April 27, 2025 • 30 mins
We transport listeners into the futuristic world of the Sphere in Las Vegas as Jim shares his whirlwind 24-hour trip to see Dead & Company in this revolutionary venue. Through vivid descriptions and personal anecdotes, we explore the cutting-edge technology that creates an unprecedented concert experience.
• Jim scores a last-minute ticket to Dead & Company at the Sphere
• The Sphere features 16K resolution LED screens surrounding the audience
• Dead & Company's setlist and the mind-blowing visual experiences that accompanied each song
• Tribute to legendary producer Roy Thomas Baker who died April 12, 2025, at age 78. Baker's production genius helped create some of rock's most iconic albums—Queen's first five records, The Cars' debut, Journey's breakthrough hits, and many more.
• 35th Anniversary of Social Distortion's self-titled album
• "Minute with Jimmy" segment featuring The Jam's accidental hit "Going Underground"
• Exploration of Pete Townshend's 1980 solo album "Empty Glass"
"Music in My Shoes" where music and memories intertwine.
Learn Something New or
Remember Something Old
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Boge, and you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 76.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So, Jimmy, over the weekend Igot to do something that I've
(00:53):
been wanting to do.
I hopped on a plane Saturday.
I flew out to Las Vegas.
I went and saw Dead Company atthe Sphere on Saturday night.
Speaker 1 (01:03):
Oh, I didn't realize that.
Speaker 2 (01:05):
And I flew back home Sunday morning.
Speaker 1 (01:07):
Okay, I literally Jet setter.
Speaker 2 (01:09):
Literally from the time my flight took off on
Saturday till my flight landedon Sunday, 24 and a half hours.
Speaker 1 (01:17):
Yeah, I did that once I went to LA to see the Sex
Pistols in like 2002.
Speaker 2 (01:22):
Really, 24 hours.
It was everything I hoped itwould be.
It really was.
I ended up getting a reallygreat price on a flight from
Atlanta to Las Vegas $235 roundtrip.
Speaker 1 (01:38):
Oh, that's a great price, yeah.
Speaker 2 (01:40):
And I bought the ticket.
I bought the flight.
I didn't have a ticket to theshow and the tickets were kind
of steep.
But I was saying to myself I'mgoing to pay it because I have a
flight, so I'm going to pay theticket price.
And the Friday night before Ijust sat at my computer and I
kept refreshing, just looking tosee, because maybe someone was
(02:05):
like I need to get rid of myticket because it's not selling.
Speaker 1 (02:09):
And you went to the show on Saturday night.
Yes, oh, my gosh, okay.
Speaker 2 (02:13):
Yeah, I didn't get a ticket.
It was about five minutes afternine on Friday night but the
ticket prices were all around$400 minimum.
In the section I was looking,somebody dropped it to $228.
One ticket and I was on thatticket.
Like you couldn't believe Icould not get my credit card
(02:36):
number in, type it fast.
So, matter of fact, I wastrying to type it so fast.
I was making mistakes because Iwas like I can't believe this.
Speaker 1 (02:43):
Yeah, I'm glad it didn't time out on you or
something.
Speaker 2 (02:46):
No, oh yeah, that would have been bad.
So I was really excited to go.
Now we've talked.
We talked about the sphere, Ithink on the first show.
I think we talked about it afew shows after, but this is
show 76.
So it's it's a long time.
Yeah, it was so cool.
It was everything and more thanwhat I expected.
(03:08):
And I wanted to sit up at thetop because, as you know, inside
it's all a LED screen.
You know everything.
You know up above youeverything, so I didn't want to
sit low to see the band.
I've seen the band many times.
I wanted to sit high so I couldsee all of the screen and it
(03:31):
was fantastic.
The band yeah, they look likeants, I didn't care.
The show, what they could dounbelievable.
So there's about 18,000 seatsin the arena, if you call it an
arena, and then they have thefloor, but the floor isn't like
(03:52):
you know.
I don't think that you couldput like a hockey rink or a
basketball court, like youcouldn't do that.
The way that they have it builtis that the floor kind of looks
minimal, and then they have allthe seats that are very steep
going up.
Okay, all right, so that youcan be close to everything, as
(04:12):
close as close can be, and stillenjoy it.
It was fantastic.
They have 160,000 speakers inthis building.
Speaker 1 (04:23):
Yeah, I've heard that .
The sound is just unlikeanything you've ever heard.
Speaker 2 (04:27):
It is they have roughly about 10,000 seats that
the sound actually comes rightto you.
So if you're sitting in those10,000 seats, no matter where
you are, you think the sound iscoming right at you and it's
just super cool.
I mean it is as cool as onecould be.
(04:47):
You know, I think people getexcited for 4K TV.
This is 16K resolution.
You know LED, I mean it justwraps around you.
It was just unbelievable and itwas like every song.
It was just unbelievable and itwas like every song as they
played it.
They had you know all thesethings that were happening.
(05:10):
So at times some songs younever saw the band unless you
were on the floor.
You know right up there, andyou know Dead Company, an
offshoot of the Grateful Dead,and you know the steely-faced
skeletons, the bears.
You know all the differentthings that are connected to the
Grateful Dead they had as partof it.
(05:31):
So the show begins and it'ssuper cool and inside it kind of
looks like scaffolding.
It kind of looks veryfuturistic.
It kind of looks likescaffolding.
It kind of looks veryfuturistic.
The second song was Truckin'and it opens up and it just goes
all the way behind you to wherenow you see the screen and they
(06:00):
show the house that theGrateful Dead were in back in
the days in San Francisco.
Speaker 1 (06:02):
Right.
Speaker 2 (06:03):
And then, as they're playing trucking, it goes up, so
it goes, and now you see SanFrancisco and the camera view
just keeps going up.
To now you're in space andlistening to the song.
It was insane.
It was so cool.
It really was.
They did Lay Down Sally, whichis an Eric Clapton song, right,
(06:27):
but Jerry Garcia, when he wouldplay with the Jerry Garcia band
he would play that a lot.
He loved the song.
They did a really good versionof it.
Mare was on vocals.
It was cool.
The video, like what they didwith it, was cool.
Tennessee Jed, jack Straw JackStraw was just so cool.
(06:50):
So this one they have everythingconnected to the Grateful Dead
in vibrant colors, starting allthe way up at the top of the
ceiling like this little tinydot, but going around in circles
, coming down the sphere wallsuntil it's like it seems like a
million different things arehappening and they're singing
(07:13):
the song and you're like this isjust crazy.
It really really was.
Casey Jones.
They played Scarlet Begonias,fire on the Mountain with
drummer Mickey Hart.
You know, sometimes he'll do alittle rap that he has and it's
funny hearing it from a guythat's like 80 years old.
(07:34):
He did it on this one.
It was really cool.
He's Gone St Stephen, which isan old Grateful Dead song.
It's always good to hear one ofthe super old ones from back in
the day.
And then they played Brown EyedWomen and it was absolutely
insane.
The video that they show is ofthe Fillmore in San Francisco
(08:01):
and then they have they put likea screen on it to show the band
playing dead and companyplaying and then the, the
building turns around and nowit's Radio City Music Hall from
1980 from their you know, sacredshows that they did in October
of 80, and then it becomesMadison Square Garden and then
it's Hampton Coliseum.
(08:22):
Oh wow, it's like, so cool.
I mean it was really reallylike and especially if you like
the Grateful Dead, I mean theyput a lot of stuff there that,
knowing the band and liking theband that you got you just got
all these things John Mayer,keyboardist, jeff Cimenti I mean
(08:44):
they were playing off eachother on Brown Eyed Women and at
one point you could see likeJeff you know he's got some long
hair and it's usually it wascoming in front of his face he's
playing and you could see thelook in his face of trying to
keep up with Mary.
It was so good, it reallyreally was.
(09:05):
Hell in a bucket, grateful Dead,skeleton, uncle Sam.
He comes out, he's kind of likedancing in a garden and he's
like tremendous, you know, he's,you know, I don't know.
He's 80 feet tall or something,hops on a motorcycle and now
they have 4D, you don't wearglasses or anything, but that
(09:32):
motorcycle.
When it was coming towards me Ithought the motorcycle was
coming towards me, you know.
And then you know he's justkind of driving in the road and
going past like different things, and you could see him headed
towards the sphere.
It was just crazy.
Speaker 1 (09:43):
It really was.
How do they do that with noglasses?
That's amazing.
Speaker 2 (09:46):
I don't know, but it's just, you know, super duper
thought process that goes intoit so that you enjoy it.
I mean, honestly, I could havejust put headphones on and
listened to the band and watchedeverything.
The band was actually reallygood.
I mean, they sounded great.
I just told you about, you know, John Mayer and Jeff Bob Weir
(10:10):
sounded good.
I mean, everybody did.
You know, everyone was good.
Final two songs Broke DownPalace, which is on my funeral
playlist, and One More SaturdayNight because it was a Saturday
night, so they always play OneMore Saturday Night.
It was so cool.
It was everything I had hopedfor.
I didn't want to bedisappointed.
(10:31):
You know, I didn't want tospend a lot of money and go out
there and it just be like amoney grab and I didn't think it
was at all.
I thought it was worth everypenny that I spent and lack of
sleep that I had.
It was great.
Speaker 1 (10:49):
Did they play more hits than you would normally see
at a dead-in-company show?
Speaker 2 (10:53):
No, no.
So they actually, I think,played more.
So they played three nights ina row.
They normally play Thursdaynight, friday night, saturday
night.
The Friday night show not thenight I went the night before
was definitely more packed withsome of the hits.
But you know, I looked up likeTruckin' I mentioned Truckin' it
(11:15):
had been five shows since theyplayed that song.
Like they go the whole weekend.
They never play the same songand they might go four, five,
six shows without playing a songtwice.
Speaker 1 (11:27):
I assume because it was the sphere that it was all
choreographed and set listed,but no.
Speaker 2 (11:32):
No, no, and there's a lot.
I met a lot of people that havegone to a lot of the shows, a
lot of people that were therefor all three nights and this
was their second time there, orit was their first time, and
they're going back in May.
Speaker 1 (11:49):
A ton of people, it was just really and they
probably spent a lot more thanyou did.
Speaker 2 (11:54):
They did Because everyone was asking how much did
you pay, how much you know?
And people were just like theycouldn't believe it.
They're like you bought yourticket last night.
I said, yeah, I sat for acouple of hours, boom, boom,
boom, boom, boom, nope, nope,nope, nope, nope, nope, nope,
nope, nope, nope, nope, nope,nope, nope, nope, nope, nope,
nope, nope, nope, nope, nope,nope.
Speaker 1 (12:10):
Nope, get lucky at all.
No, that's what I'm saying.
I always wait till the lastminute to get tickets and it
always works out, but that timeit didn't, because there was
just too many people that wantedto go to that game and the
prices went up in the last 24hours.
Speaker 2 (12:30):
They doubled, but in the end was it worth it.
You know, I don't knoweverything you did.
Speaker 1 (12:35):
Oh, our trip was amazing.
Yeah, it was worth going.
But if you went to Vegas, ifyou had a 24-hour plane ticket
like there was one thing youwere planning to do you had to
get that ticket.
I had to get that ticket.
We had the whole game dayexperience and seeing the town
and things like that.
That it made it still worth it.
Speaker 2 (12:51):
So, in my mind, not having the ticket when I went
out like I had to have theticket before I went there In my
mind, going there without theticket leads to going to the
slot machines or the gamingtables way too early, because
you're not a happy camper.
So I did make a resolution withmyself.
(13:13):
I said I would not gambleanything until after the show.
That was my plan.
Wasn't going to do it in mymind.
So I never thought twice aboutit and it's funny.
I went to the Venetian, whichis right down the street.
It's actually, if you get hotelpackages, you get them through
the Venetian for the Sphere.
(13:35):
It's all kind of connected, butit's a little bit of a walk to
get to it.
I ate at Panda Express.
That's what I got for dinner atthe food court at the Venetian.
So before it became theVenetian, it was the Sands Hotel
and Casino and that's what wasat that spot starting in 1952.
(13:59):
And the famous Copa room whereI've talked about one of my
favorite live albums, sinatra atthe Sands, was recorded there.
So as I'm in the Venetian, I'mwalking around and, like Frank
Sinatra, walked.
Now it's not the same buildingand you know it was demolished,
but.
But I'm like frank, sinatra wasprobably right about here, and
(14:20):
you know I'm thinking all thisbefore I go to the the dead and
company show.
So the album sinatra at thesands was recordedoded, and
(14:40):
while it's a sad thing to seeanything go, the Venetian
definitely is a top of the lineplace for sure.
Jimmy.
The man behind producing manyclassic albums and songs, roy
Thomas Baker, died April 12,2025, at the age of 78.
(15:02):
Remember the 1970 song AllRight Now by Free?
I love that song.
Yeah, he helped with the audioengineering.
It was one of the you knowfirst songs that he was part of.
He produced the first fiveQueen albums Sheer Heart Attack,
a Night at the Opera, jazz oramong them, with songs like
(15:24):
Killer Queen, bohemian Rhapsody,which everybody and their
mother knows You're my BestFriend Bicycle Race and Fat
Bottom Girls.
I mean five albums with them.
In 1978, besides Queen's Jazz,he produced the Cars' first
album, one of the best debutalbums by a band.
(15:47):
We've talked about it multipletimes Good Times Roll my Best
Friend's Girl, just what INeeded.
Don't Just Stop.
He also produced Journey'sInfinity album with Wheel in the
Sky and Light.
I do like the song Wheel in theSky.
I like that song.
You know, in 79, he producedJourney's Evolution with the
(16:11):
song Love and Touch andSqueezin'.
Speaker 1 (16:13):
Another good song.
Speaker 2 (16:14):
The Cars' Candio album.
Let's Go.
It's All I Can Do.
Candio Got a Lot of my HeadDangerous Type.
Are you feeling me, jimmy?
Yes, I mean I can't believe hedid all this and Far In His Head
Games.
I mean that's all in 1979.
The Cars Panorama album in 1980.
(16:37):
He also did Shake it Up in 1981.
82, he did one of my favoritealbums of 82.
Oh no, it's Devo.
Okay, time Out for Fun.
Peekaboo, that's Good, speedRacer.
Speaker 1 (16:55):
Yeah, it's a good record.
Speaker 2 (16:57):
I love that album.
Now there's a song on therethat actually john hinkley jr
wrote.
That we'll talk about at adifferent point in time.
But they recorded it, they didthe music, they added some words
, changed the lyrics a littlebit towards the end, but john
hinkley jr was actually part ofa song that's on that album.
Okay, 1982, roy Thomas Bakerremixes the Motley Crue album
(17:23):
Too Fast for Love with the songLivewire, which is, like you
know, their first big song thateverybody knew they had released
it on a like an independentlabel and then Elektra signed
them and then he remixed it sothat they could release it, you
know, publicly, out to everybody.
I could go on and I'm tellingyou, the amount of albums that
(17:46):
he was part of is insane.
It really, really is.
But I'm going to stop here,which I usually don't do a very
good job of, but I'm going to dothat today.
All right, he was a part of somany radio hits.
Life's the same.
(18:09):
I'm moving in stereo.
Life's the same except for myshoes, and this is Music in my
Shoes.
Last episode we talked about thewho sacking drummer Zach
Starkey.
Well, he's back in, accordingto Pete Townsend on the who
website.
We are a family.
This blew up very quickly andgot too much oxygen.
(18:30):
It's over.
We move forward now withoptimism and fire in our bellies
.
I mean that's Pete Townsend'squote on the whole thing about
Zach Starkey.
He kind of admitted, I guess,that yeah, maybe he was
overplaying a little bit.
Roger Daltrey was struggling tohear things in his you know his
(18:50):
ear monitors because all hecould hear was the drumming they
all kissed, they made up.
Zach Starkey is back and I'llbe honest with you, jimmy, it
was amazing how much press itactually got Like on the
internet.
It was all over where I go andlook things up.
It was everywhere.
Like it was a huge deal and Ithink maybe the who didn't
(19:12):
realize people would care asmuch as they did.
Also, on the last episode,jimmy mentioned a Fugazi album
on minute with jimmy.
Do you remember that, jimmy?
of course repeater yes, can youdo that again?
Repeater you did.
Thank you, I appreciate that.
And don't you know?
When I get home, I find out itwas singer ian mckay's birthday,
(19:35):
the actual day that we recorded, and you didn't know, that did
you.
I had no idea it was so funnythat it happened to be his
birthday.
I also mentioned that Ian andhis former band Minor Threat
were in a documentary with theband Social Distortion and I
couldn't remember the name of it.
I looked it up because I wantedto kind of mention it but it
(19:57):
was the 1984 film Another Stateof Mind highlighting Social
Distortion and Youth Brigade'ssummer 1982 summer tour.
And then, 35 years ago, inMarch 1990, social Distortion
released their self-titled thirdalbum.
What Three classic songs Balland Chain, ring of Fire, story
(20:22):
of my Life and those songs rock.
I know Ring of Fire is a JohnnyCash song.
I know Wall of Voodoo did italso.
Speaker 1 (20:30):
Yeah, but Social D made it their own.
Speaker 2 (20:32):
Oh yeah, without a doubt.
It is such a good rocking song.
It really really is.
So I had a friend, scottPernido, who was a huge Social D
fan.
As a matter of fact, I wouldalways say Social Distortion and
he would be like Social D.
He would always say that to mein January of 2015.
(20:58):
And every time I hear a socialdistortion, social D, every time
I hear one of those songs, Iautomatically think of him.
It just brings me right back tohim.
So you know, it was kind ofcool thinking about this and
thinking about him, even 10years later, after you know he's
gone.
Life goes by so fast.
(21:20):
You only want to do what youthink is right, close your eyes
and then it's past Story of mylife.
Let's revisit some great musicfrom the past, jimmy.
You know what, jimmy?
Not only are we going torevisit it, I'm ready for Minute
(21:43):
with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Speaker 1 (21:50):
Minute with Jimmy.
All right, I'm going back to1980.
The band the Jam, a British modband that got kind of lumped in
with punk because of the timingof their career.
But really they weren'tnecessarily a punk band, they
were power pop and they calledthemselves mods.
(22:12):
But they had had a lot ofsuccess in England really not
much in America, really not muchin America.
And in 1980, they put out asingle and the song was called
Dreams of Children, which is agood song.
It's on their greatest hits.
But the B side was one calledGoing Underground and the label
(22:34):
messed up and they labeled GoingUnderground as the A side and
Dreams of Children as the B sideand radio started playing it.
Going Underground went tonumber one on the British charts
and so, you know, dreams ofChildren ended up getting some
airplay as well.
But because of that mislabelingthey ended up with a number one
(22:56):
hit.
Speaker 2 (22:57):
Isn't it funny how things like that happen.
Yeah, no intention.
Yet that's what happened, right?
Speaker 1 (23:04):
And it's one of my favorite jam songs.
I can't believe they made it aB-side in the first place.
Speaker 2 (23:09):
Some people might say my life is in a rut.
Speaker 1 (23:11):
But I'm quite happy with what I got.
Speaker 2 (23:14):
You know what I'm quite happy too, and that was
Minute with Jimmy, Minute withJimmy.
So, Jimmy, on April 21st 1980,staying there in 1980, Pete
Townshend releases Empty Glassand it's kind of like the who
album that was recorded by PeteTownshend and not the who that
(23:35):
you thought was a who album,just not Roger Daltrey singing
it.
Like if you listen to it, andespecially when it came out, it
was kind of like this is alittle crazy.
I expect Roger to be singingthese songs because it sounds
just like what the who soundedlike at that point in time.
Speaker 1 (23:52):
I know it's confusing , yeah, like Let my Love Open
the Door, right?
Yeah, and it sounds kind oflike one of the the hits off of
who are you right?
Speaker 2 (24:03):
yeah, like it's just crazy.
And I know that roger daltreyyou know I've read in many
places was kind of upset for along time like hey, why didn't
you save this for us?
And you know, pete, hey, listen, pete writes almost everything
and you know he wanted to dothis on his own and he had his
reasons for wanting to do it.
But when you listen to it and Ilistened to it the other day
(24:27):
just to say to myself, hey,listen, you know, is this still
how I feel all these years later?
And without a doubt, it's thewho album that Pete Townshend
recorded, so you mentioned Letmy Love Open the Door, that Pete
Townsend recorded, so youmentioned Let my Love Open the
Door.
It entered the Billboard Hot100 June 14th and it peaked at
number nine on August 16th, 1980.
(24:48):
The summer of 80, I rememberthat song all the time, right,
you know, and it was one ofthose songs we talk about.
That crosses over to alldifferent types of music
stations, whether it's pop orrock or whatever.
Everybody was playing it.
So the who 1981 album comes outa year later face dances.
(25:13):
A lot of people say that thatalbum wasn't that good.
Yet they say this album shouldhave been the who album, but the
81 album, seriously the whoalbum you better.
You bet, don't Let Go of theCoat Caché Caché, which is great
song.
Not many people listen to thatReally really good song.
(25:33):
The song you Another Tricky Day, I have it on my phone.
It's one of my most listened toalbums that I have on my phone
and I think that album is a lotbetter than what people give it
credit for.
Speaker 1 (25:48):
Yeah.
Speaker 2 (25:49):
Without a doubt.
Without a doubt Moving to thefourth week of April 1985.
U2, the Three Sunrises Screamerof the Week on WLIR, one of my
favorite.
U2, the Three Sunrises Screamerof the Week on WLIR One of my
favorite U2 songs.
It doesn't sound like a U2 songto me at all.
It's kind of like a Just like arock song, like a regular, just
(26:13):
Straight up rock song, not aU2-ish type song.
Edge plays rock and roll guitaron it.
Are you familiar with it, jimmy?
Speaker 1 (26:24):
The song says sunshine, sunshine on me, yes,
yeah, I don't know, that soundslike U2 to me.
Speaker 2 (26:29):
You know like he'll do some of that guitar, you know
.
Speaker 1 (26:34):
Yeah, I love that part.
Speaker 2 (26:36):
Yeah, it sounded like some mice came into the studio
or something.
I'm not sure what that was, butyou know, I'm really glad that
WLIR exposed me to songs thatyou wouldn't have heard.
It was a B-side of Wide Awakein America.
It was an EP Wide Awake inAmerica, that's it that had come
(26:57):
out and that was on it and theywould play it, and it forced me
to go buy it.
Speaker 1 (27:03):
Yeah, and it had a live version of Bad on it right?
Speaker 2 (27:07):
Yes, and a live version of Sword of Homecoming
and Wide Awake in America.
None of it was recorded inAmerica.
Speaker 1 (27:15):
But so it had three sunrises, and what was the other
song?
Speaker 2 (27:18):
Love Comes.
Speaker 1 (27:18):
Tumbling Love Comes Tumbling yeah.
Speaker 2 (27:19):
Which is a good song that really is.
I do enjoy listening to that.
But if you haven't listened tothat and you want to hear
something a little different,the Three Sunrises Three
Sunrises, better Than Ezra.
The song Good peaked onBillboard Modern Rock Tracks on
April 29th 1995.
Beginning of the song with theguitar chords and then it goes
(27:42):
to the bass by itself and thenthey start singing and then the
guitar chords and back to justthe bass.
It's a really catchy tune.
I like that song.
I saw them in 95, in May of 95,and great job.
I mean, I really enjoy it.
It's a good song, no punintended.
But enjoy it.
It's a good song, no punintended but it is, it's good.
(28:05):
It's good.
So Grateful Dead Go to Heaven.
It came out April 28, 1980.
An album release to fulfill acontract obligation.
My favorite songs Alabama,getaway, feel Like a Stranger,
don't Ease Me In which was asong that they had been playing
(28:26):
live since they started and,like I said, this was an album
for a contract obligation, sothey recorded it.
They needed another song hey,let's play that song that we
always do.
And Althea, and that is anabsolutely fantastic song.
The words, jerry singing.
You know these little guitarsolos he does between the verses
(28:49):
just fantastic.
In 2011, john Mayer heardAlthea on a streaming music
service, fell in love with thesong and that kind of introduced
him to the Grateful Dead.
Oh, ten years ago, in 2015,while John was the interim host
for CBS's the Late Late Show, hehas Bob Weir on.
(29:12):
They do Truckin' and Althea,and by the end of the year, dead
Company is formed and theystart touring.
Oh, that's how it happened.
That's how it happened.
And this episode comes to a fullcircle.
I told Althea I was feelinglost, lacking in some direction.
(29:35):
Althea told me, upon scrutiny,that my back might need
protection, and that is it forepisode 76 of Music in my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
Arcade 160 Studios located herein Atlanta, georgia, and Vic
(29:56):
Thrill for our podcast music.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing, thank you.
He's got the feeling in his toe-toe.
Speaker 2 (00:30):
He's got the feeling and it's out there growing.
Hey everybody, this is Jim Boge, and you're listening to Music
In my Shoes.
That was Vic Thrill kicking offepisode 76.
As always, I'm thrilled to behere with you.
Let's learn something new orremember something old.
So, Jimmy, over the weekend Igot to do something that I've
(00:53):
been wanting to do.
I hopped on a plane Saturday.
I flew out to Las Vegas.
I went and saw Dead Company atthe Sphere on Saturday night.
Speaker 1 (01:03):
Oh, I didn't realize that.
Speaker 2 (01:05):
And I flew back home Sunday morning.
Speaker 1 (01:07):
Okay, I literally Jet setter.
Speaker 2 (01:09):
Literally from the time my flight took off on
Saturday till my flight landedon Sunday, 24 and a half hours.
Speaker 1 (01:17):
Yeah, I did that once I went to LA to see the Sex
Pistols in like 2002.
Speaker 2 (01:22):
Really, 24 hours.
It was everything I hoped itwould be.
It really was.
I ended up getting a reallygreat price on a flight from
Atlanta to Las Vegas $235 roundtrip.
Speaker 1 (01:38):
Oh, that's a great price, yeah.
Speaker 2 (01:40):
And I bought the ticket.
I bought the flight.
I didn't have a ticket to theshow and the tickets were kind
of steep.
But I was saying to myself I'mgoing to pay it because I have a
flight, so I'm going to pay theticket price.
And the Friday night before Ijust sat at my computer and I
kept refreshing, just looking tosee, because maybe someone was
(02:05):
like I need to get rid of myticket because it's not selling.
Speaker 1 (02:09):
And you went to the show on Saturday night.
Yes, oh, my gosh, okay.
Speaker 2 (02:13):
Yeah, I didn't get a ticket.
It was about five minutes afternine on Friday night but the
ticket prices were all around$400 minimum.
In the section I was looking,somebody dropped it to $228.
One ticket and I was on thatticket.
Like you couldn't believe Icould not get my credit card
(02:36):
number in, type it fast.
So, matter of fact, I wastrying to type it so fast.
I was making mistakes because Iwas like I can't believe this.
Speaker 1 (02:43):
Yeah, I'm glad it didn't time out on you or
something.
Speaker 2 (02:46):
No, oh yeah, that would have been bad.
So I was really excited to go.
Now we've talked.
We talked about the sphere, Ithink on the first show.
I think we talked about it afew shows after, but this is
show 76.
So it's it's a long time.
Yeah, it was so cool.
It was everything and more thanwhat I expected.
(03:08):
And I wanted to sit up at thetop because, as you know, inside
it's all a LED screen.
You know everything.
You know up above youeverything, so I didn't want to
sit low to see the band.
I've seen the band many times.
I wanted to sit high so I couldsee all of the screen and it
(03:31):
was fantastic.
The band yeah, they look likeants, I didn't care.
The show, what they could dounbelievable.
So there's about 18,000 seatsin the arena, if you call it an
arena, and then they have thefloor, but the floor isn't like
(03:52):
you know.
I don't think that you couldput like a hockey rink or a
basketball court, like youcouldn't do that.
The way that they have it builtis that the floor kind of looks
minimal, and then they have allthe seats that are very steep
going up.
Okay, all right, so that youcan be close to everything, as
(04:12):
close as close can be, and stillenjoy it.
It was fantastic.
They have 160,000 speakers inthis building.
Speaker 1 (04:23):
Yeah, I've heard that .
The sound is just unlikeanything you've ever heard.
Speaker 2 (04:27):
It is they have roughly about 10,000 seats that
the sound actually comes rightto you.
So if you're sitting in those10,000 seats, no matter where
you are, you think the sound iscoming right at you and it's
just super cool.
I mean it is as cool as onecould be.
(04:47):
You know, I think people getexcited for 4K TV.
This is 16K resolution.
You know LED, I mean it justwraps around you.
It was just unbelievable and itwas like every song.
It was just unbelievable and itwas like every song as they
played it.
They had you know all thesethings that were happening.
(05:10):
So at times some songs younever saw the band unless you
were on the floor.
You know right up there, andyou know Dead Company, an
offshoot of the Grateful Dead,and you know the steely-faced
skeletons, the bears.
You know all the differentthings that are connected to the
Grateful Dead they had as partof it.
(05:31):
So the show begins and it'ssuper cool and inside it kind of
looks like scaffolding.
It kind of looks veryfuturistic.
It kind of looks likescaffolding.
It kind of looks veryfuturistic.
The second song was Truckin'and it opens up and it just goes
all the way behind you to wherenow you see the screen and they
(06:00):
show the house that theGrateful Dead were in back in
the days in San Francisco.
Speaker 1 (06:02):
Right.
Speaker 2 (06:03):
And then, as they're playing trucking, it goes up, so
it goes, and now you see SanFrancisco and the camera view
just keeps going up.
To now you're in space andlistening to the song.
It was insane.
It was so cool.
It really was.
They did Lay Down Sally, whichis an Eric Clapton song, right,
(06:27):
but Jerry Garcia, when he wouldplay with the Jerry Garcia band
he would play that a lot.
He loved the song.
They did a really good versionof it.
Mare was on vocals.
It was cool.
The video, like what they didwith it, was cool.
Tennessee Jed, jack Straw JackStraw was just so cool.
(06:50):
So this one they have everythingconnected to the Grateful Dead
in vibrant colors, starting allthe way up at the top of the
ceiling like this little tinydot, but going around in circles
, coming down the sphere wallsuntil it's like it seems like a
million different things arehappening and they're singing
(07:13):
the song and you're like this isjust crazy.
It really really was.
Casey Jones.
They played Scarlet Begonias,fire on the Mountain with
drummer Mickey Hart.
You know, sometimes he'll do alittle rap that he has and it's
funny hearing it from a guythat's like 80 years old.
(07:34):
He did it on this one.
It was really cool.
He's Gone St Stephen, which isan old Grateful Dead song.
It's always good to hear one ofthe super old ones from back in
the day.
And then they played Brown EyedWomen and it was absolutely
insane.
The video that they show is ofthe Fillmore in San Francisco
(08:01):
and then they have they put likea screen on it to show the band
playing dead and companyplaying and then the, the
building turns around and nowit's Radio City Music Hall from
1980 from their you know, sacredshows that they did in October
of 80, and then it becomesMadison Square Garden and then
it's Hampton Coliseum.
(08:22):
Oh wow, it's like, so cool.
I mean it was really reallylike and especially if you like
the Grateful Dead, I mean theyput a lot of stuff there that,
knowing the band and liking theband that you got you just got
all these things John Mayer,keyboardist, jeff Cimenti I mean
(08:44):
they were playing off eachother on Brown Eyed Women and at
one point you could see likeJeff you know he's got some long
hair and it's usually it wascoming in front of his face he's
playing and you could see thelook in his face of trying to
keep up with Mary.
It was so good, it reallyreally was.
(09:05):
Hell in a bucket, grateful Dead,skeleton, uncle Sam.
He comes out, he's kind of likedancing in a garden and he's
like tremendous, you know, he's,you know, I don't know.
He's 80 feet tall or something,hops on a motorcycle and now
they have 4D, you don't wearglasses or anything, but that
(09:32):
motorcycle.
When it was coming towards me Ithought the motorcycle was
coming towards me, you know.
And then you know he's justkind of driving in the road and
going past like different things, and you could see him headed
towards the sphere.
It was just crazy.
Speaker 1 (09:43):
It really was.
How do they do that with noglasses?
That's amazing.
Speaker 2 (09:46):
I don't know, but it's just, you know, super duper
thought process that goes intoit so that you enjoy it.
I mean, honestly, I could havejust put headphones on and
listened to the band and watchedeverything.
The band was actually reallygood.
I mean, they sounded great.
I just told you about, you know, John Mayer and Jeff Bob Weir
(10:10):
sounded good.
I mean, everybody did.
You know, everyone was good.
Final two songs Broke DownPalace, which is on my funeral
playlist, and One More SaturdayNight because it was a Saturday
night, so they always play OneMore Saturday Night.
It was so cool.
It was everything I had hopedfor.
I didn't want to bedisappointed.
(10:31):
You know, I didn't want tospend a lot of money and go out
there and it just be like amoney grab and I didn't think it
was at all.
I thought it was worth everypenny that I spent and lack of
sleep that I had.
It was great.
Speaker 1 (10:49):
Did they play more hits than you would normally see
at a dead-in-company show?
Speaker 2 (10:53):
No, no.
So they actually, I think,played more.
So they played three nights ina row.
They normally play Thursdaynight, friday night, saturday
night.
The Friday night show not thenight I went the night before
was definitely more packed withsome of the hits.
But you know, I looked up likeTruckin' I mentioned Truckin' it
(11:15):
had been five shows since theyplayed that song.
Like they go the whole weekend.
They never play the same songand they might go four, five,
six shows without playing a songtwice.
Speaker 1 (11:27):
I assume because it was the sphere that it was all
choreographed and set listed,but no.
Speaker 2 (11:32):
No, no, and there's a lot.
I met a lot of people that havegone to a lot of the shows, a
lot of people that were therefor all three nights and this
was their second time there, orit was their first time, and
they're going back in May.
Speaker 1 (11:49):
A ton of people, it was just really and they
probably spent a lot more thanyou did.
Speaker 2 (11:54):
They did Because everyone was asking how much did
you pay, how much you know?
And people were just like theycouldn't believe it.
They're like you bought yourticket last night.
I said, yeah, I sat for acouple of hours, boom, boom,
boom, boom, boom, nope, nope,nope, nope, nope, nope, nope,
nope, nope, nope, nope, nope,nope, nope, nope, nope, nope,
nope, nope, nope, nope, nope,nope.
Speaker 1 (12:10):
Nope, get lucky at all.
No, that's what I'm saying.
I always wait till the lastminute to get tickets and it
always works out, but that timeit didn't, because there was
just too many people that wantedto go to that game and the
prices went up in the last 24hours.
Speaker 2 (12:30):
They doubled, but in the end was it worth it.
You know, I don't knoweverything you did.
Speaker 1 (12:35):
Oh, our trip was amazing.
Yeah, it was worth going.
But if you went to Vegas, ifyou had a 24-hour plane ticket
like there was one thing youwere planning to do you had to
get that ticket.
I had to get that ticket.
We had the whole game dayexperience and seeing the town
and things like that.
That it made it still worth it.
Speaker 2 (12:51):
So, in my mind, not having the ticket when I went
out like I had to have theticket before I went there In my
mind, going there without theticket leads to going to the
slot machines or the gamingtables way too early, because
you're not a happy camper.
So I did make a resolution withmyself.
(13:13):
I said I would not gambleanything until after the show.
That was my plan.
Wasn't going to do it in mymind.
So I never thought twice aboutit and it's funny.
I went to the Venetian, whichis right down the street.
It's actually, if you get hotelpackages, you get them through
the Venetian for the Sphere.
(13:35):
It's all kind of connected, butit's a little bit of a walk to
get to it.
I ate at Panda Express.
That's what I got for dinner atthe food court at the Venetian.
So before it became theVenetian, it was the Sands Hotel
and Casino and that's what wasat that spot starting in 1952.
(13:59):
And the famous Copa room whereI've talked about one of my
favorite live albums, sinatra atthe Sands, was recorded there.
So as I'm in the Venetian, I'mwalking around and, like Frank
Sinatra, walked.
Now it's not the same buildingand you know it was demolished,
but.
But I'm like frank, sinatra wasprobably right about here, and
(14:20):
you know I'm thinking all thisbefore I go to the the dead and
company show.
So the album sinatra at thesands was recordedoded, and
(14:40):
while it's a sad thing to seeanything go, the Venetian
definitely is a top of the lineplace for sure.
Jimmy.
The man behind producing manyclassic albums and songs, roy
Thomas Baker, died April 12,2025, at the age of 78.
(15:02):
Remember the 1970 song AllRight Now by Free?
I love that song.
Yeah, he helped with the audioengineering.
It was one of the you knowfirst songs that he was part of.
He produced the first fiveQueen albums Sheer Heart Attack,
a Night at the Opera, jazz oramong them, with songs like
(15:24):
Killer Queen, bohemian Rhapsody,which everybody and their
mother knows You're my BestFriend Bicycle Race and Fat
Bottom Girls.
I mean five albums with them.
In 1978, besides Queen's Jazz,he produced the Cars' first
album, one of the best debutalbums by a band.
(15:47):
We've talked about it multipletimes Good Times Roll my Best
Friend's Girl, just what INeeded.
Don't Just Stop.
He also produced Journey'sInfinity album with Wheel in the
Sky and Light.
I do like the song Wheel in theSky.
I like that song.
You know, in 79, he producedJourney's Evolution with the
(16:11):
song Love and Touch andSqueezin'.
Speaker 1 (16:13):
Another good song.
Speaker 2 (16:14):
The Cars' Candio album.
Let's Go.
It's All I Can Do.
Candio Got a Lot of my HeadDangerous Type.
Are you feeling me, jimmy?
Yes, I mean I can't believe hedid all this and Far In His Head
Games.
I mean that's all in 1979.
The Cars Panorama album in 1980.
(16:37):
He also did Shake it Up in 1981.
82, he did one of my favoritealbums of 82.
Oh no, it's Devo.
Okay, time Out for Fun.
Peekaboo, that's Good, speedRacer.
Speaker 1 (16:55):
Yeah, it's a good record.
Speaker 2 (16:57):
I love that album.
Now there's a song on therethat actually john hinkley jr
wrote.
That we'll talk about at adifferent point in time.
But they recorded it, they didthe music, they added some words
, changed the lyrics a littlebit towards the end, but john
hinkley jr was actually part ofa song that's on that album.
Okay, 1982, roy Thomas Bakerremixes the Motley Crue album
(17:23):
Too Fast for Love with the songLivewire, which is, like you
know, their first big song thateverybody knew they had released
it on a like an independentlabel and then Elektra signed
them and then he remixed it sothat they could release it, you
know, publicly, out to everybody.
I could go on and I'm tellingyou, the amount of albums that
(17:46):
he was part of is insane.
It really, really is.
But I'm going to stop here,which I usually don't do a very
good job of, but I'm going to dothat today.
All right, he was a part of somany radio hits.
Life's the same.
(18:09):
I'm moving in stereo.
Life's the same except for myshoes, and this is Music in my
Shoes.
Last episode we talked about thewho sacking drummer Zach
Starkey.
Well, he's back in, accordingto Pete Townsend on the who
website.
We are a family.
This blew up very quickly andgot too much oxygen.
(18:30):
It's over.
We move forward now withoptimism and fire in our bellies
.
I mean that's Pete Townsend'squote on the whole thing about
Zach Starkey.
He kind of admitted, I guess,that yeah, maybe he was
overplaying a little bit.
Roger Daltrey was struggling tohear things in his you know his
(18:50):
ear monitors because all hecould hear was the drumming they
all kissed, they made up.
Zach Starkey is back and I'llbe honest with you, jimmy, it
was amazing how much press itactually got Like on the
internet.
It was all over where I go andlook things up.
It was everywhere.
Like it was a huge deal and Ithink maybe the who didn't
(19:12):
realize people would care asmuch as they did.
Also, on the last episode,jimmy mentioned a Fugazi album
on minute with jimmy.
Do you remember that, jimmy?
of course repeater yes, can youdo that again?
Repeater you did.
Thank you, I appreciate that.
And don't you know?
When I get home, I find out itwas singer ian mckay's birthday,
(19:35):
the actual day that we recorded, and you didn't know, that did
you.
I had no idea it was so funnythat it happened to be his
birthday.
I also mentioned that Ian andhis former band Minor Threat
were in a documentary with theband Social Distortion and I
couldn't remember the name of it.
I looked it up because I wantedto kind of mention it but it
(19:57):
was the 1984 film Another Stateof Mind highlighting Social
Distortion and Youth Brigade'ssummer 1982 summer tour.
And then, 35 years ago, inMarch 1990, social Distortion
released their self-titled thirdalbum.
What Three classic songs Balland Chain, ring of Fire, story
(20:22):
of my Life and those songs rock.
I know Ring of Fire is a JohnnyCash song.
I know Wall of Voodoo did italso.
Speaker 1 (20:30):
Yeah, but Social D made it their own.
Speaker 2 (20:32):
Oh yeah, without a doubt.
It is such a good rocking song.
It really really is.
So I had a friend, scottPernido, who was a huge Social D
fan.
As a matter of fact, I wouldalways say Social Distortion and
he would be like Social D.
He would always say that to mein January of 2015.
(20:58):
And every time I hear a socialdistortion, social D, every time
I hear one of those songs, Iautomatically think of him.
It just brings me right back tohim.
So you know, it was kind ofcool thinking about this and
thinking about him, even 10years later, after you know he's
gone.
Life goes by so fast.
(21:20):
You only want to do what youthink is right, close your eyes
and then it's past Story of mylife.
Let's revisit some great musicfrom the past, jimmy.
You know what, jimmy?
Not only are we going torevisit it, I'm ready for Minute
(21:43):
with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Minute with Jimmy.
It's time for Minute with Jimmy.
Minute with Jimmy.
Speaker 1 (21:50):
Minute with Jimmy.
All right, I'm going back to1980.
The band the Jam, a British modband that got kind of lumped in
with punk because of the timingof their career.
But really they weren'tnecessarily a punk band, they
were power pop and they calledthemselves mods.
(22:12):
But they had had a lot ofsuccess in England really not
much in America, really not muchin America.
And in 1980, they put out asingle and the song was called
Dreams of Children, which is agood song.
It's on their greatest hits.
But the B side was one calledGoing Underground and the label
(22:34):
messed up and they labeled GoingUnderground as the A side and
Dreams of Children as the B sideand radio started playing it.
Going Underground went tonumber one on the British charts
and so, you know, dreams ofChildren ended up getting some
airplay as well.
But because of that mislabelingthey ended up with a number one
(22:56):
hit.
Speaker 2 (22:57):
Isn't it funny how things like that happen.
Yeah, no intention.
Yet that's what happened, right?
Speaker 1 (23:04):
And it's one of my favorite jam songs.
I can't believe they made it aB-side in the first place.
Speaker 2 (23:09):
Some people might say my life is in a rut.
Speaker 1 (23:11):
But I'm quite happy with what I got.
Speaker 2 (23:14):
You know what I'm quite happy too, and that was
Minute with Jimmy, Minute withJimmy.
So, Jimmy, on April 21st 1980,staying there in 1980, Pete
Townshend releases Empty Glassand it's kind of like the who
album that was recorded by PeteTownshend and not the who that
(23:35):
you thought was a who album,just not Roger Daltrey singing
it.
Like if you listen to it, andespecially when it came out, it
was kind of like this is alittle crazy.
I expect Roger to be singingthese songs because it sounds
just like what the who soundedlike at that point in time.
Speaker 1 (23:52):
I know it's confusing , yeah, like Let my Love Open
the Door, right?
Yeah, and it sounds kind oflike one of the the hits off of
who are you right?
Speaker 2 (24:03):
yeah, like it's just crazy.
And I know that roger daltreyyou know I've read in many
places was kind of upset for along time like hey, why didn't
you save this for us?
And you know, pete, hey, listen, pete writes almost everything
and you know he wanted to dothis on his own and he had his
reasons for wanting to do it.
But when you listen to it and Ilistened to it the other day
(24:27):
just to say to myself, hey,listen, you know, is this still
how I feel all these years later?
And without a doubt, it's thewho album that Pete Townshend
recorded, so you mentioned Letmy Love Open the Door, that Pete
Townsend recorded, so youmentioned Let my Love Open the
Door.
It entered the Billboard Hot100 June 14th and it peaked at
number nine on August 16th, 1980.
(24:48):
The summer of 80, I rememberthat song all the time, right,
you know, and it was one ofthose songs we talk about.
That crosses over to alldifferent types of music
stations, whether it's pop orrock or whatever.
Everybody was playing it.
So the who 1981 album comes outa year later face dances.
(25:13):
A lot of people say that thatalbum wasn't that good.
Yet they say this album shouldhave been the who album, but the
81 album, seriously the whoalbum you better.
You bet, don't Let Go of theCoat Caché Caché, which is great
song.
Not many people listen to thatReally really good song.
(25:33):
The song you Another Tricky Day, I have it on my phone.
It's one of my most listened toalbums that I have on my phone
and I think that album is a lotbetter than what people give it
credit for.
Speaker 1 (25:48):
Yeah.
Speaker 2 (25:49):
Without a doubt.
Without a doubt Moving to thefourth week of April 1985.
U2, the Three Sunrises Screamerof the Week on WLIR, one of my
favorite.
U2, the Three Sunrises Screamerof the Week on WLIR One of my
favorite U2 songs.
It doesn't sound like a U2 songto me at all.
It's kind of like a Just like arock song, like a regular, just
(26:13):
Straight up rock song, not aU2-ish type song.
Edge plays rock and roll guitaron it.
Are you familiar with it, jimmy?
Speaker 1 (26:24):
The song says sunshine, sunshine on me, yes,
yeah, I don't know, that soundslike U2 to me.
Speaker 2 (26:29):
You know like he'll do some of that guitar, you know
.
Speaker 1 (26:34):
Yeah, I love that part.
Speaker 2 (26:36):
Yeah, it sounded like some mice came into the studio
or something.
I'm not sure what that was, butyou know, I'm really glad that
WLIR exposed me to songs thatyou wouldn't have heard.
It was a B-side of Wide Awakein America.
It was an EP Wide Awake inAmerica, that's it that had come
(26:57):
out and that was on it and theywould play it, and it forced me
to go buy it.
Speaker 1 (27:03):
Yeah, and it had a live version of Bad on it right?
Speaker 2 (27:07):
Yes, and a live version of Sword of Homecoming
and Wide Awake in America.
None of it was recorded inAmerica.
Speaker 1 (27:15):
But so it had three sunrises, and what was the other
song?
Speaker 2 (27:18):
Love Comes.
Speaker 1 (27:18):
Tumbling Love Comes Tumbling yeah.
Speaker 2 (27:19):
Which is a good song that really is.
I do enjoy listening to that.
But if you haven't listened tothat and you want to hear
something a little different,the Three Sunrises Three
Sunrises, better Than Ezra.
The song Good peaked onBillboard Modern Rock Tracks on
April 29th 1995.
Beginning of the song with theguitar chords and then it goes
(27:42):
to the bass by itself and thenthey start singing and then the
guitar chords and back to justthe bass.
It's a really catchy tune.
I like that song.
I saw them in 95, in May of 95,and great job.
I mean, I really enjoy it.
It's a good song, no punintended.
But enjoy it.
It's a good song, no punintended but it is, it's good.
(28:05):
It's good.
So Grateful Dead Go to Heaven.
It came out April 28, 1980.
An album release to fulfill acontract obligation.
My favorite songs Alabama,getaway, feel Like a Stranger,
don't Ease Me In which was asong that they had been playing
(28:26):
live since they started and,like I said, this was an album
for a contract obligation, sothey recorded it.
They needed another song hey,let's play that song that we
always do.
And Althea, and that is anabsolutely fantastic song.
The words, jerry singing.
You know these little guitarsolos he does between the verses
(28:49):
just fantastic.
In 2011, john Mayer heardAlthea on a streaming music
service, fell in love with thesong and that kind of introduced
him to the Grateful Dead.
Oh, ten years ago, in 2015,while John was the interim host
for CBS's the Late Late Show, hehas Bob Weir on.
(29:12):
They do Truckin' and Althea,and by the end of the year, dead
Company is formed and theystart touring.
Oh, that's how it happened.
That's how it happened.
And this episode comes to a fullcircle.
I told Althea I was feelinglost, lacking in some direction.
(29:35):
Althea told me, upon scrutiny,that my back might need
protection, and that is it forepisode 76 of Music in my Shoes.
I'd like to thank Jimmy Guthrie, show producer and owner of
Arcade 160 Studios located herein Atlanta, georgia, and Vic
(29:56):
Thrill for our podcast music.
This is Jim Boge, and I hopeyou learned something new or
remembered something old.
We'll meet again on our nextepisode.
Until then, live life and keepthe music playing, thank you.
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