Deadhead Cannabis Show

Larry Mishkin, Rob Hunt, Dan Humiston, Jamie Humiston, PodConx
  • 4.7 (24)
  • MUSIC HISTORY
  • UPDATED WEEKLY

Candid 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. Produced By PodConx

  1. Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond

    11/13/2024

    Winterland Arena, 51 years ago, second set highlights: Mississippi Half-Step and Beyond

    Music News: Pink Floyd and Joni Mitchell In this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music.   Chapters 00:00 Post-Election Reflections: Music and Cannabis 08:29 The Grateful Dead's Musical Legacy 14:48 Exploring the Lyrics: To Lay Me Down 21:59 Music News: Pink Floyd and Joni Mitchell 37:06 Weather Report Suite: A Musical Journey 43:10 Second Set Highlights: Mississippi Half-Step and Beyond 49:36 Marijuana Research: Substitution Effects 51:24 Cannabis Use Among Young Adults 56:13 Florida's Marijuana Legalization Initiative 01:05:01 Cannabis as a Tool for Opioid Harm Reduction 01:11:10 Strains of the Week and Cannabis Culture   Larry's Notes: Grateful Dead November 11, 1973 (51 years ago) Winterland Arena San Francisco, CA Grateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive   Happy Veteran’s Day     A very famous show from a very famous year.  Many feel 1973 was the peak of the band’s post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.    This was the Dead’s second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set.   Today’s show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights.   Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”     INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                 Track #1                                                 0 – 2:10   "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965.   Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth.   Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time".   Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band’s last show ever in 1995.    Among those deeply touched by Chuck’s genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us.   The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation.   A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it.   This version really rocks out.  I especially love Keith’s piano which is featured prominently in this clip.   Played:  430 times First:  May 28, 1971 at Winterland Arena, San Francisco, CA, USA Last:  July 9, 1995 at Soldier Field, Chicago, IL, USA     SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                 Track #6                                                 2:21 – 4:20   David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.”   Well, first—wouldn’t we all like to have a day like that!   And, second—what unites these three lyrics, aside from the fact that they were all written on the same day?   Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics: ”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,’ ‘To Lay Me Down,’ and ‘Ripple,’ all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.”   “‘To Lay me Down’ was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace’ and ‘Ripple’—the second day of my first visit to England. I found myself left alone in Alan Trists’s flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down’ were inspired at Hampstead Heath (the original title to the song) the day before—lying

    1h 34m
  2. Remembering Quincy Jones and The Grateful Dead having fun on Stage with the The Jones Gang Incident

    11/08/2024

    Remembering Quincy Jones and The Grateful Dead having fun on Stage with the The Jones Gang Incident

    Phil Lesh: A Tribute to a Musical Icon In this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans. Takeaways This episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites "This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters 00:00Introduction and Context of the Episode 03:45Exploring the Grateful Dead's November 4, 1977 Show 11:34The Jones Gang Incident and Band Dynamics 16:49Music News: Goose and Gen 3 Jam Bands 20:51Tributes to Phil Lesh and Reflections on Legacy 25:30Remembering Quincy Jones: A Musical Legend 30:06Dave's Picks Volume 52: A Review 36:30Celebrating Music and New Releases 38:53Exploring the Grateful Dead's Legacy 44:17Marijuana News and Legalization Efforts 01:01:01Deep Dive into Grateful Dead Performances 01:09:55Closing Thoughts and Reflections   LARRY'S NOTES: Grateful Dead November 11, 1977 (47 years ago) Cotterrell Gymnasium Colgate University Hamilton, NY Grateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive   Dave’s Picks #12   This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit’s legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick’s Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.    Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year.   One of those shows that lots of Deadheads wished they had seen.   This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show.   On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.     INTRO:                     Dupree’s Diamond Blues                                     Track #8                                     2:50 – 4:52   "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree. According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others. Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll blues The term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here.  Debuted in January, 1969 and played a total of 17 times that year.  Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year.  Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery).  From ’82 to ’90 played at least once a year, ’85 was the outlier with 16 performances  Only played two more times, both in 1994.  This is a great version with Jerry’s lyrics and playing both very strong.   The 8th song of the first set following:  GO TO ARCHIVE LINK   A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree’s into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music.   Played:         82 times First:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USA Last:              October 13, 1994 at Madison Square Garden, New York, NY, USA       SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                     Track #10                                     :15 – End   Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening’s proceedings.  Or there is this: Two nights before the Dead played in Toronto at Seneca College’s Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever.   Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening.   Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke

    1h 17m
  3. Remembering Phil Lesh: A Musical Legacy The Legacy of Phil Lesh

    10/29/2024

    Remembering Phil Lesh: A Musical Legacy The Legacy of Phil Lesh

    Phil Lesh: A Legacy of Love and Music In this episode of the Deadhead Cannabis Show, Larry Mishkin pays tribute to the late Phil Lesh, the iconic bassist of the Grateful Dead, who passed away at the age of 84. The conversation reflects on Phil's significant contributions to music, his unique style of playing the bass, and the profound impact he had on the Grateful Dead and the music community. Larry shares personal anecdotes, highlights Phil's musical journey, and discusses the recent tribute by Phish, who honored Phil by performing 'Box of Rain' shortly after his passing. The episode culminates in a heartfelt reflection on Phil's legacy and the love he brought to his music and fans. This conversation reflects on the life and legacy of Phil Lesh, a key figure in the Grateful Dead, discussing his musical contributions, memorable performances, and the impact of his passing. The dialogue also touches on the evolving landscape of marijuana legislation, youth usage trends, and the medical benefits of cannabis, alongside a critical look at political maneuvers in Florida regarding cannabis reform.   Chapters 00:00 Introduction and Tribute to Phil Lesh 10:05 Phil Lesh's Musical Journey and Contributions 17:07 Phish's Tribute to Phil Lesh 25:31 Phil Lesh's Legacy and Impact 36:16 Reflections on Phil Lesh's Life and Music 47:26 Musical Reflections and Setlists 48:51 Remembering Phil Lesh 49:39 The Beatles and Their Impact 52:32 Unbroken Chain: A Grateful Dead Classic 56:16 Marijuana News and Medical Benefits 01:01:30 Florida's Political Landscape on Cannabis 01:11:19 Youth Marijuana Use Trends 01:16:56 Driving Under the Influence of Cannabis 01:24:56 Phil Lesh's Return to Music   Takeaways: Phil Lesh was a pivotal figure in the Grateful Dead. His return to singing 'Box of Rain' was a significant moment. Phil's bass playing redefined the role of the instrument in rock music. Phish honored Phil Lesh with a performance of 'Box of Rain'. Phil's contributions to music extend beyond the Grateful Dead. He was known for his virtuosic bass playing and musical exploration. Phil Lesh's legacy is celebrated by fans and musicians alike. The Grateful Dead created a unique community among their fans. Phil's influence can be seen in many modern jam bands. His passing marks a significant loss for the music world.  Phil Lesh's passing at 84 marks a significant loss for the music community. The Beatles' influence on music is profound, with songs like 'Why Don't We Do It In The Road' showcasing their creativity. 'Unbroken Chain' is a complex piece that highlights Phil's musical genius. Cannabinoids have been shown to provide significant relief for chronic pain with minimal side effects. Bipartisan support for cannabis reform is growing, even in states like Florida. Youth marijuana use has decreased significantly in states that have legalized cannabis. Research indicates that THC levels in blood do not directly correlate with driving impairment. Phil Lesh's love for marijuana and its benefits is well-documented in his music and life. The final performance of 'Box of Rain' encapsulates the essence of the Grateful Dead's journey. Enjoying cannabis responsibly is essential for both health and safety.   Sound Bites: "Phil Lesh was the beating heart of the band." "Box of Rain marked the return of Phil Lesh." "Phil brought immense joy to everyone around him." "Phil Lesh passed away at the age of 84." "Why Don't We Do It In The Road?" "Unbroken Chain is one of the big songs."           .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

    1h 39m
  4. Three Sets At the Warfield: acoustic and electric RIP Kris Kristofferson; Where are the Betty Boards?

    10/08/2024

    Three Sets At the Warfield: acoustic and electric RIP Kris Kristofferson; Where are the Betty Boards?

    Pink Floyd's Catalog Sale: A New Era In this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states.   Takeaways The Grateful Dead's acoustic sets were a significant part of their live performances. Audience tapes capture the energy of live shows better than soundboard recordings. Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling. Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry. The Betty Boards represent a pivotal moment in Grateful Dead tape trading history. The hemp industry faces legal challenges that could impact small businesses. A majority of chronic pain patients support the legalization of medical marijuana. Cannabis enhances the enjoyment of music, as confirmed by recent studies. Record sales in legal marijuana states are reaching new heights, indicating a thriving market. Personal strain recommendations can enhance the cannabis experience for users.   Chapters 00:00Introduction and Context of the Grateful Dead's Music 04:50Exploring 'Iko Iko' and Audience Tapes 10:42The Significance of 'Monkey and the Engineer' 15:24Remembering Chris Christopherson and 'Me and Bobby McGee' 22:31Pink Floyd's Catalog Sale to Sony Music 28:15The Mystery of the Betty Boards 54:16Current Issues in the Hemp Industry 01:08:10Support for Medical Marijuana Legalization 01:15:50The Impact of Marijuana on Music Enjoyment 01:21:09Record Sales in Legal Marijuana States 01:25:53Strain Recommendations and Personal Experiences   Grateful Dead October 7, 1980 (44 years ago) Warfield Theater San Francisco, CA Grateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive   Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band’s sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band’s seventh live album and 18th overall).    Today’s episode is broken up into three acoustic numbers from this show and then three electric numbers.   INTRO:                     Iko Iko                                     Track #1                                     0:00 – 1:37   "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.   The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.    A permanent part of the Dead’s  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.    Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows.   I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end.   Played:  185 times First:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USA Last:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA   SHOW No. 1:         Monkey And The Engineer                                     Track #4                                     0:48 – 2:25   Jesse Fuller tune   Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950’s after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles.   In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone.   In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[   Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish.   A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on!   Played:  38 times First:  December 19, 1969 at Fillmore West, San Francisco, CA, USA Last: February 12, 1989 at Great Western Forum, Inglewood, CA, USA     MUSIC NEWS:                           Intro Music:           Me and Bobby McGee                                                             Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                             0:00 – 1:27   "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.    A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971.   Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time.   In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame.   The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They

    1h 43m
  5. The Evolution of Grateful Dead Covers

    10/01/2024

    The Evolution of Grateful Dead Covers

    Exploring the Grateful Dead's Legacy In this episode of the Deadhead Cannabis Show, Larry Mishkin takes listeners on a nostalgic journey through the Grateful Dead's music, focusing on a concert from September 30, 1993, at the Boston Garden. He discusses various songs, including 'Here Comes Sunshine' and 'Spoonful,' while also touching on the band's history and the contributions of key figures like Vince Wellnick and Candace Brightman. The episode also delves into current music news, including a review of Lake Street Dive's performance and updates on marijuana legislation in Ukraine and the U.S. Chapters 00:00 Welcome to the Deadhead Cannabis Show 03:39 Here Comes Sunshine: A Grateful Dead Classic 09:47 Spoonful: The Blues Influence 14:00 Music News: Rich Girl and Lake Street Dive 24:09 Candace Brightman: The Unsung Hero of Lighting 38:01 Broken Arrow: Phil Lesh's Moment to Shine 42:19 Lucy in the Sky with Diamonds: A Beatles Classic 48:26 Marijuana News: Ukraine's Medical Cannabis Legislation 54:32 Bipartisan Support for Clean Slate Act 01:00:11 Pennsylvania's Push for Marijuana Legalization 01:04:25 CBD as a Natural Insecticide 01:10:26 Wave to the Wind: A Phil Lesh Tune 01:13:18 The Other One: A Grateful Dead Epic   Boston Garden September 30, 1993  (31 years ago) Grateful Dead Live at Boston Garden on 1993-09-30 : Free Borrow & Streaming : Internet Archive INTRO:                                 Here Comes Sunshine                                                 Track #1                                                 0:08 – 1:48   Released on Wake of the Flood, October 15, 1973, the first album on the band’s own “Grateful Dead Records” label.   The song was first performed by the Grateful Dead in February 1973. It was played about 30 times through to February 1974 and then dropped from the repertoire. The song returned to the repertoire in December 1992, at the instigation of Vince Welnick, and was then played a few times each year until 1995.   Played:  66 times First:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USA Last:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA   But here’s the thing:                           Played 32 times in 1973                         Played 1 time in 1974                         Not played again until December 6, 1992 at Compton Terrace in Chandler, AZ  - 18 years                         Then played a “few” more times in 1993, 94 and 95, never more than 11 times in any one year.   I finally caught one in 1993 at the Rosemont Horizon in Chicago with good buddies Marc and Alex.   My favorite version is Feb. 15, 1973 at the Dane County Coliseum in Madison, WI   SHOW No. 1:                     Spoonful                                                 Track #2                                                 :50 – 2:35   "Spoonful" is a blues song written by Willie Dixon and first recorded in 1960 by Howlin' Wolf. Released in June, 1960 by Chess Records in Chicago.   Called "a stark and haunting work",[1] it is one of Dixon's best known and most interpreted songs.[2]Etta James and Harvey Fuqua had a pop and R&B record chart hit with their duet cover of "Spoonful" in 1961, and it was popularized in the late 1960s by the British rock group Cream.   Dixon's "Spoonful" is loosely based on "A Spoonful Blues", a song recorded in 1929 by Charley Patton.[3] Earlier related songs include "All I Want Is a Spoonful" by Papa Charlie Jackson (1925) and "Cocaine Blues" by Luke Jordan (1927). The lyrics relate men's sometimes violent search to satisfy their cravings, with "a spoonful" used mostly as a metaphor for pleasures, which have been interpreted as sex, love, and drugs.   The Rock and Roll Hall of Fame listed Howlin' Wolf's "Spoonful" as one of the "500 Songs that Shaped Rock and Roll".[9] It is ranked number 154 on Rolling Stone magazine's 2021 list of the "500 Greatest Songs of All Time",[10] up from number 221 on its 2004 list.   In 2010, the song was inducted into the Blues Foundation Hall of Fame "Classics of Blues Recordings" category.[12] In a statement by the foundation, it was noted that "Otis Rush has stated that Dixon presented 'Spoonful' to him, but the song didn't suit Rush's tastes and so it ended up with Wolf, and soon thereafter with Etta James".[12] James' recording with Harvey Fuqua as "Etta & Harvey" reached number 12 on Billboard magazine's Hot R&B Sides chart and number 78 on its Hot 100 singles chart.[13] However, Wolf’s original "was the one that inspired so many blues and rock bands in the years to come".   The British rock group Cream recorded "Spoonful" for their 1966 UK debut album, Fresh Cream. They were part of a trend in the mid-1960s by rock artists to record a Willie Dixon song for their debut albums.   Sung by Bob Weir, normally followed Truckin’ in the second set.  This version is rare because it is the second song of the show and does not have a lead in.  Ended Here Comes Sunshine, stopped, and then went into this.  When it follows Truckin’, just flows right into Spoonful.   Played:  52 times First:  October 15, 1981 at Melkweg, Amsterdam, Netherlands Last:  December 8, 1994 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA     MUSIC NEWS:                              Lead In Music                                                 Rich Girl                                                 Lake Street Dive                                                 Lake Street Dive: Rich Girl [4K] 2018-05-09 - College Street Music Hall; New Haven, CT (youtube.com)                                                 0:00 – 1:13   "Rich Girl" is a song by Daryl Hall & John Oates. It debuted on the Billboard Top 40 on February 5, 1977, at number 38 and on March 26, 1977, it became their first of six number-one singles on the BillboardHot 100. The single originally appeared on the 1976 album Bigger Than Both of Us. At the end of 1977, Billboard ranked it as the 23rd biggest hit of the year.   The song was rumored to be about the then-scandalous newspaper heiress Patty Hearst. In fact, the title character in the song is based on a spoiled heir to a fast-food chain who was an ex-boyfriend of Daryl Hall's girlfriend, Sara Allen. "But you can't write, 'You're a rich boy' in a song, so I changed it to a girl," Hall told Rolling Stone.   Hall elaborated on the song in an interview with American Songwriter:   "Rich Girl" was written about an old boyfriend of Sara [Allen]'s from college that she was still friends with at the time. His name is Victor Walker. He came to our apartment, and he was acting sort of strange. His father was quite rich. I think he was involved with some kind of a fast-food chain. I said, "This guy is out of his mind, but he doesn't have to worry about it because his father's gonna bail him out of any problems he gets in." So I sat down and wrote that chorus. [Sings] "He can rely on the old man's money/he can rely on the old man's money/he's a rich guy." I thought that didn't sound right, so I changed it to "Rich Girl". He knows the song was written about him.     Lake Street Dive at Salt Shed  Lake Street Dive is an American multi-genre band that was formed in 2004 at the New England Conservatory of Music in Boston.[1] The band's founding members are Rachael Price, Mike "McDuck" Olson, Bridget Kearney, and Mike Calabrese. Keyboardist Akie Bermiss joined the band on tour in 2017 and was first credited on their 2018 album Free Yourself Up; guitarist James Cornelison joined in 2021 after Olson left the band. The band is based in Brooklyn and frequently tours in North America, Australia, and Europe.   The group was formed in 2004 as a "free country band"; they intended to play country music in an improvised, avant-garde style.[3] This concept was abandoned in favor of something that "actually sounded good", according to Mike Olson.[4] The band's name was inspired by the Bryant Lake Bowl, a frequent hang out in the band's early years, located on Lake Street in Minneapolis.   Great show last Thursday night my wife and I went with good friends JT and Marni and Rick and Ben. Sitting in the back near the top of the bleachers with a killer view of the Chicago Sky line looking west to southeast and right along the north branch of the Chicago River.  Beautiful weather and a great night overall.  My first time seeing the band although good buddies Alex, Andy and Mike had seen the at Redrocks in July and all spoke very highly of the band which is a good enough endorsement for me.   I don’t know any of their songs, but they were very good and one of their encores was Rich Girl which made me smile because that too is a song from my high school and college days, that’s basically 40+ years ago.  Combined with Goose’s cover of the 1970’s hit “Hollywood Nights” by Bob Seger and the Silver Bullet Band it was a trip down memory lane.   I would recommend seeing this band to any fan of fun music.  They were all clearly having a great time.   Katie Pruitt opened and came out to sing a song with LSD.   In 2017, Pruitt was awarded the Buddy Holly Prize from the Songwriters Hall of Fame[4] and signed with Round Hill Records.[5]   Her EP, OurVinyl Live Session EP was released in March 2018.[6] She was named by Rolling Stone as one of 10 new cou

    1h 18m
  6. The Dead Rock The Pyramids, Goose Covers Seger and Nixon lied (again).

    09/16/2024

    The Dead Rock The Pyramids, Goose Covers Seger and Nixon lied (again).

    Candyman and Cultural Contradictions: Grateful Dead’s 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 (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[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 lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (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 Château de Chambord in France, which hosted the world's first son et lumière 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. Here’s 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.   “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview.   The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – 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.   “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981.   “When 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.”   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.   “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” 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.   “And 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,” 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 – 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 – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities.   “It was a sales pitch by the three of us – Alan, Richard and Phil,” 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 – 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:

    1h 32m
  7. A Cannabis-Infused Weekend: Music and Memories at the Miracle in Mundelein

    09/10/2024

    A Cannabis-Infused Weekend: Music and Memories at the Miracle in Mundelein

    "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 – 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 band’s 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 (Brent’s second to last show)     SHOW No. 1:                    Jack Straw                                                 Track #2                                                 4:00 – 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. 1971–72), 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 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.[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 – 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, Jonathan’s fiancé, Bella and Daniel’s buddy AJ.  Different theme to this year’s 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 IncidentUmphrey’s McGeeGalacticSuzanne VegaEurythmicsLettuceGov’t Mule                                               And 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 (/reɪˈkwɒn/, 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, an

    1h 17m
  8. Labor Day Jams: Revisiting Grateful Dead's 1988 Capitol Center Show

    09/03/2024

    Labor Day Jams: Revisiting Grateful Dead's 1988 Capitol Center Show

    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 – 1:34   David Dodd:  The Bob Weir / John Barlow / Brent Mydland song “Hell in a Bucket” directly references the biker scene, and I’m sure that somehow Barlow just wanted to put that element into the band’s repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the band’s songs.   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, she’ll realize that the narrator was really pretty good, at least by contrast.   “Hell in a Bucket” 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 wasn’t 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 – 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 – Dick’sNeil 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 – 4:53   When the Grateful Dead released “Althea” on their 1980 album Go to Heaven, it quickly became a favorite among fans. Robert Hunter, the Dead’s legendary lyricist, was known for embedding multiple layers of meaning in his lyrics. “Althea” is no exception. Jerry Garcia’s soulful voice brings Hunter’s words to life, but it’s the lyrics that leave listeners pondering.   The name “Althea” itself is rooted in Greek mythology. Althea was the Queen of Calydon, whose actions led to her son’s death, reflecting themes of fate and consequence. While the song doesn’t explicitly connect to this myth, the allusion to “your fire” might be a subtle nod to Althea’s tragic tale.   “Althea” was performed live by the Grateful Dead 273 times, making it a staple in their repertoire. Despite McNally’s belief that the band overplayed it in the early ’80s, fans cherished its live renditions. The song’s 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 – 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 – 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.  “Scarlet, into Fire, a great 25 minutes of grooving music and wonderful for “mind exercises” you may be experiencing at that time.   Played:

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Candid 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. Produced By PodConx

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  • Creator
    Larry Mishkin, Rob Hunt, Dan Humiston, Jamie Humiston, PodConx
  • Years Active
    2019 - 2024
  • Episodes
    276
  • Rating
    Explicit
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    © 2019 - 2024 | PodConx | The Deadhead Cannabis Show
  • Show Website
    Deadhead Cannabis Show