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Lyt når som helst, hvor som helst 

PodConx

Rob Hunt

Larry Mishkin

Dan Humiston

Jamie Humiston

Deadhead Cannabis Show

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

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

Phil Lesh: A Legacy of Love and Music

In this episode of the Deadhead Cannabis Show, Larry Mishkin pays tribute to the late Phil Lesh, the iconic bassist of the Grateful Dead, who passed away at the age of 84. The conversation reflects on Phil's significant contributions to music, his unique style of playing the bass, and the profound impact he had on the Grateful Dead and the music community. Larry shares personal anecdotes, highlights Phil's musical journey, and discusses the recent tribute by Phish, who honored Phil by performing 'Box of Rain' shortly after his passing. The episode culminates in a heartfelt reflection on Phil's legacy and the love he brought to his music and fans. This conversation reflects on the life and legacy of Phil Lesh, a key figure in the Grateful Dead, discussing his musical contributions, memorable performances, and the impact of his passing. The dialogue also touches on the evolving landscape of marijuana legislation, youth usage trends, and the medical benefits of cannabis, alongside a critical look at political maneuvers in Florida regarding cannabis reform.

 

Chapters

00:00 Introduction and Tribute to Phil Lesh

10:05 Phil Lesh's Musical Journey and Contributions

17:07 Phish's Tribute to Phil Lesh

25:31 Phil Lesh's Legacy and Impact

36:16 Reflections on Phil Lesh's Life and Music

47:26 Musical Reflections and Setlists

48:51 Remembering Phil Lesh

49:39 The Beatles and Their Impact

52:32 Unbroken Chain: A Grateful Dead Classic

56:16 Marijuana News and Medical Benefits

01:01:30 Florida's Political Landscape on Cannabis

01:11:19 Youth Marijuana Use Trends

01:16:56 Driving Under the Influence of Cannabis

01:24:56 Phil Lesh's Return to Music

 

Takeaways:

Phil Lesh was a pivotal figure in the Grateful Dead.

His return to singing 'Box of Rain' was a significant moment.

Phil's bass playing redefined the role of the instrument in rock music.

Phish honored Phil Lesh with a performance of 'Box of Rain'.

Phil's contributions to music extend beyond the Grateful Dead.

He was known for his virtuosic bass playing and musical exploration.

Phil Lesh's legacy is celebrated by fans and musicians alike.

The Grateful Dead created a unique community among their fans.

Phil's influence can be seen in many modern jam bands.

His passing marks a significant loss for the music world. Phil Lesh's passing at 84 marks a significant loss for the music community.

The Beatles' influence on music is profound, with songs like 'Why Don't We Do It In The Road' showcasing their creativity.

'Unbroken Chain' is a complex piece that highlights Phil's musical genius.

Cannabinoids have been shown to provide significant relief for chronic pain with minimal side effects.

Bipartisan support for cannabis reform is growing, even in states like Florida.

Youth marijuana use has decreased significantly in states that have legalized cannabis.

Research indicates that THC levels in blood do not directly correlate with driving impairment.

Phil Lesh's love for marijuana and its benefits is well-documented in his music and life.

The final performance of 'Box of Rain' encapsulates the essence of the Grateful Dead's journey.

Enjoying cannabis responsibly is essential for both health and safety.

 

Sound Bites:

"Phil Lesh was the beating heart of the band."

"Box of Rain marked the return of Phil Lesh."

"Phil brought immense joy to everyone around him."

"Phil Lesh passed away at the age of 84."

"Why Don't We Do It In The Road?"

"Unbroken Chain is one of the big songs."

 

 

 

 

 

.Produced by PodConx 

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

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

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

The Evolution of Grateful Dead Covers

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

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

Labor Day Vibes: Grateful Dead, George Thorogood, and More

A special Labor Day edition featuring a recap of significant events in the music world, particularly focusing on the Grateful Dead's September 2, 1988, concert at the Capitol Center in Landover, Maryland. Larry Mishkin reminisces about the band's history, including the song "Hell in a Bucket," its significance, and its evolution in the Grateful Dead's lineup. There's a detailed discussion about the song "Dire Wolf," including its origins, inspirations, and its role in the band's performances.

The episode also features a tribute to Steve Silverman, a renowned science writer and Grateful Dead enthusiast who recently passed away. Silverman was celebrated for his contributions to the understanding of autism and his deep connection to the Grateful Dead community. The tribute highlights his life, his work, and his impact on both the music and science communities.

Larry shares reviews of the recent George Thorogood and Journeyman Tribute the Eric Clapton 

 

https://www.georgethorogood.com/

https://vilarpac.org/

https://journeymantribute.com/

 

Grateful Dead

September 2, 1988 (36 years ago)

Capital Center

Landover, MD

Grateful Dead Live at Capital Centre on 1988-09-02 : Free Borrow & Streaming : Internet Archive

 

I hope everyone is having a great Labor Day weekend.

 

Night one of a four night run at the Cap Center to kick off 1988 East Coast Fall Tour (played Friday and Saturday, 2 and 3 and Monday and Tuesday 5 and 6). Took a night off for my wedding on Sunday 4th. Saturday night show was my rehearsal dinner and they played second encore, final electric Ripple and final Grateful Dead Ripple. Memorable weekend for all (except for my east coast deadhead buddies at the wedding who were bummed to have missed the Ripple.

 

INTRO: Hell in a Bucket

 Track #2

 0:00 – 1:34

 

David Dodd: The Bob Weir / John Barlow / Brent Mydland song “Hell in a Bucket” directly references the biker scene, and I’m sure that somehow Barlow just wanted to put that element into the band’s repertoire somehow. After all, there are plenty of outlaw elements sprinkled through the band’s songs.

 

In the case of this song, though, the singer/narrator seems to be wishing a sorry fate on his erstwhile main squeeze, with the argument being that once she has a biker charging up and down her halls on his chopper, she’ll realize that the narrator was really pretty good, at least by contrast.

 

“Hell in a Bucket” appeared on In the Dark, released in July 1987. The song frequently featured as the show opener over the course of the next two-plus decades, although it wasn’t used in that role until about a year after its first performance. 

 

Played: 217 times

First: May 13, 1983 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA

Last: June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA

 

 

 

SHOW No. 1: Dire Wolf

 Track #5

 2:00 – 3:24

 

"Dire Wolf" is a ballad by the Grateful Dead, released as the third track on their 1970 album Workingman's Dead. The lyrics were written by Robert Hunter after watching a film adaptation of The Hound of the Baskervilles. The music, containing elements of country and folk music, was composed by Jerry Garcia on the same day. The song tells the story of a man who plays cards with a "dire wolf" on a cold winter's night in "Fennario"; the lyrics have been variously interpreted. The piece became a staple of the Grateful Dead's performances, and was played more than two hundred times between 1969 and 1995.

 

A few months before the release of their album Aoxomoxoa in 1969, Grateful Dead lyricist Robert Hunter and his then-partner Christie Bourne began sharing a house with the band's guitarist Jerry Garcia, his wife, and his step-daughter. Living in close proximity gave an impetus to their collaborative song-writing: Hunter and Garcia wrote every song on Aoxomoxoa.[2] Some time later, Hunter and Carolyn Garcia spent an evening watching a film adaptation of The Hound of the Baskervilles. According to Grateful Dead historian Dennis McNally, Carolyn later remarked that the hound was a "dire wolf".[3] However, according to Hunter himself, as quoted in the Annotated Grateful Dead Lyrics, he and Garcia were speculating about the identity of the hound in the story, and came up with the idea that it may have been a dire wolf.[4] Hunter wrote the lyrics the next morning, based on images that the phrase conjured for him, and Garcia wrote the music to them later that day.[3][4]

 

The location named "Fennario" appears in the folk song "The Bonnie Lass o' Fyvie", including in the Grateful Dead's version of that song. It refers to a fictional location; a friend of the band members commented in an interview that it was the perfect name for a generic place, because it was evocative, and had four syllables.[4] In contrast, music writer Buzz Poole speculated that the name may be derived from Fenrir, a mythical Nordic wolf who was chained up by the gods.[6] The phrase "don't murder me", repeated in the chorus, was a reference by Garcia to his experiences driving around the San Francisco Bay Area at the time that the Zodiac Killer was active.[4]

 

The song became a staple of the Grateful Dead's live performances; the electric version of the song was typically featured on the band's first set.[4][7] According to The Grateful Dead's 100 Essential Songs, "Dire Wolf" was played 226 times between 1969 and 1995, and was played every year, except for 1975. Sixty-three of these performances were in the first two years after the song was written. In later years, the acoustic version of the piece became more common.[7] The structure and pace of the song did not change much over the years. It was sung most often by Garcia, although an early version featured Bob Weir on vocals, with Garcia playing the pedal steel guitar instead.[7] An AllMusic review of this version praised Garcia's "sweet" guitar playing as a "great feature" of the song.[5] Its lyrics have led to it being described as an essential Grateful Dead song by commentators.[7]

 

Played: 229 times

First: June 7, 1969 at Fillmore West, San Francisco, CA, USA

Last: June 7, 1969 at Fillmore West, San Francisco, CA, USA

 

 

MUSIC NEWS:

 

Steve Silberman passesPhish – Dick’sNeil Young explanation for canceled showsMiracle in Mundelein
Miracle in Mundelein 2024 is an unprecedented cannabis and outdoor concert experience taking place at RISE Recreational Dispensary in Mundelein, IL on September 7-8, 202412. Presented by RYTHM Premium Cannabis, RISE Dispensaries, Dayglo, and Deep Cut, this second annual outdoor festival allows legal on-site cannabis consumption2.

 

 

 

 

SHOW No. 2: Althea

 Track #7

 3:10 – 4:53

 

When the Grateful Dead released “Althea” on their 1980 album Go to Heaven, it quickly became a favorite among fans. Robert Hunter, the Dead’s legendary lyricist, was known for embedding multiple layers of meaning in his lyrics. “Althea” is no exception. Jerry Garcia’s soulful voice brings Hunter’s words to life, but it’s the lyrics that leave listeners pondering.

 

The name “Althea” itself is rooted in Greek mythology. Althea was the Queen of Calydon, whose actions led to her son’s death, reflecting themes of fate and consequence. While the song doesn’t explicitly connect to this myth, the allusion to “your fire” might be a subtle nod to Althea’s tragic tale.

 

“Althea” was performed live by the Grateful Dead 273 times, making it a staple in their repertoire. Despite McNally’s belief that the band overplayed it in the early ’80s, fans cherished its live renditions. The song’s adaptability and depth allowed it to grow with the listeners, much like a trusted pair of pants with a sturdy elastic waistband.

 

Played: 273 times

First: August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USA

Last: July 8, 1995 at Soldier Field, Chicago

 

 

SHOW No. 3: Scarlet Begonias

 Track #10

 0:00 – 2:02

 

Garcia/Hunter

From The Mars Hotel (July 24, 1974)

 

The group first performed the song live on March 23, 1974, at the Cow Palace in Daly City, California.[1] When "Fire on the Mountain" was incorporated into the band's repertoire in 1977, "Scarlet Begonias" would often be paired with it when played live, resulting in what would be nicknamed "Scarlet > Fire" with the first iteration of this iconic pairing on Friday, March 18th, 1977 at Winterland in S.F. Interestingly, they played the combo to close the first set. Almost always a second set opener, once saw them open a show with it.

 

Had to play this because the opening is so special – sends a message to the Deadheads that good things lay ahead, best second set opener in their arsenal. Nothing like the reaction when you hear the first few notes. “Scarlet, into Fire, a great 25 minutes of grooving music and wonderful for “mind exercises” you may be experiencing at that time.

 

Played: 317 (Fire played 254 times)

First: March 23, 1974 at Cow Palace, Daly City, CA, USA

Last: June 2, 1995 at Deer Creek, Noblesville, IN

 

MJ NEWS:

 

 1. Trump Supports Florida adult use measure on fall ballot, but no public smoking
 2. DeSantis says “NO” adult use in Florida, opposes Trump
 3. State ballots this fall for MMJ in Nebraska and Arkansas
 4. Illinois awards $35 million from MJ taxes to support community reinvestment
 5. California allows sales of MJ at Farmer’s Markets

 

SHOW No. 4: All Along The Watchtower

 Track #17

 1:50 – 3:53

 

Bob Dylan

John Wesley Harding

 

"All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston. The song's lyrics, which in its original version contain twelve lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5–9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations.

 

Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. Dylan has performed the song live more than any of his other ones, with over 2,250 recitals.

 

Hendrix was a known Dylan fan. He even once cleared a dance floor by demanding that "Blowin in the Wind" be played in a New York club. In a 1967 interview, Hendrix described Dylan's influence on his own songwriting. "I could never write the kind of words he does," Hendrix said. "But he's helped me out in trying to write two or three words 'cause I've got a thousand songs that will never be finished. I just lie around and write about two or three words, but now I have a little more confidence in trying to finish one."

Hendrix acquired a copy of John Wesley Harding before the album's official release and instantly knew he had to cover one of the tracks. Initially, he was planning to record "I Dreamed I Saw St. Augustine," but after further consideration he chose "All Along the Watchtower." Hendrix claimed he had a natural gravitation toward the track. "The songs Dylan usually gave me are so close to me that I feel like I wrote them myself," he added. "With 'Along the Watchtower' I had that feeling." Less than two months after Dylan recorded the original, Hendrix was in the studio laying down his version.

 

John Wesley Harding was Dylan's return to his acoustic roots after his motorcycle accident. But rather than bring back the topical lyrics about civil rights and the Vietnam War, he continued the evocative, surreal images that made his previous three records -- Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde -- so groundbreaking, adding biblical imagery that foreshadowed his born-again phase more than a decade later.

 

Dead started playing it while touring with Dylan in the summer of 1987. Not necessarily their greatest tour, and Dylan was not sharp on a night by night basis, but when they got to this tune, the crowd really responded. So after the tour ended, the Dead just kept it in their repertoire and played it until their end.

 

Played: 118

First: June 20, 1987 at William Randolph Hearst Greek Theatre, Berkeley, CA, USA

Last: June 22, 1995 at Knickerbocker Arena, Albany, NY, USA

 

 

OUTRO: Black Muddy River

 Track #20

 4:15 – 6:34

 

Garcia/Hunter

From: In The Dark (1987)

 

Black Muddy River was a song that was a pretty decent “new” song for a while. Almost always played as an encore, it was a fan favorite in the Twin Cities, St. Louis, Memphis and New Orleans, all situated on or near the Mississippi River. Sometimes they would play it in those cities and sometimes they would wait to play it until they were in the middle of nowhere with no river around for miles and miles. Towards the end, Jerry seemed to lose his enthusiasm for it so, for example, when he rose to the occasion at the last show on July 9, 1995 and belted out a So Many Roads for the ages, his Black Muddy River encore left a lot to be desired. So much so that, as the story goes, Phil decided they could not end the summer tour on such a low note so he pushed in a Box of Rain making that song the last one ever played in concert by the band and a much nicer farewell than that not very good Black Muddy River would have been.

 

This one is “young” and strong, Jerry’s voice rings true and you can hear the energy build up inside him as he belts out the final lines of the song. A song that sent all those at the Cap Center out into the night longing for more without even knowing what awaited them the very next night. Some were there, some weren’t. That’s the story of the Dead and touring (like Phish waiting to Dick’s to play Fee!).

 

Played: 66 times

First: December 15, 1986 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USA

Last: July 9, 1995 at Soldier Field, Chicago, IL, USA

 

Shout outs:

 

 Wed – my anniversary, and H and Robbin

 Thurs. – JW’s anniversary with the lovely Allie

 Bella – birthday on Monday

 Jackie G. in St. Louis on Sunday

 

.Produced by PodConx 

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

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

A Festival Odyssey: Phish, Mondegreens, and Moments with My Son

Larry Mishkin reflects on his recent experience attending the Mondegreen Festival, a Phish festival in Dover, Delaware, with his son and friends. He shares his enthusiasm for the event, highlighting the performances and the significance of certain songs, including "The MoMA Dance" and "NICU," which have deep ties to Phish's history and fan culture. Larry provides a detailed history of Phish festivals, from the Clifford Ball in 1996 to the most recent Mondegreen Festival, noting memorable moments, attendance figures, and unique aspects of each event. The episode also includes a brief discussion on the 60th anniversary of The Beatles' performance at Red Rocks Amphitheatre in Denver, Colorado. Larry expresses his excitement about attending the festival with his son and reminisces about the special bond they shared during the event.

MONDEGREEN

Phish

August 15 – 18, 2024

The Woodlands

Dover Delaware

 

Band’s 11th festival, NOT counting Curveball set for 2018 that was canceled at the last minute due to contaminated water supply due to heavy rains and flooding.

 

Nine year gap between MagnaBall in March, 2015 and Mondegreen, biggest gap between festivals in band’s history.

 

 

INTRO: Moma Dance

 Night One, August 15, 2024

 First Night, First Set, First Song (into Back On The Train)

 Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive

 Track #2

 2:31 – 4:05

 

By: Anastasio/Fishman/Gordon/McConnell/Marshall

Played:

First Played: 6/30/98 in Copenhagen, Denmark

Most recent: August 15, 2024 (Mondegreen)

Current Gap: 3 shows

 

The title of “Moma” is another example of Phish Phonetics, cleverly transforming the moment ends lyric into a reference to a display of “The Rhombus” at New York City’s Museum of Modern Art (MoMA).

Mondegreen: are they saying, “The Moma Dance” OR “the Moment Ends”??

 

 

SHOW No 1: NICU

 Night One, August 15, 2024

 First Set, 6th song (out of Roggae and into A Wave of Hope)

 Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive

 Track #7

 3:00 – 4:56

 

By: Anastasio/Marshall

Played 156 times

First Played: 3.6.92 at The Music Hall in Portsmouth, NH

Most Recent: August 15, 2024 (Mondegreen)

Gap: 3 shows

 

Has any Phish song had as many names with as many explanations as “NICU”? At its debut in Portsmouth, New Hampshire, Trey introduced the song as “In an Intensive Care Unit.” Shortly thereafter, the name was changed to “NICU,” which some considered a play on a line from the backing vocals in the chorus (“and I see you”) and others noted was the abbreviation for the Neonatal Intensive Care Unit.

Shortly thereafter, the “controversy” began, as controversy can only begin among rabid Phish fans. Some called the song “And I See You.” Some stuck with the original “In an Intensive Care Unit.” Other interesting theories developed, including one from the Internet where a fan noted that the elements Nickel (NI) and Copper (Cu) are side-by-side on the Periodic Table and that the title “NICU” may thus be a reference to nickels and pennies or, more likely, small change.

 

 

Title is a Mondegreen for “And I See You”

 

Music News (from Mondegreen)

 

Matthew’s crew: Matthew, me, Donny, Jake, Dave and Seth

 

Michigan Crew: ???

 

NYC Crew: Max & Jess, Joey and Darby, Darby’s brother, Brad and Sam, Dan the drummer (and?), Dude from Florida and girlfriend (??), Tesh,

WHO ELSE SHOULD I MENTION?

 

CLEVELAND CREW: Kevin, two buddies? Aaron Anyone else?

 

Hot and humid/ AC units

Tents v. RV’s/bathrooms/food/water and ice/maintenance

Storm – cut Sunday short

 Modern weather technology – good and bad

 Just like 2022 Sacred Rose Festival

 

Secret Set on Aug. 16th second night

 

Driving 12 hours each way

 

 

 

 

SHOW No. 2: I Am Hydrogen > Weekapaug Groove

 Night 3, August 17, 2024 – Second set opener traditional Mike’s Groove>Theme From The Bottom

 November 11, 2012, MSG, NYNY

 Mike’s>Chalk Dust Torture>I Am Hydrogen>Weekapaug

 Phish | 12.29.11 | Mike's Song → Chalk Dust Torture → I Am Hydrogen → Weekapaug Groove - YouTube

 15:44 – 17.43

 

I Am Hydrogen

By: Daubert/Marshall/Anastasio

Played: 350 times

First: April 6, 1985 at Finbar’s in Burlington, VT

Most Recent: August 17, 2024 (Mondegreen Night 3)

Gap: 1 show

 

The story of “I Am Hydrogen” is a love story. Conceived by Tom Marshall and Marc Daubert around 1984-85 on piano and acoustic guitar, they brought their creation over to Trey’s house, where it was recorded. Trey added a harmony to it on his electric guitar, and the “Hydrogen” we have come to know was born. Initially intended for Tom, Marc, and Trey’s band Bivouac, “Hydrogen” ended up in the Phish lineup and made its debut, all alone, on 4/6/85. After a few years, it became the connector between Mike’s Song and Weekapaug Groove.

 

Into

 

Weekapaug Groove

By: Anastasio/Fishman/McConnell/Gordon
Played: 523 times

First: 7.23.1988 at Pete's Phabulous Phish Phest in Underhill, VT

Most Recent: August 17, 2024 (Mondegreen Night 3)

Gap: 1 show

 

“Weekapaug Groove” takes its name from the town of Weekapaug, located on the shores of the Atlantic Ocean in southwestern Rhode Island. According to Mike, the song’s lyrics (“Trying to make a woman that you move, sharing in a Weekapaug Groove”) are meaningless. As Mike said in a 9/9/97 interview with Parke Puterbaugh: 

“So we came back to Boston [from Weekapaug, after playing a gig there at a yacht club], and I guess we were in the van or the Voyager we used to drive in, and that song “Oh What a Night” came on the radio. You know that one? That awful Four Seasons song? We just constantly listened to songs and changed around the words as to what they might sound like. I always had a particularly hard time hearing lyrics anyway, so I always would sing a song on the radio, sing along with the wrong words. So the bridge of that song goes ‘Oh I-I-I trying to something,’ but I was singing it, ‘Oh I-I-I trying to make a woman that you move,’ which means nothing, 'sharing in a Weekapaug groove.’ So we all just started singing that, as complete nonsense: ‘trying to make a woman that you move.’ It never occurred to any of us that it had any meaning, ever. There was a period of time that we were singing it, and I used to just yell out the lyrics, between singing them I would just yell them out as if I was preaching them, just to sort of make it more ironic that they have no meaning.”

 

 

SHOW No. 3: Yamar

 Night 4, August 18, 2024 – First set 10th song out of Stash and into Timber

 August 17, 1996, Clifford Ball, Plattsburgh AFB, Plattsburgh, NY (1st Phish Festival) into It’s Ice

 Phish-Ya Mar-Clifford Ball (youtube.com)

 0:13 – 1:45

 

By: Cyril Ferguson

 27th November 1951 - Cyril 'Dry Bread' Ferguson was born in Nassau, New Providence, Bahama Islands.

Ferguson was a Bahamian musician and entertainer. He composed songs in the genres of goombay, calypso and Bahamian pop music.

Some of his more popular songs include: Ya Mar, Sunshine On My Body, Bahamian Music and Don't Squeeze The Mango.

Ferguson died of complications related to diabetes on 9th April 2009.

 

“Ya Mar” resides as a favorite in the hearts of many fans. It represents one of Phish’s few forays into calypso and is among the most playful and danceable songs in the band’s repertoire. And anytime Trey screams for Page to take the reins – “Play it, Leoooooo!” – the crowd is apt to go wild. Page’s nickname actually comes from this line in the original, where The Mustangs urged their own piano man to step into the spotlight. The title seems to reference the slurred interpretation of “your ma,” as the singer recounts the disdain his lover’s family has for him. Phish put their own unique stamp on it by often changing the “no good pa” lyric in the chorus to mimic their own “oh kee pa” phrase. 

 

Played: 232 times

First: 2.21.1987 at Slade Hall, UV, Burlington, VT

Most Recent: 8.18.2024

Gap: 0 shows

 

Marijuana News

 

Senator Says Harris Will ‘Be Ready To Sign’ Marijuana Reform Bills If Elected PresidentGOP Senators Claim Marijuana Is A ‘Gateway Drug’ As They Oppose Rescheduling And Legalization3. People Who Use Marijuana Are Less Likely To Be Obese, New Study Shows
 

 

 

SHOW No. 4: Simple

 Night 4, August 18, 2024 – First set second to last song of Izabella and into Golden Age

 July 27, 2024, Alpine Valley, East Troy, WI second set out of Sigma Oasis and into The Howling

 Phish - 7/27/2024 - Simple (4K HDR) (youtube.com)

 0:18 – 1:28

 

By: Gordon

Played: 209 times

First: 5.27.1994 at the Warfield Theater in San Francisco

Most Recent: August 18, 2024 (Mondegreen Night 4)

Gap: 0 shows

 

"Simple" was first written and recorded by Mike Gordon in a four-track medium in the Doo-wop style and introduced to the band during the studio sessions forHoist. This version reflected the country and bluegrass writing style of many previous Gordon compositions. The song was left off of the albumand the band showed hesitation in performing it live.

 

Then, on 5/27/94, “Simple” debuted in a very strange and raw fashion during the “Mike’s Song” at the Warfield in San Francisco. In contrast to the song we know today, the debut version of “Simple” was Mike’s original lyrics sung by the band members over a jam that had emerged from “Mike’s.” Three weeks later, “Simple” was played for a second time at the historic 6/17/94 gig, the same night that much of the country was watching the low-speed police chase of O.J. Simpson’s white Ford Bronco through L.A. This version was significantly reworked and sounded much like the “Simple” we are accustomed to hearing today, with the exception of a minor humoristic augmentation providing the line “We’ve got O.J., cause we’ve got a band.”

 

Mondegreen: We’ve got a cymbal (simple) cause we’ve got a band

 

 

 

OUTRO: Twee Pri

 Night 3, August 17, 2024 – Encore out of YEM into end of show

 April 20, 2024, The Sphere, Las Vegas, NV Encore out of A Life Beyond the Dream into end of show

 Tvidler 202202 11 by Ryan Maguire (youtube.com)

 0:00 – end

 

By: Anastasio/Fishman/Gordon/McConnell

Played: 321 ties

First: 2.1.1991 at Alumnae Hall, Brown University — Providence, RI

Most Recent: 8.17.2024 Mondegreen Night 3

Gap: 1 show

 

A "reprise" is a sort of musical afterthought – basically a reintroduction of and variation on the main theme of a piece of music. Thus, “Tweezer Reprise” is a slight variation – a condensation of sorts – of “Tweezer.” As it does on the album A Picture of Nectar, the “Reprise” often follows “Tweezer” in concert, most frequently as an encore song. It is also common as a second set closer following an earlier “Tweezer.” A few times, the “Reprise” has even been spewed out of some long, monster “Tweezer,” serving as the thrilling exclamation point at the end of a raging, set-long sentence (e.g. 5/7/94, 6/22/95).

On occasion, “Tweezer Reprise” has shown up as a surprise in a show where there has been no performance of “Tweezer” proper. Although usually this occurs because the “Reprise” will be referring back to a non-reprised “Tweezer” at the previous night’s show (e.g. 12/30/96’s “Tweezer” was reprised on 12/31/96), the song has been known to appear, albeit rarely, completely free from its Granddaddy counterpart, like on 9/29/99. The most interesting example of this, and perhaps the most unusual “Tweezer Reprise” ever performed, was on 12/8/99, which featured an a cappella version that came out of a “YEM” vocal jam to close the second set. The band later finished off the show with a traditional “Tweezer Reprise” to end the encore. Other interesting versions include 10/27/94 and 10/21/95.

.Produced by PodConx 

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

A Journey to the Mondegreen Festival: Phish, Family, and Festivals Past

"Phish's Record-Breaking Jams: A New Era in Live Performance"

Larry Mishkin discusses a 1990 performance by the Jerry Garcia Band, highlighting the importance of his album recorded during this period and recommending it for fans of Garcia. He then shift to discussing Phish, describing a lengthy and memorable jam session of the song "Simple" during a recent concert. He shares his personal experience and admiration for Phish's ability to maintain engaging improvisations in their performances.

The conversation then transitions to Aerosmith, detailing the band's history, influence, and their recent announcement to retire from touring due to Steven Tyler's vocal issues. Larry reflects on Aerosmith's legacy, comparing them to other iconic rock bands like The Rolling Stones, and notes the personal connection some of their friends have with the band.

Along with new positive cannabis studies, Larry briefly touches on the recent end of Dead & Company’s tour and the cancellation of Widespread Panic's remaining 2024 tour dates, expressing disappointment but understanding the circumstances. 

.Produced by PodConx 

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

The Phish tour continues with Ruby Waves and iconic Simple and Tweezer jams

Dead & Company releases their 2021 tour schedule

Jay Caauwe Co-Founder and Managing Partner of Supercritical joins Larry Mishkin, Jim Marty and Rob Hunt to talk about providing support to cannabis companies. They discuss his involvement with the Wall Street Dead Ahead Networking Group and the Rex Foundation.

Produced by PodCONX

https://podconx.com/guests/jay-caauwe

https://supercritical.agency/

https://www.rexfoundation.org/

https://www.wallstreetdeadahead.com/

https://podconx.com/guests/larry-mishkin

https://podconx.com/guests/jim-marty

https://podconx.com/guests/rob-hunt

https://deadheadcyclist.com/

Photo courtesy of Jay Blakesberg

 

.Produced by PodConx 

Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-show

Larry Mishkin - https://podconx.com/guests/larry-mishkin

Rob Hunt - https://podconx.com/guests/rob-hunt

Jay Blakesberg - https://podconx.com/guests/jay-blakesberg

Sound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/

Recorded on Squadcast

The Rex Foundation's Jay Caauwe talks Supercritical

The Rex Foundation's Jay Caauwe talks Supercritical

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