Throated Wind ; To Lay Me Down ; El Paso ; Ramble On Rose ; Me And Bobby McGee ; China Cat Sunflower > I Know You Rider ; Me And My Uncle ; Loose Lucy ; Weather Report Suite Prelude [1:18] > Weather Report Suite Part 1 [4:18] > Let It Grow [8:49]As always you can listen to the podcast here:http://www.libsyn.com/media/deadshow/deadpod031607.mp3Enjoy!!
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