May Grateful Dead Show Listening Guides Part 1
- Mason's Children
- 19 hours ago
- 54 min read
Welcome to this month's Grateful Dead Show Listening Guides!
This is the part 1 of the May Listening Guides.
We're covering May 1st - May 15th in this post.
May 16th - May 31st can be found here.
Since my website hosting provider (Wix) has a blog post size limit I had to split this month's Listening Guides into two posts. If you're looking for May 16th through the 31st, you can find those listening guides here.
If you like these reviews and you want to support me, please consider buying a copy of my book On This Day In Grateful Dead History: A Daily Listening Journal. They're $50 and I offer free shipping if you subscribe to my mailing list, where you'll get these writeups delivered. No spam, I promise!
Over time, as I've written these listening guides, I marked up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights (songs names that are bolded) in the listening guide, and the songs highlighted in yellow are the ones that Howard Weiner has identified as Jam Anthem renditions. I also write notes in the space provided if I'm feeling inspired or if there are any updates such as newly released material. Ultimately you can use it however you want, but this was my original intent with the book.
By the way, if you're new here, this is my month-by-month archive of my listening guides that gives you the most interesting and significant facts from Grateful Dead History, along with reviews of the music. If you'd like to stay up to date on new reviews and other information, you can subscribe here:
May
For the month of May, I was struck by the sheer magnitude of legendary performances and historical milestones covered in these sources, particularly regarding the highly acclaimed Spring 1977 tour. It seems to me that this month represents a peak in the band's history, featuring the "Holy Trinity" of shows on May 7, 8, and 9, 1977, with the May 8th show at Cornell University often cited as one of their all-time best. The reviews consistently highlight the precision and energy of this era, with Donna Godchaux and Keith Godchaux contributing significantly to the cohesive sound.
I also found the coverage of the Europe '72 tour ending in May to be quite poignant. The run at the Strand Lyceum in London marked the final performances of the tour and, some final recordings some of Pigpen's signature songs (such as "Lovelight"), who would soon stop touring due to health issues.
Historical context is rich this month, ranging from the band's primal psychedelic era in 1969 to the polished Wall of Sound performances in 1974, such as the May 19th show in Portland. I noticed a few unique guest appearances that added flavor to specific shows, such as Clarence Clemons on saxophone in 1989, Steve Miller sitting in during a 1992 Vegas show, and John Cipollina and Boz Scaggs joining the band in 1982. It is also fascinating to read about the "An Evening With The Grateful Dead" format in 1970, which featured acoustic sets and appearances by the New Riders of the Purple Sage.
Significant historical events in Grateful Dead History for May:
The Warlocks' first known performance (5/5/1965)
Bill Kreutzmann’s Birthday (5/7/1946)
RIP Bob Marley (5/11/1981)
RIP Larry "Ramrod" Schurtliff (5/16/2006)
Carter Beauford sits in on Drums (5/21/1995)
Bob Dylan’s Birthday (5/24/1941)
First Performances
Sunrise (5/1/1977), Jack-A-Roe (5/13/1977), Attics of My Life (5/14/1970), I Hear A Voice Callin’ (5/15/1970), Passenger (5/15/1977), Iko Iko (5/15/1977), Money Money (5/17/1974), Baba O’Reiley (5/19/1992), Tomorrow Never Knows (5/19/1992), Promised Land (5/29/1971)
Final Performances
Caution (Do Not Stop on Tracks) (5/11/1972), Who Do You Love (5/11/1972), Money Money (5/19/1974), Hurts Me Too (5/24/1972), Sitting On Top Of The World (5/25/1972), Pigpen version of Turn On Your Lovelight (5/24/1972), Mr. Charlie (5/26/1972), Next Time You See Me (5/26/1972), Two Souls In Communion (5/26/1972), Chinatown Shuffle (5/26/1972)
Only Performances
Ballad of Casey Jones (5/15/1970), A Mind to Give Up Livin' (5/28/1982)
May Grateful Dead Show Listening Guide Index
Index of first 36 shows reviewed for May 1st through May 15th. Click the link to jump to the listening guide, or just scroll down.
May 1st
5/1/1977 The Palladium, New York, NY
This entire show is excellent and is marked by precision and emotive performances. The first set opens with Might As Well, setting an upbeat tone that immediately engages the audience. El Paso follows, with Bobby delivering a spirited rendition of the Marty Robbins classic. Ramble On Rose features Jerry's expressive vocals and intricate guitar work, captivating the crowd. The set continues with Cassidy and They Love Each Other, both performed with precision and warmth. The pairing of Lazy Lightning > Supplication showcases the band's rhythmic complexity and tight transitions. A heartfelt It Must Have Been the Roses provides a moment of reflection, with its flawless and classy execution, before the set concludes with a powerful Estimated Prophet, highlighting the band's ability to blend lyrical storytelling with expansive jams. Notably, the first set also includes the debut of Sunrise, adding a unique touch to the evening's performance. The set concludes with a lively Samson & Delilah, energizing the audience with its driving rhythm.
The second set kicks off with a standout Dancin' in the Streets, featuring extended improvisation and a funky groove that has the entire venue moving. Although some reviews note this version as somewhat dull compared to others, the crowd's appreciation is evident, especially during the disco changes. Brown Eyed Women provides a melodic interlude, with the band landing on this one with both feet, delivering perfect harmony vocals and rich guitar work. The playful Beer Barrel Polka tuning serves as a lighthearted ditty before launching into Playin' in the Band, which ventures into deep exploratory territory. This version of Playin' is described as having an apocalyptic feel, with Jerry scattering lightning bursts of guitar while Phil and the drummers create a rolling thunder beneath. The jam eventually dissolves into the percussive Drums segment, which is ferocious and nearly random, keeping the listener disoriented. The transition into The Other One is seamless and intense, with Phil's thunderous bass lines driving the jam forward. The menace inherent in Jerry's approach is perfect for the mood set before the drums, creating a sense of a gathering storm. A poignant Comes A Time emerges from the depths, with Jerry delivering one of his most emotive vocal performances of the evening. The band then returns to Playin' in the Band, bringing the suite full circle and concluding the set with a sense of cohesion and completeness. The encore features a tender Brokedown Palace, providing a fitting and heartfelt conclusion to the night's musical journey.
5/1/1980 Greensboro Coliseum, Greensboro, NC
This entire show is excellent. The first set opened with a lively Alabama Getaway, immediately setting an upbeat tone as it segued into Promised Land. Brent Mydland's keyboards were prominent, adding a vibrant layer to the sound. Candyman followed, with Jerry Garcia delivering an exquisite solo that highlighted his soulful touch. The pairing of Me and My Uncle > Big River brought a touch of country flair, energizing the crowd with their rhythmic drive. Althea was unusually upbeat for the era, showcasing the band's tight instrumentation, while Easy to Love You highlighted Brent's vocal prowess and spirited energy. New Minglewood Blues injected a bluesy groove, leading into a standout Sugaree that stretched over twelve minutes, marked by Jerry's jet-propelled fanning and constant jamming. The set concluded with a powerful trio of Lost Sailor > Saint of Circumstance > Deal, demonstrating the band's seamless transitions and dynamic range, with Bobby Weir's vocals and guitar work shining through.
The second set began with Feel Like a Stranger, delving into funk-infused rhythms that captivated the audience. Don't Ease Me In provided a brief, upbeat interlude before the band launched into an extraordinary version of Estimated Prophet. This performance was notable for its muscular jam, which built up into a reprise of the upbeat riffs, a rare occurrence that only happened three times in the band's history (here, 5/9/81 and 4/19/82). The jam seamlessly transitioned into Uncle John's Band, blending intricate harmonies with improvisational flair. The Drums and Space segments allowed for exploratory rhythms and ambient soundscapes, leading into a poignant Wharf Rat. The set closed with the high-energy pairing of Around and Around and Johnny B. Goode, leaving the crowd exhilarated. Notably, this was the last version of Around and Around for a decade to feature the double-time jam at the end. The band returned for a heartfelt rendition of Brokedown Palace, offering a serene conclusion to an electrifying evening.
May 2nd
5/2/1970 Harpur College, Binghamton, NY
Officially released on Dick's Picks Volume 8. One of the most iconic shows in the Grateful Dead catalog. It's just full of special moments. When you listen to the recordings you can tell this was a fun night!
The evening began with an acoustic set that showcased the band's harmonious vocals and storytelling prowess. Don't Ease Me In and I Know You Rider set the tone with their classic folk roots, while Friend of the Devil and Dire Wolf added a narrative charm. The set's energy fluctuated with the somber Black Peter contrasting the lively Candyman and Cumberland Blues. Traditional tunes like Deep Elem Blues and Cold Jordan, featuring members of the New Riders, added depth, culminating in a strong, set-closing Uncle John's Band with tasteful percussion highlights.
Transitioning to the electric set, the band launched into St. Stephen, which seamlessly segued into Cryptical Envelopment and an extended Drums segment. This set was marked by the band's exploratory nature, particularly in The Other One, where Phil's bass unleashed a monster opening statement, and Jerry's guitar screamed with intensity. Cosmic Charlie and Casey Jones provided melodic relief, while Good Lovin' featured Pigpen's dynamic vocals and a hyperkinetic jam that left the audience in awe. The set concluded with Cold Rain and Snow, It's a Man's World, and a spirited Dancing in the Street, the latter being a Jam Anthem version that highlighted the band's ability to create a psychedelic groove.
The final set, a late-night jam, began with a haunting Morning Dew, followed by a raucous Viola Lee Blues, another Jam Anthem version that demonstrated the band's improvisational depth. The intensity of Viola Lee Blues was unmatched, with Jerry's guitar turned all the way up, creating a cacophony of sound that was both terrifying and exhilarating. An experimental Feedback segment led into the traditional And We Bid You Goodnight, providing a gentle conclusion to the marathon performance. This show, with its blend of acoustic warmth and electric intensity, remains a quintessential Grateful Dead experience, capturing the essence of their live performances during a transformative period in American history.
May 3rd
5/3/1972 Olympia Theatre, Paris, France
All or some songs were officially released on Europe '72 The Complete Recordings, Europe '72 and Europe '72 Volume 2. The first set kicks off with a spirited Bertha, setting an energetic tone that flows into a lively Me and My Uncle. Mr. Charlie follows, with Pigpen's gritty vocals and harmonica adding depth to the bluesy number. Sugaree offers a heartfelt rendition, marked by Jerry's emotive guitar work and Phil's resonant bass lines. The momentum continues with Black Throated Wind and Chinatown Shuffle, leading into a seamless China Cat Sunflower > I Know You Rider, a pairing that showcases the band's tight interplay and is a highlight of the set. Beat It On Down the Line and He's Gone further demonstrate the band's evolving sound, with Pigpen returning for a soulful Next Time You See Me. The set's centerpiece, Playing in the Band, stretches over 11 minutes, venturing into exploratory jams that captivate the audience. The energy remains high with Tennessee Jed and a dynamic Good Lovin', featuring an extended jam and Pigpen's charismatic vocals. The set concludes with a poignant Sing Me Back Home and a rousing Casey Jones, leaving the crowd eager for more.
The second set opens with a robust Greatest Story Ever Told, followed by a heartfelt Ramble On Rose. Pigpen's emotive delivery on Hurts Me Too adds a bluesy touch before the band launches into a powerful Truckin', which seamlessly transitions into an expansive The Other One suite. This segment is a highlight of the performance, featuring intricate jams, a rhythmic Drums interlude, and a return to The Other One, showcasing the band's improvisational depth. A surprise segue into Me and Bobby McGee provides a melodic respite before diving back into The Other One, culminating in a soulful Wharf Rat. The set continues with Jack Straw, followed by Sugar Magnolia and a high-energy Not Fade Away > Goin' Down the Road Feeling Bad > Not Fade Away sequence, demonstrating the band's seamless transitions and tight musicianship. The evening concludes with a spirited One More Saturday Night, leaving the Parisian audience exhilarated.
5/3/1979 Charlotte Stadium, Charlotte, NC
A well-known show among tape traders and is not to be skipped over! They delivered a night of high-energy jams and intricate musical explorations, showcasing their ability to blend storytelling with improvisational jamming. The first set opened with a lively Promised Land, setting an upbeat tone for the evening. Brown Eyed Women followed, with Jerry's vocals and guitar work shining brightly. The seamless transition from Me and My Uncle into Big River highlighted the band's tight interplay, a testament to their cohesive sound. Stagger Lee was a particular highlight, with Phil's ferocious bass lines and Jerry's dynamic vocals, transforming the song into a chaotic yet exhilarating storm. Bobby's confident delivery on Looks Like Rain compensated for Donna's absence, adding depth to the performance. After an average Row Jimmy, the set concluded with It's All Over Now and a spirited Deal, both of which were crowd-pleasers. The Deal was especially notable for its energy, with the band and audience seemingly in sync, creating a palpable excitement that left the crowd eager for more.
The second set was a powerhouse of musical exploration, beginning with a rousing Samson and Delilah. Jerry's rapid-fire playing and Phil's commanding bass lines drove the performance, setting the stage for a groovy Tennessee Jed. The standout moment of the set was the 12-minute Terrapin Station, which seamlessly transitioned into an expansive 18-minute Playing in the Band. This sequence showcased the band's improvisational skills, as they navigated through complex musical landscapes. The Playing jam evolved into a tribal Drums segment, where Billy and Mickey explored rhythmic textures, before moving into Space, continuing the band's deep dive into improvisation. A heartfelt Black Peter followed, providing a moment of introspection before the band launched into Not Fade Away, which was delivered with high energy and enthusiasm. The set concluded with a reprise of Playing in the Band, bringing the musical journey full circle. The encore, U.S. Blues, featured a nice solo by Jerry, sending the audience home on a high note.
May 4th
5/4/1972 Olympia Theatre, Paris France
All or some songs were officially released on Europe '72 The Complete Recordings, Europe '72 and Europe '72 Volume 2. Simply put, this is incredible music. The entire show is excellent and if you've never listened to it, please do. The first set kicks off with a vibrant Greatest Story Ever Told, setting an energetic tone for the evening. Deal follows, showcasing Jerry's crisp vocals and fluid guitar work, while Pigpen's bluesy flair shines through in Mr. Charlie and Chinatown Shuffle. The band then delves into Playing in the Band, offering a tight jam that hints at the improvisational depths to come. Emotional highlights include a heartfelt You Win Again and a soulful It Hurts Me Too, with Pigpen on harmonica adding a layer of emotional depth. The set concludes with a series of strong performances: He's Gone, El Paso, Big Railroad Blues, and the poignant Two Souls In Communion, further highlighting Pigpen's emotive vocal delivery. Casey Jones closes the set.
The second set opens with a high-energy Good Lovin', extending over 23 minutes and featuring dynamic interplay between Pigpen and the rest of the band. This is followed by Next Time You See Me, Ramble On Rose, and Jack Straw, each executed with precision and enthusiasm. The centerpiece of the set is the monumental Dark Star, which unfolds over two segments, interspersed with a Drums solo by Billy. This rendition traverses various musical landscapes, from jazz-infused passages to darker, more abstract explorations, exemplifying the band's improvisational mastery. Emerging from Dark Star, the band launches into a jubilant Sugar Magnolia, providing a stark contrast to the preceding sonic journey. The set continues with a moving Sing Me Back Home, a lively Mexicali Blues, and a gritty Big Boss Man, before culminating in a celebratory Uncle John's Band. The encore features a spirited Goin' Down the Road Feeling Bad > Not Fade Away, before concluding the evening with a rousing One More Saturday Night, leaving the audience in high spirits.
5/4/1977 The Palladium, New York, NY
This show, often overlooked, features a seamless blend of tight, energetic playing and exploratory jamming, making it a standout from this period in the band's history. The first set opens with a spirited Mississippi Half-Step Uptown Toodeloo that effortlessly flows into a rollicking Big River, setting an upbeat tone for the evening. The band continues with They Love Each Other, where Jerry's melodic leads and Brent's complementary keyboard textures shine. New Minglewood Blues follows, with Bobby delivering dynamic vocals in a gritty rendition. A tender It Must Have Been The Roses provides a moment of introspection before transitioning into a lively Cassidy, marked by intricate rhythms and tight interplay. Jerry's fiery guitar solos in Deal elicit enthusiastic responses from the audience, while Looks Like Rain features emotive harmonies between Bobby and Donna. The momentum continues with a buoyant Brown Eyed Women, leading into a nearly 19-minute Dancing In The Street, which closes the set with an exuberant display of funk-infused jamming.
The second set begins with a "fat" Estimated Prophet, characterized by its signature syncopated rhythms and psychedelic overtones, setting the stage for an exploratory journey. This segues into a quintessential pairing of Scarlet Begonias and Fire On The Mountain, with seamless transitions and Jerry's solos weaving through the melodies, creating a captivating tapestry of sound. The band then introduces Terrapin Station, a relatively new addition to their setlists, performed with precision and grandeur. The ensemble embarks on an expansive Playing In The Band, venturing into uncharted territories before gently landing into a poignant Comes A Time, showcasing Jerry's soulful vocals and emotive guitar work. Concluding the journey, the band revisits Playing In The Band, bringing the set full circle with a powerful reprise. The absence of an encore underscores the completeness of the performance, leaving the audience in awe as they shuffle out into the street, fully satisfied by the musical journey they have just experienced.
May 5th
The Warlocks' first known performance (5/5/1965)
5/5/1965 Magoo's Pizza Parlor, Menlo Park, CA
The first known performance of The Warlocks occurred on this date in 1965. Unfortunately, no recordings are known to exist. Maybe one will surface some day! I like to carve out time to watch the Long Strange Trip documentary this time of year and think about how serendipitous it was that all these people met and formed friendships and partnerships that led to the creation of the Grateful Dead and the surrounding scene.
On May 5, 1965, the band that would become the Grateful Dead made their public debut or first-ever gig. For this initial performance, they were billed under the name "The Warlocks". The show took place at Magoo's Pizza Parlor in Menlo Park, CA, although one source also mentions a pizza parlor in Palo Alto, CA. The initial lineup for this performance consisted of Jerry Garcia, Ron "Pigpen" McKernan, and Bob Weir, who had previously played together in Mother McCree's Uptown Jug Champions and wanted to shift to electric music, along with Bill Kreutzmann on drums and Dana Morgan Jr. on bass. Bill Kreutzmann was two days shy of his 19th birthday at the time. Phil Lesh would replace Dana Morgan Jr. on bass after a handful of these initial shows. At this stage, The Warlocks were primarily a covers band. The band continued playing as The Warlocks through the summer and early fall of 1965, eventually changing their name to the Grateful Dead about seven months after this debut on December 4th, 1965 when the band would make their first public performance as The Grateful Dead.
5/5/1977 Veterans Memorial Coliseum, New Haven, CT
Officially released on May 1977: Get Shown The Light. This is a splendid performance by the Dead, exemplified by the mature and powerful sound in 1977.
The first set opens with an impressive Promised Land, setting the tone for the evening with its stately pace and powerful energy. The rhythm section, recently reunited, provides a solid foundation that drives the band effortlessly. The highlight of the set is undoubtedly the Jam Anthem rendition of Sugaree, one of the longest and finest versions ever performed by the Dead. Jerry's soulful vocals and inventive guitar work, alongside Keith's mellow piano, create a series of coruscating jams that captivate the audience. The set continues with a sparkling Mama Tried segueing into El Paso, and a Tennessee Jed featuring a complex solo. Looks Like Rain showcases the excellent vocal performances of Bobby and Donna, while Jerry's supporting role adds depth to the song. The set concludes with a slyly exuberant Deal, a finely executed Lazy Lightning > Supplication, an excellent Peggy-O, and a fervent The Music Never Stopped, making for a nearly ninety-minute first set of great quality.
The second set kicks off with Bertha, featuring fine vocals and an extended jam that highlights the band's cohesion. Estimated Prophet follows, with a psychedelic closing jam that, although shorter than expected, is wonderfully trippy. The transition into Scarlet Begonias > Fire on the Mountain is unusually mellow, with Keith and Bobby joining Jerry in drawing out the jam. Phil's solid groove and Jerry's prismatic guitar lines make Fire on the Mountain a standout, despite its somewhat abrupt conclusion. The set continues with a tight and romantic Good Lovin', followed by the unmistakable notes of St. Stephen. Jerry's furious guitar playing and the band's tight performance make this a clear standout, leading into a powerful Sugar Magnolia. The encore, Johnny B. Goode, is a high-energy rock 'n' roll finish to a truly magnificent show, despite some equipment issues in the second set that slightly mar the extended jams.
May 6th
5/6/1980 Recreation Hall, Penn State University, State College, PA
This was mostly released on Road Trips Volume 3 Number 4. It captures a vibrant and energetic performance that captivated the audience from start to finish.
The first set kicked off with a lively Alabama Getaway into Greatest Story Ever Told, setting the tone for the evening. The crowd was quickly brought to a hush with a beautiful rendition of Peggy-O. After some tuning, the audience's clapping led into an energetic Me and My Uncle > Big River, and a sweet Loser. The crowd remained attentive during Far from Me, a track from Go to Heaven, which had been released just a week prior. The energy surged again with a snappy Lazy Lightning > Supplication, waking the audience up with its vibrant tempo. A slow, stately Althea soothed the masses, leading into a mellow Lost Sailor that built up into a rip-roaring Saint of Circumstance to close the set. Highlights of this set included the standout performances of Lazy Lightning, Althea, and Saint of Circumstance.
During the intermission, the charged-up audience packed the floor, and as the second set began, Bobby urged the crowd to take a step back. The band cleverly jammed on the "Step Back" melody, which seamlessly transitioned into China Cat Sunflower, drawing big cheers from the crowd. This flowed into a really hot I Know You Rider, featuring jam after jam that kept the energy high. After a brief pause, Feel Like a Stranger continued the momentum with notable interplay between Brent and Bobby. The song wound down and perked up with a little jam into He's Gone, where the crowd's clapping during the gospel-y section seemed to inspire the show highlight: a powerful and extended jam into The Other One. This rendition was longer than average and quite tasty, eventually winding down into a short drum solo. After some brief noodling by Jerry, the band delivered an OK Wharf Rat, which unfortunately didn't reach the heights of previous performances. The set concluded with Around and Around, which was notably missing its usual double-time jam, instead transitioning into Johnny B. Goode. The encore of Brokedown Palace provided a nice, gentle conclusion to the evening.
5/6/1981 Nassau Veterans Memorial Coliseum, Uniondale, NY
Officially released on Dick's Picks Volume 13. A truly legendary show due to the voracity of the playing. The band is on fire, and it's intense!
The fist set opens with a fiery Alabama Getaway > Greatest Story Ever Told combo, setting a brisk pace that immediately engages the audience. Jerry and Phil sound refreshed yet tense, attacking each song with vigor. Cassidy roars with energy, while Little Red Rooster features scorching solos from Brent, Bobby, and Jerry, with Phil driving the blues beat deep into the crowd. Let It Grow showcases some of Jerry's most inventive and nearly out-of-control playing, leading into a hard-rocking Deal that closes the set with fierce strumming from Jerry and Bobby.
The second set begins with a routine New Minglewood Blues, which momentarily lowers the energy before Jerry finds his footing with a sweet rendition of High Time, complete with a delicate yet piercing solo. The energy surges with Lost Sailor > Saint of Circumstance, where Bobby's inspired singing and the band's two-pronged assault create a hair-raising climax. He's Gone is dedicated to Bobby Sands, adding an extra layer of emotion, culminating in Jerry's harrowing howls of grief. This transitions into a legendary jam sequence: a Caution Jam emerges, driven by Jerry and Bobby's intense strumming, followed by a jazzy interlude that morphs into a slick variation of the Spanish Jam. The band then descends into Drums, setting the stage for a soaring The Other One that brims with intensity despite minor miscues. Goin' Down the Road Feelin' Bad is noteworthy for Jerry's stunning second solo, leading into a solid Wharf Rat. The night concludes with a rocking Good Lovin', leaving the Nassau crowd in awe of the Grateful Dead's prowess.
May 7th
Bill Kreutzmann’s Birthday (5/7/1946)
5/7/1972 Bickershaw Festival, Wigan, England
Officially released on Europe '72 Complete Recordings and Europe '72 Volume 2. Another amazing show from this amazing tour. Overall, the Bickershaw Festival performance was a shining example of the Grateful Dead's ability to blend structured songs with freeform jams, creating an unforgettable live experience. The concert not only brought sunshine to a rain-soaked festival but also left a lasting impression on all who were fortunate enough to witness it.
The first set opened with a dedication "To all our muddy friends" as the band launched into Truckin', setting the tone for a vibrant and energetic performance. The set was a long two-hour journey through some of the Dead's shorter tunes, with highlights including a spirited Casey Jones, which featured Joe's Light Show with bouncing ball lyrics and a train crossing from one screen to another. The audience was treated to an inspired transition between China Cat Sunflower > I Know You Rider, showcasing the band's tight musicianship. Despite a few technical halts and some songs like He's Gone and Playing in the Band still finding their groove, the set was a thrilling experience for both new and seasoned fans.
The second set truly captured the magic of the Grateful Dead, with standout performances that have become legendary. The Jam Anthem version of Greatest Story Ever Told kicked things off with a powerful energy. The centerpiece of the set was the mesmerizing sequence of Dark Star > Drums > The Other One > Sing Me Back Home, with "Dark Star" and "The Other One" providing a cosmic journey that dissolved beautifully into the soulful "Sing Me Back Home." Pigpen was in good voice, adding depth to the performance, even if he didn't deliver a "Caution" as in other European shows. The set continued with a Jam Anthem version of Turn On Your Lovelight, which transitioned into Goin' Down the Road Feelin' Bad and concluded with Not Fade Away, leaving the audience in awe of the band's improvisational dexterity.
5/7/1977 Boston Garden, Boston, MA
Officially released on May 1977: Get Shown The Light. This one lives in the shadows of "the" show from the next night, but there is a lot of excellent music here. Some people prefer this show to the 8th, but I love them both. Highlights include the Jam Anthem version of "Half Step", "Music", "Terrapin > Samson", and "Eyes" through the end of the show.
The fist set kicks off with a lively Bertha, where both the band and Jerry Garcia's soloing are fluent and rolling, setting a high bar for the evening. A humorous lyric flub has Jerry and Donna Godchaux laughing, adding a touch of spontaneity to the performance. Cassidy follows, featuring a great, albeit short, jam and strong vocals from Donna. The momentum continues with Deal, showcasing a boogie-woogie jam led by the drummers, Keith Godchaux, and Jerry. Bobby Weir keeps the energy high with Jack Straw, delivering a laid-back yet powerful rendition that epitomizes the "1977 sound." A brief respite comes with Peggy-O, where Jerry and Keith trade off riffing magnificently. The raunchy New Minglewood Blues brings the energy back up before the Jam Anthem version of Mississippi Half-Step Uptown Toodeloo steals the spotlight, with Phil Lesh and Jerry intertwining exuberantly into Big River. The set closes with The Music Never Stopped, featuring Donna's spot-on harmonies and a crescendo-building jam led by Jerry's crystalline guitar runs.
The second set begins with a precise execution of Terrapin Station > Samson and Delilah, with Keith's fine form shining through. Estimated Prophet follows, with Bobby's superb vocals and angular rhythm guitar complementing Phil's swinging bass lines. Jerry's effortless jamming transitions into an up-tempo Eyes of the World, where the vocals and jams soar over Phil's prodigious bass notes. Although the expected closing jam is cut short by the drummers, the intense Drums segment leads into The Wheel, offering a reflective respite. A long, space-like jam emerges, with Jerry taking the lead before the band transitions into Wharf Rat, where Keith and Phil continue their stellar contributions. The set concludes with a high-energy Around and Around, followed by a fiery U.S. Blues, ending the show on a note of berserker fury and leaving the audience in awe of the band's ability to create magic.
5/7/1979 Kirby Field House, Lafayette College, Easton, PA
Probably the best Dead show you've never heard. This entire show ranks among the all-time best performances in my opinion because it showcases the band's ability to connect with the audience through a mix of laid-back and high-energy performances.
The first set opens with a leisurely rendition of Don't Ease Me In, setting a relaxed tone that recalls the band's earlier performances, such as on 12/5/71. The crowd's energy is palpable, and the band feeds off it, transitioning into a fiery Me and My Uncle > Big River. Jerry's guitar work soars, while Bobby's vocals add a frantic edge, driving the audience into a frenzy. After some extended tuning, the band shifts gears with a soothing Candyman, methodically sung by Jerry, followed by a heartfelt Looks Like Rain, where Bobby and Jerry's emotional interplay captivates the listeners. Jerry then leads the band into a crisp and emphatic Tennessee Jed, before launching into a raucous New Minglewood Blues that reignites the crowd's excitement. The set continues with a gentle Peggy-O, providing a moment of calm before the explosive Jam Anthem version of Passenger closes the set. Jerry's unexpected and massive jam during the finale leaves the audience in awe.
The second set kicks off with an outstanding Shakedown Street, where Jerry's ear-numbing jams and Phil's quirky bass bombs create a unique and humorous effect. The energy remains high with a nearly perfect Jack Straw, followed by a bouncy and well-executed Stagger Lee. The band then delves into the extended jam portion of the night with Estimated Prophet, showcasing Jerry and Phil's improvisational prowess as they transition seamlessly into Eyes of the World. The joyous and contemplative nature of Eyes gradually gives way to a haunting Drums segment, in celebration of Billy's birthday, followed by an equally eerie Space. The arrival of John Cipollina on stage marks the beginning of Not Fade Away, where his contributions add depth to the lengthy and dance-inducing jams. Bobby's vocal antics lead into a poignant Black Peter, with its sorrowful finale, before the set concludes with a high-energy Around and Around that nearly brings the house down. The encore, U.S. Blues, is a fitting and exceptional conclusion to the evening, providing a much-needed study break for the students at Lafayette College.
5/7/1980 Barton Hall, Cornell University, Ithica, NY
Officially released on Road Trips Volume 3 Number 4. Another excellent show on this day that lives in the shadows of 5/8/77, but again - there are some epic moments here which showcases the band in fine form, with standout performances and a nearly flawless second set.
The first set kicks off with a vibrant Jack Straw, setting the tone for the evening. Cassidy follows, with its usual jam segment loosening up the band early on. Row Jimmy is delivered with Jerry's sweet vocals capturing the song's melancholy, while Bobby's rowing motions add a visual element to the performance. El Paso is short but effective, and Easy to Love You highlights Brent's contributions with its final version of the lyrics. Althea grooves along, though it was becoming overplayed at the time. The set closes with a powerful Feel Like a Stranger, showcasing the band's ability to explore "funk" spaces, and a fun but superfluous Don't Ease Me In.
After a break, the second set launches with a killer Shakedown Street, continuing the funk standard set by the first set's closer. This version of Shakedown is notable for its extended vocal segment and seamlessly transitions into Bertha, a rare combination that delights the crowd. Playing in the Band follows, with Bobby customizing the lyrics to reference "Playing in the barn," leading into an incredible Terrapin Station. This stretch from Shakedown to Terrapin is classic Dead, resonating with power and emotion. The Drums segment provides a welcome respite, leading into Space and then Saint of Circumstance, which lifts the energy back up. The transition into Wharf Rat allows the music to find a new plateau, before launching back upward with the Playing in the Band reprise and a rousing Good Lovin'. The encore, Alabama Getaway, is a fitting end to a strong and satisfying performance.
May 8th
5/8/1977 Barton Hall, Cornell University, Ithica, NY
Officially released several times including May 1977: Get Shown The Light, and Cornell 5/8/77. What else can I say that hasn't already been said? I just take it for what it is: another killer show during a peak time in the Dead's history. It is one of my all-time favorite shows, partly because it was one of my first high quality tapes and I played the shit out of it. The combination of the superior sound quality and the flawless performance made it a go-to for me in the early days. As I acquired additional similar high-quality recordings, it wasn't played as frequently. But every time I revisit this show I'm always blown away like it's the first time I'm hearing it. The ability for this show to make me feel that way is what makes this show stand out so much (for me at least).
The first set opens with a spirited New Minglewood Blues, setting the tone for the evening. The highlight of the first set is undoubtedly Loser, where Jerry's biting lead guitar lines and Keith's organ work create a somber, Old West atmosphere. The set continues with El Paso, They Love Each Other, and Jack Straw, each performed with the tightness characteristic of the spring '77 tour. Deal is unremarkable, but Lazy Lightnin' > Supplication brings a burst of energy, with Jerry's intricate noodling and Keith's playful organ work. Brown Eyed Women and Mama Tried maintain the momentum, with Phil humorously acknowledging Mother's Day by saying “thanks mom”. Row Jimmy stands out with Jerry's dreamy slide guitar, leading into a remarkable Dancin' in the Streets. Despite a minor vocal miscue by Bobby, the band locks into a groove, with Jerry's leads soaring to new heights, concluding the set on a high note.
The second set begins with the legendary Scarlet Begonias > Fire on the Mountain. The transition is seamless, with Donna's vocal improvisations and Keith's repetitive riffs setting the stage for Jerry's masterful guitar work. The ensuing jam in Fire on the Mountain reaches an emotive crescendo, showcasing the band's synergy and Jerry's unparalleled intensity. Estimated Prophet follows, with Donna's confident vocals and Keith's eerie organ creating a perfect atmosphere. The set continues with a classic Saint Stephen, where the band builds energy steadily, despite a minor vocal misstep by Donna. The segue into Not Fade Away is natural, with Jerry and Bobby engaging in a captivating guitar conversation, supported by Billy and Mickey's relentless rhythm. The jam evolves into a drum-bass duet, highlighting the Rhythm Devils' prowess. The return to Saint Stephen leads into a transcendent Morning Dew, where Jerry's emotive vocals and the band's dynamic interplay create a churchlike atmosphere, culminating in an unparalleled crescendo. The encore, One More Saturday Night, brings the concert to a rousing close, leaving the audience in awe of the night's performance. As concertgoers exited into unexpected May snow flurries, they carried with them the memory of a truly magical evening, one that would become an iconic performance that continues to resonate with Deadheads around the world.
5/8/1979 Recreation Hall, Penn State University, State College, PA
If you're sick of 5/8/77 and looking for something different to satisfy your soul, look no further. This is a really strong show. Every song is played with conviction and purpose. The boys are in sync the entire time and there are some truly beautiful moments that you don't want to miss! I like the Barry Glassburg MOTB Nak 700 FOB tape.
The first set opens with a strong and fast rendition of Promised Land, setting the tone for the evening. They Love Each Other follows, featuring strong, deliberate percussion and a beautiful solo by Jerry that elevates the song to a danceable groove. All Over Now continues the momentum, with Jerry extending the theme into great dance jams, much to the delight of the crowd. Brent's bold and foregrounded playing adds a fresh dynamic to the mix. Row Jimmy offers long, lilting jams that evoke a sense of glory, while Stagger Lee maintains the set's strength. Each song is played with conviction and purpose, making for a consistently strong first half.
The second set truly explodes with one of the finest performances of Scarlet Begonias > Fire on the Mountain you'll ever hear. This version is not dreamy and exploratory but rather orchestrated and driving, like riding a rocket up Mount Everest. The band is perfectly in sync, achieving unprecedented heights of intensity. Following this, the set continues with an excellent Terrapin > Playin' sequence. Post-Drums/Space, the band delivers standout moments with The Other One > China Doll > Playin' > Good Lovin'. China Doll is particularly notable as a 110-show breakout, adding a special touch to the evening. The encore features a rare (4th of 9), fat and funky Shakedown Street that will have you dancing your ass off, providing a perfect conclusion to a night filled with musical highlights.
5/8/1980 Glens Falls Civic Center, Glens Falls, NY
Another incredible May 8th show that you might not heard before. High-energy show full of great moments, and it helps that there are some really nice tapes available.
The first set opened with a powerful Alabama Getaway > Promised Land, setting the tone for the night. The band delivered a lively rendition of Lazy Lightning > Supplication, with the former receiving a particularly spirited treatment. Friend Of The Devil and High Time were standout performances, with the latter being a first-time live experience for many in the audience. The set concluded with a dynamic Lost Sailor > Saint of Circumstance, showcasing the evolution of the medley since the previous year, especially during the "rain falling down" section.
The second set was a seamless journey through some of the Dead's most beloved songs. Uncle John's Band was a special treat for East Coast fans, many of whom were hearing it live for the first time. The transition into Estimated Prophet was executed flawlessly, maintaining the momentum. The Drums > Space segment, though relatively short, captivated the audience with its exploratory nature, leading into a solid Truckin' > Stella Blue. The set was punctuated by a high-energy Chuck Berry medley, leaving the crowd exhilarated. Overall, the band's tightness and energy were several notches above their recent performances, making this show a memorable experience for all in attendance.
May 9th
5/9/1977 Buffalo Memorial Auditorium, Buffalo, NY
Officially released on May 1977: Get Shown The Light. This is an excellent listening companion to 5/8/77 and other May, 1977 shows. What's interesting is how the Dead were experimenting with song placement during this time period. This concert is a standout show that, despite existing in the shadow of the legendary Cornell show from the previous night, offers a unique and introspective experience.
The first set opens with a remarkable and tight rendition of Help on the Way > Slipknot! > Franklin's Tower, setting the tone for the evening. This sequence, which had been experimented with in different positions throughout the tour, showcases the band's willingness to explore and refine their setlist. Following this, a beautiful performance of Cassidy captivates the audience. The set closes with a Jam Anthem version of The Music Never Stopped, leaving the crowd eagerly anticipating the second set.
The second set is a masterclass in musical exploration and cohesion. It features a spacey and almost meditative sequence of Estimated Prophet > The Other One > Drums > Not Fade Away > Comes a Time (Jam Anthem version) > Sugar Magnolia. Each transition is seamless, with the band members displaying top-notch playing throughout. The introspective nature of The Other One and Comes a Time highlights the band's ability to delve into deeper, more contemplative musical spaces. The set concludes with a rousing Sugar Magnolia, bringing the energy back up and leaving the audience in high spirits. For the encore, the band treats the audience to Uncle John's Band, a perfect way to end the evening. Uncle John’s Band, which would appear again as an encore on May 15th in St. Louis, serves as a delightful reminder of the band's ability to connect with their audience through timeless music. Overall, this concert is a beautiful-sounding reminder of the Grateful Dead's exceptional talent and creativity during this exciting period in their history.
5/9/1979 Broome County Arena, Binghamton, NY
A highly underrated show that you should definitely give a listen to, especially if you've heard 5/9/77 a bunch of times and are looking for something new. The boys are locked in and they deliver the goods. High energy performances abound here. Don't skip this show!
The first set kicks off with a massive 16+ minute version of Sugaree, setting the tone for the evening with its extended jams and Jerry's soulful solos. The energy remains high with perfectly played renditions of Minglewood, Friend Of The Devil, Stagger Lee, and Jack Straw, each sprinkled with that extra magic dust that elevates them beyond the ordinary. The band is locked in, and the chemistry among the members is palpable, making for a thoroughly engaging first half.
As the second set begins, the anticipation in the arena is electric, especially for those hoping to hear the return of the beloved China Cat Sunflower > I Know You Rider. When Jerry and Bobby launch into the opening notes, the crowd erupts, and the performance that follows is nothing short of legendary. This version is hailed as the supreme-bar-none, with energy levels that soar, particularly during "I Know You Rider," where Jerry's vocals and the band's solos reach new heights. The audience's response is so overwhelming that it nearly drowns out the PA and stage volume. Following this peak, the band mellows the vibe with a heartfelt He's Gone, leading into a jam that showcases Phil's dominating bass lines. The set continues to build with a powerful Truckin', where the jam reaches peak after peak, fueled by Jerry and Bobby's interplay. Phil's bass bombs during the jam are a highlight, leaving the audience in awe and ensuring that everyone leaves with their jaws dragging on the floor. The entire post-Drums > Space segment is tight as well: Wharf Rat > Sugar Magnolia and a rousing Johnny B. Goode encore.
5/9/1987 Laguna Seca Recreation Area, Monterey, CA
This entire show is one excellent "Sugar Magnolia/Sunshine Daydream" sammich. And boy, is it tasty!! This song played as a show opener has historically been strongly associated with the infamous 12/31/78 New Year's Eve performance (and they only did this a total of 5 times), so you know you're in for one hell of a party when they open with it! This is the show that was used for filming of the "Touch Of Grey" music video and several members of the audience were invited back stage afterwards to help with the filming of the video.
The first set kicked off with an exhilarating Sugar Magnolia that seamlessly transitioned into Sugaree, setting the tone for a high-energy performance. The opening sequence was a delightful surprise, drawing smiles from the audience and establishing the "Sugar Magnolia" sandwich theme for the evening. The weather was perfect, and the sound was impeccable, with Phil's bass resonating clearly throughout the venue. The rest of the first set consists of good but standard renditions of every song. During Tons Of Steel Brent sings “I can only hope my bass player will cut me a little slack”. The set concluded with a standout performance of Let It Grow showcasing the band's tight musicianship and the beautiful California setting.
The second set maintained the momentum with a powerful sequence of Touch Of Grey > Looks Like Rain > He's Gone. The band was in top form, and the audience was fully engaged, especially during The Wheel. The set continued with a dynamic Other One > Wharf Rat > Around & Around > Sunshine Daydream, bringing the "Sugar Magnolia" theme full circle. The interplay between Jerry, Bobby, and Phil was particularly noteworthy, creating a rich tapestry of sound that captivated the crowd. The encore featured a rare (4th of 5) and lively Iko Iko, ensuring that the party atmosphere lingered even as the show came to a close.
May 10th
5/10/1972 Concertgebouw, Amsterdam, Netherlands
Officially released on Europe '72 The Complete Recordings. Of course this is a very well-played show. The combination of exceptional musicianship, intricate jams, and soulful performances makes this a must-listen.
The fist set kicks off with a slightly out-of-sync start, but the band quickly finds their groove, setting the stage for an exceptional evening. Bertha begins the set, though the tape cuts into its intro, a common occurrence in those days. Me and My Uncle and Mr. Charlie follow, with Pigpen delivering an outstanding vocal performance on the latter. China Cat Sunflower features one of the longest intros ever, highlighted by some vintage piano work from Keith. The jam transitions into I Know You Rider, which, despite being more mellow and lethargic than usual, still captivates the audience. Black-Throated Wind is solid, with Phil's bass lines leading the way. The set continues to impress with a melodic jam in Playing in the Band and a standout piano solo from Keith in Chinatown Shuffle. The first set concludes with stellar renditions of Tennessee Jed, Big Boss Man, and Greatest Story Ever Told.
The second set opens with a monumental Truckin' > The Other One sequence, considered one of the best ever performed. This sixty-two-minute journey is filled with six distinct jams, each taking the listener on a far-reaching musical exploration. The highlight is undoubtedly The Other One, a mesmerizing odyssey that showcases the band's improvisational genius. The set maintains its momentum with a beautiful rendition of Sing Me Back Home and a rousing performance of Not Fade Away. The sheer length and quality of this show are a testament to the Dead's groove and enjoyment of the night, making it a standout performance on this iconic tour.
5/10/1978 Veterans Memorial Coliseum, New Haven, CT
Officially released on Dick’s Picks Volume 25. An incredible show that we’re lucky to have in perfect audio quality straight from the Vault master tape. The boys are fully synced with each other for this entire performance and there isn’t a single bad moment.
The first set opens with a powerful rendition of Jack Straw, setting the tone for the evening with its aggressive vocals and musical peaks. The band maintains this high energy throughout the set, with each song played to perfection. Cassidy and Let It Grow > Deal are standout performances, with "Let It Grow" featuring an intense jam where Jerry's fanning on the guitar elevates the energy in the room. The connection between the band and the audience is palpable, creating an electric atmosphere that fuels the performance.
In the second set, the band continues to engage in a joyous interplay with the audience. The set is highlighted by the Estimated Prophet > Eyes of the World sequence, showcasing the band's ability to weave complex musical narratives. The percussion jam that follows is a testament to the experimental spirit of the Dead during this tour, with Billy and Mickey leading a massive percussion session that enlists roadies and utilizes every available instrument. This jam serves as a prelude to the evening's crowning moment: The Other One. The post-"Drums" segment features a thrilling musical chase between Jerry and Phil, with Phil's bass bombs punctuating the jam. The improvisation before "The Other One" is longer than the song itself, creating a mesmerizing experience that must be heard to be fully appreciated.
May 11th
RIP Bob Marley (5/11/1981)
5/11/1972 Rotterdam Civic Hall, Netherlands
Officially released on Europe ‘72 The Complete Recordings. Not a bad note in the entire show with every song perfectly executed. The band is not messing around, and has you into deep space within the first 5 minutes of the show with the opening Playing.
The first set opens with a heavyweight, no-nonsense version of Playing in the Band, immediately setting the tone for the evening with its deep space exploration within the first five minutes. The band delivers a series of perfectly executed songs, with China Cat Sunflower > I Know You Rider standing out as a major highlight. Despite a technical issue causing the a cappella section of "I Know You Rider" to fade out, the performance remains of a frighteningly high standard throughout. The emotive singing, especially from Pigpen, and the inspired improvisation make this set a journey into musical heaven.
The second set kicks off with a powerful Morning Dew, followed by Two Souls in Communion, both of which shine brightly. However, the set is dominated by a supernova Dark Star, which stretches beyond thirty-five minutes and is considered one of Howard Werner's Jam Anthem versions for good reason. The band takes its time exploring every nuance, with Phil's seismic bass notes creating a spectrum of sound that is both devastating and mesmerizing. The transition into Sugar Magnolia is seamless, though the song initially seems daunted by the preceding epic. Pigpen then takes control with Caution (Do Not Stop on Tracks), blending driving R&B rhythms with spaced-out moments, and incorporating fragments of old blues numbers, including an extended Who Do You Love?. The jam concludes with a powerhouse Truckin', ending on a perfect note with a superb Uncle John's Band. This show truly embodies the essence of "too much" in the best possible way.
5/11/1977 St. Paul Civic Center, St. Paul, MN
Officially released on May 1977. This show continues the tradition of perfectly executed May 1977 performances.
The first set is a masterclass in the Dead's 1977 repertoire, featuring a series of well-executed songs that highlight the band's cohesive sound. The set opens with a series of usual tunes, including Promised Land, They Love Each Other, Big River, Loser, Looks Like Rain, Peggy-O, and El Paso. Each song is delivered with the machine-like precision that characterized the band's performances during this period. A particular highlight is the silky Lazy Lightning > Supplication, which showcases the band's ability to weave complex musical narratives. The set reaches a peak with a charged rendition of Sugaree, where Jerry's cascading runs and roaring strumming captivate the audience. The jam around the six-minute mark is a testament to the band's ability to explore various moods and motifs, culminating in a satisfying climax.
The second set maintains the high-caliber standard set by the first, beginning with a routine yet solid performance of Samson and Delilah and Brown Eyed Women. The true highlight of the set is the trio of Estimated Prophet, Scarlet Begonias > Fire on the Mountain > Good Lovin'. The Scarlet > Fire segment, clocking in at about twenty-one minutes, features a slow, dreamy jam that builds into the Fire intro, exemplifying the thoughtful and spacey nature of the band's 1977 performances. The set's pinnacle is the Uncle John's Band > Space > Wharf Rat > Around and Around sequence. Uncle John's Band is performed with the shade and sensitivity typical of '77 versions, leading into a beautifully developed solo guitar segment by Jerry that transitions into Wharf Rat. This segment, with its nearly seven-minute solo, showcases Jerry's ability to create spontaneous musical moments that resonate with the audience. The concert concludes with a sweet encore of Brokedown Palace, providing a gentle and fitting end to a night of exceptional music.
5/11/1978 Springfield Civic Center, Springfield, MA
Officially released on Dick’s Picks Volume 25. The concert is marked by high energy, passionate performances, and a rare double encore, making it one of the most memorable shows of the year.
The first set opens with a powerful rendition of Cold Rain and Snow, with Jerry's vocals full of emotive gyrations, setting the tone for the evening. The band maintains a strong momentum with well-executed versions of Beat It on Down the Line, Friend of the Devil, and Looks Like Rain. Jerry's performance on Loser is particularly noteworthy, as he delivers the lyrics with a guttural intensity. The set continues with a lively Mexicali Blues > Mama Tried and a solid Tennessee Jed. The energy peaks with a dynamic New Minglewood Blues, before dipping slightly during Peggy-O. However, the set closes on a high note with a silky-smooth Lazy Lightnin' > Supplication, leaving the audience buzzing with excitement during the break.
The second set begins with Bobby's amusing tribute to the Dead's lighting designer, Candace, which is met with hearty applause. The band rewards the crowd with a massive Scarlet Begonias > Fire on the Mountain. Despite a rocky start, the band finds their groove, with Bobby's screaming slide guitar complementing Jerry's soaring runs. The energy is infectious, and the crowd responds enthusiastically. The tempo accelerates with a funky Dancin' in the Streets, played at warp speed. The band interjects wild vocal exclamations and transitions into a mesmerizing a cappella chant, repeating "Dancin', dancin', dancin' in the streets" with hoots and howls. The Rhythm Devils then take over with an entrancing Drums, featuring Mickey's steel drum and cowbell rhythms. Jerry leads the band into Not Fade Away with a metallic strumming riff, switching to a funky wah-wah sound. The energy surges as they return to the vocals, eventually descending into an emotional Stella Blue. Jerry's emotive power is unrivaled, both vocally and instrumentally, with his guitar lead at the end being particularly astounding. The set closes with Around and Around, building to fantastic heights with a wild double-time boogie. For the encore, Bobby returns to the stage wearing a Halloween werewolf mask, delighting the audience with a trippy slide guitar during Werewolves of London. Jerry screams his lungs out, and Phil thanks the crowd, but they demand more. The band obliges with a rare double encore, launching into a rocking version of Johnny B. Goode. Jerry's emphatic "GO, GO, GO!" and Donna's wailing vocals make this one of the best versions of the song. This concert is a testament to the Grateful Dead's ability to deliver an unforgettable live experience, full of energy and spontaneity.
May 12th
5/12/1977 Auditorium Theatre, Chicago, IL
1st of a 2-show run. Officially released on May 1977 And features another perfect performance from one of the bands most historic tours. It's considered a standout performance, even arguably better than the surrounding nights, and thankfully parts of it were officially released as a bonus disc with the Winterland June 1977: The Complete Recordings box set, with the full show later included in the May 1977 box set.
The first set started off with a lively Bertha, and it was a unique, laid-back take on the song that included some creative quotes from the China Cat theme. The momentum picked up with Me and My Uncle, followed by a relaxed groove on Tennessee Jed and a crisp Cassidy. Peggy-O was particularly heartfelt, showcasing Jerry's really emotive vocals. The interplay between Jerry and Bobby on Jack Straw was super tight. They followed that with a laid-back version of They Love Each Other and a bluesy New Minglewood Blues. The set closed out with a dynamic and spirited transition from Mississippi Half-Step Uptown Toodeloo into Dancing in the Street. This pairing really dominated the first set. The Half-Step was a solid ten minutes long and felt as grand as the Rio Grande, building to a truly exciting peak before rolling seamlessly into Dancin'. Dancin' in the Street gained so much from the momentum of the preceding song; Jerry was everywhere in the best possible way, while Bobby strutted out with some jazzy, funkified rhythms. It was a really fine team effort on what can be a complex tune, and even Bobby's vocal miscue heading into the drums and voice chorus just worked.
The second set kicked off robustly with Samson and Delilah, leading into a well-executed Brown-Eyed Women. Estimated Prophet had some intricate rhythms and fantastic exploratory jams. Donna's rendition of Sunrise was particularly poignant. The absolute centerpiece of the set was the expansive sequence of Terrapin Station > Playing in the Band > Drums > Not Fade Away > Comes a Time > Playing in the Band. This segment showcased seamless transitions and deep improvisations. The Terrapin that started it off felt serious, with the band spot-on, absolutely thundering out all the important chords and changes – majestic is truly a good word for that performance. Rather than ending the show, this Terrapin felt like it laid a path and opened the door for more intense exploration. Playing in the Band that followed felt spooky, creating a tense, worried atmosphere where the guitars tentatively questioned and sought. Phil's terse notes joined with a restless but regular drumbeat to create a kind of ominous movie thriller theme in the background. The jam never found an earthly form, haunting the stage before dissolving into an intense Drums that relentlessly struck out at the darkness. It was a little surprising they chose Not Fade Away given the tense mood, but it was good. The few minutes of Playing-esque jamming before Comes a Time were sublime, reminiscent of the '72-'74 era. Comes a Time was introduced so delicately and reverently with a soft cascade of notes. It's interesting to hear the band put this song into its appropriate context for the audience, coaxing respectful silence for what is surely one of the most soul-baring ballads in the catalog. These emotive '77 versions are vital for the way Jerry's heartrending solos perfectly matched the plaintive vocals. The concluding Playing jam and a steaming reprise almost made you forget about the cuts. They wrapped up the night with an energetic Johnny B. Goode encore, leaving the audience on a high note.
Music link: May 1977 box set for a pristine soundboard or an audience recording at https://relisten.net/grateful-dead/1977/05/12?source=1919300
5/12/1991 Shoreline Amphitheater, Mountain View, CA
This Shoreline show is an excellent performance, energized by Bruce Hornsby's presence. The band is putting out highly expressive material, resulting in an average-to-hot show with standout versions of tunes. Bruce Hornsby gives a nice boost to this excellent show. The band is energized and putting out highly expressive material here.
The first set kicked off with Picasso Moon, though I found that opener disappointing. Things quickly picked up with Althea, which was completely "all there", featuring Jerry's fluid guitar work and relaxed vocals. A real highlight for me was the sequence starting with C. C. Rider, which hadn't been played since December 10, 1989. This segued beautifully into It Takes a Lot to Laugh, It Takes a Train to Cry, a Bob Dylan cover that was a truly rare treat, last played way back on June 10, 1973, making it a huge 1177 show break out. That cover builds to an epiphany of a crescendo at the end of each verse. After El Paso, another rare treat appeared in High Time, which featured Jerry's emotive delivery. Bobby's strong, resurrected Black Throated Wind led into a spirited Deal that closed out an exciting set. Aside from the opener, the first set was packed with standout versions, and I'd highly recommend getting at least this set.
The second set immediately grabbed my attention with the classic opening sequence of Help on the Way > Slipknot! > Franklin's Tower. This trio really highlighted the band's improvisational prowess and featured an exploratory middle jam laced with Bruce's contributions. Following that, Looks Like Rain offered a moment of introspection. This transitioned into an expansive Terrapin Station with a nice outro jam that unfolded into the rhythmic explorations of Drums and the ambient textures of Space. Coming out of that, the band launched into a spirited Goin' Down the Road Feelin' Bad, followed by Throwing Stones, and culminating in a vibrant Turn On Your Love Light. The rest of this set featured good versions of the usual material. The encore for the evening was a tasty version of The Weight. It featured heartfelt vocals and brought the evening to a satisfying close. They seemed to play this particular encore more often when Bruce was with them.
May 13th
5/13/1972 Lille Fairgrounds, Lille, France
Officially released on Europe '72 The Complete Recordings. An excellent show with a virtually flawless start to the performance. However, it was also considered one of the more subdued shows from the tour, notably lacking in Pigpen-led improvisation and receiving a quiet reception from the audience.
The band started the first set with a lively Bertha, setting an upbeat tone. This was followed by Black-Throated Wind, showcasing Bobby's emotive vocals. Pigpen brought a bluesy flair with Chinatown Shuffle and his charismatic presence was clear on Mr. Charlie. I also liked Loser, which featured Jerry's soulful guitar work. There was a gloriously botched intro to Beat It On Down The Line. I noticed almost right away that Pigpen's organ playing was more prominent than usual, although he did sit out some of Bobby's newer material. While he gamely took the mic often enough, it seemed obvious that Pigpen wasn't in the best of health, as his voice wasn't particularly strong. He didn't seem to have a Good Lovin' or Caution performance in him, which was a contrast to the Hamburg show two weeks prior. The absence of any Pigpen-led foray into improvisation felt like the chief strike against this show. Me and My Uncle and Big Railroad Blues, which were spirited. Next Time You See Me provided a bluesy interlude.
The only jamming in the first set was a rousing, 12-minute-plus version of Playing In The Band, where the outro jam began to stretch, hinting at improvisational depths. Donna introduced this song with playfully exaggerated Southern charm. Before Mexicali Blues, Bobby virtually begged the crowd to get up and dance, calling it "this next number's a polka," and Phil added, "and ladies' choice to boot!". The French audience doesn’t seem to be too into the band based on the lack of applause between songs at this free outdoor show. They were probably unfamiliar with the band’s songs. Nevertheless, the band was playing very well. A seamless transition from China Cat Sunflower into I Know You Rider exemplified the band's cohesive interplay, with Bobby leading the charge during the transition. This pairing was also highlighted as a highlight. The set concluded with heartfelt performances of Sugaree and a rousing Casey Jones, which is recognized for its slowed-down, deliberate tempo.
The second set was all about The Other One, and what a monster it was. Clocking in at over 28 minutes, this version was pure musical exploration—intense, wild, and constantly shifting. It all started with a rock-solid Truckin', which seamlessly drifted into a brief Drums segment before plunging headfirst into the chaos. Right from the jump, Pigpen laid down some Anthem-esque organ riffs, adding a familiar but thrilling texture to the jam. He wisely stepped back as things got more chaotic but later snuck in a hilarious, almost haunting two-note riff that sounded just like a police siren—perfectly capturing the song’s paranoid energy. Every musician seemed completely dialed in. Bobby’s tone was sublime, effortlessly throwing in chords that gave the jam incredible shape. Jerry and Phil pushed the boundaries, stretching the song’s structure in every direction possible. Billy’s cymbal work created the perfect backdrop for the spacier passages, and while Keith occasionally got lost in the louder moments, he gradually asserted himself as the music evolved. And all of this happened before the first verse was even sung. Once they hit the first verse, Keith started playing with more urgency, and the band drifted seamlessly from key to key, rhythm to rhythm. A couple of moments even reminded me of the Epilogue/Prelude passages from Europe '72, but nothing stayed static for long. Jerry locked in with his wah-wah pedal while Phil and Billy tore through the jam behind him.
As the dust began to settle, Pigpen reemerged with that siren riff, Bobby and Keith jumped back in, and the music was as far removed from the original The Other One theme as it could possibly be. But the inevitable reentry came soon enough. After regrouping at the E chord, they took one last spin through the cosmos before crashing into the final verse. This was an incredible performance in every sense of the word—a complete journey into musical madness. Coming down from that intensity, He’s Gone felt like the perfect way to reconnect with solid ground. It had a grounding effect, both on the band and the audience—who may have been completely bewildered after what they just witnessed. Pigpen then stepped up for a deeply soulful Hurts Me Too, delivering a moment of pure bluesy emotion. But the energy kicked right back up with Sugar Magnolia, with Bobby’s dynamic vocals leading the charge. The classic pairing of Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away had the crowd moving, with the final jam before the reprise adding a fresh, unexpected twist to an already vibrant sequence.
5/13/1973 Iowa State Fairgrounds, Des Moines, IA
Officially released on Here Comes Sunshine 1973. A three-set monster, described as another one of those epic, far-out, stretched-out '73 shows. After the usual mix adjustments during the opening Promised Land, the first set begins to draw you in. They Love Each Other is featured with an up tempo, bouncing, lilting feel, and includes a nice Bobby Weir countermelody riff that doesn't appear on other tapes. Box of Rain, which had only debuted seven months prior, is described as spirited, polished, and flowing. Big River is considered to rank high, comparable to the version from 11/19/72. The sequence of China Cat Sunflower > I Know You Rider is also highlighted from this set.
The second set starts off seriously with a bubbly and nicely jammed Here Comes Sunshine. A typically great '73 version of Playing in the Band is also part of this set. The undeniable highlight of the show is the sequence in set 3 starting with He's Gone > Truckin' > Drums > The Other One > Eyes of the World > China Doll. The "fire" is kindled during the undeniably classic He's Gone outro. After that, Truckin' dissolves into some good old Phil/Billy (bass/drum) music, which deconstructs into a loose, eerie jam leading into The Other One. This jam then descends deeper into a chaotic segment with scary primal sounds echoing deep into the core of your brain, before coalescing into the newly composed Eyes of the World, which is performed as a tight, danceable version. This version of Eyes of the World segues into a nice early-style China Doll. Following this extensive sequence, the closer Sugar Magnolia and encore Casey Jones are a little lackluster, with Donna Godchaux being significantly off-key.
5/13/1977 Auditorium Theatre, Chicago, IL
Officially released on May 1977. May 1977 is obviously an incredible time period for the band, so this show has kind of lived in the shadows of other more incredible shows in proximity to it. There are some peak moments in here that make it worth a listen however. For me, this show is a little on the short side, and the pace is somewhat slow, with not much in the way of breathtaking jams or transitions, though it was obviously good enough to be officially released on May 1977.
The first set is marred by plodding performances of the quicker tunes until Scarlet Begonias > Fire on the Mountain. Music lacks any rave-up during the climactic jam, which is disappointing. Brown-Eyed Women and Minglewood seem slow, Friend of the Devil is that way by nature, and solid versions of Ramble On Rose and Cassidy don't take enough risks to overcome the lethargy. On the flip side, the first ever performance of Jack-a-Roe eases in with that samba feel, with a deft high-hat cymbal mimicking castanets. For the debut of Jack-A-Roe, Jerry and the ensemble are remarkably composed, indicating healthy rehearsals. Scarlet > Fire, however, is something else entirely. Jerry really stokes up the jam before "wind in the willows," copying the lyric line with his fast chords, then exploding into stinging lines until he can't resist some more crunching strumming heading into the verse. The Scarlet jam-out is short, but interesting as usual, and Fire definitely has its scorching moments. Jerry relentlessly carves away at the end, and meanwhile the rest of the band just sounds content to be there.
The heart of the second set starts after the drums. Mickey's and Billy's obvious lead-in to The Other One drives anticipation higher when you hear someone count, "One ... two ... one, two, three, four!". But Phil's big bomb is nowhere in earshot, replaced by a wimpy little chord that cues the main Other One theme. Jerry sounds ready to wander very early, setting an adventurous path for the song. About six minutes in, Phil introduces some jazzy bass, almost a walking figure, that nearly gives the jam a form, but Jerry rejects the offer and heads off again, noodling. Ten minutes in, everyone falls away, leaving Jerry in a meditative space with only soft chimes from Bobby to keep him company. He doesn't seem to notice his solitude, and continues his restive journeys up and down the fretboard, sounding like he's lost his keys and keeps going back to the same few places, hoping they'll turn up. A few bent notes, more runs, and he finally starts to pick out some noticeable Other One hints.
Unfortunately, there's a splice of some kink in the recording, and as the tape cuts back in, Phil has already joined Jerry and in a moment they slide back into The Other One proper with lots of scary distortion. Bobby gets to sing at last. Jerry tears off some angry notes. With a brief, martial drumbeat, the band slips into a jazzy space for a nanosecond before agreeing on Stella Blue. The transition doesn't feel like the best example of the Dead as a symbiotic entity. Stella is typically sensitive but hurt by a few miscues, an overall sleepiness, and another splice in the recording. Goin' Down the Road contains a perfectly rockin' finish. Most longtime collectors probably have this show because it's such a good FM tape (except for the butchering at the end). The Other One in the second set is also considered a very nice peak moment.
May 14th
5/14/1970 Meramec Community College, Kirkwood, MO
Partially released on Road Trips Volume 3 Number 3 and the Bonus Disc. The Dead were in the midst of laying down studio tracks for their Workingman's Dead album at the time, so those songs are kind of featured during shows of the time period.
The show included an acoustic set. While the focus of the sources is primarily on the electric portions, they note the acoustic set featured excellent vocal harmonies on songs like High Time.
The electric set, or second set, had a relaxed and confident feel. However, Mickey was absent for unknown reasons, which reduced their firepower. Even in the electric set, singing and harmonies were a main focus. Deep Elem Blues stood out to me, featuring a punchy lead from Jerry and driven by a seductively thick or intense groove. I also thought the excellent vocal harmonies on China Cat > I Know You Rider and High Time were notable. There was oddly no jam at all between China Cat and I Know You Rider. Good Lovin' featured only a short, aimless jam. Buried deep in the second set was the first performance of Attics. The sources say they sincerely tried their best to make this a memorable moment, but the playing seemed to be a little flat along with the vocals harmonies. It was so bad, it's almost comical.
Things finally heated up with a very intense or incredible version of New Speedway Boogie. This song contained the first performance of Nobody's Fault But Mine Jam stuck in the middle. This jam was highlighted by Jerry's blazing and sweet slide guitar solo. Jerry's vocals on New Speedway Boogie were also very emphatic, sounding like some hillbilly preacher mixing business with a twang. Saint Stephen rocked and was a strong performance, continuing the momentum from New Speedway Boogie. Not Fade Away contained the first long and inspired ensemble jam of the show, and it was described as blazing. After just one verse of Not Fade Away, Phil bolted the band into a swift, richly textured Lovelight. This blazing NFA > Lovelight ended the set strong, with inventiveness glowing in every nook as the boys ended this show with a bang.
5/14/1978 Providence Civic Center, Providence, RI
Officially released on 30 Trips Around The Sun, this is a gem of a show. Very strong performance captured in perfect sound quality on the official release. Be sure to listen to this one, it's highly recommended due to vigorous playing, and extended versions of several songs as noted.
The first set starts with strong versions of Mississippi Half Step and Cassidy, which I found very gratifying. It then admittedly loses some steam with three straight slow numbers. However, things pick up again with Me and My Uncle, which transitions into Big River. The set culminates with a monster version of Let It Grow that, at more than seventeen minutes in length, ranks as one of the longest ever performed.
The second set kicks off with a rousing Samson and Delilah, stretching to ten minutes due to an extended intro. Estimated > Eyes has a distinct feel, with this rendition of Eyes of the World standing out for its funky groove, thanks in large part to Bobby’s contributions. The post-Drums section is exceptionally strong and powerful. One of my all-time favorite versions of Not Fade Away follows, featuring an unusually long intro and possibly the longest jam segment between the verses of any performance. With a total runtime of about fifteen minutes—including the extended intro and mid-song jam—it wraps up with a brief outro before seamlessly transitioning into the first Goin’ Down the Road of the year. Bobby’s slide guitar work at the end of Not Fade Away and into Goin’ Down the Road is particularly intriguing, especially considering he had just begun experimenting with slide onstage in the spring of 1978. Given that, his performance here is surprisingly solid. Goin’ Down the Road bursts with energy, which carries over into Around and Around and the encore, U.S. Blues. During U.S. Blues, Jerry can be heard passionately belting some verses, especially the final “My-oh-mys,” though not quite as intensely as the version from 4/12/78.
5/14/1980 Nassau Veterans Memorial Coliseum, Uniondale, NY
The entire show is exceptional, showcasing inspired playing and heartfelt singing. A true classic from the era, it delivers power, precision, and impressive dynamics, all amplified by the electrifying energy of the New York audience.
In the first set, the band's mix and bearings were right on by the second tune. The segue of Alabama Getaway > Promised Land was a peak, and the Promised Land itself is a searing rendition. The rich vocal renditions of almost every song in this set made it a real winner. Other mentioned peaks from the first set include Let It Grow > Althea and Music Never Stopped.
The second set is a masterpiece of dynamic energy shifts and smooth transitions. The vocal work was way above average in this set, and the entire board was really hitting. There wasn't a bad moment the entire time, but the peaks stood out. One mentioned peak was Stranger, where everything from Phil's groove and Bobby's vocals to Brent's sound was prime. The Comes A Time > Other One segue is another peak and is as good as this band gets. Jerry's rich vocal delivery during Comes A Time was beautifully supported by the band, especially Bobby's guitar part using overtones and bends on his whammy bar. The transition from Comes A Time, with Jerry pouring it on while the band fades out only to have Phil totally nail the intro to Other One, must be experienced. This segment is a blistering second-set peak and a majorly heavy performance all the way around.
May 15th
5/15/1970 Early and Late shows, Fillmore East, New York, NY
Parts of these iconic shows were officially released on Road Trips Volume 3 Number 3 and the Bonus Disc. These shows were all billed as "An Evening With The Grateful Dead". The standard format was Acoustic Dead, then New Riders, then Electric GD (sometimes two sets). There's a sense of magic in the air for these shows, and there certainly are some truly amazing moments here, fueled in part by David Nelson and Marmaduke guest appearances.
For the Early Show, following the typical "An Evening With The Grateful Dead" format, we started with a sweet acoustic set. It opened with nice vocals from Jerry on Don't Ease, and he was crooning beautifully on I Know You Rider. There was a unique acoustic standalone I Know You Rider here. The Rub was a highlight, only their third performance ever, and Pigpen and his harmonica just dripped the blues on that one. Their fourth ever performance of Long Black Limousine (out of five total) was chillingly beautiful, with Bobby in very fine voice. As the band was joined by Marmaduke and David Nelson, the show really picked up steam. In the acoustic set, Cumberland Blues was absolutely barreling along, and it remained hot while Jerry belted out fine vocals on New Speedway Boogie.
Then, switching to electric instruments for the main electric set, Easy Wind was a stand-out, with Pigpen leading on harmonica into a jam featuring a remarkable lead by Bobby that must have set the Fillmore on fire. Attics Of My Life followed. After intense jamming on Saint Stephen, an incredibly electric The Other One redefined the term incendiary. The sequence Saint Stephen > The Other One > Cosmic Charlie is a noted highlight from this set. Bobby's overly aggressive screaming made the Minglewood closer a truly humorous oddity.
The Late Show also began with the day's second sweet acoustic set. It opened with a beautiful version of the first Ballad of Casey Jones the band ever played. That full performance is available on Road Trips Volume 3 Number 3. That release is also the only place you can get the acoustic Deep Elem from this show. Before Friend of the Devil, Jerry mentioned they got a request to play it again, having done so in the first show, and Bobby added that they loved to break traditions. Jerry's guitar playing was just beautiful on Uncle John's. After the day's second Candyman, when David Nelson was announced, Pigpen's "wait a minute, don't I get to play one?" got strong audience support. This led him to perform She's Mine, the second of three times it was ever played, followed by Katie Mae. David Nelson then joined them for their first-ever performance of I Hear a Voice Callin', which featured extremely sweet harmony that was so incredible it simply defied belief. This amazing acoustic set made it a very special day to be a Deadhead.
Moving into the electric set, highlights included a searing China Cat Sunflower > I Know You Rider, where they again redefined incendiary with searingly hot jamming. Cumberland Blues and Hard to Handle had so much energy they must have caused an East Coast blackout. Beat It on Down and Morning Dew alternated between hot and beautiful, with Jerry really nailing the vocals on Morning Dew. A hot Good Lovin' > Drums > Good Lovin' is one of those blistering versions, with Phil, Jerry, and Bobby building to an awesome jam. A Dark Star > St. Stephen > NFA > Lovelight sequence was all incredible, pushing this show over the edge. Dark Star featured particularly wide-ranging, spacey improvisation. Saint Stephen was magnificent, as were the Not Fade Away and Lovelight that followed. In Lovelight, Jerry just peeled off the notes, and Phil built a solid sonic wall of bass. After three minutes of clapping from the audience, they played an acoustic encore of Cold Jordan. It's also worth noting that Bobby sat in with New Riders of the Purple Sage during their set for a nice Mama Tried.
5/15/1977 St. Louis Arena, St. Louis, MO
Officially released on May 1977. A very nice, if somewhat "laid back" performance but full of typically strong May 1977 playing. The first set sets a confident, tight, relaxed, and powerful mood. Bertha started things off, feeling extremely kicked back but very strong, with a nicely built-up intensity from a drawn-out coda of “anymore!” repetitions. This led into a rocked-up Good Lovin'. After such an amped opening, the band pulled back for a pleasant but average Row Jimmy. Minglewood had a bite, and it was clear the band was playing a notch up from the previous three shows. Even Tennessee Jed was truly bouncy and lively, bringing out the old charm in that tired porch hound. The second half of the first set featured strong song selection, including Lazy Lightnin' > Supplication.
We also got the second-ever performance of Jack-a-Roe. The band was definitely into Jack-a-Roe, having played it four nights in a row upon breaking it out in Chicago on May 13th. The tempo snapped along better on this version than on the debut, and the band was masterful throughout. The first-ever performance of Passenger followed, which was much tamer than later renditions. There was then a Funiculi, Funicula tuning jam before Brown-Eyed Women. Doubtless the first set's major highlight was a 17:04 (or 17 minute) Dancin' in the Streets, which is considered a Jam Anthem version for obvious reasons. This song was capped by a coda of guitar fireworks more familiar to the end of a fall '77 Truckin'. While Jerry was the obvious star of the show here, there was enough interplay to keep the feet moving.
The second set unfolded in two distinct jams. The first began with a longer-than-usual, jammed-out Estimated Prophet, leading into a beautifully expansive Eyes of the World—a true Jam Anthem version that fully deserves the title. Eyes shimmered with rapid-fire playing from Jerry, building up to the transition into Drums. After Drums, a fiery Samson and Delilah tore through the set. The second jam opened with a solid Saint Stephen, breaking at the "been here so long" verse into Not Fade Away. For a few minutes, it morphed into Iko Iko, marking its first-ever performance. This early rendition was far from the lively, toe-tapping version fans would come to know—it kept the Not Fade Away rhythm but leaned into a slower, more laid-back feel, lacking the “boppy” energy it would later develop. Not Fade Away eventually resurfaced before charging into Sugar Magnolia, never quite returning to Saint Stephen to close it out. The band earned high marks for their willingness to shake things up. While this show had a mellow vibe, it felt like a warm-up for the powerhouse performance waiting just around the corner in Tuscaloosa.
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
