Bob Weir’s major-label breakout no a complete bust, but it’ll send many Dead fans running earlier to Skull and also Roses.

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Kronomyth 2.0: Overestimated profit.

The slickest that the Bob Weir solo albums, featuring Terrapin producer Keith Olsen and also the sexty L.A. Studio cat that money could buy. The album efficiently signaled the finish of the Kingfish experiment for Weir, and suggests that someone in ~ Arista believed the Dead guitarist/vocalist had actually the charisma and also cachet to make a walk of it on his own without an army of the Dead tagging along. The someone to be wrong. No that Heaven is a poor record, only a little misguided.

The studio was an ideal setup for the Eagles and Steely Dan, however not therefore the Dead. Heaven help The Fool is pure ‘70s studio rock, even down come the disco-influenced title track (apparently, disco really is Dead). The same trouble plagued few of the Dead albums from this period: Shakedown Street, Go to Heaven. However there was constantly that organic interplay and also unpredictable spirit to rescue also their lamest efforts. No here. Weir and also Waddy Wachtel hardly seize a lead and the closest thing to spontaneity is the occasional sax solo from Tom Scott.

What saves this from being a full bore is the material. The six new Weir/Barlow compositions room good, sometimes very good. Friend can draw a straight line indigenous songs like “Shade of Grey” and the title monitor to subsequent Dead tracks choose “Saint the Circumstance.” In mine opinion, the Weir/Barlow partnership was in its dominion at this stage, just as the Garcia/Hunter tandem was beginning to decline. Weir’s raunchy rhythm & blues (“Salt Lake City,” “Wrong way Feelin”) is balanced by increasingly innovative (and frequently elusive) melodies, particularly on the ballads. And also Barlow has constantly been one ace lyricist.

The mix of brand-new material through covers (Marvin Gaye’s “I’ll it is in Doggone,” tiny Feat’s “Easy to Slip”) ar Heaven in line v Garcia’s Roses. Both are initially underwhelming, yet I’ve warmed up to them end time. Possibly tellingly, Weir there is no released one more “solo” album favor this since, returning to loose affiliations v the Dead together Bobby and the Midnites and Ratdog.

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Original elpee version

A1. Bombs away (5:06)A2. Straightforward To on slide (Martin Kibbee/Lowell George) (3:05)A3. Salt Lake City (4:04)A4. Shade of Grey (4:30)B1. Heaven aid The fool (5:30)B2. This Time Forever (4:09)B3. I’ll be Doggone (William “Smokey” Robinson/Warren Moore/Marvin Tarplin) (3:07)B4. Wrong method Feelin’ (5:12)

All songs composed by man Barlow & Bob Weir uneven noted.

The Players

Bob Weir (vocals, guitar), Mike Baird (drums), bill Champlin (keyboards, elevator vocals, organ), David Foster (keyboards), Lynette Gloud (background vocals), Tom Kelly (background vocals), David Paich (keyboards), Mike Porcaro (bass), Carmen Twilly (background vocals) through Dee Murrey (Murray) (bass on A2), Nigel Olsson (drums top top A2/B3), Peggy Sandvig (keyboards ~ above A4), Tom Scott (winds), Waddy Wachtel (guitar). Created by Keith Olsen; engineered by Keith Olsen and David De Vore.

The Pictures

Photography by Richard Avedon. Art direction through Ria Lewerke.

The Plastic

Released ~ above elpee and cassette in February 1978 in the united state (Arista, abdominal 4155), the UK (Arista, SPART 1044), Australia (Arista, TC-AL-4155) and also Germany (Arista, 064-60 467) through lyrics innersleeve; reached #69 top top the us charts.

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Re-issued ~ above elpee, cassette and compact disc in the us (Arista, AL5/AC/ARCD-8165).Re-released ~ above remastered compact key on January 4, 2005 in the united state (Grateful Dead, 78992).
Bobby & The Midnites (1981)
Lou Reed Discography
Bob Mould: Workbook (1989)
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