Stay ConnectedCandid discussions about cannabis inspired music, great past and upcoming concerts and the social implications of legalized cannabis. Old-school Grateful Dead fans, cannabis attorney Larry Mishkin share review past Grateful Dead concerts, discusses new music, shares music related news, concert updates and cannabis stories and his view of the industry.
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"Sailing Through Sounds: JRad's Revelations & Dylan Surprises"Larry Mishkin discusses JRad (Joe Russo's Almost Dead) December 1st concert at the Riviera nightclub in Chicago. He talks about the band's unique covers, including Grateful Dead songs, and their ability to recreate the sound of the original artists. He highlight the performance of "Foolish Heart" during a previous show, describing its musical construction and its significance in the Grateful Dead's live repertoire.Delving into the band members' backgrounds, emphasizing their musical talents and contributions to JRad. It provides detailed information about each member's musical history and collaborations, discussing Joe Russo's drumming, Marco Benevento's keyboards, Dave Drywitz's bass, Tom Hamilton's guitar, and Scott Metzger's diverse musical styles.He also reviews JRad's surprise performances, such as their rendition of Bob Dylan's "Tell Me Mama," a song exclusively performed during Dylan's 1966 world tour. Larry expresses surprise at how JRad, despite being younger and not following Dylan in 1966, managed to perform the song so well.Additionally, he briefly touches on the issue of marijuana prohibition on cruise ships, by criticizing the strict enforcement against cannabis use, considering the changing attitudes toward marijuana. The discussion also touches upon ticket availability for concerts by bands like Phish and rumors surrounding potential performances..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on SquadcastJRADDecember 1, 2023The Riviera NightclubChicagoJoe Russo's Almost Dead Live at The Riviera on 2023-12-01 : Free Download, Borrow, and Streaming : Internet ArchiveEpisode title: JRAD Rocks The Riv in Chicago on 12.1.2023: channel Dylan and Dire Straits Happy Birthday Keith Richards (80!)INTRO: Foolish Heart Track #3 5:45 – 7:17SHOW No. 1: Tell Me, Momma Track #4 0:57 – 2:33Tell Me, Momma is a song written by Bob Dylan and performed exclusively during his 1966 World Tour with the Band (then known as the Hawks). It was used to introduce the second half of a concert, when Dylan switched from an acoustic solo performance to an electric performance backed by a band. The song was not recorded on a studio album, nor was it ever performed again by Dylan in concert.Dylan's May 17, 1966 live performance of the song was released in 1998 on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert.[1] In 2016, all Dylan's recorded live performances of "Tell Me, Momma" from 1966 were released in the 36-CD boxed set The 1966 Live Recordings, with the May 26, 1966 performance released separately on the album The Real Royal Albert Hall 1966 Concert. The boxed set contains all the live versions of "Tell Me, Momma" ever performed by Dylan and his band.SHOW No. 2: Fire On The Mountain Track #7 0:30 – 2:05SHOW No. 3: Before They Make Me RunKeith Richards ROLLING STONES: Before They Make Me Run (Promo - 7" Single Version) (youtube.com) 1:54 – 3:21Today Keith turned 80. Cannot let that milestone go unnoticed. Richards was born in and grew up in Dartford, Kent. He studied at the Dartford Technical School and Sidcup Art College. After graduating, Richards befriended Jagger, Bill Wyman, Charlie Watts, and Brian Jones and joined the Rolling Stones. As a member of the Rolling Stones, Richards also sings lead on some Stones songs. Richards typically sings lead on at least one song a concert, including "Happy", "Before They Make Me Run", and "Connection". Outside of his career with the Rolling Stones, Richards has also played with his own side-project, The X-Pensive Winos. He also appeared in three Pirates of the Caribbean films as Captain Teague, father of Jack Sparrow, whose look and characterisation was inspired by Richards himself.In 1989, Richards was inducted into the Rock and Roll Hall of Fame and in 2004 into the UK Music Hall of Fame with the Rolling Stones. Rolling Stone magazine ranked him fourth on its list of 100 best guitarists in 2011. In 2023, Rolling Stone's ranking was 15th.[1] The magazine lists fourteen songs that Richards wrote with Jagger on its "500 Greatest Songs of All Time" list.My favorite “Keith tune” in the Stone’s songbook. 1978 version."Before They Make Me Run" is a song by English rock band the Rolling Stones, featured on their 1978 album Some Girls.English musician, songwriter, singer and recording producer who is an original member, guitarist, secondary vocalist, and co-principal songwriter of the Rolling Stones. His songwriting partnership with the band's lead vocalist Mick Jagger is one of the most successful in history. His career spans over six decades, and his guitar playing style has been a trademark of the Rolling Stones throughout the band's career. Richards gained press notoriety for his romantic involvements and illicit drug use, and he was often portrayed as a countercultural figure.Written by guitaristKeith Richards, the song is a response to his arrest for heroin possession in Toronto in February 1977. The criminal charges and prospect of a prison sentence loomed over the Some Girls recording sessions and endangered the future of the Rolling Stones.[2]In the lyrics, Richards reflects unapologetically on his lifestyle up to that point. The line "it's another goodbye to another good friend" in the first verse can be interpreted as referring to Gram Parsons, Richards's close friend who died in 1973 from a drug overdose,[3] and/or to heroin itself: Richards had sought medical treatment for heroin addiction following his arrest in Toronto, and his resolution to overcome his addiction would be a significant factor in his upcoming trial.[4]Richards recorded the song in five days without sleeping.[5] Originally entitled "Rotten Roll", the song was recorded in a Paris studio in March 1978 during one of Mick Jagger's absences from the Some Girls sessions.[6] The completed track, "a high-energy rock & roller",[7] features Richards on lead vocals, acoustic and electric guitars, and bass; Ronnie Wood on pedal steel guitar, slide guitar and backing vocals; Charlie Watts on drums; and Jagger on backing vocals.Richards first performed the song in concert on the New Barbarians' tour of North America in 1979; it was not until the Steel Wheels Tour in 1989 that it entered the Rolling Stones' concert repertoireSHOW No. 4: Romeo and Juliet Track #13 1:54 – 3:21"Romeo and Juliet" is a rock[1][4][5] song by the British rock band Dire Straits, written by frontman Mark Knopfler. It first appeared on the 1980 album Making Movies and was released as a single in 1981.[6] The song subsequently appeared on the Dire Straits live albums Alchemy and On the Night, and later on Knopfler's live duet album with Emmylou Harris, Real Live Roadrunning (though Harris does not perform on the track).The song itself, written by Knopfler, was inspired by his failed romance with Holly Vincent, lead singer of the short-lived band Holly and the Italians. The song speaks of a Romeo who is still very much in love with his Juliet, but she now treats him like "just another one of [her] deals". Knopfler has both stated and implied that he believes Vincent was using him to boost her career. The song's line, "Now you just say, oh Romeo, yeah, you know I used to have a scene with him," refers to an interview with Vincent, where she says "What happened was that I had a scene with Mark Knopfler and it got to the point where he couldn't handle it and we split up.OUTRO: Hard To HandleTrack #17 5:00 – 6:45Otis Redding recorded Hard to Handle in late 1967, shortly before his death. It was released as a single in June 1968. By 1969, it was being covered by a number of people, and surprisingly, the Dead seem to have been one of the first. If anyone were to think of the least likely groups in ‘69 to cover some funky new R&B, the Dead would probably be on that list. They hadn’t shown any interest in picking up new R&B covers since mid-1967, when they started doing Lovelight – since then, they had focused on their original ‘acid-rock’ material. Many old covers dropped out of their setlists, and from summer ’68 through winter ’69, their shows were almost exclusively devoted to Anthem & Live/Dead suite material, with a few new Aoxomoxoa songs dropped in.But by March 1969, they seem to have felt the need for something new – the Live/Dead album was in the can, and their repertoire had not varied much in months. Aside from a couple sluggish, misbegotten renditions of Hey Jude that winter, Hard to Handle was their first new cover song in over a year. Over the course of the spring, they would gradually bring in more cover tunes, bringing back many songs they had stopped playing in previous years, and the shows would start to reflect a wider set of influences.Pigpen probably emulated Otis, and of course this song would have matched his strutting stage persona; it may have been his idea to cover it. The Dead must have known they could not recapture the tight, snappy Stax horn sound of Redding’s original, and they didn’t even try. Instead they adapted it to their loud, heavy, lumbering two-drum, two-guitar style – of course adding a big guitar solo. Pigpen had a set way of singing the song from the start, closely following Redding’s phrasing, which would vary little over the next couple years; but the band would go through some dramatic changes in the way they played the song. (The next year, a bit lighter on their feet, they would also attempt James Brown’s ‘Man’s World’ – not one of his funkiest efforts – but would only play it for about five months.)The Dead had long been fans of Otis Redding – in 1966-67, Pigpen was performing his ‘63 song ‘Pain in My Heart.’ (Though the impetus to cover it may have come from the Rolling Stones’ version.)Redding came to the Fillmore in December ’66 – musicians were clamoring to Bill Graham that he needed to book Otis. When he came, according to Graham, “Every artist in the city asked to open for Otis. The first night, it was the Grateful Dead. Janis Joplin came at three in the afternoon the day of the first show to make sure that she’d be in front… Every musician then into music came.” *The Dead opened for Redding on 12/20/66; the next two nights, other bands opened. (The Dead went to play in Santa Clara.) Bill Graham was permanently impressed: “By far, Otis Redding was the single most extraordinary talent I had ever seen. There was no comparison, then or now... That was the best gig I ever put on in my entire life.” * Janis also mentioned that Otis was a particular inspiration to her. (I believe Ralph Gleason also wrote a review of one of the shows for the Chronicle, which I’d like to see.)When Garcia & Lesh appeared on Tom Donahue’s FM show in April ’67, they played Otis’ cover of ‘Day Tripper’ and reminisced about the show. Otis had an 18-piece band with him, and Garcia recalled that Otis did his standard show, “where the band would get up and play some numbers, and a girl singer would come up” and warm up the audience before Otis appeared.Lesh: “It was kind of scary to work with Otis… He tore it up!”Garcia: “Otis is really heavy… He tore the place apart… When he came on stage, it was like the whole place got about six times as big, and the band just got real snappy – it was so fine, and the music was really good.”The Dead debuted Hard to Handle at the Black & White Ball (Hilton Hotel, S.F.) , 3/15/69 – the very first song of the show! In their eagerness to tackle it, they perhaps neglected to rehearse it a few more times… They have trouble keeping together in the precise arrangement, and sometimes stumble around erratically before syncing up again. Garcia plays swooping slide throughout, but seems to have little idea what to do with it, so there’s not much of a solo and they just sort of stagger forward aimlessly for a while. Pigpen is also a little confused about the verses. At the end the band thinks Pigpen’s finished, but he continues with another verse, so they bring it to an abrupt end.Last played on December 31, 1982 at the Oakland Civic Auditorium. Played it a total of 120 times.Other stories:Cruise Ships have a very strict NO CANNABIS rule. That sucksPhish tix for the Sphere are out. Did you get any? .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Full show notes at the publisher"Stephen Stills & the Dead: Legendary Collaborations Unveiled" Larry Mishkin discusses various aspects related to the Grateful Dead, December 11th, 2023 show including historical performances, the significance of particular songs like "China Cat Sunflower" into "I Know You Rider," insights into the band's music evolution, and notable appearances by Stephen Stills with the Dead during their performances. Larry also pays tribute to Denny Lane, a musician associated with Wings and the Moody Blues, following Lane's recent passing. Additionally, he delves into the musical significance of the song "Black Queen" by Stephen Stills, its themes, and its rare appearances in Dead concerts. Furthermore, he provides updates and insights into ticket sales for upcoming concerts, specifically for Phish. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on SquadcastGrateful DeadDecember 12, 1969 (54 years ago, tomorrow)ThelmaWest Hollywood, CAWith Stephen StillsGrateful Dead Live at Thelma Theater on 1969-12-10 : Free Borrow & Streaming : Internet ArchiveINTRO: I Know You Rider Track #1 2:10 – 3:42 Every Deadhead knows this song, but what makes this version unusual is that it is a show opener AND is not preceded by China Cat.In the Grateful Dead universe, few song pairings stick out with such adoration and favoritism among the band’s legion of fans more than “China Cat Sunflower” > “I Know You Rider”. The Grateful Dead performed the two-song combination over 500 times throughout their 30-year run, making it one of the more dependable mid-set segues capable of launching a show into orbit at any moment thanks to its dance-friendly tempo and lengthy jams transition jams.It makes it that much more special to note that the “China” > “Rider” combination made its first appearance at the legendary Cafe au Go Go in New York City on September 30th, 1969—54 years ago today, and less than a month before the venue closed its doors in October of that year."I Know You Rider" (also "Woman Blues" and "I Know My Rider") is a traditionalblues song that has been adapted by numerous artists. It has appeared in folk, country, and rock guises and is not overly identified with any particular artist.Modern versions can be traced back to Blind Lemon Jefferson's "Deceitful Brownskin Blues", which was released as a single in 1927. It appears in a 1934 book, American Ballads and Folk Songs, by the noted father-and-son musicologists and folklorists John Lomax and Alan Lomax.[2] The book notes that "An eighteen-year old black girl, in prison for murder, sang the song and the first stanza of these blues." The Lomaxes then added a number of verses from other sources and named it "Woman Blue".[2] The music and melody are similar to Lucille Bogan's "B.D. Woman Blues" (c. 1935), although the lyrics are completely different.By the mid-1960s, rock acts had begun to perform or record the song. James Taylor sang it as "Circle Round the Sun" on his 1968 debut album James Taylor).[2]Big Brother and the Holding Company featuring Janis Joplin were performing it in concert; a rendition from 1966 was released in 1984 on the live album Cheaper Thrills.[2] The Grateful Dead's interpretation was a staple of their live shows from the beginning of the band's existence in 1965, where it would soon be performed as a connected song from "China Cat Sunflower" and represented the group's forging a bridge from their psychedelic music to their more traditional country and folk side.[1] This combination was featured on their 1972 triple live album Europe '72.[1] (The Grateful Dead's segue approach was later used by Bruce Hornsby and the Range in the late 1980s, with "I Know You Rider" following their song, "The Red Plains"The combo was first released by the Dead on the original Europe ’72 album. Although Rider can be found on earlier Dead recordings. 1st – Nov. 3, 1965 at Mother’s in S.F. Last – July 8, 1995, Soldier Field Total 563 No. 4 most played, not counting Drums and Space, China Cat is No. 3 on that list at 564Show is at Thelma, a nightclub on Hollywood Blvd. with a very uncertain history. First, it was a Hungarian restaurant called The Little Gypsy, then it became an upscale restaurant called The Golden Violin. In mid-60’s, the owner turned it into a rock club, Galaxy. Was located in the middle of a block filled with music venues. To the east, was Whisky a Go Go (most famous of them all), to the west Hamburger Hamlet (for late night munchies). Right next door was the London Fog where The Doors, in their formative years, had a residency before Jim Morrison’s behaviour got them kicked out – moved to the Whisky to become the house band. Initially, Galaxy’s house band was a fledgling Iron Butterfly. Became Thelma in the fall of 1969.Was a three night run from 12/10 – 12/12. Night one is the concert featured on Dave’s Picks No. 10 – another great concert, but this one has one thing that the Dec. 10th show does not have – Stephen Stills playing with the boys.Recall this past spring we featured Stephen Stills playing with the Dead on April 16, 1983 at Brendan Byrne Arena in NJ when they played Stills’ song, Black Queen and one of my favorite versions of Iko ever recorded by the Dead. The next night they played Love The One Your With. Only a 14 year gap in between!SHOW No. 1: Casey JonesTrack #8 2:48 – 4:15The first tune Stills came on stage for (although some remember him playing in the first set as well). Just like we discussed last week (Fillmore West on 12.4.69), there is a bridge here between primal dead and americana dead. This show features a mix of primal dead and new americana tunes. Casey Jones was an entirely different type of song for the Dead but it rocked and Stills seems very comfortable figuring out his place in the mix.Garcia/Hunter tuneReleased on Workingman’s Dead in spring, 1970. First played on June 22, 1969 at a show in Central Park in NYCLast played on March 27, 1993 at the Kickerbocker Arena in Albany NYTotal played 313 times (No. 42)BUT, after 1972 it dropped off the regular set list rotation. From 1973 till the end, only played 47 times and by the ‘80’s it became a rarity that required good luck to catch: 1982 – 2x 1984 – 2x 1992 – 3x 1993 – 1xI unfortunately never saw it live. Very disappointing. Closest I came was the ’84 show at Merriweather Post pavilion outside of D.C. I was with a group of friends on summer tour but did not head out for the east coast swing and missed that show. But my good buddy Rick was there because he took the long car ride that I avoided. Miss a little, miss a lot.Article re Stills and DeadSHOW No. 2: Good Morning Little School Girl Track #9 7:00 – 8:39We featured this song last week but had to feature it again, because on this version Stills finds his footing and jams along with Garcia and Weir as well as Pig on the harmonica. A very cool sound. Pig kills it as usual.SHOW No. 3: Black Queen Track No. 11 2:15 – 3:52We featured this song on the episode earlier this year featuring the April 16, 1983 mash up show. This is an earlier version and just as down and dirty as the later version. A great Stills tune that the Dead feel right at home with.As a reminder,Black Queen is a song written by American singer-songwriter Stephen Stills. It was featured on his self-titled debut solo album released in 1970. The song holds a significant place in Stills’ body of work, as it explores powerful themes of love, equality, and racial injustice. Let’s delve into the meaning behind this iconic song and unveil the message Stephen Stills intended to convey through his heartfelt lyrics.Black Queen is a passionate ode to the African American community, expressing solidarity with their struggle for equality and justice. The song’s opening line, “White knights for the black queen, marching to the stirrings of the breeze,” immediately sets the tone for the uplifting and empathetic message throughout the song. Stills paints a vivid picture of a world where individuals of different races join hands to fight against racial discrimination.Throughout the song, Stills calls for unity and emphasizes the importance of embracing diversity. He acknowledges the strength and resilience of the Black community, praising their ability to overcome adversity and stand tall in the face of systemic racism. With lines like “Black queen, your dreams are on the ground,” Stills recognizes the struggles that African Americans have faced but encourages them to keep fighting for their rights and aspirations.This show and April ’83 are the only two times the Dead played the song in concert.SHOW No. 4: Turn On Your Lovelight Track #12 :46 – 2:25A very short version of this tune, considering its 1969 and Pig has the lead, but after only a few minutes, they segue into a killer Cryptical/Other One which apparently was a bit too out there for Stills as he leaves the stage at the transition. Still Pig at his finest singing and rapping as only he could do. A tune that died with Pig until Bobby brought it back in the early ‘80’s and it became more of a regular after that although never as much as it was when Pig was around. Great jamming with Stills in his final number with the band for the night.OUTRO: Cosmic CharlieTrack #17 Start – end (just about a minute because it cuts out)Released on Aoxomoxoa in June, 1969. Grateful Dead was known for their unique and poetic songwriting style, and “Cosmic Charlie” is no exception. Released in 1969 on their album “Aoxomoxoa,” this song has captivated fans for decades with its enigmatic lyrics and psychedelic sound. Exploring themes of spirituality, love, and the human experience, “Cosmic Charlie” takes listeners on a sonic journey unlike any other.The meaning behind “Cosmic Charlie” is open to interpretation, as with many of the band’s songs. Some believe it was inspired by the vision of a fictional character named Cosmic Charlie, who travels through different dimensions, spreading joy and love. Others see it as a metaphor for the human longing for connection and transcendence. The lyrics, although cryptic at times, convey a sense of wonder and mystery that invites listeners to delve deeper into their own consciousness.The overall message of “Cosmic Charlie” seems to be one of embracing the cosmic and spiritual aspects of life. It encourages listeners to let go of their inhibitions, explore the unknown, and seek connection with the universe. The song invites individuals to tap into their inner selves and discover the hidden realms of existence.Very rarely played by the Dead. Only a total of 45 times.1st – Jan. 16, 1969, Robertson Gymnasium at UC Santa Barbara, Isla Vista, CALast - Sept. 25, 1976, Cap Center in Landover Maryland.Played 20 times in 1969, 18 times in 1970 and one time in 1971. The tune then went on hiatus until 1976 when it was played a total of 6 times between June and September. Thereafter, a tune the deadheads literally begged the Dead to play again. Around 1983 or 1984, a group started asking for signatures on a petition to the Dead asking them to play the song again. They would also hand out cards with the song’s lyrics so “when” the Dead played it, the Deadheads would be able to sing along. Alas, they just became Dead trinkets in the same cigar box as my ticket stubs because the Dead never did play it again.Sorry this is a “cut” version of this version, but it’s still great music and as any Deadhead who never heard it live would agree, this would have been an amazing tune to hear so even just a little of it is worth the listen. Enjoy .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Full show notes at the publisher"JRad's Resonance: Reflecting on a Night of Jam Band Marvel"
Larry Mishkin, touches upon key events like the 1969 Fillmore West concert, which previewed the infamous Altamont Speedway event by the Rolling Stones. The Altamont concert, marred by violence and tragedy, involving the Hells Angels acting as security, remains a pivotal moment in music history.
He also discussed current music events, including Phish's upcoming show at the Spere in Las Vegas Sphere, highlighting the band's incredible light shows. He contrasted the Rolling Stones' high-priced tickets for their concerts with Joe Russo's Almost Dead's more reasonable pricing and exceptional Grateful Dead covers.
He recounted attending a recent Joe Russo's Almost Dead concert in Chicago, emphasizing their outstanding performance, including an unexpected cover of Bob Dylan's "Tell Me Mama." The concert featured iconic Grateful Dead tracks, such as "Fire on the Mountain" and "Good Lovin'," offering a nostalgic and impressive experience..
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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/
Grateful Dead
December 4, 1969
Fillmore West, S.F.
https://archive.org/details/gd69-12-04.sbd.wizard.23975.sbeok.shnf
Intro: Introduction and Altamont announcement
Track #1
Start – finish
Show No. 1 Black Peter
Track #3
1:15 – 2:45
Show No. 2 Dark Star
Track #9
13:39 – 15:15
Show No. 3 High Times
Track #10
1:18 – 2:36
Show No. 4 Good Morning Little School Girl
Track # 12
2:20 – 3:51
Outro: Uncle John’s Band
Track#17
Start – 2:12
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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/
"The Sphere in Vegas: U2's Sonic Odyssey and the Future of Concert Venues"Larry Mishkin is joined by great friend of the show, Alex Wellins to catch up and talk about a Grateful Dead concert held at Poly Pavilion on November 20th, 1971. Larry talks about the significance of the show, including the band's transition in music style, notable songs played, and the presence of famous basketball player Bill Walton in the audience. Later, Alex discusses recent concerts they attended, highlighting U2's performance at The Sphere in Las Vegas, known for its immersive audiovisual experience, and another show at the historic Castro Theater in San Francisco featuring the band St. Paul and the Broken Bones. Both Larry and Alex express enthusiasm about these diverse musical experiences..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on SquadcastGrateful DeadNovember 20, 1971Pauley Pavillion – UCLAL.A.Grateful Dead Live at Pauley Pavilion - University of California on 1971-11-20 : Free Borrow & Streaming : Internet ArchiveBy late 1971 Dead’s transformation from Primal Dead to Americana Dead was well on it’s way. This concert is a great snapshot of that time, this show being more in the Americana camp with the a killer 25 minute jammed out Other One (including its Bill Kreutzman drum solo lead in) really being the only true nod to the Primal era .Also, the band was in transition as Pigpen missed the show as part of his descent into alcohol related illnesses that eventually took him in March 1973. Keith had been playing with the band since February but Mickey began his “leave” in February after night one of the Capitol Theater run. So this night is just five of them up on stage playing their hearts out for the fine students of UCLA and other Deadheads ( then a very brand new “thing” having just been recognized by the band in the liner message inside the Grateful Dead album stating: “DEAD FREAKS UNITE! WHO ARE YOU? WHERE ARE YOU? HOW ARE YOU? Send us your name and address and we’ll keep you informed”)One fact that should be obvious given the venue and the time – an unknown UCLA student and want-a-be college basketball player, Bill Walton was in attendance along with some of his Bruins teammates for this first ever Dead show at Pauley Pavilion, famed home court for the UCLA Bruins, a team that following the amazing successes of Lew Alcindor (Kareem) and Sidney Wicks, now was being led for the first time by Bill and his teammates Jamaal Wilkes and Greg Lee (spoiler alert: Bill has some success at UCLA too). Bill, of course, went on to be an NBA All-Star and a regular attendee of Dead shows and, as Alex can attest, not unusual to see him at a West Coast dead show right up until the end – kind of hard to miss a 7 foot deadhead with his red hair and tie dye apparel. Rumor has it when they knew he was going to be at a show the band would set up a basketball hoop backstage and that Bruce Hornsby was a hooper too.INTRO: Bertha Track No. 1 3:30 – 4:37Great traditional opener although it was known to pop up in different spots during shows from time to time. At this point, it is still “new” having been debuted earlier that year, on February 18th at the Capitol Theater in Port Chester. Never released on a studio album, but it is the opening tune on the Dead’s live album, “Grateful Dead” a/k/a Skull and Roses (or Phil’s preferred name, “Skull Fuck” which was promptly rejected by their label, Warner Bros) on September 24, 1971. From shows in NYC at the Fillmore East and the Hammerstein Ballroom in the Manhattan Center (plus Johnny B. Goode from Winterland – couldn’t completely ignore the west coast).SHOW #1: Tennessee Jed Track No. 5 0:45 – 1:46This is one of the “new” ones played in this show. Along with Mexicali Blues, One More Saturday Night, Ramble On Rose and Jack Straw had all just been played for the first ever just two months earlier on October 19, 1971 at the Northrop Auditorium in Minneapolis – also Keith’s first show. A tune that more than most really captures the change in the band’s direction as you have Garcia previously of Dark Star, St. Stephen and Eleven fame twanging away, musically and vocally, on a song with a feel that is a cross between country, western and a dash of rock n roll. Deadheads of Alex’s and my era will note how much quicker the tempo is in this early version and Garcia’s noticeable energy evident from his strong vocal performance.Played 436 times in concert, putting it at No. 15 of the list of the Dead’s most played tunes.1st (again) on Oct. 19, 1971 in MPLSLast on July 8, 1995 at Soldier Field, ChicagoA great sing along tune that the Deadheads always enjoyed, normally found in the first set, towards the middle.SHOW #2: Jack Straw Track No. 10 :12 – 1:20As just mentioned, this another “new” one just two months old. Everyone loves Jack Straw, even the Band which is why it checks in at No. on list of most tunes played by the Band with 476 performances (last one on July 8, 1995 at Soldier Field). But in this early version, there is a little bit of a change from the version we all know and love. First, thing to know it is a tune by Hunter and Weir. Garcia did not write it although he sang it with Weir in a “trading off of verses” style. Second, in these early versions, before the Europe ’72 tour, Weir sang all the verses like we just heard, “I just jumped the watchman, right outside the fence” was always sung by Jerry, but here, Weir sings it. Not sure of the reason for the change, but I like it a lot better with Jerry singing his verses (the other being “Gotta go to Tulsa, first train we can ride”). First time with Jerry on vocals was May 3, 1972 at the Olympia Theater in Paris, that also just happens to be the version of the song that wound up on the Europe ’72 album. Although in its earlier years the song would appear in either first or second set, after their 1975 hiatus it became an almost exclusive first set song. And after Brent joined the band, almost always a show opener. Home to the more than occasional Phil base bomb, it was one of the Band’s most popular tunes and a great way to open any show (especially if they had just opened with Bertha the night before so you got to catch them both!).SHOW #3: Ramble On Rose Track No. 18 0:00 – 1:28Last of the “new” ones that we will feature today. Just like Tennessee Jed, upbeat, good energy, Jerry and the boys are having fun, like with any new creation. Still working out all the details, the james, keeping track of the lyrics and Jerry has not yet developed his signature growl on “goodbye mamma and poppa, goodbye jack and jill”. What I really like about this version and why I chose a clip from the beginning of the tune is to hear Keith’s piano accompaniment that works so well with this song and adds another layer of creativity to the mix. Garcia always seemed to get energy and inspiration from the band’s keyboard players and Keith, even this early in his career, is no exception.After its introduction on Oct. 19, 1971 in Minny, played a total of 319 times, good for 39th place on the all time list, just behind US Blues and just ahead of Don’t Ease Me In (really?). Last played on June 27, 1995 at the Palace of Auburn Hills, MI.SHOW #4: You Win Again Track No. 20 1:12 – 2:21"You Win Again" is a 1952 song by Hank Williams. In style, the song is a blues ballad and deals with the singer's despair with his partner. The song has been widely covered, including versions by Ray Charles, Jerry Lee Lewis, Roy Orbison, the Grateful Dead, Charley Pride, Bob Dylan, and the Rolling Stones.Hank Williams recorded "You Win Again" on July 11, 1952—one day after his divorce from Audrey Williams was finalized. Like "Cold, Cold Heart," the song was likely inspired by his tumultuous relationship with his ex-wife,"You Win Again" was released as the B-side to "Settin' the Woods on Fire", primarily because up-tempo, danceable numbers were preferable as A-sides for radio play and for the valuable jukebox trade. Nonetheless, "You Win Again" peaked at number ten on the Most Played in C&W Juke Boxes chart, where it remained for a single week.Over a time period of less than one year, the Dead played You Win Again 24 times in concert, the first on November 11, 1971 at the Municipal Auditorium in Austin, TX (this show in L.A. was only the third time it had been played) and the last on September 16, 1972 at The Music Hall in Boston. A version of the song was released on the Europe ’72 album (second album side), from their show on May 24, 1972 at The Strand Lyceum in London, one of the final shows on that tour.JGB recorded a version of the song in 1976 during the Reflections album sessions but not played live again. It was briefly revived by The Dead with Dylan in 2003.OUTRO: Going Down The Road Feeling BadTrack No. 23 3:45 – 5:12"Going Down The Road Feeling Bad" (also known as the "Lonesome Road Blues") is a traditional American folk song, "a white blues of universal appeal and uncertain origin"The song was recorded by many artists through the years. The first known recording is from 1923 by Henry Whitter, an Appalachian singer,[2][3]as "Lonesome Road Blues". The earliest versions of the lyrics are from the perspective of an inmate in prison with the refrain, "I'm down in that jail on my knees" and a reference to eating "corn bread and beans."[4] The song has been recorded by many artists such as Woody Guthrie, Bob Dylan, Skeeter Davis, Elizabeth Cotten, and the Grateful Dead, and the song is featured in To Bonnie from Delaney, "Mountain Jam", Born and Raised World Tour, The Grapes of Wrath, and Lucky Stars.Others who recorded it include Cliff Carlisle (also as "Down in the Jail on My Knees"), Woody Guthrie (also as "Blowin' Down This Road" or "I Ain't Gonna Be Treated This Way"), Bill Monroe, Earl Scruggs, Roy Hall, Elizabeth Cotten and the Grateful Dead, Delaney and Bonnie, Canned Heat and Dillard Chandler.Dead played it 302 times (No. 46 on the most played tunes list just behind a tie between Mama Tried and Terrapin and just ahead of Birdsong). 1st time on October 10, 1970 at Colden Auditorium, part of Queens College in Queens, NY.Last played on July 5, 1985 at the Riverport Amphitheater in Maryland Heights, MO.During the time period of this show it was almost always paired with Not Fade Away (as made famous at the end of the Grateful Dead album). In later years, when Alex and I were regulars on tour, it would show up as a second set tune, usually, but not always after Drums/Space. A very upbeat tune that the band obviously loved playing the crowd loved hearing.For our purposes, a great way to end the show and say goodbye and HAPPY THANKSGIVING. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Full show notes at the publisher"Sounds of '91: Jerry Garcia Band Live and Marijuana News Unveiled"Larry Mishkin focuses on Jerry Garcia music and breaking stories related to marijuana. He introduces a Jerry Garcia Band performance from November 15, 1991, at Madison Square Garden and delves into the details of the songs performed, particularly highlighting "How Sweet It Is To Be Loved By You" and a cover of Bob Dylan's "Simple Twist of Fate." Amidst the music commentary, Larry also addresses significant marijuana-related news, emphasizing recent studies suggesting a potential connection between marijuana use and heart issues. He, however, points out limitations in the studies and emphasizes the need for a more comprehensive examination of the subject..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on SquadcastJerry Garcia BandNovember 15, 1991MSGNY, NYJerry Garcia Band 1991-11-15 FOB Schoeps Brotman Metchick Anon Noel t-flac1648 : Joe Noel : Free Download, Borrow, and Streaming : Internet ArchiveINTRO: How Sweet It Is To Be Loved By You Track No. 2 0:00 – 1:30How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!" Released on Nov. 4, 1964 with Forever on the B-side.Cash Box described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right."[4]AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons.[5] Ankeny commented on the soulfulness of the song, and particularly noted the piano riff.James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album Gorilla (1975).[11]Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US Billboard Hot 100 chart.Long a staple of the JGB’s set lists, First played on September 18, 1975 a Sophie’s in Palo AltoLast played on April 23, 1995 at the Warfield Theater in S.F.Total played 373 times, by far the JGB’s most played tune (Midnight Moonlight is 2d at 344)Usually a show opener.There are three Dead shows on Nov. 13 and six JGB shows. Of those six, none are available on Archivd.org. So I am dong a JGB show two days later on Nov. 15, 1991 from MSG. The standard JGB lineup for that time:Jerry Garcia; guitar, vocals- John Kahn; bass- Melvin Seals; keyboards- David Kemper; drums- Jaclyn LaBranch; backing vocals- Gloria Jones; backing vocalsGreat musicians, great vocals, its 1991, but Jerry is rocking. A fun night with Blues Traveler as the opening act.This show was released as Garcia Live Vol. 16SHOW #1: Simple Twist of FateTrack No. 5 3:00 – 4:40 In 1975, Bob Dylan released his album Blood on the Tracks, which included the song “Simple Twist of Fate.” The song is a haunting ballad about a failed relationship, and many fans have speculated about who Dylan wrote it about. While Dylan has never confirmed the identity of the song’s subject, many believe that he wrote it about his former girlfriend, Joan Baez.Bob Dylan’s message is one of hope and change. He speaks of a world that is better than the one we currently live in and urges people to work together to make it a reality. He also advocates for peace and love, and has said that these are the only things that can truly change the world.Always a big fan of Dylan, Garcia played this song 217 times, the first on July 4, 1976 at the Great American Music Hall in S.F. and the last on April 23, 1995 at the Warfield in S.F. If you are wondering why that April 23, 1995 dates keeps popping up, that was the last JGB show.SHOW #2: Lay Down SallyTrack No. 6 1:40 – 3:15"Lay Down Sally" is a song performed by Eric Clapton, and written by Clapton, Marcy Levy, and George Terry. It appeared on his November 1977 album Slowhand, and reached No. 3 on the BillboardHot 100 chart. It was released as a single with Cocaine on the B-side, quite the heavy hitting release. It was the song of the summer of 1978 and always one of Slow Hand’s favorite songs."Lay Down Sally" is a country blues song performed in the style of J. J. Cale. Clapton explained, "It's as close as I can get, being English, but the band being a Tulsa band, they play like that naturally. You couldn't get them to do an English rock sound, no way. Their idea of a driving beat isn't being loud or anything. It's subtle."Billboard magazine described Clapton's vocal as "low key but earthy" and also praised Marcy Levy's backing vocals.[5]Cash Box praised Clapton's "guitar finesse."JGB covered the tune 54 timesFirst: November 20, 1990 Warfield, SFLast: March 4, 1995 Warfield, SFGets a great crowd reaction and Jerry loves jamming on Clapton tunes.Link to picture of Garcia and Clapton from back in the day: Jerry Garcia & Eric Clapton Pose | Grateful DeadClapton interviewed on the Dead in 1968:Have you heard the Grateful Dead record?A: “Yeah, it’s great.”Peter Townshend said he saw the Dead at the Pop Festival, and called them “one of the original ropeys.”A: “Ropey! That means a drag. I don’t think the quality of their music is as high as a lot of other good recording bands. People are more concerned with live music, maybe, than with recording. I’m not sure of that. I’m guessing. If the Grateful Dead are one of the best, they’re not doing a very good job on record.”What do you think of the guitar playing? Jerry Garcia’s synthesis of blues, jazz and country and western, with a little jug band thrown in?A: “It’s very good, and very tight, but it’s not really my bag.”SHOW #3: Deal Track No. 9 2:46 – 4:15Finally, a Garcia tune! And one of his best.One of the Grateful Dead’s live staples, and many gambling songs is the Robert Hunter and Jerry Garcia collaboration, “Deal”. First performed on February 19th, 1971, the song was in regular rotation until the end, both for the Dead and the Jerry Garcia Band.“Deal” saw studio release as the opening track to Jerry Garcia’s 1972 debut solo album, Garcia, which also contained several other classic Grateful Dead live songs including “Sugaree”, “Bird Song”, “Loser”, and “The Wheel”.It’s also worth noting that the classic folk song, “Don’t Let Your Deal Go Down”, first recorded in 1925 by Charlie Poole and the North Carolina Ramblers contains many similarities to the Grateful Dead song. Hunter was known to pull references from a wide variety of sources in his songwriting, and it is highly likely he was familiar with the tune.JGB played it 291 times in concert. First on March 4, 1978 at the Keystone in Palo Alto, CALast time on April 23, 1995 at the WarfieldGrateful Dead played it 422 timesFirst on Feb. 19, 1971 at the Capitol Theater in Port Chester, NYLast on June 18, 1995 at Giant’s Stadium in East Rutherford, NJ.Longest absence from the rotation was 29 shows from Oct. 2, 1988 at Shoreline in lovely Mountain View, CA and then not again until April 11, 1989 at the Rosemont Horizon in Rosemont, ILYou had to be trying really hard, or just be really unlucky to never catch this tune during those days. I still say it is the best Garcia tune, great music, great tempo, Jerry loved to jam on this tune and his voice really made the song. Almost always a first set closer.SHOW #4: Ain’t No Bread In The Breadbox Track No. 14 1:22 – 3:02Written by Phillip Jackson (September 28, 1951[1] – October 30, 2009),[2] best known as Norton Buffalo, was an American singer-songwriter, countryand blues harmonica player, record producer, bandleader and recording artist who was a versatile proponent of the harmonica, including chromatic[3] and diatonic.In early 1976 Buffalo joined the "farewell" European tour of Commander Cody and His Lost Planet Airmen, and was recorded on the band's final live album We've Got a Live One Here!,[5] which included Buffalo's song "Eighteen Wheels." After the tour, Buffalo returned to California, briefly played with a number of local bands, and later in 1976 he joined the Steve Miller Band's Fly Like an Eagle Tour. He also played harmonica on the band's hit follow-up album Book of Dreams, released in May 1977. Buffalo appeared on the tracks "Winter Time" and "The Stake."By the late 1970s Buffalo had formed his own band, The Stampede, and recorded two Capitol Records albums: Lovin' in the Valley of the Moon and Desert Horizon. In 1977 his harmonica work appeared on Bonnie Raitt's Sweet Forgiveness and The Doobie Brothers' Livin' on the Fault Line albums.He was a member of the Mickey Hart band High Noon in the late 70s and early 80s with Merl Saunders, Mike Hinton, Jim McPhearson, Vicki Randle, and Bobby Vega, and played with Saunders on the Rainforest Band album It's in the Air in 1993.Ain't No Bread In The Breadbox was performed 65 times by the Jerry Garcia Band.First time on Nov. 6, 1991at the Cap Center in Landover, MD (just 9 days earlier but this was already the band’s 7th performance of the tune. Jerry really liked it.The song was played by Phil Lesh with Norton Buffalo, Boz Scaggs and others in 2004. The song was also played by Billy & The Kids in 2021. OUTRO: What A Wonderful World Track No. 19 1:55 – 3:37"What a Wonderful World" is a song written by Bob Thiele (as "George Douglas") and George David Weiss. It was first recorded by Louis Armstrong and released in 1967 as a single. In April 1968, it topped the pop chart in the United Kingdom,[2] but performed poorly in the United States because Larry Newton, the president of ABC Records, disliked the song and refused to promote it.After it was heard in the film Good Morning, Vietnam, it was reissued as a single in 1988, and rose to number 32 on the Billboard Hot 100.[3] Armstrong's recording was inducted to the Grammy Hall of Fame in 1999.In Graham Nash's book Off the Record: Songwriters on Songwriting, George Weiss says he wrote the song specifically for Louis Armstrong, as he was inspired by Armstrong's ability to bring together people of different races.JGB played the song 12 times in concertFirst was on Nov. 6. 1991 at the Cap Centre in Maryland (again, just 9 days before this show, this was the band’s 4th performance of the tuneLast Oct. 31, 1992 at Oakland Alameda County Colisium.Just in the rotation for one year.But who can’t love Jerry channeling his inner Louis Armstrong and harmonizing the Jackie and Gloria. A great way to end a show and send everyone home with a smile and warm fuzzy feeling.A perfect night with Jerry.Mishkin Law, LLC500 Skokie Blvd.Suite 325Northbrook, IL 60062Cell: (847) 812-1298Office Direct: (847) 504-1480lmishkin@mishkin.law .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Full show notes at the publisher"Ruby's Groovy Journey: Cannabis, Music, and the Deadhead Show"
Larry Mishkin shares his excitement about the birth of his granddaughter, Ruby. He discusses how the song "Ruby Waves" by the band Phish may have inspired her name and how the family is already introducing her to great music. Larry also dives into Grateful Dead, sharing details about a 1979 concert from the Spectrum in Philadelphia and highlighting the song "Jack Straw."
Larry then talks about recent Grateful Dead releases and encourages listeners to consider subscribing to annual releases for access to exclusive content. He provides insights into the song "Jack Straw," its lyrics, and the band's performance of it throughout the years. The episode also features the Jerry Garcia Band's song "Rubin and Cherise" and its connection to the love story of Ruby.
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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/
INTRO: Ruby Waves
Phish
July 14, 2019
Alpine Valley, East Troy, WI
Phish - 7/14/2019 - Ruby Waves - YouTube
0:09 – 1:35
Part of today’s show is in honor of my first grandchild, Ruby, born late last month in Georgia. My son Matt is a huge Phish fan and his wife Elena enjoys them too if not quite to the same degree. But they both love this song which may or may not have been the inspiration for their daughter’s name. Regardless, Ruby is wonderful and her father is already playing this clip by her bassinet – she lays there and smiles!
Phish first played the song on June 18, 2019 at the Budweiser Stage in Toronto. Of the 164 Phish shows since that debut, the band has only performed it a total of 27 times (less than 2% of the Phish shows played since its debut), most recently October 11, 2023 at the Erwin Nutter Center on the campus of Wright State University in Dayton, OH. So not only was seeing this song a rarity, but this version is particularly well known as it is from a legendary show at Alpine Valley a few years ago. This particular version of Ruby Waves runs an incredible 38 minutes and was only one of the many highlights from that show (which featured a huge Olivia’s Pool breakout among other big moments). Check out the clip, check out the show, and when you hear Ruby Waves think of little Ruby making her appearance into the world.
Dead
Also featuring the Dead from The Spectrum in Philly 44 years ago today. A year of big transition, Jim Marty’s first Dead show, and some almost under the radar amazing shows, including this one. An eleven song first set followed up by a four song second set (plus drums and space; who do these guys think they are, Phish?) and strong encore. Here is how it all started
SHOW #1: Alabama Getaway
Track No. 1
0:10 – 1:35
This is only the second time the Dead played this song in concert, the first being two nights earlier on Nov. 4th at the Providence Civic Center in Rhode Island. Song would first be released six months later (4.28.1980) on Dead’s album, Go To Heaven. Ultimately played by the Dead 143 times, with an almost five year gap from 1990 – 1994, Jerry brought it back to the stage for a handful of performances in 1995, including the last one on June 2, 1995 at Shoreline Amphitheatre in Mountain View, CA.
Great cultural references to Alabama’s complicated legacy, Bill Bojangles, the Twenty Third Psalm from the Bible and more. Great up-tempo tune usually played as a show opener, although it was known to move around from time to time.
Extended this clip to catch the Brent breakout during the jam. Still new to the group Brent was not shy and made his presence known with authority even in the first year.
SHOW #2: Jack Straw
Track No. 10
3:16 – 4:47
One of the highlights of this show, fantastic version of this crowd pleaser and great jamming tune. Brent again jumping into the mix with his backing vocals and his strong keyboard work filling in the gaps.
Written by Bobby and Robert Hunter, was never released on a studio album but was released on Europe ’72 album.
Originally, Bobby sang all the vocals, but at a show in Paris on May 3, 1972, Bobby and Jerry began trading off vocals on different verses and it stayed that way until the end.
The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.
Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.
Long a staple of live Dead shows, the song was first heard live on October 19, 1971 at Northrop Auditorium in Minneapolis (another legendary show due to it being Keith Godchaux’s first show with the band AND the large number of breakout tunes including Tennessee Jed, Mexicali Blues, Comes A Time, One More Saturday Night, and Ramble On Rose – continuation and new wrinkles to their Americana style that began a year earlier with the releases of American Beauty and Workingman’s Dead and now reflected Keith’s newly introduced input from the grand piano).
Ultimately played by the Dead a total of 476 times putting it very high up on the list of most played Dead tunes.
Last played on July 8, 1995 at Soldier Field in Chicago.
Time for more Ruby
SHOW #3: Ruben and Cerise
Grateful Dead
March 17, 1991
Cap Center, Landover, MD
Grateful Dead Live at Capitol Centre on 1991-03-17 : Free Borrow & Streaming : Internet Archive
2:05 – 2:29
Sweet Ruby dressed in Red is one of the main characters in this Garcia/Hunter song that was first released in April as the opening tune on the JBG’s only studio album, Cats Under The Stars (Run For The Roses is considered a “studio album”).
Although played with some frequency by the Jerry Garcia Band (76 times), the Grateful Dead only played it four times in concert, this clip being their breakout. Last played on June 19, 1991 at Buckeye Lake Music Theater in Thornville, OH. A classic tale of love found and lost set in the Carnival season in New Orleans. Beautiful lyrics for a sad and cautionary tale. Sorry to say I never saw it live by the Dead or JGB. I have seen it since by Phil, JRAD and others. Nice but not close to the same.
Back to the Dead
SHOW #4: Terrapin Station
Track No. 12
8:00 – 9:31
Beautiful Hunter/Garcia epic mulit-part suite with Hunter composing the lyrics during a single sitting one night during a rare Bay Area lightning storm.
On the same day, driving across the Richmond–San Rafael Bridge, lead guitarist Jerry Garcia was struck by the idea for a singular melodic line. He turned his car around and hurried home to set it down in notation before it escaped him. Hunter said "When we met the next day, I showed him the words and he said, 'I've got the music.' They dovetailed perfectly and Terrapin edged into this dimension."[10]
Hunter based the lyrics for the "Lady with a Fan" section on a traditional English folk song known variously as "The Lady of Carlisle", "The Bold Lieutenant" and "The Lion's Den". The ballad is No. 396 on the Roud Folk Song Index. It is also O 25 on the Laws list, which synopsizes "The lady decides to choose between two brothers who love her by determining which is braver. She tosses her fan into a lion's den and asks them to retrieve it."[11] Hunter, who was also influenced by Sir Walter Scott, had composed "Terrapin Station" in two parts, the second never recorded or performed by the Grateful Dead.
Drummer Bill Kreutzmann ironed out the arrangement, explaining "We sat down and mapped it out. I said, 'This is how the song goes.' I showed [Mickey] all the parts that I felt worked really well, he added a couple, and that's what the song is today. We went back into the studio the next night and got it right. With the drum parts worked out, everything else snapped together like puzzle pieces.
As the opener of a four song second set, this is a strong version, jammed out, but not too much is a show highlight. Barely two years old (Terrapin Station album released on July 27, 1977, first performed a few months earlier on Feb. 26, 1977 at the Swing Auditorium in San Bernardino, CA) at this point, you can still hear Garcia playing around with the timing of the lyrics. Ultimately played in concert by the Dead 303 times with the last rendition on July 8, 1995 in Chicago.
An song for fans of fun tales of all ages, I suspect young Ruby will become quite familiar with this tune over time!
OUTRO: Goodbye Ruby Tuesday
Rolling Stones
Live – 1991
The Rolling Stones - Ruby Tuesday (Live) - Official 1991 - YouTube
1:52 – 3:12
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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/
Grateful Dead Live at William and Mary College Hall on 04-15-1978
Rob BleetsteinSirius XM producer / Host on the Grateful Dead Channel and Program Director/Host/Producer - Pearl Jam Radio joins Larry Mishkin and Rob Hunt to share stories from his career in the music industry. As one of the world's foremost authorities on the Grateful Dead, Rob talks about his favorite concerts including the 1978 show at William and Mary College which he attended while in high school.
Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show
Larry Mishkin - https://podconx.com/guests/larry-mishkin
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Dan Humiston - https://podconx.com/guests/dan-humiston
Deadhead Cyclist - https://deadheadcyclist.com/
Jay Blakesberg - https://podconx.com/guests/jay-blakesberg
Rob Bleetstein - https://podconx.com/guests/rob-bleekstein
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/
"Phish's Chicago Adventure: Unpacking the Three-Night Run"
Larry Mishkin talks about his experience at a recent Phish concert in Chicago. He mentions the uniqueness of this Phish show and focuses on their cover songs, specifically mentioning their cover of Talking Heads' "Remain in Light" album and the way Phish adds their signature jamming style to it. Larry also discusses a rare cover of Neil Young's "Albuquerque" and the joy of seeing a band like Phish covering classics. He mentions the fan culture at Phish concerts, including the prevalence of nitrous oxide vendors in the parking lot. He shares his experience over three nights of the concert and highlights the setlist from each night. Larry also talks about Phish covering Little Feat's "Spanish Moon" and its significance, given that it's a rarely played song by Phish.
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/
Phish Weekend in Chicago
October 13 – 15, 2023
United Center
Today is the Phish covers which were spectacular
Play amazing covers by incredible artists – sometimes they dig deep into the other performer’s catalogue to pull out rarities. Other times they cover the hits. This weekend featured some great examples.
INTRO: Cross Eyed and Painless
Phish Cross Eyed and Painless 2023 10 13 Chicago Illinois - YouTube
2:00 – 3:40
October 13, 2023, Second set, out of Tweezer and into Light.
Who doesn’t love a cover of a Talking Heads tune, ANY Talking Heads tune. But this one is special. Second song on Remain In Light, one of the greatest albums of all time. Released on October 8, 1980 by Sire Records, the band’s fourth album. Last Heads album produced by Brian Eno.
Phish debuted the tune on October 31, 1996 at the Phish Halloween show at the Omni in Atlanta, GA, covered Remain In Light as their Musical Costume
Played 62 times overall
They really jam it out in a way the Talking Heads did not.
Always well received and this show was no different
Last played on August 4, 2023 at MSG, 7 shows ago
SHOW #1 Albuquerque
:50 – 2:18
October 13, 2023, First set, out of a killer Ghost and into Saw It Again.
Beautiful Neil Young tune from Tonight’s The Night released in 1975
Phish first played this song on July 26, 1998 at the Starplex Amphitheatre in Dallas, TX.
Played a total of 17 times
Last played on June 11, 2011 at Merriweather Post Pavillion outside of D.C., gap of 457 shows
SHOW #2: Spanish Moon
:50 – 2:05
October 15, 2023, Second set out of Pebbles and Marbles and into A Wave of Hope
Little Feat cover, one of their most popular tunes.
From the album, Feats Don’t Fail Me Now, released in 1974
Phish debuted it live on October 31, 2010 at Boardwalk Hall in Atlantic City when Phish’s musical costume was Waiting For Columbus, the famed Little Feat live album.
Phish has performed it live only 3 times
Last before this show was on February 21, 2019 at Barcelo Maya Beach, Riviera Maya, Qunitana Roo, Mexico, gap of 170 shows
SHOW #3: No Quarter
1:53 – 3:25
October 14, 2023, Second Set, out of Everything’s Right, into Fluffhead
"No Quarter" is a song by Led Zeppelin that appears on their 1973 album Houses of the Holy. It was written by John Paul Jones, Jimmy Page, and Robert Plant. The song became a centerpiece at all Led Zeppelin concerts thereafter, until their final tour. It appears in both the film versions and both live album versions of The Song Remains the Same, released in 1976 and expanded in 2007. It appeared once more in 1994 on Page and Plant's reunion album as the title track. It also appears on Led Zeppelin's 2012 live album Celebration Day, which documented their 2007 reunion performance at the O2 Arena in London. It was re-released on the deluxe edition of Houses of the Holy.
The title is derived from the military practice of showing no mercy to a vanquished opponent and from the brave act of not asking for mercy when vanquished. This theme is captured in several of the song's lyrics. Like "Immigrant Song" two albums prior, it evokes imagery from the Vikings and Norse mythology, with lyrics such as “the winds of Thor are blowing cold.”
Record producer Rick Rubin remarked on the song's structure, "It takes such confidence to be able to get really quiet and loose for such a long time. [Led] Zeppelin completely changed how we look at what popular music can be."
Phish debuted the song on June 1, 2011 at PNC Bank Arts Center in Holmdel, NJ
Phish has performed the song 19 times
Last before this show was on April 23, 2023 at the Hollywood Bowl, gap of 32 shows
SHOW #4 Izabella
:35 – 1:14
October 13, 2023, Encore
Written by Jimi Hendrix, released on Band of Gypsys, released April 8, 1970
Phish debuted the song on June 13, 1997 at The S.F.X. Centre in Dublin, Ireland
Phish has performed the Song 17 times
Last before this show July 30, 2023 at MSG in NYC, gap of 15 shows
OUTRO: Loving Cup
Phish Remastered - 10 - 15 - 2023 - United Center, Chicago, Illinois - YouTube
2:34:50 – 2:36:23
October 15, 2023, Second set, out of Evolve, set closer.
Written by Mick Jagger and Keith Richards, released on Exile on Main Street (1971)
Phish debuted the song on February 3, 1993 at the Portland Expo in Portland, Maine
Interesting because they did eventually cover Exile On Main Street as a Halloween musical costume on October 31, 2009 at the Empire Polo Club in Indio, CA, part of Phish Festival 8.
Clearly one of their favorite covers, and a crowd pleaser, played 148 times.
Last played before this show on August 5, 2023 at MSG, gap of 13 shows
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/
"Middle-Aged and Older Patients Report Improved Health with Medical Marijuana"Larry Mishkin discusses a recent study from the University of Florida which shows that medical marijuana use can lead to lower pain levels and reduced dependency on opioids and psychiatric prescriptions among middle-aged and older chronic pain patients. Participants in the study reported improved physical and mental functioning, better sleep quality, and reduced anxiety. The research adds to the growing body of evidence supporting the therapeutic benefits of medical cannabis for pain management..Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on SquadcastGrateful Dead, October 16, 1989, Melk Weg Club, Amsterdam, the NetherlandsGrateful Dead Live at Club Melk Weg on 1981-10-16 : Free Borrow & Streaming : Internet ArchiveSecond of two night stand at this famous hash bar that only held about 500 people in the room in which the Dead performed. Very cool and famous club in Amsterdam, one of the best known hash bars. Went there one time in 1988 with good buddies Mikey and H. A highlight of our trip.Another good buddy, Freddie Burp, was spending the school year abroad in the fall of 1981 and was one of the lucky ones who were present for this show. He’s a tough guy to get a hold of, but maybe some day I can get him on the show to talk about this concert.INTRO: The Race Is OnTrack No. 8 1:10 – 2:24 Show had an acoustic first set and an electric second set. Many of the songs in the acoustic set we featured a few weeks ago from the September, 1980 show at the Warfield Theater in San Francisco as part of the recordings for the Dead’s Reckoning album. So I went with this one which has always been one of my favorites ever since my good buddy Mikey (who took me to three of my first four shows) used to play it for me as we drove through the northwoods of Wisconsin on nights out from the summer camp where we were spending the summer in 1981."The Race Is On" is a song written by Don Rollins[1] (not to be confused with the Don Rollins who co-wrote "It's Five O'Clock Somewhere" for Alan Jackson and Jimmy Buffett) and made a hit on the country music charts by George Jones and on the pop and easy listening charts by the unrelated Jack Jones. George's version was the first single released from his 1965 album of the same name. Released as a single in September 1964, it peaked at number three on the BillboardHot Country Singles chart and at number 96 on the BillboardHot 100 in January 1965. Jack's version topped Billboard'sEasy Listening chart and reached number 15 on the Hot 100 the same year. The two recordings combined to reach number 12 on the Cashbox charts, which combined all covers of the same song in one listing and thus gave George Jones his only top-40 hit. The song uses thoroughbred horse racing as the metaphor for the singer's romantic relationships. Rockabilly artist Dave Edmunds, in collaboration with the Stray Cats, whose debut album Edmunds had recently produced, recorded a version for his 1981 album, Twangin.... Stray Cats drummer Slim Jim Phantom recalled Edmunds' affection for the song when he was courting the band to produce their debut album: "We met with Edmunds at his house. He had a little pub in his basement. He had a finished basement, outside of London. Edmunds had a jukebox, a little jukebox. He had 'The Race is On' and 'Rockabilly Boogie' by Johnny Burnette. He had those records in his jukebox. We all looked at each other and said, 'This is it.'"[3] Phantom also recalled that the song took "one or two takes" in the studio.[4]Thank you. Covered by: Jack Jones Loretta Lynn Alvin and the Chipmunks for their 1965 album, “Chipmunks a Go Go” Waylon Jennings The Georgia Satellites from 1965 debut album, “Keep The Faith” Elvis Costello And others Dead played it 60times in concert First: December 31, 1969 at Boston Tea Party in Boston Last: May 20, 1995 at Sam Boyd Silver Bowl, Las VegasSHOW #1: Ripple Track No. 9 1:50 – 3:06 We prominently featured this song form the Warfield show and talked about how it was last played ever on Sept. 3, 1988 at the Cap Center. What makes this version we just listened to so special is that this was the last Ripple played by the Dead until the Cap Center show, a seven year gap, and that that was it, no more Ripple. So this is the last accoustic Ripple ever played since the Cap Center was electric. Maybe the most famous Dead tune ever, from American Beauty, Hunter’s lyrics and Jerry’s music mesh together in a way to make this tune not just one of the best Dead tunes ever, but one of the best tunes ever, IMHO!SHOW #2: Hully Gully Track No. 12 0:15 – 1:38 "(Baby) Hully Gully" is a song written by Fred Sledge Smith and Cliff Goldsmith and recorded by The Olympics, an American doo-wop group formed in 1957. Released in 1959 on the album, “Doin’ the Hully Gully”, it peaked at number 72 on the Billboard Hot 100 in February 1960[2] and sparked the Hully Gully dance craze. Covered by: Buddy Guy Chubby Checkers The Ventures The Beach Boys Many others Peter Pan Peanut Butter add jingle in the 1980’s The Dead’s version of this song from this show is the only time they played it in concert.SHOW #3: Gloria Track No. 15 2:15 – 3:45 "Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go” on December 2, 1964. The song became a garage rock staple and a part of many rock bands' repertoires. According to Morrison, he wrote "Gloria" while performing with the Monarchs in Germany in the summer of 1963, at just about the time he turned 18 years old.[6] He started to perform it at the Maritime Hotel when he returned to Belfast and joined up with the Gamblers to form the band Them. He would ad-lib lyrics as he performed, sometimes stretching the song to 15 or 20 minutes. After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day. Alan Henderson (guitar) contends that Them constituted the first rock group to use two drummers on a recording.[7] Although some sources claim that Jimmy Page played second guitar, other sources deny this. Covered by: The Doors – The Doors performed the song several times in 1966 and 1967, with one recording released on Alive, She Cried (1983). It was also released as a single, which reached number 18 on Hot Mainstream Rock Tracks and number 71 on Billboard Hot 100 in 1983.[18] The song is included on Legacy: The Absolute Best (2003) and The Very Best of The Doors (2007). Patti Smith - Patti Smith recorded it for her album Horses in 1975. Based on the Van Morrison tune, the lyrics had been adapted from an early poem, 'Oath'.[5] Smith's band had started to play the song live and merged it with the poem by 1974, so the song contained half of Smith's own words.[5] For the recording of her debut album, Smith and her band recorded the song live and, after mixing, chose it as the album's opener. In 1993, Van Morrison recorded a version with John Lee Hooker, which reached the Top 40 in several countries. For the Dead, this was the first time they played it live in concert. They wound up playing it only a total of 14 times Last played on June 30, 1995 at Three Rivers Stadium in Pittsburgh I was lucky enough to catch it on June 25, 1992 at Soldier Field.SHOW #4: Turn On Your Lovelight Track No. 16 1:03 – 2:33 "Turn On Your Love Light" is a rhythm and blues song recorded by Bobby Bland in 1961. It was both an important R&B and pop chart hit for Bland and has become one of his most identifiable songs. A variety of artists have recorded it, including the Grateful Dead, who made it part of their concert repertoire. was written by band leader and arranger Joe Scott (with an additional credit given to Duke Records owner/producer Don Robey aka Deadric Malone). Scott's brass arrangement "upped the excitement ante"[2] with "the groove picking up momentum as the horns and percussion talk to each other" and Bland's vocal "riding on top". In 1967, "Turn On Your Love Light" became a staple of Grateful Dead concerts, sung by Ron McKernan: a 15-minute rendition is on their 1969 double live album Live/Dead. McKernan's final performance of "Love Light" – complete with extended vocal raps – occurred at the Lyceum Theatre, London, during the Europe '72 tour. Versions with McKernan were often very long due to long vocal raps, instrumental jams, and drum solos throughout. A version performed at the 1969 Woodstock Festival lasted more than 45 minutes.[8] The Grateful Dead later revived the song in the early 1980s with Bob Weir singing. Before this show at the Melk Weg, the last time the Dead had played it in concert was on May 24,1972 at the Lyceum Ballroom in London at the very end of the Europe ’72 tour. In other words, this was the Dead’s first performance of the song without Pigpen on lead. Dead went on to play it a lot after this show right up until the end. Bobby played it well, but never even tried the rap that Pig made famous in his extended versions. No Box Back Knitties when Bobby sang it. Dead played it 355 times in concert! Originally part of the Dark Star>St. Stephen>The Eleven>Lovelight suite of songs that the Dead played constantly during the primal Dead years in the late ‘60’s. First played on August 4, 1967 at the O’Keefe Center in Toronto Last played on June 19, 1975 at Giants Stadium in New Jersey When my good buddy Marc started seeing the Dead in 1984, we joked that every time he went to a show they played Lovelight. Not a bad thing to be associated with. Always fun to hear it in concert even without Pig.OUTRO: Sugar Magnolia Track No. 20 6:30 – 8:05 One of the best Dead tunes of all time and the ultimate show closer. Always nice to add a little Sunshine Daydream to your day! The boys jam the hell out of it here, a 10+ minute version to close out a remarkable one of a kind Dead show. Either you were there or you missed it. What being a Deadhead is all about. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
Full show notes at the publisher"Marijuana and Gun Rights: The Legal Debate Unveiled"
Larry Mishkin welcomes listeners from Minneapolis, Minnesota, where he attended the Michigan University football game and reunited with friends. The episode focuses on a Grateful Dead show from October 9th, 1989, discussing the significance of the band's name change from "Warlocks" to "Grateful Dead." Larry also touches on the ongoing legal debate surrounding medical marijuana patients' rights to own firearms, emphasizing the need to separate the issues of marijuana legalization and gun ownership.
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/
Hampton Coliseum
October 9, 1989
An Evening With The Warlocks
Grateful Dead Live at Hampton Coliseum on 1989-10-09 : Free Borrow & Streaming : Internet Archive
Rob – I know this is one of your favorite Dead shows, if you have time this week!
Intro: Feel Like A Stranger
Track No. 1
3:12 – 4:40
Show No. 1: We Can Run
Track No. 5
4:10 – 5:42
I love that even on a historic night like this there is room for Brent.
Show No. 2: Dark Star
Track No. 13
1:06 – 2:36
Can’t leave this out, it’s why everybody busted ass to get there!
Show No. 3: Death Don’t Have No Mercy
Track No. 15
7:11 – 8:45
Can’t have one without the other
Show No. 4: Throwing Stones
Track No.
7:10 – 8:42
Outro: Attics of my Life
Track No. 20
2:10 – 3:47
The third “oldie” and a great way to close out.
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/
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