Podcasts about wharf rat

This week we present the second set from the band's performance at the Greek Theater in Berkeley California on May 22, 1982. A fine recording that starts off with a tight 'China>Rider', to lead off a nice pre-drums set. 'Man Smart, Woman Smarter' always got the crowd fired up and we also have a Brent number, and a great 'He's Gone' into Drums.. post Drums highlights include a nice 'Not Fade Away' and a rockin' 'Good Lovin' to close the set. While it is a Saturday show, we get a 'U.S. Blues' encore !   Grateful Dead Greek Theatre - University of California Berkeley, CA 5/22/1982 - Saturday Two      China Cat Sunflower [6:51] > I Know You Rider [5:28] > Man Smart (Woman Smarter) [6:21]  Never Trust A Woman [5:51]  Lost Sailor [6:25] > Saint Of Circumstance [6:40] > He's Gone [10:#33] > Drums > Space [9:19] > Not Fade Away [10:05] > Wharf Rat [8:28] > Around And Around [3:48] > Good Lovin' [8:31] Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod053025.mp3   Thank you so much for your kind support of the Deadpod!  

This week, we're headlights on a southbound train. Our hosts FiG and Knob are heading to Louisville, Kentucky. It's July 6th, 1990, and the Grateful Dead are playing at Cardinals Stadium. Along the way, discussions abound about the mixolydian scale, Dead and Co's San Francisco shows, and what makes Standing on the Moon so good. Hell in a Bucket > Sugaree Easy to Love You Peggy-O Desolation Row West LA Fadeaway Picasso Moon Ramble on Rose Music Never Stopped China Cat Sunflower > I Know You Rider > Man Smart Woman Smarter > Standing on the Moon > He's Gone > Drums > Space > Truckin' > Wharf Rat > GDTRFB > Around and Around It's All Over Now, Baby Blue

This week we return to Hartford Connecticut for the second set of the band's performance on April 17, 1982.  This set starts out with a smokin' 'Shakedown Street' featuring some exuberant Brent runs and interplay with Garcia. They then go into a top version of 'Sailor>Saint' which culminates in a bit of a Spanish Jam before leading into Drums and Space. 'Uncle John's Band' comes out of Space, not a usual occurance, and leads too into a hot 'Not Fade Away'. 'Wharf Rat' takes the ballad spot, and they rock out with 'Around and Around'; into a killer 'One More Saturday Night'. You might notice there are no stops between these second set songs on this night. The encore, "It's All Over Now, Baby Blue' has some great Garcia vocals..   Grateful Dead Hartford Civic Center Hartford, CT 4/17/1982 - Saturday Two      Shakedown Street [15:03] > Lost Sailor [7:20] > Saint Of Circumstance [7:07] > Jam [5:28] > Drums [5:28#] > Space [8:50] > Uncle John's Band [9:00] > Not Fade Away [7:58] > Wharf Rat [9:41] > Around And Around [3:59] > One More Saturday Night [4:21] Encore      It's All Over Now, Baby Blue [6:59]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod050225.mp3   hope you have a wonderful first week of May!! 

Go to Haven! This week, our hosts Game and FiG are heading to New Haven, Connecticut. It's May 10th, 1978 and the Grateful Dead are playing Veterans' Memorial Coliseum. It's the night before the mescaline show, and the band is having a lot of fun. Discussions abound about FiG's trip to the sphere. Jack Straw They Love Each Other Cassidy Ramble On Rose Me and My Uncle > Big River Peggy-O Let It Grow > Deal Bertha > Good Lovin' It Must Have Been The Roses Estimated Prophet > Eyes Of The World > Drums > The Other One > Wharf Rat > Sugar Magnolia U.S. Blues

Nature 2024volume 635, pages 1010–1018Tumour Biol. 2013Feb;34(1):505-13.Booker &Bell et al.1967. Born under a Bad Sign." and entire album. Cream [Wheels of Fire]lp https://open.spotify.com/album/0zrtTZC7yY2TOEhnbJzSb9?si=UqkIyyjeTzySdwCci9O36QHunter/Garcia, 1971. "Wharf Rat" and other songs Skull and Roses LP Grateful Dead. entire albumhttps://open.spotify.com/album/0ObxRAQTpVO1u7bT3VxrIN?si=8bNa4GpLTfy5-TT54DFyBgDvorak, A, American String Quartet plus Quintet Op 96-97https://open.spotify.com/album/48x6JqIrcPPzbN8AydS2dQ?si=hv59d3POSAmmWmx2vK3DpA

A roaring Scarlet>Fire leads off this week's Deadpod from the second set of the band's performance at the Rainbow Theater in London England on March 20, 1981.  They keep up the momentum throughout, going into a nice Sailor>Saint, then slowing things down with a beautiful He's Gone.. the transition to Drums is worthy of note, as is the transition, led by Phil Lesh, into a rousing Truckin'  that leads off the post-drums segment. Wharf Rat is heartfelt and emotional, but they lead us back into some serious rockin' with Around and Around and Johnny B. Goode, not to mention a nice U.S. Blues encore.  Grateful Dead Rainbow Theatre London, England 3/20/1981 - Friday      Two      Scarlet Begonias > Fire On The Mountain > Lost Sailor > Saint Of Circumstance > He's Gone > Drums > Space > Truckin' > Wharf Rat > Around And Around > Johnny B. Goode Encore      U.S. Blues   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod031425.mp3  beware the Ides of March! :)   

 This week's Deadpod features the second set from January 18, 1979 at Providence Rhode Island.  This is a rather unique second set as there is no drums/space segment here, unique since the band started introducing them as a matter of course back in the spring of 1978. It would be the last show without one for a long time. It's a solid show, in my opinion, the highlight being a raucous 'Trucking' that even includes Phil singing, and a solid 'Other One'.  Hope you enjoy it.. Grateful Dead Providence Civic Center Providence, RI  1/18/1979 - Thursday Two      I Need A Miracle [6:14] > Bertha [6:58] > Good Lovin' [6:41] > From The Heart Of Me [3:45] Ship Of Fools [8:04] He's Gone [12:33] > Truckin' [10:02] > The Other One [11:#13] > Wharf Rat [10:03] > Around And Around [7:13] Encore      U.S. Blues [5:16]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod011725.mp3  Thank you friends for your kind support of the Deadpod

Here's a bit of a Christmas present from the Deadpod - a great second set from December 12, 1973 at the Omni in Atlanta.  This features a fine combination of classic tunes and some unusual combos (see Mississipi Half-Step into Me & Bobby McGee, as well as Wharf Rat> Me & My Uncle>Eyes). All the songs here are first rate - the China >Rider is wonderful as is the GSET.. then we get a complete Weather Report Suite..Eyes of the World into Morning Dew is one for the ages..    Then, after this massive set, I've included the soundcheck for this show, which has some really fun versions and even some Holiday sounds! I hope you enjoy!     Grateful Dead The Omni Atlanta, GA 12/12/1973 Two      Mississippi Half-Step Uptown Toodeloo [7:23] > Me And Bobby McGee [5:06][0:12] China Cat Sunflower [6:48] > Jam [1:29] > I Know You Rider [4:57][2:01] Greatest Story Ever Told [5:10] Row Jimmy [9:05] % Weather Report Suite Prelude [1:21] > Weather Report Suite Part 1 [4:33] > Let It Grow [11:11] % Wharf Rat [9:05] > Me And My Uncle [2:48][0:18] Eyes Of The World [12:27] > Morning Dew [14:41] % Sugar Magnolia Encore      Casey Jones Soundcheck: Sleigh Ride Rip It Up Blue Suede Shoes Peggy-O Jack Straw Cumberland Blues Thirty Days You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod122024.mp3  I wish you and yours a very Merry Christmas, Happy Hanukka, and Winter Solstice! thank you for all you kindness and support...   

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

It's a wild kingdom! Cause this week, our hosts Game and FiG are going to Omaha. It's July 5th, 1978 and the Grateful Dead are playing the Omaha Civic Auditorium. Discussions abound about Billy Strings' baby, Knob slander, and the death of Kris Kristofferson.  Sugaree  Beat It On Down The Line  They Love Each Other  Looks Like Rain  Dire Wolf  It's All Over Now  Candyman  Lazy Lightnin' > Supplication  Deal  Samson And Delilah  Ship Of Fools  Estimated Prophet > Eyes Of The World > Drums > Space > Wharf Rat > Truckin' > Iko Iko > Around And Around  The Promised Land

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We can't stay much longer, Melinda. This week, our hosts FiG and Knob are heading to the Cumberland County Civic Center, for the Grateful Dead's May 13th, 1979 show. Discussions abound about Brent's early years, Peach at the Beach, and what makes a good El Paso. Sugaree Mama Tried >  Mexicali Blues Jack-a-Roe It's All Over Now Candyman El Paso Row Jimmy Jack Straw Scarlet Begonias >  Fire on the Mountain Estimated Prophet >  He's Gone >  Truckin' >  Drums > Space >  Wharf Rat > Around and Around  U.S. Blues     Donate if you can to Charlie Miller's GoFundMe for Candace Brightman!! https://www.gofundme.com/f/grateful-dead-lighting-designer-candace-brightman

"Deadhead Adventures: From Minneapolis to Alpine Valley"Larry Mishkin delves into a nostalgic recount of a Grateful Dead concert he attended on June 17, 1988, in Minneapolis, part of their Midwest Summer Tour. He reminisces about attending the show with friends Mikey and JT, detailing their travel adventures and the concert's setlist, which included memorable performances of "Hell in a Bucket" and "Far From Me."Larry also shares personal anecdotes about his experiences following the Grateful Dead, including the challenges of balancing concert trips with his professional life and the thrill of attending multiple shows in a short span. He transitions into discussing the significance of the song "Hell in a Bucket," its debut, and its frequent performance as a show opener. He explains the concept of "Mondegreens," humorous misheard lyrics, using an example from a Grateful Dead song review.The show revisits a story about a Phish fan who was initially banned from all Madison Square Garden Entertainment venues for smoking a bong at the Sphere. MSG later rescinded the ban, citing an internal error. Larry expresses surprise and amusement at the quick reversal and discusses the implications for fans.Finally, Larry discusses the resale of Dead & Company tickets for their Las Vegas Sphere shows, noting that many are being sold at face value or below on cashertrade.org. He expresses mixed feelings about fans having to sell tickets at a loss but appreciates the platform's role in preventing scalping.  Grateful DeadJune 17, 2024 (36 years ago)Met CenterMinneapolis, MNGrateful Dead Live at Metropolitan Sports Center on 1988-06-17 : Free Download, Borrow, and Streaming : Internet ArchiveAudience Tape First show of the 1988 Midwest Summer TourWith my good buddies Mikey and JT – weekend in Minny, Friday night show but had to stay until Sunday to fly home because if you stayed over a Saturday night, round trip airfare was much less expensive.  Got home on Sunday and headed straight for Alpine Valley for the first of four shows S, M, W, Th.  Each night headed home, slept for 4 hours, got up for work, left work at 3 p.m., ride the El to the middle of the Kennedy Expressway at Addison, hop in a car and drive straight up.  Fight the crazy post show traffic in that horridlbe parking lot (unless you have one-armed Lary as your driver).  Hardcore.  My law firm didn't know what to make of it.  I got in four shows at home with no vacation days taken! INTRO:                                 Hell In A Bucket                                                Track #2                                                0:00 – 1:34                [From David Dowd]:  The Bob Weir / John Barlow / Brent Mydland song “Hell in a Bucket” directly references the biker scene, and I'm sure that somehow Barlow just wanted to put that element into the band's repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the band's songs.           “Bucket” debuted on May 13, 1983, at the Greek Theater in Berkeley. Alice Kahn wrote a review of the show, in which she promulgated one of the best-ever Mondegreens, referring to the song as “Police on a Joy Ride.” The song frequently featured as the show opener over the course of the next two-plus decades, although it wasn't used in that role until about a year after its first performance. It was performed by the Dead for the final time on June 30, 1995, at Three Rivers Stadium in Pittsburgh, Pennsylvania.“Hell in a Bucket” appeared on In the Dark, released in July 1987 (aka Touch of Grey album).Played:  217 timesFirst:  May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:    June 30, 1995, at Three Rivers Stadium in Pittsburgh, PennsylvaniaSHOW No. 1:                    Far From Me                                                Track #6                                                3:18 – 4:45Brent MydlandGo To Heaven (April 28, 1980)Strong Brent tune.  I saw them open the second set with it a my second show ever (also with my buddy Mikey) in the Carrier Dome on September 24, 1982, the night I got on the bus forever.Played: 74 timesFirst:  March 30, 1980 at Capitol Theatre, Passaic, NJ, USALast:  July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (the night before Brent's last show).  It died with him.MUSIC NEWS:MSG ENERTRAINMENT REDACTS INDEFINITE VENUE RESTRICTION FOLLOWING PHISH FAN BONG/SPHERE CONTROVERSY 2.     Dead & Company Sphere Tickets Listed for Face Value or Below on CashorTrade! Dead & Company announced 24 dates at the Las Vegas Sphere, and many fans eagerly bought tickets. Now, some can't attend and are selling their tickets at face value or less on CashorTrade.org. Built by fellow Deadheads in 2009 to protect fans from scalped tickets, 3.     Roger Daltrey Shares Thoughts on Sharing Setlists Online and More, Ahead of The Voice of The Who Tour - Touching on his feeling toward revealing the contents of a performance online, Daltrey asserted, “I'm not gonna talk about songs.” Providing reasoning, he added, “Too many people reveal songs. There's no surprises left with concerts these days, 'cause everybody wants to see the setlist. I'm f–king sick of it. The Internet's ruined the live shows for me. Who wants to know what's coming next? People forget about surprises. I can't stand it.  Here's an idea for Roger – don't play the exact same show every night!  Mix up your songs and then set lists can only give you probabilities of what might get played.  See the Grateful Dead, Phish and every other jam band ever. 4.     As promised last week, here are the deets on Trey playing with Billy Joel in MSG last week:  Madison Square Garden residencies have long been a career-defining staple of the New York City live entertainment location, with names like Billy Joel and Phish dominating multi-night show cycles, making the venue a known place to catch a memorable Big Apple performance. However, last night's performance was a truly unique event, a planned convergence for the two title-holders, Joel and Phish's Trey Anastasio. They teamed up on select songs, including “Sleeping With the Television On,” a cover of Derek and the Dominos' “Layla” and night closing “You Might Be Right,” featuring a Led Zeppelin “Rock and Roll” insert, sung by Mike DelGuidice.                                                 SHOW No. 2:                    Victim Or The Crime    (First time played)                                                Track #9                                                0:00 – 2:13 (long clip but it's the first time played so I had to run with it)                 Written by Bob Weir and Gerrit Graham                               Garcia – “It's one of Weir's stunningly odd compositions, but it's also very adventurous. It's uncompromising; it's what it is, and the challenge of coming up with stuff to play that sounds intelligent in the context has been incredible, but also appropriately gnarly. I really wanted that part of it to work.I think we did a nice job on the record with it. It works. Whatever it is, it works. I'm real happy with it because it was one of those things that was like, "What are we going to do with this?" It's like having a monster brother that you lock in the attic. It's like a relative that you -- "God, I hope nobody comes over when he's eating...." But that's one of the things that makes the Grateful Dead fun.”             “The text of it -- I don't believe I've ever actually listened to all the words to it. Ever. I have the gist of it; by now I probably could recite it if I really had to, but the text of it is more of the same in a way, it doesn't have a whole lot of light in it. It's very dense, and it's angst-ridden to boot.”             Played 96 times, “Victim” debuted on June 17, 1988, at the Metropolitan Sports Center in Bloomington, Minnesota THIS SHOW. It remained in the rotation thereafter, and was played for the final time on July 2, 1995 at Deer Creek Music Center in Noblesville, Indiana.    SHOW No. 3:                    All Along The Watchtower                                                Track #19                                                1:22 – 3:22  (another long one but could not break up the jam)                 "All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston.             Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.             I always loved the Dead's cover of this tune.  As you heard in the clip, it is a rocking tune and Jerry would really jam hard on it.  Great snappy second set tune that would always get the crowd moving in the next gear.  Played:  118 timesFirst:  June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USALast:  June 22, 1995 at Knickerbocker Arena, Albany, NY, USA  MJ NEWS 1.        Biden Admin Is ‘Mischaracterizing' Marijuana Rescheduling Impact As Big Pharma Is ‘Waiting In The Wings,' Former Massachusetts Regulator Says (Marijuana Moment) 2.       GOP Congressman Says ‘Millions Of Marijuana Users' Own Guns And Shouldn't Face Prosecution Like Hunter Biden Did 3.    Marijuana Rolling Paper Company Will Pay $4.20 To Volunteers To ‘Smoke Joints For Science'  SHOW No. 4:                    Black Peter                                                Track #20                                                1:36 – 3:11                 Garcia/Hunter tune released on Workingman's Dead in 1970.                  Robert Hunter was not afraid of death; he experienced it a thousand times over. The American musician composed the lyrics to many of The Grateful Dead's most successful songs and played an essential role in curating the band's mythos, one that saw the psychedelic rock outfit earn hordes of dedicated fans, or ‘deadheads'. One such song was ‘Black Peter' – written for the band's 1970 album Workingman's Dead.          By 1969, The Dead were practically synonymous with the liberal drug culture of the hippie era. In the June of that year, Robert Hunter and the gang were given a glass of apple juice laced with “probably a full gram of crystal LSD … worth perhaps $50,000.” The intense trip that followed would completely reinvigorate Hunter's understanding of death and influence his subsequent lyrics for ‘Black Peter'. Bassist Phil Lesh would later recall tasting the LSD in the juice after a single sip: “I wish you could be where I am right now—it's so beautiful,” he told drummer Mickey Hart, “but I couldn't possibly play music now. I don't even know what music is.” Still, there was a job to do, so the band played anyway. In the ‘80's and ‘90's, one of Jerry's rotating post-drums second set ballads along with Morning Dew, Wharf Rat and Stella Blue. This version was one of the highlights of this show.  Jerry's voice is strong if not a bit “ragged” around the edges just the way Deadheads liked it, with just enough emotion to really convey the song's meaning and its statement about the end of life. Played: 351 timesFirst: December 4, 1969 at Fillmore West, San Francisco, CA, USALast:  June 22, 1995 at Knickerbocker Arena in Albany, NY  OUTRO:                               Black Muddy River                                                Track #23                                                4:09 – 5:55  Played:  66 timesFirst:  December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, Il – looked like it was going to the last song of the show (encore) and the last song of the difficult summer tour.  Turns out, it could have been the last song ever played in concert by the Dead, until Phil stepped in to leave everyone with a smile on their face and no bad taste in their mouths with a great second encore Box of Rain which then became the last song ever played by the Dead in concert. By contrast, this version is outstanding with strong playing and singing by Jerry.  And, with the show practically on the banks of the Mississippi, it was a geographically appropriate song for the venue. Mikey, JT and I rolled off into the night, a crazy weekend in Minny, and then the next four shows on the tour at Alpine.  Ah, to have the kind of energy again, even if just for a night.  Thank you psychedelics!! Enjoy the Summer Solstice and the beginning of summer. .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

You stay classy, San Diego! This week, our hosts Game, FiG, and Knob are traveling out west to listen to the Grateful Dead's December 28th, 1978 show at Golden Hall in San Diego, California. Discussions abound over The Closing of Winterland, Keith v. Brent, and the passing of Bill Walton. Sugaree Finiculi Finicula Beat It On Down The Line Dire Wolf Looks Like Rain Stagger Lee Me & My Uncle > Big River Candyman New Minglewood Blues Tennessee Jed Lazy Lightning > Supplication   Shakedown Street From The Heart Of Me Estimated Prophet > Eyes Of The World > Drums > Truckin' > Wharf Rat > Sugar Magnolia   Johnny B. Goode

"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin  highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman                an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995).  Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty                Of Credence Clearwater Revival fameLos LobosJoe Satriani              an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO:                                 Althea                                                Track #3                                                4:51 – 6:21                From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece.  Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story.  Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago          The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end.            It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money.            Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing.             The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business.  Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town.           By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time.            There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group.            Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions.            There is a You Tube video of the entire Fogerty set that I encourage you to view.                   Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs.            John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally             The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty.            Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind.            On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage.            Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance.  On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1:                    Down On The Corner (and Band introductions)                                                John Fogerty (w. Jerry and Bobby)                                                JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com)                                                10:49 – 12:42                 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits.           The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs.             As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes.             Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance.  However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend.  MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time  May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis.  I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time.  If so, there will be a big report in two weeks.  Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album  SHOW No. 2:                    Iko Iko w/Clarence Clemmons                                                Track #5                                                5:09 – 6:11                 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax.  Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show.  In '89 the Boss was as big as ever and Clarence was a big part of that success.  But he enjoyed playing in the improv style embraced by the Dead.                 Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater.  He also played a number of times with JGB.  And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back.               When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.”  SHOW No. 3:                    Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence                                                Track #6                                                2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead.  Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First:  March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  April 2, 1995 at The Pyramid Arena, Memphis, TN, USA  MJ NEWS                 SHOW No. 4:                    Blow Away                                                Track #11                                                7:37 – 9:10                 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song)                When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst:    June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast:    July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent   OUTRO:                               Wharf Rat                                                Track #17                                                3:59 – 5:26                 Not the closer this night, or most nights, but it could have been a perfect closer.  Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst:      February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:      June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

We're California dreamin', as our host FiG finds himself in LA. This week, he's heading to the Sports Arena in Los Angeles, California to talk about the Grateful Dead's December 16th, 1994 show. Monologues abound about Childhood's End, Branford Marsalis, and what the initials MNS stand for (editor's note: he has since learned they stand for Music Never Stopped.) Hell in a Bucket Cold Rain & Snow Minglewood Blues So Many Roads Childhood's End Eternity Don't Ease Me In Eyes Of The World Samba In The Rain Estimated Prophet > He's Gone > Drums > Space > The Other One > Wharf Rat > Good Lovin'   Lucy In The Sky With Diamonds

Upstate New York's got the ways and means! This week, our hosts Game, FiG and Knob are heading to Binghamton for the Grateful Dead's May 9th, 1979 show. This was only the seventh show played by our friend Smiling Brent. Discussions abound about Brent's early days, the new Taylor Swift album, and taking yet another step back. Sugaree Me & My Uncle Loser New Minglewood Blues Friend Of The Devil Looks Like Rain Stagger Lee Jack Straw China Cat Sunflower > I Know You Rider He's Gone > Truckin' > Drums > Wharf Rat > Sugar Magnolia Johnny B. Goode 

The Wharf Rat, “The Rabies Episode:” Michele Chan and the tale of 11.5 Billion Dollars. King of the Cosmos. Boat Hobos. “Old Yeller Time.” The post The Wharf Rat—Jennifer Mistarbeest by Matt Keeley appeared first on Kittysneezes.

We're getting a mile high! This week our hosts Game, FiG, and Knob heading west to Colorado to hear the Grateful Dead's December 14th, 1990 show at the McNichols Sports Arena. Discussions abound about Victim or the Crime, viewer mail, and Knob's killer impression of Bob's slide solo. Shakedown Street Picasso Moon Peggy-O Little Red Rooster Stagger Lee Masterpiece To Lay Me Down Let it Grow Victim or the Crime > Foolish Heart > Man Smart/Woman Smarter He's Gone > Drums > Space > Dark Star > I Need a Miracle > Wharf Rat > Turn on Your Love Light Knockin' on Heaven's Door

There are few Huntington families that are as musically gifted and universally loved as the Campion family.  In Episode 2, I'm privileged to sit down with Kevin Campion, lifelong Deadhead and current lead singer for Huntington's own Soghat.  Kevin takes us back to the late 70's when he got on the bus, and explains how today he pays tribute to his late brother, “Hollywood Bob”, by sitting in as the front man in Bob's Grateful Dead cover band, Skeleton Crew, in Southern California.  We paint the picture of just how much a select few Jerry ballads mean to each of us, including Black Peter, Wharf Rat, Stella Blue and Attics of My Life.  We share how each of us treasure the memories of our beloved brothers and recall how each of them paved the way for us by breaking in our parents ;)  The episode is the first of two conversations that will include the Campion brothers.  Next up, younger brothers Chris and Billy of the Knockout Drops and Bogmen, respectively.  Join us, and let's see where the energy takes us! #IFEhttps://music.apple.com/us/album/dicks-picks-vol-10-12-29-77-winterland-arena-san-francisco-ca/307801079 https://youtu.be/5Ms0COQQbE4?si=KOy8MiwIvUMBceeU

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg"Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show. Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.  Grateful DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal night of 3 show run March 9 – March 11 (Tuesday – Thursday)  INTRO:                  Help On The Way                                Track #1                                :20 – 2:06                                 Released on Blues For Allah (1975)                                Played 111 times                                First time:  June 17, 1975 at Winterland, S.F.                                       Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY       SHOW No. 1:      When I Paint My Masterpiece                                Track #6                                1:36 – 3:12                 "When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer.             Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for the New York Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It's grown on me as well. I think this song has something to do with the classical world, something that's out of reach. Someplace you'd like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you've achieved the unthinkable. That's what the song tries to say, and you'd have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece". According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: July 9, 1995 at Soldier Field, Chicago My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.            SHOW No. 2:      So Many Roads                                Track #7                                :39 – 2:21                 So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times.Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992;“It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me.... “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.” Robert Hunter's comments on the origins of this song in the notes in Box Of Rain: Lyrics 1965-1993; “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.” Never released on a Dead studio album but was a centerpiece of the Dead's first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995. Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter's lyrics and Jerry's playing and singing. Very emotional.    SHOW No. 3:      Iko Iko                                Track No. 9                                4:04 – 5:38                 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.             The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.             The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko".  Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                 Played 185 times                First: May 15, 1977 at The Arena in St. Louis                Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                 SHOW No. 4:      Space                                Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                4:25 – 5:42 (The Island – Ken Nordine)                               Ken Nordine (April 13, 1920 – February 16, 2019) was an American voice-over and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”             In 1955, he provided the voiceover on Billy Vaughn's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias.             Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at Rosemont, Illinois, in March 1993.            Ken Nordine died February 16, 2019.                OUTRO:                Days Between                                Track No. 18                                4:51 – 6:51                 “Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.)            It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It's hard to say it any better than Phil Lesh did in his autobiography, Searching for the Sound:“Achingly nostalgic, ‘Days Between' evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow' or ‘gave the best we had to give / how much we'll never know,' I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”            Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can't hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                Played 42 times by the band, always in the second set, almost always out of drums                First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                Last:  June 24, 1995 at RFK Stadium, Washington, D.C. This was just the second time it was ever played “Gave the best we had to give, how much we'll never know” No chorus in this song, just verses that keep building on each other. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Get on the LIRR, we're heading to Long Island! This week on the Help on the Way pod, our hosts Game and FiG are Going to Nassau to listen to the Grateful Dead's March 28th, 1990 show at Nassau Coliseum in Uniondale, NY. Discussions abound about Knob seeing Phil, gushing over Brent, and how it's important not to overlook the night before a big show. Cold Rain and Snow New Minglewood Blues Easy To Love You High Time Queen Jane Approximately Loose Lucy Cassidy Deal Foolish Heart Looks Like Rain Cumberland Blues The Weight Hey Pocky Way Drums > Space > The Other One > Wharf Rat > Good Lovin' Revolution 

"Reflecting on the Grateful Dead's Capitol Theatre Shows and Toby Keith smoking with Willie Nelson"Larry Michigan discusses the Grateful Dead's historic show at the Capitol Theatre on February 19, 1971. Larry reminisces about the atmosphere of the venue and the significance of the performance, highlighting the debut of several iconic Dead songs. The discussion delves into the band's evolving musical style, particularly the transition from psychedelic blues to Americana influences. He explores the historical context surrounding the show, including Mickey Hart's departure from the band and the impact of manager Lenny Hart's embezzlement. He also touches upon the significance of the show's release in the "From the Vault" series and discuss other notable releases in the Dead's catalog. Additionally, Larry provides updates on Bob Weir and Wolf Brothers' postponed performances with the National Symphony Orchestra and share news about upcoming music releases.  Grateful DeadFebruary 19, 1971 (53 years ago)Capitol TheatrePort Chester, NYGrateful Dead Live at Capitol Theatre on 1971-02-19 : Free Borrow & Streaming : Internet Archive The second of the legendary six night run at the Capitol Theatre in late February, 1971:Feb. 18, 19, 20, 21, 23, and 24 INTRO:                  Loser                                Track #3                                2:55 – 4:24 Hunter/Garcia tune that was released on “Garcia”, Jerry's first solo album, in January, 1972, the last song on side one of the album.  It was a standard first set tune, part of a rotating number of Jerry first set ballads including Candyman, It Must Have Been The Roses, High Time, Row Jimmy, To Lay Me Down and others. A very sweet melodic tune that tells a great story by way of a beautiful piece of music.  SECOND time playedPlayed a total of 353 timesFirst time:  “Last”night 2.18.71Last:  June 28, 1995, The Palace of Auburn Hills, outside Detroit                               THIS SHOW: Last year we covered the Feb. 18th show famous as the debut for Bertha, Greatest Story, Loser, Wharf Rat and Playin In The Band and the Beautiful Jam out of Wharf Rat and back into Dark Star.  It was also Mickey's last show before his almost three year hiatus before he returned for the final 1974 show before the band's 1975 year off February 19th show is just as historical:  The band's first show without Mickey since he joined the band in 1967.  Many people theorize that this was Mickey's response to his father, Lenny Hart who was the band's manager stealing almost $155,000 of the band's assets before disappearing.  Although he was eventually located by a private detective hired by the band and arrested in San Diego on July 26, 1971, convicted and spent six months in jail, the money was never returned.  The song, “He's Gone” is based on Lenny Hart's embezzlement and disappearance.  Ashamed by his father's actions, Mickey left the band after the 2.18.71 Capitol Theater show returning full time in 1975.  Lenny died of natural causes on Feb. 2, 1975.  According to Dennis McNally, "Mickey went to the funeral home, cleared the room, took out the snakewood sticks that had been his inheritance, played a traditional rudimental drum piece, "The Downfall of Paris" on Lenny's coffin, and split." Starting with this show, the band became a very lean mean fighting machine with just five members (Jerry, Bobby, Phil, Bill and Pig) until Keith jointed the band seven months later in September.  On this night, the band played the five songs debuted the night before and debuted Deal and Birdsong.  Pig also has a strong showing this night leading the band through four standouts:             Hurts Me Too            Smokestack Lightning:  the third to last time it would be played with Pig in the band            Easy Wind:  the second to last time it would be played without Pig in the band            Good Lovin  This really marked the beginning of the band's hard shift away from psychedelic blues (Primal Dead) to the more Americana style music that began with Workingman's and American Beauty.  Within a year, Pig would be very ill with just enough energy left for the Europe '72 tour.  But this night, he was rocking the house like only he could do.  Here is the first of his four featured songs:  SHOW No. 1:      Hurts Me Too                                Track # 5                                2:08 – 3:42 Great showcase number for Pig featuring his singing and harp playing.  We got just a bit of Jerry's lead but all this great music is too long to fit into one clip – don't want Dan getting mad at me! "It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]".[1] First recorded in 1940 by Tampa Red in Chicago, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists.  Release on May 10th with Tired of Your Reckless Ways on the B-side. In 1949, Tampa Red recorded a variation of "It Hurts Me Too", titled "When Things Go Wrong with You".[9] It was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboard'sRhythm & Blues Records chart in 1949.[10] (The original "It Hurts Me Too" was released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although the former's title won out over the latter's.) Although the song retained the refrain "When things go wrong, so wrong with you, it hurts me too", Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song with some of their own lyrics. Noted covers:            Elmore James            Junior Wells            Grateful Dead – with Pig singing the vocals.  Was first released by the Dead on Europe '72 album.  After Pig left the band, the song was retired.             The Dead played the song a total of 59 times            First:    May 19, 1966 at the Avalon Ballroom, San Francisco            Last:     May 24, 1972 at the Lyceum Ballroom in London (last show of Europe '72 tour             “FROM THE VAULT”: This entire show was released by the Dead as “Three From The Vault” in 2007.  The “From The Vault” series, launched by the Band in 1991 with One From The Vault – August 13, 1975 at The Great American Music Hall, with first live performance of the songs from Blues For Allah.  In 1992 the Dead released “Two From The Vault” – August 23 and 24, 1968 at the Shrine Auditorium in Los Angeles.  Then, along came Dick Latvala and his Dead scene changing Dick's Picks series which was wildly popular, so much so that the In The Vault Series was put on hold.  For 15 years.  Until 2007 when they circled back to the original series of live releasees with Three From The Vault which features the same show we are talking about today from the Capitol Theatre.  That was it for In The Vault releases.  The Dead did have several other “Vault” like releases – multi-track recordings including Hundred Year Haul, Dozin' At The Knick, Fallout From the Phil Zone, Terrapin Station, Live At the Fillmore East 2.11.69, Ladies and Gentlemen, the Grateful Dead, Nightfall of Diamonds, Trucking Up To Buffalo and so many more. They just stopped calling them “From The Vault”.  Dick's Picks, of course would go on to have a total of 36 releases, the last few releases coming after Dick's death in 1999.  Which led into the still wildly popular Dave's Picks from David Lemieux who took over for Dick and now has 49 releases and still going strong.  And “short” lived, but generally popular  “Roadtrips” series.  And all of the box sets that are all amazing but too numerous to name except for the Complete Recordings, the four-night run at the Fillmore West from Feb. 27 to March 2, 1969 – four shows with the band at the peak of Primal Dead, and Europe '72 which consists of the live recordings for all of the shows on that tour.  Another milestone for the Dead in terms of their ever expanding reputation for Jam Band, psychedelic, and amazing song catalogue, even at that “early” stage of the band's existence.  SHOW No. 2:      Playin In The Band                                Track # 7                                2:23 – 4:05                                            By:  Weir and Hunter "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).The instrumental break of "Playing in the Band" was introduced as early as the February 19, 1969 "Celestial Synapse" show at the Fillmore West, in which it appears somewhat indistinct from the preceding and following jams.[5] The completed song was also included on Mickey Hart's 1972 solo album Rolling Thunder within "The Main Ten", making reference to the song's time signature of 10/4.  "The Main Ten" appears on Dick's Picks Volume 16, from their performance at the Fillmore West on November 8, 1969. On that set, it appears in the middle of "Caution (Do Not Stop On Tracks)".During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it" It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire, usually as a second set pre-drums jumping off point for jams to who knows where. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with over 600 performances. If you download this show from Archive.org, and play this track, at the 3:20 mark during the mid-song jam, they get to the point where they would normally dive back in but instead, Bobby plays on for an almost additional 30 seconds and then just dives back in to the song.  He is clearly still working it out.  Over the course of the Europe '72 tour, it was played almost every night as Bobby finally worked it outThis is all really good stuff. SECOND time ever played 661 times (No. 1)                First – “last: night's show, Feb. 18, 1971 Capitol Theatre                Last:       July 5, 1995 at Riverport Amphitheater, Maryland Heights, MO outside of St. Louis.                SHOW No. 3:      Greatest Story Ever Told (The Pump Song)                              Track #13                           Start – 1:41               By Weir, Hart and Robert Hunter (some give credit to Rev. Gary Davis)               Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972),[1] was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born in Laurens, South Carolina and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina in the 1930s, then converted to Christianity and became a minister. After moving to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked during the 1960s. Davis' most notable recordings include "Samson and Delilah"[2] and "Death Don't Have No Mercy" Released on:AceRolling Thunder, as "The Pump Song"Dead SetDick's Pick's, vol. 6Europe '72 box setLots of other releases              Per Hunter:  "Also known as "Pumpman" and "Moses"--I wrote this to the rhythm of the pump in Mickey Hart's well."                Released on Ace on May 1, 1972              First song on the album with Bobby setting a rocking tone              Another tune that was played almost every night of and refined during the Europe '72 tour                             283 times              First:  “last night” 2.18.71              Last:  June 27, 1995 at the Palace at Auburn Hills outside Detroit               SHOW No. 4:      Bird Song                                Track #15                           :42 – 2:15               By Garcia and Hunter              Second song on Garcia              Robert Hunter originally wrote the song as a tribute for Janis Joplin. Phil Lesh now sings "All I know is something like a bird within him sang", transfering it Jerry Garcia instead A regular for the Dead, and still played by Dead and Co., Bobby and Phil and Friends. Beautiful song, even for the fist time you know it's going to be special. Played 301 tines              First:  This is it!              Last:   June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA   OUTRO:                Deal                                Track #17                                Start – 1:33  May 16, 2023 by Chris Huber of Chill One of the Grateful Dead's live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia's 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel. Although it would move around a bit in the set list early on, this debut version is consistent with the ultimate tradition of the song closing out the first set.  Even in JGB sets it was a first set closer.  And would always leave you waiting through the break to see how they were going to kick off the second set and keep the show moving along.  For a first time played, this version stays true to the version we all know and love from a few years later.                            Played 428 times              First:  This is IT              Last:  June 18, 1995, Giants Stadium in East Rutherford, NJ Thank you. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Happy New Year! This week on the Season 2 Finale of Help on the Way, our hosts Game and Knob are heading to Oakland for the Grateful Dead's February 27th, 1994 show at the Oakland-Alameda County Coliseum. Discussions abound about the Cosmic Charlie tease, The Beatles' "Rain," and, you guessed it, The Sphere. Hell In A Bucket Row Jimmy New Minglewood Blues Lazy River Road Mama Tried > Mexicali Blues Tennessee Jed Easy Answers Touch Of Gray Samson & Delilah Uncle John's Band > Corinna > Drums > Space > The Other One > Cosmic Charlie tease > Wharf Rat > Turn On Your Love Light Rain 

We're ga ga for Onondaga! This week on the Help on the Way pod, our hosts Game, FiG, and Knob are heading to Syracuse for the Grateful Dead's May 17th, 1981 show at the Onondaga Auditorium. Discussions abound about Phil's new podcast, Bobby's slide solos, and Knob's Dad's take on the Philly Spectrum. Alabama Getaway > The Promised Land Peggy-O Mama Tried > Mexicali Blues They Love Each Other > New Minglewood Blues Candyman > Looks Like Rain Big Railroad Blues > Little Red Rooster China Cat Sunflower > I Know You Rider Cold Rain And Snow > Samson And Delilah Ship Of Fools Estimated Prophet > He's Gone > The Other One > Drums > Space > Saint Of Circumstance > Wharf Rat > Sugar Magnolia (I Can't Get No) Satisfaction

"Marijuana Dispensaries and Predictive Football: A Quirky Comparison"Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th  college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show.The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences.The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions.Produced by PodConx Grateful DeadJanuary 8, 1978Golden Hall Community ConcourseSan Diego, CAGrateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive Jerry has laryngitis so he did not singDonna filled in for him  INTRO:                  Jack Straw                                Track #2                                0:07 – 1:38                 Not on any studio album.  Featured on Europe ‘72                First time played:  October 19, 1971, Minneapolis  (Keith Godchaux's first show)                Last played:  July 8, 1995, Soldier Field, Chicago                Total times played =  476 (No. 11 on list of all time songs played)  SHOW No. 1:      Lazy Lightning>Supplication                                Track #8:  3:00 – end and then straight intoTrack #9:  0:00 – 1:15                 DAVID DODD:    The pair of songs was recorded on the Kingfish album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976.             The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater.                                “Supplication” was played by itself, according to DeadBase X, on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.”             a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It's a coda, carrying forward the same themes—only the form of the verse has changed. Lazy Lightning – 111 total times playedSupplication – 123 total times played                  SHOW No. 2:      Estimated Prophet                                Track #14                                2:35 – 4:15                 Weir/BarlowReleased on Terrapin Station released on July 27, 1977 (first studio album released by the band after it returned to live touring after its 1975 hiatus.                               DAVID DODD:  “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on Terrapin Station, released July 27, 1977.                Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There's always some guy who's taken a lot of dope and he's really bug-eyed, and he's having some kind of vision. He's got a rave he's got to deliver.' “                 This is one of those songs, and there are quite a number of them in the Dead's repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I've always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally.    SHOW No. 3:      The Other One                                Track # 16                                13:30 – 15:07                 The imagery conjured up by Bob Weir, in his portion of the suite, “That's It for the Other One,” on Anthem of the Sun, is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin' through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice's rabbit hole, because of where it led.     “The bus came by and I got on...that's when it all began.”That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning.                The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.”                 There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing something illegal. Weir's interview with David Gans (along with Phil Lesh) cited in The Complete Annotated Grateful Dead Lyrics refers to a particular incident:Gans: Now, I remember a version from a little bit earlier, maybe late in '67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a second verse that was about “the heat in the jail weren't very smart,” or somethin' like that...Weir: Yeah, that was after my little...Lesh: Water balloon episode?Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn't care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on.Lesh: Just happened to have a water balloon, in his hand... Ladies and gentlemen...Weir: And so I got him right square on the head, and...Lesh: A prettier shot you never saw.Weir: ...and he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit.Gans: Smilin' on a cloudy day. I understand now.Weir: And at that point, he decided to hell with due process of law, this kid's goin' to jail.                So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year.             Part of the suite of songs, That's It For The Other One from Anthem of the Sun.  Made up of four sections:  "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product.            appears that way on Anthem of the Sun, bracketed by Garcia's “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band's careerI. "Cryptical Envelopment" (Garcia)[edit]"Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite.II. "Quadlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)[edit]"Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section.III. "The Faster We Go, the Rounder We Get" (Kreutzmann, Weir)[edit]One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2]) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters and in particular Neal Cassady.[2] Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] This section ends with a reprise of "Cryptical Envelopment".IV. "We Leave the Castle" (Constanten)[edit]The only Grateful Dead composition written by Tom Constanten, "We Leave the Castle" is an avant-garde piece featuring prepared piano and other studio trickery.[While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann and Bob Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One").            The Other one– performed 549 times            First played:  Oct. 31, 1967 at Winterland, S.F.            Last played:  July 8, 1995, Soldier Field, Chicago             That's It For The Other One – performed 79 times            First played:  October 22, 1967 at Winterland, S.F.            Last played:             Cryptical Envelopment – performed 73 times            First played:     Oct. 21, 1967 at Winterland, S.F.            Last played:     Sept. 3, 1985 – Starlight Theater, K.C.              SHOW No. 4:      Truckin'                                Track # 17                                4:22 – 6:03                 The lyrics were written under pressure, in the studio, during the recording of American Beauty (Nov. 1970) (released as a single backed by Ripple in Jan. 1971), with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing.The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band's adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light's all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it's been.”At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that's some measure of wordsmithing success, I would say.                Truckin'” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin'” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri.  OUTRO:                Johnny B. Goode                                Track #19                                1:10 – 2:51                 Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart.[1] The song remains a staple of early and later rock music."Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music. Credited as "the first rock & roll hit about rock & roll stardom",[2] it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's 2021 version[3] and 7th on the 2004 version of the "500 Greatest Songs of All Time"[2][4] and included as one of the 27 songs on the Voyager Golden Record, a collection of music, images, and sounds designed to serve as a record of humanity.Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis.[5]The song was initially inspired by Johnnie Johnson, the regular piano player in Berry's band,[7] but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake played the piano, along with Willie Dixon on bass and Fred Below on drums.[5][8] The session was produced by Leonard and Phil Chess.[8] The guitarist Keith Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9]The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan's "Ain't That Just Like a Woman" (1946), played by guitarist Carl HoganA cover version is featured in the film Back to the Future (1985), when the lead character Marty McFly, played by actor Michael J. Fox, performs it at a high school dance.Played 283 times, almost always as an encore or show closer (back in the days where there were no encores)First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F.Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

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

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

This week we continue with the second set from the first night of the band's historic 9 night run at Madison Square Garden in September 1990.  This set sparkles with some excellent Garcia leads throughout, starting with the Scarlet, but Jerry soars in the transition to Fire and in the solos there. The set includes not only a nice jammed out 'Truckin' but a sweet 'Terrapin Station' all before drums.. Phil brings home 'The Other One' nicely, and the Wharf Rat is righteous..      Grateful Dead Madison Square Garden New York , NY 9/14/1990 - Friday Two     Scarlet Begonias > Fire On The Mountain > Truckin' > Terrapin Station > Jam > Drums > Space > The Other One > Wharf Rat > Sugar Magnolia Encore     U.S. Blues  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod092923.mp3   "Summertime, done, come and gone, my oh my"..

This week on the Help on the Way Pod, our hosts Game, FiG, and Knob are joined by very special guest, the legendary taper Charlie Miller! The four of them head to California to listen to the Grateful Dead's March 3rd, 1987 show at the Henry J. Kaiser Center in Oakland, California. Discussions abound about Charlie's Grateful Dead Dance Parties, The Mighty Quinn, and whether Bob's slide solo is squeaky or squealy. The Mighty Quinn Greatest Story Ever Told Loser New Minglewood Blues Tons Of Steel Cassidy Mississippi Half-Step Uptown Toodeloo > Promised Land Iko Iko* Saint Of Circumstance Terrapin Station > Drums > Space > Gimme Some Lovin' > Wharf Rat > Throwing Stones > Touch Of Gray Brokedown Palace 

Put some shredded cheese on your chili, we're heading to Cincinnati. This week, our hosts Game, FiG, and Knob are heading to River Bend Music Center for the Grateful Dead's June 24th, 1985 show. Discussions abound about Knob's adventure with Billy and the Kids, the Book of Iko Ikos, and whether or not 1985 is an underrated year. Alabama Getaway > Greatest Story Ever Told They Love Each Other New Minglewood Blues Tennessee Jed My Brother Esau Loser Let It Grow Iko Iko > Samson & Delilah > He's Gone > Smokestack Lightning > Cryptical Envelopment > Drums > Comes A Time > The Other One > Cryptical Envelopment > Wharf Rat > Around & Around > Good Lovin' U.S. Blues 

Make sure to wear a flower in your hair... Our hosts Game and FiG are going to San Francisco to discuss the Grateful Dead's June 8th, 1977 show at the Winterland Arena. Discussions abound about Winamp, the anniversary of Brent Mydland's passing, and daydreams of what a Summer '77 tour would've been like. New Minglewood Blues Sugaree Mexicali Blues Row Jimmy Passenger Sunrise Brown Eyed Women It's All Over Now Jack-A-Roe Lazy Lightnin' > Supplication Bertha > Good Lovin' Ramble On Rose Estimated Prophet > Eyes Of The World > Drums > The Other One > Wharf Rat > Not Fade Away > Goin' Down The Road Feeling Bad > Johnny B. Goode Brokedown Palace 

Phil loves New York, and so do we. This week on the Help on the Way podcast, our hosts Game and Knob are going to Go the Nassau for the Grateful Dead's March 29th, 1985 show. Discussions abound whether or not there will be a special guest at the last Dead and Co show, the Drumstick Incident, and a nice interview with Knob's Dad about his first time seeing the Grateful Dead. Cold Rain and Snow Down In The Bottom > I Ain't Superstitious Friend Of The Devil Supplication > My Brother Esau Tennessee Jed Minglewood Blues > Don't Ease Me In Terrapin Station > Women Are Smarter > Goin' Down The Road Feelin' Bad > Baby What You Want Me To Do > Drums > Space > Wharf Rat > Throwing Stones > Johnny B. Goode Brokedown Palace 

For your Memorial Day weekend we have the second set of the band's performance on May 25, 1974 at the University of California at Santa Barbara.  After a rocking 'Promised Land' opener, and 'Ship of Fools' we are treated to a wonderful 'Big River' - Keith's piano work here is outstanding. The meat of this set however comes in the wonderful 'Truckin' that really showcases why this was a vehicle for some most excellent deep space explorations. Phil rattles some bones here, especially in the transition to 'Let It Grow'. Jerry has some great solos here in the 'Let It Grow' which slides perfectly into 'Wharf Rat'. An almost perfect 'Sugar Magnolia' follows, then leads into the 'GDTRFB' and, the obligatory,  'One More Saturday Night'.   Grateful Dead Campus Stadium - University Of California Santa Barbara, CA 5/25/1974 - Saturday     Two     The Promised Land [3:13] Ship Of Fools [5:35] Big River [4:54] Tennessee Jed [7:57] Truckin' [18:05] > Jam > Space > Let It Grow [9:24] > Wharf Rat [9:54] Sugar Magnolia [8:34] > Goin' Down The Road Feeling Bad [7:11] > One More Saturday Night [4:30] Encore     Casey Jones [6:30]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052623.mp3 Have a safe and fun Memorial Day weekend, and give thanks to those who sacrificed for us all.   

This week we continue listening to the second set of the band's performance at Memorial Auditorium in Uttica New York on March 21, 1973. As was the case last week, we have a very long set this week, around an hour and 43 minutes. This set features more jamming of course, including a jazzy 'Dark Star' marked with some fine drum rolls by Mr. Kreutzmann, a lovely 'Eyes of the World' and several classic songs from the period including 'Me & Bobby McGee'.      Grateful Dead Utica Memorial Auditorium Utica, NY 3/21/1973 - Wednesday Two     [1:45:34]  Greatest Story Ever Told [4:43]   They Love Each Other [5:21]   Mexicali Blues [3:09]   Brown Eyed Women [4:49]   Big River [3:58]   Brokedown Palace [5:14]   Me And Bobby McGee [5:12]   Weather Report Suite Prelude [0:57] > Dark Star [21:00] > Eyes Of The World [15:48] > Wharf Rat [9:25]   Sugar Magnolia [9:17]   Casey Jones [6:00] Comments     {Dark Star 0:00 > First Verse 9:20 to 10:30 > end 21:00} Is Casey Jones perhaps an encore? You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod051223.mp3  "Wake now, discover that you are the song that the morning brings But the heart has it's seasons, it's evenings and songs of it's own" thanks..  

In this week's episode of 36 From The Vault, we celebrate the Series Finale of Dick's Picks as well as the Series Finale of 36 From The Vault. Featuring a complete show from Philadelphia, PA on 9/21/72, we also hear segments of 9/3/72 from Boulder, CO. One of the greatest Dick's Picks of all time, it's a fitting conclusion to the series and yet another showcase of the brilliance of September 1972.Disc One features the majority of Set One from 9/21/72 which includes a brilliant “Bird Song” as well a stunning take on “Loser.” A loose and vibey “China Cat Sunflower>I Know You Rider” showcases the standards heavy Set I played with exceptional verve. Disc Two straddles Set One and Two from 9/21/71 and is highlighted by an outstanding “Playing In The Band” closer before “He's Gone>Truckin'” brings us into the second frame. An elongated 4+hr show, the staple of Disc Three is an absolutely incredible “Dark Star>Morning Dew.” Nearly 50min of stunning music, including 35+min of deep 1972 jamming, this is one of the greatest pieces of music released in the entire Dick's Picks series. Disc Four closes out the Spectrum show before giving us a three song snapshot from Folsom Field with “He's Gone> The Other One> Wharf Rat.” And with that, we've finally reached the end of the Dick's Picks series. Thank you to everyone who has joined us for this long, strange trip.36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to join us for our next deep dive, sometime in the not too distant future… Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

This week's Deadpod features the audience recording of the second set from 7/14/81 at McNichols Arena in Denver Colorado.  A funky 'Shakedown Street' opens up the proceedings, followed by 'Samson & Delilah' and an intimate 'High Time'.  Bobby blows the circus whistle for the start of a strong 'Truckin', punctuated by a great Jerry solo going into 'Eyes of the World' (unfortunately a small cut in that). Drums and Space lead into a short 'Other One', but then we are treated to a really beautiful 'Wharf Rat'.  An odd 'Miracle' tease by Weir surrenders to 'Good Lovin' to close the set - they return to do a 'U.S. Blues' encore.      Grateful Dead McNichols Arena Denver, CO 7/14/1981 - Tuesday Two     Shakedown Street [14:05] > Samson And Delilah [7:02] ; High Time [7:29] ; Truckin' [8:06] > Eyes Of The World [13:#18] > Drums > Space > The Other One [6:07] > Wharf Rat [10:53] > Good Lovin' [7:13] Encore     U.S. Blues [4:59]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod072222.mp3 Peace. 

In this week's episode of 36 From The Vault we find the band just a few weeks past the shocking brilliance of the Dick's Picks Vol. 20 two-show set from Fall 1976, here in Oakland, CA for a pair of opening gigs for The Who from the “Day On The Green” at the Oakland Coliseum Stadium. Two completely day lit shows, we hear the band try to channel energy through surprising segues and upbeat selections, crafting one of the more BBQ appropriate Dick's Picks of the larger series.Diss One, from 10/9, finds us in familiar territory as the Berry bookend opens the show before the greatest Grateful Dead song of all time is played and later “Jed.” The disc is highlighted by a gorgeous outro on “Looks Like Rain” and a loose & jammy “Scarlet Begonias,” just months away from its meeting point with “Fire On The Mountain.” Disc Two is highlighted by a phenomenal “Help -> Slip -> Drums -> Samson -> Slip -> Franklin's” showcasing the brilliant suite in 1976. Disc Three, from 10/10, features some rarities before closing with a wild & gorgeous “Dancin -> Wharf Rat -> Dancin.” Disc Four features another sandwich, with Playin' leading the way this time around: “Playin -> Drums -> The Wheel -> Space -> The Other One -> Stella -> Playin.” On the whole it's a bit of an underwhelming volume in terms of transcendent moments, but it showcases The Dead in a more traditional 70's classic rock setting, while giving many dreams of what “Space” would sound like at 3pm.36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULT for 20% off your first orderVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 34 in anticipation of our next episode which will drop on Monday, July 18! See acast.com/privacy for privacy and opt-out information.

This one is a treat for me to listen to so I hope you enjoy it as much as I do... this second set from the band's performance at the first 'Day on the Green' on June 8, 1974. These '74 Wall of Sound shows are some of my favorites, as you can tell from the opening 'U.S. Blues' that the boys are here in full force. Keith and Phil are rocking and the entire ensemble sounds great throughout. The 'cosmic' 'Playin in the Band' clocks in at over 24 minutes and despite a scream or two from Donna will definitely raise you to a happy place. For me, there is not much music that makes me happier than an 'Eyes of the World' like this one.. I can't help but relax and let me take me downstream..  Thanks for listening my friends..      Grateful Dead Oakland-Alameda County Coliseum Stadium Oakland, CA 6/8/1974 - Saturday Two     U.S. Blues [5:35]   Big River [5:12]   Ship Of Fools [5:51]   Playing In The Band [24:02] > Wharf Rat [10:16] > Playing In The Band [5:08]   Eyes Of The World [14:49]   Sugar Magnolia [9:53] Encore     Casey Jones [5:55] > One More Saturday Night [4:43]   You can hear this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod061022.mp3   " And what is so rare as a day in June? Then, if ever, come perfect days;" -James Russell Lowell    

A fine second set from Boston Garden on May 12, 1980 to send you off on your Memorial Day weekend adventures. This one starts with an excellent 'Feel Like a Stranger', followed by an intense 'Ship of Fools'. A rolling 'Estimated Prophet' and 'He's Gone' follows, but then the band dissolves into a unique and interesting 'Caution' jam for about 10 minutes, for me the highlight of the set. Drums follows, then a 'Saint of Circumstance' which flows into the 'Wharf Rat' in the ballad slot. 'Sugar Magnolia' closes the set which they then follow with a 'US Blues' encore.  Grateful Dead Boston Garden Boston, MA 5/12/1980 - Monday      Two      Feel Like A Stranger [8:12] ; Ship Of Fools [8:06] ; Estimated Prophet[11:21] > He's Gone (1) [21:35] > Drums [9:19] > Space [2:03] > Saint Of Circumstance [5:24] > Wharf Rat [8:54] > Sugar Magnolia [7:41] Encore      U.S. Blues [4:56] (1) He's Gone [11:35] > Caution Jam [10:00]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod052722.mp3  Thank you for your support of the Deadpod. I hope you have a safe and happy Memorial Day weekend.  

This week's Deadpod features a long second set on the occasion of Brent Mydland's first gig with the band, on April 22, 1979 in San Jose California.  The band opens with the trifecta 'I Need a Miracle' into 'Bertha' into 'Good Lovin', while it starts out a bit rough it picks up alot of energy by the end and they then go into a wonderful version of 'Scarlet Begonias' into 'Fire on the Mountain'. The transition jam into Fire is especially interesting, as is Jerry's jamming throughout that tune. 'Estimated Prophet' continues in the winning vein with some great bass contributed by Phil during the long and excellent opening jam. Brent contributes some interesting electric piano during the closing jam here matched by some very interesting Garcia lines. As this jam closes we hear a new sound from Mickey, as he goes into the fascinating 'Drums' segment with his new toy, 'The Beast', which was brought out for the first time at this show after having been constructed for the 'Apocalypse Now' movie soundtrack. There's not really a Space that follows this Drums segment but instead the band goes into 'The Other One' which is here marred by a cut in the tape. Jerry brings out August West next before the boys close with a rockin' 'Around and Around' They return for a double encore on this Sunday, with a good 'US Blues' followed by a trip to 'Shakedown Street' to close the afternoon..    Grateful Dead Spartan Stadium San Jose, CA (4/22/79) - Sunday Two     I Need A Miracle [4:28] > Bertha [6:40] > Good Lovin' [6:50] ; Scarlet Begonias [9:27] > Fire On The Mountain [13:25] ; Estimated Prophet [11:26] > He's Gone [12:28] > Drums [20:01] > The Other One [7:#27] > Wharf Rat [10:19] > Around And Around [8:10] Encore     U.S. Blues [5:18] ; Shakedown Street [10:42]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod042922.mp3 I hope you have a wonderful May Day! Thanks for listening and for your kind support. 

Hey Now! This week we will explore the first set from a great show that took place during a historic run at the Capitol Theater in Port Chester NY back on February 20, 1971. This was during the famous 'ESP' experiments, and it was also the second show without Mickey Hart who had left the band after the first show of this run.  This show contains a number of 'new' tunes (at the time) and you'll see that some have yet to be fully developed (Playin' in the Band for example).  However the band is tight, Pigpen is on and it is really a fine set. I especially love the ending of this set with the Cryptical>Drums>Other One>Wharf Rat     Grateful Dead Capitol Theater Port Chester, NY 2/20/71 - Saturday     One     Casey Jones [4:18] ; Me And My Uncle [3:10] ; Hard To Handle [7:38] ; Bertha [5:30] ; Playing In The Band [4:40] ; Bird Song [6:53] ; Big Boss Man [4:43] ; Cryptical Envelopment [1:53] > Drums [3:51] > The Other One [10:53] > Wharf Rat [6:58] ; Sugar Magnolia [5:15]  You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod021122.mp3  Thanks for listening and love and best wishes to all!   

This week the Deadpod continues with the second set from January 13, 1978 at the Arlington Theater in Santa Barbara California. This was a 'Stop Nuclear Power' benefit and as usual at these kind of events, I think the band was charged up for it and I think it shows in the energy of this great second set.  They start off with a rousing 'Bertha' into 'Good Lovin'. Donna follows with a nice version of 'Sunrise' then they go into a long and interesting 'Dancin' In the Streets' highlighted with some dueling riffs by Jerry and Phil. The 'Drums' that follows is particularly intense and uptempo. Jerry then goes into a long 'Wharf Rat' which at the end builds to another peak as it leads into an unusual 'Truckin', then again to a very uptempo 'Around and Around' to finish the set. Another change of pace follows with a 'Sugar Magnolia' encore.  Grateful Dead Arlington Theatre Santa Barbara, CA 1/13/78 - Friday     Two     Bertha [6:35] > Good Lovin' [5:51] ; Sunrise [7:21]; Dancing In The Street [16:58] > Drums [3:56] > Jam [13:51] > Wharf Rat [12:02?] > Truckin' [9:23] > Around And Around [8:23] Encore     Sugar Magnolia [9:47]  You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod012822.mp3  Hope you are all well as we 'wave to the wind' and leave January behind! 

Happy New Year!  To celebrate the New Year (hopefully a better one for everyone) and the fact that today is New Years' Eve, I decided to bring you an entire New Year's Eve performance.. this one from New Years' 1977...  While the New Year's shows were often not as magical as some of the prior performances of the run, I do think this one stands up and hope you enjoy it as well..  Over two and half-hours of Live Dead...  Grateful Dead Winterland Arena San Francisco, CA 12/31/77 - Saturday      One      The Music Never Stopped [7:36]   Tennessee Jed [8:47]   Funiculi Funicula [1:44]   Me And My Uncle [3:04]   Loser [8:12]   Jack Straw [5:32]   Friend Of The Devil [6:17#]   Lazy Lightnin' [3:33] > Supplication [5:11] Two      Sugar Magnolia [11:19] > Scarlet Begonias [9:09] > Fire On The Mountain [7:14]   Truckin' [18:25] > Wharf Rat [9:57] > Drums [6:12] > Not Fade Away [16:#43] > Around And Around [7:49] Encore     One More Saturday Night [5:02] > Casey Jones [7:24]   Sugar Mag at midnight   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod123121.mp3    My thanks for another wonderful year bringing you this magical music.  Peace and Love to everyone.

This episode is also available as a blog post: https://thecitylife.org/2021/12/13/thought-to-be-lost-forever-banksys-iconic-wharf-rat-masterpiece-has-been-found-and-restored-and-will-be-auctioned-during-three-day-nft-drop/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory.  Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :)  The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish!  In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully.  They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :)     Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday     Two     China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore     Foolish Heart [8:34]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090321.mp3  I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod.    "Most of the cats that you meet on the street speak of true love  Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin'   Out of the door and down to the street all alone"   We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory.  Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :)  The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish!  In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully.  They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :)     Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday     Two     China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore     Foolish Heart [8:34]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090321.mp3  I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod.    "Most of the cats that you meet on the street speak of true love  Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin'   Out of the door and down to the street all alone"   We have a great second set for your Labor Day weekend enjoyment! This one is from the Greek Theater on August 19, 1989. This one certainly goes against the old thought that the band didn't really jam it out at the Greek.. We start with a fine 'China>Rider'.. the transition really catches fire! A wonderful opener, which then leads right into 'Playin' In the Band'.. the jamming here into a long, pretty, 'Uncle John's' is quite exploratory.  Always a delight, this version of 'Uncle John's' is pretty straight-ahead but nicely paced and sung. The transition into Drums>Space is quite well done. Space is quite exploratory and the accounts which I read say that Candace's lights and effects sync'd quite well to create the spaceship effect :)  The transition into a smoking 'Other One' is on point, including a great Phil bomb. Healy does his effects on Weir's voice but they mostly work here. This is a great Other One! It leads to an explosive finish!  In the ballad slot, Jerry brings out August West.. enough said.. they fly away beautifully.  They close the set with a spirited 'Not Fade Away', then return for a rare 'Foolish Heart' encore. Not a throwaway :)     Grateful Dead Greek Theater - University of California Berkeley, CA 8/19/89 - Saturday     Two     China Cat Sunflower [6:32] > I Know You Rider [5:58] ; Playing In The Band [7:29] > Uncle John's Band [13:00] > Drums [7:12] > Space [9:53] > The Other One [8:24] (1) > Wharf Rat [8:58] > Not Fade Away [9:07] Encore     Foolish Heart [8:34]   You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod090321.mp3  I hope you have a safe and sensational Labor Day weekend! Thank you for your kind support of the Deadpod.    "Most of the cats that you meet on the street speak of true love  Most of the time, they're sittin' and cryin' at home One of these days they know they better be goin'   Out of the door and down to the street all alone"  

Singer/songwriter David Gans has played 450 (nearly) consecutive Facebook Live streams since the pandemic began, and continues to play for the community he's built - even as in-person shows resume. Total SF host Peter Hartlaub watched one of Gans' streams and then interviewed Gans in his Oakland backyard — talking about his life in orbit of the Grateful Dead, how livestreams have helped his playing, and how his livestream community fueled the most artistically rewarding time of his 50-year career. Produced by Peter Hartlaub. Music is from a David Gans Facebook stream - his originals "Summer By the Bay" and "Your Movie," with covers of "Wharf Rat" and "The Weight." More info on David Gans, his music and touring schedule at www.dgans.com. Cable car bell-ringing by 8-time champion Byron Cobb. Follow Total SF adventures at www.sfchronicle.com/totalsf Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode we celebrate 25 volumes of the Dick's Picks series. A monumental moment in the series, as it showcased the viability of a single band releasing a trove from their archives over a significant period in time. We're treated to two Spring 1978 shows from the NE, May 10, 1978 from New Haven, CT and May 11, 1978 from Springfield, MA. Two archetypal Spring ‘78 shows, we hear the band engage in tight interplay around fairly standard setlists, while showcasing some of the best parts of their 77/78 period, while also pointing the way towards the future of the band in the 1980s.Disc One features quality song selection with an excellent “Jack Straw” opener, a sultry “They Love Each Other,” and a gorgeous “Peggy-O.” A wild “Deal” showcases the interplay between Donna & Bob which would be a major theme of the overall volume. Disc Two picks up midway through Set II of 5/10 with a seedy “Estimated Prophet” before a massive “Drums” jam. The disc closes with a stunning “The Other One” into an impassioned “Wharf Rat” that showcases the power of the Garcia outro solo. Disc Three opens on 5/11 with a more laid back approach, showcasing some of the more standard Set I tunes in Dead History. The disc concludes with a very solid “Scarlet -> Fire.” Disc Four is a wild party. Rumors abound about mescaline intake, we hear one of the best “Dancing In The Streets” of all time followed by a massive “Drums -> NFA,” and concluded with a gorgeous “Stella Blue.” The volume concludes with a Double-Barry bookending a fantastic take on “Werewolves Of London.” It's a full-scale dive into Spring ‘78 Dead, seedy, tight, wild, and grooving. Dive in.36 from the Vault is a production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. The executive producer of 36 from the Vault is RJ Bee. ---We're thrilled to be sponsored by Grady's Cold Brew. Use Promo Code: VAULTCheck out Green Future Wealth and mention OSIRIS to get a free report on your existing investmentsVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchaseWe're thrilled to be sponsored by Melophy. Use Promo Code VAULT to save 20% on virtual music lessons.---Please consider reviewing this podcast on Apple Podcasts, or wherever you get your podcasts. We invite you to listen to Dick's Picks Vol. 26 in anticipation of our next episode, which will drop on Monday, July 12! See acast.com/privacy for privacy and opt-out information.

In this episode our hosts discuss sleepovers and whether the gear makes the musician or t'other way round. Then we listen to a bunch of versions of Wharf Rat and they are great! 2/18/1971 Capitol Theater (Port Chester, NY) 3/21/1972 Academy of Music (NYC) 9/11/1974 Alexandra Palace (London) 10/07/1977 University of N.M. 4/22/1978 Nashville Municipal Aud. 6/20/1983 Merriweather Post Pavilion 9/16/1987 MSG

It's time to listen to ESM era bonus material on the couch as Darren and Robin listen to Wharf Rat, 21st Century Human, Red Indian and Ships of Freedom. And in a stunning twist of events, they can't agree on a favourite track! Maybe you can help!