This Week In Grateful Dead History #14 (Week of 4/7)
- Mason's Children
- Apr 6
- 23 min read
Updated: Apr 27
For the week of 4/7 – 4/13, we again have many shows to pick from as April continued to be a very busy touring month for the band most years. However, the biggest historical event is the kickoff of the infamous Europe ’72 tour. I know you all are familiar with this tour, but it was a landmark 22-show journey across six countries, running from April 7 to May 26, 1972. Musically, the tour captured the Dead at a creative peak, with inspired performances that balanced Americana roots with psychedelic exploration. Legendary shows in cities like London, Paris, and Copenhagen became instant fan favorites, and the resulting Europe '72 triple LP remains one of the most beloved live releases in the band’s discography. The entire tour was later released as Europe ’72: The Complete Recordings, a 73-CD box set that solidified its mythic status among Deadheads. We also get the first performances of I Second That Emotion (4/8/1971), It’s A Man’s World (4/9/1970), Maybe You Know (4/13/1983). I’ve written listening guides for 15 shows this week:
4/7/1972 Wembley Empire Pool, London, England
4/7/1978 The Sportatorium, Pembroke Pines, FL
4/8/1972 Wembley Empire Pool, London, England
4/8/1978 Veterans Memorial Coliseum, Jacksonville, FL
4/8/1985 The Spectrum, Philadelphia, PA
4/9/1982 War Memorial Auditorium, Rochester, NY
4/10/1978 Fox Theatre, Atlanta, GA
4/11/1972 Newcastle City Hall, Newcastle, England
4/11/1978 Fox Theatre, Atlanta, GA
4/11/1987 U.I.C. Pavilion, Chicago, IL
4/12/1970 Fillmore West, San Francisco, CA
4/12/1978 Cameron Indoor Stadium, Duke University, Durham, NC
4/12/1982 Nassau Veterans Memorial Coliseum, Uniondale, NY
4/13/1969 Ballroom, University of Colorado, Boulder, CO
4/13/1971 Catholic Youth Center, Scranton, PA
So grab your copy of my book On This Day In Grateful Dead History: A Daily Listening Journal if you have it to follow along. As I write up each week's listening guides, I mark up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights 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. Ok, let's jump into it. Here's the highlights for Issue 14, for the week of April 7th, 2025:
Interesting historical facts for this week in Grateful Dead history:
The kickoff of the infamous Europe ’72 tour
First performance of I Second That Emotion (4/8/1971), It’s A Man’s World (4/9/1970), Maybe You Know (4/13/1983)
Final performance of Louis Louis (4/9/1989)
By the way, if you're new here, this is my weekly listening guide that brings you the most interesting and significant facts from Grateful Dead History, along with reviews of the music for the week ahead. The idea is to give all you Heads a "Heads up" on the interesting and cool stuff the Grateful Dead were up to on this week in history. So hit the Subscribe button below to go to the top of my blog page where you can enter your email to get this delivered to your email every week!
April 7th
4/7/1972 Wembley Empire Pool, London, England – 1st of a 2-show run. The entire show was released on Europe '72 Complete Recordings. The circulating recordings are a pretty rough to listen to, so unless you have the official release then this one is probably going to be a skip. This is the kickoff concert of the infamous Europe '72 tour. Sam Cutler introduces the band and says “We’ve been trying to get here for a long, long time, and we eventually finally made it. Please welcome the Grateful Dead”. This show might not be as glorious as some of the upcoming shows, but it's a really fine performance by any measure. The 1st set opened with a spirited Greatest Story Ever Told, immediately immersing the audience in the Dead's dynamic energy. This was followed by a heartfelt Sugaree, where Jerry Garcia's emotive vocals and fluid guitar work painted vivid musical landscapes. Other highlights include a boppy Chinatown Shuffle, China Cat > I Know You Rider, Beat It On Down The Line, Tennessee Jed. The 2nd Set kicks off with a lot more punch than the entire first set, as they launch straight into the big jam segment of the show: Truckin' > Drums > Other One > El Paso > Other One > Wharf Rat. The Outro jam of Truckin’ reaches a nice peak and starts to drift off and there’s a quick Other One tease before heading into a short Drums passage. Phil comes crashing in with his Other One riff, and they immediately jam it out. The jam dissolves into a spacey passage before regrouping for the first verse, after which we go on another trip to space. The jamming turns spooky, then they try to make a structured jam but it again dissolves into a free-form space segment. El Paso beautifully emerges from the ashes, and just as that song ends, they leap straight back into the meat of The Other One. The some really strong muscular jamming emerges for several more minutes before the second verse and then segue straight into a gorgeous Wharf Rat. Very strong, competent versions of Ramble On Rose, Sugar Magnolia, and NFA > GDTRFB > NFA (picked for release on Europe ’72 Volume 2) end the show, but just aren’t as interesting as the music that preceded it. And that’s a common recipe for many of these Europe ’72 shows: lots of strong, competent picture-perfect renditions of songs surrounded by the more interesting jam segments. That, and just the sheer length of some of the performances is quite impressive.
Music link: Europe '72 Complete Recordings is highly recommended over https://relisten.net/grateful-dead/1972/04/07?source=89968
4/7/1978 The Sportatorium, Pembroke Pines, FL – This entire concert is officially released in the Friend of the Devils: April 1978 box set. While this isn’t the best show in the bunch, the band delivered a vibrant and dynamic performance along with just enough interesting jamming to make it stand out. The 1st set commenced with a spirited Promised Land, immediately energizing the audience with its upbeat tempo and tight instrumentation. Jerry's guitar work was particularly lively, setting an enthusiastic tone for the evening. This momentum carried into Sugaree, where Jerry's emotive solos and dynamic crescendos captivated the crowd, exemplifying the band's ability to blend lyrical storytelling with instrumental prowess. Cassidy followed, featuring intricate interplay between Jerry and Bobby, their guitars weaving a complex tapestry of sound that highlighted their synchronicity. The seamless transition from Mama Tried > Mexicali Blues demonstrated the band's versatility, delivering classic country-infused rhythms with precision and flair. A poignant rendition of Peggy-O allowed Jerry's soulful vocals to shine, evoking deep emotion that resonated throughout the venue. Closing the set, The Music Never Stopped was executed with infectious enthusiasm, its rhythmic shifts and dynamic peaks leaving the audience exhilarated. The 2nd set opened with a robust Jack Straw, marked by compelling storytelling and a gradual build-up that culminated in a powerful climax. Terrapin Station served as the centerpiece of the set; its multi-part composition navigated masterfully by the band. The journey through its various movements was both majestic and seamless, with Jerry's solos soaring over the intricate rhythms laid down by Phil Lesh and the drummers. This segued into an expansive Playing in the Band, where the group ventured into deep improvisational territory. The jam explored a myriad of textures and themes, ranging from delicate, spacey passages to intense, rhythmic climaxes, exemplifying the Dead's fearless approach to live performance. Following a mesmerizing Drums segment by Billy and Mickey, the band transitioned into Not Fade Away, engaging the audience in a spirited call-and-response that underscored the communal atmosphere of the concert. A heartfelt Black Peter provided a soulful interlude, with Jerry's emotive delivery drawing the listeners into the song's melancholic narrative. The transition back into the Playing reprise segment brought the set full circle, culminating in a satisfying conclusion. For the encore, a high-energy Johnny B. Goode sent the crowd off with electrifying energy, encapsulating the night's vibrant spirit.
Music link: https://relisten.net/grateful-dead/1978/04/07?source=199482
April 8th
4/8/1972 Wembley Empire Pool, London, England – 2nd of a 2-shor run. The entire show was released on Europe '72 Complete Recordings. This is a standout show from beginning to end and captures the Dead at a peak of energy, excited to begin their historic European tour. The 1st set opened with an energetic Bertha, immediately engaging the audience with its upbeat tempo and Jerry Garcia's spirited vocals. The band then transitioned into Me and My Uncle, featuring Bob Weir's compelling storytelling and crisp guitar work. Standout renditions of Me And My Uncle, Mr. Charlie, and Deal follow. The set also included a soulful Black-Throated Wind, showcasing Weir's emotive delivery and the band's tight harmonies. Other highlights include Next Time You See Me, Cumberland (Jam Anthem version), Playing in the Band, Good Lovin (contains a hot jam in the middle), and Looks Like Rain. The 2nd set commenced with a rollicking Truckin', its infectious groove setting the stage for an adventurous musical journey. This led into an expansive Jam Anthem rendition of Dark Star, a centerpiece of the evening, where the band delved into a nearly 30-minute improvisation. The jam traversed through cosmic realms, with Garcia's melodic explorations complemented by Lesh's probing bass lines and the drummers' polyrhythmic textures, as they wander into Mind Left Body Jam, exemplifying the Dead's telepathic communication and willingness to push musical boundaries. Emerging from the depths of Dark Star, the band eased into Sugar Magnolia, providing a jubilant contrast with its buoyant rhythm and Weir's exuberant vocals. The synergy between the band members was palpable, culminating in the transition into a monster Jam Anthem version of Caution, a performance that left the audience in awe.
Music link: https://relisten.net/grateful-dead/1972/04/08?source=89691
4/8/1978 Veterans Memorial Coliseum, Jacksonville, FL – This entire concert is officially released in the Friend of the Devils: April 1978 box set. Overall, the band exhibited their hallmark synergy, effortlessly blending structured compositions with exploratory jams, seamless transitions between songs, and the emotive delivery. The 1st set commenced with a spirited Mississippi Half-Step Uptown Toodeloo, immediately energizing the audience with its upbeat tempo and tight instrumentation. Jerry's guitar work was particularly lively, setting an enthusiastic tone for the evening. This momentum carried into Me and My Uncle > Big River, where the band's tight rhythm section and seamless transitions kept the energy high. A standout moment was They Love Each Other, delivered with a relaxed groove and heartfelt vocals from Jerry, captivating the crowd. Looks Like Rain showcased Bobby's sweet, emotive singing, complemented by Donna Jean's harmonious backing vocals, creating a poignant atmosphere. The set concluded with a high-energy Lazy Lightning > Supplication, demonstrating the band's ability to navigate complex compositions with precision and flair. The 2nd set opened with a rousing Samson and Delilah, featuring powerful drumming from Billy and Mickey that drove the song's infectious rhythm. This was followed by a mesmerizing Scarlet > Fire. Jerry's solos soared over the intricate rhythms laid down by Phil Lesh and the drummers, creating a euphoric musical journey. Estimated Prophet continued the improvisational exploration, with its reggae-inspired groove and spacey jams leading into Eyes of the World. This rendition of Eyes was particularly dynamic, featuring extended instrumental passages that showcased the band's jamming abilities. The set culminated in a high-octane Sugar Magnolia, leaving the audience exhilarated. For the encore, a spirited One More Saturday Night sent the crowd home smiling.
Music link: https://relisten.net/grateful-dead/1978/04/08?source=337455
4/8/1985 The Spectrum, Philadelphia, PA – 3rd of a 3-show run. This is an excellent high-energy show. The entire first set is a highlight. You get a lot of fun and different song selections and some interesting jamming. The 1st set commenced with a soulful Midnight Hour, immediately immersing the audience in the band's bluesy undertones. This seamlessly transitioned into a lively Walkin' the Dog, a song that hadn't been performed since March 29, 1984, making its inclusion a delightful surprise for the fans. The blues exploration continued with a gritty rendition of Big Boss Man, showcasing Jerry Garcia's emotive vocal delivery and expressive guitar licks. Delving deeper into their blues repertoire, the band presented Down in the Bottom followed by Ain't Superstitious, both highlighting their ability to authentically interpret classic blues numbers. The set took a turn with Althea, where Garcia's intricate solos wove a tapestry of introspective melodies, resonating deeply with the audience. The energy escalated with Tons of Steel, featuring Brent Mydland's poignant vocals and keyboard artistry. An unexpected Supplication Jam emerged next, a rarity that hadn't been played in full since 1977, adding an element of surprise and nostalgia. The set concluded with a spirited Might as Well, leaving the crowd exhilarated and eager for more. The 2nd set opened with a cover of The Beatles' Revolution, infusing the arena with a rebellious energy. Bob Weir then led the band into a raucous Hell in a Bucket, his dynamic stage presence amplifying the song's intensity. The mood shifted with Touch of Grey, offering a message of resilience and optimism that resonated with many. An expansive Estimated Prophet unfolded next, with its reggae-infused rhythms providing a foundation for exploratory jams. People who attended this show talk about Bobby falling on his ass trying to kick a beach ball back into the crowd during the song, but the music seamlessly transitioned into Eyes of the World, played at a notably brisk tempo, showcasing the band's synchronicity and improvisational prowess. The journey continued through Drums and Space, segments where Mickey and Bill's percussive dialogues transported the audience into abstract sonic realms. Emerging from the cosmic explorations, the band delivered a heartfelt Going Down the Road Feeling Bad, with Garcia's soulful solos echoing themes of longing and redemption. This was followed by a poignant Stella Blue, where Garcia's emotive vocals and delicate guitar work painted a melancholic yet beautiful soundscape. The set concluded with a high-energy pairing of Around and Around into a Jam Anthem version of Turn On Your Love Light, leaving the audience in a state of euphoric celebration. For the encore, the Grateful Dead graced the stage with Brokedown Palace, a tender farewell that encapsulated the evening's emotional depth. The harmonious vocals and gentle instrumentation provided a serene closure to a night of musical exploration.
Music link: https://relisten.net/grateful-dead/1985/04/08?source=1920007
April 9th
4/9/1982 War Memorial Auditorium, Rochester, NY – a very well-played performance with nice song selections. The 1st set commenced with an energetic Alabama Getaway, immediately igniting the crowd's enthusiasm. This seamlessly transitioned into Greatest Story Ever Told, with Bob Weir's spirited vocals and the band's tight instrumentation setting a high standard for the evening. A tender rendition of Dire Wolf followed, offering a mellow contrast and showcasing Jerry Garcia's emotive storytelling. The bluesy C.C. Rider saw Weir channeling raw emotion, complemented by Brent Mydland's soulful keyboard flourishes. A standout moment was the ethereal Bird Song, where the band embarked on an exploratory jam, intertwining delicate melodies with intricate rhythms, creating a tapestry of sound that mesmerized the audience. The set continued with a spirited It's All Over Now, featuring dynamic interplay between Garcia and Weir. A heartfelt Loser allowed Garcia's poignant vocals to shine, conveying deep emotion. The band then delivered a rousing Minglewood Blues, with Mydland's organ adding a rich layer to the sonic landscape. Concluding the first set was a hot rendition of China Cat Sunflower > I Know You Rider, featuring a seamless transition that highlighted the band's synchronicity and ability to build crescendos that left the crowd exhilarated. The 2nd set opened with the rhythmic and infectious Man Smart, Woman Smarter, infusing the venue with a danceable groove. A rare and deeply moving To Lay Me Down followed. The introspective mood transitioned into the nautical themes of Lost Sailor, with Weir's evocative delivery painting vivid imagery. This seamlessly flowed into Saint of Circumstance, escalating the energy with its upbeat tempo and spirited execution. The percussion duo of Mickey Billy then took center stage for an exhilarating Drums segment, showcasing their rhythmic dexterity and leading into the abstract realms of Space, where the band ventured into avant-garde soundscapes. Emerging from this cosmic exploration, The Other One erupted with intensity, featuring Phil Lesh's thunderous bass lines propelling the jam forward. The mood then shifted to a soulful Stella Blue, with Garcia's emotive guitar solos and heartfelt vocals enveloping the audience in a reflective ambiance. The set concluded with a jubilant Goin' Down the Road Feelin' Bad which quickly segued into a spirited rendition of Satisfaction. This was followed by a poignant Brokedown Palace encore, providing a heartfelt and harmonious conclusion.
Music link: https://relisten.net/grateful-dead/1982/04/09?source=339288
April 10th
4/10/1978 Fox Theatre, Atlanta, GA – 1st of a 2-show run. This concert was officially released as part of the Friend Of The Devils: April 1978 box set. The 1st set kicked off with a spirited The Promised Land, setting an energetic tone despite some initial sound adjustments. Following this, Brown Eyed Women showcased Jerry Garcia's emotive vocals and fluid guitar work, drawing the audience deeper into the performance. A heartfelt Peggy-O highlighted Garcia's ability to convey deep emotion through both voice and guitar, creating a poignant atmosphere. Cassidy featured intricate interplay between Bob Weir and Donna Jean Godchaux, with the band's tight rhythm section providing a solid foundation for exploratory jams. A standout rendition of Row Jimmy followed. The set continued with a raging rendition of Passenger, injecting a dose of rock energy that had the crowd dancing. The 2nd set opened with a smoking Jack Straw, with the band locked in and delivering a powerful rendition that captivated the audience. A soulful Ship of Fools followed, allowing Garcia to delve into the song's melancholic themes with heartfelt expression. The highlight of the set was an expansive Dancing In The Street, which evolved into a spectacular disco-infused jam, showcasing the band's ability to adapt and explore different musical styles. This seamlessly transitioned into an extended Drums segment, where percussionists Mickey Hart and Bill Kreutzmann led the audience on a rhythmic journey, demonstrating their percussive prowess. Emerging from the depths of rhythm, Franklin's Tower unfolded with a fresh and engaging jam, reflecting the band's adventurous spirit during this period when the song had become a free agent in their setlists. A poignant Black Peter followed, with Garcia's soulful delivery resonating deeply with the audience. The set concluded with a rousing Around and Around, leaving the crowd energized and craving more. They delivered with a rousing U.S. Blues to close the show.
Music link: https://relisten.net/grateful-dead/1978/04/10?source=199649
April 11th
4/11/1972 Newcastle City Hall, Newcastle, England – This concert was part of their iconic European journey and has been officially released in its entirety as part of the Europe '72: The Complete Recordings box set. The 1st set commenced with a spirited Greatest Story Ever Told, featuring a searing solo by Jerry Garcia that immediately captivated the audience. Following this, Mr. Charlie showcased Pigpen's gritty vocals and harmonica prowess, complemented by Jerry's incisive guitar work. A standout moment was the seamless transition between China Cat Sunflower and I Know You Rider; Jerry's initial solo in "China Cat" was both intricate and fluid, leading into an exuberant jam that highlighted the band's tight interplay. The subsequent "I Know You Rider" was marked by jubilant solos and harmonious vocals, eliciting a rapturous response from the crowd. Another gem was Playing in the Band, where the group embarked on a ten-minute exploratory jam. Starting with ethereal notes from Jerry, the piece evolved into a fast-paced, thematic exploration, demonstrating the band's improvisational dexterity. The set concluded with a robust Casey Jones, leaving the audience energized and eager for more. The 2nd set opened with a dynamic Good Lovin', extending over fifteen minutes. Pigpen's commanding vocals set the stage for multiple improvisational segments, including a down-and-dirty jam that ventured into spacey territories, showcasing the band's versatility. Following this, Truckin' unfolded into an expansive jam, initially riffing on its main theme before delving into a jazz-infused exploration, with Phil Lesh's resonant bass lines and Keith Godchaux's melodic keyboard contributions standing out. This improvisation hinted at The Other One, which emerged after a brief drum interlude. Spanning over twenty-five minutes, The Other One featured a compelling opening jam that built up to the first verse, followed by a segment reminiscent of a Mind Left Body Jam but doesn’t quite fully develop. The piece then ventured into deep space, characterized by discordant notes and avant-garde explorations, before returning to the main theme and concluding with the second verse. The transition into Comes a Time was slightly abrupt, but the heartfelt rendition, underscored by a heavy bass line and a poignant solo, provided a reflective moment. The set culminated with an exuberant Sugar Magnolia, leading into a soulful Brokedown Palace, offering a perfect denouement to an evening of musical brilliance. A rollicking One More Saturday Night encore closed out this epic show.
Music link: https://relisten.net/grateful-dead/1972/04/11?source=336049
4/11/1978 Fox Theatre, Atlanta, GA – 2nd of a 2-show run. The band delivered an electrifying and dynamic performance, showcasing their seamless interplay and improvisational prowess. The 1st set commenced with a spirited Bertha, immediately igniting the crowd's enthusiasm. This smoothly transitioned into a lively Good Lovin', with Bob Weir's exuberant vocals driving the energy higher. A mellow Friend of the Devil followed, allowing Jerry Garcia's soulful guitar work to shine, captivating the audience with its intricate melodies. The classic pairing of Me and My Uncle > Big River showcased the band's tight rhythm section, with Phil Lesh's bass lines providing a solid foundation for the cascading guitar riffs. A heartfelt Tennessee Jed saw Garcia delivering emotive vocals, resonating deeply with the audience. Looks Like Rain featured Donna Jean Godchaux's harmonious backing vocals complementing Weir's passionate delivery, creating a poignant atmosphere. The set continued with Brown Eyed Women, highlighting the band's storytelling prowess, followed by a raucous New Minglewood Blues, where the bluesy undertones were accentuated by Garcia's fiery solos. Closing the first set, Deal was executed with confidence, leaving the audience eagerly anticipating the second half. The 2nd set opened with a thunderous Samson and Delilah, setting a jubilant tone. The seamless transition into Scarlet Begonias led to an expansive jam, with the band exploring intricate musical avenues before segueing into Fire on the Mountain. This pairing exemplified the Dead's hallmark of fluid improvisation, with Garcia's melodic leads intertwining beautifully with the rhythmic undercurrents. A sweet performance of Sunrise provided a serene interlude, showcasing Donna Jean's ethereal vocals. The journey continued with Terrapin Station, a multi-faceted composition that took the audience through various musical landscapes, culminating in a mesmerizing jam that dissolved into an exploratory Drums segment. Emerging from the percussive depths, the band launched into a spirited Iko Iko, infusing the traditional tune with their unique flair. The set concluded with a high-octane Sugar Magnolia, with Weir's exuberance and the band's collective energy bringing the house down. For the encore, the Dead delivered a blistering Johnny B. Goode, paying homage to Chuck Berry and leaving the audience in a state of ecstatic satisfaction.
Music link: https://relisten.net/grateful-dead/1978/04/11?source=337600
4/11/1987 U.I.C. Pavilion, Chicago, IL – 3rd of a 3-show run. A powerfully-delivered performance with several nice highlights. This was broadcast on WXRT in Chicago. The 1st set commences with a strong Hell In A Bucket opener that features some magnificent delay effect on Bobby's vocals for the final "at least I'm enjoying the riiiiiiiiide!" part of the song. The crowd goes nuts! This smoothly transitioned into a soulful Sugaree, with Jerry Garcia's emotive guitar work captivating the audience. A raucous Minglewood Blues followed, featuring Bob Weir's gritty vocals and slide guitar flourishes. The poignant Loser allowed Garcia to delve deep into the song's melancholic narrative, his solos resonating with heartfelt expression. Tons of Steel, Brent Mydland's ode to the railroad, showcased his passionate keyboard playing and vocals. The band then delivered a sprawling rendition of Desolation Row, with Weir narrating the vivid imagery of Dylan's lyrics over intricate instrumental textures. A high-energy Big Railroad Blues injected a dose of rock and roll fervor, leading into The Music Never Stopped, which closed the set with its infectious rhythms and jubilant crescendos. The 2nd set blasts off with a nice Touch > Women Smarter that gets the party started. The transition into Terrapin Station marked a journey into more exploratory territory, with the band weaving complex musical themes and Garcia's solos reaching soaring heights, and is sung with strong emotions from Jerry. The subsequent Drums segment saw percussionists Mickey Hart and Bill Kreutzmann engaging in a rhythmic dialogue, leading into an ambient Space exploration. Emerging from the cosmic soundscape, the band launched into a driving Truckin', its bluesy riffs and storytelling lyrics resonating with the crowd. The emotive ballad Wharf Rat followed, with Garcia's plaintive vocals conveying the song's tale of redemption. A segue into Throwing Stones brought a politically charged energy, culminating in a spirited Not Fade Away, with the audience clapping and chanting along, embodying the communal spirit of the Grateful Dead experience. The NFA chanting continued all the way into the beginning of the encore, where the band reprised Not Fade Away, further energizing the crowd before concluding the evening with a heartfelt Black Muddy River, leaving the audience in a reflective and satisfied state.
Music link: https://relisten.net/grateful-dead/1987/04/11?source=342201
April 12th
4/12/1970 Fillmore West, San Francisco, CA – 4th of a 4-show run. Miles Davis opened for the Grateful Dead, and by all accounts Deadheads were not prepared for these Miles Davis performances, and it stood in stark contrast to the music of the Grateful Dead. But everyone had huge respect for Miles and his musicians, that's for sure! Most of this Dead show is average to strong performances. The 1st set opened with Good Morning Little Schoolgirl, featuring Pigpen's soulful harmonica. This was followed by Casey Jones, delivered with infectious energy, its driving rhythm foreshadowing its later prominence in the Dead's repertoire. China Cat Sunflower > I Know You Rider showcased the band's fluid interplay. High Time provided a poignant contrast with its slow, emotive delivery, highlighting Jerry Garcia's plaintive vocals. The Good Lovin' sequence was particularly electrifying; beginning with a spirited rendition led by Pigpen, it ventured into an exhilarating drum solo before returning to the song's jubilant refrain. Acoustic gems like Candyman, Deep Elem Blues, and Cumberland Blues reflected the band's Americana influences, while Dire Wolf added a haunting narrative. The first set culminated in an extraordinary Dancin' in the Street, characterized by its funky grooves and exploratory jams, a version so distinctive that it was later featured on the compilation album Fallout from the Phil Zone. Black Peter opened the 2nd set with a melancholic and introspective mood, Garcia's emotive storytelling resonating deeply. Uncle John's Band followed, featuring intricate harmonies. A standout moment was their rendition of It's a Man's World, where Pigpen's impassioned vocals and the band's soulful instrumentation paid homage to the James Brown classic with a unique Dead twist. The improvisational centerpiece of the evening was an expansive Viola Lee Blues, which evolved into a labyrinth of sonic exploration, traversing through intense peaks and serene valleys, demonstrating the band's fearless approach to jamming. This odyssey seamlessly transitioned into a cacophonous Feedback segment, pushing the boundaries of conventional rock performance. The night concluded with the ethereal a cappella harmonies of And We Bid You Good Night.
Music link: https://relisten.net/grateful-dead/1970/04/12?source=335709
4/12/1978 Cameron Indoor Stadium, Duke University, Durham, NC – This entire concert is officially released in the Friend of the Devils: April 1978 box set. This show isn’t the strongest of the bunch from the April, 1978 tour, but there’s still plenty to like here. The 1st set began with an energetic Jack Straw, though initial technical issues with Jerry's microphone slightly tempered the opening. Once resolved, the band found their groove, delivering a heartfelt Row Jimmy, with Jerry's emotive vocals complemented by Donna Jean's harmonies, creating a poignant atmosphere. The set gained momentum with a fiery New Minglewood Blues, showcasing the band's bluesy intensity and tight instrumentation. A particularly intense Lazy Lightning > Supplication sequence closed the set, with the band navigating complex rhythms and transitions with remarkable precision and fervor. The 2nd set opened with a lively Bertha that seamlessly transitioned into a jubilant Good Lovin', reflecting the band's cohesive interplay and infectious enthusiasm. The improvisational journey continued with an expansive Estimated Prophet > Eyes of the World, where Jerry's fluid guitar solos intertwined with the rhythm section's intricate grooves, leading into an extended Drums segment. This percussive exploration set the stage for a powerful Truckin', characterized by its driving rhythm and spirited execution. The emotive ballad Wharf Rat followed, with Jerry delivering soulful vocals that resonated throughout the venue. The set concluded with a high-energy Around and Around, leaving the audience exhilarated. For the encore, the band offered a spirited U.S. Blues, encapsulating the night's celebratory spirit.
Music link: https://relisten.net/grateful-dead/1978/04/12?source=337569
4/12/1982 Nassau Veterans Memorial Coliseum, Uniondale, NY – 2nd of a 2-show run. A standout show full of fun moments and interesting song selection. I find it unusual that they open the 1st set with an excellent funky version of Iko, and then open the second set with it's melodic sibling Women Are Smarter. Both of these songs were performed together during the same show 18 times in Grateful Dead history, but this was the only time they ever did them as set 1 and set 2 openers. Iko was followed by a robust New Minglewood Blues, where Bob Weir's gritty vocals and Jerry Garcia's searing guitar licks set a fiery tone. The band then eased into a delicate and heartfelt Peggy-O, with Garcia's emotive solos weaving a poignant narrative. The classic country pairing of Mama Tried > Mexicali Blues showcased tight harmonies and spirited rhythms. A standout moment was the rendition of Bird Song, described by attendees as featuring an intricate jam where Garcia and Brent Mydland's interplay created a mesmerizing, almost preordained musical conversation. The set continued with a soulful C.C. Rider, a rollicking Tennessee Jed, and a tender Looks Like Rain, culminating in a high-energy Deal that left the crowd exhilarated. The 2nd set opened with the afore mentioned Women Are Smarter and immediately set a jubilant mood. They quickly segue into a Jam Anthem rendition of Sugaree, and this one is off the charts good! Full of great emotion and fretwork by Jerry and it clocks in at 14 minutes! The journey continued with a dynamic Estimated Prophet, featuring Weir's impassioned vocals and complex time signatures, leading seamlessly into a spirited Uncle John's Band, where the band's harmonies and musical camaraderie were on full display. The exploratory Drums > Space segments provided a canvas for percussive innovation and sonic experimentation, paving the way for a thunderous The Other One. In this rendition, Weir's fervent delivery of the second verse (“Escaping through the lily fields, I came across an empty space”), sung twice, added a unique twist that resonated with the audience. After realizing his mistake, he comically says "I'm gonna sing it again" before repeating the second time. The mood then shifted to the soulful Stella Blue, introduced by an extended instrumental prelude that highlighted the band's patience and emotive depth. The set concluded with a rousing Sugar Magnolia, leaving the audience in high spirits. For the encore, the Dead delivered a spirited cover of (I Can't Get No) Satisfaction, sending the crowd home with an electrifying finale.
Music link: https://relisten.net/grateful-dead/1982/04/12?source=339487
April 13th
4/13/1969 Ballroom, University of Colorado, Boulder, CO – Classic primal Dead in exceptional form. The band is totally energized and almost every moment is above average. The 1st set opened with an electrifying (25+ minute) Turn On Your Love Light, featuring Pigpen’s soulful vocals and charismatic stage presence, setting an upbeat tone for the evening. The band then transitioned into Doin' That Rag, a track from their forthcoming album Aoxomoxoa, highlighting their intricate harmonies and complex rhythms. A powerful rendition of Good Morning Little School Girl followed, with Pigpen's gritty harmonica solos adding a raw blues edge. The emotive Morning Dew showcased Jerry Garcia's poignant guitar work and haunting vocals, creating a deeply moving atmosphere. The set's centerpiece was an expansive suite beginning with Dark Star, a song renowned for its improvisational depth. This version doesn’t get much attention and is one of the most underrated versions. It unfolded over 20 minutes, with the band navigating through cosmic soundscapes and intricate musical dialogues. Seamlessly, they segued into St. Stephen and then The Eleven, both exemplifying the Dead's signature blend of structured composition and free-form jamming. The segment concluded with a segued into a soul-stirring Death Don't Have No Mercy. Unfortunately, all the circulating tapes are missing the end of the show which includes Caution and possibly other songs. But we do have the beginning of what appears to be a hot Alligator. The tape cuts after an interesting Drums > Jam segment.
Music link: https://relisten.net/grateful-dead/1969/04/13?source=335507
4/13/1971 Catholic Youth Center, Scranton, PA – Officially released on Dave’s Picks Volume 51. The Grateful Dead delivered an electrifying performance at the Catholic Youth Center in Scranton, Pennsylvania. The 1st set ignited with Casey Jones, featuring driving rhythm and infectious energy. Mama Tried followed, with Bob Weir's crisp vocals paying homage to Merle Haggard's classic, while the band's tight harmonies underscored their versatility. In Loser, Jerry Garcia's soulful delivery and emotive guitar work painted a poignant narrative, enveloping the venue in a contemplative atmosphere. Big Boss Man saw Pig at the forefront, his determined vocals and harmonica infusing the Jimmy Reed cover with raw blues authenticity. The set continued with Me and Bobby McGee, where Weir's heartfelt singing captured the song's wistful essence, complemented by the band's gentle instrumentation. Bertha injected a lively tempo, its upbeat melody and Garcia's spirited vocals invigorating the crowd. The bluegrass-tinged Cumberland Blues showcased the band's ability to intertwine complex rhythms and tight harmonies, while Big Railroad Blues maintained the momentum with its rollicking pace and Garcia's fiery guitar licks. Playing in the Band offered a glimpse into the band's exploratory side, featuring a concise yet compelling jam that hinted at the extended improvisations the song would evolve into in later years. A standout moment was Hard to Handle, highlighting Pigpen's commanding presence and bluesy vocals. The set concluded with a hard-driving Sugar Magnolia, its vibrant energy and uplifting lyrics leaving the audience exhilarated. The 2nd set opened with Truckin', its narrative lyrics and infectious groove setting the stage for an adventurous musical journey. A Drums segment followed, with Billy delivering a rhythmic showcase that underscored his percussive dexterity. This seamlessly transitioned into Good Lovin', a tour de force featuring Pigpen's charismatic vocals and an extended jam that ventured through various musical landscapes, including a Darkness Jam. The rare inclusion of I Second That Emotion added a soulful touch to the set, marking one of the few times the band performed this Smokey Robinson classic. Greatest Story Ever Told brought a fervent energy, its concise structure packed with dynamic shifts and spirited execution. The set culminated with Johnny B. Goode, a nod to their rock and roll influences, delivered with electrifying enthusiasm. For the encore, Uncle John's Band provided a harmonious and reflective conclusion, its intricate vocal harmonies and melodic instrumentation leaving the audience with a sense of communal euphoria.
Music link: https://relisten.net/grateful-dead/1971/04/13?source=335866
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
Peace out my good people. Until next week!
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