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Started By
Message
re: Bobby Weir RIP
Posted on 1/10/26 at 7:31 pm to MondayMorningMarch
Posted on 1/10/26 at 7:31 pm to MondayMorningMarch
Caught ratdog at wanee, which was just a piece of an awesome weekend
Glad I hit the sphere this year
The music never stops so we will always have that
Glad I hit the sphere this year
The music never stops so we will always have that
2
Posted on 1/10/26 at 7:38 pm to Dire Wolf
RIP to a legend.
Posted on 1/10/26 at 7:39 pm to danilo
and then there were just 2 original members remaining … Billy and Mickey
Posted on 1/10/26 at 8:02 pm to Spocks Brain
We will Survive
Posted on 1/10/26 at 9:04 pm to Bayou
Saw them at the Greek Theater at UC Berkeley in the late 80s. Their shows at the Greek were always strong.
Posted on 1/10/26 at 9:15 pm to MondayMorningMarch
Fare thee well.
Sad day for music.
Sad day for deadheads.
Sad day for me.
Sad day for music.
Sad day for deadheads.
Sad day for me.
Posted on 1/10/26 at 9:31 pm to redneck hippie
quote:
I’m lucky to have experienced the ride called The Grateful Dead
Man, there was nothing like it. In the words of Bill Graham, ‘They’re not the best at what they do, they’re the only ones that do what they do.’ RIP to an American legend, this one hurts.
Posted on 1/10/26 at 9:35 pm to rutiger
I thought Bobby would live to 100. Had no idea he was dealing with cancer.
Then God way up in heaven for whatever it was worth,
Thought he’d have a big old party, thought he’d call it planet earth
I was born in the desert, raised in the lions den
And my number one occupation is stealing women from their men
Then God way up in heaven for whatever it was worth,
Thought he’d have a big old party, thought he’d call it planet earth
I was born in the desert, raised in the lions den
And my number one occupation is stealing women from their men
Posted on 1/10/26 at 11:15 pm to CharlieTiger
Who else could do this...
Posted on 1/10/26 at 11:25 pm to Crow Pie
the world will be a much different place when the sun comes up tomorrow. I thought he would live forever
Posted on 1/11/26 at 7:45 pm to cgrand
the best bob show i ever saw
This post was edited on 1/11/26 at 7:59 pm
Posted on 1/11/26 at 9:06 pm to cgrand
He made so much music. This apparently has only been seen by 14K people. Introducing the
Crusader Rabbit Stealth Band - Sweetwater, Mill Valley, Ca 6-10-01
Crusader Rabbit Stealth Band - Sweetwater, Mill Valley, Ca 6-10-01
Posted on 1/11/26 at 10:00 pm to Dire Wolf
Never saw him live but love the dead. Sad there’s only 2 left.
I know Bobby, Phil and Jerry are jamming tonight.
Rip Bobby
I know Bobby, Phil and Jerry are jamming tonight.
Rip Bobby
Posted on 1/12/26 at 8:19 am to GeauxtigersMs36
Posted on 1/12/26 at 9:03 am to cgrand
nice tribute by Steven Hyden on the ringer this morning
quote:
And so it shall be. Saturday will return next weekend, and some version of the Dead will be back on the road in the foreseeable future. You can literally set your watch to it. Maybe even by this summer, at your local neighborhood shed, where there’s a lawn big enough for dancing and drum circles. As for Bob, I think about that verse in “One More Saturday Night” where he imagines “God way up in heaven” creating the planet Earth as “a big old party,” which presumably peaks right before His day of rest, Sunday. “Don’t worry about tomorrow, Lord, you’ll know it when it comes,” Bobby sings. “When the rock and roll music meets the risin’ planet sun.” The sun will keep on risin’, surely. It will just be a little less bright without Bob Weir.
Posted on 1/12/26 at 9:29 am to cgrand
another tribute from Johnny Dwork - publisher of Duprees Diamond News. This is somewhat long and very deep as it's 100% spot on.
...." And then there was Bobby’s guitar playing—the art of the man who refused the obvious note. Bobby didn’t play chords; he played functions. Where most rock rhythm guitarists rely on block harmony—full triads or barre chords that clearly spell out the music—Bobby almost never did. Instead, he implied harmony, often omitting the root, sometimes even the third, trusting the bass and the rest of the band to complete the picture. Harmony became communal rather than declarative. The music breathed. It listened to itself.
Bobby approached rhythm guitar as counterpoint. His lines moved independently of the lead melody, often in contrary motion, rhythmically alive and conversational. Rather than reinforcing the beat, he danced around it, illuminating the spaces between pulses. This was closer to classical counterpoint than to conventional rock accompaniment—and it gave the Grateful Dead their unmistakable transparency and lift.
Rather than leaning primarily on blues or pentatonic frameworks, Bobby thought modally—Mixolydian, Dorian, and at times Lydian hues—favoring ambiguity over resolution. Modal harmony resists gravity. It suspends time. And that suspension is what allowed the Dead’s improvisations to stretch endlessly without ever feeling indulgent or lost.
His rhythm playing was angular, percussive—often the knife cutting against the grain. He favored syncopation, unexpected accents, clipped chord stabs. Rhythm, for Bobby, was geometry: a structural force equal to harmony, shaped as much by silence as by sound.
Perhaps most importantly, Bobby rejected hierarchy. There was no permanent foreground or background in his playing. His guitar functioned as a living force within a complex musical ecosystem—sometimes stabilizing, sometimes destabilizing, always listening. He never competed with the lead guitar. He made it possible.
As a philosopher, Bobby was careful—always—to frame his worldview as his own, never as doctrine. He was humble, curious, and deeply respectful. As an activist, he was powerful and generous, especially in service of environmental causes, giving millions toward a better future.
A fine human he was. A master listener. A once-in-a-multi-generation musician. May the music never stop! ... "
...." And then there was Bobby’s guitar playing—the art of the man who refused the obvious note. Bobby didn’t play chords; he played functions. Where most rock rhythm guitarists rely on block harmony—full triads or barre chords that clearly spell out the music—Bobby almost never did. Instead, he implied harmony, often omitting the root, sometimes even the third, trusting the bass and the rest of the band to complete the picture. Harmony became communal rather than declarative. The music breathed. It listened to itself.
Bobby approached rhythm guitar as counterpoint. His lines moved independently of the lead melody, often in contrary motion, rhythmically alive and conversational. Rather than reinforcing the beat, he danced around it, illuminating the spaces between pulses. This was closer to classical counterpoint than to conventional rock accompaniment—and it gave the Grateful Dead their unmistakable transparency and lift.
Rather than leaning primarily on blues or pentatonic frameworks, Bobby thought modally—Mixolydian, Dorian, and at times Lydian hues—favoring ambiguity over resolution. Modal harmony resists gravity. It suspends time. And that suspension is what allowed the Dead’s improvisations to stretch endlessly without ever feeling indulgent or lost.
His rhythm playing was angular, percussive—often the knife cutting against the grain. He favored syncopation, unexpected accents, clipped chord stabs. Rhythm, for Bobby, was geometry: a structural force equal to harmony, shaped as much by silence as by sound.
Perhaps most importantly, Bobby rejected hierarchy. There was no permanent foreground or background in his playing. His guitar functioned as a living force within a complex musical ecosystem—sometimes stabilizing, sometimes destabilizing, always listening. He never competed with the lead guitar. He made it possible.
As a philosopher, Bobby was careful—always—to frame his worldview as his own, never as doctrine. He was humble, curious, and deeply respectful. As an activist, he was powerful and generous, especially in service of environmental causes, giving millions toward a better future.
A fine human he was. A master listener. A once-in-a-multi-generation musician. May the music never stop! ... "
Posted on 1/12/26 at 9:38 am to Got Blaze
my all time favorite Bob guitar lines show up in an unexpected place…the middle third of a pigpen song that was rarely played live. In fact, it’s one of the very few album tracks that they got right the first time, playing it live seemed irrelevant
After the pigs first harmonica break, listen to Bob
After the pigs first harmonica break, listen to Bob
Posted on 1/12/26 at 9:54 am to cgrand
That Campground Band Saenger show was incredible.
It’s between that and Ratdog at HoB in 2003(?) for me. So close and intimate.
So glad I got to see him and that he had his time here and spent it the way he did.
It’s between that and Ratdog at HoB in 2003(?) for me. So close and intimate.
So glad I got to see him and that he had his time here and spent it the way he did.
Posted on 1/12/26 at 10:31 am to BrotherEsau
Never been a big GD fan... but I got a lotta respect for him and doing things his own way (whole band really)... brought a lot of joy to people over the years..
RIP
RIP
Posted on 1/12/26 at 1:48 pm to BrotherEsau
quote:
That Campground Band Saenger show was incredible.
Was just listening to this show last night.
quote:
t’s between that and Ratdog at HoB in 2003(?) for me. So close and intimate
I saw ratdog at the house of blues in 1997.
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