Phil Lesh: A Tribute to a Musical Icon In this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans
Phil Lesh: A Tribute to a Musical Icon
In this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.
Takeaways
Sound Bites
Chapters
00:00Introduction and Context of the Episode
03:45Exploring the Grateful Dead's November 4, 1977 Show
11:34The Jones Gang Incident and Band Dynamics
16:49Music News: Goose and Gen 3 Jam Bands
20:51Tributes to Phil Lesh and Reflections on Legacy
25:30Remembering Quincy Jones: A Musical Legend
30:06Dave's Picks Volume 52: A Review
36:30Celebrating Music and New Releases
38:53Exploring the Grateful Dead's Legacy
44:17Marijuana News and Legalization Efforts
01:01:01Deep Dive into Grateful Dead Performances
01:09:55Closing Thoughts and Reflections
LARRY'S NOTES:
Grateful Dead November 11, 1977 (47 years ago)
Cotterrell Gymnasium
Colgate University
Hamilton, NY
Dave’s Picks #12
This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring. On November 1st they played in Detroit’s legendary Cobo Hall. The next night up in Toronto. They had Nov. 3 set for Utica, NY but the show fell through a few weeks before. They were still set for Rochester on Nov. 5th (which was released as Dick’s Picks #34) and Binghamton on Nov. 7th. So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.
Cotterrell gym on the Colgate campus is a small venue. Think large high school gym with pull out bleachers. There were only 3,000 folks at the show. But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads. A tough ticket as the Heads used to say. But those who made it in had a ball and saw one of the best shows of the year.
One of those shows that lots of Deadheads wished they had seen.
This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes. This one was taped by Jerry Moore who was set up directly behind the soundboard. Go to Archive and check out the entire show.
On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.
INTRO: Dupree’s Diamond Blues
Track #8
2:50 – 4:52
This is a great version with Jerry’s lyrics and playing both very strong.
The 8th song of the first set following: GO TO ARCHIVE LINK
A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today. I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree’s into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music.
Played: 82 times
First: January 24, 1969 at Avalon Ballroom, San Francisco, CA, USA
Last: October 13, 1994 at Madison Square Garden, New York, NY, USA
SHOW No. 1: Tuning (start of second set, stage banter re Jones Gang)
Track #10
:15 – End
Why did Phil do this? To kill time, he was dosed, adding a bit of levity to the evening’s proceedings. Or there is this:
Two nights before the Dead played in Toronto at Seneca College’s Field House. The night before was at Cobo Hall in Detroit. So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show. Apparently, the band could not or did not want to try to take their stash into Canada. Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances. SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever.
Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed. They were wearing sunglasses indoors in the evening.
Good friend Henry was a student at Colgate in 1977 and attended the show. In telling me about it, he basically began with the Jones Gang episode. So it was cool to finally hear the show and hear Phil do his thing. A great way to keep everybody entertained while waiting for some technical issues to be resolved. And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows. This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing When they spoke it was all pre planned, “Thank you (insert name of city where they are playing).
And then launched into a killer Samson (even though it was a Friday). Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later. Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show. Sure took Henry back.
MUSIC NEWS: Music Intro:
Cold Rain & Snow
Goose
10.25.2024
LJVM Coliseum
Winston-Salem, N.C.
Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)
0:10 – 1:05
Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene. Not the first time they have covered the Dead, but it’s a damn good cover of a tune that traces its Dead roots to their very first album and even before that. Jerry loved it. Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG. And Goose nails it here. They really bring it every time they play. The jam band that I figure will outlast me!
Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2]
Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3]
Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016).
Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1]
"I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X.
Time to order Dave’s Picks 2025 subscription. I say it every year.
SHOW No. 2: Eyes of the World
Track #15
11:10 – END
INTO
Estimated Prophet
Track #16
Start - :20
The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes. This is the end of Eyes jam and segue into Estimated. Very cool to hear it played “backwards”. This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to. On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”. It sure worked out well for the rest of us.
SHOW No. 3: The Other One
Track #17
:52 – 3:00
We’ve featured this song so many times, discussed the whole That’s It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam. They only sing the first verse of the standard Other One and then head straight into Drums. This clip just features the jam with Jerry leading the way. So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks. Maybe not the best of ’77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back. Some of the best post-1970 psychedelic Dead that you will ever hear. Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to. Just buckle in and enjoy the ride.
Played: 550 times
First: October 31, 1967 at Winterland Arena, San Francisco, CA, USA
Last: July 9, 1995 at Soldier Field, Chicago
MJ NEWS:
SHOW No. 4: Playin Reprise
Track #21
3:00 – 6:34
"Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan).
During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[
It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances.
In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”.
On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise. Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP. Very cool – an entire album just for one song. Like Phish’ Ruby Waves at Alpine Valley in 2019 got its own album.
Then later they might add a song or two in between the main portion and the reprise.
Then later they might hold it for the encore the same night the main song had been performed.
Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3. Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night. Usually during the show, but as stated, sometimes in the encore.
Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise.
David Dodd: To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they’d played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur.
While it usually ran 3 or 4 minutes, this show’s reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics.
For Phish fans, think Twe-pri. For non Phish fans that’s the song Tweezer and its “reprise” and that band takes all sorts of liberties with it. Not so unlike the Dead’s style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker’s Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run.
Reprises are great!
Played: 648 times (no separate breakdown for how may Reprises were played but I’m sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)
First: February 18, 1971 at Capitol Theatre, Port Chester, NY, USA
Last: July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO
OUTRO Johnny B. Goode (Bob – “Happy Homecoming”)
Track #22
0:12 – 2:08
We’ve also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did. Its guitar intro is as famous a song opening as any in the genre. I love this version because of Bobby’s greetings to the students wishing them a happy homecoming! Imagine going to your high school or college homecoming dance and the band is the Grateful Dead. Now that’s a story to tell. Not sure and I don’t think it really matters whether that weekend was or was not Colgate’s homecoming. It just showed that stoned and all, Bobby knew he was on a college campus.
Almost always played as an encore or show closer if no encore. Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere.
Great way to end a great show. The boys just blow the walls down on this one. Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin’ version I’ve ever heard this band play!! It’s the fucking SHIT!!” I couldn’t have said it any better myself!
Played: 283 times
First: September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USA
Last: April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA - very interesting, not played at all on the final summer tour.
Larry (02:54)
hello everyone welcome to another episode of the deadhead cannabis show i'm larry michigan coming to you from chicago or actually evanston little bit north of chicago and this is a special episode cuz we're on tuesday november fifth election day don't worry still early in the evening and i don't really know anything about what's going on in the presidential race or other stuff like that
But I was in Atlanta yesterday visiting the lovely Ruby and did not have a chance or really the inclination to take time away from her to be taping an episode, so I'm doing it today. So thank you all for bearing with us. Thank you very much to producer Dan for giving me the flexibility to tape today. I appreciate it very much. We got lots to talk about, some marijuana news, some music news, and a really wonderful, grateful Dead Show.
The Grateful Dead performed on November 4th, 1977, that's 47 years ago today, at the Cotterell Gymnasium on the campus of Colgate University, located in Hamilton, New York. Just, I'll tell you right out of the box, this show was previously released as Dave's Picks Number 12, and you should really check it out and listen to it, it's amazing, and I highly, highly recommend it.
The show literally popped up out of nowhere during the very famous fall tour of the very famous 1977 year of touring. On November 1st, they played in Detroit's legendary Cobo Hall, the next night in Toronto. They had November 3rd set for Utica, New York, but the show fell through a few weeks before. They were still set for Rochester on November 5th, which, by the way, was released as Dick's Picks number 34. So the very next night, the very next show, both have now been released.
Although this show was actually released already a number of years ago on Dave's Picks. And then they were going to play Binghamton on November 7th. So less than four weeks before this show, while already hitting the road, negotiations began for this show, which were only basically finalized the night before. If you got to the show, this isn't the way it started, but this is a song that they played in the first set.
Dupree's Diamond Blues is based on American folk song, Frankie Dupree, which was based on a real historical figure named Frank Dupree. According to In the Pine, Selected Kentucky Folk Songs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta in 1921. He intended to give the ring to his girlfriend, Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago, where he killed another officer and wounded others. Authorities eventually apprehended Dupree while he was going to get his mail.
They shipped him back to Atlanta where he was executed on September 1st, 1922. The song is the second track on the Grateful Dead's third album, Oxxamoxxa, released in 1969. As with most of the songs on the album, dead lyricist Robert Hunter wrote the words and dead frontman Jerry Garcia wrote the music. Well, when I get those jelly roll blues as they sing in that song, the term jelly roll was once common African-American slang for a woman's genitalia.
the great ragtime pianist Jelly Roll Morton took his name from that very meaning in 1924 Morton recorded an influential jazz song titled Jelly Roll Blues which is most likely what Hunter is referencing here. This song debuted in 1969 and that year they played it a total of about 17 times. It then dropped out of the repertoire until October 2, 1977 at the Paramount Theatre in Portland, Oregon. They played it four times that year.
the version we're listening to you just listen to being the last one of the year in 1977. It was played twice in 78 and put back on the shelf until August 28, 1982 at the Oregon County Fair in Vanita, Oregon, the home to the famous August 27, 1972 show to support the creamery, which The Dead released and we've talked about a lot. From 1982 to 90, it was played at least once a year.
ninety-five eighty-five was the outlier with sixteen performances only played two more times both in ninety four this is a great version with jerry's lyrics and playing both very strong as i say this is the eight song of the first set of the show and it's really an exceptional show it's just a shame we never have time to list everything but this show just starts out strong birth a good love an opener which is
you know fantastic we've just featured birth is so much on the show others much as i love it and we've rarely ever talk about something like to freeze time in blues i want to get to that but what birth a good loving brown eyed woman cassidy it must have been the roses sunrise a little dot eleven there mingle with blues and finally to freeze time in blues and then they close out the set with let it grow so in nine song first set du pres I think
i've always loved to freeze i caught it once or twice i was lucky to hear it in the nineteen eighties and it's just a fun song all the way around i think one of the things that's on very unique about this song is that it was on one of the songs that was played back in nineteen seventy eight when the
not 1978, excuse me, 1969, the Fillmore West recordings at the end of February and the beginning of March that year. And what we have is on nights one and three, they come out and they actually open up with Mountains of the Moon into Depri's Diamond Blues. And then they go out, and this is in the second set, and then they go out and they play. here, actually.
They start the set with Dupree's Into the Mountains of the Moon before jumping into the fabulous Dark Star St. Stephen the 11 Love Light Suite, in my humble opinion the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. So, a great song, played really well in that show, again played a total of 82 times, first was on January 24th, 69 at the Avalon Ballroom in San Francisco.
The final time it was played was October 13, 1994 at Madison Square Garden.
So it turns out that, as we say, they played it at Cotterell gym on the Colgate campus. So be thinking something like high school gymnasium with pull-out bleachers. There were only 3,000 folks at the show. But 2,300 of the tickets were held for Colgate students. So only 700 of the tickets were sold to the public or the deadheads, who were probably the ones desperately trying to get these tickets once the show was announced.
I was it was a tough ticket as the heads used to say but those who made it had a ball and saw probably one of the best shows of the year. Clearly a standout of that tour and just excellent. You know when Dave Lemieux released his shows he's no fool and he knows good music when he hears it and this is this is a good one. It's one of those shows that lots of deadheads I think wish that they had seen certainly the ones who were seeing the dead at that time and didn't make it.
and even the rest of us who didn't start seeing him for a few years later you know to think wow how cool it would have been to be able to be at that show and hear them play the way they did now this version of of the show from the that were playing all of our clips off of is from archive dot org it's an audience tape and it's a great contrast to other episodes where you feed where we have featured dead show clips from audience tapes this was taped by jerry moore well-known tapered back at that time who was set up directly behind the soundboard
apparently he knew some of the guys who do work the soundboard for the dead he always got a choice spot right behind them with a microphone that made it up over the top of the soundboard so he was capturing the same sound that the soundboard was capturing knew what he was doing and made some really excellent tapes including this one and with that I'll send a personal note that I'm glad to see that archive.org is back up and running had it been down for a couple of weeks after apparently it was hacked
of very unfortunately because they were a great source of music for us and we appreciate them very much so we have the show and it started and we didn't we we they close out the first set with let it grow they take a break and then they come back out to start the second set and when they start come out to start the second set before they actually start playing the second set this happens
The Jones Gang. Why did Phil do this? To kill time? He was dosed? Adding a bit of levity to the evening's proceedings? All of the above? Or there is this. Two nights before the dead played in Toronto at Seneca College's Field House. The night before that was at Cobo Hall in Detroit. So they took off the third while traveling from Toronto to Hamilton, New York to play this show.
Apparently the band could not or did not want to try to take their stash into Canada what they would have done at that time is they would have driven from Detroit across the ambassador bridge and then Up, think it was as I recall correctly It was it was route 80 or route 100 or something that ran right into deep right into Toronto That would have taken them there to play their show and then from there you get on the QEW and that takes you straight down
into the Buffalo Niagara Falls area, we crossed the border, and then it's a straight shot across to all of these places, Rochester, Binghamton, and Hamilton in New York, where they were playing all these shows. So that meant they would have had to cross the border once from the US into Canada, and then a second time from Canada back into the US. that alone might have been understandable not to bring their stash with them into Canada, but it just so happens that Keith Richards of the Rolling Stones had just been busted in Canada for possession.
and no one wanted to take any chances. So, it seems that maybe what Phil was telling us is they were jonesing for something. Weed, acid, whatever. Now, many of the deadheads' reports of this show in archive and at the Dead Set List program note that the guys seemed very stoned or more likely dosed. They apparently were wearing sunglasses indoors for an evening show. A good buddy of mine, Henry, was a student at Colgate in 1977 and he attended the show.
and he's been telling me about it for years and he always anytime we talk about it he'd always go back and begin with the Jones gang episode and how crazy it was and how everybody thought what the heck is going on but it was so cool and you know they were just they were having a great time as were all the people in the crowd get to hear the Grateful Dead and Henry was quite an aficionado of music in his own right still is but you know it was very cool to finally hear the show
And here Phil do this thing. It's a great way, I think, to keep everybody entertained while waiting for some technical issue that Bobby mumbles about at the beginning to be resolved. And something I think that was sadly missing in their latter years when basically none of them said very much of anything while on stage. Bobby sporadically with a comment, and he was always the guy who said, we'll be back in a little while, or thank you very much, good night kind of thing. Jerry I saw speak from the stage a handful of times, less than 10 out of 110 shows.
This is the kind of stuff that normalized them and separated them from the button-down rock acts that showed up, played the same set list night after night, and would keep playing. When they spoke, it was all pre-planned. Thank you, certain name of city, Chicago. We love being here. So to go back and hear the boys do this kind of stuff is fun. Fish does it all the time, even today, 40 years later.
Trey loves to it up on stage about whatever's going on or whatever he wants to talk about. And sometimes the other guys join in. Sometimes they don't. But this was just great stuff. And so it's fun to go back and hear him. And then they launched into a really killer Samson and Delilah, even though it was a Friday. And by the 80s already, you'd always hear Samson on a Sunday. And Bobby would say, bein' Sunday and dive into Samson. And we'd all go crazy. But was just part, another part.
of a great dead experience and the kind of thing I think that makes it easy to remember the show even years later. Everyone talks about the Jones Gang Show, maybe more than they think of it as a Colgate show or a Hamilton New York show, but it sure took Henry back and very, very cool. So that's a great tune and it's fun to hear. Not a great tune, that's a great sequence to hear is what I meant to say. And the boys having a little fun and hamming it up on stage and.
Joneson and Dosen and all of that good stuff, which we just, again, didn't get a whole lot of in the, even by 1982, that stuff was all kind of winding down. But hey, it's all on record. We can all go back and hear all of it. We're going to dive over into some music news now for a few minutes. Not a whole lot going on, but a couple of things that I want to touch on. And first of all, here's our music intro.
Let's listen to that for a second.
Well, yes, that is Cold Rain and Snow. That is a Grateful Dead tune. But no, is not Jerry singing it. Those of us who know Jerry could tell right away that it's not Jerry. But basically, those of us that find it on YouTube under Goose singing Grateful Dead in honor of and Cold Rain and Snow pops right up from the LJVM Coliseum in Winston-Salemonte October 25, the evening of the day that Phil passed. And they play Cold Rain and Snow.
It's another Phil tribute by one of the most promising Gen 3 jam bands on the scene. Just to clarify, Gen 1 would be The Grateful Dead or Jefferson Airplane or any other jam bands from that era. Gen 2 would be Fish, Widespread Panic, String Cheese Incident, these bands that all came about after the dead, but by now have all been around for 30 or 40 years themselves.
And now we have Gen 3, which is Goose. Daniel Donato is part of Gen 3. there's a good number of them that are. But I think that Goose is far and away the front runner of that whole crowd, of the Gen 3 crowd right now. And they continue to make a name for themselves. And it's really kind of cool to see. Now, it's not the first time that they've covered The Dead, but it's a damn good cover of a tune that traces its dead roots back to the Grateful Dead's very first album and even before that. Jerry loved it.
filmated happened you can always hear in the background with the base you know just boom boom and on the on the musical intro and everything else with it and it really restarted his singing career on the closing course of nineteen eighty two at the madison square garden shows and i think who's nails it here they really bring it every time they play the jam band that i finally figured well outlast me the dead didn't fish the guys are my age so who knows maybe
they'll be even healthier than me and just keep going on forever and ever. But the guys in Goose are already 30 years younger than me, figure. hopefully they'll be playing for a long, long time. And my wonderful granddaughter Ruby will be going out and jamming on their music and having a good time with it and thinking, boy, my grandfather must have been really hip back in the day. Well, I can say it because she's not listening yet. But we all know what she'll have to say when she finally does.
so yet just great to hear goose do this these guys just really rocket if you have a chance to see them i strongly strongly recommended and think that it's it's just great stuff to to be able to hear them do this and honor phil and honor the dead and to come out and do that you know fish did it they do it and i think you know it's a wonderful way to pay homage to a guy who both of those bands had a chance guys in those bands had a chance to play with
Rick Mitrotondo of course played with that and company. Trace played with that and company. He played with the Fair the Well group. So you know it's just a big love fest with all these guys and it's just the torch being passed down right down the line and Goose is a noble recipient of it in Gen 3. So moving along, last week we shared quite a bit about Phil and I didn't want to just harp on Phil two weeks in a row and I don't mean harp but I mean
just totally focused because there are so many other things going on and we will eventually when I have a few minutes to do it we'll sit down and put together something a little more devoted to Phil and you know really trying to remember him and capture the guy who he was but while we got the official grateful dead statements about Phil last week and we got some others from Chuck D and from Trey and other folks we never had a chance to hear what some of the other guys in the band had to say
and i want to just read to you what mickey hart's statement was i it's really special and really really says a lot he says phil has changed my life there are only a few people you meet in your lifetime that are special important who help you grow spiritually as well as musically he turned me on to the world's music gave me my first ala rock a record when we lived on belvedere street changing forever what i thought was musically possible
Phil was foremost an improvisationalist and taught me, all of us. Phil was bigger than life, at the very center of the band, in my ears, filling my brain with waves of bass. All those years we all rode the third rail together, creating something that cannot be defined in words. Phil was a master of a style he invented. He was singular, unoriginal. Nobody sounded like him, nobody. He had wisdom, was older, and showed us the way.
Later he became first and foremost a family man. There was no one who loved his wife and sons more than Phil, and no one was more dedicated to the Grateful Dead. His sound is indelibly embedded in my mind as is Jerry's sound, and always will be." That's high praise from Mickey Hart, and really very something special, I think, for him to share. And it's wonderful to hear that, and wonderful to hear he felt that way about Phil.
and it's always very cool to finally get to see the doors crack just a little bit more each time and find out a little bit more what these guys were like and I don't think any of us ever doubted how integral Phil was to the band. It was very clear and obvious from the way he played and sometimes the way he seemed to be leading the band even when it looked like Jerry was. But when you saw Phil in Friends you really had a chance to see it first hand because then he was clearly the conductor.
even though he was playing with some of the greatest you know improvisational players of the time and jam band aficionados it was just special to see phil commanding it all and it's nice to see other guys in the business and here's a here's a statement from phish's mike gaurd mike gordon who says it's hard to put into words the depths of our loss as phil is a profound influence on all of us the great phil dead were uniquely moving and i always felt phil's contribution
was at the pinnacle of that magic. Phil's tone was both beautiful and unprecedented. Again, high praise coming from a guy who right now is probably seen as being well in the upper echelon of current rock and roll bassist, jam band bassists, musically adept guys who just can go out there and make this instrument play. Les Claypool, we all know. There's so many of them.
We don't need to get into naming all of them, but it's just nice to hear Mike Gordon say this as well, you know, in this sense of appreciation, you know, again, for the Gen 2 up to the Gen 1. And, you know, it's wonderful that it's just all one big happy family of musicians, and they all just came along at different times, which is to say maybe if they had all come along at the same time, who knows what kind of music they could have all made.
But I like it much better that it's kind of spread out this way, right? That we had the dead, we have fish, and we still have goose, right? They're just really getting started in terms of hitting their stride, I think, and being discovered by the the jam-banned world outside of just any small niche markets or anything like that. So this is kind of cool. I mean, the silver lining, I guess, it comes from a guy like Phil Passing.
It's a real good opportunity and a real good moment for the rest of the musical world to kind of pull itself together and stop and remember things like what Phil meant and what the Grateful Dead meant and how important it is for all of them to be able to live similar legacies. So hopefully someday many, many years from now when people are talking about Mike Gordon, they'll be able to talk with him with the same type of reverential awe and appreciation for what he brought to the scene.
not just in terms of making his music with fish or his music on his own, but in terms of what he was able to pass on to the next generation and the generation after that. And these are just special guys. They're all really, really special and unique. And it's very, very cool to see. Speaking of passing, I would be very remiss. Excuse me if I fail to talk about the passing of a true
true musical legend, Quincy Jones. Quincy Jones passed away this past weekend at the age of 91. He was an American record producer, a songwriter, a composer, an arranger, and a film and television producer. Over the course of his career, he received several accolades, including 28
Grammy Awards, a Primetime Emmy Award, a Tony Award, and an Academy Award, and four Golden Globe Awards. So he got the coveted EGATT, means performers who have won a Grammy, a Tony, an Academy Award, and a
Grammy, Emmy, Tony, and Academy Awards. and he's one of those guys. He came into prominence in the 1950s as a jazz arranger and a conductor before producing pop hit records for Leslie Gore in the early 1960s, including It's My Party, and serving as an arranger and conductor for several collaborations between jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson.
Off the Wall in 1979, Thriller in 1982, and Bad in 1987. In 1985, Jones produced and conducted the charity song We Are the World, which raised funds for victims of famine in Ethiopia and brought together an amazing group of rock and roll and musical world legends. There's a documentary about it. And if you ever have a chance to go watch it, I would strongly, strongly recommend it.
Because it's just so cool to see so many big names and big people and big egos all in one producing studio, all in one recording studio. And these are all folks who are always used to being right up in front at the microphone with everybody else filling in behind them. And now they're all just kind of like waiting their turn for Quincy to signal for them to come up to sing their little solo part that they gather, whatever it might be. But it's amazing to see. And it was a very cool song when it came out.
Got a lot of airplay, rightfully so, for very good cause. And I don't remember what the final numbers were on it, but it certainly made a difference and was a great thing to be able to see. Jones composed numerous film scores, including For the Pond Broker in 1965, In the Heat of the Night in 1967, In Cold Blood, also in 1967, the original The Italian Job in 1969, not the Mark Wallenberg when they came out.
10 years ago or whatever it is. The Wiz in 1978 and The Color Purple in 1985. He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the Miniseries Roots, 1977. He received a Tony Award for Best Revival of a Musical as a Producer for the Revival of The Color Purple in 2016. Throughout his career, he was the recipient of numerous honorary awards, including the Grammy Legend Award in 1992,
the Jean Hirschholz Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Order d'Arts des Letters, sorry French people, in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time Magazine. I woke up today to the terrible news that we lost Quincy Jones.
geniuses description used loosely used but rarely deserved point blank Quincy was the man I won my first Grammy with Quincy and I live with his wisdom daily that was iced tea talking about Quincy Jones a true legend somebody who you know sometimes might have almost gotten lost in the background except for the people who knew him and knew who he was and knew what he was doing and
you know, could certainly appreciate the final product that he played such a pivotal role in pulling all together on. it's a big, big loss. We obviously send our condolences to his family, friends, and the whole music industry, and everybody for this loss. Phil goes, Quincy goes, all these guys who we all grew up with, and sometimes maybe we took a little bit for granted. I don't know, but it's big loss.
The other thing I want to talk about today is the release and distribution of Dave's picks volume 52 This is from the downs at Santa Fe Santa Fe, New Mexico from September 11th 1983 and it's a Wonderful wonderful show. I got it. I've already listened to it two or three times You know 1983
this is my wheelhouse man this is when i was just really get going with these guys in september of eighty three was right when i had seen them excuse what was october of eighty three when they finally made it to the east coast when i saw them in madison square garden and caught my saint steven and then a few weeks later the whole an arbor crew drove out to syracuse for the last show of the tour and rocked out there all night we all stayed a good buddy mikeys in ithaca and it was wonderful and fun and story story stories
come over, we'll get stoned and share them all, but not right now. So this is from a period of time where I was, this is when I was getting on the bus, this is when I was brand new on the bus, and this is the way they sounded, and it's so wonderful to go back and play this and listen to it and be able to hear. A couple of weeks ago, I wanted to do October 14th, 83, from Hartford, Connecticut, and I wasn't able to do it because,
archive.org was known. But we're going to come back to that show too because that was an amazing show that immediately followed the Madison Square Garden shows that I had seen.
It's just a wonderful, wonderful show from the same period of time. They sound absolutely amazing, and it's so cool. This is a great show. It opens with Alabama Getaway, in the greatest story ever told, a very common one-two punch to open shows at that period of time, followed by Dire Wolf, Hell in a Bucket, amazingly brand new at that time. This would be on the album In the Dark that came out in 1987. This is only 1983.
West LA Fadeaway's next same thing being played over four years before the album even comes out Me and my uncle in Mexicali blues Little Cowboy tunes Althea CC writer and might as well a monster 10 song first set each song almost better than the next There's so many highlights. It's great. Alabama getaway. I love the greatest story Direwolf is always lovely. Hell in a bucket is still kind of new and being worked out same with West LA Fadeaway me and my uncle Mexicali
always a little bit of nostalgia for me. Althea just so incredibly beautiful. What a wonderful time for Jerry in 83. And his voice is still really strong. And his guitar playing is right there. And it's just a killer version of Althea. CC Ryder is Bobby doing his thing on that and doing it well in Might as Well, which is always a tune I loved. It was a great set closer. If you were going to get a set closer and it wasn't going to be Let It Grow or it wasn't going to be Deal,
that might as well was as good as any that you could get might as well be might as well and it is in the second set is a help on the way slipknot franklin's which they just started playing again earlier that year into let it grow which is great right is let it grow is always a a second set first set closer please when i saw it and here you know it's popping up in the second set after the help slip frank opener into a wonderful he's gone in its normal spot right before drums
and then into a space, and then they come out in a really, really strong trucking. Wang Dang Doodle, which I absolutely love in the post space spot. Whenever we'd see him do it in Chicago, it always seemed like it was a show opener, which is great. It's a great show opener, but it's just kind of a fun throw in there. And then they dive into Morning Dew. And it's another beautiful dew. All the 77 dews are beautiful. Barton Hall is the dew of the dews. But this one's great. They're all great. Into Around and Around, into Sugar Magnolia.
and then a US Blues Encore. And those are the shows I remember out of space, at least four and sometimes five full songs before they'd get to the encore. You got Truckin', Wang Dang, Morning Dew, Around and Around, Sugar Mag. That's beautiful. That's almost 45 minutes of music or 50 minutes of music post space. Whereas in the later years, you'd come out of space, you'd get a Jerry Ballad and Sugar Mag.
or around and around and they'd close on that. Or throwing stones not fade. All good stuff and all great music, but there's something special about a show when they manage to squeeze in five tunes after the space and solid tunes, every single one of them. And then the US Blues Encore, of course, is wonderful. And then just because they have a little extra room and they like to do it, they throw in a little bit from the night before also.
off from the downs at santa fe and you get a wonderful cumberland blues a sparkling twelve minute plane in the band and a beautiful almost ten minute china doll so i recommend all the day's pics volume fifty two is as good as any of them it's wonderful to listen to and i'm gonna probably go back and listen to it again tonight when i'm done doing this because it's a great thing to do
and then takes my mind off of sitting around wondering who's going to be our next president. So it's kind of a good way to spend time with music and people that I love. if you don't have any of the Dave's picks, you just don't know what you're missing out on. Many of them have sold out because they're released in limited numbers, usually 25,000, which sounds like a lot. But they do sell out. Not all of them. Some shows are better than others.
this show may very well have sold out I don't remember I I mean I I buy my subscription every year and I tell anybody I know who likes the Grateful Dead you're crazy if you don't buy your subscription then you don't have to think about it it just shows up four times a year it's always a nice surprise when it shows up you know inevitably I won't even be thinking about it although I will start thinking about it because I'll hear David Lemieux talking about it on the Grateful Dead SiriusXM station and be like right the next Dave's pick is getting ready to come out
Good thing I'm going to have it coming in the next day or two, and then boom, it shows up. And I come home from work and just go right into the music room and pop it on and have a wonderful time with it. That and a good blunt or something, and it makes a wonderful, wonderful evening. Or a nice weekend if you want to carry it over to the weekend when you can rage a little bit harder, again, as the kids like to say on that. So that is our music news.
Yeah, you know, there's lots of good bands that are out there touring right now. There's always great things going on. There's always great new music coming out. And unfortunately, we're just getting to a stage where we are losing music legends far faster than we would like. We try to cover it all. We try to talk about the good stuff. We try to talk about the sad stuff. We try to talk about the grateful dead. Anything they do, something wonderful. And whenever Dave Lemieux reaches back into that lovely vault,
and pulls something out and shares it with all the rest of us. And even though these are all probably shows that have been on tapes and been circulating for years, to get the official dead version of it think is very, special. So shout out to Dave for another great pick and another great box set too. We talked about the spring 1978 box set a little bit. Maybe we'll get into that one in little more detail too, because I'm making my way through that. And it's just absolutely wonderful. I'm having a great time with it.
hearing wonderful versions of tunes that I never knew existed, songs played in certain ways that are, in some cases, almost mind-blowing, and in other cases, like, yeah, I'm kind of glad you didn't stick with that version so much. But either way, it's just cool to hear it. tunes work their way around. And it's a great time for them in 1978. And it's a great collection. So all of this stuff, get it while you can, because.
You know, everybody says we can download it off of Archive. And I'm like, yeah, but then when Archive gets hacked and it's offline for three weeks, I don't have to worry because I just go to my collection and I just start playing everything that I got. And I just make it right through. And all is good in the world. But getting back to our show from 47 years ago yesterday at Cotterell Gymnasium on the campus of Colgate University in Hamilton, New York. And we're going to dive back in now into the second set. And this is actually really a pretty amazing second set.
it really this is the part that really gets talked about i think just so much and we heard the tuning part right the the jones gang and all of that we said they jumped into a great samson and delilah and cold rain and snow an amazing plane in the band and then from playing they went into eyes of the world and i'm telling you that's it is just going to all of them they played this in planet because they went eyes of the world into estimated profit we're gonna play for you right now the
the end jam of the eyes of the world into the estimated profit, because A, it's just an amazing jam on eyes of the world by Jerry and the boys anyway. B, it's a very, cool segue from one into the other. And C, it's very rare, as we will talk about on the back end. So Dan, if you could go ahead and spin this next one for us, that would be great.
So as I mentioned, the unique thing in this segment that we're listening to right here in this clip is that it's the first and one of the only times maybe that the band played Eyes into Estimated as it was almost always played as Estimated Eyes. This is the end of the Eyes jam and it's segued into Estimated there. It's so cool to hear it played backwards. This entire Eyes, all 13 minutes of it, is magnificent and a must hear.
if you're looking for some great dead jamming to rock to one night or one afternoon or whenever you like to rock to the dead on this night they were apparently in a state of mind that let them do a bit of exploring away from the norm for them if there even is a dead norm it sure worked out well for the rest of us and i i think it's just really really cool to hear estimated profit was still a relatively new song eyes had been out for a few years at that point so they had had a whole long history
of estimated eyes or anything like that but it had been prior to this night estimated eyes and often to the future and forevermore was estimated eyes and you know for us a scarlet fire estimated eyes into drums in space was you know almost as good as you can get for the first half of the second set unless it was help slip frank estimated eyes or china cat china writer estimated eyes it was just such a groove for them they played it so well but if you know it's fun like this when they mix it up a little bit and
you know, just keep everybody guessing. So very kind of cool and a wonderful way to dive into the middle of this set. right, they do playing into eyes, into the estimated profit we just heard, and then they drop in for a very killer version of the other one. And that's where we're going to go right now. And basically, this is all pretty much just Jerry rocking it out. And go ahead and listen to it.
well we featured the song so many times discussed the whole that's it for the other one sweet knowledge subparts this was the opposite it's a four minute twenty second yes for twenty version with the first three plus minutes just a hard jam led by jerry there they only seen the first verse of the standard other one of the head straight into drums now they would do that from time to time but this is just kind of cool here the way because it keeps the set moving along
but it pays homage to this other one and as we i didn't really record feature much more beyond the jam because we feature so much of the jam but when they finally get around to seeing the lyrics from the first verse they get a nice little applause from the crowd recognizing it and really appreciating it and just you know how great it is so they're so they only think that they're only seeing the first verse here
and the clip just features the jam right with Jerry leading the way and it's so clean and powerful is 1977 is the best year ever for the band this has to be one of its peaks maybe not the best of 77 because Barton Hall excuse me but still way up there for nights when the band was truly smoking hot and holding nothing back some of the best post 1970 psychedelic dead that I think you'll ever hear everyone is in sync
and making the magic that kept us all coming back for more until unfortunately there was no more to come back to. Just buckling and enjoy the ride. It's a beautiful version of the other one, right, which they ultimately played 550 times. First was on October 31st, 1967 at the Winterland Arena out in San Francisco. The last was on July 9th, 1995 at Soldier Field. So on the last show ever, the last set ever, and the last post-Drums in Space portion.
of a dead show ever and the other one was still played. is an amazing lifespan for any song. that was a wonderful hearing. It's just a wonderful part of the show that I think just makes it so good. So they go from the other one into drums and a little space stuff. And we'll get back to it. We'll pick up here in a minute.
I now want to get over and I want to do a little bit of marijuana news today. so for that, we've got Dan with his Always Present and Ready to Go marijuana themed music. So let's listen to it.
Okay, sir.
This is Danny's song. It's a song written by American singer-songwriter Kenny Loggins as a gift for his brother Danny for the birth of his son Colin. It first appeared on an album by Gator Creek and a year later on the album sitting in the debut album by Loggins and Messina. The song is well remembered for both the Loggins and Messina original as well as for Anne Murray's 1972 top ten charting cover. Now,
what's funny about this is when you see the lyrics it's really kind of reverse weed song right seems as though a month ago i was beta high never got high i was a sorry guy now i smile and face the girl that shares my name yeah now i'm through with the game this boy will never be the same doesn't say he goes out and gets high but you know we can only imagine at this point right he's knew what he missed out on but i like that kind of you know
Part of Dan Hummison's dry, subtle humor is the producer. Producers always kind of have to have that dry, subtle humor because they never want to try to upstage the talent, not that it would be very difficult to upstage me. He's breathing, so he's already got me. But this is a fun song. Luggins and Messina, definitely a sound from my youth. In 1971, Luggins and Jim Messina released Sittin' In. Although the album yielded no top 40 radio hits, Danny's song received a significant amount of radio airplay.
Loggins wrote the song, as we say, his brother Danny Loggins in 1966 as a senior in high school when Danny became the father of a boy named Colin. His first son Danny's song was included as the B-side of one of their early single releases, Nobody But You. Loggins and Messina would achieve chart success in 1973 with their song, Your Mama Don't Dance, but their version of Danny's song remains one of their best known songs through the frequent airplay it received on rock and con...
and adult and contemporary radio stations. So very cool stuff and really a lot of fun. So let's kind of move on to some marijuana news. And because we're recording this on Tuesday night, given the time that I'm recording it, there is one election result that I am aware of that has nothing to do with the president, has nothing to do with the Senate, it has nothing to do with the House.
It has nothing to do with any elected office. It is, in fact, the results of the adult use marijuana legalization ballot measure in Florida that was endorsed by Donald Trump and opposed by Ron DeSantis. And thank you to our friends over at Marijuana Moment. On this election night, I can tell you that Florida voters have
rejected an initiative to legalize marijuana for adult use. While the measure got a clear majority of votes, it failed to achieve the steep 60 % vote threshold needed to pass a constitutional amendment under state law. The initiative did benefit from major endorsements, including that of former President Donald Trump, who is, of course, the 2024 GOP presidential nominee and a Florida resident who said he would vote for it.
At the same time, it faced a concerted opposition campaign from top officials such as Governor Ron DeSantis and the state Republican Party. Tonight, a strong majority of Floridians voted in support of legalizing recreational marijuana for adults to campaign Senate press release. While the results of Amendment 3 did not clear the 60 % threshold, we are eager to work with the governor and legislative leaders who agreed with us on decriminalizing recreational marijuana for adults.
addressing public consumption continue our focus on child safety and expanding access to safe marijuana through homegrown we want to extend a heartfelt gratitude to the majority of floridians who voted yes on amendment three and everyone who stood with us in this effort we will remain committed to advocate for smarter and safer florida and would continue to work towards solutions that benefit all in florida so you know it's a it's a very unfortunate thing
that this happened.
I just can't understand Ron DeSantis and why he felt that it was so important to oppose this amendment, even though it had overwhelming support in his state. He unconstitutionally used state tax dollars to take legal positions, imposing both this and the abortion amendment.
Look it is what it is. Donald Trump was for it, right? Go figure. I'll be honest to say I'm not much of a Trump guy, but the one time Trump and I come up on the same side of something it loses. So, take that and smoke it, right? Who knows what any of that means. this is just such a major disappointment on so many levels and not just the fact that Ron DeSantis is a tool and got in the way of it and really screwed it up. But here's what he's gonna find. People in Florida are gonna smoke marijuana anyway.
They always have and they always will. Florida is a very easy state to find marijuana in, especially down in the Miami South Beach Fort Waterdale neighborhoods, over in Fort Myers, on all the really popular tourist beaches and in those towns. It's everywhere and it's always been there and it always will be there because it's a great thing. It's a wonderful alternative to alcohol. People love it. We know this. There's nothing new or unique or special about this. Why Ron DeSantis felt, again, it was necessary to get in the way of it, only he can tell you.
but it seems like he has a little bit of a messiah mentality here that you he's the only one who can lead the way in if if everybody else even a majority of them go off in the wrong direction it's up to him to bring the flock home and kind of show everybody the right way and i'm thinking he's just a guy that didn't like to get high and got you probably ostracized from certain groups of people because he didn't like to get high and this is almost like revenge thing for my eyes
I have a hard time again, like I say, really understanding it. His state would benefit from it. Every state benefits from it. We've been telling stories after stories, including last week about how teenage smoking goes down in states that legalize marijuana. We talk about how average insurance premiums for a community go down when the community accepts adult use of marijuana and allows dispensaries to go in there. We've talked about all the other benefits to a state economy, to local city economies.
We talk about it providing a safe, much, much, much incalculably safer alternative to alcohol, to nicotine, to caffeine, to all of these other addicting substances that don't help the body, that don't do good for the body, whereas marijuana basically does nothing but good for the body. And again, if you're a listener to my show and to my prior episodes, you know what I'm talking about. If this is your first time, please go to our library at our website.
podconx.com and click on the Deadhead Cannabis Show logo and it will take you to the Deadhead Cannabis Show site and it allow you access to our complete library. Well over 250 episodes of this show going back now about five years and lots of great stuff to listen to and the one thing you'll notice is that our message, my message has remained the same through all of this. Marijuana should be legal, marijuana is safer than any of other stuff that's out there.
I would prefer that my children smoke marijuana than drink alcohol, smoke cigarettes, or anything like that. And there's just absolutely no reason in the world for this country to treat marijuana like it's something worse than alcohol or something worse than nicotine. There's no call for it. It's just not. It's something that needs to be normalized. It's been around forever. Longer than alcohol has been a part of human culture. Our bodies are wired for it with an endocannabinoid system.
and it's very very it's an important thing and as we're talking and another story pops up on my screen now that north dakota voters have defeated a marijuana legalization at the ballot box that's a shame and i'm going to talk about it because who the hell cares about north dakota very very disappointing states that could probably use the income they could probably use the the tax dollars and now of course
people who live in the states will just you know drive across the borders or find states that you have it now unfortunately for folks who live in florida that's kind of tough cuz georgia doesn't have it and south carolina doesn't have it and i don't know i don't think mississippi has adult use i don't think alabama has adult use don't think that louisiana has adult use yet so you know it would have made them a prime target for it would have made them
the state that everybody wanted to drive to to buy their marijuana. And they would have recognized a huge upsurge in sales tax, money that could be well spent on any number of projects that would benefit the public far more than DeSantis is actually helping them, even though he thinks he is by opposing this ballot measure. So too bad to him, too bad to the people in North Dakota. It is what it is, and you're just going to have to decide.
as a society, what's best for you and what you want to do. It's not my job to tell you what to do, but I will tell you that if you sit down and look at it, it's kind of a no-brainer between marijuana and just about anywhere else. And I still run into it. Guys my age, guys who back in the day, we'd sit around after work at night doing bong hits or loaders, as we called them, watching what at the time was almost brand new ESPN Sports Center.
CNN sports at night and know just hanging around and partying and kicking back and whatever. Now you find that some people, no, no, you know it's not professional, it's not the right way, it's not the right thing. You know if you go to a party drinking is one thing but smoking marijuana is something else and you know you kind of have to grow up little bit and get with the program and you know follow the rules.
I say anybody's free to do that, of course, but why? I think it speaks volumes when you have people who will tell you that we're going to have holiday parties where people are going to get drunk and we're going to have more alcohol than people know what to do with.
But if anybody smokes marijuana or shows up high, they're on the risk of being fired because it's not professional. Well, people are going to have to figure that out for themselves. And they're going to have to sit down and look at the benefits, and they're going to have to look at the negatives. And they're just going to have to come up with something. And I'm not sure what that something will be. But they're going to have to decide. And at this point in time,
Apparently some of these states just aren't ready for this yet. that's great. In the meantime, just ask Ohio, where retailers have sold more than $130 million worth of recreational marijuana products since market launch in August. So that's September, October. We're barely into month three. And Ohio has $131 million worth of recreational marijuana products sold.
Florida doesn't need that money, guess they're telling us. North Dakota doesn't need that kind of money, they're telling us. Okay, you know, go out and you're gonna lose the money to the other states because your people will go out and find marijuana where they want to find it, where they need to find it. And you're just cutting yourselves out of the loop and that's unfortunate.
Now here's something that's very, interesting. Considering the common perception that commercial banks do not want to get involved in the marijuana industry, there's a story also in Marijuana Moment that comes out and says, the marijuana industry continues to expand, a new economic analysis finds that the capital the cannabis businesses are expected to need will translate into upwards of $2.4 billion
in revenue for banks from loan interest payments over the next 10 years. The report from Sea Trust, Whitney Economics, and Green Creek Verified projects that the state-level marijuana market will require between $65.6 billion and $130.7 billion in growth capital for new businesses and to refinance existing cannabis companies through 2035, which would generate anywhere from $1 billion to $2.4 billion in interest revenue for financial institutions that service them.
While it's difficult to anticipate just how much larger the cannabis industry will become over the next decade, with multiple states such as Florida set to decide they rejected it, the analysis projects marijuana sales will balloon from 28.8 million in 2023 to 87 billion by 2035. And to meet that demand, the report said the number of licensed operators would need to nearly double to over 40,000.
The funding needed to realize this growth cannot be supported solely by friends and family. By demonstrating regional opportunities and broader market potential, the report aims to empower financial institutions, departments to help educate their boards on risks, rewards, and opportunities, all in the hopes of accelerating the industry's growth by encouraging more financial institutions to participate. As it stands, banks generally continue to be reluctant to work with state licensed marijuana businesses, given their product status as a federally legal drug.
There's a federal guidance in place that advises financial institutions on how to navigate that gray area. But so long as cannabis remains a Schedule I drug, under the Controlled Substances Act, there's likely to be continued wariness among banks looking to take on potential cannabis clients.
So they can say that, but at the same time, they're telling us that over $2 billion in revenue is being forecast. And that's a pretty amazing number. With those kind of profits to be had, I find it hard to think that the banking industry will not be doing everything it can to create laws that will allow it to actively dive in.
and really help this market grow to the next level. The kind of stuff I think that you can only achieve when you have that kind of access to money and that kind of access to banking and all of that kind of stuff. And I think that that's really, really important to have and something the industry has just not had on a general widespread level up to this point. But if banks can see that there's really this kind of money to be made,
The hope is that they will, in fact,
get to a point where they're willing to become more involved. And I think that will ultimately just help everyone in a much better way and hopefully take this entire cannabis industry to the next level. So let's back and see what happens. Disappointment on the marijuana fronts in Florida and North Dakota. But for the rest of us who live in states where it is available,
You know, too bad for them, doesn't affect us, and maybe they'll get it right next time. So let us dive back in to this wonderful show from 47 years and a day ago from Cotterell Gymnasium at Colgate University. And diving back in, we come back to a point in the show now that has us.
We went into drums out of plan and they come out they do an absolutely incredible Ico I think over 10 and a half 10 30 10 minutes 30 seconds long starts out a little bit slow but by the end they are just really really jamming to it a great Stella blue and then they dive into this so let's take a listen
Playing in the band is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitarist Bob Weir. He composed the music with some assistance from percussionist Mickey Hart. The song first emerged in embryonic form on the self-titled 1971 live album Grateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album, which included every Grateful Dead member except for Ron Pigpen-McCurnin. During a Bob Weir and Wolf Brothers concert livestream on February 12, 2021,
We are credited David Crosby with the composition of the main riff. We are stated David Crosby came up with the seminal lick and then he left. We were out at Mickey's barn. So Mickey said, make a song out of that. By the next day I had it. It has since become one of the best known Grateful Dead numbers and a standard part of their repertoire. According to the Dead Base X, it rings forth on the list of most songs played in concert by the band with 581 performances.
Although I think that number is even in dispute as you'll find out in a minute. brings forth on the most times played in the Grateful Dead live repertoire all songs featured musical improvisation and many featured extended instrumental solos but certain key songs were used as starting points for serious collective musical improvisation. The entire band creating spontaneously all at once. In this regard playing in the band was of major importance second only to Darkstar. During playing in the band the Grateful Dead would play the planned verses
and choruses of the song itself and then they would improvise and explore brand new musical territory sometimes for 20 minutes or more and then the chorus would usually be reprised to bring the song to its end to kind of a full wrap around. Sometimes during these extended jams the band would even perform other entire songs before at least at last coming back to the final chorus also known again as the reprise. On some occasions more earlier on than later the band would play the main song, for some amount of time and then slide back into the reprise.
Its performance in this style on May 21st, 1974 at the Heck Edmondson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song by the Grateful Dead in their history, clocking in at 46 minutes and 32 seconds. It was released in 2018 on the box at Pacific Northwest 73-74, the complete recordings, and as its own LP. Very cool. An entire album, just one song, like Fish's ruby waves at Alpine Valley in 2019.
guided so an album never miss an opportunity to mention ruby then later the dead might add a song or two between the main portion of the reprise as we talked about a second ago then later they might hold the replies price for the encore the same night the main song had been performed the later they might hold it until the night after the main song had been performed then two nights later and sometimes three was not uncommon for the main song the first night of a multi-night run then the reprise the last night
usually during the show, is stated sometimes in the encore as well. Then they might forget to ever go back to it, playing the main song again, and the whole process would just repeat as everyone would wait and see if and when they would finally play a reprise. Dead Archivist and
the guy who wrote the annotated Grateful Dead, David Dodd, said to me, the unpredictability of a playing jam was always the highlight of a show. It could get incredibly far out there, completely away from anything, and then, just like that, snap back in quietly and cautiously, or slam bang, or later, after they'd played most of another song or a whole set into the planned reprise. Sometimes the reprise would never occur. While the reprise usually ran for three or four minutes, this show's reprise went almost seven.
with an extended jam before they ever got to the reprise lyrics. We just didn't have enough time to play it all, so we tried to a little bit of both for you, but again, something great to go back and listen to. For Fish fans, think Tweed Pry. For non-Fish fans, that's the song Tweezer and it's reprise, and that band takes all sorts of liberties with it. Not someone like the Dead's style as previously discussed, but most famously, at least as far as I know, as a still-Neophyte deadhead,
during their 13th show, Bakers Doesn't Run at Madison Square Garden in 2017. played Tweezer on the very first night on July 21st to open the second set. And then the Tweed Pry finally showed up on August 6th as the second song of the encore after On the Road Again to close out the final show of the entire 13-night run. So you got a big, huge Tweed Pry sandwich in there. And that's just fun. Reprises are great.
playing in the band was played six hundred and forty eight times i cannot find a separate breakdown for how many reprises were played but i'm sure there were times they never got back to a reprise although one year of for april fools are today before nineteen eighty five at cumberland county civic center in portland maine that was actually may thirty first but they called it their april fools joke even though they did wind up playing again the next night april first at the very same venue but
they only did it this night on the 31st. played the reprise first and then they played the main song. Which is kind of clever and shows that they're thinking about these things from time to time and like to have some fun. Not unlike, I think it was in 1979, April Fools, when they came out to play Alabama Getaway but all playing different instruments. And then they went back and they played it again the right way. But that's fun. You go out and you do stuff like that.
keep the crowd guessing a little bit and just change things up, keep everybody honest. So 648 times, first played on February 18th, 1971 at the Capitol Theater in Port Chester, New York. We've talked about that February 18th show so many times and how many new songs were played that night. it was the first night of a six-night run, Mickey Hart's last show before his three-year hiatus from the band. came back after their 1975 year off.
just a place that bleeds Grateful Dead history. You breathe it in from the walls. It's such a cool place, beautiful location. You know, little New York town on Main Street, and there it is, the Capitol Theater. So if you've never been there, you should get there. It's very cool. And obviously, the Dead loved it. This song was last played on July 5, 1995 at the Riverport Amphitheater in Maryland Heights, St. Louis, Missouri. And interestingly enough,
St. Louis is the acknowledged hometown of the composer of the song we're going to head out on here, Johnny B. Goode in a minute. And I love Johnny B. Goode, and I love when the Grateful Dead play it, because Jerry just goes from being a jam band noodler kind of guy to just being a hardcore rocker for a minute. And he can play those lines out as well as anybody. And I know everybody that says Michael J. Fox from Back to the Future.
I assume that was really Michael J. Fox playing it and not just somebody dubbing over whatever he was doing up there. But either way, it's a classic version of it and he carries it little bit too far, which is part of the joke and all of that. But to me, it's kind of like the litmus test of rock and roll guitarists. The good ones just take this song and play it like they own it. And the others have a little bit of struggle with it. Nobody played it like Chuck Berry, of course.
But nobody played any of his songs like him even though the dead have covered a number of his songs over the years And they cover them very well as well as anybody out there and in a minute you'll hear that it's also It's really good We have featured this song quite a bit It's been covered like we say by almost every rock and roll band that ever played a set of music And even some that never did its guitar intro is as famous as any in the genre I love this version because of Bobby's greetings to the students at Colgate and
wishing them a happy homecoming. Now imagine going to your high school or college homecoming dance and the panda's the Grateful Dead. That's the story to tell. I'm not sure, and I don't think it really matters, whether that weekend was or was not Colgate's homecoming either way. It just showed that a stoned and all, even stoned and all, Bobby knew he was on a college campus and was trying to have a little bit of fun with the crowd. Johnny B. Goode was almost always played as an encore show closer if there was no encore, unlike another Chuck Berry classic covered by the Grateful Dead, The Promised Land.
which could be played as a show opener, a second song of the first set, a set clothes, or a second set opener, an encore would pop up anywhere, anytime. But Johnny B. Goode was almost always at the very, end of the show. And it was a great way to end a show. And in this instance, it's a great way to end this wonderful show. The boys just blow the walls down on this one. Or as commentator, RFKROX posted in 2008 about this version.
and the Johnny B. Goode is the most incredible rockin' version I have ever heard this band play. It's the fuckin' shit. R-F-K-R-O-X, I couldn't have said it better myself. So, we're gonna dive into this. I hope everybody has a great week. Be good, stay healthy, regardless of the outcome of the election. Try to love your brother and be peaceful and we'll all just proceed on together and hopefully as one big happy family.
We will listen. Thanks for listening this week. I hope you listen next week. And as always, please enjoy your cannabis responsibly. Thank you, everyone, and have a great day.