Episoder
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Candyman and Cultural Contradictions: Grateful Deadâs Egypt Adventure
In this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.
Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.
Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.
Grateful Dead
September 16, 1978 (46 years ago)
Son Et Lumiere Theater (aka Sphinx Theatre)
Giza, Egypt
Grateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive
Giza (/ËÉĄiËzÉ/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: ۧÙŰŹÙŰČŰ©, romanized: al-JÄ«zah, pronounced [aldÍĄÊiËzah], Egyptian Arabic: ۧÙŰŹÙŰČŰ©el-GÄ«za[elËgiËzĂŠ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC.
Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom.
Son et lumiĂšre (French pronunciation: [sÉÌn e lymjÉÊ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1]
Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Chùteau de Chambord in France, which hosted the world's first son et lumiÚre in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt.
One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Hereâs how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.
Kyle Fitzgerald
The National
Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.
His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain.
âThere were Bedouins out on the desert dancing ⊠It was amazing, it really was amazing,â Garcia said in a 1979 radio interview.
The September 14-16 shows in Giza were the ultimate experiment for the American band â the first to play at the pyramids â known for pushing music beyond the realms of imagination.
And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East.
For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement.
âNo show that they have ever done has the international significance of their three performances in Egypt,â said Richard Loren, the Grateful Dead's manager from 1974-1981.
âWhen we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.â
Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country.
âThe lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,â he said.
Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx.
âAnd I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,â he said.
Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids.
After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music â not money.
And so the Dead paid their own expenses and offered to donate all the proceeds.
Half would be donated to the Faith and Hope Society â the Sadats' favourite charity â and the other to Egypt's Department of Antiquities.
âIt was a sales pitch by the three of us â Alan, Richard and Phil,â Loren said.
A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx.
They would go on to play three shows.
Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]
Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater".
The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12]
Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience â not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14]
The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.
INTRO: Candyman
Track #3
2:54 â 4:50
From Songfacts: the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.
The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).
The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in).While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.
Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music.With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation. So the sang Hunterâs lyrics:
Good mornin', Mr. Benson
I see you're doin' well
If I had me a shotgun
I'd blow you straight to Hell
This is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.
Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.
Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw."As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind).
Almost always a first set song. Often featured in acoustic sets, back in the day.
This version features this awesome Garcia solo that we were listing to. Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead. Hopefully, it made those spirits grateful themselves.
Played: 273
First: April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USA
Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA
SHOW No. 1: Hamza El Din
Track #10
7:30 â 9:00
Hamza El Din (ArabicŰÙ ŰČŰ© ŰčÙۧۥ ۧÙŰŻÙÙ) (July 10, 1929 â May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the EgyptâSudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead.
His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull.
Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964â65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978.
During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.
After Egypt, hamza el din played with the dead in the U.S.
On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Franciscoâs Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior.
n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Deadâs â78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of âOllin Arageedâ, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News:
MUSIC NEWS:
Lead in music: Goose â "Hollywood Nights" (Bob Seger) â Fiddler's Green â 6/8/24 (youtube.com) 0:00 â 1:10
Goose covering Bob Seeger and the Silver Bullet Bandâs Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shedâs Festival stage outside along the Chicago river with the Skyline in the background. Very impressive.
"Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town.
Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1]
Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream.
Robert Clark Seger (/ËsiËÉĄÉr/SEE-gÉr; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s,
In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums.
A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001.
Which leads us to:
Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed. I caught the Thursday and Friday show. Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others. Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed.I have to say, Iâve now seen Goose five times and enjoy them more and more. Great musical jams, great light show, lots of good energy from the band and the fans. Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind.
Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger. They really love what they do and its shows in their live performances.
Great set lists in Chicago:
Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds.
If you have not yet seen Goose you need to see Goose. Soon.
Janeâs Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3. Janeâs Addiction Offer âHeartfelt Apologyâ for Fight, Cancel Sundayâs ShowPhish announce 3 night run in Albany Oct. 25 â 27 to benefit Divided Sky FoundationA residential program for people recovering from drug and alcohol abuse.
The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont.
The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.
Anastasio, Phishâs lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s.
There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.
Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.
Very cool organization, deserves everyoneâs support. Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger.
SHOW No. 2: Ollin Arageed
Track #11
13:10 â 14:42
Musical composition written by Hamza El-Din. He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well. Joined on stage by the band. Fun, different and a shout out to the locals.
The Dead played it a few more times with Hamza and then retired it for good.
SHOW No. 3: Fire On The Mountain
Track #12
13:00 â end
INTO
Iko Iko
Track #13
0:00 â 1:37
This transition is one of my all time Dead favorites. Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko. Another perfect combination for the pyramids, sphinx and full lunar eclipse.
A great reason to listen to this show and these two tunes.
MJ NEWS:
MJ Lead in Song
Still Blazin by Wiz Khalifa: Still Blazin (feat. Alborosie) (youtube.com)
0:00 â 0:45
We talked all about Wiz Khalifa on last weekâs episode after I saw him headline the Miracle in Mundelein a week ago. But did not have a chance to feature any of his tunes last week. This one is a natural for our show.
This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wizâs Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[
1. Nixon Admitted Marijuana Is âNot Particularly Dangerousâ In Newly Discovered Recording2. Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3. Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4. U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report FindsSHOW No. 4: Sunrise
Track #16
2:08 â 3:37
Grateful dead song written, music and lyrics by Donna Jean Godchaux. Released on Terrapin Station album, July 27, 1977
There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named).
The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead.
"'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy."It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).
This version is the last time the band ever played it.
Played: 30 times
First: May 1, 1977 at The Palladium, New York, NY, USA
Last: September 16, 1978 at the Pyramids, Giza Egypt
OUTRO: Shakedown Street
Track #17
3:07 â 4:35
Title track from Shakedown Street album November 8, 1978
One of Jerryâs best numbers. A great tune that can open a show, open the second set, occasionally played as an encore, but not here. It is dropped into the middle of the second set as the lead in to Drums. This is only the second time the song is played by the band.
Played: 164 times
First: August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USA
Last: July 9, 1995 at Soldier Field, Chicago, IL â opened the second set, the final set of music ever performed by the band.
Shout outs:
Karen Shmerlingâs birthday
This week my beautiful granddaughter, Ruby, is coming to town to visit. Canât wait to see her and her parents.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"
Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.
Key highlights include:
"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990.
"Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.
Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."
Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:
Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.
https://www.cheaptrick.com/
Grateful Dead
September 9, 1987 (37 years ago)
Providence Civic Center
Providence, Rhode Island
Grateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive
Second night of a three show run, the opening shows of 1987 East Cost fall tour.
INTRO: Hey Pocky Way
Track #1
:35 â 2:03
First time ever played
Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint.
Song was released on Rejuvenation the bandâs fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list.
Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener. Sung by Brent who really got into it with both his keyboard playing and strong singing, it became a fan favorite. But as a Brent influenced tune, it died when he did.
Played: 25 times
First: September 9, 1987 at Providence Civic Center, Providence, RI, USA
Last: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brentâs second to last show)
SHOW No. 1: Jack Straw
Track #2
4:00 â 5:50
"Jack Straw" written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72.
The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971â72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1]
Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is alsoâperhaps coincidentallyâthe name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3]
Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show.
Played: 477 times
First: October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USA
Last: July 8, 1995 at Soldier Field in Chicago
MUSIC NEWS
Miracle In Mundelein â second year of the festival in Mundelein a suburb northwest of Chicago. Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathanâs fiancĂ©, Bella and Danielâs buddy AJ. Different theme to this yearâs music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show.Acts:
Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album.They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1]
Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records.
Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving.
The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework. Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphreyâs McGeeGalacticSuzanne VegaEurythmicsLettuceGovât MuleAnd many more
The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.
The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.
On Saturday, they featured Raekwon and GZA from Wu Tang Clan.
RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reÉȘËkwÉn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.
Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.
Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]
Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]
Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich.
After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener."
In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Yearâthe prior year, Nas wonâwhile HipHopDX staff explained,
Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]
ââHipHopDX
GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ËdÊÉȘzÉ/JIZ-É) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995).
His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop.
In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".
The combination of the Soul Rebels beat and Raekwonâs and GZAâs rapping made for an exceptional set of music that caught me off guard but was worth the price of admission. With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival.
Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3]Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022.
His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12]
By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career.
He was the headliner and lived up to the billing. Great tunes, great stage presence, great spokesperson for cannabis. My first experience with his music and it was very positive.
A great musical education for me with my tutors, Daniel and AJ.
More in MJ News
Herbie Flowers RIPJerry Miller RIPGoose this week at the Salt Shed, Thursday and FridaySHOW No. 2: Greatest Story Ever Told
Track #9
3:25 â end
INTO
Devil With a Blue Dress
Track #10
0:00 â 1:33
Greatest Story â written by Hunter/Bobby/Mickey, originally called âThe Pump Songâ on Mickey Hartâs 1972 album Rolling Thunder. As the opening tune of Ace, it is called Greatest Story Ever Told. But this isnât about that song. Here, it is the lead-in to a first set couple of âextrasâ thrown in for some fun.
"Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.
"Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2]
Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, âBreakout . . . . !â, was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time.
Basically, another great cover to showcase Brentâs singing and keyboard skills. This was the first of 3 times the Dead covered the song. Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show.
The transition out of Greatest Story is seamless and makes it so you canât hear the end of Greatest Story without hearing the signature beat of Devil making it a ânaturalâ fit.
Played â 3 times
First: September 9, 1987 at Providence Civic Center, Providence, RI, USA
Last: October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA
SHOW No. 3: Good Golly Miss Molly
Track #11
0:00 â end
INTO
Devil With a Blue Dress
Track #12
0:00 â 0:51
"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time.
Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit."
In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100.
As with Devil, a Brent thing. Unfortunately, it was only around for a month. Then vanished from the Deadâs playlist thereafter.
Played: 3 times, makes sense
First: September 9, 1987 at Providence Civic Center, Providence, RI, USA
Last: October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA
MJ NEWS:
Miracle in Mudelein â a great event sponsored by Rise Dispensaries and Rhythm cultivators. Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong â my first time using one and it is not your fatherâs four foot Graffix bong! Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience. Rather than try to explain it to you, just Google Gravity Bong and see for yourself! Great high.
Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event. Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc. Rise also was selling products at the show.
A wonderful thing to attend an event and not have to hide and smuggle in your cannabis. People lighting up everywhere, offering to share, talking strains, etc. Police were there to keep order and otherwise let it all go on. Very professional.
Excellent mellow crowd (what else would you expect?). Well run. Shot joints out of a canon. A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you donât have any when everyone knows attendees are smuggling it in anyway.
A great way to promote cannabis and help normalize it within the community. And a fun event to be able to share with my boys, Bella and AJ. Fun had by all.
SHOW No. 4: Not Fade Away
Track #24 (NOTE â this song is listed as Track #23 AND #24, be sure to use #24)
0:00 â end
"Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets.
Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat,
"Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time".
The song is closely associated with the Grateful Dead as one of their signature tunesâone which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960sâ more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early â70âs.
Primarily a second set tune that used to show up in the second half of the second set after Drums-Space. Beginning in 1983, the Dead began to play it as the second set closer, trailing off with âLove is real will not fade awayâ as they exited the stage. A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.
Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it. Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off. And sometimes even when the chant made it all the way to the bandâs return on stage, the band would ignore it and just dive straight into their encore. Fun when it all came together like this show.
Played: 561 times
First: February 19, 1969 at Fillmore West, San Francisco, CA, USA
Last: July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)
OUTRO: The Mighty Quinn
Track #25
2:11 â 3:48
Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years. The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success.
A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II.
Covered by: the Hollies, Leon Russell and Phish, among others.
Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career.
Last verses, end with, âwhen Quinn the Eskimo gets here, everybodyâs gonna want to dozeâ but the Deadheads heard it as âdoseâ and always gave it a big cheer.
Played: 59 times
First: December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA
Last: July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA
Shoutouts:
Lary Vinocur â birthdayElena Mishkin â birthday.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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Manglende episoder?
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Labor Day Vibes: Grateful Dead, George Thorogood, and More
A special Labor Day edition featuring a recap of significant events in the music world, particularly focusing on the Grateful Dead's September 2, 1988, concert at the Capitol Center in Landover, Maryland. Larry Mishkin reminisces about the band's history, including the song "Hell in a Bucket," its significance, and its evolution in the Grateful Dead's lineup. There's a detailed discussion about the song "Dire Wolf," including its origins, inspirations, and its role in the band's performances.
The episode also features a tribute to Steve Silverman, a renowned science writer and Grateful Dead enthusiast who recently passed away. Silverman was celebrated for his contributions to the understanding of autism and his deep connection to the Grateful Dead community. The tribute highlights his life, his work, and his impact on both the music and science communities.
Larry shares reviews of the recent George Thorogood and Journeyman Tribute the Eric Clapton
https://www.georgethorogood.com/
https://vilarpac.org/
https://journeymantribute.com/
Grateful Dead
September 2, 1988 (36 years ago)
Capital Center
Landover, MD
Grateful Dead Live at Capital Centre on 1988-09-02 : Free Borrow & Streaming : Internet Archive
I hope everyone is having a great Labor Day weekend.
Night one of a four night run at the Cap Center to kick off 1988 East Coast Fall Tour (played Friday and Saturday, 2 and 3 and Monday and Tuesday 5 and 6). Took a night off for my wedding on Sunday 4th. Saturday night show was my rehearsal dinner and they played second encore, final electric Ripple and final Grateful Dead Ripple. Memorable weekend for all (except for my east coast deadhead buddies at the wedding who were bummed to have missed the Ripple.
INTRO: Hell in a Bucket
Track #2
0:00 â 1:34
David Dodd: The Bob Weir / John Barlow / Brent Mydland song âHell in a Bucketâ directly references the biker scene, and Iâm sure that somehow Barlow just wanted to put that element into the bandâs repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the bandâs songs.
In the case of this song, though, the singer/narrator seems to be wishing a sorry fate on his erstwhile main squeeze, with the argument being that once she has a biker charging up and down her halls on his chopper, sheâll realize that the narrator was really pretty good, at least by contrast.
âHell in a Bucketâ appeared on In the Dark, released in July 1987. The song frequently featured as the show opener over the course of the next two-plus decades, although it wasnât used in that role until about a year after its first performance.
Played: 217 times
First: May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA
Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA
SHOW No. 1: Dire Wolf
Track #5
2:00 â 3:24
"Dire Wolf" is a ballad by the Grateful Dead, released as the third track on their 1970 album Workingman's Dead. The lyrics were written by Robert Hunter after watching a film adaptation of The Hound of the Baskervilles. The music, containing elements of country and folk music, was composed by Jerry Garcia on the same day. The song tells the story of a man who plays cards with a "dire wolf" on a cold winter's night in "Fennario"; the lyrics have been variously interpreted. The piece became a staple of the Grateful Dead's performances, and was played more than two hundred times between 1969 and 1995.
A few months before the release of their album Aoxomoxoa in 1969, Grateful Dead lyricist Robert Hunter and his then-partner Christie Bourne began sharing a house with the band's guitarist Jerry Garcia, his wife, and his step-daughter. Living in close proximity gave an impetus to their collaborative song-writing: Hunter and Garcia wrote every song on Aoxomoxoa.[2] Some time later, Hunter and Carolyn Garcia spent an evening watching a film adaptation of The Hound of the Baskervilles. According to Grateful Dead historian Dennis McNally, Carolyn later remarked that the hound was a "dire wolf".[3] However, according to Hunter himself, as quoted in the Annotated Grateful Dead Lyrics, he and Garcia were speculating about the identity of the hound in the story, and came up with the idea that it may have been a dire wolf.[4] Hunter wrote the lyrics the next morning, based on images that the phrase conjured for him, and Garcia wrote the music to them later that day.[3][4]
The location named "Fennario" appears in the folk song "The Bonnie Lass o' Fyvie", including in the Grateful Dead's version of that song. It refers to a fictional location; a friend of the band members commented in an interview that it was the perfect name for a generic place, because it was evocative, and had four syllables.[4] In contrast, music writer Buzz Poole speculated that the name may be derived from Fenrir, a mythical Nordic wolf who was chained up by the gods.[6] The phrase "don't murder me", repeated in the chorus, was a reference by Garcia to his experiences driving around the San Francisco Bay Area at the time that the Zodiac Killer was active.[4]
The song became a staple of the Grateful Dead's live performances; the electric version of the song was typically featured on the band's first set.[4][7] According to The Grateful Dead's 100 Essential Songs, "Dire Wolf" was played 226 times between 1969 and 1995, and was played every year, except for 1975. Sixty-three of these performances were in the first two years after the song was written. In later years, the acoustic version of the piece became more common.[7] The structure and pace of the song did not change much over the years. It was sung most often by Garcia, although an early version featured Bob Weir on vocals, with Garcia playing the pedal steel guitar instead.[7] An AllMusic review of this version praised Garcia's "sweet" guitar playing as a "great feature" of the song.[5] Its lyrics have led to it being described as an essential Grateful Dead song by commentators.[7]
Played: 229 times
First: June 7, 1969 at Fillmore West, San Francisco, CA, USA
Last: June 7, 1969 at Fillmore West, San Francisco, CA, USA
MUSIC NEWS:
Steve Silberman passesPhish â DickâsNeil Young explanation for canceled showsMiracle in MundeleinMiracle in Mundelein 2024 is an unprecedented cannabis and outdoor concert experience taking place at RISE Recreational Dispensary in Mundelein, IL on September 7-8, 202412. Presented by RYTHM Premium Cannabis, RISE Dispensaries, Dayglo, and Deep Cut, this second annual outdoor festival allows legal on-site cannabis consumption2.
SHOW No. 2: Althea
Track #7
3:10 â 4:53
When the Grateful Dead released âAltheaâ on their 1980 album Go to Heaven, it quickly became a favorite among fans. Robert Hunter, the Deadâs legendary lyricist, was known for embedding multiple layers of meaning in his lyrics. âAltheaâ is no exception. Jerry Garciaâs soulful voice brings Hunterâs words to life, but itâs the lyrics that leave listeners pondering.
The name âAltheaâ itself is rooted in Greek mythology. Althea was the Queen of Calydon, whose actions led to her sonâs death, reflecting themes of fate and consequence. While the song doesnât explicitly connect to this myth, the allusion to âyour fireâ might be a subtle nod to Altheaâs tragic tale.
âAltheaâ was performed live by the Grateful Dead 273 times, making it a staple in their repertoire. Despite McNallyâs belief that the band overplayed it in the early â80s, fans cherished its live renditions. The songâs adaptability and depth allowed it to grow with the listeners, much like a trusted pair of pants with a sturdy elastic waistband.
Played: 273 times
First: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA
Last: July 8, 1995 at Soldier Field, Chicago
SHOW No. 3: Scarlet Begonias
Track #10
0:00 â 2:02
Garcia/Hunter
From The Mars Hotel (July 24, 1974)
The group first performed the song live on March 23, 1974, at the Cow Palace in Daly City, California.[1] When "Fire on the Mountain" was incorporated into the band's repertoire in 1977, "Scarlet Begonias" would often be paired with it when played live, resulting in what would be nicknamed "Scarlet > Fire" with the first iteration of this iconic pairing on Friday, March 18th, 1977 at Winterland in S.F. Interestingly, they played the combo to close the first set. Almost always a second set opener, once saw them open a show with it.
Had to play this because the opening is so special â sends a message to the Deadheads that good things lay ahead, best second set opener in their arsenal. Nothing like the reaction when you hear the first few notes. âScarlet, into Fire, a great 25 minutes of grooving music and wonderful for âmind exercisesâ you may be experiencing at that time.
Played: 317 (Fire played 254 times)
First: March 23, 1974 at Cow Palace, Daly City, CA, USA
Last: June 2, 1995 at Deer Creek, Noblesville, IN
MJ NEWS:
Trump Supports Florida adult use measure on fall ballot, but no public smokingDeSantis says âNOâ adult use in Florida, opposes TrumpState ballots this fall for MMJ in Nebraska and ArkansasIllinois awards $35 million from MJ taxes to support community reinvestmentCalifornia allows sales of MJ at Farmerâs MarketsSHOW No. 4: All Along The Watchtower
Track #17
1:50 â 3:53
Bob Dylan
John Wesley Harding
"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. The song's lyrics, which in its original version contain twelve lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5â9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations.
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. Dylan has performed the song live more than any of his other ones, with over 2,250 recitals.
Hendrix was a known Dylan fan. He even once cleared a dance floor by demanding that "Blowin in the Wind" be played in a New York club. In a 1967 interview, Hendrix described Dylan's influence on his own songwriting. "I could never write the kind of words he does," Hendrix said. "But he's helped me out in trying to write two or three words 'cause I've got a thousand songs that will never be finished. I just lie around and write about two or three words, but now I have a little more confidence in trying to finish one."
Hendrix acquired a copy of John Wesley Harding before the album's official release and instantly knew he had to cover one of the tracks. Initially, he was planning to record "I Dreamed I Saw St. Augustine," but after further consideration he chose "All Along the Watchtower." Hendrix claimed he had a natural gravitation toward the track. "The songs Dylan usually gave me are so close to me that I feel like I wrote them myself," he added. "With 'Along the Watchtower' I had that feeling." Less than two months after Dylan recorded the original, Hendrix was in the studio laying down his version.John Wesley Harding was Dylan's return to his acoustic roots after his motorcycle accident. But rather than bring back the topical lyrics about civil rights and the Vietnam War, he continued the evocative, surreal images that made his previous three records -- Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde -- so groundbreaking, adding biblical imagery that foreshadowed his born-again phase more than a decade later.
Dead started playing it while touring with Dylan in the summer of 1987. Not necessarily their greatest tour, and Dylan was not sharp on a night by night basis, but when they got to this tune, the crowd really responded. So after the tour ended, the Dead just kept it in their repertoire and played it until their end.
Played: 118
First: June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA
Last: June 22, 1995 at Knickerbocker Arena, Albany, NY, USA
OUTRO: Black Muddy River
Track #20
4:15 â 6:34
Garcia/Hunter
From: In The Dark (1987)
Black Muddy River was a song that was a pretty decent ânewâ song for a while. Almost always played as an encore, it was a fan favorite in the Twin Cities, St. Louis, Memphis and New Orleans, all situated on or near the Mississippi River. Sometimes they would play it in those cities and sometimes they would wait to play it until they were in the middle of nowhere with no river around for miles and miles. Towards the end, Jerry seemed to lose his enthusiasm for it so, for example, when he rose to the occasion at the last show on July 9, 1995 and belted out a So Many Roads for the ages, his Black Muddy River encore left a lot to be desired. So much so that, as the story goes, Phil decided they could not end the summer tour on such a low note so he pushed in a Box of Rain making that song the last one ever played in concert by the band and a much nicer farewell than that not very good Black Muddy River would have been.
This one is âyoungâ and strong, Jerryâs voice rings true and you can hear the energy build up inside him as he belts out the final lines of the song. A song that sent all those at the Cap Center out into the night longing for more without even knowing what awaited them the very next night. Some were there, some werenât. Thatâs the story of the Dead and touring (like Phish waiting to Dickâs to play Fee!).
Played: 66 times
First: December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA
Last: July 9, 1995 at Soldier Field, Chicago, IL, USA
Shout outs:
Wed â my anniversary, and H and Robbin
Thurs. â JWâs anniversary with the lovely Allie
Bella â birthday on Monday
Jackie G. in St. Louis on Sunday
.Produced by PodConx
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Rob Hunt - https://podconx.com/guests/rob-hunt
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Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
-
A Festival Odyssey: Phish, Mondegreens, and Moments with My Son
Larry Mishkin reflects on his recent experience attending the Mondegreen Festival, a Phish festival in Dover, Delaware, with his son and friends. He shares his enthusiasm for the event, highlighting the performances and the significance of certain songs, including "The MoMA Dance" and "NICU," which have deep ties to Phish's history and fan culture. Larry provides a detailed history of Phish festivals, from the Clifford Ball in 1996 to the most recent Mondegreen Festival, noting memorable moments, attendance figures, and unique aspects of each event. The episode also includes a brief discussion on the 60th anniversary of The Beatles' performance at Red Rocks Amphitheatre in Denver, Colorado. Larry expresses his excitement about attending the festival with his son and reminisces about the special bond they shared during the event.
MONDEGREEN
Phish
August 15 â 18, 2024
The Woodlands
Dover Delaware
Bandâs 11th festival, NOT counting Curveball set for 2018 that was canceled at the last minute due to contaminated water supply due to heavy rains and flooding.
Nine year gap between MagnaBall in March, 2015 and Mondegreen, biggest gap between festivals in bandâs history.
INTRO: Moma Dance
Night One, August 15, 2024
First Night, First Set, First Song (into Back On The Train)
Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive
Track #2
2:31 â 4:05
By: Anastasio/Fishman/Gordon/McConnell/Marshall
Played:
First Played: 6/30/98 in Copenhagen, Denmark
Most recent: August 15, 2024 (Mondegreen)
Current Gap: 3 shows
The title of âMomaâ is another example of Phish Phonetics, cleverly transforming the moment ends lyric into a reference to a display of âThe Rhombusâ at New York Cityâs Museum of Modern Art (MoMA).
Mondegreen: are they saying, âThe Moma Danceâ OR âthe Moment Endsâ??
SHOW No 1: NICU
Night One, August 15, 2024
First Set, 6th song (out of Roggae and into A Wave of Hope)
Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive
Track #7
3:00 â 4:56
By: Anastasio/Marshall
Played 156 times
First Played: 3.6.92 at The Music Hall in Portsmouth, NH
Most Recent: August 15, 2024 (Mondegreen)
Gap: 3 shows
Has any Phish song had as many names with as many explanations as âNICUâ? At its debut in Portsmouth, New Hampshire, Trey introduced the song as âIn an Intensive Care Unit.â Shortly thereafter, the name was changed to âNICU,â which some considered a play on a line from the backing vocals in the chorus (âand I see youâ) and others noted was the abbreviation for the Neonatal Intensive Care Unit.
Shortly thereafter, the âcontroversyâ began, as controversy can only begin among rabid Phish fans. Some called the song âAnd I See You.â Some stuck with the original âIn an Intensive Care Unit.â Other interesting theories developed, including one from the Internet where a fan noted that the elements Nickel (NI) and Copper (Cu) are side-by-side on the Periodic Table and that the title âNICUâ may thus be a reference to nickels and pennies or, more likely, small change.
Title is a Mondegreen for âAnd I See Youâ
Music News (from Mondegreen)
Matthewâs crew: Matthew, me, Donny, Jake, Dave and Seth
Michigan Crew: ???
NYC Crew: Max & Jess, Joey and Darby, Darbyâs brother, Brad and Sam, Dan the drummer (and?), Dude from Florida and girlfriend (??), Tesh,
WHO ELSE SHOULD I MENTION?
CLEVELAND CREW: Kevin, two buddies? Aaron Anyone else?
Hot and humid/ AC units
Tents v. RVâs/bathrooms/food/water and ice/maintenance
Storm â cut Sunday short
Modern weather technology â good and bad
Just like 2022 Sacred Rose Festival
Secret Set on Aug. 16th second night
Driving 12 hours each way
SHOW No. 2: I Am Hydrogen > Weekapaug Groove
Night 3, August 17, 2024 â Second set opener traditional Mikeâs Groove>Theme From The Bottom
November 11, 2012, MSG, NYNY
Mikeâs>Chalk Dust Torture>I Am Hydrogen>Weekapaug
Phish | 12.29.11 | Mike's Song â Chalk Dust Torture â I Am Hydrogen â Weekapaug Groove - YouTube
15:44 â 17.43
I Am Hydrogen
By: Daubert/Marshall/Anastasio
Played: 350 times
First: April 6, 1985 at Finbarâs in Burlington, VT
Most Recent: August 17, 2024 (Mondegreen Night 3)
Gap: 1 show
The story of âI Am Hydrogenâ is a love story. Conceived by Tom Marshall and Marc Daubert around 1984-85 on piano and acoustic guitar, they brought their creation over to Treyâs house, where it was recorded. Trey added a harmony to it on his electric guitar, and the âHydrogenâ we have come to know was born. Initially intended for Tom, Marc, and Treyâs band Bivouac, âHydrogenâ ended up in the Phish lineup and made its debut, all alone, on 4/6/85. After a few years, it became the connector between Mikeâs Song and Weekapaug Groove.
Into
Weekapaug Groove
By: Anastasio/Fishman/McConnell/Gordon
Played: 523 timesFirst: 7.23.1988 at Pete's Phabulous Phish Phest in Underhill, VT
Most Recent: August 17, 2024 (Mondegreen Night 3)
Gap: 1 show
âWeekapaug Grooveâ takes its name from the town of Weekapaug, located on the shores of the Atlantic Ocean in southwestern Rhode Island. According to Mike, the songâs lyrics (âTrying to make a woman that you move, sharing in a Weekapaug Grooveâ) are meaningless. As Mike said in a 9/9/97 interview with Parke Puterbaugh:
âSo we came back to Boston [from Weekapaug, after playing a gig there at a yacht club], and I guess we were in the van or the Voyager we used to drive in, and that song âOh What a Nightâ came on the radio. You know that one? That awful Four Seasons song? We just constantly listened to songs and changed around the words as to what they might sound like. I always had a particularly hard time hearing lyrics anyway, so I always would sing a song on the radio, sing along with the wrong words. So the bridge of that song goes âOh I-I-I trying to something,â but I was singing it, âOh I-I-I trying to make a woman that you move,â which means nothing, 'sharing in a Weekapaug groove.â So we all just started singing that, as complete nonsense: âtrying to make a woman that you move.â It never occurred to any of us that it had any meaning, ever. There was a period of time that we were singing it, and I used to just yell out the lyrics, between singing them I would just yell them out as if I was preaching them, just to sort of make it more ironic that they have no meaning.â
SHOW No. 3: Yamar
Night 4, August 18, 2024 â First set 10th song out of Stash and into Timber
August 17, 1996, Clifford Ball, Plattsburgh AFB, Plattsburgh, NY (1st Phish Festival) into Itâs Ice
Phish-Ya Mar-Clifford Ball (youtube.com)
0:13 â 1:45
By: Cyril Ferguson
27th November 1951 - Cyril 'Dry Bread' Ferguson was born in Nassau, New Providence, Bahama Islands.
Ferguson was a Bahamian musician and entertainer. He composed songs in the genres of goombay, calypso and Bahamian pop music.
Some of his more popular songs include: Ya Mar, Sunshine On My Body, Bahamian Music and Don't Squeeze The Mango.
Ferguson died of complications related to diabetes on 9th April 2009.
âYa Marâ resides as a favorite in the hearts of many fans. It represents one of Phishâs few forays into calypso and is among the most playful and danceable songs in the bandâs repertoire. And anytime Trey screams for Page to take the reins â âPlay it, Leoooooo!â â the crowd is apt to go wild. Pageâs nickname actually comes from this line in the original, where The Mustangs urged their own piano man to step into the spotlight. The title seems to reference the slurred interpretation of âyour ma,â as the singer recounts the disdain his loverâs family has for him. Phish put their own unique stamp on it by often changing the âno good paâ lyric in the chorus to mimic their own âoh kee paâ phrase.
Played: 232 times
First: 2.21.1987 at Slade Hall, UV, Burlington, VT
Most Recent: 8.18.2024
Gap: 0 shows
Marijuana News
Senator Says Harris Will âBe Ready To Signâ Marijuana Reform Bills If Elected PresidentGOP Senators Claim Marijuana Is A âGateway Drugâ As They Oppose Rescheduling And Legalization3. People Who Use Marijuana Are Less Likely To Be Obese, New Study ShowsSHOW No. 4: Simple
Night 4, August 18, 2024 â First set second to last song of Izabella and into Golden Age
July 27, 2024, Alpine Valley, East Troy, WI second set out of Sigma Oasis and into The Howling
Phish - 7/27/2024 - Simple (4K HDR) (youtube.com)
0:18 â 1:28
By: Gordon
Played: 209 times
First: 5.27.1994 at the Warfield Theater in San Francisco
Most Recent: August 18, 2024 (Mondegreen Night 4)
Gap: 0 shows
"Simple" was first written and recorded by Mike Gordon in a four-track medium in the Doo-wop style and introduced to the band during the studio sessions forHoist. This version reflected the country and bluegrass writing style of many previous Gordon compositions. The song was left off of the albumand the band showed hesitation in performing it live.
Then, on 5/27/94, âSimpleâ debuted in a very strange and raw fashion during the âMikeâs Songâ at the Warfield in San Francisco. In contrast to the song we know today, the debut version of âSimpleâ was Mikeâs original lyrics sung by the band members over a jam that had emerged from âMikeâs.â Three weeks later, âSimpleâ was played for a second time at the historic 6/17/94 gig, the same night that much of the country was watching the low-speed police chase of O.J. Simpsonâs white Ford Bronco through L.A. This version was significantly reworked and sounded much like the âSimpleâ we are accustomed to hearing today, with the exception of a minor humoristic augmentation providing the line âWeâve got O.J., cause weâve got a band.â
Mondegreen: Weâve got a cymbal (simple) cause weâve got a band
OUTRO: Twee Pri
Night 3, August 17, 2024 â Encore out of YEM into end of show
April 20, 2024, The Sphere, Las Vegas, NV Encore out of A Life Beyond the Dream into end of show
Tvidler 202202 11 by Ryan Maguire (youtube.com)
0:00 â end
By: Anastasio/Fishman/Gordon/McConnell
Played: 321 ties
First: 2.1.1991 at Alumnae Hall, Brown University â Providence, RI
Most Recent: 8.17.2024 Mondegreen Night 3
Gap: 1 show
A "reprise" is a sort of musical afterthought â basically a reintroduction of and variation on the main theme of a piece of music. Thus, âTweezer Repriseâ is a slight variation â a condensation of sorts â of âTweezer.â As it does on the album A Picture of Nectar, the âRepriseâ often follows âTweezerâ in concert, most frequently as an encore song. It is also common as a second set closer following an earlier âTweezer.â A few times, the âRepriseâ has even been spewed out of some long, monster âTweezer,â serving as the thrilling exclamation point at the end of a raging, set-long sentence (e.g. 5/7/94, 6/22/95).
On occasion, âTweezer Repriseâ has shown up as a surprise in a show where there has been no performance of âTweezerâ proper. Although usually this occurs because the âRepriseâ will be referring back to a non-reprised âTweezerâ at the previous nightâs show (e.g. 12/30/96âs âTweezerâ was reprised on 12/31/96), the song has been known to appear, albeit rarely, completely free from its Granddaddy counterpart, like on 9/29/99. The most interesting example of this, and perhaps the most unusual âTweezer Repriseâ ever performed, was on 12/8/99, which featured an a cappella version that came out of a âYEMâ vocal jam to close the second set. The band later finished off the show with a traditional âTweezer Repriseâ to end the encore. Other interesting versions include 10/27/94 and 10/21/95.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
-
"Phish's Record-Breaking Jams: A New Era in Live Performance"
Larry Mishkin discusses a 1990 performance by the Jerry Garcia Band, highlighting the importance of his album recorded during this period and recommending it for fans of Garcia. He then shift to discussing Phish, describing a lengthy and memorable jam session of the song "Simple" during a recent concert. He shares his personal experience and admiration for Phish's ability to maintain engaging improvisations in their performances.
The conversation then transitions to Aerosmith, detailing the band's history, influence, and their recent announcement to retire from touring due to Steven Tyler's vocal issues. Larry reflects on Aerosmith's legacy, comparing them to other iconic rock bands like The Rolling Stones, and notes the personal connection some of their friends have with the band.
Along with new positive cannabis studies, Larry briefly touches on the recent end of Dead & Companyâs tour and the cancellation of Widespread Panic's remaining 2024 tour dates, expressing disappointment but understanding the circumstances.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
-
Phish's three-night run at Alpine Valley
Larry Mishkin features a Grateful Dead concert at a "funky" venue on July 29, 1994, at Buckeye Lake, Ohio. The Grateful Dead opened with "Rain" by the Beatles, reflecting their admiration for the Beatles' music. "Rain," primarily written by John Lennon, was a song exploring themes of reality and illusion and was notable for its use of reverse audio effects. The Grateful Dead incorporated several Beatles songs into their performances, demonstrating their appreciation for the band.
The conversation touches on the Grateful Dead's setlist, which included several opening songs like "Feel Like a Stranger" and "Bertha." The speakers recall personal experiences and the excitement of attending these concerts, sharing memories of Buckeye Lake as a vibrant venue despite unpredictable weather. The conversation transitions to "Wang Dang Doodle," a blues standard written by Willie Dixon and performed by artists like Howlin' Wolf and Koko Taylor. The Grateful Dead's affinity for blues music and their ability to blend various musical influences into their performances is highlighted.
Larry changes his focus and shifts to a discussion about the band Phish, detailing a recent three-night run at Alpine Valley. He express his excitement and nostalgia for the venue, sharing experiences of attending concerts there over the years. The recap of Phish's performances includes a detailed analysis of the setlists, noting songs like "46 Days," "Moma Dance," "Cities," "Cavern," "Axilla," "Down with Disease," "Bathtub Gin," and a cover of Led Zeppelin's "Good Times Bad Times." Larry's enthusiasm is evident as he recount the energy and musicianship of Phish, highlighting the unique experience of attending their concerts and the connection it fosters among fans.
Grateful Dead
July 29, 1994 (30 years ago)
Buckeye Lake Ohio
Grateful Dead Live at Buckeye Lake Music Center on 1994-07-29 : Free Download, Borrow, and Streaming : Internet Archive
INTRO: Rain
Track #1
:26 â 2:10
John Lennon wrote most of "Rain." It was his first song to get really deep, exploring themes of reality and illusion - after all, rain or shine is just a state of mind.Written by John âabout people moaning about the weather all the timeâ as he was becoming more in tune with his role as a social leader â as is evidenced by the lines âI can show youâ and âCan you hear meâPlayed 29 times
First: December 2, 1992 at McNichols Sports Arena, Denver, CO, USA
Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA
SHOW No. 1: Wang Dang Doodle
Track #4
4:03 â 5:43
"Wang Dang Doodle" is a blues song written by Willie Dixon. Music critic Mike Rowe calls it a party song in an urban style with its massive, rolling, exciting beat.[1] It was first recorded by Howlin' Wolf in 1960 and released by Chess Records in 1961. In 1965, Dixon and Leonard Chess persuaded Koko Taylor to record it for Checker Records, a Chess subsidiary. Taylor's rendition quickly became a hit, reaching number thirteen on the Billboard R&B chart and number 58 on the pop chart.[2] "Wang Dang Doodle" became a blues standard[3] and has been recorded by various artists. Taylor's version was added to the United States National Recording Registry in 2023.
In 1995, Taylor's rendition was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recording â Singles or Album Tracks" category.[17] The Foundation noted that the song was the last blues single produced by Dixon to reach the record charts, and "became Koko Taylor's signature crowdpleaser, inspiring singalongs to the 'all night long' refrain night after night".[17]
Taylor's version of "Wang Dang Doodle" was selected by the Library of Congress for preservation in the National Recording Registry in 2023.[18]
Chuck Berry, Bruce Hornsby, John Popper, Bob Weir of the Grateful Dead and Willie Dixon's daughter, Shirley Dixon, performed "Wang Dang Doodle" in tribute to Willie Dixon at the 1994 Rock & Roll Hall of Fame induction ceremony.
In his autobiography, I Am The Blues, Willie Dixon says;
Wang Dang Doodle meant a good time. Especially if a guy came in from the South. A wang dang meant having a ball and a lot of dancing, they called it a rocking style so that's what it meant to wang dang doodle.
Wang Dang Doodle was first performed by the Grateful Dead in August 1983. The song was played only a few times each year through the rest of the 1980's. From 1991 onwards it was performed more often averaging about 15 performances a year through to 1995.
Played: 95 times
First: August 26, 1983 at Portland Memorial Coliseum, Portland, OR, USA
Last: July 8, 1995 at Soldier Field, Chicago, IL, USA
MUSIC NEWS:
Phish shows, Friday and Saturday night at Alpine ValleyRIP â John MayallSHOW No. 2: Althea
Track #7
9:40 â end
INTO
Eternity
Track #8
0:00 â 1:39
Co-writing a song with one of your personal heroesâthat seems like a dream come true.
Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: âDown in the Bottom,â âI Ainât Superstitious,â âI Just Want to Make Love To You,â âLittle Red Rooster,â âThe Same Thing,â âSpoonful,â and âWang Dang Doodle.â Plus a couple they only played once, or only in soundcheck.
The song was written during the sessions for Rob Wassermanâs Trios album. âGuitar Playerâ magazine ran an interview with Weir in 1993:
I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.
He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them....
....Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.
By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the blues
Played: 44 times
First: February 21, 1993 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA
Last: July 8, 1995 at Soldier Field, Chicago, IL, USA
SHOW No. 3: I Want To Tell You
Track #11
0:00 â 1:35
"I Want to Tell You" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written and sung by George Harrison, the band's lead guitarist. After "Taxman" and "Love You To", it was the third Harrison composition recorded for Revolver. Its inclusion on the LP marked the first time that he was allocated more than two songs on a Beatles album, a reflection of his continued growth as a songwriter beside John Lennon and Paul McCartney.
When writing "I Want to Tell You", Harrison drew inspiration from his experimentation with the hallucinogenic drug LSD. The lyrics address what he later termed "the avalanche of thoughts that are so hard to write down or say or transmit".[1] In combination with the song's philosophical message, Harrison's stuttering guitar riff and the dissonance he employs in the melody reflect the difficulties of achieving meaningful communication. The recording marked the first time that McCartney played his bass guitar part after the band had completed the rhythm track for a song, a technique that became commonplace on the Beatles' subsequent recordings.
George Harrison wrote "I Want to Tell You" in the early part of 1966, the year in which his songwriting matured in terms of subject matter and productivity.[2] As a secondary composer to John Lennon and Paul McCartney in the Beatles,[3] Harrison began to establish his own musical identity through his absorption in Indian culture,[4][5] as well as the perspective he gained through his experiences with the hallucinogenic drug LSD.[6] According to author Gary Tillery, the song resulted from a "creative surge" that Harrison experienced at the start of 1966.
In his autobiography, I, Me, Mine, Harrison says that "I Want to Tell You" addresses "the avalanche of thoughts that are so hard to write down or say or transmit".[1][12] Authors Russell Reising and Jim LeBlanc cite the song, along with "Rain" and "Within You Without You", as an early example of the Beatles abandoning "coy" statements in their lyrics and instead "adopt[ing] an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their listeners.[13] Writing in The Beatles Anthology, Harrison likened the outlook inspired by his taking the drug to that of "an astronaut on the moon, or in his spaceship, looking back at the Earth. I was looking back to the Earth from my awareness."
Played: 7 times
First: July 1, 1994 at Shoreline Amphitheatre, Mountain View, CA, USA
Last: May 24, 1995 at Memorial Stadium, Seattle, WA, USA
MJ NEWS
SHOW No. 4: Standing On The Moon
Track #19
7:23 â 9:00
Garcia/Hunter tune from Built To Last (1989)
Played: 76 times
First: February 5, 1989 at Henry J. Kaiser Convention Center, Oakland, CA, USA
Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA
OUTRO: Quinn The Eskimo
Track #21
2:28 â 4:17
"Quinn the Eskimo (The Mighty Quinn)" is a folk-rock song written and first recorded by Bob Dylan in 1967 during the Basement Tapes sessions. The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann,[4] which became a great success. It has been recorded by a number of performers, often under the "Mighty Quinn" title.
The subject of the song is the arrival of Quinn (an Eskimo), who prefers a more relaxed lifestyle [" jumping queues, and making haste just ain't my cup of meat"] and refuses hard work ["Just tell me where to put 'em and I'll tell you who to call"], but brings joy to the people.
Dylan is widely believed to have derived the title character from actor Anthony Quinn's role as an Eskimo in the 1960 movie The Savage Innocents.[5] Dylan has also been quoted as saying that the song was nothing more than a "simple nursery rhyme". A 2004 Chicago Tribune article[6] said the song was named after Gordon Quinn, co-founder of Kartemquin Films, who had given Dylan and Howard Alk uncredited editing assistance on Eat the Document.
Dylan first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years. Meanwhile, the song was picked up and recorded in December 1967 by the British band Manfred Mann,[7] who released it as a single in the US on 8 January 1968 under the title "Mighty Quinn".[8] A UK single followed within a week.[8] The Manfred Mann version reached No. 1 in the UK Singles Chart for the week of 14 February 1968, and remained there the following week.[9] It also charted on the American Billboard Hot 100 chart, peaking at No. 10, and reached No. 4 in Cash Box. Cash Box called it a "funky-rock track" with "a trace of calypso [to] add zest to a tremendous effort."
Played: 59 times
First: December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA
Last: July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
-
Phish Tour Kicks Off: Anticipation and Reflections from the Road
Larry Mishkin is excited about the ongoing summer tour of the band Phish, particularly looking forward to their upcoming shows at Alpine Valley and St. Louis. He reflects on a Grateful Dead concert from July 22, 1984, at Ventura County Fairgrounds, sharing personal memories of attending shows in 1984, which was a significant year for him. He discusses the song "Loser" by Jerry Garcia, noting its Americana themes and its history with the Grateful Dead. He praises Garcia's performance at the 1984 show and the song's growling vocals and guitar work.
Larry also talks about the song "Day Job," highlighting its unique history with the Grateful Dead as a song fans petitioned to be dropped from their setlists. He reflects on why the song wasn't popular among fans, comparing it to another song, "Liberty," which he personally didn't favor. Despite this, he appreciates the version performed at the Ventura show for its energy and Jerry's engagement.
In the music world segment, the he provides updates on Phish's summer tour, sharing setlists from recent shows in Mansfield, Massachusetts. He expresses excitement about attending multiple shows and describes how his appreciation for Phish has grown, comparing it to his experience with the Grateful Dead. He anticipates hearing specific songs and is eager to connect with fellow fans.
The show also features a segment on Stanley Jordan, a musician known for his unique guitar style. Jordan shares his journey to creating a project called Stanley Plays the Dead, a tribute to the Grateful Dead. He recounts meeting Phil Lesh and performing with him, which inspired his current project. Jordan's distinctive two-hand tapping technique on guitar is highlighted, along with his diverse musical collaborations over the years.
Grateful Dead
July 22, 1084 (40 years ago)
Ventura County Fairgrounds
Ventura, CA
The Grateful Dead Live at Ventura County Fairgrounds on 1984-07-22 : Free Borrow & Streaming : Internet Archive
_____________________________________________
INCOMPLETE BUT IT HAS ALL THE MUSIC CLIPS
CAN WE TAPE TOMORROW AT 10 A.M. MY TIME?
Let me know.
Thank you
______________________________________
Fake Intro for my nephew, Ben Mishkinâs 11th birthday, I will just introduce it as âmy podcastâ, play the clip and wish him a happy birthday, then we cut back to our normal intro tune and I do a regular introduction. What do you think?
Bennie and the Jets - Elton John - Live in London 1974 HD (youtube.com)
0:08 â 1:18
"Bennie and the Jets" (also titled "Benny & the Jets") is a song written by English musician Elton John and songwriter Bernie Taupin, and performed by John.[3] The song first appeared on the Goodbye Yellow Brick Road album in 1973. "Bennie and the Jets" has been one of John's most popular songs and was performed during his appearance at Live Aid.
The track was a massive hit in the United States and Canada, released in 1974 as an A-side using the spelling "Bennie". In most territories the track was released as the B-side to "Candle in the Wind", using the spelling "Benny". Album artwork (back-cover track listing and center-panel design) consistently lists the song as "Bennie" while either "Bennie" or "Benny" appears on the vinyl album depending on territory. The track was released as an A-side in the UK in 1976, as "Benny and the Jets".
It is ranked number 371 on Rolling Stone's list of The 500 Greatest Songs of All Time.
Happy Birthday to my nephew Ben who turns 11 today while at summer camp in the Poconos. Great time to be alive. There with his big sister Lily and lots of good friends while his younger brother Nate has the run of the house! Have a great day big guy.
And now, back to our regularly scheduled show:
Normal house intro music
Great show today from one of the Deadheadâs favorite venues, Ventura County Fairgrounds. Basically on the car racing track and demo derby. View is of the beach and ocean. Shows start in the afternoon, 2 or 3, so no real light show except mother nature and if you are lucky, a beautiful sunset just as the show ends or shortly thereafter. Location of my first show ever and the only time I saw the boys there.
This show is two summers later and finds the Boys cranking along in 1984, a big year for me in terms of shows that included a big chunk of Spring tour, Red Rocks, my first summer tour experience, first Alpine, and first New Years shows. Still found time to graduate from Michigan and start law school.
INTRO: Loser
Track #4
2:40 â 4:20
The song seems covered in the Americana dust of so many songs from this period of Hunterâs and Garciaâs songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtownâat the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. Itâs easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes.
Appearing, as it does, on Garcia (Jan, 1972), the song seems to pair naturally with the other gambling song on the album, âDeal.â It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: âBrown-Eyed Women,â âJack Straw,â âMister Charlie,â âTennessee Jed,â âCumberland Blues,â âCandyman,â and others, as well as certain selected covers, such as âMe and My Uncle,â and âEl Paso.â
The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.
The song culminates in this cry of hopefulness: âLast fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go downâgo down.â
(Itâs noted that âSweet Susieâ was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that âSweet Susieâ rarely appears after 1972, but that itâs sung in performances in 1974 and 1979.)
The version at this show is one of the best Iâve ever heard. Garciaâs voice is growling, his guitar playing spot on, energy bursting out of him. 1984 was a great year for the Dead and this show, and this tune, really epitomize all of it. Almost always a first set tune, usually first part of the set, traded off with Candyman, Must Have Been The Roses, and other first set Jerry ballads.
Played: 353 times
First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USA
Last: June 28, 1995 at the Palace at Auburn Hills, MI (Detroit)
SHOW No. 1: Day Job
Track #8
1:00 â 2:39
Garcia/Hunter ânew tuneâ Never released on any studio recording, appears on Dickâs Picks #6, Hartford Civic Center Oct. 14, 1983 in case youâve never heard it. Itâs claim to fame, per Robert Hunter himself, is that âthis song was dropped from the Grateful Dead repertoire at the request of the fans. Seriously.â
I heard it a few times. Not my favorite, but good when Jerry was sharp and rocking like this version. Really one of the best.
Played: 133
First: August 28, 1982 at Oregon Country Fair Site, Veneta, OR, USA
Last: April 4, 1986 at Hartford Civic Center, Hartford, CT, USA
SHOW No. 2: I Just Want To Make Love To You
Track #11
1:27 â 3:10
"I Just Want to Make Love to You" is a blues song written by Willie Dixon. In 1954, it was recorded by Muddy Waters,[2] and released as a single with the title "Just Make Love to Me". The song reached number four on Billboard magazine's R&B Best Sellers chart.[3]
Backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums.[1] Waters recorded the song again for the album Electric Mud (1968).
The Rolling Stones covered the song on their 1964 debut album The Rolling Stones.
In 1972, British blues rock group Foghat recorded a studio version for their self-titled debut album in 1972. The song was also released as a single and it became their first single to reach the charts, appearing at No. 83 on the Billboard Hot 100[9] and No. 31 in Australia.[10] An eight-minute version from a 1977 concert performance is included on Foghat Live. It was edited down to 3:56 release as a single, which reached number 33 on the Billboard Hot 100[9] and No. 28 on the RPM Top Singles chart in Canada.
I heard this on Foghat Live and thought it was a Foghat song. Could not believe when I heard the Dead had played it!
Dead played it 4 times: Pig in â66
Brent in â84
Jerry in â95
Times: 4
First: November 29, 1966 at The Matrix, San Francisco, CA, USA
Last: February 21, 1995 at Delta Center, Salt Lake City, UT, USA
SHOW No. 3: Drums
Track #14
7;00 â end
INTO
Space
Track #15
0:00 - :36
SHOW No. 4: Space
Track #15
10:59 â end
INTO
Morning Dew
Track #16
0:00 â 1:28
Birthdays:
Benny
John Gross
OUTRO: Midnight Hour
Track #19
1:42 â 3:27
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"Cannabis, COVID, and Concerts: A Grateful Dead Fan's Journey"
Larry Mishkin is back from a break spent in South Carolina with his granddaughter he shares his experience of contracting a mild case of COVID, attributing his quick recovery to his cannabis use. He references studies suggesting that certain strains of sativa marijuana may mitigate COVID symptoms.
The episode features a detailed discussion of a special Grateful Dead concert from July 15, 1989, at Deer Creek Music Theater in Noblesville, Indiana. Larry reminisces about the venue, the bandâs setlist, and the memorable experience shared with friends. He highlights key performances from the show, including "Bertha," "Greatest Story Ever Told," "Candyman," "Walkin' Blues," and others.
Larry also covers recent music news, mentioning Melissa Etheridge's performance in Colorado and her upcoming summer tour. He shares updates on the String Cheese Incident's New Orleans-themed show at Red Rocks and Phish's recent appearance on The Tonight Show with Jimmy Fallon, where they performed "Evolve" from their new album.
Grateful Dead
Deer Creek Music Theater Center
Noblesville, IN
Grateful Dead Live at Deer Creek Music Center on 1989-07-15 : Free Borrow & Streaming : Internet Archive
With: Judy, Andy K., Lary V., AWell and others
First Dead show ever at Deer Creek which had just opened that year. Became a regular stop on the Deadâs summer tour thereafter and one of the favorite places for the Deadheads given its relatively small size as compared to the stadium venues that soon became the norm for summer tours. Ironically, two days after this one-off Dead played their final 3 shows at Alpine Valley, switched to Tinley Park in 1990 and then starting in 1991 Chicago summer tour shows were confined to Soldier Field with 60,000 attendees.
INTRO: Bertha
Track #2
1:20 â 3:00
Garcia/Hunter â first appeared on Grateful Dead (live) aka Skull and Roses or Skullfuck (1971)
Played: 401
First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USA
Last: June 27, 1995 at the Palace of Auburn Hills, Detroit, MI
SHOW No. 1: Walkin Blues
Track #5
1:38 â 3:20
"Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions.
"Walkin' Blues" was not a commercial success when it was issued as a "race record" marketed to black listeners. However, the song was received with great enthusiasm by a small group of white jazz record collectors and critics. Producer John Hammond chose "Walkin' Blues" and "Preachin' Blues" as the records to be played at his 1938 From Spirituals to Swing concert, when Johnson himself could not appear (Johnson had died a few months earlier).[15] The 1961 Johnson compilation album King of the Delta Blues Singers was marketed to white enthusiasts. According to most sources, John Hammond was involved in the production and the selection of tracks. The album included the two House-style songs and a song with House-style guitar figures ("Cross Road Blues" and excluded songs in the commercial style of the late 1930s. Notable exclusions were Johnson's one commercial hit, "Terraplane Blues", and two songs which he passed on to the mainstream of blues recording, "Sweet Home Chicago" and "Dust My Broom".
Dead first played it in 1966, once in 1982 and 4 times in 1985. Then, beginning in 1987 it became a standard part of Dead song lists, peaking in 1988 when it was played 23 times. Became one of Bobbyâs early first set blues numbers with Minglewood Blues, CC Rider and Little Red Rooster.
Played: 141
First: October 7, 1966 at Fillmore Auditorium, San Francisco, CA, USA
Last: July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA
SHOW No. 2: Crazy Fingers
Track #12
4:30 â 6:12
Pretty standard second set song, usually pre-drums. Fist played in 1975, a few times in 1976 and then dropped until 1982 at Ventura County Fairgrounds (day after my first show). Played 7 times that year, dropped until 1985 (10 times), then dropped until 1987 and then played regularly until the end. Great tune, Jerry often forgot the lyrics and this version is great because Bobby saves him on the lyrics when Jerry starts to go astray. Good fun considering how many times Bobby would forget the words to his songs. But one of those things you remember if you see it happen
Garcia/Hunter, released on Blues For Allah (Sept. 1, 1975)
Played: 145 times
First: June 17, 1975 at Winterland Arena, San Francisco, CA, USA
Last: July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis)
SHOW No. 3: Truckin
Track #13
7:00 â end
Hunter/Garcia/Weir/Lesh/Kreutzman (Pigpen went inside to take a nap) by the side of a pool.
Released on American Beauty (November, 1970) final tune on the album
Played: 532 times
First: August 17, 1970 at Fillmore West, San Francisco, CA, USA
Last: July 6, 1995 at Riverport Amphitheatre in Maryland Heights, MO
INTO
Smokestack Lightning
Track #14
0:00 â 0:36
"Smokestack Lightning" (also "Smoke Stack Lightning" or "Smokestack Lightnin'") is a blues song recorded by Howlin' Wolf (Chester Burnett) in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it. Recorded at Chess Records in Chicago and released in March, 1956 with You Canât Be Beat on the B side.
Wolf had performed "Smokestack Lightning" in one form or another at least by the early 1930s,[1] when he was performing with Charley Patton in small Delta communities.[1] The song, described as "a hypnotic one-chord drone piece",[2] draws on earlier blues, such as Tommy Johnson's "Big Road Blues",[3] the Mississippi Sheiks' "Stop and Listen Blues",[4] and Charley Patton's "Moon Going Down".[5][6] Wolf said the song was inspired by watching trains in the night: "We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning."
In a song review for AllMusic, Bill Janovitz described "Smokestack Lightning" as "almost like a distillation of the essence of the blues... a pleasingly primitive and raw representation of the blues, pure and chant-like. Wolf truly sounds like a man in otherwise inexpressible agony, flailing for words."[8] In 1999, the song received a Grammy Hall of Fame Award, honoring its lasting historical significance.[13]Rolling Stone magazine ranked it at number 291 in its list of the "500 Greatest Songs of All Time"[7] and the Rock and Roll Hall of Fame included it in its list of the "500 Songs that Shaped Rock and Roll".[14] In 1985, the song was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category[15] and, in 2009, it was selected for permanent preservation in the National Recording Registry of the U.S. Library of Congress.
Janovitz also identifies "Smokestack Lightning" as a blues standard "open to varied interpretation, covered by artists ranging from the Yardbirds to Soundgarden, all stamping their personal imprint on the song".[8] Clapton identifies the Yardbirds' performances of the song as the group's most popular live number.[17] They played it almost every show, and sometimes it could last up to 30 minutes.
Dead often played it out of Truckin, would also play the blues tune Spoonful out of Truckin.
Played: 63 times
First: November 19, 1966 at Fillmore Auditorium, San Francisco, CA, USA
Last: October 18, 1994 at Madison Square Garden, New York, NY, USA
SHOW No. 4: Space
Track #17
7:45 â 9:20
On November 28, 1973, Grateful Dead guitarist Jerry Garcia and drummer Mickey Hart staged a performance at San Franciscoâs Palace Of Fine Arts. At the time, Hart â whose 80th birthday is today â was on a sabbatical from the Dead, having last performed in public with Garcia and the band in February 1971. Hart would rejoin the Dead for good in October 1974.
A poster promoting the concert shows a clean-shaven Garcia dressed in black beside an equally freshly shaven Hart wearing all white. At the bottom of the advertisement was printed âAn Experiment in Quadrophonic Sound.â
Hart recalled his experience at the duo concert with Garcia in 1973 that was not only a Seastones precursor but also planted the seeds for the bandâs mind-bending âSpaceâ jams.
âThere were so many exciting that weâve done together. Adventurous musical things. He was also into adventure and creating new spaces, so we had that in common. We got together many times out of the ring â where he first discovered synthesizers, being able to synthesize his guitar, which led to MIDI.
âThe first concert we did was in 1973. It was just a duo. He got an Arp [Odyssey], an electric instrument, a keyboard, and he plugged his guitar into it and that was the first time I had heard his guitar I had heard his guitar running through sophisticated synthesizers.
âI just thought of that concert, which kind of was the beginning of âSpaceâ â âDrumsâ and âSpaceâ actually â it might have been the very beginning of it. And I think of that on his birthday, the seminal things we did together.â
After the November 28, 1973 concert, the Grateful Dead began to occasionally incorporate elements of a âSpaceâ jam into their shows. In January 1978, Dead shows almost always included a nightly âDrumsâ jam paired with a freeform âSpaceâ jam, consistently showing up mid-second set throughout the rest of their career.
Played: 1086
First: March 19, 1966 at Carthay Studios, Los Angeles, CA, USA
Last: July 9, 1995 at Soldier Field, Chicago, IL
OUTRO: Brokedown Palace
Track #22
5:04 â 6:43
The lyric to âBrokedown Palaceâ was written by Robert Hunter as part of a suite of songs that arrived via his pen during a stay in London in 1970. He entitled it âBroke-Down Palace,â and now that it exists as a piece of writing, it seems to have always existed. It was composed on the same afternoon as âRippleâ and âTo Lay Me Down,â with the aid of a half bottle of retsina.
Its first performance was on August 18, 1970, at the Fillmore West in San Francisco, and became a staple of the live repertoire. After the 1975 hiatus, âBrokedown Palaceâ appeared almost exclusively as the closing song of the show, as an encore. It had the effect of sending us out of the show on a gentle pillow of sound, the band bidding us âFare you well, fare you wellâŠâ
Garcia/Hunter
Released on American Beauty (Nov. 1970)
Played: 219 times
First: August 18, 1970 at Fillmore West, San Francisco, CA, USA
Last: June 25, 1995 at RFK Stadium in Washington, D.C.
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Recorded on Squadcast
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"Celebrating July 4th with Grateful Dead Memories and Rolling Stones Reverence"
Larry Mishkin highlights a memorable Grateful Dead concert from July 1984 at Pine Knob Music Theater in Clarkston, Michigan, which holds special significance for Larry and his friends who attended the University of Michigan. He reflects on how attending this concert was a fitting farewell for his crew as they wrapped up their college years.
The show begins with the Grateful Dead's lively rendition of "Iko Iko," a song with a rich history and a favorite of Larry's. He shares his experiences of following the Dead's tour in 1984, which included several memorable concerts. He discusses the band's performance of "Little Red Rooster," a blues classic by Willie Dixon, and how it sometimes felt like a letdown after high-energy openers but ultimately captivated the audience with its jam session.
Larry then shifts to music news, discussing the origins of the song "Cover of the Rolling Stone" by Dr. Hook and the Medicine Show, written by Shel Silverstein. He highlights Silverstein's diverse contributions to music and literature, including his work with Johnny Cash and Dr. Hook.
The episode transitions to Larry's recent experience at a Rolling Stones concert at Soldier Field in Chicago. He recounts the thrill of seeing the Stones live, especially with Mick Jagger's energetic performance and the band's enduring musical prowess. The setlist included classics like "Start Me Up," "Wild Horses," "Sympathy for the Devil," "Gimme Shelter," and "Jumpin' Jack Flash." Larry praises the band's longevity and urges listeners to seize any opportunity to see the Rolling Stones live. In more music news, Larry introduces Daniel Donato, a rising star in the Cosmic Country genre, who recently performed at the Chop Shop in Chicago. He expresses his admiration for Donato's music, hinting at a promising future for the young artist.
July 1, 1984
Pine Knob Music Theater
Clarkston, MI (Detroit)
Grateful Dead Live at Pine Knob Music Theatre on 1984-07-01 : Free Download, Borrow, and Streaming : Internet Archive
The last night in Ann Arbor, what better way to say goodbye after 4 amazing years than go to a âhometownâ Dead show. Our whole crew was there, Haroldâs birthday, great seats in the pavilion and a memorable show. Always memorable when they start out like this:
INTRO: Iko Iko
Track #1
0:10 â 1:36
SHOW No. 1: Little Red Rooster
Track #2
5:00 â 6:48
MUSIC NEWS:
Stones reviewDaniel Donato reviewNeil Young cancels remainder of summer tour dates due to illnessWillie Nelson sitting out Outlaw Music Festivals â our rock idols are getting old (see Stones!)SHOW No. 2: Might As Well
Track # 8
1:07 â 2:45
SHOW No. 3: I Need A Miracle
Track # 16
1:47 â 3:17
MJ NEWS:
IRS Advises Marijuana Businesses That They Still Canât Take Federal Tax Deductions Due To 280E Until Rescheduling Is Finalized2. Maryland Governor Launches Marijuana Workforce Development Program Focused On People Criminalized Over Cannabis3. Marijuana Rescheduling Wonât Affect Drug Testing For Truckers, Transportation Secretary Buttigieg Say4. House committee votes to include intoxicating hemp ban in draft Farm BillSHOW No. 4: Bertha
Track # 17
3:24 â 5:00
OUTRO: Itâs All Over Now Baby Blue
Track #19
5:10 â 6:33
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Recorded on Squadcast
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From Shakedown Street to Hackney Diamonds: Music Memories and News
Larry Michigan reminisces about a Grateful Dead concert he attended on June 24, 1983, at the Dane County Coliseum in Madison, Wisconsin. Larry describes the memorable experience of seeing the Grateful Dead open with "Shakedown Street" for the first time. He recounts his journey to the concert with friends, highlighting the traffic challenges and the camaraderie of the trip. The concert, his fifth Grateful Dead show, featured a mix of classic songs like "Candyman," "Brown Eyed Women," "Mama Tried," "Mexicali Blues," and a powerful rendition of "Deal."
He discusses the significance of the venue and the special atmosphere of the show, emphasizing how it was a formative experience in his journey as a Deadhead. Larry also touches on the setlist, praising the band's performance and the vibrant energy of the concert.
Transitioning to music news, Larry talks about the enduring legacy of the Rolling Stones. He mentions their recent album, "Hackney Diamonds," and shares highlights from their concert in Denver. The setlist included iconic songs such as "Start Me Up," "Gimme Shelter," and "Sympathy for the Devil." Larry admires the band's ability to continue performing at a high level and appreciates their collaboration with other music legends like Paul McCartney and Stevie Wonder.
Larry also announces upcoming events, including Bob Weir's collaboration with String Cheese Incident at the Suwannee Hulaween festival and the new Jerry Garcia Band live album release, "Garcia Live Volume 21."
Grateful Dead
June 24, 1983
Dane County Coliseum
Madison, WI
Grateful Dead Live at Dane County Coliseum on 1983-06-24 : Free Download, Borrow, and Streaming : Internet Archive
My first time âon tourâ. Went with my good buddy H to this show, then on to St. Paul and then to Chicago for the final two shows of the tour at Poplar Creek Theater (RIP). We were joined by a strong Ann Arbor based collection of friends and fellow Deadheads including Big Steve, not that Big Steve, our Big Steve from Ann Arbor by way of Hyde Park in Chicago and now a Boston guy, Andy Gaudin of blessed memory, Tommy Marks (younger brother of the Weasel) and many other âlocalsâ we knew in each city.
This show was a Friday night and many of us were driving to Madison from the Chicago area which meant battling heavy traffic getting out of Chicago, battling heavy traffic driving up to Wisconsin with everyone else from Chicago headed to Wisconsin summer homes for the weekend, battling traffic driving through Milwaukee and making our way through Madison upon arrival without knowing exactly where we were going. And by the way, no Waze to fall back on and no cell phone to call for directions. Luckily, we were riding with Big Steve, perhaps one of the finest long distance drivers I have ever known.
When we hit Madison, we had to find our buddy Dr. Z (back then just known as Z because the doctorate thing happened latter ). We arrive at his place to learn that he was in a bike accident, is all banged up, needed some quick med treatment and a bite to eat and then back to his place for whatever reason I do not remember. The clock is ticking closer and closer to showtime and Z is assuring us we have nothing but time.
This was to be my fifth show ever and I still was kind of just along for the ride with the more experienced veterans. H was like me, new to the game but always looking for a chance to go on a party themed roadtrip. But even I was starting to get nervous. After what seemed line forever, we made our way to the show, dropped, there was no line to get in, showed our tickets and walked in to a half empty arena with the floor not even half filled. And just as we walked in, the lights go out, the Dead the stage and this happened:
INTRO: Shakedown Street
Track #1
0:00 â 1:36
SHOW No. 1: Deal
Track #10
7:30 â 9:05
SHOW No. 2: Help On The Way
Track #12
0:00 â 1:41
SHOW No. 3: Lost Sailor > St. of Circumstance
Track #15 7:15 â end INTO
Track #16 0:00 â 0:57
SHOW No. 4: Truckin
Track #18
6:40 â 8:20
OUTRO: Morning Dew
Track #19
10:58 â 13:33 (I know, itâs a very long clip, but it is an amazing Garcia solo supported by Brent. Canât cut it!)
The Around and Around > Johnny B. Goode >Donât Ease Me In that followed was almost perfunctory. The Dew and that jam was a true closer. Stumbled out, bounced around town, wound up at a different buddyâs house, played soccer out on the street until 3 or 4 a.m., tried to sleep (not happening), Z rousted us out of bed the next morning for breakfast at the legendary Cleveland Diner and then back in the car for the drive to the Twin Cities and a show that night (good friend Andy Greenbergâs first show), followed by a day off to drive back to Chicago, pop up birthday Sunday night for H at his parentsâ house, and then have the two night run at Poplar Creek. Four great shows in five nights. Too much fun.
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"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 Dead
June 17, 2024 (36 years ago)
Met Center
Minneapolis, MN
Grateful Dead Live at Metropolitan Sports Center on 1988-06-17 : Free Download, Borrow, and Streaming : Internet Archive
Audience Tape
First show of the 1988 Midwest Summer Tour
With my good buddies Mikey and JT â 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 didnât 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 â 1:34
[From David Dowd]: The Bob Weir / John Barlow / Brent Mydland song âHell in a Bucketâ directly references the biker scene, and Iâm sure that somehow Barlow just wanted to put that element into the bandâs repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the bandâs songs.
âBucketâ 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 âPolice on a Joy Ride.â The song frequently featured as the show opener over the course of the next two-plus decades, although it wasnât 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.
âHell in a Bucketâ appeared on In the Dark, released in July 1987 (aka Touch of Grey album).
Played: 217 times
First: May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA
Last: June 30, 1995, at Three Rivers Stadium in Pittsburgh, Pennsylvania
SHOW No. 1: Far From Me
Track #6
3:18 â 4:45
Brent Mydland
Go 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 times
First: March 30, 1980 at Capitol Theatre, Passaic, NJ, USA
Last: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (the night before Brentâs last show). It died with him.
MUSIC NEWS:
MSG ENERTRAINMENT REDACTS INDEFINITE VENUE RESTRICTION FOLLOWING PHISH FAN BONG/SPHERE CONTROVERSY2. 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, âIâm not gonna talk about songs.â Providing reasoning, he added, âToo many people reveal songs. Thereâs no surprises left with concerts these days, âcause everybody wants to see the setlist. Iâm fâking sick of it. The Internetâs ruined the live shows for me. Who wants to know whatâs coming next? People forget about surprises. I canât stand it. Hereâs an idea for Roger â donât 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 nightâs performance was a truly unique event, a planned convergence for the two title-holders, Joel and Phishâs Trey Anastasio. They teamed up on select songs, including âSleeping With the Television On,â a cover of Derek and the Dominosâ âLaylaâ and night closing âYou Might Be Right,â featuring a Led Zeppelin âRock and Rollâ insert, sung by Mike DelGuidice.SHOW No. 2: Victim Or The Crime (First time played)
Track #9
0:00 â 2:13 (long clip but itâs the first time played so I had to run with it)
Written by Bob Weir and Gerrit Graham
Garcia â âIt'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.â
âThe 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.â
Played 96 times, âVictimâ 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 â 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 Deadâs 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 times
First: June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA
Last: June 22, 1995 at Knickerbocker Arena, Albany, NY, USA
MJ NEWS
1. Biden Admin Is âMischaracterizingâ Marijuana Rescheduling Impact As Big Pharma Is âWaiting In The Wings,â Former Massachusetts Regulator Says (Marijuana Moment) 2. GOP Congressman Says âMillions Of Marijuana Usersâ Own Guns And Shouldnât Face Prosecution Like Hunter Biden Did 3. Marijuana Rolling Paper Company Will Pay $4.20 To Volunteers To âSmoke Joints For ScienceâSHOW No. 4: Black Peter
Track #20
1:36 â 3:11
Garcia/Hunter tune released on Workingmanâs 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 Deadâs most successful songs and played an essential role in curating the bandâs mythos, one that saw the psychedelic rock outfit earn hordes of dedicated fans, or âdeadheadsâ. One such song was âBlack Peterâ â written for the bandâs 1970 album Workingmanâs 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 âprobably a full gram of crystal LSD ⊠worth perhaps $50,000.â The intense trip that followed would completely reinvigorate Hunterâs understanding of death and influence his subsequent lyrics for âBlack Peterâ. Bassist Phil Lesh would later recall tasting the LSD in the juice after a single sip: âI wish you could be where I am right nowâitâs so beautiful,â he told drummer Mickey Hart, âbut I couldnât possibly play music now. I donât even know what music is.â Still, there was a job to do, so the band played anyway.
In the â80âs and â90âs, one of Jerryâs 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. Jerryâs voice is strong if not a bit âraggedâ around the edges just the way Deadheads liked it, with just enough emotion to really convey the songâs meaning and its statement about the end of life.
Played: 351 times
First: December 4, 1969 at Fillmore West, San Francisco, CA, USA
Last: June 22, 1995 at Knickerbocker Arena in Albany, NY
OUTRO: Black Muddy River
Track #23
4:09 â 5:55
Played: 66 times
First: December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA
Last: July 9, 1995 at Soldier Field, Chicago, Il â 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.
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Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
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Recorded on Squadcast
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"From Morning Dew to Dark Star: The Grateful Dead's Masterpiece Concert in 1973"
Larry Mishkin's featured concert is the Grateful Dead's legendary performance at Robert F. Kennedy Stadium on June 10, 1973. This show is celebrated as one of the band's greatest, partly because of its remarkable opening with "Morning Dew," a song that symbolized the special nature of the event. The concert, part of a two-day festival with the Allman Brothers Band, included an extraordinary setlist and performances that have become iconic.
The show started with "Morning Dew," a rare and significant opener, setting the tone for the night. The first set included 13 songs, ending with an 18-minute "Playing in the Band." The second set opened with a 22-minute "Eyes of the World," followed by Jerry Garcia singing "Morning Dew," "Stella Blue," and "Warfrat," which was a rare combination for a single show. The set also featured a 12-minute "Bird Song" and an 11-minute "Here Comes Sunshine," showcasing the band's range and intensity.
A highlight of the concert was a 26-minute "Dark Star" that led into a sequence of "He's Gone," "Warfrat," "Truckin'," and "Sugar Magnolia," making for an over-hour-long jam to close the second set. The encore was equally impressive, featuring eight songs with guest performances by Dicky Betts and Butch Trucks from the Allman Brothers Band. This show exemplified the Grateful Dead's ability to create a transcendent musical experience.
Larry also discusses the song "Wave That Flag," played for the last time at this concert, which evolved into "US Blues." This track, notable for its evolving lyrics and style, was a precursor to a fan-favorite encore tune.
In music news, Larry highlights the release of Widespread Panic's new LP, "Snake Oil King," their first in nine years, set to be released on June 14, 2024. The band, known for their jam band status, recorded the album at John Keane Studio in Athens, Georgia, and it features six tracks with high-quality vinyl mastering.
The discussion also touches on Dead and Company's recent performances at the Sphere in Las Vegas, noting the innovative visuals and varied setlists. The band continues to break out new tunes and maintain the excitement of live shows.
Finally, a humorous note mentions a Phish fan who was banned from all MSG venues for posting a video of himself taking a bong hit inside the Sphere during a concert, highlighting the strict enforcement of venue policies.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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Remembering Bill Walton: Basketball Star and Grateful Dead Superfan
In this episode of the Deadhead Cannabis Show, Larry Mishkin covers various topics, including a historic Grateful Dead show, personal concert experiences, and music news. Larry starts with a deep dive into the Grateful Dead's June 3, 1976, concert at the Paramount Theater in Portland, Oregon. This show marked the band's return after a year-long hiatus, featuring five new songs and a revived tune from a four-year break. He highlights the opening track, written by Jerry Garcia and Robert Hunter, which nostalgically reflects on the band's Festival Express tour, a legendary 1970 train journey across Canada with prominent rock bands.
Larry then discusses the song "Lazy Lightning," introduced at the same 1976 concert. Written by Bobby and John Perry Barlow, it became a fan favorite for its melody and message of living in the moment, though it was retired from the Grateful Dead's repertoire by 1984. He transitions into music news by honoring Doug Ingle of Iron Butterfly, who recently passed away. Larry reminisces about the band's iconic 1968 track "In-A-Gadda-Da-Vida" and its influence on the late 60s music scene.
The podcast also pays tribute to Bill Walton, the legendary basketball player and devoted Deadhead who passed away at 71.
Larry shares stories of Walton's deep connection with the Grateful Dead, including his record of attending 869 concerts, significantly more than his total basketball games played. Larry recounts Walton's influence on fellow athletes and his unique presence at Dead shows.
Finally, Larry describes his recent experience at a Dead & Company concert at the Sphere in Las Vegas. He marvels at the venue's immersive visual technology, which enhanced the concert experience, likening it to a planetarium. Despite the advanced visuals sometimes overshadowing the music, Larry enjoyed the performance and the unique atmosphere. He also mentions a mini-exhibition featuring Dave Lemieux's tape collection and the significance of tape trading in Grateful Dead fandom.
In summary, this episode covers a blend of Grateful Dead history, personal concert experiences, tributes to influential music figures, and the latest in concert technology, providing a rich narrative for Deadheads and music enthusiasts alike.
Grateful Dead
June 3, 1976 (48 Years Ago)
Paramount Theater
Portland, OR
Grateful Dead Live at Paramount Theatre on 1976-06-03 : Free Borrow & Streaming : Internet Archive
First show back after 1975 year off
Prior show: Sept. 28, 1975 â last of the four shows in 1975, this show is 9 months later. Long wait for Deadheads.
Dead did not disappoint with five new songs and a breakout after a 4 year hiatus.
INTRO: Might As Well
Track #1
1:15 â 2:50
âTake that ride againâ
Might as Wellâ is a song written by Jerry Garcia with lyrics penned by Robert Hunter. Released on Garciaâs 3d solo album, Reflections, in February, 1976. Itâs one of the tracks from Garciaâs solo career, showcasing his musical versatility and unique ability to transform personal experiences into joyful music. The song takes a nostalgic look back at the Grateful Deadâs time on the Festival Express Tour, a memorable rail trip that brought together prominent artists of the '60s for a raucous, whisky-fueled journey across America.
Festival Express is the 1970 train tour of the same name across Canada taken by some of North America's most popular rock bands, including Grateful Dead, Janis Joplin, The Band, Buddy Guy, Flying Burrito Bros, Ian & Sylvia's Great Speckled Bird, Mountain and Delaney & Bonnie & Friends. Later made into a movie
Festival Express was staged in three Canadian cities: Toronto, Winnipeg, and Calgary (Montreal and Vancouver were also originally scheduled but both dropped) during the summer of 1970. Rather than flying into each city, the musicians traveled by chartered Canadian National Railwaystrain, in a total of 14 cars (two engines, one diner, five sleepers, two lounge cars, two flat cars, one baggage car, and one staff car).[5] The train journey between cities ultimately became a combination of non-stop jam sessions and partying fueled by alcohol. One highlight of the documentary is a drunken jam session featuring The Band's Rick Danko, the Grateful Dead's Jerry Garcia and Bob Weir, New Riders of the Purple Sage's John Dawson, as well as Janis Joplin.
Here, it is played as the show opener. Ultimately, became more of a first set closer, a popular one along with Deal, another Garcia solo tune.
Played 111 times
First: June 3, 1976 at Paramount Theatre, Portland, OR, USA THIS SHOW 19 times that year
Last: March 23, 1994 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USA â only time played that year, 6 times in â91
SHOW No. 1: Lazy Lightning
Track #6
0:00 â 1:46
Written by Bobby and John Perry Barlow, paired with Supplication in concert and released with Supplication as the opening tracks on the album, Kingfish, released in March, 1976.
Lazy Lightning is often interpreted as a metaphorical representation of the pursuit of a carefree and leisurely lifestyle amidst the chaos and hardships of reality. The lyrics depict a whimsical scenario where the protagonist encounters a bolt of lightning that transforms into a woman, symbolizing the allure and transitory nature of fleeting pleasures. The song encourages listeners to embrace the present moment and let go of the rigid expectations and responsibilities that burden their lives. It is a celebration of spontaneity, freedom, and the pursuit of personal bliss.
Lazy Lightning became a fan favorite due to its infectious melody, poetic lyrics, and the sense of liberation it evoked. Grateful Dead fans often resonated with the songâs message of embracing the present moment and shedding societal expectations. It became a rallying cry for those seeking to live life on their own terms, igniting a sense of camaraderie and freedom among concert-goers.
Usually, a late first set number. Unfortunately, dropped from the repertoire in 1984. I got to hear it three or four times. A fun number.
Played: also played 111 times
First: June 3, 1976 at Paramount Theatre, Portland, OR, USA THIS SHOW!!
Last: October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA
MUSIC NEWS â Intro music: In A Gadda Da Vida: IRON BUTTERFLY - IN A GADDA DA VIDA - 1968 (ORIGINAL FULL VERSION) CD SOUND & 3D VIDEO (youtube.com)
Start - :45
is a song recorded by Iron Butterfly, written by band member Doug Ingle and released on their 1968 album of the same name.
At slightly over 17 minutes, it occupies the entire second side of the album. The lyrics, a love song from the biblical Adam to his mate Eve, are simple and are heard only at the beginning and the end. The middle of the song features a two-and-a-half-minute Ron Bushy drum solo. Famously featured on a Simpsonâs episode when Bart switches the organistâs regular music for this tune and hands out the words to the congregation who sing along. The older organ player plays the entire organ solo (although they only feature a part of it) and then at the end promptly slumps over at the keyboard.
Featured today as a tribute to Doug Ingle, songwriter, keyboard player and vocalist for the song, who passed away on May 24th at the age of 78. He was the last surviving member of the original band lineup.Bill Walton passed away on last Monday, May 27th at the all too young age of 71. Couldnât miss him at the shows, 7 foot redhead dancing away or else up on stage.Dead & Co. at the Sphere, saw the June 1st show.SHOW No. 2: Supplication
Track #7
2:00 â 3:30
Written by Bobby and John Perry Barlow, paired with Lazy Lightning in concert and released with Lazy Lightning as the opening tracks on the album, Kingfish, released in March, 1976.
The song delves into the universal theme of the human experience, specifically emphasizing the concept of surrender and humility. It explores the idea of surrendering oneself to a higher power, relinquishing control, and embracing the unknown. The lyrics touch upon the vulnerability and humility required to let go and trust in something beyond our comprehension. Supplication encourages listeners to reflect upon their own lives, urging them to question their beliefs, values, and the significance of surrendering to a greater force.
Played: 111 times (a good number for the lottery, keeps coming up), always paired with Lazy Lightning
First: June 3, 1976 at Paramount Theatre, Portland, OR, USA THIS SHOW!!
Last: October 31, 1984 at Berkeley Community Theatre, Berkeley, CA, USA
SHOW No. 3: Dancin In the Streets
Track #11
0:00 â 1:42
"Dancing in the Street" is a song written by Marvin Gaye, William Stevenson, and Ivy Jo Hunter. It first became popular in 1964 when recorded by Martha and the Vandellas whose version was released on July 31, 1964 and reached No. 2 on the Billboard Hot 100 chart for two weeks, behind "Do Wah Diddy Diddy" by Manfred Mann and it also peaked at No. 4 on the UK Singles Chart. It is one of Motown's signature songs and is the group's premier signature song.
A 1966 cover by the Mamas & the Papas was a minor hit on the Hot 100 reaching No. 73. In 1982, the rock group Van Halen took their cover of "Dancing in the Street" to No. 38 on the Hot 100 chart and No. 15 in Canada on the RPM chart. A 1985 duet cover by David Bowie and Mick Jagger charted at No. 1 in the UK and reached No. 7 in the US. The song has been covered by many other artists, including The Kinks, Tages, Black Oak Arkansas, Grateful Dead, Little Richard, Myra and Karen Carpenter.
I saw it as the first night show opener on June 14, 1985 at the Greek Theater as part of the bandâs 20 Anniversary celebration. A really fun concert tune. The 1970âs versions always had strong Donna support backing up Bobbyâs lead vocals.
This show was the first time the band had played the song since Dec. 31, 1971 (203 shows)
Played: 131 times
First: July 3, 1966 at Fillmore Auditorium, San Francisco, CA, USA
Last: April 6, 1987 at Brendan Byrne Arena, East Rutherford, NJ, USA
MJ NEWS
Blake Schneider passed away May 27th at 69. Legendary cultivator who created the best strain of marijuana I ever smoked. We just called it Blake weed and put it up against any other strain, anywhere, any time. Folks would say they had the best weed until I let them smoke some of the Blake weed. They never failed to concede. Eccentric, temperamental, hospitable, mentor and good friend. And self titled âbest joint roller in the worlds.â Was one of my Bulls season ticket partners during the Jordan era. Every home game began with a pregame at Blakeâs loop residences including great wines, gourmet appetizers and snacks, top shelf liquor (on the way out the door we always did our âGo Bullsâ shots) and more marijuana than anyone should ever smoke. With four of us in the room, he would have 3 joints circulating at all times. With his ever present life partner, Jeanne, an evening at Blakes was as much fun as the actual game itself. Ran into a problem with the Green County Sheriff, but gave them the finger when the feds took the case over and Blake only had to serve 11 months at a fed minimum risk prison instead of the 20 years that Green County said was a done deal given the number of plants he was growing at his farm house in Argyle, WI. They were not happy campers when the feds moved in to take over the case due to the value of the property they could sieve and force Blake to buy back from them. Blake was a true party legend and will be sorely missed by those of us that knew him, loved him and tolerated him.2. Marijuana Terpenes Are âAs Effective As Morphineâ For Pain Relief And Have Fewer Side Effects, New Study Finds3. CBD Is Effective In Treating Anxiety, Depression And Poor Sleep, Study Finds4. Marijuana And Hemp Businesses At Odds Over Consumable Cannabinoid Ban In House Farm BillSHOW No. 4: Samson and Delilah
Track #12
0:00 â 1:45
"Samson and Delilah" is a traditional song based on the Biblical tale of Samson and his betrayal by Delilah. Its best known performer is perhaps the Grateful Dead, who first performed the song live in 1976, with Bobby singing lead vocals and in the â70âs with Donna joining in. It was frequently played on Sundays due to the biblical reference. Released by the band in 1977 on their album Terrapin Station.
Although Weir learned the song from Reverend Gary Davis, several earlier versions had been recorded under various titles, including "If I Had My Way I'd Tear the Building Down"/"Oh Lord If I Had My Way" by Blind Willie Johnson in 1927.[1] The song has since been performed by a wide variety of artists ranging from Dave van Ronk, Bob Dylan, Charlie Parr, The Staple Singers, Ike and Tina Turner, Clara Ward, Dorothy Love Coates & The Gospel Harmonettes, to Peter, Paul and Mary, The Washington Squares, The Blasters, Willie Watson, Elizabeth Cook, Robert Randolph and the Family Band, and Bruce Springsteen and the Seeger Sessions Band (in Verona, Italy 2006).
Guest star Simon Oakland sings the song with the drovers around a campfire in the Rawhide episode "Incident of the Travellin' Man", aired in season six on October 17, 1963.
A long time favorite tune with a distinctive drummers intro that tipped off the song and got the crowd fired up.
Settled into a set opener, more frequently a second set opener and often played on Sundays due to its biblical reference with Bobbyâs âThis being Sunday . .â
Played: 365 times
First: June 3, 1976 at Paramount Theatre, Portland, OR, USA THIS SHOW
Last: July 9, 1995 at Soldier Field
OUTRO: The Wheel
Track #22
2:48 â 4:30
One of their most beloved songs, âThe Wheel,â holds a special place in the hearts of fans worldwide. Written by Jerry Garcia, Robert Hunter, and Bill Kreutzmann, this folk-rock anthem has captivated listeners with its enigmatic lyrics and catchy melody. The songâs meaning has been widely debated among enthusiasts, and its cryptic nature has allowed for multiple interpretations.
âThe Wheelâ reflects the transient nature of life, offering a philosophical perspective on the cycles we all experience. The lyrics suggest that life is like a wheel, constantly turning and repeating itself. The song evokes a sense of impermanence and reminds us of the cyclical patterns we encounter throughout our existence. This theme resonates strongly with the bandâs philosophy and their connection to the spiritual and psychedelic culture of the late 1960s and early 1970s.
âThe Wheelâ was released on the Grateful Deadâs album âGarciaâ in 1972.
âThe Wheelâ is characterized by its infectious melody and intricate guitar work. The song showcases the Grateful Deadâs ability to seamlessly blend folk, rock, and improvisational elements into a cohesive piece of music.
Normally, a second set tune, into or out of drums/space although it moved around a bit in the second set. Here it is the encore which is more of a rarity.
Played 259 times
First: June 3, 1976 at Paramount Theatre, Portland, OR, USA THIS SHOW
Last: May 25, 1995 at Memorial Stadium, Seattle, WA
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Rob Hunt - https://podconx.com/guests/rob-hunt
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Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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"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 Dead
May 27, 1989
Oakland Alameda County Stadium
Oakland, CA
Grateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet Archive
A Day On The Green: Aids Benefit Concert:
Tracy Chapmanan American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album âTracy Chapmanâ (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, âNew Beginningâ (1995). Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, whoâs 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 fame
Los LobosJoe Satrianian 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 â 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 times
First: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA
Last: 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" â 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, was
John Fogerty-lead guitar, vocals
Jerry Garcia-guitar
Bob Weir-guitar
Randy Jackson-bass
Steve 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 Bayou
Green River
Down On The Corner
Rock And Roll Girl
Centerfield
Proud Mary
Midnight Special
Bad Moon Rising
Fortunate Son
encores with Clarence Clemons-tenor saxophone
Suzie Q
Long Tall SallyThe 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 â 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 weekâs 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 â new Dead cover albumSHOW No. 2: Iko Iko w/Clarence Clemmons
Track #5
5:09 â 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 Fogertyâs set and joined the boys for this tune and a few others during the show. In â89 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 Yearâs 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 Clarenceâs 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 Starrâs All Starr Band, cut an album with producer Narada Michael Walden, and â not surprisingly, given his new home base â 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 âEstimated Prophetâ and âEyes of the Worldâ and partook of the overall Dead vibe. âClarence was an old pal, a soulful bro,â Bob Weir told RS in 2011, right after Clemonsâ death from complications of a stroke. âHe 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.â
The association wasnât just musical. âJerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,â Weir recalled bemusedly. âJerry and I almost went for it. It wouldâve been a lot of fun, but I donât think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.â
SHOW No. 3: Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence
Track #6
2:26 â 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 Bobbyâs 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 â 9:10
A Brent tune, lyrics by John Barlow (? â 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 Brentâs closing rap / rant from the version of âBlow Awayâ captured on Dozinâ 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 times
First: June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USA
Last: July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY â it died with Brent
OUTRO: Wharf Rat
Track #17
3:59 â 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 Gooseâall 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 times
First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USA
Last: June 25, 1995 at RFK Stadium in D.C.
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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Behind the Lens: Jay Blakesbergâs Las Vegas Grateful Dead Exhibit
Larry Michigan is joined by Jay Blakesberg, a well-known photographer and frequent guest. They discuss various topics related to the Grateful Dead, including a specific 1973 performance and Phil Lesh's "Box of Rain." Jay shares details about his involvement in the Dead Forever Experience, a fan exhibit in Las Vegas, which includes a curated photography exhibit called "An American Beauty, Grateful Dead Photography, 1965-1995," and other memorabilia. Jay also mentions his exhibit "Retro Blakesberg" at the Contemporary Jewish Museum in San Francisco, showcasing his photography work from 1978 to 2008, which will move to the Grammy Museum in Los Angeles. Additionally, he talks about collaborating with his daughter Ricky on various photography projects and exhibitions through their business, Retro Photo Archive. The conversation includes anecdotes about Jay's experiences, including rare portraits he took of Owsley Stanley and his approach to shooting photos at concerts, particularly at the new Sphere in Las Vegas.
https://www.blakesberg.com/
https://deadforeverexperience.com/
https://www.retrophotoarchive.com/
https://morrisonhotelgallery.com/collections/jay-blakesberg?gad_source=1&gclid=Cj0KCQjwxqayBhDFARIsAANWRnSGIIenoSTtEegq11sDK9fCQIWJ03-pZTsTPvOZN8zDZT8CKEnPep4aAk_uEALw_wcB
Grateful Dead
May 20, 1973
Harder Stadium
UC - Santa Barbara
Santa Barbara, CA
Grateful Dead Live at Campus Stadium - University Of California on 1973-05-20 : Free Borrow & Streaming : Internet Archive
INTRO: Box of Rain
Track #3
3:44 â 4:59
SHOW No. 1: The Race Is On
Track # 7
:46 â 2:19
SHOW No. 2: They Love Each Other
Track #11
3:30 â 5:03
SHOW No. 3: Mexicali Blues
Track #15
1:24 â 2:30
SHOW No. 4: Nobodyâs Fault But Mine jam
Track #26
0:00 â 1:17
OUTRO: Sugar Magnolia
Track #31
5:37 â 7:03
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
-
Adapting to the Grateful Dead Culture: Mark Karan discusses the welcoming yet challenging atmosphere stepping into a tight-knit group like the Grateful Dead.
Larry Mishkin is joined by special guest, Mark Karan, a musician well known in Grateful Dead circles. They discuss Mark's experience playing with "The Other Ones" after Jerry Garcia's passing, as well as his time with Ratdog and reflections on the dynamics within these groups. They touch on topics such as the challenges of stepping into Jerry Garcia's shoes, the camaraderie among band members, and the influence of substances on musical performance. Additionally, they explore the enduring legacy of Grateful Dead music and fan reactions to different types of songs performed in concerts. Mark expresses his frustration with some Deadheads' reluctance to embrace non-Grateful Dead music, emphasizing the band's eclectic influences and the importance of openness to new sounds.
https://markkaran.com/
https://www.facebook.com/mark.karan.79/
The Other Ones, Alpine Valley Music Center, East Troy, WI
The Other Ones Live at Alpine Valley Music Center on 1998-07-11 : Free Download, Borrow, and Streaming : Internet Archive
INTRO: Dark Star
Track #2
7:00 - 8:30
SHOW No. 1: Sugaree
Track #4
0:40 â 2:193
SHOW No. 2: Sugaree
Mark Karan and Robin Sylvester (RatDog bassist, passed away in 2022)
Terrapin Crossroads
San Rafael, CA
September 1, 2013
Grateful Dead - "Ship Of Fools" - by Mark Karan & Robin Sylvester (youtube.com)
0:30 â 2:00
SHOW No. 3: The Other One
Mark Karan and Scott Guberman, et al
Cage Brewing
St. Petersburg, FL
November 16, 2023
Mark Karan, Scott Guberman, Other One~ Cage Brewing St Pete 11/16/23 - YouTube
3:50 â 5:20
SHOW No. 4: The Eleven
Track #16 (Other Oneâs Link at the top)
2:30 â 4:06
OUTRO:
OUTRO: Rodeo
Mark Karan
0:00 â 1:29
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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"Behind the Scenes with Rob Bleetstein: Archiving the Legacy of the NRPS"
Larry's guest, Rob Bleetstein, is known for his role as the host of the live concerts on the Sirius XM Grateful Dead station and as the voice of Pearl Jam Radio. In today's episode, he discusses the recently released live album "Hempsteader" by the New Riders Of The Purple Sage (NRPS), where he serves as the archivist and producer.
The New Riders of the Purple Sage is an American country rock band that emerged from the psychedelic rock scene in San Francisco in 1969, with original members including some from the Grateful Dead. Their roots trace back to the early 1960s folk and beatnik scene around Stanford University, where Jerry Garcia and David Nelson played gigs together. Influenced by American folk music and rock and roll, the band formed, including Garcia on pedal steel guitar initially.
The discussion delves into the background of the NRPS, their albums, and notable tracks like "Panama Red," written by Peter Rowan and popularized by the band. The album "New Riders of the Purple Sage" features Garcia on pedal steel guitar and includes tracks like "Henry," a humorous tale of marijuana smuggling.
Throughout the show, various NRPS tracks are highlighted, showcasing the band's eclectic style and songwriting. Additionally, news segments cover topics such as the DEA's agreement to reschedule marijuana and updates from the music industry, including rare concert appearances and tour plans.
Overall, the episode provides insights into the NRPS's music, their influence on the country rock genre, and relevant news in the marijuana and music industries.
Larry's Notes
Rob Bleetstein who many folks know as the host of the three live concerts played every day on the Sirius XM Grateful Dead station. Also the voice of Pearl Jam Radio. And, most importantly for todayâs episode, the archivist for the New Riders Of The Purple Sage and the producer of the Hempsteader album.
Today, featuring recently released NRPS live album, âHempsteaderâ from the bandâs performance at the Calderone Concert Hall in Hempstead, NY on June 25, 1976, just shy of 48 years ago.
New Riders of the Purple Sage is an American country rock band. The group emerged from the psychedelic rock scene in San Francisco in 1969 and its original lineup included several members of the Grateful Dead.[2] The band is sometimes referred to as the New Riders or as NRPS.
The roots of the New Riders can be traced back to the early 1960s Peninsulafolk/beatnikscene centered on Stanford University's now-defunct Perry Lane housing complex in Menlo Park, California where future Grateful Dead guitarist Jerry Garcia often played gigs with like-minded guitarist David Nelson. The young John Dawson (also known as "Marmaduke") also played some concerts with Garcia, Nelson, and their compatriots while visiting relatives on summer vacation. Enamored of the sounds of Bakersfield-style country music, Dawson would turn his older friends on to the work of Merle Haggard and Buck Owens and provided a vital link between Timothy Leary's International Federation for Internal Freedom in Millbrook, New York (Dawson having boarded at the Millbrook School) and the Menlo Park bohemian coterie nurtured by Ken Kesey.
Inspired by American folk music, rock and roll, and blues, Garcia formed the Grateful Dead (initially known as The Warlocks) with blues singer Ron "Pigpen" McKernan, while Nelson joined the similarly inclined New Delhi River Band (which would eventually come to include bassist Dave Torbert) shortly thereafter. The group came to enjoy a cult following in Santa Clara and Santa Cruz Counties through the Summer of Love until their dissolution in early 1968.
In 1969, Nelson contributed to the Deadâs Aoxomoxoa album in 1969. During this period Nelson and Garcia played intermittently in an early iteration of High Country, a traditional bluegrass ensemble formed by the remnants of the Peninsula folk scene.
By early 1969, Dawson had returned to Los Altos Hills and also contributed to Aoxomoxoa. After a mescaline experience at Pinnacles National Park with Torbert and Matthew Kelly, he began to compose songs on a regular basis working in a psychedelic country fusion genre not unlike Gram Parsonsâ Flying Burrito Brothers.
Dawson's vision was prescient, as 1969 marked the emergence of country rock via Bob Dylan, The Band, The Flying Burrito Brothers, Poco, the Dillard & Clark Band, and the Clarence White-era Byrds. Around this time, Garcia was similarly inspired to take up the pedal steel guitar, and an informal line-up including Dawson, Garcia, and Peninsula folk veteran Peter Grant (on banjo) began playing coffeehouse and hofbrau concerts together when the Grateful Dead were not touring. Their repertoire included country standards, traditional bluegrass, Dawson originals, and a few Dylan covers ("Lay Lady Lay", "You Ain't Goin' Nowhere", "Mighty Quinn"). By the summer of 1969 it was decided that a full band would be formed and David Nelson was recruited to play lead guitar.
In addition to Nelson, Dawson (on acoustic guitar), and Garcia (continuing to play pedal steel), the original line-up of the band that came to be known as the New Riders of the Purple Sage (a nod to the Foy Willing-led Western swing combo from the 1940s, Riders of the Purple Sage, which borrowed its name from the Zane Grey novel) consisted of Alembic Studio engineer Bob Matthews on electric bass and Mickey Hart of the Grateful Dead on drums; bassist Phil Lesh also played sporadically with the ensemble in lieu of Matthews through the end of the year, as documented by the late 1969 demos later included on the Before Time Began archival release. Lyricist Robert Hunter briefly rehearsed with the band on bass in early 1970 before the permanent hiring of Torbert in April of that year.[8] The most commercially successful configuration of the New Riders would come to encompass Dawson, Nelson, Torbert, Spencer Dryden (of Jefferson Airplane fame), and Buddy Cage.
After a few warmup gigs throughout the Bay Area in 1969, Dawson, Nelson, and Torbert began to tour in May 1970 as part of a tripartite bill advertised as "An Evening with the Grateful Dead". An acoustic Grateful Dead set that often included contributions from Dawson and Nelson would then segue into New Riders and electric Dead sets, obviating the need to hire external opening acts.
With the New Riders desiring to become more of a self-sufficient group and Garcia needing to focus on his other responsibilities, the musician parted ways with the group in November 1971. Seasoned pedal steel player Buddy Cage was recruited from Ian and Sylvia's Great Speckled Bird to replace Garcia.
In 1977 and 1978, NRPS did open several Dead and JGB shows, including the final concert preceding the closure of Winterland on December 31, 1978.
In 1974, Torbert left NRPS; he and Matthew Kelly co-founded the band Kingfish (best known for Bob Weir's membership during the Grateful Dead's late-1974 to mid-1976 touring hiatus) the year before.
In 1997, the New Riders of the Purple Sage split up. Dawson retired from music and moved to Mexico to become an English teacher. By this time, Nelson had started his own David Nelson Band. There was a reunion performance in 2001. In 2002, the New Riders accepted a Lifetime Achievement Award from High Times magazine.
Allen Kemp died on June 25, 2009.[13][14] John "Marmaduke" Dawson died in Mexico on July 21, 2009, at the age of 64.[15][16]
Pedal steel guitarist Buddy Cage died on February 5, 2020, at age 73.
(Rob â this is mostly notes for me today so I can sound like I know what Iâm talking about. Iâll go through some of it to set some background for the band, but feel free to take the lead on talking about those aspects of the band, and its musicians, that you enjoy most or find most interesting â keeping in mind that our target audience presumably are fans of marijuana and the Dead.)
INTRO: Panama Red
Track #1
Start â 1:49
Written by Peter Rowan
âPanama Redâ is well known in the jam-grass scene, but itâs perhaps not as widely known that Peter Rowan wrote the song.
It was originally a 1973 hit for the New Riders of the Purple Sage, and the first popular version with Rowan singing and playing it came when the supergroup Old & In the Way, released their eponymous album in 1975, two years after their seminal time, in 1973, and a year after they disbanded.
Jerry Garcia was the connective tissue between the two projects, playing pedal steel in the early New Riders and banjo in Old & In the Way.
âI wrote âPanama Redâ after leaving my first project with David Grisman, Earth Opera, around the summer of the Woodstock music festival [1969],â Rowan explains.
âItâs a fun song because it captures the vibe of the time. I was from the East Coast, but I found there to be more creativity on the West Coast during that time period.
âNobody wanted to do âPanama Redâ on the East Coast. I took it to Seatrain [the roots fusion band in which Rowan played from 1969 to 1972], and when it eventually became a hit, the manager of Seatrain claimed it. I never saw any money, even though it became the title of an album for the New Riders of the Purple Sage [1973âs The Adventures of Panama Red].
âThe subject was "taboo" in those days. You did jail time for pot. So that might have scared commercial interests. But Garcia was a green light all the way! "Oh sure" was his motto, both ironically and straight but always with a twinkle in his eye! After Seatrain management kept all the money, Jerry suggested I bring the song to Marmaduke and Nelson!"
âWhen David Grisman and I got back together for Old & In the Way in 1973 with Jerry Garcia, Vassar Clements and John Khan, we started playing it.â
From the NRPS album âThe Adventures of Panama Redâ, their fourth country rock album released in October 1973. It is widely regarded as one of the group's best efforts, and reached number 55 on the Billboard charts.
The album includes two songs written by Peter Rowan â "Panama Red", which became a radio hit, and "Lonesome L.A. Cowboy". Another song, "Kick in the Head", was written by Robert Hunter. Donna Jean Godchaux and Buffy Sainte-Marie contribute background vocals on several tracks.
SHOW No. 1: Fifteen Days Under The Hood
Track #4
1:55 â 3:13
Written by Jack Tempchin and Warren Hughey. Jack Tempchin is an American musician and singer-songwriter who wrote the Eagles song "Peaceful Easy Feeling"[1] and co-wrote "Already Gone",[2] "The Girl from Yesterday",[3]"Somebody"[4]and "It's Your World Now".[5]
Released as the opening song on the NRPS album, âNew Ridersâ, their seventh studio album, released in 1976
SHOW No. 2: Henry
Track #6
1:19 â 3:05
"Henry", written by John Dawson, a traditional shuffle with contemporary lyrics about marijuana smuggling. From the bandâs debut album, âNew Riders of the Purple Sageâ, released by Columbia Records in August, 1971.
New Riders of the Purple Sage is the only studio album by the New Riders to feature co-founder Jerry Garcia of the Grateful Dead on pedal steel guitar. He is also featured on the live albums Vintage NRPS and Bear's Sonic Journals: Dawn of the New Riders of the Purple Sage.
Mickey Hart and Commander Cody play drums and piano, respectively, on two tracksâ"Dirty Business" and "Last Lonely Eagle".
Then, thereâs a swerving left turn away from romance tunes on this album with âHenryâ, whose titular hero has stepped right out of a Gilbert Shelton underground comic. At a frenetic pace the story of Henryâs run to Mexico to fetch twenty kilos of (Acapulco?) gold unravels, with Henry driving home after sampling the wares âHenry tasted, he got wasted couldnât even see â how heâs going to drive like that is not too clear to me.â Itâs a joke, but a joke that sounds pretty good even after repeat listens.
SHOW No. 3: Portland Woman
Track #9
:34 â 2:00
Another Marmaduke tune from the NRPS album released in August, 1971.
A bittersweet love song progressing from touring boredom to be relieved by a casual hook-up with the pay-off with the realization that the Portland Woman who âtreats you rightâ has actually made a deeper connection âIâm going back to my Portland woman, I donât want to be alone tonight.â
SHOW No. 4: You Never Can Tell
Track #15
:51 â 2:26
You Never Can Tell", also known as "C'est La Vie" or "Teenage Wedding", is a song written by Chuck Berry. It was composed in the early 1960s while Berry was in federal prison for violating the Mann Act.[2] Released in 1964 on the album St. Louis to Liverpool and the follow-up single to Berry's final Top Ten hit of the 1960s: "No Particular Place to Go", "You Never Can Tell" reached number 14, becoming Berry's final Top 40 hit until "My Ding-a-Ling", a number 1 in October 1972. Berry's recording features an iconic piano hook played by Johnnie Johnson. The piano melody was influenced by Mitchell Torok's 1953 hit "Caribbean".
The song has also been recorded or performed by Chely Wright, New Riders of the Purple Sage, the Jerry Garcia Band, Bruce Springsteen, the Mavericks, and Buster Shuffle. JGB performed it almost 40 times in the early â90âs.
The song became popular again after the 1994 release of the film Pulp Fiction, directed and co-written by Quentin Tarantino. The music was played for a "Twist contest" in which Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) competed (and were the only contestants shown in the film). The music added an evocative element of sound to the narrative and Tarantino said that the song's lyrics of "Pierre" and "Mademoiselle" gave the scene a "uniquely '50s French New Wave dance sequence feel".
OUTRO: Glendale Train
Track #17
1:30 â 3:14
Still another Marmaduke tune from the âNew Riders of the Purple Sageâ album released in late summer 1971.
MJ News:
Just one MJ News story today important enough to take a few minutes to talk MJ: DEAâs agreement to reschedule MJ to Schedule 3 from Schedule 1.
DEA Agrees To Reschedule Marijuana Under Federal Law In Historic Move Following Biden-Directed Health Agency's Recommendation - Marijuana Moment
Benefits: banking services, no 280(e) restrictions on what expenses retailers can deduct and allows for full medical research of MJ.
Negatives: Still illegal, all drugs on Schedules I, II and III must be prescribed by a licensed health care provider with prescription privileges and can only be dispenses by licensed pharmacists.
Music News:
A few quick hits re Music (no real need to get into any of these but I like to see whatâs going on so I donât miss anything interesting, these are the first things that get cut when we decide we want to keep talking):
Jaimoe makes rare public concert appearance with Friends of the Brothers in Fairfield CN, plays ABB hits
Jaimoe Takes Part in Rare Public Concert Appearance, Revisits Allman Brothers Band Classics (relix.com)
Mike Gordon sits in at the Doddâs Dead Residency at Nectarâs in Burlingtron, VT as part of âGrateful Dead Tuesdayâ. Plays Heâs Gone and Scarlet (we have some Phish fans as listeners so try to toss a few bones to them)
Listen: Mike Gordon Offers Grateful Dead Classics at Nectar's (A Gallery + Recap) (relix.com)
David Gilmour may be planning first tour since 2016, wonât play any Pink Floyd songs from the â70âs â like the old Doonesbury strip where Elvis comes back from the Dead, Trump hires him to play in one of his casinos and at the start of the show, Elvis announces that he is only playing the songs of the late great John Denver.
David Gilmour Plots First Tour Since 2016 (relix.com)
Roy Carter, founder of High Sierra Music Festival passes away.
Roy Carter, High Sierra Music Festival Founder, Passes Away at 68 (relix.com)
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"Neil Young's 2024 Tour with Crazy Horse: A Legendary Performance"
Larry Mishkin discusses the creation of the song "The Music Never Stopped" by Bob Weir and John Perry Barlow. Weir explains his collaborative process with Barlow, where they developed lyrics together over the phone, inspired by Barlow's description of a scene from Wyoming. Weir also reflects on the importance of lyrical and musical cohesion, and the song's debut and history of performances, including at venues like the Great American Music Hall and the Palladium. The discussion transitions to Neil Young's recent tour with Crazy Horse, highlighting the band's performance and Young's energy despite his age. He also mentions upcoming events and concludes with a focus on the Grateful Dead's performance of "St. Stephen" and other songs from 47 years ago.
Grateful Dead
April 30, 1977 (47 years ago, tomorrow)
Palladium
NYC
Grateful Dead Live at The Palladium on 1977-04-30 : Free Download, Borrow, and Streaming : Internet Archive
Audience Tape
This is another good show from 1977, but the recording quality is actually not bad considering this is an audience recording. Since then the show has been commercially released as the first volume of the Grateful Dead Download Series if you want to hear the crisper soundboard recording.
Highlights from this show are the first set Mississippi Half Step and even Looks Like Rain is played with a passion that is moving even if the song always is not. In the second set, the Dead start off with a Scarlet Begonias>Fire on the Mountain (pretty good), swing into a fun mid-set Good Lovin (common for that time, but for the last 15 years, it was almost always a set closer as an alternative to Sugar Mag) or an encore tune (send everyone home with a smile), Friend of the Devil , Estimated Prophet. And then they blow the doors off the place with a St. Stephen>Not Fade Away>Stella Blue>St. Stephen sandwich that must be heard in full to be truly appreciated. Itâs pretty awesome to hear Stella Blue transition back into the St. Stephen, an unusual pairing to say the least. Close with a Saturday Night and then yet another 1977 Terrapin Stationencore.
INTRO: Music Never Stopped
Track #2
0:00 â 1:26
Hunter Weir tune, released on Blues For Allah (Sept. 1,1975).
Bob: As a lyricist Iâm glacially slow. I can generally get the job done, but it takes too damned long. So I like to work with people who have a little more facility with thatâyou know, John Barlow, Garrett Grant, Robert Hunter.
Or I may have a general notion of the color of the rhythm and the harmonic or melodic development, and Iâll sit with a guy and we just fire blank verse at each other until we start to corner that colorâand then often the song will fall right out of the sky. Other times, I may have no notion of where the song wants to go, in which case Iâll let whoever Iâm working with surprise me. . . .
âThe Music Never Stoppedâ is a song that we wrote over the telephone. I had this business going [plays opening guitar riff, Example 13 below]. So I played this over the phone to John, and he just started spitting stuff at me. The first line came out, âThereâs mosquitoes on the river / Fish are rising up like birds.â He was living in Wyoming at the time on a ranch, and he started describing a situation that Iâd seen with him, where it was late summer on a dry year and things were hot and kind of dull and dead.
So where are we going to take this? Well, first I figured the verse is going to have to be twice as long as I originally figured, because if youâre starting with an image that thick, you have to get into some detail about it. âItâs been hot for seven weeks now / Too hot to even speak now / Did you hear what I just heard?â That last line came after some deliberation. Itâs a pregnant line, sort of like a leading tone in a harmonic development.
The success of the endeavor, if youâre working with a lyricist, depends on how closely the lyric marries the music. With Barlow or Gerrit Graham or whoever, thereâs a lot of back and forth. I guess I get to be the decider, because the words are going to have to come from my lips. And so I have to be able to tell the story.
I have to be that character, because my job is to get the hell out of the way and let the character tell the story, musically and lyrically. When Iâm standing in front of the microphone, I may look like me, but Iâm not.
If the character arrives with a really defined face and features, then itâs easy for me to do my job.
Fun version because almost always a first set closer and here it is opening the show. Love that.
236 times
First: August 13, 1975 at Great American Music Hall, San Francisco, CA, USA
Last: June 28, 1995 at The Palace of Auburn Hills
The Palladium:
The Palladium (originally called the Academy of Music) was a movie theatre, concert hall, and finally nightclub in New York City. It was located on the south side of East 14th Street, between Irving Place and Third Avenue.
Designed by Thomas W. Lamb, it was built in 1927 across the street from the site of the original Academy of Music established by financier Moses H. Grinnell in 1852. Opened as a deluxe movie palace by movie mogul William Fox, the academy operated as a cinema through the early 1970s.
Beginning in the 1960s, it was also utilized as a rock concert venue, particularly following the June 1971 closure of the Fillmore East. It was rechristened the Palladium on September 18, 1976, with the Band live radio broadcast,[1] and continued to serve as a concert hall into the following decade.
In 1985, the Palladium was converted into a nightclub by Steve Rubell and Ian Schrager, after their success with Studio 54. Japanese architect Arata Isozaki redesigned the building's interior for the club.[2]
Peter Gatien owned and operated the club from 1992 until 1997.
The Palladium closed in August 1997 following its purchase by New York University.[3] In August 1998, the building was demolished in order to build a twelve-story residence hall that students affectionately referred to as Palladium Hal
The Dead also played there when it was called the Academy of Music in a series of seven shows on their way to Europe for the â72 tour. One of the those shows, the entire March 28, 1972 performance plus selections from March 25, 1972 and March 27, 1972 were released as Dickâs Picks Vol. 30
This five night Palladium run, of which todayâs show was the second, is famous for a lot of reasons including the part of 1977 when the Dead put together a string of some of their best shows ever, peaking on May 8, 1977, just over one week later, at Barton Hall in Ithaca, NY. All five of these shows are well played, great tunes, and a very grooving feel that you can still pick up off of the CD or down load 47 years later. I had most of these shows on tape and wore them out from so much playing. Love that they previously released this show as Download Series Vol. 1 and the new Daveâs Picks release, No. 50!!, is the May 3, 1977 show including some extra songs from the next night as well as the annual Daveâs Picks Bonus Disc that is even more songs from the May 4th show). If you are not listening to Daveâs Picks, you are missing out on quality recordings of some of the best shows ever.
How hot was the band, check out this extended jam at the end of œ Step, the second to last song of the first set (ending with a great Promised Land) and be sure to listen for Jerry and Keith going back and forth throughout this clip:
SHOW No. 1: Mississippi œ Step
Track #11
7:06 â 9:29
Garcia/Huner tune released on Wake of the Flood in 1973. Also live versions included on Steal Your Face, Dickâs Picks Vol. 1, Without a Net and who knows how many other Dickâs/Daveâs Picks releases, etc. If you want to hear it, you can find it, easily.
First performed July 16, 1972 at Dillon Stadium in Hartford, Connecticut. Followed "Me and My Uncle" and led into "Sing Me Back Home," which closed out the first set. A staple of the repertoire ever since.
236 times (exact same as Music Never stopped!)
First: July 16, 1972 at Dillon Stadium, Hartford, CT, USA
Last: July 6, 1995 at Riverport Amphitheater Maryland Heights, MO
Music News:
Neil Young Tour
SHOW No. 2: St. Stephen
Track #1
0:00 â 1:49
Blah Blah Blah, everyone knows about St. Stephen. Deadâs Fluffhead apparently. Because of its true melodic nature and strong lyrics, it existed long outside and after the end of Primal Dead. Still only played a total of 187 times:
First: May 24, 1968 at National Guard Armory, St. Louis, MO, USA
Last: October 31, 1983 at Marin Veteranâs Memorial Auditorium, San Rafael
But post Dead hiatus year, they started making song sandwiches often based around this song. This four song sandwich at the end of the show is so good that I had to feature all of it at the expense of some other really great tunes like Bertha, Peggy O, Looks Like Rain, Promised Land, and any tune in the second set.
This sandwich is just too cool to ignore or not give it proper due. Here is the first layer change:
SHOW No. 3: St. Stephen>Not Fade Away
St. Stephen
Track #19
4:10 â end
INTO
Not Fade Away
Track #20
0:00 â 1:15
Great switch out of St. Stephen and into an amazing opening jam of NFA. I wanted to try and catch the opening lyrics but the jam went on for almost 4 minutes which is too long even for these extended clips.
MJ News
Check out this next transition that they pull off seamlessly:
SHOW No. 4: Not Fade Away>Stella Blue
Not Fade Away
Track #20
14:15 â end
INTO
Stella Blue
Track #21
0:00 â 1:30
Beautiful how they downshift on cue from the raucous NFA into the gentle and beautiful ballad mode required for Stella Blue. Jerryâs voice is so strong and clear. Really a treat.
Not even getting to the last tune of the encore today. Not enough time but had to close out the episode with the final sandwich transition, from Stella back into an immediate upbeat St. Stephen that is so strong I told Dan we could not edit out any of it! What a great (almost ending) to such a great show. Deadheads walked out knowing there were still 3 more to go! Like going to bed and already being told the next day is a snow day!
Thank you all for listening. Please be sure to join us next week when I am joined by Rob Bleetstein of Grateful Dead Radio (show host), Pearl Jam radio and he is also the Curator for the New Riders of the Purple Sage. He is joining us to discuss, among other things, the newly released NRPS live album âHempsteaderâ. If you havenât heard it yet, check it out. Iâm looking forward to hearing from Rob how this was all put together and what the NRSP are up to these days.
Also, a Birthday shoutout to very good buddy, Sam who is turning old tomorrow. At his age, the actual number doesnât matter but we love him anyway.
ENCORE: Stella Blue>St Stephen
Stella Blue
Track #21
7:50 â end
INTO
St. Stephen
Track #22
Start - end
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Brent Midland's First Show 45 Years Ago Today RIP: Dickey Betts, A True Brother
Larry Mishkin begins with a discussion about the significance of April 20th (420 Day) and reminisces about a Grateful Dead concert from 45 years ago on April 22nd, 1979, which marked Brent Midland's first show with the band. He delves into Brent Midland's impact on the band and his musical contributions. He also touches on recent concerts by Phish and the Sam Grisman Project.
Later, there's a surprising revelation that Tucker Carlson is a Grateful Dead fan, and it reflects on the diverse fanbase of the band. Larry also mourns the passing of Dicky Betts, a founding member of the Allman Brothers Band, highlighting his musical legacy and contributions to Southern Rock. Additionally, he mentions Betts' collaborations with the Grateful Dead and concludes with a tribute to him.
Vangst Jobs 2024 Jobs Report - https://www.vangst.com/2024-jobs-report
Grateful Dead
Spartan Stadium
San Jose CA
April 22, 1979 (45 years ago)
Grateful Dead Live at Spartan Stadium, San Jose State U on 1979-04-22 : Free Borrow & Streaming : Internet Archive
Brent Mydlandâs first show
INTRO: Jack Straw
Track #1
0:07 â 1:41
Brent in on the harmonizing from the first song
SHOW No. 1: Minglewood Blues
Track #6
2:14 â 3:57
Brentâs first solo!
Music News:
Phish
Sam Grisman
Dickey Betts
SHOW No. 2: Promised Land
Grateful Dead w.Dickey Betts and Butch Trucks
June 10, 1973
RFK Stadium
Track No. 26
2:28 - end
Grateful Dead Live at Robert F. Kennedy Stadium on 1973-06-10 : Free Borrow & Streaming : Internet Archive
SHOW No. 3: Passenger (Back to April 22, 1979 show)
Track #10
Start â 1:34
Brent joining in on the vocals
There are several original songs in the Grateful Dead repertoire with a one-time-only lyricist. In the case of âPassenger,â the added quirk is thrown in of someone other than the composer singing the song. So we have a song written by Peter Monk, with music by Phil Lesh, and sung by Bob Weir and Donna Jean Godcheaux on Terrapin Station.
Lesh wrote the song, admittedly based on Fleetwood Macâs riff for their song âStation Man.â Lesh said, in an interview in Dupreeâs Diamond News, âWhat's weird about that song is I sort of did it as a joke. It's a take on a Fleetwood Mac tune called âStation Man.â I just sort of sped it up and put some different chord changes in there..."
Monkâs lyrics for the song have been the source of quite a bit of debate. There are quite a few alternate hearings, especially around the line: âTerrible, the only game in town,â which many, including myself, hear as âParable, the only game in town.â
âPassengerâ was first performed on May 15, 1977, at the St. Louis Arena in St. Louis (released on the May 1977 box set). It was performed regularly through1981, with its final performance on December 27, 1981, at the Oakland Auditorium.
Terrapin Station, which included the studio version of the song, was released on July 27, 1977. âPassengerâ was released as a single, with âTerrapin Stationâ on the B side.
Great tune. Iâm sorry I never got to hear it live.
Bootleg album: Live at Moeâs Place â open with it, used to listen to it at good friendsâ Dinie and Janetâs place in Ann Arbor. Really jams.
Played 99 times
First: May 15, 1977 at St. Louis Arena, St. Louis, MO, USA
Last: December 27, 1981 at Oakland Civic Auditorium, Oakland, CA
MJ News
SHOW No. 4: Shakedown Street
Track #24
5:00 â 6:41
Brent with music fills and vocals
ENCORE: Blue Sky
Eat A Peach
Blue Sky (youtube.com)
3:00 â end
College acquaintance and fellow Deadhead used to say that whenever she listened to this album, she would play Blue Sky twice and THEN play the album all the way through picking up a third Blue Sky. I tried it and discovered she was right on about that.
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Phil Lesh's Triumphant Return: A Musical Journey 25 Years Ago Today
Larry Mishkin provides a retrospective analysis of a significant musical event from April 15th, 1999, focusing on Phil Lesh's return to the stage after surgery, marking the first Phil and Friends show. He discusses the lineup, including Trey Anastasio and Paige McConnell from Phish, and highlights their performance of various songs, notably "Viola Lee Blues" and "Hello Old Friend." The discussion also touches on recent music news, including the cancellation of the Skull and Roses festival and a tribute event for Jimmy Buffett featuring Paul McCartney and the Eagles. Additionally, it anticipates Fish's upcoming performances at the Las Vegas Sphere venue.
Phil Lesh & Friends
April 15, 1999 (25 years ago)
Warfield Theater, S.F.
Phil Lesh and Friends Live at Warfield Theater on 1999-04-15 : Free Download, Borrow, and Streaming : Internet Archive
Lineup:
Phil Lesh - Bass
Steve Kimock - Guitars
John Molo - Drums
Trey Anastasio - Guitar
Page McConnell â KeysINTRO: Hello Old Friend
Track # 1
0:10 â 1:47
25 years ago, Phil Lesh & Friends featuring guitarist Trey Anastasio and keyboardist Page McConnell of Phish kicked off their landmark three-night run at The Warfield in San Francisco on this date in 1999. Guitarist Steve Kimock and drummer John Molo rounded out the lineup of one of the most memorable collaborations the jam world has seen.
This was the first ever performance of Phil & Friends and quite a memorable group of Friends to be playing with at a storied S.F. music venue.
The shows also marked Leshâs return after undergoing liver transplant surgery at the age of 58 due to chronic hepatitis C infection. The April 15 concert kicked off with Phil and his sons Brian (??) And Grahame Lesh (12), backed by guitarist Steve Kimmock, in front of the curtain, performing Eric Claptonâs âHello Old Friendâ as a fitting first song back for Phil. Both boys are strong musicians and Grahame, who graduated from Stanford in 2010 with a music degree, is a regular touring member of Phil and Friends in addition to playing with his own band, Midnight North.
Phil Leshâs surgery took place at the Mayo Clinic in Jacksonville, Florida on December 17, 1998, barely 4 months earlier. Lesh, who was 58 at the time, had been suffering from internal bleeding caused by hepatitis C, which he was diagnosed with in 1992. He received the liver of a young man named Cody and his since started encores of his concerts by preaching the importance of becoming an organ donor.
"Hello Old Friend" is a country rock song, written and recorded by the British rock musician Eric Clapton. The track was released in October 1976 as the first of two singles from Clapton's 1976 studio album entitled No Reason to Cry.
the AllMusic critic William Ruhlmann notes, "Hello Old Friend" is the best pop/rock song on the album. He goes on describe the title as a "identifiable" Clapton piece of music.[2]Rolling Stone journalist Dave Marsh called the song "a whimsical and silly slice of attempted innocence".[3]Billboard said that it has a reggae feel similar to that of "I Shot the Sheriff."[4]Record World called it "a midtempo number constructed around a network of acoustic and slide guitars.â
The Grateful Dead never played the song in concert.
The five-piece then showed off its firepower with a 34-minute âViola Lee Blues.â
SHOW No. 1: Viola Lee Blues
Track # 2
31:30 â 33:01
In a 1999 interview with Jambands.com, Lesh revealed that it was Anastasioâs idea to do âViola Leeâ and talked about how he started listening to Phish and also how the collaboration came about. Read an excerpt below:
â[Phishâs music]âŠwas absolutely entrancing, it was just gorgeousâŠbut I couldnât hear the piano well on the live tapes, so I went back to the CDâs and started listening to Page and what he was doing, and so I said âWellâŠâ and my wife said âCome on, Come on, give them a call.â Somehow I got their phone numbers, and I gave them both a call. We talked about it, and they said weâd love to do it, and so we set a date, and we started calling back and forth, and like I said earlier they brought in a dozen Grateful Dead tunes I never would have thought of doing, but they wanted to [do] them. And we got together at rehearsal and the first thing we did together was âViola Lee Blues,â and from there on out it was like now letâs do this one, and letâs do this one. It was real rehearsal in the sense that the Grateful Dead rarely was. Grateful Dead rehearsals were kind of comical. We believed in public rehearsals.â
A long time favorite of Philâs, he picked it as one of the live tunes for the GD album, Fallout From The Phil Zone â a collection of some of Philâs favorite live tracks of various Dead tunes released on June 17, 1997. In the liner notes he said this of the song: âThe definitive early Grateful Dead jamminâ tune, the first one we ever really stretched out beyond all recognition, by using what we called then âshifting gearsâ â which is really nothing but a twenty minute accelerando, influenced by the North Indian music that we were listening to a lot at that time.â
Played only 44 times by the Band
First: March 19, 1966 at Carthay Studios, Los Angeles, CA,
Last: October 31, 1970 at Stony Brook Gymnasium in Stony Brook, NY
Also played June 27, 2015 at Levi's Stadium, Santa Clara, CA, USA 50th Anniversary shows
MUSIC NEWS:
Skull and Roses called off, no refundsAfter the exploratory, bar-setting, âViola Lee,â the quintet would run through more material from the Dead canon with Trey and Page harmonizing on âBig Railroad Blues,â Phil singing âJack-a-Roeâ and Phil, Trey and Page harmonizing on âCosmic Charleyâ
SHOW No. 2: Cosmic Charlie
Track #5
3:25 â 5:12
Old Time Music and Hope Barnett:
Grateful Dead was known for their unique and poetic songwriting style, and âCosmic Charlieâ is no exception. Released in 1969 on their album âAoxomoxoa,â this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, âCosmic Charlieâ takes listeners on a sonic journey unlike any other.
The meaning behind âCosmic Charlieâ is open to interpretation, as with many of the bandâs songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness.
The overall message of âCosmic Charlieâ seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence.
While âCosmic Charlieâ was never released as a single and did not enjoy mainstream success, it holds a special place in the Grateful Deadâs discography and the hearts of their fans. Its eclectic and unique style showcased the bandâs experimental tendencies and cemented their reputation as pioneers of the psychedelic rock genre.
Love hearing Trey and Page singing along on this old timey Dead gem.
Played 45 times by the Dead (38 in 1969 and 1970, 1 in 1971 and, inexplicably, 6 in 1976.
First: January 17, 1969 at Robertson Gymnasium, University of California Santa Barbara Campus, CA, USA
Last: September 25, 1976 at Capital Centre, Landover, MD, USA
1984 Deadheads would pass around a petition asking the band to play the song again and also pass out cards before the show with the lyrics just in case they played it.
Finally, for the Phish fans in the crowded Warfield, the first Phish tune of the run (and only one that night), âWolfmanâs Brother.â
SHOW No. 3: Wolfmanâs Brother
Track # 6
1:30 â 2:58
On this one, writing credit goes to the entire band plus long time Phish lyricist, Tom Marshall.
Released on Hoist (stylized as (HOIST)) is the fifth studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records. At the time of its release, Hoist was Phish's best selling album to date, peaking at No. 34 on the Billboard 200 albums chart. The album was certified gold by the RIAA on August 19, 1996, and remains the band's best-selling studio release, outsold in their discography only by the platinum-certified A Live One.
Old Time Music: Mike Wells
Music has a unique way of connecting with our emotions, memories, and experiences. It has the power to transport us to a different time and place, evoking feelings we may have long forgotten. One song that has always resonated deeply with me is âWolfmanâs Brotherâ by Phish. This track, featured in their 1994 album âHoist,â holds a special meaning and significance for both the band and their dedicated fanbase.
the lyrics of âWolfmanâs Brotherâ have a universal appeal. They invite listeners to reflect upon their own encounters with enigmatic figures or forces that have left a lasting impact. It encourages us to confront the demons that haunt us and search for understanding and resolution.
Listening to âWolfmanâs Brotherâ live is an entirely different experience. The bandâs extended jams and improvisations add a new layer of depth and intensity to the song. It becomes a collective experience, with the audience joining in as the lyrics are chanted by thousands of voices.
Phil spoke with Jambands.com about wadding into the Phish catalog:
I had thought maybe we would do this tune or that tune, and in the end, we only ended up doing one tune that I thought we would do, and that was âPrince Caspian,â and then they brought up those other three, âWolfmanâs Brother,â which I had never heard, and âDown With Diseaseâ and âChalkdust Torture,â which I hadnât heard either until we played them at the rehearsal, and then I went and got the CDâs and checked them out. But then I started listening to their other stuff, their other stuff is real interesting, but you can tell by listening to that that they need their forty hour weeks, because they really need to get that shit down.
Never played by the Dead.
MJ NEWS â One Toke Over The Line!!!
STRAINS:
Strawberry Shortcake â a wonderful nighttime indica strain that that has a tart strawberry taste and leaves you with a good face melt and some couch lock. Wait until you get home before diving in. No great if you are with a group of people who are looking for your active participation in whatever they are doing! But wonderful to relax and get ready for a good nightâs sleep.
Blue Dream â every now and then I swing back to one of the all time greats. Nice for daytime and early evening use. Just have to be sure that whatever they are calling Blue Dream is really Blue Dream. It does have a fairly distinctive taste and smell so if you are familiar with the strain, you should be able to tell if you have the real stuff.
Tang â a wonderful sativa that is energetic without providing the standard âsativa crashâ as it wears off. Also nice because of itâs ability to âcut throughâ any buzz you may already have and provide a new uplifting effect.
After a first set-closing âUncle Johnâs Band,â the second frame got underway with Lesh leading on âAlabama Getawayâ and âSugaree,â the latter of which featured the band taking things out again and stretching the song to over 20 minutes. Phil once again stepped to the mic for a cover of the Bob Dylan classic âLike A Rolling Stoneâ that saw Trey and Page joining him on the chorus â I love that tune, the first Phil & Friends show I ever saw, featuring the Quintet, at the Riviera Theater in Chicago with good buddy Jimmy they opened with a 15 minute version of this tune into a 30 minutes cover of Low Spark of High Heeled Boys, just too many other good tunes from this show - and led into a spirited âI Know You Rider.â Anastasio then fronted the quintet on a sweet version of âRow Jimmyâ
SHOW No. 4: Row Jimmy
Track #12
2:10 â 3:55
Garcia/Huner tune, Wake of the Flood is the sixth studio album (and tenth album overall) by the rock band the Grateful Dead. Released on October 15, 1973, it was the first album on the band's own Grateful Dead Recordslabel. Their first studio album in nearly three years, it was also the first without founding member Ron "Pigpen" McKernan, who had recently died. His absence and keyboardist Keith Godchaux's penchants for bebop and modal jazz (rather than McKernan's tendencies toward the blues and rhythm and blues) contributed to the band's musical evolution. Godchaux's wife, vocalist Donna Jean Godchaux, also joined the group and appears on the album.[8]
The release fared better on the pop charts than their previous studio album (1970's American Beauty), reaching No. 18.
After three live albums in a row, the Grateful Dead wanted to record studio versions of songs written since Keith Godchaux had joined the band. At the time of recording, five of the songs on the album (and part of a 6th) had been in live rotation for up to a year and a half, as arrangements were road-tested and finalized. Referring to this period, bassist Phil Lesh explained, "We'd learned to break in the material at shows (under fire, as it were), rather than try to work it out at rehearsals, or in the studio at tremendous expense."
Describing Godchaux's influence, drummer Bill Kreutzmann characterized the album as "Keith's coming out party." Remarking on the evolution in style, he remembered:
Jerry brought "Row Jimmy" into us one day, and it was really difficult to get a grip on it at first. It has a slow tempo, which makes it seem like it would be easy, but it calls for a slight reggae groove layered over a ballad. Rhythmically, the lengths aren't traditional. They're not just twos and fours. It's deceiving. Basically, you have to play the song in half-time with a double-time bounce on top. It's trickier than it sounds. But once I locked into it, "Row Jimmy" became one of the best songs in our repertoire.
Played 274 times
First: February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA, a show we featured earlier this year.
Last: June 21, 1991 at Knickerbocker Arena in Albany
Cannot say enough about Treyâs strong vocals on this tune. This is 16 years before the 50th reunion shows where Trey would play lead guitar for all five shows (2 in Santa Clara and 3 at Soldier Field). And at this point, Phish had only covered one Dead tune in concert: Terraping Station on August 9, 1998 at the Virginia Beach Amphitheater on the third anniversary of Jerryâs death. Since that point, it is still the only time Phish has covered a Dead tune in concert. Why only that one? Who knows. Trey is certainly more than qualified to cover any Dead tune and the other guys have all played with various Dead members from time to time. One of the great mysteries of the Phish world (at least for me).
This was followed by a crowd-pleasing âShakedown Streetâ which saw the band stretching their legs once again for a nearly 20-minute excursion. Next, âThe Wheelâ led into a 15 minute version of the classic closer âNot Fadeawayâ to bring set two to a conclusion. After Philâs donor rap and band intros, Phil & Phriends closed out Night One of the run with Phil singing lead Dylanâs âMr. Tambourine Man,â which they did in the style of The Byrds.
OUTRO: Mr. Tambourine Man
Track #18
0:00 â 1:28
Leave you with one of my favorite Bob Dylan tunes.
"Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books.
The song has been performed and recorded by many artists, including the Byrds, Judy Collins, Melanie, Odetta, and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song.
The song has been in Dylan's live concert repertoire since it was written,[10] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964.
Great version, again with Trey and Page joining in. I think Phil surprised them with pace of the tune right at the start, but everyone catches up and itâs a fun song to hear in concert. Great way to close out night 1 of this 3 night return to the stage run for Phil. Best part is that 25 years later he is still going strong at 84!
Phil and Friends have covered it 6 times
First: at this show!
Most recent: October 5, 2000 at Orpheum Theatre, Boston, MA, USA (doesnât seem correct to me because Iâm fairly certain Iâve seen Phil perform this live since 2000, but so far cannot seem to come up with the place, date or folks he was playing with. Happens sometimes!
Finally, this show marks the first instance of Philâs famed âDonor Rapâ that precedes the encores of all of his shows
.Produced by PodConx
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
Rob Hunt - https://podconx.com/guests/rob-hunt
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/
Recorded on Squadcast
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