Bassist Phil Lesh, renowned for his intricate and innovative playing style that energized the Grateful Dead, passed away on Friday at the age of 84. Following the 1995 death of guitarist Jerry Garcia, Lesh continued to be a vital part of many touring iterations of the San Francisco band.
His official Instagram account shared the news, stating that Lesh died peacefully in the company of his family, surrounded by love. The post expressed gratitude for the joy he brought to those around him and emphasized his lasting musical legacy, while also requesting privacy for the Lesh family during this time.
Originally a classically trained trumpeter, Lesh had studied under avant-garde composer Luciano Berio and collaborated with minimalist pioneer Steve Reich before joining the Warlocks—a band led by his friend Jerry Garcia—to play bass at a 1965 show in a Menlo Park, California pizza parlor, an instrument he had never formally learned. He remained the band’s bassist from its inception until their dissolution after Garcia’s death in 1995. Although he wasn’t known for writing many songs, he did compose some of the band’s most memorable tracks, and his unique bass contributions were crucial to many others.
From: Terrapin Station (1977)
Co-written with Peter Monk, Lesh’s “Passenger” is a concise yet captivating track that runs just under three minutes. It represents a shift from the more symphonic and progressive rock elements of Terrapin Station, featuring a tight and funky arrangement that positions it among the Top 5 Phil Lesh Songs. The lyrics reflect the typical vagueness found in Lesh’s collaborations.
From: Shakedown Street (1978)
Despite being part of a poorly received album where the band attempted to craft a hit for Arista Records with a glossy disco sound, the title track co-written by Garcia and Robert Hunter boasts a compelling groove driven by Lesh’s fluid bass playing.
From: Workingman’s Dead (1970)
Written in collaboration with Garcia and Hunter, “Cumberland Blues” is an upbeat track that blends bluegrass elements into a structured rockabilly style. The song features sweet guitar solos and rich vocal harmonies, with banjos later enhancing the arrangement. In contrast to the extended jams the Dead are known for, “Cumberland Blues” showcases a more concise and sparse structure.
From: Aoxomoxoa (1969)
Another collaboration between Garcia, Hunter, and Lesh, “St. Stephen” draws on the story of the 1st-century saint who met a tragic end. The studio version appeared on the band’s third album, Aoxomoxoa, with a live rendition released later that year on *Live/Dead*.
From: Shakedown Street (1978)
While the disco influence on Shakedown Street has been debated, it resulted in excellent bass lines from Lesh. “Fire on the Mountain” is essentially a three-minute pop song, featuring shimmering guitar effects reminiscent of artists like Player or Hall & Oates. Lesh’s bass line provides a strong groove, especially in live versions where the song is paired with “Scarlet Begonias,” forming a medley known as “Scarlet Fire.”
From: From the Mars Hotel (1974)
Though Lesh did not frequently take the lead vocals for the Grateful Dead, he co-wrote this country-inspired track and provided rare lead vocals. Accompanied by piano and pedal steel, “Pride of Cucamonga” tells the story of a man on the run who has experienced prison time. This underground favorite is notable for the fact that the Dead never performed it live.
Just two days before his passing, the Grateful Dead received the Persons of the Year award from MusiCares, a charitable branch of the Recording Academy that honors artists at its annual fundraising event during Grammy Week. This ceremony is expected to mark the beginning of the band’s 60th-anniversary celebrations, although Lesh’s death adds a bittersweet note to the occasion.
Lesh is survived by his wife Jill and their two sons, Grahame and Brian, both of whom performed with the Terrapin Family Band.
Read More: Phil Lesh, The ‘Grateful Dead’ Bassist Dies At 84
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