Musings on the Most Ridiculous Band I Can't Stop Listening To
Too much freedom in this country.
Also: the “I” looks like a “J” so you can read it as not a statement, but an admonition to J. J. Abrams.
Also also: you cant spell dont like that.
Also also also: men shouldn’t get tramp stamps. Women shouldn’t either, but men shouldn’t more.
Best Set: First!
Second-best Set: Second!
Set List: Fairly standard for the era!
Show Highlight: SUGAR BEGONIAS! Seriously, do yourself a favor and listen to the seamless perfection of the transition. It got a round of applause in the theater. If I didn’t know better, I would have sworn they practiced.
Small Favor: This film was not presented in 3D.
Shortest shorts: Wild guess!
Highest Light: Bird Song! Nice laid back jam at the end and Garcia’s voice still had its last tinges of sweetness. (You ever hear his voice crack on a high note, or slip and slide around the pitch like the rest of them? No…and no fair bringing up the laryngitis shows.)
Lowest Light: Eyes! That they at least had the courtesy to not play it for thirty-five minutes is the kindest thing that can be said about this particular rendition.
Love Light: And leave it on!
Goddamn Bullshit: $12.50 for the ticket, 11.50 for the popcorn and coke! (I am physically unable to stop myself from ordering the Jumbo Combo Snack Pack. I have watched precisely one movie in my life without popcorn and a coke: Super Cop with Jackie Chan. Atkins diet. Never again.)
Nicest Tradition: Smoke break during drums/space! You meet the nicest, most reasonable people during the drums/space bathroom-smoke-wander around break. They, too, refuse to coddle those muppets for the 85 minutes an evening they took to whack on things and play bloopy noises.
Saddest Thought: Maybe there’ll be a lady there and…I don’t want to talk about it.
Secret Hero: Brent! Brent was all over this show–musically–and he got as much camera time as anyone but Garcia. He’s fun to watch, too: throwing himself up and down his B-3 and smacking at its keys to produce that ‘ducka ducka’ sound. Plus, he’s got very large, very blue eyes that poke out from the Gimli of Gloin beard covering the rest of his face, and he zeroes in on Garcia with utter joy. I think there were pictures of his little girls taped to his piano and then he would look at Garcia and it was all very sad.
Average Age: Not all that young! Lot of sandals, too. Plus: a crazy guy! Old grizzled hippie-biker guy who apparently thought 7:00 PM at the Boynton Beach Plexiplex was going to turn into an acid test and we would all lube ourselves up with butter topping and do some sort of movie-orgy. He did have one good line, though: when Garcia lit up on-screen, Biker Guy chastised him, “Those things’ll kill ya!”
Best Factoid: Floor mats! Bobby, Phil, and Garcia had, laying on top of the rugs, what looked like floor mats right in front of their mikes. I was confused until I half-remembered that they were pressure pads that turned the mike on as they stepped up to sing. Which is clever, in an over-engineered, MythBusters sort of way.
Worst Pope: Bobby Knucklesandwiches VI! Seriously, that guy shit the bed.
Secret Secret: Phil! He didn’t get a close-up until halfway through the second set, when he terrified the entire audience by stepping up to his microphone to sing backup on Dear Mr Fantasy. A visible shudder went through the crowd, I swear to you. The only shots we got of him were immensely unflattering. Remember the sweatpants with the elastic on the ankles? Yeah, those. Plus, he was playing my least favorite of his basses, the headless Modulus. There is something unpleasantly fidgety about those headless guitars and I don’t trust them.
Biggest Surprise: Tyler Perry’s cameo as Madea!
Nicest Try: The Covers Project! Before the show, they showed three videos: classical guitar guy playing Bird Song endlessly, hipsters with too many Gram Parsons records wearing artisanal suspenders playing Brown-Eyed Women, also endlessly. Finally, a fat guy showed up and just awesomed all over his bass to accompany himself on I Will Take You Home. Pretty decent, that one.
Secreter Hero: The Director! (And the editor! and producer! as well, I guess.) Completely avoiding almost every annoying rock concert cliché. No swooshing Video Toaster effects, no split-screen, and quite clearly no over-dubs: coming out of space, the MIDI controller on Wolf crapped out, leaving Garcia standing there doodling noiselessly.
Shitting Me: 22 minutes and 28 seconds! That is the combined length of drums/space.
Best Face: Billy’s! Halfway through drums, Mickey called his usual audible and turned the promised Beating of the Drums into the predictable Berating of the Roadies. Billy just smirked at him and continued whacking his bongos.
Worst Hair: Mickey! He looked like the hostage with whom you didn’t empathize.
Bobbiest Bobby: Bobby! Good sweet mammy, was Bobby as Bobby as he could be tonight! Doing his little duck-neck shrug and the lunge and those thighs! (In the spirit of truth-telling, Bobby does have a kick-ass set of gams. Bobby is up in the gym, working on his fitness.) His hair was nothing short of spectacular and he remembered the words to everything, even an awesome Stuck Inside of Mobile, and that song has a ridiculous amount of words. They should have told Bobby they were making a movie every night. (Not only did Bobby remember all the words this show, but check out the next night, when he crushes Desolation Row. BOBBY, WHY YOU REMEMBER ALL 20 BILLION VERSE DESOLATION ROW, BUT FUCK UP PROMISED LAND? Yeah, Bobby: what the Vietnamese immigrant screamed at you.
My God: Phil’s outfit! I don’t mean to harp, but that inch of white tube sock in between the ankle elastic of sweatpant and the top of his New Balance sneakers is simply not doing it for me. The only thing Phil was missing was a mustard stain and a pocketful of food court napkins.
The essence of Grateful Deadness: 1/18/70, Springer’s Inn. Nearing the end of the set, Bobby mentions something about how this had to be their last number, as they were running up against time constraints.
So they played the song with the six-minute drum solo.
Ladies and gentlemen, your heroes.
Billy was the engine, even though he has never been seen in the same room as Brian Doyle-Murray. In between tours, Billy would yell and yell at those damn caddies to make something of themselves but they never listened. Billy had a Hawaiian shirt thing going on, and he spread it like a virus to successive keyboardists. Billy looks like he might have enjoyed starting fights. Billy is an Uncle: the ‘stache, the smirk.
But listen to ’73. No Mickey forcing everyone to sit there while he learns to play the kshdbviyus, the new percussion instrument he discovered in the village of extraordinarily foreign people, people so foreign that you secretly hate them because you sense they’re intentionally trying to be so foreign but whom Mickey will invariably refer to as “my brothers in drums.” Mickey was always saying shit like that when he wasn’t flying into rages and tackling business associates in restaurants. Mickey sounded like a lot of fun.
Now, when the two of them were on, they were unbelievable–this churning graceful giant. But, listen to 1973 when it’s just Billy out there. That motherfucker earns his mustache night in and night out.
Mickey once convinced his father to retool a music store into an all-drum extravaganza named Drum City. Mickey once made an album called Planet Drum. Mickey was not well-rounded.
The unholy spawn of Oates and Baba-Booey, Mickey Hart was the Other One of the Dead’s rhythm section. Astonishingly, he also manages to be the silliest man in a group full of deeply, almost constitutionally silly people. There are no stories concerning Mickey in any of the multitude of books about the Dead that do not end one of two ways: with fortunes disappearing in exceedingly foreseeable ways, or Mickey attacking another human being in public.
Money was allergic to Mickey, in the sense that anytime he got near any appreciable amount of cash, it would flee into the night, generally after gathering up any other money that just happened to be in the area. If Mickey had gone on a tour of San Simeon, it would have burned down immediately. We can only assume that, even though he grew up in the Bay Area, Bill Gates never happened upon Mickey Hart. We know this because had it occurred, Gates would today be gulping dongs to get paint to huff. Such is Mickey’s magic, because he thought big.
Rick Wakeman once took a book of finger-limbering exercises, renamed it after King Arthur, and rented a hockey arena so otherwise unemployable 35-year-old former Olympic ice dancing hopefuls could salchow their way through three hours of arpeggios played by a man in a spangly cape. Mickey thought Rick Wakeman was a piker. In 1984, Mickey spent 2.5 million trying to get all of Hands Across America to clap along to a 15-beat bouzouki rhythm. The album was never released.
As for the random–yet entirely predictable–violence, perhaps you’re saying, “But rock music has always been fraught with explosive personalities. What about the fights between the Davies brothers or Daltrey and Townshend or Metallica and their reputation?” Yes, yes: all true. Except you will notice that the examples, and all the other fightin’ twosomes you’re thinking of are basically long-running personality disputes. Sure, the Gallagher brothers are, statistically speaking, punching each other as I write this, but if they weren’t rock stars, they would be doing the same thing. If they were Liam and Noel’s Plumbing Service and you called them, your house would be rapidly filling with feces as they rolled around on the floor biting each others’ necks and using their adorable Brummie accents to transform the word ‘cunt’ into something that sounds like a pet name.
That wasn’t Mickey. Mickey tackled producers in studios. He choked crew members in delicatessans. Accountants in auto-supply shops. Florists in winnebagos. The only person, I believe, he didn’t attack was his good ol’ pop. You know his dad: the guy that stole so much money from the Dead that instead of precisely calculating the figure, the FBI just rounded it up to “all of it.” The rat in the proverbial drain ditch.
Every time I see a picture of Mickey at his ranch, all I can picture is the guy raising his camera and Mickey going, “Wait! Let me get my serape!”
I’m not listening to space. Definitely not drums. Never. This part of the second set irritates me on a deeply personal level. When I download a show and throw it on the iTunes, the first thing that happens is drums/space gets jettisoned. This is how space sounds to me:
“Ooh, Garcia just went ‘blorp,’ so I’m gonna go “fleep.” For ten more minutes. Man, those people going to the bathroom are missing some good shit! Squizzle glop! Nah-nah-nah WANG! Ba-DOOM fwop fwop gTUNk”
The only reason people didn’t go to the bathroom during space is because they had just gone during drums.
We indulged these men, you and I did, by letting them fuck around for a good half-hour a night. We should have elected an audience captain to tell the band, firmly but politely, that this kind of nonsense must stop. No more MIDI-fueled Ornette Coleman-offs. Play something, anything. One of Bobby’s cowboy songs. One of Brent’s tunes. Fuck, man, play Wave to the Wind. Just stop doing whatever it is you think you’re doing.
And don’t think I’ve forgotten about you two in back. Here’s every single drum solo you two–or any other drummer ever anywhere–have ever played: whacka-whacka-whacka-whack. That’s it. It’s a drum: it only makes one goddamn sound. You do not need to make that sound over and over and over and over while Garcia is doing whatever he does in the bathroom for two hours AGAIN.
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