Welcome to our “Psychedelic Lunch” series, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Grateful Dead “Friend Of The Devil”

Grateful Dead lyricist Robert Hunter told Relix that “Friend of the Devil” was the closest that the Grateful Dead ever came to creating “what may be called a classic song.” Many Deadheads may disagree, but it’s an interesting perspective from the man who penned the words for the majority of the Dead’s most iconic pieces.

Whether or not “Friend of the Devil” is the sole “classic” Dead tune, it’s hard to argue that the band tapped into the outlaw’s zeitgeist to find a timeless song with this one. Dead chronicler extraordinaire David Dodd, for one, agrees. “No other Dead tune gets played quite so often,” Dodd writes in Greatest Stories Ever Told.

Jerry Garcia and John Dawson of New Riders of the Purple Sage (NRPS) wrote the music for “Friend of the Devil.” Hunter wrote the lyrics, but Dawson played a critical part in that area, as well.

In his online journal, Robert Hunter recounted writing the lyrics for “Friend of the Devil” in a single afternoon in Madrone Canyon. He actually created the song with the intent of playing it with NRPS, after the band had asked him to be their bassist. This is why he first unveiled the song to David Nelson and John Dawson in their home in Kentfield. At that point, Hunter explains, “The ‘Sweet Anne Marie’ verse which was later to become a bridge was only one of the verses, not yet a bridge.”

Where things get really interesting in this story is where Hunter tells us that the chorus originally went:

I set out running but I take my time
It looks like water but it tastes like wine
If I get home before daylight
I just might get some sleep tonight

Notice how the line “A friend of the devil is a friend of mine” doesn’t play into that chorus? This is where Dawson comes in.

After showing the guys the song, Hunter explains, the band went down to the kitchen for espresso. “We got to talking about the tune and John said the verses were nifty except for ‘it looks like water but it tastes like wine,’ which I had to admit fell flat. Suddenly Dawson’s eyes lit up and he crowed “How about ‘a friend of the devil is a friend of mine.’ Bingo, not only the right line but a memorable title as well!

We ran back upstairs to Nelson’s room and recorded the tune. I took the tape home and left it on the kitchen table. Next morning I heard earlybird Garcia (who hadn’t been at the rehearsal – had a gig, you know) wanging away something familiar sounding on the peddle [sic] steel. Danged if it wasn’t ‘Friend of the Devil.’ With a dandy bridge on the ‘sweet Anne Marie’ verse. He was not in the least apologetic about it. He’d played the tape, liked it, and faster than you can say dog my cats it was in the Grateful Dead repertoire.”

It’s interesting to wonder whether or not the song would still have become a staple if Dawson hadn’t popped those lyrics. The line, “a friend of the devil is a friend of mine” isn’t the only great thing about the song, but it’s definitely a critical part.

Hunter dipped out of NRPS almost as fast he dipped in, and so the song became a Dead tune.

In regards to the song’s lyrics, Dodd’s indispensable Complete Annotated Grateful Dead Lyrics makes an interesting connection between the “Friend of the Devil” line “trailed by twenty hounds” and the line “there’s a hellhound on my trail” from Robert Johnson’s “Hellhound on My Trail.” It’s not very likely that that is purely a coincidence, considering Hunter’s musical scholarship and penchant for filling his lyrics with allusions to folk songs, blues, poetry, and mythology. The possible connection is doubly interesting because Johnson’s legend goes that he sold his soul to the devil at the crossroads to become a great bluesman. At the very least, it’s an intriguing piece to the story told in the song.

Hunter also wrote that there was a fifth verse written for the song. It went:

You can borrow from the Devil
You can borrow from a friend
But the Devil give you twenty
When your friend got only ten

The song seems to have its central character make it from Reno to Utah in one night on foot. A possible key to this seemingly impossible logistical feat is the fact that Reno was actually part of the Utah territory for one year at around 1860.

Reno was originally part of the Utah territory, which means that the line, “I got a wife in Reno baby, and one in Cherokee” is referring to the act of polygamy, which was present in Utah’s early years.”Friend of the Devil” was released on the 1970 album American Beauty. It was performed live for the first time at San Francisco’s The Family Dog concert hall on February 28, 1970.

The song evolved over time. Garcia has stated that the version the band played in later years was inspired by Kenny Loggins’ version of the song.

David Grisman, an old friend of Jerry Garcia’s, contributed mandolin to the song. Dennis McNally’s A Long Strange Trip: The Inside Story of the Grateful Dead tells how this collaboration resulted from Garcia spotting his old pal while playing softball in Fairfax with the Jefferson Airplane. Grisman was brought in primarily to contribute to “Ripple,” but also ended up throwing in on “Friend of the Devil.”

“Friend of the Devil” has been covered, live or in studio, by NRPS, Bob Dylan, Tom Petty and the Heartbreakers, Elvis Costello, Dave Matthews Band, Mumford and Sons, and many others, including countless small town bands in corner bars all across America and beyond.

Psychedelic Lunch

Debut EP “A Reptilian Dystopia” Out Jan 17, 2020

Fresh out of Stamford, Connecticut, USA, comes FROGG, a creative and modern blend of metal that is both dark and melodic. They are releasing their debut EP “A Reptilian Dystopia” on January 17, 2020 and ahead of that, are releasing the single ‘Ancient Rain’.

FROGG has been in the works for years in the mind of Sky Moon Clark and over the years he has been inoculating a stash of riffs, licks, and raw emotion, which will now be poured out into the world. As the band puts it, “it’s a fiery punch to the gut”.

The single ‘Ancient Rain’ is fast, technical and powerful with brutal riffs and malicious gutturals. One of the 4 punchy tracks that is just the beginning of what FROGG has to offer. Clark quotes about the future material FROGG intends to release:

“Our EP is kind of our raw sound put on a plate without much refinement, but it’s still the basic punch and flavour FROGG has to offer. Just think of the EP as our base, while our in-the-works Album I (expected 2021/2022) will be a more fleshed out form of FROGG with an emphasized focus on the overall songs start to finish.”

Metal fans looking for something new and creative, especially fans of Obscura, Arsis and Born of Osiriswill be able to appreciate FROGG and “A Reptilian Dystopia”.

Listen to ‘Ancient Rain’ via The CirclePit‘s YouTube channel here.


EP Pre-order here.

Track Listing:
1. Ancient Rain (3:23)
2. Nuclear Storm (2:05)
3. DNA (7:29)
4. Ranidaphobia (3:47)
EP Length: 16:45
For more info:
Facebook.com/Froggband
Instagram @ Froggband
Twitter @OfficialFrogg
EPK

About:

FROGG is a modern technical metal band located in Stamford, USA with influences stemming from Obscura, Arsis, and Born of Osiris.

The concept behind FROGG is simple: create modern heavy music while striving to show off some originality in an often, over-processed genre. FROGG’s main ambition is to hit the live circuit in NYC and its surroundings with a perfected performance and bolstered line-up.

FROGG started as your typical high school band with founder Sky Moon Clark and co-founder at the time, Ryan Panny blasting off primarily Children of Bodom covers for fun. FROGG was later revitalized by Clark, during his time at Berklee College of Music.

Through his time at Berklee, Clark experimented with different projects while continuing to funnel different guitar-centric song ideas and riffs into the archives that would later come to fruition with the next reincarnation of FROGG.

In 2019, the overstocked stash of riffs, licks, and raw emotion was ready to be poured out into the world what was a one-man project bloomed with the addition of Siebe Sol Sijpkens (bass); Anthony Barrone (drums) and Liam Zintz-Kunkel (rhythm guitars) to record the first EP.

With performance in mind, FROGG delivers an authentic live sound with no backup tracks, just raw, practiced musicianship. The dark and melodic band promises something hot, original and intense and the debut album “A Reptilian Dystopia” is slated for release in 2020.

Introducing Connecticut’s FROGG And Their Reptilian Dystopia With Single “Ancient Rain”

OGDEN — An Ogden legend died Saturday.

Joe McQueen, pioneering jazz saxophonist and Northern Utah resident, died Saturday morning at the age of 100.

Fellow jazz musician Brad Wheeler said in a Facebook post Saturday afternoon that McQueen, his close personal friend and fellow musician, died at 10:20 a.m. Saturday.

“He has been living his whole life for this day,” Wheeler wrote in the post. “He told me to tell everyone not to cry for him, that when you think about him to think about all of the blessings he had received, and know that he had lived a full and meaningful life.”

Lars Yorgason, an Ogden resident and bass player, told the Standard-Examiner that McQueen was a wonderful person, and he’s considered himself lucky to call McQueen a friend.

“He was a very honest, honorable person,” Yorgason said. “I think the world should know that. I’m grateful I was his friend.”

Yorgason played with McQueen since 1977, when he moved back to Ogden. He described McQueen as a leader for desegregating Ogden establishments, telling club owners that he wouldn’t play at their establishments unless they allowed people of all colors inside.

“He was a force in getting establishments to reduce and eliminate segregation in Ogden,” Yorgason said. “He really enjoyed being in Ogden.”

McQueen was described as a tender, kind and strong man, according to Ryan Conger, an organist who played for years with Joe as part of his quartet.

Conger, who said he’s known McQueen for about eight or nine years, was always amazed at what the saxophonist could do, even in his older years. Conger recalled a piano teacher he had at Utah State University who would sit in on jam sessions where others could join in. It was competitive, and the teacher was always intimidated when trying to keep up with McQueen.

Conger would later share in that experience when he, too, would play with McQueen. His speed and expertise in music could be seen well into his later years.

“Mere mortals could hardly keep up with him back in the day,” Conger said. “It was one of those experiences that left you in awe.”

McQueen was much more than just a musician, said Conger, as he was known for his strength and passion for helping others. After McQueen retired in his 80s, Conger said McQueen would spend 40 hours a week driving seniors to doctor’s appointments, pharmacies and anywhere else they needed to go.

“It’s hard to imagine all he did for this community,” Conger said. “That was just Joe, he was tough as nails but always cared about others. He was the kind of guy you wanted to be.”

McQueen was born May 30, 1919, in Ponder, Texas, and was raised by his grandmother in Ardmore, Oklahoma, according to previous Standard-Examiner reporting.

He began playing the saxophone as a teenager, eventually touring the country with jazz bands. In late 1945 McQueen and his new bride, Thelma, were traveling with a band when they made a stop in Ogden. While here, another member of the band stole the group’s money and left town. The couple decided to stay and make a home here.

McQueen became a fixture in the local music scene, playing with many of the big jazz names coming through town — Charlie Parker, Chet Baker, Count Basie, Duke Ellington, Dizzy Gillespie. He also toured on and off throughout the West.

Through the years, McQueen toured across the country but always remained true to Ogden.

Earlier this year on June 1, dozens gathered at Ogden’s Second Baptist Church to celebrate McQueen’s 100th birthday.

Speaker after speaker noted McQueen is an inspiration for more than just his music. They praised McQueen for breaking barriers during segregation, playing in any clubs he could, and helping generations of younger musicians learn how to play and be good people.

In anticipation for his centennial birthday, the Utah Legislature passed House Concurrent Resolution 12, which honored the jazz legend’s birthday. The musician also received a brand new saxophone from the Sandy-based company Cannonball Musical Instruments.

Ogden Jazz Legend Joe McQueen Dies Saturday At The Age Of 100

JUDAS PRIEST has uploaded a new video touting the band’s nomination for the Rock And Roll Hall of Fame. The 95-second clip contains some of PRIEST‘s best-known songs and includes facts about the group’s 50-year career, such as crediting the British heavy metal legends with “revolutionaliz[ing] heavy metal fashion and cultural dress by introducing the leather-and-studs look” and “pioneer[ing] modern metal and continu[ing] to reshape heavy metal today.”

Having been eligible for induction since 1999, JUDAS PRIEST was on the ballot for last year’s class of the Rock And Roll Hall Of Fame, but ultimately didn’t clinch the nomination.

This past October, it was announced that JUDAS PRIESTis among the nominees for the Rock And Roll Hall Of Fame‘s class of 2020. The top vote-getters will be announced in January and inducted May 2, 2020 at a ceremony at Cleveland’s Public Hall.

A voter pool of more than 1,000 artists, historians, journalists and members of the music industry will select the new class. Fans will also have a chance to take part in the process by voting at RockHall.com or an interactive kiosk at the museum in Cleveland.

Rob HalfordLes BinksK.K. DowningIan HillDave HollandGlenn Tipton and Scott Travis are on the ballot for JUDAS PRIEST.

Speaking to Ultimate Classic RockHalford said about the prospect of PRIEST finally getting the nod: “It would be wonderful [to be inducted]. I think it’s one of the greatest accolades you can be given, because you’re in the company of musical giants.

“When we were first nominated, I kind of went crazy and I was texting my friends and [sending] e-mails and going, ‘You’ve got to vote! You’ve got to vote!” he recalled. “And then we didn’t get in. I was disappointed. But it is what it is. This time, I haven’t really been checking the voting that much, but apparently, we’re in the Top 5 right now, for the fan votes. Which speaks volumes about our wonderful fans around the world that are voting every day.”

Downing, who left the band acrimoniously eight years ago, told BlastEcho in a 2016 interview that he “would be fine” with performing with his former bandmates at the Rock Hall induction ceremony if they were to ever receive the honor. Halford was also open to the idea of reuniting with Downing on the night, telling Billboard in 2017: “Everything’s on the table for anyone that’s been associated with PRIEST in and out of the band.” 

To be eligible for this year’s ballot, each nominee’s first single or album had to be released in 1994 or earlier.

Why Judas Priest Deserves To Be Inducted Into The Rock And Roll Hall Of Fame

Welcome to our “Psychedelic Lunch” series, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

The Electric Prunes Circa 1966

“I Had Too Much to Dream (Last Night)” is a song written with music by Annette Tucker and lyrics by Nancie Mantz, which was recorded in late 1966 by the garage rock band The Electric Prunes. Released as the band’s second single, it reached # 11 on the BillboardHot 100 and # 49 in the UK in 1967.

It was also the lead track of the band’s debut album, and became more widely known as the opening track on the influential Nuggets compilation of garage rock and early psychedelic music, released in 1972.

The title is a pun on having “too much (alcohol) to drink”: its lyrics describe how the singer has woken from dreaming about an ex-lover.

Psychedelic Lunch

Written By Braddon S. Williams aka “The Concert Critic”

Cathy Flynn, WickedGoddessPhotography.Com

On this date in history, 11/16/2019, King Diamond brought The Institute North American Tour to the exquisite Palace Theatre in Louisville, KY. Uncle Acid & The Deadbeats and Idle Hands were the support bands for this incredible evening of diverse styles of heavy music and dramatic visuals.

Both opening bands were handpicked by the King and they brought headliner worthy performances to prime the capacity crowd for the main attraction.

Idle Hands started the night with a great set of goth tinged melodic hard rock. Their singer, clad all in black, resembled a spookier Joey Ramone, and impressed me with his voice and his stage presence. Of course, the stage itself is marvelous, as is the elegant theater that hosted this collection of thrilling artists.

The Louisville Palace opened in 1928 and seats a capacity of 2800, making this an intimate experience for everyone in the theater. I don’t know how many metal acts have played there, but this place was tailor made for the King Diamond experience. Uncle Acid & The Deadbeats took advantage of the high ceiling by use of a large screen hanging above them on which they projected an ever-changing barrage of trippy imagery to accompany their sludgy brand of doom metal. The four piece band from Britain were energetic and resembled classic ’70’s hard rock bands with their long hair flying and their twin guitar attack set to take no prisoners.

As good as the warmup bands were (and they were both great!), there was no confusion about who the crowd was there to see, and King Diamond’s arrival was greeted with a thunderous ovation as he was wheeled out of a door in the center of the gigantic stage set which was designed as a multiple leveled interior of a mental institution. Songs from a number of Diamond’s best albums provided a loose thread of continuity for the visual dynamics that King Diamond excels at, and favorites included Funeral, Arrival, Halloween, A Mansion In Darkness, Out From The Asylum, Welcome Home, and The Lake. One new song, Masquerade Of Madness, held its own among the classics, and an encore of Burn and Black Horsemen (dedicated to the recently departed Timi Hansen) brought the night to a thoughtful and deeply satisfying close.

Diamond’s band was phenomenal throughout, with guitarists Andy LaRocque and Mike Wead delivering consistently jaw dropping playing. Diamond’s eerie falsetto (ably assisted by Livia Vita) sounded glorious in the flawless acoustics of the venerable Palace Theatre. The entire set built up a palpable anticipation of the upcoming double album, which is certain to add to King Diamond’s already supreme arsenal of music, both as a solo artist and as the singer of Mercyful Fate.

On This Date in History

Welcome to our “Psychedelic Lunch” series, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Southwest F.O.B. (“Freight On Board”) was a 1960s psychedelic rock group from Dallas, Texas, now perhaps best remembered because it featured Dan Seals and John Colley, who later found great success as the duo England Dan and John Ford Coley. The Southwest F.O.B. also included Michael (Doc) Woolbright on the bass.

Started by guitar player Larry “Ovid” Stevens when they were students at W. W. Samuell High School in Dallas, the band secured a minor hit in 1968 (reaching number 56) with a cover of the West Coast Pop Art Experimental Bandsong “Smell of Incense”, nationally released on the Stax subsidiary label Hip Records. The band’s sole LP was also called Smell of Incense; it has been preissued as a remastered, expanded CD by Sundazed Records, now out of print. Later success eluded them, and the band broke up in 1969.

Dan Seals died on March 25, 2009. He and classmate John Colley, who later changed the spelling of his last name to Coley, formed a group with three other Samuell students called the Playboys Five. That became Theze Few, which morphed into Dallas high school band Southwest F.O.B. 

“We were very popular in the late 1960s”, Coley said. “We even opened for Led Zeppelin and Three Dog Night, and remember, we were just high school kids”.

Psychedelic Lunch