April Grateful Dead Show Listening Guides Part 1
- Mason's Children
- Mar 29
- 69 min read
Welcome to this month's Grateful Dead Show Listening Guides!
This is the part 1 of the April Listening guides.
We're covering April 1st - April 25th in this post.
April 26th - April 30th can be found here.
Since my website hosting provider (Wix) has a blog post size limit I had to split this month's Listening Guides into two posts. If you're looking for April 26th through the 30th, you can find those listening guides here.
If you like these reviews and you want to support me, please consider buying a copy of my book On This Day In Grateful Dead History: A Daily Listening Journal. They're $50 and I offer free shipping if you subscribe to my mailing list, where you'll get these writeups delivered. No spam, I promise!
Over time, as I've written these listening guides, I marked up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights (songs names that are bolded) in the listening guide, and the songs highlighted in yellow are the ones that Howard Weiner has identified as Jam Anthem renditions. I also write notes in the space provided if I'm feeling inspired or if there are any updates such as newly released material. Ultimately you can use it however you want, but this was my original intent with the book.
By the way, if you're new here, this is my month-by-month archive of my listening guides that gives you the most interesting and significant facts from Grateful Dead History, along with reviews of the music. If you'd like to stay up to date on new reviews and other information, you can subscribe here:
April
For the month of April, I am struck by just how pivotal this month was throughout the band's career, featuring some of their most legendary tours and singular events. The most historically significant aspect of the month has to be the kickoff of the Europe '72 tour, a landmark 22-show journey that began on April 7, 1972, at Wembley Empire Pool. I really enjoy these recordings because they capture the band at a creative peak, balancing their Americana roots with psychedelic exploration, and the resulting live albums remain essential listening.
Another massive highlight I found in these reviews is the final run at the Fillmore East in April 1971. This 5-show run marked the end of an era at the venue and featured some incredible guest appearances, including the Beach Boys on April 27th and Duane Allman on April 26th. It also included a final sit-in by former keyboardist Tom Constanten on April 28th, serving as a nice homage to the primal days just as the band was maturing their sound. Speaking of primal Dead, the April 1969 run at The Ark in Boston and the subsequent shows in Chicago and Minneapolis showcase the band's raw, psychedelic power, with massive "Lovelight" jams and the only performance of "What's Become of the Baby?".
I also found the band's sense of humor on display, particularly during the April 1, 1980 show where they swapped instruments for an "April Fool's" rendition of "Promised Land," with Bob Weir on keys and the drummers on guitar and bass. From the high-energy shows of April 1978, which are well-documented in the "Friend of the Devils" box set, to the sophisticated jamming of the mid-80s runs in Philadelphia and Providence, this month offers a vast array of musical evolution.
Significant historical events in Grateful Dead History for April:
“April Fool’s” Promised Land (Bobby on keyboards, Brent & Jerry on drums, Billy on bass - Mickey on rhythm guitar and vocals, and Phil on lead guitar) (4/1/1980).
Happy heavenly birthday Laurence "Ram Rod" Shurtliff (4/19/1945)
Start of the Europe '72 tour (4/7/1972)
Miles Davis opens for the Grateful Dead (4/12/1970)
The band jams with the Beach Boys (4/27/1971)
Tom Constanten sits in with the band for the final time (4/28/1971)
Release of "One from the Vault" (4/15/1991)
April first song performances
Candyman (4/3/1970), Take Me To The River (4/1/1995), I Second That Emotion (4/8/1971), It’s A Man’s World (4/9/1970), Maybe You Know (4/13/1983), Werewolves of London (4/19/1978), Got My Mojo Working (4/22/1977), Let The Good Times Roll (4/30/1988)
April final song performances
Ballad Of A Thin Man (4/1/1988), Easy Wind (4/4/1971), Day Job (4/4/1986), Hand Jive (4/4/1987), Louis Louis (4/9/1989), Alligator (4/29/1971), I Second That Emotion (4/29/1971)
April only song performances
"April Fool’s" Promised Land (4/1/1980), What's Become of the Baby? (4/26/1969), Only A Fool (4/23/1984), China Cat into I Know You Rider as an encore (4/30/1988)
April Grateful Dead Show Listening Guide Index
Here’s an index list of all 64 shows reviewed in April. You can click the link to jump to that date or just keep scrolling down the page.
April 1st
4/1/1980 Capitol Theatre, Passaic, NJ
3rd of a 3-show run. This is an excellent show from start to finish, except for the comical April Fools Promised Land which features the entire band switched positions. Bobby is on keys, Brent & Jerry on drums, Bill on bass, Mickey on guitar and vocals, Phil on lead guitar. You can see some pictures of them on stage here. Funny for sure, especially if you were there but it's kind of tough to listen to. They play the whole song but it comes to a kind of abrupt end and Phil howls "April Fools!" They then switch to their spots and replay the song properly. You can tell they're in a good mood, and the entire show is a banger. This would be the last time they ever played at this iconic venue.
The first set includes a pretty standard song selection but overall, a really strong performance. Highlights include Me And My Uncle, Big River, It's All Over Now, Don't Ease Me In, Looks Like Rain, Deal. They open the second set with a funky Stranger, which had just debuted the night before. They flowed from China Cat into I Know You Rider after this new Weir song, and then He's Gone into Other One right out of Estimated. It was like they were painting with sound and everything just sparkled. Brent was totally in his element, too, with this sweet little keyboard interlude between Other One and Drums. The Space segment was still finding its groove, but you could feel the Dead pushing the boundaries of their music, reaching for something beyond the ordinary. The encore with a really nice Shakedown like the band to say thanks for the good vibes during their three-night run in Passaic.
4/1/1988 Meadowlands Arena, East Rutherford, NJ
3rd of a 3-show run. This fine show which was mostly released on Road Trips Volume 4 No. 2. The closing of a three-night series at the Meadowlands on April Fools' Day featured an outstanding show. The first set highlights include the second performance of To Lay Me Down since its return to the repertoire, with emotional solos from Jerry. Also notable was the second performance of Bob Dylan's Ballad of a Thin Man, which was removed from the repertoire after this performance. A well-executed Deal completed the first set.
In the second set, China Cat and I Know You Rider elevated the energy, with Jerry and Phil standing out. Estimated showcased Bobby's passion, and Eyes was a display of Jerry and Phil, although it ended soon in Drums. The Other One emerged from Space, followed by an incendiary Wharf Rat. Bobby led the group into an interesting Throwing Stones, which culminated in a thumping take on Not Fade Away. The show concluded with a heartfelt delivery of Brokedown Palace.
4/1/1990 The Omni, Atlanta, GA
1st of a 3-show run. Officially released on Spring 1990 and some songs released on Without a Net. The Atlanta run of the 1990 spring tour, despite being overshadowed by other performances, is a very fine run of shows. This April Fool's show, in particular, is highlighted for its lengthy first set that offers a diverse song selection. It begins with an energetic Touch of Grey, followed by a powerful rendition of Minglewood featuring impressive slide work by both Bob and Jerry. Just a Little Light stands out as well, comparable to other exceptional versions performed on this tour. The last four songs of the set are all very strong, including Althea and Victim. The evocative rendition of To Lay Me Down stands out, as does the set-closing Music Never Stopped, which blew the roof off the Omni.
The second set is equally remarkable, maintaining its strength from start to finish. The China Cat > I Know You Rider opener is full of adrenalin, and Women Are Smarter is fun and bouncy. The particularly strong section post-Drums > Space segment is a treat and includes a powerful Dear Mr. Fantasy > Hey Jude > Truckin’ > Stella Blue > Sugar Magnolia. The encore, Baby Blue, is noted for its beauty and serves as a fitting conclusion to what is described as a legendary spring tour.
April 2nd
4/2/1973 Boston Garden, Boston, MA
Officially released on Dave's Picks Volume 21. The first set is full of great, energetic playing, albeit not very jammed out. Highlights include a strong but predictable Promised Land, followed by a stomping rendition of Deal. Jerry belts out a nice version of Brown Eyed Women, and the band delivers a ripping version of Wave That Flag. Donna projects some serious cattiness on a defiant rendition of You Ain't Woman Enough. The set also includes a lively Don't Ease Me In but the improvisational highlight of the first set is Playing, which, despite being relatively short (for the time period) at 16 minutes, explores interesting polyrhythmic guitar work over Billy’s jazz drumming.
The second set kicks off with a fiery Greatest Story, featuring Jerry Garcia's wah-wah guitar and Donna's powerful vocals. Stella Blue can be described as dreamlike and ethereal, while Loose Lucy leans towards a bluesy swagger reminiscent of its late-eighties arrangement. Here Comes Sunshine transitions into a classic Space jam, characterized by unnerving sounds and Garcia's eerie guitar work, creating a disorienting atmosphere. This leads into a well-executed Me and Bobby McGee, noted for its excellent singing and flawless Garcia solo. The Weather Report Suite Prelude serves as a brief interlude before launching into a dynamic Eyes of the World, with interesting jamming that can best be described as an irresistible flow of ideas. The sequence concludes with a delicate and poignant China Doll.
4/2/1989 Civic Arena, Pittsburgh, PA
1st of a 2-show run. Most of this show was officially released on Download Series Volume 9. The band is fired up, and they play an excellent show. The first set highlights include a fun, groovy Iko opener really sets the party mood, and the enthusiastic delivery of a Tennessee Jed > Music Never Stopped two-piece set closer.
The second set is full of great music. Highlights include a power-funk rendition of Shakedown Street, followed by more Mardi Gras Creole flavored music with the performance of Women are Smarter. Jerry’s cautionary love tale Foolish Heart is passionately delivered. The post-Drums > Space segment of Wheel > Dear Mr. Fantasy > Hey Jude Reprise is all very enjoyable and gives us a front row seat to Brent’s incredible musical chops. Bobby gets all worked up on Around And Around and Jerry spins us directly into an upbeat GDTRFB, but Bobby takes one more turn with a lively delivery of Lovelight. Jerry gets the last say with an emotional rendition of Baby Blue as the encore.
April 3rd
4/3/1970 Field House, University of Cincinnati, Cincinnati, OH
This show features an acoustic set sandwiched between two electric sets. The highlights from the first electric set include China Cat > I Know You Rider, delivered with strongly emotive signing and a smooth connecting jam. There’s also strong muscular jamming in Dancin'. The backing vocals are a tad off-key but they jam it way out, and bring it back nicely.
The acoustic set features the first performance of Candyman and Jerry improvises an extra verse in Friend of the Devil. Wake Up Little Susie is excellent, as is Katie Mae.
The highlight of the second electric set is Cryptical > Drums > Other One > Cryptical > Cosmic Charlie. The Other One seems to wander aimlessly in places, but the instrumental at the end of Cryptical Envelopment is interesting, beginning with the stunning quiet guitar work that then builds back up until Phil goes wild, launching it into a big peak. The transition into Cosmic Charlie emerges from some brief space. The set ends with a bang after a low-key NFA that segues into Lovelight. This version is shorter than average for the time period because there isn’t much of a Pigpen rap, but they build it up to a big, powerful crescendo at the end.
4/3/1989 Civic Arena, Pittsburgh, PA
2nd of a 2-show run. Most of this show was officially released on Download Series Volume 9. This is a strong show with first set highlights including El Paso (160 show breakout), and Victim. Second set highlights include Estimated > Crazy Fingers > Uncle John's Band before Drums, and a solid Gimme Some Lovin' sung by Phil out of Space. A double encore is always a sweet end to a show. They belt out Johnny B. Goode and Jerry cools it off with Black Muddy River which was a nice choice given that Pittsburgh sits at the convergence of three muddy rivers.
April 4th
4/4/1985 Providence Civic Center, Providence, RI
a really special night and an absolutely blistering show, full of spark and energy. The first set was captivating, highlighting Jerry's delivery. Highlights include Alabama Getaway > Jack Straw (Jam Anthem version), a stunning, emotive rendition of She Belongs to Me (1667 show breakout - last time played was 1/7/66!), a strong Brother Esau, and raging versions of Lost Sailor > Saint of Circumstance > Deal (all three are Jam Anthem versions).
The second set maintained the energy with a punchy I Need a Miracle to open. Brent transitioned into Crazy Fingers. Samson and Delilah provided an energetic interlude, followed by a soulful He's Gone. A surprise came with a vibrant version of Goin' Down the Road Feelin' Bad, leading into a rocking jam with hints of Caution and an impressive drum solo. The Wheel offered a mesmerizing breather. Jerry’s delivers some compelling vocals on Black Peter that leads into Bobby's dynamic performance of Around and Around, which transitioned into a fiery conclusion with Lovelight.
April 5th
4/5/1982 The Spectrum, Philadelphia, PA
A hot show that was partially released on Road Trips Volume 4 Number 4. This show has a solid first set. But check out the second set which is energetic, passionate and playful. A triple-play Playing in the Band is weaved throughout most of it. The first set highlights include a strong Jack Straw opener, a tight performance of El Paso with Jerry and Brent both adding extra flair. Dark Hallow has a deep groove and the middle jam in Cassidy soars. Tennessee Jed and Althea are pleasing, and a fun surprise (3 of 4) performance of Women Are Smarter that energizes the crowd and closes the set.
The energy and excitement carry forward into the second set with a rousing Bertha opener. After that they launch into a strong rendition of Playing that includes an extended jam segment. They eventually work their way into Ship Of Fools then back into a Playing Jam. Brent’s piano add lots of nice texture to the jamming. A Drums segment follows, and then a captivating Wheel emerges and then it’s back into a quick Playing Reprise to finish the sammich. After that, Jerry delivers a strong Wharf Rat and Brent’s organ leads the way through a nice Good Lovin’ to close the set. An upbeat Don’t Ease encore closes the show.
April 6th
4/6/1982 The Spectrum, Philadelphia, PA
2nd of a 2-show run. The entire show was released on Road Trips Volume 4 Number 4. Another solid well played first set. The second set smokes! The first set is very competent, with minimal mistakes and the band was fully engaged for all 12 songs. It kicks off with a competent but laid-back Cold Rain And Snow but they dial up the intensity for Promised Land. We slow down to catch our breath for a smooth Candyman which segues quickly into a rowdy C.C. Rider. Big Railroad Blues is punchy. Phil Lesh requests something bluesy from Bob Weir, leading into Looks Like Rain and Jerry's vocals on Might As Well are sweet. They must have partied hard the night before, because before the intermission Weir humorously announces, “We're gonna take a short nap.”
The second set kicks off with three powerful Jam Anthem songs: Shakedown Street, highlighted by an impressive instrumental exchange between Jerry and Brent Mydland, followed Lost Sailor and a strong Saint of Circumstance, featuring great jams and backup vocals. The outro builds perfectly with the line "'Cuz I'm on the road and I'm feelin' fine now!!" After the "Drums" segment, the mood turns a bit spooky but quickly brightens with a solid rendition of Truckin', despite a distracting whistle at the start. The transition into The Other One is notably brief, with the song being a short, second-verse-only version that doesn't last long enough for a signature Phil bomb. Morning Dew provides a slower, welcome addition to the set, leading into an energetic Sugar Magnolia that excites the crowd, with Phil bombs and even the security guards dancing. The show concludes with a mellow Baby Blue, sending the audience away feeling joyous.
April 7th
Start of the Europe '72 tour (4/7/1972)
4/7/1972 Wembley Empire Pool, London, England
1st of a 2-show run. The entire show was released on Europe '72 Complete Recordings. The circulating recordings are a pretty rough to listen to, so unless you have the official release then this one is probably going to be a skip. This is the kickoff concert of the infamous Europe '72 tour. Sam Cutler introduces the band and says “We’ve been trying to get here for a long, long time, and we eventually finally made it. Please welcome the Grateful Dead”. This show might not be as glorious as some of the upcoming shows, but it's a really fine performance by any measure.
The first set opened with a spirited Greatest Story Ever Told, immediately immersing the audience in the Dead's dynamic energy. This was followed by a heartfelt Sugaree, where Jerry Garcia's emotive vocals and fluid guitar work painted vivid musical landscapes. Other highlights include a boppy Chinatown Shuffle, China Cat > I Know You Rider, Beat It On Down The Line, Tennessee Jed.
The second set kicks off with a lot more punch than the entire first set, as they launch straight into the big jam segment of the show: Truckin' > Drums > Other One > El Paso > Other One > Wharf Rat. The Outro jam of Truckin’ reaches a nice peak and starts to drift off and there’s a quick Other One tease before heading into a short Drums passage. Phil comes crashing in with his Other One riff, and they immediately jam it out. The jam dissolves into a spacey passage before regrouping for the first verse, after which we go on another trip to space.
The jamming turns spooky, then they try to make a structured jam but it again dissolves into a free-form space segment. El Paso beautifully emerges from the ashes, and just as that song ends, they leap straight back into the meat of The Other One. The some really strong muscular jamming emerges for several more minutes before the second verse and then segue straight into a gorgeous Wharf Rat. Very strong, competent versions of Ramble On Rose, Sugar Magnolia, and NFA > GDTRFB > NFA (picked for release on Europe ’72 Volume 2) end the show, but just aren’t as interesting as the music that preceded it. And that’s a common recipe for many of these Europe ’72 shows: lots of strong, competent picture-perfect renditions of songs surrounded by the more interesting jam segments. That, and just the sheer length of some of the performances is quite impressive.
Music link: Europe '72 Complete Recordings is highly recommended over https://relisten.net/grateful-dead/1972/04/07?source=89968
4/7/1978 The Sportatorium, Pembroke Pines, FL
This entire concert is officially released in the Friend of the Devils: April 1978 box set. While this isn’t the best show in the bunch, the band delivered a vibrant and dynamic performance along with just enough interesting jamming to make it stand out. The first set commenced with a spirited Promised Land, immediately energizing the audience with its upbeat tempo and tight instrumentation. Jerry's guitar work was particularly lively, setting an enthusiastic tone for the evening. This momentum carried into Sugaree, where Jerry's emotive solos and dynamic crescendos captivated the crowd, exemplifying the band's ability to blend lyrical storytelling with instrumental prowess. Cassidy followed, featuring intricate interplay between Jerry and Bobby, their guitars weaving a complex tapestry of sound that highlighted their synchronicity. The seamless transition from Mama Tried > Mexicali Blues demonstrated the band's versatility, delivering classic country-infused rhythms with precision and flair. A poignant rendition of Peggy-O allowed Jerry's soulful vocals to shine, evoking deep emotion that resonated throughout the venue. Closing the set, The Music Never Stopped was executed with infectious enthusiasm, its rhythmic shifts and dynamic peaks leaving the audience exhilarated.
The second set opened with a robust Jack Straw, marked by compelling storytelling and a gradual build-up that culminated in a powerful climax. Terrapin Station served as the centerpiece of the set; its multi-part composition navigated masterfully by the band. The journey through its various movements was both majestic and seamless, with Jerry's solos soaring over the intricate rhythms laid down by Phil Lesh and the drummers. This segued into an expansive Playing in the Band, where the group ventured into deep improvisational territory. The jam explored a myriad of textures and themes, ranging from delicate, spacey passages to intense, rhythmic climaxes, exemplifying the Dead's fearless approach to live performance. Following a mesmerizing Drums segment by Billy and Mickey, the band transitioned into Not Fade Away, engaging the audience in a spirited call-and-response that underscored the communal atmosphere of the concert. A heartfelt Black Peter provided a soulful interlude, with Jerry's emotive delivery drawing the listeners into the song's melancholic narrative. The transition back into the Playing reprise segment brought the set full circle, culminating in a satisfying conclusion. For the encore, a high-energy Johnny B. Goode sent the crowd off with electrifying energy, encapsulating the night's vibrant spirit.
April 8th
4/8/1972 Wembley Empire Pool, London, England
2nd of a 2-shor run. The entire show was released on Europe '72 Complete Recordings. This is a standout show from beginning to end and captures the Dead at a peak of energy, excited to begin their historic European tour. The first set opened with an energetic Bertha, immediately engaging the audience with its upbeat tempo and Jerry Garcia's spirited vocals. The band then transitioned into Me and My Uncle, featuring Bob Weir's compelling storytelling and crisp guitar work. Standout renditions of Me And My Uncle, Mr. Charlie, and Deal follow. The set also included a soulful Black-Throated Wind, showcasing Weir's emotive delivery and the band's tight harmonies. Other highlights include Next Time You See Me, Cumberland (Jam Anthem version), Playing in the Band, Good Lovin (contains a hot jam in the middle), and Looks Like Rain.
The second set commenced with a rollicking Truckin', its infectious groove setting the stage for an adventurous musical journey. This led into an expansive Jam Anthem rendition of Dark Star, a centerpiece of the evening, where the band delved into a nearly 30-minute improvisation. The jam traversed through cosmic realms, with Garcia's melodic explorations complemented by Lesh's probing bass lines and the drummers' polyrhythmic textures, as they wander into Mind Left Body Jam, exemplifying the Dead's telepathic communication and willingness to push musical boundaries. Emerging from the depths of Dark Star, the band eased into Sugar Magnolia, providing a jubilant contrast with its buoyant rhythm and Weir's exuberant vocals. The synergy between the band members was palpable, culminating in the transition into a monster Jam Anthem version of Caution, a performance that left the audience in awe.
4/8/1978 Veterans Memorial Coliseum, Jacksonville, FL
This entire concert is officially released in the Friend of the Devils: April 1978 box set. Overall, the band exhibited their hallmark synergy, effortlessly blending structured compositions with exploratory jams, seamless transitions between songs, and the emotive delivery. The first set commenced with a spirited Mississippi Half-Step Uptown Toodeloo, immediately energizing the audience with its upbeat tempo and tight instrumentation. Jerry's guitar work was particularly lively, setting an enthusiastic tone for the evening. This momentum carried into Me and My Uncle > Big River, where the band's tight rhythm section and seamless transitions kept the energy high. A standout moment was They Love Each Other, delivered with a relaxed groove and heartfelt vocals from Jerry, captivating the crowd. Looks Like Rain showcased Bobby's sweet, emotive singing, complemented by Donna Jean's harmonious backing vocals, creating a poignant atmosphere. The set concluded with a high-energy Lazy Lightning > Supplication, demonstrating the band's ability to navigate complex compositions with precision and flair.
The second set opened with a rousing Samson and Delilah, featuring powerful drumming from Billy and Mickey that drove the song's infectious rhythm. This was followed by a mesmerizing Scarlet > Fire. Jerry's solos soared over the intricate rhythms laid down by Phil Lesh and the drummers, creating a euphoric musical journey. Estimated Prophet continued the improvisational exploration, with its reggae-inspired groove and spacey jams leading into Eyes of the World. This rendition of Eyes was particularly dynamic, featuring extended instrumental passages that showcased the band's jamming abilities. The set culminated in a high-octane Sugar Magnolia, leaving the audience exhilarated. For the encore, a spirited One More Saturday Night sent the crowd home smiling.
4/8/1985 The Spectrum, Philadelphia, PA
3rd of a 3-show run. This is an excellent high-energy show. The entire first set is a highlight. You get a lot of fun and different song selections and some interesting jamming. The first set commenced with a soulful Midnight Hour, immediately immersing the audience in the band's bluesy undertones. This seamlessly transitioned into a lively Walkin' the Dog, a song that hadn't been performed since March 29, 1984, making its inclusion a delightful surprise for the fans. The blues exploration continued with a gritty rendition of Big Boss Man, showcasing Jerry Garcia's emotive vocal delivery and expressive guitar licks. Delving deeper into their blues repertoire, the band presented Down in the Bottom followed by Ain't Superstitious, both highlighting their ability to authentically interpret classic blues numbers. The set took a turn with Althea, where Garcia's intricate solos wove a tapestry of introspective melodies, resonating deeply with the audience. The energy escalated with Tons of Steel, featuring Brent Mydland's poignant vocals and keyboard artistry. An unexpected Supplication Jam emerged next, a rarity that hadn't been played in full since 1977, adding an element of surprise and nostalgia. The set concluded with a spirited Might as Well, leaving the crowd exhilarated and eager for more.
The second set opened with a cover of The Beatles' Revolution, infusing the arena with a rebellious energy. Bob Weir then led the band into a raucous Hell in a Bucket, his dynamic stage presence amplifying the song's intensity. The mood shifted with Touch of Grey, offering a message of resilience and optimism that resonated with many. An expansive Estimated Prophet unfolded next, with its reggae-infused rhythms providing a foundation for exploratory jams. People who attended this show talk about Bobby falling on his ass trying to kick a beach ball back into the crowd during the song, but the music seamlessly transitioned into Eyes of the World, played at a notably brisk tempo, showcasing the band's synchronicity and improvisational prowess. The journey continued through Drums and Space, segments where Mickey and Bill's percussive dialogues transported the audience into abstract sonic realms. Emerging from the cosmic explorations, the band delivered a heartfelt Going Down the Road Feeling Bad, with Garcia's soulful solos echoing themes of longing and redemption. This was followed by a poignant Stella Blue, where Garcia's emotive vocals and delicate guitar work painted a melancholic yet beautiful soundscape. The set concluded with a high-energy pairing of Around and Around into a Jam Anthem version of Turn On Your Love Light, leaving the audience in a state of euphoric celebration. For the encore, the Grateful Dead graced the stage with Brokedown Palace, a tender farewell that encapsulated the evening's emotional depth. The harmonious vocals and gentle instrumentation provided a serene closure to a night of musical exploration.
April 9th
4/9/1982 War Memorial Auditorium, Rochester, NY
This is a very well-played performance with nice song selections. The first set commenced with an energetic Alabama Getaway, immediately igniting the crowd's enthusiasm. This seamlessly transitioned into Greatest Story Ever Told, with Bob Weir's spirited vocals and the band's tight instrumentation setting a high standard for the evening. A tender rendition of Dire Wolf followed, offering a mellow contrast and showcasing Jerry Garcia's emotive storytelling. The bluesy C.C. Rider saw Weir channeling raw emotion, complemented by Brent Mydland's soulful keyboard flourishes. A standout moment was the ethereal Bird Song, where the band embarked on an exploratory jam, intertwining delicate melodies with intricate rhythms, creating a tapestry of sound that mesmerized the audience. The set continued with a spirited It's All Over Now, featuring dynamic interplay between Garcia and Weir. A heartfelt Loser allowed Garcia's poignant vocals to shine, conveying deep emotion. The band then delivered a rousing Minglewood Blues, with Mydland's organ adding a rich layer to the sonic landscape. Concluding the first set was a hot rendition of China Cat Sunflower > I Know You Rider, featuring a seamless transition that highlighted the band's synchronicity and ability to build crescendos that left the crowd exhilarated.
The second set opened with the rhythmic and infectious Man Smart, Woman Smarter, infusing the venue with a danceable groove. A rare and deeply moving To Lay Me Down followed. The introspective mood transitioned into the nautical themes of Lost Sailor, with Weir's evocative delivery painting vivid imagery. This seamlessly flowed into Saint of Circumstance, escalating the energy with its upbeat tempo and spirited execution. The percussion duo of Mickey Billy then took center stage for an exhilarating Drums segment, showcasing their rhythmic dexterity and leading into the abstract realms of Space, where the band ventured into avant-garde soundscapes. Emerging from this cosmic exploration, The Other One erupted with intensity, featuring Phil Lesh's thunderous bass lines propelling the jam forward. The mood then shifted to a soulful Stella Blue, with Garcia's emotive guitar solos and heartfelt vocals enveloping the audience in a reflective ambiance. The set concluded with a jubilant Goin' Down the Road Feelin' Bad which quickly segued into a spirited rendition of Satisfaction. This was followed by a poignant Brokedown Palace encore, providing a heartfelt and harmonious conclusion.
April 10th
4/10/1978 Fox Theatre, Atlanta, GA
1st of a 2-show run. This concert was officially released as part of the Friend Of The Devils: April 1978 box set. The first set kicked off with a spirited The Promised Land, setting an energetic tone despite some initial sound adjustments. Following this, Brown Eyed Women showcased Jerry Garcia's emotive vocals and fluid guitar work, drawing the audience deeper into the performance. A heartfelt Peggy-O highlighted Garcia's ability to convey deep emotion through both voice and guitar, creating a poignant atmosphere. Cassidy featured intricate interplay between Bob Weir and Donna Jean Godchaux, with the band's tight rhythm section providing a solid foundation for exploratory jams. A standout rendition of Row Jimmy followed. The set continued with a raging rendition of Passenger, injecting a dose of rock energy that had the crowd dancing.
The second set opened with a smoking Jack Straw, with the band locked in and delivering a powerful rendition that captivated the audience. A soulful Ship of Fools followed, allowing Garcia to delve into the song's melancholic themes with heartfelt expression. The highlight of the set was an expansive Dancing In The Street, which evolved into a spectacular disco-infused jam, showcasing the band's ability to adapt and explore different musical styles. This seamlessly transitioned into an extended Drums segment, where percussionists Mickey Hart and Bill Kreutzmann led the audience on a rhythmic journey, demonstrating their percussive prowess. Emerging from the depths of rhythm, Franklin's Tower unfolded with a fresh and engaging jam, reflecting the band's adventurous spirit during this period when the song had become a free agent in their setlists. A poignant Black Peter followed, with Garcia's soulful delivery resonating deeply with the audience. The set concluded with a rousing Around and Around, leaving the crowd energized and craving more. They delivered with a rousing U.S. Blues to close the show.
April 11th
4/11/1972 Newcastle City Hall, Newcastle, England
This concert was part of their iconic European journey and has been officially released in its entirety as part of the Europe '72: The Complete Recordings box set. The first set commenced with a spirited Greatest Story Ever Told, featuring a searing solo by Jerry Garcia that immediately captivated the audience. Following this, Mr. Charlie showcased Pigpen's gritty vocals and harmonica prowess, complemented by Jerry's incisive guitar work. A standout moment was the seamless transition between China Cat Sunflower and I Know You Rider; Jerry's initial solo in "China Cat" was both intricate and fluid, leading into an exuberant jam that highlighted the band's tight interplay. The subsequent "I Know You Rider" was marked by jubilant solos and harmonious vocals, eliciting a rapturous response from the crowd. Another gem was Playing in the Band, where the group embarked on a ten-minute exploratory jam. Starting with ethereal notes from Jerry, the piece evolved into a fast-paced, thematic exploration, demonstrating the band's improvisational dexterity. The set concluded with a robust Casey Jones, leaving the audience energized and eager for more.
The second set opened with a dynamic Good Lovin', extending over fifteen minutes. Pigpen's commanding vocals set the stage for multiple improvisational segments, including a down-and-dirty jam that ventured into spacey territories, showcasing the band's versatility. Following this, Truckin' unfolded into an expansive jam, initially riffing on its main theme before delving into a jazz-infused exploration, with Phil Lesh's resonant bass lines and Keith Godchaux's melodic keyboard contributions standing out. This improvisation hinted at The Other One, which emerged after a brief drum interlude. Spanning over twenty-five minutes, The Other One featured a compelling opening jam that built up to the first verse, followed by a segment reminiscent of a Mind Left Body Jam but doesn’t quite fully develop. The piece then ventured into deep space, characterized by discordant notes and avant-garde explorations, before returning to the main theme and concluding with the second verse.
The transition into Comes a Time was slightly abrupt, but the heartfelt rendition, underscored by a heavy bass line and a poignant solo, provided a reflective moment. The set culminated with an exuberant Sugar Magnolia, leading into a soulful Brokedown Palace, offering a perfect denouement to an evening of musical brilliance. A rollicking One More Saturday Night encore closed out this epic show.
4/11/1978 Fox Theatre, Atlanta, GA
2nd of a 2-show run. The band delivered an electrifying and dynamic performance, showcasing their seamless interplay and improvisational prowess. The first set commenced with a spirited Bertha, immediately igniting the crowd's enthusiasm. This smoothly transitioned into a lively Good Lovin', with Bob Weir's exuberant vocals driving the energy higher. A mellow Friend of the Devil followed, allowing Jerry Garcia's soulful guitar work to shine, captivating the audience with its intricate melodies. The classic pairing of Me and My Uncle > Big River showcased the band's tight rhythm section, with Phil Lesh's bass lines providing a solid foundation for the cascading guitar riffs. A heartfelt Tennessee Jed saw Garcia delivering emotive vocals, resonating deeply with the audience. Looks Like Rain featured Donna Jean Godchaux's harmonious backing vocals complementing Weir's passionate delivery, creating a poignant atmosphere. The set continued with Brown Eyed Women, highlighting the band's storytelling prowess, followed by a raucous New Minglewood Blues, where the bluesy undertones were accentuated by Garcia's fiery solos. Closing the first set, Deal was executed with confidence, leaving the audience eagerly anticipating the second half.
The second set opened with a thunderous Samson and Delilah, setting a jubilant tone. The seamless transition into Scarlet Begonias led to an expansive jam, with the band exploring intricate musical avenues before segueing into Fire on the Mountain. This pairing exemplified the Dead's hallmark of fluid improvisation, with Garcia's melodic leads intertwining beautifully with the rhythmic undercurrents. A sweet performance of Sunrise provided a serene interlude, showcasing Donna Jean's ethereal vocals. The journey continued with Terrapin Station, a multi-faceted composition that took the audience through various musical landscapes, culminating in a mesmerizing jam that dissolved into an exploratory Drums segment. Emerging from the percussive depths, the band launched into a spirited Iko Iko, infusing the traditional tune with their unique flair. The set concluded with a high-octane Sugar Magnolia, with Weir's exuberance and the band's collective energy bringing the house down. For the encore, the Dead delivered a blistering Johnny B. Goode, paying homage to Chuck Berry and leaving the audience in a state of ecstatic satisfaction.
4/11/1987 U.I.C. Pavilion, Chicago, IL
3rd of a 3-show run. A powerfully-delivered performance with several nice highlights. This was broadcast on WXRT in Chicago. The first set commences with a strong Hell In A Bucket opener that features some magnificent delay effect on Bobby's vocals for the final "at least I'm enjoying the riiiiiiiiide!" part of the song. The crowd goes nuts! This smoothly transitioned into a soulful Sugaree, with Jerry Garcia's emotive guitar work captivating the audience. A raucous Minglewood Blues followed, featuring Bob Weir's gritty vocals and slide guitar flourishes. The poignant Loser allowed Garcia to delve deep into the song's melancholic narrative, his solos resonating with heartfelt expression. Tons of Steel, Brent Mydland's ode to the railroad, showcased his passionate keyboard playing and vocals. The band then delivered a sprawling rendition of Desolation Row, with Weir narrating the vivid imagery of Dylan's lyrics over intricate instrumental textures. A high-energy Big Railroad Blues injected a dose of rock and roll fervor, leading into The Music Never Stopped, which closed the set with its infectious rhythms and jubilant crescendos.
The second set blasts off with a nice Touch > Women Smarter that gets the party started. The transition into Terrapin Station marked a journey into more exploratory territory, with the band weaving complex musical themes and Garcia's solos reaching soaring heights, and is sung with strong emotions from Jerry. The subsequent Drums segment saw percussionists Mickey Hart and Bill Kreutzmann engaging in a rhythmic dialogue, leading into an ambient Space exploration. Emerging from the cosmic soundscape, the band launched into a driving Truckin', its bluesy riffs and storytelling lyrics resonating with the crowd. The emotive ballad Wharf Rat followed, with Garcia's plaintive vocals conveying the song's tale of redemption. A segue into Throwing Stones brought a politically charged energy, culminating in a spirited Not Fade Away, with the audience clapping and chanting along, embodying the communal spirit of the Grateful Dead experience. The NFA chanting continued all the way into the beginning of the encore, where the band reprised Not Fade Away, further energizing the crowd before concluding the evening with a heartfelt Black Muddy River, leaving the audience in a reflective and satisfied state.
April 12th
4/12/1970 Fillmore West, San Francisco, CA
4th of a 4-show run. Miles Davis opened for the Grateful Dead, and by all accounts Deadheads were not prepared for these Miles Davis performances, and it stood in stark contrast to the music of the Grateful Dead. But everyone had huge respect for Miles and his musicians, that's for sure! Most of this Dead show is average to strong performances.
The first set opened with Good Morning Little Schoolgirl, featuring Pigpen's soulful harmonica. This was followed by Casey Jones, delivered with infectious energy, its driving rhythm foreshadowing its later prominence in the Dead's repertoire. China Cat Sunflower > I Know You Rider showcased the band's fluid interplay. High Time provided a poignant contrast with its slow, emotive delivery, highlighting Jerry Garcia's plaintive vocals. The Good Lovin' sequence was particularly electrifying; beginning with a spirited rendition led by Pigpen, it ventured into an exhilarating drum solo before returning to the song's jubilant refrain. Acoustic gems like Candyman, Deep Elem Blues, and Cumberland Blues reflected the band's Americana influences, while Dire Wolf added a haunting narrative. The first set culminated in an extraordinary Dancin' in the Street, characterized by its funky grooves and exploratory jams, a version so distinctive that it was later featured on the compilation album Fallout from the Phil Zone.
Black Peter opened the second set with a melancholic and introspective mood, Garcia's emotive storytelling resonating deeply. Uncle John's Band followed, featuring intricate harmonies. A standout moment was their rendition of It's a Man's World, where Pigpen's impassioned vocals and the band's soulful instrumentation paid homage to the James Brown classic with a unique Dead twist. The improvisational centerpiece of the evening was an expansive Viola Lee Blues, which evolved into a labyrinth of sonic exploration, traversing through intense peaks and serene valleys, demonstrating the band's fearless approach to jamming. This odyssey seamlessly transitioned into a cacophonous Feedback segment, pushing the boundaries of conventional rock performance. The night concluded with the ethereal a cappella harmonies of And We Bid You Good Night.
4/12/1978 Cameron Indoor Stadium, Duke University, Durham, NC
This entire concert is officially released in the Friend of the Devils: April 1978 box set. This show isn’t the strongest of the bunch from the April, 1978 tour, but there’s still plenty to like here. The first set began with an energetic Jack Straw, though initial technical issues with Jerry's microphone slightly tempered the opening. Once resolved, the band found their groove, delivering a heartfelt Row Jimmy, with Jerry's emotive vocals complemented by Donna Jean's harmonies, creating a poignant atmosphere. The set gained momentum with a fiery New Minglewood Blues, showcasing the band's bluesy intensity and tight instrumentation. A particularly intense Lazy Lightning > Supplication sequence closed the set, with the band navigating complex rhythms and transitions with remarkable precision and fervor.
The second set opened with a lively Bertha that seamlessly transitioned into a jubilant Good Lovin', reflecting the band's cohesive interplay and infectious enthusiasm. The improvisational journey continued with an expansive Estimated Prophet > Eyes of the World, where Jerry's fluid guitar solos intertwined with the rhythm section's intricate grooves, leading into an extended Drums segment. This percussive exploration set the stage for a powerful Truckin', characterized by its driving rhythm and spirited execution. The emotive ballad Wharf Rat followed, with Jerry delivering soulful vocals that resonated throughout the venue. The set concluded with a high-energy Around and Around, leaving the audience exhilarated. For the encore, the band offered a spirited U.S. Blues, encapsulating the night's celebratory spirit.
4/12/1982 Nassau Veterans Memorial Coliseum, Uniondale, NY
2nd of a 2-show run. A standout show full of fun moments and interesting song selection. I find it unusual that they open the first set with an excellent funky version of Iko, and then open the second set with it's melodic sibling Women Are Smarter. Both of these songs were performed together during the same show 18 times in Grateful Dead history, but this was the only time they ever did them as set 1 and set 2 openers. Iko was followed by a robust New Minglewood Blues, where Bob Weir's gritty vocals and Jerry Garcia's searing guitar licks set a fiery tone. The band then eased into a delicate and heartfelt Peggy-O, with Garcia's emotive solos weaving a poignant narrative. The classic country pairing of Mama Tried > Mexicali Blues showcased tight harmonies and spirited rhythms. A standout moment was the rendition of Bird Song, described by attendees as featuring an intricate jam where Garcia and Brent Mydland's interplay created a mesmerizing, almost preordained musical conversation. The set continued with a soulful C.C. Rider, a rollicking Tennessee Jed, and a tender Looks Like Rain, culminating in a high-energy Deal that left the crowd exhilarated.
The second set opened with the afore mentioned Women Are Smarter and immediately set a jubilant mood. They quickly segue into a Jam Anthem rendition of Sugaree, and this one is off the charts good! Full of great emotion and fretwork by Jerry and it clocks in at 14 minutes! The journey continued with a dynamic Estimated Prophet, featuring Weir's impassioned vocals and complex time signatures, leading seamlessly into a spirited Uncle John's Band, where the band's harmonies and musical camaraderie were on full display.
The exploratory Drums > Space segments provided a canvas for percussive innovation and sonic experimentation, paving the way for a thunderous The Other One. In this rendition, Weir's fervent delivery of the second verse (“Escaping through the lily fields, I came across an empty space”), sung twice, added a unique twist that resonated with the audience. After realizing his mistake, he comically says "I'm gonna sing it again" before repeating the second time. The mood then shifted to the soulful Stella Blue, introduced by an extended instrumental prelude that highlighted the band's patience and emotive depth. The set concluded with a rousing Sugar Magnolia, leaving the audience in high spirits. For the encore, the Dead delivered a spirited cover of (I Can't Get No) Satisfaction, sending the crowd home with an electrifying finale.
April 13th
4/13/1969 Ballroom, University of Colorado, Boulder, CO
Classic primal Dead in exceptional form. The band is totally energized and almost every moment is above average. The first set opened with an electrifying (25+ minute) Turn On Your Love Light, featuring Pigpen’s soulful vocals and charismatic stage presence, setting an upbeat tone for the evening. The band then transitioned into Doin' That Rag, a track from their forthcoming album Aoxomoxoa, highlighting their intricate harmonies and complex rhythms. A powerful rendition of Good Morning Little School Girl followed, with Pigpen's gritty harmonica solos adding a raw blues edge.
The emotive Morning Dew showcased Jerry Garcia's poignant guitar work and haunting vocals, creating a deeply moving atmosphere. The set's centerpiece was an expansive suite beginning with Dark Star, a song renowned for its improvisational depth. This version doesn’t get much attention and is one of the most underrated versions. It unfolded over 20 minutes, with the band navigating through cosmic soundscapes and intricate musical dialogues. Seamlessly, they segued into St. Stephen and then The Eleven, both exemplifying the Dead's signature blend of structured composition and free-form jamming. The segment concluded with a segued into a soul-stirring Death Don't Have No Mercy. Unfortunately, all the circulating tapes are missing the end of the show which includes Caution and possibly other songs. But we do have the beginning of what appears to be a hot Alligator. The tape cuts after an interesting Drums > Jam segment.
4/13/1971 Catholic Youth Center, Scranton, PA
Officially released on Dave’s Picks Volume 51. The Grateful Dead delivered an electrifying performance at the Catholic Youth Center in Scranton, Pennsylvania. The first set ignited with Casey Jones, featuring driving rhythm and infectious energy. Mama Tried followed, with Bob Weir's crisp vocals paying homage to Merle Haggard's classic, while the band's tight harmonies underscored their versatility. In Loser, Jerry Garcia's soulful delivery and emotive guitar work painted a poignant narrative, enveloping the venue in a contemplative atmosphere. Big Boss Man saw Pig at the forefront, his determined vocals and harmonica infusing the Jimmy Reed cover with raw blues authenticity. The set continued with Me and Bobby McGee, where Weir's heartfelt singing captured the song's wistful essence, complemented by the band's gentle instrumentation. Bertha injected a lively tempo, its upbeat melody and Garcia's spirited vocals invigorating the crowd. The bluegrass-tinged Cumberland Blues showcased the band's ability to intertwine complex rhythms and tight harmonies, while Big Railroad Blues maintained the momentum with its rollicking pace and Garcia's fiery guitar licks. Playing in the Band offered a glimpse into the band's exploratory side, featuring a concise yet compelling jam that hinted at the extended improvisations the song would evolve into in later years. A standout moment was Hard to Handle, highlighting Pigpen's commanding presence and bluesy vocals. The set concluded with a hard-driving Sugar Magnolia, its vibrant energy and uplifting lyrics leaving the audience exhilarated.
The second set opened with Truckin', its narrative lyrics and infectious groove setting the stage for an adventurous musical journey. A Drums segment followed, with Billy delivering a rhythmic showcase that underscored his percussive dexterity. This seamlessly transitioned into Good Lovin', a tour de force featuring Pigpen's charismatic vocals and an extended jam that ventured through various musical landscapes, including a Darkness Jam. The rare inclusion of I Second That Emotion added a soulful touch to the set, marking one of the few times the band performed this Smokey Robinson classic. Greatest Story Ever Told brought a fervent energy, its concise structure packed with dynamic shifts and spirited execution. The set culminated with Johnny B. Goode, a nod to their rock and roll influences, delivered with electrifying enthusiasm. For the encore, Uncle John's Band provided a harmonious and reflective conclusion, its intricate vocal harmonies and melodic instrumentation leaving the audience with a sense of communal euphoria.
April 14th
4/14/1972 Tivoli Concert Hall, Copenhagen, Denmark
Officially released on Europe '72 The Complete Recordings. When it comes to the Europe '72 tour, it's difficult to compare performances from night to night because taken as a whole, every show truly is exceptional. There are moments of "averageness" but "average" during the Europe '72 tour is a very high bar! Bottom line: if you haven't heard all of them, then take this opportunity to listen to them. The performance on April 14, 1972, in Copenhagen is a quintessential example of the Europe '72 tour, showcasing their unparalleled ability to blend precision with spontaneity. The show is a masterclass in musical exploration, with each set offering a unique journey through the band's diverse repertoire, highlighted by extraordinary jams and soulful renditions.
The first set opens with a spirited Bertha, immediately setting an upbeat tone with Jerry's vibrant vocals and fluid guitar work. Bobby leads the band into a lively Me and My Uncle, marked by its galloping rhythm and engaging storytelling. Pigpen's gritty vocals and harmonica add a raw blues edge to Mr. Charlie, while Jerry's emotive delivery in You Win Again highlights the band's versatility. Bobby's Black-Throated Wind brings a contemplative mood, featuring intricate guitar interplay and introspective lyrics. Pigpen injects a dose of boogie-woogie flair with a rollicking Chinatown Shuffle. Jerry's heartfelt Loser captivates the audience with its melancholic narrative, leading into a harmonious rendition of Me and Bobby McGee, where Bobby's vocals paint vivid imagery. The set continues with a robust Cumberland Blues, showcasing the band's bluegrass influences through tight harmonies and brisk instrumentation. A standout moment arrives with Playing in the Band, where the group embarks on an 11-minute journey of rhythmic complexity and melodic exploration, foreshadowing the deeper improvisations to come. The first set concludes with Tennessee Jed, El Paso, Big Boss Man, Beat It On Down the Line, and a rousing Casey Jones, each performed with the band's signature blend of precision and spontaneity.
The second set is a tour de force, opening with a vibrant Truckin', its infectious groove energizing the Copenhagen crowd. Pigpen's soulful delivery of It Hurts Me Too adds a poignant blues touch, followed by the rollicking rhythms of Brown-Eyed Women, where Jerry's storytelling shines. Bobby's emotive Looks Like Rain provides a moment of introspection before the band launches into the evening's peak highlight: Dark Star. This 29-minute odyssey begins with a loose, ambient exploration, gradually coalescing into the familiar theme around the 11-minute mark. An intriguing groove emerges at 16 minutes, leading into the first verse, after which the band delves into an intense, nearly 7-minute jam, inclusive of a tight and fast Feelin' Groovy Jam. The final three minutes descend into a sonic meltdown, showcasing the Dead's fearless approach to improvisation. Seamlessly, they transition into Sugar Magnolia, with Bobby's exuberant vocals soaring over the jubilant instrumentation. The energy remains high as the band embarks on a medley of Good Lovin' > Caution > Who Do You Love > Caution > Good Lovin', with Pigpen leading the charge through these rhythmically charged explorations. His rap on Good Lovin’ is one of his wildest ever, adding a layer of raw energy to the performance. Who Do You Love is the first performance in 111 shows (11/11/1970). The final segment of the set is a fitting conclusion to this dynamic performance. The night wraps up with a heartfelt Ramble On Rose, followed by the classic high-energy pairing of Not Fade Away > Goin' Down the Road Feeling Bad > Not Fade Away, leaving the audience screaming in delight. For the final encore, the Dead deliver a spirited One More Saturday Night, sending the Copenhagen crowd home with a lasting impression of their dynamic and exhilarating show.
4/14/1982 Glens Falls Civic Center, Glens Falls, NY
If you've already heard 4/14/72 a thousand times and are looking for something else to listen to on this day then look no further! This is a high-energy show full of great jams. The first set commenced with a Jam Anthem rendition of Jack Straw, setting an energetic tone with Jerry's crisp guitar licks and Bobby's compelling vocals intertwining effortlessly. This was followed by a soulful rendition of They Love Each Other, where Jerry's melodic solos and Brent Mydland's warm keyboard textures created a laid-back yet engaging atmosphere. The classic cowboy pairing of Me and My Uncle > Big River injected a dose of Americana, with Phil Lesh's buoyant bass lines driving the rhythm forward. A notable highlight was the rare performance of Deep Elem Blues, offering a delightful nod to the band's folk roots. The blues theme continued with Little Red Rooster, featuring Bobby's gritty slide guitar work and impassioned vocals, complemented by Brent's soulful organ fills. Brown Eyed Women followed, with Jerry delivering poignant lyrics and a heartfelt solo that resonated with the audience. The set concluded with Jam Anthem versions of Lazy Lightning > Supplication, showcasing the band's tight rhythmic interplay and complex time signatures, before launching into a spirited Bertha that left the crowd exhilarated.
The second set opened with the vibrant duo of China Cat Sunflower > I Know You Rider, a fifteen-minute odyssey that set the tone for the rest of the set. This particular rendition was marked by seamless transitions and an effervescent jam bridging the two songs, with Jerry and Bobby exchanging melodic motifs over Billy and Mickey's driving rhythms. The improvisational centerpiece of the evening was an expansive Playing in the Band, where the group ventured into uncharted sonic territories. The jam evolved from the song's structured framework into a freeform exploration, characterized by swirling guitar lines, atmospheric keyboard textures, and a pulsating rhythmic foundation. This eventually dissolved into an intricate Drums segment, allowing Billy and Mickey to showcase their percussive prowess. Emerging from the rhythmic depths, the band transitioned into a contemplative The Wheel, with its cyclical chord progression and reflective lyrics providing a moment of introspection. The energy ramped up again with I Need a Miracle, driven by Bobby's fervent vocals and the band's tight ensemble playing. A soulful Black Peter offered a poignant contrast, with Jerry's emotive delivery capturing the song's melancholic essence. The set concluded with a reprise of Playing in the Band, bringing the musical journey full circle, before closing with a high-octane Johnny B. Goode that had the audience on their feet.
April 15th
Release of "One from the Vault" (4/15/1991)
4/15/1970 Winterland Arena, San Francisco, CA
An over-the-top high energy performance captured in perfect sound quality on 30 Trips Around The Sun. The band is on a mission to jam your face off, and they certainly do. The first set commenced with a spirited Cold Rain and Snow, immediately showcasing Jerry's crisp guitar work and emotive vocals, setting an invigorating tone for the night. This was swiftly followed by a seamless transition from China Cat Sunflower into I Know You Rider, a pairing that highlighted the band's tight cohesion and fluid interplay, with Jerry and Bobby's vocals harmoniously intertwining. Bobby then led the ensemble through a succinct yet punchy Mama Tried, injecting a dose of country flair into the set. A profound highlight emerged with Pigpen's rendition of It's A Man's World. His soulful delivery and commanding stage presence infused the song with raw emotion, leaving an indelible mark on the audience. The momentum continued with Candyman, where Jerry's plaintive vocals and delicate guitar phrasing painted a hauntingly beautiful soundscape. Despite being truncated, Hard to Handle packed a potent punch, with Pigpen's gritty vocals driving the bluesy number. The set further showcased the band's versatility with a rollicking Cumberland Blues, blending bluegrass influences with their signature psychedelic sound.
The second set opened with the enigmatic Cryptical Envelopment, which segued into an expansive Drums segment. This percussive exploration laid the groundwork for a mesmerizing jam, enriched by the contributions of guest musicians on guitar, keyboard, and congas, adding layers of texture and rhythmic complexity. The ensemble then launched into a thunderous The Other One, characterized by its relentless tempo and searing guitar solos, epitomizing the band's ability to navigate complex musical terrains. Returning to Cryptical Envelopment, the journey continued into a heartfelt Dire Wolf, offering a moment of melodic respite. A standout moment of the evening was the exhilarating Dancin' in the Streets, infused with a 'Tighten Up' jam that introduced a funky, syncopated groove, propelling the audience into a dance frenzy. The climactic sequence featured a robust Turn On Your Lovelight, with Pigpen at the helm, delivering impassioned vocals and engaging the crowd with his charismatic call-and-response antics. Midway, the band wove in a brief yet electrifying Not Fade Away, before circling back to conclude with a resounding Lovelight, leaving the audience in a state of euphoric exhilaration.
Music link: https://relisten.net/grateful-dead/1970/04/15
4/15/1978 College of William and Mary, Williamsburg, VA
This entire show was released on Dave's Picks Volume 37. April 1978 was a period of time that contains some inconsistent performances and this show gets mixed reviews, but overall, I think this is a fine show with some truly awesome moments. The first set commenced with a vibrant Mississippi Half-Step Uptown Toodeloo, setting an upbeat tone and showcasing Jerry Garcia's fluid guitar work. Following this, Passenger delivered a punchy, high-energy performance, with Phil Lesh's bass lines driving the rhythm. The band then eased into a mellow Friend of the Devil, allowing the audience to catch their breath before the tempo picked up again. El Paso brought a touch of country flair, with Bob Weir's vocals painting vivid imagery. A standout moment came with Brown Eyed Women, where the band's cohesive interplay shone brightly. The set culminated in a dynamic Let It Grow, featuring intricate jams and rhythmic complexity, followed by a spirited Deal that left the crowd energized.
The second set launched with a rousing Bertha, immediately engaging the audience. This transitioned seamlessly into Good Lovin', where the band's synergy was palpable. A poignant Candyman followed, with Garcia's emotive vocals resonating deeply. Donna Jean Godchaux's heartfelt rendition of Sunrise provided a serene interlude before the band embarked on an expansive Playing in the Band. This jam ventured into uncharted territories, with Phil leading the way with thundering bass lines. Keith's accompaniment is diligent, and Jerry's frantic licks are both soothing and energetic. The jam builds to a climax before descending into a soothing meltdown, leading into a rhythmic Drums segment that showcased Billy and Mickey's percussive talents. The energy intensified with Not Fade Away featuring a bluesy intro and a dazzling middle jam that descends gracefully and culminated in a soul-stirring Morning Dew, the only rendition of this song in 1978, making it a unique highlight of the show. The set concluded with a rousing Around and Around, leaving the audience in high spirits. For the encore, the band delivered a spirited One More Saturday Night, sending the crowd off with an exhilarating finale.
4/15/1988 Rosemont Horizon, Rosemont, IL
3rd of a 3-show run. The first set commenced with a vibrant Scarlet Begonias > Fire on the Mountain, a pairing that set an energetic tone for the evening. The band is having fun and you know the crowd was psyched to get that as an opener! It's an odd setlist (in a good way) with plenty of other highlights. This opening sequence, typically reserved for second sets, surprised and delighted the audience, showcasing Jerry Garcia's fluid guitar work and the band's tight synchronization. The band took their time, weaving a psychedelic tapestry that was both intricate and expansive. Jerry's guitar work was particularly vibrant, and as Fire on the Mountain reached its climax, the triumphant refrain echoed through the venue, leaving the audience in awe. Following this, Walkin' Blues provided a bluesy interlude, with Bob Weir's gritty vocals leading the charge. Candyman offered a mellow respite, featuring Garcia's soulful delivery. The band then delivered an unexpected and spirited rendition of Louie Louie, that segued into a rollicking Cumberland Blues, where Phil Lesh's bass lines and the dual drumming of Billy and Mickey propelled the rhythm. Memphis Blues followed, maintaining the set's momentum. The first set concluded with a high-octane Deal, leaving the crowd energized and eager for more.
The second set launched with Hell in a Bucket, igniting the audience with its driving beat and Weir's commanding vocals. This transitioned into a beautifully intricate Crazy Fingers, where the band's interplay created a mesmerizing tapestry of sound. Looks Like Rain followed, offering a poignant moment with Weir's emotive singing and Brent Mydland's atmospheric keyboards. The epic Terrapin Station ensued, building to a climactic crescendo that showcased the band's storytelling prowess. A journey through Drums and Space segments allowed for exploratory improvisation, highlighting the percussive talents of Kreutzmann and Hart. Emerging from the cosmic soundscape, The Other One surged with intensity, leading into a rousing I Need a Miracle. The set's emotional peak arrived with Dear Mr. Fantasy, featuring Mydland's passionate vocals, culminating in a jubilant Hey Jude Reprise that had the audience singing along. The set concluded with a fiery Turn on Your Love Light, ending the main performance on a high note. For the encore, the band delivered a heartfelt Knockin' on Heaven's Door, providing a soulful and reflective conclusion to the evening.
April 16th
4/16/1972 Stakladen, Aarhus University, Aarhus, Denmark
Officially released on Europe '72 The Complete Recordings and is the only place you can hear the entire show. What we have here is another fine show from this spectacular tour. Phil is on fire and I'm so grateful we have these released recordings officially released, because they are spectacular. The first set opened with Greatest Story Ever Told, featuring Keith Godchaux's assertive piano work and Jerry Garcia's expressive guitar lines, setting an energetic tone for the evening. Sugaree followed, with Garcia's vocals and guitar weaving a mellow yet intricate tapestry. Chinatown Shuffle brought Pigpen to the forefront, delivering a spirited performance that highlighted his bluesy keyboard style.
The band continued with Black-Throated Wind, where Bob Weir's emotive vocals were complemented by Phil Lesh's melodic bass lines. Tennessee Jed showcased Garcia's storytelling prowess, while Mr. Charlie and Beat It On Down The Line kept the momentum with their upbeat tempos and tight harmonies. A standout moment came with the seamless transition from China Cat Sunflower > I Know You Rider, a pairing that featured a dreamy jam and showcased the band's cohesive interplay. The set continued with Mexicali Blues, Loser, and Next Time You See Me, each delivered with precision and enthusiasm. Playing in the Band was a highlight, launching into a ten-minute jam that ventured into psychedelic territories, demonstrating the band's improvisational skills. The set concluded with the first performance of Dire Wolf in over a year, providing a gentle landing after the exploratory journey.
The second set commenced with a rousing Good Lovin', where Pigpen's charismatic vocals and the band's infectious groove extended the song into a nearly 20-minute jam, filled with dynamic shifts and spirited solos. Pigpen’s intense delivery is both captivating and powerful. The band weaves through a choppy exchange of funky riffs, displaying a delicate sensitivity that contrasts with the song's primal energy. This performance is easily one of the best versions of the tour. Cumberland Blues followed, delivering a high-energy performance that had the audience dancing. The band then eased into El Paso, with Weir's storytelling shining through. Deal was executed with flair, featuring Garcia's crisp guitar work.
A significant highlight of the set was a relaxed yet powerful reading of Truckin', which evolved into an expansive jam, exploring various musical themes and showcasing the band's telepathic communication. This segued into a unique rendition of The Other One, characterized by its fragmented structure and exploratory passages, including a delicate duet between Garcia and Lesh. The band briefly detoured into Me and My Uncle, before returning to The Other One, culminating in a powerful musical statement. The set concluded with a raging combo of Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away. The energy is palpable, and the band is firing on all cylinders and it ends the show on a high note.
Music link: https://relisten.net/grateful-dead/1972/04/16?source=336266 or Europe '72 The Complete Recordings
4/16/1984 Community War Memorial, Rochester, NY
An outstanding show from beginning to end. The boys are energized and deliver every song with confidence and passion. This show is definitely worthwhile. The first set opened with Shakedown Street, setting a funky and upbeat tone that immediately engaged the audience. Jerry's guitar work was particularly lively, intertwining seamlessly with Brent's keyboard flourishes. This was followed by Little Red Rooster, where Bobby's bluesy vocals took center stage, complemented by Brent's soulful organ fills and Jerry's slide guitar accents. The band then eased into Peggy-O, delivering a heartfelt rendition that highlighted Jerry's emotive singing and delicate guitar phrasing. The classic cowboy pairing of Me and My Uncle > Mexicali Blues injected a dose of Americana, with Phil's bass lines driving the rhythm forward. A notable inclusion was Dupree's Diamond Blues, a song that hadn't been performed frequently in recent years, making its appearance a treat for longtime fans. The set continued with Cassidy, featuring intricate interplay between the guitars and a dynamic jam segment that showcased the band's cohesive improvisational skills. West L.A. Fadeaway brought a laid-back groove, with Jerry's vocals painting vivid imagery, before closing the set with Might As Well, leaving the crowd energized and eager for more.
The second set opened with Hell in a Bucket, with Bobby delivering the lyrics with gusto, supported by the band's tight instrumentation. This led into a competent Ship of Fools, where Jerry's soulful delivery captivated the audience, creating an intimate atmosphere. Far From Me followed, providing Brent an opportunity to showcase his vocal and keyboard talents. A poignant moment arrived with He's Gone, unfolding into an extended jam that allowed the band to explore various musical landscapes. The improvisational journey continued into the Drums segment, with Billy and Mickey engaging in a rhythmic dialogue that was both intricate and primal, then a short Space passage. Emerging from the outer space exploration, the band delved into The Other One, marked by its intense energy and exploratory passages. This seamlessly transitioned into Stella Blue, with Jerry's emotive guitar solos evoking a deep sense of melancholy and beauty. The set concluded with a high-octane pairing of Around and Around and Johnny B. Goode, leaving the audience exhilarated. For the encore, the band chose Day Job, a choice that, while not as universally beloved as some other encores, still delivered a spirited conclusion to the evening.
April 17th
4/17/1972 Tivoli Concert Hall, Copenhagen, Denmark
Officially released on Europe '72 The Complete Recordings. It’s another magical performance that won't disappoint. Every song of this three-set show is played with confidence typical of this tour. Most of the show was later broadcast on "TV From the Tivoli" and is why Bobby says "Goodnight" after "One More Saturday Night". Set 3 is the big highlight in my opinion.
The first set commenced with Cold Rain and Snow, setting a contemplative tone with Jerry Garcia's emotive vocals and the band's tight instrumentation. Me and Bobby McGee followed, featuring Bob Weir's heartfelt delivery, while Chinatown Shuffle showcased Ron "Pigpen" McKernan's gritty blues influence. A seamless transition into China Cat Sunflower > I Know You Rider highlighted the band's cohesive interplay, with Phil Lesh's bass lines driving the rhythm. Jack Straw and He's Gone offered narrative depth, the latter being a relatively new addition to their repertoire at the time. Pigpen returned to the spotlight with Next Time You See Me, delivering a soulful performance. The set concluded with Black-Throated Wind, a song that, while not as frequently performed, added a unique flavor to the evening's lineup.
The second set opened energetically with Casey Jones, invigorating the audience with one of the all-time-best renditions of the song. Mr. Charlie continued the momentum, with Pigpen's vocals commanding attention. Playing in the Band extended into a nearly ten-minute jam, exemplifying the band's improvisational skills. Sugaree and One More Saturday Night provided a balance of soulful melody and rock exuberance. The set also featured It Hurts Me Too, a blues standard that allowed Pigpen to delve deep into his expressive range. Ramble on Rose and El Paso added storytelling elements, while Big Railroad Blues brought a burst of high-energy rock. The set concluded with Truckin', its lyrics resonating with the band's journey and the spirit of the tour.
The third set is the big highlight of the entire show, and embarked on a profound musical journey with Dark Star, a nearly 31-minute exploration that ventured through various sonic landscapes, showcasing the band's collective improvisation. This seamlessly transitioned into Sugar Magnolia, providing a contrast with its upbeat tempo. The band then delved into Caution (Do Not Stop on Tracks), a 23-minute rendition that harkened back to their earlier psychedelic roots, with Pigpen's vocals and harmonica leading the charge. The evening concluded with Johnny B. Goode, a high-octane cover that left the audience exhilarated.
4/17/1984 Niagara Falls Convention Center, Niagara Falls, NY
This is a fun show overall, but it does have some typical highs and lows. The first set commenced with Jack Straw, setting an energetic tone with its dynamic interplay between Jerry Garcia and Bob Weir. Dire Wolf followed, offering a more relaxed tempo that allowed the audience to settle into the groove. New Minglewood Blues brought a bluesy flair, with Brent Mydland's keyboard work adding depth to the arrangement. Row Jimmy provided a mellow interlude, showcasing Garcia's emotive guitar solos. The set continued with My Brother Esau, a relatively new addition to the repertoire at the time, and Ramble On Rose, which featured playful lyrics and spirited instrumentation. Looks Like Rain > Deal closed the set, with the latter delivering a high-energy climax that left the audience eager for more.
The second set opened with an iconic "Take A Step Back" plea and then launched into the powerful Jam Anthem trio of Help on the Way > Slipknot! > Franklin's Tower, a sequence that allowed the band to delve into complex rhythms and extended improvisations. The Slipknot! passage is stretched to the limits here, at 9 minutes long! Iko Iko followed, infusing the venue with its infectious New Orleans-inspired rhythm. Women Are Smarter maintained the upbeat momentum, leading into a contemplative Eyes of the World, which is on the shorter side but featured intricate solos and a seamless transition into the rhythmically adventurous Drums segment. The subsequent Space exploration provided a canvas for avant-garde soundscapes, eventually giving way to a heartfelt rendition of Black Peter. The set concluded with a rousing Throwing Stones > Not Fade Away sequence, energizing the crowd with its driving beats and communal spirit. The band returned to the stage for a perfunctory encore performance of U.S. Blues, delivering a patriotic flair that had the audience dancing to the exits.
April 18th
4/18/1978 Civic Arena, Pittsburgh, PA
The second set was released on Dave's Picks Volume 37. This is a fun, unusual hidden gem from their spring tour, offering a mix of unexpected song combinations and solid musicianship. While not the most energetic show of the tour, it still delivers moments of brilliance.
The first set opened with New Minglewood Blues, setting an energetic tone for the evening. Sugaree followed, allowing Jerry Garcia to stretch out with emotive solos that captivated the audience. Looks Like Rain provided a poignant moment, with Bob Weir's vocals complemented by Donna Jean Godchaux's harmonies. The set continued with Dire Wolf, Beat It On Down The Line, and Loser, each delivered with precision and feeling. El Paso brought a touch of Western flair, leading into a soulful Tennessee Jed. The set concluded with a spirited Lazy Lightning > Supplication, showcasing the band's rock prowess.
The second set commenced with a unique pairing of Scarlet Begonias > Dancin' in the Streets, a departure from the more common Scarlet > Fire combination. This transition was particularly noteworthy, with Jerry's intricate guitar work weaving seamlessly between the two songs. Following this, Drums provided a rhythmic exploration, leading into Samson and Delilah, which energized the crowd. The set continued with a heartfelt Terrapin Station, culminating in a rousing Around and Around that had the audience dancing in the aisles. The encore featured a competent rendition of U.S. Blues.
4/18/1982 Hartford Civic Center, Hartford CT
2nd of a 2-show run. This was a very fine show featuring many fun highlights and showcased the group's ability to blend tight musicianship with exploratory jams, delivering a memorable experience for attendees. The first set opened with a high-energy Bertha transitioning seamlessly into The Promised Land, setting an upbeat tone for the evening. Friend of the Devil followed, offering a more relaxed tempo with a scintillating jam towards the end. C.C. Rider stood out as a powerful rendition, characteristic of the early '80s performances. Ramble On Rose provided Jerry Garcia an opportunity to shine before Bob Weir took the lead on a spirited Me & My Uncle > Mexicali Blues combo, with Brent Mydland's keys adding a saloon-like atmosphere. Althea brought Jerry back to the forefront, leading into a passionate Looks Like Rain, where Bobby's emotive vocals intertwined with Jerry's fervent guitar work. The set concluded with a lively Big Railroad Blues and an expansive Let It Grow, which ventured into exploratory territories, and left the crowd eagerly anticipating what was to come.
The second set commenced with a robust Cold Rain and Snow flowing into a dynamic Samson and Delilah, energizing the crowd. A heartfelt Ship of Fools followed, noted for its delicate beauty. The band then launched into Playing in the Band, delivering a multifaceted version that transitioned into a breathtaking Eyes of the World, where Jerry and Brent exhibited remarkable musical synergy. The rhythm section took over with Drums, leading into a unique Space segment. During this, Phil Lesh introduced a thematic "Earthquake Space," with his bass creating tremors that resonated throughout the arena. Phil is channeling his inner Blackbeard pirate, as he’s chanting about the Barbary Coast and the Great San Francisco Earthquake. They throw in some wind and bird sounds for added dramatic flair, and culminates in a haunting feedback howl. This intense segment transitioned into a dark and ominous and powerful The Other One, followed by a poignant Black Peter. The set concluded with a rousing Sugar Magnolia, a reprise of Playing in the Band, and a jubilant Sunshine Daydream. The evening wrapped up with a spirited Don't Ease Me In, sending the audience off on a high note.
April 19th
Happy heavenly birthday Laurence "Ram Rod" Shurtliff (4/19/1945)
4/19/1978 Veteran's Memorial Hall, Columbus, OH
I absolutely love this show and you should definitely give it a listen. Maybe it's partially because I spent most of my 20's living in Columbus but honestly there is some really great playing here and I wouldn't be surprised if this is slated for release on a future Dave's Picks. The first set with a seamless Bertha > Good Lovin', immediately engaging the audience with its infectious rhythm and Jerry's lively guitar work. The tempo eased into a mellow Friend of the Devil, allowing for a reflective interlude. The momentum picked up with a fiery Passenger, where Donna's harmonies complemented the band's robust instrumentation. A heartfelt rendition of Candyman followed, showcasing Jerry's emotive vocals. The set continued with a spirited Cassidy, featuring intricate interplay between Bobby and Jerry. A delicate Peggy-O provided a moment of introspection before transitioning into the classic cowboy pairing of Me & My Uncle > Big River, both delivered with gusto. The set concluded with a high-energy Deal, leaving the crowd eagerly anticipating the second set.
The second set commenced with a rousing Samson & Delilah, featuring a driving beat and some funny howling that provides a kind of clue to the encore. A tender It Must Have Been the Roses provided a gentle contrast, highlighting the band's versatility. The exploratory journey began with Estimated Prophet, featuring Jerry's evocative guitar solos and Phil's resonant bass lines. This seamlessly transitioned into a soulful He's Gone, marked by rich vocal harmonies and a poignant atmosphere. The rhythm devils, Billy and Mickey, then took center stage with an exhilarating Drums segment with more howling, and it's obvious the band can't contain the excitement about the upcoming encore. Emerging from the cosmic Space soundscape, the band launched into a thunderous The Other One, showcasing their improvisational prowess. The emotional depth continued with a heartfelt Wharf Rat, Jerry's plaintive vocals resonating deeply. The set culminated in a spirited Around & Around, leaving the audience in high spirits. For the encore, the Dead delivered a playful and rare Werewolves of London, delighting fans with its whimsical energy and marking one of the few performances of this Warren Zevon classic.
April 20th
4/20/1983 Providence Civic Center, Providence, RI
An excellent show with many highlights. The first set opened with the then-new Touch of Grey, setting an optimistic tone with its uplifting lyrics and catchy melody. This was followed by a spirited Promised Land, with Bobby's energetic vocals driving the Chuck Berry classic. Jerry then led a heartfelt rendition of Loser, his emotive guitar solos resonating deeply with the audience. The set continued with a bluesy New Minglewood Blues, showcasing the band's tight rhythm section. A standout moment was the pairing of Me and My Uncle into Cumberland Blues, blending cowboy balladry with bluegrass-infused rock, highlighting the band's versatility. The set concluded with the classic duo of China Cat Sunflower into I Know You Rider, a seamless transition that ignited the crowd with its familiar, infectious groove.
The second set commenced with two of the newer songs, showcasing the band's evolving sound. My Brother Esau, was a little tentative, but was followed up by a rare standout performance of Maybe You Know, led by Brent, Phil, and the drummers. The song's fast tempo and tight execution demonstrated the band's ability to innovate while staying true to their roots. The energy escalated with Bertha, as Jerry's lively vocals and guitar work invigorated the crowd. An expansive Jam Anthem version of Estimated Prophet showcased the band's improvisational skills, leading into a mesmerizing Eyes of the World, characterized by Garcia's sparkling solo and Phil's prominent bass lines creating a groove that teetered on the edge of chaos. The jam built in intensity until it seamlessly transitioned into a thunderous Drums and Space, segueing into a smoking Throwing Stones and culminating in a poignant Morning Dew, where Jerry's soulful delivery captivated the audience. The set closed with a rousing Sugar Magnolia, delivered in Bobby's best over-the-top fashion leaving the crowd exhilarated. For the encore, the band chose Don't Ease Me In, a traditional tune that had been a staple in their setlists, sending the audience off with its upbeat tempo and infectious rhythm.
4/20/1984 Philadelphia Civic Center, Philadelphia, PA
2nd of a 3-show run. Officially released on Dave's Picks Volume 35. An absolutely ripping, high energy show that you should NOT miss! The whole thing is excellent from start to finish, and it's guaranteed to put a huge smile on your face for two and a half hours. The first set commenced with a vibrant Jam Anthem version of Feel Like a Stranger, immediately setting an upbeat tone. This was seamlessly followed by Cold Rain and Snow, maintaining the momentum with its brisk tempo. The band then transitioned into Beat It On Down the Line, a classic that kept the energy high. A standout moment came with Cumberland Blues, where the interplay between Jerry's guitar and Phil's bass showcased the band's tight musicianship. Little Red Rooster followed, featuring Bobby's expressive slide guitar work. The set continued with Brown Eyed Women, delivering a heartfelt rendition. My Brother Esau and It Must Have Been the Roses provided a melodic interlude before culminating in a powerful Let It Grow, which featured an extended jam that highlighted the band's improvisational skills.
The second set opened with the beloved pairing of Scarlet Begonias > Fire on the Mountain, a Jam Anthem sequence where Jerry led the band into a spiraling journey into the stratosphere, leaving the audience nearly overwhelmed. The seamless transition into a spirited Samson and Delilah, maintaining the set's high energy. The rhythm section then took center stage with Drums, leading into the ambient explorations of Space. Emerging from this, I Need a Miracle reignited the crowd's enthusiasm. A poignant Morning Dew followed, with Jerry's emotive vocals and guitar work creating a deeply moving experience. The monumental climax kept building until Jerry brought it to a close. Although Bob mistimed the segue into Around and Around the band quickly caught on, ultimately delivering a strong rendition. The set concluded with a fiery Johnny B. Goode, a double shot of Chuck Berry that rocked out the end of the show with Jerry's picking and Brent's scatting adding to the excitement. For the encore, the band chose Day Job, a lighthearted tune that’s kind of a letdown but was bouncy and energetic enough to send the audience off with a smile.
April 21st
4/21/1969 The Ark, Boston, MA
A standout show that you should absolutely listen to. The band is full of energy and every song is played with passion and purpose. They're in an exploratory mood, to be sure. This is the "Foxy Lady Jam" show, and we're not sure how this evolves because all of the circulating tapes kind of fade in, but they give it a concerted effort and jam it out for a couple of minutes. It's certainly fun to imagine Jimi sitting in with them, although there were only two occasions where they shared the bill - 6/18/67 for the Monterey Pop Festival and 5/16/70 Temple University in Philadelphia.
The first set kicked off with an energetic Hard to Handle, featuring Pigpen's commanding vocals and Jerry's expressive slide guitar, setting a funky and lively tone. This was followed by a poignant rendition of Morning Dew, where Jerry's haunting vocals and emotive solos shone through, winning over even those who were not previously fans of the '60s versions. The suite of Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment showcased the band's tight synchronization and improvisational depth. This sequence exemplified their ability to weave intricate musical narratives, leading into a brief, upbeat interlude with Sitting on Top of the World. The set continued with a false start on Alligator, which was restarted with Pigpen taking over, leading into a jam that hinted at Goin' Down the Road. The set concluded with Doin' That Rag, featuring complex rhythms and spirited delivery, marking a fine end to the first set.
The second set opened with a playful Foxy Lady Jam, a rare nod to Jimi Hendrix, adding a unique flavor to the evening. The band then embarked on a mesmerizing journey through Dark Star > St. Stephen > The Eleven > Turn On Your Lovelight. This sequence is often praised for its fluid transitions and the band's ability to explore and expand musical themes organically. Dark Star served as a canvas for cosmic exploration, while St. Stephen and The Eleven maintained high energy and intricate time signatures. Turn On Your Lovelight featured Pigpen's charismatic vocals, engaging the audience in a spirited finale. The encore of Viola Lee Blues > Feedback was a powerful conclusion, encapsulating the band's psychedelic roots and experimental edge. Viola Lee Blues built up to a frenzied climax, leading into Feedback, which allowed the band to deconstruct and reassemble soundscapes, leaving the audience in awe.
4/21/1972 Beat Club, Bremen, Germany
On the surface, this doesn't look like a typical Dead show because it wasn't one. This was a TV studio in Bremen and the boys gathered to show off their magic for the cameras, and the Beat Club which was a German TV show would edit for broadcast at a later time. Anyways, don't let that throw you off because every song is a winner. You can read all about it in the always informative Dead Essays blog.
The session kicked off with Bertha, introduced by Bobby's enthusiastic announcement, "Ladies and gentlemen, the Grrrrrateful Dead!" Despite a few lyrical missteps, the performance was energetic and set a lively tone for the session. Playing in the Band followed, with Jerry's expressive wah-wah guitar work taking center stage. The band performed this song twice, with the second version featuring a more intense middle jam and intricate bass lines from Phil, showcasing their desire to perfect the piece in the studio setting. Mr. Charlie highlighted Pigpen's gritty vocals, delivering a tight and spirited performance. During Sugaree, a miscue prompted Jerry to halt the song, remarking, "Hold it, hold it. Somebody played the wrong changes in there," leading to a restart and a more cohesive rendition. Beat It On Down the Line showcased Bobby's strong lead vocals and was noted by fans as one of his best performances.
The improvisational centerpiece of the session was the sequence of Truckin' > Drums > The Other One. An initial false start in Truckin' led to a humorous and chaotic halt, but the subsequent take launched into a dynamic jam. Billy's drum solo transitioned seamlessly into The Other One, a 21-minute exploration characterized by intense energy and a post-verse jam that meandered through various musical themes before culminating in a powerful conclusion. This version of The Other One is a Jam Anthem version, a 21-minute exploration characterized by intense energy and a post-verse jam that meandered through various musical themes before culminating in a powerful conclusion. The jam winds down into a poignant and unique meandering section, showcasing moments of great beauty before melting into silence.
The session concluded with One More Saturday Night, a tight and exuberant performance that encapsulated the band's ability to deliver high-energy rock even in a controlled studio environment.
April 22nd
4/22/1969 The Ark, Boston, MA
2nd of a 3-show run. Based on Jerry comments about encouraging the crowd to have them play "anything weird enough for us to do", you can tell the band is having fun. Both sets have some excellent highlights.
The first set kicks off with Sitting on Top of the World, a high-energy opener that immediately sets a jubilant tone for the evening. This is followed by Morning Dew, where Jerry's emotive vocals and soaring guitar work create a poignant soundscape, earning accolades for its intensity. Beat It On Down the Line is sloppy but injects a rhythmic bounce, leading into Good Morning Little Schoolgirl, which showcases Pigpen's gritty blues delivery. Doin' That Rag brings forth the band's Aoxomoxoa-era creativity, blending complex rhythms with whimsical lyrics. The centerpiece of the set is the suite beginning with Cryptical Envelopment, transitioning into The Other One and returning to Cryptical Envelopment, culminating in Death Don't Have No Mercy. This sequence highlights the band's improvisational synergy, with Mickey and Billy driving the rhythm through dynamic shifts, while Jerry and Phil navigate melodic explorations. The somber tones provide a reflective close to the first set.
The second set opens with Dupree's Diamond Blues, offering a cautionary tale about the price of love, a narrative that eases the audience back into the performance. Mountains of the Moon follows, its delicate arrangement and ethereal harmonies creating a dreamlike atmosphere. The transition into Dark Star marks the beginning of an expansive improvisational journey, noted for its exploratory depth and cosmic themes. This seamlessly segues into St. Stephen, a Jam Anthem version that elevates the energy. The momentum continues with The Eleven, another Jam Anthem version, showcasing the band's technical prowess with its complex, rhythmically intricate structure. The set concludes with Turn On Your Lovelight, featuring Pigpen's charismatic vocals and a spirited jam that encapsulates the night's vibrant energy. This performance, reminiscent of the Live/Dead album, is a vivid snapshot of the Grateful Dead's dynamic live presence during this era.
4/22/1977 The Spectrum, Philadelphia, PA
The band delivered a masterful blend of tight musicianship and exploratory improvisation, resulting in a concert that remains a favorite among fans. It has the distinction of featuring one of the more interesting set lists from 1977.
The first set kicks off with Promised Land, setting an energetic tone, although it's unfortunate that a large chunk of this rockin' opener is missing from the recording. Mississippi Half-Step Uptown Toodeloo follows, transitioning smoothly into Looks Like Rain, where Bobby's emotive vocals shine. Deal is particularly noteworthy, with Jerry's guitar work driving the song to a rousing climax. The set continues with El Paso, Tennessee Jed, and Estimated Prophet, each performed with precision, though Estimated is still in its early days and lacks the inspired jamming it would later develop. Peggy-O offers a moment of delicate beauty, leading into a powerful Playing in the Band that closes the set with an extended 21+ minute jam. This deep psychedelic exploration is reminiscent of the Europe '72 tour versions but mixed with the late 70s tonalities, making it a must-listen for fans. The Playing jam is a highlight of the show, with comparisons between the AUD and SBD recordings offering interesting insights.
The second set takes this show up several notches and opens with the classic pairing of Scarlet Begonias into Fire on the Mountain, a combination that was still relatively new at the time and perfectly executed. Samson and Delilah and It Must Have Been the Roses provide a mix of high energy and heartfelt emotion, with Roses being particularly pretty. Dancing in the Street features an unexpected insertion of Got My Mojo Working, marking the first time the band performed this song, and is delivered as a Jam Anthem version. The set concludes with The Wheel and Terrapin Station, both delivered with the band's characteristic flair and lushness, highlighting the strong interplay between Donna and Jerry throughout the performance. This show is a testament to the Grateful Dead's fine musicianship and remains a cherished memory for those who experienced it live.
April 23rd
4/23/1969 The Ark, Boston, MA
3rd of a 3-show run. After two really good performances at The Ark, the Dead came back for a final night and totally blew the roof off the place. This entire show is a high-energy jam packed extravaganza with many highlights.
The first set opened with He Was a Friend of Mine, setting a reflective and downhome tone that quickly gave way to the expansive and unpredictable Dark Star. This version of Dark Star was a chameleon, twisting and morphing as the band members responded to each other's cues with precision and creativity. Phil Lesh's bass playing was particularly notable, as he wrapped himself around the music with a squeeze-and-release technique that added depth to the performance. The transition into St. Stephen was seamless, despite a reel flip that cut the song after two minutes, only to return with the end of It's a Sin and a reprise of St. Stephen. The suite continued with That's It for the Other One, featuring Cryptical Envelopment, a dynamic Drums segment, and The Other One, before returning to Cryptical Envelopment and then segueing into Sitting on Top of the World. This complex sequence showcased the band's rhythmic intricacies and improvisational depth. The set concluded with Turn On Your Love Light, where Pigpen's charismatic vocals and the band's spirited jam encapsulated the night's vibrant energy.
The second set maintained the momentum with outstanding versions of Morning Dew, Hard to Handle, and Doing That Rag. The performance of Alligator was met with wild applause, leading into a jam-packed extravaganza that included a Caution jam spiced with an Other One flavor. The band then transitioned into The Eleven, which, after a hesitant start, built into a swift and solid version. Jerry Garcia's guitar work was particularly notable as he led the band into a free jam, slipping in a Goin' Down the Road Feelin' Bad coda before finally storming into Caution. Pigpen's "gypsy woman" rap and the band's collective yelping and feedback-driven electrical storm brought the performance to a fever pitch. The set concluded with an intense yet calming Feedback, leading into a heartfelt And We Bid You Goodnight. The encore featured an inspired but oddly enunciated It's All Over Now, Baby Blue, with Bobby Weir's sly remark, "Always leave 'em guessing," and Phil Lesh's sincere farewell, "We'll see y'all when we're back in town. You've been good people."
4/23/1984 Veterans Memorial Coliseum, New Haven, CT
Almost every song in the first set has "above and beyond" moments. Only "Hell In A Bucket" is a standard rendition. Everything else is played with extra flare. The second set is pretty much the same way. Even the "Day Job" encore is "extra", and it takes a lot for me to say that because it's one of my least favorite songs the Dead played. Just listen to this show, it's outstanding.
The first set opens with a spirited Jack Straw, setting an energetic tone for the evening. Jerry's expressive guitar work shines in Sugaree, building through multiple crescendos that captivate the audience. Cassidy follows with a tight and intricate jam, exemplifying the band's synchronicity. A rare treat comes with Dupree's Diamond Blues, offering a nostalgic nod to their earlier repertoire. The set continues with a robust Hell in a Bucket, leading seamlessly into Might As Well, which closes the set on an exuberant note with its mighty swell and long choruses.
The second set kicks off with a lively Iko Iko, infusing the venue with its infectious rhythm. This transitions into the contemplative pairing of Lost Sailor and Saint of Circumstance, showcasing the band's dynamic range. A highlight of the evening is the debut of Brent's Only a Fool, marking its first and only performance, adding a unique element to the setlist. The improvisational segment features Drums > Space, leading into a Jam Anthem version of Spanish Jam that totally rages. Instead of heading into The Other One, the band opts for Truckin', featuring a hot jam at the end. Jerry delivers a mournful Black Peter, providing a poignant moment before the band launches into the high-energy duo of Around and Around and Good Lovin', concluding the set with vigor. The encore, Day Job, wraps up the evening with a nod to the working-class ethos (the irony of which is not lost on the thousands of Dead Heads following the band around on tour). The band continues the streak of invigorating playing all the way to the end, managing to deliver an "extra" performance of this song, despite the fact that it’s not a popular choice for an encore.
April 24th
4/24/1972 Rheinhalle, Dusseldorf, Germany
Officially released on Europe '72 The Complete Recordings and Rockin’ the Rhein. Another spectacular performance from this incredible tour and is marked by a series of standout performances, with the band delivering both high-energy rockers and deep, exploratory jams that captivate the audience from start to finish on this three-set monster of a show.
The first set kicks off with a robust Truckin', setting an energetic tone for the evening. Tennessee Jed follows, offering a laid-back groove that contrasts nicely with the opener. Chinatown Shuffle, led by Pigpen, adds a bluesy flair, while Black-Throated Wind stands out with Bobby's emotive vocals and Keith's piano work shining through. The seamless transition from China Cat Sunflower > I Know You Rider exemplifies the band's tight interplay and is a highlight of the set. Other notable performances include a spirited Mr. Charlie, a high-energy Beat It On Down The Line, and a heartfelt Loser. The set concludes with a dynamic Playing in the Band, although on the short side, it does manage to provide a glimpse into the band's improvisational prowess. A rousing Casey Jones that leaves the audience eager for more.
The second set delves deeper into the band's exploratory side, beginning with the second performance of He's Gone, a poignant ballad that would become a staple in their repertoire. Pigpen returns to the spotlight with It Hurts Me Too, delivering a soulful performance that resonates with the audience. The band then embarks on an epic Dark Star, which segues into Me and My Uncle before returning to Dark Star, creating a psychedelic journey that is both mesmerizing and boundary-pushing. This sequence transitions into a heartfelt Wharf Rat, followed by an exuberant Sugar Magnolia that lifts the energy in the hall. This segment, officially released on Europe '72: The Complete Recordings and Rockin’ the Rhein, is a highlight of the tour, showcasing the band's ability to weave intricate musical narratives.
The third set maintains the momentum with a vibrant (but brief) Not Fade Away > Goin' Down The Road Feelin' Bad > Not Fade Away, keeping the audience dancing. The encore features a lively One More Saturday Night. The Dusseldorf show is a prime example of the Grateful Dead at their peak, blending tight musicianship with adventurous improvisation to create an unforgettable concert experience.
4/24/1978 Horton Field House, Norman, IL
Officially released on Dave's Picks Volume 7. This show is a bright spot in a time period of highly variable performances. The perfectly executed first set commenced with a lively Promised Land, setting an upbeat tone that carried through the set. Ramble On Rose followed, featuring Jerry's expressive vocals and fluid guitar work. A notable moment arose before Me and My Uncle, where the band playfully teased the Bee Gees' "Stayin' Alive," a nod to the disco era that added a layer of humor and spontaneity to the performance. Me and My Uncle segued seamlessly into a robust Big River, maintaining the set's momentum. Friend of the Devil offered a more relaxed tempo, allowing for intricate interplay between Jerry and Bobby. Cassidy stood out with its dynamic build-up and tight execution, while Brown Eyed Women showcased the band's storytelling prowess. Passenger delivered a punchy, high-energy performance, and It Must Have Been the Roses provided a tender, emotive contrast. The set culminated with The Music Never Stopped, a rendition lauded for its spacey jams and considered by some as one of the best versions performed.
The second set opened with the classic pairing of Scarlet Begonias > Fire on the Mountain, a sequence that highlighted the band's improvisational skills and featured Donna's vocal contributions adding depth to the mix. Good Lovin' followed, infusing the venue with infectious energy. Terrapin Station was delivered with precision, its intricate composition executed flawlessly. The Drums segment provided a rhythmic exploration, leading into a Space jam that ventured into experimental territories, showcasing the band's willingness to push musical boundaries. Not Fade Away emerged from this sonic landscape, engaging the audience with its familiar groove. A 12-minute Black Peter offered a poignant moment, Jerry's vocals conveying deep emotion, before transitioning into a spirited Around and Around, closing the set on an energetic high note. The encore featured Werewolves of London, a rare treat performed only a dozen times by the band. This rendition served as a playful and memorable conclusion to the evening, leaving the audience with a lasting impression of the band's versatility and sense of fun.
April 25th
4/25/1971 Fillmore East, New York, NY
1st of a 5-show run. This run of shows would be the Dead's final appearance at this Lower East Side NYC venue, and they're all very good shows. Some of this show was released on Ladies and Gentlemen... the Grateful Dead. There aren't any big jam songs on here, but everything is played exceptionally well and with nice finesse. This run of shows captures the Grateful Dead at a pivotal moment, balancing their psychedelic past with a burgeoning focus on structured songwriting and tight performances. The show's blend of heartfelt ballads, energetic rockers, and exploratory jams exemplifies the band's dynamic range and enduring appeal.
The first set opened with Truckin', setting an upbeat tone and engaging the audience from the outset. Loser followed, showcasing Jerry's emotive vocals and the band's tight arrangement. Hard to Handle featured Pigpen's dynamic vocals, adding a soulful dimension to the set. The band then delivered Me and Bobby McGee, highlighting their ability to interpret contemporary songs with their unique style. Cold Rain and Snow brought a traditional flavor, while The Rub offered a bluesy interlude. Playing in the Band introduced a short exploratory jam, hinting at the longer improvisational depths the band would explore in later years. A they briefly lose their footing on a fast-paced Friend of the Devil but it’s enjoyable none-the-less and provided a folky melodic respite before the energetic pairing of China Cat Sunflower > I Know You Rider. The set concluded with Casey Jones, leaving the audience energized for the second half.
The second set commenced with a poignant Morning Dew, allowing Jerry's expressive guitar work to shine. Beat It On Down the Line and Next Time You See Me injected a dose of rhythm and blues, with Pigpen's vocals driving the latter. Bertha and Sugar Magnolia followed, both delivering the upbeat, rock-infused sound that characterized the band's early '70s repertoire. A standout moment came with I Second That Emotion, a cover that the band had only recently added to their setlists, showcasing their versatility and willingness to explore Motown influences. The second set is highlighted by an exceptional rendition of Good Lovin' > Drums > Good Lovin', which stands out as a definitive moment of the night. At over 23 minutes, this performance allows Pigpen to shine with an elaborate and humorous rap about a "business man" and selling ue43dsed cars and refrigerators. The energy and creativity displayed in this Jam Anthem version are a testament to the band's ability to captivate their audience with extended jamming. The show also features a beautiful rendition of Sing Me Back Home, which is as lovely as ever, showcasing the band's ability to deliver poignant and emotional ballads. The Not Fade Away > Goin' Down the Road sequence is lively and engaging, even if it doesn't venture into extended jam territory. This performance, along with others from the run, was partially released on Ladies and Gentlemen... the Grateful Dead, capturing the essence of this pivotal moment in the band's history.
4/25/1983 The Spectrum, Philadelphia, PA
Parts of the second set were officially released on Dave's Picks Volume 39. This show captures the band delivering a spirited and well-paced performance, featuring both classic staples and newer material. It's unfortunate that this entire show wasn't released because the whole thing is excellent, and it only circulates in audience recordings (some of which are pretty good quality though). I think Dave definitely released the best part of the show, but the whole thing is worth a listen.
The first set kicks off with Jack Straw, setting an energetic tone with Phil's explosive bass lines and the dynamic interplay between Jerry and Bobby. Friend of the Devil follows, offering a relaxed tempo and showcasing Jerry's melodic guitar work, while Little Red Rooster brings a bluesy flair with Brent taking a verse and delivering a nice solo. Despite Bobby's struggles with the slide, Jerry's performance is exceptional, leading into a hard-jamming Brown-Eyed Women with Phil and Brent adding depth to the sound. Cassidy features intricate rhythms and a compelling jam section, although Brent's high harmony overpowers Bobby's vocals. The emotive Loser allows Jerry to delve into deeper emotional territory, and My Brother Esau adds freshness to the set with its complex chord patterns. The first set concludes with the classic pairing of China Cat Sunflower > I Know You Rider, a seamless transition that energizes the audience and showcases the band's improvisational skills.
The second set opens with Touch of Grey, featuring an odd pulsating bass line but otherwise resembling the song that would later top the charts. Playing in the Band serves as a launchpad for extended improvisation, with Bobby's evil voice adding a unique touch, before weaving into a poignant Terrapin Station that highlights the band's compositional depth. Unfortunately, the recording is plagued by scratchy, fussy dropouts, detracting from the listening experience. The rhythm section, featuring Billy and Mickey, takes center stage during Drums, leading into the ambient explorations of Space. From this sonic landscape emerges The Wheel, with unusual and provocative chords and textures, before revisiting Playing in the Band to bring the musical journey full circle. Goin' Down the Road Feeling Bad and Sugar Magnolia deliver high-energy performances that have the crowd dancing, despite the persistent glitches. The encore features a rousing rendition of (I Can't Get No) Satisfaction, with Bob's masterful rap and Jerry's fuzztone leaving the audience on a high note. Despite the technical issues, the band delivers a spirited and well-paced performance, making this show a tape worth checking out.
BTW, If you're not yet familiar with Jam Anthem versions of songs you can read all about it in Deadology II by Howard Weiner. Check it out here along with all his other great books.
And that's all for now! Of course, if you want to follow along in your very own copy of my book On This Day In Grateful Dead History: A Daily Listening Journal I still have some copies available here. Once they're sold out, I won't be getting any more made. The costs of printing and shipping has almost doubled in the last few years since I had them printed, and I've decided it's just not worth it. So get one now while you can! https://www.gratefuldeadbook.com/tigdh
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