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

Tag: seastones

Jenseits Der Meerstein

Allow me to explain, Enthusiasts. A trans-continental conundrum has been raised! Dead Scholars in America, Canada, Germany–and possibly even the bass player from that one surprisingly-good Japanese tribute band–have turned their prodigious attentions to this newest and most important of questions: Did Seastones get booed, specifically on  9/14/74 in Munich, Germany (well, at the time it was West Germany)? And, even more specifically, if they were indeed booed, was it the Germans or the Americans?

Now: unlike the list bullshit I was making fun of before, this is actually important.

Phil later said in an interview that it was the German kids booing, but as with so much else about the Dead, the band members seem to be the least reliable witnesses. It’s not his fault, though: lighting at shows is designed so that the audience sees the band, and not the other way around. Also, Phil is a good American, and part of being a good American is blaming other countries for things.

That the Germans were digging Seastones, and the Americans annoyed by it, sounds like the more defensible position if you have any context. The Americans in question were Army-Americans; there were a lot of them in West Germany at the time because the Commies were literally miles away. This is not to say a serviceman couldn’t enjoy the Dead–I know for a fact that several loyal Enthusiasts are veterans–but if you have to be back on the base at midnight, you’re not going to be in the proper headspace for Seastones at ten.

There is also the point that I believe precludes all further argument: why would Germans boo unpleasant-sounding music? Germans invented unpleasant-sounding music. Why would Germans boo bleepity-bloop music? Germans perfected bleepity-bloop music. If there were any crowd that was going to give Seastones, which is essentially weaponized art, a chance, it’s going to be a German crowd.

Finally, we have an eyewitness account:

german-review-of-74

For those of you who don’t speak German, I’ll translate.

“Good evening, fellow German. I hope zat Wotan calls to you from ze Black Forest of der dreamenwurlden.

“Papers, bitte?

“Danke.

“Viz regards to Grateful Dead show dated 14.9.74: the behavior of der Yankenshootens vas abominable. Zey hooted like animals in a zoo at any song they did not classify as ‘Boogie.’ Also, zey laughed at ze way Germans say ze word ‘Boogie.’ Ve failed to see ze humor in ze situation.

“Ze Americans also became upset at Ned’s nudity, while ve Germans are of course more mature about such matters. The human body is natural! You Americans and your hang-ups!

“Also, ze Americans did not conform to proper seating. I had personally gone to ze theater at dawn and put my beach towel on my chair, but ze American did not seem to realize what zat meant.

“Seastones by Phil und Ned vas a revelation. I know for a fact that Kraftwerk attended ze show, and said to each other afterward, ‘What if ve do that, but good?’

“Following ze show, mein friends und I vent to a bierhaus and ate enormous pretzels.”

Case closed.

Cat Under The Stars

img_3267Hey, cat. Whatcha doing?

“Looking at something.”

That’s it?

“Dude: cat. I am a cat. When cats look at things, they look at things.”

Huh.

“Lemme ask you: what are you doing right now?”

Writing this, listening to the new Dave’s Pick, checking Twitter, drinking water, scratching my junk.

“Are you doing any of that particularly well?”

Not as such.

“So, who’s the asshole?”

Hey, slow down with the asshole talk, huh?

“Cats are truth-tellers, man.”

Or you’re dicks, whichever.

“You say tomato, I say I’m an obligate carnivore.”

You got a name?

“You can call me whatever you want to call me. It truly does not matter to me.”

Glenda Horowitz?

“Okay.”

Orleans Darkwa?

“Fine.”

%%%%%%.

“Well, you know: sure, whatever, but how do you pronounce it?”

I thought it didn’t matter to you.

“It doesn’t.”

Besides, I have no idea: I just hit shift and a number key at random.

“It’s the effort that you put into your little skits that draws the fans.”

Yeah.

“You bought the new Dave’s Pick?”

I have the new Dave’s Pick.

“Thought so. Selland from ’74, right?”

What?

“I can’t be a Deadhead?”

I just didn’t know is all. That’s awesome.

“You didn’t think I could be a Deadhead because I’m black.”

I didn’t think you could be a Deadhead because you are a cat.

“So, you’re racist against blacks and cats?”

You are not black. You are a cat named Glenda Horowitz.

“And we’re adding anti-Semitism to the mix now. Great.”

Are you done?

“Yeah. They leave Seastones on?”

All 14 minutes of it.

“Fuckin’ Lemieux.”

Sure.

Second Time As Farce

In 1972, the Dead toured Europe; they brought Pigpen with them. In 1974, they went back with Ned Lagin. That’s a better metaphor than I could ever dream up. “Taking Ned Lagin to Europe” should be a folksy way of saying that your own actions have ensured your doom.

As pernicious an influence Ned Lagin was on Phil and the rest of them, this bit of weirdness excised from Dick’s Pick 7, 9/11/74 from the Alexandra Palace in London, is worth the listen: Garcia and the rest of them come out and lay down a solid hour of insect/incest terror fuckbombs and also a Chuck Berry Tune.

The European tour from 1974 was almost completely a debacle, so debauched that even Long Strange Trip, which is R-rated, had to glance over the assuredly NC-17 truth. 

And not hot and sexy NC-17. Like Bad Lieutenant type shit. You want to know what the Europe ’74 was? Picture Harvey Keitel masturbating onto your neck, forever.

The jaunt was a bad idea in the first place: they were exhausted from 14 months straight of touring; taking the Wall of Sound somewhere there’s a border every 85 feet is just ludicrous; and, Billy–for all of our jokes–might have gone feral by this point.

Since debuting the proto-Wall in February of ’73 until that summer of ’74, they had played 114 shows. 28 states. The longest they had gone between performances was 20 days. The Wall eventually grew to 65 tons and required a crew of 21 men to build and tear down.

Did you look up any of that?

No. But those numbers sound ballpark, right?

You’re awful.

But the boys (and Mrs. Donna Jean) were entranced by some rich lunatic with a giant sack of drugs. This is not their fault, as it was apparently in the band’s founding charter, as witnessed in Bear’s constant Professor Bunson Honeydew-like presence.

So they went to London, Paris, Munich. With the Wall. In 1974, taking a piece of equipment larger than a toaster for the stated purpose of doing business required–this is not a joke–that at no less than three points in the process, an official affix his seal to the documents via wax, a candle, and an ancient ring bequeathed to him by his ancestors.

From the accounts I can triangulate in the usual sources (McNally, Scully, Random Dudes on the Internet), the band was passed from one international drug smuggling lunatic to another across the continent: they were hairy versions of the half-naked Chinese kid with the firecrackers from Boogie Nights.

There was so much cocaine that a ritual burning of the stashes was forced, except there was a basic problem with the thinking. The thing about cocaine is this: it may be tough, occasionally, to get cocaine. It is never tough to get more cocaine. More cocaine is the easiest damn thing in the world to find.

Munich was the nadir, or more appropriately, the ScheissenKonzertenSchnitzel. Billy got lost, and scared, and he hated Europe; he didn’t like punching uncircumcised dicks. Call him a phallic jingoist, but he liked a smooth shaft. He also found the bruising was more uniform, and thus healed quicker. Billy cared about the dicks he punched. Why else would he punch them. It made Billy sad that no one understood that the first step in punching dicks…is reaching out.

So, long story short, yadda yadda, blah blah: Billy nearly starts a riot and throws a moped through a department store’s window. This incident even makes it to Long Strange Trip.

Billy throwing a moped through a window in a foreign capital is the thing that they ADMIT. Think of the shit they’re keeping from you that is–as a loyal Enthusiast–your BIRTHRIGHT. We must storm the castles of UC Santa Cruz! That’s in Los Angeles, right?

Yes.

LEEEEEEEEEEORY JENNNNKINS!

Throwing Seastones

Listening to the another gem from the Year of the Wall: July 31st, 1974, Dave’s Pick 2. (Which, for some reason, is still available on the Archive. Here it is.)

Tremendous Eyes, tremendously funny China Doll with Garcia and Billy musically bickering about the tempo, tremendous work on the Rhodes piano from Keith throughout the show.

but, as I said, this show has been released as a Dave’s Pick, so I cruised over to Amazon to read some reviews and came upon this offering:

Like most archival releases from 1974, this release omits “Phil and Ned”, aka “Seastones,” the electronic jams involving Phil, synthesist Ned Lagin and sometimes Garcia and Kreutzmann, which regularly took place between the 1st and 2nd set during the period June 1974 to October 1974. “Phil and Ned” was an integral part of the “Wall of Sound” show.

Why is it not included? One main reason: “Deadheads” for all their self-proclaimed openness, are just not that open to experimental electronic music that doesn’t have a “spacey” vibe, and actually they would often boo Phil and Ned’s experiments in concert. For some reason they never seem to complain about “feedback” from side 4 of live dead, which really is kind of boring.

If everyone who appreciates Seastones gives this release one star, maybe the troglodytes at Rhino will get the message for future 1974 releases.

The only reason–not an excuse, a reason–for writing this sort of thing is that one has contracted rabies. Also, scabies. ONLY SOMEONE WITH RABIES/SCABIES COULD BELIEVE THIS.

This is like going to a summer action movie and getting upset because there were no chest-pooping scenes: it’s fine to have weird, creepy fetishes (and Seastones qualifies), but realize you’re in the minority.

And, yes: Seastones was an integral part of the Wall of Sound show in the same way that Zyklon B was an integral part of Dachau’s hygiene program.

DUDE!

WHAT THE FUCK, BRO?

We JUST had the meeting about this.

You KNOW how offensive that is to me!

Please don’t–

What? Dude, I’m proud of my heritage.

start with this again. Four hours in the car with this.

Germans can’t be proud?

Within the timeframe of the 1940’s, no: not really.

Y’know, it’s all about tolerance with you up to a point. “When they came for the Jews, I said nothing–“

The ‘they’ that poem refers to are the Germans, you do understand that?

We all have equal claims to our victimhood.

All I Said Was Come On In

I’ve often heard the question about the Philosopher’s Stone of the Dead. The show or album or song that, when played to a normal human being, will convert them to Enthusiasts instantly and irrevocably.  This is kind of a vampire fantasy, isn’t it. Infecting someone…someone with a future and hopes and dreams and $52 in his pocket who just hit the big city and needs to DANCE.

That got away from me. I apologize.

My point is: remember how the Dead (and we) would winkingly refer to the first set as the warm-up? Most people prefer the band they have paid good money to see warm up prior to the audience arriving. What I’m getting at is that the Dead did a lot of weird, almost deliberately off-putting stuff that we, as Enthusiasts might love (or at least tolerate), but people who like U2 might not. These are the things that will never, ever convert anyone into ONE OF US, ONE OF US.

  • Blues for Allah, the song, is just too much. It is the Dead at its Deadiest. This song is the sound of seven people Grateful Deading as hard as they fucking could. How Grateful Dead is it? Mickey spent a hundred grand playing the crickets. (To their credit, though: can you imagine an American band writing a 20-minute opus about fucking Allah nowadays? Megyn Kelly’s head would explode, live on camera.
  • Don’t start people off with Seastones. Don’t ever play people Seastones. In fact, it’s better to not mention Ned Lagin at all.
  • Brent’s songs. Sorry, but true.
  • Any show that contains more than one stretch of tuning that last longer than the song preceding it. And don’t tell me about “banter.” If it’s actually banter, then it will be labeled as such. Do you think you’re dealing with children here?
  • Dark Star. Yes, I know: a controversial and attention-gathering choice. I imagine you’re perturbed, but under no circumstances riot. No circumstances at all. (So, yeah, Dark Star is a bad intro because, c’mon: it’s barely a song. Dark Star was more of a magic trick: when we play these chords and sing these words, they act as an invocation to the muse and we just jam for 20 minutes and are AWESOME. Dark Star was like SHAZAM: say the word and save the world.)
  • Any Sugaree over 16 minutes. A sixteen minute Sugaree? You’re gonna throw that at an unprepared guy? That is so much Sugaree. Now, you and I  know that there is no amount of Sugaree that is too much Sugaree, but the average human is unaware of this fact. They have, in my experience, even become violently opposed to (and I am quoting), “ONE MORE SECOND OF THE DOODLY-DOODLY, AND I’LL PLOW INTO A FUCKING TREE.” Philistines.

Besides, we all know the perfect intro to the Dead is Eyes off of One from the Vault. Case closed.

In addendum: While writing this post, I was obviously listening to One from the Vault, but hadn’t gotten to Blues for Allah yet.

I just got to Blues for Allah.

Are you fucking kidding me? None of us are ever allowed to make fun of Yes again. This is goofier than a sackful of your cousins. It’s just Orientalist noise; Edward Said would have loathed this thing.

Lesh Is More

Mr. Lesh, are you allergic to playing the song? Is there some political or maybe ideological belief that is creating this imposition against just playing the goddam song? Instead of getting bored every three beats and wandering all over your fretboard as if someone told you there were drugs hidden there? I know how smart you are, Phil: it’s a major component of everything you’ve ever said in any every interview you’ve ever done ever. Perfect pitch, yes. We know, Mr. Lesh: Weber, Berlioz, once cancelled a concert to see Wagner’s Ring Cycle. We are aware.

Which would lead one to believe that you must be smart enough to understand that the option of joining the rhythm section and holding the song down exists. You choose not to go that route, instead following a strict policy of “playing far many more notes than you would have imagined.” Halfway through your career in the Grateful Dead, you went from playing a four-string bass to a six-string. Phil: you demanded–and received–50% more guitar because you believed that the guitar you were playing didn’t have enough notes in it. There were more notes, dammit, and you were going to play every single one of them, or so help you God, you were going to call Ned Lagin and start that Seastones shit again, and NOBODY wants any part of that, do they?

An aside about the six-string electric bass guitar. You shouldn’t have. That massive ebony fretboard the size of the runway at Laguardia?  It’s just so Dream Theater. A lot of Jazz Odyssey in that bass.

And why, Mr. Lesh, are you wearing those glasses? The enormous Aunt Sheila glasses that you wear at the end of your nose so you have to look down at people through which really emphasizes the part where you have absolutely no chin. The wattling helps now, but overall, it was just a mess.