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

Tag: drummers

Johnny B. Mediocre A Good Deal Of The Time

Spurs ‘n’ Chaps Bobby had his cowboy songs, which the drummers hated; New Wave Bobby had his oeuevre of angular, weirdly melodied songs, which Jerry hated; and Blind Lemon Bobby had his clusterfuckingly tortuous first set Blooz-stravaganza, which ear-possessors hated.

Speak not to me of wang, nor dang, nor doodle, Bobert Weir! I will not look what you done done. And you put DOWN that slide guitar, Mister! Next time I see you with that slide guitar, you better be trying to flush a South American strongman out of hiding.

But there was one more Bobby, and he was my favorite Bobby: Sock Hop Bobby, who loved the old jukebox singles and 50’s rock and, most of all, Chuck Berry. (At both Woodstock and the Trans-Canada Festival, Bobby paid way too much attention to Sha Na Na. He shrieked like a girl when he clapped for them and after their set, Bobby followed the lead singer into the bathroom and just openly stared at the guy’s cock. Like not in a gay way? It was more like–I’m not explaining this right. It was Bobby just being all, “That is a thing. That is an honest-to-god thing right there. It is a cock that cock right there and I am LOOKING. I am LOOKING right AT IT. Hey, stop hitting me.” Even for Bobby, that was a behavioral outlier. It led to a stern talking to from Phil that touched upon many subjects, but mostly “expectations.”)

Except, Phil kinda ruined most of the Chuck Berry songs, didn’t he? The rest of them were pretty adroit with the rockers: Jerry always bit into them with vigor, Bobby could yelp just as good as Bob Seger or any other white guy in the Seventies, and Keith played the shit out of the boogie piano. (Strangely enough, he was absolutely amateurish at woogie piano.)

But, Phil? No, he was far too good of a musician to play those songs well. They were brutal, dumb hammers of music, but as we all know: Phil was a surgeon. He delicately flitted about both the root note and the downbeat like a savage butterfly, exposing the inner horrible grace of the mixed-ionian-calipygian modes and the sweet, sw–PHIL, STOP FUCKING AROUND AND PLAY THE GODDAMN SONG. IT’S JUST A FAST TWELVE-BAR BLUES TUNE. STOP WITH THE CHORD SUBSTITUTION.

Planet Dumb

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!”