Motivation is the key!

Well, that's what Steve Hillage says anyway.
I have none at all...it's all very weird but I can get so pumped up about something and then just totally fail to even turn on my DAW.

But I had a bit of a thought last night. I don't want to be a total failure and release nothing. I don't want to be the only guy from fwonk not to have a release. I don't want to be a complete cock.

So, it's all in my own hands now. Do something or be a failure.

2 screens are better than 1.

I finally got around to picking up a second monitor to aid my music creation.
Cubase is a bitch to work off a single screen, so 2 enables you to see both the sequencer screen and the mixer view at the same time.

So, I bought a 24" HDMI/DVI/VGA widescreen TFT. It's awesome. Easy to set-up, no drivers needed and I can now plug in my XBox 360 as well, using the HDMI connection.

Have done a little testing with Cubase and it seems to work ok, with the small problem of XP not being as good as Windows 7 when it comes to multiple monitors. Maybe I'll set up a DAW on a Windows 7 box soon?

Struggles, then success.

It arrived yesterday. I ordered it from Inta Audio on New Years Eve, so that's not a bad delivery time I suppose. Could have been worse, considering the problems my father has had lately with on-line shopping but that's all down to karma.

Out of the box and the first thing hits me....the paper manual is woefully small and although the supplied CD-ROM says that it contains drivers, it actually doesn't. This is slightly irksome, but seeing as I only paid £60, not that much of a problem.......or so I thought.

The keyboard itself is robust, well laid out and seems as if it will stand up to a few years of being bashed about and hit very hard with my huge, sausage-like fingers. The manual states that it requires no drivers, so it's plug and play time. USB cable in, power on.....nothing.

A quick examination of the hardware drivers states that no driver has been loaded.
Some head scratching and 45 minutes later, I find out that you need to follow the instructions on the pdf manual, not the quick start guide. D'oh! After following these instructions, all was well and everything installed.

The drivers on the CD are for a system called DirectLink which worked for me in both Cubase and Pro Tools. It's a very simple controller, yet feels right under my fingers and keeps me away from drawing in my MIDI notes with my mouse. And even after the faffing around with driver installs, it's well worth £60.

It's colder than a monkeys bum in the office today. I had to switch on all the PCs just to generate some heat from somewhere.

Now it's hot, I have found out that the air con is broken and it's not gonna get fixed for a week. I must remember to bring my scarf in tomorrow.

Work things to do....

• Service manual - not sure if it's going to be web based or just set out in a folder structure. I'd prefer web based myself, but it's not going to be up to me, is it?
• Video conferencing room - This is just dragging on and on. I think I need to get this finished asap.

And that's that, but the first one is going to take forever and I need to be paid a proper wage to do that.

1973-12-06 - Public Hall, Cleveland, Ohio

I'm fully aware of the irony of writing a book-length post about a jam that some have dismissed as aimless, boring, naptime material. Nevertheless, I'm new to this forum and I see that this jam has taken some criticism. It moves me like few others, so I'm just gonna go for it....

To start, context is important when talking about this Dark Star. It ain't 11/11/73, and I don't really agree with the deadlists comment that the two are "fraternal twins." Let's locate where 12/6 stands. The final tour of the year found the boys back on the east coast sans Donna (much to the delight of many folks here). 11/30 is the stuff of legends, and rightfully so, and it's a beautiful display of the late 73 dreamy melodic style of improv: "sleepy" if you're looking for something akin to 71-72 at its rockin'est best, but I say adjust your levels. 2001 isn't exactly the zippiest film ever made, but then again, exploring the outer reaches may not be the time to put the pedal to the metal -- it's all kind of relative in outer space, isn't it? Fall 73 wasn't about burning off both your ears.

Something happened in Boston on 12/2, though. My theory is that a certain recruiter from the Venutian Red Cross landed at that mysterious 11/28/73 Garcia/Hart/Phil(?) show at the Palace of Fine Arts, made some connections, got some phone numbers, rocketed back to the mothership to pick up his toothbrush, and picked up the Dead tour a few shows later. Upon his return, he caused a major disruption to the psychoelectromagentic forcefield being emitted around the proto-Wall of Sound (somewhat similar to Phil discovery of the movie camera's feedback potential in the Winterland movie). You doubt this? The famous 12/2 Playin delves deep as all Playins of this vintage did, then delves deeper and deeper and deeper still. This wasn't unheard of, of course: Phil did some major dismantling of his bass and our synapses in the mightily wicked 10/25 Dark Star and certainly on other occasions as well, but on 12/2 they are nearing the source of a deep space vein that ran with them for the better part of the week. It's there again in the next show's Eyes>space (12/4), albeit in less extreme form, and later reappears in the 12/8 Other One, where it's already starting to mellow significantly. I need to listen more closely to 12/10 and 12/12, which I've never given much attention, but these shows don't seem to have jams of similar scope or intensity. The last two shows of the year, however, manage to recapture some of that energy, with a great apocalyptic space in the 12/18 Dark Star and one final laser beam blast of prime deep space mindscrambling in the wonderful meltdown that follows the Other One on 12/19.

So: the 12/6 Dark Star.

I'm using shnid=4452 from archive.org, if you want to follow along. The first version of this I got on cd about 8 years ago had the Dark Star cut into 3 tracks, which I actually kind of liked: the tuning, the "prelude", and the Dark Star itself. 4452 is just one 43 1/2 minute slab of music, which works just as well.

http://www.archive.org/details/gd73-12-06.sbd.kaplan-fink-hamilton.4452.sbeok.shnf

The track starts with Jerry noodling and Phil and Bob tuning up. Jerry's clearly in Dark Star mode from the word go, waiting for the rest of the band to get it together. At around 1:12, Keith stops helping Phil tune and starts drifting towards Jerry's zone.is in DS mode, but Phil and Bob are still tuning off Keith; Jer noodles away. At 1:12, Keith sounds like he's drifting that way too… It's important to note that from this point on, Keith is as active a participant in this music as Jerry or Phil is. Fact is, I can't think of another stretch of improv as long as this where Keith is so involved and playing his ass off -- there are plenty of wonderful moments in 71-73 where Keith steps up and counters any notions we have of him as the sleepy pianist, but here he does so for the most sustained amount of time. And the fact that he does so almost completely on his Rhodes is heaven for me -- I love love love the sound of this keyboard, and whenever I'm out digging in record store basements for old jazz lp's (another pasttime of mine), I'll usually grab anything from 1970-1976 if I see a Rhodes listed on the back cover. Digression. Back to the business at hand. The boys are getting ready to go.

At 1:45 there's a second's pause and something in the air changes. Listen, you can feel it. Keith continues, but it's clear now that they're done tuning up. Our VRC recruiter peaks his head over the stacks and gives them the thumbs up. Billy falls in with some cymbal splashes. Jerry's ready to go. At 2:10 Keith moves from his Steinway to his Rhodes, where he stays for the remainder of this Dark Star. Just then, Phil lets off some thunder to announce that he's ready to go -- they're revving up. Or maybe it's more like monks scuttling back and forth preparing for a ceremony.

Finally, at 3:22 Billy tosses out a nice, flowing beat and Keith and Jerry dive in. It's Dark Star, but there are none of the obvious signposts announcing that. Every Dark Star begins with some announcement, some statement of purpose ("free turf!" as Jerry calls before launching the one on 3/2/69). Not here. It's amazing to me that they performed this way in front of a large crowd (more on the crowd later). No one thing says "Dark Star!" but no one would mistake it for anything else -- loose, fluid, gentle, Billy dancing away back there, while the four guys upfront talk, nudge, and whisper to each other. I suppose one drawback to this one is that Bob takes his place in the backseat and doesn't say much, and this doesn't change much for the next 40 minutes. Equipment issues? A Bobby-unfriendly mix? Maybe taking a break to man the Venutian Red Cross table while our friendly recruiter climbs up into the PA to work a little magic?

Anyway, as I believe Tom Constanten once said,
"Dark Star is going on all the time. It’s going on right now. You don’t begin it so much as enter it. You don’t end it so much as leave it."

So here we go. They groove and float for a few minutes, like five skaters doing slow loops on a pond. By about 6 min in, Phil's starting to get a little more punchy, and the jam begins to focus itself into more of a direction, thickening up, pushing into a sliiiightly more aggressive and "purposeful" Dark Star theme jam. At 10 min or so, this particular approach seems to climax: Jerry moves forward, but the boys pull up short and drop the bottom out from under him for a second, and they turn towards a new direction. I love listening to these momenets when they reach the conclusion of a particular jam, regroup and and decide where to go next, and no one's in any hurry to figure it out. At 11 min, Jerry's got the wah turned on, but it seems like Billy wants to keep it grounded for now; Keith suggests the Dark Star "verse" theme at 11:40? Not yet, pal. Phil's having none of it, and seconds later he starts unleashing some huge feedback waves. Wooosh! He's not fully taking it there yet, but it sounds like he's letting everyone know: no usual Dark Star tonight; tonight we push for the outer regions.

The rest of the boys seem happy to oblige. Or powerless to resist.

And they're off! Or are they? At 13 min, they set off but then fall back into the regular Dark Star terrain and hesitate. Is this where we want to be? Should we go someplace else? Enough indecision: at 15 min, Billy whips up a whirlwind and Jerry and Keith take off, both really pushing and playing hard. They build to another little climax, sparring playfully and getting kinda pissy with each other. At around 16:35 Jerry eases back and plays one of his standard "regrouping" licks, the same repeated arpeggio picked slowly while he finesses his wah pedal. NOW the Dark Star theme? Phil's having none of it. The beast is crawling out of its cage now. Enough playtime.

Phil proceeds to usher in one of my very favorite deep space Dead jams. This is my "primal Dead" -- for some it's 68, for other it's 77, but for me this kind of stuff is the pot which holds the bubbling primal ooze. The mothership has landed, all pretense or facades of human bullshit have been melted away, and the third eye begins to crack itself open. Phil gets prehistoric -- he starts revving up wave after wave of feedback drone, not decimating everything in sight (unlike, say, 10/25/73, where Phil's evil wizard twin appears to pulverize our synapses), but pulsing and writhing like a living thing, like a giant whale rolling in the surf; Jer and Bob keep some semblance of sanity by clinging to those slow, arpeggiated figures they keep playing, while Keith goes for broke and rides the wave that Phil is churning up.

After a few minutes of this sheer perfection, Jerry eventually pokes his head above water and starts working purposefully towards the Dark Star verse theme. Phil subsides gently, and at 21:07 it all comes together and Jerry finally plays the Dark Star theme, much to the crowd's appreciation. Elated, they groove on this for a bit; vocals at 25:10.

Worth noting two things at this point:
1. The only Dark Stars I can think of that come close to the amount of pre-verse music that this one has are 9/27/72 and 9/10/74, but I think this one edges them out. For comparison's sake, 12/6/73 has almost 10 minutes more than 11/11/73.
2. At no point in any of this is Keith MIA in any way -- no vanishing for equipment problems, sneaking a cigarette, catching a nap, having a sandwich, whatever. He's plugged in and up front the entire time.

Okay:

After the verse, the bottom drops out as usual. Bob strums away quietly, Keith continues to play on, then Phil steps upfront as is his usual practice around about this time. At about 28:30ish he lets off a big feedback chord, which fades away to just Jerry alone scraping a single string. Again, note the crowd response to this. They're feeling it.

Now the real bullfight begins. Phil lets off some squeals, the crowd hollers a few words of encouragement, Billy makes himself known with some little percussion taps as Phil starts to disembowel his bass. The heavy shit starts now. Words won't do this any justice. Everyone (even Keith) sit this one out as Jerry and Phil get all King Kong vs. Godzilla and do some damage. Phil lays down some monster chords while Jerry swoops above like some kind of howling bird of prey, then Phil falls back to let Jerry come from and center to lay some waste, all the while laying down a droning bed of buzzing feedback. You like this stuff or you grit your teeth and wait it out, but music like this forces you to confront it and reckon with it. At this point, I literally cannot hit the skip button -- I'm in too deep to bail out now.

That little VRC recruiter is either rolling on the floor with glee or wondering just what the hell kind of jungle cat he let out of the bag.

Finally, at around 35 min, on the back of final huge Phil feedback bomb, Keith comes creeping back, followed quickly by Bob and Billy. Phil is still in convulsions, but Jerry picks up on the new company and pushes off in a jazzier direction with Keith, the two of them reeling off these fast runs that mirror-image each other. Billy kicks in a propulsive beat and Jer and Keith race off, neck and neck with each other, tilting unsteadily back towards atonality one second, then back in the direction of jazzy melody the next. A nice run back towards the Dark Star verse theme? Hard to say where they're going, but by 40 min, Jer eases off and lets Keith run with it. The energy subsides, but Keith keeps it going, and around 41:30 he plays a little 2 chord vamp that Jerry picks up on and plays with for a second. Though the air is starting to leave the balloon, their playing is still remarkably sharp and focused -- prime 73 Dead jazz jamming, ala many other great ones from the year (3/24, 7/27, 10/29, etc). In the waning moments, it really sounds like they're considering a return to the Dark Star theme -- Keith and Phil practically cue it right up (!), but Jerry's on his own path and turns straight into Eyes of the World. Never a bad call, but jeez, how perfect would it have been if Jerry eased back and let them put the cherry on top of this Dark Star? Ah well. "You don’t end it so much as leave it."

Why?

Because, as the name of the blog states, 140 characters is not enough.
I do like the way that Twitter can be whatever you want it to be, but the 140 character limit can be slightly restrictive.

Be warned! This blog will probably be about music, geekery and the odd bit of porn. Everything a growing boy needs.