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

Tag: brokedown palace

Fox, No Lady

How about a sammich in which The Other One was the bread, fresh-baked and straight from Big Momma’s oven of love, and Sittin’ on Top of the world was the meatiest meat you’d ever tasted? Would that be something you’d be interested in?

And what about a 20-minute Good Lovin’ wherein Pig completely forgets what song he’s singing and cues the band back in with his legendary cry of “SHE GOT BOX BACK NITTIES, CRAYFISH AND MORMON MICE!” and then, a little sheepishly, trails off as he realizes it’s not Lovelight, and if you start screaming about Nitties (box back or otherwise) in every single song, large men in uniforms come and get you

What if there were an early Playin’ without the great swaths of Doom Jam that song came to lovingly contain? (And, no Donna wail, be that for good or ill.) A Brokedown with a Garcia solo that will denude your bush, no matter your ethnicity?

PLUS, in a welcome repeat from the spectacular Felt Forum run the previous week, Pig wishes everyone in the house (and out there in Radioland) a rockin’ Xmas with Chuck Berry’s Run, Run Rudolph.

12/10/71 at the Fox Theater on St. Louis. Leave it on.

P.S. And I neglected to mention (because you and I both know that I post these recommendations while I’m not even halfway through the show, so I hadn’t heard it yet) that during GDTRFB, Bobby plays China Cat, like fourteen times and it’s just wonderfully wonderful.

Just, Y’Know: Thoughts On The Dead

We forget how long ago it was, what a different world it was. To  understand my point, you must listen to Pig absolutely fucking KILLING IT on It’s A Man’s World. That was April 15th, 1970. Listen to how crisp and present the recording is, how clean and separate the instruments sound: I would wager most lay-listeners wouldn’t be able to tell the difference between this recording and an official release from the era. Marvel at how such a recording got made in the same world where there is absolutely no record of a show from that same month: no tape, no poster, certainly no film but there is a contract and cancelled check, so it must have happened. There are shows as late as 1973 just…gone. Compare that to today’s DeLillo Barn of a culture, all of us pointing our iThings at each other the second anything notable happens. Holding our phones vertically, all of us.

_______________________

Everybody’s new favorite fun game: Play in One Key, Sing in Another!

_______________________

Is the most terrifying moment of your day the Silence that comes before the Fretting that comes before the Waffling that comes before the Choosing? An ’89? Surely, a Summer ’71! The wrong choice–it’s like throwing the i Ching, only to lodge the coins in your cousin Kevin’s throat and Kevin dies right in front of you and you just LOSE IT and decide that you can’t get in trouble if EVERYONE ELSE IS DEAD, TOO, so you kill your way halfway down the street before they take you down. No matter which Ching translation you use, that’s an unhealthy omen.

I almost had one of those rolls today. I chose an ’85 (4/27/85 Frost Amphitheater, Palo Alto, CA) to start off the morning. The 80’s are a giant tushee: fun around the edges, but dangerous in the middle. (I apologize for that.)

_______________________

I’ve written before about Garcia’s guitar tone being friendly, but the entire band had an ethos of friendlyness-ship. (Of course that’s a word. And if not a word proper, at least wordish.) All those references to following and leading and sharing (women, wine (Not Persian, though. Persian was not a share-y kind of substance.).) There was very little aggression in the music: no one will ever enter the Octagon with Brokedown Palace blaring. This made them a different band then–say–Slayer, who once wrote a song about Josef Mengele from Mengele’s point of view.  While many Dead songs featured unreliable narrators, none of them were so unreliable as to have committed war crimes. Committing war crimes is the very definition of being unreliable: you need to be watched, apparently. The second everyone turns their back, BOOM: you’re sewing twins together.

Slayer’s always been a bit of a mystery to me. Not the “why are they popular” part: there will always be ugly 15-year-old boys and money to be made catering to them being all evil and shit. I’m referring to the actual music. A friend burned me the Compact Disc. My good friend, Inter-Natalie. You should see her record collection. I like to listen to the hard-charging angry stuff when I am up in the gym working on my fitness, Sabbath and Titus Andronicus and the Boom Boom Satellites, so I tried a little Slayer and halfway through the third verse describing what can only be classified as “atrocities,” I quietly bowed out. I prefer to keep my tunes free of graphic descriptions of torture labs. Cartman was right: hippies hate Slayer.

_______________________

Who was it, precisely, that was clamoring for the return of Dupree’s Diamond Blues?

_______________________

In May of 1969, the Dead jammed with legendary conga player Mongo Santamaria.  Also legendary was the lecture given to Bobby afterwards concerning his giggles upon hearing the name.

_______________________

Merl should have been the keyboardist after Keith. They would have looked like the Celtics in the 80’s, racially. Also, Walton.

_______________________

I don’t care if Putin has turned the place in to a Latveria-of-the-mind: THEY’RE THE BAD GUYS, FUCK THEM. They were THE BEST bad guys: evil enough (gulags, proxy wars), but not, you know, too evil (that thing that made the 40’s such an inherent downer.) They had an ideology and an aesthetic, none of this “at night, it is my bed; during the day, my clothes” bullshit these Al Qaeda fuckmuppets smell up the room with.