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Jimmy Herring has been an A-list fusion session player for at least 40 years. He said of Weir that he had the best knowledge, vocabulary, and ability to apply those things on the fly, of any guitarist he had ever witnessed. I don’t think most people really understand the insane gravity of that statement from Jimmy.
@@sunkmanitutankaowaci2733 and Phil. Phil could compose symphonies at 17 and studied avant- gard jazz with Luciano Berio before he joined the Grateful Dead
@@xianshep yeah, when I was just getting into Jimmy Herring (through Aquarium Rescue Unit, I believe), I was asking around the internet for some other good Herring albums and someone mentioned Project Z with the disclaimer that he can't listen to much of Jimmy Herring personally because he's just too perfect. After I got a copy of Project Z, I understood that strange complaint. It's almost overwhelming somehow, sort of relentless.
I've been a Deadhead for 50 years, listened to a lot of cover bands, learned a lot of their songs, but never could figure out what was missing. There was an intangible something, a secret ingredient the Dead used to create their sound. With your explanations, and isolated tracks that have come out in the last few years, I finally understand it's Bob's approach to playing in the band and it's amazing. I really like great chord voicings and fills that broaden the song horizon and while I didn't understand that many of the subtlelties were in Bob's playing I've enjoyed them immensely over the years. It's great you're giving credit where credit is due and have the musical expertise to fill us in on one of the great "rhythm" guitar players. Thanks Jeff. The Dead wouldn't have been the band we love without Bob's guitar work.
I saw the Dead once, probably 1974. The interplay between Garcia, Weir, and Lesh was phenomenal. I was never part of the scene but this deeply impressed me. This is when they had the massive speakers courtesy of Owsley, which they refused to turn up, preferring clean. And at the back at center, behind the sound guy I could hear everything.
The great wall of sound was the greatest sonic achievement ever made by a touring band. Rumors were you could hear a whisper as clear as day from anywhere on the grounds when they used it effectively.
Absolutely agree! Bob is the master of the inversion. Got to work in the studio with him for years and I don't think I ever heard him play anything that wasn't super interesting or different each time. Thanks for the video!
Billy Strings had his favorite lead guitarist, bass guitarist, and rhythm guitarist play at his wedding -- Trey Anastasio, Les Claypool, and ... Bob Weir.
Bobby is the backbone to the dead music, his drop2, drop3 chords and arpeggios he uses and half step bends are a huge part of what makes Jerry sound so good !
@@ericmalone3213 well Jerry tapped into all the tones he could get and feelings from the whole band, Jerry always strayed away to find something new on daily/momentary feeling. Early years when Jerry didn’t have a custom guitar u can hear them all even a lot more, but with the custom guitar came custom tones-same with Phil when he got his custom bass.
@@gratefulz6035 My point was more along the lines of the fact that the Dead became something of an albatross around Garcia's neck, and he was renewed & refreshed by playing with Merl Saunders, Dave Grisman, his Garcia Band, on Ornette Coleman's Virgin Beauty album, etc etc. When Bruce Hornsby joined the Dead and soon complained to Garcia that Garcia was "phoning it in," Garcia's response was "Hey man, let's see how you deal with twenty years of burn-out, ok?" "Jerry tapped into all the tones he could get and feelings from the whole band" Jerry tapped into the dealers that supplied the Black Persian dragons to chase, is more like it.
@@ericmalone3213 oh yes, the world was a free country then and his expression and person feelings comes out in the early 70s but later on things got even more personal w the times changing and the drug scene changing. God rest his soul and so many more. We all have our own cup of tea but I agree ☝️
@@gratefulz6035 Blimey, Auld Swodge, you sound exactly like a hirsute hippy freak vibing the vibey vibes! Don't put too much sugar magnolia on your steak tartare, Dude!
I once read an interview with David Crosby and he said that what a lot of people don’t realize is that the Grateful Dead really had two lead guitarist. I think he hit the nail on the head.
Absolutely wonderful! That E maj over g# thing is an Inversion of the chord. It's a concept they teach music majors in college. First inversion is over the third, second inversion is over the fifth, third inversion is over the seventh, I think you get it. It goes with all that Bach and Beethoven stuff. But fits in with everything we're doing now.
It has been an interesting lesson to me discovering that the complex interweave during verses of dead songs was mostly Bob's arpeggios and inversions where Garcia's parts were quite simplistic. Nice breakdown.
That is not the point here. Do not underestimate garcia. Garcia routintely provided a master class in improvisation. I'd argue that the lesson here is that this is a solid case as to why Weir was qualified to play behind garcia (and in and around him). On those nights that Garcia, Weir and Lesh (and hart, Billy, Brent, et al) achieved true lift-off, the whole was greater than the sum of the parts. By a lot. Weir's role is too-oft underrated but garcia could be anything but simple: combiations of deeply satisfying modal shifting (eyes of the world), chromatic, surprising runs, carefully placed passing notes, seamless finger-pick/flat-pick transitions, surprising jazzy note choices and on and on. Whoo-boy. Sorry for the rant but you get the picture.
Bob was such a product of his time. It's like he evolved as a guitarist is fit the little bit of space that no one else was filling. A musicians musician just serving each song to the fullest. A real hero. You don't find that much anymore.
A really good friend of mine and an all around fantastic guy, Mickey Toop, helped me to start understanding Bobby's technique and many new improvisational approaches when it comes to his playing style. This video is great though, keep rolling out the excellent content brother ✌️
i am 56 years old. Between the Grateful Dead, The Dead, The Other Ones, Further, Rat Dog, Weir and Wasserman, Bob and The Wolf Brothers and Dead and Co. He is by far the one musician I have seen perform live more than any else by a freaking long shot.
If you listen to the Hard to Handle recordings that's a great example of Bob's talent. Bob always took the first solo Jerry took the second. I hate to say this but when Brent joined the band Bob's playing changed imo. It made him play different just listen to the tapes.
When they was writing China Cat Sunflower, I would have loved to see Jerry's face when Bob came up with his part of it on the high end. I love using my Looper for Jerry's part and then improvising off of Bob's licks . Bob's a genius.
He doesn't just know about harmony moves, and chord grips in position, and some system to connect these - he knows the actual function of mentioned harmony in context. His fingers learned the dance how to pull the music out of his guitars by following his ears... listening is where it's at. Even just to oneself, for a start, lol
@@monoped8437 really? In the greater rock milieu who touts Bob and Phil as being upper echelon players? What's asinine are people who rank musicians on technical ability at the expense of art.
Sea story. Operation Desert Shield. 1990. Me; civilian merchant mariner hauling cargo and 25 Army engineers to Saudi on an antique breakout (sometimes broken down) cargo ship. Discussion on the fantail mid Atlantic. I had the only guitar on board. A late 80s Squire strat with a battery operated Pignose amp. 3 guitars players in the crew of Army engineers. Me; Bob Weir is the best rhythm guitar player on the planet. Them; Say what? They had their own opinions on that but I did my best to demo with what little knowledge I had at the time. I think I got my point across but I sure wish there was a 'Bob Weir Challenge ' around back then. You need to know how fortunate you are to have people like Jeff zeroing in on the details of Bob's playing. I'm taking the challenge.
To add to my post above all I knew about Bob's playing at the time was that he was paring down barre chords and adding fills as compliments to those chords in support of the song. He's just like the rest of us. We learned barre chords to play what we heard but most weren't taking it next step. He did. By ear I would imagine. There was no internet so you couldn't watch what he was doing unless you went to the shows. I don't know for a fact but Bob probably had an extraordinary ear. He figured it out by ear and by playing with musicians who were doing the same. Caged was unheard of except with what with Barney Kessel and a few others with published guitar courses pre internet in the jazz realm were doing when Bob was learning.
Wow, I do all that stuff, without really thinking about it! I knew that my playing was very influenced by Jerry Garcia, but now I see that it's as much or more influenced by Bob Weir! Cool!
I don't really play much rock stuff, or think about rock much, though I love the Dead. I mostly play bluegrass (where the Dead came from!), celtic and a little bit of jazz. But this is a really good video, loaded with a lot of stuff. Quartal harmony even--good stuff! Bob Weir=McCoy Tyner is an interesting parallel that makes sense to me.
Weir added so much movement to the music. That's why I really like the '70-72 era. WIth the single drummer, with Bill's light mostly snare rat-a-tat style and Keith's piano more restrained just adding little bits, you could really hear the interaction of Weir, Garcia, and Lesh. I love the later stuff too but as the piano got louder and the drums got really full, so many times Weir's subtlety got lost in the mix.
I don’t think you really know what your talking about , Bob Weir is not some sort of virtuoso , he played a role in one band and filled that role well, that’s all. without Jerry Garcia you would have never otherwise heard of Bob Weir,
I knew all of these chord shapes just from playing so much and knowing each note on the fretboard long before I had even heard of the CAGED system. I knew, well know, every note on the fretboard and I just figured out how to make the chords and melody’s myself. When I look at the CAGED system I think to myself this is nothing novel! Every player ought to know these chord voicings !!!!
Bobby is a fantastic player. He gets a lot of crap. But the Dead wouldn’t be the Dead without him. To change the subject, that guitar looks kind of like a Gibson Blueshawk. What is it? It sounds great! I have been really in to p-90s lately.
I realize this is heresy among Deadheads, but I've always thought Weir was the more interesting guitarist in the band. Especially nowadays, when you can hear the guitar parts isolated.
weir said that he decided to play the guitar the way mcoy tyner played the piano .. as both we backing up great solosists .. garcia and coltrane .. he listened to a lot of jazz records ...
Who ? Oh right no I'm thick I'm from UK bud never heard of bob who what's his upbringing oh no straight to his style nice one DOH I'm going to investigate who this guy is and I'll be back to watch later
... and now I've got a bandmate complaining that my rhythm playing is too "busy". Sigh. ... I need to keep reminding myself that SOME people love the way I (inspired by Bob Weir) play!
Thing about Mr Weir,in isolation sometimes you might say WTF? Is he doing? and then when you take note,it becomes super obvious how that’s some magic he’s conjuring- replace him with standard rhythm guitar and the sonic impact is diminished radically.
@@JeffWilliamsGuitar I wanted one of these about a decade about.. or at least I was very drawn in by the sweet ad they were running... curious ti know if you love it ? Thank you
no better teacher than jeff when it comes to dead tunes and style! if any of you are pondering paying for lessons and you like this music it's a bargain.
This is EXACTLY why most of your local GD cover bands aren't fully "there." Every time I see a local GD cover band it's usually the Bobby guy who isn't quite taking the music into that special place. They just don't have the musical vocabulary to make it interesting and the secret sauce is weakened.
After hearing him loop Bobby's part in isolation...I thought the exact same thing-just add some thin distortion and climb up chromatically on the B string, and you have STP's Plush!...also, their main riff from Interstate Love Song is almost an exact rip off of the cadence riff in Jim Croce's I Got A Name...check that out!
Since Bob Weir was the guitar student of Jerry Garcia, it would be the technique of Jerry Garcia. Before being in a band with Jerry, Bob Weir was taking lessons from him as Jerry was a guitar teacher at the Music Store. They are also the chord choices of players like Chet Atkins & others and are considered traditional guitar prior to 1960s.
👉 Take the FREE Bob Weir 5-Day Challenge
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I can’t seem to get the pdf for this challenge? I put in my name and my email but still haven’t received anything yet. Is it too late to get it free??
@@gratefulz6035 Check your spam folder just in case it ended up there. And let me know if you still can't find it.
😊a@@gratefulz6035
Jimmy Herring has been an A-list fusion session player for at least 40 years. He said of Weir that he had the best knowledge, vocabulary, and ability to apply those things on the fly, of any guitarist he had ever witnessed. I don’t think most people really understand the insane gravity of that statement from Jimmy.
That’s pretty cool, I don’t think it hurt Bob to be jamming with and learning from Jerry as well way back to their early folk days
@@sunkmanitutankaowaci2733 and Phil. Phil could compose symphonies at 17 and studied avant- gard jazz with Luciano Berio before he joined the Grateful Dead
If Jimmy herring said I bent notes well that would be a ridiculous amount of praise, so that’s a huge compliment for Bobby
Indeed. Herring is a stone-cold monster. (And I've always preferred Weir's playing - apart from slide - to Jerry's.)
@@xianshep yeah, when I was just getting into Jimmy Herring (through Aquarium Rescue Unit, I believe), I was asking around the internet for some other good Herring albums and someone mentioned Project Z with the disclaimer that he can't listen to much of Jimmy Herring personally because he's just too perfect. After I got a copy of Project Z, I understood that strange complaint. It's almost overwhelming somehow, sort of relentless.
I've been a Deadhead for 50 years, listened to a lot of cover bands, learned a lot of their songs, but never could figure out what was missing. There was an intangible something, a secret ingredient the Dead used to create their sound. With your explanations, and isolated tracks that have come out in the last few years, I finally understand it's Bob's approach to playing in the band and it's amazing. I really like great chord voicings and fills that broaden the song horizon and while I didn't understand that many of the subtlelties were in Bob's playing I've enjoyed them immensely over the years. It's great you're giving credit where credit is due and have the musical expertise to fill us in on one of the great "rhythm" guitar players. Thanks Jeff. The Dead wouldn't have been the band we love without Bob's guitar work.
Bob never got the 🎉 he deserved for his playing and songwriting. Thanks for this as no one plays like Bobby. 😊
I saw the Dead once, probably 1974. The interplay between Garcia, Weir, and Lesh was phenomenal. I was never part of the scene but this deeply impressed me. This is when they had the massive speakers courtesy of Owsley, which they refused to turn up, preferring clean. And at the back at center, behind the sound guy I could hear everything.
I think they called that the "Wall of Sound"!
The great wall of sound was the greatest sonic achievement ever made by a touring band. Rumors were you could hear a whisper as clear as day from anywhere on the grounds when they used it effectively.
I saw that show when it stopped in Cleveland and it changed the trajectory of my life for reasons you mentioned. I was 16.
Absolutely agree! Bob is the master of the inversion. Got to work in the studio with him for years and I don't think I ever heard him play anything that wasn't super interesting or different each time. Thanks for the video!
Billy Strings had his favorite lead guitarist, bass guitarist, and rhythm guitarist play at his wedding -- Trey Anastasio, Les Claypool, and ... Bob Weir.
I'm not even a GD fan but this lesson was fantastic for any guitarist looking to break out of standard chord shapes.
Bobby is the backbone to the dead music, his drop2, drop3 chords and arpeggios he uses and half step bends are a huge part of what makes Jerry sound so good !
Jerry always sounded much better--brighter and refreshed-- away from The Dead.
@@ericmalone3213 well Jerry tapped into all the tones he could get and feelings from the whole band, Jerry always strayed away to find something new on daily/momentary feeling. Early years when Jerry didn’t have a custom guitar u can hear them all even a lot more, but with the custom guitar came custom tones-same with Phil when he got his custom bass.
@@gratefulz6035 My point was more along the lines of the fact that the Dead became something of an albatross around Garcia's neck, and he was renewed & refreshed by playing with Merl Saunders, Dave Grisman, his Garcia Band, on Ornette Coleman's Virgin Beauty album, etc etc. When Bruce Hornsby joined the Dead and soon complained to Garcia that Garcia was "phoning it in," Garcia's response was "Hey man, let's see how you deal with twenty years of burn-out, ok?"
"Jerry tapped into all the tones he could get and feelings from the whole band" Jerry tapped into the dealers that supplied the Black Persian dragons to chase, is more like it.
@@ericmalone3213 oh yes, the world was a free country then and his expression and person feelings comes out in the early 70s but later on things got even more personal w the times changing and the drug scene changing. God rest his soul and so many more. We all have our own cup of tea but I agree ☝️
@@gratefulz6035 Blimey, Auld Swodge, you sound exactly like a hirsute hippy freak vibing the vibey vibes! Don't put too much sugar magnolia on your steak tartare, Dude!
I once read an interview with David Crosby and he said that what a lot of people don’t realize is that the Grateful Dead really had two lead guitarist. I think he hit the nail on the head.
Listen to Bob tear it up on Easy Wind, Hard to Handle, and early China>Riders. He takes leads on each.
I think Crosby was referring to Phil...
But Bob pulled it all together...
@@timothyfoley3000 possibly, but I tend to doubt that a musician would refer to a bass player as a “guitarist”.
Exactly they had two lead guitarists and two rhythm guitarists.
Three if you count Phil
Absolutely wonderful! That E maj over g# thing is an Inversion of the chord. It's a concept they teach music majors in college. First inversion is over the third, second inversion is over the fifth, third inversion is over the seventh, I think you get it. It goes with all that Bach and Beethoven stuff. But fits in with everything we're doing now.
Chord inversions are like the third week of piano lessons for little kids.
It has been an interesting lesson to me discovering that the complex interweave during verses of dead songs was mostly Bob's arpeggios and inversions where Garcia's parts were quite simplistic. Nice breakdown.
That is not the point here. Do not underestimate garcia. Garcia routintely provided a master class in improvisation. I'd argue that the lesson here is that this is a solid case as to why Weir was qualified to play behind garcia (and in and around him). On those nights that Garcia, Weir and Lesh (and hart, Billy, Brent, et al) achieved true lift-off, the whole was greater than the sum of the parts. By a lot. Weir's role is too-oft underrated but garcia could be anything but simple: combiations of deeply satisfying modal shifting (eyes of the world), chromatic, surprising runs, carefully placed passing notes, seamless finger-pick/flat-pick transitions, surprising jazzy note choices and on and on. Whoo-boy. Sorry for the rant but you get the picture.
Bob was such a product of his time. It's like he evolved as a guitarist is fit the little bit of space that no one else was filling. A musicians musician just serving each song to the fullest. A real hero. You don't find that much anymore.
A really good friend of mine and an all around fantastic guy, Mickey Toop, helped me to start understanding Bobby's technique and many new improvisational approaches when it comes to his playing style. This video is great though, keep rolling out the excellent content brother ✌️
Wow! An electric with a slot peghead! Way cool!
Agreed. Love slotted guitars. Never seen an electric either that was slotted😂
i am 56 years old. Between the Grateful Dead, The Dead, The Other Ones, Further, Rat Dog, Weir and Wasserman, Bob and The Wolf Brothers and Dead and Co. He is by far the one musician I have seen perform live more than any else by a freaking long shot.
@@kpd987 i used to play with Jay Lane, and reading this I realized he played in nearly all of these bands you mentioned.
Kingfish
@@geheibel Cobham!!
Scaring the Children
@@geheibel Billy Cobham on drums
Weir is a MASTER of chord inversions.
One of the most useful guitar lessons on UA-cam and bro nailed talking music simple
If you listen to the Hard to Handle recordings that's a great example of Bob's talent.
Bob always took the first solo Jerry took the second.
I hate to say this but when Brent joined the band Bob's playing changed imo.
It made him play different just listen to the tapes.
Thanks Jeff please keep posting!!
No prob.
When they was writing China Cat Sunflower, I would have loved to see Jerry's face when Bob came up with his part of it on the high end. I love using my Looper for Jerry's part and then improvising off of Bob's licks . Bob's a genius.
BEAUTIFUL... someone tackles Bobs style, and nails it.... great, love it. Thanks!!!!!... you got a new subscriber.
No prob and thank you!
He doesn't just know about harmony moves, and chord grips in position, and some system to connect these - he knows the actual function of mentioned harmony in context. His fingers learned the dance how to pull the music out of his guitars by following his ears... listening is where it's at. Even just to oneself, for a start, lol
Bob and Phil are under-rated. There was so much creativity in the Dead.
using the phrase 'underrated' is over used & asinine. especially in regards to bob & phil.
@@monoped8437 really? In the greater rock milieu who touts Bob and Phil as being upper echelon players? What's asinine are people who rank musicians on technical ability at the expense of art.
Sea story. Operation Desert Shield. 1990. Me; civilian merchant mariner hauling cargo and 25 Army engineers to Saudi on an antique breakout (sometimes broken down) cargo ship. Discussion on the fantail mid Atlantic. I had the only guitar on board. A late 80s Squire strat with a battery operated Pignose amp. 3 guitars players in the crew of Army engineers. Me; Bob Weir is the best rhythm guitar player on the planet. Them; Say what? They had their own opinions on that but I did my best to demo with what little knowledge I had at the time. I think I got my point across but I sure wish there was a 'Bob Weir Challenge ' around back then. You need to know how fortunate you are to have people like Jeff zeroing in on the details of Bob's playing. I'm taking the challenge.
To add to my post above all I knew about Bob's playing at the time was that he was paring down barre chords and adding fills as compliments to those chords in support of the song. He's just like the rest of us. We learned barre chords to play what we heard but most weren't taking it next step. He did. By ear I would imagine. There was no internet so you couldn't watch what he was doing unless you went to the shows. I don't know for a fact but Bob probably had an extraordinary ear. He figured it out by ear and by playing with musicians who were doing the same. Caged was unheard of except with what with Barney Kessel and a few others with published guitar courses pre internet in the jazz realm were doing when Bob was learning.
Great analysis. It’s clear you love the music
Wow, I do all that stuff, without really thinking about it!
I knew that my playing was very influenced by Jerry Garcia, but now I see that it's as much or more influenced by Bob Weir! Cool!
I don't really play much rock stuff, or think about rock much, though I love the Dead. I mostly play bluegrass (where the Dead came from!), celtic and a little bit of jazz. But this is a really good video, loaded with a lot of stuff. Quartal harmony even--good stuff! Bob Weir=McCoy Tyner is an interesting parallel that makes sense to me.
Weir added so much movement to the music. That's why I really like the '70-72 era. WIth the single drummer, with Bill's light mostly snare rat-a-tat style and Keith's piano more restrained just adding little bits, you could really hear the interaction of Weir, Garcia, and Lesh. I love the later stuff too but as the piano got louder and the drums got really full, so many times Weir's subtlety got lost in the mix.
Great lesson, thanks.🎉
Me and my band the Hittites opened for the dead at a BGP show at the Warfield in Frisco in 1979. Yahoo!
Cool name.
Kufu and the Hit Hites.
@@fgoindarkg Thank you, Kufu my man. Wild Willy & the Hittites
Good tips, Jeff!
Bob Weir is from the less is more school of music. sometimes he gets lost in the mix, I like his playing on Help on the Way.
He often got lost in the mix because of sound engineers tho
Not to be nit picky but Bob does more, not less. Any beginner can play the standard chords
I don’t think you really know what your talking about , Bob Weir is not some sort of virtuoso , he played a role in one band and filled that role well, that’s all. without Jerry Garcia you would have never otherwise heard of Bob Weir,
I would say he was never lost in the mix from '70 to '74 - panned to the right and very easy to hear.
@@ZionFormanWho said he was a virtuoso? But you go transcribe and play Sage & Spirit and get back to us.
If only I had UA-cam and this kind of content 30 years ago :). Thanks for sharing.
No prob.
Excellent work
I knew all of these chord shapes just from playing so much and knowing each note on the fretboard long before I had even heard of the CAGED system. I knew, well know, every note on the fretboard and I just figured out how to make the chords and melody’s myself. When I look at the CAGED system I think to myself this is nothing novel! Every player ought to know these chord voicings !!!!
Well, ain’t you sumthin’ then. Sorry that the rest of us got a nifty system that’s easy to teach. 😄
Very nice, brother.
Really like the Stella Blue part. Thanks.
No prob.
That pedaling thing was often used by Steely Dan and Zappa too.
Bobby is a fantastic player. He gets a lot of crap. But the Dead wouldn’t be the Dead without him.
To change the subject, that guitar looks kind of like a Gibson Blueshawk. What is it? It sounds great!
I have been really in to p-90s lately.
It’s a B&G Little Sister Crossroads: bit.ly/jwcrossroadsstock24
A pal used to refer to this kind of voicing approach as "sliding partials".
I realize this is heresy among Deadheads, but I've always thought Weir was the more interesting guitarist in the band. Especially nowadays, when you can hear the guitar parts isolated.
weir said that he decided to play the guitar the way mcoy tyner played the piano .. as both we backing up great solosists .. garcia and coltrane .. he listened to a lot of jazz records ...
Triads. On string set 1 2 3 and string set 2 3 4. Too bad I learned these things as an old guy with arthritis.
Who ? Oh right no I'm thick
I'm from UK bud never heard of bob who what's his upbringing oh no straight to his style nice one DOH
I'm going to investigate who this guy is and I'll be back to watch later
0:09 OK, you totally have me at the wall of speakers. Check! I'm finding another video now, see you later!
ty for this lesson..Great Guitar, would you mind sharing what brand and style that is? TY
It’s a B&G Little Sister Crossroads: bit.ly/jwcrossroadsstock24
@@JeffWilliamsGuitar ty I love it!!
i like that part you showed for tennessee jed. stealing this
spicy and interesting stuff to investigate. New sub here 👍🏼
What a fantastic video have a wonderful day 3also today is my younger brother birthday ❤😊
Why did the Dead fire Bob? Why did they allow him never to quit?
he and Pigpen (Ronald MecKernan) were booted for a period in the beginning, 66 or 67 for not wanting much to do practice sessions
Thank you ❤
No prob
... and now I've got a bandmate complaining that my rhythm playing is too "busy".
Sigh. ... I need to keep reminding myself that SOME people love the way I (inspired by Bob Weir) play!
thanks
Whoa, that is a neat guitar! It's like a classical guitar at heart, turned electric! I've never seen that!
B & G, they are pretty cool.
Very good.
Thing about Mr Weir,in isolation sometimes you might say WTF? Is he doing? and then when you take note,it becomes super obvious how that’s some magic he’s conjuring- replace him with standard rhythm guitar and the sonic impact is diminished radically.
1:02 The Bob approach, or should we say the Bach approach, ...
is that a collings? beautiful
Thanks, it’s a B&G Little Sister Crossroads: bit.ly/jwcrossroadsstock24
I'm still looking at the PA rig in the first frame 😂
…that moment when you finally ask yourself, “Is Bobby BETTER than Jerry???”
he's not. But the difference is mostly in vocals, how Jerry could make a song come alive
Bob definitely was more than a rhythm player
A ton of his lines are lead, melodies
Keep up with the Bob stuff.
How is he not really a guitarist?
That guitar you're playing,
.. I've seen it once before but cant recall the maker.. 🤔
It’s a B&G Little Sister Crossroads: bit.ly/jwcrossroadsstock24
@@JeffWilliamsGuitar thank you
@@JeffWilliamsGuitar I wanted one of these about a decade about.. or at least I was very drawn in by the sweet ad they were running... curious ti know if you love it ? Thank you
@@D28wt Absolutely love it! I also saw an ad for it and it was the first guitar I ever bought online without playing. I'm now an affiliate for them.
no better teacher than jeff when it comes to dead tunes and style! if any of you are pondering paying for lessons and you like this music it's a bargain.
1:51 in... Sub'd
Bobs the bones, Jerry’s the fresh meat 🍖
Plush!
what kind of Guitar is that ?😳🤩😍
B&G Little Sister w/P90's if I'm not mistaken
Yup, it’s a B&G Little Sister Crossroads: bit.ly/jwcrossroadsstock24
Casey Jones would have been good for this too.
He said that Jerry pushed him to move away from the common rhythms and chords. He demanded for him to get better.
He played some solos in late 80s, steely stuff.. but they went back to Jerry doing them
Weir equals McCoy Tyners left hand
One thing about Bobby technically great..he must know 3000 chord shapes and changes
And if a man among you......Got no sin upon his hands......
This is EXACTLY why most of your local GD cover bands aren't fully "there." Every time I see a local GD cover band it's usually the Bobby guy who isn't quite taking the music into that special place. They just don't have the musical vocabulary to make it interesting and the secret sauce is weakened.
my hands aren't big enough!! 🙂
Coolest hair on UA-cam ✌️
Are you massive or is that a ukelele?
With p-90s. I want one!
They used that first thing in STPs Plush, right?
After hearing him loop Bobby's part in isolation...I thought the exact same thing-just add some thin distortion and climb up chromatically on the B string, and you have STP's Plush!...also, their main riff from Interstate Love Song is almost an exact rip off of the cadence riff in Jim Croce's I Got A Name...check that out!
They let Bob in to lure groupies, he was younger and didn't look like a bikers drug dealer, it worked
Since Bob Weir was the guitar student of Jerry Garcia, it would be the technique of Jerry Garcia. Before being in a band with Jerry, Bob Weir was taking lessons from him as Jerry was a guitar teacher at the Music Store. They are also the chord choices of players like Chet Atkins & others and are considered traditional guitar prior to 1960s.
Before the guitar he played banjo- must have affected his style. Just like the guy in the Byrds.
The "WEIRWOLF"
This isn’t a secret. It’s called knowing your instrument.
We never stop learning. Everyone is on a different level. 🙂
🌐✌️💚🖖👽🤟😘
Love Bob but it's a damn shame he let his skills on guitar just wither away instead of honing them over the years.
This all comes from the old Blues players. Not a Bob invention.
You lost me at the first 8 seconds....... Bob huh.
Maybe dive a bit deeper before throwing "legend" status around.
Meh,Bob is weird. He fills in around Jerry. Without Jerry, he isn’t very tasty
Hey Jeff, do you have an email? Love your videos and trying to contact you about a business inquiry.