"Changing Beats: Goose's Drummer Departure and New Musical Ventures" Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news.
"Changing Beats: Goose's Drummer Departure and New Musical Ventures"
Larry Mishkin dives into a live performance of the Grateful Dead's Mardi Gras Show from 1986. The discussion highlights the additional set by The Nevels, a brief comparison of songs played, and the significance of the venue, Kaiser Convention Center. The conversation transitions to Goose, a contemporary jam band, announcing a change in drummers and their new album release. Larry also touches on the Grateful Dead's record-breaking achievement of having the most Top 40 albums on the Billboard 200. Lastly, it explores the origins and themes of the Grateful Dead's song "Cassidy," drawing connections to individuals associated with the band and the Beat Generation. Throughout, there's a mix of musical analysis, historical context, and personal anecdotes, offering a comprehensive exploration of the music and culture surrounding these iconic bands plus the latest cannabis news.
Grateful Dead
February 12, 1986 (38 years ago)
Henry J. Kaiser Convention Center
Oakland, CA
Show Title: Dead and the Neville Brothers Rock Oakland Celebrating Mardi Gras
A short Dead show by Nevilles played a set after turning it into a marathon evening of great music
INTRO: Sugaree
Track #3
Start – 1:35
Jerry comes out smoking on this crowd favorite to get things rocking (second song after Hell in a Bucket). Released on the Jerry’s first solo album, Garcia, in January, 1972.
Played 362 times
1st at on July 31, 1971 at the Yale Bowl in New Haven, CN six months before its release
Last played on July 8, 1995 at Soldier Field in Chicago
Kaiser Convention Center is a historic, publicly owned multi-purpose building located in Oakland, California. The facility includes a 5,492-seat arena, a large theater, and a large ballroom.[2] The building is #27 on the list of Oakland Historic Landmarks.,[3] and was listed on the National Register of Historic Places in 2021.[4]
The building is located at 10 10th Street, in the Civic Center district of the city. It is next to the Oakland Museum, Laney College, Lake Merritt, and near the Lake MerrittBARTstation.
he Beaux-Arts style landmark was built in 1914; the architect was John J. Donovan.[3] The structural engineer was Maurice Couchot.[5] Originally known as the Oakland Civic Auditorium, it was renamed in honor of Henry J. Kaiser after a 1984 renovation.
The city closed the facility in 2006 and its future was uncertain for a decade.[1] In 2006, Oakland voters defeated a ballot proposition advocating a library space in the building.
The facility was owned by the City of Oakland until 2011, when it was sold to the local redevelopment agency for $28 million.[6] However, the redevelopment agency was dissolved by the State of California in 2012,[7] so ownership reverted to the city of Oakland.
In 2015 the city chose a local developer, Orton Development, Inc. to renovate the facility. The plans are to turn it into a commercial space, with the Calvin Simmons Theater being renovated as a performing arts venue. The building is also supposed to be registered as a national historic landmark.
In the 1950s and 1960s the Roller Derby played there hundreds of times.
Elvis Presley performed at the convention center on June 3, 1956, and again on October 27, 1957.
On December 28, 1962, Martin Luther King Jr. spoke to an audience of 7,000 at the auditorium to mark the 100th anniversary of the Emancipation Proclamation.[13]
Ike & Tina Turner performed at the Oakland Auditorium on January 13, 1967.
From 1967 through 1989, the Grateful Dead, an American rock band, performed at the convention center 57 times. Their first 23 concerts at the convention center were billed at "Oakland Auditorium", and later, starting in 1985, the venue changed to "Henry J. Kaiser Convention Center". In the 80's the band started performing "runs" of shows over the course of three to seven days.[
SHOW No. 1: Tons of Steel
Track # 4
1:07 – 2:40
A “new” Brent song, released on In The Dark in 1987. Love the harmonizing with Phil – “She wasn’t built to travel at the speed a rumor flies, these wheels are bound to jump the tracks, before they burn the ties.” Crowd loves it too – any excuse to hear Phil sing – this is just about a month before the Hampton show where Phil broke out Box of Rain, Deadheads couldn’t get enough of him.
David Dodd:
Brent wrote the words and music for “Tons of Steel.” It was first performed on December 28, 1984, at the Civic Auditorium in San Francisco (now Bill Graham Civic). The other first in the show was "Day Tripper." I was there! It sounded like a hit to me. But then, I was completely disconnected from whatever it was that passed for hit-making in the 1980s.
It was performed fairly regularly throughout 1985 through September 1987, making its last appearance on September 23 at The Spectrum in Philadelphia. That seems odd to me, because it was dropped from rotation just a little more than two months after it was released on In the Dark, in July. Any thoughts?
So, it’s a song about a train. One of the prime motifs in Grateful Dead lyrics. Quick—name five Grateful Dead songs with trains! No peeking!
What do trains evoke in Dead lyrics? Everything from danger (“Caution,” “Casey Jones”) to adventure (“Jack Straw”) to love (“They Love Each Other”) to farewell (“He’s Gone”) to whatever that thing is that we feel when Garcia sings about wishing he was a headlight... (and take a look at the back cover of Reflections sometime).
Played 29 times
First played December 28, 1984 S.F. Civic Auditorium (NYE run)
Last played September 23, 1987 at the Spectrum, Philly
SHOW No. 2: Cassidy
Track #6
2:20 – 4:09
"Cassidy" is a song written by John Barlow and Bob Weir[1] and performed by the Grateful Dead, Ratdog, and Phil Lesh & Friends.[2] The song appeared on Bob Weir's Ace, and the Grateful Dead's Reckoning and Without a Net albums.[3]
The song was named after Cassidy Law, who was born in 1970 and was the daughter of Grateful Dead crew member Rex Jackson and Weir's former housemate Eileen Law.[1] The lyrics also allude to Neal Cassady, who was associated with the Beats in the 1950s[4] and the Acid Test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of Barlow's father.[5]
The song was quoted in the admiring and admirable obituary of Barlow in The Economist.
One of my favorite songs, a great sing a long.
I really like this version because it gets nice and trippy. Always good for a helping define the mood of the show, usually about mid to late first set. A very fun tune.
Played 339 times
1st: March 23, 1974 at the Cow Palace in Daley City, just outside S.F.
Last: July 6, 1995 Riverport Amphitheatre, Maryland Heights, MO outside of St. Louis
SHOW No. 3: Willie and the Hand Jive
Track # 14
1:23 – 3;05
Played with the Neville Bros. but without Phil who left the stage for this one song.
Willie and the Hand Jive" is a song written by Johnny Otis and originally released as a single in 1958 by Otis, reaching #9 on the Billboard Hot 100 chart and #5 on the Billboard R&B chart.[1][2] The song has a Bo Diddley beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation,[2]though Otis always denied it.[3] It has since been covered by numerous artists, including The Crickets, The Strangeloves, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood, The Bunch, and in live performances by The Grateful Dead.[4][5] Clapton's 1974 version was released as a single and reached the Billboard Hot 100, peaking at No. 26. Thorogood's 1985 version reached No. 25 on the BillboardRock Tracks chart.
The lyrics tell of a man named Willie who became famous for doing a hand jive dance.[1][2] In a sense, the story is similar to that of Chuck Berry's "Johnny B. Goode", which tells of someone who became famous for playing the guitar and was released two months before "Willie and the Hand Jive".[1] The origin of the song came when one of Otis' managers, Hal Ziegler, found out that rock'n'roll concert venues in England did not permit the teenagers to stand up and dance in the aisles, so they instead danced with their hands while remaining in their seats.[2][5] At Otis' concerts, performers would demonstrate Willie's "hand jive" dance to the audience, so the audience could dance along.[2] The dance consisted of clapping two fists together one on top of the other, followed by rolling the arms around each other.[2] Otis' label, Capitol Records, also provided diagrams showing how to do the hand jive dance.
Eric Clapton recorded "Willie and the Hand Jive" for his 1974 album 461 Ocean Boulevard. Clapton slowed down the tempo for his version.[12] Author Chris Welch believes that the song benefits from this "slow burn".[12]Billboard described it as a "monster powerful cut" that retains elements from Clapton's previous single "I Shot the Sheriff."[13]Record World said that "Clapton slowly boogies [the song] into laid-back magnificence.
George Thorogood recorded a version of "Willie and the Hand Jive" for his 1985 album with the Destroyers Maverick.[27] His single version charted on the Hot Mainstream Rock Tracks chart, peaking at #25, and reached #63 on the Billboard Hot 100 chart.[1][28]Allmusic critic James Christopher Monger called the song one of Thorogood's "high points.
Other artists who covered the song include: Johnny Rivers, New Riders of the Purple Sage, The Flying Burrito Brothers, Sandy Nelson, The Tremeloes, Amos Garrett, Ducks Deluxe and Levon Helm.[4]Lee Michaels released a version of the song on his 1971 album, 5th
To my surprise, played 6 times by the band, all in ’86 and once in ‘87
This is the fist time they ever played it
Last: April 4, 1987 at the Centrum in Worcester, MA
SHOW No. 4: In the Midnight Hour
Track # 16
2:20 – 4:01
Played with the Nevilles, Phil back on stage
Again, Jerry’s playing really stands out.
"In the Midnight Hour" is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name, also appearing on the 1966 album The Exciting Wilson Pickett. The song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis, later (April 1968) the site of the assassination of Martin Luther King Jr. Pickett's first hit on Atlantic Records,[1] it reached number one on the R&B charts and peaked at number 21 on the pop charts.
Wilson Pickett recorded "In the Midnight Hour" at Stax Studios, Memphis, May 12, 1965. The song's co-writer Steve Cropper recalls: "[Atlantic Records president] Jerry Wexler said he was going to bring down this great singer Wilson Pickett" to record at Stax Studio where Cropper was a session guitarist" and I didn’t know what groups he'd been in or whatever. But I used to work in [a] record shop, and I found some gospel songs that Wilson Pickett had sung on. On a couple [at] the end, he goes: 'I'll see my Jesus in the midnight hour! Oh, in the midnight hour. I'll see my Jesus in the midnight hour.'" and Cropper got the idea of using the phrase "in the midnight hour" as the basis for an R&B song.[3] More likely, Cropper was remembering The Falcons' 1962 song "I Found a Love," on which Pickett sings lead and says "And sometimes I call in the midnight hour!" The only gospel record Pickett had appeared on before this was the Violinaires' "Sign of the Judgement," which includes no such phrase.[4]
Besides Cropper, the band on "In the Midnight Hour" featured Stax session regulars Al Jackson (drums) and Donald "Duck" Dunn (bass). According to Cropper, "Wexler was responsible for the track's innovative delayed backbeat", as Cropper revamped his planned groove for "In the Midnight Hour" based on a dance step called the Jerk, which Wexler demonstrated in the studio. According to Cropper, "this was the way the kids were dancing; they were putting the accent on two. Basically, we'd been one-beat-accenters with an afterbeat; it was like 'boom dah,' but here was a thing that went 'um-chaw,' just the reverse as far as the accent goes."[5]
Pickett re-recorded the song for his 1987 album American Soul Man.
"In the Midnight Hour" t has become an iconic R&B track,[citation needed] placing at number 134 on Rolling Stone's list of the 500 Greatest Songs of All Time,[citation needed] Wilson Pickett's first of two entries on the list (the other being "Mustang Sally" at number 434).[citation needed] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll,[citation needed] Pickett's only such entry. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant."[7] In 1999, "In the Midnight Hour" recorded in 1965 on Atlantic Records by Wilson Pickett was inducted into the Grammy Hall of Fame.
· The Grateful Dead regularly performed the song in concert from 1967 onwards, most notably with extended improv vocals by frontman Ron "Pigpen" McKernan. It was occasionally the Dead’s “midnight song” at their NYE shows – I saw them do it in 1985 at midnight on the 31st. Fun way to start the new year although I was always partial to Sugar Mag at NYE midnight.
57 times played
1st: December 10, 1965 at the Fillmore in S. F.
Last: October 17, 1994 at MSG, NYC
OUTRO: Johnny B. Goode
Track #17
Start – 1:40
We just featured this song from a different show, but this version demands recognition. Played with the Nevilles – great mash up of musicians, singers, the whole thing is just great. Interestingly, not the encore, but the last song of the second set (US. Blues was the encore, a ripping version, but no Neville Bros so I went with JBG instead to hear them one more time).
Chuck Berry tune
Dead played it 283 times
First played: September 7, 1969 at The Family Dog at the Great Highway, S.F.
Last played: April 5, 1995 at the Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL
Larry (00:29.402)
Hello everyone, welcome to another episode of the Deadhead Cannabis Show. I'm Larry Mishkin.
of Michigan law in Chicago, Northfield actually, just a little bit north of the city there. And coming to you with another episode of our podcast, the Deadhead Cannabis Show, where we do all things Grateful Dead, all things cannabis, and we got a lot of good stuff on both sides of the coin today. We have a show from 38 years ago, February 12th, 1986, at the Henry J. Kaiser Convention Center in Oakland, California. We're gonna talk a little bit more about that in a minute. This was a night when the Neville brothers were there and joined the boy.
We have some clips coming up in the show where they all up on stage together and It's really good. So let's dive right into for us the opening show opening song
Larry (02:49.786)
So this one was billed as the Dead's Annual Mardi Gras Show. This one's from 1986. Like I said, they have the Nevels.
uh... who came out and played with them in the nevels did a whole uh... extra set on their own so uh... bite bite standards even for that period of time it's it's relatively short grateful that show about seven songs in the first set uh... not a lot the second set some of our played really well the scarlet fire i find to be rather uninspired especially after listen to that great one from the unit on with the university of northern iowa that we were listening to last week uh... and uh... and then then after that though they had a whole set another set by the devil brothers and so that the show wound up really running
kind of late into the evening. Fun was had by all and I'm glad that we get to jump on board with them and do it. That's Sugary kicking off the, it's not kicking off the night, they came out and opened with Hell in a Bucket. But I feel like we've covered that song a lot lately and we do cover Sugary a lot too, but when I'm gonna compare the two, I'm gonna pick Sugary over Hell in a Bucket any day. Sorry Bobby, but that's just the way it is. Jerry comes out smoking on this crowd favorite, gets things cooking. After the Hell in a Bucket, you can hear the crowd really enjoying it.
very appreciative they love this song my good buddy Mikey loves this song and we always get out there and shake it like sugary whenever we can seeing the boys or any other good jam band music we've talked about this song before it was released on Jerry's first solo album Garcia back in January 1972 played 362 times even the band loved it a lot first was on July 31st 1971 at the Yale Bowl in New Haven Connecticut six months before its release before the Garcia
album was released and then last played on July 8th 1995 at Soldier Field in Chicago in the final wind down shows.
Larry (04:35.514)
It's always been one that we love. I thought it's just a little bit better to go with that one to start things off. And not disappointed in any way. Any of these shows that we're featuring, I always say and recommend that you go to archives .org and just download the show and listen to the entire thing. When I'm putting together these clips, it's always so hard. I drive Dan crazy because I keep slowly but surely extending them out from a minute to a minute and a quarter to a minute and a half, now sometimes almost two minutes. But when you're sitting there listening to it, it
It would be criminal to cut off in the middle of a Jerry solo. You can't just say done right there. And it's just as bad to try and pick up in the middle of it. And if you can't, we gotta find a way to capsize those things. But damn it, Jerry just played guitar for too long up there. And we had a great time in the crowd. But we try hard. But this is a great sugary reel of the entire thing all the way through. Jerry's just rocking on it as he is this entire show. I'm sure he's pumped up that it's both like,
Like we say, the Mardi Gras show and early shows in the 1986 year. Now for Garcia, though, this is, of course, going to be a big year because it's just a few months later, July, when Jerry goes into that diabetic coma. And we almost lost him. So we feel.
you know, very lucky and happy that we didn't lose him then. But at this point, you know, there was nothing that would necessarily say to you that he's going down that road. He's out there kicking it hard and sounds really, really good. Now, I do want to talk about the Kaiser Convention Center for a little bit. I never got to see a show there.
It is a historic publicly owned multi -purpose building near Oakland, California. It has a 5 ,492 seat arena, a large theater and a large ballroom. The building is number 27 on the list of Oakland historic landmarks and was listed on the National Register of Historic Places in 2021. It's located at 10 10th Street in the Civic Center District of the city next to the Oakland Museum, Laney College, Lake Merritt and the Lake Merritt BART station. For those of you who are public transportation
Larry (06:45.612)
inclined. The Bose style building was built in 1914. The architect was John J. Donovan. Structural engineer was Maurice Croucher, originally known as the Oakland Civic Auditorium. It was renamed in honor of Henry J. Kaiser after a 1984 renovation. The city closed the facility in 2006 and its future was uncertain for a decade. In 2006 Oakland voters defeated a ballot proposition advocating a library space in the building.
The city was owned by, the building was owned by the city until 2011. It was sold to a local redevelopment agency for 28 million. However, the development agency was dissolved by the state of California, so ownership reverted back to the city. In 2015, a local developer, Orton Development, stepped in.
to turn it into commercial space with the Calvin Simmons Theater being renovated as a performing arts venue. It's also supposed to be registered again as a National Historic Landmark. A little bit of history on the building in the 50s and 60s, the roller derby played there hundreds of times. Elvis Presley had two performances at the convention center there on June 3rd, 1956 and just about a year later on October 27th, 1957. On December 28th, 1962, Martin Luther King Jr. spoke to an audience of 7 ,000 at the auditorium.
Remember it's
capacity is 5240 or so. That was to mark the 100th anniversary of the Emancipation Proclamation. Ike and Tina Turner performed at the Oakland Auditorium on January 13th, 1967. And from 1967 through 1989, the Grateful Dead performed at the Convention Center 57 times. The first 23 concerts at the Convention Center were built at Oakland Auditorium. And later, starting in 1995, the venue changed to Henry J. Kaiser Convention Center. In the 1980s, the band started performing
Larry (08:30.508)
runs of shows over the course of three to seven days. So they would go out there and have a whole Henry J. Kaiser theater run. Unfortunately, I never got to see them there, as I say, but lots of good friends who did. Of course, Alex was there, Andy was there, my good friend, one R Larry, was there.
All those guys, you know, they were all living out there at the time and you know that you're either on the bus or you're not. Although I kind of felt on the bus in Chicago, I was really only on the bus when the bus pulled into town. Unless we were willing to get on an airplane and fly out to join the bus somewhere else. Sometimes it was feasible, sometimes not so much. But nevertheless...
Kaiser was one venue that I never got in on. And who knows, maybe someday somebody will venture back that way and we'll sneak in and catch a little live music there. But this is a really fun show. There's a lot of diversity in it. You'll hear more about that when we get to the Nevels in a few minutes. But let's roll into the next clip we have for this show. This is a Brent tune.
Larry (11:02.394)
So I'll correct myself when I say a Brent song at the time. This was a new Brent song. It was released on the album In the Dark in 1987. And even though Brent had been playing it since 1984, it was still a tune that when you heard it, it was like, oh yeah, that's that song from Brent. Now, right around this time and going forward with the tune, one of the things that I think really made it so good was this harmonizing from Phil that we heard. She wasn't built to travel at the speed a rumor flies.
These wheels are bound to jump the tracks before they burn the ties. But Phil's right up there at the microphone belting it out with him. And there's a lot of good energy behind that. They're doing a little bit of harmonizing behind it. And Bobby probably joins in a little bit there too. And they really, really get it going. The crowd loves it. Any excuse to hear Phil sing. And this is just about a month before the Hampton show.
where Phil broke a box of rain and the deadheads just could not get enough of him stepping up to the mic. It's really kind of funny because nowadays when we talk about going to see Phil Lesh in Friends, it's always like, oh good, who do they have that's going to be singing so we don't have to hear Phil sing? But we love him and he does it great on this one. He and Brent just sound really, really good together. It's a great connection. Jerry did a lot of things with Brent, Bobby too, but nice to see Phil get in there and get involved with it. So.
David Dodd, who we've talked about from time to time, who writes often on the Grateful Dead, he said that Brent wrote the words and music for Tons of Steel, first performed on December 28, 1984 at the Civic Auditorium in San Francisco.
The other first show, the other first in that show was Day Tripper. I was there, FYI, I was there too with my good buddy Rick from Michigan. We went out there for our first New Year shows and this was one of the early shows in the New Year's run. And we did hear tons of steel. Didn't realize it was a first timer, but it was a great tune anyway. And definitely heard Day Tripper, which had been being rumored for about six months that they were gonna play it. And they finally did. And even before the New Year's Eve show itself, you know, Rick and I both looked at each other and we were like,
Larry (13:06.092)
Yeah, this is cool. This really reaffirms we made the right decision to come out here, because we're catching these great tunes already that are firsts, or at least just being there to hear all of that. And Day Tripper was just very, very cool. We had a great time. The New Year's show was great, but I digress. And then this also rings true with me when he writes, the song sounded like a hit to me, but then I was completely disconnected from whatever it was.
that passed for hit making in the 1980s. And yeah, I maybe was falling out of the more common stream of music because I was falling so deeply in to Grateful Dead music. But even at that time in 84, we always appreciated a good effort by Brent. And though I never saw them early enough to catch Keith, like my good buddy Jim Marty did.
But I did get to know Brent and everything. And it was just great to see him push out his identity in the band a little bit more all the time. And this was a great song for him to do it with. God Continues. It was performed fairly regularly throughout 1985 through September of 1987, making its last appearance on September 23 at the Spectrum in Philadelphia.
Larry (14:22.074)
Todd says, that seems odd to me because it was dropped from rotation just a little more than two months after it was released on In the Dark in July. Wondering why. So it's a song about a train, one of the prime motifs of Grateful Dead lyrics. He asks, quick, name five Grateful Dead songs with trains. No peeking. And then I'll.
Pause for a second for those of you that want to see if you can come up with it yourselves. Four, three, two, one. What do trains evoke in the dead's lyrics? Everything from danger, caution, do not step on the tracks, and Casey Jones, to adventure, Jack Strahd, to love, they love each other, to farewell, he's gone, to whatever that thing is that we feel when Garcia's things about wishing he was a headlight, and take a look back at the cover of his album Reflections sometimes.
All very good points by Mr. Dodd. That's why we read him and talk about him. And always happy to share his ideas on this stuff. The Dead, it turns out, only played the song 29 times over basically a three -year period. Although it's felt like I thought they would have played it more. But I definitely caught it a few times. We already heard that the first was on December 28, 84 at the San Francisco Civic Auditorium on the New Year's run. And that the last was September 23, 87 at the Spectrum in Philadelphia.
Philadelphia. And you know, it's always fun to be there when the dead are playing newer tunes or, you know, tunes that just don't get a lot of airplay. And that was certainly a good example. And it's on some of their, some of the albums that have been, shows that have been released on Dick's picks and Dave's picks and some of the, I don't think, I don't know if it's on any of the In the Vaults, but you know, you can go and find it on,
archive .org as well. And I just think it's a fun song. You can always catch that part with Phil and Brent harmonizing and really getting the crowd on its feet. And Jerry has fun with it. And I guess once you get Jerry in, that's just a good thing altogether. Now I'm going to switch over to music for a minute.
Larry (16:25.69)
because we've got some good music stuff today. We've got some great marijuana stuff today, but we've got some really good music stuff today to talk about. This first one sounds almost completely implausible until you hear the gist of the story and understand what they're talking about. And that is that this was in Relics recently. Thank you to Relics. Grateful Dead break record for most top 40 albums on the Billboard 200.
of like no freaking way, right? That this cannot be true. They really only had one, maybe two albums that were even close to being considered commercial successes, right? In the dark and then built to last. Maybe the earlier ones kicked around, American Beauty, maybe Working Men's. But I mean, those were not selling like Taylor Swift albums, let's be honest here. These were good. They were not known as a studio band. They were not known necessarily for the albums they put out, even though I again would argue that a lot of them are very good albums. But they were known.
for being a live band. But when you hear the story, let's listen to this for a minute.
The Grateful Dead have broken the record for the most Billboard Top 40 albums ever and by any other music group after Dave's Pigs Volume 49 debuted at number 25 on this week's Billboard 200, ultimately serving as the band's 59th album to make the record charts.
The Achieve status further assists in bolstering San Francisco Jam band's blog discography, an intricate web of community that has spun into a cultural phenomenon. So understand what they're saying there, right? That it's the 59th album to make the charts, but it's the 25th on the Billboard 200 altogether. And the band didn't have 59 albums, right? But then we go on. The procurement arrived after Dave's Pig's volume 48.
Larry (18:15.706)
tied the band with Frank Sinatra and Elvis Presley chart records in the fall, establishing the interwound legacy between Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzman, Mickey Hart, and their following steeped in a 60 -year triumph as music industry tastemakers. Dave's Picks 49 presents a pair of Grateful Dead hometown shows, both of which took place back to back at Stanford University's Straw Stanford Theater on April 27th and 28th, 1985.
reestablishing their status as a Bay Area institution some twenty years into their uh... Grateful Dead run uh... Grateful Dead Legacy Manager and audio archivist David Lemieux curated the music set we're going to actually talk about uh... that new Dave's Picks release coming up uh... in a couple of months when we get to the end of April uh... so uh... now we hear from Lemieux this could be the most unlikely and unexpected record in music history
and as a testament to a few things offered to Mew in his press release. First and foremost is the exceptional and consistent quality of the Grateful Dead's more than 2 ,000 live shows. On the heels of this is the loyalty and passion of the many Deadheads who have made the record, this record possible. To top it off, the Grateful Dead have a partnership with Rhino Music that ensures these many albums, releases are produced with care, love, and respect from both the band's music and legacy and the Deadheads themselves. It's an honor and privilege to work for this community.
And our aim is to keep building on this record by delivering the quality recording the deadheads have come to expect for many years, he said. Mark Pink is president of Rhino Records remarked, it's truly remarkable to witness the grateful deads enduring legacy and profound impact. Their music and culture transcend time and this groundbreaking achievement is testament to their ongoing influence. Rhino was honored to continue to share their meaningful and magical music with deadheads, both old and new. And then they point out that Dave's picks 50 coming out.
in May from the Grateful Dead's May 3, 1977 stand at the New York Palladium. And that's another great show, and I'm sure we'll be talking about that. We got there, but what we're really talking about here are the live albums that they're releasing, right? So all the Dave's picks, all the Dick's picks, not all of them, but enough of them are making it into the Billboard Top 100.
Larry (20:30.744)
uh... that even though they that you know that they don't have the albums to necessarily put them there they have the body of music there to hear the title is frank sinatra for god's sake elvis presley these guys were chart toppers year after year after year the grateful dead you know got uh... uh... touch of gray up there but you know i other than that it wasn't like
you know we were kind of not like the Rolling Stones, not like the Beatles, not like the Who, not like these bands would have these huge hits that would come out and you know everybody would love them and listen to them and you know the dad had their big hits mostly for their fans and other stuff like that but I just think that that's great and you know so reflective of the fact that you know at the end of the day the music of the Grateful Dead really just speaks to so many people.
And especially their live music. I don't think it's an accident that this is the live albums driving that level of sales, because people now have come to learn and appreciate the fact that you can put on a dead show from wherever. You don't have to know the words. You don't have to know the songs. If you listen to it enough times, over time you'll get used to it, and you'll develop a familiarity with it like you would any other music. And if it's enough to make you expand out into other live recordings that they've released, you're going on to archive .orgs and listening.
to just about any show they've ever done, then great. Dive into it like that. Call up the podcast and get on it. We'll talk to you about what you like. But this is just a.
So much fun and such a great thing. And of course, I'm the sucker that buys it all, but that's OK, because I love having it and reading all the stuff they have in there. And that's why I develop a lot of these little known arcane facts that really nobody outside of maybe a couple of people listening to this podcast even care about, which I understand. So I try to keep it to a minimum. But you can't always help it. Now, let's turn our attention to a minute to another hot jam band out there at the moment who we've talked about on this show, and that is Goose.
Larry (22:18.106)
What's going on with Goose? You say, well, Goose is now big enough that as they are changing drummers, it is making the big time news. Everybody wants to know about what's going on with Goose and Relics. Is that the pulse of that too? So back in December, we heard about the fact that the indie jam band Goose was announcing a departure of its band member on the Friday before Christmas.
Other parting ways with longtime drummer and co -founder Ben Atkin. In their statement, Goose's Rick Mituratanda, Peter Ansbach, Trevor Weeks, and Jeff Arvalo appear to chalk Atkin's departure up to tensions between the fundamental and creative differences, adding, we've come to a place where we feel our current path to be unsustainable long -term. The band continued.
Looking at the larger scope of our lives, we feel in our hearts that making this change is ultimately in the best interest of everyone's well -being. Change is often very painful and scary, but unavoidable part of life. The band and everyone involved in it means the world to us, and there is no aspect of this decision we take lightly. We all love Ben very much and want nothing but the best for him. He is a world -class drummer, and we can't wait to watch and support his future endeavors. Atkin, in his own statement, announced his departure with a heavy heart and a deep sense of gratitude, saying how lucky he was to be part of the band.
It went from a local Connecticut favorite to one of the biggest jam bands in the country. Atkin has played on the band's three studio albums, 2016 Moon's Moon Cabin, 2021's Shenanigans Nightclub, and 2020's 2, Drip Field. Not to mention the hundreds of live shows and recordings Goose have shared over the past years. Conceiving a dream isn't easy, and I realize how lucky I am to have been a part of it from the very beginning until where Goose is now," Atkin said.
oops, excuse me, long -term creative camaraderie demands a personal evaluation. It demands consistent communication, mutual empathy, and a willingness to compromise.
Larry (24:17.53)
Even though this is something we tried, these elements fell out of sync, which is where we find ourselves today. I will be forever grateful for my time with my bandmates and wish them the best as we prepare to go our separate ways. All very nice. Everybody has nothing but nice things to say. That's the smart move you make in this industry. Can't help you make you think of Pete Best getting bounced out of the Beatles at the last minute for Ringo Starr or whoever the drummer was for The Who before Keith Moon bounced up on stage one night and threw that guy off and said, I'm your drummer or anything like that. But that begs the question.
Right who is goose's new drummer going to be and after a long long wait Which is not really so long if you're just finding about all of this right now. I have the answer once again. Thank you to relics Goose has announced that Vermont based drummer Cotter Ellis has been officially selected to fill the band's empty seat Cotter is familiar face to Burlington Vermont concertgoers known for his work with Zack Nugent's Dead set and several other jam cover outfits that have taken the stage at Nectars fortunately for fans eager to hear the new drummer
sit in with the quartet. This news is complemented by the revelation of a new full length project to be released very soon and Ellis' 30 minute audition tape with the band which is available on YouTube now. And if you go to Relics and download this article from February 5th, they have a link that'll take you right there.
In this surprise release, Goose disclosed that the group first caught a performance from Ellis over five years ago and instantly recognized his pocket prowess and unique sound. Ted Tapes 2024, the song cycle that they're set to release, introduces the new combination style in the format set forth by Ted Tapes 2021. Whereas the former project was composed solely of rehearsals and sound checks, Goose's upcoming offering features nine improvisational tracks selected from the band's first seasons with Ellis. The result is Goose and its Ross and most experienced
experimental, exploring new harmonies and sonic paths forward from its point of transition unselfconsciously as the recordings were not originally intended for release. Detailing the new project, Goose writes, the first track, Leo is on the opening pickup jam for the first session, the first notes ever played together. There are some consistent threads we all felt in the room throughout these early sessions, ease of communication, freely flowing ideas, and a feeling of effortlessness moving through different zones. We experienced a patience that allowed all of our personalities to come out,
Larry (26:33.082)
and energy to well up in new ways. The new energy was heard on teases posted on Goose and social channels last weekend, bringing anticipation to a head for an already restless following. So, yep, if you're very excited about what's going on with Goose, check out Ted Tapes 2024. I will do my best to listen to them and maybe talk about them on a future episode. Look for Goose when they come to your house now with Cotter Ellis sitting in doing the drumming. And, um,
i can't say that i'm familiar with the guy but i did check out that clip that they have of his audition tape and uh... he certainly seems uh... you know very qualified and talented as far as i'm concerned but i think i could do so yeah check about who's has been great there's no reason they won't just uh... continue rock it along speaking of rock it along we're going to go back to our show from uh... thirty eight years ago today at the henry j kaiser convention center now that we'll know a little bit more about it
And we're going to lock right into our very next Tuna Bobby number.
Larry (29:05.658)
So Cassidy is a song written by John Barlow and Bob Weir. It appeared on Bob Weir's Ace album and The Grateful Dead's Reckoning and also their studio.
producer all studio produced with this was just pulling in uh... a bunch of different lives songs from different concerts without a net album although when it came out we all loved it especially because on that album they previewed for everyone who had gotten here at live uh... that eyes of the world with branch from our sales from nineteen eighty nine up in uh... eighty nine or ninety eighty nine i think i can't remember but everybody knows what is uh... up in that nasa county coliseum that became uh... just such a hit so amazing left all the dead had sent
Why don't they have a saxophonist in this band?
The song was named after Cassidy Law. There's been a little bit of speculation about this. Who was born in 1970, the daughter of Grateful Dead crew member Rex Jackson and Bob Weir's former housemate and longtime person in the Grateful Dead business office, Eileen Law. The lyrics allude to also Neil Cassidy, hence the confusion, although it's spelled C -A -S -S -I -D -Y and Neil Cassidy is C -A -S -S -A -D -Y, who was associated with the Beats in the 1950s.
and the acid test scene that spawned the Grateful Dead in the 1960s. Some of the lyrics in the song were also inspired by the death of lyricist John Barlow's father. So yeah, there's a lot of times we hear the song, even the clip we hear, Lost Now in the Country Miles in his Cadillac, and Neil Cassidy was nothing if not a very prodigious purveyor of...
Larry (30:45.914)
not purveyor, driver of automobiles. And he's famous for having driven the Mary Prankster's Further Bus cross -country from Berkeley and that part of the world up to New York to visit, or really Boston, I guess, to visit Timothy Leary and his crowd at Boston. So they kind of had the meeting of the West Coast and East Coast psychedelic minds all laid out in the electro -cooled acid test by Tom Wolfe, which.
touches on so much of this stuff that we're talking about, but really presents it in a way that speaks to it at the time, both in terms of the fact that it happened and putting it in perspective of what it meant to that generation and to our generations which came later and still feed very heavily off of all the stuff that went down at that time. And we've talked about how.
you know, everything that went down in the summer of love and in the late 60s and early 70s on the West Coast and spawned the whole psychedelic rock movement and stuff as well. You know, now, you know, pushing on 60 years old and more. And, you know, really that's enough for at least two generations to have gone through their experimental musical years. And yet this type of music, whether it's by the Grateful Dead or Fish or Goose or Widespread Panic or anybody out there who's doing it. Jay Rad, who, by the way, just played a hot show in Atlanta last week.
week I hear my son got to go see that with a couple of his buds who came in to see the beautiful granddaughter Ruby and got rave reviews about it as always. So once again you know you got JRed there's just so many bands out there that are constantly continuing to play with this spirit and this style of music and this expansive reach that just welcomes in so many different people from so many different backgrounds and you know it's fair to say that the dad were really the pioneers of the movement's first
as part of a larger group of musicians that were, and then almost by default, by being the longest surviving ones of those original groups and really shepherding it into the mainstream. We all laugh through Touch of Grey, but however it happened, it happened so that more and more people began to accept that type of music, and it just spills over into this new era of really great and exciting jam bands who are playing out there. So...
Larry (33:06.266)
john barlow also called it one of his favorite songs to great sing -along uh... i like this version because as they play through it gets nice and trippy i always felt cast to be a a good song for helping to find the mood of the show uh... we would usually show up about mid to late first set uh... just overall very fine tune uh... a lot of fun play three hundred thirty nine times first was on march twenty three nineteen seventy fourth account palestin daily city uh... which is just outside of san francisco the dead played a great new year show there other only stones played a great show there in
In the mid -1960s, it was attended by the Mary Pranksters, and it's all written up again in the electric kool -aid acid test, so please go read that book. Chiasity was played for the last time by the Grateful Dead on July 6, 1995 at the Riverport Amphitheater, Maryland Heights, Missouri, just outside of St. Louis, a show that I was lucky enough to attend. Now we're going to jump into the next song, and a couple of things about this song. It's a rarity. It's a first time played, and you got the Neville Brothers up there spiking it with the Grateful Dead.
Larry (35:40.474)
So Willie and the Hand Jive, just another that was played was in the and you can hear them up there and what a great mashup of the Grateful Dead and the novels just rocking out on this tune of all of them.
so it's not on the stage for that to for some reason uh... he stepped off from the he returns for the balance of the show uh... but they make a point in the song listings of giving this a double asterisk meaning not just with the novels uh... but without phil on stage now what about william the hand jive it's a song you know a lot of people have heard but don't maybe don't always know a lot about was written by johnny otis originally releases a single in nineteen fifty eight by otis uh... reached number nine on the billboard hot one hundred chart number five on the billboard rnb chart
The song has a bowdiddly beat and was partly inspired by the music sung by a chain gang Otis heard while he was touring. The lyrics are about a man who became famous for doing a dance with his hands, but the song has been accused of glorifying masturbation, though Otis always denied it. It has since been covered by numerous artists, including the Crickets, the Strangelove's, Elvis, excuse me, Eric Clapton, Cliff Richard, Kim Carnes, George Thorogood.
of the bunch and in live performances by the Craiteful Dead, among others. Clapton's 1974 version was released as a single and reached the Billboard 100, peaking at number 28. Throwgood's 1985 version reached number 25 on the Billboard rock and track charts. George Throwgood there, another great musician, a lot of fun. The lyrics tell of a man named Willie who became famous for doing a hand jive dance. In a sense, the story is similar to that of Chuck Berry's Johnny B. Goode, which tells of someone who became famous for playing the guitar.
uh... it was released two months before william the hand drive the origin of song came one one of two odysseys managers house in the found out that rock and roll concert venues in england did not permit the teenagers to stand up and dance in the aisles so instead they danced with their hands while seat remaining in their seats at odysseys concert
Larry (37:35.618)
Performers would demonstrate Willie's hand jive to the audience so the audience could dance while listening And still remaining in their seats it consisted of clapping two fists together one on top of the other Followed by ruling the same arms around each other Otis label capital records also provided diagrams showing how to do it For people who are coming to the shows Eric Clapton recorded it for his 1974 album 451 461 ocean boulevard Clapton slowed down the tempo for his version of
Author Chris Welsh believes that the song benefits from this slow burn. Billboard described it as a monster powerful cut that retains elements from Clapton's previous single, I Shot the Sheriff. Record World said that Clapton slow boogies the song into a laid back magnificence.
george through a good record a version of it for his nineteen eighty five album with the destroyers mavericks his single version charted on the hot mainstream rock chart uh... tracks charts peaking at number twenty five and reach number sixty three on the billboard hot one hundred all music uh... music credit christopher mc monger called the song one of the workers high points other artists who've covered the sun clue johnny rivers new writers in the purpose purple sage the flying burrito brothers sandy nelson uh... the trouble those
a Mascara.
Ducks Deluxe, Leavon Helm, Les Michael, and of course, as you know, The Grateful Dead. This was, in fact, the first time the band ever played it. They only played it a total of six times, almost all in 1986, and then one in 87. And their last performance was of the song April 4th, 1987, at the Centrum in Worcester, Mass. Now, that's not a lot of times, and that's unfortunate. But I think it was probably one of those tunes that they were playing that always sounded and felt a lot better when they had...
Larry (39:25.69)
You know somebody like the almonds up there playing with them and and doing that kind of thing so you know I I can take some understanding in that but what a great song if you were there and you got to hear it unfortunately I was never in that lucky crowd and so But now we can in this particular version of it again. It's just great. I love the music They're all playing with each other and filling in holes and and you know boosting here and boosting there There's a little bit of harmonica. There's a little bit of everything going on in this song and you know
just some great fun between two bands that really shared a lot in terms of their love of New Orleans and Creole -type rock and roll and partying and having a good time.
playing late into the night and getting people to dance all all worked up and everything so really really a lot of fun and Something that was good to do now. We are at that point in the show where we are going to Ask our good friend Dan here to Lead us in to the rock and roll Excuse me to the marijuana portion of our show
Larry (47:55.29)
Thank you, Dan. As always, we just got to hear a little bit of Neil Young singing his song, Let's Roll Another Number for the Road. This is off of his album, Tonight's the Night, from, I believe, around 1975. This song is from...
with the critics called Neil Young's Grief Racked Album. It's a kind of goodbye and good riddance to Woodstock Nation and all that it symbolized. Neil Young played at Woodstock with Cross Bustles Nation Young, but he was distanced from the hippie culture by the dual deaths of Crazy Horse guitarist Danny Whitten and Young's friend and roadie, Bruce Barry, both from heroin overdoses. Those Young is in the same category as Frank Zappa.
Both were idolized by the hippie culture while kind of more or less openly loathing it. So he does definitely make a little reference to marijuana here, as we all hear. And that's OK. We love Neil. He loves it the way he does it his way. And it's just always fun to have good stuff like that to share. So let's dive into our marijuana talk of the day, because boy, do we've got a lot of stuff here.
Larry (49:06.65)
and it's all the kind of stuff i love to talk about uh...
We're going to dive into the first two because they play, I think, a big role in what's going on in the second two. First one is very basic. Thank you to Marijuana Moment. Marijuana use alone is not associated with higher odds of car accidents, according to a new study by researchers who looked at drivers who visited emergency departments. In fact, high self -reported acute cannabis use was actually associated with the lower odds of a crash. Alcohol, meanwhile, whether used by itself or combined with marijuana, showed a clear correlation with the greater odds of a collision.
To arrive at the results, researchers gathered data from emergency room departments in Denver, Colorado, Portland, Oregon, and Sacramento, California. They obtained driver's blood and measured for THC and metabolites. Recorded alcohol levels as measured by a breathalyzer in the course of clinical care and conducted interviews with the drivers. So we can just stop right there.
These folks are doing it right. They're not just saying, oh, look, there's cannabis in his system. That means he was high. They're saying, we have to check the metabolites. We talked about this last week again. It's a way that we can now tell not just if THC is present, but whether or not it's in an active psychoactive mode such that the person in whom we find it is acting in a.
you know, is acting high, is acting in a manner that, you know, we would see as dangerous or...
Larry (50:32.282)
certainly not productive if you're a worker or whatever the case may be. But so this is a legit study. They are doing this on the right elements in terms of what we're looking at. Now, while most legalization advocates do not dispute that marijuana can impair a driver's ability to safely operate a car, like we've always said on this show, new study found that the mere use of cannabis did not correlate to a higher rate of motor vehicle collisions. Cannabis alone was not associated, and that's just the way it is. Strikingly, drivers who use marijuana were actually less likely to
lead to crash, according to the researchers' analysis. Also another truth that we've been talking about for a long time. Stratifying by level of self -reported or measured cannabis use, higher levels were not associated with higher odds for motor vehicle collisions, with or without co -use of alcohol, they wrote. In fact, high self -reported acute cannabis use was associated with lower odds of a vehicle collision.
In light of the results, the nine author research team concluded the THC levels are a less than reliable indicator of driving risk, suggesting that a better test would be to measure actual impairment. Alcohol use alone or in conjunction with cannabis was consistently associated with higher odds for motor vehicle collision. However, the relationship between measured levels of cannabis and those collisions was not as clear. Emphasis on actual driving behaviors and clinical signs of intoxication to determine driving under the influence has the strongest rationale.
Now this study just goes on and on.
The authors published in the April 2024 issue of the journal Accident Analysis and Prevention, represented by a range of institutions, including Oregon Health and Science University, the University of Colorado School of Medicine, University of California Davis, the Insurance Institute for Highway Safety, which also was a funder of the study, Portland State University, and others. As more states have considered legalizing marijuana in recent years, many have expressed concerns that the policy change could lead to higher rates of use by drivers and, in turn, greater risk to public safety. But research shows the relationship between
Larry (52:30.796)
cannabis use and impaired driving isn't as simple as it might seem. A fact we have talked about on this show over and over and over. A fact that Paul Armentano and Mason Tavert and Steve Fox were talking about a long time ago and something that people even now continue to scoff at and say, that's just not true. Anything is changed. No, it's not. These are studies that are actually being done. They're supporting this. I'm not making this up. I'm not sitting down at my computer and typing up a bunch of stuff.
and making up names. Anyone can go on marijuanamoment .net or .org or whatever it is and you can find these articles. They exist. They are there. You can go to Benzinga, one of my other articles from the New York Times. This stuff is really happening, folks. The misinformation that's being fed to us as a society is overwhelming and in this marijuana, it's very clear, right, the people who say, well, we're not so sure that it should even be descheduled because we still think that it's harmful and dangerous and blah, blah, blah.
These people don't know what they're talking about. They are walking reefer madness people, and to suggest otherwise on their end is purely nonsense and has no basis in fact because they constantly push these false narratives. This is studies being done, universities, the federal agencies. You can believe them or don't, but if you don't want to believe it, then try and come up with studies yourself that make sense. But otherwise,
When people say this, please don't laugh in their face. Please say, you're absolutely right. This is why I would rather have my kids smoke marijuana than drink alcohol. I don't want them to do either one in their formative years. But if they're going to do one, and we all did, so who's to say they won't too or didn't, marijuana is always going to be preferable. It's safer on so many levels, right? No, we're not saying that it's OK to drive high. Don't try to misinterpret this position. Anyone who's a prohibitionist who, you know,
uh... delph weight ross whatever your name is right that's not what we're saying what we're saying is that is a choice between the two substances
Larry (54:34.112)
marijuana is the safer choice and will result in safer driving. And this study, not me, suggested it may just be true overall, that perhaps we're gonna find out that smoking marijuana calms a person down, makes them a little more cautious, and does result in fewer traffic accidents all around. So it's out there. You can like it, you can disagree with it, but it's just a simple fact. This next one is even better. This is medical science now telling us not just about the things we can do here and here, but guess what? Marijuana extract
can kill melanoma cells. New study reveals possible treatment for skin cancer. So this is an easier one to look at, because now we're not saying, oh, something that the prohibitionists fear like driving a wild stone. This is talking about the positive impacts, the health benefits, that marijuana and THC.
can bring to everybody, where you don't have to get high. You don't have to do that. But a new study indicates that cannabis has the potential to treat melanoma, a skin cancer beginning in the melanocyte cells, which makes the pigment that gives skin its color. Melanoma typically results from overexposure to the sun. While skin cancer is one of the most common cancers in the United States, melanoma accounts for only about 1%. Yet it causes a large majority of skin cancer deaths.
according to the American Cancer Society. New research published in a peer -reviewed cell journal conducted by scientists from Charles Darwin University and RMIT University offers hope for the creation of natural treatment for melanoma. The study, part of a PhD project by RMIT's Dr. Ava Bakari, showed that a specific cannabis extract, VEX PHEX -66 from the cannabis sativa plant, binds to receptor types on
sites on particular melanoma cells controlling the growth of the melanoma cells at two key phases and increasing the amount of damage to those melanoma cells. Another doctor, Nazim Nassar, the study co -author and CDU pharmaceutical lecturer said, this damage practically tricks the melanoma cells into killing themselves. This inhibitory effect rises from interactions with CB1 and CB2 receptors. The damage to the melanoma cells prevents it from dividing into new cells and instead,
Larry (56:48.346)
begin a program cell death known as apoptosis, Dr. Nasser said. This is a growing area of important research because we need to understand cannabis extracts as much as possible, especially their potential to function as anti -cancer agents. If we know how they react to cancer cells, particularly the cause of cell death, we can refine treatment techniques to be more specific, responsive, and effective. This is solid, man. This is positive stuff.
Nobody's saying that you can go out and drink alcohol and it's gonna help cure cancer. Nobody's saying that smoking cigarettes is gonna help you drink lots of coffee and caffeine. But we're talking about a naturally occurring herb, a naturally occurring substance that's really being put to its paces. And yes, well, maybe what we'll find is overall only a very small percentage of its value to society is the fact that people use it for relaxation purposes and that we're just gonna continue to find more and more ways that it can help people.
with all sorts of serious illnesses. But this is not new. I was going to conferences in 2013 and 2014 when doctors were presenting that they would find people with melanomas and they would take their THC oil that they had gotten and make into like an ointment and rub it on there and then wrap it up in like Saran wrap. And then they'd unwrap it two weeks later and they would find that the melanoma literally just fell off the arm, just was disconnected from the arm. It went in and killed the cells that was holding the melanoma on.
killed it out, and the melanoma was gone. Now, obviously, this doesn't happen in every case. But even if it happens in one case out of 1 ,000, that's still enough to say, hey, there's something here. This is something we have to follow up on, because we can be saving lives. But we can only be saying lives if society as a whole kind of mellows out. And as my kids would say, take a chill pill and just accept the fact that marijuana has benefits, marijuana has good sides, and that let's stop hassling the people who enjoy it. Let's stop hassling the people who want to research it.
and really see for once in our lives where this can really take us as a society. But let me tell you, here's something more. Now numerous cancer studies have confirmed cannabis potential as a treatment for various types of cancer, including Israeli research of a cell model study showing that its integrative colon products killed over 90 % of colon cancer cells. Previously, a 2021 study revealed a six -fold improvement in killing breast cancer cells.
Larry (59:13.434)
when using medical cannabis products in combination with standard oncology treatments. Folks, we're going to find out that marijuana is going to do things that's going to make us all live a lot longer. And the doubters can doubt, and the skeptics can be skeptical. But if it's coming out of Israel, it's kind of gold standard, I think, on the medical scale. And this is nothing political about what's going on over there right now. This is just a simple fact. Many people who go in for complicated surgeries of all kind are saved by technology that was first developed in Israel. It's one of the leaders in the world in this area.
And we've talked long and often about Rafael Mishulam, the Israeli researcher, who was really the grandfather of all the knowledge we have on THC and CBD and cannabis in general, going back to the late 1950s. Really groundbreaking research that where he saw the potential for these cannabinoids decades before anybody would even consider the possibility of looking in that direction. And he's basically been born out to be a guy who knew what the hell he was talking about.
and too bad for the rest of the world if they didn't really listen and pay attention. But this is big and I'm just so excited that as we go forward more and more opportunities for people to prolong their lives I hope are going to be resulting from the continued studies that people will do now as the ridiculously over overreactive rules that prevented people from doing any research on marijuana have been relaxed to the point where these types of studies can be conducted and more importantly,
other findings and research information shared with other people so that's just a great thing all the way around so that's that's that's two pluses on the uh... marijuana side and i was just important this is important because marijuana is probably the most frequent of any type of drugs that's out there but the public season deals with you know part because of obviously the adult use but even before that of any of the drugs out there heroin cocaine l s d marijuana is certainly the one
that you're more likely to encounter in the public domain. People doing one hits, people smoking a joint at a concert, whatever it might be. Not to say that people don't do those other drugs, but really they do marijuana. And so the fact that marijuana cannot get a positive image with the public at large, and still we go through all of this.
Larry (01:01:30.618)
craziness where legislators think they know more about cannabis than anybody and are out to save our good health because of course every good Bible -fearing person in this country should automatically recognize that marijuana is a bad thing and we don't need anybody to tell us otherwise and besides we don't like the way it smells. And I just say.
those people have to be drowned out because they're missing out on the message. They're missing out on the message about driving and auto accidents. They're missing out on the part about where it's starting to save lives. They're missing out on all of that. They're so eager in their desire to continue to play into the myth and the false image of the dangers of marijuana, public benefits be damned, that they just go forward with it. Now we've seen this playing out on a much larger stage. And I start with marijuana because when we move out to
Oregon, we have to understand that the law that they passed back in February of 2021 decriminalized possession of small amounts of basically all drugs, meaning that you were, you know, if you were found with, and I don't know the exact numbers, but let's just say under a gram of cocaine or.
whatever the dosage measurements would be for heroin or LSD or any of these other drugs that like with marijuana now that it would be a basically a citation. It's decriminalized. Nobody's going to jail for it. And the idea was instead we would try to divert these people into treatment and substance abuse centers and see how we could.
improve people's lives by treating them instead of just incarcerating them. And that was the underlying belief behind all of this. And it's proved to be both ineffective, excuse me, based on the overwhelming evidence that generally people for having small amount of drugs for personal use is both ineffective and counterproductive. So since then, decriminalization has been widely blamed for the increased homelessness, soaring rates of public drug use, and a 68 % rise in overdose deaths rates in just its first two years.
Larry (01:03:32.666)
the spike was far greater than the fourteen percent rise in the nation's overall drug deaths during the same period although measure one ten passed with nearly fifty nine percent support many organ voters are now calling for drugs to be recriminalized citing these worsening conditions the state legislature which convened uh... last week is considering new legislation would among other things restore criminal penalty of up to a month in jail for low -level possession
uh... though this is an article by a maria size love it's uh... from the new york times that that uh... ran back on february fifth twenty twenty four uh... and i would recommend pulling it because i'm not gonna have time to read the whole thing but uh... you know what she says here it is is very meaningful she goes on to say repealing decriminalization would be a mistake researchers studying measure studying measure one tens effective of effects recently presented compelling evidence the current laws extremely unlikely to have done the harm for which is being blamed the rapid missin for
information often spread for political gain, we know all about that, means that the legislature is likely to return to its old school drug war approach. With overdose deaths still on the rise in other states considering decriminalization, a reversal could undo vital national progress in fighting addiction, which is far more effectively resolved with care and not coercion. If we really want to end the overdose and homelessness crisis in Oregon and around the country, we have to understand the following evidence and not fear mongering. And she goes on to say when events occur in rapid succession, it's...
It's easy to assume. First one caused the second one. But correlation isn't all that's needed to prove causation. So for instance, she points out, for one, people need to know that the rules have changed. In other words, people need to know that in Oregon, it's all been decriminalized for them to be going and taking advantage of this new law, meaning that something has changed in their life. But for this new law, they never would have gone and used the drugs. Well, a survey of nearly 500 Oregonians who used stimulants, opioids,
or both only 7 % that said they were aware that it was no longer criminal offense to possess fentanyl. Less than half knew that methamphetamine had been decriminalized. Only 1 .5 % had started using drugs after measure 110 went into effect. About 85 % of survey participants were homeless or unstably housed, not a population that typically pays attention to the vagaries of legislative change. So right, that's the first thing. You can't say that this bill...
Larry (01:05:53.402)
uh... caused all these problems with people using the drugs didn't even know about the bill they're using the drugs anyway uh... number two opponents of the measure claim is attracted homeless people from around the country only nine percent of the survey drug users and moved to organ of the past two years well nearly three and four had to recite of their for over eleven years overall homeless rates in the state of tract with eviction policy not decriminalization the actual research shows another claim frequently made by the crux of the law
is that the measure has taken a critical tool from law enforcement that could previously wield force to people into treatment, incarceration. If you don't go to treatment, you go to jail. But we now find that less than one third of jails in the United States offer, excuse me, if you go to incarceration, you could get treatment. But the studies have shown that the jails in less than one third with buprov.
I can't ever pronounce these words. Bupreniferine or methadone, the gold standard in treating opioid users in disorder in the United States, to all who could benefit. And we just don't have enough. Fewer RSTs are ever given the chance to choose treatment instead of jail. And in prisons where nearly half of the inmates have drug problems, only 10 % have access to treatment beyond self -help groups, according to PRIS policy initiative. So why do overdose death rates rise in Oregon? More of the rest of the United States immediately
after the measure passed? And how can that answer help us set better policy? Well, it's all about fentanyl, says Alex Kroll, a distinguished fellow in behavioral health and criminal justice in the think tank RTI International. Elicitly manufactured fentanyl is roughly 50 times stronger than heroin, and it is fentanyl and even more powerful synthetic opioids that have driven the unprecedented rise in overall death fatalities since 2013.
When milder substances are suddenly replaced with drugs that are stronger by orders of magnitude, this unsurprisingly becomes the most powerful factor driving overdose deaths. Every region across the country shows a nearly identical skyrocketing death toll when fentanyl saturates its market, regardless of whether it's a tough on crime state like Texas or a progressive bastion like California. According to data presented by Dr. Brandon Del Pozo of Brown University and his colleagues, as well as previously studied research,
Larry (01:08:07.148)
Washington state is especially interesting example. When the state decriminalized drugs possession for four months in 2021 because of a court order, overdose death rates rose most sharply after criminal penalties were restored. Further, as recently as 2018, 90 % of all overdose deaths, including synthetic opioids, occurred in the 28 states east of the Mississippi. The drug and its analogs didn't overrun western states in their markets until 2019 and later. And measure 110 didn't go into effect.
until February 2021. Data from Oregon follows the same trends as other states where fentanyl began to spread during a similar period. So consequently, it's spurious to link decriminalization to overdose rate that has risen in parallel with fentanyl prevalence in every community study that was penetrated by drugs, regardless of policy changes. So what is this saying? That people are very, very quick to judge. They fall back on their prejudices immediately. And that's why everybody's slamming the Oregon program.
when in fact the evidence in the studies are showing that you shouldn't be slamming the organ program that we still don't know for sure but one thing we do know is that all these other trends the people are are contributing to oregon are in fact uh... findings that are coming from all around the country and the door is no different than any of them and that alone should be encouraging uh... for people who question the efficacy of the program because you might expect those trends to be ridiculously higher but they're not uh... and so we as a society have really got to get our heads around the fact
that we can't be going after any of these drugs, marijuana included, with such negative misconceptions.
uh... and and and the stereotyping of people and and all of this is that is just so prevalent it's just not the right way to go at all period under story go read these articles please the the information that's out there on the internet it is so plentiful and and so obvious when you start to read it in terms of why this is all wrong and why it really is a power struggle for people who are trying to maintain power to continue to marginalize other people for any reason marijuana is as good a reason as any as far as those folks are concerned
Larry (01:10:10.956)
even when we find all the positives of it with scant mention of the negatives that the rest of these people are preaching until they don't know what to say or do anymore. So there's nothing left to do with them folks, but dive right back into great music. And we've got another one coming to you from the Kaiser Convention Center back on February 12th, 1986.
Larry (01:12:16.826)
In the Midnight Hour, a song that everyone knows or a lot of people know certainly, played with the Devils. Phil is back on stage for this one, but his guitar playing that I think just stands out so strongly. In the Midnight Hour is a song originally performed by Wilson Pickett in 1965 and released on his 1965 album of the same name. Also appearing on the 1966 album, the exciting Wilson Pickett, the song was composed by Pickett and Steve Cropper at the historic Lorraine Motel in Memphis.
uh... later in april of nineteen uh... sixty eight it would be the site of the assassination of martin luther king junior uh... pick his first hit on atlantic records it reached number one on the rb charts and peaked at number twenty one of the pop charts he recorded in the midnight hour it's uh... at stack studios memphis may twelfth nineteen sixty five the songs co -writer steve crapper recalled that uh... jerry wexler said
of the Atlantic records president he was going to bring down this great singer Wilson Pickett to record stacks where Cropper was a session guitarist and I didn't know what group he'd been in or whatever but I used to work at a record shop and I found some gospel songs that Wilson Pickett had sung on on a couple at the end he goes I'll see Jesus in the midnight hour oh in the midnight hour I'll see my Jesus in the midnight hour and Cropper got the idea of using the phrase in the midnight hour as the basis for an R &B song more likely Cropper was remembering the Falcons 1962 song I Found a Love
on which picket sings lead and says and sometimes i call in the midnight hour the only gospel record picketed appeared on before was the file in air sign of judgment which included no such phrases uh... besides crapper the band on the midnight hour features stack session record regulars l jackson on drums and uh... dan hummiston favorite donald duck done on base that would be the donald duck done uh... later of blues brothers fame
for those who go down that road and uh... always like listening to him play. Pickett re -recorded the song for his 1987 album, American Soulman, in the midnight hour has become an iconic rhythm and blues track, placing number 134 on Rolling Stone's list of the 500 greatest songs of all time. Pickett's first of two entries on the list, the other one being Mustang Sally, another really well -known tune at number 434. It's also one of the Rock and Roll Hall of Fame's 500 songs that shape rock and roll. His
Larry (01:14:29.238)
only such entry. In 2017, the song was selected for preservation and the National Recording Registry by the Library of Congress as being culturally historical or artistically significant in 1999. And the Registry by the Library of Congress, oh, excuse me, in 1999 in the midnight hour was inducted into the Grammy Hall of Fame. It's been covered by Bruce Springsteen on his live setlist beginning in 1969. A notable performance of the song took place in the minutes preceding midnight during the December 30th,
one 1980 performance at Nassau Coliseum by Springsteen and his East Street band on their The River Tour. The show was later released as part of the official Springsteen live archives and is regarded by many Springsteen fans as one of the marquee concerts of his career. Also covered by the young rascals, Roxy Music. It was highlighted in the film The Commitments in 1991. Tina Turner recorded it and many more. The Grateful Dead regularly performed the song and concert from 1967 onwards, most notably with
extended improv vocals by Pigpen during the period of time when he was with the band. It was occasionally the Dead's Midnight song at their New Year's Eve show. I saw him do it in 1985 at midnight on the 31st. Always a fun way to start the new year, although I was always partial to them playing Sugar Magnolia at midnight. So the Dead played a total of 57 times. We said the first was on December 10th, 1965 at the Fillmore in San Francisco. The last was October 17th, 1994 at Madison Square Garden.
in new york city and uh... uh... we have now come to the end of our show we ran a little bit long today but we had some great music here to talk about had some really really good marijuana stuff to talk about i hope people stake in all that information offer the positives it is really stand behind uh... where marijuana is going in how thankful we should be to uh... to be existing in this time uh... what is legal uh... in some places and when all these discoveries are being made and and hopefully that will just continue on the way out i'm gonna leave you with johnny be good it's not the the encore uh... that's
it's US Blues and it happens to be a really strong US Blues, but Johnny B. Goode, we still have the Nevels playing. And so I really wanted to capture one more song with them. This was the final song of the second set. And I know, like I said, we just featured it. But this version demands really recognition. Again, you got the mashup of the dead and the Nevels. Singers, the whole thing is just great.
Larry (01:16:51.13)
but it's just a rip -in version. So we had to go with this one, and it is a Chuck Berry tune, the dead play, Johnny B. Goode, 283 times, first on September 7th, 69 at the Family Dog, the Great Highway in San Francisco, last on April 5th, 95 at the Birmingham Jefferson Civic Center Coliseum in Birmingham, Alabama. Thank you everyone for listening. We'll talk to you next week. Have a great weekend, or week, right, we already had the Super Bowl, so I hope you had a good time watching the Super Bowl, and that you enjoy yourselves. Stay safe and enjoy.
your cannabis responsibly. Thank you.