A little over forty years ago, the Grateful Dead appeared at the Jai Alai Fronton in Miami, Florida. They were going through a brief phase where they only had one drummer because Mickey Hart had suffered some kind of mental breakdown and was taking some time off. It gave them a unique sound which, while not better exactly, has lasted the test of time as awesome in its own right. A seasoned ear can pinpoint a show from this era within seconds. It was part of the spaciest era of the Dead when they were transforming from an “Acid Band” into a more country/rock band focused on Western-themed Americana music. It was during this period that John Barlow and Bob Weir introduced the song Black-Throated Wind which evoked life on the road in the middle of the country. It was a flawed song in many ways, which is why they didn’t perform it for very long. But I always liked listening to it on the tapes from 1974. Since it’s Bob Weir’s 67th birthday, I thought I would share a version of one my favorite songs of his.
That’s not my favorite version. My favorite version is from November 1972 at the Hofheinz Pavilion in Houston, Texas. That version has both drummers and has a different feel.
On a side note, Bob Weir hasn’t been feeling well and recently cancelled a tour for undisclosed reasons. I hope he is doing better and is enjoying his birthday.
More recent times:
Hope Bob recovers soon from whatever’s got him down.
I’ve always like underlying song. For me the flaws are in some of the lyrics. Especially this:
“The busses and semis,
Plunging like stones from a slingshot on Mars.”
For that era of Weir/Barlow songs, “Cassidy” is a better song. The fact that it never went out of rotation is testament to that.
What does it say about me that it took Bob Weir’s birthday to get me to sign up for account?
Hope to be a regular in the comments as time go on…
Happy birthday Bobby! One of our accomplished frontiersmen.
He was the youngest of the core members of the band … but now looks like the oldest (due to that hair and beard). He needs a “Father Time” sash across his chest.
By the by, he and Phil Lesh sang the National Anthem at a San Francisco Giants playoff game the other day (along with a Giants coach).
Hate to be the kind of person to point this out, but they had only one drummer in Houston. Mickey’s last show originally was 2/18/71 in Port Chester. He would not play another set with them until Winterland, in October of 1974. He not rejoin until after they came out of hiatus in 1976, which I know you have pointed out in previous posts. 1972 had only Kreutzman throughout.
Me personally, I think the one drummer era was far and away their best, but that has little to do with Mickey. It was just that they were in their prime, age-wise, and the drugs and alcohol had not yet taken their toll on Godcheaux, Garcia and Lesh, even if had already been the undoing of Pigpen, and possibly Hart. That said, 1969, with Mickey, has a few of my favorite shows.
My father-in-law is from Miami and saw them on the Jai Alai courts (not sure which of the two nights) and he described it is as a total disappointment. He was never a fan of the band, but its interesting to me, being how popular the 6.23.74 show has become. I like the last hour a great deal.
Lastly, the transition out of the acid band was more 69-71. By late 73 into the summer of 74, they had already transitioning away from country and blues into more of a funky jazz sound. Scarlet Begonias and Eye’s of the World were more representative of the era more than Merle Haggard and Johnny Cash covers, although they still played Dark Star and The Other One alternating every other show.
Yeah, you are right. The Houston show was one drummer, too, now that I think about it. I really did love that sound, w/o taking anything away from Mickey. The band peaked in 76-78, with Mickey, but I still love that transition phase.
I fucking love that song.
Yes, but have you smelled his perfume? Sublime.
I take issue with Brian K’s assessment that the Dead were better with a single drummer for a couple of reasons: First, Bill was and will never be the drummer that Mickey was and is. Second, it is difficult to imagine the Dead pulling off their more symphonic songs like “Terrapin Station,” not to mention the “Help On The Way” suite, with but a singe drummer.
More to the point, a factor in Mickey’s hiatus from the band, at least early on, was that he father had ripped off the Dead.
As to Bobby: He was not born with the kind of chops that Jerry had, but he worked very hard at becoming a more complete rhythm guitarist and better vocalist, and I salute him on this, his birthday.
I agree with both you and Brian K. The late ’71 through ’72 period is widely regarded as one of their best. ’73 – ’74 continued their move to a more fluid sound, one that was helped by just one drummer, imo. The Dead’s return in ’76 began a new era which was indeed enhanced by Mickey’s return. Bobby seldom gets the recognition he is due. His great rhythm playing created the space for Jerry, and he was a very enthusiastic singer. Sometimes amazingly so.
Mickey was out because of Len Hart. He’s gone anyone?
I got on the bus in 76 at the big show in englishtown at the raceway (15 at the time ) saw a few more in philly with Keith and Donna, those were great shows. I think the 77 run was the best.
Personally I usually liked the Bobby Songs better, mainly because he was the rock influence (better for dancing). Don’t get me wrong, I love the Jerry Trippy and jazz stuff, but when Peggy-O or the like came up, I’d go get a drink and hit the restroom.
I went to dozens of shows before I caught a Peggy-O and it began to piss me off.
God that is such a great song.
You can stream one of the all-time great versions here:
Date: December 17, 1978 Venue: Fox Theatre Location: Atlanta, GA
Will agree our tastes differ there, Boo.
Of course everyone will disagree with me when I say Victim or the Crime is a great song… š