This Week In Grateful Dead History #17 (Week of 4/28)
- Mason's Children
- Apr 27
- 20 min read
For the week of 4/28 – 5/4 we have the continuation of the Europe ’72 tour, as well as the start of the epic Spring ’77 tour. We also wrap up the end of the April, ’71 run at the Fillmore East, and the last time the band would ever perform at the iconic venue because it would be shut down shortly thereafter on June 27th of that year. Tom Constanten sits in with the band one last time on 4/28/71. We also have the first performance of Let The Good Times Roll (4/30/88) and Sunrise (5/1/77), the final performance of Alligator (4/29/71), I Second That Emotion (4/29/71), and the only performance of China Cat > I Know You Rider as an encore (4/30/88). I’ve written 13 listening guides to cover all this and more this week for the following shows:
4/28/1971 Fillmore East, New York, NY
4/28/1985 Frost Amphitheatre, Palo Alto, CA
4/29/1971 Fillmore East, New York, NY
4/29/1972 Musikhalle, Hamburg, Germany
4/30/1977 The Palladium, New York, NY
4/30/1988 Frost Amphitheatre, Palo Alto, CA
5/1/1977 The Palladium, New York, NY
5/1/1980 Greensboro Coliseum, Greensboro, NC
5/2/1970 Harpur College, Binghamton, NY
5/3/1972 Olympia Theatre, Paris, France
5/3/1979 Charlotte Stadium, Charlotte, NC
5/4/1972 Olympia Theatre, Paris France
5/4/1977 The Palladium, New York, NY
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 17, for the week of April 28th, 2025:
Interesting historical facts for this this week in Grateful Dead history:
Tom Constanten sits in with the band one last time (4/28/71)
First performance of Let The Good Times Roll (4/30/88), Sunrise (5/1/77)
Final performance of Alligator (4/29/71), I Second That Emotion (4/29/71)
Only performance of China Cat > I Know You Rider as an encore (4/30/88)
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 28th
4/28/1971 Fillmore East, New York, NY – 4th of a 5-show run. This is probably my favorite show of the bunch. Contrasted to the previous night, this one is full on psychedelic Grateful Dead. This time period is such an interesting period for the Dead as they mature their sound a lot and transition out of the early primal period. Along those lines, what's really cool about this particular performance is they get a visit from their old keyboardist Tom Constanten who sits in on "Dark Star" through the end of the show as an "homage" to the primal days as the band embarks on a new chapter. This would mark the last time TC ever played with the Dead again. Most of this we released on Ladies and Gentlemen... the Grateful Dead", and "Cryptical > Other One" was released on Grateful Dead (Skull and Roses).
The first set opened with a spirited Truckin’, setting the tone for the evening with its infectious energy. Bobby led a concise yet impactful Mama Tried, followed by Bertha, where Jerry's vocals and solos soared. Hard to Handle was a standout, with Pigpen delivering gritty vocals and a rap-like delivery that captivated the audience, while Jerry's guitar work elevated the performance to legendary status. Other highlights included a tight Loser, a lovely Playing in the Band, and a groove-heavy Cumberland Blues. The set concluded with a rousing Casey Jones, leaving the crowd buzzing with excitement.
The second set was a journey into the Dead's more exploratory side, beginning with a surprise Morning Dew that left the audience in awe. Me & My Uncle followed, maintaining the momentum before the band launched into a powerful sequence starting with Cryptical Envelopment. This transitioned into The Other One, and showcased the band's improvisational skills. The set's climax came when Tom Constanten joined for Dark Star, a performance that, while not the longest, was rich in character. Billy's maracas and cymbals provided a delicate backdrop as Phil and Jerry engaged in a musical dance. The feedback-laden segment and accelerating passage led into a hard-rocking Saint Stephen, despite Bobby's lyrical mishap, which Jerry found amusing. The set concluded with a familiar yet invigorated Not Fade Away > Goin' Down the Road Feeling Bad medley, with T.C.'s ornate flourishes adding a nostalgic touch.
4/28/1985 Frost Amphitheatre, Palo Alto, CA – This entire show was released on Dave's Picks Volume 49. The first set kicks off with a spirited Gimme Some Lovin', marking its debut as an opener in a Grateful Dead show. Brent Mydland's energetic vocals and keyboard work set an upbeat tone, seamlessly transitioning into Mississippi Half-Step Uptown Toodeloo, where Jerry Garcia's expressive guitar solos and heartfelt vocals shine. The band then launches into a fiery New Minglewood Blues, with Bob Weir delivering gritty vocals and the group locking into a tight groove. A standout moment is Bird Song, which unfolds into an expansive jam, allowing the band to explore melodic and rhythmic variations, making it one of the best versions of 1985. Tons of Steel follows, showcasing Brent's songwriting and vocal abilities. The set concludes with a dynamic pairing of China Cat Sunflower > I Know You Rider, a classic sequence that highlights the band's seamless transitions and collective energy, with I Know You Rider being particularly powerful.
The second set opens with a robust Hell in a Bucket, featuring Bobby's commanding vocals and the band's driving rhythm. This leads into a beautifully rendered Crazy Fingers, a rarity in the band's repertoire at the time, which had the crowd ecstatic, especially since it was the first performance in the Bay Area since 1982. The centerpiece of the set is an ambitious Playing in the Band sequence, which weaves through China Doll, a return to Playing in the Band, and into the Drums and Space segments. This improvisational journey showcases the band's telepathic interplay and willingness to push musical boundaries. Emerging from Space, the band revisits Playing in the Band before transitioning into a poignant Wharf Rat, with Jerry delivering emotive vocals. The set continues with Throwing Stones, a politically charged number, and concludes with a rousing Not Fade Away, engaging the audience in a call-and-response finale.
The band returns for a double encore, starting with a patriotic U.S. Blues, energizing the crowd with its upbeat tempo and satirical lyrics. The evening concludes with a rare (1st of only 3) performance of She Belongs to Me, a Bob Dylan cover that the Dead had only recently reintroduced into their live shows. Jerry's heartfelt rendition provides a gentle and reflective end to the concert, leaving a lasting impression on all who were present.
April 29th
4/29/1971 Fillmore East, New York, NY – 5th of a 5-show run. This would be the last time the Dead would play the Fillmore East. Portions of this fine show were officially released on Ladies and Gentlemen... the Grateful Dead. The first set kicks off with Truckin', setting an energetic tone and showcasing the band's cohesive interplay. Bertha follows, with Jerry delivering spirited vocals and crisp guitar work, while It Hurts Me Too provides a bluesy interlude featuring Pigpen's heartfelt vocals and harmonica. The seamless transition from Cumberland Blues > Me & My Uncle highlights the band's versatility. Bird Song offers a moment of introspection with its delicate melodies and atmospheric jamming. The set continues with Playing in the Band, Loser, and Dark Hollow, leading into a particularly powerful Hard to Handle. This version is regarded as one of the best, with Pigpen's vocals and Jerry's guitar solos captivating the audience. The acoustic Ripple provides a gentle contrast, leading into Me and Bobby McGee and concluding with a rousing Casey Jones.
The second set is where the magic truly unfolds. It opens with an emotive Morning Dew, featuring Jerry's expressive guitar work. Minglewood Blues and Sugar Magnolia keep the energy high, while Black Peter offers a somber, reflective moment. Beat It On Down the Line and Second That Emotion inject a dose of rhythm and blues, with the latter marking its final performance by the Dead, though Jerry would continue to play it in his solo projects. The band then launches into an expansive Alligator jam, marking its last performance, leading into Drums, returning to Alligator, and transitioning into Goin' Down the Road Feelin' Bad and Cold Rain & Snow. The seamless flow continues with China Cat Sunflower > I Know You Rider, followed by Greatest Story Ever Told and a high-energy Johnny B. Goode.
For the encore, the band returns with Uncle John's Band, delivering intricate harmonies and melodic interplay. After Bill Graham's playful interaction with the crowd, they close the night with a spirited Midnight Hour, featuring Pigpen's charismatic vocals in his final version, and a heartfelt We Bid You Goodnight, leaving the audience with a sense of closure and gratitude.
4/29/1972 Musikhalle, Hamburg, Germany – Officially released on Europe '72 The Complete Recordings. Of course this is an incredible show! The first set has lots of raw energy, but it’s the second set that truly shines. The first set kicks off with Playing in the Band, setting an energetic tone and highlighting the band's cohesive interplay. Sugaree follows, with Jerry delivering emotive vocals and expressive guitar work. The momentum continues with Mr. Charlie and Black-Throated Wind, leading into a vibrant China Cat Sunflower > I Know You Rider, a pairing that underscores the band's seamless segues. Big Boss Man features Pigpen's soulful vocals, while Jack Straw and Loser provide narrative depth. Chinatown Shuffle offers a brief, upbeat interlude before Me and My Uncle and Big Railroad Blues keep the energy high. The set concludes with a dynamic Good Lovin', showcasing extended jams and Pigpen's charismatic presence, followed by a rousing Casey Jones to close the first half.
The second set opens with Greatest Story Ever Told, igniting the audience with its driving rhythm. He's Gone provides a contemplative contrast, leading into Next Time You See Me, where Pigpen's bluesy delivery shines. The centerpiece of the set is an expansive Dark Star, which ventures into uncharted territories, featuring a "Feelin' Groovy" jam initiated by Phil around the 6:40 mark. This improvisational journey transitions into a spirited Sugar Magnolia, maintaining the high energy, and culminates in a powerful Caution (Do Not Stop on Tracks), which includes a brief Who Do You Love segment, adding a raw, bluesy edge to the performance. Pigpen adds a note of confession to his raps, referring to his recent change of lifestyle. The Dark Star > Sugar Magnolia > Caution sequence is a Jam Anthem version, celebrated for its inventive and exploratory nature, and is a highlight of the band's live repertoire. Keith Godchaux deserves special recognition for his contributions throughout the show, with his '72 playing full of lightning-fast conversation with everyone else and a fearless attitude when plunged into the furthest-out jams. His work here is thoroughly enjoyable throughout, adding depth and texture to the band's sound. The band returns for a double encore, delivering One More Saturday Night, a high-octane number that keeps the crowd dancing. They conclude the evening with Uncle John's Band, offering intricate harmonies and a sense of communal closure to the night's musical voyage.
April 30th
4/30/1977 The Palladium, New York, NY – Officially released on Grateful Dead Download Series Volume 1. The first set opens with a vibrant The Music Never Stopped, setting an energetic tone with its upbeat rhythm and seamless interplay between Jerry and Bobby. This is followed by a spirited Bertha, which had the audience dancing, and It's All Over Now, showcasing the band's ability to infuse blues standards with their unique flair. Deal stands out with Jerry's expressive guitar solos and heartfelt vocals, while the duo of Mama Tried > Me & My Uncle maintains the high energy. A poignant Peggy-O follows, where Jerry's emotive storytelling shines, complemented by Bobby's emotional fills. Looks Like Rain features Donna's harmonies, creating a lush soundscape alongside Bobby's vocals. The set concludes with a triumphant Mississippi Half-Step Uptown Toodeloo and a rousing Promised Land, leaving the crowd eager for more.
The second set kicks off with the beloved pairing of Scarlet Begonias > Fire On The Mountain. This rendition is particularly noteworthy for its extended jam, allowing each member to showcase their improvisational skills, with Keith coaxing his organ into a convincing imitation of steel drums. Good Lovin' follows, with Bobby leading the charge and the rhythm section of Billy and Mickey driving the groove. Friend Of The Devil provides a brief, melodic interlude before the band launches into Estimated Prophet, characterized by its complex time signature and psychedelic undertones. The sequence of Saint Stephen into Not Fade Away, then into Stella Blue, back into Saint Stephen, and concluding with One More Saturday Night is a masterclass in setlist construction and execution, blending seamless transitions with dynamic shifts in tempo and mood. Keith's sensitive piano work in Stella Blue garnishes the performance beautifully. The encore of Terrapin Station is a rare treat, delivering a powerful and emotive performance that encapsulates the evening's musical journey. With passionate verses and a climactic ending, this rendition of Terrapin serves as a fitting conclusion to a night of exceptional music, leaving a lasting impression on all who were fortunate enough to witness it.
4/30/1988 Frost Amphitheatre, Palo Alto, CA – This show was FM broadcast on KZSU. This is a that stands out as a vibrant and engaging performance from the late '80s. The Dead delivered a set filled with both classic tunes and unique surprises, showcasing their musical competence and ability to captivate an audience. The first set kicked off with the debut performance of Let the Good Times Roll, setting a festive tone for the evening. This was followed by Feel Like a Stranger, which maintained the upbeat momentum despite a slightly awkward transition. Row Jimmy provided a mellow interlude, highlighting Jerry's emotive vocals. The energy picked up again with Walkin' Blues and Hey Pocky Way, the latter being a standout with Brent's exceptional keyboard work and vocals, supported by tight backup from Bob and Jerry. Ramble On Rose delighted fans with its storytelling charm, and the set concluded with a powerful Let It Grow, featuring intricate interplay between Jerry and Bob, and a searing guitar exchange that was both precise and exhilarating.
The second set opened with a dynamic Shakedown Street, invigorating the crowd with its funky groove and exploratory jams. Man Smart, Woman Smarter continued the danceable vibe, with Bob and Brent sharing vocal duties. A heartfelt Ship of Fools followed, providing a moment of reflection before the band ventured into an exploratory Playing in the Band. This segued into the rhythmic Drums and ambient Space segments, showcasing the band's improvisational skills. Emerging from the depths, Goin' Down the Road Feeling Bad lifted spirits, followed by a fiery All Along the Watchtower, where Bobby experimented with his vocal delivery. Black Peter offered a poignant moment before the set culminated with a jubilant Sugar Magnolia, a show-stopper even in its standard form. The encore was a special treat, featuring the only time the band ever played China Cat Sunflower > I Know You Rider as an encore, thrilling the audience with this beloved pairing. The night concluded with a rousing One More Saturday Night, expending the last bit of energy the band could muster and leaving fans energized and satisfied.
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 > 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.
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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