"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio" Larry Mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music. .Produced by PodConx
"Tedeschi Trucks Band: Rocking the Garden Party with Warren Haynes and Trey Anastasio"
Larry Mishkin discusses various topics related to marijuana law, culture, and music. He mentions updates on Tedeschi Trucks Band shows, including performances with Warren Haynes and Trey Anastasio. Larry also delves into the history of the song "It Takes a Lot to Laugh, It Takes a Train to Cry," originally written by Bob Dylan, and how it marked a pivotal moment in the transition to electric music. He discusses the Dead's cover of the song and its significance, along with other Dylan covers. Additionally, Larry touches on the Jerry Garcia and Merle Saunders performance from 50 years ago, featuring songs like "Finders Keepers" and "The Harder They Come." He highlights the guest musicians and the significance of these performances within the context of rock and roll history. Finally, he shares insights on Jerry Garcia's cover of "That's All Right, Mama" and its historical significance in the development of rock and roll music.
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/
Going with a Garcia/Saunders show:
October 2, 1973 (50 years ago)
Winterland, S.F.
Band members:
Jerry – guitar and vocals
Merle – Keyboard
John Kahn – bass
Bill Vitt – drums
Guests:
Sara Fulcher – vocals
Matt Kelly – harmonica
Roger “Jellyroll” Troy – bass, vocals
Martin Fierro – sax
Bill Atwood - trumpet
INTRO: It Takes A Lot To Laugh It Takes A Train To Cry
(this one is really from 10.12.1973 at Keystone because the Archive.org show is missing this song as the opener and this is the one closes in date I could find)
7:35 – 9:09
"It Takes a Lot to Laugh, It Takes a Train to Cry" is a song written by Bob Dylan, that was originally released on his album Highway 61 Revisited released Aug. 30, 1965. It was recorded barely a month earlier on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled Bob Dylan's Greatest Hits 2.
An earlier, alternate version of the song has been released, in different takes, beginning with the appearance of one take on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991.
Covered by Steven Stills, Leon Russell, Marianne Faithful, Taj Mahal, Paul Westerberg, Robyn Hitchcock and Lucinda Williams
Dylan’s live debut of the song came as part of Dylan's controversial electric set, backed by members of The Paul Butterfield Blues Band and Al Kooper, at the Newport Folk Festival on July 25, 1965, after "Maggie's Farm".[2][4][5][7] After being heckled during the electric set, and especially during "It Takes a Lot to Laugh, It Takes a Train to Cry", by fans who wanted Dylan to play acoustic folk music, Dylan returned to play acoustic versions of "Mr. Tambourine Man" and "It's All Over Now, Baby Blue".[4][7] The Newport performance of "It Takes a Lot to Laugh, It Takes a Train to Cry" features jamming by guitarist Bloomfield and organist Al Kooper.[4]
Dylan played it live as part of his set in the August 1971 Concert for Bangladesh. This version was included in the concert film and Grammy Award-winning album of the same title.[2]
A. Dead played it 7 times:
first time on June 10, 1973 at RFK Stadium (D.C.) with Allman Brothers
five times in 1991 and once on March 16, 1992 at the Spectrum, Philly
Released on Dead album: Postcards of the Hanging (March, 2002)
B. Jerry’s various bands played it about 60 times,
first time on January 15, 1972 at Keystone Korner in S.F. w/Merle Saunders
Last time by JGB: March 4, 1995 at the Warfield in S.F.
SHOW #1: Finders Keepers
Track No. 1
3:00 – 4:13
Finders Keepers was performed over 20 times by Jerry Garcia with the Garcia/Saunders band, Legion of Mary and Reconstruction between 1973 and 1979.
On the 1973 Garcia/Saunders Keystone double album the song is called Finders Keepers and is correctly credited to Johnston and Bowen. The song was written by General Johnson, a member of the group Chairmen Of The Board, and Jeffrey Bowen, the producer of the Chairmen Of The Board recording. The song was originally released by the Chairmen Of The Board as a single with a vocal version of the song on the A side and an instrumental version on the B-side. Chairmen of the Board is an American-Canadian, Detroit, Michigan-based soul musicgroup, who saw their greatest commercial success in the 1970s.
SHOW #2: The Harder They Come
Track No. 2
1:05 – 2:18
"The Harder They Come" is a reggae song by the Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, in which it is supposed to have been written by the film's main character, Ivanhoe Martin.
In 1969, singer Jimmy Cliff met film director Perry Henzell, who was intending to make a film about a musician who turned to crime. Cliff agreed to take the lead role, and the film was shot over the next two years. During filming, Cliff came up with the line "the harder they come". Henzell thought it would make a good title for the film, and asked Cliff to write and record a theme song for it.[2]
The actual recording of the track, at Dynamic Sounds (Muscle Shoals, 1971), was filmed for inclusion in the movie. Cliff wrote the melody, and improvised the lyrics. The musicians were Gladstone Anderson (piano), Winston Wright (organ), Winston Grennan (drums), Linford "Hux" Brown (lead guitar), Ranford "Ranny Bop" Williams (rhythm guitar), and Clifton "Jackie" Jackson (bass).[2]
Reggae track recorded in Jamaica in 1972
Covered by: JGB (Kean College 2.2.80), Cher, Keith Richards (b-side to his single, Run Rudolph Run 1978), Rancid, Joe Strummer, Wayne Kramer, moe., Willie Nelson, Guster, Widespread Panic and many others
The Harder They Come was performed over 350 times by Jerry Garcia/Merl Saunders groups and by the Jerry Garcia Band between 1973 and 1995. The lyrics and music for the song are included in the Jerry Garcia Songbook. Also played by Phil Lesh & Friends, Billy & The Kids, Voodoo Dead and Bob Weir with Soul Ska.
SHOW #3: That’s All Right Mama
Track No. 3
2:20 – 3:59
Featuring: Bill Atwood on Trumpet and Sara Fulcher on vocals
The song was written by Arthur "Big Boy" Crudup, and originally recorded by him in Chicago on September 6, 1946, as "That's All Right". Some of the lyrics are traditional blues verses first recorded by Blind Lemon Jefferson in 1926.[5][6] Crudup's recording was released as a single in 1947 on RCA Victor 20–2205, but was less successful than some of his previous recordings. One of the experts who consider the Crudup recording to be the "first rock and roll song" is Southeastern Louisiana University rock historian Joseph Burns, who adds that "this song could contain the first ever guitar solo break".
Elvis Presley's version was recorded in July 1954.[10] While recording an album as part of a trio called The Blue Moon Boys, the band played "That's All Right" in between takes, and the uptempo style characteristic of rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded.[11] Its catalogue number was Sun 209.[12] The song was released under its original title, "That's All Right", and names the performers as Elvis Presley, Scotty, and Bill.[13] The Presley version was not identical to Crudup's since it was "at least twice as fast as the original".[2] His version is considered by some music critics as one of the records that was the first in the rock n'roll genre.
A 2004 article in The Guardian argues that rather than Presley's version being one of the first records of rock and roll, it was simply one of "the first white artists' interpretations of a sound already well-established by black musicians almost a decade before [...] a raucous, driving, unnamed variant of rhythm and blues".
Covered by the Grateful Dead once with allman Brothers on June 10, 1973 (RFK great version with Jerry and Dickey Betts trading off lead licks) and once om April 18, 1986 at Berkeley Community Theater
Played regularly by JGB and other versions from the ‘70’s until the end in 1995.
SHOW #4: Second That Emotion
Track No. 5
7:00 – 8:29
"I Second That Emotion" is a 1967 song written by Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles on the Tamla/Motown label in 1967, "I Second That Emotion" was later a hit single for the group duet Diana Ross & the Supremes and The Temptations, also on the Motown label. One morning in 1967, Robinson and Cleveland were shopping at Hudson's, a Detroit department store. Robinson found a set of pearls for his wife, Claudette. "They're beautiful." he said to the salesperson. "I sure hope she likes them." Cleveland then added "I second that emotion." Both songwriters laughed at Cleveland's malapropism; he had meant to say "I second that motion." The two were immediately inspired to write a song using the incorrect phrase.
Was performed a handful of times (7) by the Grateful Dead in April, 1971
First: April 8, 1971 at The Music Hall, Boston
Last: April 29, 1971 at Fillmore East NYC
Part of Jerry’s bands repertoire between 1973 and 1994 (played almost 200 times)
OUTRO: Sweet Little Angel
Track #7
2:20 – 3:59
Written by BB King and Jules Taub in September, 1956
Some say it is an adaption of Black Angel Blues written by Lucille Bogan in December, 1930
In 1956, B.B. King recorded "Sweet Little Angel" (RPM Records 468). According to King, "I got the idea for 'Sweet Little Angel' from Robert Nighthawk's 'Sweet Black Angel', though I later discovered that the song had been recorded by someone before Nighthawk. At the time 'black' was not a popular word, as it is now. Instead of using the old title, I changed it to 'Sweet Little Angel'—and that was a pretty big record for me".[6] King's version, which included a horn section, was a stylistic shift for the song and it became a hit, reaching number eight on the Billboard R&B chart.[7] In 1957, he re-recorded "Sweet Little Angel" for his first album Singin' the Blues. Both versions prominently feature B.B. King's guitar work, with his note-bends "sounding almost like a lap steel in places.”
Larry (00:27.118)
Hello everyone, welcome to another episode of the Deadhead Cannabis Show. I'm Larry Mishkin of Mishkin Law in Chicago and coming to you on October 2nd, 2023. We've got a great show today, some interesting things happening in the world of marijuana law and culture that we're going to address and we're going to talk about. We've got an update on the Tedesky Trucks shows with Warren Haynes in Boston and with
Trey and Nora Jones in Madison Square Garden. And today we're going all Jerry. So let's kick it off with the first song of the day.
Larry (02:43.722)
It takes a lot to laugh. It takes a train to cry. A great Bob Dylan tune. This is Jerry and Merle, and they're playing 50 years ago today, October 2nd, 1973, at Winterland in San Francisco. Now this was during a period of time when they did a lot of shows at Keystone and smaller venues. So even though Winterland was not a huge venue by any measure, it was still larger than a lot of the places where they had been playing.
and uh... they came out this night and they really sizzle now ironically uh... this version of it takes a lot to laugh and it takes a train to cry uh... is just from about ten nights later at keystone the reason being that the archive dot org show for the october second show uh... is missing this opener and uh... one or two of the others from the set so i had to jump over uh... to the keystone show on october twelfth to get this song
The rest of today is all coming from October 2nd, but it was a period of time for Jerry and Merle where they were playing a lot. The Keystone recordings that are so famous with Jerry and Merle were created out of a lot of these sessions. And it was a time when they were really doing a lot of experimenting, right? 70, 71, they were switching over to Americana and all different types of music. And then Jerry and Merle met up and really the rest is history.
What a great tune this is. It's a song that's written by Bob Dylan. It was originally released on his album, Highway 61 Revisited, which was released on August 30th, 1965. It was recorded barely a month earlier in July. The song was also included on an early European Dylan compilation album entitled Bob Dylan's Greatest Hits, Volume Two. An earlier alternate version of the song has been released in different takes, beginning with the appearance
of one take on the bootleg series, volumes one through three. Those are rare and unreleased, 61 through 91. It's been covered by Stephen Stills, Leon Russell, Marion Faithful, Taj Mahal, Paul Westerberg, Robin Hitchcock, and Lucinda Williams, just to name a few. Dylan's live, this is interesting, Dylan's live debut of the song came as part of Dylan's controversial electric set backed by the Paul Butterfield Blues Band and Al Cooper at the Newport Folk Festival.
Larry (05:08.734)
on July 25th, 1965, immediately after Maggie's Farm, which was the first song he came out and played electric. After being heckled during the electric set, and especially during this tune, it takes a lot to laugh and train to cry by fans who wanted Dylan to play acoustic. He did return and played acoustic versions of Mr. Tambourine Man, and it's all over now, Baby Blue. But this performance of it takes a lot to laugh and to train to cry.
featured jamming by both guitarist Bloomfield and organist Al Cooper. Now, what's interesting about this is that he did change after he was getting booed and getting heckled. By that time, the horses out of the barn, as they say, right, there's people who heard the electrical jamming, and I think Dylan went back and listened to it later. And that was such a pivotal moment, I think.
The fact that Bob Dylan was going electric, both in his own personal career and what it meant to a lot of other performers at the time who weren't necessarily like the Rolling Stones or bands that were coming out, even the Beatles who were just playing straight rock and roll, sometimes hardcore rock and roll. But this was a whole genre of music that was now going to be coming online with electric backing. And although there's nothing wrong with acoustic versions of it too, there's many, many of us out there.
uh... who are very happy that the uh... transition over to electric was made and uh... every version of the song i've ever heard uh... that's electric no matter who's playing it is just a wonderful thing so of course that raises the question what about our buddies the grateful dad and they did play at seven times uh... the first time was on june tenth nineteen seventy three at rfk stadium uh... so right around this period of time that we're focused on
And interestingly, that version of it was played with the Almond Brothers on stage with them. That was a big show. We've talked about this show before, June 10th, 73 at RFK with the Almond Brothers. Both bands played their own sets and then they came out for a final set together. And this is one of the tunes they played. And I have to tell you, if you have a chance to check this out, you should, because there are dueling guitar solos.
Larry (07:33.774)
unleashed us for about a minute and a half. And then just a few minutes later, Dicky Betts takes off into an absolutely incredible jam. And maybe someday we'll go and we'll feature this show entirely and really get a taste of all of this. But it was just a wonderful, wonderful show and produced just a killer version of this tune. After that, The Dead played it five times in 91, once more on March 16th, 92 at the Spectrum in Philly. And that was it.
Then they just they tucked it away. Disappointing to Deadheads everywhere, but you know, the Deadhead bigger plans or other things that they wanted to do. The song is actually released by the Dead on their postcards of The Hanging in March, the album March of 2020, excuse me, 2002. And it's a collection of live covers by the Dead of a variety of Dylan songs. And as we've discussed.
at length on this show and I'm sure we will again in the future. Dylan may be the band that the Dead covered more than any other. They covered everything with Bobby singing some of the songs, Jerry singing some of the songs, Phil singing one of the songs. And they just really loved it. They loved his style. They loved his songs. They loved his music. And it was very educational for those of us who are also Dylan fans to have a chance to hear some of these songs.
played in a slightly different way, meaning a full on electric band that was really jamming them out all the way. We talked about how right before the 1986 tour, when they toured with Dylan, and they were trying to have some rehearsals with him, how uncomfortable it was for Dylan initially and when he was determining whether or not he even belonged with the group because sometimes he didn't even recognize the way they were playing some of their tunes. But of course that story had a happy ending and Dylan went back and jammed with them and the 86 tour was wonderful for those who had a chance to see it. There's...
official Dead release of it, Dylan and the Dead, and there's bootlegs everywhere. It's a really, really good tour and a great opportunity to hear these bands just respected the hell out of one another playing together and really making something out of it. Jerry's various bands played the tune somewhere in the neighborhood of about 60 to 70 times. It's hard to get an accurate count. Jerry first played it on January 15, 1972.
Larry (09:57.982)
at the Keystone in San Francisco with Merle. And it was last played by the Jerry Garcia Band on March 4th, 1995 at the Warfield in San Francisco. So even a couple of times, few months before his death, Jerry was still up there cranking out the tune. And it's clearly a song that he loved to play. I would get very animated with it at times, great jams on it, and just a lot of fun. So...
That's where we start off today with this lovely Jerry Garcia Merle Saunders show from 50 years ago. And before we launch into some other stuff, I want to play one more tune here, because this is one of the tunes that originally turned me on to the whole Jerry Merle thing.
Larry (11:56.758)
The name of this song is finders keepers.
Larry (12:01.878)
It's a song that for me opened up an entirely different side of Jerry. It's on the Keystone album with Merle. And in fact, it may be the opening song, if I'm remembering correctly. And it was an album that I was listening to get to other songs at the time that I knew and recognized, but you know, it's on the album and you wind up listening to the entire album. And I was always fascinated by it because it was, it was kind of a jazz fusion, if you will.
all with jerry and murrell no vocals on this version of it and that uh... repeated refrain uh... that they keep playing over and over that was i just found to be absolutely captivating and really uh... made me uh... appreciate jerry and murrell so much uh... the almost who has positively fourth street a great dylan cover uh... a number of other tunes that really turned me on but this finders keepers i thought
was just really something that I would find myself going back to the album sometimes just to play this song once or even twice in a row because I found it so creative and so enjoying. The song was written by General Johnson, a member of the group Chairman of the Board, and Jeffrey Bowen, who was the producer of Chairman of the Board. The song was originally released by the Chairman of the Board as a single.
with a vocal version of the song on the A side and this instrumental version of the song on the B side. Chairman of the board is American Canadian, Detroit, Michigan based Soul Music Group who saw their greatest commercial successes in the 1970s. And I did go and listen to the version with the vocals. And I have to say, it's kind of interesting. Jerry and Merle didn't get into the vocals, they just jammed on the tune.
Which was just as fine sometimes just getting that great kind of jam with a song like that, especially this one, which is so melodic and has so much room to improvise and grow with. That it's just really, really a great song. And it was performed, oh, about 20 times or so by Garcia with the Garcia Saunders band, Legion of Mary band and.
Larry (14:17.106)
one or two others between 1973 and 1979. And then this song too kind of dropped off the radar screen after that, which I think was unfortunate because it is such a nice tune. But once Jerry really started going hard with the Jerry Garcia band, it just was a tune that for some reason didn't get as much playing time and like I say, eventually fell out of the repertoire. But it's worth going back and listening
Larry (14:47.746)
Merle Saunders band performances of this tune, especially from the original Keystone releases. And I think it's one that you'll really, really like. It is just nice to listen to. And I used to joke with my wife when we want to play music when we have people over for dinner. And sometimes, you know, you can put on Garcia, or The Grateful Dead, or whatever. It can be too loud, it can be too this, it can be too that. But this is a great song, like to have background music at a party or when you're having dinner with people and you're looking for a little something that's lively enough to keep
the mood in an upswing and going strong, but not so loud with lyrics or anything that you find yourself either trying to talk over it or dropping out of the conversation to listen to the lyrics. So I'm a big fan of Finders Keepers and it was great that they brought it out that night and this is a really, really fun version of it, a little bit different than the version that's on Keystone, but I think that just speaks to the song's flexibility and the ability
change it up and play it any way they wanted. And they really do a great job of it here. Before we get back into more music from this wonderful Garcia Sanders show, we talked last week about the fact that coming up was going to be two large concerts featuring the Tedeschi Trucks Band. The garden parties they're called it. And this past week on
Tuesday or Wednesday, maybe it was Thursday, they played with Warren Haynes at Boston Garden and then just a couple of nights ago they played with Trae Anastasio and Nora Jones at Madison Square Garden. I guess it was Wednesday and Friday.
Larry (16:46.518)
Fender Road's piano, did a duet with Susan Tedeschi on a first time cover of John Hyatt's Have a Little Faith in Me, stuck around later for the Tedeschi Trucks band live debut of Tom Petty and the Heartbreakers, You Wreck Me, and then Anastasio eventually joined the band for covers of The Who's the Seeker, and two Derek and the Domino's favorites, Bell Bottom Blues and Layla, and recall a couple of years at Locken, Trey did the entire Layla album with Tedeschi Trucks. So...
This was just old home week for him. And of course, The Seeker, I think, is really one of the greatest two songs of all time. That just doesn't get the recognition that it necessarily deserves, but it's just a good hard rocker that comes out and the boys just really jam on it. And so what a fun tune to get to hear all of these, so many great performers coming out and playing that.
I also love that they cover Tom Petty and the Heartbreakers. You Wreck Me happens to be a really, really good song. But you know, Tom Petty and the Heartbreakers, and maybe one day we'll do a show on them, that such a great band that, you know, fit into so many different categories, but notwithstanding the fact that many people could see them as pop or maybe not pop isn't fair to say, but more traditional type rock and roll songs, they were a favorite of, they toured with Tom Petty, excuse me, they toured with Bob Dylan.
uh... they and they covered so many great songs uh... from all different genres of rock and roll tom petty was just such an absolute unique talent and losing him in his uh... early sixties uh... was such a tragedy to the rock and roll scene and i love the fact that uh... Tedeschi Trucks is playing his tunes and that uh... Trey is out there or Nora Jones is out there doing it with them and uh... how great is that uh... when one
tremendous rock and roll band recognizes another tremendous rock and roll band. And we get these kind of songs. Lucas Nelson opened and then returned to the stage later with Jones and Anastasio for a show closing medley of Sly and the Family Stones, sing a simple song, and I Want to Take You Higher. Now, that's great stuff, because Skadevskiy Trucks plays I Want to Take You Higher very regularly in concert. And it's always been one of my favorite Sly tunes.
Larry (19:07.498)
gets covered by different bands from time to time and it's a real crowd-pleaser, you know, it's a true party tune, it's a true just kind of let your hair down and hang loose kind of tune and Tedeschi trucks do a fantastic job with it and you know to be able to have so much talent on one stage for you know one of these group sing-alongs like they always have with the big Rock and Roll Hall of Fame events or things like that where everybody
And normally, you know, you get Forever Young or, you know, one of those kind of tunes that they play all the time. So it's nice to have a little bit of a different one here and be able to just really jam this stuff out with Sly and the Family Stone. It was Tedeschi Truck's first headliner event at Madison Square Garden, which just kind of blows my mind because...
Derek Trucks is no stranger to Madison Square Garden. He's played there with the Allman Brothers and on other occasions, but on the one hand, I say it's about damn time. Tedeschi Trucks is awesome, and they deserve to headline Madison Square Garden on that big stage. They're a band that can certainly pull it off. And then on the other hand, there's always that slight tinge of regret. That, oh my God, this band that I love to go see and it's harder and harder to get tickets for as more and more people discover just how great they are.
transferring to Madison Square Garden for some shows just sends the message loud and clear that you know not that anybody doubted whether these guys were here or not but how mainstream they are and how accepted they are that they're playing in such large venues and selling them out. Now of course as we all know Trey is absolutely no stranger to Madison Square Garden as Fish has played there I believe now more than any other band although I always forget where they stand with Billy Joel because he always has long residencies there too but
I'm sure some of our official listeners can answer that question. But nevertheless, Madison Square Garden is just such a wonderful place to see a show and to get to see so much talent on one stage is hard to top. Except of course, if you looked at the night or two nights before in Boston when Tedeschi Trucks was joined by Warren Haynes. Now this is a huge event.
Larry (21:21.202)
on so many levels. First of all, anytime Warren Haynes shows up to play with anybody anywhere, it automatically makes it a must see or must go back and listen to a concert. Warren brings out the best in the people that he plays with, his multi-talent in rock and roll, his singing, his guitar playing, his love of old deep cut songs, as well as his ability to swing right over to newer ones. Just an amazing man, just an amazing level of talent.
I always kind of wonder if that's what Jerry would have been like if Jerry had taken a little more time to go around and play with other people in other groups and have a chance to modify their sounds. But anytime you get Warren Haynes on stage, you're in for a great night. Now couple it with the fact that of course Warren and Derek Trucks were the heart and soul of the guitar sound for the Allman Brothers for a number of years in their annual residencies in the Beacon Theater.
and everywhere they went and we've talked about the Almonds and for those of us that were too young to ever have had a chance to see Dwayne, I have to believe that Derek Trucks is as close as you can get to channeling Dwayne Allman and when you put him and Warren together it's just this little special energy and music. They know each other so well and it's just wonderful to have an opportunity to have them together on stage again like that and of course they had to dive right into the
a blue sky which, you know, it has to be at the top, if not the top of everybody's favorite Allman Brothers song or tunes. They also covered the Allman Brothers Dreams, they covered Van Morrison's Into the Mystic, and Dr. John Zywok on Gilded Splinters which is a tune that Tedeschi Trucks has been playing with some regularity now over the last year or two. That's a wonderful song, it's always fun to hear Tedeschi Trucks play it. And again to get Warren and his interpretation on there as well.
is just absolutely wonderful. So, and we all talked about how Derek Truckson made a surprise appearance with Fish up at SPAC. We played some music from that and, you know, this is what a fun time. These guys all love each other. They all love to get together. They all love to play. The fans love to see them. I get it that with all of their various schedules it must be a logistical nightmare to try and find a time when they're all available and they're all in the same city or close enough.
Larry (23:47.926)
that they can get together like this. But the thing that I really like about it is how flexible they all are and how Derek Trucks can walk out for a show here, Trey can walk out for a show there, Warren can seem to just drop in on anybody's shows. And it's just really fun. They clearly enjoy it, the crowds love it, and it's a wonderful thing to see. So for those of you who were lucky enough last week to have a chance to drop in on some of those shows, good for you, for those who weren't.
You can find recordings of it just about everywhere and they are they're great recordings great versions of these tunes and other songs that maybe aren't as well known that they play so well and Another round of live music that I would highly recommend people go out and check if you're looking for something to do Musical soundtrack for whatever you're doing on a weekend or a night after work and you're getting together with people
That's just great, great music to be able to have and to sit and listen to, and I would highly recommend it. So now diving back in to our show, Jerry Garcia and Merle Saunders from 50 years ago today. The next song we're gonna play is a song that everybody knows if you listen to just popular music, it's kind of hard not to afford it, even if you didn't even necessarily know the song or where it's from, it's out there and people just tend to sing along with it, so here it is.
Larry (26:28.578)
The Harder They Come is a reggae song by Jamaican singer Jimmy Cliff. It was first recorded for the soundtrack of the 1972 movie of the same name, which is a great movie if you've never seen it. It was supposed to have been in the movie was supposed to have been written by the film's main character, Ivan Hall Martin. In 1969, Jimmy Cliff met film director Perry Hartsall, excuse me, Hensall, who was intending to make a film about a musician who turned to crime.
Cliff agreed to take the lead role and the film was shot over the next two years. During filming, Cliff came up with the line, The Harder They Come. Hensel thought it was a good title for the film and asked Cliff to write and record a theme song for it. It was recorded first track at Muscle Shoals in 1971. Film for inclusion, as we say, in the movie with a great line-up of musicians. Cliff later recorded a reggae track.
of the song in Jamaica in 1972. It's been covered by, again, just a long, long list of who's who. The Jerry Garcia Band covered it, and in particular, they cover it. One of the releases from the Jerry Garcia Band is the Kean College Show from February 2nd, 1980, one of my favorites because it has a great after midnight into Eleanor Rigby.
back into After Midnight, instrumental Eleanor Rigby, that in and of itself is enough to go out and buy that, but then you get this great, The Harder They Come, and a number of other great tunes on that album. So it was covered by Jerry Garcia Band, it was covered by Cher, covered by Keith Richards, B-side to his single, Run Rudolph Run from 1978, it was covered by bands as diverse as Rancid, Joe Strummer, Wayne Kramer, Moe, Willie Nelson, Guster, and Widespread Panic, and so many more.
The song was performed over 350 times by Jerry Merle and by the Jerry Garcia band and other Jerry combinations between 1973 and 1985. The lyrics and music for the song are included in the Jerry Garcia song, but clearly a song with which Jerry was enamored. Now, my apologies, I didn't at the beginning give you enough of a description because in this one, there's, who are these other musicians in the background? Well, on this show,
Larry (28:48.834)
that we're listening to from 50 years ago. We had Jerry, of course, on guitar and vocals, Merle on his keyboard. How about Merle's keyboards on this song? They're in the background and yet featured up front all at the same time. They add a whole atmosphere to the song that I think really is what makes it such a great tune with his strong playing. John Conn, a standard with Jerry on bass, Bill Vitt, another Jerry standard on drums.
But this one included a number of guests. Sarah Falker on vocals, we'll be hearing her in a few minutes. Matt Kelly on harmonica. Roger Jelly Roll Troy on bass and also vocals and we'll be hearing him in a few minutes. Martin Fierro on sax and Bill Atwood on trumpet. Now the trumpet was also very noticeable in this version of the song. And that's just another great thing. Jerry brings in tremendous musicians, tremendous performers. And they all find a way
to make the song fit so that they all have a chance to showcase their talents. And when you take all of that different types of music and it's all combined together, it really creates a very, very special sound. And this is a great example of that from this concert. A song that Jerry just loved and always got a great reaction from the crowd because in college, I guess I could say is when I first really got into Jimmy Cliff. And even before I could tell you that I was a...
you know a huge reggae fan I knew who Bob Marley was and I had heard Bob Marley but this Jimmy Cliff album Is just so tremendous. It was definitely the soundtrack for a large part of my College life in a song an album that would often be played At big parties or even just get-togethers on the front porch drinking beer and watching it pour down rain Meaning we couldn't be outside playing softball or whatever else we'd be doing and it was always an album that would pop up
somewhere in the playlist of people when they were entertaining or when people were just looking for some good music to listen to. And Jerry of course that's right up his alley. He took it and he's really made it a song for himself and it became so popular and so strong within the grateful dead community that Phil Lesh and friends have played it, Billy and the kids have played it, Voodoo Dad have played it, Bob Weir has covered it.
Larry (31:08.35)
Why not? It's just a fun song all the way around. People love it. And it's really, really great to listen to, and really a good one. Now this next song from the show that I want to play is, over the years, become one of my favorite Jerry Garcia covers that he plays. We'll get into the whole history of it in a minute. But while you're listening to this, please listen for.
Bill Atwood on trumpet and Sarah Fulker on vocals. And then we'll come back on the other side and talk about it.
Larry (33:21.058)
That's all right, mama. If you're a fan of the Jerry Garcia band, you know that this song gets played all the time. It's an upbeat tune, Jerry really jamming on the guitar. But this version is just special. Sarah Fulker on vocals is just absolutely amazing and brings a whole nother view with which you can take a look at this song and listen to it and just understand.
What a Fun Song is, it's got a great background. It was written by Arthur Big Boy Crudup. It was originally recorded by him in Chicago on September 6th, 1946, as That's Alright. Some of the lyrics are traditional blues verses, first recorded by Blind Lemon Jefferson in 1926. Crudup's recording was released as a single in 1947 by RCA, but was less successful than some of his previous recordings. One of the experts who considered the Crudup recording to be the first rock and roll song,
southeastern louisiana diversity rock historian joseph burns who has this song could contain the first ever guitar solo break it and it sounds like a rock and roll to write when you're hearing it in and uh... the it's the uh... guitar solo breaks that make this song uh... as special as it is but continuing on with the history elvis presley's version was recorded on july nineteen fifty four
Larry (34:43.746)
the Blue Moon Boys, the band played That's Alright in between takes, and the umptempo style characteristic of rockabilly caught the attention of studio executive Sam Phillips, who asked for a refinement of the interpretation that was later recorded. The song was released under its original title, That's Alright, and names of the performers as Elvis Presley and the Presley version was not identical to Crudup's song, since it was at least twice as fast as the original. His version is considered by some music critics.
as one of the records that was the first again in rock and roll in the rock and roll genre. In 2004, an article in The Guardian argues that Presley's version, being one of the first records of rock and roll, was simply one of the, rather than being one of the first records of rock and roll, was simply one of the first white artists' interpretation of a sound already well established by black musicians almost a decade before. A rock is driving unnamed variant of rhythm and blues. And that's a great line too.
to make sure that people of color and black performers from the early part of the last century who really whose songs form the foundation and the basis for so much of what we call rock and roll today. And this song was so pivotal in that whole transition over. And I love the fact that, you know, Ryder was really willing to call that out and argue that this is not
Elvis Presley creating rock and roll, this is Elvis Presley interpreting somebody else's music that is actually the foundation for rock and roll. Now admittedly, the Elvis phenomenon was such that if he started performing a tune, that instantly gave it credibility to a much larger audience of people who might not otherwise necessarily be as focused in on music being performed by black musicians at the time.
uh... and certainly gave it a national presence uh... anything that presley did and there's strong arguments to be made of course uh... the pivotal role that Elvis Presley played in the rock and roll revolution but it's just important to remember that Elvis was doing it with songs written by a lot of other people a lot of performers of color and it was a sound that he was able to take and uh... again as a white performer
Larry (37:04.094)
it was the way that a lot of this music was introduced to white america and uh... i think most people who have been introduced to it are very thankful uh... about this not only to guys like uh... big boy crud up and other performers who have performed it but that the song and the music is kept alive today uh... most notably by the gerry garcia band who played it uh... regularly
uh... from nineteen will jerry uh... moral legionary any variations you wanted to do but it was a it was a staple of shows that jerry played from the nineteen seventies right up until the end in nineteen ninety five uh... you know one of his last uh... few performances he was still playing it uh... the grateful dead only played at once again with the allman brothers on june tenth nineteen seventy three so if you're again wondering the importance of going out and seeing uh...
boys play together from that period of time. That's just a great show. You know, as I'm going through and doing all of this and I'm looking that up and like, wow, there's another show from June 10th, 1973. But this is a great one. And since putting this show together, I've been going back and pulling out a lot of the live Jerry's and the pure Garcia's and all the Jerry stuff that's been put out. And that's all right, mama's on almost every one of them.
But every one of them sounds a little bit different than the one before. And it's just a great, great tune to listen to. When the Garcia band plays a lot of, uh, a lot of Jerry's music, uh, in, in that, uh, performances tended to be not always quite as rockin and rowdy, uh, as, as dead shows. I mean, definitely played deal and other songs and, uh, others in there, but, but this is a song where Jerry just lets loose and you can just tell how much he loves it, how much he loves the whole.
rock-ability-esque features of it. I'm sure for him, when he was growing up, Elvis was big. There must be a certain amount of joy in being able to play Elvis. And although I couldn't find anything that speaks to it directly, Jerry, being a student of music, must have known all about Arthur, Big Boy Crud Up. And it would be fascinating to find out where Jerry heard it for the first time.
Larry (39:22.566)
and what really inspired him to dive into it, other than the fact that it was just a great showcase, show piece, I should say, for him to just get out there and display his talents. But again, you know, during this, you can hear Merle in the background, just with his great sound. And of course, Bill Atwood on trumpet, and Sarah Volcker with her.
It's that kind of loud, excited, there's almost a sense of urgency in her singing as she's belting it out that just makes it really special and a lot of fun for folks to listen to. I really, really enjoy it a lot. As always, anything we play on this show, strongly, strongly recommend to other people. If you can find it.
Great, go ahead and find it and really enjoy it. And then just go back and listen to its version on other Garcia tunes, and it'll really make you appreciate this version and how special it is. We have more to go from the Jerry Garcia show, but we are going to turn our attention now to the other side of what we do, marijuana.
Larry (40:55.406)
Thank you, Dan. Your song investigation and research is always A plus as we head into these marijuana segments. And of course, that's a tune that Tedeschi Trucks has covered a lot and always leaves people walking out of their shows with a big smile on their face, both because of the music and because, you know, let's all go get stoned. So let's turn our attention to the world of marijuana and see exactly what we got cooking today. First, wanna start off by thanking our friends over at Marijuana Moment.
for all of their great news reporting and the ability for us to be able to lock into some of that and bring this to you both as news and a little bit of conversation and really talk about what's going on. So last week we talked about how the federal government had now changed marijuana usage and whether or not people who use marijuana could get clearance and could work for the government in sensitive positions and the wonderful thing they came up with was that prior marijuana use
would not eliminate you anymore, but current marijuana use would. And we all laughed at that and said, well, you know, that's just not the right way to do it because how often do you have a situation where you're worried about somebody who smoked marijuana 10 years ago, or even five years ago, versus people who test positive right now, meaning that so much of the potential workforce out there, so many of the potential of the people that could really come in and be very good government employees, very talented and skilled people.
are going to automatically get eliminated because they still like to use a product which in their state presumably is legal or even if it's not legal, but we won't go down that road again other than to say that the state of Michigan did it right and the state of Michigan has removed off-site testing if you will. In other words, what they said was
Larry (42:47.994)
We don't penalize people who drink alcohol on Friday night. So why should we penalize somebody who uses marijuana on Friday night? And I have to tell you, to hear something like that just makes me happy. Chase Bolger, who is the chairman of the Michigan Civil Service Commission, said that this was something that they had to do and he made this recognition. We're gonna treat people who drink alcohol and people who smoke marijuana.
We're just going to treat them the same. Thank you, thank you, thank you. This show would argue that it ought to be flipped and that you ought to be treating people who smoke marijuana a little more favorably because if you got high on Friday night, you come into work on Monday, it's long forgotten. If you got really toasted on Friday night and you had a long night bender drinking and drinking by Monday, you still may not be 100%. But nevertheless, this is what a huge step forward. And so, right?
owners of businesses shall not require testing for marijuana as a drug test for a new hire for a position that is not otherwise designated. And they said, obviously, if you want to get a commercial driver's license, if you're operating heavy equipment or machinery, if you're in law enforcement or corrections, a health care provider, if you're working with hazardous or explosive materials, okay, I can understand that. And I think that most people can reasonably understand that. We don't want somebody...
uh... showing up for work who's high by the same token we also shouldn't eliminate people for consideration from doing those jobs because they got high when they were not at work on their own they were on their own time and i think that for so many people that that's what this is really all about right we just want to be able to live our lives we want to be able to uh... do the things we want to do without worrying that just because our choices of things to do
are not part of the popular mainstream yet, that are still maybe frowned upon, and we'll talk about more of that in a minute, that it can be an eliminating factor. And as states go to legal marijuana and as the number of marijuana smokers and people who approve of marijuana smoking in this country continues to rise higher and higher, it seems a shame that so many of these people could potentially be eliminated from work considerations.
Larry (45:12.362)
just because of the method in which they like to intoxicate themselves and relax, or even in some cases, provide medical relief for themselves. And we've had many conversations about all the tremendous health benefits that people are discovering from marijuana. And so this is a good thing. In 2022, the state of Michigan denied 151 people who had already received conditional job offers after they tested positive for marijuana.
As a result of the rule change, just over 200 people who are currently barred from state government jobs can now become eligible to reapply. And that's a great thing. Michigan approved adult use marijuana legislation in 2018. In 2021, Michigan Attorney General Dana Nessel submitted a legal opinion to another state commission arguing that residents fired from jobs for marijuana use outside the workplace are still eligible.
for unemployment benefits. And this is important. Between adult use and medical marijuana sales, Michigan sold nearly $277 million in cannabis products in July of this year, beating a record set months before. The state is seeing these consistent record-setting sales as the average cost of marijuana has remained at record lows with the price of an ounce for adult use cannabis now hovering around $98. In 21, the cost of an ounce was $180, which quite frankly,
for those of us who have been getting high for a long time is unbelievably low. Another bill recently approved or introduced to the legislature in Michigan would legalize psychedelic plants and fungi so long as activities like cultivating and distributing the substance are done without receiving money or other valuable consideration, which is the loophole that we always have to have. You can grow it and you can give it to people, just not for money. But this is just so important to see.
that a state is willing to make this equivalence, if you will, this normalization that, yes, we live in a society where people smoke marijuana, we can no longer ignore it in our state, we've made it legal, and we're raking in the tax shares off of $277 million in cannabis products. So it's not fair to penalize those very same people who are contributing to this by then turning around and saying, oh, you know, if you test positive, you're out.
Larry (47:38.526)
We can't hire you with the government, you can't take government jobs, you can't do anything that might be considered sensitive or this or that or whatever. Even though they're telling these same people, not only are you allowed to go out and purchase these products and consume them, but every dollar you spend is helping to support the state of Michigan. So to be consistent, to be fair, it seems like that's the right way to go. And I think it is the right way to go.
you know, hopefully we'll get to a point where testing is such that, you know, even people who get high the night before work, uh, you know, should be able to go in and there may come a time and, and hopefully not too far off in the future, uh, when there'll be enough understanding and enough normalization that people will say, um, you know, even if you certain jobs, of course, you know, I don't want the guy who's flying my airplane necessarily, uh, to be high or drunk at the time of, uh, takeoff and landing and all of that other stuff.
But if you're a desk worker, if you're a research worker, if you're somebody whose job doesn't directly interact with other people or doesn't in a way that doesn't involve people's safety or anything else like that, again, I'm not advocating that people should be going out and getting stoned all day long, but for some people who rely on marijuana for medicinal reasons, whether it helps calm them mentally or helps them.
with physical limits, for some people, smoking marijuana during the day is a necessary component of getting through the day. And it, you know, again, depending on the types of jobs these people have, it would seem unfair to deny them the access to what they call their medicine, and rightfully so, because nobody says, if you're on psychotropic drugs, which you get prescribed to you and you take on a regular basis, sure, everybody takes those in the morning before they go to work. So why shouldn't somebody be able to...
uh... consume some marijuana uh... in the morning or in the afternoon or really whenever they want again so long as you're responsible you get your job done you don't drive while you're intoxicated you know you don't do other things like that and again i'm walking a fine line here because i'm not advocating that people should be allowed to sit at their desks all day and get high but i am advocating that we have to be as a society open and understanding knowledgeable and sensitive to what we're doing
Larry (50:00.69)
and as marijuana moves in and everybody who likes marijuana understands what's going on with it, the rest of society still doesn't really quite understand what's going on with it. For me, that raises some really, really interesting situations from time to time. For instance, how do we wind up in a situation where groups of people get together and they drink freely, but yet the marijuana side of it is still kind of hush-hushed or pushed off to the side?
oh, it's okay to have a couple of bottles of alcohol or wine on your counter when people come over. Oh yeah, I'll have a drink, but you know, for a lot of people if they walk over and they see a bong or a bag of marijuana sitting there, they might react very, very differently to it. People will sit around and say, oh gee, still smoking marijuana, man, so many years after college. Of course the response always is, yeah, but you're still drinking beer so many years after college. It's hard to understand why alcohol consumption is so widely accepted in society, so widely accepted
uh... everywhere even though we all know the dangers of it but you know it's become part of society they serve it on airplanes they serve it at parties that you know that they know how come you're not an alcohol drinker if we're gonna go out you have to have a bottle of scotch you know to be a real businessman or you know nobody can be a real gourmet diner without a full appreciation of red wine and all of this and all of that it's gonna take a long time folks for us to get there but there will come a day uh... when people who consume cannabis will be able to
discuss it freely talk about it freely displayed freely uh... i've just heard of a wedding uh... that i think is wonderful where people went to the reception afterwards and they had a wine bar they had uh... buffet of food and they also had a marijuana bar you could go over there and do one hits or bonk hits or whatever you wanted uh... because the host recognized for a lot of their guests marijuana was there uh... was there substance of choice
for celebrations and things like that. Now you just don't see that very often. Heck, I didn't even have it at my son's wedding. It wasn't even an option for my son's wedding. Not that people at weddings and everywhere will still go out and do that kind of thing. But as a society, notwithstanding its presence everywhere now, the financial benefits that municipalities and states are finding from it, the reduction in crime and everything else as we talk about it, people still can't quite get their heads around.
Larry (52:22.678)
marijuana as a normal substance, as a substance that people like to use, prefer to use. And I think that as a society, that's something that we really have to strive to achieve so that it is a normal thing. And people won't necessarily judge you any harsher than they would if they saw you drinking a beer if they see you smoking a joint. And I think that rulings like this by the state of Michigan help us as a society move towards that.
normalization goal. So I'm happy to see that Michigan is doing it. I would like to see other states doing it. I would like to see the federal government finally get around and make that full connection and allow it to be something that we as a society just accept and aren't going to be unnecessarily judgmental over. There's people out there who enjoy this and there's no reason for their lives to be made any more difficult.
because of these things. So hats off to the state of Michigan. Good for them, very nice to see. A topic we've been covering for a long time, the marijuana banking bill was amended this past week in Senate committee markup. So there was an amendment adopted by the Senate banking committee, and the treasury secretary would now be given one year instead of 180 days to issue updated guidance to financial institutions that work with cannabis businesses.
was first released under the obama administration in twenty fourteen uh... that guys requires banks credit unions and depository institutions to submit as they are suspicious activity reports if they service the cannabis industries now the bill was amended with technical changes on language to language on how marijuana related transactions should not be considered proceeds from an all lawful activity will of course guys if you're going to have banking the whole point of the baking is to get rid of the s a r's and to get rid of all of this work that is
uh... making it so difficult for banks have been it's there since twenty fourteen federal banks have been allowed to do have allowed to transact business with marijuana companies uh... but they have to submit these SARs so if they're an SAR in a typical transaction is you go into a bank and you try to withdraw more than ten thousand dollars in cash or deposit more than ten thousand dollars in cash the bank is required to fill out an SAR uh... do we think that this is a part of uh... illegal activity do we think this is contraband
Larry (54:47.702)
you know that kind of a thing and they can say something like nope this we got this cash but this guy runs a cash business we've checked it out this is normal versus you know we're very suspicious uh... about this person who comes in uh... you know with all these twenty dollar bills on a fairly regular basis and doesn't seem to have illegitimate business operation going anywhere and then if the fed see that you know that they can decide to step in the bank and decide to toss the person out uh...
Larry (55:15.362)
But language that was also revised requires the federal report on availability of access to financial services for minority owned, veteran owned, women owned, tribal community owned and small state sanctioned marijuana businesses. Yes, these again, not everybody but especially groups like that who don't otherwise have access to traditional banking services must be able to get that and it's very, very important.
Now much of the focus on the negotiations has been on Section 10. We talked about this last time, the Secure and Fair Enforcement Regulations, the Safer Banking Act, which concerns preventing federal regulators from taking discriminatory enforcement against any industry, which is a language favored by Republicans. The section was amended in several respects. One key change that seems responsive to issues raised by Senator Kevin Kramer, Republican of North Dakota, would strike a provision.
that would have given regulators discretion to request or impose penalties for a reason determined to be valid in the discretion of the agency, and that it was further revised to include businesses owned by government agents of China and Russia in a list of potential national security and illicit finance threats that may warrant suspicion by regulators. So I don't know, there's just a whole lot of stuff getting wrapped up in this still.
uh... chuck schumer pledged to bring the cannabis banking bill to the floor now as quickly as possible he's committed to attaching linda legislation to incentivize state local cannabis expungements and gun rights from marijuana consumers it's become clear however the lawmakers intend to seek further revisions when it reaches the floor and potentially crosses over to the house uh... for example representative blaine loot at luten kamer uh... republican from missouri on the house financial services committee where the bill would likely
would likely be referred upon Senate passage said that even after being amended, Section 10 still gives broad discretion to banking supervisors that could enable politically motivated discretion. And he goes on to say in its current state, the Safer Banking Act will not make it through the House. So, big headline, lots of great news and stories behind this. People get excited. People see what's trying to be done. But at the end of the day, politics are politics.
Larry (57:27.95)
And although we've talked about Republicans like to get high and Republicans, this is a very bipartisan issue, we can see that when it gets down to brass tacks, in fact, it can still be a very political issue. And anytime we're getting to a level of federal control, we're always going to have disagreements between Democrats and Republicans. And so on this side, on this one, we do have Republican pushback. And really what's fascinating here also is that typically, the bill,
versions of the safe bill have been passing right through the House of Representatives by large majorities and it's the Senate where they've got bogged down and now under the SAFE Act we're seeing based on ways it's being amended that the anticipation is even if it makes it through the Senate, it might run into trouble in the House. So just to repeat a line from my good friend Rob Hunt, unfortunately this just doesn't seem to be going anywhere where we'd like it to be going.
anytime soon and it's out there in the news and everybody sees it and everybody talks about it. Everybody gets a lot of confidence and the stock prices go soaring up because people see this and then a week later, once again, the reality of it's not going to make it through the House, it's not going to make it through the Senate hits, then the stock prices crater back down. Everybody says, oh my God, what happened? I'm taking the Rob Hunt approach. I'll believe it when I see it. Until then, I'll keep talking about it and reporting on it.
But I'm not making any plans or any changes, and I'm not advising my clients to make any plans or any changes because the hope that this will change anytime soon unfortunately really just remains a hope and isn't necessarily getting us any closer to the realization of full banking services. And again, do not be fooled by people who say there's full banking services. It is allowed legally. But with so many...
bells and whistles and potential land mines for the banking industry, that it's no wonder such a large segment of the banking industry still refuses to touch cannabis. And those few that are willing to get involved with it impose ridiculously high fees and expenses and their own requirements that this long into it. Remember, 2014 was when Colorado and Washington went legal, and here we are 10 years later, and we still don't have a federal banking system that takes this.
Larry (59:48.854)
this industry into account. And that's just not right. That's really, really a shame. And again, I think so much of it has to do with the negative thoughts about marijuana that are out there, the negative press that it gets, the people who are against it yelling and screaming. But as this show always does, we will never fail to take an opportunity to kick those people very strongly in the ass. And our final marijuana story today, tell me if you haven't heard this one before. Young adults had significant reductions
in marijuana use after legalization. This time, however, it's found in a study published by the American Medical Association, the AMA, which is the leading physician's association in the country, and they found that young adults who used marijuana frequently before legalization showed significant reductions in use and consequences following the policy change according to a new study.
of data published by the American Medical Association that challenges the widespread worry that ending prohibition will lead to a dangerous rise in youth cannabis. Consumption did kick up slightly among young adults who claim not to have used marijuana prior to legalization, but that slight rise didn't lead to a corresponding increase in cannabis-related consequences, says the study which was published last week in JAMA, the Journal of the American Medical Association.
These findings suggest that cannabis legalization, high-risk young adults show different patterns of change. Those using cannabis frequently pre-legalization exhibited reductions consistent with aging out, and those not using cannabis pre-legalization exhibited modest increase in use over time. And so they note that despite common fears that legalization might lead to higher rates of teen marijuana use, there is a dearth of research.
focusing on this population. In all jurisdictions where cannabis legalization takes place, a key concern has been that cannabis use and related harms would increase among youths and young adults due to easier access, growing social acceptability, declining perception of harm, lower prices, a wide array of products and modes of use, and increasing product potency. The study acknowledges, noting that young adults typically have the highest rate of cannabis use as well as the highest prevalence of any potential issues arising out of that.
Larry (01:02:11.578)
Nevertheless, it continues. There have been few longitudinal studies examining the impact of legalization, which represents a substantial research gap. So, what does this mean overall? That once again, legalization of marijuana not only does not lead to an increase in teenage use, it leads to a decrease in teenage use. People don't like to hear this. People argue against marijuana. People say, nope, we don't believe that.
That's just propaganda put out by the marijuana industry. But one by one, we've been seeing mainstream medical groups coming back, and not just medical groups, other groups that go out and do these studies, and consistently across, and this has been consistent since when I attended my first MJ Biz Conference in Seattle in 2013. This was a topic that was being discussed. When I went to my first normal legal committee meeting in 2014,
This was a huge topic of conversation. Paul Armentano and Mason Tavert and Steve Fox in their book, they were showing results of this ages ago. And now finally AMA has gotten on board with it. And hopefully when you see that you say as a result of it, that more and more people will get on board with it. And maybe this leads to some relaxed testing rules. Maybe this leads to opening up businesses, banking, because nobody says, well, I don't want to be part of an industry that's polluting or corrupting the minds of our.
of our youngsters, but there's no medical basis not to. We're not polluting teenagers. Teenagers are reducing the amount of marijuana they smoke. Why? Maybe because if your parents are smoking it, it's just not cool. That's a popular theory. That works for me, but at the end of the day, the reason isn't what's important. What's important is that we have seen that legalizing marijuana for consenting adults who want to use it responsibly in no way.
helps promote an increase among teenagers. So please, all of you anti-prohibitionist folks out there, can we just drop that argument once and for all and not have to keep coming back and making a big fuss about it, and accept the fact that marijuana does have a reasonable place in society, and that by doing it, we're not sacrificing the next generation for this generation's enjoyment. So very, very important stuff. I would really hope that people would get around to this once and for all and really understand what we're talking about.
Larry (01:04:38.571)
And there's no better way to say that than this next tune from our show from 50 years ago.
Larry (01:06:15.938)
So you would have to have been living under a rock your whole life not to know this song. I second that emotion is 1967 or song written by Sonny, Smokey Robinson and Al Cleveland. First charting as a hit for Smokey Robinson and the Miracles in 1967. It was later a hit single for group duet, Diana Ross and the Supremes and the Temptations. Also on the Motown label one morning in 1967.
The story goes Robinson and Cleveland were shopping at Hudson's, a Detroit department store. Robinson found a set of pearls for his wife Claudette. They're beautiful, he said to the salesperson. I sure hope she likes them. Cleveland then added, I second that emotion. Both songwriters laughed at Cleveland's malpropism. He had meant to say, I second that motion. The two were immediately inspired to write a lovely song using this very, very incorrect phrase. It was performed a handful of times.
total by the Grateful Dead in April of 1971. One month and then it was gone. They played it the first time on April 8, 1971 at the Music Hall in Boston. They played it for the last time, not even, or just barely 20 days later on April 29, 1971 at the Fillmore East. On the flip side, the song was always part of the Jerry Band's repertoire from 1973 through 1994 and they estimate Jerry must have played it well over 200 times.
uh... one of his favorite songs to play a song that you never get tired of as we were just saying before uh... let's get marijuana out there let's make it accessible let's stop all these crazy uh... fights against it second that emotion man and let's make this all happen so uh... a timely tune there jerry play and smoky robinson uh... more good stuff so uh... we're once again getting to the end of our time here uh...
producer Dan is giving me those frantic signals which says I've somehow once again managed to slide past an hour but quite frankly folks we're sitting here talking about the Grateful Dead in marijuana it gets hard to stop right this is good stuff love talking about it love thinking about it love listening about it and you know love trying to help us move towards a way where everybody's smoking freely without all of these hang-ups around us and being able to listen to our wonderful Grateful Dead music wherever
Larry (01:08:32.974)
and whenever we have a chance to do so. We're going to sign out here in one second with a final song from this October 2nd, 1973 show. It's called Sweet Little Angel. It was written by B.B. King and Jules Taub in September of 1956. Some say it's an adaption of Black Angel Blues written by Lucille Bogan in December 1930. And we talked about Lucille Bogan last week
other tunes that the Grateful Dead have played that she had a hand in writing. As far as this song goes, in 1956 B.B. King recorded Sweet Little Angel and according to King, I got the idea for Sweet Little Angel from Robert Nighthawk's Sweet Black Angel, though I later discovered that the song had been recorded by someone before Nighthawk. At the time, black was not a popular word as it is now. Instead of using the old title, B.B. King says I changed it to Sweet Little Angel and that was a pretty big record for me.
King's version, which included a horn section, was a stylistic shift for the song. And it became a hit, reaching number eight on Billboard in 1957. He re-recorded Sweet Little Angel for his first album, Singin' the Blues. Both versions prominently feature B.B. King's guitar work, with his note bend sounding almost like a lap steel in places. And Jerry and Merle and the gang really just kill it here. Another great tune for them to play.
another great tune with a really interesting background and overall just a beautiful tune. So I'm gonna leave you all with Sweet Little Angel by Jerry Garcia and Merle Saunders, 50 years ago today. Everyone have a great week. We'll have more wonderful stuff to talk about next week, more great, Grateful Dead music, and we hope you will tune in then. Please be safe and enjoy your cannabis responsibly. Thank you everyone.