Why Does Dead and Company Suck?

Today is a complete rant about nothing car or bus related. Enjoy or ignore. Either way, I'm sure this will upset someone. To keep things calm, I will turn off the ability to add comments to this post.

Who the Hell Do I Think I Am?

Before Jerry Garcia died, self-identifying as a DeadHead was similar to self-identifying with a national (US) political party. People knew where you were coming from. You're not a metalhead, not a jazz aficionado and not a generic "fossil-rock" or classic rock fan. Being a DeadHead was specific. Nowadays, similar to identification with a political party, self-identifying as a DeadHead is not so simple. Like the many versions of political thought within a single party, there are many versions of "Dead fan" under the DeadHead banner. I know 'heads who feel that once Jerry died, it all changed and they'd never go to see a fragment of the Dead. There are those who will reflect on earlier days believing that things were better when (insert non-Jerry former member name here) was with them. There are some who will twirl to the sound of a child banging pans together. For others, all you need is a shuffle beat and it's worthy of praise, whether its a Dead fragment or a couple folks hammering on guitars in the parking lot. For the most part, all sides tend to agree that being off key or having some difficulty instrumenting doesn't matter. It's all good if you're groovy. Do whatever you're doing, but be genuine, push your limits and keep improving.

I'm somewhere in the middle of all that. I guess, if pressed, I'm sort of in that second group of  'they were better when'. Let me explain. I started following the Grateful Dead in the 80's, and my last tour with Jerry was in 1992. Except for my first few shows, I went to every show completely sober and danced my ass off. I missed the mid-90's through the early 2000's, picking back up with The Dead in 2009 and catching about a dozen Furthur shows before they stopped. I was at the JGB show in Milwaukee, WI that was just released on CD, drove overnight from Las Vegas to SF for the Golden Gate Park memorial when Bill Graham died and spent my honeymoon in 2012 (thx, Boo) witnessing the final New Years Eve run any Dead fragment performed.

So, who the hell am I? I'm someone who listened. I completely enjoyed every nuance of what greatness came from the stage and endured every plain-Jane set list, missed vocal note, and missed lyric, knowing more greatness would follow, and danced on. For that reason, I've waited 2 years for Dead and Company to follow the mess they create nightly with some greatness. It hasn't happened yet, and I don't think it will. Today's searing post details why I think that. Honestly, if this assemblage of players toured under a name that didn't have the word "Dead" in it, they would be playing bars, not stadiums. Agree or don't, but I have to get this out of my head.

Phil

Let's start with what's missing: Phil Lesh. He's the soul, the last remaining member truly believing that when the music leaves the speakers its everyone's. He embodies the freedom that the Grateful Dead packaged and delivered. As a player, Phil approaches the bass like it was a lead jazz instrument unlike just about everyone else who plays bass as part of a group. He is able to lead a group of musicians from song to song with little more than an encouraging smile (see photo) and a few little teases on the strings. He doesn't seem to approach the same chord change the same way twice, each time coming at the shift from a different angle, keeping the underpinnings of a song fresh and interesting. Sometimes, these experiments don't go as planned, but the experienced players he surrounds himself with are able to adjust and move with it. This was true with the Grateful Dead, the fragments of the Dead he worked with as well as his most current projects. While his voice hasn't been a benefit to any group of musicians he's played with for a long time, it was actually better during the Furthur days than it was for many years before or since.

Bob

Moving on to what's wrong, listen to a bootleg from just 10 years ago. Bob used to sing. Black-Throated Wind, Cassidy, Sugar Magnolia were some of the nicest vocal lines in the Dead songbook with his name on them. Check this video or this video from '78, for examples. Such sweet and powerful vocals. Sure, that was 40 years ago, and he was a much younger man, but now, he does a blend of barking, yelling and talking. He doesn't even try to make it sound like how the songs go, or to even sound like singing for that matter. So, while Phil's singing may not exactly be in tune, at least he's singing and trying to stay true to the melodies as best his voice can.

Bob's guitar work, however, remains just as interesting as it was in the 70's, only ripened with age. He voices chords and plays poly-rhythms in an extremely unusual way and he attracts players like bees to fresh flowers because of his innovative approach to the guitar. His bark-yelling the words to songs that used to have beautiful melodies, on the other hand, is just atrocious.

Drumming
In their hay-day, Billy and Mickey were able to set a groove. Sometimes the songs moved their beat and other times their beat moved the songs. The early half of "Drums" was one of my favorite and arguably most consistent spots for a show. It was highly rhythmic, encouraging dance like a tribal beat does. If a show was exceptionally plain-Jane, it was often this part of the show that turned it around. You could feel a hum-drum show turn. Something great would flow out of Space, completing the show with a strong handful of songs all thanks to Drums pulling the concert out of the bin.

After not playing together for a few years (since Rhythm Devils split in '08 and The Dead stopped in 2010), I figured it would take a while before Billy and Mickey hit their stride. Unfortunately, they still haven't and it's been long enough for them to get it together. There are definitely two drummers, not two instrumentalists making one rhythm. Perhaps they can't decide or agree on what they're doing. As a listener, it doesn't matter; they are less of a cooperative unit and more like two guys banging on things in the back. There are points when it sounds like there is a team of carpenters erecting a shed or drum-riser on stage rather than a cohesive percussive rhythm driving and complimenting the music.

John Mayer

One thing that sets Jerry Garcia's sound apart from everyone else, especially in the psychedelic space, is the most simple thing that John Mayer doesn't ever do: use the Mixolydian mode of the scale. Jerry didn't use it exclusively, but John never uses it. Ever. Even on the songs that cry out for it (The Other One or Terrapin, are examples, but there are plenty). He insists on only playing blues-style solos. That's great on Bobby's cowboy tunes or some older blues songs, but to only play that way against the Grateful Dead songbook feels like you're petting the fur the wrong way most of the time. When Warren Haynes toured with the Dead, he was able to bridge the gap from classic rock / blues to shred on some of the more psychedelic numbers. So, it can be done; John Mayer hasn't shown that he can, but then he's no Warren Haynes either. Of all the things that are wrong, John's approach to solos is the back-breaker for me. It just doesn't work in so many songs, I just can't take it.

John can sing (yeah, that's hardly news given his Grammy's). It's on key and pure. It just sounds a little old-style crooner which makes Dead tunes sound contrived, and the lyrics less powerful. Just as Aerosmith has to be sung with a little edge in the voice, the Dead can't be sung by Mel Torme. To me, it needs an edge; it needs a little sorrow. One cover song here or there is one thing. Singing half of a show without that soul just doesn't work.

Oteil

Oteil has a great voice. I hadn't heard him sing before last Summer and it is just beautiful. He sang a "China Doll" that was just amazing. When contrasted by Bob barker, I can't help but wonder why Oteil doesn't sing more and Bob sing less. It would probably make his main job (playing bass) much harder.

That bass work is just not the same as with Phil. Unlike Phil, Oteil plays like bass is a complimentary instrument that doesn't have much freedom. It's almost as if he had spent the last 20 years playing in a classic rock band. Oh yeah, he did. With the Allman Brothers. Yes, there are fills and runs here and there reflective of his years with the Aquarium Rescue Unit, but nothing like an old "Phil and Ned" or even some of the tasty lines Phil would drop into more straight-forward numbers like Scarlet or Music Never Stopped. But, Oteil has it in him to get out of the box. The guy can totally groove; I don't know how much freedom he has to do so in this group for two reasons. First, he is in a rhythm section comprised of him and the carpenters I described above. To keep the song together, he really can't move too far from dead-center or the shed construction could completely unravel a song while he is pushing the creative envelope. Second, Bob will need to let Oteil loose. Having watched video of Bob working with other players, I know he runs a tight ship. But having so much of the responsibility for keeping the song together may be the true barrier to Oteil really blowing some minds.

Jeff
I haven't mentioned Jeff Chimenti, and I really should. He's fantastic. Really fantastic. Really really fantastic. He's been playing with members of the Dead for 20 years, and he totally gets it. I first caught him with The Dead and have enjoyed every show I've seen him play since. In my mind, he's reached, and maybe surpassed "Brent status" in terms of his keyboard. On those occasions when I gave Dead and Company a try, it was Jeff's keyboard work that kept me listening well beyond my patience would allow had he not been crushing it so hard. He is simply inspired. I hope to see the Golden Gate Wingmen one of these days to see how he and JohnK play together in their new group. And maybe hear what some of his original material is like? That would be so great. Okay, I've run out of descriptors. Let's just summarize with: he's awesome.

That's my rant for today. I'll get back to my usual car or bus work and road trips next time. Thanks for bearing with me, and if there's a jam band that you like (that's not Dead and Company), I'd love to hear them. I'll be trying on String Cheese this summer, and really want to hear whatever else is going on in the jam-band space. Have bus, will travel-

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2023-August days-between update... now that Dead & Co's final tour has ended, I am hopeful for the next incarnation. I had not been following the news items about them, so I missed the part where they parted ways with Billy, leaving only Bob and Mickey as original members. Arguably, Mickey was a later addition, but lets not split hairs. I heard some of the final tour, and the new drummer was great. Awesome energy and ticking like a flippin clock. It seems like the "creative differences" between Dead & Co and Billy may have been Billy's contribution to the drum riser construction I mentioned above, seeing how it was not going on anymore. Also, Oteil was WAY more active and present, implying that my theory that he was under-playing just to hold things together may have been somewhat on-target. Anyway, RIP Dead & Co, and may a greater phoenix rise from these ashes, preferably without John Mayer. Musing... maybe just swap out JohnM for JohnK and drop the word "Dead" from the name so they aren't playing stadiums full of 50k persons chasing their personal pasts. Instead, they can return to more intimate venues like Further played, and return to the experimentation we got to witness in doing so. One can dream.

Santa Clara by way of Wheeler

While so many folks around the San Francisco area were celebrating the Supreme Court decision to allow same-gender marriages, deadheads looked to the southern end of the SF Bay to the final pair of concerts to be performed by the guys who used to be called "Grateful Dead" on the West Coast. The well-heeled or well-connected got tickets at exorbitant prices while the rest of us watched with wonder... through $100 worth of simulcast access. Today's post is about how I saw the Santa Clara shows with some family and friends, complete with a bus repair adventure!

Getting Out
I've mentioned the MT3. Up until late Friday evening, our plan was to take a car and a bus (8 people) to my friend Mayhem's place in Wheeler to camp in the bus for the Santa Clara shows. As the evening got late, though, it was clear that Boo needed to stay home to get some work done and the MT3 wouldn't be going. So, rather than 8, only the older 3 boys (T, C and K2) got to go. My boy's mom got herself tickets, travel and hotel (once the support check clears, no one really knows where the money goes, do they?) to get down to the show in person, so T and C knew a little bit about the shows' significance. Saturday morning, I got up like it was a workday. I hit the grocery store for supplies, and loaded the bus. We were loaded with fuel and ice and ready-ish to go when Grateful Ed arrived with Belle.
MPG note: 35 MPG since the last fill. That's high, but should we factor in the top-off?

To Wheeler

With 2 boys in the middle row and T as my co-pilot, we set off following Belle to US26. As always seems the case, we were met with smiles and waves as we passed. Or, more often, when we were passed. Hapy ran great again, through troubled traffic between the US26/OR6 interchange through the US26/OR47 interchange. It's pretty farmland out there, but someone did something they weren't supposed to and for a stretch that should taken about 10 minutes, we slogged for over almost an hour and a half. In intense sun. Where no AC means hot driver. Still, the traffic let up just past the Dairy Queen in Manning, and we got back to normal pace: 55 downhill, 35 uphill. We proceeded like that through the Coast Range to the US101 interchange and down the 101. Just before Hug Point, Belle pulled into a view area with a deep lot. Driver Ed was hungry, so we parked with sliders facing each other, popped the tops and broke out the hoagies.

Summer Sights

No sooner did we shut off engines than the folks who had been taking pictures of the ocean were now taking pictures of the 2 buses. Of course, I should have too, but I was hungry... and then the small crowd formed, and there were questions to answer, and such. There's s great line in The Bus Movie about a menu of things you can ask, and how much you get to pay for the driver to listen to the question and maybe answer. Very funny, but I love talking to folks about the bus. You have to, if you're going to drive one. After the last visitor left, we fired up the buses and completed the few miles to Wheeler. I'd never been on the stretch of US101 just south of Manzanita before; it is very pretty and seems less touched by the micro-mansions that have appeared along other areas of Oregon coastline. As you pass through, do remember: the stop sign in Nehalem is right turn permitted without stopping. It creates quite the stir among the locals when someone stops and confuses everyone :)

Casa Mayhem
We arrived to two little Mayhem's watching the Octonauts with Grampa Mayhem. Some times, arriving at someone's house can be like arriving home, and Mayhem's felt that way. The boys settled into the easy conversations between familiars, and before long we were trading stories and laughing. Grateful Ed broke out the flags that usually adorned Belle and presented them off the front deck while I readied Hapy for "camping". The boys decided to sleep on the front deck with a view of the bay to wake to. Great choice. Once our sleep arrangements were set, we grilled up our traditional post-Jerry music food: meat snax. There's nothing quite like grilled steak in small bite-sized chunks, only improved by chilling after cooking and then service cold. Yummy.

Santa Clara, Day One

With food in hand, we fired up the simulcast of the Dead show going on in Santa Clara. The fine folks at Jambase (see here) have a much deeper set list and opinion piece about the performance than I could possibly create. I don't agree with their glowing report, though. I thought most of the performance was mediocre, the vocals thin, and the timing was off. There were a few missing pieces: first, none of them would assertively lead. Bob would try to get Trey's attention after he disappeared into his guitar solo (staring at his feet), only to become frustrated and give up on the segue. They almost gave up on the Eleven entirely. I would agree that the show-ending Morning Dew was pretty good. Bob found his vocal strength in time to nail that number. The encore Casey Jones (lead-vocal by Bruce Hornsby) should have reminded everyone that he has a great voice, and that was what singing in front of 80k people was supposed to sound like. The vocals was another missing piece. Furthur used to travel with backing vocalists to help make the sound fuller. Without them, the vocals were thin and pitchy. The last missing piece was the ability to either segue or stomp and ending. Most of the songs just petered out, especially in the second set. Lots of miscues and bumbling endings. Overall, those at Casa Mayhem reflected with memories of plain-Jane shows of years past, or some of the performances during Jerry's last year with us. Not good, but always hope for another day. Like the next day...

Santa Clara, Day Two

Sometimes, the Dead was a Jekyll and Hyde routine. One night coming out flat and disinterested and the next night firing on all cylinders. With a train-wreck in the rear view mirror, we hoped for Dr. Jekyll on Sunday. We got something close to it. The JamBase folks liked it too (see here), but I think they again oversold how good it was. To their credit, the band tried much easier songs the second night, increasing confidence in the singers that Trey wasn't going to screw it up. Also, Trey pulled his head out of his ass and looked at the other members of the band for cues. There were still plenty of awkward endings and missed transitions, but the meat of the songs went well. Unlike the first night, when it felt like any song could fall apart at any second, the songs held together well the second night. The first set had many more songs sung by Bruce Hornsby and fewer sung by Phil, also good. The Death Don't Have No Mercy was probably my highlight of the 2-night run.

Like the night before, we wished John Kadlecik had gotten the gig, but after Kreutzmann's comments in late 2010, it comes as no surprise John didn't get the spot. Well, Billy, your chickens have come to roost. Warren Haynes is great, but John had the right vibe for the spot. If the band intended to do more than 5 shows, do a tour or two, for example, I could see the point in working with Trey. Eventually, he could be pretty good with this group. I don't think there's enough time for the band to fully gel before the final note in Chicago, much less before the first. I'll be watching anyway, because with Phil and Bob, you just never know. They've pulled some magic before.

Pair of Jacks to Open

Between the two shows, Grateful Ed noticed that the right rear tire on Hapy looked awfully low. He was right and it seemed like a simply fix, what with the full-sized spare sitting on the nose. While everyone else lounged about, I pulled out the BusDepot jack and started raising the bus. Within a few minutes, the jack got much harder to raise, but we couldn't tell why. Soon thereafter, the handle of the jack broke off. Drat. Good thing Belle is here with her original (40 year old) jack. Before we started this time, though, we pulled the sleeping bags and tent out of the back of the bus. Not much weight, but we figured it was better safe than sorry. The jack went in, the bus started to rise, and then the part that slips into the jack-point split in two. One flat tire, 2 broken jacks. So, we dug into the trunk of Mayhem's modern Lexus SUV for a third option before resorting to AAA. Since it didn't fit into the jack-point, we tried something entirely different: putting the scissor jack under the rear hub where the shock absorber is bolted. the wheel left the ground, and I was able to get the rim off the hub, but I couldn't get the tire and wheel out from between the hub and the rear wheel arch.

Now, we're really getting that Dead parking lot feel: solve with people. We arranged everyone around the rear corner of the bus, grabbing rear bumper or the underside of the body and lifter together while I quick pulled the tire out. The new tire, with much more air, couldn't fit in the same way and the hub was too low even if it could fit. We needed to raise the bus more, so we team lifted while Ed turned the screws on the jack. After a few attempts, we had it high enough to slip onto the studs. I threaded the nuts on while Ed lowered the jack. The boys quickly disappeared on their skateboards.

Homeward
We left shortly after the second show ended. In fact, the show ended a minute or two after 11 and we were on Hwy101 before 11:30. We arrived home a few minutes after 1:AM this morning. Hapy drove like a dream. With a low purr, he took the hills well, carved the fog and never broke 192*. I had the opportunity to try the new windshield washer, and it works great, mechanically. I need to adjust the spray pattern: it currently shoots straight up, so if I'm driving fast enough, it ends up on the windscreen... sort of.

That's it for today. Next weekend, the Dead invade Chicago, and I'll be there by way of Grateful Ed's back yard broadcast, camping music festival style under the trees. As always, thanks for following along-