It was the summer of 1985. There was me, Kromlock the Warrior, my friend Dennis, better known as Garmo the Wizard, and Peter, a.k.a. Hendrix the half-even ranger. We were wandering the dark woods of Falcomar at the mercy of Doug Dexter, our dungeon master.

Doug Dexter was the best dungeon master I had ever known. It was easy enough to read aloud the buoyant prose that framed “The Temple of Elemental Evil” or “Against the Giants,” but Doug Dexter was downright theatrical. He had a million voices, a million accents and dialects from Halfling to Lizard Man. When we stayed up for 32 hours straight trying to defeat “The Tomb of Horrors,” Doug Dexter’s Acererak voice was absolutely horrific. “WHO DARES DISTURB THE SLEEP OF ACERERAK!?!” He would roar with a flashlight shining under his chin.

Doug Dexter had cassettes of classical and baroque music that he had cadged from the local public library. These tapes would play quietly on his Radio Shack tape player under the table while we wandered the dark woods or asked around a sleepy hamlet for information about a local guild of thieves hiding in the area. But whenever we entered a combat situation, Doug would slam the tape player on the table, hit play, and the distorted assault of King Crimson, Rush, Black Sabbath, or Gustav Holtz ‘The Planets’ would blare from that crappy tinny-sounding speaker.

Those marathon D&D sessions were my first exposure to King Crimson and their fantastic Red album. To this day, when I hear the title track, that initial blast of wooshing keyboards and harsh guitars, I reach for an imaginary d20 on my dashboard or my desk to roll for initiative. In later games, things like Slayer or Metallica became our “battle music,” but there was something about that proggy King Crimson or Rush vibe that made the game feel more epic.

Which brings me to Black Mountain and their epic album, In the Future. Replete with trippy album art and a grimoire full of hype, “In the Future” is the Canadian band’s follow-up to their self-titled 2005 debut. You can get it on two big greasy slabs of vinyl or one shiny CD, though a 2-CD bonus edition exists. (more…)

I had originally intended to post this during the week of August 1st and August 9th, but I wanted to give a shout to Isaac Hayes last week. Get out your copy of Hot Buttered Soul, throw it on the hi-fi, and get with somebody.

Jerry Garcia waltzed into this world on August 1st, 1942, and waltzed back out on August 9th, 1995. We’re already 13 years out from Jerry’s death, the demise of the Dead, and that really, really horrible summer tour.

I was already “off the bus” when Jerry died. My Dead train derailed after a miserable cold December night at the Oakland Coliseum. There was such an air of joylessness that night. I was third-wheeling it with a friend and her new boyfriend. I overheard people talking about speed and guns in the men’s room. The music was anemic at best. That entropy had started to show, but worst of all, it just wasn’t fun anymore.

So the new issue of Relix features a cover story about Jerry and how once again, Jerry Garcia is considered “hip” and “cool” among the folks at the “cool kid’s table” in the pop culture cafeteria. The article sites the presence of some humorous Dead graffiti in a subway station - (”…tagging the Grateul Dead’s Steal Your Face skull over a smiling Asian woman in surgical scrubs…”) as well a drunk college kid stumbling along singing “Box of Rain” in the hipster streets at dawn, as proof of the Dead’s new status as hipster iconica. A few musicians (Devendra Banhart, Bonnie Prince Bill aka Will Oldham, and others) weigh in on the matter and come up with a collective “I guess they’re pretty cool.”

The ultra-slick entertainment magazine The Fader did a double-sided cover story on Jerry last summer to much greater effect.

But the real message of the story isn’t Relix’s own need for validation from the Indie community, it’s about how the Dead continues to influence a whole new generation of musicians who are of a much different stripe than the likes of Phish or Widespread Panic. But is it really the Dead who are inspiring Akron/Family or Animal Collective or any other band that might let their music get lost on a lysergic space jam? Or is it just that preternatural sonic stew of bluegrass, blues, modern jazz, folk, and rock and roll that initially fueled the Warlocks? Besides, Relix telling readers that Jerry is cool because the guys in Animal Collective say he is is one thing; the fact that Relix started as a Grateful Dead fanzine back in 1974 is quite another. (more…)

Our regular featured test will appear next week. Peace and farewell, Black Moses…

For Test of the Boomerang III, I retired to a simple cottage in the Welsh countryside to reflect. This post was done acoustically.

Hey gang, today I have brought three shows for show and tell. Each has been dredged up from the depths of the Live Music Archive. They’re all totally different, but they’re all 100% live and ready to be streamed, shared, downloaded, burned, and loved.

Kawabata Makoto Live - June 18, 2008, Hemlock Tavern, SF

A solo gig by Kawabata Makoto of Acid Mothers Temple which I, like Gandalf, will not speak of here, other than they have my vote for the greatest album title of all time: STARLESS AND BIBLE BLACK SABBATH.

This is not your ex-girlfriend’s Spiritualized CD. This is not your college roommate’s experimental guitar noise project he put together for his Music Appreciation class and got a C+ on. These are serious hyperdelic drones from the vast depths of space. This is what Terence McKenna’s self-transforming machine elves listen to on their little self-transforming turntables. Do not listen to this while driving or while operating heavy machinery, lest you become one with the heavy machine figuratively and spiritually, man.

Makoto explains his interstellar muse: (more…)

“I would like to thank everybody here for coming, thank you to the clowns for their nice entertainment. They were quite good. Thank you…”

Grateful Dead 12/6/80 Mill Valley Recreation Center, Mill Valley, CA

This is a pretty remarkable and strange little show. Just a couple months after their acoustic residencies at The Warfield and Radio City Music Hall, this great recording finds the band playing a Christmas party at the Mill Valley Rec Center for some kids and their parents. After a lady calls for quiet from the audience, she proceeds to introduce the band to hilarious effect. Before “Cassidy,” a young man can be heard saying “I want rock and roll,” to which Jerry replies, “You do? This is sorta like rock and roll.” Also I’ll be damned if I don’t hear a ping pong ball being volleyed around in the background.

Oh and the “Special Guest” the emcee lady mentions was none other than Santa Claus.

All novelty aside, this is a real solid performance (killer “Jack-A-Roe,” great “Cassady,” and check out that jam in “Bird Song”), and the sound quality is pretty good. Recorded by the famous Betty Cantor, it’s a Betty AUD tape, and when was the last time you came across one of those? And because it’s an AUD recording, you can go ahead and download the sucker!

For more acoustic Dead, check out:

“Phil and Friends” Berkeley Community Theatre 9-24-94

Bob: “I was plugged in, I was just plugged in backwards.”
Jerry: “Just like you always are man…” (more…)

I had been driving for what felt like a hundred years. My buddy Treebeard and I had been trading off behind the wheel for three days. Our destination was finally in sight, but we had to make a long detour around the flooded wastelands of Iowa.

The detour took us further and further north until finally we saw the orange detour sign that pointed eastward. It had been a long day’s drive through the dark heart of nothing, and even after we knocked back strong coffee and found decent veggie burritos somewhere in Ohio, our day’s driving quota was far from met. I had many miles to go before I could collapse on another sketchy Motel 6 full-size. Somewhere near West Virginia we stopped for gas. I was tired, and I watched as yet another $60 was leeched from my bank card and into the bowels of the great blue beast we drove. It was the first time during the trip that I began to feel serious burnout. I just wanted to park on a roadside, sleep, and take my chances with whatever the morning brought.

“DUDE, LOOK!”

And there was Treebeard, walking — no, skipping – out of the minimart with a six-pack of beer held over his head. That’s how I discovered Magic Hat.

Treebeard was familiar with this magical elixir from his days in New England. Magic Hat comes from Vermont, and it is so very Vermont that the six-pack even came with a contest entry to win tickets to a stop on Mike Gordon’s summer tour. We loaded up on the stuff and headed into the darkness.

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