I had my Sirius radio on the other day and a Tangerine Dream song came through the speakers. Now, I am not particularly a Tangerine Dream fan, but I find their music interesting. And Sirius, by the way, is a great source for this kind of out-of-the-way musical interlude: certain channels (The Vault, Jam On, Classic Vinyl) will occasionally play some very unusual cuts, things that never make it on to my terrestrial radio.
The Tangerine Dream piece was not so much a song as it was a tune, and not so much a tune, as it was a soundscape, and not so much a soundscape as it was an “auditory manipulation”. The phrase “auditory manipulation” is entirely apt. Tangerine Dream was not merely playing a song, they were in the business of eliciting specific neuronal responses in my cortex. And not by presenting some passive New Age audio mood landscape. This song was intended, purely and simply, to be an hallucination. It was supposed to Trip me Out. No question but that it was crafted to be experienced specifically while under the influence of mind alteration.
But wait. Tangerine Dream wasn’t just painting a background for some indeterminate mushroom-fabricated reality. The closer I listened, the more I realized that the true intent in this music was to be the Trip. To provide for the properly attuned listener (and by properly attuned, I mean electronically cranked) each swerve and loop and slalom and detour, leading him by the brain, and showing him where each foot was to be placed as he stepped into the rabbit hole.
It occurred to me that there over the years there have been several groups who play at this Trip Manipulation game, with varying degrees of success. Certainly Pink Floyd comes immediately to mind. Consider Roger Waters’ guitar work, and all those lush arrangements and transitions, combined with those eerie voices laughing and shouting just beyond the threshold to make out what they are saying. All these elements are efforts to “Be the Trip”, and pretty sucessful ones at that. In fact, a lot of English and European groups over the years made what appear to be very targeted attempts to Be the Trip. Yes, for instance, loved to envelop the listener in almost classical flights of hallucinatory fancy, with the imagery of the lyrics matching the floating islands on the album covers.
It’s hard to fault these musicians from wanting to paint the beautiful (and not so beautiful) worlds their own internal discoveries had led them to experience. It’s the nature of art, in a way. The thing is, though, that no matter how well these Trips were presented, they were, after all, the vision of Jon Anderson or Roger Waters or whoever. The listener was somewhat a passive recipient. And because they were presented as whole tapestries, it was necessary to forever represent the whole tapestry, everytime it was played. No fractal differentiation allowed, thank you. Please to be note perfect, because my highly sensitized mind is expecting all those notes, just as I first experienced them, and I will be bummed out if I don’t get to recreate the hallucination the way it’s “supposed to go”. And you don’t want 1000’s of bummed out people in your audience, do you? Oh, no, please not that.
But there rose, in another part of the planet, a wholly different approach to how the psychedelic musical landscape might be surveyed and explored. In the land of the free, the home of the brave and don’t tread on me spirit, far out (literatively and figuratvely) on the West Coast of America, there came into being a completely altered approach to altered states for alternative music.
There was the good ol’ Grateful Dead.
In my car at lunch today, again on Sirius (which, last Friday, launched the Grateful Dead Channel, a simply inspired bit of programming!), I heard a 1969 Fillmore West version of “Dark Star.”
“Dark star crashes
Pouring its light into ashes”
Now, this, this is the psychedelic experience at its democratic, participatory best! The whole point of a Grateful Dead show, born as they were as the house band for the Electric Koolaid Acid Tests, was never to repeat anything. Everything, every meaning, every discovery, was to be found, communally, in the moment, with no preconceived idea where it might take us, but completely certain that it will take inevitably us somewhere.
“The bus came by and I got on
That’s when it all began.
With cowboy Neal at the wheel
It was a bus into Never-never-land”
Now some people will think it perhaps disingenuous of me to insist that the Grateful Dead were not trying to “Be” the Trip. I mean, they called Jerry Garcia “Captain Trips”, for god’s sake. Surely he was leading us somewhere, smiling that little smile, soloing away, searching out hapless people in the crowd, and playing that little riff just for them, right at them. But the point was, it was a dialogue, not only between Jerry and the audience, all those “what’s nexting” souls there for hours. But between and among everyone in the band, too. A triologue, a quadrilogue, quintalogue, everybodylogue, everyone finding out, in the existential moment, what the resolution to this quandary was going to be. It’s the way democracy would work if all the voters were instantly telepathic with one another. Jerry, Phil Lesh, Bobby the-rock-star Weir. Mickey and Bill drumming away. Pigpen downing Jack Daniels, and suddenly careening away from the cosmic depths and blacklight dreams of “Dark Star” to the blues standard “Good Morning Little Schoolgirl”, and laying down a rap about young girls and “going downtown to see my baby”, and “you gots to feel so good, so good”, decades before rap became a musical genre.
The music went wherever the moment required it to go. If it was “Dancing in the Streets”, then veer over there for a while, and whirl and twirl. If it was sweetly needing a “Peggy-O”, then sing of Confedrate soldiers marching down to Fennario. Or a cowboy song, “Me and My Uncle” or “Jack Straw”. Or bring in the blue lights, and make it sad, maybe even slightly dangerous, and sing about “Stella Blue”.
“When all the years combine
And melt into a dream
A broken angel sings from a guitar…
Dust of those rusty strings just one more time”
Then bring up the dark reds, and play wild jungle or Arabic-tinged drums, and suddenly it’s definitely dangerous, edgy, no-exit, insect fear and strange howls feedbacking out of tie-dyed speakers. There’s a little shiver of fear now, now the crowd draws in on itself, looks behind itself, sideways at itself. Is there something moving in the darkness?
But this is not a band that leaves you wandering on the steppes, like Hesse’s Steppenwolf, staring into the warm, well-lit homes, but forever doomed to wander a barren heath. No, suddenly, a door opens, and Tom Bombadil stands on the doorstep, and there’s a warm fire in the hearth, and he welcomes you in: “Sugar Magnolia”, maybe, or “Row Jimmy” or even “Terrapin Station”. Then begin the Dance again, all together now. Then a big finish, or lots of them, strung together, “Iko, Iko”, maybe, or “Not Fade Away”.
“You know our love’ll not fade away”
Then a quiet “We Bid You Goodnight”, or “Ripple”, or a very special “Brokedown Palace”, a tune to send your fevered head out into the cool late night or early dawn, calmed and spent. Not screaming and freaked, but mentally and spiritually tucked in. A candle in the window.
“Going home, going home
By the waterside, I will rest my bones
Listen to the river sing sweet songs
To rock my soul”
So much of the successful foray into (and out of) democratic chaos depends on the lyrics of Robert Hunter and to a lesser extent, John Barlow. Hunter and Garcia formed one of the greatest songwriting teams you never heard of. Their songs were sometimes vignettes, and real stories. Other times, the lyrics and melody and chords melded to reveal a Zen-like opening, a sudden vantage point to see the Other World. But The Grateful Dead, as songwriters, never tried to Be the Trip. Instead, they were more like a knothole in an old fence around a ballpark. Put your eye up to the hole, and see what you will. Here are a few powerful, suggestive images, take them, they’re yours to have. What do they suggest? Where do you wish to go? What will you make of it this time?
“It’s just a box of rain
I don’t know who put it there
Believe it if you need it
Or leave it if you dare.
And it’s just a box of rain
And a ribbon for your hair
Such a long, long time to be gone
And a short time to be here.”
The untamed, powerful urges of democracy, with the uniquely American insistence on not only self-reliance, but on sharing what we have, that is at the heart of what was the Grateful Dead experience when it was at its best. Oh sure, in the later years, the structures of the songs began to outweigh the freedom of the search for what the music might reveal. That is, I guess, inevitable, part of the calcification and osteoporosis of aging. But there remains in my experience nothing quite as liberating as being at the center of those musical storms, and then seeing the light shine through. The adage of the 60’s and 70’s is still true, still in a forever present tense, true:
“There is nothing like a Grateful Dead concert.”