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March Grateful Dead Show Listening Guides

Updated: Feb 25

A picture of a skull and roses with the words "This Week in Grateful Dead History"

Welcome to this month's Grateful Dead Show Listening Guides!


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:


A picture of the book On This Day in Grateful Dead History with underlined song highlights and highlighted Jam Anthem songs

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:



March

For the month of March, the Grateful Dead's history highlights a significant evolution from their psychedelic roots to their later, polished era, featuring a high volume of historic events and musical milestones. Notable historical moments include the band's departure from the Haight-Ashbury neighborhood, marked by an infamous concert played on the back of a flatbed truck on Haight Street on March 3, 1968. The 1969 Fillmore West run is particularly renowned, where Bill Graham introduced the band as the American version of The Magnificent Seven, and the group performed rare setlist flips such as opening with Dark Star.

 

Moving into the 1970s, the band experienced pivotal changes, including Ron "Pigpen" McKernan's final San Francisco performance on March 5, 1972, at Winterland Arena, shortly before his health declined. Later that month, the Academy of Music run in New York served as a warm-up for the Europe '72 tour and featured a guest appearance by Bo Diddley on March 25, which created a sound comparable to the Jerry Garcia Band. On March 23, 1974, the band debuted the full Wall of Sound system at the Cow Palace, marking a major moment in their live production history.

 

The later eras were defined by high-energy tours, such as the Spring 1990 run, which included performances at the Capital Centre and Knickerbocker Arena. A standout moment from this period was the March 29, 1990 show at Nassau Coliseum, where Branford Marsalis joined the band for a legendary set. Other unique occurrences included John Belushi joining the band for vocals and cartwheels on March 30, 1980, and the band playing their only known show on the date of March 4 in 1994.

 

Interesting historical events in Grateful Dead History for January:


The infamous Haight Street concert (3/3/1968)

Death of Ron "Pigpen" McKernan (3/8/1973)

Happy heavenly birthday Sam Cutler's (3/10/1943)

Remembrance of Augustus Owsley "Bear" Stanley's death (3/12/2011)

Happy heavenly birthday Phil Lesh (3/15/1940)

Benefit concert with the Buffalo Philharmonic Orchestra (3/17/1970)

First show with the full Wall Of Sound system (3/23/1974)

John Belushi guest appearance on vocals and cartwheels (3/30/1980)

 

First Song Performances

Black Throated Wind (3/5/1972), Fire On The Mountain (3/18/1977), Scarlet Begonias (3/23/1974), Cassidy (3/23/1974), Blues For Allah (3/23/1975), Stronger Than Dirt (3/23/1975), Feel Like A Stranger (3/31/1980), The Weight (3/28/1990), Candyman (4/3/1970), Take Me To The River (4/1/1995), Far From Me (3/30/1980), Memphis Blues (3/17/1988), Hey Bo Diddley (3/25/1972).

 

Final Song Performances

Revolution (3/28/1990)

 

Only Song Performances

Alhambra (3/18/1977), Scarlet into Estimated into Ship of Fools sequence (3/16/1990), How Sweet It Is To Be Loved By You (3/25/1972), Are You Lonely For Me (3/25/1972), Inverted Playing In The Band starting with Reprise (3/31/1985)


March Grateful Dead Show Listening Guide Index

Here’s an index list of all 66 shows reviewed in January. You can click the link to jump to that date or just keep scrolling down the page.




March 1st

 

3/1/1969 Fillmore West, San Francisco, CA

3rd of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings.  Bill Graham introduces the band as “The American version of the Japanese film, Magnificent Seven” and they anxiously count down straight into Cryptical followed, of course by The Other One, and it's a perfectly superlative piece of music that takes us on a long (over 21 min) raging and dramatic journey. It's one of those rare versions that's played with finesse and control as they peak into the jams, then masterfully pull back for the verses. It's no wonder Howard Weiner picked this as a Jam Anthem version.

 

Other highlights include a superb New Potato Caboose, and an energetic, speedy Cosmic Charlie. "The Great High Hope" return for a second set and deliver a flawless Dupree's and Mountains of the Moon. Then we get an exhilarating hour of Dark Star > St. Stephen >The Eleven > Lovelight guaranteed to blow your socks off. Hey Jude, while very rare (second of only 2 times played as an encore), has a rough spot or two due to slightly off-key backup singing and mildly sloppy execution but it's still really fun.



March 2nd

 

3/2/1969 Fillmore West, San Francisco, CA

 

4th of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings. If you want evidence for why some people feel that the band peaked in 1969, I offer you this show. For the final night of the run, they decide to flip the set list and open with Dark Star > St. Stephen > The Eleven > Lovelight. These versions are still every bit as good as the previous nights, with jams that are maybe a little more subdued. Even though the set lists for all four nights contain a lot of repeat song titles, they sound nothing alike! For the second set, they deliver a picture-perfect rendition of Doin’ That Rag, and they absolutely nail all the complexities of this song. After a nice outro jam, they immediately spin up into one of the most competent takes on Cryptical of the whole run. It sharply ends, as is typical of the time and after that short Drums patch, they launch a full-on assault into The Other One. This version contains some really nice thoughtful dynamics added to the arrangement. It’s just one big solid jam; it has moments of reprieve from the assault – added places where the musicians are all listening to each other and playing off of what they hear. After a while they eventually find their way back into Cryptical. I love the interplay between TC and Jerry towards the end, as they take turns running through a type of arpeggio riff, but sometimes overlapping each other. As it builds and Phil and Bobby jump on board with it but eventually it dissolves into that mournful dirge Death Don’t Have No Mercy, and this is one of my all-time favorite versions. Death is now the theme of the set, as they decide to play the post-apocalyptic anthem Morning Dew next.

 

The band is firing on all cylinders and this is a very powerful reading. After Jerry’s beautiful sermons on the fickleness of life, they switch gears to end the show with one of the most outrageous takes on Alligator you’ll ever hear. After Pigpen’s verses they segue into the Drums segment, and short Drummers Chant, which sets them up for the massive 20+ minute jam that follows. Jerry spins several different themed webs as TC, Bobby, Phil and the drummers swirl around him. Then, the guitars drop off, and Phil takes a lead with the drummers. He hits on a theme, and the guitars jump back in. It kind of dissolves, and almost sounds like they’re headed for a Spanish Jam, but it doesn’t quite develop. Instead, they find their way into a ripping version of Caution. Like all versions of this song, the speed and intensity build to stratospheric heights, and this version is perfectly executed. After building up into a frenzy, it quickly dissolves into a lengthy, spooky Feedback full of screeching guitars and TC’s howling organ. All in all, these shows provide us with top-tier primal Grateful Dead and they are some of my favorite recordings, and I'm very happy to have them available in glorious sound quality.



March 3rd

The infamous Haight Street concert (3/3/1968)

 

3/3/1968 Haight Street, San Francisco, CA



 

On March 3rd, the band set up a makeshift stage on the back of a truck, ran power cords from the Straight Theatre and played the following short set: Viola Lee, Smokestack, Lovelight, Hurts Me Too, Cryptical > Other One > Cryptical, Dancin'. They might have played other songs, but the recording is cut short because the battery on the taper’s recording equipment died. There’s only one source available for this show, and it doesn’t sound that great but you have to consider the context. This event occurred at a pivotal time when there were massive shifts happening in counter-culture and pop culture alike.

 

This recording stands as an incredible artifact from that historic event that took place on Haight Street. June, 1967 was dubbed "The Summer of Love", and in just a few short months, a massive influx of wannabe-hippies and runaways flooded the Haight Ashbury neighborhood of San Francisco seeking freedom and the hippie lifestyle. After some clashing between the hippies and the police earlier in February, the Mayor decided to close Haight Street and have a "festival" for two Sundays in a row in an effort to break the growing tension. By all accounts, that seems to have backfired after the second Sunday, as it led to a massive crowd in the streets and even more clashing with police due to unruly wannabe-hippies and drunks that continued into the weeks after this event. And that was it, the band decided that the Haight Ashbury scene had become too obnoxious and they were annoyed by constant busses filled with tourists to the area on "hippie scene sightseeing tours", so they moved out of their 710 Ashbury house. Read more about the history of the event, and the wider context here.



You can watch a very brief video of the Grateful Dead performance here.

 

3/3/1987 Henry J. Kaiser Convention Center, Oakland, CA

 

First set highlights include a rousing Mighty Quinn opener, a vigorous Greatest Story, an exuberant Tons of Steel, and a Cassidy that includes some nice exploratory jamming. A perfectly executed Half Step > Promised Land that surprises with an extended jam that closes the set.

 

The second set opens with a Mardi Gras Drums parade and the Dirty Dozen Brass Band sitting in for Iko. For a minute there's a struggle over which version of the song they're playing and moments of complete chaos unfold, where the drummers are completely out of sync with the rest of the band. They Dirty Dozen completely take over, and they settle into their version of the song. It's fun to hear all the horns and the additional call-and-response. Bobby delivers a passionate Saint Of Circumstance, followed by a nice Terrapin (Jerry does get lost and repeats a verse but no matter, his voice sounds sweet). Gimme Some Lovin' out of Space is given extra effort by all. Wharf Rat > Throwing Stones > Touch is well played. Touch is played at breakneck speed but perfectly executed. Jerry forgets a few words on the Brokedown Palace encore but it's a sweet, mellow way to finish the show.

 


March 4th

 

3/4/1994 Desert Sky Pavilion, Phoenix, AZ

 

This is the only known Grateful Dead performance on March 4th, so you get what you get, and what you get ain't bad actually. First set highlights include a spirited up-tempo Half Step opener, ripping versions of Ramble on Rose and Me & My Uncle > Big River. I really like hearing Weir on the acoustic guitar. It's a nice touch and he sounds great. After that we get a flawless Bird Song that includes really nice guitar work from Jerry and Bobby.

 

The second set Iko opener is guaranteed to get you dancing. A standard rendition of Crazy Fingers dissolves nicely into a really strong Estimated, followed by a jam that has Jerry blasting his MIDI horns, then switching back to his clean sound. A nice upbeat Miracle materializes out of Space. Bobby lays on the dirty crunch tone while Jerry blasts bluesy riffs. This gives way to a soulful Black Peter and a rare Throwing Stones set-closer (second of only 2 times ever performed in that spot). A good but standard U.S. Blues closes out the show.



March 5th

 

3/5/1972 Winterland Arena, San Francisco, CA

 

This would be Pigpen's final San Francisco performance because of the upcoming East Coast run at the Academy of Music in New York, and the infamous Europe ’72 tour, followed by some West Coast appearances. By the time the band is back in town in August, he would be too sick to perform. With a few brief exceptions, this show is played with precision and there are peaks of emotion. After all, this is 1972, and the boys are in their prime so peaks and valleys are all relative. I like SHNID 103282 the best, because it’s complete. The first 6 songs come from an audience recording.

 

First set highlights include a rousing Bertha followed by the first performance of Black Throated Wind in which Bobby shows us what a profound song this is going to be. He's locked in and passionately belts out the ending while Jerry blazes away. The crowd, having never heard the song before, claps lightly. Other highlights include Greatest Story Ever Told, Tennessee Jed, Jack Straw, China Cat > I Know You Rider, and a rowdy Casey Jones to close the set.

 

Pressed for time due to a strict curfew and the previous acts running over, the band plays a truncated second set. The big highlight is a red-hot Good Lovin > Mind Left Body Jam > Good Lovin’. After Pigpen’s first verse they launch into a brief but explosive jam, and Jerry goes off. They pause for a breath and Pigpen does a short rap. But then Jerry throws in a short MLB jam as Pig is wrapping up his rap. They launch into a tight NFA > GDTRFB NFA and a hot One More Saturday Night to blow out the ending and finish strong.  



March 6th

 

3/6/1981 Stanley Theatre, Pittsburgh, PA

 

Overall this is a really good show, with lots of tight, energetic renditions. They open the first set with a bang by ripping through a blistering Jack Straw. Jerry cools us down with a passionate and pretty Peggy-O. One thing that's different is Mickey tries out some different percussion accompaniment here. I hear maracas and congas at different times throughout the song. Theres lots of good but standard renditions of other songs but Let it Grow > Deal set closer is a real banger.

 

The second set opens with a good but standard Samson, followed by a gorgeous Roses. Jerry is singing and playing with lots of emotion. After that they launch into the big jam segment, kicking off with Estimated. The middle jam reaches great heights, followed by the second verse and then a sweet outro jam that works its way into a smoking Franklin's Tower that clocks in at over 15 minutes. They eventually make the jump into a powerful Drums > Space. The first hints of The Other One slowly emerge from the ashes of Space until the full band, followed by the drummers pounce full-force into it. They work through several jams, and slowly wind down into Stella Blue, and it’s a beautiful, soulful version. They lighten the mood and end the set with a rousing Sugar Magnolia. A fun, upbeat Don’t Ease encore closes out the show.



March 7th

 

3/7/1981 Cole Field House, University of Maryland, College Park, MD

 

This entire show is outstanding. This is one of the rare lopsided shows where the first set is longer than the second set. They kick off this 11-song marathon with a rowdy Alabama Getaway > Greatest Story. After a straight-forward Dire Wolf they play an energetic Me & My Uncle > Big River. Later in the set we get a Jam Anthem version of Bird Song which is 17 minutes long. Howard Weiner in his book Deadology II describes Jerrys solo: “The audience and his bandmates are in awe. The Great Garcia is spooling away, endless flight. It’s amazing, but there’s little repetition as he orbits planet Earth."

 

The second set kicks off with a groovy Iko Iko that gets everyone in a party mood. Sailor > Saint > Jam follows. The jam is pretty interesting and almost 10 minutes in length. At first it kind of sounds like they're going to transition into Uncle John's Band, but quickly decide to get exploratory instead. It builds into a peak with screeching slide and fast-paced licks, and after a couple more minutes gives way to Drums. Truckin’ emerges out of Space and includes a nice extended jam at the end before the transition into a cool Black Peter. They close out the set with those good ol’ Rock and Roll classics Around And Around > Johnny B. Goode. The boys start to sound a little tired by the time they get to the One More Saturday Night encore, but they manage to build up the intensity enough to make this one worthwhile.  



March 8th

Death of Ron "Pigpen" McKernan (3/8/1973)

 

3/8/1968 Melodyland Theater, Disneyland, Anaheim, CA

 

no recordings exist, but I am entertained by the reviews.

Music link: no known authentic recording exists

 

3/8/1970 Star Theatre, Phoenix, AZ

 

Travelodge Theater went by a few names, and apparently was a rotating stage. What could go wrong?? According to Lost Live Dead blog (Link) the wildest part is that Vince Welnick allegedly attended this show. "One interesting detail about this show was that area resident Vince Welnick attended the show as a fan--little could he have expected". Several online articles talk about Vince at this show (including the official Jerry Garcia website, and this Hooterollin blog article), but I have yet to find where Vince talks about this event.

 

The tape cuts in, so it’s unclear how the set started but they apparently kick off this single set performance with a hot Cold Rain And Snow. After Bobby’s Yellow Dog Story they launch into a rousing China Cat > I Know You Rider which immediately segues into a passionate High Time. A snappy Dire Wolf and then Hard To Handle are played before switching to acoustic instruments.

 

They play 4 acoustic songs, and then this mystery person shows up during Pigpen's acoustic blues song Katie Mae. The song morphs into the impromptu Blues Jam when this mystery vocalist completely takes over the stage. I can't find anyone who has identified or put forth suggestions about who this person is, but this mystery guest seems intent on trying to get the crowd dancing, constantly repeating "don't sleep too long!" and "get up and dance!". Soon the rest of the band comes back with electric guitars and drums, at which point they break into NFA > Lovelight, and proceed to blow the roof off the place.

 

My theory is it's someone from another band who shared the bill that night. Who else would be allowed onto the stage like that? Pigpen actually tells the guy to “go on” when he steps up to the mic. Maybe the people running venue didn't like the slower acoustic set that had developed, and wanted more of a rock and roll show, so they sent someone from one of the other bands on stage to alter course? Who knows, but it certainly is bizarre to say the least. Where was Big Steve?? I'll have to call into his show and ask him if he knows anything about it, I guess.



March 9th

 

3/9/1981 Madison Square Garden, New York, NY

 

1st of a 2-show run. This whole show was released on the In and Out of the Garden box set. This is a gem of a performance. They kick off the first set with a Jam Anthem version of Feel Like a Stranger. This is an absolutely ripping version, and the place is hyped up! The whole first set features better than average renditions of almost every song, including especially hot renditions of C.C. Rider, Deep Elem Blues, Beat It On Down The Line, Bird Song, and concludes with a rare Minglewood Blues (3rd of only 4 times played in that spot).

 

The boys bring the energy back out for the second set and kick off with another Jam Anthem version of China > Rider. This a is long, jam-filled version at almost 16 minutes. Jerry delivers some unique and crazy tonalities before the first verse and it kind of sets the stage. There is an extended jam before the transition into Rider. They keep the momentum going with an immediate transition into a ripping Samson. Other highlights include Uncle John's Band with a nice long jam before Drums and a powerful Other One.



March 10th

Happy heavenly birthday Sam Cutler (3/10/1943)

 

3/10/1981 Madison Square Garden, New York, NY

 

This whole show was released on In and Out of the Garden box set and is a glorious performance. There was some serious magic (and pot smoke) in the air on this night, for sure! Kicking off the first set with a Jam Anthem version of Half Step that moves straight away into a frolicking Franklin's Tower. Other first set highlights are a blistering and funky Jam Anthem version of Lazy Lightning > Supplication, and Deal, where Jerry absolutely tears it up at the end with a heavily sustained distortion effect on his guitar.

 

The second set kicks off with a, groove-filled, fan favorite Scarlet > Fire, but the Lost Sailor > Saint of Circumstance that follows is another Jam Anthem version, and is the real highlight of the set. And that's just before Drums > Space! There's so much more good music to go. There's a nice Smokestack Jam out of Truckin' before Sugar Magnolia. The rest of the set is filled with gratifying performances, all the way to the Satisfaction and Brokedown Palace double encores. What a night!



March 11th

 

3/11/1993 Rosemont Horizon, Rosemont, IL

 

The fine folks of Chicago were treated to a nice show with an equally nice set list. They kick off the first set with an excellent Help > Slipknot! > Franklin's which gets the party started. A few more good-but-standard songs follow, including Rooster, Althea, Masterpiece. Jerry delivers a passionate rendition of So Many Roads which flows straight into a hot Music Never Stopped to close the set.

 

The second set opens with a funky, tight Iko that has everyone grooving. Wave To The Wind follows, but doesn’t take off. Truckin’ however soars and it inspires Jerry to pull out a Spoonful riff, and Bobby is more than happy to jump on board. They segue into a passionate He’s Gone followed by one of the best Drums > Space passages on tape, made special by Chicago's own Ken Nordine reciting his word jazz poems Flibberty Jib on the Bippity Bop and The Island. Someone’s asleep at the soundboard, and unfortunately we miss the first few lines of the first poem, but once they turn Ken’s mic on, it gets epic. Man, it would have been cool if they’d done more guest poets during Space. The Other One is powerful, but not as jammed out as you’d like. It’s not one of those versions that starts with a bang. It gradually starts to take form out of Space, until everyone starts rowing in unison. But it does build to a nice peak before the first verse. It quickly winds down into a beautiful rendition of Days Between. The outro jam builds into a big crescendo, but floats back down to earth. Bobby switches gear and takes us out with some Chuck Berry Around & Around to get us dancing again. Liberty, the #2 most common encore song of the year closes out the show.  



March 12th

Remembrance of Augustus Owsley "Bear" Stanley's death (3/12/2011)

 

3/12/1981 Boston Garden, Boston, MA

 

Overall this is a real high-energy show with above average versions of most songs. They open the first set with a smooth, tight Jack Straw. Jerry reaches some nice heights on his solo, and there’s a powerful re-entry into the final verse that makes this version special. The pace of Tennessee Jed is a little sleepy, but has some nice expressive moments. They tun up the intensity for Bobby’s country duo of Mama Tried > Mexicali. Bird Song follows, and is taken at a slightly faster-than-normal pace. The jam isn’t as exploratory or reach the soaring heights that some other versions achieve, but it’s still very satisfying. Nice renditions of C.C. Rider and Althea follow, and then a scorching curve ball of Let It Grow > Franklin’s Tower blaze out the end of the set.

 

The second set has some choice song selections, and opens with a rare Terrapin Station (5th of only 11). Jerry briefly gets lost in the lyrics but recovers. The outro jam reaches a nice peak and they segue into a long and exploratory Playing, clocking in at 16+ minutes. There’s some nice interplay between Jerry on the Wah-Wah peddle and Brent’s organ. Brent switches to the Rhodes electric piano, and Bobby lays down some atonal chord progressions, giving Jerry a platform to experiment on top of. Bobby’s strumming gets more and more frantic and Jerry starts matching him. The whole thing dissolves and we’re on the verge of space, but Jerry brings it back to reality with a passionate reading of He’s Gone, which leads into a relatively short Drums > Space, where Space is more like an extended tease intro to NFA. They jam that theme out for a few minutes, and finally after much build-up they break into a rather funky version. Brent switches on the Wah-Wah peddle on his keyboard, and it gives it a real juicy feel. After the outro jam, they segue into Black Peter, and Jerry delivers some poignant signing before Bobby kicks it back into party mode with some Chuck Berry rock and roll tunes (Around And Around > Johnny B. Goode). A good ol’ U.S. Blues encore sends the audience home smiling.



March 13th

 

3/13/1981 Utica Memorial Auditorium, Utica, NY

 

Kicking off the first set, the adrenalin is running high and the boys are all amped up for the scorching Shakedown Street opener. Due to the energy, they have to find their footing at the outset, but do so quickly and then blast through a very lively rendition. They quickly segue into a crackling Minglewood next, and it’s clear that there’s a certain “spark” in the air tonight. They cool it off a little with They Love Each Other and El Paso, but turn the intensity back up with a scorching, fast-paced Jack A Roe and a powerful Rooster that contains an incredibly intense jam that sends Jerry soaring before the final verse. Jerry cools off the tempo but not the intensity with a beautiful High Time. Up next is Cassidy, which is always a lovely song but it just doesn’t develop. Jerry then takes the spotlight and delivers a nice but standard Althea. A rousing Music Never Stopped that includes a nice peak in the outro jam closes out the set.

 

The second set opens with excellent high-energy renditions of Cold Rain And Snow and Samson followed by a riveting version of Roses, featuring some really passionate signing by Jerry. The jam segment of the set consists of a common sequence of Estimated > Eyes but has a nice long jazzy connecting jam. In similar fashion, the outro jam of Eyes is expressive and they’re not rushing it. A short Drums > Space follows, and leads to Lost Sailor > Saint Of Circumstance combo, which is not the usual position for these songs but are both well executed. A powerful Wharf Rat and then a rousing Sugar Magnolia close out the set followed by a hot Don’t Ease encore.

 

3/13/1982 Reno Centennial Coliseum, Reno, NV

 

This is a real heater of a show! It’s got all the ingredients for a real fun ride: high energy, passionate signing, extended powerful jamming that reach nice peaks and soaring solos. Kicking off the first set is a rousing Alabama Getaway > Greatest Story. There’s some sound system mix issues at first, but they eventually figure it out. There are also standout versions of Brown Eyed Women, Cassidy, and Minglewood before a scorching China Cat > I Know You Rider to close out the set.

 

They dial up the intensity and the fun for the second set. Opening with a real funky Stranger featuring a powerful outro segue that slams straight into a ferocious Franklin’s Tower. Jerry is fired up for all the instrumental passages, and sparks are flying off his fretboard. I’d like to officially file a petition to Howard Weiner to consider this for his Jam Anthem title! They break into a nicely jammed Estimated Prophet with a soaring middle solo and a stretched outro jam that goes through some interesting themes for a few extra minutes before winding down into a serious He’s Gone tease, but Jerry pauses and noodles for a minute while considering his options. He then opts for a wonderful rendition of Eyes instead. It’s a beautiful, flowing version that has moments of pure intensity that seem to instantly develop out of nowhere. They take their time on the outro jam and explore some interesting themes before ultimately landing on Drums > Space. They slow-roll the intro to The Other One, teasing it for more than a few minutes at the tail end of Space, but suddenly they pounce on it, and it explodes out of the speakers. Bobby is seriously possessed, and Jerry is on a tear. There’s an interesting wind-down sequence at the end, and it almost sounds like they’re going to play Strawberry Fields or Dear Prudence, but it doesn’t take hold, and they segue into a poignant Black Peter. Bobby switches gear into rock and roll mode with a swift segue into Around And Around, followed by a stomping Good Lovin’. A short but energetic Don’t Ease encore closes out this hot show.



March 14th

 

3/14/1981 Hartford Civic Center, Hartford, CT

 

Some really wonderful Dead shows went down at the Hartford Civic Center over the years. The Dead played there a total of 18 times, starting in 1977, and Jerry played there 3 times in 1989, 1991, and 1993. It was a nice size venue with a capacity of about 16,000. So, it had the potential to spark some great performances, and this is one of them. The band is hyped up and open the first set with a laid back but funky Stranger followed by a powerful Sugaree. An upbeat Me And My Uncle > Big River is up next followed by a pretty Peggy-O. Jerry’s solos are sharp an sparkling. They quickly transition into a shuffling C.C. Rider. Jerry’s fretwork is hot, Brent’s organ is jumping and Bobby’s slide is… contained. A good but standard Althea is up next followed by a rowdy Passenger. A powerful China Cat > I Know You Rider closes out the set.

 

They kick off the second set with an energetic Alabama Getaway > Greatest Story but the intensity feels a lot more subdued after that as they work through average renditions of Ship Of Fools and Lost Sailor but they dial it up for Saint Of Circumstance that includes a big outro jam leading to a peak before melting into a short Drums segment which is devoid of any semblance of Space. Jerry returns to the stage and teases The Other One by noodling the melody for a good 2 minutes, and then they pounce on it. Unfortunately, they don’t have the desire to build it up or stretch it out, and instead it falls into a quiet prolonged intro to a very beautiful Stella Blue. Jerry passionately belts out the middle verse and plays a sharp, emotional solo. The outro jam reaches a great height and Jerry’s solo soars. They very abruptly land on a quick rock-and-roll three-piece of Miracle > Bertha > Good Lovin’. Bertha is taken a breakneck speed, and Jerry wails out a nice solo. The intensity and pace of Good Lovin’ is amplified as well, and I like Bobby’s little rap at the end. They carry the energy through to the very end with an upbeat Saturday Night encore.

 

3/14/1982 Recreation Hall, U.C. Davis, Davis, CA

 

This whole show is excellent, and the tapes sound great. In a fun twist, they open this hot show with a rowdy Saturday Night, despite it being a Sunday show because they didn’t play the song the previous night. Bobby says “we forgot something last night” and launch right into it. They segue directly into a lively Sugaree, and the band is just bubbling over with energy. Me And My Uncle > Mexicali is nice, but Bird Song is especially gratifying. A wicked Rooster is up next, and Bobby manages to control his slide while Jerry erupts with a massive solo along with Brent. A good but standard Ramble On Rose is up next, but that leads into a very fine Looks Like Rain. Althea doesn’t have the same punch as the rest of the set. That’s ok, it’s still enjoyable and it gave them a chance to catch their breath for the explosive Let It Grow that has a big, soaring Jerry solo complimented by some fine work by Brent, Bobby and Phil. Of course, the drummers are super tight as well.

 

The second set kicks off with a powerful Samson and a poignant Ship Of Fools featuring some nice vocals and guitar work by Jerry. The most interesting part of the show is up next, with a killer Playing > Scarlet > Fire three-piece, and its finger licking good! Playing has a nice, long meandering jam in the middle. Jerry busts out the Wah-Wah pedal for a while, then builds the intensity up nicely before falling into what sounds like a strange, angular jazz jam. It sounds like they don’t know where to take it when all of a sudden, Jerry pulls out the intro to Scalet Begonias. The rest of the band jumps on board. The segue into Fire is long and mellow, as they take their time getting there. The very beginning has an interesting syncopated melody that I’ve never heard them do before as they try to find the groove. Eventually they all get in sync and they’re off to the races. Jerry’s solos are intense, and the outro jam contains an especially nice, swirling organ solo by Brent. It leads to a long Drums > Space sequence. A bold and powerful NFA gradually builds into a raging beast. There’s a long outro jam that winds down into an excellent rendition of Wharf Rat, and then Bobby spins the party mood back up with a rowdy Sugar Magnolia. A fine U.S. Blues encore caps off an amazing performance.


3/14/1990 Capital Centre, Landover, MD

 

1st of a 3-show run. Officially released on Spring 1990 (The Other One). Overall, this is a strong show, with a great set list and most songs are well executed and powerful. They kick off the first set with an excellent Cold Rain And Snow. Phil dominates as Jerry belts it out. They follow with a funky Stranger, and with that they’ve established a strong party vibe. They slow it down for Brent’s blues song Good Times Blues but Bobby picks up the pace again with a quick Mama Tried > Big River. Jerry pulls a rabbit out of his hat with Loose Lucy, and it’s a huge breakout. Last time played was 10/19/74 (991 shows!). The crowd goes bonkers when they realize what it is, and Jerry absolutely kills it. You can hear the smile on his face as he’s playing. A good but standard Memphis Blues follows and then they end the set with a hot Row Jimmy > Let It Grow duo.

 

They keep the energy going for the second set which is a wonderful sequence of songs beginning with a beautiful rendition of Crazy Fingers. Jerry’s singing is perfect, as are the harmonies and he plays a sweet, mesmerizing solo. The outro jam builds and transitions into the familiar Playing theme. After the first verse there’s a nice long jam. Jerry pulls out the envelope filter and Brent sprinkles some nice organ riffing. Jerry gets into a little bit of MIDI flute sounds and weaves through several themes until the whole thing tailspins into a free-form jam. Jerry pulls it all back together with the intro of Uncle John’s Band. There’s a nice outro jam that reaches a big peak of intensity as Jerry rips through his solo. After the last verse, they immediately segue back into Playing. But they don’t sing the last verse of the song, and opt to just fall into a subtle, wandering jam for 7+ minutes. Jerry again returns to his favorite MIDI flute sound and the drummers start to build intensity. The structure of the jam breaks down, and you end up with disjointed, syncopated participation between Jerry, Bobby, Phil and the drummers. Eventually they slip into Drums > Space, and the rest of the set is well played, but seems hurried as the songs are definitely on the shorter side. Dear Mr. Fantasy out of Space is a nice treat, and Black Peter is sung with passion, as is the Black Muddy River encore.



March 15th

Happy heavenly birthday Phil Lesh (3/15/1940)

 

3/15/1990 Capital Centre, Landover, MD

 

2nd of a 3-show run. This whole show is excellent, and was picked by Phil for release on Terrapin Station as a fundraiser for the band's interactive Terrapin Station museum, which unfortunately never came to fruition. You can read about that project here. The first set kicks off with a rousing Jack Straw > Sugaree two piece opener that really sets the mood. They follow that up with a wonderful Easy to Love You, and it’s a huge breakout (682 shows). Next up are excellent renditions of Walkin' Blues and Althea which were both released on Without a Net. After Tom Thumb’s and Tennessee Jed, they close the set strong with Cassidy > Don’t Ease.

 

They kick off the second set with a good but standard China Cat > I Know You Rider, followed by Samson. The real treat is the reason this show was selected for release: Terrapin Station > Jam is a monster, and one of the best versions ever played. Another second set highlights is Wharf Rat which is played with strong emotion from Jerry. They encore with another huge breakout Revolution (301 shows).



March 16th

 

3/16/1973 Nassau Veterans Memorial Coliseum, Uniondale, NY

 

This entire show is outstanding. They open this massive first set with a hot China Cat > I Know You Rider that contains a nice connecting jam. Jack Straw has some very nice vocal work and tight playing. They Love Each Other, El Paso, Row Jimmy, and Mexicali are all strong, energetic renditions. To end the set, they play Bird Song that contains a nice mesmerizing jam that stretches for several minutes, and a massive 20+ minute Playing closer.

 

The energy gets dialed up for the second set, and they charge out of the gate with a rousing Promised Land > Bertha > Greatest Story three-piece opener. After several good but standard songs we get the big jam segment highlight: Dark Star > Truckin' > Morning Dew. These are powerful renditions with tight jamming. Dark star is almost entirely instrumental (including some serious deep space exploration), with only a couple of minutes in the middle devoted to both verses sung back-to-back. Truckin’ is bursting with controlled energy and Morning Dew is powerful, sweet, and poignant. They close the show out strong with a stomping Sugar Magnolia.

 

3/16/1988 Henry J. Kaiser Convention Center, Oakland, CA

 

This is an absolute scorcher of a show. Some may argue the best show of the year. Either way, there is a lot to love here. Jerry is the star of this show. He’s lucid and energized, and putting extra effort into almost every song vocally and on the guitar. They charge out of the gate with Alabama Getaway > Greatest Story and it’s bubbling over with energy. They follow that up with a rousing Stagger Lee and he’s just belting it out. It’s Bobby’s turn with Walkin’ Blues and there’s some great interplay between him and Jerry. At this point its obvious that they’re having a great time. Candyman is picture perfect and Jerry’s solo soars. After a good but standard Queen Jane and Big Boss Man we get a standout Cassidy that has an intense jam. A powerful Don’t Ease closes out the set.

 

They release a powerful storm of energy for the second set. Opening up with a scorching Scarlet Begonias that has one of the most intense jams you’ll ever hear. Jerry is worked up into a frenzy during the transition into Fire. He switches to Wah Wah mode, and its game on. The middle jam of Fire is where things get really intense. It’s like Jerry just wants to jam out forever and the rest of the band is chasing him down. They eventually make their way into an intense Playing where they quickly get the first verse out of the way so they can get back to pushing the musical envelope. There are some unique moments of building up of intensity, then cutting back, and then building up again, proving that they’re in total control of this beast. After mellowing the intensity, they segue into Drums > Space, and I really like this segment because it reinforces the ferocious attitude of the set. Eventually a hypnotic Wheel emerges out of Space, followed by Gimme Some Lovin’. Phil sings it with strong emotion and passion. Bobby steps up and delivers a powerful Watchtower, and Jerry gives us everything he’s got for Morning Dew which includes some incredibly moving vocals and a soaring solo. They’ve barely got enough gas to get through the Touch Of Grey encore but somehow manage to pull it off.


3/16/1990 Capital Centre, Landover, MD

 

3rd of a 3-show run. Officially released on Spring 1990. This whole show is excellent and includes some unusual setlist events. The boys are in an upbeat mood and open with a fun Let The Good Times Roll opener, and keep the momentum going with strong renditions of Touch and Minglewood Blues. After Peggy-O, Queen Jane, and Loser they pull out the huge Black Throated Wind breakout (993 shows!). This new arrangement includes new lyrics. Bird Song follows, and has a nice jam in the middle, and Blow Away to end the set includes an extra verse and extra passion from Brent.

 

The second set Kicks off with a unique Scarlet > Estimated > Ship of Fools opener (only time ever played). They segue into a swinging Women Are Smarter that includes a nice long outro jam. The rest of the set is all very well played, but isn’t the same level of intensity  comparatively, except an emotional Stella Blue and a rare The Last Time encore (first of only 4 times played as an encore).



March 17th

 

3/17/1970 Kleinhans Music Hall, Buffalo, NY

 

The Dead do a benefit concert with the Buffalo Philharmonic Orchestra. (McNally) "The Dead, a local rock band, and members of the orchestra played an improvisational piece that involved having the orchestra members stand up, flap their arms, and make strange noises." "The audience suddenly took the initiative and began making music themselves by imitating the instruments & calls of the musicians." Unfortunately, there's no known recording but it's well documented and you can read all about it here.

Music link: No known authentic recording exists

 

3/17/1988 Henry J. Kaiser Convention Center, Oakland, CA

 

2nd of a 3-show run. This entire show is excellent. First set highlights include a rowdy Hell in a Bucket > Sugaree opener that has Bobby wailing and Jerry soaring. Other highlights include Bobby's first rendition of Dylan's Memphis Blues, Ramble On Rose, and a smoking rendition of Let It Grow to close the set.

 

The energy and excitement caries through for the second set, which opens with a nice reading of China Cat > I Know You Rider. The connecting jam is the peak of the song. After that, a fine Estimated > Eyes emerges and contains some nice jams. GDTRFB out of Space is a treat, as is Dear Mr. Fantasy > Hey Jude Reprise and the Black Muddy River encore.



March 18th

 

3/18/1971 Fox Theatre, St. Louis, MO

 

Officially released on 30 Trips Around The Sun. The boys are in fine form, and playing with plenty of “spark”. They kick off the first set with a laid-back but tight Casey Jones, followed by a nice Me And My Uncle. Pigpen really shines on Big Boss Man, and Bertha has a nice edge. Other highlights include Loser, China Cat > I Know You Rider, The Rub and a stomping Cumberland Blues to close the set.

 

They waste no time in getting the jam on for the second set. After a hot Truckin’ it sounds like they’re headed for the Other One straight away, but Jerry pulls back and lets the drummers loose. They pound out long drum solo, and then make their way into The Other One. It’s not a mammoth version but it has some nice peaks, and they make all the notes count. The outro jam segues into a passionate Wharf Rat. Bobby delivers everyone’s feel-good party song Sugar Magnolia, and it’s a Wah-Wah drenched version. After a quick Greatest Story > Johnny B. Goode we get a hot NFA that leads kind of predictably into GDTRFB. But that’s where they decide to wander off into new territory. As GDTRFB is wrapping up, Jerry plays the signature strumming for Caution. Pigpen pulls his harp out and goes to town. It would be the only performance of Caution for the year. Pig shines throughout, delivering an extended rap and some nice harmonica riffs. The jam at the end builds up intensity like a locomotive until it's at full throttle. The jam ends, and they slip into a short but powerful Feedback. A smooth and tight Uncle John’s Band encore sends the audience home smiling.

 

3/18/1977 Winterland Arena, San Francisco, CA

 

1st of a 3-show run. The entire show is wonderful. The first set kicks off with a tentative Promised Land, but they quickly find their footing with a perfect rendition of Mississippi Half Step. Bobby gives us a strong All Over Now, and Jerry outdoes him on a roaring Jam Anthem version of Sugaree. We also get a pretty Peggy-O, a breathtaking Cassidy and the real gem of the set: a killer Scarlet Begonias that connects for the first time into the first performance of Fire On The Mountain. Not a bad way to end the set!

 

They start off the second set with strong readings of Samson and Brown Eyed Women. After good but standard renditions of Good Lovin’ and Ship Of Fools they launch into a short but powerful standalone version of Estimated. The first of three-in-a-row performances of Terrapin is up next, but what makes this one unique is the only performance of Alhambra which leads to a furious NFA. St. Stephen > Around & Around close out a noteworthy second set. The UJB has some lyrical missteps but they pull it together and send the crowd home smiling.

 

3/18/1990 Hartford Civic Center, Hartford, CT

 

1st of a 2-show run. Officially released on Spring 1990 (The Other One). Overall, a very good show with plenty of passion and energy. The first set serves as a nice warm up for an even better second set. They kick things off with a funky Shakedown Street that maybe isn’t as big as some of the best versions but still very tasty. Bobby does his best to contain his slide on Rooster, and then Jerry delivers a nice Stagger Lee. Bobby’s cowboy two-piece of Me And My Uncle > Mexicali has plenty of excitement. After a few good but average tunes, the band is feeling inspired again with a rousing version of Ramble On Rose. Brent’s playing in particular is inspired. They close the set with a hot Music Never Stopped.

 

The second set kicks off with a rousing Iko Iko complete with plenty of authentic zydeco sounds compliments of Jerry’s MIDI and Brent’s keyboards. A beautiful and not-at-all boring rendition of Looks Like Rain is next, and then they hit the jam segment of the set with a very nice He’s Gone. The segue into Truckin’ is performed with finesse and passion. It’s immediately obvious on the first verse of Truckin’ that they are in complete control, both vocally and instrumentally and it makes for a very enjoyable rendition. Brent leads the way into Spoonful, and The Wheel emerges predictably from Space but it’s a very airy, powerful version. They run through an average reading of Watchtower and then Jerry delivers an emotional version of Morning Dew. U.S. Blues encore closes out this fine show.



March 19th

 

3/19/1973 Nassau Veterans Memorial Coliseum, Uniondale, NY

 

3rd of a 3-show run. This is a monster of a show (the tapes are almost 3.5 hours long), and the boys are in fine form for the whole thing. The first set highlights are He's Gone as the second song (unusual song placement) and they jam it out nicely. Looks Like Rain is delivered with extra emotion from Bobby, and China Cat > I Know You Rider are exceptional for the intensity and the jams. They close the set with a nicely jammed, 15+ minute Playing.

 

They open the second set with a rare Loose Lucy (2nd of only 4 times). But deep in the second set is where things get really spry. Truckin' gives way to a really nice Nobody's Fault Jam which leads to a short Drums, after which Phil drops his Other One bombs. After that frantic psychedelic bus ride, we're treated to a mellow jazzy Eyes. This one has that perfect tempo that I really like - not too fast, and not slow at all with just the right amount of a dance beat. Jerry pulls out a passionate version of China Doll to bring everyone back down gently. They close with a rockin’ Johnny B. Goode and encore with Casey Jones.  

 

3/19/1977 Winterland Arena, San Francisco, CA

 

2nd of a 3-show run. Overall, I think the band displays more cohesion, mastery and control than the previous night, and for me the more interesting song selection pushes this one over the edge to easily make this one of my favorite shows of the year. The first set is over 2 hours of magical Grateful Dead, and is not only one of the longer ones of the period, it’s one of the best in my opinion. Kicking off with a rousing Bertha it’s obvious the band is “on”. Mama Tried is well done and has plenty of interesting country flare. Loser is passionate and well played. Big River has lots of spark and They Love Each Other takes the intensity down a few notches but not the passion. Continuing with a more mellow vibe, Bobby delivers a nice Looks Like Rain featuring beautiful accompaniment by Keith and Donna. Keith in particular really shines through this whole show and is a great example of how good it can be when he’s at his best. After a hot Tennessee Jed they launch into Estimated. The song was less than a month old and this was only the 4th time played publicly, so they had not yet developed all the nuance but it’s still interesting to hear it in this first set position. The rest of the set is an incredible, jam-filled segment of Terrapin > Playing > Samson > Playing and we still have a whole second set to go! Terrapin is energetic and powerful and the outro jam confidently lands on Playing. After the first verse, a long 10+ minute wondering jam develops. Jerry takes us to the edge of space with the Wah-Wah. The energy builds to a nice peak. Keith’s piano is mesmerizing. As they work out where to take it, the drummers work up the beat for Samson, and the rest of the band jumps on board. This is a scorching version with a big build up at the end. They know they need to finish Playing, but the transition back is a little awkward on the last “Tear this old building down”. They decide to reset into a long, soft, subtle jam featuring Jerry noodling his way back into the Playing melody. Gradually the rest of the band joins in and they confidently finish out strong. Overlooking the clunky transition back into Playing, I think this is actually a very interesting piece of music. 

 

The second set kicks off with a super-charged version of Eyes. If you like them long, fast, powerful and confident this one’s for you. It dissolves into a free-form dissonant jam at the end and they land on a fast and funky rendition of Dancin’. There’s a raging ending jam that takes it to great heights before settling down into a powerful Wharf Rat. A rousing Franklin’s emerges from the outro jam. They take their time with it, and build it up to a nice crescendo at the end before switching into a rowdy Sugar Magnolia. We’re treated to a nice double encore of Saturday Night and Uncle John’s Band to close out this epic show.

 

3/19/1990 Hartford Civic Center, Hartford, CT

 

1st of a 2-show run. Officially released on Spring 1990 (The Other One). There is a lot of raw power present for most of this show as they continue the trend of delivering excellent shows on the Spring 1990 tour. They charge out of the gate with a gritty Bucket followed by a rousing Bertha. Other highlights include Jack A Roe and Brown Eyed Women. A hot Deal closes the set.

 

The second set opens with the beloved Phil song Box Of Rain and is followed up with a beautiful stretched out reading of Foolish Heart that includes a nice jam. They segue confidently into a short but powerful Playing. The outro jam wanders into an up-tempo Eyes that sparkles with lots of expressive details. There is a long outro jam that leads into Drums > Space, and a delicate China Doll emerges. Jerry’s poignant signing and sparkling guitar work make it a very nice rendition. The final segment of the show contains interesting song selection and powerful presentation: Good Lovin’ > GDTRFB > Around And Around. Brokedown Palace encore is a sweet way to end the show.



March 20th

 

3/20/1977 Winterland Arena, San Francisco, CA

 

3rd of a 3-show run. Officially released on Dave's Picks Volume 56. Returning to cap off an epic run of shows, we’re treated to another incredible performance that showcases the band’s ability to deliver the goods. Overall, it’s not as epic as the night before, but there is plenty to love here. The first set has very nice renditions of some favorite songs including Ramble On Rose, El Paso, and Deal which features especially nice fretwork by Jerry. A pretty Peggy-O is a perfect mid-set song and they kick up the intensity with Beat It On Down The Line. Another first set Estimated is a nice treat, but the real highlight of the whole set is the monster standalone Scarlet Begonias to close the set. The band had just debuted the Scarlet > Fire combo that would become the de facto standard pairing for years to come just two days before on 3/18. This however would be the final standalone version and it’s a powerful treat. Donna’s contributions are unique and pleasing. Jerry builds up the final outro into a big pleasing crescendo.

 

Since it’s Sunday the second set predictably kicks off with a strong presentation of Samson and is followed up with a surprise Row Jimmy and Promised Land not normally played in that spot. Saint Stephen gets off to a tentative start but they confidently pull it together and deliver a long but straight forward middle jam. After the final verse they quickly switch gear and launch into a powerful Other One. They immediately take the intensity up several notches with a swirling jam led by Phil. After about 6 minutes Bobby sings the first verse, and Jerry takes off with an incendiary guitar solo. The whole thing comes floating gently back down to earth through a quiet, subtle passage that leads to several minutes of Jerry noodling. They abandon the second verse and head into a stirring rendition of Stella Blue instead. Bobby rocks out the end of the set with a rousing Around And Around. After a perfectly polished U.S. Blues we get the first of only 7 Terrapin encores, 5 of which were all performed in 1977. I love the song, but don’t love it in that spot because the outro just begs to be taken somewhere. But maybe that’s why they tried playing it in that position? Always leave them wanting more, as they say.

 

3/20/1981 Rainbow Theatre, London, England

 

1st of a 4-show run. Kicking off a short tour in Europe with 4 shows in London and 1 show in Germany, this show is considered by many to be the best one of the run. Every song is played with high energy and conviction. There aren't any dull moments here! Kicking off the first set with a fat, funky Stranger they get the party started in fine fashion. They follow up by bringing the intensity down with a stretched out reading of Friend Of The Devil. A lively C.C. Rider is up next and features blistering guitar solos followed by a sauntering take on Althea. A brisk country duo of Mama Tried > Mexicali follows. Loser, Minglewood, Candyman and Looks Like Rain are all tasty treats but the fierce set-closing Deal is the cherry on top.

 

The second set opens with the same intensity and the band delivers a highly charged Scarlet > Fire. Lost Sailor > Saint Of Circumstance is a common but enjoyable follow up and it leads to a powerful rendition of He's Gone that contains one of the best outro codas I know of. For almost 4 minutes the band stretches out the “no one’s gonna bring him back” segment which leads to a unique “drums and slide” jam. Bobby builds the drummers up and they finally take over. This Drums > Space is interesting and enjoyable. Jerry noodles the intro to Truckin’, and they launch into it after Bobby’s signature whistle. There are some nice peaks in the middle and they confidently steer the outro jam down into a gorgeous Wharf Rat. Bobby takes the intensity back up with spry renditions of Around And Around and Johnny B. Goode to close out the set.



March 21st

 

3/21/1973 Utica Memorial Auditorium, Utica, NY

 

This astounding show is one of the best of the year (in a year that has some truly incredible performances). The band presents themselves full of inspired energy and in fine fashion throughout this entire marathon of a performance. There’s also a lot of great song selection. The first set soundboard tape cuts in on a stomping rendition of Bertha and it makes me wish the whole thing was there. You can hear the whole song on one of several audience tapes which validates that it’s a keeper. This is a long set with a total of 17 songs played. You can pick any one of them, and you’ll find a sparkling rendition. Other highlights include Me And My Uncle, Wave That Flag, Tennessee Jed, Box Of Rain, Here Comes Sunshine, China Cat > I Know You Rider, and a massive 16 minute Playing that includes an incredibly interesting exploratory middle jam to close the set.

 

The energy and enthusiasm carry straight through to the second set. The first segment of the set consists of seven very well played songs including a hot Greatest Story opener followed by a rollicking They Love Each Other that includes the extra bridge that was later dropped. The second half of the set is the jam segment of the show starting with an interesting Weather Report Suite intro that, after about a minute in, it takes a hard left turn and heads straight into Dark Star instead. I don’t know about you, but I was never lucky enough to see them play Dark Star live. I’m not sure what caused them to pivot so suddenly but I would have been ecstatic. This Star is very pretty and includes a long, almost 10-minute intro jam before we get the first verse. Phil’s 6/8 time jazz jam makes an appearance, and the middle jam is a long deep space exploration that builds to a big peak of frantic atonal sounds, which falls back down and gradually makes its way into a gorgeous rendition of Eyes. Jerry’s incredibly inspired and his solos soar. After about 10 minutes of hypnotic jamming, they segue into a standout Wharf Rat. Bobby brings back the party vibes with a hot Sugar Magnolia and they end with a rousing Casey Jones.

 

3/21/1981 Rainbow Theatre, London, England

 

2nd of a 4-show run. Officially released on Dave's Picks Volume 56. The Dead return for night 2 the Rainbow Theatre, and give the audience another banger of a performance. Maybe not as good as the night before but this whole show is outstanding. Opening up the first set with a scorching Alabama Getaway > Promised Land it’s clear the band isn’t messing around. A pretty Peggy-O is up next, followed by an inspired reading of Me And My Uncle > Big River. Tennessee Jed and Rooster both smoke. Althea has an emphasis on the song’s upbeat shuffle and Jerry’s outro solo reaches great heights. After that we get a powerful Let It Grow treat that sends the band into a wicked swirling middle jam. After the last verse they head into another interesting stretched out jam that builds up into a big crescendo. As they’re searching for where to take it next, Jerry suddenly flips a switch and starts playing the China Cat riff, and they charge headlong into it. The band is having a lot of fun, and they deliver a perfect version. The connecting jam is one of the finest musical Rider bridges you’ll ever hear. This version builds on the momentum laid down by China Cat and allows them to take it even higher. You’ll get goosebumps on the “north bound train!” segment.

 

The energy and intensity is carried through to the second set as they stroll out a hot Jack Straw to open it up, followed by a passionate Ship Of Fools. The big jam segment is up next, and begins with excellent readings of Estimated > Eyes. They take their time with both songs and I especially like the interesting connecting jam that features soaring guitar work by Jerry. Eyes is taken at a faster pace and has a strong feeling of purpose and mission, complimented by Jerry’s inspired signing. There’s a long outro jam that flirts with treading into total chaos but they reign it in before Drums > Space. A powerful NFA emerges from Space. A poignant Black Peter reminds us that our time on this earth is never guaranteed. Bobby returns us to a party vibe with One More Saturday Night and Jerry delivers an inspired Don’t Ease encore. 

 

3/21/1990 Copps Coliseum, Hamilton, Canada

 

1st of a 2-show run. Officially released on Spring 1990 (The Other One). This would be the first of only 4 shows at the Copps Coliseum in Hamilton, and the boys deliver one hell of a show. Opening with arguably one of the finest “later” versions of Half Step you can see why this inspired rendition was selected for release on Without A Net. They follow up with a rousing Minglewood. Next up are Far From Me and Queen Jane, both of which are good. The crowd goes crazy at the appearance of only the second Loose Lucy since its revival a few days earlier on 3/14. A gritty Victim segues into a beautiful Standing On The Moon and they rock out the end of the set with an upbeat Promised Land.

 

The second set starts with a lively Hey Pocky Way, one of a handful of lighthearted party songs that the Dead had in their repertoire that could just make you dance and smile. A beautiful rendition of Crazy Fingers brings the intensity down a few notches, but not for long as they throw out a curve ball and segue into a blistering Cumberland. Estimated > He’s Gone provides a platform for the fist exploratory jamming of the night. After Drums > Space a short but raunchy Miracle slowly emerges and it’s a hot one. Phil is thundering and Jerry’s firing off incendiary riffs as Bobby belts out the words. Jerry takes over and cools us off with an inspired reading of Wharf Rat. They’re in no hurry to go anywhere as they treat the audience to a stretched-out version of Throwing Stones and a bonus Lovelight to end the set. Jerry gives us a lovely Knockin’ encore to end this excellent show.



March 22nd

 

3/22/1972 Academy of Music, New York, NY

 

2nd of a 7-show run. Starting on March 21st, the band began a 7-show run at the famed Academy of Music in New York City. This would be the bands longest-running string of shows on the East Coast until Radio City Music Hall in 1980, which was a total of 8 shows. These shows served as a kind of warm up for the big Europe ’72 tour that would begin about a week after these shows ended, and they’re packed with some incredible moments. They open the massive 16-song first set with a rowdy Greatest Story, followed by a laid-back Deal. Pigpen shines on Mr. Charlie. Bob delivers a powerful Black Throated Wind and then the band explodes with a fierce China Cat > I Know You Rider. The connecting jam reaches a nice peak. The band is energized as Mexicali is taken at a furious pace and even Tennessee Jed has a faster tempo. A passionate reading of Two Souls is up next, and Pigpen is given the spot light. Excellent renditions of Me And Bobby McGee, Loser, Big Boss Man, and Jack Straw fill in the middle of this long set. A fierce Big Railroad Blues featuring Pigpen on harp makes this one extra special and it makes me wish he did that more often. A delicate Looks Like Rain with Jerry on pedal steel is up next, followed by a rousing version of the ever-popular “hit” song Casey Jones to close out the set.

 

The second set is a continuation of the energy. Kicking off the set we have a lively version of Me And My Uncle and a hot Sugaree. After Pigpen’s China Town Shuffle we get an oddly-placed Playing, and while they do jam it out in the middle it doesn’t stretch as much as some of the colossal versions. Some fine versions of Hurts Me Too, Brown Eyed Women, El Paso and Brokedown Palace and Sugar Magnolia follow, and then we get the big jam segment of the show with an immediate segue out of Sugar Magnolia into a monster 25-minute Caution that contains some big muscular jamming. Afte the final crescendo, they dissolve into a unique connecting Jam that eventually segues into Uncle John’s Band. This connecting Jam is a wonderful, mellow instrumental that’s reminiscent of an Allman Brothers song chord progression to my ears.


3/22/1973 Utica Memorial Auditorium, Utica, NY

 

2nd of a 2-show run. This entire massive show is outstanding. They open the marathon 17-song first set with a blazing Promised Land and follow up with a fine Sugaree and fast tempo versions of Mexicali and They Love Each Other after which they finally pause to slow down for Looks Like Rain. They pick up the pace once again for Deal and Beat It On Down The Line and then lay out a gorgeous Bird Song that contains a nicely stretched out jam. The fire marshal threatens to shut the show down, so Phil has to plead with the audience to stay out of the fire aisle. He also takes that opportunity to warn people about the Narcs, and to not get busted. Maybe people were calling for Phil to sing after that, because they immediately leap into a nice version of Box Of Rain. After a few more songs they close the set strong with a hot China Cat > I Know You Rider and a 15 minutes Playing.

 

The second set opens with a rare (2nd of only 3) and energetic rendition of Big River. The good times continue with fine renditions of Wave That Flag, Me And My Uncle and Here Comes Sunshine. The big jam segment of the show kicks off with a rowdy Truckin’ that has a big outro jam. Jerry dials up the intensity before putting his slide on for a Nobody’s Fault Jam. They eventually make their way into a long, powerful Other One that clocks in at a little over 19 minutes. Jerry initiates the segue, then Keith jumps on board, and finally Phil and Bobby. They take their time getting to the first verse with nice intro jam. There’s a nice long middle jam that contains Phil’s 6/8 jazz jam theme, but it doesn’t hold and the whole thing melts into a sparce, spacey passage. Jerry does some introspective noodling as Phil plunks down his own complimentary melody. Eventually the drummers join in with some bizarre percussion sounds until the whole thing builds back up into the second verse. They quickly segue into a long, strong Eyes. It’s a standout 15+ minute version that takes you through several different interesting musical themes that were common at the time during the outro jam. As the outro jam winds down Jerry seizes the opportunity to take it into a delicate China Doll. They close the show out with uplifting versions of Sugar Magnolia and One More Saturday Night.

 

3/22/1987 Hampton Coliseum, Hampton, VA

 

1st of a 3-show run. This was the opening show of the '87 east coast Spring tour, and since there was no '86 Fall tour due to Jerry's coma, the anticipation was really high for this run of shows. Reviewers recall massive ticketless crowds hanging around outside the venue. Overall, this is a very well-played show. Kicking things off for the first set is a high-energy Bucket > Sugaree. They quickly follow up with a spirited rendition of the classic Bobby Womack song All Over Now. The first set includes strong performances of every song, but other highlights include Push Come To Shove, Cassidy and a rousing Deal to close the set.

 

The second set is completely bookended by a Sugar Magnolia and Sunshine Daydream split, but the majority of the set is a Jerryfest. They typically only do the Sugar Magnolia split for New Year's Eve shows, and was last performed on 12/31/82 (255 shows). It's as if the band wanted to give these east coast Heads a makeup for missing Fall tour. After the opening Sugar Magnolia they play a strong Scarlet > Fire > Estimated combo that contains some nice peak moments. Back-to-back Jerry songs Wheel > Black Peter out of Space is a nice nod to Jerry being back. Jerry delivers an inspired Baby Blue encore to end this special show.

 

3/22/1990 Copps Coliseum, Hamilton, Canada

 

2nd of a 2-show run. Returning for the second show, the boys are all warmed up and ready to go, and this entire show is outstanding. A hot Stranger kicks off the first set and sets the pace early. Nice renditions of West L.A. Fadeaway, Easy To Love You follow. An upbeat Beat It On Down The Line turns the intensity up a few notches, and then Jerry cools it off with a gorgeous rendition of Must Have Been The Roses. Nice versions of The Last Time and Picasso Moon precede a hot Don’t Ease set closer.

 

The second set opens with a long, winding Scarlet > Fire. Fire especially has several big peaks and is extremely satisfying. A furious Samson lets everyone know the passion isn’t going anywhere, and they follow that up with a soulful rendition of Believe It Or Not. Bobby takes the spotlight and they launch into a smoking version of Truckin’. The outro jam is nicely stretched out before yielding to the drummers. A powerful Other One emerges from Space. It’s an extended version because Jerry breaks a string but that allows Brent to step up. He eventually guides the band toward a nice version of Hey Jude, which falls neatly into Dear Mr. Fantasy. In an interesting twist, they end up going back into the Hey Jude coda part, and Brent weaves lyrics from both songs together. Bobby rocks out the end of the set with Sugar Magnolia and Jerry passionately delivers a Baby Blue encore.



March 23rd

 

3/23/1972 Academy of Music, New York, NY

 

3rd of a 7-show run. There’s a lot of very well played music to enjoy here, and it’s another marathon of a show with an impressive 18-song first set. The problem that I have with this show is that there isn’t any “flow” to the song selection, despite there being a lot of songs. Anyways, they come charging out of the gate with a hot China Cat > I Know You Rider, and followed up with exemplary readings of Black Throated Wind, China Town Shuffle, and Brown Eyed Women. Beat It On Down The Line is taken a breakneck speed, and it’s quite impressive and it leads to a particularly fast and incendiary version of Cumberland. Bobby cools off the intensity with Looks Like Rain that features Jerry on pedal steel. Other first set highlights include Tennessee Jed, Jack Straw, Playing, Comes A Time, and Casey Jones set closer.

 

The second set kicks off with a standalone version of Truckin’, which doesn’t have the biggest middle or outro jam, but it’s a powerful version. A rousing Ramble On Rose and a poignant Two Souls In Communion are up next. After another breakneck tempo Mexicali, we get a long and mellow Dark Star. There’s an extended middle jam after the first verse that leads to a big frantic buildup and a cacophony of sounds followed by a Feeling Groovy Jam. It eventually gives way to the second verse, and then the song kind of fades out as if they don’t know where to take it and they stick an out-of-place Big Boss Man in there. A rousing NFA > GDTRFB > NFA closes out the show.


3/23/1974 Cow Palace, Daly City, CA

 

The first concert featuring the full Wall of Sound setup. Many songs officially release on Dick's Picks Volume 24. This whole show is excellent. The first set delivers some really nice moments, including U.S. Blues opener, Brown Eyed Women, Tennessee Jed, and the first performance of Scarlet Begonias. Hot versions of China Cat > I Know You Rider, and Weather Report Suite > Let It Grow end the set. There’s also the first performance of Cassidy in the first set, but it’s just not the fully developed song that it will become so it's only notable because it’s the debut.

 

The second set is where the magic happens when they launch into a mind-altering Playing > Uncle John's > Morning Dew > Uncle John's > Playing sequence to open the second set. The jamming in that sequence creates an other-worldly experience that would never be replicated. It's a must-listen segment of music and I can see why Latvala released it. But wait, even after all that there’s still 10 more songs in the second set! The other highlights are exceptional renditions of Big River, Ramble On Rose, Bertha, and Wharf Rat > Sugar Magnolia.

 

3/23/1975 Kezar Stadium, San Francisco, CA

 

Mostly officially released on Beyond Description (1973–1989) Bonus Disc. This SNACK Benefit show with Merly Saunders and Ned Lagin on organ and electric piano would be the band’s first appearance after their “retirement”. They give the audience a taste of what they’ve been working on in the studio as they’re recording Blues For Allah. This entire short set is basically instrumental versions of Blues For Allah and Stronger Than Dirt, but it’s fascinating music. The band is tight and in sync as they work their way through these complicated and abstract musical pieces. If you’ve never heard this one, check it out. They encore with a rousing Johnny B. Goode.



March 24th

 

3/24/1973 The Spectrum, Philadelphia, PA

 

Officially released on Dave's Picks Volume 32. Another massive show with hours of peak Grateful Dead. The band is dialed in and almost every song is perfectly played. The jam segments are all very interesting and stretched out. The monster 18-song first set highlights include very strong renditions of Bertha, Don’t Ease, Cumberland, Box Of Rain, Row Jimmy, They Love Each Other, Mexicali, Tennessee Jed, Looks Like Rain, Here Comes Sunshine, and a monster 20-minute Playing which takes you on a nice spacey jazz-rock ride to close the set.

 

The energy and passion continue all the way through the astounding second set. Highlights are China Cat > I Know You Rider which features a full-on rampage by every band member. Truly wild. The last part of the second set consisting of He's Gone > Truckin’ > Spanish Jam > Jam > Dark Star > Sing Me Back Home > Sugar Magnolia is pure bliss and not to be missed!

 

3/24/1990 Knickerbocker Arena, Albany, NY

 

1st of a 3-show run. Partially officially released on Dozin’ At The Knick. This would be the first of 19 times that the band played at the Knick. This whole show is excellent and features a great mix of song selection and passionate performances. Kicking off the first set they get the party started with a fun take on Let The Good Times Roll, which segues into Help On The Way > Slipknot! > Franklin’s Tower. While it’s not the tightest version in existence it’s always a nice 1st set treat. Other first set highlights include a scorching Loser (released on Spring 1990: So Glad You Made It) made special by Jerry’s passionate signing and guitar solo, and a fun rendition of One More Saturday Night that was selected for release on Without A Net closes out the set.

 

They dial up the intensity and the passion for the second set. The entire pre-Drums > Space segment is one big highlight: Playing > Uncle John’s Band > Terrapin > Mind Left Body Jam. The rest of the set is standard but very enjoyable: Wheel > Watchtower > Stella Blue > NFA but the rare and wonderful And We Bid You Good Night encore is quite special.



March 25th

 

3/25/1972 Academy of Music, New York, NY

 

4th of a 7-show run. Partially released on Dick's Picks Volume 30. This highly energetic show features Bo Diddley on the entire first set, and makes for some exciting listening. Highlights include the opening sequence of Hey Bo Diddley (with the man himself!) > I’m A Man > I’ve Seen Them All > Jam. The final jam segment is a kind of funky/bluesy jam that sounds more like a Jerry Garcia Band moment than a Grateful Dead jam, but they’re really having fun and Bo Diddley does a nice rap. The next song, Take It All Off, has a NFA feel but doesn’t really develop into anything and sounds more like they’re goofing off. After that they do a short but tight rendition of Mona. Bo Diddley was just getting warmed up and I feel like they could have developed it more but they decide to abruptly end it. The next two songs You Know I Love You > You’ve Been Runnin’ Round are really interesting and feature some nice guitar work by Bo Diddley. Pollution is a raw, powerful blues-funk fusion song. It takes a couple of minutes for everyone to get on board but it develops nicely. The next song Say Boss Man is an upbeat gospel style song. The last two songs are a couple of hot instrumental Jams. On the first Jam Jerry gets a spotlight moment. The beginning of the second Jam features some real interesting funky strumming by Bo Diddley. It starts off minimalistic, but they launch into a powerful, distorted jam. Bo Diddley delivers some really frantic strumming that takes the intensity up to a big peak for several minutes.

 

Jerry was really inspired by Bo Diddley because they kick off the second set with the only Grateful Dead performance of How Sweet It Is (To Be Loved By You), and it’s a scorcher. Jerry is passionately belting it out and Keith is pounding out incredible piano riffs. If someone played just this track for you, you’d swear you were listening to a JGB show. They follow that up with another only GD performance of Are You Lonely For Me, another song that Jerry played a few times outside of the Grateful Dead. After that short JGB detour, they return to playing typical Grateful Dead songs starting with a nice rendition of Next Time You See Me. A very nice reading of Brown Eyed Women, followed by an inspired rendition of Smokestack Lightning. It would have been cool for Bo Diddley to join on that one. Other highlights include Sitting On Top Of The World, Bertha, Playing, and a 20 minute Pig-tastic Lovelight.

 

3/25/1985 Springfield Civic Center, Springfield, MA

 

This is an all-around really good show with one of the best first sets of the year. They come charging out of the gate to open the first set with a hot Jack Straw, followed by a rollicking Sugaree. No wonder both of them are Jam Anthem versions. Other highlights include high voltage renditions of Rooster and Bird Song, followed by a monster Let It Grow to end the set.

 

The second set has great song selection but suffers from a strange high-pitched sound system gremlin. Despite Jerry’s vocals being a little tentative at the outset the band is locked in on a very nice Help > Slipknot! > Franklins. Unfortunately, the high-pitched gremlin shows up for the majority of Estimated but seems to fade before the nice outro jam. Eyes is a fast and has some great moments. The rest of the set is good but standard except for a poignant China Doll that Jerry delivers with passion.

 

3/25/1990 Knickerbocker Arena, Albany, NY

 

2nd of a 3-show run. Officially released on Spring 1990. Successfully continuing the momentum gathered from the previous show the band kicks off the first set with an upbeat Greatest Story > Touch Of Grey. It’s clear the band is locked in, and they deliver a delightful first set highlighted by Jack A Roe, Bird Song, and a rousing Let It Grow to close.

 

The second set opens with a gorgeous, laid-back Eyes that provides Jerry with a canvas to create some interesting solo passages. The outro jam seems to lack direction with everyone kind of playing their own thing until they pause and the drummers throw down the beat to Samson. Everyone quickly jumps on board. Jerry delivers a passionate Crazy Fingers, after which Bobby launches into Truckin’ and a nice MIDI-infused intro to Spoonful develops out of the peak of the Truckin’ outro jam. The remainder of the set is good but standard delivery of Drums > Space > I Will Take You Home followed by an exciting rendition of GDTRFB > Black Peter and a laid-back vibe on Around And Around. The chosen Mighty Quinn encore was a rare treat.



March 26th

 

3/26/1972 Academy of Music, New York, NY

 

This outstanding show was officially released on Dave's Picks Volume 14. The first set highlights include a scorching Greatest Story opener, followed by energetic readings of Cold Rain And Snow, and China Town Shuffle. Pigpen shines on Mr. Charlie. There’s also strong versions of Loser, Looks Like Rain, Big Boss Man, Playing, and a long, wild Good Lovin’ to end the set.

 

The entire second set is pure psychedelic delight. Kicking off with a long jammed out Truckin’ that includes a powerful outro jam that builds to a big peak and then winds down into a spacey jam passage before building into a nice driving jam led by Phil. At the end it sounds like they are headed for The Other One, but the drummers take over first for a few minutes, and then Phil leaps into a thunderous bass into one of the best Other One > Me And My Uncle > Other One sammies you’ll ever have. They did that combination a total of 12 times, but this is one of my favorite versions. The intro jam to the Other One has some really interesting moments.

 

There’s a spiraling riff by Jerry around the 3:30 mark on the Dave's Picks CD that I love. They take their time with it, and at certain points you can’t tell if you’re listening to Dark Star or The Other One. They dissolve into a frantic cacophony jam for a minute but then start to build back the structure of the song until it finally leads to the first verse after about 11 minutes of jamming. The middle jam reaches a quick peak, and then they again fall into more frantic cacophonic jamming, followed by another passage of structured jamming.

 

The segue into Me And My Uncle happens very organically and isn’t forced. Many people have talked about the Dead’s trail-blazing mix of heavy psychedelic music mixed with Bakersfield Country songs and I’ll just say I think it’s genius. The transition directly back into The Other One happens as seamlessly as the entry, and before you know it you’re thrown back into that psychedelic jam-space. Jerry lets some beautiful, delicate riffs fly as the band creates a platform to build back the structure to finish out the last verse of The Other One. A passionate reading of Wharf Rat ensues. Bobby’s Sugar Magnolia throws open the curtains and lets the party mood come flooding back in. Pigpen gets a chance to shine again with Two Souls In Communion. A short but fierce NFA > GDTRFB > NFA closes out the show strong.  

 

3/26/1973 Baltimore Civic Center, Baltimore, MD

 

There is a lot to like on this massive 4+ hour show. They come charging out of the first set gate with a rowdy Promised Land and follow it up with a sweetly-sung Half Step. Sugaree has a powerful laid-back vibe and Row Jimmy will captivate you with seductive sounds. Beat It On Down The Line is crackling with energy, as is Jack Straw featuring a soaring Jerry solo. A tight China Cat > I Know You Rider is added in for extra measure, and a 20 minute passionately jammed-out Playing that takes us on a trip to outer space and back to end this long set.

 

The second set kicks off with a feisty Ramble On Rose, and they confidently deliver a bunch of songs including a rousing Here Comes Sunshine, and a scorching Greatest Story. The big jam segment of the show is one big highlight. Beginning with a very pleasing rendition of He’s Gone, they make the switch into hyper drive with a crackling version of Truckin’ that boils over with passion and energy. The outro jam is really speedy, and they are cooking. Jerry’s got his slide on and it looks like he’s headed for a Nobody’s Fault but it never materializes. The jam is really interesting nonetheless. It dissolves into a quiet spacey passage and then a long Weather Report Suite Prelude segment which is used as just a platform for Jerry to delicately noodle over. At one point, after about 4 minutes the familiar structure of Weather Report Suite falls away in favor of a structured jam.

 

Jerry starts strumming some choppy, almost Spanish chords and the intensity builds. It doesn’t really go anywhere and they’re just sort of free-form jamming until it dissolves into a poignant Wharf Rat. A strong Me And Bobby McGee emerges out of the ashes of Wharf Rat. The final segment of Eyes > Morning Dew gives us one final dose of pure musical bliss. Eyes is taken at a medium pace, and is incredibly melodic. Keith’s piano and Jerry’s solos really soar. The outro jammin is strong and leads to a long, passionate rendition of Morning Dew. A strong reading of Saturday Night closes out the show.

 

3/26/1990 Knickerbocker Arena, Albany, NY

 

3rd of a 3-show run. Officially released on Spring 1990. This whole show is outstanding, and is the strongest show of the run. The first set opens with a powerful Hell In A Bucket, followed by a strong Dupree’s. Other highlights include Just A Little Light, Big Railroad Blues, Row Jimm, and a fierce Blow Away to close the set.

 

The second set opens with a fine Built To Last, followed by a dark and contentious reading of Victim that contains lots of chaos that makes that song interesting. They build the dance groove back up with a hot China Cat > I Know You Rider which continues into a fun Women Are Smarter. A good but standard Miracle emerges from Space, but things get way more interesting with a passionate presentation of Dear Mr. Fantasy that allows Brent to shine and Jerry to soar. Phil directs the music into a scorching Gimme Some Lovin’, and a beautifully-delivered Morning Dew provides a gratifying end to the set. A beautiful rendition of Brokedown Palace encore closes out this very fine show.



March 27th

 

3/27/1972 Academy of Music, New York, NY

 

6th of a 7-show run. Partially officially released on Dave’s Picks Volume 14 Bonus Disc (2015). We’re very fortunate nowadays to have great sound quality recordings now of this entire run of shows (thank you Charlie Miller!). Back in the day (1990’s) that wasn’t the case. I had several of them and was excited to listen to them, until I popped them in and was not impressed.

 

Anyways, this show contains many songs that were also played other nights. What’s different is that there is no multi-song jam segment. There is however a bunch of really well played material. First set highlights for me are Bertha, Black Throated Wind, China Town Shuffle, Brown Eyed Women, China Cat > I Know You Rider, Cumberland Blues, Playing. The second set highlights are Greatest Story, Ramble On Rose, Good Lovin’ (Pig-tastic!), Two Souls, Sugar Magnolia, Casey Jones, Saturday Night.

 

3/27/1987 Hartford Civic Center, Hartford, CT

 

2nd of a 2-show run. An outstanding show officially released on Dave's Picks Volume 36. The 8-song first set kicks off with an edgy Alabama Getaway > Greatest Story featuring passionate singing and enthusiastic playing. Other highlights include West L.A. Fadeaway, Rooster, Brown Eyed Women, Tennessee Jed, and a Jam Anthem version of Music Never Stopped to close the set.

 

The second set kicks off with a pristine rendition of Touch Of Grey. Jerry nails all the lyrics and his guitar playing is inspired. Rousing versions of Samson and Cumberland follow, and then a nice Estimated > Eyes pairing. The back half of the set is pretty sweet with a rare (10 of only 14) Uncle John’s emerging out of Space. They follow it up with a powerful Morning Dew. A ripping Johnny B. Goode encore closes out this fine show.

 

3/27/1988 Hampton Coliseum, Hampton, VA

 

2nd of a 3-show run. Officially released on Grateful Dead Download Series Volume 5. This whole show is outstanding. The band is energetic and inspired. First set highlights are a fun Iko opener that sets the party mood and letting everyone know they’re going to have a real good time. Later in the set we get the first Bob Weir performance of Ballad of a Thin Man and he signs it with such gusto you would have thought he wrote it. Other highlights include Cumberland, To Lay Me Down (first one since 10/17/83 – 289 shows) and a rousing Let It Grow to close the set.

 

The second set is real interesting as it opens with some Space, followed by an impromptu performance of the Miles Davis jazz song So What Jam. They’re not serious about it, and it’s just a warm up but you can tell Jerry’s having fun! After that they launch into a surprise Bobby Sugar Magnolia that kicks off a standout five-song segment. They save the Sunshine Daydream bit for the close of the set and instead launch into excellent versions of Scarlet Begonias > Fire On The Mountain. These are top-notch versions full of passion and enthusiastic playing. As Fire winds down there is a very short pause and they pounce on a great version of Estimated. Brent’s electric piano sounds are unique here and even better, they’re very prominent in the mix.

 

Bobby gets real intense with the “worry about me no, no! no!” as he’s screaming his head off. Jerry lets a real interesting solo fly and as it winds down it’s obvious they’re headed for Eyes. This version takes off right from the start. This version is on the shorter side, but no notes are wasted and it’s a pleasure to listen to. A fun GDTRFB develops out of Space but they don’t jam it out much and it leads to an energized Miracle after which Brent kicks the intensity up even more with Dear Mr. Fantasy. The compulsory Sunshine Daydream predictably (but enjoyably) closes out the set and the Sugar Magnolia sammich. A spry U.S. Blues encore closes out this fabulous show.



March 28th

 

3/28/1972 Academy of Music, New York, NY

 

7th of a 7-show run. Officially released on Dick's Picks Volume 30. This entire show is outstanding. First set highlights are a rousing Truckin’, Tennessee Jed, Cumberland Blues, Looks Like Rain, Big Railroad Blues, China Cat > I Know You Rider and Casey Jones.

 

The entire second set is one big highlight and kicks off with a nice Playing, followed by Sugaree. After Pig’s Two Souls Bobby launches into a fierce Sugar Magnolia that segues directly into a monster 28+ minute jam-filled Other One. They close the set with a powerful NFA > GDTRFB > NFA.

 

3/28/1973 Springfield Civic Center, Springfield, MA

 

Officially released on Dave's Picks Volume 16. This whole show is excellent. They open the first set with a rousing Cumberland that gets the blood pumping right out of the gate. Mexicali, Beat It On Down The Line, Loser, Box Of Rain, They Love Each Other, Row Jimmy are all excellent. A rousing China Cat > I Know You Rider closes out the set.

 

The second set opens with some decent songs, but the real highlight is contained in the jam segment of Weather Report Suite > Dark Star > Eyes > Playing.

 

3/28/1990 Nassau Veterans Memorial Coliseum, Uniondale, NY

 

1st of a 3-show run. Officially released on Spring 1990. The band is inspired and deliver a very enjoyable show. First set highlights are Cold Rain And Snow > Minglewood, High Time, Cassidy, and Deal. The second set has a notch more enthusiasm and fine renditions of Foolish Heart > Looks Like Rain > Cumberland > The Weight ensue. This would be their first performance of The Weight. Out of Space emerges a nice Other One > Wharf Rat > Good Lovin’. They encore with the final performance of Revolution.



March 29th

 

3/29/1990 Nassau Veterans Memorial Coliseum, Uniondale, NY

 

2nd of a 3-show run. Officially released on Spring 1990. The band continues their outstanding run with an explosively energetic show. They charge out of the gate with Jack Straw > Bertha that sets the pace and the intensity to a high level. Something is clearly up on this night. The rest of the set is all high-quality performance but the big highlight is the Jam Anthem version of Bird Song featuring Branford Marsalis. They close the set with a ripping version of Promised Land.

 

Now that we know Branford is on board, everyone anxiously anticipates the second set, and they don’t disappoint. This is one of the epic sets of the 1990’s. They open with a Jam Anthem version of Eyes. If you were lucky enough to witness this epic Eyes, you knew right away that this version would become one of the iconic versions, and it certainly did. As the outro jam winds down, they segue into Estimated. It’s a long jammed out version with Branford. But buckle up, because one of the best “late” versions of Dark Star is up next. Branford again brings his unique touch to the song and the rest of the band is locked on tight. After the first verse the jam goes atonal and dissonant for a while and the intensity really builds, but the clouds break and the intensity settles somewhat.

 

Jerry has a lot of MIDI horn sounds going, and Branford is wailing. It all leads to a very interesting Drums > Space and Dark Star emerges. After several minutes of jamming, we get the second verse. There’s no real outro jam to speak of and they quickly segue into The Wheel. Bobby delivers a fine Throwing Stones. Again, Branford’s sax melds perfectly and adds so much rich texture to the song. They steer the music into Lovelight to close the set, and it’s another perfect selection to compliment Branford. Jerry switches on his MIDI sax to compliment Branford. A sweetly-sung Knockin’ encore closes out this epic show.



March 30th

 

3/30/1980 Capitol Theatre, Passaic, NJ

 

1st of a 3-show run. This entire show is a scorcher. The band is fired up and deliver a fierce Alabama Getaway > Promised Land to open the first set. They cool it off with a pretty Peggy-O and a passionate rendition of Cassidy follows. The boys have found a spark and a very nice Loser ensues. The first version of Far From Me is next, and being new, it’s not the most polished rendition but enjoyable. They close the set with a gratifying rendition of Lost Sailor > Saint Of Circumstance.

 

The second set is only 6 songs (not including Drums) but includes a fine Scarlet > Fire opener that carries the energy over from the first set. Bobby’s up next and they deliver a standout Estimated > Eyes. The connecting jam has some nice peaks as they segue into an up-tempo Eyes. The outro jam is extended and they explore some interesting themes before giving way to the drummers. There’s no real “Space” on this one, and instead Jerry steers it into a powerful Black Peter. Bobby lightens the mood with a rousing Sugar Magnolia to close the set. The encore U.S. Blues includes an appearance by John Belushi on vocals (and cartwheels).

 

3/30/1990 Nassau Veterans Memorial Coliseum, Uniondale, NY

 

3rd of a 3-show run. Officially released on Spring 1990. The band closes out the run with a strong follow up to the previous night’s epic performance. They had a lot to live up to, and they delivered. They open with a standout rendition of Help > Slipknot! > Franklin’s Tower followed by a fine Rooster. A real nice Dire Wolf follows. Phil delivers a nice Tom Thumb’s after calls of “we want Phil!” break out. They end the set with a hot Picasso Moon > Don’t Ease.

 

A fun Iko sets the party mood for the second set, but it’s the following jam segment that’s the real highlight: Playing > China Doll > Uncle John’s > Terrapin. After a predictable Miracle out of Space, things get a little more exciting again with Phil and Brent belting out a nice Gimme Some Lovin’. Jerry cools off the intensity with a beautiful rendition of Standing On The Moon and they rock out the set with a punchy NFA to close out the set. They encore with a rare (3 of only 5) Attics.



March 31st

 

3/31/1985 Cumberland County Civic Center, Portland, ME

 

1st of a 2-show run. The first set features all well-executed songs. Highlights are Music Never Stopped which served as a bold, unusual opener. A nice fluid rendition of Candyman follows, which slides straight into the blues standard C.C. Rider. They keep the momentum going nicely with a quick segue into Loser. Brent's calliope sound added a lighter touch to the somber Dupree's Diamond Blues. The set was tight, with no extended jams, but none were necessary.

 

The second set kicked off with an energetic burst, highlighted by a funky Iko and Samson, both nice sparkling renditions. He's Gone slowed the tempo, but maintained a nice soulful vibe. The band quickly transitioned through a rare and oddly-placed Miracle and into an up-tempo China Doll. As the band left for Drums, Jerry remained onstage, soloing pensively over Mickey's delayed marimba sounds for a few minutes before heading back stage for a smoke break. The drummers shifted into an Egyptian theme, with tabla sounds. Wheel emerges from Space.

 

As it winds down, they transition into the Playing theme, which gets explored for a few minutes. The energy peaks and instead of the normal first verse of the song we find ourselves in the midst of the Playing Reprise segment. After a couple more minutes they decide to go back and start at the beginning of the song. There’s no middle jam, and it abruptly ends into a lively rendition of Day Tripper. The U.S. Blues encore was straightforward yet satisfying.

 

3/31/1988 Meadowlands Arena, East Rutherford, NJ

 

2nd of a 3-show run. This whole show exudes great positive energy. The first set kicks off with a strong reading of Hell In A Bucket, followed up by some sharp energy in Sugaree. The transition from Me and My Uncle to Mexicali Blues, is exciting. The highlight of the first set is Let It Grow, and includes Bobby's passionate singing.

 

The second set begins with the always-popular Scarlet Begonias > Fire which contains lots of great energy and a smooth transition jam. Samson includes some strong jamming, and Terrapin includes an unusually long outro jam, which involves the development of some interesting musical themes. GDTRFB > Miracle out of Space is particularly hot and Brent shines on Dear Mr. Fantasy > Hey Jude. The Knockin', encore is delivered with strong emotion and confident playing.




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


A picture of the book On This Day in Grateful Dead History

A picture of the inside of the book On This Day in Grateful Dead history opened to the chronological show list section

A picture of the inside of the book On This Day in Grateful Dead history opened to the monthly summary calendar page for the month of June

A picture of the inside of the book On This Day in Grateful Dead history opened to the page for the shows on June 24th


 
 
 

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