This past summer I was able to see Arthur Adams and Elvin Bishop in the same show, they were both pretty amazing in their own rights. There's not many old blues guys like Cobbs left, but I imagine you get to hear the ones that are left living in Chicago. Your Willie Cobb's story is great, especially the fact that he never even heard of the Allman Brothers! I guess Cobbs probably did not actually own his own song. Or listen to March 3rd, 1968, the free afternoon concert on Haight Street: "Viola Lee Blues," "Smokestack," "Hurts me too," and "Dancin."
22, Lake Tahoe (Ski and Trip), you'll still hear a heavy blues vibe in their set list and moreover in their overall sonic presence on originals. However, if you listen to Dick's Picks vol. Yes, they absolutely made a giant step forward in January 1968, and it's true that they start focusing on their own material in those months afterward. (As an aside, I wonder about the context of Garcia's use of the word "spade." Is it an racial slur? Or was it a beatnik's term for African Americans in mid-1960s San Francisco? If someone who has firsthand knowledge knows, please enlighten me, I would appreciate it. I think we were a shock to them, because the music we were playing was heavy blues, certainly heavier than any of the spade guys were doing." I love this quotation because it encapsulates so much of the feel and energy of the early, primal Grateful dead: a heavy blues band. 32): "We played in a spade show, in fact like a rhythm and blues show. As Garcia said in an early interview with Ralph J. Pigpen takes the line "You make me feel alright," and goes off on "feel alright" in a way reminiscent of James Brown. At 1:58, the band responds to Pigpen's vocal stylizations (listen to how he breaks the line at "Let me come on.home with you") with an increase in tempo and intensity, and Garcia plays little swirling pentatonic riffs under Pigpen's vamping. When they return to "Good Morning," the energy is higher which results in a faster tempo.
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