Podcasts about warfield theater

Send us a textHi everybody and welcome to this week's episode of Attendance Bias. I am your host, Brian Weinstein. Today, we welcome back guest Adam Jerugim. Adam previously told about seeing “Harry Hood” on April 18, 1992 at Stanford University, and after today, he seems to be the Attendance Bias resident expert on west coast Phish in the 90s. In today's episode, Adam and I expand our conversation to a full show, and that full show is Phish at the Warfield Theater in San Francisco on May 27, 1994. This was the third of three shows at the Warfield, and it came toward the last week of the 1994 spring tour. On Attendance Bias, we often talk about transitional years and signposts to major musical changes in the Phish evolution but when it comes to late spring and summer of 1994, it's okay to just sit back and show to love to a band at a major peak. This show, while maybe not a tentpole of a peak year, still has superlative versions of David Bowie, Harry Hood, Reba, plus some trademark Phish goofiness and oddity appearances. But we get into all that in a moment.One theme I loved talking about with Adam was Phish's growing popularity on the west coast at this time. While the band would make their debut at Madison Square Garden late in the year and celebrate New Year's Eve at Boston Garden, they were still reasonably in the middle of the pack when it came to the west coast. Selling out three nights at The Warfield seemed to send a signal that things were about to change, big time. Today's show, as classic as it is, still frames the band at a time when they were about to blow up big time up and down the Pacific coast. There's a lot going on.   So let's join Adam to talk about the Bay Bridge, opera singers, and whether shushing is better than wooing as we discuss May 27, 1994 at The Warfield Theater.

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

A Festival Odyssey: Phish, Mondegreens, and Moments with My SonLarry Mishkin reflects on his recent experience attending the Mondegreen Festival, a Phish festival in Dover, Delaware, with his son and friends. He shares his enthusiasm for the event, highlighting the performances and the significance of certain songs, including "The MoMA Dance" and "NICU," which have deep ties to Phish's history and fan culture. Larry provides a detailed history of Phish festivals, from the Clifford Ball in 1996 to the most recent Mondegreen Festival, noting memorable moments, attendance figures, and unique aspects of each event. The episode also includes a brief discussion on the 60th anniversary of The Beatles' performance at Red Rocks Amphitheatre in Denver, Colorado. Larry expresses his excitement about attending the festival with his son and reminisces about the special bond they shared during the event.MONDEGREENPhishAugust 15 – 18, 2024The WoodlandsDover Delaware Band's 11th festival, NOT counting Curveball set for 2018 that was canceled at the last minute due to contaminated water supply due to heavy rains and flooding. Nine year gap between MagnaBall in March, 2015 and Mondegreen, biggest gap between festivals in band's history.  INTRO:                                 Moma Dance                                                Night One, August 15, 2024                                                First Night, First Set, First Song (into Back On The Train)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #2                                                2:31 – 4:05 By:  Anastasio/Fishman/Gordon/McConnell/MarshallPlayed:First Played:  6/30/98 in Copenhagen, DenmarkMost recent: August 15, 2024 (Mondegreen)Current Gap:  3 shows The title of “Moma” is another example of Phish Phonetics, cleverly transforming the moment ends lyric into a reference to a display of “The Rhombus” at New York City's Museum of Modern Art (MoMA).Mondegreen:  are they saying, “The Moma Dance” OR “the Moment Ends”??                               SHOW No 1:                     NICU                                                Night One, August 15, 2024                                                First Set, 6th song (out of Roggae and into A Wave of Hope)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #7                                                3:00 – 4:56 By:         Anastasio/MarshallPlayed 156 timesFirst Played: 3.6.92 at The Music Hall in Portsmouth, NHMost Recent:  August 15, 2024 (Mondegreen)Gap: 3 shows Has any Phish song had as many names with as many explanations as “NICU”? At its debut in Portsmouth, New Hampshire, Trey introduced the song as “In an Intensive Care Unit.” Shortly thereafter, the name was changed to “NICU,” which some considered a play on a line from the backing vocals in the chorus (“and I see you”) and others noted was the abbreviation for the Neonatal Intensive Care Unit.Shortly thereafter, the “controversy” began, as controversy can only begin among rabid Phish fans. Some called the song “And I See You.” Some stuck with the original “In an Intensive Care Unit.” Other interesting theories developed, including one from the Internet where a fan noted that the elements Nickel (NI) and Copper (Cu) are side-by-side on the Periodic Table and that the title “NICU” may thus be a reference to nickels and pennies or, more likely, small change.  Title is a Mondegreen for “And I See You” Music News (from Mondegreen) Matthew's crew:  Matthew, me, Donny, Jake, Dave and Seth Michigan Crew:  ??? NYC Crew: Max & Jess, Joey and Darby, Darby's brother, Brad and Sam, Dan the drummer (and?), Dude from Florida and girlfriend (??), Tesh,WHO ELSE SHOULD I MENTION? CLEVELAND CREW:  Kevin, two buddies?  Aaron   Anyone else? Hot and humid/ AC unitsTents v. RV's/bathrooms/food/water and ice/maintenanceStorm – cut Sunday short                        Modern weather technology – good and bad                        Just like 2022 Sacred Rose Festival Secret Set on Aug. 16th second night Driving 12 hours each way                                                  SHOW No. 2:                    I Am Hydrogen > Weekapaug Groove                                                Night 3, August 17, 2024 – Second set opener traditional Mike's Groove>Theme From The Bottom                                                November 11, 2012, MSG, NYNY                                                Mike's>Chalk Dust Torture>I Am Hydrogen>Weekapaug                                                Phish | 12.29.11 | Mike's Song → Chalk Dust Torture → I Am Hydrogen → Weekapaug Groove - YouTube                                                15:44 – 17.43 I Am HydrogenBy: Daubert/Marshall/AnastasioPlayed: 350 timesFirst: April 6, 1985 at Finbar's in Burlington, VTMost  Recent: August 17, 2024 (Mondegreen Night 3)Gap: 1 show The story of “I Am Hydrogen” is a love story. Conceived by Tom Marshall and Marc Daubert around 1984-85 on piano and acoustic guitar, they brought their creation over to Trey's house, where it was recorded. Trey added a harmony to it on his electric guitar, and the “Hydrogen” we have come to know was born. Initially intended for Tom, Marc, and Trey's band Bivouac, “Hydrogen” ended up in the Phish lineup and made its debut, all alone, on 4/6/85.  After a few years, it became the connector between Mike's Song and Weekapaug Groove. Into Weekapaug GrooveBy:  Anastasio/Fishman/McConnell/GordonPlayed: 523 timesFirst: 7.23.1988 at Pete's Phabulous Phish Phest in Underhill, VTMost Recent:  August 17, 2024 (Mondegreen Night 3)Gap: 1 show “Weekapaug Groove” takes its name from the town of Weekapaug, located on the shores of the Atlantic Ocean in southwestern Rhode Island. According to Mike, the song's lyrics (“Trying to make a woman that you move, sharing in a Weekapaug Groove”) are meaningless. As Mike said in a 9/9/97 interview with Parke Puterbaugh: “So we came back to Boston [from Weekapaug, after playing a gig there at a yacht club], and I guess we were in the van or the Voyager we used to drive in, and that song “Oh What a Night” came on the radio. You know that one? That awful Four Seasons song? We just constantly listened to songs and changed around the words as to what they might sound like. I always had a particularly hard time hearing lyrics anyway, so I always would sing a song on the radio, sing along with the wrong words. So the bridge of that song goes ‘Oh I-I-I trying to something,' but I was singing it, ‘Oh I-I-I trying to make a woman that you move,' which means nothing, 'sharing in a Weekapaug groove.' So we all just started singing that, as complete nonsense: ‘trying to make a woman that you move.' It never occurred to any of us that it had any meaning, ever. There was a period of time that we were singing it, and I used to just yell out the lyrics, between singing them I would just yell them out as if I was preaching them, just to sort of make it more ironic that they have no meaning.”  SHOW No. 3:                    Yamar                                                Night 4, August 18, 2024 – First set 10th song out of Stash and into Timber                                                August 17, 1996, Clifford Ball, Plattsburgh AFB, Plattsburgh, NY (1st Phish Festival) into It's Ice                                                Phish-Ya Mar-Clifford Ball (youtube.com)                                                0:13 – 1:45 By:  Cyril Ferguson                27th November 1951 - Cyril 'Dry Bread' Ferguson was born in Nassau, New Providence, Bahama Islands.Ferguson was a Bahamian musician and entertainer. He composed songs in the genres of goombay, calypso and Bahamian pop music.Some of his more popular songs include: Ya Mar, Sunshine On My Body, Bahamian Music and Don't Squeeze The Mango.Ferguson died of complications related to diabetes on 9th April 2009. “Ya Mar” resides as a favorite in the hearts of many fans. It represents one of Phish's few forays into calypso and is among the most playful and danceable songs in the band's repertoire. And anytime Trey screams for Page to take the reins – “Play it, Leoooooo!” – the crowd is apt to go wild. Page's nickname actually comes from this line in the original, where The Mustangs urged their own piano man to step into the spotlight. The title seems to reference the slurred interpretation of “your ma,” as the singer recounts the disdain his lover's family has for him. Phish put their own unique stamp on it by often changing the “no good pa” lyric in the chorus to mimic their own “oh kee pa” phrase.  Played: 232 timesFirst: 2.21.1987 at Slade Hall, UV, Burlington, VTMost Recent:  8.18.2024Gap: 0 shows Marijuana News Senator Says Harris Will ‘Be Ready To Sign' Marijuana Reform Bills If Elected PresidentGOP Senators Claim Marijuana Is A ‘Gateway Drug' As They Oppose Rescheduling And Legalization3.      People Who Use Marijuana Are Less Likely To Be Obese, New Study Shows                 SHOW No. 4:                    Simple                                                Night 4, August 18, 2024 – First set second to last song of Izabella and into Golden Age                                                July 27, 2024, Alpine Valley, East Troy, WI second set out of Sigma Oasis and into The Howling                                                Phish - 7/27/2024 - Simple (4K HDR) (youtube.com)                                                0:18 – 1:28 By:         GordonPlayed:  209 timesFirst:     5.27.1994 at the Warfield Theater in San FranciscoMost Recent:  August 18, 2024 (Mondegreen Night 4)Gap: 0 shows "Simple" was first written and recorded by Mike Gordon in a four-track medium in the Doo-wop style and introduced to the band during the studio sessions forHoist. This version reflected the country and bluegrass writing style of many previous Gordon compositions. The song was left off of the albumand the band showed hesitation in performing it live. Then, on 5/27/94, “Simple” debuted in a very strange and raw fashion during the “Mike's Song” at the Warfield in San Francisco. In contrast to the song we know today, the debut version of “Simple” was Mike's original lyrics sung by the band members over a jam that had emerged from “Mike's.” Three weeks later, “Simple” was played for a second time at the historic 6/17/94 gig, the same night that much of the country was watching the low-speed police chase of O.J. Simpson's white Ford Bronco through L.A. This version was significantly reworked and sounded much like the “Simple” we are accustomed to hearing today, with the exception of a minor humoristic augmentation providing the line “We've got O.J., cause we've got a band.” Mondegreen:  We've got a cymbal (simple) cause we've got a band   OUTRO:                               Twee Pri                                                Night 3, August 17, 2024 – Encore out of YEM into end of show                                                April 20, 2024, The Sphere, Las Vegas, NV Encore out of A Life Beyond the Dream into end of show                                                Tvidler 202202 11 by Ryan Maguire (youtube.com)                                                0:00 – end By:  Anastasio/Fishman/Gordon/McConnellPlayed:  321 tiesFirst:  2.1.1991 at Alumnae Hall, Brown University — Providence, RIMost Recent: 8.17.2024 Mondegreen Night 3Gap: 1 show A "reprise" is a sort of musical afterthought – basically a reintroduction of and variation on the main theme of a piece of music. Thus, “Tweezer Reprise” is a slight variation – a condensation of sorts – of “Tweezer.” As it does on the album A Picture of Nectar, the “Reprise” often follows “Tweezer” in concert, most frequently as an encore song. It is also common as a second set closer following an earlier “Tweezer.” A few times, the “Reprise” has even been spewed out of some long, monster “Tweezer,” serving as the thrilling exclamation point at the end of a raging, set-long sentence (e.g. 5/7/94, 6/22/95).On occasion, “Tweezer Reprise” has shown up as a surprise in a show where there has been no performance of “Tweezer” proper. Although usually this occurs because the “Reprise” will be referring back to a non-reprised “Tweezer” at the previous night's show (e.g. 12/30/96's “Tweezer” was reprised on 12/31/96), the song has been known to appear, albeit rarely, completely free from its Granddaddy counterpart, like on 9/29/99. The most interesting example of this, and perhaps the most unusual “Tweezer Reprise” ever performed, was on 12/8/99, which featured an a cappella version that came out of a “YEM” vocal jam to close the second set. The band later finished off the show with a traditional “Tweezer Reprise” to end the encore. Other interesting versions include 10/27/94 and 10/21/95. .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

Hi everybody and welcome to today's episode of Attendance Bias. I am your host, Brian Weinstein. I am ecstatic to introduce today's episode, as it features both a knowledgeable guest who is well known within certain circles of the Phish community, and a thorough, wide-ranging discussion about three of the greatest improvisational rock concerts ever played: Phil and Friends at the Warfield Theater in San Francisco on April 15, 16, and 17, 1999.While not a Phish show, or even a Grateful Dead show, this run of concerts was a milestone for both bands. Not only was it the first time that members of the two major jambands shared a stage, it's notable that songs from both Phish and the Grateful Dead were played over the three nights. I've been listening to these shows since soon after they were played and they haven't aged a day. When Charlie Dirksen of Phish.net and The Mockingbird Foundation volunteered to discuss them and tell about what it was like to actually be there, I couldn't wait to hear about it. These shows have lived in my head for over 20 years, so to hear a first-person account of what they were like made for one of my favorite conversations I've ever had for this podcast.This episode easily could have been three hours long–every time a song was mentioned, it took a lot of willpower on my end not to insert yet another music clip. But there was so much to discuss before we even get to the music. Let's join Charlie to chat about his responsibilities at Phish.net, Steve Kimock's guitar wizardy, and where John Molo fits into everything, as we break down Phil and Friends from April 15, 16, and 17 at the Warfield Theater, in San Francisco, CA.

Phil Lesh's Triumphant Return: A Musical Journey 25 Years Ago TodayLarry Mishkin provides a retrospective analysis of a significant musical event from April 15th, 1999, focusing on Phil Lesh's return to the stage after surgery, marking the first Phil and Friends show.  He discusses the lineup, including Trey Anastasio and Paige McConnell from Phish, and highlights their performance of various songs, notably "Viola Lee Blues" and "Hello Old Friend." The discussion also touches on recent music news, including the cancellation of the Skull and Roses festival and a tribute event for Jimmy Buffett featuring Paul McCartney and the Eagles. Additionally, it anticipates Fish's upcoming performances at the Las Vegas Sphere venue. Phil Lesh & FriendsApril 15, 1999 (25 years ago)Warfield Theater, S.F.Phil Lesh and Friends Live at Warfield Theater on 1999-04-15 : Free Download, Borrow, and Streaming : Internet Archive Lineup:Phil Lesh - BassSteve Kimock - GuitarsJohn Molo - DrumsTrey Anastasio - GuitarPage McConnell – Keys  INTRO:                      Hello Old Friend                                    Track # 1                                    0:10 – 1:47 25 years ago, Phil Lesh & Friends featuring guitarist Trey Anastasio and keyboardist Page McConnell of Phish kicked off their landmark three-night run at The Warfield in San Francisco on this date in 1999. Guitarist Steve Kimock and drummer John Molo rounded out the lineup of one of the most memorable collaborations the jam world has seen.This was the first ever performance of Phil & Friends and quite a memorable group of Friends to be playing with at a storied S.F. music venue.The shows also marked Lesh's return after undergoing liver transplant surgery at the age of 58 due to chronic hepatitis C infection. The April 15 concert kicked off with Phil and his sons Brian (??) And Grahame Lesh (12), backed by guitarist Steve Kimmock, in front of the curtain, performing Eric Clapton's “Hello Old Friend” as a fitting first song back for Phil. Both boys are strong musicians and Grahame, who graduated from Stanford in 2010 with a music degree, is a regular touring member of Phil and Friends in addition to playing with his own band, Midnight North.Phil Lesh's surgery took place at the Mayo Clinic in Jacksonville, Florida on December 17, 1998, barely 4 months earlier. Lesh, who was 58 at the time, had been suffering from internal bleeding caused by hepatitis C, which he was diagnosed with in 1992. He received the liver of a young man named Cody and his since started encores of his concerts by preaching the importance of becoming an organ donor."Hello Old Friend" is a country rock song, written and recorded by the British rock musician Eric Clapton. The track was released in October 1976 as the first of two singles from Clapton's 1976 studio album entitled No Reason to Cry. the AllMusic critic William Ruhlmann notes, "Hello Old Friend" is the best pop/rock song on the album. He goes on describe the title as a "identifiable" Clapton piece of music.[2]Rolling Stone journalist Dave Marsh called the song "a whimsical and silly slice of attempted innocence".[3]Billboard said that it has a reggae feel similar to that of "I Shot the Sheriff."[4]Record World called it "a midtempo number constructed around a network of acoustic and slide guitars.” The Grateful Dead never played the song in concert.   The five-piece then showed off its firepower with a 34-minute “Viola Lee Blues.”  SHOW No. 1:           Viola Lee Blues                                    Track # 2                                    31:30 – 33:01 In a 1999 interview with Jambands.com, Lesh revealed that it was Anastasio's idea to do “Viola Lee” and talked about how he started listening to Phish and also how the collaboration came about. Read an excerpt below:“[Phish's music]…was absolutely entrancing, it was just gorgeous…but I couldn't hear the piano well on the live tapes, so I went back to the CD's and started listening to Page and what he was doing, and so I said “Well…” and my wife said “Come on, Come on, give them a call.” Somehow I got their phone numbers, and I gave them both a call. We talked about it, and they said we'd love to do it, and so we set a date, and we started calling back and forth, and like I said earlier they brought in a dozen Grateful Dead tunes I never would have thought of doing, but they wanted to [do] them. And we got together at rehearsal and the first thing we did together was “Viola Lee Blues,” and from there on out it was like now let's do this one, and let's do this one. It was real rehearsal in the sense that the Grateful Dead rarely was. Grateful Dead rehearsals were kind of comical. We believed in public rehearsals.” A long time favorite of Phil's, he picked it as one of the live tunes for the GD album, Fallout From The Phil Zone – a collection of some of Phil's favorite live tracks of various Dead tunes released on June 17, 1997.  In the liner notes he said this of the song: “The definitive early Grateful Dead jammin' tune, the first one we ever really stretched out beyond all recognition, by using what we called then “shifting gears” – which is really nothing but a twenty minute accelerando, influenced by the North Indian music that we were listening to a lot at that time.” Played only 44 times by the BandFirst:  March 19, 1966 at Carthay Studios, Los Angeles, CA,Last:  October 31, 1970 at Stony Brook Gymnasium in Stony Brook, NY Also played June 27, 2015 at Levi's Stadium, Santa Clara, CA, USA  50th Anniversary shows MUSIC NEWS:Skull and Roses called off, no refunds After the exploratory, bar-setting, “Viola Lee,” the quintet would run through more material from the Dead canon with Trey and Page harmonizing on “Big Railroad Blues,” Phil singing “Jack-a-Roe” and Phil, Trey and Page harmonizing on “Cosmic Charley”   SHOW No. 2:           Cosmic Charlie                                    Track #5                                    3:25 – 5:12 Old Time Music and Hope Barnett: Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other. The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band's songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness. The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence. While “Cosmic Charlie” was never released as a single and did not enjoy mainstream success, it holds a special place in the Grateful Dead's discography and the hearts of their fans. Its eclectic and unique style showcased the band's experimental tendencies and cemented their reputation as pioneers of the psychedelic rock genre. Love hearing Trey and Page singing along on this old timey Dead gem. Played 45 times by the Dead (38 in 1969 and 1970, 1 in 1971 and, inexplicably, 6 in 1976.First: January 17, 1969 at Robertson Gymnasium, University of California Santa Barbara Campus, CA, USALast: September 25, 1976 at Capital Centre, Landover, MD, USA 1984 Deadheads would pass around a petition asking the band to play the song again and also pass out cards before the show with the lyrics just in case they played it. Finally, for the Phish fans in the crowded Warfield, the first Phish tune of the run (and only one that night), “Wolfman's Brother.” SHOW No. 3:           Wolfman's Brother                                    Track # 6                                    1:30 – 2:58 On this one, writing credit goes to the entire band plus long time Phish lyricist, Tom Marshall.Released on Hoist (stylized as (HOIST)) is the fifth studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records. At the time of its release, Hoist was Phish's best selling album to date, peaking at No. 34 on the Billboard 200 albums chart. The album was certified gold by the RIAA on August 19, 1996, and remains the band's best-selling studio release, outsold in their discography only by the platinum-certified A Live One.Old Time Music:  Mike WellsMusic has a unique way of connecting with our emotions, memories, and experiences. It has the power to transport us to a different time and place, evoking feelings we may have long forgotten. One song that has always resonated deeply with me is “Wolfman's Brother” by Phish. This track, featured in their 1994 album “Hoist,” holds a special meaning and significance for both the band and their dedicated fanbase. the lyrics of “Wolfman's Brother” have a universal appeal. They invite listeners to reflect upon their own encounters with enigmatic figures or forces that have left a lasting impact. It encourages us to confront the demons that haunt us and search for understanding and resolution.Listening to “Wolfman's Brother” live is an entirely different experience. The band's extended jams and improvisations add a new layer of depth and intensity to the song. It becomes a collective experience, with the audience joining in as the lyrics are chanted by thousands of voices.Phil spoke with Jambands.com about wadding into the Phish catalog:I had thought maybe we would do this tune or that tune, and in the end, we only ended up doing one tune that I thought we would do, and that was “Prince Caspian,” and then they brought up those other three, “Wolfman's Brother,” which I had never heard, and “Down With Disease” and “Chalkdust Torture,” which I hadn't heard either until we played them at the rehearsal, and then I went and got the CD's and checked them out. But then I started listening to their other stuff, their other stuff is real interesting, but you can tell by listening to that that they need their forty hour weeks, because they really need to get that shit down. Never played by the Dead. MJ NEWS – One Toke Over The Line!!!  STRAINS: Strawberry Shortcake – a wonderful nighttime indica strain that that has a tart strawberry taste and leaves you with a good face melt and some couch lock.  Wait until you get home before diving in.  No great if you are with a group of people who are looking for your active participation in whatever they are doing!  But wonderful to relax and get ready for a good night's sleep. Blue Dream – every now and then I swing back to one of the all time greats.  Nice for daytime and early evening use.  Just have to be sure that whatever they are calling Blue Dream is really Blue Dream.  It does have a fairly distinctive taste and smell so if you are familiar with the strain, you should be able to tell if you have the real stuff. Tang – a wonderful sativa that is energetic without providing the standard “sativa crash” as it wears off.  Also nice because of it's ability to “cut through” any buzz you may already have and provide a new uplifting effect. After a first set-closing “Uncle John's Band,” the second frame got underway with Lesh leading on “Alabama Getaway” and “Sugaree,” the latter of which featured the band taking things out again and stretching the song to over 20 minutes. Phil once again stepped to the mic for a cover of the Bob Dylan classic “Like A Rolling Stone” that saw Trey and Page joining him on the chorus – I love that tune, the first Phil & Friends show I ever saw, featuring the Quintet, at the Riviera Theater in Chicago with good buddy Jimmy they opened with a 15 minute version of this tune into a 30 minutes cover of Low Spark of High Heeled Boys, just too many other good tunes from this show -  and led into a spirited “I Know You Rider.” Anastasio then fronted the quintet on a sweet version of “Row Jimmy”   SHOW No. 4:           Row Jimmy                                 Track #12                                   2:10 – 3:55 Garcia/Huner tune, Wake of the Flood is the sixth studio album (and tenth album overall) by the rock band the Grateful Dead. Released on October 15, 1973, it was the first album on the band's own Grateful Dead Recordslabel. Their first studio album in nearly three years, it was also the first without founding member Ron "Pigpen" McKernan, who had recently died. His absence and keyboardist Keith Godchaux's penchants for bebop and modal jazz (rather than McKernan's tendencies toward the blues and rhythm and blues) contributed to the band's musical evolution. Godchaux's wife, vocalist Donna Jean Godchaux, also joined the group and appears on the album.[8]The release fared better on the pop charts than their previous studio album (1970's American Beauty), reaching No. 18. After three live albums in a row, the Grateful Dead wanted to record studio versions of songs written since Keith Godchaux had joined the band. At the time of recording, five of the songs on the album (and part of a 6th) had been in live rotation for up to a year and a half, as arrangements were road-tested and finalized. Referring to this period, bassist Phil Lesh explained, "We'd learned to break in the material at shows (under fire, as it were), rather than try to work it out at rehearsals, or in the studio at tremendous expense." Describing Godchaux's influence, drummer Bill Kreutzmann characterized the album as "Keith's coming out party." Remarking on the evolution in style, he remembered:Jerry brought "Row Jimmy" into us one day, and it was really difficult to get a grip on it at first.     It has a slow tempo, which makes it seem like it would be easy, but it calls for a slight reggae groove layered over a ballad. Rhythmically, the lengths aren't traditional. They're not just twos and fours. It's deceiving. Basically, you have to play the song in half-time with a double-time bounce on top. It's trickier than it sounds. But once I locked into it, "Row Jimmy" became one of the best songs in our repertoire. Played 274 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA, a show we featured earlier this year.Last: June 21, 1991 at Knickerbocker Arena in Albany Cannot say enough about Trey's strong vocals on this tune.  This is 16 years before the 50th reunion shows where Trey would play lead guitar for all five shows (2 in Santa Clara and 3 at Soldier Field).  And at this point, Phish had only covered one Dead tune in concert:  Terraping Station on August 9, 1998 at the Virginia Beach Amphitheater on the third anniversary of Jerry's death.  Since that point, it is still the only time Phish has covered a Dead tune in concert.  Why only that one?  Who knows.  Trey is certainly more than qualified to cover any Dead tune and the other guys have all played with various Dead members from time to time.  One of the great mysteries of the Phish world (at least for me). This was followed by a crowd-pleasing “Shakedown Street” which saw the band stretching their legs once again for a nearly 20-minute excursion. Next, “The Wheel” led into a 15 minute version of the classic closer “Not Fadeaway” to bring set two to a conclusion. After Phil's donor rap and band intros, Phil & Phriends closed out Night One of the run with Phil singing lead Dylan's “Mr. Tambourine Man,” which they did in the style of The Byrds.   OUTRO:                    Mr. Tambourine Man                                    Track #18                                    0:00 – 1:28 Leave you with one of my favorite Bob Dylan tunes. "Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.The song has been performed and recorded by many artists, including the Byrds, Judy Collins, Melanie, Odetta, and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song. The song has been in Dylan's live concert repertoire since it was written,[10] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964. Great version, again with Trey and Page joining in.  I think Phil surprised them with pace of the tune right at the start, but everyone catches up and it's a fun song to hear in concert.  Great way to close out night 1 of this 3 night return to the stage run for Phil.  Best part is that 25 years later he is still going strong at 84! Phil and Friends have covered it 6 timesFirst:  at this show!Most recent:  October 5, 2000 at Orpheum Theatre, Boston, MA, USA  (doesn't seem correct to me because I'm fairly certain I've seen Phil perform this live since 2000, but so far cannot seem to come up with the place, date or folks he was playing with.  Happens sometimes! Finally, this show marks the first instance of Phil's famed “Donor Rap” that precedes the encores of all of his shows .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Because I didn't want to orphan the rest of this show, and because it is a fine recording and a good show, I'm going to bring you the rest of the performance we started last week from the Warfield Theater in San Francisco on September 26,1980. This is a fine electric set, with many classic numbers, if not a huge amount of jamming.  The opening 'Feel Like a Stranger' features some interesting Brent additions. All of these songs are well played, if a bit safely - I think this was being recorded for what would become 'Dead Set' although none of these were included.  Highlights for me here are the closing Tennesee Jed>Sailor>Saint, although there are no dogs here.   Grateful Dead Warfield Theatre San Francisco, CA 9/26/1980 - Friday Two     Feel Like A Stranger Sugaree Me And My Uncle > Big River Peggy-O New Minglewood Blues Candyman Looks Like Rain Tennessee Jed > Lost Sailor > Saint Of Circumstance  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod120123.mp3 Thank you for your support of the Deadpod! 

Be sure to wear a flower in your hair. This week, our hosts Game, FiG, and Knob are heading back to San Francisco for the Grateful Dead's October 9th, 1980 show at the Warfield Theater. Discussions abound about Knob seeing JRAD, how to critique the acoustic sets, and what we want out of Tennessee Jed. Dire Wolf Dark Hollow I've Been All Around This World Cassidy China Doll On The Road Again Bird Song The Race is On Oh Babe It Ain't No Lie > Ripple   Feel Like A Stranger Friend Of The Devil Mama Tried > Mexicali Blues Peggy-O Little Red Rooster Brown Eyed Women Looks Like Rain Tennessee Jed The Music Never Stopped   Alabama Getaway > Greatest Story Ever Told High Time Lost Sailor > Saint Of Circumstance > Terrapin Station > Drums > Not Fade Away > Wharf Rat > Sugar Magnolia   Casey Jones

Famous San Francisco promoter Bill Graham's marquee on The Warfield theater for The Grateful Dead's concert on September 25, 1980 said it all: "THEY'RE NOT THE BEST AT WHAT THEY DO, THEY'RE THE ONLY ONES THAT DO WHAT THEY DO"Almost Familiar invites prolific live music journalist, Upful Life Podcast host, and friend, B.Getz, to return to the show to muse on whether the same can be said of this iteration of Pretty Lights. We reflect specifically on Derek & Company's three-night run at The House that Garcia built in San Francisco. We can think of no better guest to help us draw parallels between the Grateful Dead's legacy, playing, culture and experience, to what is currently happening with Pretty Lights as we continue to explore our podcast's foundational hypothesis: Is Pretty Lights “almost familiar” to The Grateful Dead?  **All music from this episode along with the rest of the Spaceship Soundsystem tour dates are available for listening at prettylightslive.com 

"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin  focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast   Jerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet Archive  INTRO:               How Sweet It Is To Be Loved By You                           Track No. 2                           0:00 – 1:30 How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"  Released on Nov. 4, 1964 with Forever on the B-side. Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff. James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart. Long a staple of the JGB's set lists, First played on September 18, 1975 a Sophie's in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB's most played tune (Midnight Moonlight is 2d at 344) Usually a show opener.   There are three Dead shows on Nov. 13 and six JGB shows.  Of those six, none are available on Archivd.org.  So I am dong a JGB show two days later on Nov. 15, 1991 from MSG.  The standard JGB lineup for that time: Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocals Great musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act. This show was released as Garcia Live Vol. 16 SHOW #1:                        Simple Twist of Fate                                         Track No. 5                                         3:00 – 4:40               In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song's subject, many believe that he wrote it about his former girlfriend, Joan Baez. Bob Dylan's message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world. Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F.  If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show. SHOW #2:                        Lay Down Sally                                         Track No. 6                                         1:40 – 3:15 "Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart.  It was released as a single with Cocaine on the B-side, quite the heavy hitting release.  It was the song of the summer of 1978 and always one of Slow Hand's favorite songs. "Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SF Gets a great crowd reaction and Jerry loves jamming on Clapton tunes. Link to picture of Garcia and Clapton from back in the day:  Jerry Garcia & Eric Clapton Pose | Grateful Dead Clapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A:  “Yeah, it's great.” Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.” A:   “Ropey! That means a drag. I don't think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I'm not sure of that. I'm guessing. If the Grateful Dead are one of the best, they're not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia's synthesis of blues, jazz and country and western, with a little jug band thrown in?A:   “It's very good, and very tight, but it's not really my bag.” SHOW #3:       Deal                        Track No. 9                        2:46 – 4:15 Finally, a Garcia tune!  And one of his best.One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”. It's also worth noting that the classic folk song, “Don't Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune. JGB played it 291 times in concert.  First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the Warfield Grateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant's Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, IL You had to be trying really hard, or just be really unlucky to never catch this tune during those days.  I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song.  Almost always a first set closer.  SHOW #4:               Ain't No Bread In The Breadbox                                Track No. 14                                1:22 – 3:02 Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic. In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake." By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums. He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993. Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band's 7th performance of the tune.  Jerry really liked it. The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021.                        OUTRO:                  What A Wonderful World                                Track No. 19                                1:55 – 3:37 "What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races. JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band's 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can't love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria.  A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.  Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL  60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law

"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana"Larry Mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management..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  Grateful Dead, October 16, 1989, Melk Weg Club, Amsterdam, the NetherlandsGrateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet Archive Second of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed.  Very cool and famous club in Amsterdam, one of the best known hash bars.  Went there one time in 1988 with good buddies Mikey and H.  A highlight of our trip. Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show.  He's a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.  INTRO:                  The Race Is On                                Track No. 8                                1:10 – 2:24                 Show had an acoustic first set and an electric second set.  Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead's Reckoning album.  So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981. "The Race Is On" is a song written by Don Rollins[1] (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music charts by George Jones and on the pop and easy listening charts by the unrelated Jack Jones. George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the BillboardHot Country Singles chart and at number 96 on the BillboardHot 100 in January 1965. Jack's version topped Billboard'sEasy Listening chart and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the Cashbox charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships.                 Rockabilly artist Dave Edmunds, in collaboration with the Stray Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album, Twangin.... Stray Cats drummer Slim Jim Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album: "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] Phantom also recalled that the song took "one or two takes" in the studio.[4]Thank you.                 Covered by:        Jack Jones                                                Loretta Lynn                                                Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go”                                                Waylon Jennings                                                The Georgia Satellites from 1965 debut album, “Keep The Faith”                                                Elvis Costello                                                And others                                                 Dead played it 60times in concert                                                First:  December 31, 1969 at Boston Tea Party in Boston                                                Last:  May 20, 1995 at Sam Boyd Silver Bowl, Las Vegas  SHOW #1:                           Ripple                                                Track No. 9                                                1:50 – 3:06                                 We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center.  What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple.  So this is the last accoustic Ripple ever played since the Cap Center was electric.  Maybe the most famous Dead tune ever, from American Beauty, Hunter's lyrics and Jerry's music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!  SHOW #2:                           Hully Gully                                                Track No. 12                                                0:15 – 1:38                                 "(Baby) Hully Gully" is a song written by Fred Sledge Smith and Cliff Goldsmith and recorded by The Olympics, an American doo-wop group formed in 1957.  Released in 1959 on the album, “Doin' the Hully Gully”, it peaked at number 72 on the Billboard Hot 100 in February 1960[2] and sparked the Hully Gully dance craze.                         Covered by:     Buddy Guy                                                Chubby Checkers                                                The Ventures                                                The Beach Boys                                                Many others                                                Peter Pan Peanut Butter add jingle in the 1980's                                                 The Dead's version of this song from this show is the only time they played it in concert.  SHOW #3:                   Gloria                                    Track No. 15                                    2:15 – 3:45                         "Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go” on December 2, 1964.  The song became a garage rock staple and a part of many rock bands' repertoires.                         According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] He started to perform it at the Maritime Hotel when he returned to Belfast and joined up with the Gamblers to form the band Them. He would ad-lib lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day.                         Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] Although some sources claim that Jimmy Page played second guitar, other sources deny this.                         Covered by:                 The Doors –   The Doors performed the song several times in 1966 and 1967, with one recording released on Alive, She Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] The song is included on Legacy: The Absolute Best (2003) and The Very Best of The Doors (2007).                                                             Patti Smith - Patti Smith recorded it for her album Horses in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener.                                                            In 1993, Van Morrison recorded a version with John Lee Hooker, which reached the Top 40 in several countries.                                                                        For the Dead, this was the first time they played it live in concert.                                    They wound up playing it only a total of 14 times                                        Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh                                                   I was lucky enough to catch it on June 25, 1992 at Soldier Field.  SHOW #4:                   Turn On Your Lovelight                                    Track No. 16                                    1:03 – 2:33                                     "Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire.  was written by band leader and arranger Joe Scott (with an additional credit given to Duke Records owner/producer Don Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top".                                     In 1967, "Turn On Your Love Light" became a staple of Grateful Dead concerts, sung by Ron McKernan: a 15-minute rendition is on their 1969 double live album Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London, during the Europe '72 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival lasted more than 45 minutes.[8] The Grateful Dead later revived the song in the early 1980s with Bob Weir singing.                                     Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe '72 tour.  In other words, this was the Dead's first performance of the song without Pigpen on lead.  Dead went on to play it a lot after this show right up until the end.  Bobby played it well, but never even tried the rap that Pig made famous in his extended versions.  No Box Back Knitties when Bobby sang it.                         Dead played it 355 times in concert!  Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60's.                        First played on August 4, 1967 at the O'Keefe Center in Toronto                        Last played on June 19, 1975 at Giants Stadium in New Jersey                                     When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight.  Not a bad thing to be associated with.  Always fun to hear it in concert even without Pig.  OUTRO:                      Sugar Magnolia                                    Track No. 20                                    6:30 – 8:05                                     One of the best Dead tunes of all time and the ultimate show closer.  Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show.  Either you were there or you missed it.  What being a Deadhead is all about. 

"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

 Grateful Dead Live at Warfield Theater on 09-26-1980Hosts Larry Mishkin  and Rob Hunt breakdown some significant recent rulings and new laws making things nicer for those who enjoy marijuana. They also have time to dive deep into the Grateful Dead's 1980 Warfield run focusing on the acoustical set from the show 22 years ago today (Sept. 29, 1980). Don't miss the big breakouts!Produced by PodConxDeadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast

Grateful Dead Live at Warfield Theater on 10-03-1980U.S. House Passes the SAFE Banking Act as Part of Defense Bill and Larry Mishkin,  Jim Marty and Rob Hunt speculate whether it will pass in the Senate.   They also share Mickey Hart stories including how he joined the band.    Larry gives a review of Dead And Company Wrigly Field concerts and Jim reviews Phil Lesh & Friends Dillion Colorado concerts. Produced by PodConXDeadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinJim Marty - https://podconx.com/guests/jim-martyRob Hunt - https://podconx.com/guests/rob-huntDeadhead Cyclist - https://deadheadcyclist.com/

This is a look at the definitive song for each letter of the alphabet, and some of the tracks required some spirited debate between myself, DanK, and St. Stephen. Check it out, I think we nailed the right songs, keep in mind these aren't necessarily the TOP RATED version of each song, but the right song per letter. Feel free to comment here, on iTunes, or YouTube. Althea 10.12.81 Olympia Halle, Munich Germany Bertha 7.8.78 Red Rocks Amphitheater, Morrison, CO Cassidy 4.24.78 Normal. IL Dark Star 10.31.91 Oakland, CA Eyes 3.31.91 Greensboro, NC Fire 3.18.77 Warfield Theater, SF, CA GDTRFB 9.2.83 Boise, ID Here Come Sunshine 12.6.92 Compton Terrace Tempe, AZ It Must Have Been The Roses 11.20.78 Cleveland, OH Jack Straw 4.14.82 Glen Falls, NY Keep Your Day Job 9.20.82 MSG NY, NY Loser 5.14.74 Adams Field House, Missoula, MT

This week we conclude our presentation of the band's performance from October 11, 1980 at the Warfield Theater in San Francisco.  What great days when the band would perform three sets at a show! This is not a throw-away set by any means.. After a rather standard China>Rider things get very interesting 'Let It Grow' leading into Drums and Space, followed by a guest appearance by the late John Cipollina from Quicksilver Messenger Service. Together they do a most interesting post-drums, featuring a dreamy 'Not Fade Away' into 'Wharf Rat' into 'Goin' Down the Road Feelin' Bad' and 'One More Saturday Night'. The boys return to send off the crowd with a sweet 'Brokedown Palace'.  I do hope you enjoy this fine performance.    Grateful Dead Warfield Theatre San Francisco, CA 10/11/80 - Saturday Three     China Cat Sunflower > I Know You Rider ; Let It Grow > Drums > Space > Not Fade Away > Wharf Rat > Goin' Down The Road Feeling Bad > One More Saturday Night Encore      Brokedown Palace   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod101620.mp3   "I know that the life I'm livin's no good I'll get a new start, live the life I should I'll get up and fly away,"  

 Great set this week - the 2nd set from the band's performance at the Warfield Theater in San Francisco on 10/11/80.  Great quality tape - and right off they sound hot .. a wonderful 'Stranger' punctuated with some smoking guitar. Even the Mama Tried>Mexicali has some real smokin' licks. Personally I find the post-Donna 'Passenger' to be one of the best of this period.. really well done. There's nothign shabby here, and the closing Sailor>Saint has some great jamming in it.      Grateful Dead Warfield Theatre San Francisco, CA 10/11/80 - Saturday Two     Feel Like A Stranger [8:26] ; They Love Each Other [7:07] ; Mama Tried [2:33] > Mexicali Blues [4:16] ; Loser [7:32] ; Passenger [4:44] ; Ramble On Rose [7:14] ; Looks Like Rain [7:21] ; Althea [7:58] ; Lost Sailor [6:32] > Saint Of Circumstance [6:18]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod100920.mp3 Hope you enjoy this.. and thank you so much for your support..   

Here we are in October already?!! What an odd and unhappy year.. well I thought I'd try to brighten things a bit by paying homage to the acoustic sets the band played 40 years ago during the month of October 1980.. This week's Deadpod features one of those, a fine recording of the acoustic set from October 11, 1980 at the Warfield Theater in San Francisco CA.  While there's not a great deal of surprises here, the recording is very nice and warm and the performance is as well. While I often prefer to save these for the holidays, I think this is a good time to break out the fine china, as I sometimes put it.. I hope you enjoy.  Grateful Dead Warfield Theatre San Francisco, CA 10/11/80 - Saturday One     Dire Wolf [3:13] ; Dark Hollow [3:50] ; Rosalie McFall [2:47] ; Cassidy [5:45] ; Deep Elem Blues [4:53] ; Monkey And The Engineer [2:21] ; China Doll [4:56] ; Heaven Help The Fool [6:15] ; Oh Babe It Ain't No Lie [6:24] > Ripple [4:34]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod100220.mp3 thank you all for your kindness  

The band Leftover Salmon has been a stalwart in the “jam band” scene since the early 1990s. Formed in Colorado, the group has released as many as 13 albums and toured extensively all over the world. There influences are myriad. Their playing ability and inventiveness in live performance have made them a celebrated music festival act. I had a chance to chat with Drew Emmitt about their most recent record “Show Me Something Higher” as well as their show coming up at the Crystal Bay Club at Lake Tahoe on Friday March 6 and the Warfield Theater in San Francisco on March 7.

Working Class Audio Session #111 with Nathan Harlow!!! Nathan Harlow grew up in San Francisco, played in bands and eventually found his way into the world of live sound. 20 years later, his experience touring, mixing, recording and doing system design has allowed him the opportunity to work with artists such as Prince, Rob Zombie, Sonic Youth, Bebel Gilberto, Medeski, Martin and Wood and Primus. His skills are also in demand at the Fox Theater in Oakland, California, the Warfield Theater and Fillmore Auditorium in San Francisco, California. On top of his live sound skills doing monitors or front of house Nathan is also trained in systems management and room acoustics. He states that his intention is to use his unique set of skills to assist in the creation of beauty and inspiration with elegance and grace.  Matt heads into San Francisco to chat with Nathan in person in his studio South of Market.  Enjoy!  

A bonus episode partially recorded at The Warfield Theater in San Francisco, CA. Making a Murderer's Dean Strang and Jerry Buting on their speaking tour "A Conversation on Justice". To subscribe to Once Upon a Crime on iTunes, click here. To subscribe to Once Upon a Crime on Stitcher, click here. Our Twitter feed is here. 

This week on the Deadpod we'll finish hearing the end of the third set of the band's performance on 10/10/80 at the Warfield Theater in San Francisco CA. This section starts with a wonderful verison of 'Big Railroad Blues' one of my favorite rockers. Then we get a nice jam that follows in 'Estimated Prophet' into 'Eyes of the World'.  This is probably my personal highlight of this week's set as the boys do a great job on a personal favorite. A long drums and space follows as befits a show of this length, and leads us into Truckin' and then a haunting Black Peter. Unfortunately this is where the soundboard disappears and we are listening to the remainder of this set on a pretty decent audience recording. The band closes the night with a pair of good old time rockers, Around and Around and Promised Land, and return for a US Blues encore. All in all quite an evening, and I hope you've enjoyed hearing this show in its' entirety the last three weeks..      Grateful Dead Warfield Theatre San Francisco, CA   10/10/80 - Friday   from set 3:  Big Railroad Blues Estimated Prophet Eyes of the World drums Truckin' Nobody's Jam Black Peter Around and Around Promised Land   U.S. Blues   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod102315.mp3   Thanks for your support!    Have a fabulous, joyful week!     

We'll continue this week with the Grateful Dead's performance during one of their historic performances at the Warfield Theater in San Francisco, CA on October 10th, 1980. This week we will finish listening to the first electric set and being hearing set 3. While the sound quality may not be as wonderful as that for the acoustic set, I still really enjoy hearing them on these songs. We start with a 'Beat It on Down the Line', then an excellent 'Row Jimmy', and 'New Minglewood Blues'. I think they kick things up a notch now, with an outstanding 'Althea' followed by one of the all time best 'Jack Straw's that I think you'll ever hear. Set 3 starts out with probably the highlight of the electric sets, a scorching 'Scarlet->Fire'.. We'll close this week's Deadpod with the 'Samson and Delilah' that follows...    Grateful Dead Warfield Theatre San Francisco, CA 10/10/80 - Friday from set 2:    Beat It On Down The Line[2:59] ; Row Jimmy [8:13#] ; New Minglewood Blues [#4:41] ; Althea [7:55] ->; Jack Straw [6:12]   From set Three : Scarlet Begonias [8:45] > Fire On The Mountain [10:07] ; Samson And Delilah [7:28] ;   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod101615.mp3   the Deadpod relies on the support of its wonderful listeners. Thank you!    Have a great week my friends.     

Use the player above, or click here to listen. Central Market was once the hub of big-screen entertainment celebrating seven theaters within two-blocks during the pre-television era. Today, these historic theaters, may be found in three states: abandoned, in the sex biz, or still going. The Warfield on Market Streets is STILL going and regularly [...]

Iconoclastic singer-songwriter PJ Harvey is making four U.S. stops in support of her recent album Let England Shake. Hear one of those concerts featuring songs from her latest album 'Let England Shake,' recorded live from the Warfield Theater in San Francisco on April 14, 2011. To hear the full concert, visit our website, npr.org/music. Set List: 1) "Let England Shake" 2) "The Words That Maketh Murder" 3) "All & Everyone" 4) "In the Dark Places" 5) "The Glorious Land" 6) "The Last Living Rose" 7)"England" 8) "Bitter Branches" 9) "On Battleship Hill" 10) "The Colour of the Earth"

photo by Curtis George, from Houston, 3/23/07This week we feature some brand new material from Spring tour and then some ten year old material from San Francisco.Since everyone has great access to recent material through LiveWidespreadPanic.com as well as sites like PanicStream.com and DigitalPanic.org I try to steer away from featuring too much new stuff - Being able to pick up a soundboard of the show within days of it happening is to me an offer none of you should refuse....SO, make sure to pick up some of tasty soundboards of the recent action at LiveWidespreadPanic.com.I am very excited to see the band bringing out some new originals this spring, and among them I find Shoes On Tight to be my favorite. I also enjoyed listening to the Guilded Splinters (and the jam that followed) from Kansas City. Finally, this past week marked the tenth anniversary of some epic Panic, including a two night run at the Warfield in San Francisco, so I am featuring some tracks from one of those shows.So here's the selection this week:March 25, 2007Nokia TheatreGrand Prairie, TXShoes on TightMarch 27, 2007Uptown TheaterKansas City, KS(I Walk on) Guilded SplintersMarch 29, 1997Warfield TheaterSan Francisco, CAGimmeRadio ChildStop-Go >ConradGalleonHope in a Hopeless World >Cream Puff WarMake sure to click COMMENT below to let us know what you think -DOWNLOAD the cast here (right click to save to hard drive):Everyday Companion Podcast #44Click here to subscribe through iTunes.

Public domain music Phil Lesh & Friends featuring Joan Osborne, Jimmy Herring, Barry Sless, Rob Barraco and Jeff Sipe along with the John Mayer Trio will be performing on December 29 at The Fillmore, December 30 at The Warfield Theater, and on December 31 at the Bill Graham Civic Center. We are planning a New Year's Eve show that would make Bill Graham proud including a special midnight set featuring Phil and John Mayer.