Candyman: A Grateful Dead Mystery

sleepy

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Talk about "A Message in a Bottle".

Last night one of my cats was sleeping atop a clock radio and she accidentally pressed the On button. The station "The Sound L.A." was playing Candyman from the 1970 album "American Beauty" by The Grateful Dead.

I had never paid much attention to the lyrics before, but a particular line caught my attention.

Come on all you pretty women with your hair a hanging down
Open up your windows 'cuz the Candyman's in town
Come on boys and gamble, roll those laughing bones
Seven come eleven, boys I'll take your money home

Look out, look out the Candyman
Here he comes and he's gone again
Pretty lady ain't got no friend
Till the Candyman comes around again

I come in from Memphis where I, I learned to talk the jive
When I get back to Memphis be one less man alive
Good morning Mr. Benson, I see you're doing well
If I had me a shotgun, I'd blow you straight to Hell


Look out, look out the Candyman
Here he comes and he's gone again
Pretty lady ain't got no friend
Till the Candyman comes around again

Come on boys and wager, if you have got the mind
If you've got a dollar boys, lay it on the line
Hand me my old, old guitar, pass the whiskey 'round
Won't you tell everybody you meet that the Candyman's in town, 'own

Look out, look out the Candyman
Here he comes and he's gone again
Pretty lady ain't got no friend
Till the Candyman comes around again

Look out, look out the Candyman
Here he comes and he's gone again
Look out, look out the Candyman

When I worked at Warner Bros. Records/Creative Services division in '76-'77
putting up with things like bad aluminum ladders that ripped my left shoulder when it collapsed under me six feet off the hard concrete floor on my first day on the job, other employees ripping off the record demo mailouts on the way to the post office out of sight of the manager, and the warehouseman's dog, "Raja" developing a severe case of diarrhea on the company floor, and the assistant in the cage (The Mezzanine Vault) where demos were kept hanging his copy of each month's Hustler Honey Centerfold on the cage like a release poster for all to see; didn't bother me, they also for some reason made a point of having "American Beauty" in sight, even though it was by then a six year old release.

In those days "Memphis" was also a location for Warner Bros. Records Creative Services, usually the Country Music releases were handled there, but in Burbank, Ca. the last name of the Creative Services manager whom I worked under was "Mr. Benson". See, "Warners Ponders Promo on Wheels" article within the following books page:

http://books.google.com/books?id=QB...ook_result&ct=result&resnum=1&ved=0CCMQ6AEwAA

Looking further into this, The Grateful Dead had a habit of sniping at the record company.

http://en.wikipedia.org/wiki/Warner_Bros._Records#Warner.2FReprise_1963-67

In 1967 Warner Bros. took over Valiant Records, and this added harmony pop group The Association to the Warner roster.[28] During the year the label also took its first tentative step into the burgeoning rock market, signing leading San Francisco psychedelic rock group The Grateful Dead. Warner Bros. threw the band a release party at the Fugazi Hall in San Francisco's North Beach. During the concert Warner A&R manager Joe Smith took the stage and announced "I just want to say what an honor it is to be able to introduce The Grateful Dead and its music and its music to the world", which prompted a cynical Jerry Garcia to quip in reply: "I just want to say what an honor it is for The Grateful Dead to introduce Warner Bros. Records to the world."

Probable Cause: As the promotional arm of Warner/Reprise Records, the division was responsible for determining the push of (the "candy" for) their artists. When the album was considered to be a disappointment with no monetary potential, Creative Services often pulled back or cancelled the promotion of the album, EDIT: or the word came from higher up, The Home Office, etc., refusing to ship demos, posters, in short, the release campaign was cancelled, so perhaps "Candyman" is Jerry Garcia's swipe at record execs who failed to back up The Dead and other artists.
If so, "Candyman" is a characterization of the Warner/Reprise record execs, including "Mr. Benson" who had the album on display for some reason six years later.
 
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