It is fitting that Bob Weir's last moments on stage on August 3, 2025 were in the throes of admiration for his years of work in the Grateful Dead. As the band always says, what a long strange trip it has been. There he was in Golden Gate Park, the site of many of the free concerts that established the Dead to the burgeoning Haight-Ashbury community in the Sixties. When the Dead originally played to the hordes coming into San Francisco from across the country, they envisioned it as their own Utopia. Sixty years later, the music of the Dead thanks to the efforts of Weir and others still shows no signs of slowing down.
To think, in the fall of 1968 - Weir was almost fired from the Dead. Beginning with a cover of Jesse Fuller's "Beat It On Down The Line" on their 1967 Warner debut, Weir sang lead vocals probably more than anyone else including the two most performed Dead songs of their entire live tenure.
"Little Star" (1968)
Perhaps the first Dead song solely written by Weir. Its appearance in the troubled sessions for "Anthem of The Sun" had originally slated it as an imaginative prelude to the side-long Dead song that originated with Weir (as his first official composition,) "That's It For The Other One." Ultimately, it was cut and later revived by Weir for Eighties exploration.
"Sugar Magnolia" (1970)
With Jerry Garcia introducing lyricist Robert Hunter into the Dead's cadre of creatives, the prototypical sound of funky, harmonious, and effervescent jams takes root in this Weir/Hunter-penned ode to his girlfriend Frankie. It was all a "sunshine daydream."
"Jack Straw" (1972)
When you can no longer separate the studio albums from the live recordings, the most important aspect of the Dead is a devastating opening line that could immediately be recognized to the point of cheering. Weir and Hunter concocted a doozy with their Steinbeck-inspired road jam: "We can share the women/We can share the wine/We can share what we got of yours/'Cause we done shared all of mine."
"Weather Report Suite" (1973)
After Weir found success with his solo album "Ace" (and several songs would become Dead live standards,) he found his own co-writer in John Perry Barlow (following a backstage fight over Hunter and Barlow over a lyric in "Sugar Magnolia.") With its gentle prelude, tough middle, and widescreen, cinematic ending ("Let It Grow,") Weir became the voice of hope in a dark time for America.
"Sage & Spirit" (1975)
If Weir gave Garcia a lot of room to solo over his crowning glory mentioned above, Jerry returned the favor with this wispy but intricate instrumental from 1975's "Blues For Allah" which changes moods over its three minutes and flirts with cacophony briefly.
"Black-Throated Wind" (1972/recorded in 1974/released in 1976)
If the story sounds like Dennis Hopper's "Easy Rider," it is supposed to be as it was written almost in shock that it happened that way. On the original recording from Weir's "Ace," it sounds more laid-back. However, on the legendary 1976 "Grateful Dead/Steal Your Face" live album, it is tougher and shows the Dead practicing some restraint in riding the groove.
"Estimated Prophet" (1977)
Whether it was The Dead slightly toying with Reggae or just off-kilter rhythms, Weir and Barlow kicked off 1977's hotly-debated "Terrapin Station" with a barnburner about the scene he was a part of founding slipping into decadence, consumerism, and other false prophets.
"Cassidy" (1972/1980)
The early Dead (as the Warlocks) rode the culture-shattering magic bus FURTHUR of the Merry Pranksters driven by the manic and fascinating Neal Cassady. On the night that Weir created the nucleus of "That's It For The Other One," Cassady died walking along some train tracks in Mexico. It was up to "The Kid," as Weir was known, to pay tribute. With the Beat Generation-ready bongos and twangy acoustics from Garcia and Weir's jugband days, the acoustic Dead circa 1980 drove this one toward its live peak by finding their spot and holding it down like mountaineers planting their flag. Plus, what an epitaph to leave for later use:
Fare thee well now/Let your life proceed by its own design/Nothing to tell you/Let these words be yours, I'm done with mine.
NEW MUSIC THIS WEEK
A$AP ROCKY - Don't Be Dumb [BLACK/WHITE 2LP](Polo Grounds/RCA)
After years of singles and breaking into the acting game, A$AP Rocky returns with an album that boasts the best production team today in Pharrell, Mike Dean, and even Dean Blunt. Rocky, like many modern Hip-Hop artists, seems to be diversifying his sound given the only true song released from this is "Punk Rocky." With its snappy Indie Rock beat and Lo-Fi sound, "Punk" goes for a mixture of Daniel Caesar's sadboy persona and a little off-kilter Steve Lacy. Very curious to see where this goes. Also, Tim Burton draws on the cover.
CAVETOWN - Running With Scissors [SKY BLUE LP/CD](Futures/Virgin)
Four albums in and the time has come for Cavetown to mature - a little. What follows is not necessarily a new sound, but it has been fleshed out and mixed to modern proportions. So Robbie is growing up and singing about not being seen as he once was ("NPC") and perhaps falling in love and falling in love with HyperPop's booming extremes ("Sailboat" with Chloe Moriondo.) "Running With Scissors" represents a furthering of his direction.
ENHYPEN - The Sin: Vanish [VARIOUS CD VARIANTS](Belift Lab/HYBE)
MADISON BEER - locket. [LP/CD](Epic)
Plugged by a mysterious set of "interludes," ENHYPEN's 7th minialbum is starting to look like a Stanley Kubrick film made to resemble "Bullet Train." It's fast, furious, and reveals only melodic hints ("Big Girls Don't Cry") Curiosity does a LOT for KPOP groups. With the Top 5 grossing movies in the world during 2025 belonging to Anime, could KPOP be next?
The third album for Madison Beer is a bit of a proving ground. Beer has nabbed a hit single here and there in the last several years, but the US charts have eluded the spritely, cooing singer. For all its mature, big Pop production, "Bittersweet" could have found a better hook. With 2025's successful bubbly/almost-Electronic run at Pop from new artists like Addison Rae might be playing it a little too safe.
SLEAFORD MODS - The Demise of Planet X [LP/CD](Rough Trade)
The formula for Sleaford Mods is so easy to quote: Andrew Fearn pushes a few buttons and Jason Williamson goes OFF. However, to be honest, the real reason they cannot find worldwide success is because they stay so British. Like The Fall or The Ramones, they make songs that are instantly identifiable but never quite the same. There will always be something for Williamson to launch into a screed about ("Megaton,") and as always they skillfully use a female voice in opposition to bouts with masculinity and loneliness ("No Touch" deals the hook over to Sue Tompkins of Post-Punk legends Life Without Buildings.") "Demise" is a change in direction. There is a softness here that sees the Mods growing more personal and acknowledge that while they are not grand old men - they know the apocalypse is still coming in this lifetime and they are willing to keep pushing buttons.
COURTNEY MARIE ANDREWS - Valentine [GOLD LP/CD](Loose Future)
Courtney Marie Andrews is a dynamite singer/songwriter. Now on her 10th album, "Valentine" is another stark realization that Andrews knows how to write a song that will connect with anyone (the heartbreaking "Little Picture of a Butterfly" is built on a Fleetwood Mac-ish lilt and hints at Joan Didion) and still use natural textures to craft an album that comes from both loss and love to sound like she knows there is always a sense of renewal built into life.
KREATOR - Krushers of the World [RED LP/LTD CD](Nuclear Blast)
WILDHUNT - Aletheia [LP](Jawbreaker SWE)
Two weeks into the new year and we already have a pair of Metal albums worthy of praise across the borderlines that normally separate it from other music. Germany's Kreator have been bashing out Thrash Metal since it fused Punk and Metal together in the Eighties. Sixteen albums later, "Krushers" is not necessarily a product of refinement as much as renewed confidence. This one is meant to be a blast and to be blasted. The busy production hides a melange of excellent ideas that take a moment to be absorbed. This is classic Metal riffage ("Seven Serpents") obscured by a massive sound (the "Suspiria" tribute standout "Tranenpalast" with a dose of extreme Metal vocals from Britta Gortz.) As a result, Kreator stays true to Thrash but with flights of solo wonder from Mille Petrozza and Sami Yli-Sirino are subject to what we will call "the Gothenburg effect."
Austria's Wildhunt have been together since 2011, and only have one album under their belt (2016's "Descending.") However, about one minute into their stellar single "The Holy Pale" and you understand why the follow up took so long. Like the Eighties bands that they draw inspiration from, these tracks are crafted to meet both a central theme and have parts that fit together. "In Frozen Dreams" is a seven-minute epic that borrows twin guitars, King Diamond-like motives (perhaps 2026's guiding force given the other momentous Metal single of the moment, Worm's "Blackheart") and a generous tempo shift that could come from Prog or at least "Caress of Steel"-age Rush. There is a dynamic brewing here that makes Wildhunt's Prog/Metal different in that it descends from Megadeth, Rainbow, and the mighty Judas Priest.
MEGADETH - Killing Is My Business../Peace Sells..[LP/CD](Capitol)
In honor and anticipation of the final Megadeth album coming on January 23rd, there is time to dive into their voluminous archive and gaze at how they shaped their Thrash Metal so quickly. Assembled in opposition to his formers Metallica (who will be paid loving tribute to on the upcoming album,) Dave Mustaine pushed Bay Area Thrash straight into Speed Metal. 1985's "Killing" is still as surprising as it was 40 years ago. "Last Rites/Loved to Deth" is a classically-based thunderous opener. As dark as Metallica could be, Megadeth drop depth charge-after-depth charge here predating Guns N'Roses on the title track and drawing from Seventies AOR on the underrated "Looking Down The Cross." However, it is on blistering heat like "The Skull Beneath The Skin," the staccato gallop of "Rattlehead," and the locomotive-driven "Mechanix" (originally "The Four Horsemen" for Metallica) that Megadeth take Thrash and its flashy fills to arena level.
With better production and a world-weary dystopian attitude, 1986's major label debut "Peace Sells" remains their best album overall. All of Mustaine's feverish fretwork (the classic "Wake Up Dead") is better used for uptempo (read: not Speed) Metal made at the perfect headbanging pace. "The Conjuring" attaches a horror-movie-ready narrative, while "Good Mourning/Black Friday" and the intricate "Bad Omen" welcome the language and focus of modern horror into their view while opening Thrash Metal up to more technical pursuits. However, no song in the catalog stands as groundbreaking as the savage, gnashing commentary of the title cut where Megadeth joins the lineage of Alice Cooper and all the other Rock reprobates in rebelling against the opinions and direction of a previous generation. Forty years later, its not likely that a kid out there would flip from an angry father wanting to watch Megadeth shriek "Peace Sells!" to a newer Metal band.
Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.
