COPPER

A PS Audio Publication

Issue 116 • Free Online Magazine

Issue 116 TWISTED SYSTEMS

Me and the Dead, Part Two

Me and the Dead, Part Two

In response to reader jeffstarr who commented on my Dead article, The Rocky Road to Unlimited Devotion” (Issue 114), he asked why I had to dislike the Dead just because I became infatuated with glam rock.

That is a good question.

In my forthcoming book Twisted Business (to be published by RosettaBooks), I go into greater detail but I will use this column to elaborate.

I am not the first musician, when faced with a huge creative sea change, who has made the decision to make a radical musical change.

Think about this: Sinatra wiped out Bing, Elvis wiped out Sinatra, the Beatles wiped out Elvis (and everything else), disco wiped out rock, punk wiped out “corporate rock,” grunge wiped out hair metal and so on and so on.

The point is that if you were a musician who has a career suddenly stopped in its tracks because of an enormous sociological and commercial sea change, then you are faced with a choice: either get on board or tough it out and hope you can still have a career.

A music-loving consumer doesn’t really have to deal with it except that, as your personal taste changes, so go your buying habits.

I know so many musicians whose livelihoods were affected by these kinds of changes that many of them quit the business rather than get on board with whatever trend was happening.

In my case, I was completely invested in the hippie, drug and Dead culture and I regarded my total turnaround from this life as life-saving. This, of course, was a very personal decision. I didn’t feel the need to turn my back on any other of my favorite artists but the Dead were different. It wasn’t just the music, it was the life they and the music represented. It was something that I felt I just had to do to save myself both in terms of the drug lifestyle and the need to make a musical change. The Dead embodied “the past” and to save myself, I had to walk away. Completely.

The Grateful Dead, 1970. Courtesy of Wikimedia Commons.

No one knows what it’s like to walk in someone else’s shoes. As a “celebrity” we are always under a microscope and I am totally aware that fans and non fans alike parse the statements we make.

It goes with the territory.

I responded to this particular question from jeffstarr because I felt that it did need elaboration. Whether my response makes sense is up to the reader. All I can say is that, as explained, I did what I had to do and I have nothing more to add in this regard.

More from Issue 116

View All Articles in Issue 116

Search Copper Magazine

#234 A Life in High-End Audio: The Roy Hall Interview, Part One by Frank Doris Sep 07, 2026 #234 Jason Greenlaw Offers His Personal Perspective on Jazz Guitar in Vantage Point by Frank Doris Sep 07, 2026 #234 Transcendent Phoenix: Lucina Yue Brings the Ancient Konghou Into Modern Times by Frank Doris Sep 07, 2026 #234 We Must All Follow Our Bliss by B. Jan Montana Sep 07, 2026 #234 How to Play in a Rock Band, 27: Leveling Up by Frank Doris Sep 07, 2026 #234 Ross Valory: Traveling Into New Musical Territory With All of the Above by Ray Chelstowski Sep 07, 2026 #234 Singer/Songwriter John David Schrader: On the Need to Create by Joe Caplan Sep 07, 2026 #234 The People Who Make Audio Happen: More From T.H.E. Show SoCal 2026 by Harris Fogel Sep 07, 2026 #234 The Vinyl Beat Digs Into the Gadget Box by Rudy Radelic Sep 07, 2026 #234 The Rolling Stones: Foreign Tongues Spoken Loud by Wayne Robins Sep 07, 2026 #234 Musical Moments by Rich Isaacs Sep 07, 2026 #234 Rags for Solo Piano and a Dog: David Chesky's Ragtime Music for the Modern Age by Frankly Speaking Sep 07, 2026 #234 HIGH END 2026, Vienna: Here to Stay by Carsten Barnbeck Sep 07, 2026 #234 From The Audiophile’s Guide: The Two Main Types of Loudpeakers – Box and Panel by Paul McGowan Sep 07, 2026 #234 Letting it Slide by Frank Doris Sep 07, 2026 #234 PS Audio in the News by PS Audio Staff Sep 07, 2026 #234 Long Playing by Peter Xeni Sep 07, 2026 #234 La Mer by B. Jan Montana Sep 07, 2026 #233 A Report From The Total Hi-Fi Experience Show SoCal 2026 by B. Jan Montana Aug 03, 2026 #233 Bluegrass Meets Country, Folk, Jazz and More in All That We Carried by The Squid City Slingers by Frank Doris Aug 03, 2026 #233 Corey Glover and One Tribe Nation: A Variegated Musical Collective by Ray Chelstowski Aug 03, 2026 #233 Excursions with Clive: The Late Clive Davis, A Personal History by Wayne Robins Aug 03, 2026 #233 AI, Art, and Music: A Conversation With Synthography Art by Joe Caplan Aug 03, 2026 #233 New American Symphonies: A Rediscovered Gem and a Vital Contemporary Work by Frank Doris Aug 03, 2026 #233 The Vinyl Beat: Genesis, the Dave Clark Five, Antonio Carlos Jobim and More by Rudy Radelic Aug 03, 2026 #233 How to Play in a Rock Band, 26: When It's Time to Record Your Music by Frank Doris Aug 03, 2026 #233 More From T.H.E. Show 2026, and the People Who Made it Happen by Harris Fogel Aug 03, 2026 #233 Underappreciated Artists, Part Three: Icehouse by Rich Isaacs Aug 03, 2026 #233 The Surprisingly Rich and Varied Music of Somalia by Steve Kindig Aug 03, 2026 #233 A Remarkable Discographic Legacy: The LP Recordings of the Basel Symphony Orchestra by Stephan Haberthür Aug 03, 2026 #233 From The Audiophile’s Guide: The Importance of Loudspeakers by Paul McGowan Aug 03, 2026 #233 From Swimming Pool to New Listening Room: A Conversation with Norman Varney of AV RoomService by Gilles Laferrière Aug 03, 2026 #233 PS Audio in the News by PS Audio Staff Aug 03, 2026 #233 Audio Jewelry by Peter Xeni Aug 03, 2026 #233 Enrich Your Life by Frank Doris Aug 03, 2026 #233 The Searcher by James Schrimpf Aug 03, 2026 #232 What came first: Art or Music? A Conversation With Artist Jose Acosta by Joe Caplan Jul 06, 2026 #232 Blow By Blow: The Jeff Beck Story: An Insightful Book About a Guitar Icon by Ray Chelstowski Jul 06, 2026 #232 Creed Over Camaraderie? by B. Jan Montana Jul 06, 2026 #232 Chronicles of a Sound Pilgrim at the 2026 Montreal Audiofest by Hugues Morin Jul 06, 2026 #232 The Vinyl Beat: Summer Grooves by Rudy Radelic Jul 06, 2026 #232 Hibbing Hillbilly Dylan's Acoustic Rock by Wayne Robins Jul 06, 2026 #232 Quad Quads and Plasmatronics Tweeters: An Extraordinary System Comes to Life by Frank Doris Jul 06, 2026 #232 In Praise of Live Music, Once Again by Ted Shafran Jul 06, 2026 #232 Allnic Audio’s L-9000 Preamplifier: Design and Engineering Innovation by Howard Kneller Jul 06, 2026 #232 “Best Of” Lists and Rage Bait: Enough Already by Frank Doris Jul 06, 2026 #232 Quick Takes: Bud Shank, Paulo Almeida, Jakob Dreyer, Tim Eriksen and Peter Irvine by Frank Doris Jul 06, 2026

Me and the Dead, Part Two

Me and the Dead, Part Two

In response to reader jeffstarr who commented on my Dead article, The Rocky Road to Unlimited Devotion” (Issue 114), he asked why I had to dislike the Dead just because I became infatuated with glam rock.

That is a good question.

In my forthcoming book Twisted Business (to be published by RosettaBooks), I go into greater detail but I will use this column to elaborate.

I am not the first musician, when faced with a huge creative sea change, who has made the decision to make a radical musical change.

Think about this: Sinatra wiped out Bing, Elvis wiped out Sinatra, the Beatles wiped out Elvis (and everything else), disco wiped out rock, punk wiped out “corporate rock,” grunge wiped out hair metal and so on and so on.

The point is that if you were a musician who has a career suddenly stopped in its tracks because of an enormous sociological and commercial sea change, then you are faced with a choice: either get on board or tough it out and hope you can still have a career.

A music-loving consumer doesn’t really have to deal with it except that, as your personal taste changes, so go your buying habits.

I know so many musicians whose livelihoods were affected by these kinds of changes that many of them quit the business rather than get on board with whatever trend was happening.

In my case, I was completely invested in the hippie, drug and Dead culture and I regarded my total turnaround from this life as life-saving. This, of course, was a very personal decision. I didn’t feel the need to turn my back on any other of my favorite artists but the Dead were different. It wasn’t just the music, it was the life they and the music represented. It was something that I felt I just had to do to save myself both in terms of the drug lifestyle and the need to make a musical change. The Dead embodied “the past” and to save myself, I had to walk away. Completely.

The Grateful Dead, 1970. Courtesy of Wikimedia Commons.

No one knows what it’s like to walk in someone else’s shoes. As a “celebrity” we are always under a microscope and I am totally aware that fans and non fans alike parse the statements we make.

It goes with the territory.

I responded to this particular question from jeffstarr because I felt that it did need elaboration. Whether my response makes sense is up to the reader. All I can say is that, as explained, I did what I had to do and I have nothing more to add in this regard.

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment:

✏️ Edit Comment

Enter your email to verify ownership: