April Grateful Dead Show Listening Guides Part 2
- Mason's Children
- Mar 29
- 24 min read
Welcome to this month's Grateful Dead Show Listening Guides!
This is the part 2 continuation of the April Listening guides.
We're covering April 26th - April 30th in this post.
April 1st - April 25th is covered 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 1st through the 25th, 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 26 through April 30
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 the remaining 14 shows reviewed for April 26 - April 30. You can click the link to jump to that date or just keep scrolling down the page.
April 26th
4/26/1969 The Kinetic Theatre, Chicago, IL
"What's Become of the Baby?" We don't know but we do know this was the only time the Dead performed this trippy cacophonous number live. About half of this show was officially released on Dick's Picks Volume 26. Overall this is an excellent show with an abundance of perfect primal Dead.
The first set opens with a dynamic Dupree's Diamond Blues, setting an energetic tone that carries through the night. This is followed by Mountains of the Moon, a piece that had not been performed in concert for over a year, highlighting the band's deepening exploration of their repertoire. The transition into China Cat Sunflower is seamless, leading into a vibrant Doin' That Rag. The set's centerpiece is the extended Cryptical Envelopment > The Other One > The Eleven sequence, a masterclass in psychedelic improvisation. Notably, The Eleven was a staple of the band's setlists during this period, showcasing their complex time signatures and collective synergy. The set concludes with a soulful I Know It's a Sin, a rare cover of a Jimmy Reed classic, adding a bluesy depth to the performance. Pigpen's contributions with It Hurts Me Too and Hard to Handle add a raw, bluesy edge, with Jerry's slide guitar work standing out. The set winds down with traditional numbers Sittin' on Top of the World and New Minglewood Blues, before closing with the debut of Silver Threads and Golden Needles, marking Jerry's tentative foray into pedal steel guitar.
The second set begins with It's All Over Now, Baby Blue, a performance as good as any from the era. The band then turns it on with an inspired Saint Stephen, after which Pigpen returns to center stage for a raucous Turn On Your Lovelight. This 33-minute Pigpen-led anthem showcases his commanding presence and the band's ability to build intensity, reminiscent of the Live/Dead version. The set's climax is a 40-minute psychedelic tour de force of Viola Lee Blues, which is no ordinary rendition. Phil leads the ensemble through a complex tapestry of motifs, including the baby steps of Caution and the melody lines of The Seven, all overlaying the requisite accelerando tempo that characterizes the Viola Lee jam. This is followed by a 20-minute Feedback, every bit as forceful, subtle, and expressive as the Live/Dead version, distinguished by the apparent segue into the otherwise never performed What's Become of the Baby?. The evening concludes with a poignant Morning Dew, leaving the audience with a sense of emotional resolution. The show is a testament to the Grateful Dead's ability to push musical boundaries and create a unique live experience.
4/26/1971 Fillmore East, New York, NY
2nd of a 5-show run. The band was in top form, blending their signature improvisational style with a mix of classic hits and rare gems, leaving the audience in awe.
The first set opened with a lively Bertha, setting an energetic tone for the evening. The band maintained this momentum with Me and My Uncle, delivering its signature upbeat tempo and storytelling. Big Boss Man added a bluesy edge, while Loser brought a more introspective mood, highlighted by Jerry's soulful vocals. Playing in the Band showcased the band's improvisational skills, transitioning smoothly into a high-energy Hard to Handle, regarded by many as one of the best versions ever played. The set's highlight was the Dark Star > Wharf Rat > Casey Jones sequence, a testament to the band's ability to weave complex musical narratives. Notably, Wharf Rat from this show was later included in the Skull & Roses album.
The second set was where most of the action unfolded, beginning with a crowd-favorite Sugar Magnolia featuring Duane Allman as a guest appearance. He sticks around for It Hurts Me Too and Beat It On Down the Line, adding a layer of Southern rock flair to the performance. Following Duane's departure, the band continued with a superb China Cat Sunflower > I Know You Rider, a classic pairing that highlighted their seamless transitions. Deal brought a more straightforward rock vibe, leading into a rare (5th of only 6) second set renditions of Mama Tried. The set concluded with a powerful Good Lovin' > Drums > Good Lovin' sequence, followed by Sing Me Back Home > Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away, demonstrating the band's versatility and ability to close the show on a high note.
The encore was a treat, with a warm, tuneful Uncle John's Band followed by a fun, if not terribly inspired, Midnight Hour—Pigpen's final version—and a rare We Bid You Goodnight. This performance, part of the Dead's final run at the Fillmore East, was a testament to their enduring legacy and ability to captivate audiences with their unique blend of rock, blues, and improvisational magic.
4/26/1972 Jarhundert Halle, Frankfurt, Germany
Another magnificent show from "the" tour. Part or all of this was officially released multiple times, including Hundred Year Hall, Europe '72 The Complete Recordings, and Europe '72 Volume 2.
The first set opens with Bertha, delivered with infectious energy, setting a lively tone for the evening. Me and My Uncle follows, maintaining the momentum with its upbeat tempo, while Mr. Charlie brings Pigpen's gritty vocals to the forefront, adding a bluesy flair. A notable highlight is He's Gone, performed for only the third time, offering a heartfelt rendition that would evolve into a staple in the Dead's repertoire. Black-Throated Wind and Next Time You See Me continue the set's dynamic flow, with the latter being particularly tasty due to its exceptional recording quality. The China Cat Sunflower > I Know You Rider sequence showcases Jerry's bright guitar work and Phil's cascading bass lines, creating a seamless transition between the two songs and marking a moment where the band seems to discover that their feet no longer touch the floor. Jack Straw and Big Railroad Blues keep the energy high, leading into Playing in the Band, where the band begins to stretch out instrumentally, realizing that questions like "Which way is up?" no longer have any relevance. The set concludes with a series of shorter songs, including Chinatown Shuffle, Loser, Beat It On Down the Line, You Win Again, Good Lovin', and Dire Wolf, each contributing to the set's rich tapestry.
The second set commences with Truckin', which propels into a spirited jam before segueing into Drums. This leads into an expansive The Other One, clocking in at over 36 minutes, featuring a pre-verse jam that exemplifies the band's improvisational peak. Billy's energetic tom-tom rolls and skittering snares keep the momentum boiling, while Phil unleashes a rumble that sends the band into hyperspace. The conversations within this piece are so intertwined that they seem to be the product of one mind, with waves ebbing and flowing, and Bobby hinting at a "Spanish Jam" that isn't taken up. The journey continues into Comes a Time, offering a poignant counterbalance to the preceding intensity. Sugar Magnolia injects a burst of exuberance, followed by El Paso and Tennessee Jed, which maintain the set's diverse musical palette. Greatest Story Ever Told delivers high-energy rock, paving the way for Two Souls in Communion, a rare Pigpen original performed only during this tour and the preceding Academy of Music run. The set concludes with Casey Jones, leading into an encore sequence of Turn On Your Lovelight > Goin' Down the Road Feeling Bad > One More Saturday Night, encapsulating the band's ability to blend soulful expression with raucous celebration. Despite Pigpen sounding tired, Lovelight struts along like the prime piece of R&B it is, with a great transition into Goin' Down the Road Feelin' Bad that includes a musical tussle between Billy, Bobby, and Jerry. The encore ends with One More Saturday Night, a heavenly technicolor explosion that leaves the audience in awe.
4/26/1983 The Spectrum, Philadelphia, PA
Officially released on Dave's Picks Volume 39. A real high energy show where almost every song is played with extra flare and precision.
The first set kicks off with a spirited Shakedown Street, stretching over 14 minutes and setting a funky, improvisational tone for the evening. Jerry Garcia's wah-wah guitar work and Phil Lesh's prominent bass lines make this rendition a fan favorite, with engaging vocal interplay adding to the excitement. New Minglewood Blues follows, delivering a robust blues-rock performance that keeps the energy high. They Love Each Other offers a relaxed groove, with Jerry's melodic solos complemented by Brent Mydland's keyboard textures. The pairing of Me and My Uncle > Mexicali Blues maintains the momentum, showcasing the band's tight rhythmic execution. A notable highlight is Maybe You Know, a rare Brent Mydland composition performed only a handful of times, adding a unique flavor to the set. West L.A. Fadeaway brings a laid-back, yet compelling groove, while My Brother Esau—a relatively new addition to the repertoire at the time—adds lyrical depth. It Must Have Been the Roses provides a tender moment, leading into a powerful Let It Grow, where Jerry's rapid-fire solos and Phil's thunderous bass lines create an electrifying conclusion to the first set.
The second set launches with the classic sequence of Help on the Way > Slipknot! > Franklin's Tower, a highlight of the evening. This rendition is praised for its intricate transitions and the band's cohesive improvisation, with Slipknot! featuring exceptional interplay between Jerry and Brent. Man Smart, Woman Smarter injects a lively, danceable rhythm before segueing into the percussive exploration of Drums. The subsequent Space segment ventures into abstract sonic territories, showcasing the band's experimental edge. Emerging from Space, the band delivers a robust Truckin', which transitions into a rare Nobody's Fault But Mine Jam, adding a bluesy interlude. Morning Dew stands out as an emotional centerpiece, with Jerry's expressive guitar work conveying profound intensity. The set concludes with Throwing Stones > Not Fade Away, featuring engaging rhythms and audience participation, epitomizing the communal spirit of Dead shows. The encore features U.S. Blues, a spirited and patriotic number that leaves the audience on a high note, encapsulating the band's enduring appeal and musical versatility.
4/26/1984 Providence Civic Center, Providence, RI
As if you didn't have enough choices to listen to today, but I can't skip this one. Maybe you've already heard the stuff from '71, '72 and '83 a bunch of times and you're looking for something else. Well, I got you. Check out the Hunter Seamons Matrix version for your best listening experience on this one.
The first set kicked off with a vibrant Shakedown Street, extending over 13 minutes and setting a funky, improvisational tone that was complemented by Brent Mydland's distinctive keyboard work and Jerry Garcia's rhythmic guitar lines. The bluesy momentum continued with C.C. Rider, led by Bobby Weir's commanding vocals. Loser provided a poignant moment, characterized by Jerry's emotive delivery and expressive solos. The energy escalated with Hell in a Bucket, showcasing the band's rock-oriented edge, followed by a nostalgic Brown Eyed Women. The intricate pairing of Lazy Lightning > Supplication highlighted the group's tight synchronization, and the set concluded with a spirited Deal, leaving the audience energized and eager for the second half.
The second set opened with the beloved sequence of Scarlet Begonias > Fire on the Mountain, allowing for extended improvisation and showcasing the band's cohesive dynamics. Estimated Prophet followed, with its complex rhythms and lyrical depth, seamlessly transitioning into Eyes of the World, a piece that highlighted the group's melodic sensibilities. Brent took center stage with Never Trust a Woman, infusing the set with his unique vocal style. The rhythmic exploration continued with Drums > Space, segments that provided Mickey Hart and Bill Kreutzmann the opportunity to delve into percussive experimentation. Emerging from this, Morning Dew delivered an emotional peak, with Jerry's soulful guitar work captivating the audience. This version of Morning Dew is noted as one of Howard's Jam Anthem versions, underscoring its powerful impact. The set concluded with Throwing Stones > Not Fade Away, songs that encouraged audience participation and underscored the communal spirit of the concert. The encore featured It's All Over Now, Baby Blue, a Bob Dylan cover that allowed Jerry to convey a sense of introspection and closure, bringing the evening to a heartfelt conclusion.
April 27th
4/27/1969 Labor Temple, Minneapolis, MN
This was released on Dick's Picks Volume 26. Dick certainly had a knack for picking really good stuff from this time period, and this is no exception. This whole show is basically one massive "Lovelight" sandwich and is a testament to the band's peak during this era, delivering a setlist that is both adventurous and deeply satisfying.
The evening kicks off with a powerful rendition of Turn On Your Lovelight, featuring Pigpen's impassioned vocals and harmonica work. This 20+ minute jam sets an energetic tone, with Jerry and Phil crafting a seamless transition into Me and My Uncle, where Bobby's storytelling prowess shines. The band then dives into Sitting on Top of the World, a lively nod to their blues roots, delivered with a spirited tempo that keeps the momentum alive.
The centerpiece of the performance is the sequence beginning with Dark Star, a 26-minute odyssey of spacey improvisations and melodic interplay. This version is an intense and eerie exploration, slithering across the sonic landscape like a snake in search of prey. The journey continues into St. Stephen, maintaining the momentum with its dynamic rhythms, and then into The Eleven, a rhythmically intricate piece that highlights the band's tight synchronization and reaches some exhilarating peaks. The set comes full circle with a return to Turn On Your Lovelight, concluding the show with renewed vigor and over 35 minutes of Lovelight magic.
The encore, Morning Dew, provides a poignant and reflective close to the evening's journey. Jerry's emotive guitar work and vocals shine, leaving the audience with a powerful and lasting impression of one of the finest performances from 1969. This show not only captures the essence of the Grateful Dead's live experience but also stands as a high point in their storied career.
4/27/1971 Fillmore East, New York, NY
3rd of a 5-show final run at the Fillmore East. This night includes a special guest appearance of the Beach Boys, and they play a 3 song mini-set in the middle of the Grateful Dead's second set. Important to note that no members of the Grateful Dead were performing with the Beach Boys on their classic hit songs "Good Vibrations", "I Get Around", and "Help Me Rhonda" (a unique bluesy arrangement). There aren't any deep psychedelic explorations on this night but there are lots of good ol' rock 'n roll tunes that are played nearly perfectly.
The first set kicked off with a lively Truckin', setting an energetic tone that resonated throughout the night. Bobby's country-infused vocals shone on Mama Tried, while Bertha and Next Time You See Me seamlessly blended rock and blues, maintaining the momentum. Cumberland Blues was a standout, showcasing the band's versatility and tight musicianship. The set continued with Loser and Hard to Handle, both delivered with vigor and power. The highlight of the first set was the powerful transition from China Cat Sunflower into I Know You Rider, followed by a rousing Casey Jones that left the audience buzzing with excitement.
The second set consists of some well-played but standard selections, and opened with the fan-favorite Sugar Magnolia, which never fails to energize the crowd. Deal, Me and My Uncle, and Bird Song were delivered with precision and passion, each song highlighting the band's ability to navigate different genres effortlessly. Playing in the Band and Dire Wolf further showcased their tight musicianship and improvisational skills. The evening took an unexpected turn with the appearance of the Beach Boys, who joined the Dead for a wild mini-set. Together, they performed an incredible version of Searchin', featuring Pigpen's fine vocals and the Beach Boys' Moog synthesizer. The Moog was then used for siren sounds on Riot in Cell Block #9, adding a fun and unique element to the performance.
The Beach Boys continued with their mini-set, performing their classic hits Good Vibrations, I Get Around, and a unique bluesy arrangement of Help Me Rhonda. The collaboration concluded with Okie From Muskogee, a playful rendition that had the audience thoroughly entertained. The Dead then returned to the stage, continuing their set with a heartfelt Sing Me Back Home and a spirited Uncle John's Band. The evening concluded with a powerful 22+ minute Turn On Your Lovelight, featuring Pigpen at his best as he engaged the audience with his charismatic stage presence. This finale left the audience thoroughly satisfied, wrapping up a show that was truly all over the map in the best possible way.
4/27/1985 Frost Amphitheatre, Palo Alto, CA
Officially released on Dave's Picks Volume 49. This show (and the next night) are exceptional shows. This show is one of those shows where the first set is almost better than the second set in my opinion. Don't get me wrong, it's all good and you don't want to skip the second set.
The first set kicks off with a vibrant Dancin' in the Streets, immediately capturing the audience's attention with its infectious rhythm. This energy seamlessly transitions into Bertha, maintaining the high spirits. Little Red Rooster follows, showcasing Bobby's bluesy vocals and slide guitar prowess. The set continues with Brown Eyed Women and My Brother Esau, the latter delivering its characteristic narrative flair. Ramble On Rose provides a melodic interlude before the band launches into a compelling sequence: Just Like Tom Thumb's Blues into Cold Rain and Snow, culminating in a rousing The Music Never Stopped. This closing trio, especially Phil's standout performance on Tom Thumb's Blues, leaves the audience buzzing with excitement.
The second set opens with a rare and noteworthy pairing: Scarlet Begonias into Eyes of the World. This transition is particularly significant as it represents the only known instance of this sequence, offering a fresh take on two beloved songs. The improvisational journey continues with Goin' Down the Road Feelin' Bad, leading into the upbeat Man Smart (Woman Smarter). The rhythm section, featuring Billy and Mickey, then takes center stage with an extended Drums segment, followed by the exploratory Space. The band reconvenes for The Wheel, which flows into Truckin', then The Other One, and the poignant Black Peter. The set concludes with the rockers Around and Around and One More Saturday Night, leaving the audience exhilarated. The band returns to the stage for an encore performance of Keep Your Day Job, providing a lighthearted conclusion to the evening's musical journey.
April 28th
Tom Constanten sits in with the band for the final time (4/28/1971)
4/28/1971 Fillmore East, New York, NY
4th of a 5-show run. This is probably my favorite show of the bunch. Contrasted to the previous night, this one is full on psychedelic Grateful Dead. This time period is such an interesting period for the Dead as they mature their sound a lot and transition out of the early primal period. Along those lines, what's really cool about this particular performance is they get a visit from their old keyboardist Tom Constanten who sits in on "Dark Star" through the end of the show as an "homage" to the primal days as the band embarks on a new chapter. This would mark the last time TC ever played with the Dead again. Most of this we released on Ladies and Gentlemen... the Grateful Dead", and "Cryptical into Other One" was released on Grateful Dead (Skull and Roses).
The first set opened with a spirited Truckin’, setting the tone for the evening with its infectious energy. Bobby led a concise yet impactful Mama Tried, followed by Bertha, where Jerry's vocals and solos soared. Hard to Handle was a standout, with Pigpen delivering gritty vocals and a rap-like delivery that captivated the audience, while Jerry's guitar work elevated the performance to legendary status. Other highlights included a tight Loser, a lovely Playing in the Band, and a groove-heavy Cumberland Blues. The set concluded with a rousing Casey Jones, leaving the crowd buzzing with excitement.
The second set was a journey into the Dead's more exploratory side, beginning with a surprise Morning Dew that left the audience in awe. Me & My Uncle followed, maintaining the momentum before the band launched into a powerful sequence starting with Cryptical Envelopment. This transitioned into The Other One, and showcased the band's improvisational skills. The set's climax came when Tom Constanten joined for Dark Star, a performance that, while not the longest, was rich in character. Billy's maracas and cymbals provided a delicate backdrop as Phil and Jerry engaged in a musical dance. The feedback-laden segment and accelerating passage led into a hard-rocking Saint Stephen, despite Bobby's lyrical mishap, which Jerry found amusing. The set concluded with a familiar yet invigorated Not Fade Away into Goin' Down the Road Feeling Bad medley, with T.C.'s ornate flourishes adding a nostalgic touch.
4/28/1985 Frost Amphitheatre, Palo Alto, CA
This entire show was released on Dave's Picks Volume 49. The first set kicks off with a spirited Gimme Some Lovin', marking its debut as an opener in a Grateful Dead show. Brent Mydland's energetic vocals and keyboard work set an upbeat tone, seamlessly transitioning into Mississippi Half-Step Uptown Toodeloo, where Jerry Garcia's expressive guitar solos and heartfelt vocals shine. The band then launches into a fiery New Minglewood Blues, with Bob Weir delivering gritty vocals and the group locking into a tight groove. A standout moment is Bird Song, which unfolds into an expansive jam, allowing the band to explore melodic and rhythmic variations, making it one of the best versions of 1985. Tons of Steel follows, showcasing Brent's songwriting and vocal abilities. The set concludes with a dynamic pairing of China Cat Sunflower > I Know You Rider, a classic sequence that highlights the band's seamless transitions and collective energy, with I Know You Rider being particularly powerful.
The second set opens with a robust Hell in a Bucket, featuring Bobby's commanding vocals and the band's driving rhythm. This leads into a beautifully rendered Crazy Fingers, a rarity in the band's repertoire at the time, which had the crowd ecstatic, especially since it was the first performance in the Bay Area since 1982. The centerpiece of the set is an ambitious Playing in the Band sequence, which weaves through China Doll, a return to Playing in the Band, and into the Drums and Space segments. This improvisational journey showcases the band's telepathic interplay and willingness to push musical boundaries. Emerging from Space, the band revisits Playing in the Band before transitioning into a poignant Wharf Rat, with Jerry delivering emotive vocals. The set continues with Throwing Stones, a politically charged number, and concludes with a rousing Not Fade Away, engaging the audience in a call-and-response finale.
The band returns for a double encore, starting with a patriotic U.S. Blues, energizing the crowd with its upbeat tempo and satirical lyrics. The evening concludes with a rare (1st of only 3) performance of She Belongs to Me, a Bob Dylan cover that the Dead had only recently reintroduced into their live shows. Jerry's heartfelt rendition provides a gentle and reflective end to the concert, leaving a lasting impression on all who were present.
April 29th
4/29/1971 Fillmore East, New York, NY
5th of a 5-show run. This would be the last time the Dead would play the Fillmore East. Portions of this fine show were officially released on Ladies and Gentlemen... the Grateful Dead. The first set kicks off with Truckin', setting an energetic tone and showcasing the band's cohesive interplay. Bertha follows, with Jerry delivering spirited vocals and crisp guitar work, while It Hurts Me Too provides a bluesy interlude featuring Pigpen's heartfelt vocals and harmonica. The seamless transition from Cumberland Blues > Me & My Uncle highlights the band's versatility. Bird Song offers a moment of introspection with its delicate melodies and atmospheric jamming. The set continues with Playing in the Band, Loser, and Dark Hollow, leading into a particularly powerful Hard to Handle. This version is regarded as one of the best, with Pigpen's vocals and Jerry's guitar solos captivating the audience. The acoustic Ripple provides a gentle contrast, leading into Me and Bobby McGee and concluding with a rousing Casey Jones.
The second set is where the magic truly unfolds. It opens with an emotive Morning Dew, featuring Jerry's expressive guitar work. Minglewood Blues and Sugar Magnolia keep the energy high, while Black Peter offers a somber, reflective moment. Beat It On Down the Line and Second That Emotion inject a dose of rhythm and blues, with the latter marking its final performance by the Dead, though Jerry would continue to play it in his solo projects. The band then launches into an expansive Alligator jam, marking its last performance, leading into Drums, returning to Alligator, and transitioning into Goin' Down the Road Feelin' Bad and Cold Rain & Snow. The seamless flow continues with China Cat Sunflower > I Know You Rider, followed by Greatest Story Ever Told and a high-energy Johnny B. Goode.
For the encore, the band returns with Uncle John's Band, delivering intricate harmonies and melodic interplay. After Bill Graham's playful interaction with the crowd, they close the night with a spirited Midnight Hour, featuring Pigpen's charismatic vocals in his final version, and a heartfelt We Bid You Goodnight, leaving the audience with a sense of closure and gratitude.
4/29/1972 Musikhalle, Hamburg, Germany
Officially released on Europe '72 The Complete Recordings. Of course this is an incredible show! The first set has lots of raw energy, but it’s the second set that truly shines. The first set kicks off with Playing in the Band, setting an energetic tone and highlighting the band's cohesive interplay. Sugaree follows, with Jerry delivering emotive vocals and expressive guitar work. The momentum continues with Mr. Charlie and Black-Throated Wind, leading into a vibrant China Cat Sunflower > I Know You Rider, a pairing that underscores the band's seamless segues. Big Boss Man features Pigpen's soulful vocals, while Jack Straw and Loser provide narrative depth. Chinatown Shuffle offers a brief, upbeat interlude before Me and My Uncle and Big Railroad Blues keep the energy high. The set concludes with a dynamic Good Lovin', showcasing extended jams and Pigpen's charismatic presence, followed by a rousing Casey Jones to close the first half.
The second set opens with Greatest Story Ever Told, igniting the audience with its driving rhythm. He's Gone provides a contemplative contrast, leading into Next Time You See Me, where Pigpen's bluesy delivery shines. The centerpiece of the set is an expansive Dark Star, which ventures into uncharted territories, featuring a "Feelin' Groovy" jam initiated by Phil around the 6:40 mark. This improvisational journey transitions into a spirited Sugar Magnolia, maintaining the high energy, and culminates in a powerful Caution (Do Not Stop on Tracks), which includes a brief Who Do You Love segment, adding a raw, bluesy edge to the performance. Pigpen adds a note of confession to his raps, referring to his recent change of lifestyle. All three songs in the Dark Star > Sugar Magnolia > Caution sequence are Jam Anthem versions, celebrated for their inventive and exploratory renditions. Keith Godchaux deserves special recognition for his contributions throughout the show, with his '72 playing full of lightning-fast conversation with everyone else and a fearless attitude when plunged into the furthest-out jams. His work here is thoroughly enjoyable throughout, adding depth and texture to the band's sound. The band returns for a double encore, delivering One More Saturday Night, a high-octane number that keeps the crowd dancing. They conclude the evening with Uncle John's Band, offering intricate harmonies and a sense of communal closure to the night's musical voyage.
April 30th
4/30/1977 The Palladium, New York, NY
Officially released on Grateful Dead Download Series Volume 1. The first set opens with a vibrant The Music Never Stopped, setting an energetic tone with its upbeat rhythm and seamless interplay between Jerry and Bobby. This is followed by a spirited Bertha, which had the audience dancing, and It's All Over Now, showcasing the band's ability to infuse blues standards with their unique flair. Deal stands out with Jerry's expressive guitar solos and heartfelt vocals, while the duo of Mama Tried > Me & My Uncle maintains the high energy. A poignant Peggy-O follows, where Jerry's emotive storytelling shines, complemented by Bobby's emotional fills. Looks Like Rain features Donna's harmonies, creating a lush soundscape alongside Bobby's vocals. The set concludes with a triumphant Mississippi Half-Step Uptown Toodeloo and a rousing Promised Land, leaving the crowd eager for more.
The second set kicks off with the beloved pairing of Scarlet Begonias > Fire On The Mountain. This rendition is particularly noteworthy for its extended jam, allowing each member to showcase their improvisational skills, with Keith coaxing his organ into a convincing imitation of steel drums. Good Lovin' follows, with Bobby leading the charge and the rhythm section of Billy and Mickey driving the groove. Friend Of The Devil provides a brief, melodic interlude before the band launches into Estimated Prophet, characterized by its complex time signature and psychedelic undertones. The sequence of Saint Stephen into Not Fade Away, then into Stella Blue, back into Saint Stephen, and concluding with One More Saturday Night is a masterclass in setlist construction and execution, blending seamless transitions with dynamic shifts in tempo and mood. Keith's sensitive piano work in Stella Blue garnishes the performance beautifully. The encore of Terrapin Station is a rare treat, delivering a powerful and emotive performance that encapsulates the evening's musical journey. With passionate verses and a climactic ending, this rendition of Terrapin serves as a fitting conclusion to a night of exceptional music, leaving a lasting impression on all who were fortunate enough to witness it.
4/30/1988 Frost Amphitheatre, Palo Alto, CA
This show was FM broadcast on KZSU. This is a that stands out as a vibrant and engaging performance from the late '80s. The Dead delivered a set filled with both classic tunes and unique surprises, showcasing their musical competence and ability to captivate an audience. The first set kicked off with the debut performance of Let the Good Times Roll, setting a festive tone for the evening. This was followed by Feel Like a Stranger, which maintained the upbeat momentum despite a slightly awkward transition. Row Jimmy provided a mellow interlude, highlighting Jerry's emotive vocals. The energy picked up again with Walkin' Blues and Hey Pocky Way, the latter being a standout with Brent's exceptional keyboard work and vocals, supported by tight backup from Bob and Jerry. Ramble On Rose delighted fans with its storytelling charm, and the set concluded with a powerful Let It Grow, featuring intricate interplay between Jerry and Bob, and a searing guitar exchange that was both precise and exhilarating.
The second set opened with a dynamic Shakedown Street, invigorating the crowd with its funky groove and exploratory jams. Man Smart, Woman Smarter continued the danceable vibe, with Bob and Brent sharing vocal duties. A heartfelt Ship of Fools followed, providing a moment of reflection before the band ventured into an exploratory Playing in the Band. This segued into the rhythmic Drums and ambient Space segments, showcasing the band's improvisational skills. Emerging from the depths, Goin' Down the Road Feeling Bad lifted spirits, followed by a fiery All Along the Watchtower, where Bobby experimented with his vocal delivery. Black Peter offered a poignant moment before the set culminated with a jubilant Sugar Magnolia, a show-stopper even in its standard form. The encore was a special treat, featuring the only time the band ever played China Cat Sunflower > I Know You Rider as an encore, thrilling the audience with this beloved pairing. The night concluded with a rousing One More Saturday Night, expending the last bit of energy the band could muster and leaving fans energized and satisfied.
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
Comments