RIP Shel Talmy

One of the odd things about the social media era is becoming "friends" with musical legends and cult figures that you've never met. Musicians you've interviewed and interacted with in real life - that's one thing, that makes sense.  But I get a little shiver when I see a name like Annette Peacock, Michael Rother, Peter Perrett and John Perry, or Andy Ellison (of John's Children renown) pop up in my Facebook feed.  

One such Facebook friend that for the life of me I can't work out how I acquired was Shel Talmy, producer of a great number of classic singles of the 1960s, including works that I find impossibly exciting: the obvious anthems by The Kinks and The Who, stuff by The Creation, and above all The Easybeats's "Friday On My Mind".

 I think of the sound Talmy shaped as quintessentially English, even though he was himself an American living in  Britain. (Much the same applies to Joe Boyd).  Most of the groups Talmy produced were British, I believe (or Australian, as with the Easybeats). Somehow Shel was able to tap into, activate, direct, and realise a uniquely English form of musical violence.  

I never actually interacted with Shel, which now seems like a shame. But I did enjoy the detailed accounts of producing particular tracks that he posted on Facebook, always titled "The Blueprint Of...". Over the years I have written about a bunch of things he worked on, but I don't think his name ever got mentioned therein - remiss of me perhaps - but at any rate here they are gathered below: a sort of belated reparations, or salute. 

Talmy is one of the prime architects of this syndrome I broach below (extracted from this longer piece on British Rock Greatness). Again, somewhat ironic given that he was a Yank

... by the early ’60s, a difference had become audible — a contoured clarity to the riff structures hitherto only heard in Eddie Cochran (who produced his own records, and was much bigger in the U.K. than in America). “Shakin’ All Over,” by Johnny Kidd & the Pirates, is the first British rock ’n’ roll record to match America while also sounding different. This stark, almost diagrammatic quality carries on through the Kinks and mod groups like the Eyes, on to Led Zeppelin, Free and the Groundhogs, and beyond them to Wire and Gang of Four. It almost feels like you see the music as much as hear it; compare this lucidity with the organic, live-sounding quality of so much American rock — the marauding murk of the Stooges on Fun House, for instance.  

Perhaps British rock feels less “organic” because we’ve never had an organic relationship with the music or its sources in blues and country. These sounds arrived like invasive visitations, and bear connections to indigenous forms like traditional folk or music hall that are chiefly musicological and twice-removed. It’s as if this inherently distanced perspective on rock gave British artists a unique vantage point, and an advantage. Hearing rock ’n’ roll primarily as recordings first and foremost, rather than as live music, made a difference. As their precursors had with jazz and blues imports, British rock ’n’ roll fans studied the records, playing them over and over and isolating specific bits of performance. (This studious approach no doubt contributed to the remarkable lineage of British guitar heroism.) In the U.K., the record is the primary text, what a live performance is trying to realize and replicate; in America, it’s the other way around. 

Thoughts on "Friday On My Mind" and "the blow out":

With the rave as working class blowout idea, I always come back to this 1966 song by The Easybeats, "Friday On My Mind",  a thrilling anatomy of the working-class weekender life cycle of drudgery, anticipation and explosive release. It's written from a Sixties mod perspective, the 60-hour weekend, but it foreshadows Northern Soul’s speedfreak stylists, to disco’s Saturday-night fever-dreams and jazz-funk’s All Dayers and Soul Weekends, and onto rave and EDM. Every kind of dance culture in which pills are used to intensify leisure time to the utmost, but then it's back to the 9 to 5. 

 This is the key verse --

Do the five day grind once more

I know of nothin' else that bugs me

More than workin' for the rich man

Hey! I'll change that scene one day

Today I might be mad, tomorrow I'll be glad

'Cause I'll have Friday on my mind

And then there's the chorus 

Tonight I'll spend my bread, tonight

I'll lose my head, tonight

I've got to get to night

Monday I'll have Friday on my mind

Musically the verses have this sort of tick-tocking tension, like the treadmill of workaday time, as he waits for the big blowout of the weekend (the euphoric chorus). It's two different kinds of time:  chronos versus kairos

Lyrically the key line is "hey! I'll change that scene one day"  - I find it incredibly poignant - it could just mean "one day I'll get started on my career / start a business and I'll be the rich man / boss" or it could mean "one day me and the rest of the proletariat will organise at the site of the means of production and there'll be a revolutionary transformation in political economy, no more rich men, no more bosses"

But it's clear that he's so caught up in this nightlifestyle that he'll never get around to either the individual or collective escape route

I tend to see the essence of rave (and its precursors) as dissipatory 

But (like a lot of music in different ways) it points towards an unalienated life - one that it can't actually make real  in the outside world, but can only institute in the small areas of space and time it can command

Of course, the troubling thought is that the momentary release of the ecstatic all night dance is actively working against the total and permanent change he and everyone else should be working for (and which would necessarily involve more drudgery and deferment of gratification in favor of the long term goal - duty for the future being the essence of political involvement) 

The here-and-now utopia / TAZ is taking away the possibility of a soon-to-come PAZ (permanent autonomous zone)

Almost sixty years after "Friday On My Mind",  we’re no nearer to overhauling the work/leisure structures of industrial society. Instead, all that rage and frustration is vented through going mental at the weekend (‘Tonight, I’ll spend my bread / Tonight, I’ll lose my head’), helped along by a capsule or three of instant unearned euphoria.

Flowered Up's "Weekender" film is an update of this notion of the  blow out cycle as counter-revolutionary. It's totally mod - indeed directly influenced by Quadrophenia, the mod revival movie of 1979 - indeed there's a sample of the Phil Daniels character's rant about how they can take his office drone job and stick it up their arseholes. In Quadrophrenia, the key scene of disillusionment for the mod protagonist as played by Phil Daniels,  is when he comes across the scene's leading Face - the coolest of the cool  - in his civilian life, where he is a porter in a posh hotel, a flunky ordered around by rich men... 

Another song about the blow out - there's a verse about "going to the disco" in this otherwise gritty funk-blues song about how tough life is economically by the great Johnny 'Guitar' Watson, the king of "proletarian funk"

Got to go to a disco

Throw your troubles away

Dance to the music

That the DJ's play

And then the lights come on

Like you knew they would

Go home and face the music

That don't sound too good

Stuff on The Who and mod from an essay entitled "Buttoned Up" - about buttoned up shirt style, wouldyabelieve? - for this volume

The violence of the Mods as they rampaged against the Rockers was on one level  simply righteous disgust for their abject opposite.  But mod style itself could be seen as having an inherent undercurrent of violence. First, there was the symbolic violence of dressing sharper than your social superiors (“powerful people -- businessmen in suits, take their clothes, retain your identity” as Ian Page of mod revival band Secret Affair put it). But also a kind of imploded violence: the neurotic fastidiousness of dress and grooming was a sort of voluntarily worn strait-jacket, a near-masochistic set of constraints and rules.   

This stringent regime, stoked and sharpened by amphetamines, virtually demanded some kind of release, a breaking free. That could take the form of mayhem (as with the war with the rockers) or through theatricalized disorder. Which is where the Who came in: a band designed by mod philosopher Pete Meaden, the group’s manager in their early days.  Meaden deliberately shaped the Who to appeal to  the existing Mod subculture, which until then had been based not around following bands but dancing to records, imported soul and R&B.

Rock ‘n’ roll had triggered violence before (with the cinema seat slashing done by Teddy Boys driven into a frenzy of excitement by the first rock’n’roll movies to arrive in Britain). But it had never really represented violence musically or enacted it onstage.   The Who’s sound was white R&B so amped-up and amphetamine-uptight it came apart at the seams: Keith Moon’s free-flailing cymbal crashes and tom rolls, Pete Townshend’s slashed and scything powerchords, John Entwhistle’s bass-lunges.  A sound expressive not of sexual desire but of an unrest at once social and existential.  Mod was fundamentally asexual: as Pearce notes, mods “simply were not interested. They were.... too self-absorbed....  Mods were free, clear of emotional ties. They rejected peer pressure to pair off.”  The boys dressed and danced to impress other boys, not to attract girls. Amphetamines  also had something to do with it, suppressing sex drive along with the other needs and appetites of the organism (such as food and sleep). Speed creating a sexless intensity, a plateau state of arrested orgasm that the mods, revealingly, called “blocked”.

The pent-up pressure had to blow somehow, though, and mod’s latent violence was dramatized by Moon and Townshend in their climactic orgies of instrument-smashing : supposedly inspired by art-school student Townsend’s  encounter with Gustav Metzger’s auto-destructive art, but really the orgasmic release that mod music, mod psychology, mod neurology urgently required. In the immediate aftermath of “My Generation”, “I Can't Explain", "Anyway Anyhow Anywhere", and the other early Who singles,  young bands like The Eyes, The Creation and John’s Children picked up on the band’s loudness and distortion and recorded a  a series of 1966-67 singles that fans and collectors subsequently have come to call “freakbeat”:  mod tipping into a jagged, edge-of-chaos frenzy under the influence of speed and LSD.  The strange blend of menace and feyness in songs like The Eyes’s “When The Night Falls” and “My Degeneration”,  John’s Children’s “A Midsummer Night’s Scene”  and “Desdemona” simmered with a spontaneous combustibility that was uniquely English, rooted in the characteristic native psychology of neurotic uptightness and lashing-out rage. 

John Entwistle / The Who, “My Generation” (Brunswick single, 1965)

Rock ‘n’ roll had triggered violence before, but up until The Who it had never really represented violence musically* or enacted it onstage.  Think of words like “mayhem” and “destruction” in connection with that band and the first things that spring to mind are Keith Moon’s free-flailing drums and Pete Townshend’s scything powerchords.  (Not forgetting those climactic orgies of instrument-smashing).  But on “My Generation” John Entwistle supplies more than his fair share of the savagery. Often described as lead bassist to Townshend’s  rhythm guitarist, on this late 1965 single, his is the loudest instrument (with the possible exception of Moon’s cymbals). 

For the first minute “Thunderfingers”, as his bandmates nicknamed him,  churns and grinds as relentlessly and remorselessly as a gigantic tunnel-boring drill. Then, outrageously, he takes the solo and slashes a rent in the song’s fabric with a down-diving flurry of notes at once fluidly elegant and brutishly in-your-face.  This is generally regarded as the first bass solo in recorded rock, and as such, it’s a mixed portent.  Entwistle would immediately attempt to reprise the shock effect on the Who’s debut album with the bass-dominated instrumental “The Ox” and over the years he became an increasingly ostentatious player, peaking with the verging-on-Pastorius floridity of Quadrophenia’s “The Real Me” (much admired in the technical guitar magazines). 

But in the immediate aftermath of “My Generation”, young bands like The Eyes, The Creation and John’s Children picked up not on the sophistication (beyond their capabilities, anyway) but the loudness, distortion, and menace.  Amping up the jagged, edge-of-chaos frenzy, they recorded a series of 1966-67 singles that fans and collectors today know as “freakbeat”.  Mod, as a musical form as opposed to a subcultural style, represented a uniquely English contribution to rock: the sound of frustration and neurosis, tension and explosive release.  In their own way, for a moment there in the mid-Sixties the Who were as radical as the Velvet Underground. Certainly, as far as Britain is concerned, punk starts here. Entwistle can even be seen as a forefather of postpunk’s  “lead bassists”, or at least the  aggressive hard-rocking sort, such as Jean-Jacques Burnel and Peter Hook. Indeed Hooky actually bought some of the Ox’s bass guitars in the estate sale after his 2002 death.

* Actually I would semi-retract that - Bo Diddley's sound, all rhythm and noise, is joyously violent. 

VARIOUS ARTISTS, Nuggets II: Original Artyfacts From the British Empire & Beyond

Lenny Kaye's 1972 anthology Nuggets was a rock archivist's masterstroke, a feat of canon rewriting that deposed the post-Sgt Pepper's aristocracy and elevated the forgotten garage punks of the mid-Sixties, from The Seeds to Chocolate Watchband. Rhino's 1998 four-CD update of Nuggets dramatically expanded the original double LP. Now this latest instalment extends the Nuggets premise beyond the USA to encompass the one-hit-wonders and never-wozzers of mid-Sixties Britain: that all-too-brief golden age of amphetamine-cranked R&B and mod-on-LSD that's roughly bookended by "My Generation" and Cream's Disraeli Gears. Just the names of these long-lost groups--Dantalion's Chariot, Wimple Winch, Rupert's People, The Idle Race--induces a contact high, before you even play the discs.

Back then, singles made their point and left. This short'n'sweet succinctness allows the compilers to cram 109--that's one hundred and nine--tracks into four discs. Here's just a handful of gems. Tintern Abbey's "Vacuum Cleaner", with the saintly-sounding David MacTavish singing a proto-Spacemen 3 love-as-drug/drug-as-God lyric ("fix me up with your sweet dose/now I'm feeling like a ghost"), splashy cymbals, and a billowing solo of controlled feedback. Them's "I Can Only Give You Everything": Van in I'm-A-Man mode, awesomely surly and swaggering. The Sorrows's "Take A Heart": a Brit-Diddley locked groove of tumbling tribal toms and spaced-out-for-intensified-effect guitar-riffs. The Eyes's "When The Night Falls" takes that drastic use of silence and suspense even further: powerchords like Damocles Swords, caveman tub-thumping, tongues-of-flame harmonica, and an insolent you-done-me-wrong/go-my-own-way vocal. Fire's "Father's Name Was Dad," a classic misunderstood teen anthem: society gets the blame and the kid surveys Squaresville from a lofty vantage, cries "I laugh at it all!"

One group stands out as a "why?-why?!?-were-they-never-MASSIVE?" mystery. Not The Creation, and not The Action--both had terrific songs but were a little characterless. No, I'm talking about John's Children's. Their two offerings here are astoundingly deranged, the monstrously engorged fuzzbass like staring into a furnace, the drums flailing and scything like Keith Moon at his most smashed-blocked. "Desdemona" features the then shocking chorus "lift up your skirt and fly", daft lines about Toulouse-Lautrec painting "some chick in the rude" plus the stutter-bleat of a young Bolan on backing vox. "A Midnight Summer's Scene" captures mod sulphate-mania on the cusp of mutating into flower power acid-bliss: it's a febrile fantasy of Dionysian mayhem in an after-dark park, maenad hippy-chicks with faces "disfigured by love", strewing "petals and flowers," prancing the rites of Pan.

John's Children's merger of cissy and psychotic highlights the major difference between American garage punk and British "freakbeat" (as reissue label Bam Caruso dubbed it for their illustrious Rubble compilation series). The Limey stuff is way fey compared with the Yanks. You can hear a proto-glam androgyny, a "soft boy" continuum that takes in Barrett and Bolan, obviously, but also the queeny-dandy aristocrat persona of Robert Plant. At the same time, because these bands were schooled in R&B and played live constantly, the music has a rhythmic urgency and aggressive thrust that gradually faded over subsequent decades from the psychedelic tradition (think of Spiritualized's drum-phobic ethereality). This, though, was music for dancing as much as wigging out.

Nuggets II isn't solid gold. There's a slight surfeit of boppy shindig-type rave-ups and sub-Yardbirds blues that just ain't bastardized enough. Personally I crave more tunes with truly over-the-top guitar effects, aberrant bass-heavy mixes, phased cymbals, drastic stereo separation, and other psych-era cliches. The "British Empire" part of the subtitle allows in Australia's The Easybeats (godstars for the duration of "Friday On My Mind") while the "Beyond" pulls in groovy Latin American acid-rockers Os Mutantes. But to be honest, a lot of the Commonwealth-and-beyond stuff just ain't that hot. And inevitably one could compile another 2-CDs out of heinous ommissions. Forget the quibbles, though, this box is a treasure chest of vintage dementia.

THE WHO

3O YEARS MAXIMUM R&B

 For a while there, it seemed that The Who had dipped out of rock memory, become a band that virtually no one even thought about. They seemed to have the same relation vis-a-vis the eternally cool and current Beatles & Stones that, say, Deep Purple have to Sabbath & Zep: massive then, monstrously uninfluential thereafter. In recent years, though, The Who have slowly seeped back as a reference point, what with Urge Overkill's "Live At Leeds" sharp-dressed rifferama and the mod iconography of groups at diverse as Flowered Up, These Animal Men, Blur, D-Generation, and Primal Scream (that ad for 'Rocks' featuring Keith Moon). 

     Personally, I find there's something resolutely unloveable about The Who, although why I'm not sure.  Pete Townshend's mid-life crisis and endless maudlin' musings on lost youth?  Roger Daltrey's voice, face, and fish-farm? Just the FACT (I haven't heard 'em) that John Entwhistle released FIVE solo LP's?  Perhaps the real reason is the boy-ness of The Who cult (and of their legacy, The Jam, Secret Affair etc).  Somehow it's obvious that way fewer women cared about The Who than The Stones, Beatles or even Led Zep. 

     Still, I love the mod-psych bands who never made it--The Eyes, John's Children, The Creation--so I can't logically refute the thrill of "I Can't Explain", "Anyway Anyhow Anywhere", "Substitute". At their 1965/66 height, The Who's white R&B is so amped-up and amphetamine-uptight it's coming apart at the seams.  "My Generation" remains as naffly irresistible as Steppenwolf's equally naive "Born To Be Wild"; Moon's ramshackle surf-drums, exploding everywhichway like Mitch Mitchell of the Experience, Townshend's slash-and-scald rhythm guitar, Entwhistle's bass-lunges and Daltrey's speed-freak stutter, all add up to an immaculately chaotic enactment of mod's "smashed, blocked" aggression, its rage-to-live and hunger for action.

     With the arrival of psychedelia, The Who toyed with the era's fashionable tropes of androgyny ("I'm A Boy"'s Frank Spencer scenario, where mummy won't admit he's not a girl), and regression (the fey "creepy-crawly" terrors of "Boris The Spider").  There were gems here (the effete all-wanked-out vocals of the masturbation ode "Pictures Of Lily"), but mostly The Who's acid-phase is unusually unappetising.  "I Can See For Miles" turns mod misogny into visionary paranoia, and the swooping phased guitars of "Armenia" thrill, but the pallid, fey vocals of this period are pretty pukey.

     Then the bombast begins in earnest.  Daltrey quickly swells into the least likeable white R&B singer this side of Joe Cocker, while Townshend's songs bloat up like houses with too many extensions. The Who's progressive aspirations are all on the level of structure rather than playing or texture (which remained coarse R&B); the result is a horrid fusion of prog-rock and pub rock.  So, apart from "Tommy"'s one genuinely hymnal aria ("See Me Feel Me") and the just-about-takeable epic-ness of their post-counterculture allegory "Won't Get Fooled Again", a long blank void ensues--one whose continuance seemed increasingly mercenary as the Seventies proceed.  Even at their most haggard, The Stones could re- ignite with the lubricious raunch of a "Start Me Up".  The Who's equivalent twilight hit is "You Better You Bet", a song with only one fan in the entire world, Taylor Parkes, and only then for the most perverse, "it's so bad, it's.... really MINDBOGGLINGLY bad" of reasons.

     "30 Years Maximum R & B"? Break that down, and it works out at roughly 4 and a half years of adolescent intensity and two and a half decades of graceless middle-age.     

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Scroll on

A little souvenir of a terrible year...  something I wrote about doomscrolling for Sasha Frere-Jones's end-of-year writer-buddies round-up, looking back over 2023 and looking ahead to 2024, which has been even more "how can this be reality?!?" than I could have imagined.

Hoping for some hopescrolling come Tuesday night....

update: 4 more years of doomscrolling is it then....  at a bare minimum

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It was a year of doomscrolling. Like the year before. And like next year.

Sometimes, when trying to explain affect theory to my students, I use doomscrolling as an example of a uniquely contemporary affect. It didn’t exist - and then it did.

For sure, there’s always been bad news. But it arrived in defined chunks and at punctual intervals - TV news, radio at the top of the hour. Only a massive crisis like 9/11 or Katrina would result in rolling round the clock coverage - and even then, you could walk away from that.

To get the doomscroll effect in the past, you’d have to take a load of newspapers and chop them up and stick on some kind of homemade carousel rigged up out of chicken wire and spindles. And even then it would not approach the inexhaustible, endless-onwardness of the doomscroll,

The chyron, that Times Square tickertape at the bottom of the news channel screen, was a foretaste, an augury of doomscrolling. But it was easier to ignore, and it didn’t have the personalized, algo-attuned quality of doomscroll, the way it learns what detains your gaze and churns up choice items tailor-made to agitate you.

Think about how this timesuck lifefuck invention affects your breathing rhythms, your posture (hunched, clenched), your endocrinal system - and how that builds up as neurological wear and tear, a stress load.

But think also about how those on the opposite side of the ideological spectrum from where you sit  - on any issue, any conflict currently raging - are also being pumped full of this shit nonstop, forcefed fear and tension.  It explains a lot.

For sure, now and then there’ll be a spate of hopescrolling - unexpectedly positive developments, better than expected election results. But mostly the mode is doomscroll - feeding your inexplicable craving for the alarming, the upsetting, the enlargement of feelings of impotence and despair.

Feeding you the illusion of keeping on top of things when actually you’re sinking deeper and deeper.

2023 was the year of doomscrolling. Same as last year. 2024 will be worse - worse beyond the wildest nightmares. 

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Follow up on the blog about Bob Dylan as the Original Doomscroller

RIP Phil Lesh

 Never became a Deadhead, but there's the odd moment on the records, and then there's "Dark Star"

There's also the electro-acoustic side project Seastones, the creation of Ned Lagin, but Lesh's contribution and encouragement clearly crucial.

Below is 

a/ bit on the Grateful Dead from an essay on psychedelia for a Liverpool exhibition

b/ a bit on Grateful Dead and Deadhead culture from Retromania

c/ my interview with John Oswald about his Grayfolded project based on 100s of different live versions of "Dark Star" - a project instigated by Phil Lesh.

Ethan Hein does close analysis of "Dark Star" and recommends some great versions (helpfully collated here by me as a playlist)

Here's a different playlist of  other "Dark Star" renditions I made on Tidal

I rather like this ridiculously non-singular studio version they put out as a single

Second part of Ethan Hein's analysis of "Dark Star", less musicological this time and more about concept + context, surveying academic literature on the song

Earlier Hein post titled "Phil Lesh gets funky"

Call me soft in the head but I've always rather liked this other single - an actual hit, Top 10 Billboard!

Grateful Dead and the SF Sound

Unlike the British psychedelic groups, the SF bands had gone straight from folk to acid-rock without any intervening period playing rock’n’roll or R&B. As a consequence, the feelgood groove that the UK groups retained through all the studio malarkey was absent. Yet despite its lack of grounding in R&B, the SF acid-rock bands uniformly emphasized the importance of dancing. It’s no coincidence that the scene was born in former ballrooms like the Fillmore and the Avalon. This was a particular form of dance--unpaired and asexual, a sacred frenzy of undulant gestures. This freeform dance matched The Grateful Dead’s “search for the form that follows chaos,” as guitarist Jerry Garcia characterized it. 

Capturing the fugitive “magic” of their live jamming in the studio would prove an abiding problem for the Grateful Dead. Shortly before making their first album, Garcia warned, “We’re not a recording band. We’re a dance band.” After a disappointing debut, the Dead veered to the opposite extreme and embraced the sound-sculpting potential of the studio. Painstakingly stitching together live tapes with studio experimentation, 1968’s Anthem of the Sun drew heavily on the avant-classical training of bassist Phil Lesh and pianist Tom Constanten, both of whom had studied under Luciano Berio at Mills College in Oakland, California. “We were making a collage,” recalled Garcia. “It had to do with an approach that’s more like electronic music or concrete  music, where  you are actually assembling bits and pieces towards an enhanced non-realistic representation.”  Compared with the phonographic feats of the Beatles or Hendrix, though, Anthem is a pretty mild experience, with an “organic” quality that mostly feels like a plausible real-time musical event (unlike the Beatles’ “A Day In The Life.” say). The Dead quickly reverted to their original go-with-the-flow improvisational model, as documented on an endless series of live albums.  Jefferson Airplane, likewise, made a couple of gestures at musique concrete--the freak-out track “A Small Package of Value Will Come To You, Shortly,” the electronic foray “Curinga”--but their records generally closely replicated their live sound.  

.... Paralleling the Deadhead subculture that surrounded the Grateful Dead all through the Seventies, Eighties and Nineties, the rave scene created a sense of ecstatic tribalistic community. Like Dead shows, each rave constructed a “temporary autonomous zone” in which drugs could be experienced in the most audio-visually conducive environment imaginable. The acid house played at the raves couldn’t have sounded further from the Dead’s meandering country-rock, but it had exactly the same function. As journalist Burton H. Wolfe put it in the 1960s, this was music designed “to blow the mind and provide action sound for dancing.” 

DEADHEADS

THE LIVING DEAD

On the face of it, it's difficult to think of anything more distant from Mod and Northern Soul than the Deadheads, that tie dye tribe who followed the Grateful Dead on their arena tours all through the Seventies, Eighties and early Nineties.   The turn to psychedelia in the mid-Sixties was precisely what turned off many mods and led to Northern Soul.  It's easy to imagine a Northern Soul or Secret Affair fan's disgust at the Deadhead's sense of "style": the long straggly hair and face-fuzz, the cut-off-shorts and loose flowing garments with their unappetizing mix of garish colors and Whole Earth-y shades of brown.  The Dead's music--all meandering guitar solos, rootsy grooves, weak whitebread harmonies--could hardly have been more offensive to the mod sensibility.  

 Still, there are a surprising number of parallels between Northern Soul and the Deadhead scene. Both are style tribes whose members travelled on pilgrimages to particular clubs or one-off events, "temples of sound" where they congregated to create an ecstatic ritual space.  At the Dead's long arena shows and the Northern Soul all-nighters loud music and drugs meshed to overwhelm listeners and transport them to a collective high. Dead shows were famous for the ripples that traversed the crowd-body in response to certain shifts in the music.  As journalist Burton H. Wolfe observed, the Dead's music was "action sound for dancing" just as much as it was head music designed to "blow the mind". A different kind of dancing, for sure, to the fastidious steps and acrobatic twirls on display at Northern nights. Freeform and fluid, Deadhead dancing was the continuation of the "freaking-out" style that emerged in 1960s San Francisco at former ballrooms like the Fillmore and the Avalon as well as at the Be-Ins and similar triptastic happenings.   Orgiastic yet asexual, this sacred frenzy of undulant gestures matched The Grateful Dead’s “search for the form that follows chaos,” as guitarist Jerry Garcia characterized it. But like Northern Soul, the Dead's concert audience was mostly on its feet, moving and grooving.  

The main thing that the Deadheads and Northern Soul have in common is their fixation on a particular moment in the Sixties, keeping it alive in defiance of the passage of pop historical time.  Neither scene was really retro, but rather an example of subcultural persistence.  "Keeping the faith" is the central principle in both fan cultures. So too is an emphasis on community--a sense of togetherness defined against the mainstream, that unlucky majority who aren't in the know.  As the Dead's Tom Constanten put it, "Back in the sixties, there was a great sense of community, and I think a lot of the energy and the steam, the wind in the sails of the Grateful Dead phenomenon is from that community."  There are even parallels between Northern Soul and the Deadheads in terms of the way a rhetoric of anti-commercialism was combined with a bustling entrepreneurial activity, as with the markets for handcrafted goods (hemp bracelets, jewelry, tie-dyed clothes) and Dead memorabilia  that sprang up in the parking lots outside the arenas where the Dead  played, which aren't that far removed from the record dealers selling and swapping rare soul singles at the Northern Soul all-nighters. In both scenes there was also a bustling illegal trade going on rather less openly:  amphetamines and barbituarates with Northern, and at Deadhead shows, marijuana, "doses" ( LSD), and other psychedelics like peyote, mushrooms and MDMA. 

All this parking lot activity was as much part of the total experience of a Dead show as the band's performance.  These outdoor bazaars,  teeming with  backpack-lugging peddlers and gaudily daubed, Merry Prankster-style micro-buses and vans, offered a kind of nomadic surrogate for Haight-Ashbury circa 1967-69. And they had the same upsides and downsides. Familiar faces that you'd see at every show, people passing around the pipe and sharing stuff with strangers, an atmosphere of trust and tranquility…. But also rip-off deals, scam artists, hardcore drug casualties, kids flipping out on bad trips.   

Deborah J.  Baiano-Berman, who's both an academic and a Deadhead,  characterizes the band's following  as a "moral community" and argues that Dead's concerts allow their fans "to live out their interpretation of a hippie-like communal value system, based primarily on freedom, experimentation, solidarity, peace, and spontaneity."  Inside the auditorium, the crowd created the atmosphere as much as the band or the lighting crew.  The emphasis on tie-dye and clashing colours, the painted faces and beads, turned the whole shimmying, swaying audience into a paisley ocean, a spin-art kaleidoscope.  Baiano-Berman points out that almost nobody sits at their assigned seats in the concert hall: they move out into the aisles and dance, drift around the auditorium, settling in different places, creating an effect of "incessant movement and circulation". To an audience sensitized on drugs like LSD, which intensifies peripheral vision, to be in the midst of this flickering multitude is entrancing and magical.

Another aspect of Deadhead culture that's about communality and circulation is tape trading. From very early on Deadheads started recording shows, a practice that was first tolerated by the band and then encouraged, with the Grateful Dead making provisions for a special area at each of their shows for tapers.  There was a huge demand for cassette recordings of the band's shows, in part because the Grateful Dead's official studio albums were airless affairs that failed to capture the electricity of the band in full improvisational flow.   Deadhead culture's communal ethos meant that if anyone requested a tape, the taper had to make them a copy. Tapers also got into trading recordings with other tapers in different parts of the country.  All that resulting excessive documentation and redundancy anticipated aspects of today's retro culture, like the multiple clips of the same gig videoed on cellphones and uploaded to YouTube. 

The taping phenomenon has a paradoxical aspect.  The angle on the Dead has always been that you really had to see them live to "get it": you needed to experience the flow of the moment, the pure quicksilver magic of Garcia's soloing as it rippled out into the cosmos.  Taping the shows attempts to capture that evanescent beauty but in the process goes against the "be here now" spirit of psychedelia.   Indeed the tapers became obsessed with recording quality. Instead of dancing and getting lost in music, they would spend the show crouched beside their tape recording equipment, constantly adjusting the recording levels (sometimes listening to the show through headphones plugged into the machine) or repositioning the microphones.  They'd admonish dancing Deadheads for bumping into the equipment or chatting too loudly on the periphery of the taper's sections.  Like the dad with a videocamera welded into his eye socket at his kid's birthday party, the tapers were not fully present; they missed, partially at any rate,  the very event  they were attempting to save for eternity.  

The fact that obsessively stockpiling audio documentation of the live Dead is so central to the Deadhead subculture seems to resonate with its deepest impulse: to freeze-frame History and artificially keep alive an entire era, the late Sixties.  The Deadhead scene is a preservation society.  Or perhaps it was actually a reservation, a zone of cultural territory set aside for an outcast tribe.  The gentle frenzy of the Deadheads is a ghost dance: an endangered, out-of-time people willing a lost world back into existence.

JOHN OSWALD 

The Wire, 1995

 by Simon Reynolds

     There are two different schools of sampling. For some (A Guy Called Gerald, The Young Gods, Techno-Animal), there's a fierce conviction (50 percent aesthetic, 50 percent legal anxiety) that all samples must be masked, all sources rendered unrecognisable.  This is the modernist school of sampladelia: digital technology as a crucible for sonic alchemy, musique concrete made easy as pie.  I have a lot of sympathy for this ethos, but there's a sense in which this approach reduces the sampler to a synthesiser, and thereby misses what is truly idiomatic to the machine: taking the known and making it strange, yet still retaining an uncanny, half-recognisable trace of the original's aura.

     Canadian musician/producer John Oswald falls into the second, postmodern camp. Sampling, or as he prefers to term it, "electroquoting", is a highly self-conscious practice that allows him to interrogate notions of originality, copyright, signature and 'the death of the author'.  Long before the sampler became available, he was using more cumbersome, time-consuming techniques of tape cut'n'splice to create his famous if seldom heard Mystery Lab cassettes.  But he really made a name for himself in 1989 with the Plunderphonics CD, which caused a major ruckus, sonically and institutionally, with its digital vivisections of songs by The Beatles, Elvis, Dolly Parton, Michael Jackson, Glenn Gould etc.  Despite the fact that 'Plunderphonics' was distributed on a non-commercial, non-profit basis, the Canadian Recording Industry Association, acting on behalf of its clients CBS and Michael Jackson, threatened Oswald with litigation.  He was forced to destroy the master-tapes and all remaining CD's.  700 remain in circulation, while the intrigued can get bootleg copies from a number of Copyright Violation Squads (see end-note).

     Since then Oswald has mostly confined his plunderphonic escapades to cases where his reworkings have been solicited, like his de- and re-constructions of songs by The Doors and Metallica, amongst others, for a limited release CD celebrating the 25th Annivesary of Elektra Records. An exception was "Plexure" (released on John Zorn's Avant label), where Oswald cannibalised the entire audiorama of contemporary pop'n'rock in one fell swoop. The result--5000 songs 'composited' into a 20 minute frenzy of crescendos, choruses, screams, powerchords, etc--is a bit like Napalm Death with samplers.

     Last year, at the invitation of the Grateful Dead, Oswald plunderphonized that band's most famous and far-out song "Dark Star", producing the double-CD "Grayfolded".  The first disc, "Transitive Axis" came out last year; now the second half, "Mirror Ashes" has been added, and the whole 'Grayfolded' package is being made widely available, following the unexpectedly warm reception 'Transitive' received from the Deadhead community (50,000 copies sold!). 

     Entering the Dead's legendary vaults, where recordings of virtually every performance they ever made are stacked, Oswald spent 21 days listening to 100 versions of 'Dark Star', and extracted 40 hours of improvisatory material.  The original plan was to create just one disc, but Oswald soon realised he had enough good stuff for two.  'Transitive' and 'Mirror' each took three months of painstaking digital labour to construct. The results are astonishing. Whereas the iconoclasm (literally idol-smashing) of 'Plunderphonics' was patently audible, 'Grayfolded' is true to the spirit of the Dead:  the nine tracks of 'Transitive', in particular, form one seamless, fluent monster-jam, and sounds almost like a plausible real-time event with the Dead in unusually kosmik form.  Although Oswald's techniques allow Garcia, Weir, Lesh et al to jam  with their own doppelgangers across a 25 years timespan, the digital methodology doesn't really draw attention to itself on the first disc (it gets a bit more outre on "Mirror Ashes", though).

     One of the ironies of "Grayfolded" is that Oswald wasn't exactly a Deadhead when he embarked on the project. "I enjoyed 1969's 'Live/Dead', especially 'Dark Star', and might have heard the odd C&W song or 'Truckin'', but I basically didn't listen to them for twenty five years," he admits over the phone from his Toronto office. "But I found what I expected in the vaults--all kinds of great things were happening in concert.  I also went to two Dead shows.  The first was in Oakland, their home town, and I thought 'well, this is not great improvising', but it was fascinating sociologically, in so far as there's this relationship between an extremely active, fertile audience and a very untheatrical musical experience onstage.  A year later I went to another show in New York, and found that musically it was quite satisfying, almost like a completely different band. So I started to respect the idea that an audience would follow this band looking for these good concerts. I had got one out of two, a good ratio."

     In the lysergic daze of late '60s acid-rock, the Dead did weird studio-as-instrument stuff on early albums like 'Anthem of the Sun' and 'Aoxomoa', But today one associates the Dead with a keep-it-live, jam-a-long mess-thetic, possibly because their legacy is godawful American neo- tie-dye bands like Blues Traveller, Phish, etc. Was there a sense in which Oswald was making a case for digital music as the new psychedelia, and making up for the Dead's abandonment of the studio's possibilities?

     Actually, no. "The technique of this record--using computers, digital transfers and stuff--is really incidental to the illusion I'm trying to present.  People would tell me to stop listening to the tapes and go to a concert, 'cos live it's a totally different thing.  And I thought what constitutes this other 'thing'? It's obviously not in the band itself, cos there's no theatricality. Maybe it's 'cos there's so much drugs in the air! What I found at the concerts is there's a give and take between the audience and band, there are audience surges triggered by certain things the band do, or by the lighting, which is very subtle and directs the visual attention back onto the audience every so often. I thought 'well, we're not going to soak the CD cover in acid, so how can I achieve what I think everybody desires--a record that captures this feeling that Dead concerts are magic?'  So I did things that are unnatural, like have a young Jerry Garcia sing with an old Jerry, or have an orchestra of multiple Dead musicians, all in order to pump up the sonic experience so that at certain points you think: 'What's happening? Have the drugs kicked in?'".

     These paradoxical sensations--a real-time, flow-motion band suddenly transfigured and  transcendentalized--were created via an array of intensely artificial and finickety techniques. Like 'folding', whereby Oswald took similar material from different concerts and layered them up, achieving a density similar to the effect Phil Spector got from having several pianos playing the same chords. "For instance, on "Transitive Axis" I took a really nice 12 minute duet between Phil Lesh and Jerry Garcia, trimmed out redundant ideas and folded it down to three minutes. Yet it still feels like a duet. Using a computer, it's easy to take something from later in a musical sequence and slide it in earlier, superimposing it on a different track of the mix. I used to do that in my earlier analog days but it was much harder to do it accurately. With computers, I can move things by a millisecond 'til they fit exactly in the rhythmic pocket, so you still have the 'feel' of a band. 

     "After the first disc, Lesh said he would have liked to hear even more folding, and in response I took the entirety of 'Transitive Axis' and folded it 14 times. This created 16, 384 layers and squeezed 60 minutes into 2 seconds! It sounds like a feedback rush or a jet engine, and I slipped it into "Cease Tone Beam" on the second disc. It's a bit like that JG Ballard idea that in the future people will listen to  Wagner operas that have been compressed from four hours to a few seconds, but still have the flavour, like a whiff of perfume."

     "Cease Tone Beam" itself is Oswald's plunderphonia at its most extreme. From the ' drumspace' sections of Dead shows, which often segue into 'Dark Star', Oswald took a minute and a half fragment of ultralow-end percussion timbre, generated on Mickey Hart's custom-made aluminum beam. Oswald slowed it down 16 times into a protracted sub-aural seism, over which he layered progressively shorter, less-slowed down swatches of percussion that went up in ratios (2, 4, 8) that generated a simple  armonic relationship.  The result, at once ethereal and chthonic, other- and under-wordly, is the missing link between avant-grunge unit The Melvins and Eno's "On Land".

     Oswald doesn't really know how the Grateful Dead feel about "Grayfolded". Ex-keyboard player Tom Constanten did send him a thank-you note, but the death of Jerry Garcia left the rest of the guys "pretty preoccupied".  Diehard Deadheads responded extremely well to "Transitive Axis", but the more anti-naturalistic "Mirror Ashes" has stirred the first charges of 'heresy!'.  Oswald's favourite reaction is "from a guy on the Internet who wrote that Grayfolded makes him cry, because it encapsulates 25 years of Garcia, and it's unreal in a way that gave him a very visceral sensation of it being a ghost."

                                                                                                    Ghosts of Phil

Garcia's death does shine a peculiar light on the whole project, in so far as it suggests that a kind of involuntary immortality for artists may soon become widespread. Oswald has shown that a sympathetic ear can 'play' another artist's aesthetic like an instrument. (Of course Luddites like Lenny Kravitz and  Oasis have effectively already done the same thing, vis-a-vis Hendrix and Lennon/McCartney, by writing new songs in another's old style).  But what's to stop an unsympathetic, money-motivated ear doing the same thing?  In the future, will artists copyright their 'soul-signature' and then sell it to the highest bidder to be exploited after their demise? Fond of visual and filmic analogies, Oswald mentions that the movie business has been trying to devise ways of taking dead stars and creating simulations of them to play new parts. The mind boggles....

     In addition to plunderphonic activity, Oswald works as a producer, where he deploys unique  ecording techniques like his Orbital Microphone Navigational Imaging Via Echotronic Radio Stereo Eccentricity, aka OMNIVERSE (a mic' with the aural equivalent of a zoom lens, enabling it to do a 'tracking shot' down the entire length of a piano string).  He also writes pieces for orchestra, and, as we speak, is putting the finishing touches to a stage production involving 22 choreographers "none of whom know what the others are doing". Finally, and strictly as a hobby, he plays sax in a quintet confusingly called The Double Wind Cello Trio.  On the plunderphonic front, Oswald has a backlog of classical music related stuff to release, and he's about to embark on a massive opus that will somehow "encapsulate this first century of music recording history that is about to come to an end".