I won the Q107 SuperSet Competition as a 15-year-old with my entry “The Greatest Emotions of man” which included David Bowie’s Five Years, Led Zeppelin’s Celebration Day and Black Sabbath’s Iron Man. The idea of the Q107 Superset was to create a set of songs and see if the radio station would play it. And, yes, my high-fallutin’ concept of being sad, happy and mad won that night. I couldn’t believe it. I might have even screamed and jumped up and down.
I went down to the station the next morning to collect my prize – my own album from the Q107 collection – and was directed into a drab office by an indifferent secretary to pick something out of a cardboard box. “Take whatever you want.” I flicked through the discards – the telltale rectangular notch in the upper right corner – and begrudgingly took something yellow. It was as I descended the cement staircase that I realized that there was an emotion I had neglected to cite – disappointment – but there were no songs for that.
By my count, there have been 148 concerts officially released by The Grateful Dead. These releases have come in various incarnations, most notably Dick’s Picks, Road Trips and, the series of late, Dave’s Picks.And while it is a boon for Deadheads to receive any recordings from the archives, a black hole has emerged in these releases – 1982-86 – which is coincidentally the years of my touring. A grand total of four shows have been released from this era – amounting to only one third of the 1977 releases alone. Even if we excuse the release of all 22 shows from the 1972 European Tour, this works out to a lousy 3% of the releases from almost 20% of their touring years.So what gives with Dave Lemieux and company? Is it that these years were particularly weak? I would argue the opposite, that these years offer stellar shows with stellar versions of stellar songs.
Kacy & Clayton build the moment to stay in, look around and wonder what the hell else there could be.Kacy Anderson’s voice offers an assurance, belonging in this moment and no other. Clayton Linthicum’s guitar fills. The Saskatchewan duo, second cousins, are making music, their music, on the small stage for now – just 50 or so people in the audience at The Mercury Lounge in New York City. That won’t last for long.
Amir Bar-Lev’s 4-hour documentary on The Grateful Dead has its moments: Al Franken explaining the subtleties of Althea, Robert Hunter stating that his lyrics “are clear”, as well as archival footage of an army platoon on LSD. And of course there is the music – Uncle John’s Band, Sugar Magnolia, Dark Star and Playin’ in the Band and on – along with reams of concert footage. However, as melancholically sweet as these moments might be, the narrative is skewed, emphasizing the mania and addiction, a tough go for anyone not a Deadhead. The story of Jerry Garcia as the unwilling guru/god throughout his life is ironically reinforced throughout the film, focusing almost exclusively on his reclusive genius while tip-toeing around the personal wreckage an addict leaves behind, which leaves the viewer wondering how the others might have coped the past 22 years since his death.Which is the biggest gap of all in the film, ignoring the fact that Phil Lesh, Bob Weir and Mickey Hart have all been consistently touring, chasing a sound as rapturous as ever.
I’m trying to figure out this moment, like a glimpse from the ridge, the sun just right, the river and valley streaming out, where the getting to where is gotten to and there might be nothing more. It’s the end of the first set opener – Sugar Magnolia – for The Closing of Winterland on New Year’s Eve 1978. Bobby is raring to go, strumming and, well, bobbing, while Jerry watches, amused by these simple chords that we are all ready to jump and die for.And they go on, Bobby strumming and bobbing, Jerry beatific, Donna unwittingly caught in the whirligig of this remarkable everything thing.And because it’s recorded, I watch it again and again and come to the realization that a simple thing is not that at all.
All that I am asking for is ten gold dollars And I could pay you back with one good hand You can look around about the wide world over And you’ll never find another honest man. Everybody prayin’ and drinkin’ that wine I can tell the Queen of Diamonds by the way she shines Come to daddy on the inside straight, Well I got no chance of losin’ this time
Expelled from boarding school, Davis moves in with his father and step-family. His step-brother, a world-class swimmer, is indifferent to his presence while his step-mother and step-sister treat him with outright disdain. His new school, a strict all-boys institution, is no refuge, but rather a breeding ground for bullies and malcontents. Davis learns of a compulsory public speaking competition from a pair of misfits, Eugene and Erdley, both of whom he befriends over hashish and an obsession with music lyrics.
Davis joins a film club, led by a stunning young film teacher, Ms. Geisner, and shortly after takes a job delivering newspapers in her neighborhood. Davis gets into a series of problems – including an evening of pyromania ending in Erdley getting badly burned – until, in an ironic turn, Martha is fired from her job for smoking pot, leading her parents to take her with them to her brother’s swim meet in Northern Ontario.
Left alone in the house, Davis sneaks into a party at Ms. Geisner’s house where he gets drunk and, after watching Ms. Geisner dance to The B-52’s Rock Lobster, confesses his love for her. It ends badly. He wakes, miserably hungover, realizing the public speaking contest is in today’s assembly. Instead of his practiced speech, he decides to recite Rock Lobster. Initially unsure, he gains confidence and ends up screaming the final lines, which is received with great enthusiasm by the student body and outrage by the administration. It appears that Davis is to be expelled yet again, until his father meets with the head of school and promises to help finance a new swimming pool.
I have chased down many a show over the years in pursuit of something approximating bliss or satisfaction. There have been moments, rare moments, where this feeling almost resides. I have been enraptured by the likes of The Grateful Dead, Stereolab and Sufjan Stevens. (Video here.) I have also been fortunate enough to happen across these moments, such as the choral chanting in Tant Kyi Taung Pagoda, Myanmar. (Video here.)However in my long and winding pursuit, I have been as equally disappointed by all of those those mentioned above, finding boredom and ennui instead. It’s not astonishing to realize that it is the sound and not the event, the journey as they say, even if it’s a recording on a drive going nowhere. (Video here.)