ZONE
OUT with the ROLLING
RIDER
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2 -
M E R C U R Y
__________________________________________________
7-6-01
Red Rocks Ampitheatre
Morrison, CO
(continued...)
Out of BIRDSONG, Rob Barracco took the helm for a rollicking version of
BROWN EYED WOMEN. In a style that could be described as almost 'adamant',
literally pounding along, bouncing on the keys, perhaps no other song
provides such a splendid showcase for Rob's precise, spirited vocals.
Phil helped out, booming, "...it looks like the old man's, getting' on'...",
much to the delight of the Red Rocks congregation.
Phil loves these songs. He tends to the songs, the music, and in beautiful reciprocity, the music continues to enlighten us: ever-changing, morphing, mirroring, slipping and slithering along, only to be engulfed in darkness, until a razor-thin crack of light appears again. This was the overwhelming feeling one received during a mesmerizing version of UNBROKEN CHAIN.
At once, the musical conversation between the friends was methodically tight, then airy and loose. Time and space began to dissolve, and Phil's utter romance with these songs, these stories, was apparent. Again, like a ray of sunshine after a morning rain, the familiar intro to THE WHEEL was realized, simultaneously, it seemed, by audience and band.
The JAM out of the wheel alluded to GOOD LOVIN, and like a sand castle, it washed away almost as it formed. To sheer delight, Warren Haynes treated the partisan Colorado crowd to it's first taste of NIGHT OF A THOUSAND STARS. The third time always being the charm, this vociferous version was the strongest to date. Sustained by the pulsating drums of John Molo, this song impresses me as much as the tunes from Robert Hunter's lyrical cornucopia of 1993.
In the 'hmmm...that was pretty strange' department...the first set ended with our friends finding the opening chords of NOT FADE AWAY, vaulting the phans into utter bliss. Somehow, almost indescribably, the phriends phaded into the phans clapping our familiar mantra, 'love is real, not fade away'. Then to our chagrin, Phil left the stage, and the house lights went on to signal intermission!
Set II - "ONLY LOVE CAN PHIL"
The half-hour intermission was surreal. Phans buzzing. Van Morrison oozing sweetly, like soul honey, from the PA. "He'll probably open with not fade away!". The spectacle that is Red Rocks, mammoth miracles of geology, dwarfing anything in their presence, loomed above, casting strange shadows on the communal sea.
The crowd cheered wildly as the MOON crept up ever so slowly, and finally made it full bore into the sky above us, a faintly orange, seemingly molten sphere.
Tonight was the night of MERCURY, the planet of the solar system nearest to the sun, a mere stroll-in-the-park at 36,000,000 miles. Surely Phil had enough fuel in the Vista Cruiser to power us there. Our friends took to the stage, bathed in celestial liquid light courtesy of Candace Brightman, and melted into a JAM of some clandestine melody. Jimmy Herring began to ignite, scorching along with his leads until Phil thumped out the intro to ALL ALONG THE WATCHTOWER.
The line 'come dig my earth' was surely apropos, and the crowd worked itself into a frenetic state. What could be dubbed as the MERCURY JAM occurred next from that well where ripples are made with no pebble tossed. The strings playing all alone, Theodore Sturgeon must have been smiling from the grave. The idea of gestalt, which Phil noticed in his novel 'More Than Human', became visible. Truly, the sum of us, band and audience, was greater than our parts. { When I think back to the pace of this celestial jam, I ask myself..was the tempo in...7? }
...seeking WISDOM, our spirited hero traverses the ORANGE CANCER sky...the fragent cent of MUSK beckons him closer...closer to what? what secret lies in the 17 STARs? his energy rises to the SACRAL as he journeys on...
Then, with notes cascading down like a waterfall, we, in unison, recognized EYES OF THE WORLD. Always a treat, this beautiful version of EYES was timeless. "…the night comes so quiet, it's close on the heels of the day...". Now, the Red Rocks crowd had really found it's groove, dancing and singing along with joy. Truly, sometimes the songs that we hear, are just songs of our own.
Everything that was to phollow was like one, gorgeous moment. Candace was masterful, creating purple nugget trees out of the foliage flanking the phans. MERCURY is wisdom, and as the surreality of Red Rocks grew to almost impossible proportion, Phil led us into the lion's den.
The notes that signal LADY WITH A FAN were wonderfully soothing, then daunting, as Phil began to spin a Jerryesque web. His deep voice and exact enunciation, make this song perfect for Phil. Confidently, he set up the story of the soldier, and the sailor, and the Lady of Carlisle, and our rich mythology once again became apparent.
Speaking of mythology, on the heels of the Greek Theatre, I couldn't help but let my mind wander to the other aspect of MERCURY. In Roman Mythology, the counterpart of the Greek's Hermes is Mercury, the Messenger of the Gods. We all know MERCURY: the winged sandals, which allow him to be as fast as quicksilver.
However, there is one power which MERCURY possesses which I think may be the most coveted: the golden coin underneath his tongue. The Messenger of the Gods, this 'gold coin' under his tongue allows him safe passage on to the next level, the next world, the next universe. No obstacle can hinder him, because, at that defining moment, MERCURY is able to divine wisdom that makes his journey eternal.
It would be laughable for me to attempt a description for the BLUES FOR ALLAH which was interpolated in TERRAPIN. The Rider was thrilled, though, to hear one of his all-time favorite lyrics: "the ships of state sail on mirage, and drown in sand". And, the phrase 'bird of paradise' sung by Barracco seemed too wonderful, so right, and so angelic. The evening and morning song of birds, who sleep in the stars, fly through the night, and possess wings a mile long. Like some arcane puzzle, Phil has slowly, piece by cryptic piece, began to put it all together for us.
"...under eternity....under eternity....under eternity..."
TERRAPIN STATION was like the rainbow amid the calm of storm. The train put it's brakes on at this wonderful, historic venue that is Red Rocks (ps. 8-30-78, 1st world2give!). Phil affirmed my inner soul as he wondered aloud, "...I can't figure out, if it's the end or beginning". Well, when I think about all the love, and community, and kindness Phil Lesh brings, I have to lean towards 'the beginning'.
As I write the conclusion to this review, it happens to be the BIRTHDAY of a dear, dear member of the phamily. I would feel remiss if I let this day go by without giving credit where credit is due. There are other people who care about these songs equally as much as Phil, which is infinitely. I know her as 'Lady Word', but you may know her as Jen D from the Philzone.
Let's just say the next two songs, the closer and the encore from 7-6-01 at the Rocks, COMES A TIME, followed by NOT FADE AWAY (this time for real!) were for Jenny:
"from
day to day
just lettin' it ride
you get so far away
from how it feels inside,
you can't let go
cause you're afraid to fall
but the day may come
when you can't feel at all
comes
a time
when the blind man
takes your hand
and says 'don't you see'
gotta make it somehow
on the dreams you still believe"
"you
know our love will not fade away"
{insert
clap-clap-clap, clapclap! ad infinitum}
Respectfully,
Rolling Rider
__________________________________________________
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