Leave it to Maine’s reggae band Roots Of Creation to make a dub tribute album to the music of The Grateful Dead. Capturing the spirit and the talent of the Dead while placing it in the context of reggae music was no mean feat. Roots Of Creation, with some exciting guest stars in tow, have come up with something that impresses as it entertains.
The melodic glide of “Fire On The Mountain” becomes a brisk horn thrusting, ska beat driven piece. Within the reggae horns and island influenced vocal approach is a neo-hippie vibe that will make a Dead fan feel at home. The build up here is similar to the original’s down tempo, taking its sweet time ride. Only this open into an engaging rap by Marlon “Ganja Farmer” Asher section that ignites into a bonfire of horns and lead guitar. Clever, it gives a good indication of what’s in store on the following tracks.
“They Love Each Other,” featuring Haley Jane, is a pleasant enough duet. Aside from staying in perfect step with ROC lead singer Brett Wilson, Jane’s raspy, soulful vocal fit’s the neo-hippie vibe of this album just right. A mellifluous horn line twists and turns over the groove with a breezy soulfulness. This is one of the Dead songs that would have the stoners and the dancers all swaying along at an outdoor show. Wilson’s lead guitar phrasing is also very tasteful and very respectful of the original.
“Friend Of The Devil” maintains the guitar and keyboard eloquence of the Dead’s original while adding a snap all its own to the melodic line. Brett Wilson is soulful as well as Dead style philosophical here. His smooth as Jack vocal application just kisses the ear with its tender appeal. A burst of horn and an emphatic vocal bring the chorus to colorful three dimensional life. A spiraling guitar phrase at the end is on fire with colorful expressions before making room for Andrew Riordan’s unwieldy, bright sax work. This interpretation is shiny and engaging.
Roots Of Creation make that “Deal” go down with guest appearances from organist Melvin Seals and also The Aggrolites lead singer Jesse Wagner. Seal’s flinty organ notes dart around in fun brilliance and Wagner adds his own kind of reggae soul to the vocals. Simmering guitar and bursting horns are another fine touch here.
“Casey Jones” maintains the pace of the original while cleverly injecting reggae guitar riffs, ska beats, and a bouncy, earthy keyboard line. The lead guitar feels like the same high flying line on the original, keeping the listener feeling at home with the song while adding a touch of edge for the modern age. Dan Kelly of The Fortunate Youth proves a wise addition to the vocals. He’s flexible enough to go with the unwieldy flow of the music while remaining a spirited presence in the song.
Somewhere in the middle of this album Roots Of Creation fall back on a more classic rock tribute to these gems.
Roots Of Creation’s Brett Wilson croons with a large sense of feeling on “Black Muddy River.” His spiritual vibe comes through in each of his gently expressed vocal lines. He’s connecting to the song’s emotive core and bringing it back to this listener. Guest player Melvin Seals rears his organ swirls to create an even deeper feeling in this number. This is certainly the most beautiful song on this tribute album and the band bring it to glorious life. It reaches a peak with mountainous guitar phrasing, large organ swirls, and a rhythm section that keeps it tight and large at once.
“Ripple” features G. Love on harmonica and Melvin Seals on organ with both providing enticing phrases here. Love’s emotive harmonica line make it sound like his instrument is crying out its notes. Seals makes his thin organ line sound like it’s whistling. The Brett Wilson vocal line here carries well alongside the fine instrumentation because, without affect, he captures the world weary theme of the song. In the hands of these players, this arrangement becomes a kind of sad blues tune with a reggae underpinning in its rhythmic traction. Again, clever.
“He’s Gone” chimes in with wavy synth lines and a pretty, high-pitched organ laced groove. This very danceable piece shines it its persistent motion. The lead vocal captures the forlorn feeling of something that is now in the past forever. It’s a song that make one smile and feel sad at the same time. Contrasting the emotions in the voice with feeling in the groove is one of the best tricks in this outfit’s arsenal. Tal Pearson’s melodica line is a fine, graceful touch and contrasts perfectly with the guitar effects unfurled by Brett Wilson. This song is like multiple flavors in one piece of candy.
“Sugaree” is an effusion of blistering guitar phrasing, pretty guitar phrasing, horn bleating and snappy, bouncy groove. It feels like the band is handing a bouquet of different colorful flowers in one handful. There are so many interesting flourishes to dig. Brett Wilson’s tender guitar line being one. His rich, emotive vocal coating the song with spiritual oomph is another.
The entire band and guest Melvin Seals really move it on “Shakedown Street.” Horn lines subbing for the original guitar riffs and organ glide, this tune makes one want to dance even more the Dead’s own strange ode to disco. Nice rhythmic riffs from Brett Wilson fit in nice and tight with this horned up take. Drummer Mike Chadinha and bass player Nick Minicucci have got it going on, in the pocket but bulbous enough to call everyone’s feet to the dance floor. This one has got so much go that the players easily get away with making it happen as an instrumental. It feels so motivational.
“Standing On The Moon” finds Brett Wilson at his most inspired. His vocal is a wedge of emotion within a tight, smooth delivery. He croons this one with so much heart it isn’t funny. Beneath his spiritual delivery Melvin Seals’ organ sprawls out like a blanket of soul, reaching far and wide with its slow boiling notes. The sparseness of this song is its greatest strength, allowing that vocal and its organ support a lot of room to breathe.
After a one minute long “A Moment Of Silence For Jerry Garcia,” Roots Of Creation offer us a bonus track, “Row Jimmy.” The band returns more to the dub, reggae, ska approach of the first half of the album to good effect. While the lead vocal is as gently down tempo as the original, the musicians spread out the song with bubbling horns and organ, a flinty ska groove, and a flinty guitar riff. The effect makes the listener feel like he’s rowing down a river on a magic carpet ride.
Roots Of Creation show great respect for the music of The Grateful Dead while injecting these Dead classics with their own reggae inspired flourishes. The entire album is clever, inventive, and a lot of fun.
