AHHHHHHHHHHHHHHHHHHH

Postby DyerWolf » Thu Jan 17, 2008 8:55 pm

maximinus wrote:I'm a bass player in a dead cover band, and this is what I do for the main riff:

Code: Select all
G------------------------
D--------0-4-3-3h4p3p0---
A-2-2--2-----------------
E------------------------


The walkup part after that can be done with:

Code: Select all
G---------------------------------------
D-------------1-1-2-2-3-3-5-5-6-6-------
A-2-2-4-4-5-5---------------------3-3-2-
E---------------------------------------


I'm sure you can get the guitar part out of that somehow. A great song from Bobby!


Thanks for this! As a fellow bass player who is incredibly poor at transposition (not like Phil makes it easy) I've generally been disappointed with tha quantity of shared knowledge of the bass parts to Dead songs. How many songs are in your repertoire? How did you learn some of them? What can you share? I'd love to learn more! :smile:
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Postby kevo » Thu Jan 17, 2008 9:41 pm

I personally love the song.
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Postby bodiddley » Fri Jan 18, 2008 6:26 am

I have come to love the song, but have to be in the mood for it. It's got that classic Grateful Dead Dark energy to it like a black hole that swallows galaxies for breakfast.
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Postby pappypgh » Fri Jan 18, 2008 9:43 am

:cool: I've always liked this song a LOT. My old bandmates from Philly in Double Dose never really liked it much, so we never did it. My current bandmates in theCAUSE don't much care for it, either, so I'm screwed!!!

BUT, yes - it's eerie. It's dark. But it's SO tight when GD would do it. It kicked in one of the best trips I ever had too...I don't do that stuff anymore, but back on tour in 1989 - Philly, 10/19 - They opened with a blistering Bucket, West LA. I started feeling tingly...then I started hearing Jerry tune up to Victim...they kicked it in, and it kicked IT in. By the middle of the song, the boys were all turning into monsters...busting out of their clothing the way the Incredible Hulk used to...their hair was getting all scraggly and they had fangs....the most vivid I ever hallucinated.

Regardless of THAT....I love the tune. I've played it myself just sitting around. That B5 chord is a great "Bobby chord". You play a B chord, as you normally would on the 2nd & 4th frets, then lift off the 3rd altogether. In other words, you flat the minor 3rd (or play the dominant 2nd). It's also called a Bsus2. Basically, bar the entire 2nd fret (less the 6th/Low E string) and only play the 4th/D string and 5th/G string on the 4th fret. I often play Esus 2 whenever I'm playing rhythm in Bird Song, too....nice chord.

If I recall (and I may be wrong), Victim Or The Crime appeared on a Bobby album circa 1982. The story I heard was that he presented it to the band back then and everyone was like, "That song's terrible!" He tabled it until 1988 when he felt the band was taking more chances, musically. Again, this is all heresay and I can't even remember where I got that info. I love Weir's comment in the 1989 Halloween issue of Musician magazine when asked about this song..."It ain't Sugar Magnolia!"

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Postby strumminsix » Fri Jan 18, 2008 10:05 am

Nice write-up pappy!

BTW, I do disagree with B5 = Bsus2.

I've learned that a x5 equals only playing the root & fifth.

A two-note chord, think piano.

The sus2 is the root, second and fifth.

Bobby uses x5s here and there which leaves the mystery sometimes if it's major or minor or sus2
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Postby pappypgh » Fri Jan 18, 2008 10:22 am

SS -

YUP! You're right...but I DO like the sound of that sus2 chord!!!

ROCK ON!

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"If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously." - Jerry Garcia
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Postby strumminsix » Fri Jan 18, 2008 10:56 am

pappypgh wrote:SS -

YUP! You're right...but I DO like the sound of that sus2 chord!!!

ROCK ON!


And may the Rock force be with you :cool:

BTWs
- do you do the little alternate from the major for like a 1/16 note and then over to the sus2? If not try it!
- at the end do you do the rock between Esus2 then back to Bsus2? If not, try that too!!!!
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Postby pappypgh » Fri Jan 18, 2008 11:16 am

SS - as a matter of fact I DO BOTH OF THOSE THINGS!!!

NICE!!! :smile:
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"If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously." - Jerry Garcia
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Postby strumminsix » Fri Jan 18, 2008 12:59 pm

pappypgh wrote:SS - as a matter of fact I DO BOTH OF THOSE THINGS!!!

NICE!!! :smile:


Rock on out! :cool:
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Postby daziestar » Sat Jan 19, 2008 8:36 am

Are we the victim or the crime? or the crime?
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Postby mkaufman » Sat Jan 19, 2008 3:30 pm

1-2-5 = sus 2

1-4-5 = sus 4

1-5 = 'power chord'. It has no 3rd so the lead so it's neither major or minor. Weir used this in many songs including the Help-Slip-Franklin 'whip' section. I also use it in Lazy Lightning as there's always this argument:

C->E7 or C->Em at the beginning of the verse.

I think it's E7, others disagree. So...I play the E power chord so the lead can be minor or major.

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Postby HOWEYMAN » Sun Jan 20, 2008 6:43 am

I have an interview as filler at the end of some tape I have where Jerry and Bob are talking about this song.
Weir was joking about the hideous "j" word as he says.
They both were saying how it was an audience freeze song.
"yea you would look out and see questions marks over the top of peoples heads" they joked
"they would stop dancing and everything" lolo!
the song had to grow on me.
the acoustic version that Weir and Wasserman perform after the said interview my favorite version of one I have heard.
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Postby HOWEYMAN » Sun Jan 20, 2008 6:43 am

I have an interview as filler at the end of some tape I have where Jerry and Bob are talking about this song.
Weir was joking about the hideous "j" word as he says.
They both were saying how it was an audience freeze song.
"yea you would look out and see questions marks over the top of peoples heads" they joked
"they would stop dancing and everything" lolo!
the song had to grow on me.
the acoustic version that Weir and Wasserman perform after the said interview my favorite version of one I have heard.
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Postby HOWEYMAN » Sun Jan 20, 2008 6:45 am

how did I post twice? opps sorry!
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Postby BuddhaG » Sun Jan 20, 2008 10:13 am

strumminsix wrote:Nice write-up pappy!

Totally love the description of the busting out of my body Grateful Dead experience. That was a very vivid description that can only come from intense (and fun) personal experience! I am fucking jealous of you guys who got to go to shows for this reason! I mean, I have meaningful experiences with music and drugs and friends and celebration but I wish Jerry could be here with us facilitating experiences to this day!
Bobby uses x5s here and there which leaves the mystery sometimes if it's major or minor or sus2

Thanks for pointing this out! Bobby's penchant for never (never say never) playing a full chord is what lends that free feeling to the GD groove. Even with 2 guitars the band is not "guitar-driven" in the traditional sense where you have the guitar pounding out the rhythm of the song like in Zeppelin, Rockabilly, Buddy Holly-type music. Although there are songs in which they do play that style of music, their forte is that up in the air where is this jam going kind of thing - sublime ambiguity and confident execution! But really, Bob leaves so many holes and plays so many leading tones that it blows my mind. He is so unique in his playing style that he is probably my favorite guitarist. Jerry was a virtuoso but Bob filled the other guitar role like nobody else in history ever has. The music is so intense without being necessarily loud or distorted. They use musical tricks to get you going instead of basing their style on their choice of effects or tone.

Oh by the way, am I living proof?

Or rank deciever?

I was digging this tune the other day cuz of this thread and thought maybe Bob was considering his own position in life at this point as an admitted environmentalist and as the guy in the band who was not addicted to smack (compared to Brent & Jerry) at the time.
a whole new gameball
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