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

Tag: mickey hart (Page 34 of 71)

They Love Each Other

IMG_2044You know my stance on memes, regardless of their dankitude, but this one was so dank I had to reconsider.

It was created by Swaggie Maggie, who, it must be said plainly, is handing all of you your asses. Sixteen-year-old kid and she is HOUSING you.

“Oh, TotD, we would like to contribute to the blog, but we have jobs and families and mortgages.”

Abandon your job. Drop your family off at one of those Safe Haven boxes* at the firehouse. While you’re at the firehouse, tell them that you’ve set your house on fire. Sell your stuff, give it to me, and hang out in the public library to use their WiFi. Come join my cult!

You can’t call it a cult.

Oh, right. Come join my death cult!

Better.

Also: Double Mustache Drum Section.

 

*You should be able to drop any family member into one of those boxes with no legal repercussion: babies, teens, spouses. Get your brother-in-law high and shove him into it.

Basket Case

IMG_2003Hey, Mickey.

“Oh, hey. Didn’t hear you come in.”

Nine people are playing drums, Mick.

“Yeah.”

And you’re deaf.

“To what do I owe this pleasure?”

Just checking in. What’s this?

“Getting ready for Lockn. Got my band, and Bobby’s gonna play with us.”

Sounds fun.

“Maybe a special guest?”

Billy.

…

“How’d you guess?”

Sure as shit wasn’t gonna be Phil.

“Yeah. The relationship’s at a low point.”

You talk to him since Chicago?

“Ran into him at Whole Foods.”

How’d that go?

“Talked about kale.”

Civil, at least.

“No, he was very aggressive about it.”

Interesting. Mick?

“Sure?”

What’s in the basket?

“The wicker basket?”

Yeah.

“The wicker basket right in front of me?”

Yes.

“The wicker basket that caused 70,000 people a night for three nights straight to turn to their friends during Drums and say, ‘What’s with the wicker basket?'”

That one, Mickey, yes. What’s in the basket?

…

“Dreams.”

We’re done.

Contests In Which The Dead Beats Phish

  • Tennis (Singles, doubles, mixed doubles.)
  • (In this case, mixed doubles is a person and a keyboardist.)
  • Soloing for distance.
  • Soloing for accuracy.
  • Billiards.
  • Croquet.
  • Polo.
  • (Although, in all honesty: Billy is just going to knock Mike unconscious with a cue/mallet/horse and then the game’s over.)
  • Diving.
  • Water polo.
  • Marco Polo.
  • That thing with the greased-up watermelon.
  • (Let’s just say the Dead would beat The Phishes at all water-related activities; despite the band’s aquatic name, Trey sinks to the bottom instantly and Page is not a strong swimmer. Also, Fishman likes to pee in the pool, but he does it from the diving board, so he’s banned from a lot of places.)
  • The Dead are so much better than The Phishes at getting arrested that it’s embarrassing.
  • Jeff Chimenti was a Dead for, like, two months and got thrown in the jailhouse.
  • Whereas certain Phishes have not been arrested ever.
  • …
  • Of course it’s Page.
  • Duh.
  • Each group has a Benjy, so that’s a tie.
  • If the Dead and Phish were dropped in the wilderness with no supplies, none of them would last 24 hours, so that is also a tie.
  • The Dead has a handsome guy, but Mike cares about what he wears: aesthetic draw.
  • Mickey and Billy are two people; Fishman is only one people.
  • Mathematically, that is a win for the West Coast.
  • Trey has written a Broadway musical, but Phil once drunkenly wandered onstage during The King & I and got tackled by Yul Brynner.
  • I’m almost inclined to give that one to Phil.
  • If you ask them to line up alphabetically according to band name, the Dead would be first.
  • Finally–and this is something I do not personally agree with, but read on Twitter–this might be a conversation in an alternate reality:
  • “Fellow members of the Dead, what should we call our big summer festival? How about magnaball?”
  • …
  • “The fuck does that mean?”
  • “Speak English.”
  • “Kiss my magnaballs.”
  • “How about a name that sounds like a grown-up came up with it?”
  • “I got an idea: instead of playing in a field, why don’t we just play football stadiums and stay in the Ritz?”
  • And so on.

Billy, Mickey, And Garcia (Approximately)

mickey bill walton sunshine giants
Though you can’t see the whole word due to Bill Walton’s massive and surgically reconstructed back, his jersey reads “Iconoclast” because as a young man, Bill Walton didn’t care much for the accepted wisdom of his elders, nor did he esteem the men and women he was told to esteem.

Also, he once borrowed the Time Sheath to sack the Monastery of Saint Anthony’s in 1566, kicking off what’s known as the Beeldenstorm, which brought about the end of Catholic rule in parts of what would become the Benelux nations.

If there’s one thing that Coach Wooden pounded into his players’ heads, it was that indulgences were not to be sold.

Also, Mickey is wearing the sweatshirt that set Soldier Field buzzing when he wore it. During Drums, the camera caught a good view of the hood, which although you can’t see in this pic, has a bright red-and-white Stealie on the inside of it and 70,000 people turned to one another and said, “Ooh, that’s a nice hoodie.”

Thoughts From The Vault 2

  • Second set and we’re opening with Sugaree and that may be a sign of the Apocalypse.
  • Also, this Sugaree is not twenty minutes long, which means that it has failed, in my eyes.
  • All Sugarees want to be at least fifteen minutes long, and when you don’t let the Sugaree breathe, it’s like you’re suffocating it in the crib.
  • Do not abortion the Sugaree.
  • My favorite part of Sugaree is when Garcia solos.
  • I also enjoy when Garcia solos again.
  • The third, fourth, and fifth Garcia solos are beloved by all, I would presume.
  • The words are good, too: it’s such a cheerful sounding song, but the words are full of dread.
  • Something bad has happened.
  • No one says that “maybe I’ll meet you on the run” when things have gone to plan.
  • Speaking of solos, and Garcia, Big River is next and Garcia solos over the entire song.
  • Garcia secretly defined music as “something I can solo over.”
  • Garcia didn’t mind ending sentences with prepositions; he was a man of the people, and therefore a descriptivist.
  • I think I’ll come back to this, but: the drummers never sounded like this, not before or after.
  • The first two-drummer era, at its best, was defined by two guys playing at each other with some guitarists in the middle.
  • They would essentially talk to themselves and that sound of the snares whacking back and forth at one another–
  • Bakka-dah (Bakka-dah) Bakka-dah (Bakka-dah)
  • –exemplified the Baby Dead.
  • That’s not what they’re doing here, though: Mickey is complementing Billy, like in the old days, but not challenging him in a game of “who can hit his snare drum loudest?”
  • During the 80’s, Mickey and Billy developed a different strategy: let’s play the exact same thing at exactly the same time, almost.
  • There are a number of songs from OFTV that are in the running for BEST EVAR, but not Crazy Fingers.
  • This is inarguably the best this song was ever performed by an enormous margin.
  • If the category were “snorting things up your nose,” this Crazy Fingers would be cocaine, and all the other versions would be everything else you might shove up your snout.
  • None of the Grateful Deads played the song particularly well, but Garcia seemed to have it out for the pretty little tune, forgetting all the words on several occasions.
  • The jam is majesterious, which is not a word, but you knew what it meant, which makes it a word.
  • Language is all kinds of fucked up if you give it even a passing thought.
  • Once again: Drums.
  • But, you know: they only have their actual human-sized drum kits.
  • At no point will Mickey strap train horns to his crotch, but he did bring crickets.
  • I can’t tell the whole Mickey and the crickets story, but the tl:dr is that Mickey declared crickets musical instruments, spent tens of thousands of dollars on them, then released them in a building he did not own.
  • He did this because it is one of the answers to the question, “What is the most Mickey thing I can be doing right now?”
  • The lack of piano is something you don’t recognize until you do, but then you know what it is.
  • Keeping Keith on the Fender Rhodes piano instead of his usual grand piano makes the band much lighter, and the Rhodes’ buzzy, warm timbre sounds similar enough to Bobby’s lightly distorted guitar that your brain blends them into one great, head-straddling SOUND and it’s not terrible.
  • The band had been recording Blues for Allah up at Bobby’s place, playing every day, and it sounded like it.
  • Sage and Spirit has no reason to be here, but it’s beautiful, so it should be here.
  • Bobby did steal that one chord change from At Seventeen by Janis Ian, though.
  • There’s also a bit of Lost Sailor in there, and I wonder if that one bar annoyed Mickey more than the rest of the song.
  • Then we head for the big finish with Going Down the Road, which is played by itself.
  • Phil is very boingy: he boings heavily and with verve.
  • If Garcia were alive, I would slap the shit out of him for dying.
  • Fucking guy.
  • Everyone shares Secret Hero of this one, but Garcia is definitely the Garcia.
  • Oh.
  • Huh.
  • Look at that.
  • I have been listening to this album on a very regular basis for 25 years and I just realized they played US Blues>Blues for Allah.
  • There’s a political joke in there somewhere, but there are also ribs in my refrigerator.

Thoughts From The Vault

  • I’ve just listened to One from the Vault and I’m at Blues for Allah, so I’m going to listen to Blues for Allah and circle back around.
  • If I just start again, I will not listen to Blues for Allah because it will be late and I will be tired and Blues for Allah is goofy.
  • It is a deeply goofy song.
  • Actually, I don’t suppose it qualifies as a “song,” does it?
  • It’s music, but I don’t know about whether it’s a song.
  • A good deal of it is just re-packaged Space.
  • “Weir, sound like the desert.”
  • “Whaddya mean, Jer?”
  • “I dunno: pretend you’re a sand dune.”
  • …
  • “Stop undulating, Bobby.”
  • “I was getting into character.”
  • One from the Vault (hereafter referred to as OFTV) is the recording of 8/13/75 at the Great American Music Hall in San Francisco, which is a tiny place that is still there and open, right down the street from the O’Farrell Theater, which is still there and open.
  • You can look up the O’Farrell yourself, but the short version: two brothers ran a fuck theater, one shot the other; since it was the 70’s and 80’s, there was cocaine involved.
  • At one point, Hunter S. Thompson had moved into the theater.
  • First day of business school: do not let Hunter S. Thompson move into your business.
  • The “Under Eternity” bit of Blues for Allah at the end is Mrs. Donna Jean’s finest hour: she kills it and is genuinely scary – she sounds like an evil muezzin, calling the faithful to prayers…
  • …of DEATH.
  • That would be a great horror movie if everyone involved wouldn’t get stabbed for making it.
  • Nobody’s writing Blues for Allah now.
  • I mean, no one’s really doing twenty-minute suites with giant freak-out sections and one of the drummers playing crickets.
  • But, also not doing any pop tunes about Allah at all, really.
  • Good evening.
  • We welcome you.
  • On behalf of the group.
  • Greatest intro ever, and well-improved for the excision of the Bill Graham’s line about getting paid to do it.
  • No one speaks with Bill Graham’s accent anymore and the world is less for it.
  • Phil makes it.
  • You don’t realize that they;re really doing the old show biz chestnut until Phil responds to his name.
  • The old tricks are old for a reason and then Garcia stabs at those ice pick intro chords as Bill Graham gets out of the way.
  • Would you welcome, please, the Grateful Dead.
  • They almost could have just packed up the gear and gone home after that.
  • That intro is perfect: it’s dramatic, in that there’s a beginning, middle, and end; it’s musical, and not just the band jumping in one-by-one, but in Bill Graham’s Bronx accent; and it’s classic.
  • No boasting about the hottest band in the land; just say the name.
  • Help>Slip>Frank: BEST EVAR or merely HoF?
  • Some people ask themselves, how do I feed the hungry, or cure the sick.
  • I think my question is just as vital.
  • What if you were hungry for a good H>S>F?
  • Or sick of bad ones?
  • I assume that Garcia is playing the Travis Bean, and I’ll state it unequivocably: this is the greatest guitar he ever played, and I stand by that statement until the very instant I next put on a ’72.
  • Franklin’s is one of my favorites, and the versions from 1975 all have this slightly out-of-control feel to them; Garcia sounds almost frenzied on the Lindley Meadows show take, and here, too, he attacks his solos like a drunk man trying to get his money back from a hooker after failing to achieve a sufficient erection.
  • Also, he gets every single word right and doesn’t mix up the verses or repeat any verses.
  • Because he did that constantly.
  • Franklin’s was Garcia’s Truckin’.
  • It’s also one of Hunter’s best songs.
  • I’m sure it’s about something.
  • And yet, it is in no way doggerel or gibberish and hippie-dippie nonsense.
  • It’s as good a lyric as anything he’s ever written, including the concept album he wrote for Quiet Riot called Pick Up the Phone: Metal’s Calling.
  • Everything about the show is weird: the venue, the structure of the sets, the songlist.
  • As always, the facts–as far as we know them–can be found at Lost Live Dead, wherein we learn that the 600-person (or so) joint was packed with radio folks from all over.
  • The Dead had retired, remember, and in the rock world of 1975, 10 months was a long time.
  • They had a new record out and wanted to get it played on the radio, which required giving DJs cocaine and making Program Directors feel important.
  • So, not only was it a small crowd, but also the first non-Deadhead crowd the band had played for in a while.
  • If this Eyes of the World were a van, it would have a dragon with giant tits airbrushed on the side and stop for you when you hitchhiked.
  • Inside, there would be shag carpeting and captain’s chairs and aquariums and a half-court for basketball and a breakfast nook and a conversation pit and a bay window for the cat.
  • The cat’s name is Mouse.
  • On the shag carpet, there is a girl in Jordache jeans and a halter top; there is fringe on the halter top and the strands sway with the curves of the roads.
  • She asks you where you’re going, and hands you a joint; it is powerful and when you close your eyes while coughing, the girl is on top of you with her fangs bared.
  • OH NO: DRACULA VAN!
  • AHHHHHHHHHH!
  • AAAAAAAAAAAAH!
  • Stop doing that.
  • Anyway, the Eyes is one of their best, with its sprawling, multi-partite Phil solos and Billy and Mickey are answering each other and chasing each other through time signatures while Garcia covers the top part and Bobby and Keith play the actual song.
  • And Drums.
  • There will always be a Drums.
  • King Solomon’s Marbles is fucking tragic if you think about it.
  • Jesus, listen to them: all six of them nimbly dancing around the beat and hitting every cue, sliding in and out of sections with a Dirk Diggler-esque confidence, throwing the melody from Keith’s Rhodes piano to Garcia and back.
  • It’s jazz-rock that doesn’t suck, so: not jazz-rock at all, but you get my meaning.
  • Alas, this kind of music requires rehearsal, while mid-tempo tramps through Dylan tunes didn’t.
  • Three realities down, there’s a Dead that took this show for itself as a challenge and spent the next decades very differently.
  • Of course, four realities down, there’s a Dead that did the same thing, but their fans hated it and they broke up and now Billy still lives in Hawaii, but under a bridge.
  • You could just play Chick Berry tunes, man.

And Poison Him With Words

mickey bobby blue light“You think I forgot about your bullshit? I did not.”

“Kiss it, Weir. Kiss it. Find it, make your way through the hair, and kiss it.”

“I will kiss nothing. Stop trying to turn Young John Mayer against me.”

“I haven’t done that!”

“You didn’t send him a text reading “DO U WANNA MAKE FIN OF LOSS SAILBOAT W/ ME & BILLY LOL”?

“How’d you get that.”

“Because you sent it to me, Mick.”

“These phones confuse me.”

“Yeah?  You confuse me.”

…

“You talk to Chimenti?”

“Sent him a cake with a file in it.”

“That’s funny.”

“Yeah.”

“Don’t poison Young John Mayer against me, please.”

“Oh, go talk to Dan Rather.”

Who’s Got My Extra, Extra Read All About It

INT. FRONT STREET

GARCIA AND BOBBY SIT AT A TABLE.

“Hops are in there, Jer.”

“If you say so. I haven’t had a beer in years, man.”

“Not much of a beer guy, either.

“Water, I suppose.”

“Yeah.”

PHIL ENTERS.

“Hey, man, you’ll know–”

“About the hitchhiker that vanished? I don’t know anything about that.”

“–what’s in beer.”

“Oh, beer? Four ingredients: water, brown, bubbles, alcohol.”

“No hops?”

“Hops is German for bubbles.”

“Okay.”

“Are you stealing hitchhikers’ organs again?”

“Never mind that: I have huge news.”

CUT TO:

SUPER: “THE DEAD INHERIT A NEWSPAPER”

(Stock music plays.)

Anyway, all joshing aside: this is true. Back in the 70’s or 80’s, depending on which keyboardist shows up a few paragraphs from now, the Grateful Dead inherited a local paper, The Marin County Muckraker. For almost forty years, the daily kept the powerful in fear, the the citizenry informed, and local boobie models employed. (Much like the English papers, the Muckraker featured topless women on page 3. Also pages 5-12 on most days, with a pull-out on Thursdays. Sundays had full-color boobies.)

Phil’s uncle, William Randolph Lesh, had left the paper to his favorite nephew, who refused it, so it went to Phil.

Garcia was issued the largest fedora anyone’s ever seen: it blotted out the sky, and the press pass stuck in the brim was the size of Oklahoma. A pad was procured, along with several pencils; he also got a roll of dimes, so he could call the Copy Desk on a pay phone if there was breaking news.

“Get out there, Scoop,” Phil cheered and Garcia beamed at the name and got in his car and drove home, stopping only to trade the hat and dimes for Persian and start several small fires. (To Garcia’s credit, one of the fires got large enough to warrant a story in the paper, so in that sense, he did fill up a few inches.)

Mickey tried to help, as always. What if, he asked, someone broke into the Mt. Tamalpais Seminary and started whipping baby priests with a belt? Phil answered that it would certainly be a story, and then he realized what was happening and tried to restrain Mickey, but he had already removed his belt and begun running towards the seminary grounds.

Keith stumbled into the printing press.

“Fine! I’ll do it myself!” Phil muttered, and walked out into the street, where he realized he didn’t know what a reporter did. All the reporters he had met were the kind of reporters that talked to rock stars, which makes them not reporters at all, really.

But, Phil was full of water, brown, bubbles, and alcohol and couldn’t find his car, so he went back inside and interviewed Bobby for a while and took a nap. When he woke up, he wrote an Op-Ed about how supermarket carts should have engines, and then completely lost interest in owning a newspaper.

“Hey, Billy.”

“We’re speaking?”

“Yeah, it’s the 70’s.”

“Oh, okay.”

“You want to own a newspaper?”

“Yeah, why not.”

Phil tossed Billy the keys and then went off in search of another nap.

Billy walked over to the newspaper office and looked up with enthusiasm. Then, he shoved Benjy down the basement steps and lit the place on fire.

“WHY? I WASN’T EVEN IN THIS!”

“We all have our roles to play, Benj. Don’t come back as Freddy Krueger.”

“This sucks.

“Ah, boo-freaking-hoo.”

Promicktheus Unbound

CHICAGO, IL- JULY 05:  Mickey Hart of The Grateful Dead perform during the "Fare Thee Well, A Tribute To The Grateful Dead" on July 5, 2015 in Chicago, Illinois. (Photo by Jeff Kravitz/FilmMagic)

“Oh, hey! Thoughts on Asses!”

Hey, Mickey.

“Did you hear about Dead 3.0?”

Please don’t call it that.

“Playing the Garden again! Big time, baby.”

It is pretty neat. How long is Drums gonna be?

“Drums has already started.”

No shit.

“Began fucking around with the thumb-piano and strapping foghorns to my crotch three days ago.”

Huh.

“If an election can last fifteen months, then why can’t Drums last eleven weeks?”

That’s a terrible argument, Mick.

“yes, but who’s the one with the giant sound system?”

You.

“So, I win the argument, don’t I?”

I suppose so, yeah. Anyway: what’s in store for Halloween.

“You mean Hartoween?”

Sweet Jesus, I do fucking not.

“We’re gonna have ourselves a little EDM.”

…

“EDM.”

…

“EDM.”

Electronic–

“ELECTRONIC DEAD MUSIC!”

–Dead Music? Great.

“We’re gonna have loops and samples and I’m gonna AutoTune my ProTools, and there’s gonna be batter’s gloves for everyone and it’s gonna last forever.”

How is this different than Santa Clara or Chicago? There’s literally no more drums for you to bring. You brought all the drums in the entire world to the Farewell Shoes.

“We’re going in a different direction. Doing some Deep House. Than a little Drums-and-Bass.”

Old school.

“Sure. We’re even going to have some drops.”

You’re going to drop the beat?

“Oh, no: I meant that Bobby might collapse.”

Okay. Here’s why I’m not making fun of you: the three Drums from Chicago were some heavy-duty fun.

“Right? Crowd’s high, band’s loud: that’s the shit right there.”

Yeah, little bit.

“I invited my friend Skrillex to sit-in.”

Billy will set him on fire for that haircut.

“Oh. Yeah, probably.”

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