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See you tomorrow Bucketeers! We will be located in The 5/3 Bank parking lot.  #BucketWear #PorchRokr2018 #Berrodin #TheBucketShop #Akron #Ohio #330 #HistoricHighlandSquare #Vintage #BigLouie #TheFatManRocks #Bucketeers
See you tomorrow Bucketeers! We will be located in The 5/3 Bank parking lot.  #BucketWear #PorchRokr2018 #Berrodin #TheBucketShop #Akron #Ohio #330 #HistoricHighlandSquare #Vintage #BigLouie #TheFatManRocks #Bucketeers
23 years ago the world and universe and all the dimensions of travel through time and space changed, forever. Thank you for a real good time. #grateful #jerry #gratefuldead #GDstrong #thefatmanrocks #foreverflowering 😢
Happy Birthday Jerry!! ⚡️🌹🔮🌹⚡️
There are things you can replace, and others you cannot...
There aren’t words to express my gratitude...I know this is song it ain’t never gonna end... ❤️
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#imissjerry #happybirthdayjerry #thefatmanrocks #missintheman #learnlovegrow #loveisreal #nfa #alltheyearscombine #wewillsurvive #jerrygarcia #gratefuldead #jgb #deadhead #wegotalifetimehere #daysbetween #wooknook13
The roll that began in December 1986, after Garcia’s coma, culminated in 1990. The late 1980s (through summer 1990) are, on their own terms, one of the four peaks of the whole scene — alongside 1969, 1973–74, and 1977. The band in the first half of 1990 was feeding off the crowd like I had never seen (my first show was April 1983), and the spring was wildly exciting. A few short May/June runs on the West Coast melted into a glorious summer with one high-energy show after another. Deer Creek even seemed like a viable replacement for the rural pilgrimage that Alpine had been.
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The Tinley Park shows that ended summer 1990 did not meet that standard. There are moments — the “Bird Song” from 7/21 belongs among the greatest ever — but “The World Music Theatre” was a monstrosity, both for its architecture and its draconian security — as was often the case when nobody had been briefed on the Heads’ rag-tag but harmless ruffianism.
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The band seemed weary on July 23. There are moments — an odd first-set end of “Truckin’” and “Smokestack Lightning” seemed like Weir’s attempt to inject some fun into a set with only two Garcia songs. But kicking off set 2 with “Victim or the Crime” was not a good omen. There’s nothing really wrong with this show — unless it’s compared to any other summer 1990 gig.
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The big news, of course, is that this was Brent Mydland’s last show. A speedball (à la Belushi) did him in three days later, and left a wife and two young daughters behind. I loved Brent’s playing — his cascading, ass-over-teakettle runs and his sensitivity to Garcia’s leads, not to mention their obvious on-stage rapport. But I hated his lyrics, almost all of which were outright misogynistic (“Blow Away”), with none of the lyrical depth of a Hunter or Barlow. There was something sad and lost behind those eyes, and I always felt for him. I dunno if I was right, but I sure hope he’s at peace ’round the bend.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #deadhead #80sdead #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
The roll that began in December 1986, after Garcia’s coma, culminated in 1990. The late 1980s (through summer 1990) are, on their own terms, one of the four peaks of the whole scene — alongside 1969, 1973–74, and 1977. The band in the first half of 1990 was feeding off the crowd like I had never seen (my first show was April 1983), and the spring was wildly exciting. A few short May/June runs on the West Coast melted into a glorious summer with one high-energy show after another. Deer Creek even seemed like a viable replacement for the rural pilgrimage that Alpine had been. . The Tinley Park shows that ended summer 1990 did not meet that standard. There are moments — the “Bird Song” from 7/21 belongs among the greatest ever — but “The World Music Theatre” was a monstrosity, both for its architecture and its draconian security — as was often the case when nobody had been briefed on the Heads’ rag-tag but harmless ruffianism. . The band seemed weary on July 23. There are moments — an odd first-set end of “Truckin’” and “Smokestack Lightning” seemed like Weir’s attempt to inject some fun into a set with only two Garcia songs. But kicking off set 2 with “Victim or the Crime” was not a good omen. There’s nothing really wrong with this show — unless it’s compared to any other summer 1990 gig. . The big news, of course, is that this was Brent Mydland’s last show. A speedball (à la Belushi) did him in three days later, and left a wife and two young daughters behind. I loved Brent’s playing — his cascading, ass-over-teakettle runs and his sensitivity to Garcia’s leads, not to mention their obvious on-stage rapport. But I hated his lyrics, almost all of which were outright misogynistic (“Blow Away”), with none of the lyrical depth of a Hunter or Barlow. There was something sad and lost behind those eyes, and I always felt for him. I dunno if I was right, but I sure hope he’s at peace ’round the bend. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #deadhead  #80sdead  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
ITHACA, we’re coming back for ya on Thursday! Catch us with @scottymetz and WOLF! at @thehauntithaca. Doors at 7pm, Show at 8pm.
ITHACA, we’re coming back for ya on Thursday! Catch us with @scottymetz and WOLF! at @thehauntithaca. Doors at 7pm, Show at 8pm.
This Alpine Valley show is undeniably one of the highest points of the 1980s. There’s little to be said about it that hasn’t already been written or documented in the “Downhill From Here” video, so I’ll just use my own review, from back in the day, for Blair Jackson’s long-missed Golden Road.
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The Monday show was one of the best I have ever seen... In the first set, the songs steadily built intensity until a killer “Music Never Stopped” was dragged to its frenetic limit by Garcia’s screaming guitar.
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[In the second set], you know how the energy can kick up between the “sun’s gonna shine in my back door” and the “wish I was a headlight” verses in “I Know You Rider”? Well, the tight video shots of Jerry’s face showed him grinning from ear to ear, the crowd roared as he stepped to the mic, and the energy level stayed right there for the rest of the second set, which included a lovely and moving “Standing on the Moon,” (with a pretty jam before dropping into the Rhythm Devils), a boppy “Goin’ Down the Road,” and a nasty and gnarly “Not Fade Away.”
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After this great set, the band didn’t even leave the stage, and I could see Garcia ask Bobby and Phil something. They both nodded their assent, and everyone slid into “We Bid You Good Night” for the first time since the closing of Winterland [over 10 years earlier] — as if they had just rehearsed it at the set break. The band left the stage, but were coaxed, er, FORCED back by the shrieking crowd for a final “Johnny B. Goode.”
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The cherry on top of this insanity is that a pal (Hiya John @bkraft) had secured a photo pass that he couldn’t use, so in an hour before leaving I threw together a counterfeit Boston Globe ID. My ticket was one of the best seats in the place, dead center, about 30 rows back — but I had to sacrifice by spending much of the show between the first row and the stage! Wherever you might be sitting, don’t miss this one.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #drumsspace #deadhead #chinarider #alpinevalley #80sdead #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
This Alpine Valley show is undeniably one of the highest points of the 1980s. There’s little to be said about it that hasn’t already been written or documented in the “Downhill From Here” video, so I’ll just use my own review, from back in the day, for Blair Jackson’s long-missed Golden Road. . The Monday show was one of the best I have ever seen... In the first set, the songs steadily built intensity until a killer “Music Never Stopped” was dragged to its frenetic limit by Garcia’s screaming guitar. . [In the second set], you know how the energy can kick up between the “sun’s gonna shine in my back door” and the “wish I was a headlight” verses in “I Know You Rider”? Well, the tight video shots of Jerry’s face showed him grinning from ear to ear, the crowd roared as he stepped to the mic, and the energy level stayed right there for the rest of the second set, which included a lovely and moving “Standing on the Moon,” (with a pretty jam before dropping into the Rhythm Devils), a boppy “Goin’ Down the Road,” and a nasty and gnarly “Not Fade Away.” . After this great set, the band didn’t even leave the stage, and I could see Garcia ask Bobby and Phil something. They both nodded their assent, and everyone slid into “We Bid You Good Night” for the first time since the closing of Winterland [over 10 years earlier] — as if they had just rehearsed it at the set break. The band left the stage, but were coaxed, er, FORCED back by the shrieking crowd for a final “Johnny B. Goode.” . The cherry on top of this insanity is that a pal (Hiya John @bkraft) had secured a photo pass that he couldn’t use, so in an hour before leaving I threw together a counterfeit Boston Globe ID. My ticket was one of the best seats in the place, dead center, about 30 rows back — but I had to sacrifice by spending much of the show between the first row and the stage! Wherever you might be sitting, don’t miss this one. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #drumsspace  #deadhead  #chinarider  #alpinevalley  #80sdead  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
June 28, 1983. I didn’t post yesterday, but this is an important show, and my only June 29 ticket is from a terrible show, so here ya go. No extra charge.
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Home for summer, waiting tables and staying up too late, I’d seen my first show back in April, and I managed to snag a few live tapes in the interim. (Thanks @porgif!) I grabbed a couple of friends (Hi, @muh103164!) and made it to 6/27 — a fun show, but nothing unusual. I woke up unsure whether to go again. I hadn’t made any plans, so I called a friend who had just finished high school and asked if she was game. I thought she was gonna jump through the phone.
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The set lists aren’t that unusual, but in my infancy in the scene, I welcomed many songs I already loved — “Feel Like a Stranger,” “Brown-Eyed Women,” “Deal” (yes, I love it, shut up), and pretty much the entire second set, with great versions of “Help on the Way,” “Slipknot!” and “Franklin’s Tower,” a beautiful “Stella Blue,” and a rollicking “Sugar Magnolia,” the first time I’d seen that crank-’em-up chestnut.
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My friends who took me in April had told of the rare and mysterious “Iko Iko,” the New Orleans jamboree song that was something of a grail at the time. (It never opened a set until 1984, and, in fact, it was played only 25 times before 1983, and only three times that year.) So when the band cranked up the funk — as an encore, no less, the only time! — I was Alice, who “had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again.” Thirty-five years later, this was the night I “got it.” It’s a long time — and the rabbit hole is still the weirdest, most fascinating place I’ve ever been.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #drumsspace #deadhead #ikoiko #80sdead #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
June 28, 1983. I didn’t post yesterday, but this is an important show, and my only June 29 ticket is from a terrible show, so here ya go. No extra charge. . Home for summer, waiting tables and staying up too late, I’d seen my first show back in April, and I managed to snag a few live tapes in the interim. (Thanks @porgif!) I grabbed a couple of friends (Hi, @muh103164!) and made it to 6/27 — a fun show, but nothing unusual. I woke up unsure whether to go again. I hadn’t made any plans, so I called a friend who had just finished high school and asked if she was game. I thought she was gonna jump through the phone. . The set lists aren’t that unusual, but in my infancy in the scene, I welcomed many songs I already loved — “Feel Like a Stranger,” “Brown-Eyed Women,” “Deal” (yes, I love it, shut up), and pretty much the entire second set, with great versions of “Help on the Way,” “Slipknot!” and “Franklin’s Tower,” a beautiful “Stella Blue,” and a rollicking “Sugar Magnolia,” the first time I’d seen that crank-’em-up chestnut. . My friends who took me in April had told of the rare and mysterious “Iko Iko,” the New Orleans jamboree song that was something of a grail at the time. (It never opened a set until 1984, and, in fact, it was played only 25 times before 1983, and only three times that year.) So when the band cranked up the funk — as an encore, no less, the only time! — I was Alice, who “had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again.” Thirty-five years later, this was the night I “got it.” It’s a long time — and the rabbit hole is still the weirdest, most fascinating place I’ve ever been. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #drumsspace  #deadhead  #ikoiko  #80sdead  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
June 21, 1993. Not only a birthday show, this was, oddly, one of two or three over the years that I attended alone. A friend from Chicago bailed, and Billy G couldn’t make it down to Indy until late that night. Still, I was an oldster by this point (29!), and that conferred some privilege. In particular, I found no hassles moving confidently from my assigned “Lawn” seat to the pavilion, ending up about 15 rows back in the center with some charming youngsters who offered me a seat, some goodies, and good vibes. There really was nothing like it...
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“Jack Straw” roared outta the gate, usually a good sign, though Garcia slowed things down quickly with “Friend of the Devil.” The rest of Garcia’s calls in set 1 were all among my faves — “Jack-a-Roe,” “Loose Lucy,” and “So Many Roads.” Weir also offered “Black-Throated Wind,” which almost made up for a rare first-set “Spoonful” and the dreadful “Eternity.” Outside of ersatz blues and the shrieked latter-day Dylan covers, the dude just didn’t have that many songs.
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“Scarlet Begonias” and “Fire on the Mountain,” a combo literally nobody dislikes, opened set 2, and if the rest of the set held no surprises, it was played energetically and competently, as most of 1993 was. Birthday shows held no cosmic significance for me, so “Black Peter” was neither here nor there — especially as it’s probably my least favorite of the ballads. But I’m pretty sure this was the first time I saw “I Fought the Law,” which may beat “Mama Tried” as the shortest tune in 30 years of repertoire (about three minutes flat). I still think it’s fun; it might have been better received if it was part of a double-encore, or paired with “Beat It on Down the Line” as a first-set closer, or something like that. Just another picky Dead Head, I guess.
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It wasn’t perfect, but summer tour was always as much fun as a frog in a glass of milk, and this show was no exception.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #drumsspace #deadhead #90sdead #1993 #deercreek #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
June 21, 1993. Not only a birthday show, this was, oddly, one of two or three over the years that I attended alone. A friend from Chicago bailed, and Billy G couldn’t make it down to Indy until late that night. Still, I was an oldster by this point (29!), and that conferred some privilege. In particular, I found no hassles moving confidently from my assigned “Lawn” seat to the pavilion, ending up about 15 rows back in the center with some charming youngsters who offered me a seat, some goodies, and good vibes. There really was nothing like it... . “Jack Straw” roared outta the gate, usually a good sign, though Garcia slowed things down quickly with “Friend of the Devil.” The rest of Garcia’s calls in set 1 were all among my faves — “Jack-a-Roe,” “Loose Lucy,” and “So Many Roads.” Weir also offered “Black-Throated Wind,” which almost made up for a rare first-set “Spoonful” and the dreadful “Eternity.” Outside of ersatz blues and the shrieked latter-day Dylan covers, the dude just didn’t have that many songs. . “Scarlet Begonias” and “Fire on the Mountain,” a combo literally nobody dislikes, opened set 2, and if the rest of the set held no surprises, it was played energetically and competently, as most of 1993 was. Birthday shows held no cosmic significance for me, so “Black Peter” was neither here nor there — especially as it’s probably my least favorite of the ballads. But I’m pretty sure this was the first time I saw “I Fought the Law,” which may beat “Mama Tried” as the shortest tune in 30 years of repertoire (about three minutes flat). I still think it’s fun; it might have been better received if it was part of a double-encore, or paired with “Beat It on Down the Line” as a first-set closer, or something like that. Just another picky Dead Head, I guess. . It wasn’t perfect, but summer tour was always as much fun as a frog in a glass of milk, and this show was no exception. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #drumsspace  #deadhead  #90sdead  #1993  #deercreek  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
Mother's  Day gift from my son....Authentic and certified...#thefatmanrocks# #JerryGarcia#
Beyond blessed. Forever Grateful ⚡️❤️⚡️ .
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#jerrygarcia #gratefuldead #thegratefuldead #jgb #loveisreal #nfa #imissjerry #deadhead #deadtour #thefatmanrocks #forevergrateful #wooknook13
April 24, 1984. ’Eighty-four was not a great year for the band. Garcia’s addiction had overwhelmed him; erstwhile manager Jon McIntire reported knocking on the door and being greeted by Garcia, who said, “I’ve been a stone junkie for the past few years. What have you been up to?” The shocking weight gain was not coincidental — he basically existed on heroin and chocolate cake for years, nearly punching his ticket.
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There were minor notable events in 1984, including the first “Iko” openers; the return of “Lovelight” at Alpine Valley in July, and the official establishment of the Tapers Section in the fall. Still, Garcia’s playing was sometimes mindless and his vocals were worse. As a college student, I saw all of the Northeast shows in the spring of ’84. (I mean, whaddya gonna do?) Most were forgettable, and you’d certainly ignore this April 24 show if nobody said anything about it. The set list is about as ho-hum as they come.
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But. But. After the drums, “The Other One” started auspiciously, building as instruments joined, and then — I was close enough to see — for no apparent reason, Garcia and Lesh exchanged glances. They both stepped forward, staring, each daring the other to back down, until both were playing with fire. Candace noticed too, and the lights came up brighter and brighter, until, as if on cue, every light on stage screamed pure white, the crowd falling apart, each gunslinger daring the other to draw. It was quite a moment, and it was followed by topnotch versions of both “Stella Blue” and “Sugar Magnolia.” There is hardly anything more common than that sequence after the drums, but this night saw all three at the top of the heap. In hindsight, the rest of the show is actually well above average for the time period, but the real gem here is post-drums, one of the best half-hour segments of music from the entire year.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #deadhead #80sdead #1984 #newhaven #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks #taperssection #ikoiko #sugarmagnolia
April 24, 1984. ’Eighty-four was not a great year for the band. Garcia’s addiction had overwhelmed him; erstwhile manager Jon McIntire reported knocking on the door and being greeted by Garcia, who said, “I’ve been a stone junkie for the past few years. What have you been up to?” The shocking weight gain was not coincidental — he basically existed on heroin and chocolate cake for years, nearly punching his ticket. . There were minor notable events in 1984, including the first “Iko” openers; the return of “Lovelight” at Alpine Valley in July, and the official establishment of the Tapers Section in the fall. Still, Garcia’s playing was sometimes mindless and his vocals were worse. As a college student, I saw all of the Northeast shows in the spring of ’84. (I mean, whaddya gonna do?) Most were forgettable, and you’d certainly ignore this April 24 show if nobody said anything about it. The set list is about as ho-hum as they come. . But. But. After the drums, “The Other One” started auspiciously, building as instruments joined, and then — I was close enough to see — for no apparent reason, Garcia and Lesh exchanged glances. They both stepped forward, staring, each daring the other to back down, until both were playing with fire. Candace noticed too, and the lights came up brighter and brighter, until, as if on cue, every light on stage screamed pure white, the crowd falling apart, each gunslinger daring the other to draw. It was quite a moment, and it was followed by topnotch versions of both “Stella Blue” and “Sugar Magnolia.” There is hardly anything more common than that sequence after the drums, but this night saw all three at the top of the heap. In hindsight, the rest of the show is actually well above average for the time period, but the real gem here is post-drums, one of the best half-hour segments of music from the entire year. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #deadhead  #80sdead  #1984  #newhaven  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks  #taperssection  #ikoiko  #sugarmagnolia 
April 15, 1988. This Chicago show is notable for exactly one reason: It marks the sole appearance as a show opener of the “Scarlet Begonias”/“Fire on the Mountain” combo, despite its being played about 200 times. At the time, and now too, it’s the novelty more than anything else that sticks. The last show of a tour often felt just one beat behind, and this one sure did, despite some exceptionally strong moments from spring ’88.
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I always found it funny when Weir chose to follow a big opener with a dud, and there were few bigger duds in the repertoire than “Walkin’ Blues,” which appeared right on cue. After a serviceable “Candyman,” Brent struck with his ridiculous version of “Louie, Louie,” which Garcia tried to salvage with the boppin’ “Cumberland Blues.” Weir’s follow of “Stuck Inside of Mobile…” was still new and welcome in 1988, and cutting against the Deadhead grain I was always a sucker for “Deal,” which really catches fire here.
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If set 1’s opener was typically set 2, Weir’s impenetrable sense of humor may have led him to “Hell in a Bucket,” in a role-reversal, to open set 2, before this show embarked on a mostly predictable course. The legions of fans who have stuck around for my synopses will not be surprised that I was no fan of “Hey Jude,” which epitomized the band’s tendency to squeeze every drop of blood from any novelty turnip, especially if it would yield a cheap crowd thrill. These moments just felt gimmicky to me (“Baba O’Reilly” may be the reigning champ here), and worse because “Hey Jude” ruined the always-great cover of “Mr. Fantasy.”
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Despite my snotty musings, it goes without saying that I’d give most anything for just one more moment when I had the luxury of sniping at trees while awed by the forest. Not all who carp, as they say, are lost. For this run, though, both 4/13 and 4/14 were more on-target for me.
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@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #scarletfire #ultramatrix #deadhead #chicago #uic #80sdead #1988 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
April 15, 1988. This Chicago show is notable for exactly one reason: It marks the sole appearance as a show opener of the “Scarlet Begonias”/“Fire on the Mountain” combo, despite its being played about 200 times. At the time, and now too, it’s the novelty more than anything else that sticks. The last show of a tour often felt just one beat behind, and this one sure did, despite some exceptionally strong moments from spring ’88. . I always found it funny when Weir chose to follow a big opener with a dud, and there were few bigger duds in the repertoire than “Walkin’ Blues,” which appeared right on cue. After a serviceable “Candyman,” Brent struck with his ridiculous version of “Louie, Louie,” which Garcia tried to salvage with the boppin’ “Cumberland Blues.” Weir’s follow of “Stuck Inside of Mobile…” was still new and welcome in 1988, and cutting against the Deadhead grain I was always a sucker for “Deal,” which really catches fire here. . If set 1’s opener was typically set 2, Weir’s impenetrable sense of humor may have led him to “Hell in a Bucket,” in a role-reversal, to open set 2, before this show embarked on a mostly predictable course. The legions of fans who have stuck around for my synopses will not be surprised that I was no fan of “Hey Jude,” which epitomized the band’s tendency to squeeze every drop of blood from any novelty turnip, especially if it would yield a cheap crowd thrill. These moments just felt gimmicky to me (“Baba O’Reilly” may be the reigning champ here), and worse because “Hey Jude” ruined the always-great cover of “Mr. Fantasy.” . Despite my snotty musings, it goes without saying that I’d give most anything for just one more moment when I had the luxury of sniping at trees while awed by the forest. Not all who carp, as they say, are lost. For this run, though, both 4/13 and 4/14 were more on-target for me. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #scarletfire  #ultramatrix  #deadhead  #chicago  #uic  #80sdead  #1988  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
Finally a sunny and somewhat warm, spring-ish day.  This kind of day. #jgb #walstib #thefatmanrocks
April 9. The Dead hadn’t played Chicago since 1981, and this was the end of a spring tour — the first since the coma — that was a gas through and through. I went with lotsa friends, many of whom had never been before, and I remember hanging in a big group on the lower level on Phil’s side. Where the hell did this second row ticket come from?! Typical.
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A “Greatest Story”/“Promised Land” opener was a little odd, and it was followed by “When Push Comes to Shove” — a tune that was more overplayed than bad. It’s mildly amusing, a combo of the musical feel “Ramble on Rose” and the lyrical feel of I dunno what. I read that it was the only tune ever dropped, shortly thereafter, at the request of the ’Heads. Next up, subtitle of “Good Times Blues” — “Never Trust a Woman” — betrays itself as another woman-hating throwaway from Brent — so thank goodness we also got “Far From Me.” Yes, that’s sarcastic. Overall, set 1 was, um, uninspired.
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Set 2 opens with a quick “Scarlet Begonias”/“Fire on the Mountain” that can’t compete with the Worcester version from 4/2, but everybody loves “Playing”/“Uncle John’s Band,” and even though those too were quick, the Midwest billies ate it up. If the post-drums segment is too short, it contains three of my A-listers, including the relatively unusual “China Doll,” which segues into a clipped “Goin’ Down the Road,” and then “Sugar Magnolia,” always a winner when first-timers are along for the ride.
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As with most of spring ’87, the “official” UltraMatrix recording has recently surfaced, courtesy of Charlie Miller, and the second set is worth seeking, not because it breaks any new ground, but because every song is spritely and the selection, in my book, is near-perfect. It’s probably not related to the fact that there are only two Weir songs, among his best at that (“Playing” and “Sugar Magnolia”). Then again, it might be.
.
@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #scarletfire #ultramatrix #deadhead #chicago #uic #80sdead #1987 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
April 9. The Dead hadn’t played Chicago since 1981, and this was the end of a spring tour — the first since the coma — that was a gas through and through. I went with lotsa friends, many of whom had never been before, and I remember hanging in a big group on the lower level on Phil’s side. Where the hell did this second row ticket come from?! Typical. . A “Greatest Story”/“Promised Land” opener was a little odd, and it was followed by “When Push Comes to Shove” — a tune that was more overplayed than bad. It’s mildly amusing, a combo of the musical feel “Ramble on Rose” and the lyrical feel of I dunno what. I read that it was the only tune ever dropped, shortly thereafter, at the request of the ’Heads. Next up, subtitle of “Good Times Blues” — “Never Trust a Woman” — betrays itself as another woman-hating throwaway from Brent — so thank goodness we also got “Far From Me.” Yes, that’s sarcastic. Overall, set 1 was, um, uninspired. . Set 2 opens with a quick “Scarlet Begonias”/“Fire on the Mountain” that can’t compete with the Worcester version from 4/2, but everybody loves “Playing”/“Uncle John’s Band,” and even though those too were quick, the Midwest billies ate it up. If the post-drums segment is too short, it contains three of my A-listers, including the relatively unusual “China Doll,” which segues into a clipped “Goin’ Down the Road,” and then “Sugar Magnolia,” always a winner when first-timers are along for the ride. . As with most of spring ’87, the “official” UltraMatrix recording has recently surfaced, courtesy of Charlie Miller, and the second set is worth seeking, not because it breaks any new ground, but because every song is spritely and the selection, in my book, is near-perfect. It’s probably not related to the fact that there are only two Weir songs, among his best at that (“Playing” and “Sugar Magnolia”). Then again, it might be. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #scarletfire  #ultramatrix  #deadhead  #chicago  #uic  #80sdead  #1987  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
🔥🔥🔥
🔥🔥🔥
I saw a handful of April thirds, but I haven’t written about spring ’90 yet, and this gig was the last show of that tour. In truth all of Atlanta is overshadowed by the Nassau run that immediately preceded it. (I was super-busy 3/29. It’ll have to wait until next year!)
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Like many end-of-tour shows, 4/3/90 had a weary feel to me, even though (or perhaps because) spring ’90 was a mind-bender, not a single bad show among the 16, and a few unqualified all-timers. The double-opener of “Shakedown” and “Hell in a Bucket” was a surprise, though at the risk of heresy, I admit that “Sugaree” is take-it-or-leave-it for me. I crabbed yesterday about Brent’s songs — really, I loved his playing! — and “We Can Run” struck me from the get-go as a clumsy political paean, something the band usually tried for good reason to avoid. The rest of the set was business as usual.
.
“Estimated Prophet” is an awkward set opener — more yin than yang, more “deep second set” — but it yields to a lovely “Scarlet Begonias,” an A-lister on my A-list, with the best energy of the night. That turns the corner into “Crazy Fingers” — I can’t imagine there’s another pairing of those two — and an unsurprising, but always welcome, “Playing in the Band.” Though I’ve warmed slightly since having kids, I’m still not a fan of “I Will Take You Home” (a mile wide and an inch deep), which kicks into “Goin’ Down the Road” before the foregone conclusion of what one friend termed “Throwing”/”Away.” And nobody ever objected to a “Bid You Good Night” encore. It felt like the most consistent tour since 1977 had left us all puddles, and if there was a spent feel, the train felt like it was reaching some sort of peak velocity. Of course we had no way to know how little time was left until Brent’s death signaled the point, in retrospect, at which the grandeur finally started to decay for good.
.
@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #scarletfire #ultramatrix #deadhead #meadowlands #90sdead #1990 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
I saw a handful of April thirds, but I haven’t written about spring ’90 yet, and this gig was the last show of that tour. In truth all of Atlanta is overshadowed by the Nassau run that immediately preceded it. (I was super-busy 3/29. It’ll have to wait until next year!) . Like many end-of-tour shows, 4/3/90 had a weary feel to me, even though (or perhaps because) spring ’90 was a mind-bender, not a single bad show among the 16, and a few unqualified all-timers. The double-opener of “Shakedown” and “Hell in a Bucket” was a surprise, though at the risk of heresy, I admit that “Sugaree” is take-it-or-leave-it for me. I crabbed yesterday about Brent’s songs — really, I loved his playing! — and “We Can Run” struck me from the get-go as a clumsy political paean, something the band usually tried for good reason to avoid. The rest of the set was business as usual. . “Estimated Prophet” is an awkward set opener — more yin than yang, more “deep second set” — but it yields to a lovely “Scarlet Begonias,” an A-lister on my A-list, with the best energy of the night. That turns the corner into “Crazy Fingers” — I can’t imagine there’s another pairing of those two — and an unsurprising, but always welcome, “Playing in the Band.” Though I’ve warmed slightly since having kids, I’m still not a fan of “I Will Take You Home” (a mile wide and an inch deep), which kicks into “Goin’ Down the Road” before the foregone conclusion of what one friend termed “Throwing”/”Away.” And nobody ever objected to a “Bid You Good Night” encore. It felt like the most consistent tour since 1977 had left us all puddles, and if there was a spent feel, the train felt like it was reaching some sort of peak velocity. Of course we had no way to know how little time was left until Brent’s death signaled the point, in retrospect, at which the grandeur finally started to decay for good. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #scarletfire  #ultramatrix  #deadhead  #meadowlands  #90sdead  #1990  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
Missin the man....every. single. day. Forever grateful ⚡️❤️⚡️
Missin the man....every. single. day. Forever grateful ⚡️❤️⚡️
April 2. Several wrote to say they loved spring ’87 and thought it underrated. I agree. Yeah, tunes were generally abbreviated, but there was so much energy in the air that it seemed the band could do no wrong. An extended spring break allowed me to catch all three shows in Worcester, and the first one, 4/2/87, is easily my favorite.
.
The first set is high-energy, but contains no standout versions of any tunes, with one exception that would normally attract no notice, buried right in the middle: “Far From Me” is off the hook. The tune was dropped in the mid-’80s and made a minor reappearance in ’87 — angry but not nearly so nasty as some of Brent’s more misogynistic rants (don’t get me started on “Blow Away”), and I’ve never heard another version as energetic as this one. It starts unassumingly, building only slightly, until it gets to the solo at the end, Garcia rocking furiously, Brent standing up to egg him on, the crowd losing it. Check it out — you’ll hear it.
.
The second set looks average, but the vibe buoys all these standards, each played near the top of its game. “Scarlet Begonias” starts from a hard stop, instead of fading in, and the Centrum roars, the start of a set-long party, beginning with a generous “Scarlet”/”Fire.” “Looks Like Rain” and “Eyes” are short, but there are killers to come after the drums — “Black Peter” gets a deep workout (this is just after the coma, remember), and the wind-out is positively aflame with deeply bent notes and crowd energy. The other highlight is a “Good Lovin’” that doesn’t want to end, with Garcia and Brent grinning impishly at each other as Weir tries to remember what words rhyme in English. This is a feel-great set, and the indefatigable Charlie Miller has just released a copy from the early UltraMatrix recordings, sounding superb. Go find it and put on your dancing shoes.
.
@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #scarletfire #ultramatrix #deadhead #meadowlands #80sdead #1987 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
April 2. Several wrote to say they loved spring ’87 and thought it underrated. I agree. Yeah, tunes were generally abbreviated, but there was so much energy in the air that it seemed the band could do no wrong. An extended spring break allowed me to catch all three shows in Worcester, and the first one, 4/2/87, is easily my favorite. . The first set is high-energy, but contains no standout versions of any tunes, with one exception that would normally attract no notice, buried right in the middle: “Far From Me” is off the hook. The tune was dropped in the mid-’80s and made a minor reappearance in ’87 — angry but not nearly so nasty as some of Brent’s more misogynistic rants (don’t get me started on “Blow Away”), and I’ve never heard another version as energetic as this one. It starts unassumingly, building only slightly, until it gets to the solo at the end, Garcia rocking furiously, Brent standing up to egg him on, the crowd losing it. Check it out — you’ll hear it. . The second set looks average, but the vibe buoys all these standards, each played near the top of its game. “Scarlet Begonias” starts from a hard stop, instead of fading in, and the Centrum roars, the start of a set-long party, beginning with a generous “Scarlet”/”Fire.” “Looks Like Rain” and “Eyes” are short, but there are killers to come after the drums — “Black Peter” gets a deep workout (this is just after the coma, remember), and the wind-out is positively aflame with deeply bent notes and crowd energy. The other highlight is a “Good Lovin’” that doesn’t want to end, with Garcia and Brent grinning impishly at each other as Weir tries to remember what words rhyme in English. This is a feel-great set, and the indefatigable Charlie Miller has just released a copy from the early UltraMatrix recordings, sounding superb. Go find it and put on your dancing shoes. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #scarletfire  #ultramatrix  #deadhead  #meadowlands  #80sdead  #1987  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
March 30. I remember only bits and pieces of this show. I was spent after the blowout in Hampton the previous three nights, so I slept in on 3/29 and then went by the Coliseum to see if anybody wanted a ride up to Jersey in my brand-new Hot Wheels–red Mazda 323, the first new car I ever bought (with no air conditioning, for $8800!). We were stylin’. I picked up three folks who looked exactly as you’d imagine — young and more than a little burnt — but one turned out to be the son of a US Air exec, and when we stopped for gas he pulled out a roll of twenties that made him look like a Vegas drifter. “I got it,” he said. Where else but on tour?
.
I don’t remember where I stayed that night (with some friend, I assume), and I’d long lost my passengers when we hit the Meadowlands. I may have even attended this show alone, knowing that I had to hightail it back to Chicago for something or other — can’t say what — but I’m still bummed I missed 4/1, which was a fantastic show. Anyway, after Hampton it wasn’t clear that the band would have a lot of gas left, but these three shows turned out pretty fine. Certainly this night isn’t as consistent as the Hampton shows, but it’s still high-energy, with a bunch of favorites, including a Bertha opener (hardly unusual but still one of my favorites), a rollicking Cassidy, a bopping Shakedown Street, a rare Uncle John’s / Playing / Uncle John’s sandwich, and a pretty solid Morning Dew. All in all, this is not a standout for 1988, but the year is overall very strong, the set list is right up my alley, and in the first half of the spring tour every cylinder in the machine was firing right on cue. It’s no 3/27, but it’s definitely worth seeking out nonetheless.
.
@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #deadhead #meadowlands #80sdead #1988 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
March 30. I remember only bits and pieces of this show. I was spent after the blowout in Hampton the previous three nights, so I slept in on 3/29 and then went by the Coliseum to see if anybody wanted a ride up to Jersey in my brand-new Hot Wheels–red Mazda 323, the first new car I ever bought (with no air conditioning, for $8800!). We were stylin’. I picked up three folks who looked exactly as you’d imagine — young and more than a little burnt — but one turned out to be the son of a US Air exec, and when we stopped for gas he pulled out a roll of twenties that made him look like a Vegas drifter. “I got it,” he said. Where else but on tour? . I don’t remember where I stayed that night (with some friend, I assume), and I’d long lost my passengers when we hit the Meadowlands. I may have even attended this show alone, knowing that I had to hightail it back to Chicago for something or other — can’t say what — but I’m still bummed I missed 4/1, which was a fantastic show. Anyway, after Hampton it wasn’t clear that the band would have a lot of gas left, but these three shows turned out pretty fine. Certainly this night isn’t as consistent as the Hampton shows, but it’s still high-energy, with a bunch of favorites, including a Bertha opener (hardly unusual but still one of my favorites), a rollicking Cassidy, a bopping Shakedown Street, a rare Uncle John’s / Playing / Uncle John’s sandwich, and a pretty solid Morning Dew. All in all, this is not a standout for 1988, but the year is overall very strong, the set list is right up my alley, and in the first half of the spring tour every cylinder in the machine was firing right on cue. It’s no 3/27, but it’s definitely worth seeking out nonetheless. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #deadhead  #meadowlands  #80sdead  #1988  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
March 27. I went back to college for spring break ’87 and caught Hartford, the first shows in the Northeast after Garcia’s coma, with some of my best Wesleyan friends. As Garcia once said of Madison Square Garden, “They want the jugglers and the clowns.” March 26 was certainly fun, but the doors held. This night they wouldn’t.
.
As Weir said (I’m paraphrasing): “We try to build a cliff in the first set, so we can jump off in the second.” The first several tunes had some fine, solid playing, but then “Tennessee Jed” locked into a groove, Garcia placing every note of the solo precisely before modulating up and up to the crowd’s joy. The “Music Never Stopped” that follows is A-plus — screaming energy, Weir’s odd chords providing a background for the shards of fire flying out of Garcia’s guitar like a sparkler, the crowd threatening to come unglued.
.
And then it did. Mickey once said, “‘Touch of Grey’ is just a song,” with a little sneer — and I wanted to slap him, because Garcia’s reverence for song-craft was one of his hallmarks, illuminated here in an exceptional moment. After the coma he adjusted “Touch of Grey” subtly — slower, with a lilt in the phrasing of “I will survive” — and conveyed pages of meaning missing from previous versions. The crowd felt it, and at the end, Garcia pumping his fist in the air (Whaaattt?), the arena was so loud one could barely hear the music. If you look for no other song from a show you never saw, check this. It will raise the hair on your neck.
.
The rest of the set had crazy energy, with a surprise “Uncle John’s Band” out of space, and a fine “Morning Dew.” Even “Johnny B. Goode” was wildly successful. I saw the ’86 New Year’s shows, but I missed the mammoth “Terrapin” in Hampton a few nights earlier — so this was the show that started the ’87–’90 resurrection for me. Never — NEVER — had such a good time. For a while, at least, the Fat Man was back.
.
@gratefuldead #gratefuldead #gratefuldeadtour #jerrygarcia #longstrangetrip #bobweir #phillesh #billkreutzmann #mickeyhart #brentmydland #drumsspace #deadhead #80sdead #1985 #iwasthere #faretheewell #deadandcompany #concerttickets #concertmemories #deadtickets #thefatmanrocks
March 27. I went back to college for spring break ’87 and caught Hartford, the first shows in the Northeast after Garcia’s coma, with some of my best Wesleyan friends. As Garcia once said of Madison Square Garden, “They want the jugglers and the clowns.” March 26 was certainly fun, but the doors held. This night they wouldn’t. . As Weir said (I’m paraphrasing): “We try to build a cliff in the first set, so we can jump off in the second.” The first several tunes had some fine, solid playing, but then “Tennessee Jed” locked into a groove, Garcia placing every note of the solo precisely before modulating up and up to the crowd’s joy. The “Music Never Stopped” that follows is A-plus — screaming energy, Weir’s odd chords providing a background for the shards of fire flying out of Garcia’s guitar like a sparkler, the crowd threatening to come unglued. . And then it did. Mickey once said, “‘Touch of Grey’ is just a song,” with a little sneer — and I wanted to slap him, because Garcia’s reverence for song-craft was one of his hallmarks, illuminated here in an exceptional moment. After the coma he adjusted “Touch of Grey” subtly — slower, with a lilt in the phrasing of “I will survive” — and conveyed pages of meaning missing from previous versions. The crowd felt it, and at the end, Garcia pumping his fist in the air (Whaaattt?), the arena was so loud one could barely hear the music. If you look for no other song from a show you never saw, check this. It will raise the hair on your neck. . The rest of the set had crazy energy, with a surprise “Uncle John’s Band” out of space, and a fine “Morning Dew.” Even “Johnny B. Goode” was wildly successful. I saw the ’86 New Year’s shows, but I missed the mammoth “Terrapin” in Hampton a few nights earlier — so this was the show that started the ’87–’90 resurrection for me. Never — NEVER — had such a good time. For a while, at least, the Fat Man was back. . @gratefuldead #gratefuldead  #gratefuldeadtour  #jerrygarcia  #longstrangetrip  #bobweir  #phillesh  #billkreutzmann  #mickeyhart  #brentmydland  #drumsspace  #deadhead  #80sdead  #1985  #iwasthere  #faretheewell  #deadandcompany  #concerttickets  #concertmemories  #deadtickets  #thefatmanrocks 
#throwbackthursday Oakland. Spring Tour ‘93 (I think?? 🤔). If I ever stress about getting older, I just have to remind myself I took this picture, so it ain’t all bad. #jerrygarcia #gratefuldead #deadandcompany #rockphotography #raillife #dead #lockn #jerry #thefatmanrocks #grateful something tells me this was a Wharf Rat 🐀
Post snow day jams. So long ago but such a fun tour.
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#gratefuldead #bobdylan #oldrecords #livetracks #garcia #thefatmanrocks
Saw this yesterday and had to get it. The first band I obsessively followed around! 🎶🎸❤️ #jerrygarcia #gratefuldead #thefatmanrocks #deadheads #whatalongstrangetripitsbeen #popvinyl
Exactly what I needed this morning.  Cures what ails ya. #walstib #thefatmanrocks
Jerry Garcia/Grateful Dead 1994.09.18 Shoreline Amphitheatre, Mountain View CA
📷: Rich Saputo @richthephotog
@jerrygarcia @gratefuldead @mickeyhart 
#gratefuldead #jerrygarcia #mickeyhart #shorelineamphitheatre #nikon #nikonphotography #richsaputophotography #concertphotography #musicphotography #concertphoto #longbeachphotographer #thefatmanrocks #cripe #cripeguitars
@forestandmain #abodeofherman 🔥Jerry Christmas to all, and to all a good night. #jerrystealie #stillmissjerry #thefatmanrocks #troubleaheadjerryinred #drinklocal #drinkfresh #bekindalways
Forever Grateful ⚡️❤️⚡️ So blessed for those days. NFA 🌹
Forever Grateful ⚡️❤️⚡️ So blessed for those days. NFA 🌹
1979 Arista press photo. #thefatmanrocks #walstib
Last night at @thegarciaproject @nectarlounge. They were really good, haven't boogied that hard in a minute, so nice to hear some live Jerry tunes! #garciaproject #nectarlounge #fremont #forevergrateful #jerryband #jgb #gdf #fuckinmisshim #thefatmanrocks
Once in a while you get shown the light in the strangest of places if you look at it right .- opened the cooler for a beer and saw this - #stillmissjerry #garcia #jerrygarcia #captaintrips #thefatmanrocks #playdead #graftefuldead #deadhead #weareeverywhere if you get confused, listen to the music play #heartofgoldband #bekindalways
Love is Real ⚡️❤️⚡️Not Fade Away
Love is Real ⚡️❤️⚡️Not Fade Away
Ride'em cowboy! Happy 75th birthday #JerryGarcia. #thefatmanrocks #gratefuldead #deadhead #deadheading #hbd
Still miss you everyday... Miss those JGB Warfield shows the most. You gave your heart and soul for the music
#jerrygarcia #happybirthday #daysbetween #thefatmanrocks
Just messing around with time lapse while doing a quick sketch.
Kind of shaky and blurry. 🙁
I need to work on camera position and lighting...I've seen other people post these kinds of vids and it can be pretty cool.

#timelapse #sketch #portrait #jerry #jerrygarcia #thefatmanrocks #pencil #pencildrawing #art #drawing #noob
#tbt #1985 #philly #spectrum Stranger opener, killer 2nd set china>rider>playin>ujb>drumz>otherone>throwin>nfa  #gratefuldead #tdigdh #spectrum #springtour85 #thefatmanrocks #dead #stillmissjerry #bekindalways
Released 50 years ago today. #thefatmanrocks #walstib
Staying properly hydrated in style this morning.  #gratefulheads  #thefatmanrocks
I #wish there was a song to get you back
But you can't get here from nowhere I guess 
Rosebud's shipwrecked up on the Ohio
Behind a wall of glass, telling me to take it easy but I took a photograph, 
And she's just a wooden machine, 
But you and Rosebud you're still singing to me. 😢💜
#ryanadams 
Sleep in the Stars...Mr. #roberthunter 🌙🌟
#jerrygarcia
#rosebud
#captaintrips 
#thefatmanrocks 
#birdsong
#gratefuldead 
#forevergrateful #deadheadsunite 
#notfadeaway
#inspiration 
#movemebrightly #Skeleton #rose #ankh #skirt
#beard #glasses
I #wish  there was a song to get you back But you can't get here from nowhere I guess Rosebud's shipwrecked up on the Ohio Behind a wall of glass, telling me to take it easy but I took a photograph, And she's just a wooden machine, But you and Rosebud you're still singing to me. 😢💜 #ryanadams  Sleep in the Stars...Mr. #roberthunter  🌙🌟 #jerrygarcia  #rosebud  #captaintrips  #thefatmanrocks  #birdsong  #gratefuldead  #forevergrateful  #deadheadsunite  #notfadeaway  #inspiration  #movemebrightly  #Skeleton  #rose  #ankh  #skirt  #beard  #glasses 
Yes that is a Jerry Garcia Christmas tie...only the finest for the holidays!
#jerrygarcia #thefatmanrocks #missyoujerry #business #nj #jerseyshore #homeoffice #smallbusiness #needspikedeggnog
@pigeonforgechamber #feelinggrateful #mountainstrong #europe72 #gratefuldead #smokies @smokiesfriends @smokymountaingrocery @adayinthesmokies @visitmysmokies #thefatmanrocks #pigeonforge #prayforthesmokies #donatetothesmokies @gratefuldead #darkstar > #theotherone #jam #gd
Late lunch walk. One in a while you get shown the light, in the strangest of places if you look at it right. #getoutside #becauseican #crispair #fryeburg #workhardlovemuch #jerry #garciaislove #thefatmanrocks
Don't forget to vote, kids. #garcia16 #thefatmanrocks #usblues
#feelinggrateful @gratefuldead @smokiesfriends @visitgatlinburg #gratefuldead @feeling_grateful @visitmysmokies @gatlinburgcvb #roaringfork @gratefuldeadphotos @gratefuldeadphotooftheday #jerrygarcia #thefatmanrocks @gratefulmusics @gratefulmusicpublications #happycampers #bobweir @ratdogtour
Ready for the Slightly Stoopid show in Cocoa Florida on Friday,  August 12? Stop by Bohemian Lair with your tickets for a 20% discount on any 1 item ALL DAY FRIDAY! 
Get everything you need for your hippie and vape lifestyle. We stock; tapestries, vaporizers, glass, t-shirts and so much more. We are only a 5 minute walk from the venue. 
Bohemian Lair 
226 King St 
Cocoa, Florida 
@Regrann from @slightlystoopid -  Honoring the spirit of #JerryGarcia today and everyday. He’s a true pioneer of #American #Music, and his contributions will continue to inspire all of us!
#FranklinsTower #TheFatManRocks #FareTheeWell #HesGone #NotFadeAway #RIPJerry (art by @joaogabriel.jack) #cocoabeach #orlando #wrrj #wjrr #thereggaespot
#Regrann
Ready for the Slightly Stoopid show in Cocoa Florida on Friday, August 12? Stop by Bohemian Lair with your tickets for a 20% discount on any 1 item ALL DAY FRIDAY! Get everything you need for your hippie and vape lifestyle. We stock; tapestries, vaporizers, glass, t-shirts and so much more. We are only a 5 minute walk from the venue. Bohemian Lair 226 King St Cocoa, Florida @Regrann from @slightlystoopid - Honoring the spirit of #JerryGarcia  today and everyday. He’s a true pioneer of #American  #Music , and his contributions will continue to inspire all of us! #FranklinsTower  #TheFatManRocks  #FareTheeWell  #HesGone  #NotFadeAway  #RIPJerry  (art by @joaogabriel.jack) #cocoabeach  #orlando  #wrrj  #wjrr  #thereggaespot  #Regrann 
Honoring the spirit of #JerryGarcia today and everyday. He’s a true pioneer of #American #Music, and his contributions will continue to inspire all of us! #FranklinsTower #TheFatManRocks #FareTheeWell #HesGone #NotFadeAway #RIPJerry (art by @joaogabriel.jack)
Happy Jerry Garcia's Birthday everyone! #thefatmanrocks
Call it a hunch, but I'm guessing this car doesn't belong to a Trump voter. #gratefuldead #TheFatManRocks