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

Tag: ned lagin (Page 3 of 4)

Eilv

ned lagin jerry movie 2

Fuck: everybody, be quiet. Or make a lot noise: it doesn’t matter. Nothing matters anymore. The sky broke in three pieces last Tuesday and a Filipino guy with a club foot stole one piece and the other two went to the British Museum, which is holding onto them. (This is in line with the British Museum’s strict policy of Finders, Keepers (for a very loose definition of “find”).)

The Abandoned Gods have abandoned us: Azagoth, Ba’al, Cthulu, Domak the Absolute Worst, Ephialtes the Traitorous, Frank from Across the Hall with the Fucking Dog, Gozer, Hecubus, Isaac from the Love Boat, Joruus C’Boath, Ken Kragen*, Lilith, Mephistopheles, Na-az’rael, Oculus Rift someone farted in, Planchette the Intern, Q-Bert, Rapin’ Panda the Raping Panda, Simon Milligan, Tushee Monster, ‘Ucifer the Speech-Impaired, Vishanti, Wucifer the Lethally Cute, Xj!tfr’rr the Unpronounceable, Yog Soggoth, Zuul…all of them have left the building, dimension, or many-angled prison of tears.

Ned Lagin is here, children. Ned Lagin is among us. He had no power…until they invited him up to jam. And now, Ned Lagin is here.

 

* Country music’s superstar manager of superstars, Ken Kragen, is also an Eldritch Abomination. Little-known fact.

Things Overheard At The MoMTDA

  • No, Mr. Owsley, you cannot “soup up” the audio tour. Stop calling it the Walk of Sound.
  • Parish, you’ve got to help me: I’ve accidentally invited TWO DATES to the fundraising ball!
  • Gentlemen, I’m not going to point fingers and play the blame game and name names, but using the museum to stage a fake blood drive is going to stop immediately, Phil.
  • There won’t be any dinosaurs, Bobby. It’s an art museum.
  • Everyone needs to put on their trousers right damn now.
  • Billy, that’s not performance art.
  • There have been some great reviews for Keith’s sculpture of himself. Oh, that’s actually him? He’s been lying there motionless for, like, nine days. Perhaps we should call a docent.
  • No, I don’t know what a docent is, either, but it’s the museum and something’s gone awry, so you call the docent. There is a chain of command here, Grateful Dead!
  • But it doesn’t matter because you have dosed all of them.
  • Yes, yes: doses, docent. Quite clever.
  • Billy, stop doing performance art.
  • No, Bobby: the eyes of that painting are not following you around the–oh, Mickey’s cut eyeholes in the art and is standing behind the canvas looking at people. Good call, Bobby.
  • Come out from there, Mickey. Why are you naked?
  • Garcia’ll be fine: I put him in the sculpture park. It’s just steel and gravel out there.
  • I’ve told you this already, Mr. Mydland: museums don’t have mascots. Take off the costume.
  • Why is Bill Graham haranguing schoolchildren in Yiddish?
  • We don’t allow camping because it is a museum of art; there cannot be filthy teenagers taking doodies directly outside.
  • I’m sorry, I don’t see a “Ned Lagin” on the Will Call list, possibly because there is no Will Call list, probably because it’s a museum. Why are the whole hairy lot so fuzzy on the concept of “museum?”
  • Phil, you’re doing a great job running the food court, but I think charging $200 to eat sandwiches while you jam with your sons is a bit excessive.
  • Vince, for the third time: your new character, down-home surrealist Salvador Golly is just not a hit. Please stop doing the routine. Also, buddy: pants.
  • We’re just going to require that there be no more naked Grateful Deads in the museum, please. It’s not an unreasonable request.
  • Attention museum patrons: we are going to need to evacuate the building immediately, please. All attempts to prevent Billy from doing performance art have failed. I repeat: Billy is doing performance art.

Overheard At The Meeting

Preparations for the 50th anniversary shows are in full swing; TotD brings you there!

  • Sammy Hagar never sang for us, Bobby.
  • So just to be clear, Phil: Ned Lagin doesn’t need to be there.
  • I agree with Mickey: there should be cheese fries backstage.
  • Billy, please stop doing your magic trick.
  • Who brought a lynx to a fucking business meeting? What the hell is wrong with you people?
  • Let’s aim for no collapsing onstage, guys. Like, none at all. Sure, you’re right: one is the smallest number of times you can collapse onstage…unless you don’t do it at all. And that’s what we’re shooting for here.
  • Phil, you’re gonna do the Donor Rap when?
  • Billy, you’re not going to do the Boner Rap at all. It is not funny and it is insulting and it causes miscarriages and that’ll be the last we mention it.
  • Yes, we will be announcing this on “the Facebook.” No, we cannot do the whole tour on “the Skype.”

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!

Box Set Nitties

Themed box sets are the wave of the future, mark my words. Enough with these pedestrian groupings, lumping together shows merely because they appeared consecutively in the timestream.

How primitive.

One could argue that the shows have become free from temporality now, so far away from the piss-and-shit smell of the actual reality of “a show.” An Event, a thing to be done, gone to, waited on, hoped for, remembered fondly and dearly and well. Strip away the context, and we’re left with just the text–only the music remains.

So why, then, are our box sets still chained–enthralled!–by the simian processes and demands of time? We need to see the Dead’s career from above and follow the threads that link performances from across the years, even decades. Here are a few that the band have been working on:

TC: Secret Hero? It barely filled a CD, so this project was shelved and the money diverted to fund a cobbling program to help inner-city youths overcome the lures of drugs, gangs, and chickenheads by learning how to make TC’s fancy little booties. The project was a failure and resulted in multiple deaths.

Billy’s Got His Dick Out Randomly, but regularly, Billy would play the show with his dick out. You could look, you could not look.Billy didn’t care: it was muggy or something, his hog wanted some air, and Billy was a fucking American–what are you gonna do about it? This 25-CD package was to include the infamous 1973 show in St. Louis when Billy’s dick took his own dick out, and everybody freaked right the fuck out, because, honestly: what the fuck, Billy? We will not have your forays into infinite masculine regression up in this muhfuh, if you please.

January ’78: It’s Bobby Time!  Those three or four shows in wich Garcia lost his voice, Bobby lost his mind, and we lost our patience. There’s only so many Mexicali Blues in a row a man can bear.

The Complete Wagner’s Ring Cycle by Phil and Ned  12 discs of atonal, non-synchronous, apathetirythmic (that’s when you know where the beat is, but you don’t care) musiqúe concrete loosely alluding to, obliquely referencing, and distinctly ignoring the text of Wagner’s multi-evening magnum opus. Sometime in August of ’73, Phil and Ned shot way too much crystal meth and did all 16 hours at once and the fall-off from beginning to end is rather severe. At one point, Phil audibly wanders out of the studio and has to be lured back in with candy. 

GD: The Tahoe Tweezer by the Grateful Dead Like, nine or ten discs of the Tahoe Tweezer on repeat. The packaging is a plain cardboard box containing a poorly Xeroxed photo of Phish with Garcia’s head taped over all four of theirs’. It’s both disconcerting and telling how far through the decision-making process this idea got before falling by the wayside.

Having Fun Onstage With Bobby The yellow dog joke! The deer poaching joke! The clever asides, wisecracks, and japes! That weird Okie accent he does for no reason sometimes! Two full discs of him ending songs with ‘THANK you!’ in that high-pitched voice. It was scheduled to be released last July, but Bobby locked himself in to TRI Studios for three days and immediately upon getting free, locked himself out. Then he soured on the whole project, which is a shame because the gold lame suit he had ordered from Nudie Cohen had cost $45,000.

Egypt ’79, ’83, ’84! During the Heineken Years, Phil would occasionally just refuse to believe they weren’t back in the Land of the Pharaohs and mostly people just rolled with it, except for when, at one of the ’83 shows, Phil saw a swarthy guy backstage and screamed, “GET DOWN, ANWAR SADAT!’ and tackled the poor hairy bastard. Covering five mostly-well played shows that take place mostly in desert cities, although the ’84 was in Maine, which worried people, but amused Billy because he’s awful.

Bound To Cover Just A Little More Ground

The Phishes do this thing most years when Trey isn’t dead where they cover an album at Halloween. This year, they pretended they were themselves in the future, or the past–i can’t figure it out and really don’t care to. Also, Mike Gordon probably tried to drunkenly finger Abe Vigoda at the after-party.

So, the big Phish sites (and damn, they look better than mine) were advocating for this album or that, when I realized that–as usual–Big Dead was hiding things from us. I broke into Dennis McNally’s condo and interrogated one of the many, many women he had imprisoned as part of his role as a major conductor on the unholy railroad of the white slave trade.

Dude, we’re gonna get sued.

She showed me to a secret cache of documents and recordings that proved BEYOND A SHADOWING OF DOUBTFULNESS–

For fuck’s sake, Crazy Pants…

–that as usual, the Dead were the first to do everything, but poorly. Below are a by-no-means complete list of attempts the Dead made at covering an album.

Abba’s Greatest Hits was out. They tried it at rehearsal but Phil kept wandering away from the beat and then Mickey would pull out his oud and Bobby would start doing his Swedish Chef routine. So, it was interesting, but not quite listenable.

Phil wanted to do Beethoven’s Fidelio, and then he got down on his knees and put his hands in his shirt like had flipper arms and starting telling everyone he was Thomas Quasthoff and the people that got it didn’t think it was funny and Phil’s feeling were hurt so he built a restaurant and charged everyone a million dollars to eat oven-roasted shrimp and watch him jam with his kids. 

Bobby recommended they cover American Beauty and when gently informed about what covering a record meant, he said, “Yeah, I know. But we cover ourselves, man. Aren’t the masks we wear in real life the true representation of our actual selves? Man?” And then Billy, deservedly, punched him in the dick and was suspended indefinitely by the Miami Dolphins.

Our esteemed Prime Minister of Optimus and West Coast Promotions Man, Mr. Completely, reminds us of Phil and Ned’s abortive stab at Marvin Gaye’s What’s Going On? in 1974, Seastones-style. It had been going for 45 minutes and showed no sign of ending when a small Chinese man carrying a plastic bag stood courageously in front of the synthesizers.

In a quiet and unsure voice, Vince asked if they could play something from The Tubes. No one said anything. “I already know all the parts,” Vince added. It was quiet until Ramrod told them it was time to play.

Billy said he wanted to try Lonesome Prairies by Dick Punch and Brent said, “Who’s Dick Punch?” and Billy went “Yours!” and punched him in the dick and it was hard to muster up any sympathy at all for him there.

One year, the members of the Dead crowded around Garcia’s iPhone that he had plucked from within the Time Sheath and somehow not set ablaze. They read forum posts, bloggings, articles, and listicles speculating on what their musical costume would be that year and as they read, their mouths took on meins of disgust as they realized that the phrase “musical costume” was perhaps the least cool thing they had ever heard and decided to just play their usual show, but poorly, as to show their displeasure. Billy also posted a comment on one of the sites calling the author’s mom gay.

Thanks to the gents over at The Phunion  for the idea, which they themselves stole from Relix.

The Mutineer

The show I posted yesterday generates opinions: some enjoy the energy, and others think that 6/4/78 was too over-the-top, that there is a difference between being enthusiastic and being the naked guy who still keeps trying to eat cops after he’s been shot seven times. Mrs. Donna Jean joining in the NFA jam was certainly her prerogative, and I enjoyed it: she saw everyone else going out-of-tune and decided to join in. Cool beans for Mrs. Donna Jean.

The show was from one of Bill Graham’s Day on the Green shows and Warren Zevon was opening and Warren Zevon was drinking because that’s what he did that year.

It did not go well.

Zevon wasn’t a good drunk, but he was a consistent one. He blacked out, a lot. He liked guns, and kept them handy. Also: pills and hitting people, mostly the woman closest to him. His shit was fucked up.

There is a recording of the abuse that Warren threw at the mostly-Deadhead audience, but it’s not readily available; I did find this picture:

phil zevon

I found this on the wonderful Grateful-Dead-Photos.com that contains some nifty pictures taken by a lovely man with a good eye named Bill Fridl.

You must appreciate Phil’s bemused chuckle at watching Warren eat it, deliberately and seemingly on purpose. “Yeah, I’ll get to the coke, but first I’m gonna watch Johnny Hairline piss off 25,000 people. That reminds me, I should call Ned Lagin.”

Warren: this was a big show, probably the biggest in sheer size you had ever, and might ever, play. The Deadheads liked you coming into it: their heroes had given you the most explicit of thumbs-ups. Covering a song that was in the charts? Unheard of! (Butchering that song? Heard of!) The Dead played one of your goddamn songs: MAKE FRIENDS WITH THEM, you idiot: the audience AND the band.

And it’s odd of him to piss off famous people of any stripe: Warren was an inveterate name dropper; every song in his live show has an intro about “It’s one of Marty Scorsese’s favorites.”Warren was never quite as famous as he knew he should be. It’s not narcissism: I share the opinion. So do most people with a little bit of taste in music.

His live show was usually good, especially during the ’80’s when tough times turned him into a one-man-band, playing twelve string and, of course, piano in little theaters and big bars. When times were good, he had LA sharpies; he could never afford to take the real motherfuckers out with him, though–the guys he hung out with back home and made most of his records with.

Zevon’s first bunch of records were immediately brilliant.  They were cool and funny and smart and his hair…well, you know about his hair. His next bunch (and this was a rather larger bunch; some might say ‘most’) were in retrospect full of heartless love songs that over years worm their way into you as their production makes the expected transition from ‘cheesy’ to ‘dated’ to ‘classic’. Then his last three, which were contextually beautiful back then; they stand on their own now.

Writers make sense of place, and explain ourselves to us: without grounding, there is nothing. To this day, there are parts of Lower Manhattan that still feel like Visions of Johanna. Hunter got San Francisco, and the open road, and the trail: Hunter was good with the trail.

But, Warren got Los Angeles right.

[youtube=http://www.youtube.com/watch?v=z0J3ossUzhU]

 

Warren Zevon could write the fuck out of a song.

PLUS the Heineken.

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.

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]

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