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

Tag: godchaux (Page 2 of 4)

Starts And Stops

The Dead could end songs. And by that I mean they had the requisite musical knowledge to properly end a tune, not that they knew when to do it. Also, rock songs only end one of two ways: sudden stop or big loud noise.

Starting songs was a little more difficult. That first riff, the one that most bands labor over to get your attention immediately, that says that this band is a professional band made up of professional people? The Dead weren’t good at that. They figured they had at least four or five bars to get the tempo together, and eight to ten bars for the key. They had, however, all been playing the same song at the same time since the “someone just walk over and tell Keith what we’re playing” policy was implemented.

For good or for ill, the songs were precisely as long as they wanted to be (which means, until Billy got bored). The tempos wandered all over the place, from the glacial ’72 Sing Me Back Home to the skittering, out-of-control ’85. ’85 was like the first ten minutes after you slam crystal, right? And you’re just like UHHHHHHH and then you’re like YEEEEEESSHfuck and–

I’m gonna step in here turn down his volume just a touch and say to everyone out there that Thoughts on the Dead supports living clean, waking up early, and smoothies of all sort.  Under no circumstances should any of you shoot crystal meth. Let’s check back in. 

–and your cock’s like–

Oh, for Christ’s…

On The Bus

I think no more Jerry Band for me. These bloggings started with the express rule: no Jerry Band, which of course encapsulates Ratdog and Seastones and drunkenly narrated slide shows from Billy’s scuba trips. (“Punched that fish in the dick, punched THAT fish RIGHT in the dick. Swimmin’ over here and takin’ our jobs.”)

There is something, a gestalt (a Jungian would say that) that exists between four men and whomever else they let on the stage that creates the Grateful Dead. It’s like Voltron, except it now takes up to three hours to form the Voltron Robot because one of the lions–I’m not going to say which one, but it’s Garcia–has locked himself in the Space Lion Bathroom again and we can’t really force him out of there because he’s in an 800 ton warp-capable lion mech; outright aggression would be counter-productive.

I say four because it was four who were necessary: Garcia, Bobby, Billy, Phil. Mickey came and went; keyboardists plowed under as if stage right was the Somme. It was the four of them that made the sound that was the Dead: that lazy lope, that leonine lurch, that lupine lambada and they checked one another’s bad habits.

The worst thing to happen to Garcia–or any of them, really–was being the guy in charge of the band. Because Garcia wanted to play this next number for 23 minutes. Doesn’t matter what song, but it’s probably Dylan or a reggae tune he has de-reggaefied, and it’s gonna be 23 minutes. So, if Garcia’s the one signing your check, you comp under him for 23 minutes. Also, it’s going to be slow.

Billy wouldn’t put up with that shit, though. Billy was the guy who, when the group needed to buy a new truck in the early days, instead demanded they buy him a Mustang that he promptly wrecked. If Billy wanted a song to be over, it was going to end.

Phil didn’t really do any solo stuff; he could be a bit lazy. And surly. All of the Evil Dwarves. And, of course, when Bobby gets left to his own devices, this happens:

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

Imperfect Pitch #3

Okay okay okay: what if the Dead were mattresses? Garcia would be soft and fluffy, Phil would be firm and ungiving, Vince would be blood-stained and lying by the side of the road in an industrial section of town.

Are you mocking your own tropes are have you genuinely just run out of gas?

80/40.

That is not a thing.

70/40?

Nor is that. Look, I’m going to need the ball. We’re going with the lefty.

Wright?

Yes, yes: Lefty Wright.

Doesn’t he also switch-hit?

Yes and no.

KNOCK IT OFF WITH THE ABBOT AND COSTELLO ROUTINE.

Sorry, boss.

Life is short: listen to ’73!

You are just the worst kind of suck-ass that there is. What you do is shameful and whether or not you feel wrong about that like normal humans have evolved to do over millennia doesn’t matter: your actions have shame attached to them and will hound you not just here, but in all the worlds to come.

How about the boys as olde-time comedian? Bobby could be Lucy and get into situations because Garcia don’t wanna take ‘er to da show. Garcia, Ricardo, same shit, right.

BILLY!

NOOOOOOOOOOOOOOOOOOOOthump0000000000000000thump00000000.

Audition time!

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.
« Older posts Newer posts »