Let me just start by saying I completely understand Barlow’s consternation when he found out that Weir turned Mexicali Blues into a polka romp. Apparently it was originally written as a ballad (or similar) but under Weir’s guidance it became what we know today.

I always thought the arrangement was pretty cheesy and didn’t do the lyrics justice. I get why the horns are on the studio version, but they just don’t sit right with me. (Even though they are the Tower of Power horns, which is a sweet horns section!) As the years progressed I feel like the song go cheesier and cheesier.

So why pick it? Well, for one apparently a lot of people like it. A derivation of this version really opened my eyes to that. My wife is by no means a Dead fan (“Sounds like spaghetti” is a direct quote), but she was kind enough to go to a Dark Star Orchestra show with me a few years ago at the Fillmore in Denver (whilst pregnant no less. What a trooper). DSO played 11/21/73 that evening (this was before RT4.3 was released). When they played Mexicali Blues everyone was dancing and having a good time and I was just waiting for the next song in the queue. My wife was a bit perplexed as she thought it was a fun song and a good one to dance to. And here is where we find the major difference between those that attended Dead shows and those of us who got into the band later either by choice or because we were simply too young to see them. I’m sure there are other songs that really got the crowd moving but that vibe doesn’t translate to tape in the same way. Part of this may simply be that I’m not that into all of Weir’s cowboy songs. Some I like, others I detest. Nevertheless, I did gain a new understanding of Mexicali Blues because of DSO and this show.

Keith is all over this with barroom type of piano and Jerry rolls together his own blend of country and blues licks adding flourishes throughout the song. Phil keeps it pretty simple here, and the drums are a bit down in the mix as well. Jerry takes a quick solo and Keith seemingly tries to match him along the way. Weir’s percussive playing offers a welcome sonic juxtaposition. And almost as quickly as it started, this tale of love and danger comes to a close.

Complete Setlist 11/21/73