Dead Undercover, formerly known as Supplication until they received a cease and desist order, provided fantastic renditions of Grateful Dead classics with lovingly recreated instrumental portions. Dead Undercover played at a level of excellence not usually seen in local bar bands. At The Village Trestle last Saturday night, Dead Undercover got right into a Dead vibe when they opened with “Touch Of Grey.”
Aside from a minor technical glitch that dropped one of the guitar lines in the mix, “Touch Of Grey” flowed forth like a charm. The Dead’s 1987 hit was played with the same understated precision that the song has been know for. Three-part vocal harmony between lead guitarist Paul Ouellette, rhythm guitar player John Borlaugh, and drummer Steve Martin brought a depth of the dimension to the Dead’s radio hit, keeping at that mid-tempo momentum that somehow always felt much speedier.
Dead Undercover were like the real Dead as they paused at a few points to adjust their instruments and equipment, always making sure the technology, vibe, and guitar tones were just right. The Dead’s unique sound was influenced as much by bluegrass and country as well as early rock and roll. That band had to focus on the shades of tone that those influences begot, and Dead Undercover, too, gave those tones a nice work out with their determined musicianship.
The highlights were the warm reception at the beginnings of each of the Dead’s more recognized radio songs as well as the long, drawn out instrumental portions that found Ouellette’s spiraling, stratospheric guitar lines leading the tribute band into complex tapestries of beautiful sound. Ouellette had all of the melody lines clearly spelled out in his head, and he had the talent to bring them out, not only out of the amps but also out of some deep wellspring of emotional depth that he connects to when he’s performing live. He couldn’t do this kind of music without it.
Keyboardist Jim Dobbens, second drummer Jeff Marchand, and bass player Joe Philot were all keyed into not only the notes and rhythms of the Dead, they brought out that indescribable vibe, the feeling that comes when all of the Dead played to peak perfection in their better concerts. During “Jack Straw” Ouellette was clearly enjoying himself on stage, spreading his musical wings on Jerry Garcia’s classic melody lines, bright, crisp, clear, snappy, leading the band into instrumental portions in which their interwoven dynamic grew from a pleasant flow into a larger than life, mountain of sound.
Having two drummers was key to recreating the musical texture of the Dead. The two kicked up a mighty sound, their parts, whether in unison or playing off of each other, their beats, fills, and rolls were irresistible. These two drummers could probably put on a show without the rest of the band. You should’ve heard them on “Samson And Delilah,” their driving drums in locked groove with a heavier low end, made a nice thick, bubbling broth. You know the music is good when people can dance to it all night without a partner.
Bass player Joe Philot puts out a nice even, eloquent low end, keeping up with the busy intricate parts without ever getting in the way. Philot too had a great tone going on and navigated the twists and turns with a sense of movement and distinction. The low end, of course, put backbone into songs like “Ramble On Rose.” Its pace allowed the three-part vocal harmony to capture the magic between the notes. Keyboardist Jim Dobbens subtly accompanied this with a take on honky tonk themed tinkling.
On other numbers, Dobbens whipped up bubbly melodic lines to match wits with Ouellette’s easy going guitar melody. Other songs like “Promised Land” found Dobbens playing a barrelhouse roll of notes pleasantly understated.
“Sugaree” found Dead Undercover conjuring the mellow vibe from this earlier classic. Bopping along at their take your time pace, the lead guitar, keyboard, and vocals brought forth that special feeling you might have had when you first heard this. There is just an emotive quality in the way the country flavored melody lines mosey along. A lot of Dead songs have always been hard to put a label on. What kind of music is “Hey Pocky Way,” which the boys played the other night with a strong sense of fun and humor, not to mention great beats from the dual drum sets.
Dead Undercover went into the Dead’s Egyptian version of “Fire On The Mountain, highlighted by bright, brittle piano tinkling and wildly loose guitar lines and a distinctive pluck in the bass. There were other number that you likely wouldn’t recognized unless you are a committed Dead fan. Yet, for the nonbelievers, Dead Undercover could have entertained without trying to be entertaining. They just whip up a lot of fine, easeful musicianship that should have gone over well with any serious listener.
Paul Ouellette is on Facebook.
