This Week In Grateful Dead History #18 (Week of 5/5)
- Mason's Children
- 3 days ago
- 27 min read
Updated: 11 hours ago
For the week of 5/5 - 5/11, we delve further into a fascinating period in Grateful Dead history, marked by the band's early days and some of their most iconic performances from the Europe '72 and May, '77 tours. This week also coincides with the anniversary of Bob Marley's passing on May 11, 1981, a significant moment in music history. The Grateful Dead's journey began on May 5, 1965, when they performed their first known show as The Warlocks at Magoo's Pizza Parlor in Menlo Park, CA. This initial lineup included Jerry Garcia, Ron "Pigpen" McKernan, Bob Weir, Bill Kreutzmann (just two days before his 19th birthday), and Dana Morgan Jr. on bass, with Phil Lesh joining shortly after. This week also features some of the band's most celebrated performances, including the legendary May 8, 1977, show at Barton Hall, Cornell University. I’ve written 19 listening guides to cover it all this week:
5/5/1965 Magoo's Pizza Parlor, Menlo Park, CA
5/5/1977 Veterans Memorial Coliseum, New Haven, CT
5/6/1980 Recreation Hall, Penn State University, State College, PA
5/6/1981 Nassau Veterans Memorial Coliseum, Uniondale, NY
5/7/1972 Bickershaw Festival, Wigan, England
5/7/1977 Boston Garden, Boston, MA
5/7/1979 Kirby Field House, Lafayette College, Easton, PA
5/7/1980 Barton Hall, Cornell University, Ithaca, NY
5/8/1977 Barton Hall, Cornell University, Ithaca, NY
5/8/1979 Recreation Hall, Penn State University, State College, PA
5/8/1980 Glens Falls Civic Center, Glens Falls, NY
5/9/1977 Buffalo Memorial Auditorium, Buffalo, NY
5/9/1979 Broome County Arena, Binghamton, NY
5/9/1987 Laguna Seca Recreation Area, Monterey, CA
5/10/1972 Concertgebouw, Amsterdam, Netherlands
5/10/1978 Veterans Memorial Coliseum, New Haven, CT
5/11/1972 Rotterdam Civic Hall, Netherlands
5/11/1977 St. Paul Civic Center, St. Paul, MN
5/11/1978 Springfield Civic Center, Springfield, MA
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 18, for the week of May 5th, 2025:
Interesting historical facts for this week in Grateful Dead history:
Happy Birthday Bill Kreutzmann! (5/7/1946)
Remembering Bob Marley (5/11/1981)
Final performance of Caution (Do Not Stop on Tracks) (5/11/1972), and Who Do You Love (5/11/1972)
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!
May 5th
5/5/1965 Magoo's Pizza Parlor, Menlo Park, CA – The first known performance of The Warlocks occurred on this date in 1965. Unfortunately, no recordings are known to exist. Maybe one will surface some day! I like to carve out time to watch the Long Strange Trip documentary this time of year and think about how serendipitous it was that all these people met and formed friendships and partnerships that led to the creation of the Grateful Dead and the surrounding scene.
On May 5, 1965, the band that would become the Grateful Dead made their public debut or first-ever gig. For this initial performance, they were billed under the name "The Warlocks". The show took place at Magoo's Pizza Parlor in Menlo Park, CA, although one source also mentions a pizza parlor in Palo Alto, CA. The initial lineup for this performance consisted of Jerry Garcia, Ron "Pigpen" McKernan, and Bob Weir, who had previously played together in Mother McCree's Uptown Jug Champions and wanted to shift to electric music, along with Bill Kreutzmann on drums and Dana Morgan Jr. on bass. Bill Kreutzmann was two days shy of his 19th birthday at the time. Phil Lesh would replace Dana Morgan Jr. on bass after a handful of these initial shows. At this stage, The Warlocks were primarily a covers band. The band continued playing as The Warlocks through the summer and early fall of 1965, eventually changing their name about seven months after this debut on December 4th, 1965 when the band would make their first public performance as The Grateful Dead.
5/5/1977 Veterans Memorial Coliseum, New Haven, CT – Officially released on May 1977: Get Shown The Light. This is a splendid performance by the Dead, exemplified by the mature and powerful sound in 1977.
The first set opens with an impressive Promised Land, setting the tone for the evening with its stately pace and powerful energy. The rhythm section, recently reunited, provides a solid foundation that drives the band effortlessly. The highlight of the set is undoubtedly the Jam Anthem rendition of Sugaree, one of the longest and finest versions ever performed by the Dead. Jerry's soulful vocals and inventive guitar work, alongside Keith's mellow piano, create a series of coruscating jams that captivate the audience. The set continues with a sparkling Mama Tried segueing into El Paso, and a Tennessee Jed featuring a complex solo. Looks Like Rain showcases the excellent vocal performances of Bobby and Donna, while Jerry's supporting role adds depth to the song. The set concludes with a slyly exuberant Deal, a finely executed Lazy Lightning > Supplication, an excellent Peggy-O, and a fervent The Music Never Stopped, making for a nearly ninety-minute first set of great quality.
The second set kicks off with Bertha, featuring fine vocals and an extended jam that highlights the band's cohesion. Estimated Prophet follows, with a psychedelic closing jam that, although shorter than expected, is wonderfully trippy. The transition into Scarlet Begonias > Fire on the Mountain is unusually mellow, with Keith and Bobby joining Jerry in drawing out the jam. Phil's solid groove and Jerry's prismatic guitar lines make Fire on the Mountain a standout, despite its somewhat abrupt conclusion. The set continues with a tight and romantic Good Lovin', followed by the unmistakable notes of St. Stephen. Jerry's furious guitar playing and the band's tight performance make this a clear standout, leading into a powerful Sugar Magnolia. The encore, Johnny B. Goode, is a high-energy rock 'n' roll finish to a truly magnificent show, despite some equipment issues in the second set that slightly mar the extended jams.
May 6th
5/6/1980 Recreation Hall, Penn State University, State College, PA – This was mostly released on Road Trips Volume 3 Number 4. It captures a vibrant and energetic performance that captivated the audience from start to finish.
The first set kicked off with a lively Alabama Getaway into Greatest Story Ever Told, setting the tone for the evening. The crowd was quickly brought to a hush with a beautiful rendition of Peggy-O. After some tuning, the audience's clapping led into an energetic Me and My Uncle > Big River, and a sweet Loser. The crowd remained attentive during Far from Me, a track from Go to Heaven, which had been released just a week prior. The energy surged again with a snappy Lazy Lightning > Supplication, waking the audience up with its vibrant tempo. A slow, stately Althea soothed the masses, leading into a mellow Lost Sailor that built up into a rip-roaring Saint of Circumstance to close the set. Highlights of this set included the standout performances of Lazy Lightning, Althea, and Saint of Circumstance.
During the intermission, the charged-up audience packed the floor, and as the second set began, Bobby urged the crowd to take a step back. The band cleverly jammed on the "Step Back" melody, which seamlessly transitioned into China Cat Sunflower, drawing big cheers from the crowd. This flowed into a really hot I Know You Rider, featuring jam after jam that kept the energy high. After a brief pause, Feel Like a Stranger continued the momentum with notable interplay between Brent and Bobby. The song wound down and perked up with a little jam into He's Gone, where the crowd's clapping during the gospel-y section seemed to inspire the show highlight: a powerful and extended jam into The Other One. This rendition was longer than average and quite tasty, eventually winding down into a short drum solo. After some brief noodling by Jerry, the band delivered an OK Wharf Rat, which unfortunately didn't reach the heights of previous performances. The set concluded with Around and Around, which was notably missing its usual double-time jam, instead transitioning into Johnny B. Goode. The encore of Brokedown Palace provided a nice, gentle conclusion to the evening.
5/6/1981 Nassau Veterans Memorial Coliseum, Uniondale, NY – Officially released on Dick's Picks Volume 13. A truly legendary show due to the voracity of the playing. The band is on fire, and it's intense!
The fist set opens with a fiery Alabama Getaway > Greatest Story Ever Told combo, setting a brisk pace that immediately engages the audience. Jerry and Phil sound refreshed yet tense, attacking each song with vigor. Cassidy roars with energy, while Little Red Rooster features scorching solos from Brent, Bobby, and Jerry, with Phil driving the blues beat deep into the crowd. Let It Grow showcases some of Jerry's most inventive and nearly out-of-control playing, leading into a hard-rocking Deal that closes the set with fierce strumming from Jerry and Bobby.
The second set begins with a routine New Minglewood Blues, which momentarily lowers the energy before Jerry finds his footing with a sweet rendition of High Time, complete with a delicate yet piercing solo. The energy surges with Lost Sailor > Saint of Circumstance, where Bobby's inspired singing and the band's two-pronged assault create a hair-raising climax. He's Gone is dedicated to Bobby Sands, adding an extra layer of emotion, culminating in Jerry's harrowing howls of grief. This transitions into a legendary jam sequence: a Caution Jam emerges, driven by Jerry and Bobby's intense strumming, followed by a jazzy interlude that morphs into a slick variation of the Spanish Jam. The band then descends into Drums, setting the stage for a soaring The Other One that brims with intensity despite minor miscues. Goin' Down the Road Feelin' Bad is noteworthy for Jerry's stunning second solo, leading into a solid Wharf Rat. The night concludes with a rocking Good Lovin', leaving the Nassau crowd in awe of the Grateful Dead's prowess.
May 7th
5/7/1972 Bickershaw Festival, Wigan, England – Officially released on Europe '72 Complete Recordings and Europe '72 Volume 2. Another amazing show from this amazing tour. Overall, the Bickershaw Festival performance was a shining example of the Grateful Dead's ability to blend structured songs with freeform jams, creating an unforgettable live experience. The concert not only brought sunshine to a rain-soaked festival but also left a lasting impression on all who were fortunate enough to witness it.
The first set opened with a dedication "To all our muddy friends" as the band launched into Truckin', setting the tone for a vibrant and energetic performance. The set was a long two-hour journey through some of the Dead's shorter tunes, with highlights including a spirited Casey Jones, which featured Joe's Light Show with bouncing ball lyrics and a train crossing from one screen to another. The audience was treated to an inspired transition between China Cat Sunflower > I Know You Rider, showcasing the band's tight musicianship. Despite a few technical halts and some songs like He's Gone and Playing in the Band still finding their groove, the set was a thrilling experience for both new and seasoned fans.
The second set truly captured the magic of the Grateful Dead, with standout performances that have become legendary. The Jam Anthem version of Greatest Story Ever Told kicked things off with a powerful energy. The centerpiece of the set was the mesmerizing sequence of Dark Star > Drums > The Other One > Sing Me Back Home, with "Dark Star" and "The Other One" providing a cosmic journey that dissolved beautifully into the soulful "Sing Me Back Home." Pigpen was in good voice, adding depth to the performance, even if he didn't deliver a "Caution" as in other European shows. The set continued with a Jam Anthem version of Turn On Your Lovelight, which transitioned into Goin' Down the Road Feelin' Bad and concluded with Not Fade Away, leaving the audience in awe of the band's improvisational dexterity.
5/7/1977 Boston Garden, Boston, MA – Officially released on May 1977: Get Shown The Light. This one lives in the shadows of "the" show from the next night, but there is a lot of excellent music here. Some people prefer this show to the 8th, but I love them both. Highlights include the Jam Anthem version of "Half Step", "Music", "Terrapin > Samson", and "Eyes" through the end of the show.
The fist set kicks off with a lively Bertha, where both the band and Jerry Garcia's soloing are fluent and rolling, setting a high bar for the evening. A humorous lyric flub has Jerry and Donna Godchaux laughing, adding a touch of spontaneity to the performance. Cassidy follows, featuring a great, albeit short, jam and strong vocals from Donna. The momentum continues with Deal, showcasing a boogie-woogie jam led by the drummers, Keith Godchaux, and Jerry. Bobby Weir keeps the energy high with Jack Straw, delivering a laid-back yet powerful rendition that epitomizes the "1977 sound." A brief respite comes with Peggy-O, where Jerry and Keith trade off riffing magnificently. The raunchy New Minglewood Blues brings the energy back up before the Jam Anthem version of Mississippi Half-Step Uptown Toodeloo steals the spotlight, with Phil Lesh and Jerry intertwining exuberantly into Big River. The set closes with The Music Never Stopped, featuring Donna's spot-on harmonies and a crescendo-building jam led by Jerry's crystalline guitar runs.
The second set begins with a precise execution of Terrapin Station > Samson and Delilah, with Keith's fine form shining through. Estimated Prophet follows, with Bobby's superb vocals and angular rhythm guitar complementing Phil's swinging bass lines. Jerry's effortless jamming transitions into an up-tempo Eyes of the World, where the vocals and jams soar over Phil's prodigious bass notes. Although the expected closing jam is cut short by the drummers, the intense Drums segment leads into The Wheel, offering a reflective respite. A long, space-like jam emerges, with Jerry taking the lead before the band transitions into Wharf Rat, where Keith and Phil continue their stellar contributions. The set concludes with a high-energy Around and Around, followed by a fiery U.S. Blues, ending the show on a note of berserker fury and leaving the audience in awe of the band's ability to create magic.
5/7/1979 Kirby Field House, Lafayette College, Easton, PA – Probably the best Dead show you've never heard. This entire show ranks among the all-time best performances in my opinion because it showcases the band's ability to connect with the audience through a mix of laid-back and high-energy performances.
The first set opens with a leisurely rendition of Don't Ease Me In, setting a relaxed tone that recalls the band's earlier performances, such as on 12/5/71. The crowd's energy is palpable, and the band feeds off it, transitioning into a fiery Me and My Uncle > Big River. Jerry's guitar work soars, while Bobby's vocals add a frantic edge, driving the audience into a frenzy. After some extended tuning, the band shifts gears with a soothing Candyman, methodically sung by Jerry, followed by a heartfelt Looks Like Rain, where Bobby and Jerry's emotional interplay captivates the listeners. Jerry then leads the band into a crisp and emphatic Tennessee Jed, before launching into a raucous New Minglewood Blues that reignites the crowd's excitement. The set continues with a gentle Peggy-O, providing a moment of calm before the explosive Jam Anthem version of Passenger closes the set. Jerry's unexpected and massive jam during the finale leaves the audience in awe.
The second set kicks off with an outstanding Shakedown Street, where Jerry's ear-numbing jams and Phil's quirky bass bombs create a unique and humorous effect. The energy remains high with a nearly perfect Jack Straw, followed by a bouncy and well-executed Stagger Lee. The band then delves into the extended jam portion of the night with Estimated Prophet, showcasing Jerry and Phil's improvisational prowess as they transition seamlessly into Eyes of the World. The joyous and contemplative nature of Eyes gradually gives way to a haunting Drums segment, in celebration of Billy's birthday, followed by an equally eerie Space. The arrival of John Cipollina on stage marks the beginning of Not Fade Away, where his contributions add depth to the lengthy and dance-inducing jams. Bobby's vocal antics lead into a poignant Black Peter, with its sorrowful finale, before the set concludes with a high-energy Around and Around that nearly brings the house down. The encore, U.S. Blues, is a fitting and exceptional conclusion to the evening, providing a much-needed study break for the students at Lafayette College.
5/7/1980 Barton Hall, Cornell University, Ithica, NY – Officially released on Road Trips Volume 3 Number 4. Another excellent show on this day that lives in the shadows of 5/8/77, but again - there are some epic moments here which showcases the band in fine form, with standout performances and a nearly flawless second set.
The first set kicks off with a vibrant Jack Straw, setting the tone for the evening. Cassidy follows, with its usual jam segment loosening up the band early on. Row Jimmy is delivered with Jerry's sweet vocals capturing the song's melancholy, while Bobby's rowing motions add a visual element to the performance. El Paso is short but effective, and Easy to Love You highlights Brent's contributions with its final version of the lyrics. Althea grooves along, though it was becoming overplayed at the time. The set closes with a powerful Feel Like a Stranger, showcasing the band's ability to explore "funk" spaces, and a fun but superfluous Don't Ease Me In.
After a break, the second set launches with a killer Shakedown Street, continuing the funk standard set by the first set's closer. This version of Shakedown is notable for its extended vocal segment and seamlessly transitions into Bertha, a rare combination that delights the crowd. Playing in the Band follows, with Bobby customizing the lyrics to reference "Playing in the barn," leading into an incredible Terrapin Station. This stretch from Shakedown to Terrapin is classic Dead, resonating with power and emotion. The Drums segment provides a welcome respite, leading into Space and then Saint of Circumstance, which lifts the energy back up. The transition into Wharf Rat allows the music to find a new plateau, before launching back upward with the Playing in the Band reprise and a rousing Good Lovin'. The encore, Alabama Getaway, is a fitting end to a strong and satisfying performance.
May 8th
5/8/1977 Barton Hall, Cornell University, Ithica, NY – Officially released several times including May 1977: Get Shown The Light, and Cornell 5/8/77. What else can I say that hasn't already been said? I just take it for what it is: another killer show during a peak time in the Dead's history. It is one of my all-time favorite shows, partly because it was one of my first high quality tapes and I played the shit out of it. The combination of the superior sound quality and the flawless performance made it a go-to for me in the early days. As I acquired additional similar high-quality recordings, it wasn't played as frequently. But every time I revisit this show I'm always blown away like it's the first time I'm hearing it. The ability for this show to make me feel that way is what makes this show stand out so much (for me at least).
Set one opens with a spirited New Minglewood Blues, setting the tone for the evening. The highlight of the first set is undoubtedly Loser, where Jerry's biting lead guitar lines and Keith's organ work create a somber, Old West atmosphere. The set continues with El Paso, They Love Each Other, and Jack Straw, each performed with the tightness characteristic of the spring '77 tour. Deal is unremarkable, but Lazy Lightnin' > Supplication brings a burst of energy, with Jerry's intricate noodling and Keith's playful organ work. Brown Eyed Women and Mama Tried maintain the momentum, with Phil humorously acknowledging Mother's Day by saying “thanks mom”. Row Jimmy stands out with Jerry's dreamy slide guitar, leading into a remarkable Dancin' in the Streets. Despite a minor vocal miscue by Bobby, the band locks into a groove, with Jerry's leads soaring to new heights, concluding the set on a high note.
Set two begins with the legendary Scarlet Begonias > Fire on the Mountain. The transition is seamless, with Donna's vocal improvisations and Keith's repetitive riffs setting the stage for Jerry's masterful guitar work. The ensuing jam in Fire on the Mountain reaches an emotive crescendo, showcasing the band's synergy and Jerry's unparalleled intensity. Estimated Prophet follows, with Donna's confident vocals and Keith's eerie organ creating a perfect atmosphere. The set continues with a classic Saint Stephen, where the band builds energy steadily, despite a minor vocal misstep by Donna. The segue into Not Fade Away is natural, with Jerry and Bobby engaging in a captivating guitar conversation, supported by Billy and Mickey's relentless rhythm. The jam evolves into a drum-bass duet, highlighting the Rhythm Devils' prowess. The return to Saint Stephen leads into a transcendent Morning Dew, where Jerry's emotive vocals and the band's dynamic interplay create a churchlike atmosphere, culminating in an unparalleled crescendo. The encore, One More Saturday Night, brings the concert to a rousing close, leaving the audience in awe of the night's performance. As concertgoers exited into unexpected May snow flurries, they carried with them the memory of a truly magical evening, one that would become an iconic performance that continues to resonate with Deadheads around the world.
5/8/1979 Recreation Hall, Penn State University, State College, PA – If you're sick of 5/8/77 and looking for something different to satisfy your soul, look no further. This is a really strong show. Every song is played with conviction and purpose. The boys are in sync the entire time and there are some truly beautiful moments that you don't want to miss! I like the Barry Glassburg MOTB Nak 700 FOB tape.
The first set opens with a strong and fast rendition of Promised Land, setting the tone for the evening. They Love Each Other follows, featuring strong, deliberate percussion and a beautiful solo by Jerry that elevates the song to a danceable groove. All Over Now continues the momentum, with Jerry extending the theme into great dance jams, much to the delight of the crowd. Brent's bold and foregrounded playing adds a fresh dynamic to the mix. Row Jimmy offers long, lilting jams that evoke a sense of glory, while Stagger Lee maintains the set's strength. Each song is played with conviction and purpose, making for a consistently strong first half.
The second set truly explodes with one of the finest performances of Scarlet Begonias > Fire on the Mountain you'll ever hear. This version is not dreamy and exploratory but rather orchestrated and driving, like riding a rocket up Mount Everest. The band is perfectly in sync, achieving unprecedented heights of intensity. Following this, the set continues with an excellent Terrapin > Playin' sequence. Post-Drums/Space, the band delivers standout moments with The Other One > China Doll > Playin' > Good Lovin'. China Doll is particularly notable as a 110-show breakout, adding a special touch to the evening. The encore features a rare (4th of 9), fat and funky Shakedown Street that will have you dancing your ass off, providing a perfect conclusion to a night filled with musical highlights.
5/8/1980 Glens Falls Civic Center, Glens Falls, NY – Another incredible May 8th show that you might not heard before. High-energy show full of great moments, and it helps that there are some really nice tapes available.
The first set opened with a powerful Alabama Getaway > Promised Land, setting the tone for the night. The band delivered a lively rendition of Lazy Lightning > Supplication, with the former receiving a particularly spirited treatment. Friend Of The Devil and High Time were standout performances, with the latter being a first-time live experience for many in the audience. The set concluded with a dynamic Lost Sailor > Saint of Circumstance, showcasing the evolution of the medley since the previous year, especially during the "rain falling down" section.
The second set was a seamless journey through some of the Dead's most beloved songs. Uncle John's Band was a special treat for East Coast fans, many of whom were hearing it live for the first time. The transition into Estimated Prophet was executed flawlessly, maintaining the momentum. The Drums > Space segment, though relatively short, captivated the audience with its exploratory nature, leading into a solid Truckin' > Stella Blue. The set was punctuated by a high-energy Chuck Berry medley, leaving the crowd exhilarated. Overall, the band's tightness and energy were several notches above their recent performances, making this show a memorable experience for all in attendance.
May 9th
5/9/1977 Buffalo Memorial Auditorium, Buffalo, NY – Officially released on May 1977: Get Shown The Light. This is an excellent listening companion to 5/8/77 and other May, 1977 shows. What's interesting is how the Dead were experimenting with song placement during this time period. This concert is a standout show that, despite existing in the shadow of the legendary Cornell show from the previous night, offers a unique and introspective experience.
The first set opens with a remarkable and tight rendition of Help on the Way > Slipknot! > Franklin's Tower, setting the tone for the evening. This sequence, which had been experimented with in different positions throughout the tour, showcases the band's willingness to explore and refine their setlist. Following this, a beautiful performance of Cassidy captivates the audience. The set closes with a Jam Anthem version of The Music Never Stopped, leaving the crowd eagerly anticipating the second set.
The second set is a masterclass in musical exploration and cohesion. It features a spacey and almost meditative sequence of Estimated Prophet > The Other One > Drums > Not Fade Away > Comes a Time (Jam Anthem version) > Sugar Magnolia. Each transition is seamless, with the band members displaying top-notch playing throughout. The introspective nature of The Other One and Comes a Time highlights the band's ability to delve into deeper, more contemplative musical spaces. The set concludes with a rousing Sugar Magnolia, bringing the energy back up and leaving the audience in high spirits. For the encore, the band treats the audience to Uncle John's Band, a perfect way to end the evening. Uncle John’s Band, which would appear again as an encore on May 15th in St. Louis, serves as a delightful reminder of the band's ability to connect with their audience through timeless music. Overall, this concert is a beautiful-sounding reminder of the Grateful Dead's exceptional talent and creativity during this exciting period in their history.
5/9/1979 Broome County Arena, Binghamton, NY – A highly underrated show that you should definitely give a listen to, especially if you've heard 5/9/77 a bunch of times and are looking for something new. The boys are locked in and they deliver the goods. High energy performances abound here. Don't skip this show!
The first set kicks off with a massive 16+ minute version of Sugaree, setting the tone for the evening with its extended jams and Jerry's soulful solos. The energy remains high with perfectly played renditions of Minglewood, Friend Of The Devil, Stagger Lee, and Jack Straw, each sprinkled with that extra magic dust that elevates them beyond the ordinary. The band is locked in, and the chemistry among the members is palpable, making for a thoroughly engaging first half.
As the second set begins, the anticipation in the arena is electric, especially for those hoping to hear the return of the beloved China Cat Sunflower > I Know You Rider. When Jerry and Bobby launch into the opening notes, the crowd erupts, and the performance that follows is nothing short of legendary. This version is hailed as the supreme-bar-none, with energy levels that soar, particularly during "I Know You Rider," where Jerry's vocals and the band's solos reach new heights. The audience's response is so overwhelming that it nearly drowns out the PA and stage volume. Following this peak, the band mellows the vibe with a heartfelt He's Gone, leading into a jam that showcases Phil's dominating bass lines. The set continues to build with a powerful Truckin', where the jam reaches peak after peak, fueled by Jerry and Bobby's interplay. Phil's bass bombs during the jam are a highlight, leaving the audience in awe and ensuring that everyone leaves with their jaws dragging on the floor. The entire post-Drums > Space segment is tight as well: Wharf Rat > Sugar Magnolia and a rousing Johnny B. Goode encore.
5/9/1987 Laguna Seca Recreation Area, Monterey, CA – This entire show is one excellent "Sugar Magnolia/Sunshine Daydream" sammich. And boy, is it tasty!! This song played as a show opener has historically been strongly associated with the infamous 12/31/78 New Year's Eve performance (and they only did this a total of 5 times), so you know you're in for one hell of a party when they open with it! This is the show that was used for filming of the "Touch Of Grey" music video and several members of the audience were invited back stage afterwards to help with the filming of the video.
The first set kicked off with an exhilarating Sugar Magnolia that seamlessly transitioned into Sugaree, setting the tone for a high-energy performance. The opening sequence was a delightful surprise, drawing smiles from the audience and establishing the "Sugar Magnolia" sandwich theme for the evening. The weather was perfect, and the sound was impeccable, with Phil's bass resonating clearly throughout the venue. The rest of the first set consists of good but standard renditions of every song. During Tons Of Steel Brent sings “I can only hope my bass player will cut me a little slack”. The set concluded with a standout performance of Let It Grow showcasing the band's tight musicianship and the beautiful California setting.
The second set maintained the momentum with a powerful sequence of Touch Of Grey > Looks Like Rain > He's Gone. The band was in top form, and the audience was fully engaged, especially during The Wheel. The set continued with a dynamic Other One > Wharf Rat > Around & Around > Sunshine Daydream, bringing the "Sugar Magnolia" theme full circle. The interplay between Jerry, Bobby, and Phil was particularly noteworthy, creating a rich tapestry of sound that captivated the crowd. The encore featured a rare (4th of 5) and lively Iko Iko, ensuring that the party atmosphere lingered even as the show came to a close.
May 10th
5/10/1972 Concertgebouw, Amsterdam, Netherlands – Officially released on Europe '72 The Complete Recordings. Of course this is a very well-played show. The combination of exceptional musicianship, intricate jams, and soulful performances makes this a must-listen.
The fist set kicks off with a slightly out-of-sync start, but the band quickly finds their groove, setting the stage for an exceptional evening. Bertha begins the set, though the tape cuts into its intro, a common occurrence in those days. Me and My Uncle and Mr. Charlie follow, with Pigpen delivering an outstanding vocal performance on the latter. China Cat Sunflower features one of the longest intros ever, highlighted by some vintage piano work from Keith. The jam transitions into I Know You Rider, which, despite being more mellow and lethargic than usual, still captivates the audience. Black-Throated Wind is solid, with Phil's bass lines leading the way. The set continues to impress with a melodic jam in Playing in the Band and a standout piano solo from Keith in Chinatown Shuffle. The first set concludes with stellar renditions of Tennessee Jed, Big Boss Man, and Greatest Story Ever Told.
The second set opens with a monumental Truckin' > The Other One sequence, considered one of the best ever performed. This sixty-two-minute journey is filled with six distinct jams, each taking the listener on a far-reaching musical exploration. The highlight is undoubtedly The Other One, a mesmerizing odyssey that showcases the band's improvisational genius. The set maintains its momentum with a beautiful rendition of Sing Me Back Home and a rousing performance of Not Fade Away. The sheer length and quality of this show are a testament to the Dead's groove and enjoyment of the night, making it a standout performance on this iconic tour.
5/10/1978 Veterans Memorial Coliseum, New Haven, CT – Officially released on Dick’s Picks Volume 25. An incredible show that we’re lucky to have in perfect audio quality straight from the Vault master tape. The boys are fully synced with each other for this entire performance and there isn’t a single bad moment.
The first set opens with a powerful rendition of Jack Straw, setting the tone for the evening with its aggressive vocals and musical peaks. The band maintains this high energy throughout the set, with each song played to perfection. Cassidy and Let It Grow > Deal are standout performances, with "Let It Grow" featuring an intense jam where Jerry's fanning on the guitar elevates the energy in the room. The connection between the band and the audience is palpable, creating an electric atmosphere that fuels the performance.
In the second set, the band continues to engage in a joyous interplay with the audience. The set is highlighted by the Estimated Prophet > Eyes of the World sequence, showcasing the band's ability to weave complex musical narratives. The percussion jam that follows is a testament to the experimental spirit of the Dead during this tour, with Billy and Mickey leading a massive percussion session that enlists roadies and utilizes every available instrument. This jam serves as a prelude to the evening's crowning moment: The Other One. The post-"Drums" segment features a thrilling musical chase between Jerry and Phil, with Phil's bass bombs punctuating the jam. The improvisation before "The Other One" is longer than the song itself, creating a mesmerizing experience that must be heard to be fully appreciated.
May 11th
5/11/1972 Rotterdam Civic Hall, Netherlands – officially released on Europe ‘72 The Complete Recordings. Not a bad note in the entire show with every song perfectly executed. The band is not messing around, and has you into deep space within the first 5 minutes of the show with the opening Playing.
The first set opens with a heavyweight, no-nonsense version of Playing in the Band, immediately setting the tone for the evening with its deep space exploration within the first five minutes. The band delivers a series of perfectly executed songs, with China Cat Sunflower > I Know You Rider standing out as a major highlight. Despite a technical issue causing the a cappella section of "I Know You Rider" to fade out, the performance remains of a frighteningly high standard throughout. The emotive singing, especially from Pigpen, and the inspired improvisation make this set a journey into musical heaven.
The second set kicks off with a powerful Morning Dew, followed by Two Souls in Communion, both of which shine brightly. However, the set is dominated by a supernova Dark Star, which stretches beyond thirty-five minutes and is considered one of Howard Werner's Jam Anthem versions for good reason. The band takes its time exploring every nuance, with Phil's seismic bass notes creating a spectrum of sound that is both devastating and mesmerizing. The transition into Sugar Magnolia is seamless, though the song initially seems daunted by the preceding epic. Pigpen then takes control with Caution (Do Not Stop on Tracks), blending driving R&B rhythms with spaced-out moments, and incorporating fragments of old blues numbers, including an extended Who Do You Love?. The jam concludes with a powerhouse Truckin', ending on a perfect note with a superb Uncle John's Band. This show truly embodies the essence of "too much" in the best possible way.
5/11/1977 St. Paul Civic Center, St. Paul, MN – Officially released on May 1977. This show continues the tradition of perfectly executed May 1977 performances.
The first set is a masterclass in the Dead's 1977 repertoire, featuring a series of well-executed songs that highlight the band's cohesive sound. The set opens with a series of usual tunes, including Promised Land, They Love Each Other, Big River, Loser, Looks Like Rain, Peggy-O, and El Paso. Each song is delivered with the machine-like precision that characterized the band's performances during this period. A particular highlight is the silky Lazy Lightning > Supplication, which showcases the band's ability to weave complex musical narratives. The set reaches a peak with a charged rendition of Sugaree, where Jerry's cascading runs and roaring strumming captivate the audience. The jam around the six-minute mark is a testament to the band's ability to explore various moods and motifs, culminating in a satisfying climax.
The second set maintains the high-caliber standard set by the first, beginning with a routine yet solid performance of Samson and Delilah and Brown Eyed Women. The true highlight of the set is the trio of Estimated Prophet, Scarlet Begonias > Fire on the Mountain > Good Lovin'. The Scarlet > Fire segment, clocking in at about twenty-one minutes, features a slow, dreamy jam that builds into the Fire intro, exemplifying the thoughtful and spacey nature of the band's 1977 performances. The set's pinnacle is the Uncle John's Band > Space > Wharf Rat > Around and Around sequence. Uncle John's Band is performed with the shade and sensitivity typical of '77 versions, leading into a beautifully developed solo guitar segment by Jerry that transitions into Wharf Rat. This segment, with its nearly seven-minute solo, showcases Jerry's ability to create spontaneous musical moments that resonate with the audience. The concert concludes with a sweet encore of Brokedown Palace, providing a gentle and fitting end to a night of exceptional music.
5/11/1978 Springfield Civic Center, Springfield, MA – Officially released on Dick’s Picks Volume 25. The concert is marked by high energy, passionate performances, and a rare double encore, making it one of the most memorable shows of the year.
The first set opens with a powerful rendition of Cold Rain and Snow, with Jerry's vocals full of emotive gyrations, setting the tone for the evening. The band maintains a strong momentum with well-executed versions of Beat It on Down the Line, Friend of the Devil, and Looks Like Rain. Jerry's performance on Loser is particularly noteworthy, as he delivers the lyrics with a guttural intensity. The set continues with a lively Mexicali Blues > Mama Tried and a solid Tennessee Jed. The energy peaks with a dynamic New Minglewood Blues, before dipping slightly during Peggy-O. However, the set closes on a high note with a silky-smooth Lazy Lightnin' > Supplication, leaving the audience buzzing with excitement during the break.
The second set begins with Bobby's amusing tribute to the Dead's lighting designer, Candace, which is met with hearty applause. The band rewards the crowd with a massive Scarlet Begonias > Fire on the Mountain. Despite a rocky start, the band finds their groove, with Bobby's screaming slide guitar complementing Jerry's soaring runs. The energy is infectious, and the crowd responds enthusiastically. The tempo accelerates with a funky Dancin' in the Streets, played at warp speed. The band interjects wild vocal exclamations and transitions into a mesmerizing a cappella chant, repeating "Dancin', dancin', dancin' in the streets" with hoots and howls. The Rhythm Devils then take over with an entrancing Drums, featuring Mickey's steel drum and cowbell rhythms. Jerry leads the band into Not Fade Away with a metallic strumming riff, switching to a funky wah-wah sound. The energy surges as they return to the vocals, eventually descending into an emotional Stella Blue. Jerry's emotive power is unrivaled, both vocally and instrumentally, with his guitar lead at the end being particularly astounding. The set closes with Around and Around, building to fantastic heights with a wild double-time boogie. For the encore, Bobby returns to the stage wearing a Halloween werewolf mask, delighting the audience with a trippy slide guitar during Werewolves of London. Jerry screams his lungs out, and Phil thanks the crowd, but they demand more. The band obliges with a rare double encore, launching into a rocking version of Johnny B. Goode. Jerry's emphatic "GO, GO, GO!" and Donna's wailing vocals make this one of the best versions of the song. This concert is a testament to the Grateful Dead's ability to deliver an unforgettable live experience, full of energy and spontaneity.
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!