Reserve your copy of the latest addition to the library of baseball literature.
by Stew Sallo, author of “The Deadhead Cyclist.”
Life lessons on two wheels to the tunes of the
Grateful Dead
Robert Hall Weir, né Parber,
October 16, 1947 – January 10, 2026
Let the words be yours, I’m done with mine.
I first saw Bob Weir on October 19, 1974 with the Grateful Dead at Winterland Ballroom in San Francisco. I last saw Bob Weir on June 14, 2024 as a member of Dead & Company at The Sphere in Las Vegas. Over the course of almost 50 years, it was my privilege to see Bobby perform countless times as a member of the Grateful Dead, Kingfish, Ratdog, the Other Ones, The Dead, Furthur, Dead & Company, the Weir Robinson & Greene Acoustic Trio, and probably others that I have failed to remember.
Other Posts
All I Know
The year was 1970, my junior year of high school at Loara High School in Anaheim, California. It was the day of the All Western Band Review, the biggest, most significant high school marching band competition in the state. We had been working towards this moment for months, since the summer when band practice began a full three weeks before the first day of school.
This Week in Grateful Dead History: Week 24 - June 9, 1977
If you plant ice
Franklin’s Tower was first performed at Winterland on June 17, 1975. As was most often the case – inclusive of the studio version on the 1975 release, Blues for Allah – the tune was the exclamation point on the seminal Help on the Way/Slipknot/Franklin’s Tower medley that leads off and occupies most of Side 1 of that album. Franklin’s Tower was found in the Dead’s setlist six times during the Spring ’77 tour, culminating in arguably their best performance to date, as part of this week’s pick for T.W.I.G.D.H., June 9, 1977, also at Winterland.
This Week in Grateful Dead History: Week 45 – November 7, 1987
Maybe you’ll find direction
Flying surprisingly under the radar, the Grateful Dead released a wonderful video in ’87, called So Far. In addition to the exceptional sound quality, what is so unique about this film is the way in which realtime onstage recordings, sans audience, are interwoven with actual concert footage, in seamless transitions that are goosebump inducing at the pivotal moments. Given that the Dead’s identity was far more connected to the live concert experience than the traditional studio recording model, it is fitting that the band employed this technique of simulating a live experience, while maintaining the kind of quality control that is possible only in a studio setting.
All Material Copyright 2020, 2021, 2022 and 2023 by Stewart Sallo