Musings on the Most Ridiculous Band I Can't Stop Listening To

Tag: donna (Page 2 of 4)

Good Morning Little Schoolgirls (And Boys)

Now,we know what would have happened if the Dead had taken over a hospital, but what if they all got jobs at a school? Wokka wokka?

Phil taught music, obviously. His decision to include the uncut Einstein on the Beach as the centerpiece of the Fall Music-alooza was hotly contested by some before the show, and by all about three hours into the show. Also, Phil threw a tuba at a kid once. In his defense, that kid’s a well-known dick.

Garcia went in the Teacher’s Lounge and it’s been a while since he’s come out and if you try to go in, Parrish punches you really hard in your face and head.

Keith taught geometry. Not algebra or trig, nothing but geometry. Sometimes, he could be harassed into teaching another subject, but he would do it so deliberately poorly, accidentally injuring so many students and mascots that he would be asked to stop before October got there, even, and he would go back to teaching strictly geometry, which it should be said, he was unbelievably good at. He is also heavily addicted to heroin and, to be honest, was rather mumbly before the Persian. Opiates are not the natural friend of diction

Bobby coached soccer and basketball and track because:

…and Bobby don’t do pants.

Mrs. Donna Jean was the art teacher. Because she looked like your art teacher, right: crunchy and maybe gay and in-retrospect high all the time and predictably liberal. But she wasn’t. Mrs. Donna Jean liked to get shitty on pills and whiskey and fuck Bobby and crash her BMW into things in the parking lot and sing off-key for eight years. (Now, you know I’m a Donna Defender, but if the old canard about “not being able to hear the monitors” were true, wouldn’t you have worked hard to fix that? Shouldn’t the Dead’s crew–for all the mockery, they could never be accused of being bad at their jobs; lethal, perhaps, but thoroughly competent in the face of disaster–have been able to set her up lickety-split? Things to think about.

The parents caught one glance of Billy leering at the 15-year-olds and chased him, reviling his good name in utter besmirchment and giving the dogs the lash to catch the natty minge. The parents rousted Billy into a boiler room, which they boarded him into and set ablaze! Now, with a scarred face in the shape of a mustache and drumsticks sloppily taped to his fingers, he haunts the dreams of hot, sexy teens doing hot, sexy teen things as…Billy Kreug-etz-mannger. (I did not think this through beforehand.)

Emergency Crew

Breaking news, my fellow Enthusiasts: the Hiatus was a lie! Well, not that it occurred: the Dead played only four shows in 18 months. That’s fact. What’s not fact is the reason why. We were all told it was because the Wall of Sound and the Wall of Drugs were driving them into bankruptcy and insanity. True, but not the only reason. In fact, not even the MAIN reason.

In the Summer of ’74, the Dead played a gig that appears in no database. They appeared as ringers in a local Anal Creek, WV, talent show to raise money for Li’l Possum, whom the city doctors had proclaimed was, “just as fucked up as you can be and still be alive. You want me to kill it? Let me kill it: I’d be doing everyone involved a favor.”

Well, they won, and raised that money. To thank them, the townspeople gave them a hospital, short on staff but long on love: St. Stephen’s Medical Center.*

Billy became Chief of Staff and immediately improved the hospital’s standing, financially and medically. From the top brain surgeon to the lowest psychiatrist, everyone respected Billy’s simple management style. He had one rule: “Y’sure you wanna do that?” And only one punishment. You knew where you stood with Billy. And sometimes, you knew where you lay in the fetal position, tenderly cupping your battered banana while puking.

Phil immediately went Phantom of the Opera: like, during the very first walk-through. Not only was Phil skinny, but he could dislocate his hips to the point where he could shimmy through an 18-inch pipe and he ran away from the group right when they got in the door and SHHOOOOOOP right into a duct and no one saw him for a month or so.

Garcia became the pharmacist and then four minutes later he threw up on himself and passed out, so the road crew instinctively put him on a plane to Milwaukee.

Vince would wander the halls convincing people to let go and follow the light, but he wasn’t all that good at judging how sick people were, so he would end up with a lot of 12-year-olds getting their tonsils out and 55-year-olds getting their knees replaced. Vince would clutch them tight (otherwise, they would squirm away) to his chest, and whisper, “Stop fighting. Be with your ancestors. THEY CALL TO YOU. Succumb. Succumb!” People lodged formal complaints; it was the kind of thing you filled out paperwork about.

Keith “would fuckin’ thank people to stop mistaking me for a corpse, please. I’ve had CPR administered on me four times today. Stop it: this is just the way I look.”

Bobby was the crusading internist/trauma doc/diagnostician (which is not a thing) of the hospital. He could heal anyone…but himself: Dr. Bobby, M.D. He battles with the suits, makes love to Nurse Donna Jean and tries to find a lead in the case of the disappearing livers.

Brent was a male nurse. He was gentle and kind and shaved all the ding-dongs.

*Yes, we’re all quite aware none of this makes sense and this bit makes no sense in particular. You’re very clever to have noticed.

Sweet Harmony

10/19/72 at the Southern stronghold, Hofheinz Pavillion in Houston. There are German families with deep roots all over Texas because the 19th century was just an absolute mess and everybody was fleeing from everyone, and if you’ve ever been to Texas, it is a place to flee to.

Speaking of the Southern strategy, go check out Mrs. Donna Jean singing a beautiful duet with Garcia on the old Dolly Parton/Porter Waggoner tune Tomorrow is Forever, a rarity that only appeared this many times. Wow! Just that many? Yup.

But the original is a bit better.

[youtube http://www.youtube.com/watch?v=1PT9oJiJmc8&w=420&h=315]

Happiness Is A Warm Pun

It’s sequel time here in Fillmore South:

Things I love about the Dead, Part the II

  • When Bobby would say “Thank you,” in that silly high-pitched voice.
  • The end of China Doll where it generally dissolves a little and then Garcia comes in all by himself with the “Take up your China Doll” part, which is really difficult to sing, because the notes are weird AND you have to get the time right, since you’re basically counting the band back in with it AND it’s pitched pretty high, but he got it right far more often than not.
  • The beginning of Truckin’ they’d do sometimes, with the whistles and the snare drums: BRUM-bum BRUM-bum BRRRRRR rum-bum.
  • Occasionally, later in the career, when Bobby would (as is the running gag with both my bloggings and, you know, actual recorded-on-tape reality) forget the lyrics to Truckin’, Phil would start BOMBING away at him and then come in on the next part where they all sing just SUPER LOUD, so clearly seething at the fact that it’s been ten years: learn the words, man.
  • He’s Gone. Not so much on the “Bop bop bop” coda.
  • The jam after Seastones from 6/23/74. Seriously, try to listen to Seastones. Now, on acid. But listen to what Garcia does right after: he plays the sweetest, softest lines, and leads everyone back from the dark place where Ned Lagin touched them.
  • The Baby Dead. The way they would take a riff and just brutalize it, tear it apart and put it back together, mostly the same but weirder for the journey.
  • Their refusal to give in to peer pressure. Often, they would be the only ones in the room who wanted to smoke and bullshit and yell at Bobby for five minutes; the other several thousand people present preferred some form of entertainment. Because, holy god, do these baboons take a long time in between songs. Sometimes for no discernible reason: you can’t hear them talking, nor are they tuning. Were they just wandering around confused for three minutes at a time? It’s not unprecedented: Thelonious Monk did it.

I’ll Still Sing you Love Songs

[youtube http://www.youtube.com/watch?v=Mke6YlGSFBU&w=420&h=315]

Take all rumor as truth. For the sake of argument and thought, take all rumor as truth. So we accept that Buckaroo Bobby was putting the spurs to my golden-shanked filly Ms. Donna Jean right under Keith’s coke-ruined nose. (We hope. The possibility also exists that Keith was involved somehow, perhaps like that crippled foreign guy making his wife do sex in that movie: orchestrating things, directing, discreetly applying the necessary lubes and balms while rubbing himself. i choose not to believe that possibility.)

So, anyway, even Keith isn’t oblivious enough not to notice what’s going on, especially when Ms. Donna Jean keeps leaving notes on their hotel room door reading, “Gone Bobby Banging.”

And now you’ve got to go onstage and sing love songs written in the letters of your name as Keith cries the quiet tears of a cuckold onto his piano keys.

Awkward.

The Strangest Of Places

1975. Weird year. Weird shows, with an “everybody in the pool” type of vibe to them.  “Who showed up? Ned? Umm. Does he have any weed? Well, give him a keyboard, I guess.” Merl and  Matthew Kelley (pre-dickpunching incident) sit in; Sammy Davis, Jr. comes out for a number. And each set begins the only proper way a Grateful Dead show can: with an intro by Bill Graham.

The drummers weren’t quite together yet, and the sound is cluttered, but it’s HUGE and it just doesn’t sound like any other year. Garcia sounds like it’s ’72, laying down long, ropey lines and just soloing throughout pretty much every song, expecting the other 97 musicians on stage to carry the actual song. Due to the ad hoc nature of most of the Hiatus show, having a grand piano on stage was impossible (said the road crew before pantsing Keith, forcing Donna Jean to shoo them away. “You have to stand up for yourself, baby. Can’t let the bigger boys bully you. Look at me, Keith: it gets better.”) so Keith was confined to the Fender Rhodes

Did they ever really retire? Were they ever serious about it? The fake-out retirement is a classic show-biz move: Sinatra retired at least 17 times, the Stones have done five straight farewell tours, Tupac became a hologram for some reason. They certainly needed a break from playing Atlas with the Wall of Sound, there was way too much coke and the Persian was creeping into the scene.

So, they took ’75 off, playing only 4 shows, all of them backyard gigs in the Bay Area. The most well-known (justly) is 8/13, the One from the Vault release from the Great American Music Hall. The S.N.A.C.K. benefit was certainly the weirdest: the human brain hadn’t evolved for a pre-noon Blues for Allah. The Winterland show in June is the most overlooked.

But the Secret Hero show is 9/28/75–Lindley Meadows in Golden Gate Park. Check out the Franklin’s, where Mickey and Billy chase each other around with their cymbals and Garcia lets loose a roaring solo right after “…if you get confused, listen to the music play.” AND THEN THE END OF FRANKLIN’S HOLY SHIT which is like the end of He’s Gone with the long a capella call-and-response and it’s just remarkable.

Aaaaaaand then the intro to Big River, which is a mess.

P.S. Thank you to the tapers, to the archivists, to the digital cleanup artists, to the uploaders. Thank you to the scribes and the safekeepers. After all, if Bobby forgets he words to Truckin’ and it is not preserved, then did he really forget the words? (Most likely, yes. Bobby forgot the words to Truckin’ so much it was on his to-do list: hair, squats, tickle-time with Garcia, slide guitar lesson (cancelled), forget words to Truckin’.)

P.P.S.  As I was writing about my gratitude for the archivists and digital Jawas that keep everything running, Archive.org went down.

We Could Be Heroes

The Dead neither dated nor married for effect. There are no reports of Phil squiring, say, Joyce Dewitt into the Whiskey while wearing an enormous trenchcoat containing Mickey and Billy for some reason, I don’t know, it’s just a funny visual: the two of them LEAPING out from within the coat like that was Phil’s mutant power, to be able to generate two rampaging cashfuckers at will from his vestments. Phil was actually an X-Man briefly, but chafed under the authority of Professor X and got Colossus killed again, so…

He had to transfer to Garcia’s School for Exceptional Youngsters. Garcia was a benevolent presence that infused the grounds with his personality, riding around in his Alembic-made $400,000 wheelchair; he wasn’t crippled, just lazy. His mutant power was to bring people together and spread love and cheer so that everyone in the room was having such a good time that no one saw him sneak off to the bathroom, which he would invariably burn down.

Bobby takes down villains and keeps the peace with the power of his muscular thighs.

Donna is capable of emitting a banshee wail powerful and strident enough to paralyze an enthusiast at ten paces away from a good ’74 Playin’. (Wait, she’s not a mutant? She just sang like that? Huh.)

P.S. Despite my general distaste for most of the dirges of ’76, here’s a goodie from this day in Dead history: 6/15/76 at the Beacon Theater in money-making, heart-breaking Manhattan.

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