Relix Magazine

Relix magazine finds itself in a tricky spot. They could be strictly faithful to their roots, become something like a Grateful Dead nostalgia magazine, and there would be a percentage of readers who would be perfectly fine with that. I've been on email lists with people who could debate endlessly over Dead trivia, what was their best period, which were the great Dark Stars, what years did Jerry have a click track in his ears and what is the greater significance of that. On the other hand of the spectrum, they could expand their horizons, attempt to bring in as many people and styles as possible under the umbrella of "Music for the Mind." They veer a little too far in that direction these days. For example, see recent interviews with Bo Bice and Rick Moranis, or recent reviews of Rush, Rosanne Cash, and System of a Down. Nothing personal about any of those musicians, in fact I'm a big fan of Rick Moranis' work from Little Shop of Horrors and his SCTV days, but it's a matter of scope. The danger is gradually turning into something as light and mindless as what the formerly great Rolling Stone magazine has become.

Overall, I think Relix does a reasonable job though with this balance. It's hard to define what this scene is in the first place, the post-Dead, "don't call us a jam band" jam bands, jazz-funk-roots music scene. It is multifaceted and hard to keep on top of. Still, I've been turned on to lots of great music through the pages of Relix, such as Gabby La La, Karl Denson, STS9, Umphrey's McGee and the Living Daylights (see my listmania, already semi-outdated, of discs in heavy rotation of late).

I was getting free issues of Relix, I think through Grateful Dead Merchandise or some other catalog. I was enjoying it but on the fence about whether or not it would be worth it to pay and renew. I was getting a little turned off by articles trying to convince me that post-Dead Bob Weir and post-Phish Trey Anastasio are now doing the most important works of their careers. Enough.

But, then they got me. They are now including free CDs (well, free with purchase), I think something like every other issue at least, that are compilations of the bands on the scene and up and coming new bands. This may be a gimmick, but it works on me. The magazine is well worth the price if it includes the opportunity for me to expose myself to the music I'm reading about without doing any leg work. I have a family now and work about 70 hours a week, I'm not out at the Fox Theater in Boulder four times a week listening to bands anymore. I'm not traveling to festivals. If I was hipper or more techno savy, I'd be at exposed to new music from the internet. But I'm not hip anymore, if I ever was. I have little gray hairs that stick out my ears, and I listen to bootlegs and mixed tapes on a clunky sony walkman. The CD compilations included are a great way for me to stay in touch with the scene and its vast diaspora.

This is my favorite magazine. I don't have much time to go to concerts these days, but Relix keeps me tuned in with the Jamband music scene. They recently redesigned their magazine and I think that it appeals to a much larger audience now. They do everthing from camping equipment reviews to music reviews to in-depth articles on bands... anything that might relate to the live music scene. Still, they find time to devote to the Grateful Dead (The Dead, Other Ones, etc.), keeping the magazine true to its roots.

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This was orderd for a family member in a correctional facility in July. It is now November, the person is to be released in three weeks, and none of the magazines have been received. I will be asking for a refund.

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