This Week In Grateful Dead History #15 (Week of 4/14)
- Mason's Children
- Apr 13
- 24 min read
Updated: 22 hours ago
For the week of 4/14 – 4/20 we continue our journey through the incredible Europe ’72 tour. We’re also remembering Laurence “Ram Rod” Shurtliff, who was born on 4/19/1945. Ramrod was a key figure in the Grateful Dead's history—more than just a roadie, he was considered part of the family. Ram Rod joined the Grateful Dead crew in 1967, originally to help with the Merry Pranksters and Ken Kesey. He quickly became the head roadie for the band, known for his calm demeanor and unwavering loyalty. Over the years, he earned the trust and friendship of all band members, especially Jerry Garcia. In 1976, the band incorporated as Grateful Dead Productions, and Ram Rod became its president—a position he held until Jerry Garcia’s death in 1995. He wasn’t just a behind-the-scenes presence; he had a vote in business decisions, including the band's famously democratic approach to finances. Ram Rod had a reputation for being kind, grounded, and unshakably loyal. Even with the intense lifestyle of touring with the Dead, he remained a humble, behind-the-scenes presence, never seeking the spotlight. Ram Rod died of a heart attack on May 17, 2006, in Petaluma, California. His passing marked the end of an era, but he’s remembered fondly in the Dead community as the ultimate “keeper of the vibe.” We also have the first performance of Werewolves of London (4/19/1978) and the infamous One from the Vault album was released this week in 1991. This week I’ve written 14 listening guides to cover everything:
4/14/1972 Tivoli Concert Hall, Copenhagen, Denmark
4/14/1982 Glens Falls Civic Center, Glens Falls, NY
4/15/1970 Winterland Arena, San Francisco, CA
4/15/1978 College of William and Mary, Williamsburg, VA
4/15/1988 Rosemont Horizon, Rosemont, IL
4/16/1972 Stakladen, Aarhus University, Aarhus, Denmark
4/16/1984 Community War Memorial, Rochester, NY
4/17/1972 Tivoli Concert Hall, Copenhagen, Denmark
4/17/1984 Niagara Falls Convention Center, Niagara Falls, NY
4/18/1978 Civic Arena, Pittsburgh, PA
4/18/1982 Hartford Civic Center, Hartford CT
4/19/1978 Veteran's Memorial Hall, Columbus, OH
4/20/1983 Providence Civic Center, Providence, RI
4/20/1984 Philadelphia Civic Center, Philadelphia, PA
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.
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. Ok, let's jump into it. Here's the highlights for Issue 15, for the week of April 14th, 2025:
Interesting historical facts for this week in Grateful Dead history:
Happy Heavenly Birthday to Laurence “Ramrod” Shurtliff (4/19/1945 – 5/17/2006)
First performance of Werewolves of London (4/19/1978)
The Grateful Dead released the highly-anticipated One from the Vault, a live album recorded on August 13, 1975, at the Great American Music Hall in San Francisco. This marked the first complete concert recording released commercially by the band. (4/15/1991)
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 14th
4/14/1972 Tivoli Concert Hall, Copenhagen, Denmark – Officially released on Europe '72 The Complete Recordings. When it comes to the Europe '72 tour, it's difficult to compare performances from night to night because taken as a whole, every show truly is exceptional. There are moments of "averageness" but "average" during the Europe '72 tour is a very high bar! Bottom line: if you haven't heard all of them, then take this opportunity to listen to them. The performance on April 14, 1972, in Copenhagen is a quintessential example of the Europe '72 tour, showcasing their unparalleled ability to blend precision with spontaneity. The show is a masterclass in musical exploration, with each set offering a unique journey through the band's diverse repertoire, highlighted by extraordinary jams and soulful renditions. The 1st set opens with a spirited Bertha, immediately setting an upbeat tone with Jerry's vibrant vocals and fluid guitar work. Bobby leads the band into a lively Me and My Uncle, marked by its galloping rhythm and engaging storytelling. Pigpen's gritty vocals and harmonica add a raw blues edge to Mr. Charlie, while Jerry's emotive delivery in You Win Again highlights the band's versatility. Bobby's Black-Throated Wind brings a contemplative mood, featuring intricate guitar interplay and introspective lyrics. Pigpen injects a dose of boogie-woogie flair with a rollicking Chinatown Shuffle. Jerry's heartfelt Loser captivates the audience with its melancholic narrative, leading into a harmonious rendition of Me and Bobby McGee, where Bobby's vocals paint vivid imagery. The set continues with a robust Cumberland Blues, showcasing the band's bluegrass influences through tight harmonies and brisk instrumentation. A standout moment arrives with Playing in the Band, where the group embarks on an 11-minute journey of rhythmic complexity and melodic exploration, foreshadowing the deeper improvisations to come. The first set concludes with Tennessee Jed, El Paso, Big Boss Man, Beat It On Down the Line, and a rousing Casey Jones, each performed with the band's signature blend of precision and spontaneity. The 2nd set is a tour de force, opening with a vibrant Truckin', its infectious groove energizing the Copenhagen crowd. Pigpen's soulful delivery of It Hurts Me Too adds a poignant blues touch, followed by the rollicking rhythms of Brown-Eyed Women, where Jerry's storytelling shines. Bobby's emotive Looks Like Rain provides a moment of introspection before the band launches into the evening's peak highlight: Dark Star. This 29-minute odyssey begins with a loose, ambient exploration, gradually coalescing into the familiar theme around the 11-minute mark. An intriguing groove emerges at 16 minutes, leading into the first verse, after which the band delves into an intense, nearly 7-minute jam, inclusive of a tight and fast Feelin' Groovy Jam. The final three minutes descend into a sonic meltdown, showcasing the Dead's fearless approach to improvisation. Seamlessly, they transition into Sugar Magnolia, with Bobby's exuberant vocals soaring over the jubilant instrumentation. The energy remains high as the band embarks on a medley of Good Lovin' > Caution > Who Do You Love > Caution > Good Lovin', with Pigpen leading the charge through these rhythmically charged explorations. His rap on Good Lovin’ is one of his wildest ever, adding a layer of raw energy to the performance. Who Do You Love is the first performance in 111 shows (11/11/1970). The final segment of the set is a fitting conclusion to this dynamic performance. The night wraps up with a heartfelt Ramble On Rose, followed by the classic high-energy pairing of Not Fade Away > Goin' Down the Road Feeling Bad > Not Fade Away, leaving the audience screaming in delight. For the final encore, the Dead deliver a spirited One More Saturday Night, sending the Copenhagen crowd home with a lasting impression of their dynamic and exhilarating show.
Music link: https://relisten.net/grateful-dead/1972/04/14?source=336138
4/14/1982 Glens Falls Civic Center, Glens Falls, NY – If you've already heard 4/14/72 a thousand times and are looking for something else to listen to on this day then look no further! This is a high-energy show full of great jams. The 1st set commenced with a Jam Anthem rendition of Jack Straw, setting an energetic tone with Jerry's crisp guitar licks and Bobby's compelling vocals intertwining effortlessly. This was followed by a soulful rendition of They Love Each Other, where Jerry's melodic solos and Brent Mydland's warm keyboard textures created a laid-back yet engaging atmosphere. The classic cowboy pairing of Me and My Uncle > Big River injected a dose of Americana, with Phil Lesh's buoyant bass lines driving the rhythm forward. A notable highlight was the rare performance of Deep Elem Blues, offering a delightful nod to the band's folk roots. The blues theme continued with Little Red Rooster, featuring Bobby's gritty slide guitar work and impassioned vocals, complemented by Brent's soulful organ fills. Brown Eyed Women followed, with Jerry delivering poignant lyrics and a heartfelt solo that resonated with the audience. The set concluded with Jam Anthem versions of Lazy Lightning > Supplication, showcasing the band's tight rhythmic interplay and complex time signatures, before launching into a spirited Bertha that left the crowd exhilarated. The 2nd set opened with the vibrant duo of China Cat Sunflower > I Know You Rider, a fifteen-minute odyssey that set the tone for the rest of the set. This particular rendition was marked by seamless transitions and an effervescent jam bridging the two songs, with Jerry and Bobby exchanging melodic motifs over Billy and Mickey's driving rhythms. The improvisational centerpiece of the evening was an expansive Playing in the Band, where the group ventured into uncharted sonic territories. The jam evolved from the song's structured framework into a freeform exploration, characterized by swirling guitar lines, atmospheric keyboard textures, and a pulsating rhythmic foundation. This eventually dissolved into an intricate Drums segment, allowing Billy and Mickey to showcase their percussive prowess. Emerging from the rhythmic depths, the band transitioned into a contemplative The Wheel, with its cyclical chord progression and reflective lyrics providing a moment of introspection. The energy ramped up again with I Need a Miracle, driven by Bobby's fervent vocals and the band's tight ensemble playing. A soulful Black Peter offered a poignant contrast, with Jerry's emotive delivery capturing the song's melancholic essence. The set concluded with a reprise of Playing in the Band, bringing the musical journey full circle, before closing with a high-octane Johnny B. Goode that had the audience on their feet.
Music link: https://relisten.net/grateful-dead/1982/04/14?source=339363
April 15th
4/15/1970 Winterland Arena, San Francisco, CA – An over-the-top high energy performance captured in perfect sound quality on 30 Trips Around The Sun. The band is on a mission to jam your face off, and they certainly do. The 1st set commenced with a spirited Cold Rain and Snow, immediately showcasing Jerry's crisp guitar work and emotive vocals, setting an invigorating tone for the night. This was swiftly followed by a seamless transition from China Cat Sunflower into I Know You Rider, a pairing that highlighted the band's tight cohesion and fluid interplay, with Jerry and Bobby's vocals harmoniously intertwining. Bobby then led the ensemble through a succinct yet punchy Mama Tried, injecting a dose of country flair into the set. A profound highlight emerged with Pigpen's rendition of It's A Man's World. His soulful delivery and commanding stage presence infused the song with raw emotion, leaving an indelible mark on the audience. The momentum continued with Candyman, where Jerry's plaintive vocals and delicate guitar phrasing painted a hauntingly beautiful soundscape. Despite being truncated, Hard to Handle packed a potent punch, with Pigpen's gritty vocals driving the bluesy number. The set further showcased the band's versatility with a rollicking Cumberland Blues, blending bluegrass influences with their signature psychedelic sound. The 2nd set opened with the enigmatic Cryptical Envelopment, which segued into an expansive Drums segment. This percussive exploration laid the groundwork for a mesmerizing jam, enriched by the contributions of guest musicians on guitar, keyboard, and congas, adding layers of texture and rhythmic complexity. The ensemble then launched into a thunderous The Other One, characterized by its relentless tempo and searing guitar solos, epitomizing the band's ability to navigate complex musical terrains. Returning to Cryptical Envelopment, the journey continued into a heartfelt Dire Wolf, offering a moment of melodic respite. A standout moment of the evening was the exhilarating Dancin' in the Streets, infused with a 'Tighten Up' jam that introduced a funky, syncopated groove, propelling the audience into a dance frenzy. The climactic sequence featured a robust Turn On Your Lovelight, with Pigpen at the helm, delivering impassioned vocals and engaging the crowd with his charismatic call-and-response antics. Midway, the band wove in a brief yet electrifying Not Fade Away, before circling back to conclude with a resounding Lovelight, leaving the audience in a state of euphoric exhilaration.
Music link: https://relisten.net/grateful-dead/1970/04/15
4/15/1978 College of William and Mary, Williamsburg, VA – This entire show was released on Dave's Picks Volume 37. April 1978 was a period of time that contains some inconsistent performances and this show gets mixed reviews, but overall, I think this is a fine show with some truly awesome moments. The 1st set commenced with a vibrant Mississippi Half-Step Uptown Toodeloo, setting an upbeat tone and showcasing Jerry Garcia's fluid guitar work. Following this, Passenger delivered a punchy, high-energy performance, with Phil Lesh's bass lines driving the rhythm. The band then eased into a mellow Friend of the Devil, allowing the audience to catch their breath before the tempo picked up again. El Paso brought a touch of country flair, with Bob Weir's vocals painting vivid imagery. A standout moment came with Brown Eyed Women, where the band's cohesive interplay shone brightly. The set culminated in a dynamic Let It Grow, featuring intricate jams and rhythmic complexity, followed by a spirited Deal that left the crowd energized. The 2nd Set launched with a rousing Bertha, immediately engaging the audience. This transitioned seamlessly into Good Lovin', where the band's synergy was palpable. A poignant Candyman followed, with Garcia's emotive vocals resonating deeply. Donna Jean Godchaux's heartfelt rendition of Sunrise provided a serene interlude before the band embarked on an expansive Playing in the Band. This jam ventured into uncharted territories, with Phil leading the way with thundering bass lines. Keith's accompaniment is diligent, and Jerry's frantic licks are both soothing and energetic. The jam builds to a climax before descending into a soothing meltdown, leading into a rhythmic Drums segment that showcased Billy and Mickey's percussive talents. The energy intensified with Not Fade Away featuring a bluesy intro and a dazzling middle jam that descends gracefully and culminated in a soul-stirring Morning Dew, the only rendition of this song in 1978, making it a unique highlight of the show. The set concluded with a rousing Around and Around, leaving the audience in high spirits. For the encore, the band delivered a spirited One More Saturday Night, sending the crowd off with an exhilarating finale.
Music link: https://relisten.net/grateful-dead/1978/04/15?source=1919365
4/15/1988 Rosemont Horizon, Rosemont, IL – 3rd of a 3-show run. The band is having fun and you know the crowd was psyched to get that as an opener! It's an odd setlist (in a good way) with plenty of other highlights. The 1st set commenced with a vibrant Scarlet Begonias > Fire on the Mountain, a pairing that set an energetic tone for the evening. This opening sequence, typically reserved for second sets, surprised and delighted the audience, showcasing Jerry Garcia's fluid guitar work and the band's tight synchronization. The band took their time, weaving a psychedelic tapestry that was both intricate and expansive. Jerry's guitar work was particularly vibrant, and as Fire on the Mountain reached its climax, the triumphant refrain echoed through the venue, leaving the audience in awe. Following this, Walkin' Blues provided a bluesy interlude, with Bob Weir's gritty vocals leading the charge. Candyman offered a mellow respite, featuring Garcia's soulful delivery. The band then delivered an unexpected and spirited rendition of Louie Louie, that segued into a rollicking Cumberland Blues, where Phil Lesh's bass lines and the dual drumming of Billy and Mickey propelled the rhythm. Memphis Blues followed, maintaining the set's momentum. The first set concluded with a high-octane Deal, leaving the crowd energized and eager for more. The 2nd set launched with Hell in a Bucket, igniting the audience with its driving beat and Weir's commanding vocals. This transitioned into a beautifully intricate Crazy Fingers, where the band's interplay created a mesmerizing tapestry of sound. Looks Like Rain followed, offering a poignant moment with Weir's emotive singing and Brent Mydland's atmospheric keyboards. The epic Terrapin Station ensued, building to a climactic crescendo that showcased the band's storytelling prowess. A journey through Drums and Space segments allowed for exploratory improvisation, highlighting the percussive talents of Kreutzmann and Hart. Emerging from the cosmic soundscape, The Other One surged with intensity, leading into a rousing I Need a Miracle. The set's emotional peak arrived with Dear Mr. Fantasy, featuring Mydland's passionate vocals, culminating in a jubilant Hey Jude Reprise that had the audience singing along. The set concluded with a fiery Turn on Your Love Light, ending the main performance on a high note. For the encore, the band delivered a heartfelt Knockin' on Heaven's Door, providing a soulful and reflective conclusion to the evening.
Music link: https://relisten.net/grateful-dead/1988/04/15?source=449304
April 16th
4/16/1972 Stakladen, Aarhus University, Aarhus, Denmark – Officially released on Europe '72 The Complete Recordings and is the only place you can hear the entire show. What we have here is another fine show from this spectacular tour. Phil is on fire and I'm so grateful we have these released recordings officially released, because they are spectacular. The 1st set opened with Greatest Story Ever Told, featuring Keith Godchaux's assertive piano work and Jerry Garcia's expressive guitar lines, setting an energetic tone for the evening. Sugaree followed, with Garcia's vocals and guitar weaving a mellow yet intricate tapestry. Chinatown Shuffle brought Pigpen to the forefront, delivering a spirited performance that highlighted his bluesy keyboard style. The band continued with Black-Throated Wind, where Bob Weir's emotive vocals were complemented by Phil Lesh's melodic bass lines. Tennessee Jed showcased Garcia's storytelling prowess, while Mr. Charlie and Beat It On Down The Line kept the momentum with their upbeat tempos and tight harmonies. A standout moment came with the seamless transition from China Cat Sunflower > I Know You Rider, a pairing that featured a dreamy jam and showcased the band's cohesive interplay. The set continued with Mexicali Blues, Loser, and Next Time You See Me, each delivered with precision and enthusiasm. Playing in the Band was a highlight, launching into a ten-minute jam that ventured into psychedelic territories, demonstrating the band's improvisational skills. The set concluded with the first performance of Dire Wolf in over a year, providing a gentle landing after the exploratory journey. The 2nd set commenced with a rousing Good Lovin', where Pigpen's charismatic vocals and the band's infectious groove extended the song into a nearly 20-minute jam, filled with dynamic shifts and spirited solos. Pigpen’s intense delivery is both captivating and powerful. The band weaves through a choppy exchange of funky riffs, displaying a delicate sensitivity that contrasts with the song's primal energy. This performance is easily one of the best versions of the tour. Cumberland Blues followed, delivering a high-energy performance that had the audience dancing. The band then eased into El Paso, with Weir's storytelling shining through. Deal was executed with flair, featuring Garcia's crisp guitar work. A significant highlight of the set was a relaxed yet powerful reading of Truckin', which evolved into an expansive jam, exploring various musical themes and showcasing the band's telepathic communication. This segued into a unique rendition of The Other One, characterized by its fragmented structure and exploratory passages, including a delicate duet between Garcia and Lesh. The band briefly detoured into Me and My Uncle, before returning to The Other One, culminating in a powerful musical statement. The set concluded with a raging combo of Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away. The energy is palpable, and the band is firing on all cylinders and it ends the show on a high note.
Music link: https://relisten.net/grateful-dead/1972/04/16?source=336266 or Europe '72 The Complete Recordings
4/16/1984 Community War Memorial, Rochester, NY – An outstanding show from beginning to end. The boys are energized and deliver every song with confidence and passion. This show is definitely worthwhile. The 1st set opened with Shakedown Street, setting a funky and upbeat tone that immediately engaged the audience. Jerry's guitar work was particularly lively, intertwining seamlessly with Brent's keyboard flourishes. This was followed by Little Red Rooster, where Bobby's bluesy vocals took center stage, complemented by Brent's soulful organ fills and Jerry's slide guitar accents. The band then eased into Peggy-O, delivering a heartfelt rendition that highlighted Jerry's emotive singing and delicate guitar phrasing. The classic cowboy pairing of Me and My Uncle > Mexicali Blues injected a dose of Americana, with Phil's bass lines driving the rhythm forward. A notable inclusion was Dupree's Diamond Blues, a song that hadn't been performed frequently in recent years, making its appearance a treat for longtime fans. The set continued with Cassidy, featuring intricate interplay between the guitars and a dynamic jam segment that showcased the band's cohesive improvisational skills. West L.A. Fadeaway brought a laid-back groove, with Jerry's vocals painting vivid imagery, before closing the set with Might As Well, leaving the crowd energized and eager for more. The 2nd set opened with Hell in a Bucket, with Bobby delivering the lyrics with gusto, supported by the band's tight instrumentation. This led into a competent Ship of Fools, where Jerry's soulful delivery captivated the audience, creating an intimate atmosphere. Far From Me followed, providing Brent an opportunity to showcase his vocal and keyboard talents. A poignant moment arrived with He's Gone, unfolding into an extended jam that allowed the band to explore various musical landscapes. The improvisational journey continued into the Drums segment, with Billy and Mickey engaging in a rhythmic dialogue that was both intricate and primal, then a short Space passage. Emerging from the outer space exploration, the band delved into The Other One, marked by its intense energy and exploratory passages. This seamlessly transitioned into Stella Blue, with Jerry's emotive guitar solos evoking a deep sense of melancholy and beauty. The set concluded with a high-octane pairing of Around and Around and Johnny B. Goode, leaving the audience exhilarated. For the encore, the band chose Day Job, a choice that, while not as universally beloved as some other encores, still delivered a spirited conclusion to the evening.
Music link: https://relisten.net/grateful-dead/1984/04/16?source=340746
April 17th
4/17/1972 Tivoli Concert Hall, Copenhagen, Denmark – Officially released on Europe '72 The Complete Recordings. It’s another magical performance that won't disappoint. Every song of this three-set show is played with confidence typical of this tour. Most of the show was later broadcast on "TV From the Tivoli" and is why Bobby says "Goodnight" after "One More Saturday Night". Set 3 is the big highlight in my opinion. The 1st set commenced with Cold Rain and Snow, setting a contemplative tone with Jerry Garcia's emotive vocals and the band's tight instrumentation. Me and Bobby McGee followed, featuring Bob Weir's heartfelt delivery, while Chinatown Shuffle showcased Ron "Pigpen" McKernan's gritty blues influence. A seamless transition into China Cat Sunflower > I Know You Rider highlighted the band's cohesive interplay, with Phil Lesh's bass lines driving the rhythm. Jack Straw and He's Gone offered narrative depth, the latter being a relatively new addition to their repertoire at the time. Pigpen returned to the spotlight with Next Time You See Me, delivering a soulful performance. The set concluded with Black-Throated Wind, a song that, while not as frequently performed, added a unique flavor to the evening's lineup. The 2nd set opened energetically with Casey Jones, invigorating the audience with one of the all-time-best renditions of the song. Mr. Charlie continued the momentum, with Pigpen's vocals commanding attention. Playing in the Band extended into a nearly ten-minute jam, exemplifying the band's improvisational skills. Sugaree and One More Saturday Night provided a balance of soulful melody and rock exuberance. The set also featured It Hurts Me Too, a blues standard that allowed Pigpen to delve deep into his expressive range. Ramble on Rose and El Paso added storytelling elements, while Big Railroad Blues brought a burst of high-energy rock. The set concluded with Truckin', its lyrics resonating with the band's journey and the spirit of the tour. The 3rd set is the big highlight of the entire show, and embarked on a profound musical journey with Dark Star, a nearly 31-minute exploration that ventured through various sonic landscapes, showcasing the band's collective improvisation. This seamlessly transitioned into Sugar Magnolia, providing a contrast with its upbeat tempo. The band then delved into Caution (Do Not Stop on Tracks), a 23-minute rendition that harkened back to their earlier psychedelic roots, with Pigpen's vocals and harmonica leading the charge. The evening concluded with Johnny B. Goode, a high-octane cover that left the audience exhilarated.
Music link: https://relisten.net/grateful-dead/1972/04/17?source=90018
4/17/1984 Niagara Falls Convention Center, Niagara Falls, NY – This is a fun show overall, but it does have some typical highs and lows. The 1st set commenced with Jack Straw, setting an energetic tone with its dynamic interplay between Jerry Garcia and Bob Weir. Dire Wolf followed, offering a more relaxed tempo that allowed the audience to settle into the groove. New Minglewood Blues brought a bluesy flair, with Brent Mydland's keyboard work adding depth to the arrangement. Row Jimmy provided a mellow interlude, showcasing Garcia's emotive guitar solos. The set continued with My Brother Esau, a relatively new addition to the repertoire at the time, and Ramble On Rose, which featured playful lyrics and spirited instrumentation. Looks Like Rain > Deal closed the set, with the latter delivering a high-energy climax that left the audience eager for more. The 2nd set opened with an iconic "Take A Step Back" plea and then launched into the powerful Jam Anthem trio of Help on the Way > Slipknot! > Franklin's Tower, a sequence that allowed the band to delve into complex rhythms and extended improvisations. The Slipknot! passage is stretched to the limits here, at 9 minutes long! Iko Iko followed, infusing the venue with its infectious New Orleans-inspired rhythm. Women Are Smarter maintained the upbeat momentum, leading into a contemplative Eyes of the World, which is on the shorter side but featured intricate solos and a seamless transition into the rhythmically adventurous Drums segment. The subsequent Space exploration provided a canvas for avant-garde soundscapes, eventually giving way to a heartfelt rendition of Black Peter. The set concluded with a rousing Throwing Stones > Not Fade Away sequence, energizing the crowd with its driving beats and communal spirit. The band returned to the stage for a perfunctory encore performance of U.S. Blues, delivering a patriotic flair that had the audience dancing to the exits.
Music link: https://relisten.net/grateful-dead/1984/04/17?source=94330
April 18th
4/18/1978 Civic Arena, Pittsburgh, PA – The second set was released on Dave's Picks Volume 37. This is a fun, unusual hidden gem from their spring tour, offering a mix of unexpected song combinations and solid musicianship. While not the most energetic show of the tour, it still delivers moments of brilliance. The 1st set opened with New Minglewood Blues, setting an energetic tone for the evening. Sugaree followed, allowing Jerry Garcia to stretch out with emotive solos that captivated the audience. Looks Like Rain provided a poignant moment, with Bob Weir's vocals complemented by Donna Jean Godchaux's harmonies. The set continued with Dire Wolf, Beat It On Down The Line, and Loser, each delivered with precision and feeling. El Paso brought a touch of Western flair, leading into a soulful Tennessee Jed. The set concluded with a spirited Lazy Lightning > Supplication, showcasing the band's rock prowess. The 2nd set commenced with a unique pairing of Scarlet Begonias > Dancin' in the Streets, a departure from the more common Scarlet > Fire combination. This transition was particularly noteworthy, with Jerry's intricate guitar work weaving seamlessly between the two songs. Following this, Drums provided a rhythmic exploration, leading into Samson and Delilah, which energized the crowd. The set continued with a heartfelt Terrapin Station, culminating in a rousing Around and Around that had the audience dancing in the aisles. The encore featured a competent rendition of U.S. Blues.
Music link: https://relisten.net/grateful-dead/1978/04/18?source=337380
4/18/1982 Hartford Civic Center, Hartford CT – 2nd of a 2-show run. This was a very fine show featuring many fun highlights and showcased the group's ability to blend tight musicianship with exploratory jams, delivering a memorable experience for attendees. The 1st set opened with a high-energy Bertha transitioning seamlessly into The Promised Land, setting an upbeat tone for the evening. Friend of the Devil followed, offering a more relaxed tempo with a scintillating jam towards the end. C.C. Rider stood out as a powerful rendition, characteristic of the early '80s performances. Ramble On Rose provided Jerry Garcia an opportunity to shine before Bob Weir took the lead on a spirited Me & My Uncle > Mexicali Blues combo, with Brent Mydland's keys adding a saloon-like atmosphere. Althea brought Jerry back to the forefront, leading into a passionate Looks Like Rain, where Bobby's emotive vocals intertwined with Jerry's fervent guitar work. The set concluded with a lively Big Railroad Blues and an expansive Let It Grow, which ventured into exploratory territories, and left the crowd eagerly anticipating what was to come. The 2nd set commenced with a robust Cold Rain and Snow flowing into a dynamic Samson and Delilah, energizing the crowd. A heartfelt Ship of Fools followed, noted for its delicate beauty. The band then launched into Playing in the Band, delivering a multifaceted version that transitioned into a breathtaking Eyes of the World, where Jerry and Brent exhibited remarkable musical synergy. The rhythm section took over with Drums, leading into a unique Space segment. During this, Phil Lesh introduced a thematic "Earthquake Space," with his bass creating tremors that resonated throughout the arena. Phil is channeling his inner Blackbeard pirate, as he’s chanting about the Barbary Coast and the Great San Francisco Earthquake. They throw in some wind and bird sounds for added dramatic flair, and culminates in a haunting feedback howl. This intense segment transitioned into a dark and ominous and powerful The Other One, followed by a poignant Black Peter. The set concluded with a rousing Sugar Magnolia, a reprise of Playing in the Band, and a jubilant Sunshine Daydream. The evening wrapped up with a spirited Don't Ease Me In, sending the audience off on a high note.
Music link: https://relisten.net/grateful-dead/1982/04/18?source=1862391
April 19th
4/19/1978 Veteran's Memorial Hall, Columbus, OH – I absolutely love this show and you should definitely give it a listen. Maybe it's partially because I spent most of my 20's living in Columbus but honestly there is some really great playing here and I wouldn't be surprised if this is slated for release on a future Dave's Picks. The 1st set with a seamless Bertha > Good Lovin', immediately engaging the audience with its infectious rhythm and Jerry's lively guitar work. The tempo eased into a mellow Friend of the Devil, allowing for a reflective interlude. The momentum picked up with a fiery Passenger, where Donna's harmonies complemented the band's robust instrumentation. A heartfelt rendition of Candyman followed, showcasing Jerry's emotive vocals. The set continued with a spirited Cassidy, featuring intricate interplay between Bobby and Jerry. A delicate Peggy-O provided a moment of introspection before transitioning into the classic cowboy pairing of Me & My Uncle > Big River, both delivered with gusto. The set concluded with a high-energy Deal, leaving the crowd eagerly anticipating the second set. The 2nd set commenced with a rousing Samson & Delilah, featuring a driving beat and some funny howling that provides a kind of clue to the encore. A tender It Must Have Been the Roses provided a gentle contrast, highlighting the band's versatility. The exploratory journey began with Estimated Prophet, featuring Jerry's evocative guitar solos and Phil's resonant bass lines. This seamlessly transitioned into a soulful He's Gone, marked by rich vocal harmonies and a poignant atmosphere. The rhythm devils, Billy and Mickey, then took center stage with an exhilarating Drums segment with more howling, and it's obvious the band can't contain the excitement about the upcoming encore. Emerging from the cosmic Space soundscape, the band launched into a thunderous The Other One, showcasing their improvisational prowess. The emotional depth continued with a heartfelt Wharf Rat, Jerry's plaintive vocals resonating deeply. The set culminated in a spirited Around & Around, leaving the audience in high spirits. For the encore, the Dead delivered a playful and rare Werewolves of London, delighting fans with its whimsical energy and marking one of the few performances of this Warren Zevon classic.
Music link: https://relisten.net/grateful-dead/1978/04/19?source=337422
April 20th
4/20/1983 Providence Civic Center, Providence, RI – An excellent show with many highlights. The 1st set opened with the then-new Touch of Grey, setting an optimistic tone with its uplifting lyrics and catchy melody. This was followed by a spirited Promised Land, with Bobby's energetic vocals driving the Chuck Berry classic. Jerry then led a heartfelt rendition of Loser, his emotive guitar solos resonating deeply with the audience. The set continued with a bluesy New Minglewood Blues, showcasing the band's tight rhythm section. A standout moment was the pairing of Me and My Uncle into Cumberland Blues, blending cowboy balladry with bluegrass-infused rock, highlighting the band's versatility. The set concluded with the classic duo of China Cat Sunflower into I Know You Rider, a seamless transition that ignited the crowd with its familiar, infectious groove. The 2nd set commenced with two of the newer songs, showcasing the band's evolving sound. My Brother Esau, was a little tentative, but was followed up by a rare standout performance of Maybe You Know, led by Brent, Phil, and the drummers. The song's fast tempo and tight execution demonstrated the band's ability to innovate while staying true to their roots. The energy escalated with Bertha, as Jerry's lively vocals and guitar work invigorated the crowd. An expansive Jam Anthem version of Estimated Prophet showcased the band's improvisational skills, leading into a mesmerizing Eyes of the World, characterized by Garcia's sparkling solo and Phil's prominent bass lines creating a groove that teetered on the edge of chaos. The jam built in intensity until it seamlessly transitioned into a thunderous Drums and Space, segueing into a smoking Throwing Stones and culminating in a poignant Morning Dew, where Jerry's soulful delivery captivated the audience. The set closed with a rousing Sugar Magnolia, delivered in Bobby's best over-the-top fashion leaving the crowd exhilarated. For the encore, the band chose Don't Ease Me In, a traditional tune that had been a staple in their setlists, sending the audience off with its upbeat tempo and infectious rhythm.
Music link: https://relisten.net/grateful-dead/1983/04/20?source=340146
4/20/1984 Philadelphia Civic Center, Philadelphia, PA – 2nd of a 3-show run. Officially released on Dave's Picks Volume 35. An absolutely ripping, high energy show that you should NOT miss! The whole thing is excellent from start to finish, and it's guaranteed to put a huge smile on your face for two and a half hours. The 1st set commenced with a vibrant Jam Anthem version of Feel Like a Stranger, immediately setting an upbeat tone. This was seamlessly followed by Cold Rain and Snow, maintaining the momentum with its brisk tempo. The band then transitioned into Beat It On Down the Line, a classic that kept the energy high. A standout moment came with Cumberland Blues, where the interplay between Jerry's guitar and Phil's bass showcased the band's tight musicianship. Little Red Rooster followed, featuring Bobby's expressive slide guitar work. The set continued with Brown Eyed Women, delivering a heartfelt rendition. My Brother Esau and It Must Have Been the Roses provided a melodic interlude before culminating in a powerful Let It Grow, which featured an extended jam that highlighted the band's improvisational skills. The 2nd set opened with the beloved pairing of Scarlet Begonias > Fire on the Mountain, a Jam Anthem sequence where Jerry led the band into a spiraling journey into the stratosphere, leaving the audience nearly overwhelmed. The seamless transition into a spirited Samson and Delilah, maintaining the set's high energy. The rhythm section then took center stage with Drums, leading into the ambient explorations of Space. Emerging from this, I Need a Miracle reignited the crowd's enthusiasm. A poignant Morning Dew followed, with Jerry's emotive vocals and guitar work creating a deeply moving experience. The monumental climax kept building until Jerry brought it to a close. Although Bob mistimed the segue into Around and Around the band quickly caught on, ultimately delivering a strong rendition. The set concluded with a fiery Johnny B. Goode, a double shot of Chuck Berry that rocked out the end of the show with Jerry's picking and Brent's scatting adding to the excitement. For the encore, the band chose Day Job, a lighthearted tune that’s kind of a letdown but was bouncy and energetic enough to send the audience off with a smile.
Music link: https://relisten.net/grateful-dead/1984/04/20?source=340801
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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